highlights

World number 146 Grigor Dimitrov held his nerve to overcome a stubborn Matteo Berrettini to win a five-set classic and set up a fourth round tie against Great Britain’s Arthur Fery at Wimbledon.

READ MORE: Dimitrov out to rewrite Wimbledon story after beating Berrettini

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Novak Djokovic beats Arthur Rinderknech in four sets to go level with Roger Federer for most men’s singles wins at SW19, as the seventh seed progresses into the fourth round.

READ MORE: Djokovic fights off Rinderknech to claim more history

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England and India are both left frustrated as the first T20 in their five match series is abandoned because of rain during the innings break, after India had set England 190 to win at Chester-le-Street.

MATCH REPORT: First England-India T20 abandoned because of rain

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A dull yellow light peeks through a brooding sky looming over rolling Southern California hills. The oil painting “Approaching Storm” captures the kind of picturesque scene that would get fine artist Paul Grimm work in early Hollywood. Known for his plein air landscapes and masterful depictions of clouds, he turned to studio work to make money during the Great Depression.

He is one of many artists on display at a new UC Irvine Langson Orange County Museum of Art exhibition about set painters whose work would go uncredited or overlooked.

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“They weren’t making their living selling their paintings, but they were making their living working for the studios,” said museum director Kathryn Kanjo. “The artist would lose their individual credit and recognition, to be at the service of what was needed by the studio.”

Elsewhere in the “Staging California in Early Hollywood” exhibition, hangs an 18-by-25-foot painted backing for “The Sound of Music” (1965), a project led by the then-art director of 20th Century Pictures’ special effects department, Emil J. Kosa Jr. He’d be the only one to get credit at the time, not the five other contributing artists, including celebrated plein air artist Arthur Grover Rider, who are also noted in the museum description.

“In general, at the studios, they systematized the production design, so that it was fast,” Kanjo said, describing the rigid process as militaristic. “Five artists at a time work day after day to get these things done.”

It’s the museum’s first exhibition since UC Irvine acquired the Orange County Museum of Art last September, building a 9,000-piece collection dating back to the 19th century.

The exhibition, with about 50 pieces, is the first since Kanjo’s appointment in December. It’s a love letter to the film industry’s anonymous and little-known artists, whose works were vital to movies.

The exhibition opens with Paul Grimm’s Untitled, 1974, left, and “Approaching Storm,” 1974, right, which capture the essence of the Southern California landscape.

(Allen J. Schaben / Los Angeles Times)

Take two of the most prolific set artists of the mid-20th century: Warren Newcombe and George Gibson. Newcombe was a Massachusetts-born, well-educated artist who started working on sets as early as 1920. He’d eventually join the MGM art department, where he perfected a visual effect technique called “matte painting.” For a time, it was simply referred to as the “Newcombe shot.”

Gibson was also at MGM around the same time. When the studio first hired the Scottish artist, he’d routinely miss shifts to paint plein air in Southern California. He and Newcombe would help craft “The Wizard of Oz” (1939), but when the credits rolled, both their names were missing.

Newcombe and Gibson would go on to be recognized and celebrated for their work. About a decade after “The Wizard of Oz,” Newcombe won two Oscars for special effects, for “Thirty Seconds Over Tokyo” (1944) and “Green Dolphin Street” (1947).

“He was really instrumental in the professionalization of artists at MGM,” assistant curator Michaëla Mohrmann said of Gibson. “His insistence on color saturation is something that really informs his work for ‘The Wizard of Oz,’ and it’s really that movie that cements his reputation as one of the masters of scenic art.”

Meanwhile, artists like Arthur Beaumont hardly got their due. Raised by a military family in England, the California transplant was particularly captivated by naval vessels. By 1933, he had painted maritime art for most of the U.S. Naval fleet. As a result of his work, he was commissioned as a lieutenant in the U.S. Navy and recognized as its fleet’s official artist.

He also began producing promotional materials and storyboards for Paramount Studios’ naval films as early as 1935, first for a movie titled “Mutiny on the Bounty.” In 1942, he would do the same for “Wake Island” in the midst of World War II. His work was later etched into metal plates and used to mass-produce publicity prints.

Museum director Kathryn Kanjo stands between Arthur Grover Rider’s “Ortega Highway” (1974), left, and Emil J. Kosa Jr.’s “How Marvelous Thy Works” (1928).

(Allen J. Schaben / Los Angeles Times)

“They were participating [in the military and war] in different functions and not always credited for that kind of work,” Mohrmann said. “I think there was an act of generosity [during wartime] in general — everyone was really patriotic.”

The exhibition also features a silent film titled “The Life and Death of 9413: a Hollywood Extra,” a 1928 short highlighting the plight of a background actor known as “9413.”

“It’s all like him being shoveled around and underappreciated and not even given a name, right?” Kanjo said. “Everybody thought it was funny because it was kind of meta, but it was pointing out real issues.”

