Richard Montoya of Culture Clash doesn’t mince words when it comes to politics, current events or the state of mainstream Hollywood. But he does sugarcoat his technological limitations as a 67-year-old comic in the dreaded age of video calls with a punchy Chicano twist.
“I’m a low-tech Aztec,” he writes via email when requesting a Zoom link to our Monday interview.
Culture Clash — which includes members Montoya, Ric Salinas and Herbert Sigüenza — arrived on the scene as a guerrilla sketch theater group from the San Francisco Mission District in 1984. By that time, the Chicano movement had reached its peak, thanks to the United Farm Workers labor movement, as well as student activist organizations like Movimiento Estudiantil Chicano de Aztlán (MEChA), which advocated for Chicano unity, political empowerment and educational access.
Luis Valdez, founder of El Teatro Campesino — who began putting on social justice-oriented plays for the striking Delano farmworkers in 1965 — backed the slapstick satire troupe, considering the trio “the cutting edge of fresh, new Latino comic genius.”
Culture Clash stood out in a time when Chicanos became more vocal and visible — and its members challenged an entertainment industry that has historically lacked Latino representation. Between 1993 and 1996, Culture Clash hosted its own self-titled TV show on the syndicated Fox network. The show, which was filmed at the Mayan Theater in downtown Los Angeles, is widely considered the first Latino sketch comedy to air on American television.
Throughout the last four decades, Culture Clash has parodied nearly every prominent Latino figure in history, including Che Guevara, Frida Kahlo, Ritchie Valens, Rita Moreno, Edward James Olmos and others. Its members have mocked hard-shell cholos and gangsters, often by placing them in funny scenarios. For instance, take this clip, in which the trio take on cholo characters and reimagine what it would be like to surf on the Southern California shore.
But they’ve also taken on more serious topics in their classic “Chavez Ravine” play, which looks into one of the darkest chapters in L.A. history: the forceful removal and displacement of families, mostly Mexican, in the 1950s under eminent domain. Recently Montoya attended a live reading adapted by Somos El Teatro, led by Xolo Maridueña, Mariana da Silva and Angel Villalobos at Elysian Park.
“It gives us so much life that people are finding the issues of swindlers, whether it’s gentrification, the taking over of settlements,” says Montoya. “The generational trauma of losing your home in L.A. has never gone away.”
But not every Culture Clash joke or skit has been safe from criticism. Montoya still remembers how a conservative pundit chastised the group for using light humor to discuss the 1992 riots, when LAPD officers were acquitted for using excessive force in the arrest and beating of Rodney King.
“By looking at it and treating it as dynamite, exploding it and then by bringing some levity and a whole lot of seriousness to the Rodney King matter allows us a moment, a fraction of time to look at the issues a little bit differently,” says Montoya. “That laugh allows us a moment to examine it differently.”
On June 27, Culture Clash will return to Grand Performances, a free summer concert series at California Plaza in downtown L.A., with comedic sketches colored by political and social satire. The show, titled “American Payasos! Culture Clash’s End Times Cabaret” will be co-presented with De Los.
While their 40-year-plus legacy might merit a show reminiscent of old goofball skits — like their early 1989 show “The Mission” that poked fun at the problematic Spanish Franciscan missionary Junipero Serra — this will not be an “oldies but goodies show,” as Montoya put it. “We are highly pissed off about a lot of stuff right now.”
“ We’re thinking a lot about the Mexican American patriarchy, Cesar Chavez, Dolores Huerta and it’s time to address some of these things,” says Montoya. “ We want to look at the service workers of Los Angeles, the people that sell cotton candy in MacArthur Park, the people that sell ice cream in Echo Park and the people working the World Cup.”
For the veteran comic, son of the late Chicano poet Jose Montoya, it is also impossible to ignore the immigration enforcement raids that have rattled Los Angeles communities in recent years.
“This is a very strange moment for satirists,” says Montoya. “We have a responsibility to use those tools to say what’s going on in our city and country and provide these moments where we can do a little bit closer examination because the people in power aren’t telling us what’s going on.”
In the last five years, Montoya has fiddled around with digital media, creating sporadic videos featuring old clips of the troupe, as well as videos of Latino media, to connect with technologically diverse audiences of all ages. (One example is a video calling on people to get out the vote, that features clips of Speedy Gonzales and honors political figures like Huerta.)
Although Montoya believes Culture Clash is nearing the end of its career, there’s a question lingering inside his mind: What does a graceful exit look like for a group like Culture Clash, which has never been fully integrated into mainstream Hollywood and still left such a profound legacy in the world of Latino entertainment?
The answer to that might still be unknown, but like any Culture Clash project, it will likely be wickedly satirical and punchy. Says Montoya: “We’re ready to go out with a huge, loud bang that can say something against the power structure.”
Culture Clash will take center stage on June 27 at Grand Performances, in partnership with De Los. Also performing is the retro cumbia-quebradita musician É Arenas (bassist of Chicano Batman), the cumbia-fusion, luchador-masked cumbia group La Nueva Ola de Cumbia, as well as DJ Dali.
The island is now reachable from 19 airports across the United Kingdom, with flights available for as little as £45. Travellers swapping grey British skies for the 17-mile long destination can look forward to temperatures of around 32C throughout the summer months.
On arrival, Angela couldn’t help but observe that the “blue wink of the Mediterranean is a constant presence” around Malta. Boasting bustling shops, baroque facades, and 17th century watchtowers, Angela says the town “scores highly” for the “views alone”.
She does, however, note that Sliema may not be the ideal destination for a traditional beach holiday, with “rocky bays and outcrops” rather than the sweeping sandy shores some tourists might prefer, reports the Express.
The island does have some sandy beaches to offer. Ramla Beach, which translates as red sand, is regarded as one of the island’s most stunning stretches of coastline, with its rolling sands and crystal-blue waters.
Nestled at the foot of a lush valley and surrounded by rugged hills, Ramla Beach holds blue flag status and provides a wonderful opportunity for snorkelling, diving, or simply unwinding in the sun. The Bugibba Perched Beach, situated in the northern part of the island, is an artificial beach that has become a firm favourite amongst visitors.
Once a jagged rocky outcrop, the beach has been transformed and now boasts an array of cafes, along with all the usual amenities including sunbeds and parasols, perfect for a spot of sunbathing.
Those seeking a more culturally enriching experience can venture to Malta’s capital, Valletta, which was granted UNESCO World Heritage status in 1980. UNESCO describes the city as “inextricably linked to the history of the military and charitable Order of St John of Jerusalem”.
The city is home to an impressive 320 ancient monuments within just 55ha, cementing its status as one of the most historically dense destinations on the planet. The island also boasts a collection of ancient temples, with the gantija Temples tracing their origins back to 3,600 BC.
Nestled within the Gozitan countryside, the temples are so vast that local legend once held that they were built by giants.
Eager to uncover more history, Angela made her way to Mdina, a fortified city with a heritage stretching back approximately 4,000 years. This hilltop settlement served as the island’s capital until 1530.
Dubbed the “Silent City,” its cobbled streets feel like being “transported back in time,” according to Visit Malta. The tourism website adds: “Oozing of luxury and nobility, Mdina offers visitors a most discreet insight that only a few people can experience and witness during their lifetime.”
Malta’s cobbled streets and stunning vistas have also caught the eye of Hollywood.
Blockbusters including Game of Thrones, Troy, Gladiator, and Assassin’s Creed are amongst the major productions to have used the island as a filming location.
Having explored the island herself, Angela found it “grew on her,” despite the volume of tourists. She concluded: “Given the weather, the scenery, the heritage, and the sheer breadth of things to do, Malta looks set to continue having its ‘moment’ for some time yet.”
Islamabad, Pakistan – The scoreline read 4-1 to Norway. Iraq had been heavily beaten in their first World Cup match in 40 years. Manchester City striker Erling Haaland scored twice in his World Cup debut as Norway cruised to victory in Group I.
But for Pakistan, the result barely mattered.
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When Zidane Iqbal crossed the touchline for Iraq at Boston Stadium in Foxborough, Massachusetts, in the 59th minute on Tuesday, history was made. He became the first player of Pakistani heritage to appear in a FIFA World Cup.
Pakistan’s national team has never qualified for the tournament. It sits 198th in FIFA’s rankings. For decades, more than 250 million Pakistanis have watched football’s biggest event from the outside.
That changed, in its own complicated way, through a 23-year-old born in Manchester, England.
Between three nations
Zidane Ammar Iqbal was born on April 27, 2003, to a Pakistani father and an Iraqi mother. His father, Aamar, is from the city of Sahiwal in Punjab while his mother, Ayat, was born in southern Iraq.
Growing up in Manchester, Iqbal was eligible to represent England, Pakistan or Iraq. The decision he eventually made was not a calculated one.
Iraq found him the way many things happen now: through social media.
A large Instagram page tracking Iraqis around the world contacted him to ask whether rumours about his heritage were true.
Word eventually reached the Iraq Football Association, which pursued him through a series of video calls with Iqbal and his parents.
Asked by the sports news outlet The Athletic why he chose Iraq, Iqbal said: “All the love and support from the fans in Iraq and across the world and how hard the FA tried to bring me. When someone shows so much love, it’s only right that you feel it.”
He had never visited Iraq before receiving an under-23 call-up in 2021.
The culture shock, he admitted, was real. But he kept returning. Gradually, a country that had once been only part of his heritage began to feel like home.
The road not taken
Iqbal joined Manchester United’s academy at the age of eight and spent 12 years at the club. In December 2021 at 18, he became the first British South Asian player in nearly two decades to appear for United in the UEFA Champions League.
Iraq’s Zidane Iqbal celebrates scoring in a World Cup qualifying match against Indonesia in October 2025 [File: Reuters]
But regular first-team football never followed. He eventually moved to FC Utrecht in the Dutch Eredivisie for about 1 million euros ($1.1m).
His performances during Iraq’s gruelling 21-match qualification campaign, including a winning goal against Indonesia, kept him central to the team’s plans throughout.
The Pakistan Football Federation (PFF) had monitored his progress. But it was never truly a contest.
Ali Ahsan, editor of FootballPakistan.com, said the structural gap between the two football systems was simply too wide.
“We are struggling to attract players from bigger clubs, our ranking, the lack of a professional set-up. The PFF still has no technical director or dedicated national team recruitment staff,” Ahsan told Al Jazeera.
“For Zidane, he picked Iraq to be able to play major tournaments, which he probably wouldn’t have gotten with Pakistan,” Ahsan said.
“Had he chosen Pakistan, he could have had a big impact on raising Pakistani football’s profile internationally. He was still at United at the time. He could have started a serious conversation about how football needs to be improved, inspired kids to take it more seriously. Iraq is already a well-established team with a dedicated history, structure and fanbase.”
For Iqbal, the path led elsewhere. But for Pakistan, the moment still mattered.
“I hope there are children – whether Asian, Arab, whatever you are – who watch that and think they can do it,” Iqbal told The Athletic. “It’s definitely possible. And if I’ve done it, why can’t they?”
Iraq next face France on Monday before taking on Senegal in their final group match on June 26. Few expect them to advance. But few expected them to be there at all.
Against Norway, Iraq lost. For Pakistan, history was made anyway.
Venezuela Fury’s new husband Noah was heard complaining about the static home her parents bought for themCredit: TiktokThe young wife looked unimpressed with her husband’s commentCredit: Tiktok
The couple moved into their static home after they got marriedCredit: TikTok/ @venezuelaffuryThe couple got married in a lavish wedding last monthCredit: Splash
At 42ft long and 14ft wide, the static home spans 588 square feet – roughly the same size as a large London studio flat.
They also gave them a nice little nest egg of £5M, to get them started out, as well as paying for their lavish wedding.
Meanwhile, the new couple have found their marriage has been lucrative so far for them.
Since then, the newlyweds have been showing of their new life on social mediaCredit: TikTokThe young couple have proved hugely popular with fansCredit: Getty
A TV insider said: “The couple are not A-list celebrities but everyone has become obsessed with their love story.
“People are genuinely intrigued by them.
“Whether it’s the fact they have married so young, Venezuela’s famous family or their gypsy lifestyle, they have the ‘X factor’.
“Several TV executives think a proper fly-on-the-wall series following their lives as newlyweds in the gypsy community would be fascinating.”
Netflix is likely to win any bidding war for the show, as the streamer already has a working relationship with the Fury family.
Their series, At Home With The Furys, became an instant hit when it dropped in 2023 and filming is already under way on a third series, which is due later this year.
KATIE Price has emotionally reunited with her husband Lee Andrews just days after his release from prison.
The Sun revealed how the self-proclaimed ‘billionaire businessman’ – who has spent the last month locked up in Dubai’s notorious Al-Awir prison –was freed on Friday.
