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Lake Balboa resident Jose Meraz is looking for a mayor who will turn L.A. around, cleaning up streets that he says are “filled with garbage.”

Schoolteacher Tracey Schroeder, a Republican candidate for state Assembly, is unhappy about crime, open-air drug use and the slow rebuilding effort in the wake of the Palisades fire, which destroyed thousands of homes.

Greg Whitley, a resident of Reseda, said he’s frustrated with homelessness and the influx of what he called “criminal illegal aliens.”

“I live with the Spanish community. Great people,” he said. “But these illegals that come here for criminal reasons, they’re making them look bad, and they don’t like it.”

All three showed up outside a five-bedroom home in Sherman Oaks on Saturday, looking to speak with reality TV personality Spencer Pratt, now waging an insurgent campaign for Los Angeles mayor in the June 2 election.

Mayoral candidate Spencer Pratt, left, poses with a supporter during a community meet-and-greet event Saturday at a home on Longridge Avenue in a residential neighborhood of Sherman Oaks.

(Etienne Laurent/For The Times)

Standing in the entry to the home’s two-car garage, the onetime star of “The Hills” spent more than two hours shaking hands, giving hugs and posing for photos with his admirers, who waited in line under punishing San Fernando Valley sunshine.

Pratt used social media to invite the public to the campaign event, which took place in the district represented by one of his mayoral opponents, City Councilmember Nithya Raman.

He did not deliver any speeches outside the property, which is listed for rent on Zillow for $15,950 per month. He and a member of his security personnel said he was not taking interviews.

Pratt has been running in voter surveys behind Mayor Karen Bass, who is running for reelection, sometimes swapping places with Raman for second and third. He turned in a strong debate performance this month and has been outpacing his rivals in fundraising, according to the most recent disclosure reports.

While running for office, Pratt has blamed Bass for the 2025 wildfire that destroyed much of Pacific Palisades, including his home. He has railed against the city’s handling of homelessness, saying he would pursue a “treatment first” approach toward people with drug addiction who are living on the street.

Mayoral candidate Spencer Pratt, back to the camera, speaks with supporters Saturday during a community meet-and-greet event.

(Etienne Laurent/For The Times)

Pratt said recently that he wants to increase Los Angeles Police Department staffing to 12,500 officers over the next decade, up from about 8,600. Speaking with one supporter on Saturday, he said the city needs to “make sure all the laws are being enforced.”

“Plenty of functioning cities enforce their laws,” he said.

That message resonated with many of the people in line.

“He is advocating for the safety and security of our families — specifically, for mothers to be able to walk their kids to school,” said Saba Lahar, a resident of Sherman Oaks, moments after talking to the candidate.

Pratt fans dropped off ballots, picked up lawn signs and stopped to pick up coffee drinks from the Hustle N Dough doughnut truck parked out front.

Some showed up even though they cannot cast ballots in L.A.

Ruben Jr., no last name given takes a picture of his father during mayoral candidate Spencer Pratt’s community meet-and-greet Saturday in Sherman Oaks.

(Etienne Laurent/For The Times)

Brian Rodda, who runs a walking food tour company, described himself as “an unsatisfied Angeleno” even though he lives in West Hollywood, which is not part of the city of L.A.

“Sadly, because I do live in West Hollywood, I cannot vote for him,” he said. “But I certainly think we need a change.”

British crime drama fans won’t want to miss this gripping murder mystery series set in Scotland

Crime drama fans will be hooked on this “addictive” series packed with twists and turns.

Shetland is a cherished British programme adapted from Ann Cleeves’ novels by David Kane. The show centres on police detectives investigating murders across the remote, tight-knit Shetland islands.

Douglas Henshall portrayed DI Jimmy Perez throughout the first seven series, before Ashley Jensen assumed the lead role as DI Ruth Calder from series eight onwards.

The murder mysteries unfold primarily on the eponymous archipelago, though certain scenes are filmed on mainland Scotland. Last month, the BBC announced that production has commenced on Shetland’s 11th series, with Ashley reprising her role as DI Calder alongside Alison O’Donnell as DI Alison ‘Tosh’ McIntosh.

The upcoming instalment will shoot at various Scottish locations and across the Shetland Isles throughout the coming months, with fresh episodes scheduled to debut on BBC One and iPlayer later this year. This comes just months after series 10 wrapped up, reports the Express.

The new six-part series welcomes Christine Bottomley, Kevin Harvey, Stella Gonet, Gregor Fisher, Gavin Mitchell, John Wark, Jude Bain, Robin Weaver, Beth Marshall, Daniel Boyd, Charlene Boyd, and Helen Mackay to the cast.

Returning favourites include Steven Robertson, Lewis Howden, Samuel Anderson, Steven Miller, Anne Kidd, Angus Miller, Connor McCarry, and Eubha Akilade.

The forthcoming series will focus on a historical killing destined to “forever change the lives of all those connected in the present day”.

The official synopsis reveals: “When a car is pulled from the water, a grim discovery is made – crammed in the boot are the decomposed, skeletal remains of an unknown male. The team’s search to uncover the victim’s identity begins with a hunt for the vehicle’s owner – a respected, local GP who left the Isles under a cloud of troubled rumours nine years ago.

“As Calder and Tosh dig deeper into the enigmatic GP’s state-of-mind and the lives of the loved ones he left behind, the investigation takes them to dark and dangerous places in their quest for the truth.”

Before the fresh episodes arrive, viewers can delve into numerous Scottish murder cases as the first ten series of Shetland are currently available on BBC iPlayer.

Shetland has won over millions of devoted followers, ranking amongst the top five most-watched BBC drama programmes of 2025. Furthermore, it held its position as Scotland’s leading BBC drama, with numerous fans drawing comparisons to other BBC favourites including Line of Duty and Blue Lights.

