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WASHINGTON — The Trump administration is suspending a requirement that foreign visitors from countries that have qualified for the World Cup and have bought tickets for the soccer tournament pay as much as $15,000 in bonds to enter the United States, the State Department said Wednesday.

The department imposed the bond requirement last year for countries that it said had high rates of people overstaying their visas and other security issues as part of the Republican administration’s broader crackdown on immigration.

Travelers to the United States from 50 countries are required to pay the new bond, and five of those countries have qualified for the World Cup — Algeria, Cape Verde, Ivory Coast, Senegal and Tunisia.

Citizens from those five countries who have purchased tickets from FIFA are now exempt from the visa bond requirement. World Cup team players, coaches and some staff already had been exempt from the bond requirement as part of the administration’s orders to prioritize the processing of visas for the tournament.

“The United States is excited to organize the biggest and best FIFA World Cup in history,” Assistant Secretary of State for Consular Affairs Mora Namdar said. “We are waiving visa bonds for qualified fans who bought World Cup tickets” and opted in to the “FIFA Pass” system that allows expedited visa appointments as of April 15.

The waiver is a rare loosening of immigration requirements under the administration and will ease travel burdens for at least some visitors to the U.S. for the World Cup, which begins June 11 and is co-hosted by the United States, Canada and Mexico.

The administration has taken dramatic steps to restrict immigration in ways that critics say are incongruous with the type of unifying message that a global sporting event such as the World Cup is supposed to project.

For instance, the administration has barred travelers from Iran and Haiti, though World Cup players, coaches and other support personnel are exempt. Travelers from Ivory Coast and Senegal face partial restrictions under an expanded version of that travel ban, even without the visa bond exemption.

Foreign travelers also are facing new requirements to submit their social media histories, while the administration had deployed U.S. Immigration and Customs Enforcement agents at airports recently when Transportation Security Administration personnel were not being paid.

Those measures prompted Amnesty International and dozens of U.S. civil and human rights groups to issue a “World Cup travel advisory” that warns travelers about the climate in the U.S.

In a report this month, the main advocacy group for U.S. hotels blamed visa barriers and other geopolitical issues for “significantly suppressing international demand,” leading to hotel bookings for the soccer tournament that are far below what had initially been anticipated.

The American Hotel & Lodging Assn. said travelers are concerned about potentially lengthy visa wait times and increased fees, along with uncertainty about how they’re being processed to enter the U.S.

The bond requirements are part of the administration’s larger effort to clamp down on migrants who travel to the U.S. on temporary visas but then overstay them. Visa applicants from the affected countries are required to pay $5,000, $10,000 or $15,000 in bonds, which will be refunded if the traveler complies with the terms of the visa or if the visa application is denied.

As of early April, the number of World Cup fans affected by the bond requirement was believed to be relatively small, perhaps only about 250 people, according to U.S. officials who were not authorized to comment publicly and spoke on condition of anonymity. But they said that number was changing rapidly as more people buy tickets and some with tickets opt against traveling.

FIFA had requested the waiver, which had to be approved by the State Department and Department of Homeland Security, and was the topic of discussion at multiple meetings at the White House and elsewhere in Washington for several months, the officials said.

Kim and Lee write for the Associated Press.

EUROVISION fever is back in full effect as the 70th Song Contest kicks off at Vienna’s Wiener Stadthalle tonight.

The first semi-final will see 15 countries battle it out for 10 spots the Grand Final.

Can I vote in the Eurovision semi-final tonight?

In short – no.

Aside from enjoying the show, UK viewers are unable to take part in tonight’s Eurovision semi-final.

This is because we have been drawn into the second semi-final on Thursday May 14, 2026.

Eurovision rules state that you can only vote in the semi-final in which your country is performing.

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That means Brits will have to wait until Thursday to vote, when viewers can have their say alongside France and host nation Austria, as well as the 15 competing nations.

How do you vote in the Eurovision semi-final?

UK viewers will be able to vote on Thursday.

Don’t worry, as full instructions will flash up on screen during the BBC broadcast.

The official website explains: “If you’re in a participating country, you can vote by phone or SMS.

“The instructions you will need will be on the screen during the broadcast, and you can also find them at esc.vote.

“Voting opens after the last song has been performed. You can vote up to 10 times, and you’ll have around 18 minutes to do so. Use your power wisely.”

You cannot vote for the UK’s own entry, in line with long-standing Eurovision rules designed to prevent home-nation advantage.

Why does the UK only take part in one semi-final?

The UK is a member of the Eurovision Big Five alongside France, Germany, Italy and Spain, all of whom automatically qualify for the Grand Final.

These nations are are the biggest financial contributors to the European Broadcasting Union (EBU) – the organisation that runs Eurovision.

That pre-qualified status means the UK does not have to fight its way through the semi-finals, but is instead allocated to broadcast and vote in one of the two semis.

For 2026, Germany and Italy were drawn into the first semi-final, while the UK and France will join Austria in the second.

Spain has, however, pulled out of the contest entirely in protest of Israel’s participation amid the Gaza war, alongside Iceland, Ireland, the Netherlands and Slovenia.

When are the two Eurovision 2026 semi-finals?

The Eurovision 2026 semi-finals will take place ahead of Saturday’s showpiece, with 30 of the 35 nations battling it out for 20 Grand Final spots.

Both start at 8pm and are live on BBC One and iPlayer, with the first on tonight – Tuesday, May 12 – and the second following on Thursday, May 14.

Rylan and Angela Scanlon will be providing commentary from the Wiener Stadthalle during both semis.

The order for the first semi-final is as follows:

• Moldova – Satoshi, Viva, Moldova!
• Sweden – Felicia, My System
• Croatia – Lelek, Andromeda
• Greece – Akylas, Ferto
• Portugal – Bandidos do Cante, Rosa
• Georgia – Bzikebi, On Replay
• Italy (non-competing) – Sal Da Vinci, Per sempre sì
• Finland – Linda Lampenius and Pete Parkkonen, Liekinheitin
• Montenegro – Tamara Živković, Nova zora
• Estonia – Vanilla Ninja, Too Epic to Be True
• Israel – Noam Bettan, Michelle
• Germany (non-competing) – Sarah Engels, Fire
• Belgium – Essyla, Dancing on the Ice
• Lithuania – Lion Ceccah, Sólo quiero más
• San Marino – Senhit, Superstar (featuring Boy George)
• Poland – Alicja, Pray
• Serbia – Lavina, Kraj mene

While the schedule for the second semi-final is:

• Bulgaria – Dara, Bangaranga
• Azerbaijan – JIVA, Just Go
• Romania – Alexandra Căpitănescu, Choke Me
• Luxembourg – Eva Marija, Mother Nature
• Czechia – Daniel Žižka, Crossroads
• France (non-competing) – Monroe, Regarde !
• Armenia – Simón, Paloma Rumba
• Switzerland – Veronica Fusaro, Alice
• Cyprus – Antigoni, Jalla
• Austria (non-competing) – Cosmó, Tanzschein
• Latvia – Atvara, Ēnā
• Denmark – Søren Torpegaard Lund, Før vi går hjem
• Australia – Delta Goodrem, Eclipse
• Ukraine – Leléka, Ridnym
• United Kingdom (non-competing) – Look Mum No Computer, Eins, Zwei, Drei
• Albania – Alis, Nân
• Malta – Aidan, Bella
• Norway – Jonas Lovv, Ya Ya Ya

Route 66 has its tendrils throughout SoCal, and especially in the L.A. area, winding through Pasadena, West Hollywood and culminating in Santa Monica. But the most loving ode to Route 66 may in fact be at the Disneyland Resort, specifically at Disney California Adventure.

Stories, photos and travel recommendations from America’s Mother Road

Cars Land opened in 2012 as part of a reworking of the theme park and at long last gave it a striking land that could rival — and in many cases surpass — those of its next-door neighbor, Disneyland. Flanked by sun-scarred, reddish rocks that look lifted from Arizona, Cars Land is a marvel of a theme park land, with its backdrop mountain range ever so slightly nodding to the fins of classic Cadillacs from 1957 to 1962. That design element is a salute to the Cadillac Ranch in Amarillo, Texas, where 10 vintage Cadillacs are buried nose-first in the ground that to many resembles a 20th century Stonehenge.

Yet before the area was attached to the 2006 film, it was envisioned as a theme park destination dedicated to roadside attractions and trips along the so-called Mother Road. Cars Land is a make-believe area based on a fictional town from an animated film, but its roots are decidedly real.

Cadillac Ranch, an artwork made from 10 old cars by the Ant Farm artists’ collective in the 1970s, has become one of Amarillo’s top attractions. Visitors are invited to add their own spray-painted touches.

(Christopher Reynolds / Los Angeles Times)

The backdrop mountain range of Radiator Springs Racers is a nod to Cadillac Ranch. The peaks are designed to look like the tail fins of classic cars.

(Mark Boster / Los Angeles Times)

“We very much acknowledge that up front, that you’re walking down Route 66,” says Kathy Mangum, the retired Walt Disney Imagineer who served as the executive producer of Cars Land.

“But you’re also not walking down a part of Route 66 that exists anywhere,” Mangum continues. “There’s no part of Route 66 where you’re looking up at a Cadillac range surrounded by red rocks. It’s the spirit of Route 66. I wouldn’t even call it a ‘best-of.’ It’s just a little bit of this, a little bit of that, and combined it feels real.”

Tour guide Michael Wallis, left, and Walt Disney Imagineer Kevin Rafferty during a research trip at Cadillac Ranch in 2008.

(Kevin Rafferty)

Before those at Walt Disney Imagineering, the secretive arm of the company devoted to theme park experiences, were even aware that Pixar Animation Studios was working on the “Cars” film, an automotive-focused land was in the planning stages for Disney California Adventure. The park had opened in 2001 and had struggled in its early years to pull in crowds, with audiences zeroing in on a lack of Disneyland-style attractions and an absence of grandly designed vistas.

In an effort to rejuvenate the park, then-Imagineer Kevin Rafferty envisioned an area to be called Car Land — without the “s” — pulling heavily from his family’s road trips and Route 66-like roadside attractions and oddities. Among its standout attractions was to be one initially named Scoot 66, later changed to Road Trip, USA, a slow-moving ride that took guests on a cross-country journey through nature and roadside quirkiness, although its showcase scene would have been a trip trough a miniaturized Carlsbad Caverns, a bit of a detour from Route 66.

