kid

(When it closed for upgrades, the kids on our street were so bereft that they set up a lemonade stand, hoping it would help expedite the pool’s reopening.)

The pool is open year-round, but it’s especially popular in the summer, when it offers recreational swimming, swim lessons starting at 6 months old, a junior lifeguard program, lap swimming and other sports.

There’s a fun activity pool for kids ages 4 and under, with waterslides, dumping water buckets, a play area and a shallow wading pool with a beach-style entry. Chaise longues, picnic tables with umbrellas, and multiple lifeguards give the public pool a resort feel.

On a recent Friday, the main Olympic-sized pool was busy with families, but there were still plenty of lanes open for lap swimming. I tried a Monday evening Aquatic NoodleFit class, where you use a pool noodle for low-impact resistance training while standing in the center of the pool. The instructor, Karen Eldridge, was warm and welcoming and gave clear instructions, even working up a sweat herself as we followed her moves on the pool deck. The workout was challenging and fun, but not overwhelming for students of all levels, body types and ages, thanks to the water’s support.

During the week, the activity pool is usually not crowded, but on weekends, staff closely monitor capacity as it can get busy. Burbank residents get priority and can buy presale wristbands online at BurbankParks.com from Monday to Friday between 9 and 10 a.m. If you can’t get into the activity pool, don’t worry. The recreational pool is a fun and easy backup option.

Size: 50 by 18 meters
Temperature: 80 to 82
Swim lanes: 7
Depth: 2.5 feet to 8 feet and a 12-foot diving well
Admission: Lap swimming, $5 to $9. Monthly membership, $41 to $96. Activity pool, $4. Water fitness classes are subscription-based and range from $99 to $110, depending on the class. (My Aquatic NoodleFit class costs $109 as a nonresident for an 11-class series).
Parking: Free.
Hours: Lap swimming, 5:30 a.m. to 8:30 a.m. Monday through Thursday; 5:30 p.m. to 7:30 p.m. Friday; 7 a.m. to 7 p.m. Saturday and Sunday. Recreational swimming, 11:45 a.m. to 3 p.m. daily.
Extras: Activity pool, snack bar, vending machines.

The wife and two children of Argentine soccer player Lucas Trejo were killed after two earthquakes struck northern Venezuela late last week.

Trejo has played for several first and second division soccer clubs in the South American country since 2023 and signed on with the northern Venezuela-based Club Sport Marítimo de La Guaira earlier this year.

On Sunday, Trejo’s club announced the deaths of his family in an Instagram post.

“Club Sport Marítimo de La Guaira profoundly laments the irreparable loss of the wife and sons of our player Lucas Trejo,” the team wrote. “[The deaths] occurred on June 24th during the earthquake that shook the entire country.”

According to Venezuelan government officials, more than 1,700 people have died as a result of the quakes.

When the earthquakes struck, Trejo was at a training session in the capital city of Caracas while his wife Yanina and children— Aarón and Ainhoa— were at the family home in the severely affected beachfront city of La Guaira.

Trejo’s brother-in-law Ricardo Ardiles told CNN Español that the Club Sport Marítimo de La Guaira defender rushed home after the temblors and was “emotionally overwhelmed” as he dug through rubble for days in search of his family.

“What he found was a horrific scene,” Ardiles said last week. “He found absolutely nothing of what the building itself had been.”

Trejo was far from the only athlete gravely affected by the seismic activity in Venezuela.

Former Club Sport Marítimo de La Guaira player Héctor Bello also lost his wife Andrea during the earthquakes. She died while protecting their infant daughter, who was later found alive by rescue teams.

“I’m going to make sure our baby remembers how wonderful you were, how much you loved her,” Bello wrote in an Instagram post honoring his wife. “I’ll tell her the story of how you saved her, how you gave your own life for our daughter, how you were a brave woman who, even with your last breaths, never abandoned her.”

On Friday, the Venezuelan Football Federation announced the death of 18-year-old rising star Yimvert Berroterán who played with the youth national teams from 2024 to 2026.

“Venezuelan football bids a heart-wrenching farewell to a young man who represented our country’s colors with pride, commitment and love,” a social media statement from the federation read. “His passing has plunged the entire Vinotinto family into mourning and leaves an indelible mark on all those who shared moments with him both on and off the pitch.”

Eighteen-year-old Razan Sijaa, who played for Caracas Fútbol Club, 14-year-old Víctor Palacios of Club Sport San Augustín’s academy and 17-year-old prospect Ricardo Veloz were also killed by the quakes.

Locally, the family of Dodgers shortstop Miguel Rojas narrowly escaped tragedy and were doing OK after the earthquakes.

“Literally two blocks away from where my family was, two buildings collapsed — the whole building,” Rojas told reporters last week. “I’m lucky, to be honest with you guys. I’m really lucky to have my family still alive and with me. I’m not taking this for granted.”

According to Rojas, his wife and kids were in Caracas, which is approximately six miles south of where the quakes struck. His wife was there to renew her passport, and the kids were going to try to get Venezuelan citizenship. He added that his sister was in Los Teques, Rojas’ hometown about 17 miles south of the coastal destruction.

“It’s really tough to see teammates of mine and players that I played with at some point in my career lose family members, to lose kids,” said Rojas, who spent years playing baseball in La Guaira. “It’s really devastating. It’s been really hard for me to go to sleep at night.”

Less than two hours before the Dodgers took the field in Minneapolis on Wednesday, a pair of powerful earthquakes rattled Venezuela, where the wife and two kids of Dodgers shortstop Miguel Rojas were visiting and where his sister lives.

The successive magnitude 7.2 and 7.5 earthquakes left the country’s northern coastal state of La Guaira in ruins, collapsing more than 770 buildings and killing at least 1,450 people, local authorities said Sunday.

All of Rojas’ family members were OK, the Venezuelan native told reporters ahead of Friday’s game against the Padres in San Diego.

“Literally two blocks away from where my family was, two buildings collapsed — the whole building,” he said. “I’m lucky, to be honest with you guys. I’m really lucky to have my family still alive and with me. I’m not taking this for granted.”

Rojas’ wife and kids were in Venezuela’s capital, Caracas, which is only about six miles south of the destruction along the coast. His wife was there to renew her passport, and the kids were going to try to get Venezuelan citizenship. His sister was in Los Teques, Rojas’ hometown about 17 miles south of the coastal destruction.

Rescue workers search through rubble on Saturday in Catia La Mar following the devastating double earthquakes.

(Fernando Vergara / Associated Press)

“It’s really tough to see teammates of mine and players that I played with at some point in my career to lose family members, to lose kids,” said Rojas, who had spent years playing baseball in La Guaira. “It’s really devastating. It’s been really hard for me to go to sleep at night.”

Rojas, on Friday, said he was talking daily with his family members, who were still in Venezuela. He hoped to bring them back to the United States as soon as possible. Aftershocks continued to rattle the country into Sunday morning.

As the Dodgers and Padres started their series in Petco Park on Friday, both teams wore caps with the letters “VZ” embroidered on the side to honor the people of Venezuela as the road to recovery begins.

“That means a lot because both teams will be doing it — it means a lot, because it brings awareness,” Rojas said.

“We are on one of the biggest stages in sports, and I really appreciate what the Dodgers do to support us,” he added. “It’s not just what happens now, it’s what’s going to happen in the future. It’s going to take a long time for people to recover.”

Times staff writer Maddie Lee contributed to this report.

SEATTLE — Cristian Roldan and Haji Wright grew up less than three years and 30 miles apart, Roldan in Pico Rivera and Wright in Culver City. The odds that they would go on to become teammates on not one, but two, U.S. World Cup teams seem astronomical.

Yet despite starting at the same time and place and arriving together at the same destination, the two players followed completely different paths to get there.

Wright joined the Galaxy’s academy at 14 and signed with Schalke of the top tier German Bundesliga days after his 18th birthday. Roldan was still playing for El Rancho, when he was 17, making him the only member of the U.S. World Cup team to play four years at a public high school.

“I might be the last one,” Roldan said. “I hope not.”

Crescenta Valley’s Salar Hajimirsadeghi and El Rancho’s Cristian Roldan meet in unison for a header.

(Tim Berger / Glendale News Press)

High school soccer was once the foundation of the sport in the U.S. Eighteen players on the 2002 World Cup team, the only American team to reach the tournament quarterfinals, played for their high school teams. By 2022, the only man on the roster who played four years for a public school was Roldan.

“I don’t wish my story, or how I ended up here, was any different,” Roldan said. “What I will say was it made it more difficult to be here, play[ing] four years in high school. But it makes my story special.”

His story becomes even more special with this World Cup, which opened for the U.S. in Inglewood, a 45-minute drive from his boyhood home, and will continue when the Americans face Australia on Friday in Seattle, where Roldan played two years at the University of Washington and 12 seasons as an all-star midfielder with the Sounders, winning two MLS titles.

“When we talk about people’s paths, Cristian’s is not the standard right now,” said older brother Cesar, an athletic trainer with the Galaxy. “Cristian did it mostly to be around his friends. He wanted to play with his buddies.

“That is not a standard way to make it into MLS. And forget about making [it] all the way to the national team.”

“Yeah, it’s different,” Cristian said with a smile. “Being able to play in your backyard, have friends and family there. It’s a celebration.”

And it may never be repeated.

Roldan, 31, is the third-oldest player on the U.S. team, so the MLS academy system was just getting started when he enrolled at El Rancho in 2010. But as the academy system and the Elite Club National League became larger and more powerful, they began to throw their weight around.

Academy and elite club teams essentially robbed prep soccer of its best players by forcing them to choose between their high school teams and elite club programs, demanding a year-round commitment and banning participation in other sports. When top players began opting for the academies, others had no choice but to follow if they wanted to be seen and scouted.

