first time

Early in “The Drama,” things are still good between Emma (Zendaya) and Charlie (Robert Pattinson). The young happy couple, about a week away from getting married, have enjoyed a whirlwind romance. As this dark comedy’s opening credits roll, they’re blissfully practicing their first dance, laughing and stumbling as they try to get their twirls and steps right.

But the scene’s highlight is the song that plays in the background, airy, gentle and simple. Spare guitar chords give way to a female voice that sounds unpolished but beautiful: “I want to lay with you/ In an open field/ Where yellow flowers are suns of Earth.”

For many viewers, this will be the first time they’ve ever heard “I Want to Lay With You,” one of the most gorgeous love songs of the 1970s. It’s also likely they’ll have no idea who the singer is. Her name is Shira Small, and in 1974, she recorded an incredible album, “The Line of Time and the Plane of Now,” when she was 17. She never recorded another — at least, not yet. Now nearly 70, Small may finally be getting her moment in the spotlight.

“I’m cracking up,” says Small over Zoom from her Cooperstown, N.Y., home, “because I had no idea whatsoever that that movie was coming out until my dear sister informed me via you.” Flashing a relaxed smile and sporting long gray hair, Small knows little about the controversial “The Drama,” an A24 film with a heavily guarded twist.

Robert Pattinson and Zendaya in the movie “The Drama.”

(A24)

But it’s becoming a delightfully frequent occurrence that Small learns after the fact that her music is featured prominently in a movie or television show. “The record company does what they do and then they send me royalties and I get it in a statement,” she explains. “I had a song that HBO bought for ‘Pause With Sam Jay.’ They sent me an email that was not even to me — it was this interdepartmental thing. At the bottom, it said, ‘Oh, by the way, it airs tonight.’”

Jemma Burns, music supervisor for “The Drama,” had been a fan of Small’s album, thinking “I Want to Lay With You” would be perfect for this idyllic scene, right before Emma and Charlie’s relationship implodes over a disturbing revelation that turns their dream wedding into a nightmare.

“He was trying to set up the rom-com tone,” says Burns of the movie’s writer-director Kristoffer Borgli, “one that would contrast with the modernity of the setting and where the film goes. He wanted something that was from a bygone era, but also something that felt disarmingly charming. The two lead characters are very switched-on, fashionable, arty. So it felt like something they would’ve had in their record collection.”

The youngest of five siblings, Small always loved singing. But even as an adolescent growing up in Harlem, she felt like an old soul, her thoughts running deeper than the average kid’s.

“My focus was on not understanding war and hatred and bigotry,” she says. “I was seriously into trying to make love happen everywhere.”

Against the backdrop of the war in Vietnam and the Black Power movement, Small was well on her way to becoming a hippie, a transformation amplified by her enrollment in a private Quaker boarding academy, George School, in Newtown, Penn., on a full scholarship. When she arrived at George School, Small recalls, laughing, it was “very rich and very white. But I’ve always been a flotation device. I can walk around like I don’t have a clue about things.”

Shira Small, photographed in 1971 at George School in Newtown, Penn.

(Courtesy of Shira Small)

At George School, Small sported an Afro and smoked weed. She was drawn to theater and music, impressing music teacher and classical pianist Lars Clutterham, who saw she had talent. They worked on songs together, with Small coming up with the lyrics and vocal melodies. Every student had to complete a senior project, so Small proposed that hers be an album. Not long after, she and Clutterham drove to a Philadelphia studio for a one-day session.

The 10 songs on “The Line of Time and the Plane of Now” — each recorded in only one take — mix folk, soul and jazz, radiating innocence. The arrangements, awash in old-school analog warmth, are straightforward: guitar or piano supplemented with drums, leaving plenty of space for Small’s lilting voice, which contains both idealism and, even as a teen, traces of real-life sorrow.

Her mother died while she was at George School, inspiring “My Life’s All Right,” a ballad about surviving tough times, which later appeared on the Sam Jay show. “Eternal Life” sprang out of her in one burst, celebrating the power of love to transcend life’s harsh realities. As for the movie’s “I Want to Lay With You,” it was about a boy Small liked. She just can’t remember who anymore.

“It was somebody who was just as much a friend as a person that I had a crush on,” she recalls. “I honestly felt that we could have a life together.”

Small laughs at her adolescent self. “Like I knew what it would be like to have a freaking life together! To be able to wake up with somebody and have a beautiful day and always make them smile.”

According to Small, George School’s parents and students raised money to pay for the album and 300 copies were produced. “It was a joyous time,” she recalls. “I was on my way — to somewhere!” After graduation, though, she struggled to find her footing, eventually graduating summa cum laude from the City University of New York with a theater degree. But then she chose pre-med, becoming a physician assistant.

“When I became pre-med, it was so hard for me that I was just tunnel-visioned,” explains Small about why she said goodbye to music. “I had to devote my whole self to it. It was so all-encompassing that I could think of nothing else.”

But there was another reason she walked away from music. From an early age, Small suffered debilitating stage fright. “It was so bad that it would twist my stomach into a knot,” she recalls. She gutted it out to do plays at George School and, later, record her album. After a while, though, “It just got to be too much.”

Still, didn’t she miss singing? “Constantly,” replies Small, who retired about five years ago from the medical profession. “I sang unconsciously a lot. My patients always picked up on it — they’d be like, ‘Every time you come in, you’re singing.’”

But although Small abandoned music, “The Line of Time and the Plane of Now” never went away. In 2006, the Numero Group, an archival record label, put together a compilation, “Wayfaring Strangers: Ladies From the Canyon,” devoted to under-the-radar female singers from the 1970s. Numero Group co-founder Ken Shipley made sure “Eternal Life” was included.

