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Over the weekend, the Academy Museum announced that it will honor Mexican and Mexican American film history in an upcoming exhibition titled “Cinelandia: Celebrating Mexican American Cinema.”

Currently scheduled to open in September 2027 — likely to coincide with the onset of Hispanic Heritage Month — the showcase will span from the silent film era to the present day and examine movies from both sides of the border.

The idea for the exhibition was first discussed back in 2019 and work on it officially began in late 2022, Academy Museum associate curator Sophia Serrano told The Times.

“It grew from a previous research and programming project we did as part of the Getty Foundation’s Pacific Standard Time: Los Angeles x Latin America initiative, before we opened the Academy Museum in 2021,” Serrano said.

The display will focus mostly on Mexican American cinema, but examines those films in conversation with Mexican features and other Spanish-language movies, made both in Hollywood and internationally.

Films included in the exhibit will be Day of the Dead flicks like “The Book of Life” and Disney’s “Coco” — as well as the Spanish-language version of the 1931 horror classic “Dracula,” plus director Luis Valdez’s “La Bamba” and “Zoot Suit.” Three groundbreaking works by Gregory Nava will also be honored: the Oscar-nominated “El Norte,” “My Family/Mi Familia” and the Jennifer Lopez-led biopic “Selena.”

Among the classic Mexican films included are the 1932 film “Santa,” which was the first Mexican narrative sound movie, as well as 1946’s “Enamorada.” Features from Mexico’s Oscar-winning “three amigos” of cinema — Guillermo del Toro, Alfonso Cuarón and Alejandro Iñárritu — will also be highlighted.

Along with curator Serrano, “Cinelandia” is guided by a 12-person advisory panel: cartoonist  Lalo Alcaraz; UC Santa Cruz professor emeritus Rosa-Linda Fregoso; LACMA curator and head of contemporary art Rita Gonzalez; animator-director Jorge R. Gutiérrez; writer-director Cristina Ibarra; Pitzer College professor Jesse Lerner; director-writer Carlos López Estrada; University of Arizona assistant professor Orquidea Morales; director Gregory Nava; UCLA professor Chon Noriega; University of Texas at Austin professor Charles Ramirez Berg; and USC professor Laura Isabel Serna. 

Given that L.A. County’s population is almost 50% Latino, Serrano noted that part of the exhibition’s aim is to connect to the millions of Latinos in the county and show how they’ve been critical in informing the cultural landscape of L.A.

“Mexican American cinema is … a big part of Los Angeles’ history,” Serrano said. “We want this exhibition to connect with the broader Los Angeles community, as well as illuminate the history behind many of the beloved films from Mexican American and Mexican filmmakers. The exhibition is designed to offer something for everyone and bring people of all ages and backgrounds together to celebrate this important cultural heritage.”

As with previous exhibitions centered on minority populations, the Academy Museum won’t be shying away from the uncomfortable truths around Latinos in Hollywood — from the demographic’s stereotypical portrayals in film to its underrepresentation in the industry that continues to this day.

“Many of the films and artists featured in the exhibition draw attention to or push against these challenges in a variety of ways,” Serrano said. “A guiding principle of the exhibition is foregrounding the voices of film artists themselves via interviews, written quotes, and guest curations and collaborations alongside the hundreds of original objects that will go on display, and this aims to tell an earnest and engaging story about this history.”

“We are also aiming to show how vast the contributions of Mexican American artists are, and these histories are often unknown or underrecognized. It’s essential that the exhibition celebrates these moments of impact and influence in a dynamic and educational manner.” 

“Cinelandia” isn’t the museum’s first foray into identity-based exhibitions centered on underrepresented populations. In 2022, the museum opened the “Regeneration: Black Cinema 1898-1971” exhibition which highlighted the work of Black creatives from filmmaking’s early days through the civil rights movement. The showcase — which closed in April 2023 — tackled such themes as the representation of Black people in early cinema (1897-1915), the era of “race films” made by Black filmmakers for Black audiences (1910s-1940s), musical films and stories born of the civil rights movement.

The museum’s ongoing showcase titled “Hollywoodland: Jewish Founders and the Making of a Movie Capital,” explores the stories of the Jewish filmmakers and studio founders who helped cement the L.A. area as the world capital of entertainment.

In the latest salvo in the war between the Trump administration and California, Health and Human Services Secretary Robert F. Kennedy jr. said Tuesday that his agency withheld $867.5 million in Medicaid payments to the state over concerns about fraud.

Kennedy also said his agency defered $199 million in Medicaid payments to Minnesota over similar concerns.

“If Gov. Gavin Newsom or Gov. Tim Walz wants this funding released, all they have to do is provide basic documentation showing that these services are legitimate and not fraudulent,” Kennedy said at a news conference.

Just under half of the funds withheld from California were in connection with in-home health services.

Dr. Mehmet Oz, the administrator for the Centers for Medicare and Medicaid Services, said California’s spending on in-home health services went up by more than double the national average over the last two fiscal years.

“That doesn’t make sense,” he said.

About a quarter of the funds withheld involved care provided to individuals with “unsatisfactory immigration status,” whose eligibility to be in the country and receive these services is in question, which Oz characterized as an “ongoing massive problem for California.”

The announcement by Kennedy and Oz on Tuesday comes two months after Vice President JD Vance announced that the administration would be deferring $1.3 billion in Medicaid payments over fraud concerns, largely connected to hospice services and in-home healthcare.

Newsom’s office, in a social media post, called the announcement a “recycled political stunt.”

“California isn’t being targeted because Trump has evidence of fraud,” the post said. “We are being targeted for political reasons — and because Dr. Oz doesn’t understand that we are *SAVING* taxpayers money by keeping seniors and people with disabilities out of far more expensive nursing homes!”

Newsom’s office also said that the state stands “ready to collaborate” with the Centers for Medicare and Medicaid Services “in good faith efforts to combat fraud.”

The office of California Atty. Gen. Rob Bonta said it is reviewing the deferral of payments and allegations of fraud.

“We have not hesitated to challenge unlawful actions by the Trump administration, and we will continue to act whenever Californians’ rights or access to critical services are threatened,” Bonta’s office said.

Despite Newsom’s claims that the accusations are political, the California state auditor has repeatedly flagged Medi-Cal eligibility discrepancies that have exposed the state to billions of dollars in questionable payments.

California Department of Healthcare Services spokesperson Anthony Cava noted, however, that a 2020 state audit of in-home care found “no program integrity concerns” and encouraged expansion of the program to reduce spending on institutional care.

Cava also pointed out that the federal government had previously approved California’s approach to in-home care.

Newsom and Oz have clashed before.

Newsom filed a civil rights complaint in January against Oz, after Oz posted a video to social media from Van Nuys in which he accused the “Russian Armenian mafia” of being a leading driver of $3.5 billion in fraud in hospice and home-care services.

Newsom said that Oz’s claims were “baseless and racist.”

The announcement by Kennedy and Oz on Tuesday is the latest effort by the Trump administration to crack down on suspected Medicaid fraud in numerous states across the country.

Colson Whitehead’s latest foray into the bent world of “reluctant fence” Ray Carney — “Cool Machine,” the third and final installment of his Harlem Trilogy — is an American epic disguised as a heist novel. It’s a dizzyingly brilliant measure of the versatility and depth of the acclaimed author’s literary talent.

After writing two books dealing with monstrous historical trauma and institutional abuse — “The Underground Railroad” and “The Nickel Boys,” for which he won two successive Pulitzers — Whitehead pivots to an entirely new genre, subverting it, toying with it, making it wholly his own. And while the Harlem novels, too, have a great deal to say about serious subjects such as systemic racism, corruption, and crimes and misdemeanors of various proportions, they often lean on humor to get the message across.

In fact, it’s easy to envision the author at his laptop, as exhilarated as his prose, cracking himself up over how he bends language, employs slang, and forges descriptions like this one about a bar where Carney and a partner in crime conspire over how to fence a stolen diamond necklace: “He met Flinch Wilson at the Marlin, a narrow dive on 110th and Broadway with a decor inspired by an old leather shoe that lived in a drainage pipe.” Or this about a rival who has it out for Carney and his cohorts: “Buzz struck him as a plumber, one who comes back when you aren’t home to strangle your parakeet if you stiff him on the bill.”

“Cool Machine” is set in the 1980s, and Carney is still in the picture. It’s the Reagan era, and predatory capitalism rules, as does Mayor Giuliani, who’s waged war on the mafia and the homeless. What Whitehead dubs the “churn” roils the city and his protagonist. It’s that “churn” that beckons Carney to break his promise to himself and once again divert from his legit furniture store business. The excuse this time is that his wife Elizabeth wants to open her own travel agency, and can’t get a bank loan. Despite the couple’s closeness, for all these years her husband has managed to conceal that he’s a part-time crook. He desires respectability, but savors the buzz, the camaraderie — the honor among thieves. Carney falls in with criminal mastermind Uncle Rich and signs on to his outrageous plan to break into the Waldorf Astoria; the goal is to liberate Jesse Owens’ Olympic gold medal from those who forced him to cash it in.

