friend

Out on a wooden platform extending over San Diego’s Mission Bay, young women sway from side to side, riding an imaginary wave to the beats. Steps away, a man does the “Crank Dat” dance as a young child bounces on his shoulders in gleeful entrancement. Vendors weave through the packed crowd hawking cans of beer, hard seltzer and jalapeño-tequila and cherry vodka Jell-O shots, served in plastic syringes.

“Take a sip of water now,” Soulja Boy tells the crowd after performing his booty-shaking anthem “Donk.” He still has an hour to go.

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Much of the audience looks like clones of the star rapper, dressed in extremely oversized white tees, baggy denim, thick gold chains, tilted snapbacks and white-framed sunglasses with words written across the lenses. As the sun dips below the horizon, a fleet of onlookers on jet skis and boats idle on the water to catch a peek of the vivacious scene.

The concert has all of the energy of a 2000s MTV “Spring Break” or BET Spring Bling special. Except here, parents can bring their kids along for the festivities and check out a penguin exhibit or ride a roller coaster all in the same night.

“Usually I just come here for the rides and watching animals, but the concert is time for the parents to have fun,” says Ricky Roman of San Diego.

It’s all part of SeaWorld San Diego’s Summer Spectacular, an annual concert series that just wrapped up at the park’s Bayside Amphitheater. The lineup was packed with beloved hip-hop and R&B throwback artists like Too $hort, Ginuwine, Ashanti, Warren G and E-40. What began as a way to reintroduce locals and entice newcomers to the 62-year-old marine park, which is known for its shows and programming focusing on aquatic life, has turned into a multigenerational phenomenon and one of the season’s most anticipated events.

Paul Wall co-headlined a July concert with Soulja Boy at SeaWorld San Diego’s summer concert series.

“The people watching is crazy,” says Bootleg Kev, a hip-hop radio personality who hosted the recent Soulja Boy concert, which was co-headlined by Houston rapper Paul Wall.

He describes the vibe of the event. “It’s in the middle of the water, Shamu is like feet away. There’s a lot of parents in here getting twisted. There’s hella babies.” (It should be noted that Summer Spectacular does not feature killer whales or any live animals.)

Though SeaWorld has hosted the event since 2019, it’s taken years to find the right formula and the concert series has only recently taken off.

“There were certain acts that just filled the house and certain ones that didn’t,” says the park’s president, Tyler Carter, adding that early performances swung drastically from hip-hop to Christian rock entertainers. But after hosting a successful show with rappers and teen sensations Bow Wow and Soulja Boy (who’ve performed at SeaWorld multiple times), Carter and his team wondered, “How do we lean into the nostalgia that Southern California millennials love?” he says. The answer was hip-hop, R&B and pop acts from the late 1990s and early aughts.

Their hypothesis was confirmed when footage of a Ying Yang Twins performance went viral in 2025. Executives had found an unexpected pairing that works: Inviting people to the theme park — a place many associate with childhood and simpler times — to experience the music they grew up listening to.

SeaWorld has faced a number of challenges since the 2010s, many stemming from the intense public criticism over its captive orca breeding program, which the company ended in 2016. SeaWorld’s parent company, United Parks & Resorts, has reported a general decline in attendance, revenue and earnings across its parks, most recently in the 2025 fiscal year. Park officials say the concert series, which also takes place at SeaWorld’s Orlando and San Antonio locations, has helped boost ticket sales and brand awareness.

What helps make the event effective is its lower barrier of entry. While tickets to throwback concerts or festivals can easily cost upward of $100 a ticket, SeaWorld’s shows are included with a regular park ticket (starts at $99.99) or an annual pass. Seating is first come, first served, but guests can purchase a reserved spot to guarantee a prime spot. Given that the shows happen every week throughout the summer, many annual pass holders attend each one.

“It’s lowkey a free concert,” says pass holder Juanita Jones, a San Diego resident who was wearing a custom graphic tee with her and Soulja Boy’s faces imprinted on it. She and her friends get a personalized shirt made for every show.

Although SeaWorld has been hosting the summer shows since 2019, they have only recently taken off.

Ricky Roman grew up going to SeaWorld and now takes his two children to the park on a weekly basis. But on this day, which was also his 29th birthday, he decided to leave his kids at home.

“Usually I just come here for the rides and watching animals, but the concert is time for the parents to have fun,” he says.

Jackson flew in from Washington, D.C., with a group of college friends to celebrate a 40th birthday at the show, after seeing several unfiltered videos from the past shows — most notably a clip of a mother twerking on a bleacher seat with a baby strapped to her chest in a carrier during a Ying Yang Twins performance in June.

SeaWorld executives encourage attendees to come early or stay after the concert to check out the many animal exhibits at the marine park.

“We’re millennials and we’ve been seeing this on TikTok. We were like, ‘It’s starting to look like it’s getting out of hand. Let’s go before this gets out of control,’” she says, laughing.

While some people go solely for the concerts, others come early or stay late to explore the park, which stays open roughly two to three hours after the show. Even the headliners check out the marine life, Carter says.

“When the Ying Yang Twins were here, I was riding rollercoasters with them,” he says. “I ended up taking Baby Bash’s kids around during sound check and we rode Shipwreck Rapids three times in a row and were soaking wet, having a blast.”

While the concerts have been mostly welcomed by locals, outside protests still occasionally find their way to the amphitheater. During Ashanti’s July performance, PETA activists sailed a 49-foot yacht displaying a “SeaWorld Kills” banner in protest of animal welfare at the park and Miami rapper Trina received letters regarding her performance last year.

SeaWorld officials, however, encourage critics to check it out for themselves.

“Our animal care team does an incredible job caring for these animals,” says Carter, noting that the park performs “significant amounts of rescues” per year.

Carter and Jackie Plaza, the park’s vice president of marketing, are already planning for next season’s lineup that will be announced in January. In the meantime, SeaWorld fans can check out its other music programming including the Bayside Bands, Brew & BBQ concerts, which feature performances from Uncle Kracker on Aug. 22 and Skillet on Aug. 29.

As attendees make their way out of the venue, excitement lingers through the air. Groups of friends are still singing the words to their favorite Soulja Boy songs and parents are strapping their antsy toddlers into strollers. A lengthy line begins to form in front of the amphitheater where an orca show will happen.

“That was wild,” one guest says.

A friend agrees. “Now, let’s go see some animals.”

Audience members are splashed during an “Orca Encounter” live presentation at SeaWorld San Diego.

Former University of Cambridge professor Jason Arday was found dead at his home in South London last wee

Jason Arday’s friend has reflected on his heartbreaking death at the age of 41.

The former University of Cambridge professor was pronounced dead following emergency services being called to an address in London on Friday evening (August 14) after reports that a man was ‘unresponsive’ in the property.

The week prior, he had resigned from his position at the university following allegations of plagiarism, which he denied. On Monday (August 17) morning, Jason’s friend and professor Kehinde Andrews spoke to Good Morning Britain’s Richard Madeley and Ranvir Singh about Jason’s death and their devastating final exchange.

Richard informed ITV viewers that in the wake of his death, there have been calls for a public enquiry into the press, which has been signed by many figures, including Professor Kehinde Andrews.

Speaking to Richard and Ranvir, he explained that the last time he had seen Jason was on the previous Monday, highlighting that when he had seen him, he’d lost weight.

He added: “He was just completely overwhelmed, I think. One of the last texts he said to me was that he just couldn’t see a way out; he couldn’t see a way forward.”

While an official cause of death is yet to be announced, the ITV star noted that people are already making assumptions about how he died.

The guest then reflected on how media and social media coverage had put “so much pressure” on the academic, adding: “Losing his job at Cambridge, having to resign, putting financial pressure on his family. This is somebody who has two children, with one child going into university.

“Imagine all that pressure on you, and you feel stuck and can’t go ahead.”

In a statement issued by his publisher, Simon & Schuster UK, Jason’s family said they are “in shock to have lost this amazing father, partner, brother, uncle and son”.

The statement said: “Jason was subjected to a campaign of sustained abuse for more than three years since he accepted the role of professor at Cambridge University by those who would leave no stone unturned in their quest to undermine him.

“The campaign of misinformation was too much for Jason, who was a gentle man and who always wanted to see the best in everyone. We are in shock to have lost this amazing father, partner, brother, uncle and son.”

Good Morning Britain is available to watch weekdays on ITV from 6am

Everyone knows the stars of Southern California’s driving landscape: Pacific Coast Highway, the cinematic connector of beach cities; Angeles Crest Highway, a stunning and winding mountain route; and “The Snake,” Mulholland Highway’s infamous roadway that reopened late last year.

A sign along California 33 near Ojai.

(Eric Thayer / Los Angeles Times)

But there’s a less-traveled route that feels just as quintessentially SoCal: California 33 to Hudson Ranch Road, passing through Ojai, Maricopa, New Cuyama and Frazier Park.

Parts of this road curl in on themselves into tight, technical twisties — catnip to car enthusiasts and motorcyclists. But this two-lane motorway also showcases the splendor and diversity of the rugged region, from the forested mountains and canyons in Ventura to the jagged rocks and chaparral of the desert vistas, making it appealing to thrill seekers and sightseers alike. While roadways like the 5 serve to get you from one point to another quickly and efficiently, this one begs you to relish the journey.

“A road like this forces your mind to focus on the immediate needs of car control, while rewarding it with the beauty of the natural world,” says Dave Coleman, a Mazda R&D engineer from Long Beach who incorporates Hudson Ranch Road into his drives to and from the Bay Area. “While driving, there just isn’t enough mental bandwidth left to worry about the stressful things in life.”

This route brings people together, including me and my car enthusiast friends, who regularly go on these driving excursions — gas prices be damned. “We drive these roads for the excitement and euphoria, just like people go to Disneyland,” says Matt Kometer, a SkyLink supervisor from San Pedro who drives a 2026 Mazda MX-5 Miata. And, unlike Disneyland or the traditional getaways that involve a hotel stay or a flight, these outings can be put together in a manner of hours.

I was a passenger on a recent Sunday pleasure cruise with a caravan of nine cars, which started in Ojai and ended at the base of Mount Pinos in the Los Padres National Forest. That’s 28 miles as the crow flies, but our route, with a detour for lunch in Cuyama, swelled the journey to more than 100 miles.

An 2026 Audi RS 3 heading to the lunch stop in Cuyama.

(Caroline Pardilla)

If you’re planning a trip of your own, a few things to note before you hit the road: Always check the road conditions, top up the tank because there’s only one gas station in Cuyama, download maps because cell service is spotty, and, if you’re caravanning with friends, it’s nice to bring walkie-talkies to stay in contact. The tunnel section of 33 in Wheeler Springs will be closed Aug. 28-31. Check the Caltrans website for updates.

Here’s a play-by-play of our day on the road.

10 a.m.: Breakfast at Pinyon on Ojai Avenue

Arriving from all corners of the L.A. Basin, the drivers meet up and fuel up at Pinyon Ojai, a pizza restaurant on Ojai Avenue. The shop serves single-origin coffee from Ventura’s Beacon Coffee and breakfast sandwiches featuring house-made bagels. Street-side seating affords prime car spotting, which today includes a right-hand-drive Toyota Land Cruiser Prado SUV and an immaculate brown-on-tan Mercedes-Benz SL Pagoda two-seater. Those who time their trip for the second Sunday morning of every month can check out the cars and coffee event a few blocks away at Westridge Midtown Market.

In the restaurant, the friends catch up, chatting about the cars they drove here, the progress of their current car projects and the route for the day. There is an air of anticipation. For many in the group, it’s their first time driving this route. Miatas feature heavily in this crowd, but there are also high-performance rides, like a Porsche 911, a first-generation Audi R8 and an Audi RS 3.

Traveling the canyon on the two-lane highway through Wheeler Springs and Wheeler Gorge is beautiful but slow going, past houses and campgrounds as well as high rock walls that threaten to rain down scree. Three narrow, dark tunnels along the way throttle speeds because of the sudden contrasts from broad daylight. Highway 33, at a modest 3.5% grade, meanders over and along creeks that are invisible from the road but marked by riparian vegetation.

Drivers gather around their cars while stopping along State Route 33.

(Eric Thayer / Los Angeles Times)

After the road opens up, the drivers make short work of the curves while maintaining a respectful distance from one another. Occasionally, a leisure driver bunches up the group until they pull over at the next turnout to let the faster drivers pass. The series of switchbacks with hairpin turns offer a satisfying run up to Pine Mountain Summit. “That’s some world-class sports car fun there,” says Alex Vendler, a cinematographer from Glendale who drove up in a 2003 Miata. The 5,160-foot-high summit allows us to catch our breath and take in the views of the San Rafael Mountains in the west.

Chris Floren of Torrance poses in front of his “Viccup,” a 1960s truck draped over a Ford Crown Victoria.

(Caroline Pardilla)

1 p.m.: A break and more car talk at roadside motel Cuyama Buckhorn

The Buckhorn Restaurant at Cuyama Buckhorn, a midcentury roadside hotel refurbished in 2018, serves as the perfect respite. It’s about 10 miles off our route but is an air-conditioned oasis of burgers, pie a la mode and endless ice water.

