Chunky platform sandals, fitted baby tees, butterfly clips on perfectly crimped hair, brightly patterned skirts and tons of sparkles. Pure Y2K-fueled nostalgia filled the Kia Forum on Wednesday night in celebration of all things Hilary Duff.
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Duff graced the stage at the Inglewood venue as part of her Lucky Me tour, her first global headlining tour in nearly two decades. And her fans couldn’t have been more thrilled. The pop singer and actor, who released her sixth studio album “Luck… or Something” in February, performed two back-to-back sold-out shows.
Before the final L.A. show, we caught up with fans to talk about their outfits (many of which were inspired by Duff’s most famous roles such as Sam in “A Cinderella Story” and the title role in “The Lizzie McGuire Movie”), the memories her music brings up for them and why her work still resonates with them. Here’s what they had to say.
(Kayla Bartkowski/Los Angeles Times)
Tell us about your outfit.
This is my wedding dress that I had stuffed in a suitcase. She’s been in a suitcase for 10 years, and I still fit into her, which is nice. People ask me why I keep stuff and this is exactly why: You might get divorced and use it as a costume. My outfit is inspired by “A Cinderella Story.” It’s my favorite Hilary Duff movie. She plays diner girl Cinderella. She disguises herself with a mask and a L.A. Dodgers cap. I did have a tiara, but I didn’t bring it because I didn’t want to be too much. So I figured, you know what, why not buy an apron and a little black crop top, and rep L.A.
I have a tattoo of her signature. It’s a little faded because it’s like 10 years old, maybe older than that now. It was at a book signing at Barnes and Noble at like the Grove or something. I asked her if she would initial my wrist, and I got it tattooed the same night. I literally drove to the tattoo shop on Hollywood Boulevard with my arm out the window because I’m so clumsy and I didn’t want to smudge it. Then the next time I saw her, she asked me, what did your parents say? I said, “My mom asked me how long I kept the Sharpie on so long.”
How long have you been a fan?
I think I was like 8 or 9 years old when I saw “Casper Meets Wendy” for the first time. My grandma took me to like a K-Mart or something, and told me that I could get any movie that I wanted. Then I was into “Lizzie McGuire,” but as soon as Hilary started doing all her like movies and independent work, obviously the music is great. I used to live in L.A., so I went to a bunch of her book signings. I’ve done a lot of meet and greets for her concerts, and right now I’m traveling around. I’m going to 18, technically 19 shows now, and I’m gonna see her in New Zealand, Australia and some other places. I’m actually really excited because one of my friends, I met her in a Hilary Duff fan club chat room in 2005 on MSN Messenger, and we are still friends, so we are going to a ton of shows together.
Why does her work still resonate with you today?
The fact that we’re around the same age, there’s been a lot of relationship similarities. I don’t have any kids, but the struggles with family, with your dad, with your siblings. She’s got some songs that are more mature and relatable for people our age. People who have gone through ups and downs in relationships, struggles with family and figuring out who your real family is, not just by blood but who your chosen family is. I think that’s really important.
(Kayla Bartkowski / Los Angeles Times)
Tell us about your outfit and the inspiration behind it?
It’s my quinceañera dress. It’s supposedly very traditional to wear a white dress, like young women coming of age. For mine, I wanted to wear something that I didn’t see a lot of people wearing and I was very firm that if I didn’t find the love of my life, I was going to wear a white dress and this was my moment. My quinceañera was such a precious time. It really was a labor of love, and I think it’s one those memories I hold very near and dear. I think it’s an ode to her history, her legacy.
How long have you been a fan?
I remember I was 5 and I was running around in my neighborhood, playing with Barbies and watching “Lizzie McGuire.” I’m here today with my neighborhood and childhood friends. We used to watch it together and now we’re reliving our nostalgia and childhood.
Thinking back on when you first fell in love with her work, why does it still resonate with you today?
There’s a lot of power in her being a woman and she’s going through so many milestones that a lot of people my age are going through like having children and growing her career. Sometimes I think people “wash out” and I think it’s wonderful how she’s combating that narrative in so many ways, and that people are out here supporting her. I think there’s a lot of beauty in being able to be together as young women and relive some of these memories, but also cheer her on as she continues developing further.
(Kayla Bartkowski / Los Angeles Times)
Tell us about your outfit.
Sanchez: We’re channeling “The Lizzie McGuire Movie.” My actual name is Isabella. She gives more Lizzie vibes and I give more Isabella vibes. It’s funny because I’ve literally saved [looks] of Isabella and Lizzie on my Pinterest board and I’ve always wanted to dress up like this. It’s not 100% of what I wanted, but it’s giving what it’s supposed to.
How long have you been a fan?
Chesher: Since I was little. I remember watching “Lizzie McGuire” since the age of 10 at the very least so I’ve been growing up with her movies and shows. She’s definitely my idol.
Sanchez: Same. Growing up, I was bullied so she was a very big part of me being more positive about myself. I can relate to her and she really helped me. It just feels full circle to be able to see her at 33 when I wanted to see her when I was like 10.
Thinking back on when you first fell in love with her work, why does it still resonate with you today?
Chesher: She has a heavy influence in the LGBT community as well especially with the [anti-gay speech campaign]. I loved that. With her movies and her music, it’s all relatable and it resonates with you, the lyrics, the storyline and even her new album that just came out.
Sanchez: She’s just that girl. I’ve never even met her, but I feel like she’s so genuine and real and she’s always stayed consistent with who she is. She’s not like your typical celebrity. She’s just awesome. I’m literally probably going to tear up seeing her on stage.
(Kayla Bartkowski / Los Angeles Times)
Tell us about your outfit.
This is a last-minute choice. It’s very like ’70s or retro. I feel like I’ve seen her wear something like this. I’m wearing wide-legged pants, Doc Martens, platform, new haircut, facial. The inspiration for this fit was elegant pop star like confidence, grounded, a baddie. I’m a baddie who knows my worth and that’s what I wanted to embrace. I feel like she’s like doing that. She has a lyric that’s like ‘I look in the mirror, like I’m a bad b—.”
How long have you been a fan?