“I was the first person to ever reach out to Shira,” he says proudly in a separate phone interview. Shipley heard “Eternal Life” on a burned CD of femme-folk artists that was making the industry rounds at the turn of the millennium while he was putting together his “Wayfaring Strangers” lineup. “Shira was a top want for me.”

The Numero Group put “Eternal Life” on Spotify in 2013. But when the label released the full album digitally in 2022, “I don’t know that anybody really cared,” Shipley says. Undeterred, he reissued it on vinyl the following year. Maybe listeners just needed time.

“Music finds a way,” Shipley says. “Music’s like water. It’s going to get down the creek into the river into the ocean. It’s going to find its audience.”

Sure enough, strange serendipitous moments started happening for Small. A future bandmate’s ex had one of her songs on a playlist, having no idea it was Small. She recently started working part-time at a local opera house and one of the opera singers adored “Eternal Life,” unaware that Small was an employee.

And now, royalty checks arrive for the usage of her songs in films like “The Drama.” It still feels unreal to Small that her album generates revenue. “It was never for commercial purposes,” she says. “I can’t believe that I am collecting any royalties on that music and that it just keeps going and going.”

Small’s husband died in 2019 after 34 years of marriage. It sent her spiraling, but then something remarkable happened. “The day I came out of it, the music was gushing out of me so fast that I couldn’t keep up with it,” she says. “I had to walk around with a voice memo. I hadn’t spoken to Lars in more than a decade. I sent him all of these voice memos and he sent me a note: ‘Shira, you still got it.’”

In 2024, she released her first song in 50 years, “Why,” which lays out her fears for the world. Her voice is different, deeper, possessing a lifetime of experience that her teenage self couldn’t have possibly imagined. Small is now plotting out an album and has some shows lined up. Even better, she’s worked through her stage fright.

Eventually, she’ll perform her old songs, but she’s figuring out how to hit that higher register from her youth. “I’ve gone through decades of hormones and cigarettes and all the other things that I did that I’m happy I lived through,” she says, wryly.

“I still have a thing about yellow flowers in open fields,” she admits. “We have these huge sunflower fields here. The whole idea of being in such a beautiful place with yellow flowers that light up a great day is what popped into my head when I wrote that lyric.”

I ask her what she makes of that young woman she hears on “The Line of Time and the Plane of Now” today.

“I know her so well,” replies Small. “You know why? Because she’s still here. I am, at this point, everybody I’ve ever been ever, leading up to this moment.

“I still feel the same way about many things,” she continues. “I’m probably angrier now than I was when I was a child, but I still have this underlying thing about looking at a bigger picture to help me keep my lid on. When I think back on ‘Eternal Life’ and ‘My Life’s All Right,’ that music was born from my core. And my core does not have an age.”

Almost a year ago to the day, Jack Black hosted “Saturday Night Live” for the first time in 20 years, fresh off the success of “A Minecraft Movie.” Now, the star of another freshly minted videogame-to-movie hit, “The Super Mario Galaxy Movie,” has returned after crushing it last time with a high-energy performance.

Having reached the Five-Timers Club, as addressed in an obligatory monologue sketch featuring Jonah Hill, Tina Fey, Candice Bergen and others, Black was a returning hero. He’s frequently cited as one of the favorite hosts among the cast. And while this time may not have reached the frenetic highs of last year’s manic and musical outing, it had some memorable moments.

Most notable was a video for a country-style song about gaining wisdom and then completely forgetting what that wisdom was. Black sang in that sketch along with musical guest Jack White. Black also appeared as a frustrated office worker trying to get a coworker (Ashley Padilla) to stop talking to him and others annoyed by the woman.

Black paired up with Marcello Hernández to play martial arts instructors who teach unorthodox self-defense methods. It played to Black’s physical comedy chops, but something felt off about the execution, especially because of the hard-to-understand dialogue. Black played the last Spartan to be considered for inclusion in the group of 300 Greek fighters against Persia (spoiler: he doesn’t make it in). He played an intrusive Airbnb host with Melissa McCarthy, who was also on board for the Five-Timers sketch.

And, finally, he played one of a set of awkward husbands who come to life singing “Carry On Wayward Son” together.

While the monologue was a blast of fresh chaos (or at least the sense of chaos) with Black jamming out with White, the rest of the show didn’t have the same kind of verve, falling back on familiar sketch formulas. That said, Black committed throughout and sang well when he had the opportunity.

Musical guest Jack White appeared in a few sketches and performed “Derecho Demonico” and “G.O.D. And The Broken Ribs.”

Breaking a streak of cold opens featuring President Trump and/or members of his cabinet, this week’s opening sketch featured instead a March Madness NCAA post-game roundup featuring Ernie Johnson (James Austin Johnson), Kenny Smith (Kam Patterson), Charles Barkley (Kenan Thompson) and coach Bruce Pearl (Jeremy Culhane). The joke here was that Barkley, already known for being outspoken, has been getting kudos for speaking out in favor of immigrants on a CBS broadcast. On the show, he jokes that it’s “the first time I went viral without a prescription for Valtrex.” Emboldened, this version of Barkley keeps saying he’s going to be careful with his words, before weighing in on the Iran war, the Artemis II space mission (“A waste of money. They just flying around the moon.”) and the firing of former U.S. Atty. Gen. Pam Bondi. Bondi (Padilla) appeared to refute the comments, referring to “The final four… years of this country.” Barkley said he was going to choose his words carefully one more time before delivering, “Live from New York… It’s Saturday Night!”