Beyond giving credit where credit’s due, the exhibition aims to uplift background art.

“Back then as well as now, people question the artistic merits of these works because they were made for films that were for profit,” Mohrmann said. “When in reality there was a ton of talent and artistry and critical thinking.”

Quincy Bowie Jr. contributed to this report.

Daizen Maeda’s smart finish to Japan’s team goal is cancelled out by Anthony Elanga’s long-range strike as Sweden fight back to earn a 1-1 draw, ensuring both sides progress to the World Cup knockout stages.

MATCH REPORT: Japan 1-1 Sweden – Group F

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Goals from Nilson Angulo and Gonzalo Plata help Ecuador come from behind to beat Germany 2-1 to qualify for the knockout stages of the FIFA World Cup, as one of the top eight third-placed teams.

MATCH REPORT: Ecuador 2-1 Germany – Group E

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Australia made it four wins from four at the ICC Women’s T20 World Cup after easing to a 113-run victory against Pakistan at Headingley, with the six-time winners on the verge of the semi-finals with one group match remaining.

READ MORE: Australia thrash Pakistan to edge closer to semis

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Kylian Mbappe marks his 100th international cap for France with a brace, moving him second on the all-time World Cup goal scoring list with 16 goals. His performance spearheaded a dominant 3-0 victory over Iraq, securing France’s spot in the last 32 after a two-hour storm delay.

MATCH REPORT: France 3-0 Iraq

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Curacao goalkeeper Eloy Room equals the record for most saves in a World Cup match, as Dick Advocaat’s side earn their first ever point in the tournament with a 0-0 draw against Ecuador at the Kansas City Stadium.

MATCH REPORT: Ecuador 0-0 Curacao

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Scotland concede after 71 seconds and fall to a World Cup defeat against a classy Morocco, but their hopes of a historic knock-out place remain in their own hands with one group game to go.

MATCH REPORT: Scotland 0-1 Morocco

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Smriti Mandhana’s 68-run knock and Deepti Sharma’s five-wicket haul helped India secure an impressive 64-run win over Pakistan in Group One of the ICC Women’s T20 World Cup.

MATCH REPORT: Mandhana and Deepti star as India beat Pakistan

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Béla Guttmann may be the most consequential soccer coach you’ve never heard of. But if it weren’t for Guttmann, you may never have heard of Pelé.

And Brazil may never have become the greatest soccer-playing country on Earth.

That’s because Guttmann changed the shape of modern Brazilian soccer — and changed the sport forever — when he imported the revolutionary 4-2-4 system from Hungary to Sao Paulo in 1957. A year later, Brazil won the first of five World Cups and the joga bonito was born.

But what Guttmann brought to Brazil isn’t nearly as interesting as how he got it there. That’s just one of the fascinating stories in “The Beautiful Game … The Untold Story,” the exhibit that will open the Holocaust Museum LA on Sunday at the Goldrich Cultural Center, a $70-million expansion that will double the size of the Pan Pacific Park museum’s campus to 70,000 square feet.

A soccer ball from the holocaust is among the items on display in the exhibit “The Beautiful Game … The Untold Story” at the Holocaust Museum LA.

(Eric Thayer/Los Angeles Times)

The exhibit was unveiled during a private reception on Saturday followed by a free preview day open to the public from 10 a.m. to 5 p.m. The grand public opening will take place in August.

The show’s launch coincides with eight local World Cup matches, which kicked off with the United States’ 4-1 win over Paraguay on Friday at SoFi Stadium, and it shines a light on the important but largely overlooked relationship between Jewish life and the global game, as well as how Jewish innovators like Guttmann shaped the modern rhythm, style and culture of the sport.

“It was in the same intellectual level as jazz, as art and everything modern and progressive,” journalist Allon Sander, who helped curate the exhibit, said of Jewish participation in European soccer in the years before World War II.

“The origin of the game and how it intersects with Jews and the Holocaust and the impact that these Jewish footballers and coaches had to shape the game and help popularize the sport is so fascinating,” added Beth Kean, the museum’s CEO. “And it’s an unknown history.”

Much of that story can be told through Guttmann, who was born in Budapest in the final year of the 19th century and developed into one of the sport’s first Jewish stars, representing Hungary in the 1924 Olympics and playing for nine teams in two countries before retiring to become a coach.

But none of that success mattered when the Hungarian government began introducing anti-Jewish laws in 1938, costing Guttmann his job and nearly his life when he was sent to a Nazi forced-labor camp, where he was tortured. Just days before he believed he would be shipped to Auschwitz, which meant certain death, he escaped alongside Erno Erbstein, another Jewish coach.

Erbstein revolutionized soccer in Italy before dying in 1949, along with the entire Torino team, when their plane crashed into a hilltop outside Turin. Four years ago, he was inducted into the Italian soccer hall of fame. Guttmann, meanwhile, who lost much of his family in the Nazi death camps, would go on to coach for 42 years in 14 countries, winning championships in six of them yet only staying in a single place for more than two years just once.