That also robbed U.S. soccer of one of the few advantages it has over European and South American countries, most of whom have nothing to rival the high school and college sports infrastructure where kids can play and develop for free.

Cristian Roldan sprints during a training session Tuesday in Irvine ahead of the United States’ World Cup match against Australia on Friday.

(Andre Penner / Associated Press)

“That’s not available in Germany or England, or whatever,” said Brian Schmetzer, Roldan’s coach with the Sounders. “I like the fact that the United States is a big enough country where we can give kids opportunities to continue playing.”

Especially since the academy and elite club pathways aren’t open to everybody. Moving from a free neighborhood high school team to an academy can be expensive, erecting a “pay-to-play” barrier that often restricts those programs to wealthier families. Travel to games and practices can also be an issue. Since many high school-age players can’t drive, a parent has to accept the responsibility of toting them back and forth to team activities.

That leaves little time for work, which can pose an additional financial burden.

“My parents would have done whatever for us. So they would have made things happen,” Cesar Roldan said of Cristian. “But he really didn’t have any of those options. There was just not the opportunity.”

Paul Caliguiri, who played in two World Cups before retiring as the second-most-capped player in U.S. Soccer history, said the slow strangulation of high school soccer will ensure some talented players will be overlooked.

“There are a lot more qualified players that choose the path of high school soccer rather than the full-time academies,” he said. “The issue is that many of those players that don’t go to full-time academies when the opportunity presents is likely due to transportation.

“We need to have more full-time training offered to players without increasing the ‘pay to play’ cost.”

Dominic Picon, who coached all three Roldan brothers at El Rancho, agrees.

“We’re losing a ton of kids who never get seen,” he said. “There’s a lot of kids that just get lost in the shuffle simply because we have a very limited scope of how we find players. If you look at our three main sports — baseball, basketball and football — virtually all of them play high school sports. They all come through that pipeline.”

Roldan, the son of a Guatemalan immigrant father and a Salvadoran-born mother, said he never really considered any of those issues when he decided to play with the neighborhood kids in high school, just as his older brother Cesar had done.

“I looked up to my brother and I wanted to share a similar path as he did,” he said. “And I wanted to win a trophy for the city of Pico Rivera, which only has one high school.”

U.S. midfielder Cristian Roldan defends the ball from Senegal forward Habib Diarra during an international friendly match on May 31.

(Scott Kinser / Associated Press)

He made good on that last pledge in his senior season. Playing with younger brother Alex, who was a junior, Roldan scored 54 goals and had 31 assists — what Picon calls “video-game numbers” — to lead El Rancho to 29 wins and a CIF Southern Section title. Individually, he was named the Gatorade national player of the year.

Alex would go on to play alongside Cristian with the Sounders and captain the Salvadoran national team. Picon said he knew the brothers were good. But he didn’t know how good.

“When you’re coaching them, they’re in high school,” he said. “You never look at them and say, ‘You know, these guys are going to be in the World Cup someday.’”

In fact, there was some doubt both would even play in college. Alex was headed to a junior college in Arizona before receiving a last-minute offer from Seattle University. And Cristian, despite his award-winning senior season, had very few firm offers from top schools, in part because he insisted on playing high school soccer and in part because he was small at 5-foot-7.

“What hurt him is playing at a public school,” Picon said. “His rise was improbable because of where he came from, but also when he did play in front of [college] coaches, I think his size was something that dissuaded coaches.”

Contrast that with Wright, whose exposure at the academy level helped him get stamped as one of the country’s top youth players, opening up professional opportunities before he was old enough to vote.

In the end, it wasn’t Roldan’s talent that got him a scholarship as much as it was the boldness of his mother Ana. When Washington coach Jamie Clark inadvertently sat down next to her at the Surf Cup showcase in San Diego, she urged him to have a look at her son.

He did, then called Picon the next week.

“He’s a legit player,” Picon remembers telling Clark. “He’s better than 99% of the academy players out there. It’s just because of where he plays, the city that he’s from.”

Cristian Roldan speaks to reporters during a team training session in Seattle on Thursday.

(Soobum Im / Getty Images)

Picon was right. In his first season at Washington, Roldan was the Pac-12 freshman of the year and after his sophomore season he turned pro. MLS stardom and two World Cup selections were on the horizon. And there was luck in that, the coach says.

But that good fortune started at home with parents who put their faith in public schools, then saw that faith rewarded.

“It’s the quintessential American story, right?” Picon offered. “You have immigrant parents. They come here and they put a lot of trust in the public school system. At the elementary level, the teachers were tasked with making sure they have a grasp of English. They did that.

“At middle school, they were tasked with getting them prepared for high school and they did that. All three were accepted into a four-year [college], their kids.

“Where Cristian and his brothers lucked out is having the parents that they did. They were the type of parents that any coach, high school or club, would want to have.”

Getting to the World Cup, then, isn’t always determined by the path you take. Sometimes the most important factors are how and where you started.

Beneath azure skies and fluffy white clouds, three giggling toddlers and their mothers arrive at a candy-colored water park in the town of CoComelon.

It’s the opening of “Fast Little Fishy Splash Water Park Adventure,” a three-minute episode of “CoComelon,” the popular children’s cartoon series that is perhaps as controversial as it is appealing to young children.

Moonbug Entertainment, the studio behind “CoComelon,” says the episode, which debuted on YouTube in May, is the result of a years-long collaboration with a UCLA think tank.

In an unconventional move for a privately held entertainment company, the studio released its child development guidelines on its website Tuesday. Moonbug’s head of communications Bao Nguyen said the company began to incorporate findings from the research into its creative process in late 2025.

“It’s a great example of what we’ve been trying to do,” said Rich Hickey, Moonbug’s chief creative officer, referring to the episode. “Inclusive storytelling and learning through play — they’re all evident within that episode.”

Nina and Cody, ecstatic about visiting their neighborhood splash pad, run through fountains and hop in kiddie pools, but protagonist JJ is a bit more skeptical.

With support from his friends and his mother, who offers him goggles and a pair of orange arm floaties, JJ decides to face his fears. He joins his friends under a tipping bucket, and — spoiler alert — realizes that he actually enjoys playing in water. (“I just love to swim, swim, swim,” he sings.)

The guidelines, called the “Moonbug Learning Principles Framework,” are informed by academic research and advise that Moonbug shows should help young viewers navigate “real life moments” and “model positive relationships among children and their friends and caregivers.”

Other priorities include creating shows that encourage kids to learn through play, as this helps them develop their imagination and creativity, and featuring characters from diverse backgrounds (“CoComelon’s” Nina is Mexican American, Cece is Korean American and Cody is Black) — and giving said characters depth — across all Moonbug shows.

“We’re a digital-first company and we realized that there may be some … hesitation to sharing online content with children,” Hickey said. “This is really to keep building on the trust we think we’ve built.”

“CoComelon” is Moonbug’s flagship preschool show, and the series’ origins date back to 2006 when commercial director Jay Jeon shared a YouTube video of an alphabet cartoon set to music. The videos began to revolve around toddler JJ in 2017.

By 2020, “CoComelon” was the most-watched YouTube channel in the world, averaging 3.5 billion monthly views. That year, the show made its streaming debut on Netflix — where it broke ratings records — and was bought by London-based entertainment company Moonbug.

Moonbug was then acquired by Candle Media, a firm led by ex-Disney execs Kevin Mayer and Tom Staggs, for a reported $3 billion. Disney+ has since obtained the exclusive streaming rights to “CoCoMelon.”

“CoComelon‘s” image woes aren’t new. The series has developed a reputation for keeping children glued to the screen, as seen in videos that have gone viral on social media of babies bolting to the television upon hearing the marimba theme song.

In 2020, a Guardian columnist wrote that “CoComelon” was “like crack” for a preschool child. A New York Times report in 2022 gave the public more insight into Moonbug’s audience development process, which included testing “CoComelon” videos on young children to make its shows as attention-grabbing as possible.

The program has been a hot topic on parenting forums. The exchange typically goes something like this: Someone asks if “CoComelon” is “bad” and a gaggle of parents weigh in. “Very overstimulating,” said a user in one Reddit thread. “It moves too fast for kids’ brains to process, which can cause a speech delay,” wrote another.

Asked to respond to the criticism, Hickey said he believes Moonbug makes “age-appropriate content” and produces a range of videos to cater to different moments throughout a child’s day, from slow bedtime videos to faster-paced ones meant to encourage movement, Hickey said.

In 2023, Moonbug recruited the Center for Scholars and Storytellers, a think tank at UCLA that bridges entertainment media and psychology research, to “create the best possible product” for its audience, Hickey said.

The center was tasked with analyzing Moonbug’s content and crafting the learning principles to guide the studio’s future preschool programming, which also includes the “Blippi” and “Little Angel” franchises.

A scene from Moonbug Entertainment’s “Blippi’s Job Show.”

(Jessica Perez / Moonbug)

Moonbug also asked the center to determine if there was research showing that audiovisual content could be addicting for preschoolers, said Yalda T. Uhls, an assistant adjunct professor of psychology at UCLA and executive director of the Center for Scholars and Storytellers. Uhls said the center’s review of existing peer-reviewed research found that there was no such evidence.

And despite oft-repeated claims that long-form content is better for kids than short-form content, “there isn’t really actually any evidence for that,” Uhls said. “It’s very inconclusive.”

The center found that preschool children struggle to learn as much from content with frequent cuts, though consuming it doesn’t impact their attention span negatively, Uhls said.

As such, the principles the center crafted recommend Moonbug “minimize distractions and tangential songs or storylines” when characters are navigating real-life situations to make sure it does not interfere with preschool children’s ability to learn lessons.

The center interviewed members of Moonbug’s creative teams and formed an advisory council of academic experts in child development to evaluate a selection of Moonbug’s episodes, assess the quality of socio-emotional learning and find areas for improvement, Uhls said.