For his induction to the Five-Timers Club, Black was joined by a jacket-clad Hill who revealed that there’s something wrong with the lounge where the Five Timers hang out. The room, indeed, appeared spooky and abandoned with cobwebs and Fey wearing a robe made out of Paddington, which she said she got after hosting “SNL UK” last month. Fey revealed the lounge has fallen apart after literally being run into the ground by too many Five-Timers Club sketches. The suave Hernández character Domingo appeared briefly but was conked on the noggin by White, who also achieved Five-Timers status, but as a musical guest. He left early to move his hearse: apparently musical Five Timers only get their parking validated for 15 minutes. Black chose to rock out to revive the lounge, launching into a version of White’s “Seven Nation Army” with the guitarist accompanying him. After a brief musical rockening, Black told the audience, “Stick around, we’ll be White Black!”

Best sketch of the night: If only we could remember why this song was so good

Beyond his spot-on Trump impression, Johnson has proven to be adept at musical impressions, and here he does a nice job launching into a country song, “Words to Live By,” about a man who hears his father’s dying words … and then forgets what the wisdom was that was imparted. Black takes over as a man who climbed a mountain in Tibet and spent 20 hours with a guru, only to forget what he learned while walking down the mountain and getting a text from his wife. That would have been plenty, but a third section features Andrew Dismukes as an annoyed father refusing to listen to his 6-year-old son’s words. “You don’t even know how to wipe your own butt,” he sings, “you maybe only know the names of like 30 weird Pokemon guys.” The three singers at least remember the name of the “Men in Black” device that erases your memory: The Neuralyzer.

Also good: There’ll be peace when you are done (watching this sketch)

What looked at first to be a repeat of a recent sketch about wine-drinking wives chatting in the kitchen and playing truth or dare instead pivoted to a scene about husbands stuck together in a den with nothing to talk about. That might have been premise enough for a piece about men having trouble making friends, but instead, a mumbled lyric for the Kansas song “Carry On Wayward Son” turned into a full-blown sing-along that peaks when the men jam out with ribbon sticks and strip their outerwear to reveal colorful jumpsuits. When you have a guest who can sing as well as Black, you’ve got to lean into that talent.

‘Weekend Update’ winner: A scandal that keeps ballooning

Patterson had some funny moments as the new Black version of Professor Snape slated to appear in the new “Harry Potter” series, but Sarah Sherman was tough to ignore as Kristi Noem’s husband Bryon, currently embroiled in a scandal over online chats. Sherman as Bryon Noem wore two giant balloons under a shirt, challenging “Update” co-host Michael Che and others to make fun of his kink. “I dare you to find one thing that’s funny about this whole situation,” Bryon said. The segment got more and more absurd as Bryon challenged the cue-card master Wally Ferensten, Lorne Michaels (shown having already left, leaving a spinning desk chair), Kristi Noem (Padilla) and even the dog she shot, shown in heaven with a halo. It was as distasteful a segment as you’d expect from “Update,” yet also somehow straddled the line between wallowing in the scandal and mining some genuine laughs out of it.

As “The Super Mario Galaxy Movie” lands in theaters, coloring stations, collectible popcorn containers and mascot Marios are all in place to entice arguably the most prized moviegoers to Hollywood today: kids.

By Sunday, Universal Pictures expects the five-day opening of the “Super Mario” sequel to reach $186 million domestically, and around $350 million worldwide. That would make it easily the biggest hit of the year, surpassing a pair of successes that also launched with young moviegoers in mind: Pixar’s “Hoppers” ($297 million worldwide) and Amazon MGM’s “Project Hail Mary” ($300.8 million).

It’s not the start of a new trend but the culmination of one. In 2024, PG-rated movies outgrossed any other rating for the first time in decades, with $3.18 billion in domestic ticket sales according to Comscore. Five of the top six movies worldwide were PG movies: “Inside Out 2,” “Moana 2,” “Despicable Me 4,” “Wicked” and “Mufasa: The Lion King.”

Last year was no different. PG-rated films amassed $2.96 billion, again besting the longtime leader, PG-13. The top draws globally were “Ne Zha 2,” “Zootopia 2,” “Lilo & Stitch,” “A Minecraft Movie” and the PG-13-rated but not exactly kid-adverse “Avatar: Fire and Ash.”

Good news has been hard to come by in Hollywood. Contraction, most recently with Paramount Skydance’s planned purchase of Warner Bros. Discovery, has added to the anxieties of an already jittery industry. While ticket sales are up so far in 2026, they remain more than 20% below pre-pandemic levels. In February, AMC, the nation’s largest exhibitor, said it would continue to shutter underperforming theaters.

But despite a lot of talk about the imperiled future of moviegoing, future moviegoers — kids — are turning out in droves.

“There’s a recognition that this is an increasingly important group of movie fans and we’re doing everything we can to make sure their experience is wonderful,” says Michael O’Leary, president and chief executive of Cinema United, the trade group for theater owners.

Gen Alpha, those aged 12 or younger, may even be the movies’ best hope. A study last year by the National Research Group found that no generational group wanted to watch movies on the big screen, as opposed to at home, more than Gen Alpha.

“We’re emboldened by some of the research that indicates younger folks are the fastest growing demographic of people going to the movies,” O’Leary says. “We’re very much focused on the fact that we have to build the next generation of movie fans.”

Mario, Minions and more

In 2023, “The Super Mario Movie,” part of Universal’s collaboration with Nintendo and “Minions”-maker Illumination, grossed $1.36 billion. Its sequel is likely to get close to that, and add to a mounting string of $1 billion kids movies. The most recent was The Walt Disney Co.’s “Zootopia 2,” which became the highest-grossing Hollywood animated film of all time with a whopping $1.87 billion.

Increasingly, a generation that grew up with smartphones, iPads and Netflix is propelling today’s biggest blockbusters.

“What’s been true for a long time and is maybe even truer today: Families want to be out,” says Jim Orr, distribution chief for Universal, which recently announced the expansion of its exclusive theatrical window from three weekends to five. “They want to do things. They want to make memories.”

“No one talks about: Remember that great time when we sat on the couch?”