“He’s running away from his demons,” said Ronen Dorfan, a journalist and sports historian based in Budapest whose research was instrumental in putting the exhibit together. “His father was murdered, his sister was murdered. You never know how you survived in Budapest during the war so he had guilt feelings.”

A jersey worn by player Max Wozniak and a jersey from the 1930s are displayed in an exhibit called “The Beautiful Game … The Untold Story.”

(Eric Thayer/Los Angeles Times)

The exhibit was designed in three sections, the first devoted to the years before World War II, the second is about the Holocaust and the third is the postwar years. And while it details Jewish participation in, and influence on, global soccer, it also challenges the cliché that Jews were intellectuals, artists and laborers but not athletes.

“We are always trying to challenge stereotypes. Stereotypes that we might have about ourselves and even stereotypes that we believe about others,” said Jordanna Gessler, the museum’s vice president of education and exhibits who helped curate the show. “It’s crucial to help people find their place and their voice and really see the unity, the similarities between people.

“This is a story that was lost in time and we’re really bringing it out,” Gessler added. “To really have this conversation and encourage people to explore stories that they might not know.”

One thing people might not know is that in the 1920s and ‘30s, Europe’s best teams weren’t in England, Germany or France, but in Austria and Hungary, where they were led by Jewish players and coaches such as Hugo Meisl, Jozsef Braun, Arpad Weisz, Marton Bukovi, Gusztav Sebes and Gyula Mandi. Weisz and Braun were both killed by the Nazis.

A soccer ball from the 1974 World Cup is displayed at an exhibit called “The Beautiful Game … The Untold Story.”

(Eric Thayer/Los Angeles Times)

The surge of antisemitism and fascism in Germany, Italy and Eastern Europe helped spread the influence of those revolutionary players and coaches around the world.

“With the rise of the Reich and the Holocaust, the coaches ran away,” Dorfan said. “And they ran to every corner of the world, to Brazil, to Argentina, to Portugal [and] provided coaches to Real Madrid, to Barcelona, to Benfica, to Flamengo.

“There isn’t one of these clubs that doesn’t owe its tactical development in the ‘40s and ‘50s to the Jewish coaches, which came primarily from Hungary.”

The primary tactical development was the shift from the popular but rigid 2-3-5 formation, which required immense physical endurance and tactical discipline, to the fluid 4-2-4, which spread the wingers to the touch line and allowed for improvisation and creativity on the attacking end, a formation pioneered in Budapest in the 1920s.

“They developed a more refined game of passing the ball, keeping it on the carpet rather than the English kick and run, and really put thought into tactical thinking,” Dorfan said.

Guttmann, who played or coached for more than two dozen teams in his career — including one, in Romania, that paid him in vegetables during the postwar period — brought the Hungarian approach to Brazil in 1957 when he coached Sao Paulo to a championship. After Vicente Feola, the manager Guttmann replaced at Sao Paulo, took over the national team a year later, he brought the formation with him, popularizing many of the tactics still used in modern soccer, such as fluid defensive wingers, overlapping full backs, the use of a withdrawn striker and an attacking midfield.

The soccer team at the Theresienstadt concentration camp’s flag is displayed in a Holocaust Museum LA exhibit called “The Beautiful Game … The Untold Story.”

(Eric Thayer/Los Angeles Times)

“He is the whole exhibition in one man,” Dorfan said of Guttmann.

“Obviously if we wouldn’t have had the Holocaust, those [coaches] wouldn’t be kept out of Europe, Europe would be much stronger, much more developed. [And] then the development of Brazil or the success of Brazil would be coming much later,” Sander said.

Dorfan spent the better part of two years tracking down many of the more than 100 trophies, uniforms, photos and trinkets that make up “The Beautiful Game” exhibit, a search that required determination, perseverance and more than a little luck. Many of the items, because of their ties to Jewish athletes and teams, were hidden during the war and presumed lost. Others resurfaced only through detective work that sent Dorfan following leads that spanned decades and crossed more than a dozen borders.

That also cost money. So Alan Rothenberg, the man who, as president of the U.S. Soccer Federation, first brought the World Cup to Los Angeles 32 years ago, stepped up to lead an effort that raised more than $1 million to fund the exhibit.

“The story really needs to be told, particularly with what’s going on right now with respect to antisemitism,” Rothenberg said. “It’s really important for people to realize what can happen. And soccer is a great vehicle to draw them in. The one main thing in the museum is bringing schoolkids in.”

The Nazis and their collaborators failed in their attempt to erase the history of Jewish soccer pioneers; in fact, they inadvertently popularized both the men — and women — and their ideas. But the sport also helped other Jews survive a dark period and Kean said that may be the most beautiful and uplifting part of “The Beautiful Game.”

“The main reason we decided to do this exhibition in the first place is because for years so many survivors, when they talk about their life before the war, so many of them talk about soccer. So many of them were passionate and fond of the sport,” she said.