If there’s a downside to stopping in the “hidden valley of enchantment,” it’s the distinct lack of shaded parking. But at least there are plenty of spots in front of the hotel. Through the diner’s large front-facing windows, we watched a cowboy mosey past on his horse, checking out the variety of vehicles.

A group of friends has lunch at the Buckhorn Restaurant at Cuyama Buckhorn.

(Eric Thayer / Los Angeles Times)

Even though there are 12 of us walk-ins, the hostess immediately pushes several tables together to accommodate the group. The dynamics of this long table invite several different conversations to break out — all about cars. “I have a Miata, and I want a Miata,” says Vendler. Apparently, his tablemate William Benedict, a software engineer from West Hollywood who drove the R8, was skeptical about all the love for the Mazda roadster. Elsewhere, motorsports manager Chris Floren of Torrance is getting props for the surprising prowess of his sleeper “Viccup” — a Ford Crown Victoria police car with a ’60s-era pickup body draped over it. Another group discusses how “One Battle After Another” features the most Nissan Sentra SE-R content of any movie.

After last-minute gulps of water, everyone filters back into the heat of the desert and hurries to air out the cars’ ovenlike cabins. There is a mini photo shoot with Floren’s truck in front of the vintage hotel sign, and then we jump in the cars and backtrack up the 33/166 toward Hudson Ranch Road.

The Hudson Ranch Road is more fun in a Mitsubishi Evo IX.

(Caroline Pardilla)

3:30 p.m.: A ‘roller coaster’ of a road and a reunion in Pine Mountain Club

Unlike Maricopa Highway 33, Hudson Ranch Road features coarser asphalt, no guardrails and more passing zones than turnouts. Kometer said it should be a tarmac rally stage while professional stunt driver and Long Beach local Sarah Fairfield, who piloted the second ’26 MX-5 on this trip, equated it to a roller coaster. The road was originally built in the ’30s to accommodate traffic heading to the ski resort, which closed in the ’70s. Now, the group deems it the highlight of the day. “It let me enjoy the act of driving without having to go too fast,” says Karl Buchka, an aerospace engineer from El Segundo who drove up in the 911.

Although the friends were separated on this leg, having each taken the route at their own pace, they reunite at Pine Mountain General Store in Pine Mountain Club. The Village Center convenience store beckons with shaded parking and a freezer full of frozen treats. Between bites of a chocolate ice cream bar, Coleman proposes continuing on toward Santa Clarita, via the twisties on Bouquet Canyon and Spunky Canyon roads. With competing commitments, however, most of the drivers reluctantly bow out.

A look back at the caravan on the 166/33, heading toward Hudson Ranch Road.

(Caroline Pardilla)

In any case, the daylong cruise served its purpose of resetting the week and reconnecting the friends. “A lot of what this hobby or lifestyle or whatever is about is ultimately an excuse to spend time with friends, and to make new ones,” says Jason Kavanagh, a turbopump engineer from Mid-City who brought a Mitsubishi Evo IX to the outing. “So, yeah, the road is a means to that end.”

The drivers at Pine Mountain Club Village. From left, Matt Kometer, William Benedict, Alex Vendler, Dave Coleman, Sarah Fairfield, Jason Kavanagh, Chris Floren and Derek Dicker.

(Caroline Pardilla)

Amy Winehouse’s dad Mitch was left devastated last month after unsuccessfully suing two of her pals for selling some of the star’s belongings.

But now Amy’s closest friend, fellow singer Tyler James, has revealed he plans to auction off more items which were once owned by the late superstar.

Last month the High Court ordered Mitch to pay almost £1million in legal fees after he lost his case against Amy’s stylist Naomi Parry and her pal Catriona Gourlay.

Both women insist they were either given or loaned the items they sold by Rehab singer Amy, and had not stolen them — as Mitch claimed.

And Tyler told how he had been upset when his own Amy auction had to be cancelled after Mitch called in the lawyers.

Handwritten song lyrics and Amy’s red bowling shirt were among the lots he had planned to sell at auction.

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Tyler told me: “I’ve been through hell. I just couldn’t deal with it.

“Sotheby’s explained to me that due to Mitch’s lawyers contesting ownership, they couldn’t go ahead with the sale and that I needed a lawyer. I felt as if I had done something wrong.”

Tyler and Amy met at the Sylvia Young Theatre School and lived together for several years until her death from alcohol poisoning at the age of 27 in 2011.

Tyler — who appeared on The Voice UK in 2012 — now hopes to restart plans for his own auction, saying that last month’s High Court ruling “changes everything”.

He said: “I loved Amy more than anyone else in the world.

“I supported her through all the years of drug addiction, self-harm . . .  you name it. I wanted to protect her.

“We had been through so much together, and nothing can take away what we shared — not possessions.”

Of the previously cancelled auction, he said: “I don’t know why he [Mitch] stopped it. He knew how much Amy meant to me.

“Shortly after she passed away, we went to Amy’s place and there were two pillows on her bed. He gave me one of them.”

Of Naomi and Catriona’s recent court victory, Tyler added: “I don’t speak to the girls much any more, but I’m really pleased for them.

“But maybe — and this sounds selfish — I’m much more pleased for myself. I haven’t decided what to do yet, but I will be ringing Sotheby’s.”

October marks two decades since the release of Amy’s second — and most successful — album, Back To Black.

Something tells me fans will be lining up to bid on whatever treasures Tyler has.

It’s Paris fashion chic . . . 

No fashion is tutu much for Paris Hilton as she poses in this striking mini-dress from a new collection she has helped design.

The socialite has teamed up with Betsey Johnson for a new range, which is launching this week to celebrate the US designer’s 84th birthday.

This white bow dress costs $119 – around £88 – and it sounds like they had a hoot designing it.

Paris told People mag: “We had the best time brainstorming together, playing with looks at fittings, and making TikToks on set.

“She has this magnetic energy that lights up the room, and getting to create something with her has been such a dream.

“She is just as fun, original and full of personality as her clothes, and she brings so much creativity into everything she does.”

Rihanna doesn’t lack drive

Rihanna had a full-circle moment as she took her kids to the home she grew up in – but they didn’t look too impressed.

She shared photos on Instagram of herself with sons RZA and Riot, as well as daughter Rocki, outside the modest property in Barbados.

The street was originally named Westbury New Road but was renamed Rihanna Drive in 2017 – and her childhood crib is now a tourist attraction.

The Umbrella singer wrote: “One minute I feel like that kid from Westbury. The next minute I’m bringing my own kids back to ‘Rihanna Drive’. Trippy how life works!”

Julie hangs up her ‘Princess’ crown

She made two of the most famous movie musicals in Mary Poppins and The Sound Of Music, but Julie Andrews’ days on screen are definitely over.

The Surrey-born star, now aged 90, announced she has retired from her acting career, but will still pursue other creative paths.

It means she will not star in Princess Diaries 3 – currently in development – after playing Queen Clarisse Renaldi in the 2001 original and 2004 sequel opposite Anne Hathaway as Princess Mia.

Explaining how she passed up the chance, she said: “I think I’m retired, really, would be about the best description for that. The film’s team asked me all last year if I would be keen to do it.

“It was very, very hard to say no, but I did because I felt I had a wonderful ride, and this one would flourish very well and wouldn’t need Granny going in there at my age.”

Julie’s last on- screen role was in the children’s Netflix series Julie’s Greenroom.

In a separate interview, she added of Princess Diaries 3: “I’m not going to be in it. I think the story is slightly different, and I’m not quite sure how they’re dealing with that.

“But it’s too late for me to do it.”

Be a prop star at sale

Pop culture fans can bag themselves something special as Propstore is putting on one of the biggest-ever auctions of signed memorabilia.

More than 1,700 film, TV and music props will be up for grabs, including a 1997 Spice World T-shirt signed by the Spice Girls, and a Back To The Future poster signed by Michael J. Fox, Christopher Lloyd and other cast members.

Other notable lots include a replica sword from The Bodyguard autographed by Whitney Houston and Kevin Costner, and a vinyl LP from the cult movie Labyrinth, signed by one of its stars, David Bowie.

Before the live auction, which will run from August 26 to 29, you can see the full list of lots for yourself at propstoreauction.com.

Frankie’s binge too far

Who said the world of pop music was full of boozy antics?

S Club Juniors and The Saturdays star Frankie Bridge has revealed she’s just had her first hangover – years after her music career ended.

Speaking on the Bottoms Up podcast, she admitted: “I’m not a massive drinker. I’m a massive lightweight. I actually just had my first proper hangover last week – at the age of 37.

“It was honestly the worst day of my life and I was so pathetic, I cried. I washed my hair and then I couldn’t brush it so my friend Leah had to brush my hair for me and I was like, ‘This is a new low’.”

It came on the last day of her holiday after a night drinking mojitos, but she added: “I was fine by the time I got home and went in the gym.”

Trust me Frankie, if you were still able to go to the gym, you would never want to experience my hangovers.

Blur drummer Dave Rowntree says another reunion is a “question of when rather than if”. The band last played a gig two years ago, and he said: “I seem to remember us at Heathrow, saying, ‘We’ll do that again’. That’s my take.”

Spotify fake alert

Spotify is going to start flagging AI artists so that listeners know if they are getting computer-generated rubbish.

The streaming platform said fake acts’ profiles will be labelled “AI personas” and their music will be excluded from recommendations via its algorithm.

It’s hoped the crackdown will deliver a boost to real musicians and prevent artificial acts from taking over.

Spotify said: “True artist-fan connection can only be built on a foundation of trust and authenticity.

“In music, that means listeners need to be able to trust that the artist behind the music is who they say they are.

“That’s more essential than ever in the age of generative AI.” Good for them.

Country twist for ‘rock’ star

Dwayne “The Rock” Johnson showed off his vocals in Moana and its sequel, as well as in the new Disney live-action remake.

Now the hardman actor is eyeing a career as a singer – by getting into country music.

The former wrestler said: “Music has always been such an anchor for me, and very specifically in genres that I love, like traditional country music.

“We’re exploring that now. I’ve reached this point in my life and career where, honestly, when I wake up in the morning I swing my legs out of bed, and whatever the thing is that I’m doing, I wanna feel like I’m just running towards it.

“And the most gratifying things we do are when it’s for us, because we have enough pressure to deliver for so many other entities.”

Country music is on the rise, with US singer Luke Combs playing three sold-out shows at Wembley Stadium last month, while Taylor Swift went back to her country roots for her Toy Story 5 soundtrack single I Knew It, I Knew You, which topped the charts.

But Dwayne will be keen not to follow in Hollywood star Will Smith’s footsteps. Last year, he released his comeback album, Based On A True Story – but it sold just 268 physical copies in the UK in its first week.

I have faith The Rock won’t settle for that type of knockout.

Brazilian UFC flyweight Allan Nascimento has died after suffering an apparent heart attack in his sleep, the organization announced. He was 34.

Nascimento was found unresponsive Monday morning, according to the UFC, and was pronounced dead at the scene “despite the efforts of the responding medical team.”

He is said to be survived by his wife and two children.

“Our thoughts and deepest condolences are with Allan’s family, friends, teammates, and loved ones during this incredibly difficult time,” UFC wrote on social media.

At 5 foot 9 and 126 pounds, Nascimento built a reputation “as a skilled competitor and consummate professional,” according to a tribute posted on the UFC site, while compiling a 4-2 record in the Octagon and 22-7 overall (16 wins by submission).

Nascimento started training at the famed Chute Boxe Diego Lima academy in his hometown of Sao Paulo, Brazil, at age 15. It was there that he was given his nickname, Puro Osso, which is Portugese slang for “skin and bones.”

“When I joined my academy, I was extremely thin,” Nascimento told the website Sherdog in 2021. “I weighed nothing. As soon as people saw me, they called me ‘Puro Osso.’ The nickname stuck.”

Nascimento’s first MMA fight was in 2011, with his UFC debut coming 10 years later. His final bout was a split decision loss to Mitch Raposo at UFC Fight Night 279 in Las Vegas.

On Monday, former UFC lightweight champion Charles Oliveira posted several tributes to his close friend and Chute Boxe Diego Lima teammate on his Instagram Story.

“Today I lost a brother that fighting gave me,” Oliveira wrote in Portugese. “Thank you for always being there, for sharing the mat and the corner, and for your words. I’m just so grateful for having you by my side, brother, in training, in the corner and when hanging out. I love you, kid.”

Fellow Brazilian UFC fighter Caio Borralho commented on UFC’s Instagram post about Nascimento’s death: “He was one of the most kind fighters that’s I’ve ever met! Polite, good energy and always in good spirits! He will be missed.”

UFC Brazil reporter Evelyn Rodrigues wrote in the comments: “One of the kindest souls I’ve ever had the privilege of knowing through MMA. Rest in peace, Allan.”