Since third grade. I thought she was my crush, but I think I just wanted to be her. So many of my core childhood memories are with her.
Why was tonight a non-negotiable for you?
I wanted to experience with my bestie and her sister. I feel like as a kid I didn’t allow myself to fully embrace it because it would be too girly, too much, too gay. So I feel like as a 33-year-old, I’m reclaiming that experience. I’m so excited just to hear everybody in the Forum sing “So Yesterday” and “Come Clean.” She has always been my number one pop star, to this day, and I’ve never seen her perform.
Why does her work still resonate with you today?
I feel like, especially when she was on “Lizzie McGuire,” she was figuring out who she was, but was open to being her authentic self. So I think that just like hit me when I was like in third and fourth grade, like figuring out myself. I felt so seen by her, and her music just brings back like such good feelings. Younger version of me, life wasn’t always great, but, I don’t know, she made things better.
(Kayla Bartkowski/Los Angeles Times)
Tell us about your outfit.
Cruz: We went thrifting for the first time for this. I’m plus-size, so thrifting is not easy in my size, so we did what we could. We got some overalls from Goodwill. And then we got some cowboy boots because we just wanted to be comfy.
Velasco: I probably stressed the most. I ordered so many pieces and it just kind of came together. I think the nails took the longest. One of my friends did my nails. It took some time but we got it done.
How long have you been a fan?
Velasco: Probably since I was their age. I never got to go to a concert, so this is my first time seeing her live.
Cruz: I definitely got inspired around middle school. I had a friend who was like Lizzie, and I was the best friend, Miranda. People would always say I was Miranda. I was a little older than [my girls], but I definitely have kept tabs on her life, and we love her.
Why does her work still resonate with you today?
Cruz: It definitely feels like memories and home when you think of her music from back then. And now she’s obviously stepped into a different phase of her life, and it matches where we’re at in our phase too so it’s nice.
Velasco: It just brings back the nostalgia from back when we were younger and now being parents, and being able to relate to her and her new music.
(Kayla Bartkowski/Los Angeles Times)
Tell us about your outfits.
Beard: I was supposed to be wearing purple and she was going to wear green, and we were going to do the Isabella and Lizzie look at the end of “The Lizzie McGuire Movie.” It turned out more pink, but we ran with it.
Nelson: I was all about that performance, so I was like green. Gotta go green. We’ve been planning for a while, like two months.
How long have you been a fan?
Beard: I’ve been a fan for a long, long time, probably since “Casper Meets Wendy.” I was also a really big “Lizzie McGuire” fan, so I got into her acting as well as her music.
Nelson: Same. I was all about the Cinderella movie though, so it’s probably been 10 years for me.
Why does her work still resonate with you today?
Beard: I was telling my sister that I really liked “Lizzie McGuire” because it was one of the first times I saw somebody’s inner dialogue acted out in cartoon form. It showed me that I’m not too much. She’s a little bit older than me and I see her crying on stage and I’m like “OK, it’s OK.”
Nelson: “The Lizzie McGuire Movie” was a big turning point for me. I just loved how she expressed herself with what she wore and how she acted. I feel like I understood her in different ways. I enjoyed the dancing and the singing for sure. She felt free and I’m like, “Dang, I want that.”
(Kayla Bartkowski/Los Angeles Times)
Tell us about your outfits.
Lopez: Just a ’90s vibe. I guess a little old-school.
Lockwood: The outfits are a little last-minute because we were like we should’ve done diner girl [from “A Cinderella Story”] or one of her other movies, but we chose the little cartoon character from the show.
How long have you been a fan?
Lopez: I’ve been a fan since “Lizzie McGuire” and her movies.
Lockwood: For the past 20 something years. We grew up watching “Lizzie McGuire” and got introduced to Hilary Duff when she started singing.
Why was tonight a non-negotiable for you?
Lopez: We don’t know if she’s going to come back after this, so you’ve gotta take every opportunity. There’s other artists who cannot come back to perform right now. So when she said I’m coming back, we had to.
Lockwood: We’re healing our inner child. As a kid, we didn’t know she was having tours or we couldn’t afford to come out. Now, we’re like we don’t have to ask our mom and dad for anything.
Why does her work still resonate with you today?
Lockwood: For me, it’s being a teenager, watching the “Lizzie McGuire” show and watching the movie and then learning her songs. My favorite song is from the movie, “What Dreams Are Made Of.” It’s just us getting to live back in the past and kind of understanding it a little bit more. As a kid, our dreams are not what they realistically are today. I ended up becoming a nurse. As a kid, I didn’t sit on the couch like “Oh, I’m going to be a nurse,” but that’s what my dream ended up being.
(Kayla Bartkowski/Los Angeles Times)
Tell us about your outfit.
If you ask my fiancé, I was hunting for outfits and last-minute I was like, “I’m just gonna order something on Amazon.” When I saw this, I was like, “That’s it.” Total nostalgia with “13 Going on 30.” We went shoe shopping at the South Coast Plaza over the weekend. The metallic is pulling it all together and the butterfly clips.
How long have you been a fan?
Probably since I was like 8 or younger, pretty much very much obsessed. All of my holiday gifts were Hilary Duff. I had her K-Mart home products. Any magazines she was in, I got. Any outfits that I could try and replicate, I would. My first Hilary show was either Wango Tango or a Jingle Ball with KIIS-FM, so it was just a festival with a bunch of different artists but I went specifically for her.
Why does her work still resonate with you today?
I think a lot of us feel like we grew up with Hilary, so all of her music resonated with us then, and now, now that we’re older, through relationships or divorces or motherhood. It’s pretty cool to see just how we’re all kind of growing up together. The first time I think I found out about her was at the Glendale Galleria. I was recently telling my fiancé that my dad had me on his shoulders because she did a meet and greet and the entire mall was packed.
(Kayla Bartkowski/Los Angeles Times)
Tell us about your outfit.
Wagner: I’m channeling Lizzie McGuire. My favorite part is the butterfly clips.