“It was kind of tongue-in-cheek,” says Rafferty, now retired, of the never-built ride. “You were going to be seeing all these roadside attractions that would draw you in, like giant bunnies.”

Mater’s Junkyard Jamboree brings the rusty, old tow truck character from the “Cars” movie to life in Cars Land at Disney California Adventure. (Mark Boster / Los Angeles Times)

An artwork in Seligman, Ariz., pays homage to the Disney-Pixar “Cars” movie, which was heavily inspired by the town. (Mark Lipczynski / For The Times)

Rafferty believed a place such as Car Land would be ripe for exploration in a Disney park, as it was to be set from the late 1950s to the early 1960s and tap into a collective nostalgia for a time when a vehicle meant the freedom to explore the open road. Cars Land today still has some of that ageless energy, boasting a vintage rock ’n’ roll soundtrack and a strip of a street filled with colorful neon, its lights, especially at night, beckoning guests to come closer.

“The reason why I thought it would fit into a Disney park, especially Disney California Adventure, is because cars are so much a part of the California story,” Rafferty says. “Cars are designed in California, even though they’re built elsewhere. There’s more custom shops in California. There’s more design studios in California. There’s more car clubs. And all the cars songs. ‘She’s so fine, my 409.’ It was all the Beach Boys and Jan and Dean.”

The neon signs of Radiator Springs. Flo’s V8 Cafe isn’t a direct match for any Route 66 diner, but it was inspired in spirit by the Midpoint Cafe in Adrian, Texas.

(Paul Hiffmeyer / Disneyland Resort)

Development on Rafferty’s Car Land idea would change course when Imagineering and Pixar eventually aligned. But it was also a shift that would more formally ground the area in the culture of Route 66, which heavily influenced the film. Both the filmmakers and, later, those with Imagineering, embarked on 10-day research trips along the road led by historian Michael Wallis, author of “Route 66: The Mother Road.” Those at Pixar, in fact, were so charmed by Wallis’ tours that the author was asked to voice the role of the film’s sheriff.

Wallis says he took the teams out in rented Cadillacs. “I like to stop every 300 yards,” Wallis says. “If I’m doing a road trip, I get into it. So we stopped to move box turtles off the road. I waded them into winter wheat to dance, to pick wild grapes. I introduced them to people that I guaran-damn-tee that they never would have met, the great characters of the road, and I showed them the man-made and natural sites of the road.”

Though the fictional “Cars” and Cars Land community of Radiator Springs has no single inspiration, it echoes the scenery and history of several small towns between Tulsa, Okla., and Kingman, Ariz., including Tucumcari, N.M., Seligman, Ariz., and Oatman, Ariz. And the single, graceful bridge that is centered upon the land’s backdrop mountain range closely resembles Pasadena’s own Colorado Street Bridge, although there’s no roaring waterfall next to the original.

Scenes from Route 66 in Seligman, Ariz. The town was one of the inspirations for the fictional “Cars” and Cars Land town of Radiator Springs.

(Mark Lipczynski / For The Times)

The centerpiece bridge of the Cars Land mountain range was modeled after a local landmark. (Paul Hiffmeyer / Disneyland Resort)

The Colorado Street Bridge in Pasadena, an inspiration for the Cars Land structure. (Adam Markovitz)

Elsewhere, Ramone’s House of Body Art connects with the U-Drop Inn, a 1936 Art Deco gas station in Shamrock, Texas, that now serves as a visitor center and cafe. The Cozy Cone Motel nods to the Wigwam motel chain, which once included seven locations from Kentucky to California. Two remain in business along Route 66: the Wigwam in San Bernardino and another in Holbrook, Ariz.

While Imagineers had visual references from the animated film, Mangum says the research trip was invaluable in lending authenticity to the park.

“We could walk into a building in Shamrock, Texas, that looks so much like what Ramone’s House of Body Art looks like and see that those tiles are made of raised terra-cotta,” Mangum says. “So we could get the actual texture. It’s a movie world, but it’s also a real world.”

Flo’s V8 Cafe isn’t a direct match with any Route 66 eatery, the Imagineers say, but was certainly influenced in spirit by the Midpoint Cafe in Adrian, Texas.

The Midpoint Cafe in Adrian, Texas, celebrates the halfway point on Route 66 between Chicago and Los Angeles.

(Christopher Reynolds / Los Angeles Times)

“We sampled all their pies and food and made copious notes on this stuff,” Rafferty says. “The two women who owned the Midpoint Cafe had what they said was their mother’s recipe for ‘ugly crust pies.’ We fell in love with ugly crust pies. I met with the head chef of Disneyland, who was a Frenchman at the time, and I said we wanted to serve ugly crust pies at Flo’s V8 Cafe. And he said, ‘No, no, no, nothing at Disneyland will be ugly.’”

No, but it may be influenced by abandoned buildings. Mangum says a key locale for the land was the deserted structures of Two Guns, Ariz. Gas station remains led to sketches that would inspire parts of the “Stanley’s Oasis” area of the Radiator Springs Racers queue, which Rafferty and company filled out with an oil service station and then a building composed of empty oil bottles. The story goes that Stanley’s Oasis is a roadside attraction settlement that led to the development of the town of Radiator Springs.

At the Cozy Cone Motel, a string of cone-shaped food stalls sell quick bites such as swirled soft-serve cones. (Stephanie Breijo / Los Angeles Times)

The Cozy Cone is based on the real-life Wigwam Motels. (Christopher Reynolds / Los Angeles Times)

“That kind of Route 66-inspired story was all made up,” Rafferty says. “It wasn’t in the film.” That backstory, however, would inform the 2012 short “Time Travel Mater.”

The enduring strength of the land, however, isn’t just due to the popularity of the animated properties that led to it. While Route 66 wasn’t magic for everyone — the history of the road is dotted with tales of extreme poverty and horrific racism — it’s become romanticized as a slice of Americana and stands as a jumping-off point to further delve into our past.

The land is, in a word, timeless. It’s also representative of the ideal of a working small town, the sort of place we forever long for. “It may not be the America of today,” Mangum says, “but in a way it is.”

Times staff writer Christopher Reynolds contributed to this report.

When political commentator Ana Navarro recently arrived at Mercado Little Spain, the José Andrés-owned food hall downstairs from CNN’s New York studios, a seat was ready for her constant companion, a rust-colored miniature poodle named ChaCha.

“I am her service human because I’m servicing her all day,” Navarro said of the well-behaved pooch who has been by her side since the 2020 COVID-19 lockdown.

As Navarro and a reporter order tapas dishes for the next two hours, patrons at nearby tables raise their cellphone cameras. Andrés’ daughter Carlota stops by and gives an update on her father, a Navarro pal. Later, a Spanish-speaking young woman comes over and thanks Navarro, a political exile from Nicaragua, for defending immigrants amid the aggressive deportation efforts of the Trump administration.

In a fragmented media world where critical mass is becoming harder to attain, Navarro has become one of media’s most recognizable political talking heads thanks to her two high-profile TV roles.

She is a co-host of ABC’s “The View,” the No. 1-rated daytime talk show that has become a target in Federal Communications Commission Chairman Brendan Carr’s efforts to discipline President Trump’s broadcast media critics. She is also a regular panelist on CNN’s roundtable program “NewsNight with Abby Phillip,” which extends its reach far beyond its modest ratings through frequent viral clips on social media.

In February, Navarro, 54, joined the growing list of media personalities who have launched a digital platform to reach consumers no longer watching traditional TV with a weekly podcast for iHeart called “Bleep! With Ana Navarro.”

Navarro is her uncut self on “Bleep!” She interviews guests but can also go into a 30-plus minute monologue without a script when she records at iHeart’s midtown Manhattan studios, where ChaCha looks on from a cushy pillow.

Navarro delivers her arguments against the Trump administration as if she’s schmoozing with friends across a kitchen table. She always appears calm but as the podcast title suggests, she serves up a few four-letter words she doesn’t use on TV.

“Bleep!” gives Navarro her own platform at a time when the legacy media networks she works at are under pressure. Upheaval is expected at CNN if parent company Warner Bros. Discovery becomes a part of Paramount and its Trump-friendly owners David and Larry Ellison.

Carr recently called for an early review of ABC’s TV station licenses. He said its related to an investigation into parent company Disney’s diversity practices but it comes amid the administration’s criticism of the network’s Trump coverage, which has included “The View.”

Ana Navarro on the set of ABC’s “The View.”

(Lou Rocco (ABC))

Navarro was pulled into the fray last year when she was approached by Walt Disney Co. Chief Executive Bob Iger at ABC’s upfront advertiser presentation in New York. The huddle led to reports that they discussed the anti-Trump commentary on “The View.”

“We had an honest conversation but I’m not going to tell you what it was,” she said. “Nobody is muscling us. All I’ve got to do is show up and do the same thing that I’ve always done, which is be as truthful, and authentic and informed.”

(On Friday, ABC filed a petition with the FCC over the agency’s recent scrutiny of “The View,” and whether the program qualifies for an exemption from seldom enforced equal time rules for political candidates. The network accused the FCC of actions violating its 1st Amendment right to free speech.)

Navarro has been pounding at Trump for so long, it’s hard to remember that her rise as a TV pundit began 14 years ago when she was a loyal conservative Republican. Jeff Zucker, who ran CNN from 2012 to 2022, said her personal evolution sets her apart from other pundits.

“She’s funny, insightful, knows how to turn a phrase and she’s gone on a political journey,” Zucker said in a recent interview. “So she understands the entire political spectrum as well as anyone.”

Navarro was eight years old in 1980 when her family fled Nicaragua and sought political asylum in the U.S. after the socialist Sandinista National Liberation Front took power. Her father stayed behind to fight with the anti-communist rebel Contras in the country’s civil war.

“Reagan was taking on the Sandinistas when Bernie Sanders wasn’t,” she said.

She was granted amnesty and became a U.S. citizen under the immigration reform bill signed by President Reagan in 1986.

Growing up in Miami, Navarro was part of the enclave of Latinos whose political perspectives were shaped by having fled Fidel’s Castro’s Cuba and other communist regimes in Latin America. She became a political operative in Republican politics, starting in local Miami races and eventually served as national Hispanic chair for 2008 GOP presidential nominee John McCain. Her Cuban-born husband, Al Cardenas, was on Reagan’s transition team and once led the Republican Party in Florida.

Navarro watched in dismay in 2015 when Trump came down the escalator of the midtown Manhattan skyscraper that bears his name to announce he was seeking the Republican presidential nomination. “Calling Mexicans rapists and criminals — that just hurt my heart,” she said.