The intricacy with which Whitehead details the planning and execution of this caper marks him as a top-tier researcher — he’s drawn on many primary sources to ground this work of fiction in historical fact. (There’s also his obsessive use of Pinterest.) The scenes set in the bowels of Grand Central, where there’s a secret train track leading to the Waldorf, are thrilling enough to read for their action, but the atmospheric descriptions are equally delectable: “Track 23’s next departure pulled into the station. One commuter joined Carney and Uncle Rich on the platform, a deflated man in a pinstripe suit with shiny elbows, then another businessman who sagged on one side, as if his briefcase was filled with lead weights.” One of the marvels of this novel is how effortlessly such sentences land, despite being honed to perfection. It would be a spoiler to say anything further about whether the thieves’ mission impossible yields their reward.

Part two of the novel shifts downtown, into the heart of the ’80s East Village art scene. A preoccupation of Whitehead’s — Jean-Michel Basquiat — is the inspiration for a fictional graffiti artist whose omnipresent scrawls capture the pretensions of the burgeoning wheelers and dealers, who, like uptown crooks, are relentless strivers, albeit with sleeker facades. Their snobbery is juxtaposed with Carney’s friend and colleague Pepper’s unsettling bluntness and eyeball to eyeball stare. He’s on the trail of a psychopath-for-hire dubbed “the Melancholy Hitman,” while battling stomach issues that have him downing Pepto-Bismol and coughing up blood in random bathrooms. In this section, Carney plays a supporting role to Pepper’s lead; “Escape from New York” is the enveloping soundtrack.

In the novel’s final act, Carney reemerges from straight life and Pepper from retirement in Delaware to rescue Carney’s nephew, Robert, who’s on the mob’s hit list for a murder he witnessed. Political corruption is rampant, and the revelation of who’s on the take has rattled a lot of cages. Robert is unwittingly entrapped, and has absconded with something mob bigwig Lombardi wants revenge for. Carney dons his best furniture salesman hat to make the pitch of a lifetime, a deal that could save Robert’s life, or take Carney’s. As Carney drives to the meet-up, he reflects on New York’s evolution: “Crime transformed the city by degrees. He thought of what John [his son] told him about rap music, where it came from. Rap was part of the New York environment now, barging from boom boxes and windows. They created something new from the spoils, the theft of turntables from record shops, the rip-off of a musical line or riff from another song — a crooked art.”

For those who enjoy knowing how an author’s inspiration arrives, it’s amusing to note that in the case of the trilogy that kicked off in 2021 with “Harlem Shuffle,” Whitehead told the New Yorker: “I was staring off into space and thinking about how much I like heist films and how much fun it would be to write a heist.” That sounds simple enough, but “Harlem Shuffle” turned out to be years in the making. The idea initially came to him around the same time he was writing “The Underground Railroad,” which was published in 2016. It wasn’t until after the release of that book, and then “Nickel Boys,” that Whitehead decided to lighten the mood by composing a crime novel set in New York City in the 1960s. And while he usually avoids staying on the same topic or voice from book to book, in the midst of writing “Harlem Shuffle,” Whitehead found he was still imagining further escapades for his main character, this time in the 1970s, with the city on the verge of bankruptcy, and incendiary conflagrations between the NYPD and the Black Liberation Army trending. As he envisioned what would become “Crook Manifesto,” Whitehead thought: “Why not make it three?”

Carney is part poet. Part crook. Part salesman. Part philosopher. To my knowledge, Carney’s creator is neither crook nor salesman, but Whitehead can lay claim to those other two mantles. His vocabulary appears boundless, as does his apparent love for the city he grew up in, where he still lives. “Cool Machine” is a modern masterpiece and an ode to New York, no matter that rats skitter and cockroaches scamper underfoot. When Carney has the chance to move anywhere in the world he wants, he ponders the appeal of fresh air. “Fresh was nice,” he reflects, “but so was other stuff. Noise, dirt, and struggle.” After escaping Manhattan, he wonders, “Where do you go? There’s no place else. It was like going on the lam from yourself.”

Whether or not New York is your jam, or a place you have escaped from or to, Whitehead’s Harlem Trilogy is destined to live on as an American classic. Never mind the rats and cockroaches — it’s the churn.

Haber is a writer, editor and publishing strategist, and co-founder of the Ink Book Club on Substack. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.

On Monday, more than 40 fake trophies were stacked at the base of a 10-foot-tall “Iran War Participation Trophy” made for President Trump and placed on the National Mall by the anonymous satirical activist group Secret Handshake.

The large golden trophy is part of a growing trove of protest art pieces erected by the group since Trump was reelected to his second term in office. Previous installations, which have all received the necessary permitting for legal display, include one of Trump and convicted sex trafficker Jeffrey Epstein holding hands, and a playable retro video game called “Operation Epic Furious: Strait to Hell.”

The new participation trophy is equipped with a plaque that reads:

“We hereby award President Donald J. Trump this participation trophy for his enthusiastic involvement in the Iran War. While some concern themselves with military strategy, diplomacy, or measurable outcomes, President Trump demonstrated the courage to participate regardless of the final score.

As recipient of this prestigious award, President Trump joins the ranks of children everywhere who receive recognition for simply showing up. We join you in celebrating this remarkable achievement.”

Secret Handshake noted in a letter to The Times that the installation serves as the nation’s first official “Donald Trump Trophy Donation Center, encouraging the public to drop off their own personal trophies, medals, and ribbons at the base of the monument for The President to claim as his own. Together, we hope that if enough trophies are donated he will be perceived as a winner and not feel the need to bomb other countries.”

A representative for Secret Handshake said the dozens of donated awards include certificates, trophies, medals, a wrestling belt and a Kennedy Center sash.

“I’m really thrilled to see people taking an active interest in joining in and bringing their own creativity and having their own voice heard by adding trophies to the base of this instillation,” the representative wrote in an email. “I think it’s exciting and I think when people can take a moment to tangibly express their opinion about this government’s war it helps to create a reminder that we aren’t alone. This isn’t normal. This shouldn’t just be accepted at face value.”

One of the best offerings is titled, “First Place in ‘I Know a Pool guy,’” and reads in part, “Participation trophy for Donald Trump in recognition of his renovation of the nation’s historic reflecting pool to more clearly reflect his efforts to criminalize the touching of a public monument in order to cover up the damage he caused …” The award also recognizes Trump’s “development of American Flag Blue pool liner, which he said was indestructible (unless cut by left wing radical terrorist vandals).”

Secret Handshake has extended an offer to “hand deliver both the participation trophy and all smaller trophies to the Trump Administration for The President’s glowing collection of fake accolades.”

I’m Arts editor Jessica Gelt taking First Place in time wasted mulching my garden in the heat. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

“Etai & Felipe Pantone: Parallel Practices: Tailored Structures & Kinetic Surfaces” at albertz benda.

Etai & Felipe Pantone
“Parallel Practices: Tailored Structures & Kinetic Surfaces” combines Pantone’s wall-based artworks and a series of collaborative design pieces to challenge ideas of use, intimacy and lived experience, placing each work in the interconnected artistic system.
Opening, 6:30–9:30 p.m. Friday; exhibit continues through Aug. 8. albertz benda, 8260 Marmont Ln. albertzbenda.com

New Swan Shakespeare Festival
The Bard is back in the O.C. at the troupe’s open-air, Elizabethan-style portable theater with “The Merry Wives of Windsor Cove,” a musical adaptation set in a 1950s SoCal beach town, in repertory with “Romeo & Juliet,” the classic tragedy reimagined amid the scarcity of the Dust Bowl.
“Merry Wives,” 8 p.m. Friday, Saturday, Thursday and various dates through Aug. 30; “Romeo,” 8 p.m. Sunday, Wednesday and various dates through Aug. 29. New Swan Shakespeare Festival, Inner Ring Road, UC Irvine. newswanshakespeare.com/

SATURDAY

“Cyrano” at the Old Globe, San Diego.