Walsh: This is from Company D, which is a discount store for Disneyland. I was like let me get the biggest shirt and make it into a dress, but I’m wearing shorts — it’s still appropriate. I have like six authentic Disney pins here. This is about $200 on my hat. I was like I have to do something that represents. It’s a big hobby, pin trading, that I picked up in 2023. Then I wore my Lisa Franks. I figured I would channel everything from the ’90s and 2000s.
How long have you been a fan?
Wagner: Whenever the “Lizzie McGuire” show came out.
Walsh: I remember going to sleepovers with all of my friends and we would do Lizzie nights. I was on a soccer team and on Saturday nights, we’d go watch the newest episode. It was just so fun because I feel like I had a little clan that loved Lizzie. We went to her concert at the Grove together and it was back when you paid $50 to get in. We were front row and we like smelled her. It was wonderful.
Why does her work still resonate with you today?
Wagner: For me, especially her new album, she talks about marriage, relationships, motherhood, so it’s still relatable in that sense of that stage of life that we’re in.
Walsh: For me, it’s just nostalgia, because I’m not married, I have no kids, like I’m that fun aunt. And I will say, like, because she goes to Disneyland a lot, so I luckily got to meet her too. I asked her for a picture, and she’s like “Yeah, of course, honey.” It’s the most embarrassing photo of me ever though.
Wagner: I told her she should get it printed and wear it to the concert.
Walsh: I should have.
South Korean chipmaker SK hynix, known for its high-bandwidth memory chips, is preparing to raise roughly $28 billion (€24.5bn) on Wall Street, a sum surpassed only by SpaceX’s record flotation last month.
It is an extraordinary outcome for a firm that once survived on job cuts and asset sales.
Pricing is due on Thursday, with trading expected to begin on Friday under the ticker SKHY.
SK hynix is issuing 17.79 million new shares in the form of American depositary receipts (ADRs), each representing a tenth of a Seoul-listed share, and cornerstone investors including Baillie Gifford and funds run by Coatue Management have signalled interest in up to $7 billion (€6.1bn) worth of stock.
The target was trimmed from an initial $29.6 billion (€25.9bn) after the shares slipped in recent weeks.
ADRs are certificates traded on a US exchange that stand in for shares held abroad, letting American investors buy into a foreign company without dealing in a foreign currency or market.
Unlike a conventional flotation, this is not SK hynix’s stock market debut. Its primary listing remains on Seoul’s Kospi index, and the Nasdaq offering simply opens a second, dollar-denominated avenue for investors to gain exposure.
The listing arrives with the company already worth more than $1 trillion (€876bn), a threshold also crossed by rivals Samsung Electronics and Micron, after a surge of more than 200% this year.
Proceeds will fund new fabrication plants, chiefly a vast cluster in Yongin, plus its first US packaging facility in Indiana.
The move is partly about valuation. Korean-listed chipmakers have long traded at a discount to American peers, and a Nasdaq listing offers a chance to close that gap.
The AI build-out has transformed the industry’s economics.
As hyperscalers pour hundreds of billions into data centres, memory prices have exploded, with DRAM up 44% and NAND flash up 53% in a single quarter, according to Citi Research, and manufacturers have already sold most of their 2026 production.
SK hynix reported first-quarter revenue above 50 trillion won (€29bn) and operating margins north of 70%, figures unheard of for a chipmaker, and commands about 60% of the high-bandwidth memory (HBM) market, according to Counterpoint Research.
Yet the timing is delicate.
Memory has always been a brutally cyclical business. The AI-driven rally that transformed SK hynix has begun to wobble as chip stocks sold off sharply across Asia last week, and Samsung lost more than $100 billion (€87.5bn) in market value despite posting a record profit.
Investors are increasingly asking whether the vast sums being spent on AI infrastructure will earn a return, a question that the Bank for International Settlements raised in late June when it warned that the boom could seed the next financial crash.
Those concerns are not new for SK hynix.
SK hynix traces its roots to Gukdo Construction, founded in 1949, which moved into electronics in 1983 as Hyundai Electronics, an arm of the Hyundai empire.
The Asian financial crisis of the late 1990s brought disaster. Under an IMF-backed restructuring of the Korean economy, Hyundai absorbed rival LG’s semiconductor business, creating a giant that promptly buckled under its own debts.
Salvation came in stages.
Renamed Hynix Semiconductor in 2001, a contraction of “high” and “electronics”, the firm cut jobs, shed assets and split from Hyundai. Profits returned, but the violent swings of the DRAM market left it perpetually exposed.
Starved of capital, it was rescued in 2012 by the telecoms conglomerate SK Group, becoming SK hynix. The takeover proved decisive. SK Group poured money into high-bandwidth memory, then a costly and unprofitable technology that few believed in.
Today it has become the scarcest commodity in AI computing. And the firm employs nearly 46,900 people.
Additional sources • AFP
Continuing my summer observations looking back at memorable moments in covering high school sports since 1976, you can’t find a better, more beloved action-packed night than Feb. 24, 2017, at USC’s Galen Center when you got to see two great high school basketball games for the price of one in the Southern Section Open Division semifinals.
Anyone who was there remembers the long lines to get in, the sold-out crowd and drama involving Sierra Canyon against Bishop Montgomery and Mater Dei against Chino Hills.
Enjoy the memories from the video looking back.
About six months after Toni Morrison died in the summer of 2019, Literary Cleveland began hosting annual community tribute parties on the Nobel Prize-winning author’s birthday, Feb. 18. Lorain, Ohio — a suburb of Cleveland — is where Morrison was born and raised, and where she set several of her novels. During these gatherings, participants were prompted to read aloud from their favorite Morrison works, and share why they savored those particular lines.
Over time, these meetings began to feel increasingly intimate, even “sacred,” according to Literary Cleveland’s Executive Director Matt Weinkam, which prompted him, in tandem with Ohio Humanities head Rebecca Asmo, to brainstorm how to take their program state-wide. “This is Toni Morrison, one of our greatest writers,” Weinkam recalls thinking. “We needed to do something bigger.”