“We knew the exhibit opening was going to coincide with the World Cup. L.A. is going to be on the world stage. This is a great opportunity for the museum to get these stories out.”

For two weeks, the fate of Major General Rabe Abubakar (rtd) had become a barometer for testing whether Nigerian authorities could secure the release of a high-ranking military officer from the hands of terrorists operating in the northwestern region.

The answer came on Saturday, June 13, in a press statement by Nasiru Muazu, Katsina’s Commissioner for Internal Security and Home Affairs. The retired general could not be rescued, the Katsina government itself said. Rabe, who served as the Director of Defence Information at Nigeria’s Defence Headquarters between 2015 and 2017, died while in detention at the hands of the terrorists who abducted him. 

Rabe was abducted alongside his wife, Hajia Amina, on May 30. A native of Batsari from Katsina State, he was kidnapped on the Matazu–Sayaya road, a road that has now become one of the most volatile in the North West. 

“It is with profound sadness that we confirm the General’s death while in bandits’ captivity. Despite the relentless and concerted efforts of the State Government and various Security Agencies to secure his safe release, the situation ended in this tragedy. The deceased Retired General died a natural death from complications of diabetes and hypertension,” Nasiru said in the statement.

The abduction of the general had exposed how deeply terrorism has eaten into the fabric of Nigeria, especially the North West, where criminals have turned into full-time armed gangs that engage in kidnapping, pillaging, and other forms of terrorism. 

For over a decade, Katsina and other states in the region have faced incessant attacks from these terrorists, forcing local authorities to consider a “reconciliation” with the armed groups to restore peace. Some local government areas in Katsina, such as Jibia, Batsari, Kurfi, Safana, Danmusa, Matazu, Musawa, Kankara, Faskari, Malumfashi, and Bakori, have agreed to establish peace accords with terrorists in their areas. 

However, while some of these areas have seen relative calm, the situation in Matazu, Bakori, Musawa, Kankia, and Malumfashi has only deteriorated. The Marabar Musawa – Musawa – Matazu – Kafin Soli road (where the General was abducted) became volatile after the peace deal broke. 

Even before May 30, there were several cases of abduction on the road as well as attacks on communities and towns in the area. HumAngle reports that Muhammadu Fulani, the terrorists’ leader in the Matazu – Musawa area, is accusing the state government of arresting three of his men and seizing his livestock. 

Ambush on a wedding road 

Rabe was travelling with his driver and wife to Katsina for a wedding ceremony when the terrorists emerged near a village called Zakin Baure, blocked the road, and opened fire on his vehicle, a red coloured Peugeot 406 car, according to media reports. That forced the vehicle to a halt, enabling the terrorists to abduct him and his wife and push them into a nearby forest. His driver, however, escaped with gunshot injuries and was later admitted to a hospital. 

They were heading toward Katsina city for a family wedding through the perilous corridor, Marabar Musawa–Musawa–Matazu–Kafin Soli, which sits at the fault line of a regional peace architecture that has become increasingly fragile.

Abduction timeline 

June 6: The terrorists released a video clip of the couple begging for the government to rescue them. The wife, who spoke, asked the government to facilitate the release of some three terrorists arrested by security agents in exchange for the couple’s freedom. 

June 8: The terror group leader, Muhammadu Fulani, said he would not release the wife of the General, Amina, as promised, after the government dispatched security agents to the area to fight him. 

June 11: A video clip of the General, his wife and four others went viral on social media. HumAngle checks revealed that the other four persons in the video were members of the All Progressive Congress (APC) from Danja Local Government Area of the state who were abducted last month on the same road. 

June 12: A special prayer session was organised at the Sa’ad Bin Abi Waqqas Mosque in Barhim Estate, Katsina city, at 5 p.m.. Several relatives and friends of the Major General attended the prayer session, where the Imam called on the government to ensure the safe return of Rabe, his wife, and all abducted victims.

June 13 (morning): A WhatsApp message began circulating, especially in Katsina. The message said the General had died Friday night, June 12. “Innalillaihi wa ina ilaihil rajiun. This is to announce on a sad note. The death of General Rabe Abubakar last night at the hands of the bandits.” A HumAngle reporter also received a message from a retired civil servant asking for confirmation. 

June 13 (afternoon): The Katsina State government, through the Ministry of Internal Security and Home Affairs, confirmed the General’s death, saying that he died “a natural death from complications of diabetes and hypertension”. 

A symbol, and a warning

General Rabe’s death has reverberated through Nigeria’s security establishment and social media platforms precisely because of who he was: a man who had once stood before cameras explaining the state’s fight against terrorism. It also brings renewed attention to Nigeria’s growing terrorism and persistent security challenges facing several northern states despite ongoing military operations against the armed groups. 

Dikko Umaru Radda, the Katsina State governor, called the episode a “dark moment,” saying it highlighted the urgent need for a stronger, more coordinated security response, while pledging that those responsible would be pursued.