(Ben Wiseman)

Cyrano
An irreverent take on “Cyrano de Bergerac” by Edmond Rostand, adapted by Jason O’Connell and Brenda Withers, directed by Annie Tippe.
Previews, 8 p.m. Saturday; 7 p.m. Sunday, Tuesday and Wednesday; opening night, Thursday, 7 p.m.; continues through Aug. 9. The Old Globe, 1363 Old Globe Way in Balboa Park, San Diego. TheOldGlobe.org

F**king Strangers
The world premiere of a dark comedy about love and loneliness by Erik Patterson, directed by Chris Fields.
Previews, 8 p.m. Friday; 8 p.m. Fridays and Saturdays; 4 p.m. Sundays; through Aug. 24. Echo Theater Company, Atwater Village Theater, 3269 Casitas Ave. echotheatercompany.com

Yoko Ono’s ‘Sky Piece to Jesus Christ’ + ‘Cut Piece’
A six-piece classical music ensemble from the Los Angeles Chamber Orchestra will be gradually wrapped in gauze until the musicians can no longer play their instruments in “Sky Piece,” first presented to the public by Ono at Carnegie Recital Hall in New York in 1965. In “Cut Piece,” performed by artist MPA, the audience will be invited to cut away pieces of the artist’s clothing to take with them while the artist sits silently onstage. The performance was premiered by Ono at Yamaichi Hall in Kyoto in 1964.
6 p.m. Saturday; 2 p.m. Sunday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

Marvelous Musicals
Professional and student dancers perform numbers from classic shows to modern favorites.
6:30 p.m. Irvine Barclay Theatre, 4242 Campus Dr. thebarclay.org

Koak, “Portrait of Myself, the Shell,” 2024. Flashe and acrylic on linen; diptych. 74 x 118 inches

(Photo by Chris Grunder. Courtesy of the artist and Perrotin.)

Summerlove Sensation
A group show featuring Isabelle Albuquerque, Alex Anderson, Mustafa Ali Clayton, Gregor Hildebrandt, Susumu Kamijo, Rae Klein, Koak, Asuka Anastacia Ogawa, Katherina Olschbaur, Jean-Michel Othoniel, Andrew J. Park, Gahee Park, Aya Takano, Honor Titus and Pilar Zeta.
Opening, 6-9 p.m. Saturday; exhibition continues through Aug. 28. Perrotin Los Angeles, 5036 W. Pico Blvd. perrotin.com

A Weekend With Robert Rodriguez
The multi-hyphenate filmmaker will be on hand for anniversary screenings of “From Dusk Til Dawn” (1996) and “Spy Kids”(2001) with the filmmaker in person and performing with his musical groups, Chingon Band and The Rodriguez Family Spy Band.
“From Dusk,” 7 p.m. Saturday. “Spy Kids.” 2 p.m. Sunday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

SUNDAY

Tensions, Personified
Readings of four short plays by John Binder are presented as part of the Odyssey’s Thresholds of Invention series.
4 p.m. Odyssey Ensemble Theatre, 2055 South Sepulveda Blvd. odysseytheatre.com

TUESDAY

Ann Noble, left, and Robin McDonald in “Dead Man.”

(Carolina Rodriguez)

Dead Man
Ann Noble writes, directs and performs in this clown noir murder mystery co-produced by Theatre Ghosts. Co-starring Christian Haines, Jeffrey Johnson and Robin McDonald.
8 p.m. Tuesdays, through Aug. 4. Echo Theater Company at Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.ludus.com

UCBackrooms
A one-night-only immersive, participatory comedy experience turns the Upright Citizens Brigade Theatre into an escape room.
Shows begin every 15 mins., 6-7:30 p.m. Upright Citizens Brigade Theatre, 5919 Franklin Ave. ucbcomedy.com

THURSDAY

Falsettos
The O.C. theater company The Wayward Artist presents William Finn and James Lapine’s Tony Award-winning, sung-through musical set in 1979 and 1981 about a Jewish man who leaves his wife and son for his male lover, and the ensuing upheaval to their lives.
8 p.m. Thursday, July 24-26 and July 30-Aug. 2. Irvine United Congregational Church, 4915 Alton Pkwy. thewaywardartist.org

Arts anywhere

Jason Huber, from left, Scott G. Jackson and Dana Dewes in “The Price” at Pacific Resident Theatre.

(Ian Cardamone)

The Price
The critically acclaimed production of the Arthur Miller drama at Pacific Resident Theater closes this weekend. “‘The Price,’ directed by Elina de Santos, thrives in the intimacy of Pacific Resident Theatre’s main stage,” wrote Times theater critic Charles McNulty when he reviewed it in April. “There’s not a moment in the play that isn’t deeply inhabited by a cast that understands the value of listening.” But don’t worry if you are unable to make it to the Westside. The final two shows will be available from the League of Live Stream Theater for $35, which includes a 24-hour on-demand replay.
2 p.m. Saturday; 3 p.m Sunday. Pacific Resident Theatre, 703 Venice Blvd., Venice; streaming at lolst.org/theprice

— Kevin Crust

Culture news and the SoCal scene

Miller Friedman, Ashley Maimes, Jonathan Blandino and Torianna Turnbow in Shakespeare’s “A Midsummer Night’s Dream” at Will Geer’s Theatricum Botanicum.

(Ian Flanders)

Summer is the ideal time to see theater out of doors (well, maybe not this broiling week, but at other times), and Times theater critic Charles McNulty has compiled this breezy list of “11 enchanting places to see outdoor theater in Southern California.” Spoiler alert: Shakespeare is well-represented, but remember, the Bard’s work was originally staged in an open-air theater.

McNulty also headed to Pasadena Playhouse for the opening of the two-person hip-hop musical “Mexodus,” which tells the little-known story of an Underground Railroad route to Mexico. McNulty was taken with the show, which arrived at the Playhouse after its award-winning off-Broadway run, calling it “hands down the most charming, innovative and warmly embracing new musical I’ve seen in the last year.”

Artist Betye Saar is photographed at her home in Laurel Canyon on Tuesday, June 30, 2026.

(Christina House/Los Angeles Times)

Betye Saar turns 100 on July 30, but the famed artist is still more interested in creating new work than discussing her groundbreaking legacy. Times contributor Tara Anne Dalbow wrote this lovely profile of Saar after a visit to her vibrant home studio in Laurel Canyon. “There are certain people who redefined what was a very narrow definition of American art, and Betye is absolutely one of them,” curator Zoé Whitley told Dalbow.

Los Angeles County Museum of Art this week revealed that artist Vija Celmins and filmmaker Denis Villeneuve will be honored at its upcoming Art + Film Gala, the first to be hosted since the spring opening of LACMA’s new David Geffen Galleries.

Younes and Soraya Nazarian Center for the Performing Arts — better known as the Soraya — on the campus of California State University Northridge.

(The Soraya)

If you’re interested in buying single tickets to shows that are part of the Soraya’s upcoming season, now is the time. The venue just opened up its access from membership presale to the general public. Sutton Foster, Dance Theatre of Harlem and Audra McDonald are all making their Soraya debuts, as is the Los Angeles Philharmonic.

— Jessica Gelt

And last but not least

And you thought making the “Mona Lisa” out of Legos was hard. The company has now paired with Vienna’s Belvedere Museum to release a 4,000-piece Lego set of Gustav Klimt’s “The Kiss.” You can buy the set, beginning Aug. 1, for $299.99.

India joins a handful of countries that have successfully deployed the zero-emission technology in their rail networks.

India has launched its first domestically built, hydrogen-powered train, as it pushes its efforts to expand clean energy use.

Prime Minister Narendra Modi inaugurated the locomotive ahead of its first trip on Friday, hailing the event as a significant day for India’s drive to become self-reliant and sustainable. The introduction of the train sees India join just a handful of countries that have successfully deployed the zero-emission technology in their rail networks.

Dubbed the “NaMo Green Rail”, including an abbreviation of the PM’s first and last names, the train will make two return trips each day along a 90km route linking the cities of Jind and Sonipat, in the state of Haryana. The 10-coach train can seat about 2,600 passengers and can travel at speeds of up to 75km/h.

Designed, engineered and built in India, the NaMo produces only heat and water vapour when running, making it an attractive alternative to diesel.

While India has already electrified almost all of its 70,000km railway network, one of the largest in the world, hydrogen trains can plug the gap where electrification is not possible.

Other countries operating hydrogen-powered trains include Japan, China, the United States and Germany, which launched the world’s first hydrogen-powered fleet in 2022.

The rollout is part of India’s wider push to expand use of hydrogen and cut its carbon emissions, with the government aiming to make the country’s railways net-zero by 2030.

Prime Minister Modi has long pushed other clean-energy efforts too, from expanding renewables to advancing India’s nuclear energy programme.

While the country still struggles with enacting effective climate policy, the launch of NaMo Green Rail marks another step towards a green transition.

Two new stars will be joining the latest Celebrity Gogglebox line-up as they showcase their TV opinions on the popular Channel 4 show

Rock stars and longtime friends are joining the Celebrity Gogglebox sofa this week.

Making their debut on the show, Jake Shears and Josh Homme will give their opinions on the week’s biggest TV moments, combining their close friendship with their signature wit.

Best known for fronting Scissor Sisters and Queens of the Stone Age, Jake and Josh have spent years performing to huge crowds around the world and building careers that have sold millions of records.

This time, they’ll be watching from the comfort of the sofa, sharing their candid, entertaining reactions to the programmes that have everyone talking.

Talking about his appearance, Jake said: “Josh and I have spent years making noise for a living, so sitting on a sofa and talking over the television felt surprisingly natural. We laughed far more than we probably should have and somehow got away with calling it work. It was a longtime dream to be part of Celebrity Gogglebox.”