When Trump mocked a disabled journalist during a campaign rally, Navarro was reminded of family struggles with one of her older brothers, who has non-verbal autism and is self-injurious. “That brought back so much outrage and anger,” she said. “For me that was a line I could never forgive.”

But being an anti-Trump Republican has become a lonelier job in recent years as the party establishment’s support solidified behind Trump during the historically successful campaign in 2024 that returned him to the White House. For Navarro, it has meant the end of many long-standing relationships.

“I’ve lost some very close friends over Donald Trump,” she said. “And I’ve had to make peace with that. They feel that I’ve betrayed the Republican Party. Some of them think I’m an opportunist, doing this for today.”

One of those friends is Secretary of State Marco Rubio, who she’s known her entire adult life. Navarro still has his cell number in her contacts, but it’s been awhile since she’s called. She still respects Rubio‘s credentials in foreign policy but doesn’t see herself ever supporting him if he runs for president.

“Unless he was running against Satan incarnate, no, I would not go over to him,” she said.

Navarro keeps her cool on “NewsNight,” which occasionally erupts into bedlam when guests clash with Scott Jennings, the show’s resident MAGA Republican. But she misses the days of sparring with Democratic operative Donna Brazile when they were on opposing sides on CNN’s Washington set, and then went out for oysters and wine at Old Ebbitt Grill afterward.

“It’s a completely different world than it was,” Navarro said.

The highly self-confident Navarro has always spoken her mind, encouraged by her father and the Sacred Heart nuns who operated her private school in Miami where she still resides. “Those nuns could run Fortune 500 companies,” she said.

She is not afraid to draw on her own painful, personal experiences to deliver a point. Another older brother died of a heart attack at age 38. Her cousin’s son was a fatality at the 2016 Pulse night club shooting in Orlando, Fla.

“I refuse to live in hopelessness and trauma,” she said. “The things I’ve gone through have shaped me into who I am and made me resilient and empathetic. One of the reasons I abhor Donald Trump is because he completely lacks empathy.”

Where Navarro often separates herself from most Democrats is foreign policy. When Venezuela President Nicolás Maduro was ousted and arrested by U.S. forces, Navarro, on holiday in Madrid, joined exiles from the country as they celebrated in Puerta del Sol.

Navarro expects to have the same reaction if Trump makes good on his threats to end Cuba’s communist regime.

“I will go out there with my metal pan and my metal spoon and I will bang the drums in joy,” she said.

PORTSMOUTH, Va. — The FBI searched the Virginia state Senate leader’s office on Wednesday as part of a corruption investigation, a person familiar with the matter said. Federal agents also were seen at the senator’s nearby cannabis business.

The search at Virginia Sen. L. Louise Lucas’s district office in Portsmouth comes after the Democrat helped lead the state’s recent redistricting effort.

The FBI said only that it was conducting a court-authorized search warrant in Portsmouth. The person who confirmed the FBI’s search was not authorized to discuss an ongoing investigation by name and spoke to the Associated Press on condition of anonymity.

Besides the search at Lucas’ office, agents in FBI T-shirts also went into the nearby Cannabis Outlet, which she opened in 2021. Several entrances to its cannabis store parking lot were blocked by unmarked vehicles with flashing blue lights.

Lucas — a prominent backer of legalizing marijuana — has said the store sells legal hemp and CBD products. It has drawn scrutiny from local media amid allegations that some products were mislabeled.

Virginia has legalized pot possession, but retail sales of recreational marijuana remain illegal in the state.

A message seeking comment was left Wednesday on a cellphone for Lucas, who has been a state senator for 34 years.

State House Speaker Don Scott said he was deeply concerned by the FBI search.

“Right now, there is far more theatrics and speculation than actual information available to the public,” Scott, a Democrat, said in a statement, adding that more facts were needed “before anyone rushes to political conclusions.”

Gov. Abigail Spanberger declined to comment. Some other Virginia Democrats were quick to note that the search comes as the FBI and Justice Department have opened a spate of politically charged investigations into perceived adversaries of President Trump.

The context “must be acknowledged,” U.S. Rep. Bobby Scott said in a social media post.

Last week, the Justice Department charged former FBI Director James Comey with making a threatening Instagram post against Trump, an accusation that Comey — who for nearly a decade has drawn the president’s ire — has denied. A separate mortgage fraud case, ultimately dismissed by a court, targeted Democratic New York Atty. Gen. Letitia James, who had brought a major civil fraud lawsuit against Trump and his business.

The FBI and Justice Department have also provoked concerns among Democrats about ongoing election-related investigations, including the seizure by agents of ballots and other information from Fulton County, Ga.

Lucas has been a vocal leader of Virginia’s redistricting effort, which voters approved last month. A sign urging people to “vote yes” to “stop the MAGA power grab” still hung Wednesday on a fence separating her office’s parking lot from the parking for the cannabis shop.

Amid a national, state-by-state partisan redistricting fight kicked off by Trump’s desire to aid his fellow Republicans, Virginia voters OK’d a Democrat-backed constitutional amendment authorizing new U.S. House districts. The plan could help the party win up to four additional seats.

“We are not going to let anyone tilt the system without a response,” Lucas said after the vote. Trump, meanwhile, denounced the results.

The state Supreme Court let the referendum proceed but has yet to rule whether the effort is legal. The court is considering an appeal of a lower-court judge’s ruling that the amendment is invalid because lawmakers violated procedural requirements.

Voting districts typically are redrawn once a decade, after each census. But Trump last year urged Texas Republicans to redraw House districts to give the GOP an edge in the midterms. California Democrats reciprocated, and redistricting efforts soon cascaded across states.

Lucas, 82, has been a figure in Virginia politics since the 1980s, when she became the first Black woman elected to a City Council seat in her native Portsmouth. She now is the first woman and first African American to serve as the body’s president pro tempore.

Earlier in life, she was the Norfolk Naval Shipyard’s first female shipfitter, according to her biography in the state library. The job entails making, installing and repairing sometimes enormous metal assemblies for vessels.

In recent years, she has been the chief executive of a Portsmouth business that runs residences, day programs and transportation for intellectually disabled adults.

Tucker, Breed and Peltz write for the Associated Press. AP writers Dylan Lovan in Louisville, Ky.; Jake Offenhartz in New York; and Claudia Lauder in Philadelphia contributed to this report.

Singer Alex Ligertwood, best known for providing lead vocals for Santana over several decades, has died. He was 79.

Ligertwood’s wife and agent, Shawn Brogan, announced in a Saturday evening Facebook post that the vocalist died at his Santa Monica home.

“It’s with great sadness and heartache to announce the passing of my sweet dear Alex Ligertwood, my husband of 25 years, we knew each other for 36 years,” Brogan wrote. “Alex passed peacefully in his sleep with his doggy Bobo by his side yesterday.”

Ligertwood’s cause of death was not revealed.

Alex Ligertwood, left, and Jorge Santana of the band Santana perform Oct. 9, 1993, at Shoreline Amphitheater in Mountain View, Calif.

(Tim Mosenfelder / Getty Images)

“Alex was loved by so many. If you knew him, you loved him. He touched so many with his extraordinary voice. He was all heart and soul,” Brogan’s statement continued. “His favorite thing in life was to make music, sing and to share his gift with us. He performed his last show just two weeks ago. I’m grateful for that. He did it his way, on his terms, till the end.”

The singer had five separate stints as Santana’s lead vocalist between 1979 and 1994.

He famously served as the group’s singer when it performed at Live Aid in 1985. His voice was notably featured on the tracks “You Know That I Love You,” “Winning,” “All I Ever Wanted” and “Hold On.”

Ligertwood also co-wrote such songs as “Somewhere in Heaven” and “Make Somebody Happy,” among others.

Aside from his contributions to Santana, Ligertwood played alongside guitar legend Jeff Beck as part of the Jeff Beck Group in the early ‘70s. He also played in jazz-rock keyboardist Brian Auger’s band Oblivion Express.

Auger, who has played with Rod Stewart and Jimi Hendrix, paid tribute to Ligertwood in a Facebook post Saturday evening.

“To me, Alex aka ‘Wee Eck’ was simply the best singer to ever do it. In all my years of music, I never heard anyone who possessed that kind of range or that effortless, carefree ability to soar through a melody. He didn’t just sing songs; he lived them,” Auger wrote. “The world feels much quieter today without his voice, and I will miss my friend more than words can say. The big band in the sky just got infinitely better with Alex’s arrival.”

The singer also appeared on records with French jazz group Troc in the 1970s, American rock band the Dregs in the 1980s, and the Grateful Dead spinoff project Go Ahead in the late 1980s.

Ligertwood was born in Glasgow, Scotland, on Dec. 18, 1946.

He grew up in a musical household as his father was an amateur drummer. His earliest musical influences were the swooning Motown singers of the ‘50s and ‘60s, including Otis Redding, Sam Cooke and Marvin Gaye. He first performed as a vocalist as part of his school’s choir and at family events.

A group of five consumers have filed a lawsuit against Paramount Skydance seeking to block its acquisition of Warner Bros. Discovery and unwind the earlier merger that joined the storied Melrose Avenue studio with David Ellison’s Skydance Media, alleging that both deals reduce marketplace competition.

The lawsuit, filed Thursday in U.S. District Court in the Northern District of California, alleges the Paramount-Warner deal will lead to increased prices, fewer consumer choices and reduce production of film and TV since a major rival in the entertainment business will be eliminated.

The suit also alleges that the Paramount-Skydance merger, which was finalized last year, led to higher prices for the Paramount+ streaming service.

The plaintiffs — Pamela Faust, Len Marazzo, Lisa McCarthy, Deborah Rubinsohn and Gary Talewsky — are either Paramount+ subscribers, pay for cable bundles that include Paramount-owned TV channels or are moviegoers who watch films in theaters.

The deal activity for Paramount is part of a growing list of recent media mergers, including Walt Disney Co.’s 2019 acquisition of much of 21st Century Fox and Amazon’s purchase of MGM in 2021.

“These acquisitions show an industry moving by successive combinations toward fewer independent rivals, exactly the consolidation backdrop that heightens the competitive threat posed by the next merger, even if the combined firm remains smaller than the largest platforms,” the lawsuit states.

Paramount is aware of the lawsuit and “confident that it is without merit,” a company spokesperson said.

