last year

WASHINGTON — Senators raced Tuesday to clinch an emerging proposal to end the Homeland Security shutdown by funding much of the department, including the Transportation Security Administration airport workers going without pay, but excluding ICE enforcement operations that have been core to the dispute.

The sudden sense of urgency comes as U.S. airports are snarled by long security lines, with travelers being told to arrive hours before their flights in Houston, Atlanta and Baltimore Washington International. Routine Homeland Security funding was halted in mid-February ahead of the busy spring travel season. Nearly 11% of TSA workers — more than 3,200 — missed work Monday, and at least 458 have have quit altogether since the shutdown began, according to Homeland Security.

Democrats are refusing to fund the department without restraints on Trump’s immigration and deportation agenda after agents killed two citizens in Minneapolis.

A potential breakthrough came late Monday, after a group of Republican senators met at the White House with President Trump after his decision to deploy federal immigration officers at some airport security checkpoints — a move some lawmakers warned could lead to heightened tensions.

“All I can say is that the discussions have been very positive and productive, and hopefully headed in the right direction,” said Senate Majority Leader John Thune (R-S.D.) late Monday evening.

Senate Democratic Leader Chuck Schumer sounded a similarly hopeful tone: “Both sides are working in a serious way.”

Hopes high for a quick deal

Next steps in Congress could move quickly, if lawmakers can reach a deal, or sputter out just as fast.

The contours of the deal under consideration would fund most of Homeland Security, but not one main part of ICE — the enforcement and removal operations that are core to Trump’s deportation agenda.

Under the proposal being floated, ICE’s Homeland Security Investigations would be funded as well as Customs and Border Protection. But that would come with guardrails — keeping officers from those divisions in their traditional roles, rather than deploying them in urban immigration roundups.

The plan would also include a number of changes in immigration operations that Democrats have demanded, including mandating that officers wear body cameras and identification. The ICE officers manning airports are already going without face-covering masks, another key demand Democrats want as part of any deal.

Since so much of ICE is already funded through Trump’s big tax breaks bill, and immigration officers are still receiving paychecks despite the shutdown, senators said the new restraints would also be imposed on operations that rely on that funding source, as well.

Republican Sen. Katie Britt of Alabama, a chief negotiator, returned from the White House meeting hopeful they had a solution to “land this plane.”

Both chambers of Congress are controlled by the Republican president’s party, and any deal reached in the Senate would also have to be approved by the House.

Political standoff, long airport lines

Key to the standoff appears to have been the senators’ ability to shift the president’s attention off his plan to link any department funding to his push to pass the so-called SAVE America Act, a strict proof-of-citizenship and voter ID bill that has stalled in the Senate ahead of the midterm elections.

Over the weekend Trump injected his demand for the voting bill as a condition for ending the funding standoff. Some GOP senators have pitched the idea of tackling it in the months ahead as part of a broader legislative package the party could pass on its own, similar to last year’s big tax cuts bill.

Sen. Chris Coons (D-Del.) who was not part of the group at the White House, said his understanding was that there was a “sense of urgency” coming from the talks as the airport disruptions worsen.

Senators are expected to discuss the proposals during their private caucus lunches Tuesday afternoon. “First step is to get the proposal in writing,” said Sen. Angus King, an Independent from Maine. “I want to see exactly what that means.”

Changes at Homeland Security

The deal could provide a political exit from the standoff over the embattled Homeland Security department, which was stood up in the aftermath of the Sept. 11, 2001, attacks but has come to symbolize Trump’s aggressive mass deportation agenda, with its goal of removing 1 million immigrants this year.

Under mounting political pressure, Trump ousted Homeland Security Secretary Kristi Noem amid the public outcry over the immigration operations, and senators late Monday confirmed one of their own, Markwayne Mullin, as the president’s handpicked replacement.

Mullin, an Oklahoma senator who aligns with Trump’s agenda, provides a potentially new face for the department. During his confirmation hearing, Mullin touched on another key demand of Democrats — ensuring a judge has signed off on warrants that immigration officers use to search people’s homes, rather than simply relying on administrative warrants issued by the department.

“This is significant,” Sen. Peter Welch (D-Vt.) said about the progress toward changes. “Noem is gone. That’s a big deal.”

ICE’s budget nearly tripled under last year’s bill, to $75 billion, which has been untouched by the shutdown. Rather its routine annual funding, some $10 billion, would be cut almost in half under the proposal.

After weeks of missed paychecks, many TSA agents have called in sick or even quit their jobs as financial strains pile up. Union leaders representing the workers have pushed Congress to reach a deal.

Mascaro and Cappelletti write for the Associated Press. AP writers Rio Yamat, Wyatte Grantham-Philips, Kevin Freking and Seung Min Kim contributed to this report.

PORTLAND, Ore. — Portland’s Kristoffer Velde scored in the 13th minute and Timbers defender Kamal Miller picked up a red card seven minutes later, but James Pantemis surrendered only a João Klauss goal to help them hold on for a 1-1 draw with the Galaxy on Sunday.

Velde scored for the second time this season to give Portland (1-3-1) a 1-0 lead early. But things became difficult from the 20th minute on when Miller received his card for a foul on Klauss.

Antony Alves Santos notched his first assist this season on the score and Joao Ortiz picked up his second.

Klauss came up with the equalizer in the 30th minute with assists from Marco Reus and Gabriel Pec. It was the fifth goal for Klauss, who has certainly helped ease the loss of superstar Riqui Puig for a second straight season because of injuries. Klauss spent his first three seasons with St. Louis City, where he scored 25 goals in 79 appearances.

Reus earned his first assist this season after posting a career-best nine last year. Pec’s helper was his third to begin the season.

Pantemis totaled six saves for the Timbers, including four in the first half.

JT Marcinkowski stopped two shots in his first start of the season for the Galaxy (1-2-2).

The Galaxy lead the series 14-12-11, but are 5-10-11 in Portland. The two clubs played to a 1-1 draw in Portland last season before the Timbers posted a 4-2 victory on the road.

Rather than chasing sequels and reboots, Netflix is betting its 2026 film strategy on a massive investment in original storytelling and a renewed focus on the theatrical comedy.

The streaming giant’s need for original content is one of the main reasons Netflix fought fiercely to acquire Warner Bros. But even after losing the bid to Paramount earlier this month, the priority remains.

“We’re zigging where legacy studios are zagging,” Dan Lin, Netflix’s film chairman, said Wednesday at Netflix’s slate event in Hollywood.

Last year, 18 of the top 20 theatrical films were based on already established intellectual property, like with sequels and remakes. The only two original ideas to break through were Ryan Coogler’s “Sinners” and Zach Cregger’s “Weapons.” Both of these films were received well by audiences and earned golden statues at this year’s Oscars.

Lin said that at Netflix, 2025’s slate was the “exact opposite,” where half of the films it released last year were based on original storytelling.

“We have a very healthy content budget. So if there’s a great movie out there, we’ll go out and either build it or acquire it,” Lin said.

Bela Bajaria, the company’s chief content officer, said the company isn’t too concerned with the theatrical element that other studios can offer when hunting for these original stories, as Netflix is a streaming-first company.

“We’ve always had competition. This isn’t really any different,” said Bajaria. “It’s to understand what the competition is, not head in the sand at all. [We have] to understand what the market is and continue to look ahead.”

It’s not just original ideas that Netflix is scouting; the streamer’s also looking to fill gaps in genres. In recent years, comedies have fallen out of favor with major studios — leaving room for streamers like Netflix to expand. This year, Netflix is looking to break through with upcoming comedy productions like Kevin Hart’s bachelor party-driven “72 Hours,” John Cena and Eric André’s buddy comedy “Little Brother” and Eva Longoria’s “Fifth Wheel,” which Lin describes as “our version of ‘Bridesmaids.’”

“We’re taking the chance, and we’re making the movies,” Lin said. “It’s what we’re delivering, I hope, [it’s] what audiences want and what they’re craving. There are a lot of genres that you just can’t find in theaters anymore. So, we’re making those kinds of movies.”

In addition to emphasizing comedies, there’s a lot of opportunity to develop young adult films, Lin said. Netflix has upcoming titles such as “Voicemails for Isabelle,” starring Zoey Deutch and Nick Robinson, and “Roommates,” with Sadie Sandler, to draw in younger movie watchers.

One genre in which Netflix doesn’t see much success is live musical adaptations, so it’s “not an area that I’m leaning into,” Lin said. He first joined the company in 2024 and has since green-lighted 88 films.

Netflix subscribers watch about seven movies a month, according to the streamer’s data. So, with the push for original stories, the streamer is hoping to meet its consumers’ demands.

The current strategy is to release up to four “event films” a year. For 2026, Netflix is looking at Greta Gerwig’s “Narnia” adaptation and David Fincher’s follow-up to “Once Upon a Time … in Hollywood” as its big hitters.

“It’s all very under wraps right now, but it’s something that I’m just so thrilled about because it was the book of my childhood. It was the book series that I loved, and I lived through, and I spent so much time imagining myself inside of Narnia,” Gerwig said in a video message during the Netflix event. “It’s been a joy and an honor to be the person who gets to imagine this universe.”

Gerwig’s “Narnia” is set to hit Imax this Thanksgiving and start streaming on Netflix come Christmas.

NEW YORK — In a strongly worded decision this week, a federal judge ordered that the Voice of America — an international broadcaster with the mission to provide news for countries around the world that was largely shut down for the last year by the Trump administration — come roaring back to life.

Whether or not that actually happens is uncertain.

The government filed notice Thursday to appeal U.S. District Judge Royce C. Lamberth’s order two days earlier to put hundreds of VOA employees who have been on paid leave the last year back to work. Lamberth had ruled on March 7 that Kari Lake, President Trump’s choice to oversee the bureaucratic parent U.S. Agency for Global Media, didn’t have the authority to reduce VOA to a skeleton.

The Voice of America was established as a news source in World War II, beaming reports to many countries that had no tradition of a free press. Before Trump took office again last year, Voice of America was operating in 49 different languages, heard by an estimated 362 million people.

Trump’s team contended that government-run news sources, which also include Radio Free Europe/Radio Liberty, were an example of bloated government and that it wanted news reporting more favorable to the current administration. With a greatly reduced staff, VOA currently operates in Iran, Afghanistan, China, North Korea and in countries with a large population of Kurds.

Lamberth, in his decision, said Lake had “repeatedly thumbed her nose” at laws mandating VOA’s operation.

Time to turn the page at VOA?