Meanwhile, Josh said: “You’ve never watched anyone watch TV until you’ve watched Josh and Jake watching TV. And then you know you’ve watched it. So set your watch for 9pm on Friday. We are breaking ground that should largely have gone unbroken.”

It’s a busy week for Queens of the Stone Age frontman Josh, as the band has unveiled plans for their new album, Everything Under The Sun.

The upcoming release marks the American rock group’s first studio album in three years. They also dropped the lead single, Easy Street, on Tuesday, featuring guest vocals from Nikki Lane.

Fans may already recognise the song after it made its live debut during the band’s Catacombs tour last year.

Elsewhere in the new series of Celebrity Gogglebox, singer Mollie King will be joined on the sofa by her partner, former England cricketer Stuart Broad.

Olivia Attwood has been taking part in the latest series alongside her mum, while her partner Pete Wicks has been appearing separately with his close friend Vicky Pattison.

The new season has also welcomed back a host of familiar faces, including Vernon Kay and Paddy McGuinness, Bez and Shaun, Roman and Martin Kemp, Ashley Banjo and Perri Kiely, Nick Grimshaw with his niece Liv, the Mangans, and Rylan, who once again joins his mum Linda on the sofa.

Celebrity Gogglebox airs this Friday at 9pm on Channel 4.

This double act of “Lancashire” locations is my final celebration of Britain’s bypassed towns. My native county has dominated my life of late, and one key question asked in these columns has been: can you holiday right at home?

The French author Xavier de Maistre believed you could fit a journey inside a single room. And in Instructions on How to Climb a Staircase the Argentine-French writer Julio Cortázar turned a walk upstairs into a quest. An entire county offers enough adventures to fill a life.

Touring seldom-trod places, I’ve witnessed a lot of regeneration and redevelopment, demolition and disappearance. Preston, my closest city, has a £45m leisure complex, a revamped museum and a new bridge over the River Ribble, with lots more planned. St Helens, my childhood town – proudly in historic Lancashire, but administered as Merseyside, and now part of the Liverpool city region – looks and feels like a drawing board at the moment. But both are changing for the better, if you look beyond the frayed fabric of their townscapes.

Preston

At first, I was struck by the city’s low-slung eastern edges, as if land had been cleared. It was simply that areas have been Americanised – all squat, boxed retail, yawning carparks, and ring roads. It left me feeling flat. But Preston began to grow on me the minute I stood beneath the extraordinary hypodermic spire of St Walburge’s church – the tallest parish church in the UK, designed by Joseph Hansom (of cab fame), and a testament to the strong Roman Catholic presence in “Priest’s Town”. Looking up signifies hope; doing it is primitive cognitive therapy.

Then I discovered the imposing Harris museum and gallery, which reopened after a £19m refurbishment last September. It’s become the place to go for art, local history, textiles, fashion, ceramics, coffee, library books – the ultimate rainy-day or, indeed, heatwave refuge. It’s a regional treasure (and perhaps the Ashmolean and British Museum might like to return the complete Cuerdale hoard, the largest Viking hoard found in England, unearthed beside the River Ribble).

I used the Harris a lot while doing jury service at the crown court and turned my walks to town from the park-and-ride into sightseeing tours. Highlights include the brutalist bus station and Guild Hall, built for an unrealised new town; the monument to the 1842 martyrs gunned down by infantry and coppers during the General Strike; the Victorian market hall and court and Miller Arcade; Winckley Square with its park and Georgian terraces; St Wilfrid’s, St John’s Minster, the Saint Alphonsa Syro-Malabar Cathedral.

Made a city in 2002, Preston has long been a place of power and influence. It’s where the cotton-town trail through east Lancashire begins, geographically and chronologically. Richard Arkwright, father of the factory system and co-creator of the water-powered spinning frame, was born here in 1732. Centenary Mill was built for the empire-spanning textile firm Horrockses, Crewdson & Co – its magnificent chimney was mammon’s shameless challenge to the churches; an annexe off the yard contains a magical emporium of antiques, and fixtures and fittings culled from mouldering mansions.

Industry, one way or another, led to many of Preston’s other inventions. Temperance and teetotalism, spearheaded by the nearby Walton-le-Dale’s Joseph Livesey, son of a clothier, were partly reactions to urban “immorality”. Professional football was what professional workers wanted on Saturdays. Preston North End was a founder member of the English Football League. Deepdale, on the same site since 1875, is one of England’s oldest grounds. Dick, Kerr Ladies, founded in 1917, was one of the first women’s teams.

I respect the temperance movement, but love the Black Horse – to me, Preston’s most beautiful old pub, with etched windows, fixed snug-like seating, gorgeous tiling and a rare ceramic bar. Trad spaces have been complemented by new food venues, with the cool Korean restaurant Kimji, authentic Spanish dishes at Pintxos and modern British at Aven.

When they hacked up counties in the 1974 local government overhaul, they accidentally made Preston a future “capital” of sorts. It’s beginning to live up to the billing.

A little bird (an old pigeon outside the Harris, actually) tells me Manchesterism is misnamed. The big central idea, of local authorities exerting control and investing in a place, comes from Preston – with local living standards rising fast as a result. Manchester’s former mayor Andy Burnham has acknowledged this. Prestonism may yet change Britain and the world, all over again.
Things to see and do: walk or cycle the 21-mile Guild Wheel, Tram Bridge, Preston England Temple and the Devil’s House on St Wilfrid Street, Ribble Steam Railway and Museum

St Helens

Till now, I had never been inside St Helens Minster, though I was born nearby. In my defence, it was just the parish church till May of this year, when the name was changed to reflect its role as mother-church of the whole community.

The town began here, with four ancient rural manors ranged around a chapel of ease where wayfarers could rest and pray. Windle, Parr, Sutton, Eccleston; old names that contain even prettier-sounding villages: Clinkham Wood, Thatto Heath, Nutgrove. St Helens was once fields. Then it was shops, pits and workplaces. Now it’s something else.

Two big things are unfolding to that end. One looks small on a map but is mightily symbolic. Conservation work is progressing at No 7 Cannington Shaw Bottle Shop. Built in 1886, there were originally nine such shops – factories – making up the largest glass bottle production site in the world. This lovely redbrick circular building, with a classic conical roof, is the sole survivor, occupying a rare patch of rough land beside a big Tesco and Saints’ flashy rugby league arena. Once tons of molten glass were heated here, with glassblowers scooping up gobs to skilfully inflate, shape and place in a mould to create bottles.

On the first Saturday of every month, No 7 Cannington Shaw Bottle Shop now hosts artisan craft markets, with a bar and food stalls. After serving as an air raid shelter and storage depot, the site was abandoned and was only spared demolition by happy accident. John Tabern, director of the project, says: “As an ex-glassman, it’s extremely important to me. I’m proud of St Helens and want people to know its story. But we must monetise it with gigs and markets and all those things.”

The other thing is large on the map, equally important, if less evocative. Following blitz-level demolition, a large area east and south of the town hall is being given a new bus station, homes, offices, a hotel, green spaces, piazzas and “revitalised retail spaces”.

They’re always knocking things down here. But the Gamble building will soon house a smart new library, youth space and offices. This and the town hall are solid examples of redbrick Victoriana. The Beecham’s building, built in 1887, cost a fortune at the time and is topped by a coquettish clock tower. Its founder, Thomas Beecham, began selling laxatives to costive Wiganers; St Helens, like a crucible, allowed his business to flourish. The smart St Helens college faces the former HQ and the marriage of old and new works well.

Reflection Court, the old Pilkington’s headquarters on Canal Street, has a streamlined brick facade, influenced by the architecture of the Dutch modernist Willem Marinus Dudok. The former Pilkington’s complex at Alexandra Park on the edge of town was built by modernist architects Jane Drew and Maxwell Fry – who collaborated with Walter Gropius and Le Corbusier. Everything seems to be earmarked for apartment conversions.

I leave town via the Book Stop community bookstore, which I have “shares” in and where I gave a talk on my recent Lancashire book earlier this year. With no prompting from me, the manager titled it “Don’t Call Us Merseyside”. The newer “Liverpool City Region” is equally unpopular. I pass a church that, as a child, I thought was huge and ominous. Renowned architectural historian Nikolaus Pevsner wasn’t overly keen on St Mary’s Lowe House Catholic church, but I like the competing Byzantine dome and gothic tower. It’s as if the architect couldn’t make up his mind. The brickwork is black – the patina of two centuries of factory fumes. I pass the Turks Head pub, routinely lauded by Camra, and FC St Helens, where the rugby league team played in the 1880s.

Finally, I come to St Helens cemetery and crematorium. I have been here too often this past couple of decades. St Helens was built on furnaces; this one is still busy. I head to an area beyond the neat ranks of modern gravestones, walking on a path that, from the sky, is heart-shaped. In the wooded corner stands St Helens most ancient structure: Windleshaw Chantry, dating from 1415, when this was open countryside.