When a Reddit user sought recommendations similar to Line of Duty, one fan responded: “Shetland is a fantastic show. Was a bit slow at first but really gets going quickly and is addictive.”

An IMDb reviewer commented: “Stunning, gripping, dynamic noir series. Beautiful scenery, laid back pace but still a gripping series with great characters.” Another viewer chimed in: “We just started this series and absolutely love it. It gets better as you go, we’re just now on Season 3 and can’t wait to see what’s next. Incredible actors, strong storyline. Worth the watch, just be patient as you start!”

A third enthusiast declared: “This is a superb series that never disappoints. The writing is great and well thought-out, something that is missing in most shows today. The pace is excellent. This series could go on for dozens of seasons and would still hold my interest. Add this to your must-have watch list,” while another echoed the sentiment: “Outstanding mystery series. Absolutely perfect. The characters are likeable, the stories are compelling, the cinematography is stunning.”

Shetland is available to stream on BBC iPlayer

WASHINGTON — A federal judge in New York unsealed a suicide note Wednesday purportedly written by Jeffrey Epstein in July, 2019, before a failed suicide attempt soon after he had been taken into federal custody on sex trafficking charges.

The disgraced financier would ultimately die weeks later in the same New York facility in what was ruled a suicide.

While the note’s authenticity has not been established, it contains an apparent reference to a line from a 1931 Little Rascals film that Epstein had used in at least two email messages, according to the trove of Epstein documents released by the U.S. Department of Justice this year in response to the bipartisan Epstein Files Transparency Act.

In the short handwritten note released Wednesday, Epstein allegedly wrote, “They investigated me for month — Found nuthing!!!”

The note concludes, “Whatcha want me to do — Burst out cryin!! No Fun – Not Worth It!!”

It was a phrase Epstein had used before.

In a September, 2016, email to his brother, Mark, he wrote, “whtchoo want me toodo — bust out crying” in response to news that their cousin had become a grandfather.

And in another message the following year to his childhood friend Terry Kafka, Epstein wrote, “Whatcha want me todo/bust out cryin,” in response to a message from Kafka about being nostalgic

Epstein’s brother and Kafka did not immediately responded to requests for comment.

The line is an apparent reference to a 1931 Little Rascals short film “Little Daddy,” in which the character Stymie says, “Well, what do you want me to do, bust out crying?” when another character says that it will be their last breakfast together.

The note emerged from the court records of Epstein’s onetime cellmate Nicholas Tartaglione, a former police officer who is serving four consecutive life sentences for a 2016 quadruple murder.

It was released in response to a request by the New York Times.

The note itself was not included in the millions of pages released by the Justice Department.

In 2020, “60 Minutes” disclosed a note Epstein reportedly wrote days before his August, 2019, death that included complaints about his conditions and similarly concluded with the phrase “No fun!!!”

Journalist Katie Phang sued acting Atty. Gen. Todd Blanche for allegedly failing to comply with the requirements of the Epstein files law passed last year, which required that the documents be released in their entirety within 30 days, with reasoning provided for any documents not released.

The department released the files after the deadline passed and has faced criticism for removing or not releasing some documents and simultaneously failing to redact the names of numerous Epstein victims while redacting the names of some of Epstein’s friends and associates.

In 1995, when the L.A. Metro system was in its most nascent stage, Ken Karagozian — then an amateur photographer in an Owens Valley, Calif., workshop — found his way underground to document the subterranean marriage between downtown L.A. and Westlake through Metro’s Red Line, now called the B Line.

From that came a feature in Life magazine, but more importantly, a driving principle: Karagozian believed that the construction workers, engineers and electricians who were subject to the whims of a city indecisive on the subway project were deserving of intimate documentation. The invisible many who built the pyramids and New York’s skyline never got that chance, he said, but the people who contributed to the historically controversial Metro D Line from Koreatown to Westwood would, if he had a say.

“When I did take photography workshops, they always said, ‘Do a project close to your home,’” Karagozian said on a call from his Agoura Hills residence. “I wrote a letter to [L.A. Metro], which said, ‘How can I get permission to photograph?’”

Days before the fires ravaged L.A. in 2025, Altadena-based historian and author India Mandelkern had a phone call with Karagozian, who was interested in collaborating on a project about the D Line. After publishing a book on the art and politics of street lighting in Los Angeles, Mandelkern worked on the L.A. Metro blog, soliciting interviews from Angelenos who seemed desperate for a line to the Westside.

A Karagozian photo shows a group of workers during the Section 2 breakthrough during the underground construction of the Metro D Line.

(Ken Karagozian)

A photo by Karagozian shows sunlight filtering underground into the Wilshire/Fairfax site during construction.

(Ken Karagozian)

After Mandelkern connected with Karagozian, their project had solid form: a photo book, titled “Wilshire Subway: The Making of the D Line Subway Extension,” about the history, conflict and people behind the scenes and underground ahead of the May 8 opening of the subway expansion along Wilshire Boulevard. (New stations will be added at Wilshire/La Brea, Wilshire/Fairfax and Wilshire/La Cienega. In the future, stations in Beverly Hills, Century City and Westwood will open.)

A related photo exhibition, “Wilshire Subway: Photographed by Ken Karagozian,” is on view through May 14 at the 1301PE art gallery on Wilshire Boulevard.

This week, we chatted more with Karagozian and Mandelkern about their project.

After writing a book about the social history of street lighting, what brought you underground?

Mandelkern: Well, a couple different reasons. First, I was very interested in Metro just because I had worked there as the blog editor, and in that role, I got to explore so many different stories. I thought Wilshire Boulevard was one of the most interesting places, the stories of this rail-building ambition that persisted for so many different years, and what that says about Angelenos. Second, I think that we talk about L.A. as a horizontal city, and that’s certainly true. If you go somewhere like Tokyo, you instantly see that this is what a vertical city is, but I wanted to bring a little bit of that to L.A. There is so much history buried beneath the ground that we seem to forget, and once you start tunneling, you realize that it’s always been there and it hasn’t disappeared. It’s just pushed beneath us.