It’s a few minutes after 10 a.m. on a recent morning and the thermometer is closing in on 95 degrees, but Marc Papas isn’t fazed. “The heat doesn’t bother me much,” he said, unloading his bicycle — a blue and yellow 1989 Trek 400 — from the trunk of his car on a side street in Reseda. “I just keep going.”

Papas adjusted the heart monitor underneath his T-shirt, checked the bike computer attached to his handlebars, then set off on the day’s ride; he’s taken it upon himself to bike every public street in Los Angeles. The Phoenix native has completed over 78% (about 5,840 miles) after two years. He calls it “The Project,” and says there’s about 7,516.07 miles in total, when you include various enclaves and adjacent cities like Beverly Hills or Burbank. Today he’s headed toward the longest continuous bike lane in Southern California — a stretch of Reseda Boulevard. It’s an unexpected amenity in a part of the city that seems otherwise hostile to pedestrians and cyclists, but one Papas wants incorporated around more of Los Angeles.

“Somebody once asked me on a Reddit Ask Me Anything what is one street you think needs a bike lane,” he said. “I wrote him a whole essay in response, because I can’t just say one street.”

Marc Papas estimates he covers about 75 new, unique miles each week, putting him on track to complete the entire city after nearly three years of riding.

(Kayla Bartkowski / Los Angeles Times)

Marc Papas sets his blue and yellow 1989 Trek 400 near a graffiti post along the Los Angeles River.

(Kayla Bartkowski / Los Angeles Times)

After a few blocks on Reseda, Papas turned back into the neighborhood centered around Etiwanda and started tracing loops across the blocks. It’s his standard pattern for covering any area he rides for the Project. “I base my routes on a math theory called the Eulerian Path,” said Papas, a mechanical engineer by training. Each new segment of the city he rides is generally a rectangle bound by major streets. “Then, I start with loops around the edges and work my way in,” he continued. “It’s the most efficient way to cover an area without overlapping.”

Today’s ride would yield eight new miles for Papas. “So, I’ll be about 12 miles away from 80%,” he calculated.

Papas started his biking project almost by accident. He moved to Los Angeles in late 2020 after finishing his PhD at Georgia Tech. He had taken up biking around Atlanta as part of triathlon training and worried he wouldn’t be able to continue once arriving in L.A.

“I remember having a sort of fear around it,” said Papas. “I’d heard it’s just so car-filled and dangerous to be on the roads.” But riding along the beach and around much of the Westside quickly changed his mind. With perfect weather year-round and a mostly flat topography, why wasn’t everyone in L.A. riding bikes?

He was soon cycling to work in Monrovia from his apartment in Pasadena, and biking more than he ever had in his life. “Sometimes friends would be surprised to learn I have a car,” he said. “They thought I bike everywhere because I don’t drive.”

Then, on Dec. 31, 2023, Papas decided to get in one last bike ride for the year. He rode a section of San Marino that he and friends refer to as “The Mitochondria” for the shape the streets make when viewed in the tracking app Strava. After riding the Mitochondria, he decided to keep going — making a path up each street and block — until he was satisfied. It gave him the idea to ride every mile of street in San Marino. “It’s only 60 miles total,” said Papas. “That seemed doable.”

“There are beautiful pieces of art on the walls that you wouldn’t imagine,” says Marc Papas, who has spotted murals throughout the city.

(Kayla Bartkowski / Los Angeles Times)

Marc Papas cruises along the Los Angeles River bike path.

(Kayla Bartkowski / Los Angeles Times)

Finishing the 60 miles of San Marino led to completing the 400 miles of Pasadena. He next found himself taking detours to cover new streets in Northeast Los Angeles as he’d ride to and from Koreatown Run Club meet-ups at Los Angeles Community College. But it wasn’t clear to himself, or anyone else, what he was doing. “Friends were seeing my Strava activities and texting me like, ‘What the heck are you doing, man?,’” Papas recalled. One friend jokingly asked if he was drawing the Nazca lines across the city, but Papas wrote it off as just trying to clock extra mileage. “There’s a level of self-deception, because riding the whole city of Los Angeles seemed impossible to do,” he said. Still, his treks around Northeast L.A., East Hollywood and Los Feliz were starting to build up mileage — he had completed about 18% of the city.

When Papas drove out to North Hollywood in November 2024 specifically to track new mileage, he realized he had crossed the Rubicon. “At that point, I can’t lie to myself anymore about what I’m doing,” he said. “I’m driving out to these places to get miles more efficiently. When that happened, I was like, all right, I’m in it for the long haul.”

“Biking is like a superpower to gain familiarity with your neighborhood,” says Marc Papas.

(Kayla Bartkowski / Los Angeles Times)

As Papas covered more and more of the city, he began growing an appreciation for various architecturally-significant neighborhoods as well as the many murals across large swaths of South and East L.A. “There are beautiful pieces of art on the walls that you wouldn’t imagine,” he said. “I want to take people to these places and do a mural tour.” He was especially moved when he was riding in Pacoima and saw a Buddy Holly and Ritchie Valens mural that memorializes the tragic plane crash that killed both Holly and Valens. “So many of these murals are commemorating people and events that are culturally important to those specific areas,” he added.

The bike rides were connecting him to his city in ways he never expected. “I’m not necessarily saying that everybody needs to go out and ride their bikes,” said Papas, though he’d certainly love it if more Angelenos did. Instead, he hopes his biking project is showing people what’s possible — in the most extreme way. Yes, you can bike in Los Angeles, as many Angelenos often do out of necessity. It’s even enjoyable. And yes, you can do it across every single mile of the city, even if the cycling infrastructure isn’t perfect yet. “I think to me, success would be if people just go out and explore their own neighborhood,” he said. He views cycling as a form of civic engagement and a way to see things otherwise invisible when speeding by in a car. For beginners, Papas recommends sticking to bike paths and joining cycling groups. More experienced riders should venture out into new areas, said Papas. “Biking is like a superpower to gain familiarity with your neighborhood, but it just needs to be unleashed.”

“At this point, I can’t lie to myself anymore … I’m in it for the long haul,” says Marc Papas. He’s already clocked thousands of miles on his mission to cover every street in L.A.

(Kayla Bartkowski / Los Angeles Times)

Last September, Papas passed the 50% mark of his project and estimates he’s been covering an additional 1% (or about 75 new, unique miles) every week since. That puts him on pace to finish sometime around mid-December — should everything go smoothly — nearly three years after he first began. Does he know what his final mile will be? “Eldred Street in Mount Washington,” he said. He notes it’s one of the steepest streets in the entire country.

“It’’s a fitting end, like a final boss [in a video game], just one last all-out hard effort to completely finish things off,” Papas said. “It gives me goosebumps to think that would be the time and place that this years-long project would be done.” Of course, there’s always the rest of Los Angeles County to conquer.

POP superstar George Michael’s estate is suing his former best pal over footage from the recording of a lost album.

Andros Georgiou, 63, faces court for charging fans to watch scenes which he recorded of the ex-Wham! star.

George’s former best friend said he would be “turning in his grave” after the pop singer’s estate sued him over video footage of a secret unreleased album.

The Wham! star’s lawyers are taking Andros to court after he released almost 90 minutes of unseen footage shot in 1992 and 1993.

Andros launched a website last month charging fans to watch the film Trojan Souls — The Greatest Album That Was Never Made.

The record was to feature Elton John, Stevie Wonder, Janet Jackson, Aretha Franklin, Bryan Ferry, Seal and Sade.

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But the legal team from George’s estate has now lodged a case against him at London’s Intellectual Property and Enterprise Court, claiming its rights have been breached.

Furious Andros, 63, said the legal claim was “a case of sheer greed”.

On George, he said: “Yes, we fell out, but we loved and cared for each other deeply, and I find the baseless claims and the constant attempts to erase me from history both disrespectful and, frankly, a bit desperate.

“The film belongs to me.

“Trojan Souls belongs to me.

“They’ve opened Pandora’s Box.

“They won’t want me on the stand.

“I know way too much.

“Bring it on.”

Andros’s film shows the making of tracks for Trojan Souls: The Voice of Reason, a collaboration album with global superstars.

Pop fans are being asked to pay £4.99 for 48 hours of access to the 90-minute video online.

Tribe Media is also selling £19.99 VIP tiers, promising access to never-before-heard recordings of George’s unreleased songs from the record.

Andros shot the video using a camcorder given to him by Sony while they were in Japan on George’s Faith tour.

Andros said: “First and foremost — my brother in arms, my best friend, George Michael to you, Yog to me — would turn in his grave knowing what Russells (the estate’s lawyers) are attempting — and spending his money to do it.”

He went on: “It is well known Yog and I were working on Trojan Souls through my record label, Hardback Records.

“The film I have released was shot by me, with Yog’s full approval.

“This was a home video leaked over 30 years ago.

“It kept resurfacing on YouTube.

“So I decided, if you can’t beat them, put the film out myself, since others were already profiting from my home video.”

The legal case lists Andros and Tribe Media, the production house distributing the film.

The claimants are Robobuild Limited and Big Geoff Overseas Limited, the holding companies George used to manage royalties and world tours.

Andros and George were estranged before the star’s death on Christmas Day, 2016, but had been planning to reconcile.

They fell out after George’s arrest in an LA public toilet in 1998.

But Andros had spoken to his pal on the phone in the final weeks of his life.

The pair had a close friendship for decades after their fathers moved to the UK from Cyprus together in 1953.

Most of the one-hour 24-minute film shows George playing the piano, performing vocals with backing singers, grabbing a bass and talking to producers about his track list in an LA studio.

George lost interest in the album when his then-partner Anselmo Feleppa’s health declined.

Anselmo, who suffered from Aids, died in March 1993.

George never completed the album.

It can take up to two years for a case at the court to reach trial.

Lawyers for George Michael’s estate were asked to comment.

“More is more and less is a bore.” ― Iris Apfel

After spending decades collecting clean-lined Midcentury Modern furniture and accessories, stylist Wendi Weger felt it was time to give her Silver Lake apartment a playful update.

“Everything was brown,” Weger says as she sits on a plush sofa covered in pink and chartreuse striped Christian Lacroix fabric. “It looked like a UPS truck in here. I mean, look at me,” she adds, fluffing the ruffles of her Accidente Con Flores dress, her intricately manicured fingers decorated with colorful Zuni Toons rings. “That is not me.”

In this series, we spotlight L.A. rentals with style. From perfect gallery walls to temporary decor hacks, these renters get creative, even in small spaces. And Angelenos need the inspiration: Most are renters.

Indeed.

Weger, who grew up in Madison, Wis., studied cinema during graduate school at NYU and later moved to Los Angeles to work in Hollywood as a producer and stylist, is no minimalist. Always expressive, she describes her style as more akin to a “Victorian parlor meets hunting lodge.”

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So it’s no surprise that her one-bedroom apartment, in a Storybook-style fourplex built in 1922, is just as dramatic as she is.

Wendi Weger views her Silver Lake apartment as her creative studio. “I don’t mind a lot of frenetic activity,” she says.

A wall covered in hollyhock wallpaper from House of Hackney stands out in Weger’s bedroom, along with a handmade quilt signed by Grace Verburg that includes crochet, beadwork and hundreds of ribbon rosettes.

Weger thrives on “kinetic energy,” be it color, texture or a pair of bedazzled Italian loafers. In her bedroom, she mixes floral textiles and modern art with a quirky stepstool shaped like an ear of corn. In the dining room, vintage Doyle Lane ceramic beads dangle from a Mission-style wooden clock while designer handbags are draped over chairs and hat racks.

On her fireplace, an ornate gilded mirror from the 1940s she found at Sunbeam Vintage is flanked by porcelain figurines. A porcelain Capodimonte lamp nestled under vintage Japanese prints is described as “Rococo on acid.” Nearby, a handmade chandelier by artist Helen Stickler, decorated with vintage Swarovski crystals and beads, adds to what Weger describes as her “Candyland vibe.”

Weger twirls in a pink taffeta Batsheva dress. “My apartment is basically how I dress — like an Edwardian ghost in a prairie dress who wandered into a circus and decided to keep everything,” she says.

“That’s where I am right now,” she says about the apartment she has called home for 17 years. “I feel like I can finally play. I’m trying to bring in a candy theme without making it too grandma. At this point in my life, I don’t care what anyone thinks about me.”

Her friend, creative director Dana Sidell, says self-expression is central to how Weger lives her life. “Wendi has the unique ability to bring nostalgia, whimsy and individuality all together into maximalist style,” she says in an email.

In 2020, as the film industry slowed down because of COVID-19, Weger took a chance and opened the Curatorial Dept., a vintage and designer resale shop in Atwater Village. Popular with celebrities including Lake Bell, Nick Thune and politicians Nithya Raman and Laura Friedman, the store is known for Weger’s signature “clothing sculptures,” where she layers mannequins with dozens of pieces of clothing and accessories.

“Styling is my art,” she says. “To me, clothing is sculpture.”

A silk Gucci skirt hangs alongside artworks in Weger’s bedroom. “Whether it’s producing a film, building a boutique, styling a room or a mannequin, it’s about assemblage and synergy,” she says.