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Katie Price has been reunited with her husband Lee Andrews after over a month apart while he was in prisonCredit: BackGridThe married couple had an emotional reunion which saw Katie jump into his armsCredit: BackGrid
Sharing an emotional reunion on Sunday evening, the former glamour model jumped into Lee’s arms as he picked her up and hugged her.
The beaming couple were pictured kissing, hugging and holding hands as they headed to Vox Dubai, an outdoor rooftop cinema, to catch a World Cup football game.
While Katie previously told The Sun she had plenty of questions for her elusive husband upon their reunion, it appeared those could wait as the couple got straight back to PDA – with the reconciliation appearing to be a far cry from crisis talks.
Despite the many questions surrounding Lee and the untruths he has told over recent months, all appeared to be forgiven between the coupleCredit: BackGridA beaming Katie appeared overjoyed to be back with Lee after touching down in DubaiCredit: BackGridIt comes after Katie said she would be confronting the ‘businessman’ with an onslaught of questions and grilling him upon their reunionCredit: BackGridThe couple headed to an outdoor rooftop cinema to watch a World Cup game during their first outing togetherCredit: BackGrid
The mum-of-five said earlier this month that she will only divorce the suspected conman once she has questioned him herself.
She said: “I cannot just walk away from my marriage without seeing him again.”
The Sun previously reported how Lee had been locked up in Al-Awir over a “private civil matter”, believed to be related to allegations of fraud, on May 14.
Among the claims, one of the cases against the self-proclaimed businessman is understood to be over a bounced cheque.
He initially claimed to Katie that he had been arrested on suspicion of spying. Authorities in Dubai later confirmed to The Sun that this was not the case.
Failed actor is just another title to add toLee’s questionable CV, after he claimed to have once worked as the Director of Philanthropy at The Prince’s Trust (now The King’s Trust)
Lee also shared images – since proven to be AI – of him working with Elon Musk and Kim Kardashian
It’s been revealed shameless Lee told former girlfriends that he had studied at Cambridge University, and has a PhD in biotechnology science
But The Sun has seen a response from the university explaining it could not find a record of Lee being registered as a student with a date of birth they had provided
His LinkedIn profile says Lee has been a Member of the Board of Advisors to the Labour Party since 2015
Lee was also mocked for repeating theexact same wedding proposalon Katie – that he did for another woman just four months ago.
Katie’s return to the UAE comes just a week after she headed out there in the hopes of freeing him from prison, but was told she’d need a hefty £140,000 to bail him out – which she refused.
She gave The Sun exclusive access to the trip, with Showbiz Editor Clemmie Moodie joining her.
During which, Clemmie sat Katie down to confront her about Lee and the many untruths he has told over recent months – with the full 56 minute sit down available to watchhere.
At the time, Katie admitted there were several questions she didn’t know the answer to, and was waiting for Lee to exit prison to quiz him.
Obsession is maybe too hard-edged; interest too soft. But from “Close Encounters of the Third Kind” and “E.T” to his new sci-fi thriller “Disclosure Day,” Steven Spielberg has spent nearly the entire length of his career returning to the possibility that we are not alone in the universe. Even “Firelight,” the amateur movie he made as an Arizona teenager in 1964, revolved around extraterrestrial visitors.
That recurring fascination stands out partly because Spielberg has never been a filmmaker who stays in one lane. Across 36 features as a director, he has pivoted between science fiction, war films, historical dramas, adventure movies, thrillers, comedies and even a musical while somehow retaining the same famed Spielbergian sense of emotional wonder that defined his earliest work.
Which makes “Disclosure Day” — opening Friday and built around mysterious transmissions, buried government secrets and the possibility of alien contact — feel less like a detour than a return to one of Spielberg’s oldest creative preoccupations. Speaking about the film in March at SXSW, Spielberg admitted that while he has no special knowledge about extraterrestrial life, he nevertheless has “a very strong, sneaking suspicion that we are not alone here on Earth right now. And I made a movie about that.”
So with Spielberg once again looking skyward, we decided to revisit the director’s long cinematic relationship with aliens, as figures of astonishment, terror, transcendence and, occasionally, giant crystal skulls from another dimension.
Melinda Dillon and Cary Guffey in 1977’s “Close Encounters of the Third Kind.”
(Columbia Pictures)
Josh Rottenberg: I don’t really remember a world without Spielberg’s aliens. I was 6 when “Close Encounters of the Third Kind” arrived in 1977, not much older than the little boy played by Cary Guffey who is carried off by visitors from another world after his toys mysteriously come to life. Five years later, I was exactly Elliott’s age when “E.T. the Extra-Terrestrial” landed in theaters in 1982.
“Close Encounters” made aliens feel weirdly plausible, not just creatures in a “Star Wars” cantina or rubber-suited monsters from old sci-fi movies but something that might turn up in ordinary American life through blinking kitchen appliances, strange lights in the sky and suburban middle-class dads who can’t explain why they suddenly need to drive to Wyoming.
What surprises me now is how hopeful the movie feels. It came out of the post-Watergate ’70s, when distrust of institutions was running high, but Spielberg directed most of that suspicion toward the government, not the alien visitors. Richard Dreyfuss sculpting Devils Tower out of mashed potatoes should seem completely insane — and it kind of is. But Spielberg somehow makes you understand why Dreyfuss’ Roy Neary is willing to walk away from his entire life and family over something he can’t explain.
With “E.T.,” Spielberg scaled that cosmic yearning down to a California cul-de-sac. I recently watched the movie again at Hollywood Forever Cemetery with my wife and younger daughter, who’s in college now. I’d seen it several times since 1982 but not on a big screen, and I was startled by how much of it I still knew by heart: E.T. shuffling through the kitchen drinking cans of Coors, Elliott freeing the frogs in science class, Drew Barrymore introducing the alien to her dolls like he’s a new kid who just moved in next door. Somewhere along the way, “E.T.” became less a movie to me than part of the background texture of childhood itself.
Spielberg turned one of science fiction’s grandest ideas — first contact with alien life — into the story of a boy and his weird little space-faring goblin best friend. Mark, we’re of the same Gen X vintage. Did Spielberg permanently convince you that aliens were basically on our side?
A scene from the 1982 movie “E.T. the Extra-Terrestrial.”
(Universal Pictures / Photofest)
Mark Olsen: I didn’t see “Close Encounters” when it was first in theaters, but I remember any kid with a piano learning those five notes of John Williams’ alien theme music and then the movie becoming a staple rental of the early VHS era.
When I revisited the film for its 2017 re-release — an overwhelming experience in the sorely missed Cinerama Dome, where the movie also played when it first opened — I was struck by how homespun and handmade it felt, grounded in a naturalistic sense of realism. For as much as Spielberg may be fascinated by aliens and whatever could be out there, he always uses them as a way to reconsider what is going on down here: to reconnect with the elemental aspects of humanity and our common bonds.
I’ll be honest and say that “E.T.” is a movie I have always struggled with. I clearly remember seeing the movie when I was young and being very disturbed by the scene when the government arrives and drapes the family’s house in plastic sheets and tubing. I distinctly recall recognizing that the film itself wanted me to feel bad — I didn’t like that. (Perhaps thus was a young critic born.) Spielberg is often so proud of his mechanics, he lets them show, which is why even then I was resistant to moments when he wants the relationship between Elliott and his new friend to truly take flight.
Tom Cruise in Steven Spielberg’s 2005 sci-fi thriller “War of the Worlds.”
(Paramount Pictures)
Rottenberg: By 2005 and “War of the Worlds,” the wonderment was gone. Spielberg took H.G. Wells’ downbeat vision of extraterrestrials as exterminators and updated it for post-9/11 America: nightmarish scenes of alien tripods clawing their way up through the pavement, blaring air-raid horns, entire crowds vaporized into clouds of dust.
This time, nobody is trying to communicate through music or empathy. Tom Cruise spends the movie running through New Jersey with two terrified kids while ash drifts through the streets and giant alien war machines scoop humans into dangling metal cages. “E.T.” had turned aliens into plush toys and breakfast cereal. “War of the Worlds” turned them back into the menacing aggressors of 1950s sci-fi films like “Earth vs. the Flying Saucers” and “Invaders From Mars.”
Which made it all the more jarring when, three years later, Spielberg suddenly swerved back toward old-school flying-saucer mythology with 2008’s “Indiana Jones and the Kingdom of the Crystal Skull,” shoehorning an extraterrestrial plot into one of his most beloved series. Seeing Cate Blanchett march into a glowing alien chamber to commune with giant crystal skeletons from another dimension, I could understand why some fans reacted like they’d just watched someone spray-paint a UFO on the Ark of the Covenant.
But looking back, the inclusion seems almost inevitable. Spielberg keeps circling back to aliens no matter what genre or franchise he’s working in. Even 2001’s “A.I. Artificial Intelligence” eventually reveals itself as a kind of inverted first-contact story, with humanity becoming the vanished civilization studied by synthetic descendants of the machines.
Mark, were you able to roll with Indy suddenly colliding with Area 51 mythology, or did Spielberg lose you at that point?
Harrison Ford and Shia LaBeouf in the 2008 movie “Indiana Jones and the Kingdom of the Crystal Skull.”
(David James / Paramount Pictures / Lucasfilm)
Olsen: There was something so eye-rollingly whatever about the finale of “Kingdom of the Crystal Skull” that you couldn’t even really be mad about it. On a storytelling scale of Spielbergian preposterousness, the moment lands somewhere between the Wrath of God sequence in “Raiders of the Lost Ark” (totally legit) and the time traveling of “Dial of Destiny” (throws hands in the air).
“War of the Worlds” remains a fascinating film within the director’s space alien canon because it has an anxiety and uncertainty that isn’t often found elsewhere. Even his core interest in creatures, so often a well of amazement and positivity, couldn’t pull him up. Much has been made of the film as a response to the aftermath of 9/11 and Spielberg followed it up with the existential thriller “Munich,” a further exploration of the darker aspects of the national mood, before the year was even up.
This seemed to be a moment of malaise for Spielberg, one he worked his way out of with an unpredictably wide-ranging series of films including “Lincoln,” “Bridge of Spies” and “The Post.” It was as if he were left reeling from cynicism and was trying to reclaim some youthful confidence that he would eventually rediscover with the autobiographical “The Fabelmans.” Josh, do you feel that “Disclosure Day” serves as the final word on Spielberg’s alien interests?
Emily Blunt and Josh O’Connor in the movie “Disclosure Day.”
(Niko Tavernise / Universal Pictures)
Rottenberg: What makes “Disclosure Day” interesting to me — even though I wasn’t fully sold on it — is that Spielberg is returning to these ideas at a moment when UFO culture has already evolved far beyond him.
Screenwriter David Koepp has cited “Three Days of the Condor” as a touchstone, and for long and often gripping stretches, the movie really does play like a paranoid 1970s conspiracy thriller: cryptic transmissions, shadowy government programs, Josh O’Connor racing to expose buried secrets, Colin Firth strapped into a chair using alien technology to manipulate people from afar.
But while “Close Encounters” arrived at a time when UFOs still occupied this hazy space between science fiction, Cold War anxiety and New Age mysticism, “Disclosure Day” lands in a world where self-described UFO abductees have their own support groups and Congress has held multiple hearings about “unidentified anomalous phenomena.” Meanwhile, earlier this spring, the U.S. government declassified another batch of UFO files and the response was roughly equivalent to a collective shrug.
In recent interviews, Spielberg has said he now considers the circumstantial evidence for UFOs “overwhelming” and no longer views “Disclosure Day” as science fiction at all. In his earlier alien films, extraterrestrials represented mystery and escape. Here they feel more like vaguely benevolent interstellar therapists trying to help humanity get its act together. The film’s climax reaches for the same sense of civilizational awe as the mothership landing in “Close Encounters.” For me it didn’t quite get there.
But maybe that’s partly because it’s harder now to experience these ideas with the same innocence they carried in 1977 or 1982. Rewatching “E.T.” at the Hollywood Forever Cemetery, I still wanted to believe that an encounter with an alien intelligence could elevate us. But we’re a long way from Reese’s Pieces and flying bicycles. Mark, did “Disclosure Day” manage to pull you back into Spielberg’s orbit this time?
Olsen: I have to just get it out of the way that as someone from Kansas City, I will be eternally annoyed that Emily Blunt plays a TV weatherperson in KC and Spielberg did not actually shoot there. Having said that, for me the movie is at its best as a chase thriller — a sequence in which O’Connor escapes a remote farmhouse is particularly well-executed.
“Disclosure Day” is first and foremost just a lot of fun, a showcase for Spielberg’s gifts as a filmmaker and his longstanding collaborations with cinematographer Janusz Kaminski and composer John Williams. The film is deeply interested in who knows what. There are longtime tightly held secrets being kept from the rest of us for whatever reason. Though the film is framed as a conspiracy thriller, Spielberg’s essential goodheartedness continually peeks out, as if he can only play at being hard-bitten for so long.