In support of their new project, writer India Mendelkern, left, and photographer Ken Karagozian appear at the Los Angeles Times Festival of Books in April.

(Ken Karagozian)

Of all the people you spoke to for this book, which one most influenced the way you understood what the D Line could provide for the city?

Karagozian: This was a joint venture between three contractors, and they each had their specialty. It was Skanska, Traylor [Bros.] and Shea. With Traylor, they were brothers and they were doing the tunneling. Richard McLane [chief mechanical engineer of Traylor Bros.] was very helpful in telling me a little bit about the history of Wilshire Boulevard and facts of tunneling. … All these different contractors impacted the project in some way.

Mandelkern: I always say Ken is one of the best construction photographers out there, but his specialty is really people. When I interviewed some of these individual workers, a whole different story came to light, and I realized that many of these workers came to L.A., started at the bottom of the totem pole, and through working on the subway have risen through the ranks, gotten promotions, become leaders, and their kids now work in construction. … It’s just so amazing that so many of these individuals are doing all this work behind the scenes that creates infrastructure that connects all of us.

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1. Carpenter Jenna Dorough poses for a portrait by Karagozian during the underground construction of the Metro D Line. 2. A concrete supervisor photographed by Karagozian at the La Cienega Boulevard station. (Ken Karagozian)

There are many portraits in the book of the builders who created the D Line. India referred to the short lifespans of the workers compared to the marvelous structures they craft: Was it intentional that you documented most of the D Line’s visual history through the people who built it?

Karagozian: When I go down underground and after the stations are completed, to me, it’s the people that built it that should tell the story. I didn’t just want to get a shot of them from behind. I really like to photograph their faces. … When I photographed the workers from the Red Line, some of these workers from the middle ’90s are still working on the Purple Line. I’ve known them for years, and now their children are working in construction; it becomes a family issue. … Going down and photographing the tunnels with that lighting in that perspective, it’s always been so interesting.

Mandelkern: That just reminded me of one of the quotes in the book from John Yen, who is the VP of operations at Skanska. He said, “In construction, we work ourselves out of a job.” I always found it really interesting that, as we build, the whole point is to kind of disappear. It reminded me of one of my favorite quotes in the essay, when James [Rojas] writes [that] when the stations are open, they’ll be shiny and new, but that will kind of erase all the memories and all the work of the people who’ve been doing this for all this time. This book really became a way to sort of remember all of these different people that have been working on these projects for decades and decades, even if they’re not really remembered in the official record.

As the D Line prepares to open, does it somehow feel like the end of a journey?

Mandelkern: This just [started] so many other things for me. Afterwards, I decided I really want to learn about the geology of L.A., and I found an interest in paleontology, too. I hope with any book that it just gets people curious, and it gets them to start asking questions. I think that “Wilshire Subway” does accomplish that. L.A. is just this bowl with all these different salad layers, and as we penetrate down, we learn more and more about our history.

Karagozian: It does a little bit. With May 8 being the grand opening, and as the stations are complete and they’re testing the trains underground, it almost feels like it’s graduation time. Time to celebrate the journey of going through high school, college, whatever. I am still continuing to photograph the [Purple Line extension], which is Rodeo or Beverly [Hills] station … Now it’s just the accomplishment of celebrating all the work that I’ve put into this project and going down almost once a week and photographing the process for so many years.

SACRAMENTO — One of Gavin Newsom’s top goals as he winds down his final year as California governor is to leave the state with a balanced budget.

After years of the state spending more money than it brings in, it’s Newsom’s last opportunity to fix a chronic deficit or dump the problem on the next governor.

How far he goes to solve the state’s structural spending imbalance will define his legacy as a steward of trillions in taxpayer dollars. As a potential candidate for president in 2028, he could also have a political incentive to do as little as possible.

“Any cuts you make are going to cause people to scream,” said Darry Sragow, a veteran Democratic strategist. “Any increases in taxes are going to cause people to scream and in terms of what’s best for a presidential run, it would be nice if people weren’t screaming.”

As California’s 40th governor, Newsom expanded publicly funded healthcare to income-eligible undocumented immigrants, increased state-subsidized child-care slots and provided free meals for schoolchildren among a wishlist of progressive wins since he took office in 2019.

His achievements have helped struggling Californians live in an increasingly unaffordable state and given him bona fides to tout to voters if he launches a bid for the White House.

But the state could never afford to pay for existing services and the new programs that Newsom and Democratic lawmakers enacted, according to an analysis of ongoing state spending since before the pandemic released by the Legislative Analyst’s Office last week.

Spending from the state’s principal operating fund has grown about $100 billion since Newsom’s first full fiscal year in office in 2019-20, mostly due to the growing cost of existing programs that he inherited. State spending has outpaced California’s strong revenue growth by about 10%, creating a perennial budget shortfall — a structural deficit — that Newsom and the Democratic-led Legislature solve with largely temporary fixes each year.

Instead of making across-the-board program cuts or raising taxes to align spending with revenue, Democrats have tapped into reserves designed to preserve social services for the state’s most disadvantaged communities during economic downturns.

While the California economy remains stable and state revenue has increased, Newsom and lawmakers have taken $12.2 billion from the rainy day fund. Democrats have borrowed $28 billion more from other state funds to cover their spending in recent years, according to the LAO.

“Taken together, these trends raise serious concerns about the state’s fiscal sustainability,” Legislative Analyst Gabriel Petek wrote in a review of Newsom’s January budget proposal.