To demonstrate, Weger starts layering a mannequin in her bedroom, picking from racks of clothes, handbags, color-coordinated shoes and jewelry nearby. She layers an “I’m With Stupid” T-shirt over a dress shirt and Yohji Yamamoto linen pants, then keeps adding more. “It needs a ruffle,” she says, caught up in the process, before adding a frilly collar and glittering vintage brooch.

A bright blue first-place ribbon materializes and becomes the perfect accessory. “It’s not maximalist enough,” she says with a sigh.

Weger says her apartment reflects the way she dresses, with layers of art, vintage clothes and accessories, each with its own story. She jokes that it looks like one of her clothing sculptures has “exploded across a room.”

When asked if there’s such a thing as too much, she shakes her head with conviction.

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1. Weger holds a pair of sparkling JVB X Nomasei ‘Nono’ loafers. 2. The hollyhock pattern from House of Hackney appears throughout Weger’s apartment, even on this fabric lampshade.

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1. A Gucci cashmere bunny cape hangs like an artwork in the bedroom. 2. Doyle Lane ceramic beads hang on a wooden clock above a collection of $2 bills.

“I’ll wear a baby cup as jewelry,” she says, picking up a small silver cup from a cabinet to show her point. What’s one more charm on one of several necklaces already heavy with lockets and hearts?

Weger’s home decor follows the same idea. Some pieces, like a pink silk pleated Gucci skirt by Alessandro Michele, hang on her bedroom wall next to vintage artworks, including a framed cross stitch by a friend that reads “Live. Laugh. Toaster Bath.” Others are neatly arranged in her butler’s pantry. Clothing racks fill the hallway, living room and even her bedroom. “Clothing and handbags are art to me,” she says.

Then there’s the cashmere embroidered rabbit cape by Gucci, which she purchased secondhand.

“People chase me down on the street whenever I wear it and ask me where I got it,” she says. “To me, it’s art.”

(Myung J. Chun/Los Angeles Times)

(Myung J. Chun/Los Angeles Times)

(Myung J. Chun/Los Angeles Times)

(Myung J. Chun/Los Angeles Times)

(Myung J. Chun/Los Angeles Times)

(Myung J. Chun/Los Angeles Times)

(Myung J. Chun/Los Angeles Times)

(Myung J. Chun/Los Angeles Times)

(Myung J. Chun/Los Angeles Times)

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(Myung J. Chun/Los Angeles Times)

(Myung J. Chun/Los Angeles Times)

(Myung J. Chun/Los Angeles Times)

Humor is important to her too. In the living room, a blue resin coffee table shaped like a candy wrapper adds to the playful feel, along with vintage candy dishes.

“There’s a lot of absurdity and comedy here,” she says, pointing out the Spanish angels with guns, a series of artworks from the 1600s.

“There’s something about these Spanish archangels with weapons,” she says. “They look tough and unisex to me, with mild expressions, beautiful clothes, tights, ruffles and sleeves, plus a firearm. It’s a great symbol for being a warrior, especially as a small business owner.”

Nearly everything in her apartment is secondhand, from the vintage Audubon prints arranged salon-style in the living room to the Navajo rugs and David Shrigley print she found at a garage sale. Mixing old and new is important, she says, referring to the House of Hackney hollyhock pattern she recently added to the walls of the living room and bedrooms, as well as the dining room lampshade.

Handbags are draped over dining chairs.

Her place settings are also layered, including Weger’s grandmother’s Wedgwood china.

Her apartment is essentially her atelier, or as she calls it, “the creative engine behind” the Curatorial Dept. She often does intake for her store at her kitchen table, surrounded by needlepoint pillows made by her Great-Uncle Elliott, who was also an entrepreneur. “This is not cluttered to me,” she says. “This is just where everything gets sorted.”

“Wendi’s style has a touch of the harlequin to it — playful, theatrical and always ready for an occasion,” writer and former NYU classmate Josh Rothenberger says in an email. “Her world is a warm pastiche of vintage and bespoke, histories inherited and histories invented on the fly. Her furniture invites the kind of existential frolic that pairs best with Cuvée — only to remind us, hours later, that true beauty should never be too precious to dance on.”

Although Weger says she isn’t a “woo-woo person,” she believes her apartment and store came from asking the universe for what she wanted. “Tell people what you want,” she says. “Especially in L.A. People support you and help you reach your dreams. I said I wanted this apartment, and because of that, my friend thought of me when she was moving. The same thing happened with my shop. I was in a different industry when I told a shop owner friend I’d always wanted a shop, that I intended to have a shop, and she thought of me when hers became available.”

She’s already thinking about what she wants next: “I’ll be sure to tell everyone I know.”

Mary Steenburgen moved to California to work with Jack Nicholson.

It was 1977, and Steenburgen — an Arkansas native — had been waiting tables in New York at night while studying acting with Sandy Meisner at the Neighborhood Playhouse during the day. She’d been pounding the pavement for about seven years, she says, when her “overnight moment came” and she was called in to read for a film Nicholson was both directing and starring in called “Goin’ South.”

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.

Getting the role, Steenburgen says, changed her life in every way. “I flew out [to film] and had an amazing introduction to the town,” she explains. “I lived at the Chateau Marmont and went to Paramount Studios every day, where [Nicholson] would screen movies for me and then come in at the end to give me a little film-slash-acting lecture about each one. It really helped me get ready to dive into the big leagues.”

Though she spent some years in an old Ojai farmhouse in the 1980s raising her kids with former husband Malcolm McDowell, she’s always had a base of operations here in L.A. She shares her L.A. abode now with husband Ted Danson, whom she married in 1995 and with whom she’s starred in numerous projects, including the Netflix series “A Man on the Inside.” L.A. is also where she filmed her latest movie, “The Dink,” an Apple TV comedy centered on one of her favorite pastimes: pickleball.

Here’s how Steenburgen would spend her perfect, pickleball-filled Sunday in Los Angeles.

This interview has been edited for length and clarity.

5:30 a.m.: Early morning meditation and mental exercise

We always wake up early. After so many years of going to work at 5 in the morning, we always wake up between 5 and 6 now.

We’re morning meditators, or we try to be since our dog [Blue] just sits on our laps and stares at us until he’s been fed. Then we have to do all the New York Times games, and then I’ll try and find a pickleball game. We love Spelling Bee. We have to get to Genius, at least. Occasionally we’ll get to Queen Bee, but if we don’t get to at least Genius, then my day is ruined.

If my husband and I are working that week, whoever’s not working will have to run lines with the one who is. So we’ll generally spend a few hours doing that in the morning, too.

8:30 a.m.: Light gardening

I love my garden. A lot of it was hand-planted by me. Not the big trees — someone else planted those — but everything else, like the ground cover and smaller plants, I did. So I’ll spend a little time out there, too.

I like to go to Armstrong Garden Centers. They hire very knowledgeable people there. When I first started planting my garden — I live on a hill and it was all dirt back there and not everything grows well that way so I was looking for ground cover that would grow quickly but also didn’t mind a hillside. The people at Armstrong knew the answer, and they were great.

10 a.m.: Pickleball-palooza

I try to play pickleball for at least two hours a day, if I can. I try to find a game with friends, or I’ll go and play in different parks.

This morning, I played at a friend’s house. She has a beautiful tennis court and they put tape down on it so we can use it for pickleball, too. I played with her daughter and her friend.

I also have a pickleball coach and sometimes we’ll go play at this place called Pickle Pop that’s on the Third Street Promenade. Other times, I’ll play at the Santa Monica Pickleball Center.

My son just brought eight members over from [one of] London’s biggest pickleball club[s], Lemon Pickleball, and they all stayed with me. We played all over the place and we had so much fun. They loved Southern California, and seeing it through their eyes made me love it even more.

On their last night here, I called a wonderful family I know that cooks fantastic Mexican food, because I knew [the Brits] hadn’t ever really experienced great Mexican food. I met them because they’re set up every weekend in the parking lot at Rustic Coffee [in Santa Monica]. They’re lovely folks. So they came over and cooked, and we had a wonderful night for the Brits, putting up all kinds of lights and decorations too.

12:30 p.m.: Magical brunch with the grandkids

We go to Kreation a lot for lunch, just because it’s nice and it’s very healthy. I was just there yesterday with my granddaughters, after we all played Pickleball.

Actually, this weekend we all went to the Magic Castle together, too. I hadn’t been for decades and two of my five grandkids were here, and they’d never been either. Mostly it’s no kids at the Magic Castle but on weekends they do a brunch where kids can come so we went to that. The last magician in the show even called my granddaughter up on stage to be a sort of assistant, and it was very cute.

3 p.m.: Hiking with the dog

Because we work a lot and our days often belong to someone else from early in the morning until pretty late at night, weekends are more laid back.

We like to go on hikes and walks around Santa Monica. We have this big Australian Shepherd and we take him for long, slow walks. They’re slow because he has to say hello to every dog and person along the way — especially babies, who are his absolute favorite.

There’s something magical about my dog, I think. People will say, “Oh, my dog hates all dogs” and then my dog pulls me over and the dog that hates all dogs just melts. It’s like he calms other dogs. He even calms people that think they don’t like dogs. I know I’m very prejudiced, but I’m also very proud.

6 p.m.: Breakfast (or Goop) for dinner

We’re big on breakfast for dinner, so maybe we’d have some poached eggs on toast or poached eggs on creamed spinach.

If we order in, we might get food from Goop Kitchen. They have so many healthy, fantastic choices. Even their pizzas are pretty healthy.

8:30 p.m.: TV in bed

Sometimes I read a book at night, but we also have a show we absolutely love to go to sleep to, even if you’re not supposed to do that. It’s this British game show called “Would I Lie to You?” and unfailingly it makes me laugh. I’ve seen every single episode — some of them twice — and I like to go to sleep laughing.

I also just said to Ted that I think we’re going to have to start “Cheers” again soon. We just lost our friend Jimmy Burrows, who was a magnificent human and so important to Ted’s whole career, and one of the great things about watching “Cheers” is, if you know Jimmy’s laugh, you can actually pick it out multiple times during each episode.

It’s been a long time since we’ve watched “Cheers,” and it honestly never gets old. I first watched it in Ojai when I was married and had young children. We would watch it with our best friends on Thursday nights, like everybody would go down to their house in their pajamas and we’d watch “Cheers” and then I’d come home to put the kids to bed. Then, when I was going through my divorce I would watch it at 10 o’clock at night because I was very lonely and it was the thing that cheered me up at the end of the day during a hard time in my life. Little did I know that one day I’d be sleeping with Sam Malone.

Jennifer Finch, the bassist for veteran LA rock act L7, has brain cancer and will not perform with the band on its farewell tour this year.

“Our beloved bandmate, sister and friend Jennifer Finch has been diagnosed with an aggressive form of brain cancer,” the band wrote in a statement on its Instagram on Monday. “Following multiple surgeries and serious complications, Jennifer now requires extensive medical care, rehabilitation and professional in-home support.”

The group said that its final tour, scheduled for fall, “was planned along with Jennifer when all four of us were in good health and spirits.” Finch asked the band to continue with these performances, according to the statement.

“We will honor her request while making her care and well-being our immediate priority,” the band wrote. “We love her, and we want her to feel the full strength of the community that has loved and supported her for so many years.”

L7, a hugely influential act in the alt-rock wave of the ‘90s, was formed in 1985 by guitarists and singers Suzi Gardner and Donita Sparks, drummer Dee Plakas and Finch. Its firey singles “Pretend We’re Dead” and “Wargasm” helped kick off the riot grrl movement of the era, until they went on hiatus in 2001. The band reunited in 2014, and will begin The Last Hurrah tour in San Diego on Oct. 6.

The band also posted a GoFundMe for donations to help with her medical care . “The level of care Jennifer needs has gone beyond what friends and family can safely provide around the clock,” the band wrote. “As we face the difficult reality that Jennifer may have more good days behind her than ahead, we are asking for help to make the time she has with her friends, family, and fans as comfortable, meaningful, and full of love as possible.”

Chunky platform sandals, fitted baby tees, butterfly clips on perfectly crimped hair, brightly patterned skirts and tons of sparkles. Pure Y2K-fueled nostalgia filled the Kia Forum on Wednesday night in celebration of all things Hilary Duff.

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Duff graced the stage at the Inglewood venue as part of her Lucky Me tour, her first global headlining tour in nearly two decades. And her fans couldn’t have been more thrilled. The pop singer and actor, who released her sixth studio album “Luck… or Something” in February, performed two back-to-back sold-out shows.

Before the final L.A. show, we caught up with fans to talk about their outfits (many of which were inspired by Duff’s most famous roles such as Sam in “A Cinderella Story” and the title role in “The Lizzie McGuire Movie”), the memories her music brings up for them and why her work still resonates with them. Here’s what they had to say.

(Kayla Bartkowski/Los Angeles Times)

Tristan Hallam, 36, of Chicago

Tell us about your outfit.