“The combination of Paramount and [Warner Bros. Discovery] will create a stronger competitor that is well positioned to serve as a champion for creative talent and consumer choice,” the spokesperson said in a statement.

The Paramount-Warner deal is currently winding its way through regulatory approvals. While that process is underway, Paramount has asked the Federal Communications Commission for permission to exceed a cap on foreign ownership for U.S. media companies.

Paramount expects to receive $24 billion in funds from three Middle Eastern royal families, who will become part owners of the combined company. Those total funds will represent about 49% of equity in that new company, exceeding the current foreign ownership cap of 25%.

Paramount has said the Ellison family and RedBird Capital Partners “collectively hold the largest equity stake in the combined company and continue to be the sole owners of Class A Common Stock, representing 100% of the voting shares.”

But on Friday, Rep. Sam Liccardo (D- San Jose) urged the FCC to deny Paramount’s petition on the foreign ownership aspect of the deal.

“Congress did not entrust the public airwaves to this agency so that it could auction off America to Riyadh, Abu Dhabi and Doha,” he wrote in a statement. “This will not stand.”

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

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

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

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

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

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

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

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

The only thing that would make the job JJ Redick is doing better is if he were wearing a suit.

If the Lakers’ coach looked the part.

The part of a lawyer, walking down his opposition in the open court. He delivered an airtight opening argument that was stunning for how much stronger it was than opposing coach Ime Udoka’s. And evidence of how far Redick has come.

Now, look, your honor: The short-on-star-power Lakers winning both games at home to take a 2-0 series lead over the heavily favored Houston Rockets in the first round of the Western Conference playoffs? That’s a compelling start.

But Redick, James and Associates are only halfway there; they’re still proving their case.

They still need to prove beyond a reasonable doubt that their top role players can perform as persuasively on the road as they have at home.

And they’ll probably have to prove they can effectively rebut the Rockets’ adjustments, though those are merely conceptual at this point, they’re so overdue.

Two games into this series it looks to us, the members of the jury, as though Redick has taken this allegedly open-and-shut case, this slam dunk of a trial — and thrown down a reverse.

The Lakers look like the better team. Like the better-constructed team, even. And that’s without injured stars Luka Doncic and Austin Reaves, who are hustling back as fast as their bodies will let them from hamstring and oblique injuries, respectively.

They look like the better-coached team.

It’s the opposing counsel who looks dressed for the part, Udoka in a sweatsuit like a dad at a Saturday morning youth league trying to get his players to get along, with just one play in his pocket: Give the ball to Kevin.

Meanwhile, the legal team minding the game in the Lakers’ huddle is running laps around the guys on the other bench.

Coach JJ Redick and forward LeBron James have helped the Lakers earn a 2-0 lead in the best-of-seven playoff series agains the favored Rockets without injured guards Luke Doncic and Austin Reaves.

(Allen J. Schaben / Los Angeles Times)

Exhibit A: One of the game’s greatest scorers, Kevin Durant, has been forced by his own team to do a lot of ballhandling chores too. So the Lakers have been double-teaming and blitzing Durant all over the court, compelling him into nine turnovers in Tuesday’s 101-94 Game 2 victory at Crypto.com Arena. Using the same strategy, they’ve turned him over 20 times in his last three meetings with the Lakers, going back to the regular season.

Exhibit B: By playing drop, hedge, man and mixing zone defenses, the Lakers also have been, according to Marcus Smart’s postgame testimony, “throwing different packages” at the Rockets. It’s working: Houston has failed to score 100 points in either game of the series.

Exhibit C: The Lakers are putting the ball in Smart’s hands, using him in a way that forces the Rockets to defend honestly, instead of sagging off him. They’ve also been intentional with how they leverage Luke Kennard, running actions that overrule his reluctance to shoot. It should please the court to see the man shooting 65.4% (17 for 26) from the field in the first two games!

With these tactics and others, the Lakers seem almost to be creating new precedent for the laws of basketball, because what do you mean the Rockets have taken 44 more shots but have been outscored by 16 points?

What makes it so wildly impressive is that before the Lakers brought this thing to trial, it looked as though it would be thrown out on the grounds of insufficient star power.

With just 41-year-old LeBron James to carry them without Doncic and Reaves, Houston seemed so much stronger. Physically, on the boards, in just about every way — except in terms of chemistry, camaraderie and communication.

Even Udoka’s record seemed superior. In 2021-22, his first (and only) season as the Boston Celtics’ coach, he led them to the NBA Finals.

Redick, in his first playoffs as a coach last year, showed such contempt for his own team and made an absolute mockery of the game plan that got the Lakers to the postseason in the first place. Remember how he panicked, refusing even to approach the bench to give his preferred five a breather for a full losing half in Game 4 against the Minnesota Timberwolves? The little tantrum he threw when asked about it before the Game 5 finale?

The Duke graduate and self-proclaimed “basketball sicko” has appeared much more prepared this time, much more composed.

He seems to be in his element, problem-solving alongside his former podcast host, James, who has stepped right up with 47 points, 20 assists and 16 rebounds — including some highlight-reel dunks and passes — through the first two games. We are all witnesses.

Still, this thing is going to last at least two more games, and possibly more, before we get a verdict.

And if it goes the Lakers’ way?

Congratulations, JJ, you will have earned the reputation as a coach who can take on the toughest cases and win them. And do we have an impossible challenge for you next on the docket.

The top-seeded Oklahoma City Thunder are young, deep, and up 2-0 in their first-round series against the Phoenix Suns. The defending-champion Thunder have run the Lakers out of court in every meeting this season, beating them by an average of 29 points. And they’re clever too; referees — those judges on the court — always seem so sympathetic to OKC.

Would the Lakers have any chance? Redick is proving he might be able to make a case.

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

Ninety-five years ago next month, Aurelio Manrique Jr. landed a job as a mild-mannered L.A. Times columnist. But the resume this native of the central Mexico state of San Luis Potosí brought to the paper was that of a firebrand.

Medical student turned political prisoner. Fought in the Mexican Revolution. Governor of his home state. Trusted advisor of general-turned-president Álvaro Obregón. Founder of a left-wing political party. Mexican legislator. He even took to the floor of Mexico’s congress to denounce former president Plutarco Elías Calles as a farsante — a phony — and then pull a gun on a rival who took issue with his vitriol.

Tall, with round wire glasses and a shock of black hair that was the inverse of his Moses-like beard, Manrique cut an exciting figure in Latino L.A. when he arrived as a political exile in 1929 after the so-called Escobar rebellion, which was an attempt to overthrow the Mexican government. A Oct. 28, 1929 Times dispatch noted that “it is not uncommon to find among the shabby, shuffling street venders [sic] of Sonoratown” former Mexican bigwigs “offering sweetmeats and trinkets from trays” in an effort to survive.

Finding a home in L.A.

They, like so many other political refugees before and since, made L.A. a home but also a place to fight for the freedom of their homeland.

Manrique, on the other hand, was hailed as the “intellectual head” of his fellow Mexican refugee politicos and an “accomplished linguist” who spoke Spanish, English, French and German.

“He stands in my memory as a pillar of fire because, at all times, he has never been afraid to do or say what he considered to be right, regardless of his own personal or political fate,” an admirer would recall decades later in the Virginia Quarterly Review.

The revolutionary found welcome audiences across the Southland with lectures and Spanish-language radio show appearances to talk about what was going on in his home country. He participated in Mexican Independence Day and Cinco de Mayo festivities and even found work in Hollywood films as everything from a British lord to an Arab sheikh.

But reputation doesn’t pay the bills, so Manrique also offered translation and interpreter services from a small Bunker Hill office. He also held Spanish-language classes twice a week at the L.A. Central Library. Soon after, The Times — a paper that back then loathed leftists of all stripes — hired Manrique as a columnist in May 1931. He was to be in charge of its daily Spanish-language roundup of world and local events, which the paper had regularly published since 1922.

The revolutionary plays a more reserved role

I wish I could say that Manrique used his platform to inveigh against the mass roundups of Mexican Americans that kicked off that year and that would lead to the repatriation of hundreds of thousands of Mexican Americans, citizens and not, during the 1930s. Or that Manrique taught his Times bosses that Latinos were more than domestic help or a societal scourge. Or that he deserves a spot in the pantheon of legendary Times metro columnists like Jack Smith, Ruben Salazar and Steve Lopez.

Alas, it was not to be.

The daily columna was just a roundup of wire stories published in Spanish, part of The Times’ effort to teach the language of Cervantes to those interested. Every Monday, the 40-year-old Manrique also wrote Platicas de Los Lunes [Monday Lessons], a place for the professor to teach new words to readers via translations, poems and sample sentences.

Manrique’s last byline was April 25, 1932. In the hundreds of columnas he wrote for us, I found nothing even remotely hinting at the progressive lion that Mexicans in Southern California knew him as. But in an era in which Latino visibility in Anglo Southern California was nonexistent when it wasn’t heavily stereotyped, Manriquez’s brief tenure at The Times was an important step for future Latino writers at the paper, all of us whom owe a debt to the man.

He returned to Mexico in early 1933 after President Abelardo L. Rodríguez announced amnesty for him and other exiles. The former revolutionary spent the rest of his life working for the Mexican government, most notably as ambassador to Scandinavian countries from 1946 to 1956.

In 1962, the retired Manrique returned to his old L.A. stomping grounds one final time five years before his death for a lecture at the Alexandria Hotel.

“He finds Los Angeles completely changed,” La Opinión reported, “and told us, with a tone of barely concealed sadness, that many of those who knew him had disappeared.”

The fate of all Angelenos, alas.

Today’s top stories

Republican gubernatorial candidate Steve Hilton speaks at a March 7 town hall in Mentone.

(Gina Ferazzi / Los Angeles Times)

A Trump-endorsed Republican could become California’s next governor

A second ticket drop for the Olympics

• A second ticket drop is set to open in August and will offer refreshed inventory across all sports at a range of prices.
• Those who registered but did not receive a slot in the first ticket drop or did not buy all 12 of their tickets will be enrolled in a lottery for a spot in the second ticket drop.

Court strikes down California mask law

California is getting 3 new state parks

• California will establish the new parks in the Central Valley, marking the state’s largest park expansion in decades and bringing the statewide total to 283 parks.
• The parks will serve historically underserved communities with recreation and historic preservation.

What else is going on

Commentary and opinions

This morning’s must-read

Other must-reads

For your downtime

The waffle with maple butter is the drive-across-town dish at celebrity-backed Max & Helen’s, the Larchmont diner opened by Phil Rosenthal and Nancy Silverton.