VOA director Michael Abramowitz said legislators in both parties understand the need for a strong operation and have set aside enough funding for the job to be done. “It is time for all parties to come together and work to rebuild and strengthen the agency,” he said.

Don’t expect that to happen soon. “President Trump was elected to eliminate waste, fraud and abuse across the administration, including the Voice of America — and efforts to improve efficiency at USAGM have been a tremendous success,” said White House spokeswoman Anna Kelly. “This will not be the final say on the matter.”

Patsy Widakuswara, VOA’s White House bureau chief and a plaintiff in the lawsuit to bring it back, said that “restoring the physical infrastructure is going to take a lot of money and some time, but it can be done. What is more difficult is recovering from the trauma that our newsroom has gone through.”

It’s an open question whether the administration wants a real news organization or a mouthpiece, said David Ensor, a former Voice of America director between 2010 and 2014. “We don’t know — maybe no one does at the moment — what the future holds,” he said.

The administration’s efforts over the last year to bolster friendly outlets and fight coverage that displeases Trump offer a clue, even though Congress has required that Voice of America be an objective and unbiased news source. This week it was announced that Christopher Wallace, an executive at the far-right network Newsmax who had previously spent 15 years at Fox News Channel, will be the new deputy director at VOA. Abramowitz didn’t know he was getting a new deputy until it was announced.

Widakuswara wouldn’t comment on what Wallace’s appointment might mean. “I’m not going to pass judgment before seeing his work,” she said.

While Lamberth ordered more than a thousand employees on leave to go back to work, it’s not clear how many of them moved on to other jobs or retired in the last year. The judge also said he did not have the authority to bring back hundreds of independent contractors who were terminated.

One employee who left is Steve Herman, a former White House bureau chief and national correspondent at VOA and now executive director of the Jordan Center for Journalism Advocacy and Innovation at the University of Mississippi. Despite the court decisions, he questions whether the Trump administration would oversee a return to what the organization used to be.

“I’m a bit of a pessimist,” Herman said. “I think it’s going to be very difficult.”

An administration loath to admit defeat

Besides fighting to shut it down, Trump is loath to admit defeat. The White House recently nominated Sarah Rogers, the undersecretary of State for public diplomacy, to run the U.S. Agency for Global Media, putting it more firmly within the administration’s control. Her nomination requires Senate approval.

“Is Marco Rubio’s State Department going to allow objective journalism in 49 languages?” Herman asked. “I don’t think so. I would want that to happen, but that’s a fairy tale.”

In the budget bill passed in February, Congress set aside $200 million for Voice of America’s operation. While that represents about a 25% cut in the agency’s previous appropriation, it sent a bipartisan message of support, said Kate Neeper, VOA’s director of strategy and performance evaluation. Besides being a plaintiff with Widakuswara in the lawsuit to restore the agency, she has helped some of her colleagues deal with some of their own problems over the past year, including immigration issues.

“There is a lot of enthusiasm for going back to work,” she said. “People are eager to show up on Monday.”

The hunger for information from Voice of America in Iran when he was director was a clear example of what the organization meant, Ensor said. Surveys showed that between a quarter and a third of Iran’s households tuned in to VOA once a week, primarily on satellite television. Occasionally the government would crack down and confiscate satellite dishes, but Iranians could usually quickly find replacements, he said.

“I believe in Voice of America as a news organization and as a voice of America,” Ensor said. “It was important, and it can be again.”

Bauder writes for the Associated Press.

Mexico’s reigning pop princess is entering her femme fatale era.

Kenia Os played up her cute and cuddly side in her previous album, 2024’s “Pink Aura” — but with her upcoming album “K de Karma,” out Friday, Os is putting that era to bed.

Os, born Kenia Guadalupe Flores Osuna in Mazatlán, Sinaloa, has made an incredible leap from social media influencer to Latin Grammy-nominated pop star in under a decade. Yet at 26, she has weathered countless storms — whether facing incessant body-shaming online, or defending her pop music pivot from cynics in the comments.

In an interview with the L.A. Times, the Mexican superstar explains how she transmuted that energy into her most fierce and sexy musical offering yet.

“In that darkness, I found myself,” the 26-year-old says over Zoom from her hotel room in Los Angeles — where she’s traded her signature blood red dress for a black tank top and jeans as she prepares for her upcoming tour.

“This album is totally about empowerment. There’s an energy behind it of divine justice… What’s for you belongs to you.”

Os had plenty of examples of powerful pop divas to draw inspiration from. Though she fondly recalls her mother playing the music of the late Selena Quintanilla and Jenni Rivera, Os was tapped into American talents like Miley Cyrus — namely her “Hannah Montana” alter ego — as well as Demi Lovato, Ariana Grande and Selena Gomez.

“I’ve always been inspired by a lot of female artists,” she recalls. “The power that women wield has always been at the core of who I am an artist.”

As Os looks back on being a teen girl who shared her life gratuitously on YouTube, and later social media platforms like Instagram and TikTok, she still feels the sting of body-shaming comments. Os reveals during that time, her weight would fluctuate from dealing with hormonal issues such as PCOS (polycystic ovary syndrome) and endometriosis.

“It’s very difficult how people judge you for your body, if you gain weight, have a tummy, or whatever,” she says. “It was very complicated to grow from a young girl into a woman [in a world] where you are how you look. Currently, I feel at ease because thanks to the universe, I’ve had the opportunity to take care of my body, understand it, and heal from within. It’s made me a stronger woman.”

Another hurdle that Os had to overcome in her career is an ongoing stigma placed on influencers-turned-pop stars. Although artists like Addison Rae, Tate McRae, and Charli D’Amelio successfully forged their careers as performers on social media before taking center stage, Os sees Mexico as being less receptive to that kind of career transition as the U.S. or Canada.

“In Mexico, it hasn’t been that easy for people to understand that I am a singer,” she says. “I’m not the best, but I’m here, I have my fandom that I love and we’re doing incredible things together.” (Os is referring to her massive following online, which includes 26.3 million fans on TikTok and 18.2 million fans on Instagram.)

When Os first launched as a singer in 2018, some immediately took aim at her dance moves and the digitally augmented sound of her voice. Os admits that she’s come a long way since that first iteration with rigorous singing and choreography lessons; three years later, she signed a record deal with her current label Sony Music Mexico, and released her glossy debut album, “Cambios De Luna,” in 2022.

Since then, Os has come to rule the Latin pop scene in Mexico, boasting multiple sold-out tours of the country.

“It’s been difficult for people to understand that I started out making content — which I still love to do — and suddenly, I’m [also] a singer,” she says. “They try to devalue my work and what I do as an artist. At the end of the day, I’m still as hard-working as I [was] on day one. I’m on the charts with a lot of artists. I’ve put myself in a position where I can say that I’m fully dedicated to music. For me, it’s been a beautiful journey where I’ve learned a lot about myself and I’ve grown so much.”

Os achieved an international breakthrough with her visual album, 2022’s “K23.” The following year she scored a viral hit on TikTok with the flirty “Malas Decisiones,” which has over 340 million streams on Spotify. Os would soon tour the U.S. for the first time, and at the 2023 Latin Grammy Awards, “K23” was nominated in the category of long form music video.

“I loved that experience, and I believe it would be beautiful to win a Grammy, but now I’m more dedicated to my fans, my music and what I like without expecting an award,” she says.

Last year, Os also pulled a page from Taylor Swift’s playbook by releasing the concert film “Kenia Os: La OG” in theaters in both the U.S. and Mexico.

Now with “K De Karma” out, Os is finding strength in further harnessing a sexier and more defiant alter ego — which she introduced in her cinematic music video for “Belladona.” Directed by Daniel Eguren, the visuals emphasize the fatality of her femininity with a car explosion and suited-up businessmen bending to her will.

“It doesn’t feel like that I have to act or pretend to be sexy or sensual,” Os admits. “Now, this feels very natural. It feels very me. This is who I am at this moment as a woman.”

She adds that her album was also inspired by a marginalized group that stuck by her side through her ups and downs: the LGBTQ+ community. As a show of gratitude to the girls and the gays, Os transforms from “Belladona” to Primadonna in vogue-ready house bangers like “Slay,” “Problemática,” and “Boom In Your Face.”

“I wanted to do something fun and different for the LGBTQ+ community,” she says. “I’m very happy and grateful for the love they’ve given me. I believe they’re my most passionate fans — they’re the kind of fans that are there for you the most. To put on concerts where you know most of the crowd belongs to that community, it’s an incredible experience.”

A surprising collaborator on “K De Karma” is Mexican singer-songwriter Carla Morrison. She co-wrote the tender love song “Tú y Yo X Siempre” with Os; the two also collaborated on “Días Tristes,” which is reminiscent of the moody ‘80s pop anthem by Jeanette, “El Muchacho De Los Ojos Tristes.”

Os reveals that she and Morrison worked on a third song that they’re still putting the finishing touches on. “It was very magical to work with her,” she adds. “She’s an exceptional and incredible human being with a big heart. She told me very beautiful words that motivated me all of last year. Those were words that I needed to hear.”

On the personal side, Os is also relishing her relationship with Peso Pluma. After collaborating on the reggaeton track “Tommy & Pamela” in 2024, the two Mexican artists went public as an item last year. Os has even accompanied Pluma on a few stops of his recent Dinastía Tour.

“It’s very beautiful to know that you have a partner that knows what you go through and that can give you advice from his experiences as well,” Os says. “I love that I can count on someone that understands me completely and supports me.”

As for now, she is raring for the Mexican leg of her “K de Karma Tour” that kicks off on April 25 in her hometown. She is hoping to eventually add some dates in the States.

“I want to grow more internationally with this album,” says Os. “As long as my fans love and enjoy this album, that’s all that matters to me.”

USC has settled a lawsuit with a former high-ranking athletic department official who alleged the university allowed former athletic director Mike Bohn to racially harass and discriminate against her, then fired her when she voiced concerns about Bohn’s behavior.

Joyce Bell Limbrick was the highest-ranking Black and female official in USC’s athletic department when she was fired by the university in September 2023, four months after Bohn resigned amid an internal investigation into his conduct and the culture of the department. Bell Limbrick filed suit early last year, accusing USC of wrongful termination.

That dispute was settled out of court this week. Terms of the settlement were not disclosed.

When reached by The Times, Bell Limbrick declined to comment. Bohn has never publicly addressed the allegations.

While the lawsuit never made it to trial, it nonetheless offered the most detailed account yet of the conduct that led to Bohn’s resignation.