Where the film becomes less sure-footed is when it grabs for its bigger meaning, attempting to render something deeper from Spielberg’s longstanding fascination with aliens and what they might have to teach us.
The real disclosure of “Disclosure Day” turns out to be our own inability to listen: how everyone gets so wrapped up in themselves they often miss the larger picture. But the idea that the entire world could latch onto something together feels too far-fetched in our own current fractured news environment. That is likely less the fault of Spielberg and more one of ourselves. His career-spanning interest in aliens always brings him back to trying to better understand us.
Anticipation. Rumors. Anxiously scanning the horizon, hoping that a brilliant force will leave the masses forever changed. Yes, a new Steven Spielberg movie about close encounters with extraterrestrials is landing — and misses the mark.
“Disclosure Day” is a story of truth and feared consequences. A personality-free cybersecurity expert, Daniel (Josh O’Connor), is on the run with evidence of little gray men arriving on our planet to a rude reception. The aliens are kind. Our species is barbaric. Wittily bruising us with that fact, Spielberg opens with a POV of a wrestler kicking the audience in the face. Welcome to Earth.
Elsewhere in America, a weathergirl named Margaret (Emily Blunt) breezes into her Kansas City studio, babbling up until the minute the news camera turns on, a bravura sequence that channels her restlessness, the station’s tempo and the film’s alarm that this ditz has just this morning been stricken with preternatural powers. (The cinematography and editing are by Janusz Kaminski and Sarah Broshar.) Locally, Margaret is known for announcing hailstorms with a sexy shimmy. Suddenly, she’s fluent in Russian, Korean and telepathy. Although she and her boyfriend, Jackson (Wyatt Russell), are a bad match, she’s giving everyone else life advice like an intergalactic Dear Abby.
When Margaret starts spouting alien-ese — spasms of gutteral clicks — on live TV, she and Jackson rush to the hospital for a brain scan followed by several suspicious men who claim to be with the FBI. Russell’s befuddled Jackson is as useless as a traffic cone but Blunt’s Margaret is a gas before the movie makes her go all glassy-eyed and solemn. Yet, the movie is less inspired by why she was chosen or how she feels about it than in dragging us back in time to the moment when it happened, which isn’t that interesting except for its resemblance to a Disney princess having a psychotic break. The CG animals and aliens look stiff, other than a nifty close-up of an eyeball. (Later, I did like how one alien appears to be wearing sportswear.)
Chasing both Daniel and Margaret around the Midwest is a deep-state company called Wardex that wants to steal back the proof in Daniel’s backpack, a heap of hard drives with footage of 70-plus years of extraterrestrial visitations. It’s a treat to see Spielberg enjoying staging this conspiratorial gossip in different film stocks, from the black-and-white noir of 1947 Roswell to the clinical security-camera look of today. Whatever Wardex does on a day-to-day basis is unclear (we just see video screens and lab equipment). But it acts all-powerful, seeming to know more about outer-space tech than its overseers at the Department of Defense.
The script is by David Koepp of the paranoid thriller “Black Bag” and Spielberg’s 2005 version of “War of the Worlds,” yet, this plot strand about private enterprise isn’t science fiction. Last year, in the unrelated UFO documentary “The Age of Disclosure,” current Secretary of State Marco Rubio admitted that companies have a stronger institutional memory of “exotic materials” than any presidential administration: “The people in government who know where it came from originally — they’re long gone and their successors have no idea that it was there at all.” To add nationalistic insult to injury, the head of Wardex isn’t even American. He’s a Brit played by Colin Firth.
If anything, “Disclosure Day” isn’t paranoid enough. Clutching a mysterious tool the shape of a mouse coffin, Firth’s villain tracks Daniel’s location by mentally transplanting himself into another person’s body, changing the color of their pupils to his own icy blue. His gadget also makes his targets super sweaty. This laborious alien tactic leads to a few fun scenes but frankly feels old-fashioned when the omnipresent surveillance that Spielberg himself warned about nearly 25 years ago in “Minority Report” is now here with recording devices constantly tracking our faces, voices and movements just so we don’t have to dial phones, fetch sandwiches or talk to human drivers. Although his movie urged us against this 24/7 spyware future, we have since embraced the convenience.
I bring this up because “Disclosure Day’s” driving question is how humanity will react to life-altering information. (Not that the plot has much momentum — too many scenes end with the belief that ducking 10 feet out of view makes you invisible, with an antagonist simply giving up.) Daniel insists on total honesty: “People have a right to know the truth,” he says. His girlfriend Jane (Eve Hewson) doubts 8 billion people can handle his alien revelations. A Catholic, she’s alarmed that extraterrestrial intelligence could replace the concept of God, naively claiming that “religion holds society together.” Since when?
There’s some wan comedy in an early scene where these new-ish lovers debate the ethics of secrecy while revealing the skeletons they’ve been hiding from each other. Both have pasts you wouldn’t put on a Tinder profile. The script is glancingly empathetic to Jane’s moral turmoil but like Daniel, the film has made up its mind before the movie started. Narratively and logistically, Daniel’s whistleblowing escape limps along with a lack of suspense. Wardex doesn’t even bother to preemptively discredit Daniel in the public’s eye, which, given the two sentences of backstory we know about his character, would be easy.
Nattering in the background are broadcasts about the impending threat of global war at the hands of the United States, Russia and North Korea. Given that scary possibility, the risk that Daniel’s reveal could tip over the world order doesn’t seem that bad. Honestly, I’m dubious of the film’s certainty that folks even have the bandwidth to care about such news, let alone agree on what they’re seeing. The serious journalism Margaret aspires to do is splintering under our distrust of who controls the megaphones. Last month’s infodump of an Armed Forces report listing 209 sightings of unidentified objects was announced with a presidential tweet that “the people can decide for themselves.” I didn’t bother to click. Did you?
Getting information about these space invaders out leaves no time for taking the marvel of their existence in. Decades after Spielberg unveiled his signature shot — a face amazed at wonders we can’t see — he seems wearied by his awareness that today’s moment of revelation would look like a person staring down at their phone. When lens flares continually beam right at the screen, the whole movie feels like enlightenment under duress.
Where are the aliens from and why are they here? Who knows. “Disclosure Day” speeds around frantically, talking constantly and explaining little. Back in 1977, Spielberg’s “Close Encounters of the Third Kind” was a popcorn masterpiece of withheld information. Its quiet assurance that experts had a handle on flying saucers and a plan to meet them felt comforting. Here, Colman Domingo’s renegade intelligence operative also refuses to tell anyone anything, but all the unspoken beats just feel like plot holes. Mostly, his character builds what looks like a Hollywood set to reveal a truth he already suspects. That’s what Spielberg is doing too, but a film needs a sense of curiosity.
Instead, the wows come from good stagings of ordinary action: a car crash, a gripped crucifix, a hideout crowded with jostling, thrumming musical instruments. There’s a great train-track crossing sequence that’s also a vicious callback to Richard Dreyfuss’ epiphany in “Close Encounters.” Yet, I wanted to see more of the old Spielberg, the one who expressed awe in moments of silence rather than relentless motion.
That Spielberg has come full circle to his lifelong obsession with the sky had me convinced that this might be a secret sequel to “Close Encounters” beyond the droll joke that both Dreyfuss’ Roy and Blunt’s Margaret are shacked up with unsupportive blonds. They do share a universe; you’ll see a glimpse of what could pass for an outtake from Devils Tower, a.k.a. Mashed Potato Mountain, on one of Daniel’s hard drives. Still, I left underwhelmed. I didn’t need Dreyfuss to step off a spaceship gangplank and say, “I’m back.” I just needed “Disclosure Day” to have the same spark of intelligent life.
‘Disclosure Day’
Rated: PG-13, for action/violence, some bloody images and strong language
From Maddie Lee: It was just one moment in the midst of a persistent Dodgers scoring spree. But in the context of a long and decorated career, Freddie Freeman’s run-scoring single into shallow center field carried weight.
In the seventh inning of the Dodgers’ 12-3 win against the Pirates on Tuesday, Freeman notched his 2,500th major-league hit.
“It means a lot,” Freeman said. “And then when your manager and teammates appreciate what you’ve done over the course of your career, it does mean a lot. Yeah, there’s always another goal to get to. But to step back and realize how long you have to play, … to play at a high level over many, many years to get there, it does mean a lot.”
Only 101 other players have achieved the milestone, according to Baseball Reference. And Freeman, in his 17 major-league seasons, leads all active players in hits.
The future Hall of Famer isn’t really a memorabilia collector, but for this one, Freeman made sure to get the ball and the lineup card. When asked if he wanted his bat authenticated, he said he’d hold on to it.
There are still more hits in it.
“If you would have asked me 10 years ago, I probably would have brushed it off and kept going,’ Freeman said. “But as you get older, you do get more emotional and sentimental. It is nice for people to take a moment and appreciate what you’ve done in this game. It is special.”
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Angels rout the Astros
Wade Meckler and Jo Adell keyed a five-run second inning with two-run doubles, and Walbert Ureña navigated heavy traffic through five shutout innings to lead the Angels to a 10-1 victory over the Houston Astros on Tuesday night.
Houston put two runners on in the first, second and fifth and loaded the bases in the third, but Ureña (4-4) pitched out of each jam to lower his ERA to 2.44 on the season and 1.84 in eight starts since early May.
The 22-year-old right-hander gave up three hits, struck out seven and walked five in his 107-pitch effort, which included a 97-mph fastball to whiff Joey Loperfido with the bases loaded to end the third.
From Kevin Baxter: A strike that had the potential to disrupt the U.S. World Cup opener at SoFi Stadium has been averted, with United Here Local 11 and Legends Global, the stadium’s food-service operator, agreeing Tuesday to a tentative deal.
The nearly 2,000 workers represented by the union, which includes dishwashers, concession workers, bartenders and servers, voted last week to authorize a strike with 96% of those voting supporting the decision to walk off the job. Workers were demanding salary increases, protection against subcontracting and job loss through automation, and were refusing to comply with FIFA’s request to collect sensitive private information such as nationality and home addresses.
Details of the new contract were not released but the union had demanded “substantial increases” in pay to more than $30 an hour while Legends proposed wage freezes for some workers and a 25-cent hourly increase for cooks and dishwashers.
From Ryan Kartje: His 7-6 record at USC in 2024 would go down as the worst mark of Lincoln Riley’s career as a head football coach. But in his third and rockiest year at the helm of the Trojans, Riley was still compensated like one of the kings of the sport.
Riley was paid more than $11.8 million in total compensation during the fiscal year 2024, according to USC’s latest federal tax returns, which were obtained by The Times. That total includes a $100,000 bonus and $10.4 million in base pay, believed to be more than all but three college football coaches that season: Georgia’s Kirby Smart, Clemson’s Dabo Swinney and Ohio State’s Ryan Day. All three have won a national title.
For Riley, his pay in 2024 marks just a slight increase from the 2023 season, when USC paid Riley more than $11.5 million in total compensation. The coach’s base pay increased by $145,143 between fiscal years 2023 and 2024, slightly less than it rose following his debut season in 2022 ($168,000).
Jordan Staal scored his second goal of the game while stretched out on his stomach at 6:32 of the third period to put the Carolina Hurricanes ahead for good in their 5-3 victory on Tuesday night over the Vegas Golden Knights and even the Stanley Cup Final after four games.
Game 5 is Thursday night at Carolina, which will potentially have two games on home ice to win its first Cup in two decades. The Golden Knights are searching for their second in four years.
This was the first game not decided by one goal.
A two-goal lead has disappeared in all four games in what has been a remarkable series in which momentum often changes at a moment’s notice. Each team has led by at least that many twice.
Rams offensive lineman Alaric Jackson was arrested on suspicion of felony domestic violence Monday night in Los Angeles, according to a person with knowledge of the incident not authorized to speak publicly.
Jackson was arrested shortly before 11 p.m. after police responded to a call at a home in West Hills. Upon arrival, police determined that the woman involved in the incident had recorded the interaction and noticed scratch marks on her arms, the person said. Jackson was arrested and later released on a $50,000 bond, according to jail records. His next court date is scheduled for June 30.
The specific charge Jackson was arrested for is a person who “willfully inflicts physical or corporal injury resulting in a ‘traumatic condition’ [such as a bruise, scratch, swelling, or internal injury] on an intimate partner.”
“We are aware of the incident regarding Alaric Jackson, and we take these matters very seriously,” the Rams said in a statement. “Due to this being an ongoing legal situation, we cannot comment further at this time.”
After almost four years away from the sport, the 44-year-old tennis legend made a triumphant return Tuesday at Queen’s Club in London. She teamed with Canadian teenager Victoria Mboko for a 7-6 (2), 6-2 victory against Nicole Melichar-Martinez of the United States and Erin Routliffe of New Zealand in an opening doubles match at the grass-court HSBC Championships.