“The content certainly had a lot of places where it could improve, but it wasn’t horrible,” Uhls said. “There was some learning within the episodes. … It wasn’t all good, it wasn’t all bad.”

Uhls said she recalled several instances of episodes modeling unsafe behavior, but declined to share specifics.

The center plans to continue to work with Moonbug to integrate child development research much earlier in the studio’s creative process and aid with the integration of the learning principles into its content slate, Uhls said.

WASHINGTON — The Trump administration has identified more than 15,000 cases of adults gaining custody of multiple immigrant children who enter the U.S. without a parent, officials said Thursday, signaling a potential push to prosecute prolific child sponsors.

The Justice Department highlighted cases against three Guatemalan nationals that they say underscore the dangers of improper vetting of sponsors in a program that seeks to unite kids with relatives or family friends after they enter the U.S. Officials said they are investigating numerous other so-called super-sponsors — those who gained custody of more than three unrelated children — to determine whether the sponsors took the kids in fraudulently.

“We will not accept half measures when it comes to securing the border, protecting American lives and saving children from exploitation,” Acting Atty. Gen. Todd Blanche told reporters.

Taking custody of multiple unrelated migrant children is not a crime. The sponsors may be caring and well-intentioned, but senior administration officials calling them out suggests that authorities harbor suspicion about them and may subject them to deeper scrutiny.

Under former President Biden, officials tried to release children to eligible adult sponsors within 30 days, reuniting many families quickly. But the approach also yielded errors, with some children being released to adults who forced them to work illegally or to people who provided clearly false identification and addresses.

Under Trump, the administration tightened rules aimed at preventing traffickers from illegally bringing children into the country, and that has also led to a dramatic increase in federal custody times for kids. As of May, children are held in federal custody for an average of 206 days before they’re released, compared with an average of 37 days when Trump took office. At the same time, the number of total children in custody has steadily dropped.

Striking a balance between releasing children to vetted sponsors and shielding them from danger has proved a contentious partisan disagreement.

Democrats “want to claim that Republicans, because we’re enforcing the laws, it’s inhumane, somehow,” Blanche said after criticizing the vetting procedures under the Biden administration. “What’s inhumane about taking care of our kids?”

The cases announced Thursday include charges against a woman who, authorities say, was living in the U.S. illegally, schemed with others to smuggle kids across the border, then used fake identities to gain custody of them in exchange for money. In another case, a woman is accused of falsely claiming that she was siblings with a teen who had entered the U.S. illegally in her application to become the teen’s sponsor.

The Associated Press has sought comment from attorneys representing the accused in those cases.

Critics of the Trump administration have raised concerns over wellness checks carried out by immigration officers at elementary schools, immigration officers showing up and detaining sponsors at reunification meetings with children, and newly required documentation that’s created a “paperwork barrier” and led to a recent lawsuit.

Even sponsors willing to undergo the new vetting procedures have been forced to wait through unnecessary delays.

A Chicago father who is a U.S. citizen and had a valid birth certificate for his child was kept waiting for five months before the government could schedule a fingerprinting appointment. During the wait, his toddler daughter was sexually abused in federal custody, a lawsuit claimed.

Richer and Gonzalez write for the Associated Press. Gonzalez reported from McAllen, Texas.

Cary Elwes may not have been born in Los Angeles, but it’s probably fair to consider the native Brit an honorary Angeleno. The “Princess Bride” star was born in and spent his formative years kicking around London; he moved to L.A. in 1990, on his brother’s recommendation. He met his wife, photographer Lisa Marie Kurbikoff, at a cookoff in Malibu about a year later and the two married in 2000. A daughter, Dominique, arrived in 2007.

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.

Elwes has spent his years in California not just establishing his family life, but also further enmeshing himself in Hollywood. He’s appeared in everything from “Saw” to “Ella Enchanted,” and played a corrupt government agent in a couple of “Mission Impossible” movies. His latest role is as a former cop turned private detective in Peacock’s new crime thriller, “M.I.A.,” streaming now.

“I’ve been out here for quite a bit now and while [2025’s] fires were pretty devastating — changing a lot of the landscape and people’s lives in ways that none of us could have imagined — I’m hopeful,” Elwes says. “I feel like we’re going to build back stronger and better. Things can seem dark sometimes, but I still have a spark of hope in my heart.”

Here’s how Elwes would spend his perfect, hopeful Sunday in Los Angeles.

This interview has been edited for length and clarity.

10 a.m.: Coffee and a chat

We wake up around 10 a.m., which is kind of late for me. Then we’ll have our coffee. I tend to lean toward Gelson’s beans, which I find have a particular flavor I tend to like. I do like my coffee. It’s probably the only addiction I really have.

Anyway, after I finish up my coffee, I’ll typically ask my wife and daughter what they’d like to do for the day. My daughter is 19, and she’s terrific. I always tell my wife she’s the best production we’ll ever do together.

Noon: Leisurely lunch

My wife is very fond of this Italian restaurant in Woodland Hills called Casaléna. It’s right off Ventura Boulevard and it’s terrific. Even their salads are extraordinary. It’s fairly new, too, but it’s always booked out solid so you really have to make a reservation in advance. Luckily, my wife and daughter are organized, so if they want to go there, they’ll have planned ahead.

2 p.m.: Head to the movies

We like to go see movies at the Imax at Universal CityWalk. The quality of that theater is very, very good and seeing films on the biggest screen possible is important to us.

My wife and I went on a date to see “Michael” in Imax, which was sold out and it was phenomenal. Antoine Fuqua did a great job and our friend Colman [Domingo] was honestly transformative as Joe Jackson. And Jaafar Jackson, who’s Michael’s nephew, is remarkable. It’s an extraordinary film, but sold out with people cheering and dancing? That made it a phenomenon. People were interacting with the movie as it played and it was remarkable.

If we’re not interested in whatever’s playing at the time, we might go for a hike in Tapia Park. I grew up watching “MASH” as a kid and when I realized they filmed there, I thought “How blessed am I to be living just a few miles from where such an iconic series was made?”

It’s a really beautiful park too. If you take a long hike, you’ll see waterfalls and lots of wildlife. On a nice afternoon, taking the dog out there for a walk? You can’t beat it.

There’s so much rich history here. I remember going on the Universal Studio Tour for the first time when I visited L.A. as a kid. They had a thing where they’d pick a couple of tour guests and the guide would put you on camera in front of a blue screen and you’d reenact a scene from a movie. The tour also took you by the “Jaws” shark coming out of the water and through an old western town, and I found out years later that a director friend of mine had been making westerns there when I was a kid and I didn’t even know it.

That tour was fantastic. With parting the sea for “The Ten Commandments” and then the boulders coming down the hill during the rockslide? Absolutely magnificent.

5 p.m.: Pick a Getty, any Getty

Depending on what time our movie ends or if we just end up going for a walk instead, we might go over to the Getty Center. We love it there. Usually we’ll go in the afternoon — maybe we’ll have a late lunch up there — and sometimes we’ll go to the Getty Villa instead, which luckily survived the Palisades fire.

We just love being around art. We’ll walk through the entire collection, plus whatever exhibit they have on at the time. We’ll go to LACMA sometimes, too, or even the Academy Museum to see whatever new exhibits they have.

Culturally, we really try to keep busy. Sometimes we’ll want to sit at home and play Spite and Malice or watch a show on TV, but mostly I try to go out and encourage my family to do the same, especially because we live in such a wonderfully diverse, cultural city.

7 p.m.: Taco time

I always leave meal decisions up to the girls, and sometimes they like to go out and get tacos. We like the fish tacos at Escuela. It’s pretty close to Quentin Tarantino’s movie theater, the New Beverly Cinema, which we like to go to as well. I took my daughter to see “Jaws” there, in fact, which she loved.

9 p.m.: More movies

I’m trying to educate my daughter in the films and TV shows that I watched growing up. She’s taking a film history class in school. She wants to be an actor as well, so I want her to have an understanding of the history of film and history of performance, so I show her the great performances that inspired me as a kid and encourage her in that way.

When I grew up in England, we literally had two channels, both in black and white. Young people can’t quite wrap their heads around that now, but it really did make you pay attention because you had to be sitting in front of the television to catch a show or movie you wanted to watch.

I remember that the BBC, particularly on weekends, would have matinee screenings of movies. We actually had pretty good quality TV in England growing up, but they’d also heavily focus on British films from the ‘40s all the way through to the ‘60s so I got my education from that particular style of films, like the postwar films, ‘50s films, and the Ealing comedies. David Lean and Laurence Olivier, Ralph Richardson … a lot of the films they were in or directed really helped shape who I am today.

Alec Guinness and Peter Sellers had a very strong influence on me as a kid, too, so I really want to try to share with my daughter why these films meant so much to me.

10:30 p.m.: Books in bed

I’m not really a late-night person anymore. I used to be when I was a kid, but now, unless we’re out on a date, my wife and I are homebodies.

A MAJOR cruise line is launching a new ship later this year and it will have a first-of-its-kind outdoor theme park onboard.

MSC World Asia is the third ship in the ‘World Class’ series, and will start sailings in December.

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Called The Harbour, the ‘open air’ theme park will be found on the top deck in the Family Aventura District – and it’s the first ship in Europe to have one.

Here is where guests can try out the Adventure Trail rope course and the longest dry slide at sea.

It will also have Europe‘s first over-water swing called Cliffhanger which will hang over the ocean.

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Families can also try out both the Twin Racer dueling waterslides and U Drop too.

For younger guests, there’s the a new playground called The Play Deck which is a relaxed space with comfy seating.

Rides can be enjoyed well into the evening as when it’s time for sunset as The Harbour lights up in the dark.

Luna Park is an interactive area with immersive game experiences – which isn’t found on any other MSC cruise ship.