Bell Limbrick filed a Title IX complaint with the university against Bohn in October 2022, after an incident in which she says Bohn punched her on the arm at a USC volleyball match. That complaint ultimately compelled an investigation, during which, according to her complaint, Bell Limbrick told USC officials of “Bohn’s history and rumors of inappropriate and unwanted touching involving … other females at both Cincinnati and USC.”

The university hired an outside law firm that specializes in institutional responses to racial and sexual harassment and discrimination to investigate Bohn five months later. The Times learned of that investigation shortly thereafter, as well as a previous investigation into Bohn’s conduct at Cincinnati, and in May, asked both Bohn and USC about those concerns.

Bohn resigned a day later.

Soon after that, the university fired Bell Limbrick, citing “a pattern of poor performance.” She was the only member of an 11-member executive team to lose her job and, according to the complaint, had just been awarded a “merit increase” on account of her “overall job performance.”

Bell Limbrick worked at USC for nine years, initially as the director of athletic compliance, before Bohn was hired in 2019. Shortly after he became athletic director, Bohn promoted Bell Limbrick to senior woman administrator, one of the highest-ranking positions in the department. According to her complaint, she had been one of the few Black women to hold such a position at a major American university.

“Ms. Bell Limbrick had a thriving career at USC and she loved her work. Then, Mike Bohn arrived,” her attorney, J. Bernard Alexander, said in a statement in 2025.

”[Bohn’s] incessant, racially charged remarks made Joyce feel uncomfortable and undervalued, but more than that — he actively isolated her from the executive team and undermined her work. She already was vulnerable as the only Black woman on the team, and rather than support her, the university allowed Bohn to make her life hell.”

Her complaint detailed inappropriate comments made in front of USC donors and staff, as well as insensitive or discriminatory remarks made in her presence. At the time, The Times spoke with six people with knowledge of the department’s inner workings who largely corroborated her claims about Bohn’s conduct.

Bohn declined to respond to The Times’ questions about his conduct leading the athletic department, but he provided a statement to The Times on the day of his resignation in May 2023 stating he would “always be proud of leading the program out of the most tumultuous times in the history of the profession.”

“In moving on, it is important now that I focus on being present with my treasured family, addressing ongoing health challenges, and reflecting on how I can be impactful in the future,” Bohn said in the statement.

MIAMI — The victors erupted onto the field and into multiple dogpiles. Some wore national flags around their shoulders. Within minutes, the Venezuelans wore T-shirts that read: “The Best Baseball in the World.”

The players from the United States watched from their dugout. Within minutes, they trudged back onto the field so a silver medal could be draped around their necks. Not every player wore the medal all the way back to the dugout.

You can say all you want about how the World Baseball Classic has matured into a must-see event for fans and a must-play event for the game’s elite players. You can salute Venezuela for a spirited and thrilling victory, and the Venezuelan fans for nine innings of joyful delirium.

But you also can say this: A U.S. team billed as featuring a killer lineup could not hit, and the U.S. could not use its best pitcher because the San Diego Padres said so. The result: For the second consecutive World Baseball Classic, the U.S. lost the championship by a 3-2 score.

U.S. captain Aaron Judge looks across the field after striking out against Velezuela at the World Baseball Classic Tuesday.

(Lynne Sladky / Associated Press)

“I’m not OK with winning silver,” Bryce Harper said. “I don’t want to win silver.

“I want to win gold, just like anybody else. But, at the end of the night, they did it, they won, all the congratulations to them. They fought hard. I’ve got nothing but respect for them.”

By the time the eighth inning rolled around, the mighty U.S. offense had not gotten a runner into scoring position on Tuesday, and had gone scoreless for 18 of its previous 19 innings. With two out in the eighth, and Venezuela up 2-0, Bobby Witt Jr. walked, and Harper followed with a 432-foot home run, so monstrous that Venezuelan pitcher Andres Machado could only watch the flight of the ball and smile.

Harper stood and watched too, then he flipped his bat toward the dugout. At third base, he stopped to give a salute, then spotted the cameraman trailing him around the bases and pointed to the American flag on his left sleeve.

“Just enjoying the moment,” Harper said. “Super grateful for it.”

With the game tied 2-2 entering the ninth, the pitcher trotting in from the U.S. bullpen should have been Mason Miller, who had not given up a hit in the WBC and struck out 10 of the 14 batters he had faced.

Before the game, U.S. manager Mark DeRosa had said Miller would be available. After the game, DeRosa said he and Miller’s employers, the Padres, had agreed Miller would only be used to protect a lead.

Once the game entered the ninth, Miller would not be able to protect a lead, since the U.S. was the home team and there could be no save situation for him. DeRosa nonetheless declined to use Miller.

“Honoring the Padres,” DeRosa said.

This is not on DeRosa, but that is nonsense. If a closer cannot be used three times in five days — with another week to ease into the regular season by throwing bullpens or in structured B games, or taking a few days off, or whatever — then he should stay home.

Venezuela scored the winning run in the ninth off Garrett Whitlock, on a walk, stolen base and RBI double by Eugenio Suárez.

In its final five WBC games — after routs of Brazil and Britain — the U.S. scored more than five runs once, with a two-run win, a two-run loss, a two-run win, a one-run win, and a one-run loss. In the semifinal and final, the U.S. combined to bat .159 and strike out 25 times, and every run came on a home run.

That — not any attempt at small ball — is American baseball. And the U.S. was outslugged by six other teams, including Australia and Italy. For glory, as the U.S. team hoodies said.

“A lot of pop ups, a lot of just-missed pitches,” U.S. captain Aaron Judge said. “I wouldn’t say we tensed up. We just didn’t execute when we needed to.”

Said DeRosa: “I mean, surprised because of the names at the back of the jersey, but not surprised because of where they’re at in spring training.

“Yeah, that’s my answer. I really don’t have a rhyme or reason to why. I just think you’re either hot or not in a seven-game blast like this.”

American Bryce Harper celebrates at home plate with teammates after hitting a two-run home run during the World Baseball Classic Tuesday in Miami.

(Lynne Sladky / Associated Press)

The WBC absolutely was a blast. The Venezuelan fans delivered concert-level noise all night long, without needing a silly stadium host or scoreboard command to do so. The WBC allowed fans to bring in 16 “permissible instruments,” including bongos, cowbells, maracas and trumpets.

“There’s bands playing,” Judge said. “There’s chants going on. You don’t usually hear that too much in the World Series games. That’s amazing. So much fun.”

More Americans watched the U.S.-Dominican Republic semifinal than watched last year’s NBA All-Star Game, according to Fox. The championship game almost certainly will have drawn more viewers than at least one game of last year’s NBA Finals.

In the 10 minutes I spent along the concourse before Tuesday’s game, I counted fans wearing the jerseys of many national teams and 17 MLB teams, plus the late and greatly beloved Montreal Expos. Japan did not qualify for the final four, but I nonetheless counted 11 fans in Japan jerseys with Shohei Ohtani’s name on the back. The advertisers believed too: DeRosa spoke in front of a banner displaying the logo of nine corporate sponsors, eight of them Japanese.

After such a lively event, can these players get fired up to go back to spring training, and then for the grind of a 162-game season?

“I’m always fired up for the Yankees, but I’m still pissed about this,” Judge said.

“I’m looking forward to the next time we get a chance to throw on the red, white and blue and take care of business.”

That would be the 2028 Olympics in Los Angeles, where Dave Roberts has expressed interest in managing Team USA at Dodger Stadium. The major leaguers are almost certainly coming, even if the details are still being worked out.

See you there, Bryce Harper?

“I hope so,” he said. “I really do.”

ABC’s Sunday telecast of the 98th Oscars averaged 17.9 million viewers, ending a four-year streak of audience increases.

The figure from Nielsen is down 9% from the 19.7 million viewers who watched the telecast on ABC and Hulu in 2025.

After ratings for the Oscars cratered to an all-time low of 10.5 million viewers in 2021, the event’s audience levels ticked back up in recent years.

But the show has not topped 20 million viewers since 2019, as younger viewers are content to watch highlights of the ceremony on social media, rather than sit through a three-hour-plus telecast on traditional TV.

The awards held at the Dolby Theatre in Hollywood honored “One Battle After Another” for best picture, Michael B. Jordan for lead actor in “Sinners,” and Jessie Buckley for lead actress in “Hamnet.” Conan O’Brien was the host for the second straight year.

Critics said the ceremony was light on political statements about President Trump, whose name was not mentioned during the telecast. The show’s highlight was an extended “In Memoriam” segment that gave extra tribute to legendary actor and filmmaker Robert Redford and slain actor, director and producer Rob Reiner.

ABC had success in selling out the commercials for the Oscars, which is perennially the most watched non-sports telecast of the year. But the network will only have the event for two more years as the Academy of Motion Picture Arts and Sciences chose to take a better financial offer from YouTube for the rights to the telecast starting in 2029.

O’Brien poked fun at the YouTube move. He closed with a video that shows him being appointed Oscars “host for life.” As he takes in the honor, poison gas seeps into the office he is given. After O’Brien’s lifeless body is wheeled out, a name plaque with a new host is put on the door. His successor is YouTube star Mr. Beast.

WASHINGTON — An advocacy group hoping to expand support for child and elder care is planning to spend $50 million to back Democrats in congressional races, tying the costs of caregiving to the nation’s affordability debate.

The Campaign for a Family Friendly Economy, created a decade ago, aims to make caregiver issues more salient in elections. The announcement comes as the cost of child care continues to rise and as waiting lists for federal child-care subsidies, which support working families in poverty, continue to grow.

Sondra Goldschein, executive director of the campaign and its political action committee, said child care and elder care are important to the affordability conversation, especially as child-care costs exceed what families pay for housing. Then there is the pressure on the “sandwich generation,” composed of middle-aged people who are caring simultaneously for their own children and parents.

“When child care can cost more than your rent or a mortgage, or you have to sacrifice a paycheck in order to be able to take care of a loved one,” that can motivate how people vote, said Goldschein. “Each election cycle, we see candidates recognizing that more and more.”

She hopes the message will resonate as families face a slew of rising costs, including climbing gas prices driven by a war in Iran that is unpopular with many voters.

The campaign plans to pour support for Democrats into Senate races in North Carolina, Georgia, Michigan, Maine and Ohio and into House races in Iowa and Pennsylvania. It is also slated to dispatch volunteers to talk with voters about caregiving.

The National Republican Congressional Committee did not immediately respond to a request for comment.

Republicans have begun to back child care as an issue crucial to growing the workforce, but their proposals tend to be less dramatic than those offered by Democrats. Last year, through President Trump’s One Big Beautiful Bill, Republicans made an estimated 4 million more families eligible for a child-care tax credit. The law also increased child-care aid for military families and tax credits for employers who provide child care to their workers.