This is my wedding dress that I had stuffed in a suitcase. She’s been in a suitcase for 10 years, and I still fit into her, which is nice. People ask me why I keep stuff and this is exactly why: You might get divorced and use it as a costume. My outfit is inspired by “A Cinderella Story.” It’s my favorite Hilary Duff movie. She plays diner girl Cinderella. She disguises herself with a mask and a L.A. Dodgers cap. I did have a tiara, but I didn’t bring it because I didn’t want to be too much. So I figured, you know what, why not buy an apron and a little black crop top, and rep L.A.

I have a tattoo of her signature. It’s a little faded because it’s like 10 years old, maybe older than that now. It was at a book signing at Barnes and Noble at like the Grove or something. I asked her if she would initial my wrist, and I got it tattooed the same night. I literally drove to the tattoo shop on Hollywood Boulevard with my arm out the window because I’m so clumsy and I didn’t want to smudge it. Then the next time I saw her, she asked me, what did your parents say? I said, “My mom asked me how long I kept the Sharpie on so long.”

How long have you been a fan?

I think I was like 8 or 9 years old when I saw “Casper Meets Wendy” for the first time. My grandma took me to like a K-Mart or something, and told me that I could get any movie that I wanted. Then I was into “Lizzie McGuire,” but as soon as Hilary started doing all her like movies and independent work, obviously the music is great. I used to live in L.A., so I went to a bunch of her book signings. I’ve done a lot of meet and greets for her concerts, and right now I’m traveling around. I’m going to 18, technically 19 shows now, and I’m gonna see her in New Zealand, Australia and some other places. I’m actually really excited because one of my friends, I met her in a Hilary Duff fan club chat room in 2005 on MSN Messenger, and we are still friends, so we are going to a ton of shows together.

Why does her work still resonate with you today?

The fact that we’re around the same age, there’s been a lot of relationship similarities. I don’t have any kids, but the struggles with family, with your dad, with your siblings. She’s got some songs that are more mature and relatable for people our age. People who have gone through ups and downs in relationships, struggles with family and figuring out who your real family is, not just by blood but who your chosen family is. I think that’s really important.

(Kayla Bartkowski / Los Angeles Times)

Leilanie Martinez, 30, of South Gate

Tell us about your outfit and the inspiration behind it?

It’s my quinceañera dress. It’s supposedly very traditional to wear a white dress, like young women coming of age. For mine, I wanted to wear something that I didn’t see a lot of people wearing and I was very firm that if I didn’t find the love of my life, I was going to wear a white dress and this was my moment. My quinceañera was such a precious time. It really was a labor of love, and I think it’s one those memories I hold very near and dear. I think it’s an ode to her history, her legacy.

How long have you been a fan?

I remember I was 5 and I was running around in my neighborhood, playing with Barbies and watching “Lizzie McGuire.” I’m here today with my neighborhood and childhood friends. We used to watch it together and now we’re reliving our nostalgia and childhood.

Thinking back on when you first fell in love with her work, why does it still resonate with you today?

There’s a lot of power in her being a woman and she’s going through so many milestones that a lot of people my age are going through like having children and growing her career. Sometimes I think people “wash out” and I think it’s wonderful how she’s combating that narrative in so many ways, and that people are out here supporting her. I think there’s a lot of beauty in being able to be together as young women and relive some of these memories, but also cheer her on as she continues developing further.

(Kayla Bartkowski / Los Angeles Times)

Crystal Chesher, 33, of Mar Vista and Isabella Sanchez, 33, of Culver City

Tell us about your outfit.

Sanchez: We’re channeling “The Lizzie McGuire Movie.” My actual name is Isabella. She gives more Lizzie vibes and I give more Isabella vibes. It’s funny because I’ve literally saved [looks] of Isabella and Lizzie on my Pinterest board and I’ve always wanted to dress up like this. It’s not 100% of what I wanted, but it’s giving what it’s supposed to.

How long have you been a fan?

Chesher: Since I was little. I remember watching “Lizzie McGuire” since the age of 10 at the very least so I’ve been growing up with her movies and shows. She’s definitely my idol.

Sanchez: Same. Growing up, I was bullied so she was a very big part of me being more positive about myself. I can relate to her and she really helped me. It just feels full circle to be able to see her at 33 when I wanted to see her when I was like 10.

Thinking back on when you first fell in love with her work, why does it still resonate with you today?

Chesher: She has a heavy influence in the LGBT community as well especially with the [anti-gay speech campaign]. I loved that. With her movies and her music, it’s all relatable and it resonates with you, the lyrics, the storyline and even her new album that just came out.

Sanchez: She’s just that girl. I’ve never even met her, but I feel like she’s so genuine and real and she’s always stayed consistent with who she is. She’s not like your typical celebrity. She’s just awesome. I’m literally probably going to tear up seeing her on stage.

(Kayla Bartkowski / Los Angeles Times)

Lucca Petrucci, 33, of Santa Monica

Tell us about your outfit.

This is a last-minute choice. It’s very like ’70s or retro. I feel like I’ve seen her wear something like this. I’m wearing wide-legged pants, Doc Martens, platform, new haircut, facial. The inspiration for this fit was elegant pop star like confidence, grounded, a baddie. I’m a baddie who knows my worth and that’s what I wanted to embrace. I feel like she’s like doing that. She has a lyric that’s like ‘I look in the mirror, like I’m a bad b—.”

How long have you been a fan?

Since third grade. I thought she was my crush, but I think I just wanted to be her. So many of my core childhood memories are with her.

Why was tonight a non-negotiable for you?

I wanted to experience with my bestie and her sister. I feel like as a kid I didn’t allow myself to fully embrace it because it would be too girly, too much, too gay. So I feel like as a 33-year-old, I’m reclaiming that experience. I’m so excited just to hear everybody in the Forum sing “So Yesterday” and “Come Clean.” She has always been my number one pop star, to this day, and I’ve never seen her perform.

Why does her work still resonate with you today?

I feel like, especially when she was on “Lizzie McGuire,” she was figuring out who she was, but was open to being her authentic self. So I think that just like hit me when I was like in third and fourth grade, like figuring out myself. I felt so seen by her, and her music just brings back like such good feelings. Younger version of me, life wasn’t always great, but, I don’t know, she made things better.

(Kayla Bartkowski/Los Angeles Times)

Liv Guardado, 8, Priscilla Cruz, 38, Ava Guardado, 10 and Jezelle Velasco of Costa Mesa

Tell us about your outfit.

Cruz: We went thrifting for the first time for this. I’m plus-size, so thrifting is not easy in my size, so we did what we could. We got some overalls from Goodwill. And then we got some cowboy boots because we just wanted to be comfy.

Velasco: I probably stressed the most. I ordered so many pieces and it just kind of came together. I think the nails took the longest. One of my friends did my nails. It took some time but we got it done.

How long have you been a fan?

Velasco: Probably since I was their age. I never got to go to a concert, so this is my first time seeing her live.

Cruz: I definitely got inspired around middle school. I had a friend who was like Lizzie, and I was the best friend, Miranda. People would always say I was Miranda. I was a little older than [my girls], but I definitely have kept tabs on her life, and we love her.

Why does her work still resonate with you today?

Cruz: It definitely feels like memories and home when you think of her music from back then. And now she’s obviously stepped into a different phase of her life, and it matches where we’re at in our phase too so it’s nice.

Velasco: It just brings back the nostalgia from back when we were younger and now being parents, and being able to relate to her and her new music.

(Kayla Bartkowski/Los Angeles Times)

Paige Beard, 34, and Tayler Nelson, 27, of Bakersfield

Tell us about your outfits.

Beard: I was supposed to be wearing purple and she was going to wear green, and we were going to do the Isabella and Lizzie look at the end of “The Lizzie McGuire Movie.” It turned out more pink, but we ran with it.

Nelson: I was all about that performance, so I was like green. Gotta go green. We’ve been planning for a while, like two months.

How long have you been a fan?

Beard: I’ve been a fan for a long, long time, probably since “Casper Meets Wendy.” I was also a really big “Lizzie McGuire” fan, so I got into her acting as well as her music.

Nelson: Same. I was all about the Cinderella movie though, so it’s probably been 10 years for me.

Why does her work still resonate with you today?

Beard: I was telling my sister that I really liked “Lizzie McGuire” because it was one of the first times I saw somebody’s inner dialogue acted out in cartoon form. It showed me that I’m not too much. She’s a little bit older than me and I see her crying on stage and I’m like “OK, it’s OK.”

Nelson: “The Lizzie McGuire Movie” was a big turning point for me. I just loved how she expressed herself with what she wore and how she acted. I feel like I understood her in different ways. I enjoyed the dancing and the singing for sure. She felt free and I’m like, “Dang, I want that.”

(Kayla Bartkowski/Los Angeles Times)

Freddy Lopez, 38, and Raymond Lockwood, 36, of San Bernardino

Tell us about your outfits.

Lopez: Just a ’90s vibe. I guess a little old-school.

Lockwood: The outfits are a little last-minute because we were like we should’ve done diner girl [from “A Cinderella Story”] or one of her other movies, but we chose the little cartoon character from the show.

How long have you been a fan?

Lopez: I’ve been a fan since “Lizzie McGuire” and her movies.

Lockwood: For the past 20 something years. We grew up watching “Lizzie McGuire” and got introduced to Hilary Duff when she started singing.

Why was tonight a non-negotiable for you?

Lopez: We don’t know if she’s going to come back after this, so you’ve gotta take every opportunity. There’s other artists who cannot come back to perform right now. So when she said I’m coming back, we had to.

Lockwood: We’re healing our inner child. As a kid, we didn’t know she was having tours or we couldn’t afford to come out. Now, we’re like we don’t have to ask our mom and dad for anything.

Why does her work still resonate with you today?

Lockwood: For me, it’s being a teenager, watching the “Lizzie McGuire” show and watching the movie and then learning her songs. My favorite song is from the movie, “What Dreams Are Made Of.” It’s just us getting to live back in the past and kind of understanding it a little bit more. As a kid, our dreams are not what they realistically are today. I ended up becoming a nurse. As a kid, I didn’t sit on the couch like “Oh, I’m going to be a nurse,” but that’s what my dream ended up being.

(Kayla Bartkowski/Los Angeles Times)

Stephanie Rodriguez, 32, High Desert

Tell us about your outfit.

If you ask my fiancé, I was hunting for outfits and last-minute I was like, “I’m just gonna order something on Amazon.” When I saw this, I was like, “That’s it.” Total nostalgia with “13 Going on 30.” We went shoe shopping at the South Coast Plaza over the weekend. The metallic is pulling it all together and the butterfly clips.

How long have you been a fan?

Probably since I was like 8 or younger, pretty much very much obsessed. All of my holiday gifts were Hilary Duff. I had her K-Mart home products. Any magazines she was in, I got. Any outfits that I could try and replicate, I would. My first Hilary show was either Wango Tango or a Jingle Ball with KIIS-FM, so it was just a festival with a bunch of different artists but I went specifically for her.

Why does her work still resonate with you today?

I think a lot of us feel like we grew up with Hilary, so all of her music resonated with us then, and now, now that we’re older, through relationships or divorces or motherhood. It’s pretty cool to see just how we’re all kind of growing up together. The first time I think I found out about her was at the Glendale Galleria. I was recently telling my fiancé that my dad had me on his shoulders because she did a meet and greet and the entire mall was packed.

(Kayla Bartkowski/Los Angeles Times)

Kelsie Wagner, 35, of Temecula and Tyler Walsh, 35, of Long Beach

Tell us about your outfit.

Wagner: I’m channeling Lizzie McGuire. My favorite part is the butterfly clips.

Walsh: This is from Company D, which is a discount store for Disneyland. I was like let me get the biggest shirt and make it into a dress, but I’m wearing shorts — it’s still appropriate. I have like six authentic Disney pins here. This is about $200 on my hat. I was like I have to do something that represents. It’s a big hobby, pin trading, that I picked up in 2023. Then I wore my Lisa Franks. I figured I would channel everything from the ’90s and 2000s.

How long have you been a fan?

Wagner: Whenever the “Lizzie McGuire” show came out.

Walsh: I remember going to sleepovers with all of my friends and we would do Lizzie nights. I was on a soccer team and on Saturday nights, we’d go watch the newest episode. It was just so fun because I feel like I had a little clan that loved Lizzie. We went to her concert at the Grove together and it was back when you paid $50 to get in. We were front row and we like smelled her. It was wonderful.

Why does her work still resonate with you today?

Wagner: For me, especially her new album, she talks about marriage, relationships, motherhood, so it’s still relatable in that sense of that stage of life that we’re in.

Walsh: For me, it’s just nostalgia, because I’m not married, I have no kids, like I’m that fun aunt. And I will say, like, because she goes to Disneyland a lot, so I luckily got to meet her too. I asked her for a picture, and she’s like “Yeah, of course, honey.” It’s the most embarrassing photo of me ever though.

Wagner: I told her she should get it printed and wear it to the concert.

Walsh: I should have.

AN influencer has died after her BMW flipped and slammed into a tree in a horror crash.

Ayzia J, 22, was killed in the deadly collision in New Jersey alongside her friend.