Beneath it is a large tomb, with a flat tablet full of abbreviated words. Spelled out, they say, “Here lie the remains of Jean Baptiste François Graux de la Bruyere – He was the first Who brought to Perfection A Work of very considerable Magnitude And Importance To the Commercial Interest of the British Nation.” This immigrant from Picardy, who died in 1787, aged 48, is thought to be the hero who brought glass-making to St Helens. I’m sure he’d be pleased that the town is at last celebrating his legacy.
Things to see and do: World of Glass, The Book Stop, North West Museum of Road Transport, the Dream sculpture, Café Laziz

Hold the Bat Signal — “The Batman Part II” has been delayed yet again.

The DC Studios film is now set to hit theaters Feb. 18, 2028. The sequel to Matt Reeves’ 2022 reboot “The Batman” was previously slated to bow Oct. 1, 2027 after it was pushed back from its original release date of Oct. 3, 2025.

Reeves took to social media Wednesday to share the new date along with camera test footage from the film. The video, the first proper look at Robert Pattinson’s return as the Caped Crusader, shows him in a new Batsuit, turning toward the camera as what appears to be snow falls around him. There are also some flashing lights in the background.

The filmmaker has previously shared “The Batman Part II” casting news as well as a glimpse of the Batmobile in social media posts.

Many details about “The Batman Part II” have been kept under wraps, but here is everything we know about the upcoming sequel.

Which characters are returning?

In addition to Pattinson’s return as Bruce Wayne, “The Batman” alumni Jeffrey Wright, Andy Serkis and Colin Farrell will reprise their roles as James Gordon, Alfred Pennyworth and Oz Cobb (a.k.a. the Penguin), respectively. Zoë Kravitz is not expected to return as Selina Kyle/Catwoman.

Other actors confirmed to come back include Jayme Lawson as Gotham’s mayor, Bella Reál, and Gil Perez-Abraham as Gotham City Police Dept. officer Martinez.

Barry Keoghan, whose character was briefly teased at the end of “The Batman,” is also reportedly likely to return as the Joker.

Who are the new cast members?

The newcomers venturing into Gotham for this next installment include Sebastian Stan, Scarlett Johansson, Charles Dance, Sebastian Koch and Brian Tyree Henry.

While their roles have yet to be confirmed, a number of outlets have reported that Stan is expected to portray Harvey Dent, a Gotham district attorney who is perhaps better known as the villain Two-Face, while other rumors say the Marvel star will play the sadistic killer Victor Zsasz. According to other rumors, fellow Marvel alum Johansson could be playing Gilda Dent — Harvey’s wife — or Poison Ivy.

What is ‘The Batman Part II’ about?

Details around the sequel’s plot have yet to be revealed, but the movie is expected to take place after the events of the HBO series “The Penguin,” which was set after “The Batman.” A number of Reeves’ social media teases have included glimpses of snow.

Over the years, the director has mentioned that the sequel will see the young Dark Knight struggling with his understanding that the world is more morally gray than his previous worldview, and that the film’s big villain will be someone who hasn’t appeared on the big screen before.

In the latest episode of “The De Los Podcast,” actor and comedian Fabrizio Guido spoke with hosts Fidel Martinez and Suzy Exposito about his role in the Netflix series “Running Point” — as well as being a part of a new wave of young Latino Hollywood stars and how he got his start in the stand-up comedy world.

Having grown up in L.A. himself, Guido talked about owning the persona of “Running Point” character Jackie Moreno: a concession-worker-turned-executive-assistant from Boyle Heights.

“I just felt I had all the tools necessary to bring this character to life,” Guido said. “It was a really important opportunity for people to see this side of L.A. … to get to know that kid that you see on the street or at the mall [and say] ‘Oh, that guy reminds me of Jackie.’”

Part of the appeal of the character was the chance to “showcase how much heart L.A. has.”

Alongside actors like Xolo Maridueña, Keyla Monterroso Mejia, Isabela Merced and Jenna Ortega, Guido is part of a new class of young Latinos taking Hollywood by storm — something the “Running Point” star said is “an honor.”

“It can be isolating if you’re the only Latino on a set,” Guido shared. “So to have peers that share a similar upbringing as you — you walk away with a friendship most of the time because you have stuff in common.”

He also mentioned that the bump in Latino talent has led to diversity in roles within the community.

“For the longest time, it could’ve been stereotypical — the only things Latino could play,” Guido said. “For the first time we’re starting to see this emergence of what it means for each one of us to be Latino. I’m bringing my experience to the table, Keyla is bringing her experience to the table, Xolito is bringing his. We’re not going by what the industry thinks Latino is, we’re bringing what we think Latino is.”

But beyond the acting world, Guido has also tackled the stand-up comedy scene in recent years.

He shared that he got his first gig thanks to comedian Gabriel Iglesias, who he worked with on the Netflix sitcom “Mr. Iglesias.” The arena comic convinced Guido to do a five-minute set — which Guido worked on for two weeks — at the Brea Improv.

“I got on stage, did my first joke and was super nervous,” he said. “Second joke did really well and it afforded me enough time to get present and then I ran through my five minutes, got off stage a different person. I knew I was in love. I felt like something in my life had shifted in that moment and I’ve been in love with stand-up ever since.”

Thousands of people who travel every day between the southern tip of Spain and the British territory of Gibraltar will no longer have to cross a physical border from Wednesday.

This came after the European Union and United Kingdom on Tuesday signed a treaty that delivers “economic and trade certainty for the people and businesses of Gibraltar, safeguards British sovereignty and protects the autonomous operation of UK military facilities”.

The treaty was signed in Brussels by the European Trade Commissioner Maros Sefcovic, British Minister of State for Europe Stephen Doughty, Spanish Foreign Minister Jose Manuel Albares and Gibraltar Chief Minister Fabian Picardo.

“Gibraltar was left out of the UK-EU Trade and Cooperation Agreement following Brexit, creating the prospect of a devastating ‘hard border’ for the 15,000 people – more than half of Gibraltar’s workforce – who cross the land border between Spain and Gibraltar every day,” the treaty said.

Here’s what we know about the treaty:

What does the treaty include?

Britain secured Gibraltar, a strategically important enclave at the southern tip of Spain, in the 1713 Treaty of Utrecht, which ended the War of Spanish Succession.

The contested British overseas territory of 38,000 people is perched at a strategic location, only 8 nautical miles (15km) from Morocco where the Atlantic Ocean meets the Mediterranean Sea.

The new agreement allows residents of Gibraltar to cross into Spain using residence cards without needing to have their passports stamped. In return, Spanish citizens will be allowed to enter Gibraltar using a government ID card.

The treaty in effect brings Gibraltar into the EU’s Schengen free-travel area, which allows people from 29 countries to move among them freely without needing visas.

At Gibraltar’s airport and port, entry and exit checks will be conducted by both British and Spanish border officials. The arrangement is similar to what’s in place at Eurostar train stations in London and Paris, where both British and French officials check passports.

Travellers to Gibraltar from countries outside the Schengen area, including the UK, will have to contend with the EU Entry/Exit System, which was rolled out in Europe in April and replaced passport stamps with biometric data collected through photographs and digital fingerprints.

Under the older system, every person had to face two border checks, one by Gibraltarian border agents and the other by Spanish officials when entering or exiting the Schengen area. The checks caused long queues, heavily impacting the workers who made the crossing daily.

The British government said the agreement brings “fluidity for people and goods crossing the Gibraltar-Spain border to support economic growth and jobs in the region”.

What was the motivation behind the treaty, and how does Brexit feature in it?

In a 2016 referendum in which UK voters approved leaving the EU, 96 percent of voters on “the Rock”, as Gibraltar is popularly known in English, supported remaining in the bloc.

When Britain eventually left the EU in 2020, the relationship between Gibraltar and the bloc was left unresolved. Previous talks on a deal to ensure people and goods could keep flowing across the border had made halting progress.

While the Trade and Cooperation Agreement, which came into force in 2021, broadly covered relations between the bloc and Britain, it was decided that Gibraltar would be addressed in separate negotiations because of its unique situation because it’s not in the EU customs union or the Schengen area.

In 2025, the EU and UK announced an agreement on those issues after more than three and a half years of negotiations.

Does the treaty place Gibraltar in a special position, and do any other British overseas territories have the same privileges?

Yes, Gibraltar is in a unique position because it has now gained EU privileges without being an actual EU member.

Still, it is under British sovereignty, and the treaty solely seeks to resolve post-Brexit cooperation with the EU and border management due to its open land border with the EU.

None of Britain’s other overseas territories, which include 14 territories scattered across the Caribbean and the Antarctic, has a deal similar to Gibraltar’s due to the shared land border.

Some of the territories have international arrangements, including Bermuda, which has its own immigration and tax systems, and the Falkland Islands, which govern themselves.

The Swoosh is staying at USC for the foreseeable future.

USC and Nike agreed this week to a 10-year extension of their all-sports apparel deal through 2036, the school announced on Tuesday.