For residents of Katsina’s volatile corridors, Rabe’s death is a confirmation of what many have long understood: on the state’s insecure roads, rank, fame, and a lifetime of service offer no immunity at all.

His wife’s status was not addressed in Saturday’s statement, and her deceased husband was buried according to Islamic rites, but sources told HumAngle she was released alongside her husband’s remains.

Tomorrow marks the start of Emmy nominations voting, and we’re marking the occasion with with not one but two issues this week.which means twices as many series, and stories, to catch up with. So let’s get to it!

Cover stories

(Christina House / Los Angeles Times)

It’s rare for an awards roundtable to spark a real debate, but the thoughtful group of actors to appear on our 2026 Emmy Drama Roundtable — Katherine LaNasa (The Pitt”), Billy Magnussen (“The Audacity”), Zahn McClarnon (“Dark Winds”), Tom Pelphrey (“Task”), Michelle Pfeiffer (“The Madison”) and Karolina Wydra (“Pluribus”) — captured my attention with their layered conversation about runaway production.

Considering the economic boon Hollywood has brought to popular shooting locales like Atlanta and New Mexico, the dire consequences for the L.A. film industry and the increasing threat from production zones overseas, the group didn’t agree on one diagnosis, much less solution, to the problem. But in their conversation, these top names in the industry all showed deep concern about what such changes mean for showbiz’s shrinking middle class. “Our crew doesn’t get to go — the people that we know that we need, that we work with, that we make these things with,” as Pelphrey acknowledged. “We get to go wherever the f— we want, actors, directors, but the crew doesn’t.”

(Christina House / Los Angeles Times)

For the guests on our 2026 Emmy Limited Series/TV Movie Roundtable — which included Jamie Bell (“Half Man”), Linda Cardellini (“DTF St. Louis”), Camila Morrone (“Something Very Bad Is Going to Happen”), Michael Peña (“All Her Fault”), Andrew Rannells (“Miss You, Love You”) and Constance Zimmer (“Love Story”) — there’s no predicting which performances will resonate with viewers — or when.

The 2002 live-action adaptation of “Scooby-Doo,” in which Cardellini starred as Velma, has taken on cult status since its premiere, and enjoyed a revival of interest as a new Netflix version announced the cast. Rannells (“Girls”) and Zimmer (“Entourage”) have each seen their roles in epochal HBO comedies revisited by younger generations, who are often viewing the series through a very different lens. Peña, whose comedic flatulence on an “Eastbound & Down” blooper reel is now a viral meme, even wonders if he’ll be remembered for that over more serious fare like “Crash” and “World Trade Center.”

“Is that going to be your In Memoriam thing?” Rannells jokes.

At least Peña, laughing, takes it in stride: “Can you imagine?”

Digital cover: ‘The Boys’

(Bexx Francois / For The Times)

There’s plenty to chew on in contributor Max Gao’s digital cover story on Prime Video’s twisted superhero satire after the conclusion of five gloriously gory seasons, but my personal favorite feature may be the sidebar of memorable from key cast members. Chace Crawford’s on-set snacks of choice? Check. Jack Quaid’s surprising craftiness? Also check. Karen Fukuhara’s struggles with nausea? Ditto. If you are already missing “The Boys” and want to re-live it vicariously through some of its central figures, be sure to read the full piece, which already includes creator Eric Kripke and actors Laz Alonso and Erin Moriarty.

The mayor is in

(Ebru Yildiz/For The Times)

Speaking of double duty, Welsh actor Matthew Rhys showcases his range this season in two very different performances, last fall as a real estate scion suspected of killing his wife in Netflix’s “The Beast in Me” and right now as the put-upon mayor of a possibly cursed island town in Apple TV’s “Widow’s Bay.” One man is menacing, the other faintly absurd, but Rhys embraces the challenges of each role with aplomb — in particular, his physical comedy in the latter has gotten several big laughs out of me.

As contributor Emma Fraser reveals in her interview with Rhys, though, there is one stage direction capable of sending a chill up his spine: dance. “That still makes me shudder,” he says of a line-dancing scene in “The Americans” from 8 years ago. Let’s hope Widow’s Bay doesn’t have an underground swing dancing club.

More stories from this week’s issues

Watch the best of the action as Bayern Munich’s Michael Olise scores a hat-trick in France’s 3-1 victory over Northern Ireland in their final World Cup warm-up match in Lille.

MATCH REPORT: Olise scores hat-trick in France World Cup send-off win over Northern Ireland

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“It’s already awards season again?”

So asked a Times colleague on our morning editorial call earlier this week, sharing her impression that the Oscars — which were handed out March 15 — just concluded. And though it may feel like Hollywood was awarding gold statuettes just yesterday, the Emmys wait for no man, least of all this one.

I’m Matt Brennan, editor in chief of the Envelope and I’ll be back in your inboxes for the next three weeks to share highlights from our four pre-nominations issues, starting with the June 4 edition. Whether you’re a voter prioritizing what to catch up with or an observer trying to get a handle on what’s in this year’s race, read on.