(Ron De Angelis / For The Times)

Going out

Staying in

A question for you: What’s your favorite California-themed book?

Marya says, “Hard Times in Paradise” by David and Micki Colfax.

Cristina says, “Grapes of Wrath” by John Steinbeck.

Email us at essentialcalifornia@latimes.com, and your response might appear in the newsletter this week.

And finally … from our archives

On this day 21 years ago, “Me at the zoo” was the first video uploaded to YouTube, opening the door to a new medium of television.

For the 20th anniversary last year, The Times’ Wendy Lee wrote about the video sharing platform and how it changed TV as we know it.

Have a great day, from the Essential California team

Jim Rainey, staff reporter
Hugo Martín, assistant editor, fast break desk
Kevinisha Walker, multiplatform editor
Andrew Campa, weekend writer
Karim Doumar, head of newsletters

How can we make this newsletter more useful? Send comments to essentialcalifornia@latimes.com. Check our top stories, topics and the latest articles on latimes.com.

Michael Jackson’s famous clan stepped out to celebrate the premiere of the new “Michael” biopic, but some of the Jacksons snubbed the event and have opposed the film.

On Monday at the Dolby Theatre in Hollywood, several members of the Jackson family gushed about the Antoine Fuqua-helmed film, which depicts the origin story of the King of Pop and follows the hitmaker from childhood through his upward trajectory to superstar status in the 1980s.

Michael Jackson’s nephew Jaafar Jackson, son of Jermaine Jackson, starred in the title role, and his aunts and uncles dropped accolades for his performance in red carpet interviews. Marlon Jackson said, “Watching the movie, sometimes we think we’re watching Michael up there, that’s how good he is.”

La Toya Jackson called his performance “absolutely excellent” and echoed Marlon, saying that she forgot she was watching Jaafar: “I thought I was watching my brother.”

But not all of the Jacksons were up for celebrating the film. Most notably absent were the “Beat It” singer’s pop star sister, Janet Jackson, and his daughter, Paris Jackson. The eldest of the siblings, Rebbie Jackson, also skipped the event. And although the film includes portrayals of many of the Jackson siblings, some also asked to be left out of the biopic, including Janet.

“I wish everybody was in the movie,” La Toya Jackson told Variety at the premiere. “She was asked and she kindly declined, so you have to respect her wishes.”

Last month, rumors began to swirl that the “All for You” singer attended a family screening of the film and wasn’t pleased. Page Six reported that Janet and Jermaine got into a spat, with Janet critiquing almost every scene.

At Monday’s premiere, “Entertainment Tonight” asked La Toya about the controversy, which she was quick to shut down. “There was absolutely no problem whatsoever, none whatsoever,” she said. “Please believe it.”

Although both of Michael Jackson’s sons, Prince and Bigi, have supported events for the film (Prince attended Monday’s premiere, and Bigi attended a Berlin premiere last week), and Prince served as an executive producer and was regularly on set, Paris Jackson has been vocal about her lack of involvement.

Last year, she posted on social media that she gave feedback on an early draft of the film, but her notes weren’t addressed. “I’ve left it alone,” she said. “It’s not my project, they’re going to make whatever they’re going to make.”

Paris Jackson, who works in the entertainment industry as a model, actor and musician, said she had stayed quiet about her feelings toward the “sugar-coated” project because she knew many people would be happy with it. “The film panders to a very specific section of my dad’s fandom that still lives in the fantasy,” she said.

“The thing about these biopics is, it’s Hollywood. It’s fantasy land. It’s not real, but it’s sold to you as real,” she continued. “The narrative is being controlled, and there’s a lot of inaccuracy, and there’s a lot of full blown lies, and at the end of the day, that doesn’t really fly with me.”

In earlier drafts of the “Michael” script, plot points included sexual abuse allegations brought by 13-year-old Jordan Chandler in 1993. Reportedly, the Michael Jackson estate became aware of a contract that legally barred the dramatization of the Chandler family and had to scrap parts of the script.

The film was originally set to premiere last year, but the production needed a new ending and weeks of reshoots to make the new iteration of the film work. In the version that hit theaters this week, “Michael” concludes in 1988, with a teaser for a potential Part 2.

Colman Domingo and Nia Long, who portray Michael Jackson’s parents, Joe and Katherine Jackson, appeared on “Today” this week and addressed the elephant in the movie theater.

“The film takes place from the ‘60s to 1988, so it does not go into the first allegations,” Domingo said. “Basically, we center it on the makings of Michael. So it’s an intimate portrait of who Michael is … through his eyes. So that’s what this film is.

“And there’s a possibility of there being a Part 2 that may deal with some other things that happen afterward,” he continued. “This is about the making of Michael, how he was raised, and then how he was trying to find his voice as an artist and be a solo artist.”

Long added that there might be a sequel, “if the price is right.”

Dave Mason, a founding member of the British psychedelic rock band Traffic who wrote some of their best-known songs including “Feelin’ Alright?” and “Hole in My Shoe,” has died. He was 79.

The singer and guitarist died Sunday at his home in Gardnerville, Nev., his publicist confirmed to the Associated Press. No cause of death was given.

“On Sunday, April 19, after cooking an amazing dinner with his beloved wife Winifred, [Mason] sat down to take a nap with sweet Star (the maltese) at his feet,” said a post shared Tuesday on the musician’s Instagram page. “He passed away peacefully, in his favorite chair, surrounded by the beautiful Carson Valley that he loved so much. A storybook ending. On his own terms. Which is how he lived his life right up until the end.”

“He leaves a lasting imprint on the soundtrack of our lives and the hearts he has lifted. His legacy will be cherished forever,” the tribute concluded.

Mason canceled his 2024 tour dates after doctors “detected a serious heart condition” during a routine check-up that required “immediate medical attention.” He was expected to make “a full and successful recovery” after treatments. He later announced his retirement from touring in 2025, citing “ongoing health challenges.”

Born May 10, 1946, in Worcester, England, Mason was a teenager when he joined singer and keyboardist-guitarist Steve Winwood, drummer Jim Capaldi and woodwind player Chris Wood to form Traffic in 1967. The band was known for its psychedelic sound that blended elements (and instruments) of rock, blues, R&B and jazz.

Mason was inducted into the Rock & Roll Hall of Fame in 2004 for his work with Traffic, but the musician had a fraught history with the group.

“We did some good stuff,” Mason told The Times in 1995. “We were young kids. The first song I wrote was their first big hit in England (‘Hole in My Shoe’). But I was only 19 years old and couldn’t handle all the fame, really. It was just too much.”

He explained that after he left the band the first time, he was asked to come back because “they didn’t have enough songs for a second album,” while he had written “five or six” including “Feelin’ Alright?” The song, now considered a classic rock staple, has been covered by multiple artists including Joe Cocker, Huey Lewis, the Jackson 5, Gladys Knight & the Pips and Grand Funk Railroad.

“Then I found out that Steve [Winwood] didn’t really care for my stuff,” Mason said. “From my point of view, I think [our] differences made something better. … But it just pulled too much I suppose, and they couldn’t work it. I was more or less forced into having to leave.”

Mason’s subsequent solo career included three gold albums: his 1970 debut “Alone Together” — which featured hits like “Only You Know and I Know,” “Shouldn’t Have Took More Than You Gave” and “World in Changes;” 1974’s “Dave Mason” and 1978’s “Mariposa de Oro.” His 1977 album “Let It Flow” was certified platinum.

He also collaborated with other notable acts such as Eric Clapton, George Harrison, Jimi Hendrix, the Rolling Stones, Delaney & Bonnie and Friends, Joe Cocker’s Mad Dogs & Englishmen, and Fleetwood Mac.

Winwood shared a tribute to his bandmate on Wednesday on Instagram.

“Dave was part of Traffic during its earliest chapter, and played an important role in shaping the band’s sound and identity during that time,” said the caption accompanying a photo of a young Mason. “His songwriting, musicianship and distinctive spirit helped create music that has lasted far beyond its era, and continues to mean so much to listeners around the world.”

“Those years remain a special part of the band’s story, and Dave’s contribution to them is not forgotten,” Winwood continued. “His place in that history will always be remembered, and through the music, his presence endures.”

Mason is survived by his wife, Winifred Wilson, daughter Danielle, nephew John Leonard, niece Michelle Leonard and his brothers-in-law, Sloan Wilson and Walton Wilson.

Talk about a crime of fashion.

Madonna revealed Monday on social media that the purple jacket, corset and dress she wore Friday during a surprise performance with Sabrina Carpenter at Coachella are missing.

“Bringing Confessions II back to where it began was such a thrill,” she wrote. “This full circle moment hit different until I discovered that the vintage pieces that I wore went missing. … These aren’t just clothes, they are part of my history.”

The clothes are archival items that she wore in the early aughts during her “Confessions on a Dance Floor” era. Her upcoming “Confessions on a Dance Floor: Part II,” set to be released July 3, is a sequel to the 2005 album. Madonna played Coachella’s Sahara Tent 20 years ago in a similar purple getup.

Madonna appeared midway through Carpenter’s headlining performance at Weekend 2 of Coachella. The 67-year-old singer rose from beneath the stage as Carpenter sang “Juno.” The pair then transitioned into a rendition of her 1990 hit “Vogue.” Madonna also performed an unreleased song — “Bring Your Love” — followed by 2005’s “Get Together” and 1989’s “Like a Prayer.”

“I’m hoping and praying that some kind soul, will find these items and reach out to my team,” she continued, offering a reward to anyone who could recover the items and providing an email for her representatives.

A spokesperson for the Indio Police Department said in a statement Tuesday that “at this time, there is no evidence to suggest the bags were intentionally stolen.”

A representative for the singer filed a missing property report for items including clothing and jewelry Saturday shortly after 7 p.m., according to the statement. The items were last seen on a golf cart at the Empire Polo Grounds Saturday around 1:30 a.m.

“Preliminary investigation indicates the two bags containing the items may have fallen off a golf cart operated by staff who were on their way to load the bags onto a bus,” the statement read. “Upon arriving at the hotel shortly thereafter, the staff realized the bags were missing.”

If you have seen the bags, contact Indio Police at (760) 391-4057 or Crime Stoppers at (760) 341-STOP to share information anonymously.

When the doors opened after Lakers practice on Monday, injured stars Luka Doncic and Austin Reaves were nearby as their teammates took some final shots after the session.