Their partnership was already among the longest-running apparel deals in college athletics. Now it’s ensured to carry into its fifth decade.

“USC and Nike have grown together for more than 30 years,” athletic director Jennifer Cohen said in a statement, “and we are thrilled to continue one of the great partnerships in college athletics.”

At the time that USC first signed exclusively with Nike, such corporate sponsorships were a relatively new revenue stream for the school. Now, in the revenue-sharing era, they’ve become a ubiquitous — and essential — part of operating an athletic department.

This new deal should look a bit different than the last few times that USC extended their apparel deal with Nike. For one, it includes an NIL component, with select top-tier Trojan athletes slated to score their own NIL deals with Nike.

As part of the extension, USC’s new Bloom Football Performance Center will become the first facility in the nation fully outfitted with Nike strength equipment. Nike also agreed to design “custom uniform collections” for the USC men’s and women’s basketball programs and to renovate the USC Bookstore.

The financial terms of the deal were not disclosed. Other Big Ten schools signed with Nike signed during a stretch between 2015 and 2016 that became an apparel arms race around college football. Ohio State signed a 15-year, $252-million deal with Nike in 2016, while Michigan inked an 11-year, $174-million deal with Nike and Jordan Brand.

Yo-Yo Ma closed his eyes as he drew a bow slowly across his cello, playing the first notes of the Catalan lullaby “The Song of the Birds.” But this venue wasn’t like any vaulted concert hall he had toured globally.

At Maywood’s Riverfront Park, Ma was accompanied by the vroom of nearby traffic, cascade of a yucca rainstick and burbling hum of a water synth. An oblivious biker pushed past the world-renowned classical musician. The music flowed on.

Ma’s pop-up show in Southeast Los Angeles was part of his ongoing efforts to highlight people’s relationship to nature through music. He is among a new wave of artists who have been hosting shows along the L.A. River, a waterway with a complex history.

Yo-Yo Ma plays cello for a small group of artists and environmental advocates as part of the L.A. Phil Insight program, which aims to spark conversations around the arts.

(Halline Overby for InsightLA)

The river once terrorized Angelenos; its unconstrained flow was prone to flooding until most of its 51 miles were lined with concrete starting in the 1940s. While it’s been neglected, trashed and often forgotten over time, myriad governmental and nonprofit groups have been working for years to restore habitat, add park space and establish recreational elements (sometimes in conflict over the vision). And recently, creatives and activists, who dream of transforming it into a hospitable greenway, have been hosting arts events.

“Awareness around the river itself is changing,” said Maria Meija, executive director of L.A. River Arts, one of the organizations bringing attention to its history and cultural significance through public programming. She sees the serpentine stretch of the river as a natural highway that connects Angelenos from the San Fernando Valley to Long Beach. “We believe that if the river is properly activated as a green and cultural landscape, then Angelenos will fundamentally also get to experience Los Angeles in a different way.”

The River Solstice Festival was a family affair, with guests lounging on picnic blankets, watching puppet and opera performances and participating in birdwatching.

(Ariana Drehsler / For The Times)

Visions of those possibilities were realized on the summer solstice in mid-June at L.A. River Arts’ inaugural River Solstice Festival at an Elysian Valley park abutting a soft-bottomed area of the river known as the Glendale Narrows.

Children and parents applauded the performances by the Bob Baker Marionette Theater and opera singer San Cha at Lewis MacAdams Riverfront Park in what’s otherwise known as Frogtown. Attendees also gathered for guided bird-watching along the bike path by the water. Four-year-old Juni Wahab was entranced by the sight of the swallows and cormorants swooping low overhead and the rushing twists of water.

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1. Bob Baker Marionette Theater performs at the River Solstice Festival, clockwise from top left. Meanwhile, attendees enjoy the park and river as skateboarders roll down the bike path. (Ariana Drehsler / For The Times)

“It’s going so fast,” Wahab said, wiggling and pointing as her aunt held on tightly for safety. “There are so many waves.”

A quick stroll upstream, a group of DJs unaffiliated with the family-friendly festival hosted a day party aimed at Gen Z and millennial attendees, perched on one of the channel’s outcrops. Roughly a dozen people at the if-you-know-you-know event grooved and shuffled to EDM music while kayak enthusiasts paddled by and locals fished for carp.

Dominic Tsoi drove from Orange County to spin at the open decks hosted by the DJ collective Helipad Society. “This event really resonated with me, because it mixes two things that I really love, music and being a part of nature,” said Tsoi, adding the commute was worth it. An indoors club setting can feel stifling, but outdoors is where Tsoi feels free.

DJs have been putting on pop-up events like this one at the L.A. River and sharing videos of their sets on TikTok.

(Ariana Drehsler / For The Times)

Just up the sloped bank, Antonio Solano and Erick Torres were sweeping outside their tent, where they live under the Glendale Freeway. Torres started noticing events at the river increase over the last three years.

“It gets people together,” said Torres, who’s been living above the river for over a decade. The music is a source of pleasure even as Torres and Solano stay vigilant to avoid city encampment sweeps. “It’s good, we enjoy it.”

Social media has driven interest in these DIY events as artists playing ambient music against a backdrop of verdant green have gone viral on TikTok.

“The attention has expanded to people who otherwise wouldn’t have given the L.A. River a second thought,” said Noah Klein, a lifelong Angeleno who has hosted popular river jams over the last two years through his Living Earth public art series.

Erika Apelgren wears a flower crown that she made at the River Solstice Festival.

(Ariana Drehsler/For The Times)

People don’t need approval to host these impromptu gatherings, said Dash Stolarz, director of public affairs at the Mountains Recreation and Conservation Authority. The park agency oversees commercial use of the L.A. River recreation zones in Elysian Valley and the Sepulveda Basin, another section of soft-bottomed riverbed.

In her 25 years on the job, this was the first time Stolarz had heard of people using the riverfront for mini concerts. She was excited by the ingenuity of artists; as long as people aren’t charging for events, they don’t need permission.

“It’s exactly how we envisioned people enjoying the river,” Stolarz said. “We want people to use the river like a park.”

Though unlike a regular park, the L.A. River is primarily treated as a flood control channel, so park rangers carefully monitor for rain when the recreation zones open for leisure, like kayaking, during the summer.

While appreciating the L.A. River can be a good thing, social media algorithms can flatten the context around the waterway, particularly when it comes to demographic changes in nearby neighborhoods.

“The City of L.A.’s greatest skill is the erasure of its own history, and the L.A. River kind of feels like the perfect encapsulation of this,” Klein said.

Once home to mostly working-class Latino families, neighborhoods along the river in northeast L.A. have seen home prices surge for years. To preserve the history of these neighborhoods, Clockshop, an arts organization, has been collecting interviews with locals as part of a multimedia oral history project since 2023. The project includes everything from videos of an Indigenous musician performing a song about water in the Tongva language to brothers worrying about the future of their family’s 60-year-old pickle business in the face of gentrification.

Jon Christensen, director of the Laboratory for Environmental Narrative Strategies at UCLA, said river revitalization can be part of a “green gentrification cycle” as new development pushes out old communities. Like the chicken-and-egg paradox, it’s hard to tell which comes first: the amenities surrounding the L.A. River or the more affluent people seeking them.

Yo-Yo Ma, who hosts a podcast called “Our Common Nature,” chats with attendees at his intimate river concert. Human connection to the natural world is among his passions.

(Halline Overby for InsightLA)

Christensen hopes artists engaging with the river spurs conversation for more equitable green investments that benefit communities and the environment. “When people are more connected to nature, they want to support nature more,” Christensen said of his studies on how people connect to the outdoors. “It’s really kind of a virtuous cycle there.”

Cindy Donis, a water organizer with East Yard Communities for Environmental Justice, said artwork can also raise awareness around inequities. While there are aspirations to turn the river into a greenbelt, nightmarish pollution incidents have still haunted Southeast L.A. communities.

Ma’s performance was nearly canceled in May due to 25,000 gallons of crude oil that spilled into the L.A. River after a pipeline rupture in Boyle Heights. Weeks later, the Lineage warehouse fire sent even more debris and pollution downstream. Donis said multiple people reached out with complaints of a foul smell emanating from the river. Miles away, some at the River Solstice Festival wore masks due to poor air quality caused by the fire.

Charles Kelley with his daughter Zirah Kelley pose along the L.A. River bike path near the River Solstice Festival.

(Ariana Drehsler/For The Times)

Earlier this year, East Yard Communities for Environmental Justice held an exhibition at Art Space Huntington Park called “We Are Water” to uplift local Indigenous artists. “Art really allows and embraces healing,” Donis said. “It’s another tool that allows us to process these feelings and get closer to the solutions as a community.”

The L.A. River inspired Arturo Gonzalez to found his arts education nonprofit that focuses on gang intervention among young people in East L.A. As Ma performed in the park, Gonzalez stood in the river basin, spray-painting in neon-pink blockbuster letters the name of his organization, East Side of the River, onto pillars under Slauson Avenue.