Williams recorded service winners of up to 120 mph during her first professional match since the 2022 U.S. Open.
“It was so fun,” Williams said afterward in an on-court interview. “I had so much fun playing with Victoria. She really was able to hold up the team and really play big on the big points. I could really rely on her. We’ve never played together, but it just felt so natural playing with her.”
1890 — The Preakness Stakes is run outside Baltimore, at Morris Park in New York. The race is then suspended for three years, and resumes at the Brooklyn Jockey Club’s Gravesend Course from 1894-1908.
1932 — Gene Sarazen leads wire-to-wire to win the British Open by five strokes ahead of Macdonald Smith at Prince’s Golf Club in Sandwich, England. Sarazen finishes with a tournament record of 283.
1933 — Johnny Goodman wins the U.S. Open golf title, making him the last amateur to win this event.
1934 — Italy beats Czechoslovakia 2-1 in extra time to win the second FIFA World Cup at the Stadio Flaminio in Rome. Italy trailing 1-0, ties the game at the 80th minute. Angelo Schiavio scores the winning goal in extra time.
1944 — A rare triple dead heat occurs in the Carter Handicap at Aqueduct with Bossuet, Brownie and Wait a Bit crossing the finish line together.
1950 — Sixteen months after near-fatal car accident, Ben Hogan wins the U.S. Open. Hogan beats Lloyd Mangrum and George Fazio in an 18-hole playoff at the Merion Golf Club in Ardmore, Pa.
1968 — UEFA European Championship Final, Stadio Olimpico, Rome, Italy: Italy beats Yugoslavia, 2-0 in a replay (first game, 1-1).
1973 — Mary Mills shoots a 63 in the final round of the LPGA Championship to beat Betty Burfeindt by one stroke.
1977 — Al Geiberger sets a PGA Championship 18-hole record when he shoots a 59 in the Danny Thomas Classic.
1978 — Affirmed, ridden by Steve Cauthen, wins the Belmont Stakes to capture the Triple Crown in one of the greatest battles in racing history. Affirmed edges Alydar for the third time.
1989 — Wayne Gretzky of the Kings is named the NHL’s MVP, winning the Hart Trophy for a record ninth time.
1995 — Trainer D. Wayne Lukas wins a record five straight Triple Crown races as Thunder Gulch takes the Belmont Stakes. Lukas is the first trainer to win the Triple Crown races with two different horses. Lukas’ Timber Country won the Preakness.
1996 — Colorado’s Patrick Roy makes 63 saves before Uwe Krupp scores 4:31 into the third overtime to give the Avalanche a 1-0 victory against the Florida Panthers at Miami Arena and complete a four-game sweep of the Stanley Cup Final.
2000 — Stanley Cup Final, Reunion Arena, Dallas, TX: New Jersey Devils defeat Dallas Stars, 2-1 in double OT for a 4-2 series victory.
2006 — In Atlantic City, N.J., Bernard Hopkins wins a unanimous decision over light heavyweight champion Antonio Tarver, capping an 18-year career with an upset for the ages.
2010 — USC is placed on four years probation, receives a two-year bowl ban and a sharp loss of football scholarships. The NCAA cites USC for a lack of institutional control. The NCAA found that Reggie Bush, identified as a “former football student-athlete,” was ineligible beginning at least by December 2004. The NCAA also orders USC to vacate every victory in which Bush participated while ineligible. USC loses 30 scholarships over a three-year period, 10 annually from 2011-13.
2012 — Shanshan Feng wins the LPGA Championship to become the first Chinese player to win an LPGA Tour title and a major event.
2018 — Rafael Nadal won a record-extending 11th championship at Roland Garros by beating Dominic Thiem 6-4, 6-3, 6-2. Nadal became the second player in tennis history to win 11 singles titles at any Grand Slam tournament after Margaret Court, who claimed 11 Australian Open titles.
2018 — Kristen Gillman led a U.S. singles sweep in the biggest blowout in Curtis Cup history. Gillman, a 20-year-old University of Alabama star, beat 16-year-old Annabell Fuller 5 and 4 to cap a perfect weekend at Quaker Ridge in Scarsdale, N.Y. The Americans won 17-3, breaking the record for margin of victory of 11 set in a 14 1/2-3 1/2 victory at Denver Country Club in 1982.
2023 — UEFA Champions League Final, Ataturk Stadium, Istanbul: Manchester City beats Inter Milan, 1-0 to complete historic Champions League, Premier League & FA Cup trifecta.
Compiled by the Associated Press
This day in baseball history
1921 — Babe Ruth of the New York Yankees became baseball’s career home run leader by hitting his 120th off Cleveland’s Jim Bagby in the third inning. The Indians took the game 8-6.
1944 — Joe Nuxhall, at 15 years, 10 months and 11 days, became the youngest player in major league history when he pitched for the Cincinnati Reds in an 18-0 loss to the St. Louis Cardinals.
1959 — Rocky Colavito of Cleveland hit four consecutive home runs at Baltimore’s Memorial Stadium, a tough home run park. Billy Martin and Minnie Minoso also homered in the Indians’ 11-8 victory.
1966 — Cleveland’s Sonny Siebert threw the only no-hitter of the year as the Indians beat the Washington Senators 2-0.
1972 — Hank Aaron’s grand slam pushed the Atlanta Braves to a 15-3 rout over the Philadelphia Phillies. It was Aaron’s 649th home run, moving him ahead of Willie Mays into second place on the career home run list. It was also his 14th grand slam, tying Gil Hodges’ NL record.
1997 — Kevin Brown threw a no-hitter and kept himself from a perfect game by hitting a batter in the eighth inning, leading the Florida Marlins over the San Francisco Giants 9-0.
2005 — Baltimore’s 4-3 win over Cincinnati marked the first time that three 500-homer players appeared in the same game — the Orioles’ Sammy Sosa (580) and Rafael Palmeiro (559), and the Reds’ Ken Griffey, who hit a solo shot in the eighth inning for No. 511.
2006 — Reggie Sanders became the fifth player in major league history with 300 homers and 300 stolen bases when he hit a two-run shot in Kansas City’s 9-5 loss to Tampa Bay. Sanders homered off Chad Harville in the ninth to reach the milestone joining Barry Bonds, Willie Mays, Andre Dawson and Bobby Bonds.
2011 — Tony La Russa managed his 5,000th game when the St. Louis Cardinals lost to the Milwaukee Brewers 8-0. La Russa complied a 2,676-2,324 record with the White Sox, Athletics and Cardinals. Only Connie Mack managed more games with 7,755 over 53 years.
2012 — Frankie Vanderka threw a three-hitter, Travis Jankowski had four hits and Stony Brook completed an improbable run to the College World Series with a 7-2 victory over LSU in the deciding game of the Baton Rouge super regional. Stony Brook became only the second team to open the tournament as a No. 4 seed in the regional round and advance to the World Series. The first was Fresno State during its stunning 2008 run to a national title.
2019 — The Diamondbacks and Phillies play “Home Run Derby” at Citizens Bank Park, in a 13-8 win by the D-Backs. Arizona opens the game with three straight homers off Jerad Eickhoff, by Jarrod Dyson, Ketel Marte and David Peralta, on their way to hitting 8 long balls. The Phillies reply with 5 of their own, including two by Scott Kingery, but it’s not enough on a night when balls are flying out of the park right and left. Eduardo Escobar homers from different sides of the plate in consecutive innings for Arizona, and Ildemaro Vargas also homers twice. The combined 13 homers set a new major league record. The D-Backs had been the last team to open a game with three dingers, back on July 21, 2017.
2020 — Because of the ongoing coronavirus pandemic, the 2020 amateur draft is held virtually and limited to five rounds.
Compiled by the Associated Press
Until next time…
That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.
Fans were left concerned for Stephen Sanchez after his chaotic Summertime Ball performanceCredit: Shutterstock EditorialThe star stepped out on stage and immediately almost fell overCredit: TikTok/ @_floss._
A video of Stephen Sanchez has emerged and shows the star’s chaotic performance at the Summertime Ball.
Taking to the stage the flamboyant star was dressed in a peach suit.
But as The Until I Found You hitmaker started to perform, he was seen slipping and sliding everywhere.
At one point Stephen looked like he was about to fall off the stage, as he tried to regain his balance.
Memorizing your lines seems like such a foundational part of an actor’s job that there wouldn’t be much to say about it. Yet when a group of performers recently got onto the topic during The Envelope’s Emmy Limited Series / TV Movie Roundtable, it turned out everyone had their own way of doing it. And all were eager for tips and tricks, whether it be an app, a line-drilling coach (“Can I have that number?”), writing down the first letter of each word or even writing a monologue backward.
“We have to share tools, guys,” said Camila Morrone, who plays a bride-to-be who learns her fiancé’s family dark secrets in the horror thriller “Something Very Bad Is Going to Happen.” “It’s funny that we all have such different methods.”
Joining Morrone were Jamie Bell, who stars in “Half Man,” about the extremely dysfunctional, toxic relationship between two stepbrothers; Linda Cardellini, who appears in “DTF St. Louis” as a dissatisfied woman caught in a dangerous love triangle; Michael Peña, who plays a detective assigned to the case of a missing child while his own boundaries are tested in “All Her Fault”; Andrew Rannells, who is a man coming to terms with his own life while helping to plan a funeral in “Miss You, Love You”; and Constance Zimmer, who channels the mother of Carolyn Bessette Kennedy in “Love Story: John F. Kennedy Jr. and Carolyn Bessette.” Read on for more excerpts from our conversation.
The Envelope’s 2026 Emmy Limited Series / TV Movie Roundtable: Constance Zimmer, left, Michael Peña, Linda Cardellini, Andrew Rannells, Camila Morrone and Jamie Bell.
How do you watch TV? A home theater screening room or a tablet on the go?
Morrone: When I see people on a plane watching on their phone, I’m like, “Do you know how many people worked on that?”
Zimmer: I can barely watch one on an iPad because I still feel guilty about not getting the full effect.
Cardellini: I can’t watch on my phone or an iPad. It starts to hurt my eyes. And I like to binge. I don’t like one at a time. I like to save it up, and I like a binge. I don’t have the patience.
Morrone: Oh, I love one at a time. I want to wait till Sunday night, order my favorite food, maybe have a friend come over … Guess our theories of what’s going to happen. I did that with “White Lotus” this year, and I was looking forward to every Sunday at 7 p.m.
Bell: I catch usually about 10 minutes of whatever my wife has fallen asleep to. And then I’ll get into that, and then I’ll watch a lot more episodes while she’s asleep. And then she’ll wake up, and we’ll be completely out of sync in terms of what we’re watching.
Jamie, “Half-Man” is such an emotionally intense show, and it seems like that would be a really hard head space to exist in. Are there things that you do for yourself to maintain your own sanity?
Bell: Me and Richard [Gadd], who wrote the show, are big soccer fans. So I brought a soccer ball to set a lot, and just whatever space we’re in, we just kick a ball to each other every now and then. So, a lot of that wasn’t even us really speaking to each other, but just passing a ball backwards and forwards, which was quite a nice way of just taking our minds off of whatever scene we were doing and still enjoy the space with each other and do something that was physical that didn’t really require us jumping [around] too much.
Camila, “Something Very Bad Is Going to Happen” is also a very intense show. It’s not so much a scream queen kind of horror; it’s this foreboding horror. Was that a difficult space for you to exist in?
Morrone: I think there’s an underappreciation for horror performances. I think some of the most incredible performances, especially by women, have been done in the horror genre. And I think it’s a really specific thing to do because if you’re playing only one level of horror throughout an eight-episode series, I think it’s incredibly boring. And I think I had this notion of like, “God, I don’t want to do these jump scares,” and kind of the cliches of what we imagine horror is like. But horror can be really deep and really internal, and I think there’s a lot of ways in which horror and fear manifest. And I think it was interesting to try and find levels to it and to have the audience come with you, but not dramatize or exaggerate an emotion.
Michael, in “All Her Fault” you are playing someone who could be a much more conventional detective character, but reveals more layers. Was there a moment in your career when you realized, whether it was going for certain roles or not going for certain roles, where you wanted to break out of feeling like a sidekick character or more stereotyped characters? Was there a moment where you made an effort to start going for a different kind of role?