Before 2020, many candidates rarely spoke about child care. But the COVID-19 pandemic laid bare the child-care industry’s precarity and necessity. Preschools and child-care centers were pressed to stay open so parents in front-line jobs — such as those in healthcare — could return to work.

Then-President Biden successfully persuaded Congress in 2021 to pass $39 billion in aid for child care, allowing states to offer support to more families and subsidizing wages for child-care workers. Later that year, Biden sought to create nationwide universal pre-kindergarten and to vastly expand child-care subsidies for families so that none would pay more than 7% of their household income for care. But the proposal narrowly failed in Congress. Since then, the pandemic aid has dried up and families are feeling the pinch of rising costs.

Now, several candidates have centered their campaigns around child-care affordability. New York Mayor Zohran Mamdani, a democratic socialist who won election after pledging to make the city more affordable for middle-class residents, ran on universal child care. Democratic Gov. Mikie Sherrill of New Jersey and Gov. Abigail Spanberger of Virginia won elections after pledging to expand child-care subsidies.

Candidates this election cycle are running on universal child-care pledges. They include Democrats Janeese Lewis George, who is running for mayor in Washington, D.C., and Francesca Hong, a gubernatorial candidate in Wisconsin. New York Gov. Kathy Hochul, who is up for reelection this year, has pledged to support Mamdani’s ambitions and eventually to expand universal child care statewide.

Neither the White House nor the Department of Health and Human Services, which oversees federal child-care programs, responded to requests for comment. In his 2024 campaign, during an address to the Economic Club of New York, Trump said increasing foreign tariffs would “take care” of the expense of child care. That plan, thus far, has not materialized.

In Trump’s current term, the administration has largely focused on cracking down on fraud, after a viral video alleged Somali-run child-care centers in Minneapolis were billing the government for children they weren’t caring for.

While there have been prosecutions stemming from child-care subsidy fraud, the Minneapolis video’s central claims were disproven by state inspectors. Nonetheless, the Trump administration attempted to freeze child-care funding for Minnesota and five other Democratic-led states until a court ordered the funding to be released.

Balingit writes for the Associated Press.

WASHINGTON  — The Supreme Court agreed Monday to rule on whether the Trump administration may end the temporary protection that had been extended in the past to migrants who live and work in the United States.

At issue are legal protections for about 6,000 Syrians and up to 350,000 Haitians.

The court’s announcement signals the justices want to resolve this issue in a written opinion rather through emergency appeals.

Twice last year, the court’s conservatives set aside decisions from judges in San Francisco who said President Trump’s Homeland Security secretary had overstepped her authority.

Those cases involved the temporary protection status extended to about 600,000 Venezuelans.

But those decisions did not set clear precedents, and in recent weeks, judges in New York and Washington, D.C., blocked the administration’s plan to end the special protections for Haitians and Syrians.

Frustrated by what he labeled “indefensible” decisions, Trump’s Solicitor Gen. D. John Sauer advised the court to hear arguments and issue a written ruling on the issue.

The justices on Monday agreed to just that. Arguments will be heard in April, and a decision will be handed down by July.

Immigrant-rights advocates argued the repeal of the special protection would be cruel and unjust to migrants who have established lives and careers in this country.

In 1990, Congress authorized giving temporary shelter to non-citizens from countries experiencing armed conflict, natural disaster or “extraordinary and temporary conditions” that prevent them from returning there.

In 2012, the Homeland Security secretary extended this protection to Syrians in response to a “brutal crackdown” engineered by its then-President Bashar al-Assad.

Last year, citing Assad’s fall from power, Trump’s Secretary Kristi Noem proposed to cancel the temporary protection for Syrians. Lawyers for the Syrians questioned how this could be seen as an emergency requiring an immediate ruling.

They said about 6,100 Syrians who have lived here lawfully for years.

They are “highly sought-after doctors and medical professionals, reporters, students, teachers, business owners, caretakers, and others who have been repeatedly vetted and by definition have virtually no criminal history. The government apparently needs urgent authority to send them to a country in the middle of an active war,” the lawyers said.

In 2010, the Obama administration extended the protection to Haiti after an earthquake caused death and damage in Port-au-Prince, the capital.

Judges in New York and Washington blocked those repeals and said the high court had given “no explanation” for its decision upholding the repeal for Venezuelans.

Those judges said the Supreme Court’s earlier orders orders “involved a TPS designation of a different country, with different factual circumstances, and different grounds for resolution by the district court.”

Sauer pointed to a provision in the 1990 law that says judges have no authority to second-guess the government’s decision to end it.

“There is no judicial review of any determination of the [Secretary] with respect to the designation, or termination or extension of a designation, of a foreign state under this subsection,” the law says.

In the three weeks since Trump’s attorney filed his emergency appeal, there have been two significant changes since then.

Trump fired Homeland Security Secretary Kristi Noem. And his war launched against Iran threatens countries throughout the Mideast, including Syria.

In agreeing to hear the pair of cases, the justices did not disturb the lower court rulings that blocked the repeals for now.

“Sinners” entered the night with the record for the most Oscar nominations for a single film, with 16.

It leaves with four awards, won by Ryan Coogler for original screenplay, Michael B. Jordan for lead actor, Autumn Durald Arkapaw for cinematography and Ludwig Göransson for score. Arkapaw became the first woman to ever win in her category.

It seemed every time the film’s title came up during the broadcast there would be cheers and a swell of emotion from the audience. The live performance of the nominated song “I Lied to You” re-created the fantastical moment from the film in which generations of musicians collide, weaving together past, present and future.

Since its release in April of last year, the film has been a cultural touchstone and point of extended conversation on its way to some $370 million in worldwide box office. Among this year’s best picture nominees, only “F1” earned more, with $631 million. When Oscars host Conan O’Brien mentioned the name of the film in his opening monologue, it generated a huge ovation from the room.

Directed and written by Coogler, the film tells the story of twin brothers, Smoke and Stack, both played by Jordan. On the opening night of their juke joint in 1930s Mississippi, they are beset by a small band of vampires, intent on turning everyone inside into bloodsuckers.

In accepting his lead actor award, Jordan thanked Warner Bros. executives Mike De Luca and Pam Abdy “for believing in this dream, this vision of Ryan Coogler and betting on the culture and betting on original ideas and original artistry.” (Including its Oscars for “One Battle After Another” and “Weapons,” Warners Bros. ended the night with an 11-Oscar tally, tying the record for most wins by a single studio.)

Across what seemed an extremely long awards season — a run that was even longer for “Sinners” due to its spring release date — the film had many ups and downs. But its momentum seemed to be peaking at just the right time, as seen with the crucial wins for Jordan and the cast at the Actor Awards on March 1.

Regardless of how one feels about its final tally at the Academy Awards, the movie has already firmly established its continued relevance. As The Times’ Greg Braxton recently wrote, “‘Sinners’ is now being increasingly hailed in Hollywood as a groundbreaking symbol of Black artistic excellence, as well as a timely pushback to the divisive political climate that has reached fever-pitch proportions.”

Despite morale-sapping staff layoffs, bizarre executive orders and a 43-day federal government shutdown last fall, the grandeur and serenity of national parks in California remain irresistible to outdoors lovers looking to unwind.

The nine national parks in the Golden State — including Yosemite, Death Valley and Joshua Tree — attracted nearly 12 million recreational visits in 2025, according to statistics from the National Park Service.

That’s up more than 800,000 visits from 2024 and up more than 300,000 from the previous record set in 2019, according to the data, which stretches back to 1979.

Nationally, visits were high, at 323 million, but down a couple of percentage points from the record set in 2024, according to a park service press release.

“America’s national parks continue to be places where people come to experience our country’s history, landscapes and shared heritage,” said Jessica Bowron, acting director of the NPS.

“We are committed to keeping parks open, accessible and well-managed so visitors can safely enjoy these extraordinary places today and for generations to come,” Bowron added.

President Trump’s critics beg to differ.

Since Trump resumed office in January 2025, his administration has slashed the NPS workforce by nearly a quarter, buying out or laying off hundreds of rangers, maintenance workers, scientists and administrative staff across the country.

And last year, as part of his war on “woke,” Trump instructed the park service to scrub all signs and presentations of language he would deem negative, unpatriotic or smacking of “improper partisan ideology.”

He also ordered administrators to remove any content that “inappropriately disparages Americans” living or dead, and replace it with language that celebrates the nation’s greatness.

That gets tricky at places such as Manzanar National Historic Site in the high desert of eastern California — one of 10 camps where the U.S. government imprisoned more than 120,000 Japanese American civilians during World War II.

It’s also hard to dance around disparaging details at Fort Sumter National Monument, where Confederates fired the first shots of the Civil War; Ford’s Theater National Historic Site in Washington, D.C., where Abraham Lincoln was assassinated; and Martin Luther King Jr. National Historic Park, which commemorates the assassination of the country’s best known civil rights leader.

“This administration is actively erasing the history, science and culture that our national parks protect,” said Emily Douce, deputy vice president for government affairs for the nonprofit National Parks Conservation Assn.

Douce argued that morale among staff at the parks — a string of 63 federally protected natural wonders often described as “America’s best idea” — has never been lower.

But the fact that employees still showed up, including without pay during last year’s federal government shutdown, demonstrates their commitment to keeping the beloved parks flourishing.

“The enduring popularity of America’s national parks is not surprising,” Douce added. “What’s shocking is this administration’s relentless attacks on these places and their caretakers, which threatens their future.”

The White House did not immediately respond to a request for comment.

The National Park Service is routinely ranked among the most admired branches of the large and sprawling federal government. Even Americans who have never watched a minute of C-SPAN, or get a little lost in the alphabet soup of other agencies, will probably never forget standing in Yosemite Valley and admiring a towering waterfall.

There were 4.3 million visits to Yosemite in 2025, 2.9 million to Joshua Tree and 1.3 million to Death Valley, according to the data.

The 323 million visits to America’s national parks in 2025 are more than twice the attendance — 135 million — at professional football, baseball, basketball and hockey games combined.

Of course, it’s a lot cheaper to get into a park. U.S. residents pay between $20 and $35 per vehicle for a day pass, or $80 for an annual pass. The Trump administration recently raised the annual fee to $250 for foreign visitors.

National Park Service officials did not respond to emails requesting comment on California’s 2025 attendance.