Fiscal watchdogs have warned that the spending trends will leave California in a precarious position if the stock market tanks and tax receipts bottom out.

Personal income taxes are driving higher-than-expected revenue now, which analysts attribute to an artificial intelligence boom on Wall Street, and suggest the state could have no deficit in the upcoming year. In January, the Newsom administration anticipated significant operating deficits in the years ahead: $27 billion in 2027-28, $22 billion in 2028-29 and $23 billion in 2029-30.

The LAO, the Legislature’s nonpartisan fiscal advisor, said the state has already solved $125 billion in budget problems over the last three years with mostly short-term solutions.

“This issue is really whether they’re going to take seriously the structural deficit that is several years in the making now, where the spending has outpaced revenue, and to address that, they’re going to either have to make some fairly deep cuts or raise revenue and or both,” said former state Controller Betty Yee, who worked as a budget aide under Gov. Gray Davis and recently dropped her own campaign for governor. “But they have to be real. I think resorting to these one-time solutions has really exacerbated the problem.”

How Newsom wants to address the state’s financial challenges will be revealed on May 14 when he is expected to present his revised budget plan in Sacramento. His January budget proposal did not include any significant reductions or cuts to programs.

H.D. Palmer, a spokesperson for the California Department of Finance, said the governor is looking to solve the budget problem with more than a temporary fix.

“Although he is still finalizing his proposal that he’ll put forth to the Legislature, as he has said, he wants those solutions to be durable, and he wants them to have an impact beyond a single fiscal year,” Palmer said.

To stabilize California’s budget, Democrats will probably have to raise taxes or fees to generate new revenue and cut programs, according to the LAO. At least 40 cents for every dollar in revenue is dedicated to education under the state Constitution, requiring policymakers to find between $30 billion and $60 billion annually in additional revenue to cover projected shortfalls in 2027-28 and beyond if relying on new taxes alone.

President Trump’s cuts to healthcare are adding to the problem.

HR 1 will add $1.4 billion in state costs to the general fund. Newsom’s January budget proposal did not include a plan to help millions of low-income Californians who are expected to lose access to healthcare under the federal cuts.

To temper those cuts in California, other groups proposed a new tax on billionaires that appears poised to qualify for the November ballot.

Spearheaded by Service Employees International Union-United Healthcare Workers West, the initiative would apply a one-time 5% tax on taxpayers with assets exceeding $1 billion. If approved by voters, the tax would generate roughly $100 billion, which would fund healthcare programs.

The measure has divided unions and Democrats at the state Capitol.

Newsom has criticized the initiative, citing concerns that increasing taxes on the wealthy will have the opposite intended effect and drive the highest earners out of California. Under a progressive tax structure, the state budget is dependent on income taxes paid by the ultra-rich on earnings largely from capital gains.

Larry Page and Sergey Brin, the co-founders of Google, have already purchased residences in Florida, along with others looking to escape the tax if it goes through in November. Billionaires launched their own ballot measure campaign to undercut the tax proposal.

State lawmakers are also considering avenues to raise revenue, which include repealing a “water’s edge” tax break. Under the change, multinational companies would no longer be allowed to shield the income of their foreign subsidiaries from state taxes. California loses about $3 billion in revenue from the tax break each year.

In its budget plan released in April, the state Senate proposed a new fee on the largest corporations in the state to provide $5 billion to $8 billion annually for Medi-Cal.

The upper house said 42% of Medi-Cal enrollees are full-time workers who are not enrolled in their company’s healthcare plan because their wages are low enough to qualify for state-subsidized healthcare. As a result, corporations aren’t paying for healthcare for many of their employees and instead taxpayers are picking up the bill through Medi-Cal.

SEIU California, the powerful state union council representing over 700,000 workers, endorsed the plan. The union said Trump’s tax policy will reduce corporate taxes by $900 billion, while 3 million Californians lose healthcare.

“In this urgent moment, California’s workers need to see our leaders show us what they’re made of,” said Tia Orr, executive director of SEIU California. “The Senate is showing the courage to demand corporations pay their fair share, rather than making working people pay with their lives.”

The change is being described as a more politically palatable “fee” and not a tax.

“We explored multiple revenue options, and this was the one that felt more narrow, it felt more focused, and it also felt like it was directly going for the subsidy that’s being lost because of the Trump HR 1 cuts,” said Senate President Pro Tem Monique Limón (D-Goleta), who leads the upper house of the Legislature.

Limón said her caucus believes it’s important to address potential revenue streams because of the depth of federal healthcare reductions.

“If we don’t address the structural deficit, we are looking at severe cuts,” she said. “You are looking at people without health insurance. You are looking at hospitals closing down. You are looking at medical providers not being able to take more patients. You are looking at our emergency rooms over capacity, with not enough medical providers. I mean, you’re looking at a place that’s really, really, really difficult, and we feel like we have to, at least, look at what are viable options that are conditional on these cuts coming.”

Newsom has not commented publicly on the Senate’s plan. As governor, he’s been reluctant to embrace new taxes and fees.

Newsom could reject all the proposals for new taxes or fees and continue what he’s done before: take advantage of higher-than-expected tax collections, shift funds around, delay program implementation and borrow money to knock the deficit down to zero, or forecast a surplus, for his last budget year that begins July 1.

If he doesn’t take on California’s larger budget imbalance, then the problem would be the next governor’s to solve. A stock market crash, or economic recession, could force his successor to make drastic cuts across the board with limited reserves to support programs.

Kicking the can again would cement Newsom’s fiscal legacy as a governor who championed bold headline-making policies that bolstered the safety net for low-income Californians, but who failed to provide a solution to pay for his agenda.

“Not only has he not come up with a plan, he has pretended we don’t need one,” said Patrick Murphy, a professor of public affairs at the University of San Francisco.