Peña: Back when I started acting, the breakdowns for actors, it was like “Caucasian only,” “Caucasian only,” “Caucasian only,” and we weren’t allowed to audition for those. And it was only until the 14th part that it said, “Open to other ethnicities.” So there’s like a thousand of us going for the 14th place. Ten years of that, you kind of think, “I guess I’m meant to be a supporting character.” But then my mom, right before she died, what she said is, “If you’re going to do that, just make it real. What’s the best you can do with that part?” I said, “Make it a three-dimensional character.” She’s like, “Just do that.” And she’s like, “Nobody remembers your bank account.” And I was like, “Oh, these are two good pieces of advice, Moms,” and so that’s what I did. And with “Crash,” he was a gangster and I was like, “Screw it. I’m just going to do the work and try it out, and all the stuff that I was learning in acting class, I’m going to apply it to this particular role.” And I was happy with the work, so then I kept doing that.
For the rest of you, was there a moment where you had to make a decision about the kind of career that you wanted for yourself and the kind of roles you were going to go up for?
Zimmer: Sorry. It just makes me laugh because we have no control, as actors, over where they believe that we belong. I wish that we could say, “I’d like to try this now,” but it’s basically where they believe they would like us. And then you get put into an area, or a path, or a box, and you can’t get out until somebody else decides, “Hold on. We’re going to give you that shot to try this, even though it’s not necessarily what you normally do or are known for.” Then it takes that for everybody to go, “Oh, you can do this, too?” And it’s like, “Yeah, that’s my job.” My job is to do a lot of things, not just one role, or one type of role.
Rannells: You’d like to think that you’re more in control of those decisions, but sometimes things just happen.
Constance, as Ann Messina, Carolyn Bessette’s mother in “Love Story,” you have this speech that you give at their wedding dinner. It’s such an incredible scene, and I’m wondering, what was it like for you when you first read that in the script?
Zimmer: That monologue was actually my audition.
Peña: Oh, I love when that happens like that.
Zimmer: So I knew it very well, getting on the set with it. I think that I only saw two scripts out of nine episodes, and they were just the ones I was in. And I remember my team saying, “This might be it. We don’t know if there’s anything else that you’re going to do on the show.” And I said, “If this is the only thing I do, it’ll be worth it,” because it was so layered and it was so well-written by Connor Hines and Juli Weiner, I was kind of like, “This is all that matters anyway.” So, to be able to feel like I could pour the entire character into one moment in time, it allowed me to try and give her as much as possible because I was like, “This might be it.” So when I read it, I was like, “Oh, OK. That’s like those five-page monologues that you don’t get very often to do for one character in one episode.”
Linda, your character on “DTF St. Louis” has this habit of saying, “No way, José,” and it’s oddly catchy. And she also is always asking people to speak up. Is it difficult to take what seems, on the page, maybe like tics or weird habits and make them feel natural?
Cardellini: That was the great challenge of it, and it’s the beauty of [Steven Conrad’s] writing. Like we repeat “Jamba Juice,” or “Quality Inn,” or “Garden Suites,” all these little phrases, or “Snag it.” It’s so fun to find a way to make that seem like it is natural to you. I remember I had a long monologue audition, and in there I talk about, “No way, José.” I wasn’t sure what the tone was — it’s such a specific tone when you watch the show, and it’s very Steve Conrad. And I didn’t know what it was before I met him and before you could see the show in action. So getting through that and chewing through that in my audition, doing these versions of “No way, José” that I thought felt really, really natural to me, I was like, “This is how I would say it. This is how I’m going to do it. If my sense of humor matches his sense of humor, if our tones match, then I’ll get this role. And if they don’t, then somebody else will do it beautifully in that other way, whatever that is.” Luckily that was like a marriage of tone and thought, and then those things start to come naturally. And then you want to say them more often than they’re written. There’s not a lot of improv in the show, but we would all just joke around and say it to each other.
Andrew, so much of “Miss You, Love You” is just you and Allison Janney together —
Rannells: Just sitting in a house. Just talking.
What was the rehearsal process like? How did the two of you prepare for these very long dialogue scenes?
Rannells: We rehearsed it like a play, which was really fun, and I’ve never really … I mean, we did that, I guess, with “Boys in the Band” a little bit. We had done it on Broadway and then we all kind of still knew it from when we actually filmed it. But Allison and I rehearsed it like a play, and we would just run lines like little theater nerds. It was exciting because I’ve never — to get on set and to be able to say, like, “We can do the first 25 pages just because we’ve already memorized it.” And we did for Danny Moder, the [director of photography]; we did our little play for the crew one day. Which was really fun because you don’t normally get to work like that. It’s like in little segments. And [writer-director] Jim Rash just let us run it in a way that felt really satisfying to get to do. Because sometimes when you just do little pieces of things you’re like, “I can’t quite get the arc of this, and I don’t really know.” You’re doing inserts, and you’re like, “This doesn’t feel like acting.”
Zimmer: And you’re doing it out of order, so you’re like, “Wait, I’m playing the end before I’ve even played the beginning, but I don’t even know what my beginning is.”
Cardellini: It becomes detective work.
Rannells: Shout-out to Allison Janney. It turns out she’s good at acting.
Linda, what was it like working with an intimacy coordinator in shooting what certainly look like they could have been very awkward scenes in “DTF”?
Cardellini: I like an intimacy coordinator. I think it’s wonderful. I think they’re there if you would like to use them. Everybody I’ve ever worked with in that capacity has been so helpful and considerate, and I think it’s just a nice resource to have. And we had a great one on “DTF.” … One of the first scenes I ever shot was me where I have to, we call it “weight placement,” on Jason’s face. And we were scheduled to shoot that much later, but it came up the —
Rannells: That was your first day?
Cardellini: That was our first scene together, really placing your weight on somebody in a way where you just don’t want to hurt somebody’s face. I mean, you don’t want to suffocate somebody. There’s a lot of things that could happen. But it was handled so beautifully. And Jason, of course, is so wonderful, and we had such a great time doing the scenes because we just would laugh — they’re funny. The scenes, more than even being sexual, are so awkward and bizarre and filled with these strange little kinks that it becomes funny, in a way, although you treat it with dead seriousness. But Steve Conrad had a beautiful economy about what he was shooting, and he would storyboard. It was never just like, “Oh, be intimate and go for it, and we’ll see what we use.” It was, “This is the part of your body we’re going to use right here. This will be the shot. It’s this frame. We’re not going to do any more than that.” So you never felt like you were in the Wild West doing this passionate thing that felt uncomfortable. … Because, of course, going into something like that, reading the script, you’re thinking, “It’s a little nerve-racking. How am I going to do these things?” It was much easier than I could have ever imagined.
Constance, your character in “Love Story,” she embodies the other side of the glamour and the fame and the story that we all think we know. And in a lot of ways I can’t help but connect it to your character from “UnReal” in that it creates this really interesting perspective on fame. These roles, do they make you think about that, as well? Do you start to consider your own relationship to fame and your character’s relationship to fame?
Zimmer: Ann, [and] working on “Love Story” in general, really brought the price of fame to the forefront and how it can tear people apart and down and away from who they were before they became famous. And I think, in this particular story, Carolyn never set out to be famous. That was like the last thing she wanted. The scenes with me and Sarah Pidgeon, who plays Carolyn Bessette, were very much about, “How do I remind you that everything is going to change, and you are going to change?” So it made the mama bear really show up. And sadly, it’s hard to do the research about all of that and see how much media was to blame. I hate to say it, and it’s tough, especially for a woman: They really tore her apart. It definitely makes you look at things and go, “Wow, it’s so interesting what we all give up.” This is our craft. We do this as actors, yet when we step outside of our craft and our roles, we are judged on such a harsh level. We’re here for the work and to make and show these characters so that maybe you can see a little bit of yourself, or maybe it can help you with grief, or laughter, or whatever. But then, outside of our work, we are judged almost worse about how we’re aging, how we’re not aging, what we look like, what we don’t look like. It’s the hardest part, I think, of what we do.
Would the rest of you agree with that, that in some ways, it’s not the work that you’re doing, but it’s this other job that exists outside of your work, the fame aspect of it? Does that become a bigger challenge than you expect?
Rannells: So much of the promotion of things that you work on now hinges on your participation in like, “Post this picture” or “Do this video” or “Do this thing.” And that’s stuff that you just don’t think about when you say, “I want to be an actor.” You don’t think about, “Do I have to do a collab with the network?” I don’t want to do that. That’s not part of my job, but it is part of your job. That is part of it now. So that’s a tricky aspect of it that I didn’t expect.
Morrone: The other side of that coin is that there’s independent films that I’ve done, that nobody would have ever seen had I not been the poster child on social media, being like, “I love this film. Please, watch this film. This is how to watch this film.” So, then again, it can also be a really beneficial platform. And it’s such a complicated relationship because, I mean, I grew up with social media. I don’t ever remember not having a form of social media. And I wish I could be like the cool actors who aren’t on it. They’re much more mysterious.
Peña: Jamie’s not on it.
Bell: I mean, it’s not a conscious choice. I’m just not on it.
Jamie, both you and Linda have been acting since you were quite young and, in some ways, have grown up on camera. How do you know what of yourself to hold onto, what you allow the public to see? Is that something you , at some point in your career, had to make a decision about how much of yourself you were going to give away?
Bell: I’m quite a boring person. I’m a dad. When I’m not working, I’m just dad and school running and that kind of thing. And also, I enjoy working. So most of my time is spent either trying to get the next job, or thinking about the next job, or just really working hard on that because I enjoy that. So I really don’t think about any of that other stuff. And I’ve been quite fortunate in that no one is particularly interested in banging down that door anyway …which I’m quite relieved about, honestly, because I feel like I get to work in a space where I’m just coming and playing the part, and I’m going home. That’s all I’ve ever done is since I was like 12 or 13 years old, and I still enjoy that. I still enjoy that thrill of going to work and playing the character. And I have incredibly high expectations of myself and all those things. I self-flagellate a lot on the way home, like, “Why didn’t you do it like that?” I stress myself out about that kind of stuff, but I still go back the next day going like, “God, maybe I’ll get it today.” And that excitement still exists. And I think mostly that’s because I don’t have this other side of stuff that is distracting me from anything.
Cardellini: When I first started, I wondered if I would ever make a living at it. And to be able to have had it as my job and to have a job that I love and, like you said, show up and just be excited to do the work and be excited to be around other people who do the similar work or behind the camera… It’s such a beautiful community that I feel very grateful that I’ve been able to grow up doing what I love. I mean, I wouldn’t have guessed that it could have lasted this long. And people always said, like, “Oh, when you get to a certain age, it gets terrible for women.” And I still feel like I’m still learning and growing and doing new things, stuff I’ve never done before. So I just try to turn down my worry and just be so grateful in the moment, which is not always easy for me because I can live with a lot of anxiety. But thinking about it and listening to everybody here right now, I just am very grateful to have a seat at the table, literally and figuratively.
I’d imagine for all of you that you’re probably never quite sure what roles you do that are going to be the ones that hit in a certain way. Do you ever know what movies are going to land with audiences?
Peña: I think I’ve done OK in that department where if I read something and it really moves me, I just want to be a part of it. I mean, they had their own success, in a way. “Eastbound & Down” was so funny. When I read the character, I was like, “Oh, this is a really cool character.” And now the meme… There’s a fart meme. Man, I swear to God, we shot that 15 years ago, and literally I do a fart noise, and I say, “How long have you been with her?” It sucks now because I’m like, “That’s all they know me for. Not ‘Crash,’ not ‘World Trade Center,’ not all the movies that were nominated, this and that.” It’s the fart noise.
Rannells: Is that going to be your In Memoriam thing?
Peña: Can you imagine? Let’s watch a clip here of Michael —
As we talk about these past projects you’ve been a part of, it just leads to the question of how the business of being an actor, the nature of this as a job, has changed for you over the years.
Rannells: When I started, and I started in the ensemble of “Hairspray” on Broadway, I never expected that I would ever get a job on television. That just seemed very far away. So the fact that I get to do it and that I have a tiny bit of control over what I get to do is a real gift because it was very unexpected. My first TV job, I was a headless stripper on “Sex and the City.”
Morrone: What episode?
Rannells: It wasn’t a Halloween episode. They just didn’t shoot my face. But I remember filming it and being like, “I can’t imagine this will ever happen again, that I’ll be on a set, or doing a TV show,” So it’s still sort of a surprise anytime I get a job that I’m like, “Someone’s going to pay me to do that, to make faces.”
It seems like everyone in Hollywood right now is talking about artificial intelligence. For all of you, is that something that you are thinking about for yourself? Have you experimented with it at all?
Morrone: I really want to believe that people will always choose us and real emotion, and that the audience is really smart and they want to see real humans and real life experiences and raw emotion. And I pray that that’s the case. I have a lot of hope in humanity, in that case.
I don’t know what it means for us in the near future. I know that we have to protect ourselves. I actually was working with Patricia Arquette, she directed me in a film called “Gonzo Girl.” And she is so hyper-aware of all of this and looking into all her contracts. So was Jamie Lee Curtis. I got the opportunity to talk to her about AI. And they were so knowledgeable and like, “Go back and look at everything that you’ve done the last 10 years, and review everything, and make sure that they can’t use your likeness in the future.” I mean, it’s something that we really do have to be aware of.