As a teenager in the early 2000s, Gonzalez was involved in gangs that would tag the gray walls of the L.A. River, but his passion for graffiti and Chicano art eventually led him out of those circles.

“The river was a safe place to paint, where you could sit and spend the day learning colors, composition,” he said of illicit tagging as a teenager, which eventually led to his public art work. “There’s a thin line between vandalism and art.”

Arturo Gonzalez spray-paints the name of his organization, East Side of the River, which focuses on gang intervention.

(Halline Overby for InsightLA)

This time, Gonzalez arrived with permission from the county and painted on a detachable fabric in case the mural needs to be removed.

“The opportunity to get into the river and paint again was like a dream,” he said. He seeks the input of local residents in his planned projects so they can participate in beautifying their neighborhoods. “We call it wall medicine for the community.”

Croatia’s World Cup was seconds away from being over and Portugal was seconds away from the round of 16 when Ivan Perisic sent a long, desperate cross into the penalty area. The ball bounced off bodies like a pinball before magically, unbelievably, caroming into the net.

Gooooooallllllll!!!!

Fate had given Croatia a reprieve.

But as pandemonium broke out in the stands and on the pitch, Norwegian referee Espen Eskas stood in the middle of the celebration in Toronto, hand to his ear, listening to a voice half a continent away in Dallas.

The voice recommended a review, via the video assistant referee, or VAR.

So Eskas trotted over to a TV monitor, watched a video replay over and over again, and more than 2½ minutes after the goal was recorded, he took it off the board. Perisic’s cross had brushed the hair of teammate Igor Matanovic, leaving Mario Pasalic in an offside position when the ball reached him near the far post. The contact was imperceptible to the naked eye, but a space-age sensor in the ball had confirmed it.

A VAR review led a referee to overturn a Croatia goal during its 2-1 World Cup loss to Portugal in Toronto, eliminating Croatia from the tournament.

(Dan Mullan / Getty Images)

Croatia’s World Cup was over, another victim of VAR, which has had an outsized influence on this summer’s tournament.

It wasn’t supposed to be this way. When VAR was introduced to soccer nine years ago, its mission was clear: to alert the head referee to potential clear and obvious errors or serious missed incidents. At least that’s what Major League Soccer, one of the first leagues to use the system, wrote in the news release introducing it.

“It was really to stop the headlines,” said Mark Geiger, who helped implement VAR as an MLS referee. “These super-egregious errors in a game that impact the outcome. The mantra for VAR was always minimum interference but maximum benefit.”

Under the VAR system, officials sitting before a bank of monitors in a centralized control room review match footage in real time and advise the on-field referee of potential errors. If the video assistant referees believe a mistake has been made, they communicate that through an earpiece the match referee is wearing. If the match official agrees, they will stop play, signal a review by motioning their hands in the shape of a rectangular TV screen, then watch the play themselves on a pitch-side monitor before either confirming or reversing the original decision.

It is comparable to the Automated Ball-Strike review added this year in Major League Baseball, tennis’ Hawk-Eye line-calling system and long-standing centralized instant replay review in the National Football League and National Basketball Assn., systems that have both corrected errors and stoked debate.

But VAR has morphed into something far greater. In this World Cup, there have been more than 100 VAR interventions, encompassing both confirmed on-field calls and overturned decisions, through the end of the round of 16, according to Antonio Vuksanovic, a publication relations and communications professional at Sofascore, a Croatian technology company and sports statistics website.

“When it comes to actual overturned decisions, we’re looking at roughly 0.5 per match, which is higher than the last World Cup and higher than what we saw across the most recently completed club season,” Vuksanovic said.

Even though the officials have gotten most of those calls right, many of the infractions reviewed have been so imperceptible yet so consequential, it has raised a question: if human error on the part of players and coaches is part of the sport, is allowing a game to be decided by electronic evidence of a touch detectable only through NASA-level technology violating the spirit of the game?

Iran’s Shoja Khalilzadeh shoots past Egypt’s Mostafa Shobeir, but the goal was overturned after VAR review during a World Cup match in Seattle on June 26.

(Maddy Grassy / Associated Press)

Christina Unkel, a former FIFA referee, state referee administrator in Florida and a rules of the game analyst for multiple TV networks, believes it does.

“Football is an art. And that’s why we love it,” she said. “It truly isn’t the referee’s fault. We’re not the ones seeking more advanced technology. We don’t want to look like robots out there. But the stakeholders are like ‘more, more, more.’

“When you do pursue black and white — objectivity is what they’re trying to get to, and I get it; they want to eliminate as much subjectivity as possible — what everyone is hating is this perfection thing.”

FIFA, the major stakeholder in the World Cup, declined multiple requests to answer questions about the officiating, but it has clearly doubled down on the technology for this tournament, introducing the semi-automated offside system which uses player-tracking cameras, computer-generated offside lines and, in some cases, data from a measuring instrument inside the match ball, to identify everyone’s position on the pitch when the ball is played.

“The whole genesis of VAR was not to fix every mistake or to make the referees perfect,” said Geiger, the first American to officiate a World Cup knockout game and now general manager of the Professional Referees Organization (PRO), which oversees referees for MLS and the NWSL. “Is the referee correct? That’s not the right question. They should be asking themselves, ‘is the referee clearly and obviously wrong?’”

Geiger, however, remains a huge proponent of the system and was careful not to criticize how it’s been used in this World Cup.

Belgium’s Youri Tielemans on a penalty kick that sails by Senegal goalkeeper Mory Diaw during a World Cup round of 32 match in Seattle on July 1. The game-deciding penalty kick was awarded after VAR review.

(Manu Fernandez / Associated Press)

Still, the frequent use of VAR and other technologies has clearly robbed the World Cup of much as its drama, with spontaneous celebrations of game-winning goals turning to grief moments later when the referee steps away from the monitor and takes away a score.

Reviews not only ended Croatia’s tournament, but they showed Shoja Khalilzadeh was a toe offside when he scored the goal that would have sent Iran to the knockout stages, one of three goals Iran had disallowed by VAR in the tournament; it gave Belgium a late penalty, based on light contact, that Youri Tielemans converted to end Senegal’s World Cup; and it cost Egypt a goal for a perceived foul that took place nearly 100 yards away from the ball in its 3-2 loss to Argentina.

“What happened to us wasn’t fair,” Egypt coach Hossam Hassan said.

Unkel agreed with that sentiment too.

“Everyone hates it,” she said. “According to VAR, that’s correct to take that goal away. That’s not the spirit of the game. But it’s the correct decision by law.”

What Unkel would prefer — and she believes a majority of officials are on her side — is for referees to have discretion to ignore or even overrule VAR if common sense and their understanding of the game suggest they should, just as judges have discretion to use common sense in applying the law.

“A lot of our game, the majority of it, is very subjective,” she said. “When we’re all sitting there saying, ‘No, that doesn’t gain an unfair advantage,’ then that’s when we have to start reconsidering things back to the spirit of the law. That’s the catchall loophole for saying, ‘Do we want this to be part of our game?’

“And I think everyone’s universally saying there a lot of different kinds of decisions we do not want part of our game. Toenail offsides, hair follicle arguments.”

Without the use of video replays, its unlikely any of those calls would have been made and the World Cup quarterfinals would probably look quite different.

England players react as referee Alireza Faghani shows a red card to England’s Jarell Quansah during a World Cup match against Mexico on July 5.

(Natacha Pisarenko / Ap Photo/natacha Pisarenko)

England coach Thomas Tuchel, upset about a penalty call on captain Harry Kane and a red card given to defender Jarell Quansah, both following video reviews in his team’s round-of-16 win over Mexico, said rulings were being overturned in the tournament “in a very questionable way.”

“The referees can send any team out in any moment,” he added. “It’s just not good enough. It’s just erratic. It’s just unreliable.”

An apparent misuse of the technology also led to the most controversial incident in the tournament. In the second half of an elimination game between the U.S. and Bosnia-Herzegovina, American Folarin Balogun stomped on the ankle of Bosnia’s Tarik Muharemovic, something Brazilian referee Raphael Claus initially decided did not merit even a caution. But after VAR official Juan Soto of Venezuela urged him to watch a replay, Claus flashed a red card at Balogun, expelling him from the game and banning him from the next match in the round of 16.

Claus had watched the replay in slow motion, allowing him to see what wasn’t apparent at game speed. FIFA later intervened by lifting Balogun’s one-game suspension, igniting ever greater controversy because it was just the second time that has happened in a World Cup.

U.S. forward Folarin Balogun steps on Bosnia-Herzegovina defender Tarik Muharemovic’s foot and received a red card after VAR review during the World Cup.

(Robert Gauthier/Los Angeles Times)

The heavy use of VAR has also interrupted the flow of games by halting matches that weren’t meant to be halted, leaving everyone standing on the field while the referee goes off to watch TV, sometimes for minutes at a time.