Newsom’s interest in running for president could seemingly discourage him from slashing the budget and raising attention to the state’s financial woes, Sragow said. Newsom is setting himself up as a potential front-runner for his party. He has said he remains undecided about officially launching a 2028 campaign.

As a Democrat from California, his opponents would automatically label him as financially irresponsible and tax-happy. Calling out the massive budget problem on the horizon, raising taxes and making painful cuts will give them ammunition.

“There’s a long list of things that he’s going to be charged with, and this is likely to be one more,” Sragow said. “But I guess the question is, is he going to be charged with a political misdemeanor or a political felony?”

Former state Sen. Steve Glazer said Newsom is standing on political quicksand either way. State budget projections are based on assumptions about the future that often don’t bear out, leaving his choices exposed to criticism that he went too far, didn’t do enough, and everything in between.

“Whatever the governor decides to do in his May revise and in his final budget, it’s fraught with political risks, because it can be manipulated so easily by all sides,” Glazer said.

If Newsom ignores the spending problem, his successor could blame him for California’s financial woes when they take office in January and provide their own outlook of the state’s fiscal future. At the time, Newsom could be trying to convince America to make him the nation’s next president.

Murphy said Newsom has championed major policies and been reluctant to back off them later when revenue doesn’t pencil out.

In terms of spending, he’s governed similarly to the men who led California before him, with the exception of Jerry Brown, who cut programs to reduce a deficit he inherited in his second stint in the governor’s office and left Newsom with a surplus.

“It’s not all that different than most of the governors have done, which is finding it very hard to say no and finding it very hard to take on a tough choice of going to the ballot to ask for more money or raise taxes,” Murphy said.

On taxation, Newsom is perhaps most similar to former Gov. George Deukmejian, who opposed general tax increases for most of his administration.

Deukmejian left a budget disaster for his successor, Gov. Pete Wilson. Deukmejian publicly claimed he passed a balanced budget in his final year and blamed an economic downturn for the problems Wilson encountered.

When Wilson announced a record $13-billion budget deficit early in his first year in office in 1991, he said the Persian Gulf War, an economic downturn and natural disasters added to a structural deficit in the budget.

The Legislature and Deukmejian, Wilson said, had “papered over” the problem.

LEONARDO DiCaprio is facing business woes as the trendy vegan shoe brand he backed continues to haemorrhage millions.

The star’s favoured label has been left relying on cash injections from wealthy investors to keep it afloat.

British shoemaker LØCI, in which Leo is a key investor, makes 100% cruelty-free trainers using recycled bamboo, foam and rubber.

Each £160 pair reuses up to 20 plastic bottles recovered from the Mediterranean and the east coast of Africa.

The brand has proved popular with celebrities including Ben Affleck, Mila Kunis and Eva Longoria, while fellow investor Nicki Minaj has her own range.

But following Leo’s investment, the firm’s finances took a nosedive and it now has just £7,355 listed as “cash at bank and in hand”.

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Newly released accounts for Wild Loci Ltd also show accumulated losses of £2,904,888, while the company owes £931,130 to creditors.

The figures, filed this week, reveal the business is being propped up by investment totalling £5,170,947.

That leaves it with equity of £2,280,760 despite the significant losses.

The company also risks being struck off by Companies House after filing its accounts late for two consecutive years.

It has also been late submitting its annual “confirmation statement”, a legal requirement.

The government website warns: “Not filing your confirmation statements, annual returns or accounts is a criminal offence – and directors or LLP designated members could be personally fined in the criminal courts.”

Currently, the brand is offering dozens of shoes at half price, including the “Origins” trainer, which features a “natural cork and recycled foam insole”.

All of Nicki Minaj’s range is also heavily discounted, including the “Barbie Dangerous” and “Itty Bitty Piggy” sneakers.

At the time of Leonardo DiCaprio’s investment, founder Emmanuel Eribo said: “He’s an absolute star and sees the world the same way we see it. It’s been an absolute blessing having him on the team. You can’t ignore it’s a British brand and he’s betting on it.

“He didn’t need to do this, there’s definitely something in there that is tugging on him.

“If I could say things about Leo, I’d probably use two words: genuine and kind. You can care about the world and still want good things.”

At the time, Leo said he was “proud” to be an investor, adding: “I am proud to be an investor in LØCI, a brand dedicated to minimising its environmental impact, and centred around creating cruelty-free, ethical footwear.”

LØCI have been approached for comment.

Each of us has a shortlist of movies we find ourselves rewatching, movies we will finish even if they’re half-over when we tune in. Even if it’s being streamed with commercials. Even if it’s playing on a 19-inch black-and-white television with no sound in a crowded dive bar.

For the past 20 years, “The Devil Wears Prada” has been one of those films for me and other Americans who entered the workforce just in time to say goodbye to pensions and hello to increases in student loan debt. Generation X had the highest homeownership rate relative to their age, so when the housing bubble popped in 2008, it hit Gen X the hardest. And yet this same group of workers is also shouldering the care of aging parents and adult children. According to Pew Research, more than half of 40-year-olds (“elder millennials”) and more than a third of 50-year-olds fall into this category, doing so with shrinking financial margins because wages have lagged behind the cost of living our entire adult lives.

While the current No. 1 movie at the box office — the biopic chronicling Michael Jackson’s rise from Gary, Ind., in 1966 to headlining stadiums in 1988 — may evoke a sense of nostalgia for Gen X, the sequel to “Devil” (which opens in theaters Friday) feels more like a peer review.

Twenty years ago, when we last saw our protagonist, Andrea Sachs, she had decided to leave her big corporate job because success in that environment required her to be someone she didn’t like or respect. As young professionals, seeing a fictional character like Sachs leave a toxic work environment felt like a satisfying conclusion in 2006. However, over the decades, you learn work/life balance is an oxymoron and characteristics such as integrity and loyalty are often valued but rarely useful on a spreadsheet.