It has three original game shows, Code Breakers, Labrinth and Chart Toppers.

The Family Aventura District also has The ClubHouse and Doremiland, a 10,000-square-foot kids club with dedicated spaces for each age group.

Inside Doremiland are two rooms dedicated to LEGO and another that’s Formula 1-themed.

MSC Cruises Vice President of Entertainment Steve Leatham said: “As a family-owned company, MSC Cruises knows what it takes to keep the whole family happy on holiday, with tailored family entertainment activities and facilities for guests of all ages.

“On board MSC World Asia, family entertainment will reach new heights – bigger, bolder and more innovative than ever.

“Featuring our widest range of programs yet, alongside immersive, interactive and personalized experiences for everyone from toddlers to teens, families can expect truly extraordinary moments at sea.”

MSC World Asia is expected to enter service in December 2026, offering 7-night itineraries to Mediterranean destinations across Italy, France and Malta.

Around the ship will be seven themed neighbourhoods, like the AquaDeck, Family Aventura, Galleria, MSC Yacht Club, Promenade, The Terraces and Zen Area.

On the Aqua Deck will be seven pools and 13 whirlpool baths, including two newly designed pools; the outdoor Manila Bay pool and the indoor Coral Cove pool.

MSC World Asia is part of the ‘World Class’ series – the first two ships were MSC World Europa, delivered in 2022 and MSC World America in 2025.

MSC Cruises is the world’s third-largest cruise line with 23 ships that sail across five continents and over 300 destinations.

Talk to the passionate team behind KidSTREAM, a new children’s museum in Ventura County, and they’ll tell you about the many lofty goals they have for the 21,000-square-foot space which opened to the public Thursday.

They’ll describe how the museum is the first of its kind in Ventura County and how they hope to make it accessible to as many local children as possible through outreach, discounts and free programming.

They’ll explain how the immersive exhibits highlight the county’s unique industry and geography, including an agriculture area where young visitors can pick pretend fruits and sell them at a farmers market and an ocean exhibit where miniature replicas of the Channel Islands emerge from the bouncy blue “Pacific Ocean.”

A drone view of the museum’s Pacific Ocean and Channel Islands-themed play area.

Avery Hanchar, right, and her brothers Oliver and Carter, test their climbing and balancing skills.

They’ll share that the STREAM in KidSTREAM is an acronym for Science, Technology, Reading, Engineering, Arts and Math, and talk about the activity carts and art projects that will enhance and support learning for young visitors.

But they are also well aware that for some families, the still-evolving space will serve a less highfalutin, if just as important, goal.

“Parents are looking for a good nap on the way home,” said KidSTREAM founder Kristie Akl. “And we can give them that too.”

Akl, along with KidSTREAM board chairman Bryan Yee and guest experience director Dani Hildreth, were giddy with excitement as they took me on a tour of the museum in the days before it opened.

This moment had been a long time coming, they said.

A high-energy former high school biology teacher with a make-it-happen spirit, Akl first began dreaming about a children’s museum in Ventura County in 2013 after taking her three daughters to KidSpace, a children’s museum in Pasadena founded by members of the Caltech community in 1979.

Akl loved Kidspace, but it was a full hour from the family’s house in Camarillo and she longed for something similar closer to home. For two years, she tried convincing others to create a children’s museum in Ventura County. When that failed, she formed a fledgling board in 2015 and incorporated as a 501(c)(3) nonprofit in 2017.

A young guest chases a cloth blown out of the tubes at the museum’s Amazing Airways exhibit.

“I was always optimistic,” she said. “You have to be to do something like this.”

The original plan was to open the museum in 2020, but fundraising efforts were hampered by the 2017 Thomas fire, which destroyed hundreds of homes in the area. A few years later came COVID shutdowns. The delays were discouraging, but Akl and a growing community of motivated believers used the time to build out their proof of concept by bringing science projects to local schools, neighborhoods and community events, creating online workshops and giving farm workers free science kits to help their kids get exploring.

“It was a herculean task and a huge community effort,” Akl said. “Everyone leaned in.”

Today she estimates that the KidSTREAM Children’s Museum touched the lives of 70,000 children in the Ventura area before ever opening its doors.

Luke Delossantos, right, and his son Grayson play pretend.

“They prototyped a lot of ideas,” said Yee, a father of three who took over from Akl as chairman of the board of KidSTREAM in 2022. “That showed us what works and what doesn’t work and what we should do next.”

In 2022, the city of Camarillo donated the building that housed the former public library to the museum and in 2024, the team raised enough money to bring children’s museum specialist Hildreth on board. Construction began in 2025.

In addition to the agriculture and Pacific Ocean areas outside, visitors will find a camping exhibit with an obstacle course, gratitude tree and a series of different shaped tents where kids can play. There’s also a sand pit where children can dig up replicas of pygmy mammoth bones. (The pygmy mammoth is a dwarf species of mammoth that was native to the Channel Islands.) A nature area includes a sensory path designed with the unique needs of neurologically divergent children in mind.

“There are 200,000 kids in Ventura County from a huge range of backgrounds including a lot of farm worker families,” Hildreth said. “The space is designed for all of them, newborn to 10 years old.”

In addition to the outdoor play areas, visitors will find an indoor “makerspace” with a white Lego wall where children can create vertical designs, four tables for art projects and a super-sized Lite-Brite.

Visitors walk through a greenhouse at the museum’s agriculture area.

“When you are 3 feet tall, it’s your whole field of vision,” Hildreth said.

Admission to KidSTREAM is $16 for adults and children over the age of 1, $13 for seniors and military, and $3 for families with EBT, SNAP or WIC cards. Membership options are also available.

Yee said market research suggests the new museum will reach as many as 150,000 people, and there is still room for expansion.

“We’re 21,000 square feet now with room for growth,” he said. “We’re not stopping, but we’re so excited to open our doors.”

At this year’s festival to unveil our inaugural Cannes issue, I had to opportunity to sit down with Sony Pictures Classics co-founders and co-presidents Michael Barker and Tom Bernard and EVP of Acquisitions, Production and Business Affairs Dylan Leiner on the Main Stage at the Marché du Film to discuss the company’s festival strategy, bidding wars, artificial intelligence and more. Watch the full conversation and read edited excerpts below.

How much does the festival reception of a movie, the reviews coming out of a festival, the buzz around it, shape decisions that you’re making? Or is it just confirming what your gut already knows?

Leiner: I want to tell one story that speaks to that, which was at the first Berlin Film Festival we attended after COVID. I remember, in the same day, I ran into three international distributors who all asked if we had seen “The Teacher’s Lounge.” And I didn’t even know what the film was. It wasn’t on our radar, it wasn’t in competition. So we quickly saw “Teacher’s Lounge” and we acquired the film [which went on to be nominated for the 2024 international feature Oscar]. And that was one of the great values of an in-person festival, the ability very quickly to communicate with distributors, with tastemakers, with critics from around the world and get that kind of information. Gut, personal taste… It plays into it a lot, but then we need reassurance. And being at a festival and being in this fishbowl environment is really helpful for that.

For a lot of people, myself included, the mystique of a festival is often around the bidding war narratives: Who’s going to pick up what and what are they going to pay? I’m curious for your take on the first big acquisition of this year’s Cannes, A24 buying “Club Kid” for a reported $17 million.

Bernard: Throughout the years, there were companies [that would] maybe overpay, or they were going to bid to get this movie no matter what, because they were the headline in all the newspapers covering this festival. So in terms of a company that’s branding — which, A24 is one of the best in branding — I think that that had to do with a little bit of the cash that went up. … There’s a branding aspect in a lot of festivals for a movie that’s a hot movie that the press has decided to seize on.

Barker: Here’s a key to how we have survived. It’s different from the way you talk about it. When we acquire a movie, whether anyone else has offers, we try to block it out. And we have trained ourselves to not let that noise bother us. What is it worth to us? What do we think it’s going to do? Dylan runs these incredible models of what it’ll do on the low end, what it will do on the high end. And then you decide where you want to be.

Bernard: Or we think we can make it work.

Barker: But at no point do we sit around and worry about who else has a higher offer for the movie. Because I have to say, in very few instances, on the movies we buy, are we the higher offer. We just do the best we can, and if we lose it, we lose it.

Bernard: [French film producer] Serge Silberman, a sage of the past, he always said, “You never lose money on a movie you didn’t buy.”

That brings up a question that I had about “Nuremberg,” which was a real success. What you’re saying is, it performed in alignment with your expectations. Were there any lessons that you took away from that in terms of future projects that might come along?

Leiner: Yes, it performed in accordance with our expectations. What’s interesting about that film, we acquired it here last year. Nobody else was really interested in the movie. … So our challenge basically was to figure out how to convince the filmmaking team that, because it was a very expensive film, that we were the right company to acquire the film on the terms that we could afford and that we could make it work. And it was a very intense series of phone conversations, in-person meetings.

Bernard: We felt like we were auditioning to get married to somebody. We were never going to be able to pay to make their money back. It was a $40-million movie, and they were really sort of out there without anybody really looking at it. And we said, “Listen, sell it to us. We think it’s going to be a great success. We’ll make your movie way more valuable over the test of time.”

Barker: There are two types of movies that are being made and distributed. One are the big tentpole studio movies. It’s about winning the weekend theatrically. These are the theatrical-driven movies. And it’s all about making that huge budget back very quickly. But the other kind of film, which is why we are in business, is the evergreen. Every one of our films, we open it with the best marketing push we can. Yes, we try to get the highest box office. But what we know will happen, even if the box office ends up being less, we believe in these films as long-term players. And these films have really long tails. You look at movies like “Run Lola Run” or “Call Me By Your Name” or even “Living” … They have generated revenues to the filmmakers and to us that’s way beyond what the box office would have portended when it opened.

