first time

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.

LIFE Film Festival (Latina Independent Film Extravaganza) returns to Los Angeles this week for its 13th year. Founded by “Real Women Have Curves” playwright Josefina López, the festival will screen over 60 short films and four feature movies at Casa 0101 in Boyle Heights, and for the first time at Cinépolis in Pico Rivera.

From Thursday to Sunday, LIFE Film Festival will offer a series of workshops and networking opportunities where aspiring filmmakers will have a chance to learn from Latinas in Hollywood, like Emmy Award-winning editor Michelle Tesoro, who worked on Netflix’s “The Queen’s Gambit” and the 2023 film “Maestro.”

Since López founded LIFE Film Festival in 2013, her commitment remains the same: to celebrate Latino stories in cinema and empower the next generation of Latina filmmakers.

As a Chicana screenwriter and producer for over 30 years, López knows firsthand the underrepresentation of Latinos in Hollywood films. “Latinos are the majority here in California, and we’re still rendered invisible, even though the industry is right in our backyard,” López said. “They just really don’t want to invest in our stories.”

According to UCLA’s 2025 Hollywood Diversity Report, which looked at the 104 top-performing English-language movies released in 2024, only 1% of leading roles went to Latinos; less than 5% of directors were Latino; and approximately 2% of writers were Latino in last year’s top movies. Latinos make up nearly 20% of the U.S. population.

When it comes to gender, the disparities were even more glaring. There were zero Latina directors and screenwriters in the top theatrical movie releases of 2024. In front of the camera, the numbers weren’t that much better. Less than 1 in 50 movie roles went to Latinas.

“I never knew anybody in my family who was a screenwriter, and now I’m a WGA screenwriter and I’m giving back to my community,” LIFE Film Festival co-director Cristina Nava said. “I could be the tia [to] one of these filmmakers.”

López’s response to underrepresentation extends beyond opening doors. With LIFE, she says she wants to support storytellers who are challenging Latino stereotypes. “There are all sorts of Latinos,” López said. “Yes, we are the immigrants, the servants, but we’re more than that.”

Every year, LIFE recognizes a Latina moviemaker whose work has reshaped representation within the entertainment industry, with the Lupe Ontiveros Award.

Created by López to honor the legendary Mexican American actress, the award is bestowed to a filmmaker whose work amplifies Latino voices. This year’s honoree is “Encanto” Oscar-winning producer Yvett Merino.

In her 35 year-long career, Ontiveros played the role of maids and housekeepers over 150 times. López believed that Hollywood was wasting her friend’s talents and promised to cast her as a more complex and interesting character.

López kept her word, casting Ontiveros as Carmen, the hardworking, hysterical mother in “Real Women Have Curves.” “We have to keep telling stories so that all these talented Latino actors have better opportunities than to play stereotypes,” she said.

Sunday marked Senior Night for the USC women’s basketball team at Galen Center, but it was the other team’s seniors who stole the show.

Gabriela Jaquez scored 14 points, Kiki Rice had 11 points and four assists and Lauren Betts had 15 rebounds as UCLA wrapped up the regular season with a 73-50 victory over its rival and finished undefeated in conference play for the first time since going 18-0 in the Pac-10 in 1998-99 under Kathy Olivier.

Having already clinched the regular-season title, UCLA became the first team to navigate the Big Ten schedule without a loss since Maryland in 2014-15.

It was the Bruins’ 22nd consecutive win, one shy of the record they set last season. Since their lone loss to then-No. 4 Texas on Nov. 26 in Las Vegas, they have won by 20 or more points 16 times.

Ranked second in the nation in both the Associated Press and coaches’ polls behind defending national champion Connecticut (30-0), the Bruins earned the No. 1 seed for the conference tournament in Indianapolis and got a bye into Friday’s quarterfinals.

Charlisse Leger-Walker finished with a game-high 20 points for the Bruins while Gianna Kneepkens added 14 points and five assists.

UCLA center Lauren Betts, left, controls the ball in front of USC forward Vivian Iwuchukwu during the first half Sunday.

(Eric Thayer / Los Angeles Times)

UCLA (28-1, 18-0) held USC to 27% shooting in the teams’ first meeting — a 34-point Bruins victory at Pauley Pavilion on Jan. 3 behind Betts’ 18 points. It was USC’s most lopsided loss under coach Lindsay Gottlieb. On Sunday, USC (17-12, 9-9) shot 39% and was only three for 19 from three-point range.

UCLA jumped out to a 14-4 lead in the first five minutes and carried a 19-11 advantage into the second quarter. The Bruins widened the gap to 18 points by halftime, holding the Trojans scoreless for the last 3:08.

USC opened the second half on an 11-2 run.