Her friend Henrietta Carter, 22, was riding in the front passenger seat at the time of the crash and was killed.

A third person, who had been in the back of the car, survived the deadly collision with minor injuries.

The car left the road, then overturned and smashed into a tree, according to New Jersey State Police.

Police have launched an investigation into the deadly crash.

Ayzia’s family have launched a fundraising appeal to help them cover funeral costs.

The influencer has more than 300,000 followers across Instagram and TikTok.

Donny Hathaway had already been expounding on the splendors and indignities of American life by the time he got to the Troubadour in West Hollywood in the last week of August 1971.

A classically trained pianist with a declamatory voice shaped by his years in the church, Hathaway closed Side 1 of his 1970 debut with an original called “Tryin’ Times” — “Maybe folks wouldn’t have to suffer,” he sang, “if there was more love for your brother” — and finished the LP with a stately rendition of Nina Simone’s “To Be Young, Gifted and Black.” Months after the album was released, he dropped a joy bomb of a holiday single, “This Christmas,” that unapologetically made space for a Black experience in the yuletide-industrial complex.

Donny Hathaway performs at Mister Kelly’s in Chicago in 1971.

(Val Mazzenga / Chicago Tribune / Tribune News Service via Getty Images)

Yet Hathaway captured something indelibly American during his week of shows at the Troubadour, which were recorded (along with a later gig at New York’s Bitter End) for the singer’s classic “Live” album that came out in February 1972. On an LP full of spine-tingling performances, the undeniable high point is Hathaway’s take on Carole King’s “You’ve Got a Friend” — a clear-eyed if optimistic portrait of resilience and cultural exchange.

King — who’d made her name in the 1960s as half of a prolific Brill Building songwriting duo with her husband, Gerry Goffin — wrote “You’ve Got a Friend” after leaving Goffin and moving to Los Angeles with her two young daughters. Here she remade herself as a low-key singer-songwriter dispensing wise yet unflashy tunes about love, home and family — part of a gentle resetting of pop’s mood after the turmoil of the previous decade.

Cut like the rest of the album at A&M Studios on La Brea Avenue, “You’ve Got a Friend” helped drive King’s 1971 “Tapestry” LP to sales of more than 10 million copies and to a boatload of trophies (including album, record and song of the year) at the Grammy Awards; the singer’s pal James Taylor, whom she’d performed with for the first time in late 1970 at the Troubadour, topped Billboard’s Hot 100 with his own cover of “Friend” featuring background vocals by Joni Mitchell.

On the advice of Atlantic Records’ Jerry Wexler, Hathaway also recorded “Friend” as a studio duet with Roberta Flack, a fellow Howard University alum; their take sat in the Top 20 of Billboard’s R&B chart as Hathaway began his run at the Troubadour — popular enough that the audience on “Live” erupts at the sound of Hathaway’s opening organ lick.

Carole King at A&M Studios in Los Angeles in 1970.

(Jim McCrary / Redferns via Getty Images)

Indeed, the crowd is really the thing in this live version of “You’ve Got a Friend.” Hathaway and his band — including guitarist Phil Upchurch, bassist Willie Weeks and 16-year-old Fred White (soon to be of Earth, Wind & Fire) on drums — are cooking, to be clear; the groove is funky and viscous, and Hathaway’s vocal is gorgeous, not least in his nimble ad-libs.

But it’s his interplay with the few hundred folks in the room that elevates the recording to a deeply moving piece of art.

For King (and Taylor), the song’s promise of unflagging support is an intimate one-to-one matter; their renditions use homey acoustic arrangements to create a picture of two people exchanging confidences. In Hathaway’s hands, “Friend” is about community: Before he even asks them to, the audience takes over for him on lead vocals in the song’s chorus, a congregation in all but name.

Given the proximity to the civil rights movement, it’s impossible to hear Hathaway’s “You’ve Got a Friend” as disconnected from the struggles of Black people. At the Troubadour (as in his and Flack’s duet), he nixes the song’s second verse to arrive more quickly at the bridge, in which he describes a cold world filled with those who’d “hurt you and try to desert you” — even “take your soul if you let them.”

As Emily J. Lordi notes in her 2016 book about “Donny Hathaway Live,” the crowd lays back during the bridge before rejoining Hathaway for the song’s second chorus; the decision, somehow spontaneous and collective at once, is an expert bit of record-making on the part of an audience that, according to legend, hadn’t been told the concert was being taped.

“From this perspective,” Lordi writes of Hathaway’s fans — some number of whom had surely availed themselves of the Troubadour’s bar, as she points out — “they are not stealing the show so much as they are holding him up, ensuring he won’t sing the duet alone.” Together, performer and audience are turning back (not that they necessarily had a choice) to the ugly truths that singer-songwriter music sometimes sought to move past.

In this way, Hathaway’s “Friend” becomes a reinvention of a reinvention — an act of moral imagination about as American as it gets.

This wasn’t the only instance of a Black soul singer interpreting a tune King had written as a single mom newly arrived in L.A.: In May 1972, the Isley Brothers released a sultry cover of “It’s Too Late”; a month after that, Aretha Franklin’s live “Amazing Grace” album mashed up “You’ve Got a Friend” with “Precious Lord, Take My Hand,” completing the gospel-ification that Hathaway had begun in a bastion of white rock culture temporarily remade as an African American church.

Yet in Hathaway’s “Friend” you can hear the whole story American music tells about identity and belonging (and about commercial ambition).

“This might be a record here,” Hathaway tells the crowd near the end of the song, and so it was — a document of adaptation, a testament to borrowing, a bulwark against pretty fictions.

LeRoy Irvin, a cornerback and special teams player who made two Pro Bowls with the Rams in the 1980s, has died, the team said Thursday. He was 68.

Irvin holds the Rams record for most non-offensive touchdowns (11 — five interception returns, four punt returns, one fumble recovery return and one blocked field goal return). He also is tied with Janoris Jenkins and Ed Meador for most pick-sixes in team history.

“We mourn the loss of Rams Legend LeRoy Irvin,” the team wrote on social media. “We extend our condolences to his family and friends during this difficult time.”

No further details were provided. Freelance sports journalist Eric Geller reported that Irvin died Wednesday after a long battle with throat cancer.

Born Sept. 15, 1957 in Fort Dix, N.J., Irvin played running back at Glenn Hills High School in Augusta, Ga. He told Sports Collectors Daily in 2023 that he patterned his running style after O.J. Simpson’s.

“That parlayed into my pro career,” Irvin said. “When I moved to defensive back in college, I always prided myself on being a great runner, which led to me being a great punt returner.”

As a senior at Kansas in 1979, Irvin led the Big Eight Conference with 27 punt returns for 321 yards and two touchdowns. He also intercepted five passes that season. In four years with the Jayhawks, Irvin had 42 punt returns for 454 yards and two touchdowns to go with 10 interceptions.

Selected by the Rams in the third round of the 1980 draft, Irvin played in L.A. for 10 seasons before spending his final season with the Detroit Lions in 1990.

In an NFL record that still stands, Irvin recorded 207 punt return yards during a 37-35 win over the Atlanta Falcons on Oct. 11, 1981. Two of his six punt returns that day went for touchdowns, of 75 and 84 yards.

Irvin finished his career with 35 interceptions for 676 yards, and 147 punt returns for 1,457 yards. After retirement, he worked as a coach, broadcaster and businessman.

“Devastated to hear about the passing of my brother, teammate, and Rams legend Leroy Irvin,” his former Rams teammate and business partner Eric Dickerson wrote on Instagram.

“Leroy wasn’t just a lockdown corner and a fierce competitor on the field; he was a true friend and a great man who always brought incredible energy. Rest in peace, my brother. Sending my thoughts and prayers to the Irvin family and all of Rams Nation.”

Tennis legend Chris Evert is battling ovarian cancer for the third time and will not attend Wimbledon this year, the 18-time Grand Slam champion and longtime ESPN analyst said Thursday on Instagram.

“This past weekend, after undergoing CT and PET scans, I learned that my ovarian cancer has returned,” Evert, 71, wrote. “I have already undergone surgery as the first step in my treatment and recovery, and will begin chemotherapy in the coming weeks.

“Because of this, I will not be attending Wimbledon this year, and I will step back from my professional commitments over the next few months to focus on my health.”

Evert was first diagnosed with ovarian cancer in December 2021. Two years later, she revealed her cancer had returned.

“Ovarian cancer is relentless, but I will stay optimistic and determined in continuing to fight this battle,” Evert wrote. “I am deeply grateful to my medical team, my family, friends and everyone who has reached out with kindness and encouragement. I look forward to seeing everyone again soon.”

Evert was one of the most dominant women’s tennis players of the 1970s and 1980s, winning a record seven French Open titles to go with six at the U.S. Open, three at Wimbledon and two at the Australian Open. She won at least one Grand Slam for 13 consecutive years (1974-1986) and retired in 1989 with a career record of 1,309-146.

Her on-court rivalry with Czech American tennis great Martina Navratilova during that period is legendary, with Navratilova beating Evert in six of their 10 Grand Slam finals against one another and 43 of their 80 overall matches as opponents. They also won the French Open in 1975 and Wimbledon in 1976 as doubles partners.

A new Netflix documentary, “Chris & Martina: The Final Set,” covers their history together, which also includes a decades-long friendship and support for each other through numerous battles with cancer (Navratilova was diagnosed with early-stage breast cancer in 2010 and stage 1 throat cancer and breast cancer in January 2023; she announced she was cancer-free in June of that year).

Navratilova was one of the first people to comment on Evert’s Instagram post.

“My friend Chrissie is a champion of champions and as such she will slay this monster again,” Navratilova wrote. “We are all pulling for you, and know you will come out on the other side cancer free again- lots of love, m.”

Other former on-court rivals and fellow International Tennis Hall of Fame members also offered their heartfelt support in the comment section of Evert’s post.

“You beat me 18 straight times, therefore you can beat cancer 19 straight if you have to,” wrote Pam Shriver, who lost 19 of her 22 career matches against Evert. “Much love and respect to one of the greatest competitors ever, Pammie”

Billie Jean King, who lost 19 of her 26 matches against Evert, wrote: “You are a champion and a fighter, and you will beat this. Sending love and prayers from both of us for a strong recovery.”

The Associated Press contributed to this report.

U.S. alpine skiing great Bode Miller is facing two misdemeanor drug charges following his arrest in Idaho earlier this month.

The actual drug involved and who possessed it isn’t clear, with Miller and the arresting officer providing different accounts of those details from the June 6 arrest in Fremont County.

The six-time Olympic medalist has implied he was arrested because, unbeknownst to him, his friend was carrying cannabis and a pipe while riding in a car Miller was driving. While legal in several states for recreation or medical use, cannabis remains illegal in Idaho.

“I was pulled over for accelerating while passing another vehicle on a highway in Idaho,” Miller, 48, said in a statement posted Tuesday on Instagram. “My friend, who was traveling with me, had a small amount of cannabis and a cannabis pipe in his possession which I was unaware of. We fully cooperated with the officer.”

Fremont County Sheriff’s Deputy Jacob Hurt wrote in a probable cause statement that he found Miller with a white dispensary bag containing 4.1 grams of psilocybin mushrooms (a.k.a. magic mushrooms or shrooms).

While illegal under federal law, psilocybin has been decriminalized in Colorado and Oregon for treatments, with some health advocates saying it can help ease anxiety, depression and post-traumatic stress disorder.

On June 12, Miller pleaded not guilty to possession of a controlled substance and possession of drug paraphernalia. Each charge carries a maximum sentence of one year in jail. A pretrial hearing is scheduled for July 29.

“I am hopeful the misdemeanor charges will be dropped once the facts are reviewed,” Miller said in his Instagram statement.

A five-time Olympic participant, Miller has won more medals than any other U.S. skier, including gold in the super combined at the 2010 Vancouver Games. He was the overall World Cup champion in 2005 and 2008 and won six World Cup discipline titles (three in combined, two in super-G, one in giant slalom).

The Associated Press contributed to this report.

Head coach Brendon McCullum said he remains “good friends” with England captain Ben Stokes and the pair have “no idea” why rumours of a rift have emerged.

The pair reunited on Tuesday for England’s crucial deciding Test against New Zealand after Stokes missed the second following an incident in a London nightclub.

Both McCullum and Stokes had previously denied their relationship was strained during the 4-1 Ashes defeat in Australia, and McCullum has faced questions about their partnership during Stokes’ absence.

At Trent Bridge, two days before the third Test against New Zealand, McCullum revealed the pair spoke face-to-face on Tuesday morning.

“I said: ‘Do you know where this has come from, the conversations around our relationship over the last six months?'” explained McCullum.

“He said: ‘No, I have no idea.’ I said to him: ‘As far I’m concerned, I consider you a good friend.'”

Stokes and pace bowler Gus Atkinson were made unavailable for England’s heavy defeat in the second Test during an investigation into a breach of the team’s midnight curfew following victory in the first Test at Lord’s.

They were present when a member of England security staff was struck by a Saracens rugby player.

Both have been cleared to rejoin the England team for the third Test, with Stokes returning as captain.