I would be curious, what areas of the filmmaking process or the film distribution process do you think AI is appropriate for use, that you’ve experimented with it, that you’re excited about its prospects? And where are your red lines, if you have any?

Barker: One of the people on our staff — we really love our young staff. One of them was writing a screenplay with AI, and told me they got certain rules on AI. And I’m listening to all these rules. You can’t have your main character die in a first scene. You can’t have your romantic female lead be totally unlikable, people aren’t going to go. I’m listening to this, and I said, “Have you ever seen ‘Sunset Boulevard?’” And she goes, “No, what is that?” I said, “Go watch that movie.” She came back and she was like, “Holy cow.” I said, “Billy Wilder sat down and made that up based on what he observed.” AI is not going to be able to do that.

CANNES, France — Cannes is technically half over and the hunt for a masterpiece continues. Critics on the Croisette are starting to resemble that classic comic-strip panel in which an explorer crawls desperately across the sand toward an oasis that’s only a mirage.

This far into an underwhelming festival, good films have a way of looking like great ones, such as James Gray’s “Paper Tiger,” a grimy thriller with Adam Driver and Miles Teller playing brothers in 1980s New York who get mired in a scheme to sanitize the Gowanus Canal. Driver’s ex-cop knows the codes of cutting deals with the Russian mob; Teller’s engineer is the square who can’t grasp how doing things the right way just makes the situation worse. As the normies, Teller and his naive wife, portrayed by Scarlett Johansson, feel like kids playing dress-up. (Johansson’s perm is a bit much.) Still, the script is tense and tight — and at this point, I’m happy to see anything with a plot.

Rodrigo Sorogoyen’s “The Beloved” has two of them: It’s a film within a film about a famous director (Javier Bardem) who casts his estranged actor daughter (Victoria Luengo) in his latest project. The fictional movie he’s making looks stiff, a period epic about Spain’s colonialist withdrawal from the Sahara in the 1930s, which doubles as a metaphor for the father’s destructive absence from his now-adult child’s life. A boozer, she’s not stable enough to stand up to the scrutiny of his sudden attention. Luengo herself holds the camera splendidly even in her character’s weaker moments, turning her charisma off whenever her father needs her to turn it on.

Consider it a shot and chaser to “Garance,” which stars a vibrantly sloppy Adèle Exarchopoulos as another alcoholic actress. Sharp, smartly paced and entertaining, it’s fantastic until the last stretch, which peters out and then abruptly stops.

One of the festival’s big themes seems to be connection: that we’re all stuck on this rock together and, ultimately, the difference between human and android, man and woman, is moot. At least three movies have someone saying, “That’s life,” with a shrug. The films themselves, however, are lifeless. Worse, they’re long. I can roll with movies that are mostly vibes, but only to a limit — say, 85 minutes.

Sophie Thatcher in the movie “Her Private Hell.”

(Neon)

Nicolas Winding Refn’s “Her Private Hell” is longer than that and the inertia is excruciating. The Danish director of “Drive” hasn’t made a feature film since “Neon Demon” premiered at Cannes in 2016 and this grim fairy tale feels more like a feint than a comeback. A sulky daughter (Sophie Thatcher) skulks around a misty skyscraper with her hot young stepmother (Havana Rose Liu) idly fretting about a murderer named the Leather Man. Down below, an Army private (Charles Melton) hunts the killer. Little happens other than chain-smoking, costume changes and interminable shots of color-shifting strobe lighting splaying across the cast’s cheekbones. Thankfully, Kristine Froseth adds pep as a bimbo who hasn’t yet learned how to talk as leadenly as everyone else.

Too much of the program is made up of tedious movies by beloved Cannes veterans — essentially affirmative action for auteurs. Eight years ago, Hirokazu Kore-eda won the Palme d’Or for “Shoplifters,” a chaotically enchanting portrait of a family of fraudsters. Now, he’s returned with “Sheep in the Box,” a slick and dull story about two grieving parents who adopt a clone of their dead son. “Sheep” aspires for Spielbergian catharsis — one scene seems to consider itself an art-house take on “A.I. Artificial Intelligence” — but the human characters come off as mechanical as the little robot boy. Between the musty setup and saccharine score, it’s the film equivalent of a bowl of stale candies.

Arthur Harari, who co-wrote 2023’s Palme- and Oscar-winning “Anatomy of a Fall,” is here as the director of “The Unknown,” a stilted drama about a sulky male photographer who wakes up in the body of Léa Seydoux after a nameless, wordless one-night stand. You can imagine Brian De Palma running with the sex-contagion idea (or “It Follows” director David Robert Mitchell grumbling that he deserved an inspired-by writing credit). But “The Unknown’s” shape-shifting intrigue stalls out once you realize that none of the characters have a personality to begin with. Who cares what soul is inside each shell if they’re all monotonously slack-faced? “Face/Off” it isn’t.

Léa Seydoux in the movie “The Unknown.”

(Festival de Cannes)

On that note, one emotional highlight to date was the presentation of an unannounced honorary Palme to John Travolta. (Yes, his face-swapping 1997 thriller with Nicolas Cage was in the celebratory montage.) Already bursting with passion to be world-premiering his directorial debut, “Propeller One-Way Night Coach,” Travolta was moved to tears. “Surprise complète!” Travolta gasped, kissing his trophy and blurting, “I was just happy to be here.” Indeed he was, as evident by the jaunty white beret he’d worn for the occasion, which quickly went viral on social media.

Travolta’s infectious enthusiasm carried over into the movie itself, a semi-autobiographical trifle about his childhood love of air travel. Set in 1962, a boy roughly Travolta’s age voyages from New York to Los Angeles on a series of hopping flights with his mother, who is hoping to land a rich husband or a good Hollywood role in that order. The kid’s joy is as stratospheric as the plane; he adores everything but the airline’s chicken cordon bleu. As a nostalgia piece, it’s “A Christmas Story” with a third of the jokes, none of the cynicism and not quite the length to justify itself as a movie. At barely an hour, it skedaddles in time to leave you with a sheepish smile.

Given the choice, I’d prefer to see a truly terrible movie over one that’s merely bland and mediocre. With that context, I’ve been literally raving over “Butterfly Jam,” a film so fundamentally misguided it could almost be the cineaste version of “The Room.”

Set in New Jersey, “Butterfly Jam” is a tale of toxic masculinity among braggadocious Circassian immigrants played by Barry Keoghan, Harry Melling and Riley Keough — actors who, despite their talent and effort here, are too notoriously Irish, English and Graceland-ian to be convincingly a part of a subculture this specific. It’s filmmaker Kantemir Balagov’s fault more than theirs. Despite supposedly arriving to the States as teenagers, the cast don’t even have accents, just dyed jet-black hair. While adamantly miserabilist, it does have a plot or at least one shocking plot point that’s so ghastly it made me giddy. A few scenes later, a pelican switches on a cotton candy machine with its bill, sending hot sugar whirring through the air — seriously — and I nearly applauded in delight.

Woody Harrelson and Kristen Stewart in the movie “Full Phil.”

(Festival de Cannes)

Likewise, a friend warned me against staying up through 2 a.m. for the premiere of Quentin Dupieux’s “Full Phil,” cautioning that it was the worst film they’d ever seen at Cannes in over a decade. But there was no way I’d miss watching Woody Harrelson and Kristen Stewart play a miserable father and daughter on a Parisian vacation, directed by a French oddball who rarely fails to entertain — although this time, he comes close.

The story is simple: The dad flusters, fidgets and whines; the girl gobbles room service as though aspiring to become human foie gras. “Full Phil” took about an hour to reveal its point — that parenthood makes you a glutton for punishment — and the jokes are more gestures at where a joke should be. Still, I support Harrelson and Stewart signing on to a project this cuckoo. Better still, it boasted something in short supply: a satisfying ending. Here’s hoping the festival itself ends stronger too.

It’s all too easy to overlook the grilled cheese sandwich when ordering at a restaurant. It can feel like something that is best reserved for picky eaters and the kids menu. But a great version is so much more than bread sealed together with a generous layer of cheese — everything must work harmoniously together. When something is this simple in construction, each ingredient really matters, from the type of bread to the selection of cheese to any additional toppings.

Luckily, restaurants around Los Angeles are taking the grilled cheese seriously, whether leaning into nostalgic versions with American cheese and sourdough bread or experimenting with unexpected ingredients like spicy labneh and caramelized onions. The results are delicious and comforting. Here are nine of the best grilled cheese sandwiches to try in L.A.:

After watching his mother perform in a production of “A Raisin in the Sun” at Compton Community College when he was 9 years old, Anthony Anderson knew appearing on stage would be his life’s work. Over the next handful of years, he enrolled in programs across Los Angeles to achieve that dream. Then, one morning after finishing a class at the Southern California Regional Occupational Center in Torrance, Anderson saw a Post-It note on a bulletin board that caught his attention. The note informed aspiring artists about a newly formed arts school. To be admitted, they had to submit an audition tape.

“I ripped it off the board, and I brought it home to my mother, and I said, ‘Mom, if I can get into this school, can I go here?’” Anderson says. “She said, ‘If you can get into that, yes.’”

Months later, Anderson received a letter informing him that he had been accepted into the inaugural class at the Los Angeles County High School for the Arts.

Founded in 1984 and opening its doors to students in 1985, Los Angeles County High School for the Arts is located on the campus of Cal State L.A. It was established to provide students (currently 550) with conservatory-level arts training and college-prep academics within the public education system. LACHSA isn’t associated with LAUSD; instead, it partners with the Los Angeles County Office of Education, which provides funding to support it.

“I felt it to be very important that I was in an environment where other students had the same passion as I did for the arts, in particular, theater,” Anderson says. “Being around other students who had the same passion and drive that I had as an artist was very influential.”