At the time, Weinkam and Osmo were also trying to figure out how to commemorate America’s semiquincentennial. Weinkam was listening to Morrison’s entire oeuvre on audio and realized that when you organize the 11 novels in a certain order, “they tell the history of America.” So how, he thought, “could you use the literature of Toni Morrison to view our country through a different lens — through her lens?” He says they knew honoring Morrison as a consequential figure not just in literature but also in the context of American history would be central to Ohio’s celebration of the semiquincentennial.
“[But] only as the project was coming together did we strike on the fact that her novels trace American history from ‘A Mercy,’ set in 1690, through ‘God Help the Child,’ in the 2010s. Not only does her work re-center African Americans in the story of our country, it also tackles major events from our founding, through slavery, to the impact of Jim Crow, to the great migration and beyond.”
In the months leading up to the 250th anniversary, they decided to bring the Morrison salons they were curating in Cleveland to all 88 Ohio counties. For assistance they connected with Britt Lovett, a strategist, community leader and fellow Morrison acolyte.
“People say that reading Toni Morrison is challenging,” says Lovett. “[But] reading Toni Morrison is like my grandmother speaking to me.”
In February, on what would have been Morrison’s 95th birthday, they officially launched “Beloved: Ohio Celebrates Toni Morrison,” a yearlong homage including readings, workshops, lectures and a monthly book club that meets on Sunday evenings. They intentionally programmed the book club so that it would take readers through our U.S. history utilizing Morrison’s vision: Weinkam proposed reading Morrison’s novels in the order in which they are set rather than the order in which they were published. “That simple shift,” says Lovett, “changed everything.”
They began with “A Mercy,” one of Morrison’s later novels, published in 2008 — which is set in the late 17th century, before slavery took hold and the country became “racialized.” Next came “Beloved,” then “Sula” and “Jazz.” “Experiencing the novels this way reveals how Morrison traced generations of Black American life across centuries of our nation’s history,” Lovett says. “What may appear to be individual stories become part of a larger narrative about memory, freedom, family, belonging and the ongoing project of America itself.”
For Morrison, writing fiction was a form of “literary archaeology,” excavating history, and how the past hovers over the present. Her quest was what she termed “rememory.”
Eddie S. Glaude Jr. is a Princeton professor and author of “America, U.S.A.: How Race Shadows the Nation’s Anniversaries” who has studied Morrison. “She understood the ongoing national effort to disremember — this startling combination of dismembering and remembering — to protect the innocence of America,” Glaude says. “Instead, her novels relentlessly expose the horror and the magisterial efforts on the part of ordinary people to overcome them. In doing so, she takes us to the beating heart of this fragile experiment — something we desperately need to remember in this 250th year of the country.”
In 1973, as an editor at Random House, Morrison published and collaborated with collectors in compiling “The Black Book,” a seminal volume that tells the story of the African American experience in America in the form of an encyclopedic scrapbook that spans from 1619 through the 1940s. There is no narrator, and this is intentional. The visuals — newspaper clippings, slave auction notices, patent applications by Black inventors, photographs, sheet music, relate their own powerful story “Black life as lived” — great joy juxtaposed with the tragedy and legacy of slavery. From her work on that groundbreaking assemblage emerged the idea for “Beloved,” which won the 1988 Pulitzer Prize for fiction.
For the record:
2:12 p.m. July 2, 2026An earlier version of this article misattributed Toni Morrison quotes about writing to “think the unthinkable” and be “relentlessly black” with no deference to the “white gaze” to Namwali Serpell.
Nearly seven years after Morrison’s death at 88, we are living in a golden age of Morrisonia. Three extraordinary new books, published this year, shed light on the brilliance and complexity of Morrison’s life and work, and place her as an American eminence, a visionary who saw fiction as a means through which to recast her country’s story. “On Morrison” by Namwali Serpell; “Toni at Random: The Iconic Writer’s Legendary Editorship” by Dana Williams; and a posthumously published collection of Morrison essays entitled “Language as Liberation: Reflections on the American Canon.” Serpell writes that “Morrison has shaped the way we think about everything.” Morrison herself said that she wrote to “think the unthinkable,” to write novels that were “relentlessly black,” giving no deference to the “white gaze.” Her refusal to sugarcoat the interior and exterior lives of her characters, whether enslaved or traumatized by the past — by events in American history — was purposeful.
“You’re confronted with horrific acts of violence,” Serpell says. “Not to present it in spectacular fashion, nor to feed any kind of voyeuristic or prurient interest on the part of the audience, but to use quiet language — beautiful language — in order to actually get us to step back and think about why this violence is happening and where it’s coming from.”
In that way, Morrison’s work was always a radical experiment — and is perhaps why, according to the American Library Assn., “The Bluest Eye” her 1970 debut — continues to be one of the most frequently “challenged” books in the U.S. “Beloved” runs a close second. But this also is among the reasons her books are considered must-reads in the classroom, and contemporary classics.
John Freeman is an executive editor at Knopf who oversees Morrison’s publishing program. “Her books persist today because they beckon us doubly: they invite us to look clearly at what America is, to come to grips with the fantasies and shadows developed to avoid this awful knowledge,” Freeman says. “They also tell us one phenomenal love story after another.”
Through her book club, cultural icon Oprah Winfrey introduced millions of readers to Morrison by featuring four of the author’s novels. “From ‘The Bluest Eye’ through ‘Beloved,’ ‘Jazz,’ ‘Home,’ ‘A Mercy’ and ‘Love,’ Morrison’s words have helped me become more of myself,” Winfrey says. “She understands the lives of Black women like no one else I’ve ever read. Reading her, I’ve often felt seen in places I didn’t know how to name.”
(HarperCollins; Penguin Random House)
In Morrison’s essays, lectures and other public comments — including as a professor at Princeton for nearly two decades — she occupied the role of public intellectual, always teaching us how to view America’s evolution as a country, and how it became “racialized.”
In a Granta interview conducted late in her life, she challenged the interviewer to consider that the concept of “whiteness” is peculiarly American: “Think about it, “ she prompted. “If you come to this country from Germany or Russia, or anywhere you got off the boat, got on the land, in order to become an American, you have to be white. That’s the quality that brings the country, its people together — having a non-white population. My concept is that if you were from Sweden, you were Swedish. You didn’t have to say, ‘I’m a white Swede.’ You know what I’m saying?”