The Emmy Comedy Roundtable

(Christina House / Los Angeles Times)

Leave it to comedy legend Steve Carell to deliver a sage piece of advice on The Envelope’s 2026 Emmy Comedy Roundtable — without even participating in the conversation.

“Steve says this beautiful thing that characters don’t know whether they’re in a comedy or a drama,” Carell’s “Rooster” co-star Danielle Deadwyler relayed to nods of agreement and appreciation from the panel. “And that’s about as true as it gets. You bring full rigor and development and discipline to the making of a role, regardless of what genre.”

Of course, with Deadwyler, Donald Faison (“Scrubs”), Sabrina Impacciatore (“The Paper”), Justine Lupe (“Nobody Wants This”), Lamorne Morris (“Spider-Noir”) and Chris Perfetti (“Abbott Elementary”) around the table, the conversation, moderated by The Times’ Lorraine Ali, came with plenty of laughs too — about surviving bad reviews, being mistaken for other performers, breaking one’s castmates and much more. You can also watch it on YouTube here.

Meet ‘SNL’s’ resident ‘quiet little freak’

(Sela Shiloni / For The Times)

As someone who counts ex-Trump voters among my own family, “Saturday Night Live” cast member Ashley Padilla’s character in “Mom Confession” — about a stubborn MAGA parent who finally admits to her kids that she may have been wrong about the president — struck a chord with me when it aired in January. So I was delighted to see contributor Tim Grierson’s profile of the actor (and former Diane Keaton assistant) dig into what makes the sketch, like so much of her work on NBC’s variety series, tick.

“Padilla, who sports an ebullient manner and warm smile, has become a fan favorite by exploring how much humor (and tension) you can derive from stillness,” he writes. “Her best sketches … sparkle because of how expertly she builds suspense regarding where the setup is going.”

‘Margo’s Got Money Troubles’

Sex work is work. And in the right hands, it’s highly creative work. Case in point: HungryGhost, the alien alter ego Margot Millet (Elle Fanning) assumes when she launches an OnlyFans to make ends meet in “Margo’s Got Money Troubles.”

As contributor Tomris Laffly reports, the DIY artistry that brings HungryGhost to life in “Margo” reflects the layers of craftsmanship required to bring her to the screen, from hand-bedazzled cowboy boots to bulk-bought containers of turquoise eye shadow. “She’s a director,” executive producer and director Dearbhla Walsh says of Margo, an aspiring writer. “You could always see the creation [process], how Margo brought theater into her OnlyFans.”

More stories from our June 4 issue

The cost to connect each of the U.S. military’s Low-Cost Uncrewed Combat Attack System (LUCAS) one-way attack drones to space-based networks has risen from $5,000 to $25,000 a month, according to a new report. This is said to be the result of a switch from using the commercial Starlink network to its more secure government-focused cousin Starshield, which SpaceX demanded after extensive use of LUCAS drones in the latest conflict with Iran. The Pentagon has pushed back on the story, but it still highlights how critical SpaceX’s networks and other space services have become across the U.S. government, which TWZ has previously explored in detail.

Reuters first reported on the price increase to connect the datalinks on LUCAS drones to SpaceX’s space-based networks earlier today. The story cites anonymous sources, as well as Pentagon documents the outlet says it reviewed. This follows the recent announcement that the Pentagon is working to make LUCAS more autonomous with new artificial intelligence (AI) driven swarming capabilities, which could impact future connectivity demands.

Produced by SpektreWorks, LUCAS was developed in close cooperation with the U.S. military. It is a reverse-engineered clone of the Iranian-designed Shahed-136 and has a unit cost of around $35,000. The American drone already comes in multiple variations, and there is a related target drone design for use in training and test and evaluation activities. Versions fitted with miniature beyond-line-of-sight satellite datalinks, allowing for dynamic control and for their progress to be otherwise monitored after launch, have been a fixture in official pictures of LUCAS drones in the Middle East.

In the video in the social media post below, the satellite communications terminal can be seen hanging from a cord on a LUCAS drone said to have been recovered largely intact in Iraq.

The U.S. military announced it had begun fielding LUCAS drones operationally last December with a special operations-led task force in the Middle East. LUCAS’s official combat debut came in the opening wave of strikes on Iran on February 28. U.S. Navy Adm. Brad Cooper, head of U.S. Central Command, subsequently described the one-way attackers as an “indispensable” component of that operation, dubbed Epic Fury.

What we know about SpaceX’s reported upcharge for LUCAS

“Within weeks of the United States launching its bombing campaign, SpaceX executives met Pentagon officials and argued ​the military had been paying about $5,000 for connection per terminal while effectively using a higher tier of service worth closer to $25,000,” according to Reuters. “SpaceX argued the ⁠LUCAS drones were operating under conditions that aligned more closely with its aviation tier subscription rather than a lower priced land or mobility service. Pentagon officials argued that the $25,000 price tag – a monthly fee – was designed for aircraft, not kamikaze drones that used Starlink connection for a matter of minutes ​or hours.”