Over the years, LACHSA has featured a who’s who of alumni across various disciplines, including musicians Phoebe Bridgers and Haim, actors Jenna Elfman and Belissa Escobedo, and visual artists Robert Vargas, Tomashi Jackson and Kehinde Wiley. For the past seven years, the school has been ranked as the top public high school for the arts.

Drew McClelland (second from right) with students from LACHSA’s Cinematic Arts Program and actor William H. Macy (far right).

(Courtesy of LACHSA)

While the school’s accolades focus on the arts, LACHSA also aims to give its students experiences that extend beyond the program. Days are structured so that students take academic classes in the morning and arts in the afternoon. With this format, they meet and get to know classmates from other disciplines.

Former “SNL” cast member Taran Killam points out that this also promotes the school’s social and economic diversity, acting as a mini-college experience.

“It’s such a melting pot, but you have this beautiful, focused bonding,” he says. “It’s a rare thing for kids to know, but LACHSA students are ambitious. It’s very unifying when your background is so disparate and so diverse. It’s what makes it special, and you can’t get this experience in a traditional school.”

Lara Raj attended several arts-focused high schools as she moved during her childhood. With that in mind, the member of the girl group Katseye cites LACHSA as having a major influence on her artistic development. During her time at LACHSA, Raj took music, fashion and acting classes, and says its music tech class was her favorite. There, she learned how to create beats and write songs.

“I developed my songwriting and fell in love with it through those classes,” Raj says. “I was excited to go to school every day. And I hate school.”

Before attending LACHSA, singer-actor Josh Groban didn’t know a school specializing in the arts was an option. After bouncing around schools and realizing he needed a different education to express himself equally academically and artistically, he ended up at LACHSA. There, he found like-minded, artistically inclined outsiders.

Josh Groban, a former student of LACHSA, credits the institution with helping him find his voice.

(Christina House / Los Angeles Times)

“I was a kid who didn’t quite know how to fit in,” Groban says. “Then at [LACHSA], I was surrounded by other students who, I think, didn’t know how to fit in either. We were there for the same reasons, which is that we felt like we needed the nourishment of the arts and being able to express ourselves on a daily basis.”

Half of LACHSA’s funding is provided by the state, with the rest provided by the LACHSA Foundation, a registered 501(c) (3). According to its executive director, Trena Pitchford, the foundation has invested $1 million each school year.

“People always ask me when I tell them I went to LaGuardia and to LACHSA if they were private schools,” Raj says. “I tell them it was created by people who are passionate about the arts and want to inspire kids.”

“There’s a part of LACHSA that I think is a discovery point for a lot of Los Angeles County, and even the nation,” Pitchford says. “There’s so much opportunity for the school, and they’re doing it on a limited budget. What would happen if they were fully funded? What would happen if the foundation had a $40 million endowment? That would fully sustain what they’re doing right now.”

LACHSA students posing in front of the entrance to the Greek Theatre

(Courtesy of LACHSA)

LACHSAPalooza, the culmination of the foundation’s two-year fundraising campaign to celebrate the first 40 years of LACHSA, will take place at the Greek Theatre on May 30. There, student artists will perform alongside Ozomatli, Jon B., April Showers and more. From a fundraising standpoint, the foundation has high hopes of raising $2.5 million.

“We have both annual goals in terms of investment as well as sort of big visions, big dreams of where we think LACHSA could go for the next 40 years,” Pitchford says. “We also hope to put LACHSA on the national stage.’

The honorees for the night are the late Pat Bass, LACHSA’s gospel choir director, retiring LACHSA theater department chair Lois Hunter, and Jerry Freedman, a longtime social studies teacher at the school.

For Anderson, who is serving as the night’s host, seeing Freedman recognized is very meaningful.

“He was there from the school’s beginning,” Anderson says. “He was there when I started, and he’s still there and is still beloved by the students 40-plus years later. I’m looking forward to honoring him.”

As an arts-based school in the long-standing entertainment capital of the U.S., LACHSA can educate and enable the next generation of artists to discover their voices in the backyards of production companies, studios and record labels.

“The freedom that a LACHSA student gets on the campus to discover who they are is exciting,” Pritchard says. “It’s very innovative, very creative, and it’s forward thinking, future forward. It’s an exciting and thrilling place to be.”

Alumni agree. Without LACHSA and, in turn, a focused public arts education, pursuing a career in the arts would have been more difficult and more costly.

“It helps develop souls to be fully fledged human beings who feel like they can go off into the world and be the best versions of themselves,” Groban says. “We all felt like we were free to be who we wanted to be.”

“Specialty-focused high schools like LACHSA, be it arts or any other topic deserving of protection, because it is a gathering place for exceptionally talented, ambitious, driven kids,” Killam says. “And aren’t those the kind of people we want to be cultivating in society?”

Kid Cudi has fired M.I.A. as an opening act on his Rebel Ragers tour following backlash over her onstage comments in Dallas, where she said she “can’t do illegal” and appeared to accuse audience members of being in the country illegally.

The controversy first gained steam on Reddit where concertgoers expressed their concerns about her comments at Saturday’s show, including that she reportedly claimed she was canceled for being a brown Republican voter, prompting boos from the audience. Although she is not a U.S. citizen, she endorsed Donald Trump’s 2024 presidential campaign.

In one video, she says she “can’t do illegal, though some of you could be in the audience,” drawing audible gasps.

In a statement Monday, Kid Cudi announced that M.I.A. was no longer with the tour and noted that he had previously had his management tell her team that he “didn’t want anything offensive” in his shows and that he was assured this message was understood.

“After the last couple shows, I’ve been flooded with messages from fans that were upset by her rants,” he wrote in a statement on Instagram. “This, to me, is very disappointing and I won’t have someone on my tour making offensive remarks that upsets my fanbase.”

The rant came as she introduced her song “ILLYGIRL,” which has lyrics that say “I’m illegal, f— your law.” In another video, she can be heard saying, “I’m illegal, half my team are not here because they didn’t get the visa,” before instructing the audience not to listen to “what the bots say on the internet.”

After Cudi’s announcement about her being removed from the tour, she responded in an all-caps message on X, writing, “I WROTE BORDERS AND ILLYGAL AND PAPER PLANES BEFORE YOU THOUGHT IMMIGRANT RIGHTS WERE COOL. I’VE HAD [THESE] BATTLES BY MYSELF WITHOUT THE HELP OF MILLIONS OF FANS BACKING ME.”

M.I.A., whose real name is Mathangi “Maya” Arulpragasam, is a British-born rapper with Sri Lankan parents. She spent her early childhood in Sri Lanka before her family returned to London as refugees during the country’s civil war.

She is best known for her 2008 smash hit “Paper Planes,” which includes the lyrics “If you catch me at the border I got visas in my name.” Several of her songs deal with themes of immigration, politics and war.

In 2022, she announced her conversion to born-again Christian, which inspired her recently released album M.I.7, featuring heavy Christian themes.

In her X statement on Monday, she accused people of gaslighting her song lyrics, noting that “IS THE WORK OF SATAN.” She also made comments about Jesus being an immigrant and a rebel and said he returned to lead the world to fight injustice. She ended the post with a call for everyone to listen to M.I.7.

Kudi’s 33-show Rebel Ragers tour kicked off March 28 with M.I.A. and Big Boi billed as the opening acts. On Monday, he also announced that his Tuesday show in Birmingham, Ala., was canceled due to low ticket sales. The tour is set to continue with Big Boi as an opener and A-Trak, Me N Ü and Dot Da Genius slated to open at certain shows.

Guardians fan Evelyn Moore got a pretty cool souvenir from Monday’s game against the Tampa Bay Rays — a two-run home run ball hit by Cleveland second baseman Daniel Schneemann.

The 11-year-old softball player from New Philadelphia, Ohio, almost got the ball right after Schneemann hit it in the bottom of the fifth inning.

But, as seen in video footage that quickly went viral on social media, a man appeared to snatch it away as Evelyn was trying to pick it up near the rail in the left-center field stands at Progressive Field.

He eventually gave it to her, however, and now the girl’s mother wants folks on social media to leave him alone.

“This man’s life shouldn’t be ruined over this,” Nikki Moore-DeVore said. “Jokes and memes are one thing, but it’s getting excessive. It’s too much.”

Moore-DeVore said her family — which also includes her husband, Jon DeVore, and her son, Theo Moore, 9 — attend several Guardians games a year. They sit in the outfield stands, where Evelyn — an avid baseball fan and baseball card collector — likes to take her glove down to the rail and try to persuade Cleveland outfielders to toss her a ball.

Video of Schneemann’s home run shows the ball flying over the left-center field wall, where a bearded man wearing a throwback Cleveland Indians hat and T-shirt tried to catch it in the air. Instead, it bounced off his hands toward the rail to his left.

Cleveland Guardians’ Daniel Schneemann, right, is greeted at the plate by teammate David Fry after hitting a two-run home run in the fifth inning of a game against the Tampa Bay Rays on Monday in Cleveland.

(Sue Ogrocki / Associated Press)

Evelyn ran down from her seat two rows up, dropped to the ground and attempted to secure the ball in front of her. The man ran over and also dropped to the ground next to her, starting a brief struggle for control of the ball.

The man eventually emerged triumphantly.

“I did not really see how the ball came over to us. I just saw it bounce in our direction and my daughter go down to get it,” Moore-DeVore said. “And I saw the scuffle kind of from behind, but I couldn’t see much of the hands or anything like that. I just saw the shoulders shifting around.

“And then she got up empty-handed, and people started booing. The guys sitting in front of me were like, ‘That was her ball!’ My husband was booing. He was not happy, but we didn’t want to ruin the game.”

Evelyn also was upset by the turn of events, her mother said, “but she didn’t cry.”

“She actually took it like a champ,” Moore-DeVore said. “Every inning, she still went up to the rail to try to get one of the players to throw a ball to her. She didn’t give up.”