Universal Pictures will now keep its new films in theaters for at least five weekends, a reversal from the studio’s previous policy of at least 17 days that was set during the pandemic.

The change takes place immediately, the studio said Thursday. That means it will apply to its newest film, the Colleen Hoover romance “Reminders of Him,” which is out in theaters this weekend. Other upcoming films include Christopher Nolan’s “The Odyssey,” which will be released in July.

“Our windowing strategy has always been designed to evolve with the marketplace, but we firmly believe in the primacy of theatrical exclusivity and working closely with our exhibition partners to support a healthy, sustainable theatrical ecosystem,” Donna Langley, chair of NBCUniversal Entertainment, said in an email to the New York Times, which first reported the news.

Focus Features, Universal Pictures’ specialty film arm, will keep its existing theatrical exclusivity policies, which vary on a case-by-case basis. Chloé Zhao’s “Hamnet,” for instance, was in theaters for 99 days, while 2024’s “Nosferatu” played for 58 days. The minimum is 17 days.

The amount of time films are available exclusively in theaters — known as “windowing” in industry jargon — has become a contentious topic of conversation in Hollywood.

That debate ramped up during the pandemic, when some studios shortened theatrical exclusivity periods in order to move films to release for video on demand or streaming.

Prior to the pandemic, those windows could be as long as 90 days. Now, the average is around 30 days.

Theater owners have argued that shorter windows cut into box office profits and train audiences to wait to watch a movie at home. Distributors have countered that a one-size-fits-all approach doesn’t necessarily work for smaller or mid-budget films, which may find a bigger audience via at-home viewing.

At last year’s CinemaCon trade conference, top theater lobbyist Michael O’Leary called on distributors to establish a minimum 45-day window, arguing there needed to be a “clear, consistent starting point” to set moviegoers’ expectations and affirm commitment to theatrical exclusivity.

The debate has become even more fierce as box office profits still have not recovered from the pandemic. Last year, theatrical revenue in the U.S. and Canada totaled about $8.87 billion, just 1.5% above 2024’s disappointing $8.74-billion tally.

Long security lines snaked into baggage claim areas and parking garages at some U.S. airports over the weekend, a possible indicator of more widespread travel problems as the latest government shutdown drags on.

That kind of disruption, while not yet widespread, is not a concern that typically surfaces at San Francisco International Airport, the largest of nearly two dozen U.S. airports where screening checkpoints are staffed by private contractors under a little-used federal program that allows airports to outsource security screenings while maintaining TSA oversight.

Because contractors’ pay comes from a federal contract, it often continues even when the government shuts down.

“The money’s already been allocated, the payments have already been made, and that continues without interruption,” SFO spokesperson Doug Yakel told the Associated Press. “That is a very nice place to be.”

The contrast draws attention to a long-running debate in the aviation industry: Can private contractors operating under TSA oversight provide a stopgap — and shield airport security operations from the political impasses that can disrupt U.S. air travel?

Some aviation experts see the TSA screening program as a potential model for keeping security lines moving with fewer disruptions during shutdowns. At SFO, that system helped maintain screening operations during last year’s record 43-day shutdown, Yakel said.

But critics caution that privatization is not a silver bullet and could introduce new risks. The union representing federal screeners argues that moving operations to private companies could erode job protections and reduce pay and benefits for workers already facing high turnover amid demanding conditions.

How the program works

Established in 2004, TSA’s screening partnership program allows airports to use private security companies chosen by the federal government to run checkpoints while TSA retains authority over procedures and oversight. The agency says private screeners receive the same security background checks as their federal counterparts.

The program “provides needed relief to staffing shortages brought on by a government shutdown,” TSA said in a statement to AP.

In addition to SFO, other participating airports include Kansas City International Airport, Atlantic City International Airport and Orlando Sanford International Airport.

The vast majority of the nation’s roughly 400 commercial airports, meanwhile, rely on federal screening officers employed directly by TSA. During shutdowns, those workers must continue reporting for duty even though they stop getting paid — a dynamic that has historically led to higher absenteeism and slower-moving checkpoints the longer a shutdown lasts.

The current partial shutdown affects only the Department of Homeland Security, which includes TSA. Democrats in Congress refused to fund the department over objections to its immigration enforcement tactics. The lapse marks the third shutdown in less than a year to leave TSA workers temporarily without pay — and once the government reopens, to have to wait for backpay.

Those disruptions can ripple through the travel system, cascading problems across already crowded flight schedules. The strain is especially acute this time of year as airlines and airports brace for what they expect will be one of the busiest spring break travel seasons on record.

San Francisco’s airport is a ‘litmus test’

Aviation security expert Sheldon Jacobson, whose research contributed to the design of TSA PreCheck, said the program’s success at SFO, a large international airport, shows that privatization “is something that needs to be explored.”

SFO is among the top 15 busiest airports in the U.S. when measured by passenger traffic. A major hub for international travel, it is the second-busiest airport in California behind Los Angeles International Airport.

“It’s operated just as well as any other airport,” Jacobson said, adding that SFO’s multiple concourses and status as a hub for United Airlines demonstrate that even large-scale operations can be managed effectively under this model. “If SFO is the litmus test for delivering this privatized product, then many other airports can do it, too.”

Jacobson noted that most airports currently using the program are smaller, but “the scale issue should not be a limiting factor,” and he called for a broader conversation on how such options could deliver government services efficiently and benefit travelers.

“Of course TSA would have oversight. It’s not like they’re freewheeling on their own,” he said of privately contracted screeners. “We might as well use a government shutdown that affects air travel as an opportunity to begin that discussion.”

Why TSA’s union opposes the private model

The American Federation of Government Employees, which represents TSA officers, has long opposed privatization.

“We will never advocate for any privatization of any federal employees. We don’t believe that’ll work,” Johnny Jones, secretary-treasurer of the TSA union’s bargaining unit, said in a brief phone call this week.

In a blog post on its website, the union argues it could weaken accountability for aviation security — one of the reasons Congress chose to federalize airport screening after the Sept. 11 attacks.

The union also warned that private companies could face pressure to cut costs in ways that affect training, staffing levels and employee benefits. Relying on contractors, the union says, could create inconsistencies between airports if different companies operate checkpoints across the country, potentially complicating oversight of a system designed to maintain uniform national security standards.

“We have to remember the TSA was created in the wake of 9/11 when there were no security standards or very minimal security standards,” said airline industry analyst Henry Harteveldt, president of Atmosphere Research Group. “The TSA came around, they established very stringent airport screening security requirements, which exist to this day.”

Others say there are simpler ways to address the shutdown problem.

Industry groups — including the U.S. Travel Assn., Airlines for America and the American Assn. of Airport Executives — are urging Congress to pass legislation that would ensure aviation workers are paid regardless of the government’s funding status.

“Every time Washington fails to fund the government, these essential workers pay the price. So do travelers. So does the economy,” Geoff Freeman, U.S. Travel Assn.’s president, said in a statement. “That is why America’s travel industry has come together, because this workforce is too important, and the stakes are too high, for this to keep happening.”

An unintended benefit of outsourcing screeners

Republican lawmakers have pushed in recent years to dismantle the agency entirely. Last year, two GOP senators introduced the “Abolish TSA Act,” which would phase out the agency and transfer oversight to a new office charged with aviation security. Supporters of the long-shot legislation say privatized screening could be more efficient and less vulnerable to shutdowns.

TSA leadership has signaled an openness to discussion. Speaking at a House Appropriations subcommittee hearing last year, Ha Nguyen McNeill, a senior official performing the duties of TSA administrator, said “nothing is off the table” regarding potential privatization.

“If a new privatization scheme makes sense, then we’re happy to have that discussion to see what we can come up with,” McNeill said. “It’s not an all-or-nothing game.”

At SFO, officials say its screening model was adopted more than 20 years ago for reasons unrelated to government shutdowns. But with shutdowns in recent years growing longer and more disruptive, the airport says its arrangement has revealed an unintended benefit: fewer staffing disruptions at checkpoints.

“The benefits, I think, are compelling,” Harteveldt said. “The real issue is making sure that any vendor, any partner to the TSA, upholds the strict standards that TSA has established and works with TSA to ensure that screening remains efficient and finds ways to make it even better.”

Yamat writes for the Associated Press. AP video journalist Haven Daley contributed to this report from San Francisco.

The big question surrounding last year’s Academy Awards was whether the show would address the L.A. wildfires, which had rattled the city mere months prior.

This year, the elephant in the room is the ongoing Iran war, which like last year’s wildfires, puts a celebration like the Oscars in sharp relief. But for Conan O’Brien, balancing gravity and levity is part of his job description as host.

“My job is to always try and hit this very, very thin line between entertaining people and also acknowledging some of the realities,” O’Brien said during a Wednesday news conference with the Oscars creative team.

“It’s a dance that goes on up until the show begins,” the former talk show host said, adding that he and his team of writers are still revising material ahead of the show to ensure their content is as relevant as possible.

“Between us,” he said, referencing Oscars telecast executive producers Katy Mullan and Raj Kapoor, “we will find the right tone.”

O’Brien also during the news conference recalled Johnny Carson’s turn hosting the Oscars during the Iran hostage crisis, when 52 Americans, including diplomats and other personnel, were held hostage at the U.S. embassy in Tehran from 1979 to 1981. The comedian remembered the television host parodying ABC’s “Nightline” with his joke, “It’s day 444 of the Oscars.”

“It was such a funny, topical joke that touched on something everyone was thinking about, and at the same time, got a big laugh and was unifying,” O’Brien said. “That was meaningful to me.”

Kapoor said during the news conference that the production team is putting systems in place to alleviate attendees’ safety concerns amid the tense global situation and reported threats to California.

“Every year, we monitor what’s going on in the world,” the showrunner said, adding that the ceremony has the support of the FBI and LAPD. “This show has to run like clockwork.”

He added, “Everybody that is coming to this show, that is witnessing this show, that is even a fan of the show when they’re standing outside the barricades — we want everybody to feel safe and protected and welcome.”

As for the telecast’s creative direction, the team cited “human touch” as a unifying theme — a not-so-subtle slight to AI.

“We’re celebrating human touch, human connection and what I like to call actual intelligence, as opposed to artificial,” said music director Michael Bearden. “We want to get back to the communal … and so the music will reflect that.”

That spirit of celebration will be especially tangible in the “KPop Demon Hunters” performance, Kapoor said. That performance will be complemented by a “Sinners” moment featuring Miles Caton and Raphael Saadiq as well as guests Misty Copeland, Eric Gales, Buddy Guy, Brittany Howard, Christone “Kingfish” Ingram, Jayme Lawson, Li Jun Li, Bobby Rush, Shaboozey and Alice Smith.