And this year may be the most kid-catered year at the movies yet. There are 26 wide-release PG movies slated for 2026, up from 24 in 2025 and 18 in 2024.

That includes a summer lineup that’s family friendly on a nearly week-to-week basis. Potential blockbusters lined up include “Toy Story 5” (June 19), “Minions & Monsters” (July 1) and the live-action “Moana” (July 10). Though currently unrated, “The Mandalorian and Grogu” (May 22) and “Supergirl” (June 26), not to mention “Spider-Man: Brand New Day” (July 31), will all also target young moviegoers.

A PG comeback

The PG surge comes several years after most family movies detoured to streaming during the pandemic, a shift that some, at the time, feared would become permanent.

“The family film has literally come back from near-extinction,” says Paul Dergarabedian, head of marketplace trends for Comscore. “The one genre that really took a major hit with the pandemic was the family film.”

But kids increasingly count among a key category for theaters: the habitual moviegoer. That’s considered going to six or more movies a year. And it’s not just younger kids. Last year, 41% of Gen Z moviegoers went to the movies at least six times, according to NRG, up from 31% two years earlier.

For cinephiles who have long feared movie theaters effectively turning into mini theme parks, the predominance of kid-oriented franchise blockbusters is unlikely to allay those concerns. Mid-budget, adult releases are increasingly rare. Dramas and comedies have struggled to attract audiences. Family-friendly movies occupying a bigger slice of cinemas is partially because adult moviegoing has waned.

But if older moviegoers are harder to coax away from the couch, families have been more eager. For them, the appeal of getting out of the house, despite rising ticket costs or the options on streaming services, is as strong as ever.

“In many instances, they’re going to the theater to get away from all of the other screens that inhabit their lives,” says O’Leary. “When I was a kid, you went to the movies, in part, to escape from something. So it’s a new variation on that old theme.”

Dergarabedian has taken to calling PG the new PG-13. If slightly adult-leaning movies once occupied the center of the multiplex, that territory now belongs to the PG movie.

“The kids that are going to the movies today are going to take their kids tomorrow,” Dergarabedian says. “As long as people keep making kids, the future of the movie theater experience is assured.”

Coyle writes for the Associated Press.

UCLA football coach Bob Chesney wasn’t looking for star performances during the Bruins’ first spring practice on Thursday — instead, he wanted his players to focus on holding themselves accountable for putting in their best effort.

“We talk about the mirror test. Don’t worry about what your coach says, don’t worry about what your other teammates say,” Chesney said. “Go look at yourself in the mirror. That’s really the only guy that’s gonna know, right?”

There was excitement and intensity but perfection wasn’t expected. For the new head coach, it was about whether the fundamentals UCLA worked on throughout the winter carried over, he said.

“While I watch it out here, the things that don’t take skill, the things that don’t take great genetics, were the things I wanted to focus on today more than anything — the effort,” Chesney said.

UCLA quarterback Nico Iamaleava stretches with teammates at Spaulding Field on Thursday.

(Robert Gauthier/Los Angeles Times)

“We’ll go and watch the film and figure the rest of it out, but I didn’t think it was a bad day.”

Chesney said he plans to build on each practice, and his coaching staff will set a standard that trickles down to the players. He said there will always be something to improve and something to build toward.

Ta’Shawn James, a defensive back who transferred from Iowa to UCLA, showed strength during drills — an encouraging sign early in his progression.

“It’s Day 1, it’s the first time we’re running at full speed, it’s the first time we’re out here seeing people redirecting, what his makeup speed looks like,” Chesney said. “When he makes a mistake, how quickly can he recover? What’s his range in the open field? What’s the speed differential? All those things are things we’re looking through on just about everybody out there.”

Running back Wayne Knight followed Chesney from James Madison and adds to an already gritty running back group that could become one of the team’s deepest units.

“Not to name names, but they are all physical, they’re all downhill players. They protect the football well. What their bodies look like is phenomenal,” Chesney said. “ … There’s some stuff in that room that’s just a little bit different right now, so we got to keep them healthy, keep them playing downhill and doing what they do.”

At right tackle, the competition is wide open.

“A lot of guys, we’re not really at a spot to just nail that down just yet. Give me a couple more days on it. But, right now, there’s a lot of guys rotating through a lot of different places,” Chesney said.

As spring practice gets started, it is not about individuality, Chesney said, but about identifying and correcting mistakes.

“Dwelling on the past, if it was bad, is not gonna get you anywhere. Getting too high in the successful moments isn’t gonna get you anywhere,” he said.

Chesney wants his squad to play without any limitations or hesitations.

“You set these standards, you live by these standards, you hold them accountable to these standards, not only the coaches and the players, but everybody that’s part of this program.

UCLA coach Bob Chesney leads the Bruins through their first spring football workouts on Thursday.

(Robert Gauthier/Los Angeles Times)

“That starts to build trust within the team,” he added.

UCLA’s social media accounts highlighted Chesney’s efforts all offseason to preach personal accountability and serving others, doling out a mix of John Wooden and Ted Lasso life lessons.

Chesney reiterated at the start of the next chapter — spring football workouts — that he wants his players to keep pushing to be great people. If they expect to be successful on the field, Chesney argues, they must first be successful off it.

“You can only be one degree of separation from how you’re living your life,” he said. “… We don’t have any bad guys that are bad students, that are bad teammates, we don’t have any of that, we have really good guys so they have a chance to be great at football.”

Alum donates $10 million

UCLA alumnus Angelo Mazzone III committed $10 million to the football program to help maintain the infrastructure needed to compete at the highest levels.

“For him to be as generous as he is and willing to help us with that, I think that’s a big deal,” Chesney said. “It talks about just the investment and the belief people have in this program at this current moment and rightfully so.”