Don’t get me wrong — I love the campy humor, the fashion and soundtrack of the first “Devil.” However, the thing that elevated the Oscar-nominated film to its cultlike status is the same thing that lifted similarly edgy coming-of-age stories such as “The Graduate” in 1967, “American Graffiti” in 1973 and “Fast Times at Ridgemont High” in 1982: truth. Despite the fantasy elements of beautiful and talented people dressed in clothing designed by the upper echelon of the fashion industry, “Devil” has a sequel because what Sachs was experiencing felt real. Many of us have been there — behind on rent, desperately trying to build a career, navigating friends and romance.

The line the character Nigel told an overwhelmed Sachs in the original — “let me know when your whole life goes up in smoke … means it’s time for a promotion” — was more than a humorous quip. It was also foreshadowing for the young professionals in the audience who had not yet learned that being good at your job, or even great, wasn’t enough to keep it.

We know that all too well now. Just this week, the Wall Street Journal reported corporate layoffs in the first quarter of 2026 surpassed 200,000. Of course, it wasn’t always like this.

According to the Economic Policy Institute, in the immediate three decades after World War II, workers saw their hourly compensation in line with the country’s productivity growth. That’s because during the height of the Cold War — when employers offered employees pensions and union participation was at its peak — corporate America was incentivized to offer labor a larger share of the profits as a way to counteract communism. However, when the Soviet Union fell in the early 1990s, so did the motivation from domestic CEOs to share profits with workers. The split between capital and labor began measurably in 1970, and the gap has only increased since.

Twenty years ago — before the 2008 recession, the pandemic and the nearly $1-trillion price tag stemming from the Afghanistan war — it was believable a young professional like Sachs would walk away from a good corporate job for the sake of her integrity. However, given how fraught the current work environment feels, with the shadow of artificial intelligence looming over entry-level positions across multiple disciplines, would we find Sachs’ actions believable today? Or laudable? Or would we demand that she compromise her principles because it’s pragmatic to let go of the idealism of youth? Time has forced many of us to begrudgingly accept that possibility. Our younger selves might not approve, but our older selves know that’s how most people survive long enough in their careers to have a sequel.

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Don’t you ever wish you could explore one of L.A.’s most vibrant boulevards without a car? When the first phase of Metro’s extension to its D Line opens May 8, L.A.’s transit system will add what has long been a missing puzzle piece. A busy, traffic-snarled section of Wilshire Boulevard, home to world-class museums, restaurants and galleries, will at long last be significantly more accessible.

Ride and walk, for instance, to the newly reimagined Los Angeles County Museum of Art, and then stroll to the Original Farmers Market or the acclaimed République. Or take transit to a concert at the El Rey Theatre, then grab a pint at Tom Bergin’s. And do it all without stressing about valet or parking in a part of town where the latter is at a premium.

Though this initial phase of the D Line extension is only three stops, for residents and business owners in the community, it feels monumental.

“I’m so excited for Metro to open and for lots of people to hopefully come and peruse these streets,” says Christina Mullin, owner of Miracle Mile Toys & Gifts. Mullin, who also lives in the neighborhood, has seen the area disrupted by construction for the better part of a decade, and is hopeful the subway stops will bring in an influx of shoppers.

“It’s such a nice, walkable area,” Mullin says. “You can walk all of La Brea and all the way to the Sycamore Kitchen. This will be very good for the city.”

And it seems to be generating much excitement, at least if Metro’s own marketing is any indication. A line of innuendo-filled “Ride the D” shirts went viral and then almost instantaneously sold out. (Those looking for the shirts are likely out of luck, as a Metro spokesperson says the item was intended only as a limited-edition run.)

Here are some highlights of destinations along the new stations, which are located at Wilshire/La Brea, Wilshire/Fairfax, Wilshire/La Cienega and will collectively serve Koreatown, Miracle Mile, Hancock Park, Carthay Circle, the Fairfax District and Beverly Hills. All should be within about a 20- or 25 minute walk.

The second section of the D Line will continue west through Beverly Hills and Century City, and the third will extend to Westwood and UCLA. The full rail line, according to Metro, is expected to be open by the end of 2027.

Hezbollah MP, Hassan Fadlallah said that Hezbollah will eliminate the “yellow line” declared by Israel in southern Lebanon, stressing that “no one will be able to disarm the party.”

In an interview with Agence France-Presse, Fadlallah said: “We will topple this yellow line through resistance, through our insistence on our legitimate right to defend ourselves and our country.”

He added: “The Israeli army’s attempt to establish a buffer zone, under the guise of a front line, a yellow line, and a green line—we will break all these lines. We will not accept any of them, and we will reach our villages on the internationally recognized borders, no matter the sacrifices, no matter the cost.”

“There will be no disarmament of the resistance, and no one in Lebanon or abroad will be able to disarm it”, he added.

He said that “it is in the interest of the President of the Republic to withdraw from the path of direct negotiations with Israel,” adding that Hezbollah wants the ceasefire to continue.

“It is in the interest of Lebanon, the President of the Republic, and the government to withdraw from the path of direct negotiations and return to a national consensus on the best option for Lebanon,” he said, describing the move toward direct negotiations as “a unilateral decision on a fateful matter related to Lebanon’s future.”

He added: “We will reject and confront any attempt to impose political prices on Lebanon through concessions offered to this Israeli enemy.”

Fadlallah added he wants the ceasefire to continue, alongside efforts to ensure the withdrawal of the occupation army, the return of displaced persons to their villages, the release of prisoners, and the launch of a reconstruction program.