“The Pentagon, which was ramping up strikes on Iran, ultimately agreed to pay SpaceX’s proposed price increase,” Reuters‘ report added.

The story also said this reflected broader “tensions” between the Pentagon and SpaceX that have been growing recently over Starlink fees.

“The Fake News media has the story wrong, again,” top Pentagon spokesperson Sean Parnell subsequently wrote in a post on X. “The claims in this article are simply not based in reality and do not reflect the close, effective collaboration between our teams.”

When reached for comment by TWZ earlier today before Parnell’s post, the Pentagon did not directly address Reuters‘ report.

“The Department of War is committed to fostering a competitive environment for commercial satellite communications and is conducting comprehensive market research to continuously monitor commercial offerings that align with government requirements,” a Pentagon official told us. “We are actively engaging with industry to identify innovative solutions and new entrants, ensuring acquisitions are inclusive of a diverse range of capable vendors.”

“The Commercial Satellite Communications Office is working on additional options with other proliferated low earth orbit partners as part of its strategy to leverage the unprecedented capabilities provided by the commercial SATCOM industry,” that same official added. “The U.S. Space Force is operating in accordance with the terms and conditions of its contracts.”

TWZ has also reached out to SpaceX for more information.

“It is a violation of commercial Starlink terms of service to use the terminal for weapon systems. This applies to all users and is shut down when discovered,” Elon Musk, who is the founder and CEO of SpaceX among his other endeavors, had written on X on March 1 in response to a post about LUCAS making use of Starlink. “There is a separate network called Starshield, which is operated by the US government. This is not under SpaceX control.”

SpaceX’s networks and the LUCAS cost equation

Though described as a “monthly fee,” Reuters‘ report indicates that the U.S. military pays the $25,000 only once to employ a LUCAS drone. As the piece points out, the Pentagon reportedly argued that it should get to pay the lower $5,000 rate because it was only using the network to support LUCAS in timeframes measured in “minutes ​or hours.” This is also in line with Reuters describing the added cost as effectively approaching doubling the LUCAS drone’s $35,000 unit price.

The entire point of these one-way-attack drones is to offer a lower-cost complement to traditional exquisite long-range strike munitions. The Tomahawk cruise missile, the unit cost of a current-generation version of which is generally said to be in the $2 to $2.5 million range, is often used as a point of comparison, although they are far from equal in many ways. The underlying argument for LUCAS also relies on the drone being relatively cheap and easy to produce, as well as employ in large volumes. TWZ laid all of this out in a detailed case for the Pentagon acquiring exactly these kinds of drones in mass, which we published just three months before LUCAS was confirmed to be in operational service.

A combined price tag of some $60,000 (the unit cost plus one month’s fee to connect to Starshield, as reported by Reuters) would still be far less expensive than the cost of a single Tomahawk. Using Starlink/Starshield terminals to begin with, beyond their connectivity advantages, offers the benefit of miniaturized high-bandwidth hardware that is being produced at a commercial scale.

Plans to make LUCAS more autonomous through the addition of new swarming capabilities could affect future network connectivity requirements for the drones. This will be enabled by the integration of Shield AI’s Hivemind autonomy software, as you can read more about here.

Shield AI flies Hivemind AI Pilot on 6th Aircraft

As TWZ recently wrote:

“For the time being, the U.S. military demands a human operator is ‘in or on the loop’ for kinetic or otherwise potentially deadly actions, as opposed to letting autonomous weapons choose what targets to attack on their own without any extra authorization. While less controversial morally, this can also be a tactical hindrance, slowing the swarm’s potential and adding complexity and vulnerabilities to its operations. The debate around this choice will only get more heated as adversaries bypass this elected restriction in order to get an upper hand in future combat scenarios.”

“As we pointed out in our initial reporting on LUCAS’s emergence, the fact that some of the LUCAS drones already include miniature SATCOM terminals is very noteworthy. After all, ‘human in the loop’ swarming would not be possible without this form of communications at the beyond line-of-sight ranges these drones fly. At the same time, an entire swarm can be controlled in this manner, even if just a handful are equipped with SATCOM terminals. While a swarm can be mesh networked within line-of-sight, it has to relay all the important information back to an operator. By using some of the drones as SATCOM relay nodes, the entire swarm can be controlled remotely from most places on the planet.”

“Regardless, the Hivemind AI pilot will allow appropriately equipped LUCAS drones to perceive their environment, make decisions, and act autonomously without continuous human input. Unlike conventional autopilots tied to fixed flight paths, Hivemind is designed to dynamically adjust mission plans, react to unforeseen conditions, avoid obstacles, and carry out complex tasks with minimal operator oversight.”