Doncic, who is back with the team after traveling to Spain to receive treatment for his Grade 2 left hamstring strain, sat out the Lakers’ Game 1 win over the Houston Rockets. He also won’t play in Game 2 on Tuesday, but he remained his usual joyful and playoff self after practice, his infectious personality providing a good vibe during a tense time for the team.

But even without Doncic and Reaves, the Lakers still had an “elevated” two days of practice as they prepared to face the Rockets with or without All-Star Kevin Durant at Crypto.com Arena.

Doncic, who sustained his injury against Oklahoma City on April 2, hadn’t been with the Lakers during their final five games of the regular season. Having him back around the team provided the Lakers with a big boost ahead of Game 1.

“It’s amazing. I think people don’t know how much impact Luka has, not only on the court, but off the court,” Rui Hachimura said. “He’s a guy that always wants to be around. … We love him just being around, just hanging out, talking. So, yeah, we’re happy that he’s back finally and he’s doing funny things always. … We missed him for sure.”

Hachimura was asked about the funny things Doncic did during practice.

“Just messing around with the coaches and the players and just the normal things you guys see on the camera, probably,” Hachimura said. “It’s just a normal thing for him.”

The Lakers weren’t messing around during the film sessions or practices.

They were focused on the task ahead, knowing the Rockets don’t want to go down 0-2 in the series.

Lakers coach JJ Redick directs his players during their Game 1 playoff win over the Houston Rockets on Saturday.

(Allen J. Schaben / Los Angeles Times)

“Well, every day requires something different,” Lakers coach JJ Redick said. “Yesterday required an elevated recovery day. Today required an elevated focus. It was a longer film session. A decent amount of teach [and] talk on the court beyond just the practice session. Tomorrow is going to require an elevated sense of desperation on our part because they’re going to come in with that.”

Durant didn’t play in the first game because of a right knee injury and has been called a game-time decision, Rockets coach Ime Udoka told reporters after practice.

Whatever the case is, the Lakers are expecting a tough game against the Rockets.

“Yeah, I mean, it’s the playoffs. Every team’s got to play desperate,” Jaxson Hayes said. “I mean, if you lose, you go home. So, if you’re not playing desperate, then why are you here at the end of the day? But, yeah, I mean, we played against teams like this all year. I mean, obviously, they’re a very aggressive, very fast-playing, big, long team, and so we just got to make sure we take care of the ball like we didn’t do in Game 1 and just get rebounds and just stay locked in.”

With Doncic and Reaves (Grade 2 left oblique muscle strain) out, the Lakers needed other players to fill that void.

Hachimura did his part in Game 1, and it went beyond his 14 points. He was efficient from the field, going six for 10. He was good on defense, collecting three steals and two blocked shots in 42 minutes.

“It’s the playoffs. You have to make every play matter,” he said. “Every position matters. So, I was trying to make plays and not only offense, but on the defensive side. And rebound, and all that. So, that’s what I was doing.”

During Game 1, Doncic offered advice and encouragement to his teammates from the bench.

But his recent conversations with Hayes have been focused, in part, on what comes after the season.

Doncic has talked to Hayes about playing for the Slovenian national team and the big center has interest.

“Um, we got my Slovenian passport. That’s all he’s been telling me,” Hayes said. “Now he’s been saying, ‘My Slovenian brother,’ every time.”

Hayes laughed, and then was asked if he really did receive a Slovenian passport.

“Yeah,” he said, “it really came through.”

There was a moment during Game 1 when Doncic was playing around with Hachimura, hitting him on the head. But Hachimura didn’t recall it happening.

“Hmm? I don’t remember,” Hachimura said. “He always does that stuff. I probably don’t even think about it. I’m used to it, probably. I don’t remember that.”

Rams All-Pro receiver Puka Nacua was present on Monday when the Rams began voluntary offseason workouts at their Woodland Hills training facility.

Nacua, who entered a rehabilitation facility in March, was not among players scheduled to speak with reporters at the outset of the Rams program, which includes three phases and ends in June.

Coach Sean McVay and general manager Les Snead are scheduled to speak with reporters on Tuesday during a news conference as a lead-in to the NFL draft, which begins Thursday in Pittsburgh.

The Rams, who have the No. 13 pick in the draft, are regarded as a favorite to play in Super Bowl LXI at SoFi Stadium in February.

But they will need Nacua to make that kind of run.

Nacua, 24, was involved in a string of off-the-field situations the last few months, including an alleged biting incident that led to a civil lawsuit.

Nacua led the NFL with 129 receptions last season. He is entering the final year of his rookie contract, and he is eligible for an extension that could equal or surpass the deal Seattle Seahawks receiver Jaxon Smith-Njigba recently signed that includes $120 million in guarantees.

Much of the news dominating the local restaurant scene has focused on sadness.

Two Los Angeles icons, Cole’s French Dip and Echo Park’s Taix restaurant, closed after more than 215 combined years of service.

It’s easy to be down and not necessarily want to go out.

Fortunately, our Food team, led by senior editor Danielle Dorsey, has some amazing recommendations for new favorites and old haunts that will fill your stomach and lift your spirits.

This month’s highlighted selections include locales from Altadena and Echo Park to Malibu and Westwood that the team feels are all worth your time.

Let’s take a look at a few of their selections.

Duke’s (Malibu)

The iconic restaurant along PCH was on the heels of reopening after the Pacific Palisades fire last February when heavy rain caused mudslides that led to flooding and extensive damage.

Fourteen months later, Duke’s Malibu is open with significant renovations and limited lunch and dinner menus featuring Hawaiian-influenced seafood staples such as crispy coconut shrimp, Korean sticky ribs and hula pie.

As the restaurant celebrates 30 years in operation, plans are underway for an anniversary party this summer.

(Kayla Bartkowski/Los Angeles Times)

Golden Leaf Restaurant (San Gabriel)

A Taiwanese restaurant in San Gabriel was forced to remove stinky tofu, a popular, culturally significant dish, from its menu after repeated complaints from residential neighbors and fines from the city.

City officials have encouraged Golden Leaf restaurant to install an expensive filter to address the pungent smell, though owners insist that none of their immediate shopping center neighbors have complained about the odor.

Supporters launched a Change.org petition last summer backing the preparation of the dish.

(Bill Addison / Los Angeles Times )

Hoja Blanca (Palm Springs)

If you’re heading to Coachella today, it’s worth making a detour for this weekly pop-up at a sleek Palm Springs bar.

From married couple Omar Limon and Blanca Flores Torres, with help from Omar’s brother Arnold Limon, Hoja Blanca offers a playful take on modern Mexican food with dishes such as quesabirria tacos, esquites with cauliflower and a tetela topped with pork belly, all served alongside Bryan Jimenez’s classic cocktails.

(Stella Kalinina/For The Times)

Meymuni Cafe (Rancho Park)

As war unfolds in Iran and neighboring countries, L.A.’s Persian community has found comfort and support at restaurants such as Meymuni, a modern Persian cafe that offers free tea and cookies to diners, many of whom stop by after related protests at the nearby Federal Building.

The cafe opened in 2025 with barbari bread and lavash wrap sandwiches, tahini-date shakes and chai lattes, plus a full slate of events aimed at uplifting the local Persian community.

(Stephanie Breijo / Los Angeles Times)

NADC Burger (Westwood)

The rapidly expanding smashburger chain from Pasta Bar and Sushi by Scratch Restaurants chef Phillip Frankland Lee has opened its first L.A. location in Westwood Village, with plans to open additional locations in the city.

The signature burger at NADC — an acronym for “not a damn chance” — features two Wagyu patties, American cheese, grilled onions, jalapeños, pickles and a house sauce, with beef tallow fries and brown butter chocolate chip cookies rounding out the short menu.

(Stephanie Breijo / Los Angeles Times)

Roshona Bilash (Larchmont)

After stepping away from the kitchen for decades, Abul Ibrahim has opened a quick-service restaurant in Melrose Hill that celebrates the Bangladeshi flavors he grew up with.

Roshona Bilash, which translates to “luxurious taste,” features Bengali classics such as bone marrow nihari, rice pilafs and meats and breads cooked in a clay oven, with plans to expand with regional specialties such as seafood dishes popular along the Bangladesh coast.

Check out the full list here.

The week’s biggest stories

(Kyra Saldana/For De Los)

Los Angeles Times Festival of Books

California living

Crime, courts and policing

Entertainment and media news

What else is going on

Must reads

Other meaty reads

For your downtime

(Illustrations by Lindsey Made This; photograph by Frazer Harrison / Getty Images)

Going out

Staying in

L.A. Affairs

Get wrapped up in tantalizing stories about dating, relationships and marriage.

Have a great day, from the Essential California team

Jim Rainey, staff reporter
Hugo Martín, assistant editor, fast break desk
Kevinisha Walker, multiplatform editor
Andrew J. Campa, weekend writer
Karim Doumar, head of newsletters

How can we make this newsletter more useful? Send comments to essentialcalifornia@latimes.com. Check our top stories, topics and the latest articles on latimes.com.

Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s Noah Goldberg, with an assist from David Zahniser, Sandra McDonald and Alene Tchekmedyian, giving you the latest on city and county government.

Mayor Karen Bass is planning to give her second State of the City address of the year on Monday, with a digital twist from years past.

Traditionally the speech is given — in person — before City Council members and other machers at City Hall or another location. This year’s speech will be delivered by video.

Of course, Bass already did one State of the City speech this year, holding forth on the Olympics, the World Cup and Palisades fire rebuilding in a February address at Exposition Park.

The video State of the City will probably be more about the city budget, which also will be released Monday. The city is facing a budget gap of a few hundred million, according to Matt Szabo, the city administrative officer.

“Mayor Bass will update L.A. on the State of our City through a video that anyone can watch, anytime, anywhere,” said Paige Sterling, a spokesperson for Bass. “From Day One through today, Mayor Bass’ focus is changing the direction of L.A. by reversing long-standing [and long ignored] trends on homelessness, housing, public safety and infrastructure.”

Parisian payback

The city controller released information this week that showed how much L.A. paid for flights to Paris for L.A.’s delegation to the 2024 Summer Olympics.

One purchase stuck out: $22,000 for a first-class ticket for Bass to fly to Paris and back. It was purchased March 6, the same day Bass boarded the flight to the City of Light, according to the city, which released the information in response to a public records act request.

One reason for the high cost was the last-minute purchase, the mayor’s office said, which it said was the consequence of a packed mayoral schedule that makes advance planning difficult.