Peña: I don’t think that it’s going to be a threat because it’s working off of a database and whatever has been uploaded onto that particular AI. So, just for s— and giggles, I was like, let me see if it can write some jokes. So, I’m like, “What would Peña say in this one?” I was like, “Lame.” All the jokes sucked, and they were recycled jokes. And I was like, “OK, cool. That gives me hope.”
NEW YORK — The World Cup, a 48-team, 104-match behemoth kicking off this week in Los Angeles and across 15 other cities in the United States, Mexico and Canada, presents an unprecedented security challenge, with more countries, games and a larger footprint than ever before.
It also comes against the backdrop of the U.S. and Israel’s war with Iran, mounting political violence in President Trump’s orbit and growing fears of artificial intelligence-fueled disruptions, creating a complex threat environment for authorities.
Overseeing the sprawling security apparatus is a legion of federal agencies, state and local police departments and private entities. Their responsibilities range from securing stadiums and fan zones to escorting teams and protecting dignitaries.
Their tools include hunter drones that can shoot nets over objects in restricted airspace, bag-inspecting robot dogs, giant X-ray trucks and thousands of AI-powered cameras trained on public spaces soon to be thronged by fans.
In the U.S., it’s “78 Super Bowls over 39 days,” said Andrew Giuliani, executive director of Trump’s World Cup task force, which is overseeing the multiagency effort.
“There’s never been a summer like this in American history from a security angle,” said Giuliani, son of former New York City Mayor Rudolph W. Giuliani. “We’re as prepared as we can be.”
Collaborative effort
The tournament has the same high-level federal security designation as the Super Bowl, just below a presidential inauguration or a national political convention, ensuring federal, state and local coordination. It coincides with other major events linked to the 250th anniversary of America’s founding.
So far, Giuliani said, there are no credible threats.
The Department of Homeland Security, focused on Trump’s immigration enforcement crackdown and with a funding lapse only recently resolved, estimates that as many as 7 million people will visit the United States for the World Cup.
The U.S. Secret Service, under scrutiny after security breaches and attempts on Trump’s life, is in charge of protecting world leaders who show up to cheer on their countries. Trump has expressed interest in attending a match.
“I feel very comfortable where we’re at, and we feel like we have a zero-fail mission,” Homeland Security Secretary Markwayne Mullin told Congress last week, noting that the Secret Service was understaffed by about 860 agents. “But it’s going to be complicated.”
Officials have indicated they are confident they can keep Trump safe because they will be integrating his usual security into the robust World Cup plan on days he may watch a match.
The FBI has spent two years developing its security plan, incorporating lessons from other major events such as the Macy’s Thanksgiving Day Parade and New Year’s Eve ball drop in New York and testing them at smaller ones, including last weekend’s Israel Day parade in the city.
“We prepare for the worst day,” FBI Special Agent in Charge Amit Kachhia-Patel in New York told the Associated Press. “And that’s how we go into any single event.”
To help cover security costs, the Federal Emergency Management Agency has distributed $625 million to the 11 U.S. host cities. An additional $250 million is being directed toward tracking and neutralizing suspect drones.
The disbursement of those funds was held up by the department’s funding delay in Congress, which the Trump administration has argued hindered security planning.
Others involved in the planning effort said the federal government could have played a more hands-on role even before the partial shutdown.
John Cohen, a former senior Homeland Security official who has been briefing state leaders before the matches, said the government was largely absent from planning meetings last year and did not begin sharing threat intelligence with host regions until recently.
“With an event of this magnitude, one would expect the federal government would’ve played a more active role,” Cohen said. “It felt like a missed opportunity to showcase that collaboration.”
Evolving threats from drones and AI
In January, thousands of officials involved in World Cup security gathered for exercises simulating crowd surges, vehicle attacks and mass shootings.
A month later, the U.S. and Israel launched a war with Iran.
“The security picture fundamentally changed,” said Stefano Ritondale, chief intelligence officer at Artorias, a defense intelligence company not involved in the security preparations. “There’s a major difference in preparing for a lone-wolf radical who rams his car into a public place and a terrorist who is bankrolled by a foreign country we’re at war with.”
Among the greatest concerns are drones.
Since the last World Cup in Qatar in 2022, drones have become a prominent weapon in conflicts including Russia’s war in Ukraine and Hamas’ attack on Israel on Oct. 7, 2023.
“If there is one threat that keeps me up at night, it is from drones,” said New York City Police Commissioner Jessica Tisch, whose department is partnering with the FBI on drone mitigation.
Drones are prohibited over stadiums and fan zones, and Kachhia-Patel said the FBI has a “full suite of options” to thwart incursions. They include agents monitoring the sky and a “variety of means” to safely down the devices, he said without elaborating.
Before this year’s World Cup, the growing sophistication of AI videos was a particular concern, with officials warning that state actors can harness the technology to sow misinformation and panic.
On match days, the FBI will activate joint operations centers in each host city, bringing together local, state and federal law enforcement agencies to monitor and investigate threats.
“If there’s a video that shows an explosion going off at a site, and it’s AI-generated, we have people on the ground who can validate whether or not that’s true,” Kachhia-Patel said.
Opportunity for private tech
Some AI companies have pitched themselves to police departments in host cities, promising to comb through data and surveillance on game days to prevent threats, including unruly fan behavior.
“We know sports fanaticism around here in terms of the NFL and baseball to some extent, but nothing like international soccer,” said Jake Becchina, a police spokesperson in Kansas City, Mo., which is hosting six matches.
The department has contracted with Peregrine Technologies, which promises to sift through police data and publicly available information such as team practice locations and the country affiliation of popular bars, to get ahead of possible conflict.
In Dallas, a recent $120-million tech upgrade will give local police body cameras capable of real-time translations, helping law enforcement communicate with international visitors soon to descend on the region.
Several drone detection and mitigation companies are joining efforts to help federal agencies secure the skies.
One of those companies, Fortem, has claimed to have signed a multimillion-dollar contract with the Department of Homeland Security before the World Cup for an unusual drone mitigation strategy: quadcopters that can shoot nets at encroaching drones to trap them in midair. A Homeland Security spokesman declined to discuss the contract.
Just as the teams will aim to perform their best on the pitch, Giuliani said the security planning was a unique chance to “show off American exceptionalism.”
“If we do our job right,” Giuliani added, “nobody will be talking about security at the World Cup.”
Offenhartz, Sisak and Santana write for the Associated Press. Offenhartz and Sisak reported from New York, Santana from Washington. AP writer Alanna Durkin Richer in Washington contributed to this report.
The star – who is undergoing a hair transplant – said bluntly: “We’re not talking about Pete Wicks,” then laughed wickedly.
Sidekick Tyrique asked: “What’s going on with Pete Wicks?”
Olivia and Pete have grown closer and closer since her splitCredit: GettyThe pair starred together in Olivia Marries Her MatchCredit: instagram/oliviameetshermatch
An angry Ronnie vented: “F**k him.”
The star continued: “Brad’s my boy, man. My brother, and that’s all I’m saying.”
The 2024 villa star’s friendship with presenter Olivia has gone down the drain following her split with ex husband Bradley Dack.
The estranged couple got engaged in DubaiCredit: InstagramThe cosy couple were spotted snogging in a bar earlier this yearCredit: The Sun
As revealed by The Sun, Olivia severed ties with the Love Islander earlier this year – with Ronnie telling friends there’s no going back afterOlivia moved onwithPete.
Olivia first found fame on Love Island in 2017 when she reached the final with Chris Hughes.
She encouraged ex pal Ronnie to follow in her footsteps seven years later when he signed up to theITV2show.
Fans are still in the dark about what made ended Olivia’s relationship with her on/off partner of 11 years.
However, claims of a “breach of trust” on Bradley’s side were first reported as news of the split broke.
It’s thought Olivia later turned on Ronnie, who was Brad’s best man at their wedding, after discovering “he knew more than he let on”.
Lothario Pete has since fallen out with Ronnie and BradleyCredit: GettyThe former husband and wife had been together on and off for over ten yearsCredit: Getty
Ronnie made it clear he’s taken Bradley’s side by unfollowing her on Instagram after she was pictured kissing Pete in a packed hotel bar.
Olivia had already unfriended Ronnie online at the same time as she unfollowed Bradley.
Pete has known Olivia for around nine years and they both starred in Towie in 2019.
Last August they were pictured cosying up together as they partied with friends on a yacht off Ibiza, leaving Olivia “in the doghouse” with Bradley.
Since her marriage separation, speculation has mounted that Olivia has moved on with lothario Pete.
Caitlin Clark says everybody making a big deal about a heated moment on the bench between her and Indiana Fever head coach Stephanie White has gotten it “blatantly wrong.”
“I know there’s a camera on me … but there’s a lot of people out there in the media or on TV that think they know a lot of things, and they’re just blatantly wrong,” the star point guard said on Monday. “It’s just another example of what everybody … want[s] to blow up and make something that is just … not in reality.”
Clark was addressing a moment that occurred during the Fever’s 100-84 loss to the Portland Fire on Saturday. The viral footage appears to show Clark and White having a heated exchange while the team is huddled on the bench. White then subs Clark out for Raven Johnson, having her take Clark’s seat, as they presumably continue to discuss their next play. Kelsey Mitchell and Makayla Timpson appear to try to calm Clark, who can be seen shaking her head while standing behind her coach.
As with many moments involving the 2024 WNBA Rookie of the Year, video capturing the exchange was widely circulated and discussed among fans and pundits online and on TV.
Clark dismissed the moment as just “two people being competitive, two people that really want to win” and pushed back against it being described as “a blow up.”
“I ride for Steph, I ride for these girls. Steph has my back more than anybody,” the two-time All Star said. “Nobody in … our locker room, or Steph, or our coaching staff, thought twice about it.”
Clark’s teammate Lexie Hull was also asked about the moment on Monday during an appearance on Yahoo Sports Daily, and the Fever guard indicated it wasn’t even a blip on the team’s radar.
“That’s part of the game,” Hull said after mentioning the team had been in some foul trouble. “There’s frustrations that rise, and decisions have to be made, and ultimately, this wasn’t something that carried on. This is, in the moment, something that happened, and not something that is talked about now in our locker room or talked about even later on in the game.”
White echoed her players’ sentiments Monday, saying the footage just captured her coaching.
“I was challenging a player,” White said. “It’s coaching. … My relationship with Caitlin is great. … She wants to be coached. I want her to help me be a better coach. We’re both competitive, we’re both stubborn, we’re more alike than different. Hopefully we continue to bring the best out of each other.”
White attributed the attention to Clark’s popularity and how “everything that she does gets clicks.” She also pushed back against attempts to frame these moments as “tense.”
“It’s not a new thing,” White said. “It happens in every sport … and it’s not a story.”
Clark, the 2024 No. 1 draft pick, first gained buzz for her three-point shooting during her college years at Iowa. While her popularity has carried over into her WNBA career, she has more recently been increasinglyscrutinized for her demeanor and perceived disrespect toward coaches and officials rather than for her play. Her injury-plagued 2025 campaign and the Fever’s less-than-stellar start to the 2026 season haven’t helped. The Fever are currently 4-4 and ninth in the WNBA standings. The team went 20-20 in the regular season during Clark’s rookie campaign and 24-20 in 2025 (Clark played just 13 games).
“There’s immense amount of pressure, and sometimes that pressure can get you and frustrate you in different ways,” said Clark. “I want to win. This team wants to win, and I’m the point guard, so it’s on me to help this team and this franchise win.”
Weeks after Trump administration officials announced that management of NASA’s Jet Propulsion Laboratory would open to competitive bidding for the first time, questions remain as to why Caltech could lose control of the lab its researchers founded in 1936.
On one hand, observers note, high-profile delays and cost overruns on significant recent JPL projects earned sharp criticism from NASA even before the 2024 presidential election.
On the other, the second Trump administration’s record of squeezing scientific funding and attacking institutions in Democratic-led states make it difficult to consider any action as separate from the charged political atmosphere, analysts say.
“My first instinct is that this [competition] isn’t necessarily a bad thing. It’s not written in stone that Caltech must run JPL, and it wouldn’t be the worst thing to have some competition for running the place,” said Casey Dreier, chief of space policy at the nonprofit Planetary Society.
“That said, that requires this contract evaluation to be fair and unbiased, and this administration has no credibility in such things,” he added. “The responsibility is on NASA to earn the trust and ensure such an evaluation is open and free from political meddling. That’s almost impossible.”
JPL became part of NASA when the space agency was formed in 1958, and Caltech has been awarded the contract to run the institution outright ever since.
Its current 10-year contract with NASA, which is valued at up to $30 billion, runs through Sept. 30, 2028.