As we prepare to celebrate America’s 250th, it’s useful to reflect on how Morrison viewed the intersection of fiction, history and memory, how the mission of her fiction was to uncover truths omitted by the standard historical records and history’s “sages.” In her 1987 essay, “The Site of Memory,” she utilized a river as a metaphor to discuss how imagination excavates forgotten histories and people. “All water,” she wrote, “has a perfect memory and is forever trying to get back to where it was. Writers are like that: remembering where we were.”
Haber is a writer, editor and publishing strategist, and co-founder of the Ink Book Club on Substack. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.
“Lethal Weapon” star Danny Glover has revealed he has been living with Alzheimer’s disease for years.
In an interview with NBC’s Lester Holt that aired on the “Today” show on Wednesday, the 79-year-old actor and activist opened up about living with the disease. According to People, he received his diagnosis in 2023, which was not long after he was awarded an honorary Oscar in 2022.
“I could live with it, in a sense,” Glover says of his condition, which has been affecting his movement, speech and memory. “I’m sure as it advances, things are going to be different and changing.”
A neurodegenerative disease, Alzheimer’s is a type of dementia that affects memory, thinking and behavior and worsens over time, according to the Alzheimer’s Assn. Holt reports that more than 7 million Americans over 65 are living with Alzheimer’s, with Black men suffering at a rate double the national average.
Glover and his family say the Hollywood icon is sharing his story now to “have ownership of his life” and to help remove the stigma around the disease.
“They’ve got my back,” Glover says of his family’s support.
Besides his portrayal of L.A. police Det. Roger Murtaugh in the “Lethal Weapon” film series, Glover is known for roles in movies including “Places in the Heart” (1984), “The Color Purple” (1985), “To Sleep With Anger” (1990), “Angels in the Outfield” (1994), “Dreamgirls” (2006) and “The Last Black Man in San Francisco” (2019). He’s also been a vocal advocate for social justice and humanitarian causes both in the U.S. and abroad.
He was the recipient of the Academy of Motion Picture Arts and Sciences’ Jean Hersholt Humanitarian Award in 2022.
“I don’t feel like it’s the end of my life,” he said in his interview with People about living with Alzheimer’s. “There’s work to do.”
Published on
Micron, one of only a handful of companies able to make advanced memory chips at scale, said on Wednesday that revenue in the third quarter reached $41.4 billion (€36.5bn), more than four times the $9.3 billion (€8.2bn) it recorded in the same period last year.
The figure also comfortably beat the roughly $35.7 billion (€31.4bn) analysts had forecast, while profit climbed even more dramatically.
The Idaho-based group posted net income of $28.24 billion (€24.9bn), or $24.67 per share, against less than $2 billion (€1.7bn) a year ago. Adjusted earnings of $25.11 a share sailed past the $20.49 expected.
The market reaction to the impressive results was immediate.
Micron shares rose more than 15% in after-hours trading to around $1,213, leaving the company valued at roughly $1.16 trillion (€1tn).
The stock has now climbed about 700% over the past year, one of the most dramatic re-ratings of any large company through the AI boom, reflecting a fundamental shift in the economics of the AI build-out.
The vast data centres being constructed by hyperscalers such as Amazon, Microsoft, Google and Meta, which have collectively earmarked hundreds of billions of dollars in capital spending this year, depend on enormous quantities of high-bandwidth memory, a specialised chip that sits alongside the processors made by Nvidia and others.
Micron has said its entire 2026 output of these chips is already sold out under fixed-price contracts.
According to CEO Sanjay Mehrotra, the results reflect what he called the strategic value of memory in the AI era.
The company pointed to a series of multi-year customer agreements that it expects to make earnings more durable and predictable, a notable claim in an industry long defined by brutal boom-and-bust cycles.
What has startled analysts most is Micron’s profitability.
The company reported a gross margin of around 85% for the quarter, a level that now rivals or exceeds those of far larger technology names such as Nvidia and Meta, an extraordinary position for a memory maker historically squeezed by volatile chip prices.
The tightness of supply, with new factories not expected to add meaningful output until 2028, has handed producers exceptional pricing power.
Micron’s guidance was more striking still.
The company expects revenue of around $50 billion (€44bn) in the current quarter and adjusted earnings of roughly $31 a share, implying the boom is accelerating rather than fading. It is ramping up investment to match, lifting planned capital spending to about $27 billion (€23.7bn) this fiscal year and signalling a further jump in 2027, management told analysts during the earnings call.
The results offer reassurance to investors betting that AI infrastructure spending remains robust, with Micron’s order book serving as a real-time gauge of that demand.
The open question, as ever in the memory industry, is how long the upswing can last before supply catches up. Even the most bullish observers acknowledge that risk has not completely disappeared.
Samples of SK hynix’s 12-stack HBM4E memory chips. The chipmaker has delivered samples of the next-generation high-bandwidth memory products to its major customers. Photo by SK hynix
June 18 (UPI) — South Korea’s SK hynix said Thursday that the company has shipped samples of its next-generation high-bandwidth memory chips, or HBM4E, to major customers.
SK hynix provided samples of the 12-stack HBM4E, which it says shows improvements in both performance and power efficiency, on schedule, according to the tech giant.
The firm noted that the new product delivers a data-processing speed of up to 16Gbps per pin while enhancing power efficiency by more than 20% compared with previous-generation models.
The corporation stated that the HBM4E features an upgraded interface and optimized architecture, which reduce data-transfer latency while ensuring reliable performance in high-bandwidth environments.
SK hynix expected the improvements to enable clients to process data more efficiently in AI data centers and large-scale computing systems.
Amid the AI boom, high-bandwidth memory, or HBM, has emerged as one of the most sought-after semiconductor products. SK hynix and its local rival, Samsung Electronics, are global leaders in the HBM supply chain.
“SK hynix has laid the foundation to strengthen its AI leadership with HBM4E based on its market-leading technological capabilities and manufacturing expertise,” SK hynix Chief Development Officer Ahn Hyun said in a statement.
“Through close collaboration with our partners, we will deliver the value needed in the market while reinforcing our technology leadership as a full-stack AI memory creator,” he added.