Secondly, the city was transferring over its travel booking platform to a company called Concur, and the only flights available for the mayor to purchase to arrive in Paris in time on the platform were first-class seats.

The mayor then reimbursed the city for $12,270, with half coming from her personal bank account, while the other half came from her Karen Bass For Mayor 2022 account, according to checks. That left the city on the hook for $10,000.

“Mayor Bass voluntarily paid for the majority of the ticket herself. City rules didn’t require her to, but she did it anyways. This was the only flight that would get her there on time, and this was the only ticket available,” said Kolby Lee, a spokesperson for the mayor.

Bass and a council delegation, including Councilmember Katy Yaroslavsky, were in Paris that March to “see behind the curtain” about how a city prepares to host the Games, Bass said at the time.

Yaroslavsky’s round trip cost the city $1,600.

Raman out of council leadership

Sometimes the drama at City Hall comes in the fine print. Last Friday, the City Council released its agenda for its April 14 meeting. Casual observers would be forgiven for missing a small change on the first page.

Under Council President Marqueece Harris-Dawson’s name, and under the name of President Pro Tempore Bob Blumenfield, there was a third name: Assistant President Pro Tempore John S. Lee.

That makes Lee No. 3 in council leadership, appointed to the position by Harris-Dawson. For all intents and purposes, the largely ceremonial position means he gets to sit on the dais and preside over council if Harris-Dawson and Blumenfield can’t make it.

But on the fourth floor of City Hall, where council offices are, the move had staffers chattering.

Lee replaces Councilmember Nithya Raman, who threw her hat in the ring to run for mayor against Bass — an ally of Harris-Dawson.

Bass had previously thrown her weight behind Raman during the council member’s tough 2024 reelection campaign.

Some thought Harris-Dawson was punishing Raman for her surprise bid against Bass, but Raman said that wasn’t the case.

“When I first announced my candidacy for Mayor, I told the Council President that I would step back from all of my appointed roles. One change has now been made. I remain focused on serving my district and the City of Los Angeles,” Raman said in a statement.

Harris-Dawson didn’t immediately respond to a request for comment.

There’s a long tradition of council members stepping down from leadership positions or getting the ax when they run for higher office.

In 2021, then Councilmember Joe Buscaino was voted out as president pro tempore after making disparaging remarks about numerous council members (including Raman) while he was running for mayor.

In 2011, then-Councilmember Eric Garcetti stepped down from his role as council president during his run for mayor.

Spotlight on Soto

Los Angeles City Atty. Hydee Feldstein Soto, who is seeking reelection in the June 2 primary, is taking heat from challenger Marissa Roy for her appearance last weekend at the Hope Fest LA rally at the L.A. Coliseum.

The event was put on by Hope California, which is led by evangelical pastor Ché Ahn, a supporter of President Trump and a write-in candidate for California governor. Ahn spoke at a Stop the Steal rally in Washington, D.C., the day before the Jan. 6, 2021, storming of the Capitol, and has repeated the unfounded claim that Joe Biden stole the election from Trump. (“I don’t have facts. I don’t have proof. That’s just my own personal opinion,” Ahn, who also opposes abortion, told The Times.)

Feldstein Soto is pro-choice and anti-Trump, and the speakers immediately preceding her expressed anti-gay and anti-trans views.

Roy said the positions expressed at the rally were wildly out of step with those of Los Angeles voters, and criticized the city attorney’s appearance at the rally as “disturbing.”

“Los Angeles is overdue for a City Attorney who fights for the people,” Roy said in a statement.

At the rally, Feldstein Soto spoke about the scourge of human sex trafficking, including of children along the Figueroa corridor in Los Angeles. She had been invited to the event by a human trafficking survivor to speak about their shared commitment to the issue, spokesperson Naomi Goldman said.

“The primary purpose of the City Attorney’s attendance was to shine a light on the exploitation of women and girls, and to stand in solidarity with those affected. She stayed at the event briefly to deliver her remarks and then departed,” Goldman said.

State of play

— THE KIDS ARE ALRIGHT: A strike that would have shut down schools for nearly 400,000 students was averted at the eleventh hour early Tuesday after the Los Angeles Unified School District reached a tentative agreement with the union that represents workers including custodians, bus drivers and cafeteria workers. Mayor Bass stepped into negotiations at the last minute to help avert a disruptive work stoppage.

— LA USD$: The price of the union deal will be nearly $1.2 billion in annual contract costs, and questions remain about whether the district can afford it.

— ONE AND DONE?: Mayoral candidate Spencer Pratt went on the Joe Rogan Experience this week and told the podcaster that Angelenos are fed up with their leadership. He explained the rules of the city’s June 2 primary to Rogan, saying that there would be no runoff — as most analysts expect — if a candidate wins 51% of the vote. “I think I become mayor June 2 and it won’t even go to November,” Pratt said.

— COUNTY BUDGET: The county unveiled its nearly $50-billion budget plan Monday, proposing $2.7 million invested to beef up the team of people investigating fraud within a deluge of recent sex abuse lawsuits, suggesting a broadening probe at the district attorney’s office. The supervisors must now review, then vote on the budget.

— HAHN AND OFF: L.A. County Supervisor Janice Hahn was booed by her neighbors in San Pedro at a Tuesday night town hall meeting after she spoke in support of a proposed substance abuse rehabilitation center in the South Shores neighborhood. “There will be a difference of opinion on this project, but let’s not tear each other apart,” Hahn urged residents, who picketed last weekend at the site of the proposed project.

— E-HIKE: A Los Angeles City Council panel is pushing to ban electric bikes from most city recreational trails, saying the machines pose a threat to hikers and equestrians. The council’s Arts, Parks, Libraries, and Community Enrichment Committee voted 3 to 0 in favor of the measure, which now goes to the council’s Transportation Committee before potentially advancing to the full City Council, which would have to approve the ban before it takes effect.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program moved more than 25 people off the street and inside in Koreatown this week.
• On the docket next week: The mayor will release her budget on Monday, along with her second State of the City. She is planning to hold a news conference on the budget Monday.

Stay in touch

That’s it for this week! Send your questions, comments and gossip to LAontheRecord@latimes.com. Did a friend forward you this email? Sign up here to get it in your inbox every Saturday morning.

History textbooks often include the story of the Underground Railroad, an organized network of secret routes, places and people that guided enslaved populations from the South to abolitionist Northern states.

However, less is known about the underground railroad that ran southbound to Mexico. But one live-looped musical is unearthing that hidden history, one beat at a time.

Co-created and performed by Brian Quijada and Nygel D. Robinson, “Mexodus” tells the fictional story of Henry, who evades his capture by fleeing Texas across the Rio Grande. After a near fatality, he is saved by Carlos, a farmer and former combat medic battling his own trauma from the Mexican-American War. Together they form solidarity, despite social, racial and political strains plaguing both sides of the border.

Following its off-Broadway run at the Daryl Roth Theatre in New York City, the hip-hop and bolero-infused musical directed by David Mendizábal will open at the Pasadena Playhouse stage July 8 and run until Aug. 2. But for history buffs and musical enthusiasts alike, a sonically richer version filled with sound effects of the musical airs exclusively on Audible today, April 16.

The idea for “Mexodus” first came to Brian Quijada — playwright, actor and composer behind “Where Did We Sit on the Bus?,” “Kid Prince and Pablo” and “Somewhere Over the Border” — when reading a 2018 article on History.com about the estimated 5,000 to 10,000 enslaved individuals that escaped the American South for freedom in Mexico, though some researchers estimate that number to be higher.

“My parents crossed the border undocumented in the late 1970s, so I think I’ve always been fascinated with writing immigration stories,” Quijada said. “The reason that this story attracted me was because it’s like a reverse border story, but I also knew that it wasn’t my story to tell so I sat on it for a long time.”

Quijada bookmarked the article until he met Robinson — a performer at Berkeley Rep, Baltimore Center Stage, Shakespeare Theater Company, Mosaic Theater and writer and composer of “Santa Claus Is Comin’: A Motown Christmas Revue” and “R&J: Fire on the Bayou” — at an actor-musician conference weeks before the start of the COVID-19 pandemic. They were the only actors-musicians of color in the room, listening in on conversations about how one should audition for musicals like “Once,” “Million Dollar Quartet,” which typically center white storylines.

“We kind of looked at each other and we’re like, ‘we don’t really belong here,’” said Quijada, who invited Robinson to take part in “Mexodus” during the pandemic shutdown. The first iteration of the project was as a mixtape.

The musical edge of “Mexodus” hinges on live looping, a recording and playback technique where a sound is repeated and then layered (think Justin Bieber’s solo performance of “Yukon” at the 2026 Grammy Awards). Physically, both Quijada and Robinson’s characters have to pick up a guitar, record it, then play the drum set and run to the bass. “ It’s pretty labor-intensive,” Quijada said.

“I think Brian and I are artists in this way, like various people of color, where it’s like, no one else is gonna do it for me, so I can do it all by myself,” Robinson said.

There’s also a more dramaturgical, meta reason for the loop, which follows a four chord structure throughout the piece, set in both 1851 and present day.

“The looping shows you that there’s not much difference between 1851 and 2026,” Robinson said. “We just keep finding ourselves in a loop and like maybe a sound is in that wasn’t there before. Maybe another sound is added, but it’s still the same four chord structure that has been happening in this country for all existence.”

In 2010, the U.S. National Park Service outlined a possible runaway route stretching on the Camino Real de la Tejas between Natchitoches, La., to Monclova, Mexico. Still, it is unclear how organized the underground railroad heading to Mexico truly was, the Associated Press reported in 2020, with archives destroyed in a fire and sites along the path abandoned.

In 2024 the Jackson Ranch Church and Martin Jackson Cemetery in San Juan, Texas — which are part of a ranch owned by interracial couple Nathaniel Jackson and Matilda Hicks — were recognized by the U.S. National Park Service for serving as a gateway to freedom in Mexico.

Other Texas couples alongside the border— including interracial abolitionist couple Ferdinand Webber and Silvia Hector — aided enslaved people in their pursuits to reach Mexico, which had abolished slavery in 1829, while Texas was still part of the country.

Fears surrounding the Mexican government’s attempts to abolish slavery led to the formation of the Republic of Texas in 1836 and its eventual annexation to the United States by 1845; records also show that American slave owners would head down to Mexico to kidnap formerly enslaved individuals, according to USC historian Alice Baumgartner, who wrote about it in her 2020 book “South to Freedom: Runaway Slaves to Mexico and the Road to the Civil War.”