NASA Administrator Jared Isaacman announced the competition on May 22 as part of a slate of sweeping organizational changes at the space agency.
“When you step back, it is worth considering how many additional missions we could have undertaken with the resources lost to program cancellations and cost overruns over the years,” Isaacman wrote in a memo to staff. “That is the problem we must fix, so the American taxpayer and space-loving community can receive the highest scientific return on every dollar we spend at NASA.”
Allowing competition on the contract for JPL, the lone Federally Funded Research and Development Center (FFRDC) in NASA’s portfolio, was an effort to address cost-efficiency concerns, Isaacman wrote.
“This process will take several years, and I do not anticipate it having any impact on the projects underway or the location of the facilities,” he wrote. “It does, however, provide an opportunity to evaluate management costs, overhead burdens, and ideally find ways to get after the science faster and more affordably.”
In a joint statement, Caltech President Thomas F. Rosenbaum and JPL Director Dave Gallagher said that the competition was “no surprise” and that a team was already in place “to ensure we are positioned for success.”
In July, NASA’s Office of Procurement held an informational event for companies and institutions interested in the upcoming FFRDC contract.
The dozens of registered attendees included universities such as USC, Texas A&M and Georgia Tech; aerospace companies such as Boeing and Lockheed Martin; and nonprofit corporations like MITRE, which manages several FFRDCs, and Universities Space Research Assn., a university consortium founded by the National Academy of Sciences in 1969. (SpaceX, which has been awarded more than $13 billion in NASA contracts in the last decade, was not on the list.)
“Lockheed Martin has more than 50 years of deep space exploration success with JPL, supporting landmark missions to Jupiter, Venus, Saturn, Pluto, including nearly a dozen missions to Mars,” said Bob Behnken, vice president of exploration and technology strategy. “We look forward to building on that unmatched partnership in the years ahead. We are closely following NASA’s review and will continue to assess how we can best contribute to the agency’s mission.”
Other attendees contacted by The Times declined to discuss their involvement.
Isaacman indicated that JPL could come under scrutiny even before he took over NASA. The billionaire entrepreneur referenced high costs at the La Cañada Flintridge institution in a memo prepared in advance of his confirmation hearings on his priorities for the space agency.
“Contract structure: Very expensive,” Isaacman wrote of JPL in a table outlining organizational issues at each of NASA’s centers. “Must increase the output and ‘time-to-science’ KPI,” or key performance indicator.
After the JPL-managed Psyche mission to a metal-rich asteroid failed to meet its 2022 launch date, NASA commissioned an independent review that said internal reorganizations and personnel changes created distracted and uninformed managers and burned-out, stretched-thin staffers.
After a 2023 independent review found there was “near zero probability” of the JPL-managed Mars Sample Return mission making its proposed 2028 launch date, and “no credible” way to bring rocks back from the Red Planet within the stated budget, Isaacman’s predecessor, Bill Nelson, put out a call for proposals to industry and all other NASA centers, forcing JPL to compete for its own project.
After Trump’s election, Nelson announced that the final decision would be in the next administration’s hands.
The White House pushed for massive cuts to NASA’s 2026 budget that Congress overturned, and has lobbied for similarly steep cuts again this year. JPL has instituted painful cost-cutting measures of its own, reducing staffing from roughly 6,500 employees in 2023 to 4,500 last year through layoffs and attrition.
Its struggles come at a point when NASA is enthusiastically embracing private industry. Last month the agency awarded several key contracts for its upcoming lunar missions to Jeff Bezos’ Blue Origin and other private companies.
Trump has also made no secret of his willingness to punish states that haven’t voted for him through job losses. In announcing his decision to move U.S. Space Command from Colorado to Alabama, Trump acknowledged that his loss in Colorado in three presidential elections played a part in the move.
It’s impossible to consider any decision on JPL’s future as separate from the administration’s track record of politically motivated decisions, Dreier said.
“At the heart of this is why? Why now? If this is not just some rank political attack on California, what do they hope to gain from this?” he said. “That deserves explanation, because the administration otherwise has no credibility here.”
Will Smith crouched, his left knee on the ground and his mitt grazing the dirt as his Team USA teammate Mason Miller strode towards the plate.
From there, the only way for his glove to go was up and through the slider that fell out of the strike zone as the Dominican Republic’s Geraldo Perdomo stopped his swing. But, in a full count, home plate umpire Cory Blaser called it strike three.
“That’s the work we do in the cage, and off the machine, and drills, and all that coming to fruition, and being applied to in-game,” Smith said in a recent conversation with The Times.
He has a slim chance of replicating that moment during the season, with the ABS challenge system implemented in MLB. If it had been in play during the WBC — as long as the Dominican Republic had challenges left — Perdomo surely would have used one on the final pitch of that 2-1 game.
And yet, as counterintuitive as it may sound, Smith dedicated time and effort during spring training to improving his framing.
“It’s important because you only get two challenges a game, offensively and defensively,” Smith said. “The whole team only gets those two. So the harder I can make it on the other team to challenge pitches, the better. The more strikes I can get and not have to challenge, the better. I think overall, it almost makes it more important, in a way.”
United States pitcher Mason Miller and catcher Will Smith celebrate a WBC semifinal win over the Dominican Republic.
(Rebecca Blackwell / Associated Press)
Framing had been a weakness in Smith’s game in recent seasons, according to Statcast’s catching metrics. His best season was 2023, when he recorded four runs saved via pitch framing. But he slipped to minus-eight and minus-10 the next two seasons. Entering the Dodgers’ series against the Phillies this weekend, he was at an even zero after 43 games at catcher this season, including 39 starts.
And now, when Smith doesn’t get a call, he has ABS to fall back on. Entering Friday, he’s challenged 41 calls through the ABS system from behind the plate, the 10th-most of any catcher. And he had a 71% success rate, the ninth-best mark among catchers with at least 20 challenges.
Because the catcher has the best vantage point, teams across the majors have made their catchers, not their pitchers, the point men for ABS challenges on defense.
ABS as a skill, however, isn’t just about getting the challenges right. Knowing the right times to take a risk is also key.
“There’s so many games within the game,” Smith said, “and that’s just another one of them.”
As Smith alluded to, under the challenge system — as opposed to fulltime ABS, which MLB also tested in the minors — it’s still possible to steal strikes.
“I like the challenge system because you still have the human error element to the game,” Smith said. “…Everyone always talks about how it’s a game of life, dealing with failure and dealing with ups and downs — the umpire screwing you or catching a break, that’s part of the game.”
Dodgers catcher Will Smith walks to the dugout after the fifth inning of a Dodgers-Marlins game at Dodger Stadium on April 27.
(Ronaldo Bolanos/Los Angeles Times)
Now, the players have recourse for the egregious calls and the biggest moments of the game.
The margins are so slim, however, that if a hitter isn’t convinced enough on a borderline strike call, and the situation dictates caution, he may not challenge.
The same goes for a catcher on a borderline ball call.
That’s where Smith’s work on framing comes in. He describes it as a change in philosophy.
“For me, it’s more just understanding the move,” Smith said. “I had to drill it in a little bit obviously, but more understanding the move of going farther out to get it, working through the ball, more like towards the pitcher, as opposed to letting the ball kind of come back to you. That was just not how I’d ever done it.”
That’s what he did on that last pitch of the WBC semifinals. Moving through the ball creates a more seamless motion, compared to pulling it into the strike zone, making the frame job more convincing. And catching it out in front also stops the ball’s own movement before it gets too far out of the zone.
That’s how Smith made a pitch that appeared to cross the plate below Perdomo’s knees look like a strike from Blaser’s vantage point.
The effect Smith’s spring training work behind the plate will have on the Dodgers’ season will be subtler. Instead of a singular game-defining moment, it’ll be an edge here and there.
But over the course of a long season, that adds up.
The Vicar of Dibley star Dawn French was taken aback when a fan yelled at her in the street enthusiastically but had mistaken her for her fellow sitcom legend Dame Joanna Lumley
23:01, 25 May 2026Updated 23:09, 25 May 2026
Dawn French was taken aback aback when a fan thought she was Joanna Lumley(Image: dawnrfrench/Instagram)
Dawn French was taken aback aback when a fan mistook her for Dame Joanna Lumley. The comedienne, 68, is best known playing the title role of Geraldine Granger in The Vicar of Dibley, while former model Joanna, 80, starred as boozy fashion magazine editor Patsy Stone in Absolutely Fabulous alongside Dawn’s sketch comedy partner Jennifer Saunders.
“Oh, thank you very much!’ [And they said] ‘No, you are Absolutely Fabulous, Joanna Lumley. That’s you!’ Yeah that’s me all right!” Captioning the post, she wrote: “ABSOLOOOOTLY FABLUSS!!!”
Fans were quick to react to the post, with one simply writing: “Joanna Lumley,” and leaving behind a string of crying-laughing emojis. Referring to a moment from the second series of The Vicar of Dibley, in which Geraldine is mistaken for a celebrity, another fan wrote: “Its like someone thinking you’re Alison Moyet all over again!”
Another joked: “You’ve finally made it [face palm emoji]” and a fourth said: “Recognition get it where you can! and another said: “Poor fella probably thinks Joanna Lumley was a lady vicar.”
Author and singer Jann Arden wrote: “joanna lumley!! just the best. I once had someone come up to me in the grocery store, they were awfully excited and then proceeded to tell me that I looked like Jann Arden’s mother. So there’s that.”
Dawn is actually part of the history of Absolutely Fabulous, which followed the capers of hapless PR guru Edina Monsoon and her best friend Patsy.
The sitcom, which ran sporadically over the course of 20 years, was initially based on a sketch that appeared as part of French & Saunders titled Modern Mother and Daughter, where Dawn played the part of Edina’s straight-laced daughter Saffy, and the part was eventually taken on by Julia Sawalha when the project was greenlit as a full series.
Dawn later made a cameo appearance as a television presenter in the first series, and reprised the role for Absolutely Fabulous: The Movie in 2016, alongside a host of other guest stars like Rylan Clark, Kate Moss and Dame Joan Collins.
Joanna’s early career consisted of appearances in Coronation Street and The New Avengers but she has also gone on to become known for narrating a host of travel documentaries, and has found renewed sitcom success with a starring role in Amandaland.
Meanwhile, as well as French & Saunders and The Vicar of Dibley and more recent TV roles with Can You Keep A Secret? , Dawn has carved out another career as an author, having recently released her fifth novel Enough.
It follows a woman named Etta who at 68 invites all of her family to go to the beach as the sun is rising, where she tells them that by sunset, she won’t be there anymore.
“She’s made a decision to excuse her kids from the difficult, prickly last part of life,” Dawn said as she appeared on The One Show. “And she has made this decision thinking that it’s extremely selfless to do that.”
The star told the BBC show’s hosts Angellica Bell and Clara Amfo that she felt that the fact her own father had died by suicide gave her some “permission” to write the story. Dawn also shared that her own age – 68 – was also a factor when she penned the book.
She said: “I feel a little bit of permission to write this theme because I am a child of suicide myself. My dad took his life when I was 19. And I have lived with the various stages of grief about that for my whole life.”
Love Your Weekend host Alan Titchmarsh questioned Jeremy Vine after the presenter opened up about an embarrassing celebrity encounter.
Jeremy Vine spoke about his eventful bathroom visit(Image: ITV)
Jeremy Vine has shared a cringe-worthy story about meeting one of pop music’s biggest stars under rather unfortunate circumstances.
Love Your Weekend With Alan Titchmarsh returned to ITV this morning, with the much-loved presenter heading to The Big Cat Sanctuary in Kent for this week’s episode.
The veteran host kicked off the programme by quizzing his celebrity guests about their greatest “pinch me moments”.
Jeremy then launched into a rather risqué anecdote about a particularly memorable bathroom visit during his time at BBC Radio 2, prompting Alan to step in with a cautionary word.
“Behind Radio 2 reception there was a loo…” he began, as Alan interjected: “I think you’re going to take this slightly downmarket…”
“I wont!” Jeremy insisted as Alan questioned: “Is this really necessary?”
Jeremy then explained: “I’ve got to tell this story; I’ve got to unload because I haven’t really told it before.”
Alan then cheekily warned Jeremy that the phrase ‘I’ve really got to unload’ hardly inspired great confidence given the direction the tale was heading, reports the Express.
Undeterred, Jeremy continued: “So behind Radio 2 reception there is a single cubicle toilet and it was always locked because the receptionist said we don’t want anyone going in there for obvious reasons.
“And one day I was bursting and I could see the door unlocked, so I say, ‘Do you mind if I go in?’ and I lock the door and I’m in a seated position…
“You’re on the verge of oversharing!” Alan exclaimed, as Jeremy continued: “I don’t understand what’s going on outside the door because I’ve got no idea.
“But Barry Gibb of the Bee Gees has said to reception, ‘I need to use the loo urgently.’
