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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.

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.

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.

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.

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.

“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.”

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.

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.”

1 of 2 | Kid Rock speaks during a Senate Committee on Commerce, Science, and Transportation subcommittee hearing in the Russell Senate Office Building near the U.S. Capitol in Washington, D.C., on January 28. On Monday, he wrote in a U.S. Army Apache helicopter with Defense Secretary Pete Hegseth. File Photo by Bonnie Cash/UPI | License Photo

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.”

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.

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.

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.