Within the first 72 hours of a 26-day game, “Survivor 50,” featuring 24 veteran players, had already delivered feuding, anguish and heartbreak. Legendary rivals Ozzy Lusth and Benjamin “Coach” Wade appeared to bury the hatchet, only for their conflict to reignite soon after. Kyle Fraser was forced out due to injury, and Jenna Lewis-Dougherty, who competed in both the show’s inaugural season and “All-Stars,” was the first person voted out after more than two decades away from the game.

Yet there were also moments of nostalgia, connection and excitement as returning players arrived on the beach, grateful to be part of the show’s landmark 50th season.

This raw display of humanity has kept the show’s torch burning for over 25 years. “‘Survivor’ is built on a timeless idea because human nature doesn’t change,” says Jeff Probst, the host, executive producer and showrunner of the reality competition series. “It’s essentially behavioral psychology in the wild.”

Back in Fiji’s Mamanuca Islands for “Survivor 50: In the Hands of Fans,” the show has added a novel element. Fans were given a say in key decisions, voting online to shape production and game mechanics, from choosing tribe colors to requiring castaways to earn rice and supplies instead of receiving them at the start.

“What a great twist,” says Wade in an interview over Zoom. “‘In the Hands of Fans’ transforms the game. Instead of it being, ‘They are playing,’ it’s ‘We are playing.’”

Though he was disappointed to be deprived of staples upon his arrival, he smiles and says that if he were watching at home rather than competing, he also would have wanted players to start with nothing.

Singer-songwriter and “Survivor” superfan Zac Brown coooked and performed for contestants on the show. (Robert Voets/CBS)

“Survivor” has also leaned into its famous fan base this season, bringing in self-proclaimed superfans, including Grammy-winning singer-songwriter Zac Brown — who appeared in Episode 4 as a reward for a winning tribe for whom he spearfishes, cooks and performs. The show also nods to Billie Eilish via the Billie Eilish Boomerang Idol featured in the season premiere. The game piece was handpicked by the Oscar- and Grammy-winning pop star — whose 2022 song “TV” references “Survivor” — and accompanied by a letter in which she outlined its instructions.

But Mike White, creator of “The White Lotus,” represents the show’s most intertwined cultural crossover. He drew inspiration for his hit HBO series from “Survivor” and cast several former tribemates in cameos. “Survivor 50” also features “The White Lotus” Easter eggs.

Returning to the franchise for the first time since he finished as runner-up in 2018, in the Season 50 premiere he says, tearfully, “There are times in ‘White Lotus’ where I’m so fried … it’s a 129-day shoot, but I look back on my ‘Survivor’ experience, and I’m like, ‘Dude, I did that and I can do this.’” Yet White’s hard-won resilience couldn’t protect him from being voted out in a blindside in Episode 4, proving that fame offers no immunity.

And that is the point. At its core, “Survivor” is about watching people from all walks of life dropped into a remote, unforgiving landscape where they must outwit, outplay and outlast one another for a $1 million prize — hungry, exhausted and sore, roasting in the blazing sun or shivering through rainstorms, and enduring grueling physical competitions. They must cooperate with the very people they’re competing against. And as alliances form and fracture, each day grows more fraught.

Former “Survivor” contestants Mike White, left, and Quintavius “Q” Burdette in Season 50.

(Robert Voets/CBS)

“It’s very simple but very deep,” Probst says. “The goal is not to get voted out, but the strategy in achieving that goal is infinite, so the game’s easy to understand, but it’s impossible to master. That’s why it’s so much fun to watch. You’re constantly asking yourself, ‘What would I do?’”

It’s one thing to ask from the comfort of home, but another to live it out, and on national television to boot, says Wade. Coach “When you step on that beach, the stakes are so much higher,” he explains. “Nobody really thinks about the million dollars. They’re thinking about surviving, not getting voted off.”

“Most people would be able to do it,” he continues. “But what you’d realize is what happens to your character and your facade when you’re deprived of everything — food, comfort, reaching out to your friends and having a support system that you know and trust. When you strip all of that away, this stops being a game, and your character will be forged, revealed or shattered.”

A four-time player, Season 23 runner-up and 2015 Survivor Hall of Fame inductee, Coach is one of the show’s most legendary figures. Known as the Dragon Slayer, he’s often shown meditating, praying, waxing philosophical, and pontificating on nobility, integrity and honor. His grandiose persona rubbed many the wrong way early on, earning him a villain label.

Reflecting on his legacy, Wade partly blames the edit but acknowledges he often took himself too seriously, was arrogant, and tried too hard to be larger than life, yet he stresses his authenticity. “The way I look, dress and talk — I’m polarizing,” he says. “That’s who I am in my real life, so that’s who I am out there.”

Probst affirms that what you see is what you get. “Coach shows up authentically every day,” he says. “He wears his mythology on his sleeve and has it tattooed on his body. When he pulls back his hair into a ponytail and quotes Magellan, that’s Coach: ‘I’m the guy with quotes about war and victory and fearlessness and courage. That’s actually who I am.’”

This season, Wade calls himself “Coach 4.0,” but Probst remains skeptical. “Every time he plays, Coach refers to himself as the new version of Coach,” Probst says. “But the minute he starts talking, everybody thinks the same thing: ‘Coach, you may have some more maturity and life experiences now that you’re married and have kids, but you’re exactly the same.’”

That’s not a critique of Coach. After observing more than 750 players over 25 years, Probst believes, “We are capable of much more than we think we are, and simultaneously, at our core, we generally are who we are. It doesn’t mean you can’t change or become a better version of yourself, but you’re going to have some core instincts.”

Benjamin “Coach” Wade in “Survivor 50.” (Robert Voets/CBS)

Coach in 2011’s “Survivor: South Pacific,” the show’s 23rd season. (Monty Brinton/CBS)

The show’s unflinching exploration of human nature traces back to visionary British television producer Charlie Parsons. He conceived the social experiment based on a combination of his curiosity about people, the influence of “Lord of the Flies” and “Robinson Crusoe,” and his boarding school experience.