“We have this lovely story celebrating Korean culture with authentic Korean drummers and singers and even choreography,” the producer said. “So again, we’ve expanded our reach, and we’re telling these global stories, celebrating international films that have had a global impact and doing things in a really different way.”

Mullan and Kapoor closed the news conference by teasing a pair of reunions featuring cast members from “Bridesmaids” and the Marvel Cinematic Universe. “Bridesmaids” alum Rose Byrne is nominated for a lead actress Oscar for her role in “If I Had Legs I’d Kick You,” which marked O’Brien’s dramatic acting debut. (If Byrne wins, he said, “half that Oscar’s mine.”)

“We’re gonna have superstars, superheroes, and there is also going to be an extraterrestrial on the stage, so you can figure that one out,” Mullan said.

The 2026 Oscars will air live Sunday on ABC, with streaming available on Hulu, YouTube TV, AT&T TV and FuboTV.

When a freshman is wondering whether to play sports or focus on academics because of the immense time commitment, it’s usually the parents who have to give a nudge toward one or the other. Except this time, the decision was left to 15-year-old Javier Zarate, and he chose to give up club soccer to try for straight A’s last year at Garfield High.

Last spring, Garfield soccer coach Pablo Serrano, knowing he had a highly regarded goalie on his campus, began a lobbying campaign with emails and text messages inviting him to try out for the Bulldogs’ soccer team.

“He told me if I wanted to give it a shot, I could try out,” Zarate said. “They were very welcoming and nice.”

The rest is going to be part of Garfield sports lore, because Zarate saved three penalty kicks when Garfield won the City Section Division II championship game against Canoga Park and delivered more saves last week in helping the Bulldogs beat Bakersfield Taft 1-0 in the Southern California Division V regional final.

Incredibly, Garfield is headed to Sacramento this week to play in the first CIF state soccer championships, against Branford on Saturday at 10 a.m. at Natomas High.

“I’m super pumped up,” Zarate said.

Who knows how many alumni from Garfield are living in Sacramento or nearby, but they have been known to travel around the country to support their Bulldogs, especially if rival Roosevelt is the opponent. Something tells me there’s going to be a caravan from Boyle Heights headed to Sacramento to provide support.

“I know some will make the drive,” Serrano said.

It’s been a strange season in City Section soccer, with six schools removed from the playoffs for using ineligible players, most of whom played for club teams while also playing tor their high school team, in violation of CIF bylaw 600.

Serrano said there’s always a reminder making sure his players know the rule.

“There’s a lot of soccer going on in this community,” he said. “It’s always a challenge because kids play outside with club. It’s something I do from the beginning of tryouts. We talk to the kids that if they play in a club outside of school, they are not allowed to play high school or vice versa. There’s no excuse,”

In the case of the 5-foot-6 Zarate, he didn’t play any soccer last year while focusing on academics and being part of the school’s ROTC program. His weighted grade-point average is at 4.4. He wants to study to become a firefighter.

“My family motivated me to be academically focused and I found a balance to do both,” he said of his return to soccer.

Goalies are usually much taller than Zarate, but he received lots of lessons on how to overcome the size disadvantage.

“I get that a lot that I’m very short for a goalie,” he said. “As a kid I, got training by a good trainer. He told me, ‘You’re pretty short for a goalie. As long as you can master being able to dive and jump high, you should be as good as them.’”

Garfield finished fourth in the Eastern League behind City Section soccer powers South East and Marquez, both of whom were eliminated after making the semifinals because of ineligible players.

Given the opportunity to get hot in the playoffs, the Bulldogs have done just that. Junior Noe Marmolejo has been the leading goal scorer.

The team is scheduled to take a bus to Sacramento on Friday, stay at a hotel Friday night, rise early for its game on Saturday, then immediately return home. Considering how loyal the Boyle Heights community is, look for lots of fans supporting the team in Sacramento and when that bus returns home.

“It’s an honor,” Serrano said of being the first City team to play for a state soccer title.

Back in the early 2010s, the music industry was at a low point.

Piracy was rampant. Compact disc sales were on a steady decline. And the then-new audio streaming services, like Spotify, were taking hits from creators for paying low royalty rates.

Today, Spotify has grown into the world’s most popular audio streaming subscription service and the highest-paying retailer globally — paying the music industry over $11 billion last year. The Swedish company said in a recent post that the payouts aren’t strictly going to ultra-popular artists, but that “roughly half of royalties were generated by independent artists and labels.”

“A decade ago, a lot of the questions were really fair. Spotify had to be able to prove out if it could scale as an economic engine. People didn’t know if streaming would scale as a model,” said Sam Duboff, Spotify’s global head of marketing and policy of music business.

Duboff said Spotify’s payouts aren’t “plateauing — we’re still growing that royalty pool on Spotify more than 10% per year.” He credits the streaming platform’s growth to “incentivizing people to be willing to pay for music again” by providing personalized experiences and global accessibility.

The company, founded in 2006, serves more than 751 million users, including 290 million subscribers, in 184 markets.

“The average Spotify premium subscriber listens to 200 artists every month, and nearly half of those artists are discovered for the first time,” Duboff said. “When you build an experience where people can explore and fall in love with music, it inspires them to upgrade to premium and keep paying.”

The platform offers a wide variety of playlists, curated by editors like the up-and-comer-driven Fresh Finds or rap’s latest, RapCaviar. There are also personal playlists generated for users, such as the weekly round-up Discover Weekly and the daily mix of tunes called the “daylist.”

The streamer considers itself the first step toward “an enduring career” for today’s indie artists. Last year, more than a third of artists making $10,000 on the platform in royalties started by self-releasing their music through independent distributors.

“Streaming, fundamentally, is about opportunity and access. It’s artists from all over the world releasing music the way they want to and reaching a global audience from Day One,” Duboff said. He adds that when fans have a choice, they will discover new genres and music cultures that may have otherwise languished in obscurity.

In 2025, nearly 14,000 artists earned $100,000 from Spotify alone. The streamer’s data also show that last year the 100,000th highest-earning artist made $7,300 in Spotify royalties, whereas in 2015, an artist in that same spot earned around $350.

The company, with a large presence in L.A.’s Arts District, emphasizes that the roster of artists on its platform who earn significantly more money — well into the millions — is no longer limited to the few. A decade ago, Spotify’s top artist made around $10 million in royalties. Today, the platform’s top 80 artists generate over $10 million annually. Some of 2025’s top artists globally were Bad Bunny, Taylor Swift and the Weeknd.

Spotify claims those who aren’t household names can earn six figures, with more than 1,500 artists earning $1 million last year.

For some musicians, the outlook is not as clear

Damon Krukowski, a musician and the legislative director for United Musicians & Allied Workers, argues that Spotify’s money isn’t necessarily going to artists — it’s going to their labels.

Those without labels usually upload music through distributors such as DistroKid and CD Baby. These platforms charge a small fee or commission. For example, DistroKid’s lowest-level subscription is $24.99 a year, and the site states users “keep 100% of all your earnings.”

”There are zero payments going directly to recording artists from Spotify,” Krukowski asserts. “Recording artists deserve direct payment from the streaming platforms for use of our work.”

The advocacy group, which has mobilized more than 70,000 musicians and music workers, recently helped draft the Living Wage for Musicians Act to address the streaming industry. The bill, introduced to the U.S. House of Representatives last fall, calls for a new streaming royalty that would directly pay artists a minimum of one penny per stream.

In the Q&A section of Spotify’s Loud and Clear website, the streamer confirms that it “doesn’t pay artists or songwriters directly. We pay rights holders selected by the artist or songwriter, whether that’s a record label, publisher, independent distributor, performance rights organization, or collecting society.”

Instead of following a penny-per-stream model, Spotify pays based on the artist’s share of total streams, called a “streamshare.”

“Streaming doesn’t work like buying songs. Fans pay for unlimited access, not per track they listen to,” wrote the company online. “So a ‘per stream’ rate isn’t actually how anyone gets paid — not on Spotify, or on any major streaming service.”

WASHINGTON — President Trump promised that 2026 would be a bumper year for economic growth, but instead it has kicked off with job losses, rising gasoline prices and more uncertainty about America’s future.

In his State of the Union address less than two weeks ago, the Republican president confidently told the country: “The roaring economy is roaring like never before.” The latest batch of data on jobs, pump prices and the stock market suggests that Trump’s roar has started to sound far more like a whimper.

There is a gap between the boom that Trump has predicted and the volatile results he has produced — one that could set the tone in this year’s midterm elections as he tries to defend his party’s majorities in the House and Senate. With Trump’s tariffs uncertainty ongoing, the war in Iran has suddenly created inflationary concerns regarding oil and natural gas.

The White House says it is still early in the year and stronger growth is coming.

No signs of a jobs boom

“WOW! The Golden Age of America is upon us!!!” Trump posted on social media Feb. 11 after the monthly jobs report showed gains of 130,000 jobs in January.

Since then, the job market has evaporated in worrisome ways.

Friday’s employment report showed job losses of 92,000 in February. The January and December figures were revised downward, with December swinging to a loss of 17,000 jobs. Monthly data can be rocky, but a trend has emerged that shows an enduring weakness. Without the healthcare sector, the economy would have shed roughly 202,000 jobs since Trump became president in January 2025. His administration notes construction job gains outside of the housing sector, which it says point to future hiring growth.

Trump often claims that jobs are going to people born in the United States, rather than to immigrants. But the latest report punctured some of that argument.

The unemployment rate for people born in the U.S. has climbed over the last 12 months to 4.7% from 4.4%. This means a greater share of the people who Trump said would get jobs because of his immigration crackdown are, in fact, searching for work.

Prices at the pump are going up

“Slashing energy costs is among the most important actions we can take to bring down prices for American consumers,” Trump said in a February speech in Texas just before the U.S. and Israel attacked Iran. “Because when you cut the cost of energy, you really cut — you just cut the cost of everything.”

The president has repeatedly told Americans that keeping gas costs low would be key to defeating inflation. He has talked up the decline, citing figures that were far below the national average to persuade the public that driving was getting cheaper.

But the strikes against Iran that began Feb. 28 have, for the moment, crushed that narrative. Prices at the pump have jumped 19% over the last month to a national average of $3.45, according to AAA. The investment bank Goldman Sachs warned in an analyst note that, if higher oil prices persist, inflation could rise from its 2.4% reading in January to 3% by the end of the year.