Spain’s foreign minister has warned the EU risks losing credibility if it fails to apply the same principles to Israel’s “perpetual war” in the Middle East as it does to Russia’s invasion of Ukraine. He urged a unified stance, citing human rights clauses in the EU–Israel agreement and criticising ongoing violence in Gaza, the West Bank and Lebanon.

The Jamieson Greer has told Mexican industry leaders that tariffs imposed by Donald Trump will remain in place, even as negotiations to revise the United States-Mexico-Canada Agreement intensify ahead of a July review deadline.

The remarks, delivered during meetings in Mexico City, signal a major shift from decades of tariff free trade under USMCA and its predecessor NAFTA.

End of Zero Tariff Era

According to multiple sources, Greer made it clear that the United States does not intend to return to a zero tariff framework.

This marks a fundamental change in North American trade policy, where free trade in autos and parts had been the norm for over 30 years. The introduction of tariffs, including a 25 percent duty on automotive imports, has disrupted deeply integrated supply chains across the region.

Impact on Key Industries

The implications for Mexico are significant:

• More than half of Mexico’s auto and steel exports go to the United States
• Vehicle exports have already declined, with job losses in the auto sector
• Steel and aluminum industries face steep duties, some as high as 50 percent

These pressures have weakened Mexico’s competitive position, especially as the United States has negotiated lower tariffs with other partners.

Shifting Trade Rules

U.S. negotiators are also pushing for stricter rules of origin.

Proposals include requiring 100 percent North American sourcing for key components such as engines and electronics, up from current thresholds of around 75 percent. This would force manufacturers to further regionalize supply chains, potentially increasing costs but aligning with Washington’s goal of boosting domestic production.

Mexico’s Position

The Mexican government, led by Claudia Sheinbaum, is seeking relief from tariffs as part of the USMCA review. Officials aim to secure at least partial reductions, particularly in the auto and steel sectors, before finalizing broader trade revisions.

However, the latest signals from Washington suggest that while some easing may be possible, a full rollback is unlikely.

Why It Matters

This development underscores a broader shift in global trade policy away from pure free trade toward managed trade and economic security.

For Mexico, the stakes are high due to its deep economic integration with the United States. Persistent tariffs could reshape manufacturing patterns, investment decisions, and employment across North America.

What’s Next

Formal negotiations are set to begin in late May, with both sides aiming to resolve key disputes before the July deadline.

Key areas of focus will include:

• Tariff levels on autos and metals
• Rules of origin requirements
• Broader economic security cooperation

The outcome will determine the future structure of North American trade.

Analysis

The U.S. position reflects a strategic recalibration rather than a temporary policy shift. By normalizing tariffs, Washington is prioritizing domestic industry and supply chain control over traditional free trade principles.

For Mexico, this creates a structural challenge. Its export driven model, built on open access to the U.S. market, now faces persistent barriers. While some adjustments may preserve competitiveness, the era of frictionless trade appears to be over.

Ultimately, the negotiations will test whether North America can adapt to a new trade paradigm or whether tensions will deepen within one of the world’s most integrated economic regions.

With information from Reuters.

For the first time, BBC will air the first ever full-length series of the show – six episodes filmed across six weeks – as the celebrities will face a range of weekly business challenges set by the business mogul

The Celebrity Apprentice line-up has been confirmed, with TV presenter Gethin Jones, singer Alexandra Burke and Love Island star Toni Laites all set to face Lord Sugar.

For the first time ever, BBC will air the first ever full-length series of the show – six episodes filmed across six weeks – as the celebrities face a range of weekly business challenges set by the business mogul.

Competing for the chance to win a £100,000 donation to a charity of their choice, they will each be hoping to prove their business acumen and ultimately be crowned The Celebrity Apprentice winner.

There will be another change to this star-studded series – the boardroom will relocate to a London City skyscraper, providing a distinctive new setting for Lord Sugar’s final deliberations.

The full line up includes Alexandra Burke, actor Danny Miller, presenter Gethin Jones, dancer and presenter Jordan Banjo, journalist Kay Burley, actress and online personality Maddie Grace Jepson, presenter, podcaster and content creator Max Balegde, Gladiator Sheli McCoy, UK garage legend DJ Spoony, TV and BBC Radio 2 presenter Richie Anderson, comedian and writer Laura Smyth and television personality Toni Laites.

Lord Sugar said: “We’ve not done anything like this before, and it’ll be entertaining to see these 12 celebrities being put through six weeks of some brilliant business challenges. But just because they’re celebrities, it doesn’t mean they’re going to get an easy ride, especially when there’s £100,000 at stake for their chosen charity.”

Kalpna Patel-Knight, Head of Entertainment Commissioning at the BBC says: “This brand-new full-length series of The Celebrity Apprentice takes everything audiences love about the format and turns the pressure right up. This year’s celebrities arrive with strong reputations – but in the boardroom, status counts for nothing.

“They’ll be tested on leadership, teamwork and commercial instinct, and only those who can truly deliver will make it through. It’s bold, unpredictable and hugely entertaining – and viewers are in for a brilliant ride.”

Broadcast details for The Celebrity Apprentice will be confirmed in due course. The announcement comes after Karishma Vijay was crowned the winner of the BBC business show last week after an all-female final, which saw her battle it out for Lord Sugar’s coveted investment against Pascha Myhill.

Karishma, from Surrey, recounted the moment Lord Sugar told her she had won and would be receiving his £250,000 investment, and said: “I was so blown away, so shocked – but I kept it very cool. Then, I got in my car and I was screaming. It was just insane – I can’t believe I’ve gone and done it after not having watched the show, I feel like that’s so cheeky.”