“It was an all-boys school and quite a competitive place, so there was an element of survival in that,” Parsons says over Zoom. “It wasn’t a bad experience, but if you’re 13 and you’ve never lived away from home before, it can be quite a wrench to live for a month at a time away from your parents. On one occasion I called my parents and said, ‘Will you rescue me?’ And they didn’t.”

In 1988, Parsons turned his concept into “The Castaways,” a three-part documentary for a magazine-style television program he was showrunning.

Several years later, he was approached by Disney’s Buena Vista Productions to make an American version of a successful British morning show he created. When that didn’t pan out, he pitched what would eventually become “Survivor,” developing it with Buena Vista in hopes of selling it to ABC.

But, he says, the radical concept didn’t fit neatly into existing TV genres, and the network balked. “It’s difficult to imagine, but back in the ‘90s this idea of reality TV basically didn’t exist,” Parsons says. “Television was reasonably siloed … ABC took a long time deciding because they could see that there was something about it, but in the end they passed.”

In 1997, however, the concept found immediate success in Sweden with “Expedition Robinson,” leading to expansion in more Scandinavian countries.

The leap to America required a new alliance. During Parsons’ development process with Buena Vista, he’d met fellow British TV producer Mark Burnett at a party in Los Angeles where he’d told him about the reality competition format he was building. Burnett then called every six months pressing to produce it until Parsons finally agreed to grant him the American licensing rights.

“Mark had an incredible energy and presence, which meant that he could go and sell the s— out of it,” Parsons says. “He could persuade the networks to take a risk on something risky.”

Even so, as Burnett relayed in a comprehensive 2010 Television Academy interview, he faced a difficult pitching process. But after every major network passed, he re-approached CBS, where then-CEO and President Les Moonves was game to try original programming during summertime when reruns caused dwindling viewership. But when Moonves commissioned a pilot, Burnett said a stand-alone episode was too costly and couldn’t capture the show’s slow-burn endgame.

Instead, he proposed a sponsorship model built on integrating products into the game, pitching the value of a castaway using a branded cellphone to call home, or the desperation for a slice of pizza and a beer. After Burnett secured corporate sponsors, Moonves greenlighted “Survivor.”

Though firmly embedded in the culture today, “Survivor” was revolutionary when it debuted May 31, 2000, quickly becoming a cultural phenomenon. The Season 1 finale averaged 51.7 million viewers, surpassing both the Academy Awards and Grammys that year. Time magazine featured Lewis-Dougherty on its late June 2000 cover, and “The Late Show With David Letterman” featured a “Survivor”-themed Top 10 list presented by the show’s 16 castaways.

From its exotic location to the now-iconic buffs, “Survivor” established a world all its own, complete with a unique lexicon of immunity challenges, tribal council and Probst’s signature catchphrase, “The tribe has spoken.” As the enduring face of the show, Probst is central to its legacy, earning four Emmys for his role as host.

But even Probst’s survival wasn’t guaranteed. About 15 years ago, the relentless travel and schedule left him so depleted that he briefly quit the show. A few months of rest, however, allowed him to reevaluate. “It really was, ‘I don’t know if I have anything left in my tank to bring to the game.’ That might be what partly influenced Mark to make me showrunner even faster,” Probst says. “I needed to be more of a storyteller on this show.”

The cast of “Survivor” Season 1, standing from left: Ramona Gray, Dirk Been, Gretchen Cordy, Richard Hatch, Sonja Christopher, Susan Hawk, Kelly Wiglesworth, Sean Kenniff, B.B. Andersen and Rudy Boesch. Seated from left: Gervase Peterson, Jenna Lewis, Joel Klug, Stacey Stillman, Greg Buis and Colleen Haskell.

(Monty Brinton/CBS)

He’s quick to note the show’s collaborative ethos, however. “The term ‘showrunner’ is pretty misleading at this point. We make this as a team,” Probst says. Under his stewardship, “Survivor” is more cinematic, reimagined through the lens of Joseph Campbell’s “The Hero’s Journey,” and family friendly. Probst also notes the necessity of continually evolving game design, creating unexpected twists and advantages to keep players on edge and never knowing whom to trust.

The pandemic brought changes as well. With production shut down amid a world in turmoil, Probst felt “Survivor” needed more levity. When filming resumed, due to the 14-day quarantine requirement, back-to-back seasons were shot and the format was shortened from 39 days to 26. The faster-paced “New Era” that began with Season 41 also coincided with CBS’s 2020 diversity mandate requiring at least 50% of the cast to be nonwhite, and Probst dropped his longtime catchphrase “Come on in, guys” in favor of more inclusive language.

By Season 45, in keeping with Probst’s narrative-driven vision, the previously hourlong episodes expanded to 90 minutes.

Television habits have also changed since viewers once dissected tribal council proceedings at the office the next morning. Streaming breathed new life into “Survivor,” with younger viewers discovering it during the pandemic, while its cross-generational appeal keeps it a broadcast powerhouse. The Season 50 premiere drew 9.1 million viewers across live broadcast and delayed streaming, and in the weeks leading up to the launch, viewers revisited older seasons, boosting streaming numbers ahead of the anniversary.

According to Mitch Graham, CBS executive vice president of alternative programming, “Survivor” ranks No. 1 in the coveted 18 to 49 demographic, and the Season 50 launch generated the biggest social media engagement in the franchise’s history.

Even as the reality TV landscape has grown crowded, Probst remains unfazed. “It’s a show like no other,” he says. “It’s adventure, survival, strategy, interpersonal relationships, social politics. … This multi-layered storytelling gives it durability because any given week you have no idea what you’re going to watch.”