Meanwhile, Theo approached the man to request he return the ball to his sister. Moore-DeVore said her son told her the man politely refused.

“I was just proud of him for going over there and taking it upon himself to try to help his sister,” Moore-DeVore said.

The Rays broadcast of the game showed the incident involving Evelyn and the man, with the announcers taking the girl’s side. On social media, fans shared the video and shamed the man for his behavior, with some looking to make his identity public.

Later in the game, Rays sideline reporter Ryan Bass visited the family at their seats and presented both kids with baseballs.

That’s when Evelyn became emotional.

“She cried happy tears,” her mother said. “I think she just felt seen. The incident made her feel small, and Ryan made her feel seen.”

Bass posted about the moment on X.

“We had to make it right,” Bass wrote, adding in a separate post: “We got the chance to make a sweet little girl’s night. There’s nothing better. Kindness is free. Always remember that.”

Before the bottom of the eighth inning, Evelyn went down to her usual post at the rail to try to persuade an outfielder to toss her a ball. She returned with the home run ball from three innings earlier.

“She came back with the biggest smile on her face: ‘Mom, he gave it back to me!’” Moore-DeVore said. “The guys in front of me were like, ‘yeah, he’s, like, getting a lot of social media flack.’ … I’m sure he realized eventually that it was probably the wrong action to take, just not good etiquette.”

In return, Moore-DeVore said, Theo offered the man — whose name has not been revealed despite the internet’s attempts — one of the balls that Bass had given him and his sister.

“He respectfully declined,” she said, “so my son gave it to another kid.”

Moore-DeVore said both of her kids are “on cloud nine” over how everything turned out — and she wants everyone else to get over it as well.

“I don’t want this one moment to ruin this guy,” she said. “And my kids, they wouldn’t want that. They’re sweet kids. I feel like, if kids their age can forgive and offer him a peace offering, grown adults and other fans can, too.”

April 28 (UPI) — Defense Secretary Pete Hegseth said he shared a ride in a U.S. Army helicopter with Kid Rock weeks after the military came under fire for carrying out an Apache flyby of the musician’s home in Nashville.

Hegseth posted photos of himself and Kid Rock with members of the military on Monday.

“Joined my friend @KidRock — and some of our great @USArmy Apache pilots — for a ride this morning. (More to come on that!)” Hegseth wrote.

“Kid Rock is a patriot and huge supporter of our troops. The War Department is wasting no time celebrating America’s 250th — home of the free because of the brave.”

Sean Parnell, a spokesman for the Pentagon, said Monday’s helicopter ride for Kid Rock was part of the government’s plans to celebrate the country’s 250th birthday, The New York Times reported. CNN reported that Parnell said Kid Rock filmed videos to mark Memorial Day, the 250th birthday and his own Freedom 250 concert tour.

“The visit today provided an opportunity for Kid Rock to thank service members, highlight the professionalism of the men and women supporting the mission, and recognize their continued sacrifice in honor of our nation. The department is grateful for Kid Rock’s long-time support of our troops.”

In late March, the U.S. Army said it was conducting an administrative review after Apache helicopters performed a flyby of Kid Rock’s home. Days later, Hegseth shut down the investigation.

“@USArmy pilots suspension LIFTED,” he wrote in a post on X.

“No punishment. No investigation. Carry on, patriots.”

On March 28, Kid Rock posted two videos showing two Apache helicopters flying by and hovering near his home, which he has dubbed “The Southern White House.” In one of the videos, the musician can be seem saluting one of the helicopters before raising his fist in the air.

The performer has made several appearances in support of President Donald Trump during his second term in office.

Maj. Jonathon Bless, a spokesman for the 101st Airborne Division, said the Army’s probe would verify the helicopters were in compliance with safety and airspace regulations.

“Army aviators must adhere to strict safety standards, professionalism and established flight regulations,” he said.

Allyson Felix is attempting a comeback at age 40 that could give her a chance to add to her Olympic-record medal haul two years from now in Los Angeles.

Felix, a mother of two, told Time magazine she thought about coming back some four years after calling it quits and decided: “Let’s go after the thing. Let’s be vulnerable.”

“You know, at this age, I should probably be staying home and taking care of my kids, doing all that. And just, why not? Let’s flip it on its head,” she said.

Felix has won 11 Olympic medals — the most by any woman in track — and has a record 20 medals from world championships.

She is a seven-time Olympic champion, with six in the relays and her lone individual gold coming in the 200 meters at the 2012 London Games.

Before retiring in 2022, she became an outspoken advocate for athletes who become mothers and want to keep their careers going.

Felix, who landed a spot on the IOC Athletes’ Commission in retirement, has two kids — 7-year-old Camryn and 2-year old Trey.

She said she expects to start full-time training with her coach, Bobby Kersee, in October with the goal of competing in 2027. The Olympics will be in her hometown a year later.

“I totally get the person who sticks around too long and you’re like, ‘What are they doing?’” Felix said. “I know, at 40, I am not at my peak. I have no illusions about that. I’m very clear in what it is and what I want to see. And so I hope it’s seen that way.”

Eddie Murphy is celebrating not just his lifetime achievement award, but also the arrival of his third granddaughter, perhaps the funniest baby alive.

Murphy’s son Eric and Martin Lawrence’s daughter Jasmin have welcomed their first child together, baby Ari Skye.

On Saturday, Murphy was honored with the 51st AFI Life Achievement Award at a gala in Hollywood and told reporters that he had recently celebrated back-to-back milestones.

“I just had my first grandson two months ago, and I had my third granddaughter two weeks ago. And I turned 65 a month ago,” he told “Entertainment Tonight” ahead of the gala. “It’s raining blessings on me.”

The ceremony celebrated his storied career across comedy and film, and featured tributes from fellow funnyman Dave Chappelle and “Shrek” co-star Mike Myers. The special will premiere May 31 on Netflix.

The “Dr. Dolittle” star also gushed about his new grandbaby to E! News, and told the outlet that being honored for his work was “a wonderful thing” but that his legacy wasn’t his work.

“My legacy to me is my children,” he said.

Asked whether he or Lawrence offered their kids any parenting advice as they prepared to welcome Ari Skye, Murphy said he’s more of a lead-by-example kind of dad.

“You don’t give advice like that,” he told the outlet. “Your kids don’t go by your advice. Your kids go by the example you set. They watch you. Stuff you be saying, they don’t even pay that no mind. They watch and see what you do.”

In March, Jasmin and Eric posted photos from their lavish baby shower on social media. The shindig included a three-tiered pink cake, pink cocktails garnished with meringue that looked like clouds and balloons galore. “The most beautiful and special celebration for our baby girl,” the couple captioned the post. “Thank you to our parents and everyone that made this day so magical! Ari Skye Murphy, you are SO loved already!!”

Excitement around Ari Skye’s arrival had been brewing in the media long before the couple even announced they were expecting. Murphy joked about a potential grandbaby when Jasmin and Eric were dating back in 2024, during an interview with Gayle King.

“They’re both beautiful,” he said. “They look amazing together. And it’s funny — everybody’s like, ‘That baby gonna be funny!’ Like our gene pool is just going to make this funny baby.”

Murphy agreed, saying: “If they ever get married and have a child, I’m expecting the child to be funny.”

When the heads of three Los Angeles Unified School District unions stood side by side at City Hall to announce their new contracts after nearly going on strike hours earlier, one of them looked out of place.

Max Arias was decked out in a purple letterman’s cardigan emblazoned with “99,” for Service Employees International Union Local 99. United Teachers Los Angeles President Cecily Myart-Cruz wore a tie-dyed T-shirt that read “Solidarity LA.”

And then there was Maria Nichols, who looked like the school principal she once was.

Shiny black shoes. Black slacks. Light makeup. Tight smile. The only flash of color was her green V-neck union T-shirt, the logo peeking out of a black blazer.

Arias and Myart-Cruz gave impassioned speeches hailing the last-minute deals, which still need to be approved by union members and the school board. Nichols, who leads the Associated Administrators of Los Angeles/Teamsters Local 2010, started with a joke about her mere year and 10 months as a union leader.

“I’m the new kid on the block,” the 60-year-old said. “But we made a commitment. It’s not about equality, it’s about equity. … We are all better today for our collective work.”

AALA’s tentative contract calls for raises of more than 11% for the LAUSD’s 3,000 principals, assistant principals and middle managers — a lower percentage increase than SEIU’s 24% and UTLA’s 14%. But the contract also secured a 40-hour week with flex time off for extra hours, addressing long-standing complaints about grueling schedules.

On top of all that, Nichols has led her members into a new era.

“For a long time, principals have been perceived” as a class apart from other school employees, Arias said at the City Hall news conference Tuesday.

Not only are they many workers’ bosses, but with median salaries of $160,139 for elementary schools and $174,628 for higher grades, they make a lot more money. When UTLA went on strike in 2019, AALA stayed on the job.

This time, AALA and the other two unions vowed to all go on strike together if any one of them failed to get a contract.

“So them coming in,” Arias continued, “really shows our members that it is important to start figuring out how we work in solidarity.”

Nichols “called us and said, ‘I know that you guys have already been rolling, but I want to join in,’” Myart-Cruz added. “Having the leadership to be able to articulate that message to her administrators is a great thing. Solidarity is a great thing, but we now have unity.”

“I may be the new kid on the block,” Nichols told me afterward with a grin, “but I’ve been fighting for better schools for 42 years.”

We met a few days later at AALA’s Echo Park office.

“Excuse the mess,” Nichols cracked as we walked to her corner suite. She now wore a bright red pantsuit, union pins on her lapel. Hundreds of signs reading “Enough is Enough” leaned upside down against desks and cabinets. Chips, water and other snacks were piled inside collapsible carts.

“This was all going to be used for the strike,” she said. “You know what they say — expect the best but prepare for the worst.”