Mindy Kaling was in her early 30s when the first TV series she created, “The Mindy Project,” made its debut and set in motion her attempt at forging an identity as a prolific multi-hyphenate after “The Office,” where she was a writer and cast member for eight seasons. But if you ask her to reflect on that time of her life, she says, it’s a bit of a blur.
As she explained recently, “I remember it, but not all that distinctly. It was such a grind — waking up at 6 a.m. to be on camera, wrapping late. And I did that for 117 episodes.”
But ask her about her 20s, when she was living in New York City and trying to figure out how she could break into the industry as a comedy writer? “I remember incredibly vividly,” she says. “I’m like, did I feel things more intensely back then? I’m not sure. But that period of time … there was just so many highs and lows. And it felt cinematic to me.”
So she made a TV show about it.
Premiering Tuesday with three episodes, “Not Suitable for Work” follows five ambitious 20-somethings living in Manhattan who are navigating the early stages of their careers while trying to have a semblance of a life and the heightened emotions they experience during this period. Kaling calls it the third chapter in her semi-autobiographical TV trilogy, which includes “Never Have I Ever,” about a first-generation Indian American teenager coping with her father’s death while trying to be popular (or at least not super uncool), and “The Sex Lives of College Girls,” about four young women who dorm together and boldly maneuver their new, uninhibited lives on campus.
In the new Hulu series, viewers are introduced to AJ Pascarelli (Ella Hunt), a hard-working and disciplined young woman who moves to town to start a high-pressure finance job, and her roommate Abhinaya “Abby” Chilukuri (Avantika), a savvy and fashion-obsessed assistant to a celebrity stylist. They live across the hall from Josh Teitelbaum (Jack Martin), an idealistic nepo baby of a media titan — he’ll lean into his privilege when it suits him while also trying to distance himself from it — with ambitions of making it in journalism. His two roommates are Kel Washington (Nicholas Duvernay), an insecure but earnest med student who would rather be acting, and Davis Beau Bradley Barrett III (Will Angus), a high-energy, bumbling financial analyst who works at the same corporate firm as AJ and is an undercover hopeless romantic. As one might expect, there are some messy entanglements within and outside the group.
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1. Abby (Avantika), left, and AJ (Ella Hunt) move in together. 2. Across the hall live Davis (Will Angus), left, Josh (Jack Martin) and Kel (Nicholas Duvernay). (Gwen Capistran / Disney)
“I hope that young people will respond to the show, “ Kaling says. “We did so much research in it because at a certain point it is funny — I’m in my 40s, and I am often like, ‘I wonder if young people are suspicious about why I’m so obsessed with writing shows about young people.’”
So, why is she?
“Because I find it almost impossible to reflect on the current time I’m in,” she says. “It would be too painful to be too introspective about the time that I’m in. I need a real sense of distance to look back on it, especially since having kids. Once you have kids, it triggers these memories of your own childhood.”
Over video call from New York City, Kaling reflected on the series and her early years of trying to make it. These are edited excerpts from the conversation.
How did you land on the professions that your characters would be pursuing and what did you want to say about ambition at this stage of life?
I love people who have big wants, and sometimes the audience is like, “Maybe you want the wrong thing” and they [the characters] don’t quite know that yet. I love writing about the underdog. And with their particular professions, they’re all things that I had some interest in researching. I’ve always been fascinated by investment bankers. I went to Dartmouth, so I have a lot of friends who went into that, and I swear I’ve had my friends explain their job so many times to me, and I still didn’t totally understand it. We were lucky; a very famous investment bank very generously offered to let me come for a day and meet with young bankers. I also … write about the children of immigrants. I’m very, very interested in that story, and so we got to research what it’s like being the child of Nigerian immigrants. But every single character has a journey, or there’s an aspect of them that I feel like I really relate to, and that is in almost all my shows.
What was it like observing young people in the investment banking world?
They were wary — because they’re smart — of someone from Hollywood coming in to document what they were doing and asking questions. It helped that a lot of the guys liked “The Office” and a lot of the women liked “The Mindy Project” and “Sex Lives of College Girls” because they’re all kind of young. I think that made them trust me a little bit more. For the AJ and Davis characters, so much of what I researched when I was there fed into their plot line … almost all the characters have a boss they fear and idolize, and the way that first-year bankers feel about their managing directors is not dissimilar to the way I felt about Greg Daniels when I started at “The Office.” And the hours are actually not dissimilar.
There’s a moment early on where Jay Ellis’ character, Bill, who is a managing director at this fictional investment banking firm, is asked about work-life balance. I’m curious how you thought about that at the start of your career versus now.
I didn’t care at all about anything except my job for 16 years. It was my entire personality and purpose. When I was in my 20s, the only thing that mattered was being a good comedy writer and succeeding, and one day maybe being able to create my own shows. There was no balance. I didn’t want balance. I wanted to live and breathe comedy writing for my entire life. I hated the weekends, actually. And who wouldn’t? I was a friendless transplant in Los Angeles and I just wanted to get back to working at “The Office.” Every year I was there, I got more ambitious and I wanted to go off and create my own show and have a bigger part as an actor and everything.
It wasn’t until after I did that on “The Mindy Project” … that I just felt like, “OK, I get this. I want to now try being a mom.” Once I had my daughter, Katherine [at 37], it wasn’t that the balance changed, it was my first real, legitimate interest outside of work — that I cared about more than work.
“When I was in my 20s, the only thing that mattered was being a good comedy writer and succeeding, and one day maybe being able to create my own shows,” Kaling says. “There was no balance. I didn’t want balance.”
(Ebru Yildiz / For The Times)
After college, you moved to Brooklyn with two Dartmouth friends to pursue a career in comedy. You eventually got a full-time job as a production assistant on “Crossing Over with John Edward,” a program where people would receive psychic readings. Tell me about that time in your life.