“And reception looks round and the door is locked because it always is because they lock the door to stop people using it,” he clarified.
“So they gave him the master key and I’m sitting in the loo in a seriously private moment and [the door] suddenly opens and Barry Gibb walks in!
“This is the guy who wrote Islands in the Stream!” Jeremy added, as the studio erupted into laughter.
“He walks in a completely continuous movement and I think he made the noise ‘ha?!'” the presenter said, imitating a similar sound to what the Bee Gees sing in their famous track, Stayin’ Alive.
“I’ve only met him once and that was it,” Jeremy concluded, as Alan swiftly steered the conversation elsewhere.
For her standout moment, Kate recounted the occasion she encountered legendary Hollywood actor Dustin Hoffman following a theatrical performance.
She recalled being completely starstruck having previously watched him in classics such as Tootsie and The Graduate, while younger cast members recognised him from the animated blockbuster Kung Fu Panda.
Meanwhile, Michael disclosed he had recently had an audience with Pope Leo XIV, describing it as amongst the greatest days of his life.
Love Your Weekend With Alan Titchmarsh airs every Sunday at 9.30am on ITV1 and ITVX.
WASHINGTON — For much of President Trump’s second term, Republican senators have largely stayed in line, wary of the consequences of defying a president with a history of targeting those who cross him. This week, that dynamic noticeably shifted.
Senate Republicans blocked two of Trump’s legislative priorities, angered by the push to create a $1.8-billion federal fund to compensate people who claim to have been politically persecuted, including rioters who assaulted the Capitol on Jan. 6, 2021. The revolt forced Republican leaders to pull a planned vote on legislation to fund the president’s immigration crackdown and security features for the president’s White House ballroom project.
In response, the president defended the fund and lashed out at its critics.
“I gave up a lot of money in allowing the just announced Anti-Weaponization Fund to go forward,” Trump wrote in a post on Truth Social. “Instead, I am helping others, who were so badly abused by an evil, corrupt and weaponized Biden Administration, receive, at long last, JUSTICE”!
The president also called Republican senators who broke with him quitters who are “screwing the Republican Party.”
The friction, which has been building for weeks, is being watched as potential test to the limits of Trump’s grip on his party amid an already tense political environment heading into the midterm elections.
“This is kind of a perfect storm,” former Sen. Jeff Flake (R-Ariz.) said on NBC’s “Meet the Press.” “It may be that this time you can point to it and say this is when the great migration begins, away from some of the president’s policies and away from the fear that the president can target you.”
Whether this week marks the beginning of that moment — or simply another episode of political turbulence that fades — is the central question now handing over Trump’s second term.
Not the first break — but an escalation
This is not the first time Republicans have broken with the president. In November, Congress overwhelmingly voted to force the Justice Department to release of the Jeffrey Epstein files, an effort that Trump unsuccessfully tried to thwart for months.
The Epstein vote showed that on the right issue, under the right circumstances, Republicans could be moved to defy Trump. This week, the creation of the fund changed the circumstances again, and the number of Republican senators willing to act quickly grew.
This moment comes after months of rising costs during the war in Iran, efforts by the president to oust members of his own party and now a set of proposals that are proving hard to defend in an election year.
“What you have is basically a bunch of people who feel a bit under siege,” said Bob Olinksy, the senior vice president of Structural Reform and Governance at the Center for American Progress. “At the same time, they know that most of what the president is doing is unpopular, and they’re the ones who are going to be standing for reelection in November.”
Republicans push back
Senate Republicans leaders are now asking the Department of Justice to reconsider the terms of the fund, underscoring just how politically toxic the idea has become within the president’s own party.
Sen. Kevin Cramer (R-N.D.) told reporters that the politically speaking, the fund is “unexplainable.” Sen. Susan Collins (R-Maine) told the New York Times the fund should be in real trouble. Sen. Mitch McConnell (R-Ky) called the fund “utterly stupid” and “morally wrong.”
Sen. Thom Tillis, a North Carolina Republican whom Trump has singled out for going against him, was equally unsparing, saying he opposed “using billions of taxpayer dollars to compensate convicted felons and thugs who attacked police.” He also criticized the administration for pushing domestic and foreign policy issues that he says are bad for housing and the military.
“If opposing these things makes me a RINO [Republican In Name Only], then I gladly accept that nickname,” Tillis wrote on X. “We need Republicans to do well in November, but the stupid stuff is killing our chances!”
The Republican push back comes as the concern about self-dealing runs deep across the electorate.
A recent poll Economist/YouGov poll found that 59% of Americans believe Trump is using his office for personal gain, though that belief is sharply divided among partisan lines. A CNN poll found that 37% of Americans say Trump puts the good of the country above his personal gain, while 32% say he is in touch with the problems of ordinary Americans.
Asked if the political environment influenced the actions this week, Senate Majority Leader John Thune (R-S.D.) told reporters that there is a “political component to everything we do around here.”
Funds and tax immunity clauses
Senate Democrats are wondering if the fund will mark a watershed moment for Republicans.
“Have Republicans finally found a bridge too far?” Sen. Richard Durbin (D-Ill.) told reporters after Republicans left Washington without funding Trump’s priorities.
Democrats have called the fund an illegal abuse of power designed to line the pockets of Trump’s allies with taxpayer dollars. Sen. Chris Van Hollen (D-Md.) called it a “pure theft of public funds.”
The fund was created as part of a settlement resolving a $10-billion lawsuit Trump personally brought against the Internal Revenue Service over the leak of his tax returns. Alongside it, the deal says the IRS is “forever barred and precluded” from pursuing any tax claims against Trump and his businesses.
The fund, however, has been the target of most of the bipartisan ire. Mostly because Trump and administration officials have not ruled out that it could stand to benefit people who carried out violence during the Jan. 6 riot.
The public funds, if disbursed, would come from the federal judgment fund, which is a Congress-approved ongoing appropriation that allows the Justice Department to settle cases and make payouts. In the past, Republicans have taken issue with the fund. The GOP-controlled House Judiciary Committee characterized it an abuse in 2017.
Several of the president’s allies have already talked about tapping into the fund.
Former Proud Boys leader Enrique Tarrio, who was convicted of seditious conspiracy and later pardoned by Trump, told CBS News he would seek a payout from the fund.
“I was targeted,” Tarrio said. “And I do believe that this fund does apply to me.”
On the eve of the City Section championship baseball game at Dodger Stadium, let’s explore a sometimes forgotten character trait: Patience.
When JJ Saffie walks onto hallowed ground Saturday as a starting left fielder for 10-time City champion El Camino Real High in the Open Division championship game against Birmingham, he will be finishing a journey few want to travel these days.
He spent three years on the junior varsity team waiting and grinding before getting his chance to start on varsity this season.
“Very patient,” he said. “Freshman year, played frosh-soph, called up for a few JV games. Sophomore year, on and off starter on JVs. Junior year is when it started clicking for me. I found my bat, I found the style I like to play, I started hitting real good.”
He was part of an outstanding JV team his junior year, called up as a pinch runner for the playoffs. He developed power and a knack for hitting balls over El Camino Real’s left-field fence during batting practice.
“I’ve hit two windows and six cars,” said the 18-year-old, who likes to cause mayhem for insurance companies.
El Camino Real celebrates a 4-3 win over Granada Hills to earn a trip to Dodger Stadium on Saturday.
(Craig Weston)
He’s hit two home runs this season and become a key player for the Royals.
Now he gets to start at Dodger Stadium, a moment every high school baseball player in the City Section dreams of reaching.
“I’m a big believer in good things will come to those who are patient,” he said. “I knew I needed to be patient, work on my game and eventually success would come my way and I’d have my opportunities and here’s my opportunity. I’m trying to prove that Saturday.”
El Camino Real needed a two-run single by RJ De La Rosa in the bottom of the sixth inning on Wednesday to defeat Granada Hills 4-3 in the semifinals at Cal State Northridge.
“I saw my pitch,” De La Rosa said. “I wanted to take advantage. It was the bottom of the sixth. The team needed me most and I pulled through. It was an amazing moment. These boys are my brothers. I will fight for them. I will do everything for them. I can’t wait to make some memories at Dodger Stadium.”
For Saffie, staying and fighting to get better rather than running away from a challenge is a great lesson for others.
“I had a few people tell me to transfer,” he said. “But my sister came here, my dad. I want to prove myself at this school.”
Top-seeded Birmingham will have junior Nathan Soto starting on the mound in the 1 p.m. game. It’s a big assignment and he’ll be working on his mental part of the game.
“It’s just another game,” he said after the Patriots’ 4-1 semifinal win over Carson. “I think it’s everyone’s dream to pitch there, but you have to keep it as a normal game.”
Pitcher Carlos Acuna grinded out a complete game in Birmingham’s 4-1 win over Carson to send the Patriots to Dodger Stadium.
(Craig Weston)
Birmingham can thank Carlos Acuna for putting together a sophomore season to remember. His pitching season is done. He finished with an 11-0 record after a complete-game win against Carson.
“It’s an amazing season he’s having,” coach Matt Mowry said.
In six of the seven innings on Wednesday, Carson got the leadoff batter aboard, forcing Acuna to work extra hard while throwing 102 pitches.
“He was on the edge of coming out,” Mowry said.
Acuna wouldn’t let him.
“I love this team,” Acuna said. “I want to play one last game.”
He’ll start on Saturday at second or third base in a game matching two of the most successful programs in City baseball history. El Camino Real is seeking a record 11th title. Birmingham wants its ninth title.
The 10 a.m. game at Dodger Stadium has Verdugo Hills taking on Taft in the Division I final.
Fans will come for the sun, the hot dogs, the fun of cheering on someone they know or enjoying a moment of distraction at Los Angeles’ most sacred stadium.
Just remember those are teenagers out there who’ve sacrificed and spent years working toward this moment. There’s no losers when you get to play at Dodger Stadium as a high school kid.
For Saffie, it validates his belief in trusting the process and trusting himself. He didn’t run when the going got tough. He persevered and learned a valuable lesson: patience still pays off.
Two US Navy jets collided during an air show at Mountain Home Air Force Base in Idaho, sending both aircraft crashing to the ground in front of spectators. All four crew members ejected safely before impact.
As Kelsey Luderer rounded third base and headed home Thursday after hitting a game-tying home run that ignited Sherman Oaks Notre Dame to a 6-3 Division 1 softball playoff win over Anaheim Canyon, she was greeted by every teammate at the plate. They engulfed her in a sea of white, screaming, yelling and patting her head.
Looking on with pride was Brian Luderer, her father and Notre Dame assistant coach. Every moment he’s at a game or practice, it serves as a positive distraction from thinking about the fight his brother, Matt, the athletic director at St. Francis, has been enduring. For more than a year, Matt has been battling an uncureable brain cancer, glioblastoma.
Sherman Oaks Notre Dame assistant coach Brian Luderer with his daughter, Kelsey.
(Craig Weston / For The Times)
It’s hard for Brian to talk about his brother without crying. “These girls give me what I need,” he said. “They’re like my family. The more we can win, the better for me. I’m proud he’s been fighting his butt off.”
Three weeks ago, Matt suffered a relapse. The many Luderer family members (Brian has four children and Matt has six daughters) have united to keep the faith. And softball is their place for a moment away from life’s challenges.
“This is kind of our happy place, a good place to get away,” Kelsey said.
Haley Maldonado had a three-hit day for Sherman Oaks Notre Dame.
(Craig Weston / For The Times)
The Knights fell behind 3-0 after Canyon’s Mia Saenz hit a two-run home run and added another run on an error. The hitters started forcing Canyon pitcher Kelsey Perez to work extra hard, producing multiple three-and-two counts. Sophomore Haley Maldonado, who finished with three hits, contributed an RBI double in the second. But it wasn’t until Luderer’s home run to left field in the fourth that the Knights were set free, leading to a three-run inning and a comeback victory.
Brian and Notre Dame head coach Justin Siegel are best friends and former minor league baseball players who turned to softball when they had daughters. Brian has sophomore twins Kelsey and Keira in starring roles. In four years, they’ve built the Knights (22-3) into a Division 1 title contender. Next up is Marmonte League champion Oaks Christian on Saturday.
Every softball win brings a moment of peace to the Luderer family.
Oaks Christian 8, Chaminade 1: Sophia Debs struck out 13 and hit a home run for the Lions.
Murrieta Mesa 10, Valley View 0: Lilly Hauser had three hits and struck out 11 in a six-inning mercy rule win.
La Mirada 4, Los Alamitos 2: Alison Ortega struck out 10 for La Mirada.
JSerra 3, Yucaipa 2: Liliana Escobar struck out nine and walked one for JSerra.
Mater Dei 11, Foothill 3: Danica Lancellotti had a two-run double and finished with three hits for Mater Dei.