An increase in fees to connect individual SATCOM terminals to SpaceX’s networks, as well as cost savings on hardware, might further push the Pentagon toward a hub-and-spoke mesh-like networking arrangement like the one described above. LUCAS drones could also be employed in other contexts where satellite connectivity throughout the course of a mission might not be required, including if used essentially as fire-and-forget missiles aimed at fixed target coordinates. A SATCOM terminal would not be necessary at all for this kind of mission set, although it would be beneficial.

There is also a question about the total bandwidth that might be required to support swarms of LUCAS drones. From Reuters‘ reporting today, the increased load on its networks was a central factor in SpaceX’s demands for higher fees after strikes on Iran began. That being said, as already mentioned, Starlink/Starshield terminals are already designed with relatively high bandwidth use in mind.

These same considerations will apply to current and future programs that rely heavily on SpaceX’s satellite communications networks.

Dependence on SpaceX and U.S. national security

Specific cost figures aside, the LUCAS drone’s reliance on Starlink/Starshield underscores SpaceX’s dominance in the satellite communications market globally. It also highlights how essential the company’s space-based networks have already become for the U.S. military. TWZ explored this reality in detail amid open feuding between President Donald Trump and Elon Musk last year. The relationship between Trump and Musk has since rebounded, with the latter accompanying the President on his recent state visit to China.

Reuters reported today that there are some 10,000 satellites in SpaceX’s constellation supporting Starlink and Starshield, and that this represents more than 60 percent of all satellites currently in orbit. The company’s space-based networks, far and away, dominate the commercial satellite communications space globally. Offerings from competitors like OneWeb and Amazon Leo are more limited in scale and scope.

Watch SpaceX deploy Starlink satellites into space

This is reflected in the U.S. government’s ever-growing use of Starlink/Starshield on aircraft, ships, and in settings on land. This includes integration on some very high-value assets, including the U.S. Marine Corps’ VH-92 Patriot presidential helicopters and U.S. Navy aircraft carriers. There has also been a steadily growing push to use these networks to support tactical operations, as now highlighted by the link to LUCAS. The U.S. military had first demonstrated the ability to use Starlink to transmit targeting data years ago.

The U.S. government’s increasing use of Starlink/Starshield has already prompted operational security questions, even just in the context of supporting day-to-day peacetime operations, as you can read more about here. Starshield is designed to be more secure to help address these concerns for government customers.

At the same time, heavy use of Starlink on both sides of the conflict in Ukraine, including as a means of guiding one-way attackers in the air and at sea, has further underscored potential risks associated with the use of the networks in tactical scenarios. SpaceX and CEO Musk have faced particularly significant criticism in the past over limiting some Ukrainian use of the network. Actions SpaceX took earlier this year to block unregistered Starlink terminals also had major consequences for Russian forces, which were sent scrambling to find alternatives to fill the massive resulting communications gaps.

What SpaceX might have been prepared to do if the Pentagon did not agree to pay increased fees to support LUCAS is unknown. We also do not know what kind of protections are currently baked into U.S. contracts with SpaceX to prevent government users from being suddenly disconnected without warning. Regardless, as noted earlier, the Pentagon could deploy LUCAS swarms with just a handful of drones equipped with terminals to relay the critical info needed to control the rest of the formation, and LUCAS can still be used as a fire-and-forget weapon without any beyond line-of-sight connectivity, although this would greatly curtail its flexibility and, in some cases, its efficacy.

As the Pentagon official noted to TWZ today, there is a push to explore commercial alternatives to Starlink/Starshield and promote further competition in this space. At the same time, part of the attractiveness of Starlink/Starshield for the U.S. government has been the relatively low costs and other benefits associated with leveraging such well-established networks, as well as the knowledge base that comes along with that pedigree. Just today, the U.S. Space Force announced it had finalized a new Other Transaction Authority (OTA) agreement with SpaceX, valued at $2.29 billion, for work on the Space Data Network (SDN) Backbone program. The SDN is tied to work on new space-based sensing and targeting capabilities, particularly for missile defense, which could now feed into the Golden Dome initiative.

Beyond satellite communications, SpaceX is reportedly also now a critical player in U.S. military efforts to increasingly move air and ground moving target indicator (AMTI/GMTI) tasks into orbit.

On top of all this, SpaceX is also by far the top provider of space launch services globally, as well as other space-related services, including for the U.S. government. The core elements of Golden Dome, including the sustainment of planned batteries of space-based interceptors, require reliable, routine access to space at a frequency that only SpaceX can provide within budget constraints.

SpaceX looks set to remain a dominant force in this market space worldwide for the foreseeable future, and it continues to expand its presence, driven heavily by commercial demand. The company’s government contracts, though substantial, only account for around a fifth of its annual revenue, according to Reuters.

Despite the Pentagon’s response to the particulars of Reuters’ story today, being so heavily reliant on one provider for critical technologies still raises important questions not just for LUCAS, but for other efforts across the U.S. military that rely on robust and secure satellite communications connectivity.

Contact the author: joe@twz.com

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