I remember feeling like I had no access and that I didn’t have any place to put my ambition. It was so far away from anything I wanted to do — scripted comedy and reality television could not be further apart. It was a fascinating time because there were such highs and lows. There was the excitement of new crushes and having fun in a new city with two friends, but there was also the crushing disappointment of feeling like I was never gonna make it. I didn’t even have a path forward to making it, but I was lucky, because I lived with my two best friends. We would go to open mic nights, and we would go to restaurant week and see how the rich people in Manhattan were living. We would take the subway uptown to Central Park and walk along Fifth Avenue and like look at these amazing homes and just dream what it was like to be like a wealthy New Yorker who could buy everything that they read about on DailyCandy — now I’m really dating myself here, back when DailyCandy was a thing. But that’s what it was like, I just I felt a lot of extreme emotions.
How did you approach that job?
My boss was a producer and would approach the families and get their information, and then we would have to do research on them, but it was mostly because they would do a little clip package on the different families. I had to get them to sign releases to be on the show and get photographs of their deceased [loved ones] and them. I actually thought it was pretty interesting work. It just had nothing to do with comedy writing, and that job was not clearly going to lead anywhere toward comedy writing, and I came to New York because of “Saturday Night Live.” When I was working there is when my friend Brenda [Withers] … and I started writing this play “Matt & Ben” [a satirical play that imagines the story of Matt Damon and Ben Affleck before “Good Will Hunting” made them famous] in the time we had off. We started writing it, then I got that job as a PA, then the show went up at the Fringe Festival, and then it was going to go off off Broadway, and when it went off-off-Broadway, and I had a steady income, that’s when I quit my job there. I was only at “Crossing Over” for three or so months.
Greg Daniels attended a performance of “Matt & Ben” and it’s what led to you getting on “The Office” at 24. What was that first meeting like?
Back then, because the internet was so different, when I looked up Greg, besides his credits, you couldn’t find a lot of biographical information about him, or even a photo. I don’t think I even knew what he looked like. When I met him, I don’t think I had seen the British “Office” yet; I wasn’t cool. At that time, I had put so much pressure on this job. I only had two interviews — it was this and there was a show that ended up getting canceled while I was waiting to meet the showrunner. It was a pilot called “Nevermind Nirvana,” about an Indian man who married a white woman, and Ajay Sahgal was the writer. I was like, “Oh my God, if anyone is going to get hired to work on the show, it has to be me.” I was pretty excited about that meeting, but when I was sitting in the waiting room at the production offices to meet with Ajay, they told them they weren’t going to pick up the pilot, so I never even got to meet him, and they just told me I could leave.
I’d only had that interview, and then I met with Greg. This is my memory: it was a high-rise building in Century City, in the offices of “King of the Hill,” so there was a lot of like “King of the Hill” cutouts and stuff there. And he’s just a very thoughtful, quiet guy who doesn’t push conversation … I’m someone who’s pathologically chatty, and so talking to Greg, who is completely fine with there being pauses in conversation, and is just a confident grown-up, it was incredibly intimidating. I was very stressed out in our meeting, but I also was blown away by him.
That first season, you were also the only female writer on staff and the youngest —
B.J.[Novak] is a month younger than me. I want to correct that because he’ll read this and go, “Hey … !”
How did that play into how you felt in the room?
I haven’t really ever had imposter syndrome. And this is my probably my personality defect — I felt that even if I hadn’t seen anyone like me in these roles, that I was just going to be the first one, and I was going to work really hard and prove it to them. The staff was super competitive, but they were smart feminist guys. It was hierarchical and stressful, but it was not because of my fellow writers, except that I wanted to impress them. I felt nervous because I wanted to be contributing, but I don’t know why — I just loved the pilot so much that Greg had made, and I loved these characters, and this world — I was like, I can’t possibly lose my job, I love it too much. Which is probably really stupid, I didn’t ever think there’s a possibility that I could get fired here.
Phyllis (Phyllis Smith), Kelly (Mindy Kaling), Dwight (Rainn Wilson) and Michael (Steve Carell) in a scene from Season 2 of “The Office.”
(Paul Drinkwater / NBCUniversal via Getty Images)
We see how AJ wants to impress the boss and takes on more than she can chew and screws up some data before a big presentation. What was that first big mistake or misstep that you made in those early years that you still think about?
I remember Season 2 — because I just wanted to prove to Greg and to the cast and to the director, the cinematographer, and everyone that I was super invested — we were shooting “The Dundies” [episode]. I was an actor on the show as well, but I wasn’t acting in this scene, but it was my episode [that I wrote], and in between takes, John [Krasinski, who played Jim Halpert] and Jenna [Fischer, who played Pam Beesly] were just on set, and I remember going up to them and being like, “Guys, that take was so great!” And I walked away. Greg came up to me and was like, “You know, we really should let just the director talk to the cast between takes.” Greg, he’s my mentor, but he definitely, over the course of the eight years I lived there, had corrected me many times, as he should have, but that was one of the first times. I remember I was so embarrassed, but I didn’t understand it’s not the role of a story editor to be giving feedback to the cast between takes on a show.
The bosses on the show all have different styles and expectations that may seem demanding or annoying on the surface. How do they reflect where you’re at now?
No one trains you on how to be a good boss. And bad bosses are so prevalent. The entire premise of “The Office” hinges on this funny concept that terrible bosses exist. It wasn’t until I was on “The Mindy Project” that I was the employer for the first time. Every single year of that show, it was a battle getting a new season. One of the challenges of being a good boss is being able to put aside those personal, professional battles you’re fighting … but then also realizing that you’re a mentor to other people, and you have to start thinking about things that you never thought you needed to — overtime, maternity leave, respect in the workplace, the things that make the workplace enjoyable for everyone else who’s there working for you. And it’s not like that comes naturally.
The double blessing of having a good boss, which I did in Greg Daniels and Howard Klein [an executive producer on “The Office”], is that they modeled that for me. Even though I could not be more different than Greg. Even to this day, I’m realizing I have all the unique challenges of being a single mom, being the creator of these shows with crews and casts, but then also being able to be empathetic for all the people that work for me and making sure I make time to listen to them when they want to talk to me about an issue that they’re having; it’s a continual challenge that I’m hoping I’m getting better and better at [managing].
When Bill is asked about work-life balance, he’s also asked if he has inspirational words to impart. It’s very much about overworking and being productive. How do you tackle the question today?