Explaining his decision on the hit BBC show, Lord Sugar said: “As always, it was close competition in the final after two outstanding pitches by two brilliant young businesswomen. But Karishma really impressed me throughout the process and has proven why she deserves my investment. She’s a proper grafter and she’s got that entrepreneurial spirit that I always look for. The cosmetics industry is one I know a lot about, and I know our partnership will pave the way for a bright future.”

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Since I started DJing nearly a decade ago, it’s been a dream of mine to DJ at a music festival, a place where music lovers of all walks of life converge. So when I got the opportunity to spin at Coachella, the country’s festival of all festivals, I was over the moon.

This was my second time playing at Coachella with Party in My Living Room, a house party concert series founded by Inglewood native Yannick “Thurz” Koffi in 2015. The activation, designed to look like an actual living room with couches and artwork, was a collaboration with GV Black, a group promoting “Black, Indigenous, and People of Color (BIPOC) to be seen at the festival.” For the last four years, Koffi has been inviting DJs and musicians (Ty Dolla Sign, P-Lo, Kamaiyah and Isaiah Rashad, to name a few) to perform at the pop-up, which has quickly become a popular side quest for festivalgoers. So when Koffi asked me to be a part of the stacked lineup during Weekend 1, I was honored.

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After preparing my set for weeks, the moment had finally come for me to spin on Sunday afternoon. I soaked up the entire weekend experience — from the celebrity-packed artist compound to the exclusive pop-ups (Redbull Mirage and the Soho House hideout) and the free dining. Here’s a peak behind the curtain from an artist’s perspective and what I learned about DJing at the festival.

Kailyn Hype played house, hip-hop, jersey club, baile funk and other genres during her high-energy DJ set at Coachella.

(Kayla Bartkowski / Los Angeles Times)

1. Spinning at a daytime desert festival is much different than at a bar

I was in charge of kicking off the activation on the final day of Coachella Weekend 1, which is an underrated job because it means that you get to set the tone for the day.

If I were spinning at a bar, club or flea market, I’d likely ease into my set with more chill songs before getting into bangers. But this was a festival and the crowd was ready to party, so I didn’t waste any of my 45-minute set. (My set was initially scheduled for one hour, but it was cut due to a sound check delay.) However, I left the big hip-hop tracks for the other DJs to play, which is a common DJ courtesy.

With songs like “Tonight” by Pink Pantheress, “Am I Wrong” by Anderson.Paak, “Brighter Days” by Cajmere, “Nissan Altima” by Doechii and several high-energy remixes that I found on Bandcamp, my set was everything I’d hoped for: fun, joyful and liberating. The crowd and I jumped up and down, threw up our hands, sang and danced together. And even if they didn’t know the words to a particular track, they were still open to all of it, which is one of the best feelings you can get as a DJ.

2. The artist wristband was my golden ticket — to a glorious buffet

With so many delicious food vendors like Villa’s Tacos, Prince Street Pizza, Happy Ice and El Moro, I knew that I was going to be eating good at Coachella. What I didn’t expect is for there to be free catering for folks with artist wristbands, like myself. After making my way through the artist compound, past the golf carts that transported performers and celebrities (I spotted Teyana Taylor and Damson Idris) and along a plant-filled pathway, I made it to the elaborate dining area. Inside the room, which was draped with colorful curtains with guitars attached to them, I felt like a kid at a buffet. There were poke bowls, a sandwich station, pizza, steak, ice cream sundae and even a “wrap station,” so you could take your food to go.

“Since I started DJing nearly a decade ago, it’s been a dream of mine to DJ at a music festival,” says Kailyn Brown.

(Kayla Bartkowski / Los Angeles Times)

3. But even if you have an artist wristband, long lines are inescapable

At any major event, be it a music festival or sports game, lines are to be expected. But I’d be lying if I didn’t admit that I expected the bathroom lines in the artist compound — an exclusive backstage area for artists and their crews — to be shorter. I quickly realized that the lines were unavoidable and if I really needed to go, it was usually faster to go to the porta-potties in the general admission or VIP areas.

4. I found respite at exclusive lounges

After running around the festival for hours, it was nice to be able to take a break from the heat in stylish, exclusive areas like the Red Bull Mirage and Soho House’s hideout.

Red Bull invited me to check out their three-story social hub and hospitality destination at Coachella, which included a Nobu omakase dinner on the top floor. Overlooking the Quasar stage, it offered the perfect spot to sip on the energy drink company’s signature cocktails (the Paloma was my favorite) and watch energetic DJ sets from artists like David Guetta, Fatboy Slim and Pawsa. It’s also where “Love Island USA” Season 7 favorite Olandria was serving Red bull mocktails — and looks — from behind the bar.

While Red Bull Mirage provided day club vibes, the energy at the Soho House hideout was a bit more laid-back. Located inside a luxurious air-conditioned tent near the main Coachella stage, invited guests and Soho House members with VIP passes could order from the bespoke bar, grab a bite (e.g., burgers, fries and maki rolls) and enjoy music from a live DJ.

Founded by Inglewood native Yannick “Thurz” Koffi in 2015, Party in My Living Room is a house party concert series.

(Kayla Bartkowski / Los Angeles Times)

With an artist pass in tow, Kailyn Brown explored the artist lounge, dining hall and other exclusive areas at the music festival.

(Kayla Bartkowski / Los Angeles Times)

5. Music festivals can be a lot, but there’s a reason we keep coming back

After I was finished with my set, several people came up to thank me including one man, a Mexico-based artist named Memo Wright, who drew a live sketch of me spinning, which made my day. Even some of my Times colleagues took a break from reporting to stop by and say hello.

As I drove back home from the desert the following morning, I reflected on why I love music festivals so much and have been attending them since I was 16. Though events like Coachella get a bad rap for being expensive, crowded and uncomfortable (yes, it’s hot and dusty), this experience reminded me why people keep coming back — for the love of music and being able to commune with others who are just as obsessed with it as you are.