The administration is banking on plans to contain any energy price increases, essentially betting that either the conflict will end shortly or the administration can succeed in getting more tankers through the Strait of Hormuz. Trump advisors on Sunday sought to assure anxious Americans that surging fuel prices are a short-term problem.

“We never know exactly the timeframe of this,” Energy Secretary Chris Wright said on CNN’s “State of the Union. “But in the worst case, this is a weeks, this is not a months thing.”

Stocks are off their highs

“You know, we set the all-time record in history with the Dow going to 50,000,” Trump said Thursday at the White House.

This frequently repeated talking point has grown stale. The Dow Jones industrial average, one of Trump’s preferred measures of success, has dropped 5% over the last month. Stocks are up during his presidency, just as they were when Democrat Joe Biden was president. The recent decline could be reversed if the war with Iran ends and companies see solid profits over the next year and beyond. The recent dip, however, should be a warning sign as the administration has stressed the importance of more people investing in the stock market through vehicles such as “Trump accounts” for children.

The stock market has become a barometer of how people feel about the economy, with stock investors tending to have more confidence and those without money in the markets being more pessimistic.

Joanna Hsu, the director of the University of Michigan’s surveys of consumers, noted that in February a “sizable” increase in sentiment among people owning stocks “was fully offset by a decline among consumers without stock holdings.”

Productivity is up, but workers aren’t benefiting

Trump can point to a win in that the economy has become more productive — generating more value for each hour of work. That is a positive sign for long-term growth in the U.S. and a reflection of its strong tech sector.

Business sector labor productivity climbed 2.8% in the fourth quarter of last year, the Labor Department reported Thursday. But the challenge is that the gains might not be spread to workers in the form of higher pay as labor’s share of income last year fell to the lowest level on record, noted Mike Konczal, senior director of policy and research at the Economic Security Project, a nonprofit aligned with liberal economic issues.

Economy grew at a faster pace under Biden

“Under the Biden administration, America was plagued by the nightmare of stagflation, meaning low growth and high inflation — a recipe for misery, failure and decline,” Trump said at the World Economic Forum in Davos, Switzerland, in January.

The scoreboard tells a far different story, one that makes Biden’s track record in 2024 look better than Trump’s performance last year. The U.S. economy grew at a 2.8% pace during Biden’s last year, compared with 2.2% under Trump in 2025.

As for inflation, the primary measure used by the Federal Reserve is the personal consumption expenditures price index. It was 2.6% in both 2024 and 2025.

Trump has staked his economic argument on doing better than Biden. But while he has avoided the inflation spikes that haunted Biden’s presidency — amid the height of the COVID-19 pandemic — Trump has not delivered stronger growth or more hiring.

Boak writes for the Associated Press.

Yanic Konan Niederhauser tore a ligament in his right foot, putting an early end to his rookie season with the Clippers.

The 7-foot Swiss center was injured Wednesday night in a 130-107 win against the Indiana Pacers. Niederhauser was diagnosed with a Lisfranc injury in his right foot and will require surgery, the team said. The injury involves damage to the ligaments or bones in the middle of the foot.

Niederhauser averaged 4.3 points and 2.9 rebounds in 41 games. After being selected 30th in last year’s NBA draft, he began the season in the G League, but after the Clippers traded Ivica Zubac last month, he was earning more minutes.

In his last five games, Niederhauser was shooting 52% from the field and averaging 8.2 points and 6.2 rebounds while playing 18 minutes a game.

Four hours before Sienna Spiro is due to launch her first U.S. headlining tour, the 20-year-old singer and songwriter from London sits upstairs in the Troubadour’s empty balcony, peering down as several crew members wheel a grand piano onstage.

“The fact that I’m 11-and-a-half hours from home and that this room is gonna be filled with people that have never met me and that I’ve never seen before — that’s just crazy,” she says. “I’m kind of scared.”

The song that brought Spiro to West Hollywood this past Tuesday is “Die on This Hill,” a showstopping pop-soul ballad about staying in a toxic relationship — “I’ll take my pride, stand here for you,” she sings, “I’m not blind, just seeing it through” — that’s been streamed more than 300 million times on YouTube and Spotify since it came out in October. Built around tolling piano chords and Spiro’s titanic vocal, the song hit No. 9 in the U.K. and broke into the Top 20 of Billboard’s Hot 100; last month, Spiro — whose famous admirers include SZA, Mark Ronson and Alex Warren — was nominated for the Critics’ Choice prize at England’s annual BRIT Awards.

With its unabashed emotion and its throwback feel, “Die on This Hill” can be heard as the latest in a long line of melodramatic ballads by young Brits such as Amy Winehouse, Duffy, Lewis Capaldi and Olivia Dean, the last of whom was just named best new artist at the Grammys. Yet Spiro’s voice stands out: Rich and pulpy, with a crack she knows how to deploy for maximum heartbreak, it might be the most impressive instrument to come out of England since Adele emerged nearly two decades ago.

“Sienna is a true artist with the voice of a generation,” says Sam Smith, one more English singer (and former best new artist winner) with a flair for ugly-cry theatrics. Late last year, Smith, who identifies as nonbinary, invited Spiro to join them onstage in New York for a performance of Smith’s song “Lay Me Down.” Spiro, Smith recalls, “blew the room away” — one reason they brought her out again Wednesday night at San Francisco’s Castro Theatre, this time to sing “Die on This Hill” together.

Says Smith of the younger artist: “The world is at her feet.”

At the Troubadour, where she’ll follow Tuesday’s sold-out concert with an encore appearance Friday night, Spiro describes singing as a life calling. “I’ve known what I wanted to do since — honestly, since I’ve been a conscious human being,” she says. Dressed in a black-and-white-striped turtleneck, she has her legs folded beneath her on a wooden bench; her dark hair hangs loose around her face, yet to be styled into the ’60s-inspired do she’ll wear come showtime.

“I always felt a bit invisible,” she adds, whether at school with friends or at home as a middle child. “Not in a victimized way. But I always struggled with that existentialism. Music is the only thing that’s made me feel real.”

Are we to believe that one of pop’s bright new stars was once … kind of a bummer?

“In my own way, yeah,” she says with a laugh. “It’s OK. It happened. Character building.”

Spiro grew up privileged in London, one of four children of Glenn Spiro, a prominent jeweler who counts Jay-Z as a client and pal. Her dad turned her onto Frank Sinatra and Nina Simone and the Italian film “Profumo di donna” when she was little; by age 10 she’d written her first song (“Lady in the Mirror,” it was called) and played her first gig (at a pub not far from Heathrow Airport).

At 16 she enrolled at East London Arts and Music, a performing arts academy she describes as “the up-and-coming version” of London’s prestigious BRIT School, whose alumni include Adele and Winehouse. Her academic career didn’t last long, though: On her first day of classes she posted a TikTok of herself covering Finneas’ song “Break My Heart Again” that triggered a wave of interest from various record-industry types; soon she dropped out and began regularly traveling to Los Angeles to work on music.

Today Spiro says she has a “love-hate relationship” with the town where she estimates she spends half her time. “I’m very English, and I think something about English people is our honesty — you don’t really have to guess what people are saying. What was shocking to me when I came here was that people didn’t say what they meant.

“I was very, very lonely, and it was hard to make music when you feel that,” she adds. “I make sad music, but it’s hard to be a teenager and be away from your family and your friends and be in a place where you kind of have to play pretend being an adult.”

Did suffering among the two-faced liars of L.A. ever lead her to question her commitment to music?

“No. It just made me question how I was doing it. And not everyone’s a two-faced liar. There are some good ones out there.”

Was she ever at risk of becoming a two-faced liar herself?

“Oh, I’m too English for that,” she says. “If I did that, I’d get a slap.”

Sienna Spiro performs this week at the Troubadour in West Hollywood.

(Ariana Drehsler / For The Times)

Spiro started releasing singles in 2024 and quickly signed a deal with Capitol Records; last year she opened for Teddy Swims on the road and turned heads with “You Stole the Show,” a luxuriously gloomy slow jam with echoes of Adele’s “Skyfall.”

For “Die on This Hill,” which she wrote with Michael Pollack and Omer Fedi (both of whom went on to produce the song with Blake Slatkin), Spiro wanted to capture the feeling of “when you go above and beyond just to feel something reciprocated back from someone,” she says. But if the writing came quickly, the recording didn’t: Spiro jokes that she cut “900 different versions” of the song, including one she says sounded like Silk Sonic and another that sounded like Lauryn Hill.

“I was desperate for something up-tempo,” she says, given that virtually everything she’d dropped so far had been a ballad. Yet Fedi pushed her to cut the tune live with just her on vocals and Pollack on piano. They did four takes, according to the producer, one of which forms the basis of the record that eventually came out.

“Very old-school, very human,” Fedi says of the process. “Maybe I’m corny but with Sienna, less is really more. Her voice is so special, so big and upfront, that you just want to put a giant flashlight on it and let it shine.”

In early January, Spiro gave a bravura performance of “Die on This Hill” on Jimmy Fallon’s late-night show; one clip on TikTok has been viewed more than 70 million times. For that appearance, she wore a retro mini dress printed with an old photo of Johnny Carson behind his desk; for a recent performance in the BBC’s Live Lounge, she wore a different dress showing the faces of the four Beatles.

On stage at the Troubadour, her dress features images of the Chateau Marmont and the Capitol Records tower — a bit of setup, she says, for her next single, “The Visitor,” which is due March 13. Spiro has been slowly assembling her debut album for the past two years, but with headlining concerts to play, she’s reaching back for some of her oldies from 2024.

Some, not all.

“To be real with you, some of my early stuff wasn’t the most authentic,” she says as her drummer starts thwacking a snare during sound check . “I was trying to be someone else because I really wasn’t comfortable with myself.”

Can she point to an example?

“‘Back to Blonde,’” she says, referring to a vaguely Lana Del Rey-ish number about a woman who dyes her hair after killing a no-good lover. “I put it out for all the wrong reasons. It was a mistake — an inauthentic move that I regret making.”

What were the wrong reasons?

“It’s a long story, and it’s not very interesting. I didn’t do it because I loved the song — that’s what I’ll say. But at the end of the day it’s my name and I have to stand by it.”

Which is why she’s taking her time on the LP. Some artists her age don’t care much about the album format but Spiro is a true believer. Among her faves: Sinatra’s “In the Wee Small Hours,” Stevie Wonder’s “Songs in the Key of Life,” Adele’s “21” — “a perfect album,” she says — and Billie Eilish’s “Hit Me Hard and Soft.”

“I love an album where you don’t ever question why a song’s on there,” she says. “Where everything feels intentional.”