Meanwhile, as Season 50 continues to unfold, no one knows who will be crowned “Sole Survivor” on May 20 in Los Angeles, the show’s first live finale since 2019. But rest assured, by then they’ll have revealed exactly who they are.

Shohei Ohtani’s three straight strikeouts in the fourth inning of his final spring start Tuesday featured a different putaway pitch for each.

He got Angels slugger Jorge Soler to whiff on a sweeper. Jeimer Candelario went down on a curveball. And Jo Adell struck out on a fastball.

“Just shows the confidence he has and different ways he had to attack guys, to get ahead and also put guys away,” manager Dave Roberts said after the Dodgers’ 3-0 loss to the Angels in the Freeway Series finale. “And today the feel was really good, even better than the first outing.”

Pretty much everything was clicking for Ohtani heading into the regular season, even though it was only his second spring training start on the mound. Ohtani recorded 11 strikeouts in four-plus innings. He held the Angels to four hits, three of which were consecutive singles in the fifth, and was charged with three runs, all scored in the fifth.

For the first time in three years, Ohtani is set to begin the season as a fully healthy pitcher. And it will be the Dodgers’ first time managing his two-way schedule all year. Limited the last two seasons by his recovery and build-up from elbow surgery, Ohtani last made 20-plus starts in 2023 with the Angels.

“The desire is high,” Roberts said when asked about Ohtani’s aim to pitch wall to wall. “I think it’s realistic. Then the bigger question is, how are we going to manage that and navigate it?”

Thinking through the plan going into the season, Roberts floated the idea of giving Ohtani a little extra rest between starts. Dodgers starters are already on a six- to seven-day rotation. But a six-man starting pitching group gives the team flexibility as they map out their pitching plan.

“My intent is to be in the rotation under normal rest, normal circumstances,” Ohtani said through interpreter Will Ireton last week in Arizona. “Now if management thinks that I need extra rest, I’ll take it. But I’ll let management handle that. Just looking at our roster, we have a lot of pitchers. It doesn’t hurt to rest more.”

Ohtani’s in-game limits, after a build-up slowed by his participation in the World Baseball Classic as a position player, will be adjusted before each start. But his Freeway Series outing Tuesday set him up well. He stretched out to 86 pitches.

“When you’re talking about the first game of the season, could he get through six innings? Could he touch the seventh? Yes,” Roberts said Tuesday afternoon. “But he won’t touch the eighth inning. So there’s got to be some responsibility as far as how we manage him.”

When it comes to awards, Ohtani is going after a third World Series title. But his trophy case is well stocked with individual accolades too. He’s won four MVPs, five All-Star selections, four Silver Sluggers and a Rookie of the Year award.

The Cy Young, however, has remained elusive. He came close in 2022, when a 2.33 ERA and league-leading 11.9 strikeouts per nine innings earned him a fourth-place finish in the American League. It was the only time in his career that he crossed the 25-start threshold, with 28.

“I would never want to sacrifice our chance of winning and performing in the postseason,” Ohtani said. “So I think that’s really the No. 1 goal in my mind. Just because I want to try to win the Cy Young and throw more innings, that’s not necessarily the priority over winning a championship. So with that being said, if there’s a situation where there’s some injuries and I do have to pitch on shorter rest, I’m happy to do so.”

Would showing that he can make regular starts all year automatically put him in the Cy Young conversation?

“Oh yeah,” Roberts said. “Because of just talent, ability, will. If he does that, he’ll be in the conversation, absolutely. I have no doubt about that.”

Of course, besides reigning NL Cy Young winner Paul Skenes, Ohtani would also be competing for the award with his own teammate, Yoshinobu Yamamoto, who enters the season with the edge.

If Ohtani continues to pitch like he did on Tuesday, while building up the rest of the way, he and the Dodgers will be in good shape.

“It was another good one for him,” Roberts said, “and he’ll be ready to go.”

Harry Styles is no stranger to “Saturday Night Live,” having performed multiple times with his former boy band One Direction and more recently as a solo artist. But this isn’t his first time as host either.

This week, the pop star returned to the Studio 8H to host for a second time, more than six years after his debut. That’s a long time in between, during which Styles has starred in a couple of films, “Don’t Worry Darling” and “My Policeman,” and released a trio of albums, including his latest, “Kiss All the Time. Disco, Occasionally.,” which he was there to promote.

Styles has a knack for radiating charm, honed after years in the spotlight as a musician, and now with some notable acting roles under his belt, he’s more than primed for the stage. And the timing is perfect, considering many actors are in Hollywood this weekend for the Oscars.

He delivered again with a variety sketches, including one about a prosecutor distracted by the famous comedian/lawyer appointed to defend an alleged thief, a pretaped sketch that riffed on HBO Max’s hit medical drama “The Pitt,” and a closing sketch where he played himself promoting a line of clothing modeled after some of his most famous outfits for Target.

He also excelled in parts where he could show off his vocals and dancing, like in “Sparkle of the Sea,” an infomercial about a German cruise line, and another pretaped sketch, “She’s an Irish Dancer,” where guys find out just how Irish their dates are in a nod to St. Patrick’s Day on Tuesday. Flatter, though, were sketches about a pair of Best Buy workers, and one where Styles played a drive-thru worker at a White Castle, but that’s because Jane Wickline and Veronika Slowikowska stole the skit as a pair of nerdy girls trying to ask him out to the school dance.

Styles performed his new single, “Dance No More,” after last week’s host Ryan Gosling introduced him, a fitting appearance since Styles crashed his monologue. And Paul Simon also stopped by to introduce Styles before his second song, “Coming Up Roses.”