A database by the Texas Runaway Slave Project, which found listings for 2,500 runaways across various Texas newspapers from the 1840s through the 1860s, also documents the frequented journey to Mexico.

Slavery in the U.S. wouldn’t be officially abolished until 1865 with the ratification of the 13th Amendment to the Constitution.

“I was also really intimidated by the amount of research that I would have to do to write this piece because at the time back [between 2017 and 2020], [researchers] were just beginning to uncover a lot of this,” Quijada said.

Themes of racism — including anti-Blackness in the Latino community — oppression and resistance are woven throughout “Mexodus,” which since its debut in 2023 at the Baltimore Center Stage/Mosaic Theater Company in Washington, D.C., has been making viewers aware of the little-known history.

Robinson recalled how one Black woman came up to him after the show to let him know she believed in Trump’s border wall.

“I got nervous, but she was like, ‘after seeing this, I’m realizing that there’s something trying to convince me of that.’ And I’m like, yes!” said Robinson. “I’m like, this is good. This is good. We started you somewhere. Wow.”

The pair hope that amid all the dark news circulating around the world — and the traumatic, historical themes interlaced in “Mexodus” — the existence of this piece of art can be a glimmer of hope and joy for the future of both Black and brown communities.

“ I need you all to see the truth, but we’re gonna try and dance anyway,” Robinson said.

Commenters who never have been — and never will go — complain about the cost, the influencers, the hype. Purists wax poetic about the days when they disappeared into three days of music and the field wasn’t overtaken by brands like Barbie and e.l.f. cosmetics. Defenders claim they can camp their way to an affordable weekend, and others spend the whole time posting. A select few even talk about great performances they saw — it’s still a music festival.

But one thing everybody can agree on: Coachella has changed. I should know. I’ve been covering it as a journalist since 2007.

Rapid advancements in technology and mass adoption of social media have brought out the best and worst of the festival — not just on screens thousands of miles away, but to those of us trying not to trip over the makeshift photoshoot you might have seen on Instagram.

Coachella pre-2010 was a purist’s paradise

Some of Coachella’s most iconic moments happened before smartphones: The Flaming Lips in a human hamster ball in 2004; Daft Punk’s 2006 pyramid set; Rage Against the Machine reuniting and calling for the George W. Bush administration to be tried for war crimes in 2007. If you even had a cellphone when Coachella started in 1999 it was probably a Nokia brick or a flip phone with an antenna that had limited talk and text options.

In the early years, there were no brand activations on the field; nobody knew what an influencer was and the only corporate sign you saw was for Heineken in the beer gardens. (There was no Heineken House with its own stage, just signs advertising the beer.)

The grounds were also considerably smaller, making it easier to explore the different stages and discover new music. You didn’t have fancy food options, but a slice of Spicy Pie was less than $10. (Coachella upgraded its food options from festival staples to weekend outposts of L.A. restaurants in 2014.)

The music was the draw. The festival’s track record includes artists like the Killers, the Black Keys, Childish Gambino and Kendrick Lamar climbing up from small type to headliner on the lineup poster.

Livestreams and influencers made Coachella’s reach global

The vibes started to shift in 2010 as smartphones grew in popularity, although the service on the field was spotty. It was the first year Coachella offered a livestream — available via Facebook and MySpace. The next year, the stream moved to YouTube, where it remains and draws millions of viewers.

As Coachella expanded to twin weekends due to popular demand on the ground in 2012, it also had the first viral moment fans could enjoy from thousands of miles away: Dr. Dre and Snoop Dogg brought 2Pac back to life via a hologram.

Celebrities were always at Coachella (I spotted Ryan Seacrest, Corbin Bernsen, David Hasselhoff and Danny DeVito in my early years), but the rise of social media made celebrity culture a key part of the event. By 2011, TMZ was posting about stars like Lindsay Lohan. Clips from Coachella went viral and ended up on shows like “Tosh.0” and referenced in “Community.”

The art, which was always part of the festival, became bigger and more iconic. On the growing photo app Instagram, larger-than-life sculptures of astronauts started appearing in selfies.

Brands saw an opportunity. American Express, H&M and Samsung launched activations on-site in 2015. The party scene outside the festival, with non-affiliated events that were timed because everyone was in town for Coachella, became marketing vehicles. Brands are still cashing in more than a decade later.

The next watershed moment was Beyoncé in 2018. Today, most headlining sets at the fest feel as if they are designed for the viewing experience on the livestream rather than the fans on the field (ahem, Justin Bieber and his laptop). But Beyoncé’s spectacle was just as mind-blowing on-site as it was at home. A year later, the “Homecoming” special debuted on Netflix, widening the reach.

Coachella became a key part of the pop culture landscape, and then it became a cornerstone of the influencer economy.

Behind all the hype, there’s still a music festival hiding

I inadvertently photobombed approximately 500 people just trying to go to and from the press tent last weekend and my inbox is overflowing with requests for coverage of off-site events with brands, celebs and TikTok influencers, including social media clips.

But at the end of the day, Coachella is still a music festival, and a really good one at that. The Strokes, David Byrne, Jack White, Iggy Pop, Turnstile, Wet Leg, Fujii Kaze and even Less Than Jake in the Heineken House were some of the best performances I had seen in years.

Coachella is what you make of it. And besides, everyone knows there are fewer influencers on Weekend 2.

Today’s top stories

A health worker administers a measles test on Fernando Tarin, of Seagraves, Texas, at a mobile testing site outside Seminole Hospital District on Feb. 21, 2025.

(Julio Cortez / Associated Press)

Increasing measles cases in California

• California in 2026 has already seen its highest number of annual measles cases in seven years amid an ongoing resurgence of a disease once considered effectively eradicated in the U.S.
• The re-emergence comes as vaccination rates have tumbled nationwide in recent years.

Testing LAX’s long-awaited train

• LAX’s 2.25-mile electric train system will begin running without passengers next week as testing advances following a series of delays.
• The Automated People Mover system began construction in 2019 and was initially slated to open to the public in 2023.

Nationwide recall of a popular anxiety drug

• Specific bottles of Xanax, one of the most widely prescribed medications to treat anxiety and panic disorders, has been recalled due to its failure to dissolve at a standard rate.
• FDA officials are not warning against consuming the product at this time.

What else is going on

Commentary and opinions

This morning’s must-read

Another must-read

For your downtime

Reporter Deborah Vankin gets a massage by an “Aescape” robot at Pause Wellness Studio.

(Christina House / Los Angeles Times)

Going out

Staying in

A question for you: Are you planning on leaving California for another state? If so, tell us why.

Laura says, “I left California during the pandemic. Part of the push factor for me was politics, but not blue politics. I had been living in OC since 2018 and was surprised it was so Conservative (and conservative). That became a bigger source of discomfort for me as the vaccine question demonstrated how our neighbors’ decisions can impact us directly. Rather than moving elsewhere in California, which would have sorted out the political discomfort nicely, I moved to a much more affordable state where I had family.”

Email us at essentialcalifornia@latimes.com, and your response might appear in the newsletter this week.

And finally … from our archives

Kendrick Lamar performs at Coachella Music & Arts Festival at the Empire Polo Club on April 16, 2017.

(Amy Harris / Invision / AP)

On April 16, 2018, Compton’s own Kendrick Lamar became the first hip-hop artist to win the Pulitzer Prize for music.

He won for his album “Damn.,” which the Times’ Mikael Wood heralded as Lamar’s graduation to pop superstardom.

Have a great day, from the Essential California team

Jim Rainey, staff reporter
Hugo Martín, assistant editor, fast break desk
Kevinisha Walker, multiplatform editor
Andrew Campa, weekend writer
Karim Doumar, head of newsletters

How can we make this newsletter more useful? Send comments to essentialcalifornia@latimes.com. Check our top stories, topics and the latest articles on latimes.com.

AN AIRPORT in the north of the country has taken one step closer to welcoming back passengers.

Doncaster Sheffield Airport closed in 2022 after operating for 17 years, but has been recently backed by the government to reopen.

Now, the regional airport has taken another step closer to welcoming flights as it is launching a search for an operational partner.

Operator Fly Doncaster is looking for a Fixed Based Operator to have a permanent place within the airport.

This type of organisation would provide services that include aircraft handling, fuelling, and parking.

What this means is that private flights could return to the airport before the end of 2026 – with plans for passengers flights much later.

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Simon Hinchley, Executive Director for Airport Operations at Fly Doncaster said: “As we work towards reopening Doncaster Sheffield Airport, our focus is firmly on building a safe, efficient and operationally robust airport that is ready to serve a broad range of users from day one.”

In early 2025, the UK government revealed that £30million was being put towards its reopening.

More recently, a report for City of Doncaster Council’s cabinet announced that the cost of reopening the airport had risen to £193million.

Fly Doncaster said that when the airport reopens, it could see as many as four million passengers through its doors.

There has also been talks of a rail link to and from the airport that could have connections with the Lincoln Line and East Coast Mainline.

Prior to its closure, airlines like FlyBe, Wizz Air and TUI operated flights from Doncaster Sheffield.

As of yet, no airline has confirmed it will open base, but Doncaster East and Isle of Axholme Labour MP Lee Pitcher said last year that he was in talks with both Ryanair and TUI.

In July 2025, he told local media: “Yesterday, I chaired the latest meeting of the DSA Action Group, where we sat down with TUI’s UK & Ireland commercial director.

“It was a productive discussion, and we’ll continue to work with TUI, other key stakeholders, and push the Government to keep Doncaster Sheffield Airport firmly on the agenda.“

The airport is expected to be operational with passenger flights for summer 2028.

Another airport that is in talks to reopen is Manston Airport, in Kent which once offered flights from the UK to Europe.

Passenger services stopped when KLM pulled out of the airport in 2014.

The current plan is to reopen the airport for cargo planes which is scheduled for 2029.

There have been talks to start commercial flights once again, but this could take longer to start.

Tony Freudmann – the public face of the site’s owners, RiverOak Strategic Partners told Kent Online: “We need, by the time we open, to have enough advance commitment from cargo operators to see that it is going to work.

“At that point, if we get the right approach from passenger carriers, wanting us to build a passenger terminal and base some aircraft here, we’ll go with that.”

Here’s more on airports as chaos sweeps Europe with new travel rules that have resulted in three hour queues and passengers missing their flights.

And this Spanish airport is set to close for over a month with all flights cancelled and thousands of Brits set to be impacted.