After England made five changes to their team for the second Test, Stokes and Atkinson are two of four changes for the third, as the home side move back towards the XI that won the first Test.

Spinner Shoaib Bashir and wicketkeeper Jamie Smith, who has been on paternity leave, also come back in. Ollie Robinson was man of the match at Lord’s but missed The Oval encounter with a knee problem. Robinson is fit, yet misses out as Jofra Archer keeps his place.

James Rew, Jordan Cox, Matthew Fisher and Sonny Baker are the four players omitted.

Two days before the second Test at The Oval, McCullum gave a sombre media conference, when he repeatedly spoke of his “worry” and “concern” for Stokes.

However, Durham’s county head coach Ryan Campbell later said Stokes was in “good spirits” and the county’s chief executive Tim Bostock said he was “bemused” by McCullum’s comments.

England XI for third Test v New Zealand: Ben Duckett, Emilio Gay, Jacob Bethell, Joe Root, Harry Brook, Jamie Smith, Ben Stokes (captain), Gus Atkinson, Jofra Archer, Josh Tongue, Shoaib Bashir.

When the gates opened at St. John’s Episcopal Church in San Bernardino on Good Friday, the music coming from inside wasn’t that of angel-faced choristers or pipe organs; it was the collective scream of electric guitars.

As the sky darkened over the white stucco church framed in palm trees and the dry peaks of the San Bernardino Mountains, fringed teenagers made their way inside, shaking their limbs and chattering in excitement. Fluorescent lights shone overhead in a room that, by day, hosted Bible studies and food pantries — that night, it would be the site of Spinkick Dance Hall, a regular underground music series where noses are bound to bleed and limbs to flail along to ear-splitting riffs.

It’s just one of many shows taking place from Pomona to Palm Desert, heralding a Latino-led youth revival where the freewheeling movement of mosh pits meets the raw power of punk rock: Inland Empire hardcore.

Teenagers congregate in front of St. John’s Episcopal Church in San Bernardino before the start of the night’s hardcore shows on April 3, 2026.

(Katerina Portela / Los Angeles Times)

As the fast-paced and anti-establishment genre known as punk went mainstream in the ’80s, a harder and more unhinged variant emerged in the States; bands like Bad Brains, Minor Threat and Black Flag pushed the limits of vocalization and instrumentation into dissonant new sounds that would make up the subgenre known as hardcore punk.

“As a teenager pre-social media, the music scene was the release for teen angst,” said music photojournalist Zach Cordner. “It was a convergence of nationwide bands that would come to play at [the now shuttered Riverside venue] Showcase Theater, and through word of mouth people got inspired to make cassettes and zines.”

Cordner and his friend Ken Crawford grew up in Riverside in the ’80s and ’90s, photographing the initial wave of hardcore punk taking shape in the Inland Empire. They turned these photographs into a sprawling exhibition held at the Riverside Art Museum earlier this year, “60 Miles East.”

“The scene looks a lot different today than it did in the ’90s,” Crawford said. “It’s browner, it’s queer, and that’s a good thing, to see how it’s become way more diverse.”

Inside the church, the frontman of all-Latino hardcore band Barrio Slam emitted rough growls as the crowd broke into a bustling mosh pit. Teenagers did pinwheel kicks, wrapped Mexican flags over their shoulders and filled the air with chants of “F— ICE.”

Lead vocalist Victor Campos’ family moved from Guadalajara, Mexico, to Pomona, where he says he discovered hardcore through friends. Then, at age 14, Campos attended his first rock show.

“That was the first time that I saw hardcore and metal and the heavier side of music for what it was, and the violence and culture of the shows just sucked me in and I’ve been in it ever since,” Campos said. “It felt like freedom.”

Angela, 19, was in the mosh pit during Load Tha Nine’s performance when she was accidentally struck in the nose by another concertgoer on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. Hardcore shows are characterized by intense music and rough dancing where bloody accidents are not an uncommon sight.

(Katerina Portela / Los Angeles Times)

Jose Ruelas and his Barrio Slam bandmates headbang as they perform on April 3, 2026, in St. John’s Episcopal Church in San Bernardino.

(Katerina Portela / Los Angeles Times)

Campos credits local Latino-led bands like Xibalba and Harsh Reality as inspirations to dive into making music and embrace his identity in the genre.

“In the I.E., it’s really the norm. We’re singing in Spanish, we’re proud. But when we tour, we see it’s not like that everywhere,” Campos said. “Some people still consider punk ‘not for us.’ My own family members will say, ‘You’re listening to white people music.’”

The show at St. John’s is just the tip of the Inland Empire’s DIY venue iceberg. Living rooms, restaurant dining rooms, tattoo shops and record stores have transformed into hardcore venues across the region as established locales closed down.

San Bernardino four-piece “beatdown” group Big Ass Truck is one band that found success beyond the I.E. scene. They signed to Nuclear Blast Records, and at the time of our interview, they had just returned from a tour of Europe.

“With the I.E. especially, we lose a venue like every week. If we have a venue, it’s not staying around for long. I’ve personally seen like three or four venues [in the last few years] just call it,” said Big Ass Truck vocalist Abel Abarca. “So we do get scrappy, and I think that’s what sets the I.E. apart from places like L.A. and O.C.”

San Bernardino hardcore band Big Ass Truck performs a surprise concert at Creator Fest on May 2, 2026, at Creator Tattoo in Pomona.

(Katerina Portela / Los Angeles Times)

Izzy Leyva, 17, describes being met with an immediate “sense of welcoming” at her first DIY hardcore show.

“It’s nice finding people my age to talk about life with. You can start conversations so easily,” Leyva said. “Especially after moshing with someone in the crowd. If you’re struggling to make friends in school, you’ll be able to find someone here.”

She enters the mosh pit fearlessly, dodging flailing arms to two-step — a synchronized dance move that requires punching and running in place — unleashing her energy in the punk sanctum.

“I never feel like an outsider here,” Leyva added.

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1. Mauricio Rivera performs with his band Barrio Slam on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times) 2. Toni Feliz shows her “IE” tattoo, a nod to her hometown, at Creator Fest on May 2, 2026, at Creator Tattoo in Pomona. (Katerina Portela / Los Angeles Times) 3. Izzy Levya, 17, two-steps during Marked for Death’s performance on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times) 4. Fans dance and “two-step” during Barrio Slam’s performance on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times) 5. Andres Rodriguez, 18, moshes during Marked for Death’s performance on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times)

As 25-year-old Guatemalan American vocalist Jorge Cruz entered the show, he embraced his friends and bandmates. Cruz, who fronts the voracious hardcore band KnuckleSandwich, says he sees TikTok as a major platform for hardcore fans to find one another.

“I saw shows online and was hooked … I used to be so nervous to be in the mosh pit, I’d throw up outside. But when I got in there for the first time, I feel like it changed me into someone who was more comfortable in myself,” Cruz said. “It was like a baptism.”

His music, ranging from songs like “Melting ICE” and corrido-hardcore fusion “El Corrido del Maton,” is inspired by his immigrant household upbringing and interest in Chicano studies.

“Especially with this growing anti-intellectualism going on, and conservatives in our government, writing about Chicano identity and the issues in America feels important,” Cruz said. “There’s no one out there to speak up for us than us.”

A day after attending the show, Garrett Boyer and Kenny Sylvia, longtime friends with nearly matching tattoo sleeves and baseball caps, stood talking in Creator Tattoo Parlor in Pomona.

The pair helps to run Division One, a local booking company that books anywhere from Corona storefront DBZ Books N’ Records to their very own tattoo parlor.

A few weeks prior, Boyer got a call from his sister: His niece was diagnosed with an aggressive childhood cancer called neuroblastoma that had spread through her body, causing his sister to tackle insurance and medical costs. Boyer said he reached out to the hardcore community for help and was “overwhelmed” by the response.

“The community really, really, really came together. A lot of people reached out and really quickly we threw this benefit show that raised thousands of dollars,” Boyer said. “That’s the core of what hardcore music should be and is. It’s community.”

A few months before that, they had united with local bands to throw a benefit show, raising money for immigrant coalition groups after increased ICE raids.

“We thought, ‘How could we not help?’ I’m second generation from El Paso. So many of my neighbors and even my partner’s family were directly affected,” Boyer said. “So many shows are not just about music but they can [impact] people’s lives.”

Brett Rock, bassist of San Bernardino hardcore band Big Ass Truck, performs during Creator Fest on May 2, 2026, at Creator Tattoo in Pomona.

(Katerina Portela / Los Angeles Times)

In Creator’s graffitied back lot area on May 2, bands Load Tha Nine, ’92 and Auditory Anguish opened up a DIY festival called Creator Fest, where 22-year-old Cynthia Garcia came out to “let off steam.”

Garcia, who fronts local band Exutoire, said discovering the local alternative scene “changed everything.”

“In high school, it was very much like nothing was happening. We’re all bored. We’re all depressed. We’re writing, and finally, we get to put the writing to use,” Garcia said. “We meet people that are like-minded and trying to get out of that boredom, and then [the music scene] just exploded.”

At Garcia’s shows, she says she constantly meets concertgoers from L.A., or even from San Diego, who drive hours into the I.E. to be part of its blossoming scene.

At Creator Fest, Abarca commanded the stage, building up the energy of the crowd until hair whipped in frenzies. Abarca says he sees I.E. hardcore continuing to evolve, fusing new genres and making the Inland Empire a place to watch as alternative music booms in the “scrappy” venues of San Bernardino, Corona, Pomona and Riverside.

“Latinos in the Inland Empire have always been hardcore,” Abarca said. “People just know it now because we make them hear us.”

Unlike the movies, where directors get the glory, TV directors sit lower in the hierarchy, below creators, producers and actors. In most series, which might employ several over a season, they are interchangeable — which isn’t to say they aren’t valuable, transforming words on a page into a four-dimensional living thing. But a director hired to helm a pilot, as James Burrows, who died Friday at 85, was again and again — almost as a lucky charm — helps set the tone for the series. Jake Kasdan’s input was crucial to the feel (and philosophy) of “Freaks and Geeks,” as Hiro Murai’s was to “Atlanta” (and most recently “Widow’s Bay”). In some cases a director is a co-creator in all but title and union affiliation. A show might subsequently pass to later hands, but they’ll be honoring its established look and feel.

But Burrows was more than a little well known. If you sat through the opening credits of “Taxi,” whose pilot he directed along with 74 other episodes — and why wouldn’t you, with its pleasing Bob James theme and Checker Cab crossing the Queensboro Bridge — you would have seen his name for weeks on end. You might have noticed it on “Cheers,” which he co-created and for which he directed 236 episodes, or on “Will & Grace” (246 episodes), or “Frasier,” “The Big Bang Theory,” “3rd Rock From the Sun,” “Caroline in the City,” “Two and a Half Men,” “2 Broke Girls,” “The Neighborhood” or, just last year, “Mid-Century Modern” — all series whose pilots he directed. You might have caught it on episodes of “The Mary Tyler Moore Show,” “Phyllis,” “Rhoda” or “Laverne & Shirley,” until you began to think that maybe there was nobody else directing network multi-camera situation comedies, the most human of television formats and a specialty from which he rarely strayed.

And you might have seen him as himself this year in the third season of Lisa Kudrow’s “The Comeback,” as the man she enlists to save a television pilot from hacky AI jokes. “Surprising only comes from a group of writers huddled in a corner, beating themselves up to beat out a better joke,” he says.

“As director, I am there to help create the ensemble, to do everything I can to foster a community among the company, and to train a new set of actors to behave as a group and respect one another,” he wrote in his 2022 memoir, “Directed by James Burrows.” He famously took the cast of “Friends” to Las Vegas before the show premiered in order to foster bonds in a soon-to-be-impossible state of anonymity. “I guess I have a gift for creating families,” he told the New York Times in 2023.

But if “Friends” refers to the characters and the people who play them, it includes the audience too. Burrows’ talent was to midwife a real relationship between the viewer and the viewed, “You want to go where everybody knows your name,” runs the “Cheers” theme, and where you know everyone’s name. The families he excelled at creating were yours as well, and one watched knowing that these things happened in real time in real space, and that you could be in the room, if you made the effort. Tickets were available.

The son of Abe Burrows, who wrote or co-wrote the books for “Guys and Dolls,” “Can-Can” and “How to Succeed in Business Without Really Trying,” and co-created the radio comedy “Duffy’s Tavern” — set, like “Cheers,” in a bar, though the younger Burrows denied any influence — he’d been directing dinner theater when he had the idea to write to Mary Tyler Moore, whom he’d met on the set of a never-opened “Breakfast at Tiffany’s” musical. His stage experience (and his Yale School of Drama degree, presumably) proved eminently transferable to the proscenium reality of multi-camera situation comedy.

What Burrows shows share — the ones we remember, at least, out of many we don’t — is that they’re fundamentally joyful. They lack cynicism. They’re expressive of their times without being showily edgy. They walk a line between freshness and familiarity, which makes one want to return week after week. They may push an envelope — “Friends” was something new, after all — but subtly. We can assume, given his reputation and the fact that he could have retired on “Cheers” alone, that he liked what he did and did what he liked, and regard his choice of projects as a form of personal expression in itself, the basis of a body of work that has and will live on.