AALA /Teamsters 2010 President Maria Nichols hugs UTLA President Cecily Myart-Cruz during a news conference announcing a tentative agreement between LAUSD and the unions representing teachers, principals and workers at City Hall in Los Angeles on April 14, 2026. Above them is SEIU Local 99 President Max Arias.

(Robert Gauthier / Los Angeles Times)

A breakfast of blueberries and yogurt sat untouched as Nichols recounted her life story. She moved to Los Angeles at age 5 from her native Peru to join parents who left after a military coup. A star volleyball setter at Fairfax High, she gave up a University of Arizona scholarship her freshman year after breaking her wrist and finding it “too hard to watch the games and not be involved.”

Back home, she joined LAUSD as a bilingual teacher’s assistant while pursuing a degree in physical therapy at Cal State Northridge. Thanks to a succession of bosses she called “angels,” she stayed in public education. She worked in San Fernando Valley elementary schools as an assistant, a teacher and an assistant principal before a decade-long run as principal at Vena Avenue Elementary in Arleta, which was designated a California Distinguished School during her tenure.

That led to a promotion as a regional director for Valley schools, a job she loved despite the difficulties of shrinking budgets and enrollment. Nichols credited then-LAUSD Superintendent Austin Beutner with granting autonomy to principals in the district.

“We were all administrators from the field that had served time in this district and gone up the ranks,” she said. “That disappeared with [current Supt. Alberto] Carvalho. Gone. Gone.”

She pointed to a flow chart on the wall, titled “Ready for the World,” that Carvalho’s team distributed after he arrived in 2022. He brought in his own people instead of empowering existing administrators, she said.

“It’s a great plan,” Nichols said with no sarcasm while reading its goals aloud. “Because that is what we want. But we don’t invest in staff because we have a shortage. … We can’t have joy and wellness if your people are drying on the vine because they’re exhausted.”

Friction between principals and teachers over budgets and educational strategies increased. Frustrated, Nichols attended her first AALA meeting about two years ago.

“There were like 20 people there. And I thought, ‘This is it? This is where we are?’” she recalled.

Some principals urged her to run against the union’s incumbent president. One of them was Kathie Galan-Jaramillo, whom Nichols had hired to lead Sylmar Leadership Academy.

“Our union was very small, and it was very difficult for us to stand for what we believe in,” Galan-Jaramillo said. “But Maria knew all of the things and hurdles that we [administrators] had to do and go through, and the expectations.”

To prepare for negotiating a new contract, Nichols studied the existing one.

“It was so weak. The language was so antiquated,” she remembered thinking, especially when it came to making sure members weren’t being overworked. “And then I looked at UTLA’s contract and I said, ‘Holy crap. No wonder they get everything.’”

At the end of 2024, 85% of AALA members approved a Nichols-backed merger with Teamsters 2010, which represents higher education workers in California, to shore up their resources and try a different, tougher mindset.

“She has what’s lacking among many leaders — she has the judgment and humility to say, ‘I have things to learn and I’m up to it,’” said Teamsters 2010 Secretary-Treasurer Jason Rabinowitz, who sat with Nichols in contract negotiations. “And she’s a learner and quick study. That’s not always easy to do, because labor leaders have ego.”

After contract talks hit an impasse in February, Nichols reached out to Arias and Myart-Cruz to share research and strategy. They sold her on a united front. But initially, not all AALA members embraced the move, with some questioning why the union would still strike after getting a new contract.

“I was getting a lot of push back from members — ‘But if we get a TA [temporary agreement], why would we strike?” Nichols said. “But it wasn’t about the TA anymore. It was about the coalition. It was about sticking together. It was about power and unity. … My folks were not used to that.”

Nichols expects that AALA members will ratify the agreement.

“We’ll be done, and in May, we [Arias and Myart-Cruz] will go out and have some dinner, and, you know, adult beverages,” she said with a loud laugh.

Maria Nichols, head of the LAUSD principals union, AALA/Teamsters 2010, at her AALA office in Echo Park.

(Robert Gauthier / Los Angeles Times)

Then comes what she describes as the new alliance’s “heavy lies the crown” moment.

LAUSD plans to bankroll the contracts with money from Sacramento that may or may not come through, even as it plans to cut more than 600 jobs and school enrollment keeps dropping. SEIU’s new contract includes extra hours for members — who include custodians, bus drivers and cafeteria workers — so they can qualify for health benefits, Nichols pointed out.

“They deserve it,” she said, citing her respect for them because her father was a dishwasher and her mother cleaned houses. “But that impact of health benefits, it’s going to be directed at school budgets. OK, great. We got all of these wins, but how is that going to impact our budget at schools? Where’s the money going to come from?”

But these were issues for another day.

The conference room table was now covered in stacks of the same green T-shirt Nichols had worn at City Hall.

“We were going to give them out during the strike,” she said as her staff busied for a flurry of meetings. “But we’ll still give them out. We’ve got a job to do.”

Paul W. Downs can’t help it that even on the weekends, his life intersects with “Hacks,” the HBO comedy he co-created and co-showruns with his wife, Lucia Aniello, and their friend Jen Statsky. (He also appears on the show as Jimmy LuSaque Jr., the besieged manager of its two stars, played by Emmy winners Jean Smart and Hannah Einbinder.) The fifth and final season of “Hacks” premiered last week, but on Downs’ days off, he often finds himself at its previous filming locations or hanging out with cast members who have become like family.

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.

Downs moved to Los Angeles in 2011, but soon after, he and Aniello were hired to write (and for him to act) on the über-New York show “Broad City,” keeping them away from the West Coast for years. Now the couple live in Los Feliz, which they enjoy with their young son.

“I love Los Feliz because it’s a real neighborhood with restaurants and bars, but also feels close to nature with Griffith Park,” Downs says. “Also it’s very central to my Eastside friends and Westside agents.”

And if he had to live at a local mall, like the character Ava Daniels did in the third season of “Hacks,” which would he choose?

“It would be the Americana, obviously.”

Here’s how he’d spend a perfect day in L.A.

10 a.m.: A late rise and a li’l barista

I’m sleeping in if I can, which I can’t because I have a toddler, but let’s say I can sleep ’til 10. That would be insane.

Then I’m making coffee at home. I’m making it with my 4-year-old because he likes to make my coffee now. He always wanted to help, now he really wants to do it on his own. I’m still there to supervise, but he does do a lot of it.

I do batch brew. I’m doing Verve Coffee that I’m grinding there, and then I’m brewing four cups because I need my coffee. I had a Moccamaster for a long time, but I recently got a Simply Good Coffee. There’s no plastic — it’s all glass and metal.

11 a.m.: Chocolate croissants for everyone

We’re driving to Pasadena and we’re going to [Artisanal Goods by] CAR, which is the place to get the best chocolate croissant, I think, in the world. I don’t just think in L.A., I think they’re better than Paris. I’m going there with my wife and my kid and I’m having another coffee and some pastry. We’re ordering three [chocolate croissants]. We’re not doubling up.

11:45 a.m.: The family business

We’re driving to Fair Oaks in Pasadena. There’s a place called T.L. Gurley. We shot “Hacks” there, actually. Not only in Season 1, but also full circle in Season 5. We’re going to shmay around and look at antiques. My kid is going to want to play a vintage pinball machine. We’re going to find a little piece of art for the house or what have you. It’s not necessarily that I’m on the hunt. It’s to pass the time and to have some fun. If I could do anything and have a leisurely day and take my mind off work, that’s what I’m doing.

People love to interact with my kid when he’s there. We’re really training him to appraise things at a young age. My parents are part-time dealers of antiques. My grandmother bought and sold antiques. It’s kind of a family business.

1:30 pm.: Baguettes and books

We’re driving to Larchmont and we’re getting a sandwich at Larchmont Village Wine, Spirits & Cheese. I’m doing prosciutto-mozzarella-basil on a baguette.

Then we’re going to Chevalier’s Books. What’s sad is that I’m often not looking for leisure material. I’m looking for something that I’m interested in learning more about or writing about, or that they’re turning into a show I want to audition for. But we’re also doing Little Golden Books for my son. He’s obsessed. We’re not huge on screen time, so we really encourage the book-buying.

2:30 p.m.: Cast pool party

We’re having some family fun in the pool and we’re doing that until evening. We invite people over all the time. My sister-in-law is a New Yorker, but she actually wrote last season on “The Rooster” and she’s often writing on shows in L.A., so she’s often here and she’ll have a couple friends come over. I know this sounds like a piece of PR or something, but we’ll really literally have Hannah [Einbinder] and maybe Mark Indelicato from “Hacks” come over to swim. Jen, our co-creator of “Hacks,” will come over.

6:00 p.m.: Family dinner

Sometimes we’ll order Grá to the house, which is a pizza place in Echo Park — excellent sourdough crust pizza. But if we don’t do that, an ideal evening is an early dinner at All Time on Hillhurst in Los Feliz. We’re ordering the ceviche and my son is having all of it and not sharing with anybody at the table.

8:45 p.m.: A thrilling ending to the day

After putting my kid to bed, my wife and I, in an ideal world (full disclosure: we haven’t done this in two years), we’ll watch something together that we’ve been meaning to watch. We have a long list of movies and we either want to revisit or that we haven’t seen that we need to watch.

We don’t watch a lot of comedies. It’s a dream to watch a “Black Bag” or a little espionage thriller. We really like that because it’s so different than the stuff that we’re working on in the day.

Often the things we watch are things that we admire. We like deconstructing it as fans of film and television. We do like talking about the making of it, but it’s less of a critique and more of a listing of the things we appreciated about it.

10:30 p.m.: No work tomorrow

And then it’s lovemaking ’til morning on a perfect Sunday. If it’s a perfect Sunday, there’s also a Monday that’s off.