I used to say “you have to write your own part.” And everyone would get annoyed because they’re like, “I’m not a writer.” I’ve had to really think about the question so I could be helpful. We all want a linear path to success. And if my career has taught me anything, it’s that the linear path just was not how I got my job. You know when you go on Google Maps and it shows you all the different paths — the fastest, one path with the toll road and one path that’s going to take seven minutes longer. I’ve only ever taken the one that’s seven minutes longer, or the toll; it’s never been the easy way. The sooner I got used to that, the better.
Before I let you go, in the show, one of the celebrity clients Abby is dealing with is Austin Blanchett, Cate Blanchett’s fictional nephew. Was it always going to be Cate? What other celebs were in the running?
It was Cate Blanchett’s nephew before we had Harry Richardson. When I worked on “Ocean’s Eight,” one of the biggest surprises on it was that Cate Blanchett was incredibly funny and did not take herself seriously at all. I suspect if anyone was going to think it was funny that in this fictional world of the show she had this useless nepo nephew that she had to help get jobs, it would be Cate. I hope she doesn’t sue me. I think she would think it was funny.
Wolterk/iStock Editorial via Getty Images
SK Hynix (HXSCL) plans to double its memory-chip wafer production capacity over the next five years as it works to address soaring demand for AI-related memory chips.
Chairman Chey Tae-won told reporters in Taipei that the company is responding to
Joe Hendrickson/iStock Editorial via Getty Images
Pabst Brewing Company confirmed this week that it is placing Schlitz Premium “on hiatus,” citing unsustainable economics. The brand’s volume had fallen so far that even the minimum production quantities required by the Anheuser-Busch (BUD) plant in Texas, which had
Samsung Electronics union members hold placards with the words ‘Abolish upper limit’ during a protest outside the company’s semiconductor plant in Pyeongtaek, South Korea, 23 April 2026. The union has announced plans to launch an 18-day general strike from 21 May to 07 June, which could result in losses for the company of up to 30 trillion won (17.34 billion euros). Photo by HAN MYUNG-GU / EPA
April 26 (Asia Today) — South Korea’s race for dominance in high-bandwidth memory, a key component for artificial intelligence chips, is diverging as SK hynix consolidates its lead while Samsung Electronics faces mounting labor tensions.
Industry analysts say the competition is increasingly defined not just by technology, but by timing – with early execution and customer alignment proving decisive in securing long-term market share.
SK hynix recently received a corporate innovation award from the Institute of Electrical and Electronics Engineers, recognizing its leadership in developing and mass-producing successive generations of HBM chips. The company has capitalized on surging demand driven by AI computing, strengthening partnerships with major global clients.
SK hynix is rapidly expanding sales of its HBM3E products while simultaneously preparing for next-generation HBM4, supplying samples to key customers and advancing toward mass production. Analysts say early validation and supply relationships formed at this stage are likely to shape long-term market positioning.
In contrast, Samsung is attempting to close the gap through its own HBM4 development but faces internal challenges. Labor disputes over performance-based bonuses have escalated, with unions warning of a general strike. Industry observers say the tensions could affect not only production but also research, development and customer engagement.
HBM products require close collaboration with customers on customized designs and process validation, making speed of initial response a critical factor. Delays in testing or supply can lead to lost contracts, while early entry into supply chains often results in long-term partnerships.
Analysts warn that Samsung’s internal disruptions could weaken its ability to respond during what they describe as a “golden time” in the rapidly expanding AI semiconductor market. If supply stability and development pace falter, customers may shift toward multi-vendor strategies, potentially solidifying SK hynix’s advantage.
Experts also point to structural issues behind repeated labor disputes, including disagreements over performance-based compensation. They suggest moving beyond short-term negotiations toward a more transparent system based on objective metrics such as return on invested capital, total shareholder return and economic value added.
Such reforms, they say, could help prevent prolonged conflicts and support the company’s competitiveness in a fast-moving global market.
— Reported by Asia Today; translated by UPI
© Asia Today. Unauthorized reproduction or redistribution prohibited.
Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260427010008233
Now his playing days are done, Ramsey is aiming to make it as a coach.
He has most of his qualifications and has already had a taste of senior management, having taken charge of his boyhood club Cardiff City for three games at the end of last season as they were relegated from the Championship.
Having since been a part of Wales head coach Craig Bellamy’s staff in an unofficial capacity, Ramsey is being touted for a bright future.
“[I]100% want to go into coaching. That’s something that really excites me,” he says.
“I had that experience with Cardiff and loved it, even though the circumstances were difficult. I felt like I got a really good reaction from the team.
“I’ve been in the Welsh camps now with Bellers and his incredible staff as well, and I’ve worked with Cardiff’s Under-18s.
“We’ll just have to see which opportunities may arise soon and we’ll go from there.”
First, Ramsey has a marathon to run.
Ceri Menai-Davis, who has run the London Marathon before, reckons Ramsey has raised more than £25,000 for his charity – and that is before you count donations for Sunday’s race.
They have been friends for more than a decade and Ramsey’s shows of support for the charity – as well as his fundraising – include the butterfly symbol he used as a goal celebration during his career.
On Sunday, the most powerful reminder of Hugh’s life will be his father’s huge physical effort – and his son’s shoes draped around his shoulders.
“He was the most amazing, brave, courageous young boy,” Ceri says. “The reason I do marathons is, just before Hugh died, I stupidly put myself in for a marathon in 2021.
“I never thought I’d get in but I got in, started training for it and Hugh never got to see me run that marathon because I did it two weeks after he died, and we buried him the next day with my medal.
“Last year I carried a 22-kilo rucksack, which was the weight Hugh was when he passed away. That was to display what grief weighs on you as a parent.
“This year, with Hugh’s shoes, he walked into hospital in these shoes and sadly never came out. I wanted him to cheer me on when I did it in 2021 but sadly he never did.
“I did Paris with his shoes. He never got to see Paris so I showed him the Eiffel Tower and we had a chat all the way round. In London, he’ll be there with me on my shoulders and we’ll cross the finish line together.”