Comedy director James Burrows, the 11-time Emmy-winning director who co-created “Cheers” and helped turn such long-running sitcoms as “Taxi,” “Friends,” “Will & Grace” and “The Big Bang Theory” into fan favorites, has died, his family confirmed to People. He was 85.

“We celebrate the extraordinary life and enduring legacy of James ‘Jimmy’ Burrows, who passed away peacefully today surrounded by his loving family,” his family said in a statement to People. “For more than five decades, Burrows was one of the most influential and beloved directors in television history. As a legendary director, mentor, and creative force, he helped shape generations of comedy and brought immeasurable joy to audiences around the world.”

A master of the multi-camera sitcom, Burrows started his career shooting episodes of “The Mary Tyler Moore Show” in 1974 and “The Bob Newhart Show” in 1975. He soon joined the quality-oriented production company, MTM, which counted James L. Brooks, Steven Bochco and Gary David Goldberg among its alumni.

“They were smart enough to know that it’s better to have a director who can talk to actors rather than a director who can move cameras. You can’t really learn how to make something funny, but you can learn to move the cameras,” Burrows said in a 1995 interview with The Times.

Burrows was born in Los Angeles and later moved to New York with his family where he attended the High School of Music & Art. He graduated from Oberlin College and completed a graduate program at the Yale School of Drama. He worked years as a stage manager with his father, a playwright and director, assisting on shows such as “Breakfast at Tiffany’s” starring Moore and Richard Chamberlain.

He solidified his name in television with “Cheers,” co-creating the lively Boston travern “where everybody knows your name” with Glen and Les Charles. Over its 11 seasons on the air, Burrows directed 237 of its 275 episodes, emerging as a behind-the-scenes comedy legend.

“You bring ‘em in, you sit ‘em down and they talk. That’s all ‘Cheers’ was,” Burrows told The Times. “The word is more important than the goofiness. It was all about the words — which is how I was trained, how my father was trained, how anybody who reads books is trained. It’s the word.”

His father, Abe Burrows, was a Pulitzer Prize-winning playwright, screenwriter and director who performed in radio comedies and co-wrote the books for the Broadway musicals “Guys and Dolls” and “How to Succeed in Business Without Really Trying.” The younger Burrows said that growing up on radio comedies helped him hone his ear for humor.

“I know what’s funny, and I probably know the best way to deliver the joke. Whether it’s walking out of a room, facing that way, facing this way,” Burrows said in a 2010 interview with The Times. “I just have a sense of that.”

Another skill he learned from his dad? was working on his feet.

“He’d run the scenes over and over. He created this wonderful camaraderie, which I always try to do. I love to do ensemble shows because that’s where you get the camaraderie.”

Burrows, often considered a fatherly manager, tried to bridge the gap between actors and writers and notably took the cast of “Friends” on a trip to Las Vegas before directing 15 episodes of the blockbuster comedy. He also threw a party for the “Mike & Molly” cast to build rapport because he believed when everyone liked each other, it showed onscreen.

Actors would know when a joke landed when they would hear Burrows giggle as the scene unfolded.

“I’m the guy that wants you to walk the comic plank for me,” he said. “Take it as far out as you want to take it and I’ll bring it back. Sometimes I’ll take it further. But trust me.”

With his slate of hits — he’s credited for directing several shows in NBC’s primetime “Must See TV” lineup of the 1990s — Burrows amassed sizable wealth and, from an early age, was in constant demand by those seeking his magic touch for their show. However, he also saw his fair share of flops: Henry Winkler’s “Monty, “Cafe Americain” with Valerie Bertinelli and a slew of promising pilots that never got off the ground. He also felt that ABC’s “The Associates” and “The Class” on CBS were canceled too soon.

From 1998 to 2006, Burrows helmed every episode of “Will & Grace,” the Emmy-nominated sitcom about a woman and her gay best friend that aired on NBC for eight seasons during its original run. To Burrows, it was the funniest show he ever worked on. He was also behind the camera for the comedy’s 2017 revival, which brought the envelope-pushing antics of Will, Grace, Jack and Karen back for three more seasons.

“It was a fairytale literally and figuratively,” he said in a 2016 Hypable interview. “It was not of the real world in a strange kind of way. These were exaggerated characters. Although they were grounded with Will and Grace, there was this exaggeration that made the stuff you could do and get away with on that show so extraordinary.”

He won his 11th Emmy Award serving as an executive producer on 2019’s all-star re-staging of “Live in front of a Studio Audience: ‘All in the Family’ and ‘Good Times.’” A year earlier, he was nominated for directing the “‘All in the Family’ and ‘The Jeffersons’” TV special.

James Burrows behind the scenes.

(Chris Pizzello / Invision / Associated Press)

Throughout his career Burrows had a penchant for directing pilots because it meant “you’re better than an episodic director” and could create something new in the writer-driven medium of television. He was also drawn to “more uptown, the more urbane, the more sophisticated” comedies. He tried doing cinema once — 1981’s “Partners” with Ryan O’Neal and John Hurt — and said the result confirmed his belief that he was built for television.

“I’m not a cinematic guy. I’m a theater guy. For what I do, I need a live audience,” he said in a 2016 interview with the Television Academy.

Among his favorite TV moments were the pilots for “Frasier” and “Third Rock From the Sun,” the long-awaited kiss between Sam (Ted Danson) and Diane (Shelley Long) and Woody’s (Woody Harrelson) wedding on “Cheers,” Rev. Jim (Christopher Lloyd) taking his driving test in “Taxi,” Ross (David Schwimmer) being attacked by a cat in “Friends” and Will, Grace, Jack and Karen getting in the shower together on “Will & Grace.”

Late into his career, Burrows continued to work in the multi-camera sitcom format, which is shot in a studio, usually before a live audience. In 2013, he was honored by the Television Academy, and, in 2016, he celebrated directing his 1,000th episode of television programming, crossing the milestone with an episode of “Crowded.” NBC marked the milestone with “Must See TV: An All-Star Tribute” special. According to critics, the show — billed by several outlets as the elusive “Friends” reunion and came off as a living eulogy to Burrows — fell short and did not do the legendary director justice.

In all, Burrows was nominated for 45 Emmy Awards and 17 Directors Guild of America Awards.

Walter Parazaider, the saxophonist and co-founder of the rock group Chicago, has died. He was 81.

Parazaider died June 17 of complications from Alzheimers disease. In a statement posted to social media on Wednesday, the band said that “Chicago is heartbroken at the sad news of Walter Parazaider’s passing this morning. We extend our deepest condolences to his family, friends and countless Chicago fans who are all grieving his loss today.”

His daughter, Felicia Helen Parazaider, also posted on Facebook that “I love you poppy, my Pal…You coloured our world.”

Born in Maywood, Ill., Parazaider began his music career as a clarinetist, before founding Chicago with childhood friends in the group’s namesake city. The band’s pop hits like “25 or 6 to 4” and “Saturday in the Park” were staples of the ‘70s and remain beloved fixtures of classic rock. His diverse woodwind skills helped give the band its regal sound, adding saxophone riffs to hits like “Just You ‘n’ Me” and a poignant flute solo on “Colour My World.”

While Chicago’s lineup changed often, Parazaider remained with the group until retiring in 2018. In April of 2021, Parazaider wrote in a statement on Chicago’s website that “I was diagnosed with Alzheimers disease. Needless to say, my wife, daughters and myself were shocked and devastated. It has taken awhile to process this news and the fact is, we still are. The good news is we have a wonderful medical facility here and I have a very good doctor. I am working hard and not going to give up.”

Chicago gave credit to Parazaider for conceiving of the band’s distinct instrumentation, and the work ethic that made them stars. “A Rock & Roll band with horns was Walt’s idea,” Chicago’s statement continued. “He put the band together and they rehearsed in the basement of his mother’s home. He is also the one who did the hard work to book shows for the young, unknown band, performing top 40 covers at local bars in and around Chicago.

“We are forever grateful for his contribution,” they continued. “Perhaps his greatest gift was bringing people together. This amazing music may have never been heard had it not been for Walt’s vision.”

Parazaider is survived by wife JacLynn and daughters Laura and Felicia.

Few people do simmering panic as nimbly as Sarah Goldberg.

In her role as Dr. JoAnne Felder, a performance psychologist tending to the mercurial psyches of the billionaire man-children of Silicon Valley on the new AMC satire “The Audacity,” Goldberg careens from serene to slapstick as she tries to keep a lid on her increasingly unruly life.

It is the latest in a string of enviably layered characters for the Vancouver native, including her Emmy-nominated breakout turn as aspiring actor Sally Reed on the HBO contract killer dramedy “Barry” and the coolly calculating portfolio manager Petra Koenig on the network’s drama “Industry.”

“I’m definitely learning some large tech and finance words that I didn’t know,” she says with a laugh about her recent wealth-adjacent roles on a Zoom from London, where she makes her home. “I’m not sure if I’ll retain them.”

Given the accolades, it seems likely Goldberg only needs to memorize her lines and the rest will follow.

While she has given a distinctive performance in each of her roles, one of several threads tying the characters together is a moment when fear, rage, excitement, ambition or all of the above collide but must be contained. While that discipline sometimes devolves into delicious displays of apoplexy — witness Goldberg’s incredible, expletive-littered elevator meltdown in “Barry” — the 40-year-old actor is more often the face of diplomacy while telegraphing cortisol levels in the red beneath her placid exterior.

“As a blond Canadian, I really ran the risk of being the girl next door,” she says of her attempt to dodge typecasting onscreen after cutting her teeth onstage in London and New York in the mid-2010s. “I didn’t want to be the girl next door … maybe the girl next door with bodies in the basement.”

While the only bodies to be found in JoAnne’s basement on “The Audacity” are her eavesdropping son and his friends, the London Academy of Music & Dramatic Art (LAMDA) graduate has accomplished the mission of subverting what might have been a perky ingenue image with the role. (One she will continue, since the series has already gotten a Season 2 order.)

When the ethically challenged therapist starts dabbling in insider trading thanks to info gleaned from her patients — including bold tech names Duncan Park (Billy Magnussen) and Carl Bardolph (Zach Galifianakis) — the slippery slope awaits.

Goldberg with “The Audacity” co-star Billy Magnussen.

(Ed Araquel / AMC)

“I think that she started her career with a desire to help people and somewhere along the line she’s become incredibly jaded and she’s exhausted by being the most intelligent person in the room and yet having no material wealth to show for it,” says Goldberg of her character, whose struggles extend to motherhood of son Orson (Everett Blunck) and marriage to child psychologist Gary (Paul Adelstein).

It does not help that JoAnne is surrounded by people who have no trouble sliding headfirst down the slope as if it were an Aspen trail.

“She’s working with people who have so many houses that if one burns down, it doesn’t matter, and yet she’s struggling to keep the roof over her own head. So somewhere along the line she starts making these little contracts with herself thinking, ‘In this sea of moral bankruptcy, is my tiny little transgression really so bad? Or is it even justified?’ But these little small pacts start to snowball. You can see somebody torn between their better judgment, their core instinct, their humanity, and someone who is so frustrated that they’re stepping toward a kind of nihilism.”

That sense of inner conflict appeals to Goldberg, who says she knew instantly that she had to play JoAnne when she read the script by showrunner Jonathan Glatzer. “It’s rare for me to go out and be like, ‘I have to play this role!’” she says, adding with a laugh, “I can be quite passive. I can be quite Canadian in the American market. I felt like he’d found this incredible line of satire with pathos, which is my favorite kind of style.

“I’m always interested in playing characters on the precipice of losing their moral compass and which way they decide to go,” she continues. “And if JoAnne has anything in common with Sally from ‘Barry,’ because they’re such different characters, it’s that. … I love that Jonathan’s given JoAnne very mundane relatable problems in a world where the scale is so off and there’s a lot that the average person can’t relate to in that bubble.”

Goldberg has also been busy creating her own bubble, writing, producing and starring in the Canadian-Irish series “Sisters” — which just concluded its second season on AMC — with Irish actor Susan Stanley, her best friend since their LAMDA days. The odd couple sibling comedy finds Goldberg playing Sare, a buttoned-down Canadian who goes to Ireland to find her long-lost biological father (Donal Logue) and discovers shambolic half-sister Suze (Stanley).

“I was pretty shocked at how hard it is to get something made,” she says of the series’ six-year journey to screen. “And then to be in a leadership position where you’re inviting everyone to dinner and you’ve got to make sure there are three courses and being responsible for everybody’s well-being — it was wildly challenging, but absolutely thrilling.”

While she prepares to return to JoAnne’s world in Palo Alto — her hometown of Vancouver serving as a double — Goldberg feels very fortunate about where she’s landed.

“I’ve been so lucky at this stage in my career to work on scripts that I feel are really saying something and characters that I feel are morally complex and also to be in the business at a time where female characters are more complicated.”