She doesn’t want to divulge too much about the work in progress. “The problem with me is I have a huge mouth and I give everything away,” she says, which — hey, great.

“No, I know it is for you,” she adds with a laugh. “But not for me, because then when I actually want to do the big reveal, I’ve got nothing because I’ve said it all.”

She will allow one detail: “It won’t be 12 ballads, I’ll tell you that.” She looks toward the ceiling, jiggling her head slightly, as though she’s doing some mental math regarding the track list.

“I mean, there’s a lot of ballads,” she says. “I just love a ballad — I can’t help it.”

SACRAMENTO — Gov. Gavin Newsom plans to spend $19 million promoting California and dispelling “myths driven by misinformation and political rhetoric” in a marketing campaign that would run through the final months of his administration as he weighs a potential run for president.

The new contract, which is in the bidding process, comes as Newsom’s political future and national standing are closely tied to how voters view California’s economy, crime and quality of life — issues that have become central to attacks from President Trump and conservative media outlets.

The Governor’s Office of Business and Economic Development is seeking a contractor to design a statewide taxpayer-funded “California Brand Campaign,” with two-thirds of spending under the proposal to be used for paid advertising and media placements. Bidding on the contract opened Feb. 24 and is expected to end March 13.

The solicitation frames the campaign as an effort to push back on what Newsom has often described as misleading narratives about California. The campaign would launch during a period of financial uncertainty for the state, with Newsom’s January budget projecting a $3-billion deficit next fiscal year.

“California and its business climate have been falsely and maliciously maligned for years, and the state has a right to tell the true story — California is a great place to do live, work, invest and visit,” said Newsom spokesperson Tara Gallegos. “Setting the record straight will benefit every business, worker and resident of this state.”

Newsom is contemplating a run for president in 2028 and says he remains undecided about whether he will pursue the Oval Office.

State Sen. Roger Niello (R-Fair Oaks), who is vice chair of the Senate budget committee, said the language of the proposal request is concerning. He said it would make it easier to stifle criticisms of policies that he says make it difficult to do business in California.

“This is clearly part of the Gavin Newsom for President campaign, but what is most troubling to me is that this is a program to be developed by some private-sector contractor to define what is acceptable speech in the state of California,” Niello said. “That scares the stuffing out of me.”

The negative image of California — homeless encampments lining the streets, smash-and-grab robberies at malls and an exodus of residents and businesses fleeing high taxes and nanny-state governance — could be a liability for Newsom if he runs for president.

Newsom has seen his popularity surge in the last year after his fight-fire-with-fire approach to countering Trump’s rhetoric. The two-term governor has used his expanding platform, including a podcast and nationwide book tour for his recently released memoir, to repeatedly push back on Trump’s criticisms of California. He argues that California remains one of the world’s largest and most dynamic economies and the envy of other states.

The tone of the marketing campaign bid request itself echoes that message, with its introductory paragraph pulled directly from Newsom’s State of the State speech in January.

“California has never been about perfection,” it reads. “It’s about persistence. The courage of our convictions and the strength to embody them. That’s the California Way.”

Mike Madrid, a Republican strategist who runs the research nonprofit Latino Working Class Project, said scrutiny of the campaign will depend on whether the ads veer into politics or overtly promote Newsom in the way federal border security ads showcased the now ousted Homeland Security Secretary Kristi Noem.

“You have to ask why now?” Madrid said of Newsom’s timing for the California ad campaign. “He’s in the eighth inning of a nine-inning baseball game. Timing and tone are everything when considering the appropriateness.”

The use of taxpayer dollars to combat negative publicity about the state and the governor isn’t new under the Newsom administration.

Newsom tapped an employee in his communications office to serve as his “deputy director of rapid response” in 2024. Staff member Brandon Richards, who made $136,000 last year, is tasked with quickly dispatching responses to information the governor’s team deems inaccurate or misleading that is spread on social media and in the media.

When right-wing accounts claimed in February that Newsom allows dogs to vote in California, Richards responded with a CBS News article reporting that a woman was charged with five felonies for registering her canine. Richards and the governor’s office pushed back on false assertions that Newsom and his wife, First Partner Jennifer Siebel Newsom, were stealing money from the state through her office that same day.

Newsom’s frustration reached a boiling point over claims about the state’s response to the Los Angeles wildfires last year. President Trump publicly blamed Newsom and “his Los Angeles crew” for the disaster, though the Republican’s claims that a lack of water in Southern California led to a shortage for firefighters were widely debunked.

Newsom’s political team launched a website in January 2025 to fight misinformation about the L.A. fires, which he said at the time would “ensure the public has access to fact-based data.” The site, www.californiafirefacts.com, no longer appears to exist.

At one point, however, it redirected viewers to the redistricting campaign website for Proposition 50, according to internet archives. Newsom championed the successful redistricting ballot measure to add more Democrats to California’s congressional delegation, a direct response to Trump urging Texas and other Republican states to reconfigure their congressional boundaries to elect more Republicans to Congress.

Newsom adopted an even more aggressive social media strategy last summer after Trump deployed the National Guard and U.S. Marines to California during federal immigration sweeps. The governor directed his team to match the brash communication tactics emanating from the White House. His aides continue to shoot down criticism and launch their own snarky assaults on Trump and his allies.

The new ad campaign appears to be an extension of his work to refute the anti-California narrative.

The request for bids says “some look at this state and try to tear down our progress. They attack our values and caricature our culture. They distort the data to diminish our accomplishments.”

WASHINGTON — A year into the Trump administration’s ratcheted-up mass deportation effort, approval rates for asylum seekers have plummeted as immigrants are too afraid to show up for court hearings.

Fewer than 3% of asylum cases decided in January were approved — a record low, according to Mobile Pathways, a San Francisco nonprofit that analyzes federal immigration data. That’s compared with an 18% approval rate in January 2025.

Nationally, 20% of immigrants seeking asylum missed their hearings in January, compared with half that rate a year earlier. Asylum seekers with pending applications are in the country legally, but under federal law, failing to appear for a hearing can result in a deportation order.

In Los Angeles County immigration courts — among the largest in the country — the trend is substantially starker: no-shows made up 56% of the asylum hearings in January, compared with 14% a year earlier.

“That’s not fluctuation,” said Bartlomiej Skorupa, chief operating officer of Mobile Pathways. “That’s collapse.”

A Justice Department spokesperson said the Trump administration is restoring integrity to immigration courts.

As of December, nearly 3.4 million cases were pending in immigration courts, with more than 2.3 million of them asylum cases, according to TRAC, a data research organization.

The rise in the number of people avoiding asylum hearings helps explain another trend in the immigration court system. Over the last year, the number of asylum cases marked “abandoned” has doubled.

Immigration attorneys say cases can be classified as abandoned for various reasons: An applicant missed a deadline, filled out a form incorrectly, or just decided to leave the U.S.

But the Executive Office for Immigration Review, the agency that administers immigration courts, can label a case abandoned if the applicant fails to show up for a hearing. Nationwide, the number of cases considered abandoned doubled over the last year to make up about 41% of those decided in January.

It takes an average of four years for immigrants to receive an asylum hearing, though a final decision can take longer with appeals, according to the Migration Policy Institute, a nonpartisan think tank.

During the Biden administration, most asylum claims were not issued decisions by an immigration judge; instead, many were administratively closed, or paused and taken off judges’ dockets. While the case is inactive, the person can remain in the U.S., work legally and pursue other avenues of relief.

But such a policy is vulnerable to being reversed by a subsequent administration, Migration Policy Institute experts wrote in a November report.

Lindsay Toczylowski, co-founder of the Immigrant Defenders Law Center in Los Angeles, said the increase in no-shows is in part because the Trump administration began reopening asylum cases that had been administratively closed for many years.

Many of those people are no longer in contact with their attorney, if they had one, and would be difficult to notify of a new hearing.

A decade ago, a significant portion of asylum seekers came from El Salvador, Guatemala or Honduras, many of whom settled in Southern California.

Since President Trump returned to the White House, Los Angeles was one of the earliest cities where federal agents began arresting immigrants at courthouses. Immigrants have become afraid to engage with any law enforcement authorities, Toczylowski said.

The government’s goal, she said, “is not due process or pursuing justice for people in immigration courts — it’s deportation orders. If people don’t show up in court, that’s a way for them to meet their metrics.”

Immigration courts are housed within the Department of Justice and judges have long complained that they lack full independence from executive branch overreach. The department disputes that, saying judges are independent adjudicators who decide cases individually.

More than 100 immigration judges have been fired since Trump took office and about the same number have resigned or retired, according to the union representing immigration judges. That’s down from 735 judges in last fiscal year.

Last summer, the Pentagon authorized up to 600 military lawyers to work for the Department of Justice after removing the requirement for temporary immigration judges to have immigration law experience.

Jeremiah Johnson, a former immigration judge who was fired last year from the San Francisco Immigration Court, said the 3% asylum grant rate in January is shockingly low.

Johnson, who was vice president of the National Assn. of Immigration Judges, said decisions by the Board of Immigration Appeals throughout the last several months have limited asylum law. Immigration judges must abide by the precedent set in those cases.

One such case, for example, reverses prior interpretations to now limit gender-based asylum, finding that persecution claims based solely on gender, or gender combined with nationality, don’t generally don’t meet the definition of a “particular social group” — one of the five categories under U.S. asylum law.

Another factor contributing to lowered asylum approvals, he said, is that the federal government has started seeking to dismiss asylum cases by forcing migrants to start over in a “safe third country.”

These requests stem from the increasing number of so-called asylum cooperative agreements, which allow federal officials to send certain migrants to other countries — including less stable places such as Honduras, Uganda and Ecuador — instead of continuing to seek asylum in the U.S.

“It has really been a restriction in the availability for asylum and other related protection,” he said.

Kathleen Bush-Joseph, one of the authors of the Migration Policy Institute report, pointed to a post last month on X by White House Deputy Chief of Staff Stephen Miller, who said that asylum “is limited to individuals fleeing extremely narrow categories of state persecution.”

“None of the groups illegally crossing the border fit that criteria,” Miller wrote. “No one in Mexico or Ecuador or Honduras etc live in nations where there is any state persecution of any protected class.”

But Bush-Joseph cautioned that it’s not yet clear whether the Trump administration’s asylum changes are legal.

“Even though there are executive actions in place that are restricting access to asylum, those are being challenged in court and I don’t think that we know how all of this will turn out,” she said. “A lot of people are being deported in the meantime and they may not get the chance to come back.”