This week’s cold open touched on the ongoing war in Iran. The patriarch (Mikey Day) of a family at a gas station says he needs to fill up their car. As a piano begins to play, his wife (Ashley Padilla) says, “Fill up? Not all the way, right?” “We have to,” Day replies emphatically. “But it’s $5 dollars,” she says before turning to her two children (Marcello Hernández and Sarah Sherman) to say they have to leave one of them behind because gas is too expensive. Why? “The Epstein files,” exclaims President Trump (James Austin Johnson), who jumps into the scene. “It’s called butterfly effect. Epstein was the first domino,” he says, miming dominoes falling. Trump goes on to introduce himself by saying we might remember him from campaign promises such as “lower gas prices” and “no more wars” (“Psych!”). “We love to make promises because a promise is a lie that just hasn’t happened yet.” As for the stock market, he puts it in a way that Harry Styles fans might understand — it’s going in one direction, garnering loud cheers and applause. He jokes about Iran’s age, saying it is old and nobody likes them, “Iran is like ballet and opera and weird Timothée Chalamet,” referring to the actor’s comments that have caused an uproar.

But Trump says he has everything under control, meeting with top minds including influencer and boxer Jake Paul, who he says was booed “very badly” at his fight against Mike Tyson. “Did someone say booze?” Department of Defense Secretary Pete Hegseth (Colin Jost) says as he emerges from the family’s car and dozens of cans fall to the ground. (“It was just a couple of road sodas, chill.”) He then thanks Trump for the “beautiful, size 16 Florsheim shoes,” a reference to the Wall Street Journal report that they are the president’s gift of choice to close friends and advisors. Hegseth goes on to say that they are “hashtag winning” the war with Iran, and as for the Strait of Hormuz, he advises that the tankers moving oil should just do what he does at a DUI checkpoint: “Close your eyes and gun it.”

In his monologue, Styles, dressed in a grey pinstripe suit and bright blue tie, said he couldn’t resist hosting when he heard they booked his favorite-ever musical guest. After his tour ended in 2023, he took a lot of time off, realizing he’d spent much of his life on the road and “making songs about fruit that people think were about sex.” He just really likes fruit — and sex. He also said a lot of people pay attention to the clothes he wears (true, see above), with some people accusing him of “queerbaiting,” to which he responded, “Maybe you don’t know everything about me, dad.” But as far as what he did in his time off, he took up boring things, like jogging (his sub-three hour marathon in Berlin was the buzz of the running world). It’s better than the alternative, he says, as the screen flashed to an image of the former Prince Andrew. But now he’s promoting his new album, “Kiss All the Time. Disco, Occasionally.”, because what’s better than kissing? He actually doesn’t want to kiss all the time, leading to a brief appearance and disappearance of cast members Chloe Fineman and Sherman, unless its Ben Marshall. He complimented Marshall’s backside, and gave him a smooch on the lips: “Now that’s queerbaiting.”

Best sketch of the night: I don’t know if your dad did this, but my dad used to pop it twice

The first sketch of the night took us into a courtroom, where a New Jersey prosecutor (Styles) rose to present his case against the defendant, Mr. Donovan (Tommy Brennan), who didn’t have an attorney. So the judge (Kenan Thompson) appointed one: comedian Sebastian Maniscalco (Hernández). It’s the second time Hernández has played the comedian, whose caricature of Maniscalco in a red blazer and black turtleneck is at turns spot on, exaggerated and completely hilarious. He chimed with retorts as the prosecutor explained the charges of stealing $5,000 in merchandise, including a belt. “Let me tell you something about a belt. When I was a kid, the belt wasn’t to keep the pants up, it was to keep the volume down,” Maniscalco says, motioning to his waist and explaining how his dad would use it. Maniscalco’s manic energy was too much for the courtroom sketch artist, though, who complains to the judge about having to draw him, showing a sketch of a blurred, multi-limbed man. Kudos to Styles who managed to mostly keep his composure as Hernández glided around him. But Styles had the last laugh with his own impression of Maniscalco, before a final sketch of him was revealed. Put it in the Lourve!

Also good: Why get real healthcare when you’ve got ‘Mahaspital’

“The Pitt,” one of the buzziest TV shows in America, has been lauded for its realistic portrayal of emergency rooms and the stresses that medical workers endure on a regular basis. So when the opening scenes of this pretape began playing, the crowd went wild. But this isn’t “The Pitt,” it’s “Mahaspital,” brought to you by producer Robert F. Kennedy Jr. and the team behind Make America Healthy Again. Styles channels Noah Wyle’s Dr. Robby, marching toward an incoming patient on a gurney as she’s pushed through the ER hallway. “What she needs is a steak,” he says. “Give me beef tallow and six raw eggs, too.” The sketch touches on many of the hallmarks of the MAHA movement: healing crystals, vaccine skepticism, raw milk and lots and lots of protein. And we can’t forget that Central Park bear.

‘Weekend Update’ winner: Battle of the heart (emojis)

“Update” anchors Michael Che and Jost focused most of their attention on the Iran war this week, but they also touched on another event happening this weekend: the Oscars. They brought in Tucker Carlson (Jeremy Culhane) to talk about the best picture nominees. Culhane’s impression of the conservative pundit was pretty impressive, capturing his cadence and habit of using rhetorical questions — I hope we see it again.

But it was Day and Hernández who stole the segment as emojis aerial tramway and heart, respectively, who joined to comment on Apple’s addition of eight new emojis. Heart emoji on the new additions: “All I know is they’re all going to be more popular than this loser,” pointing to Day. “I’m No. 1 because I’m useful. People use me for everything.” But you can’t put an aerial tramway down, who tried to explain other ways to use the emoji somewhat unsuccessfully. At least he has a solid crew of bangers: orange square, division sign, snorkel and “my boy, the goat” building with a horn on it. Day was dedicated to the bit, making Hernandez crack with muffled laughter. Don’t be surprised if you see a lot more of aerial tramway (and his girlfriend, on with two arrows) in your texts.