“When calls are reviewed and when goals are reviewed, sometimes it could take away from the momentum,” U.S. defender Chris Richards said. “Look under anything with a microscope, you could probably find something. But ultimately it was meant to be helpful for the game.”

And it has been. Because if officials have become over-reliant on VAR to review decisions that were not, or could not, be seen in real time, at least they’re getting those decisions right.

“I wish we had it in the 2002 World Cup,” said Bruce Arena, who coached the U.S. in that tournament. “We might have made it to the semifinals.”

In the quarterfinals of that tournament, with Germany leading 1-0 in the 40th minute, an obvious handball by Germany’s Torsten Frings kept out a shot from American Gregg Berhalter. If VAR had been available, Scottish referee Hugh Dallas could have corrected the missed call, awarding a penalty and giving Frings a red card, expelling him for the final 40 minutes.

“Look at every sport now in the world,” said Arena, coach of the San José Earthquakes. “They have some version of VAR. Why not make decisions correct?”

“There are still plenty of opportunities for the referees to control the game and make mistakes and not make mistakes,” he continued in reference to the human element. “It’s not like every moment is evaluated. But key moments are.”

As for interrupting the flow of play, Arena says the three-minute hydration breaks FIFA has introduced each half — ostensibly for player welfare, but in practice to give the TV networks additional commercial breaks — have been more disruptive.

“You don’t want VAR to officiate the game completely,” Arena said. “You have to pick your spots. For the most part, I think VAR is good.”

A 26-year-old man has been arrested on suspicion of murder following the death of former MP and government minister Ann Widdecombe.

Devon and Cornwall Police confirmed the man, who is a white British national, was arrested at an address in Newton Abbot, Devon, on Friday and is in custody.

The body of the 78-year-old former Conservative minister and Reform UK spokesperson was found by police with serious injuries at her home in Haytor, a rural village on Dartmoor in Devon, at about 11:40 BST on Thursday.

The incident is not being treated as terrorism, after counter-terror policing was involved as part of “initial enquiries”.

Assistant Chief Constable Matt Longman told a news conference on Friday they currently have “no information to believe that that is a politically motivated crime” – and it was “too early” to comment on whether or not the suspect was known to Widdecombe.

He said the investigation was in the early stages and urged anyone with information to come forward.

Widdecombe’s next of kin have been informed and are being supported by specially trained officers.

The prime minister and other political leaders said they were stunned by the development on Friday afternoon.

Sir Keir Starmer said it was “really shocking”, while Conservative leader Kemi Badenoch said she was “stunned to hear this awful news”.

Reform UK leader Nigel Farage said he was “deeply, deeply upset by the nature of her death”.

Widdecombe’s political career spanned decades. She served as MP for Maidstone in Kent for 23 years, and worked as a Home Office and employment minister in Sir John Major’s government between 1994 to 1997.

After leaving Parliament she embarked on a showbiz career, appearing on Strictly Come Dancing in 2010 and Celebrity Big Brother in 2018.

A staunch supporter of the UK’s departure from the EU, she became an MEP for the Brexit Party, representing South West England in the European Parliament between 2019 and 2020.

In 2023, Widdecombe joined Farage’s Reform UK party, after it changed its name from the Brexit Party, and made a number of appearances as the party’s immigration and justice spokesperson.

WASHINGTON — Crews are again draining the Lincoln Memorial Reflecting Pool as President Trump’s problem-plagued efforts to revamp the waterway pushes well past his initial goal of having it ready by July 4 to mark the nation’s 250th birthday.

The president at first suggested his renovations would last a century. But within weeks of the project originally reaching completion last month, the water was beset by an algae bloom and pieces of the new coating appeared to be peeling off the bottom.

Trump has blamed the peeling on vandals, though critics allege it’s from shoddy repair work.

Interior Secretary Doug Burgum, whose agency oversees the National Park Service, told conservative podcaster Katie Miller in an interview released earlier this week that the new round of draining was planned. He also said that the water might still contain debris from an extensive Independence Day fireworks display over the National Mall.

“Drain the water, clean up the fireworks stuff,” Burgum told Miller, who is the wife of deputy White House chief of staff Stephen Miller. “Repair the vandalism that was done. Fill it back up again.”

The work on the Reflecting Pool is just one of a number of projects Trump has spearheaded across the nation’s capital. Most prominently, he demolished the White House’s East Wing to build a $400-million ballroom and plans to build a towering arch between the Lincoln Memorial and Arlington National Cemetery.

He initially announced his intentions to beautify the Reflecting Pool this spring, saying he wanted it completed before the nation’s 250th birthday celebrations.

Water was drained and Trump directed that the bottom be painted what he called “American flag blue.” In May, the president posted on his social media site of the pool: “The goal is to have it done, at this higher level, prior to July 4th — We are ahead of schedule!”

But problems began quickly after the initial work was finished. Trump blamed vandals, and court documents later showed that the National Park Service reported to the U.S. Park Police a June 9 incident in which a sharp knife or razor cut the pool’s new liner.

On Thursday, former Olympic canoe racer David Hearn pleaded not guilty in D.C. Superior Court to deliberately damaging the Reflecting Pool. Hearn has said he reached inside the pool to examine the peeled sealant and let go of a chunk when he was told to by a park worker.

His attorneys and other Trump administration critics have derided the case as an abuse of prosecutorial power and maintain he is being scapegoated for the poor job done fixing up the Reflecting Pool.

At least three other people have been charged in the same court with misdemeanors for allegedly removing pieces of paint from the Reflecting Pool, according to online court records. All three pleaded not guilty during their initial court appearances Wednesday.

The pool was closed for the Independence Day celebration, which featured what Trump said was the largest fireworks display in the world. The president had said that the pool would have to be drained anew as part of the new round of repairs.

Burgum has also said that the Trump administration won’t seek bids for the new rounds of repairs. He told CNN’s “State of the Union” last weekend: “We’ll use the same company because they did a fantastic job.”

Ohio-based Green Water Solutions, also known as Greenwater Services, was given a $1.7-million contract to install a water-purification system in the Reflecting Pool, while Virginia-based Atlantic Industrial Coatings was awarded $14.7 million to repaint and waterproof the pool’s concrete floor.

Democratic senators and House members are investigating the pool project, including seeking answers about how much taxpayer funding is involved.

Weissert writes for the Associated Press.

CHRISTINE McGuinness has admitted she fears about her children’s future without her and is preparing them already for when she “goes to sleep”. 

The 38-year-old model is the proud mum to three autistic children – twins Penelope and Leo, 11, and Felicity, 8 – with ex Paddy McGuinness. 

But in a new tell-all parenting podcast, Parent Unplugged, Christine admitted that their special educational needs have left her fearing what the future will look like for them once she dies.

In a teaser clip for the upcoming episode with parenting coach and podcast host Charis Halsall, Christine took a deep breath when she was quizzed on what she found the hardest part of parenting. 

“Oh, this is quite deep to start with!” she said, before admitting: “It’s realising that I am preparing my three children to live without me when I can’t live without them.” 

When Charis asked why, Christine noted: “It’s our job, as a parent or a carer, anyway. Of course we want them to be happy, we want them to be successful, and all of that. 

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“But really, we want to know that when we do… go to sleep properly, that they’re going to be able to cope and manage.” 

“So I think that that was the biggest realisation: that I kind of can’t live without these three kids, and one day, they have to live without me, so I need to prepare them to be as independent as possible, especially with their additional needs as well.” 

While Christine and Paddy announced their split in 2022, the pair have continued to live together in order to maintain a regular pattern for their three children. 

After her children’s diagnosis, Christine was also diagnosed with autism and ADHD. 

However, last year they decided to take a new step and put their Cheshire mansion on the market for £6.5million – though they’re yet to find a buyer. 

A source close to the couple has told The Mail on Sunday that TV presenter Paddy – who bought the house with Christine for £2.1million back in 2020 – is behind the ‘overpriced’ property value and it’s suspected it’s due to him not wanting to move out of it. 

However, this has reportedly caused issues with his ex-wife, with the source noting: “Christine is getting really fed up now. She wants to move on but it seems with it being priced so high, Paddy doesn’t want her to.

“Paddy doesn’t want to downsize. He wants a big house to fit with his ego. It feels like a control thing. 

“He knows he will never get £6.5million for it. It feels like he’s playing silly games.”

Since her split from Paddy, Christine has tried getting back out into the dating world – and in June 2025 confirmed she was interested in both men and women, having dated both since she was a teenager. 

She’s since been seen locking lips with DJ Roxxxan, just days after it was revealed she was ‘growing close’ to Strictly star and Olympic boxer Nicola Adams, and had a fling with a high-profile soap actress. 

Joining the London Pride festivities last weekend, Christine shared that she wasn’t interested in labelling her sexuality, noting in her Instagram post: “More love, Less labels. Open hearts, Open doors. Happy Pride everyone!” 

Obsidian Entertainment, a subsidiary of Microsoft Corp.’s Xbox, has canceled multiple projects and will begin working on a new game in the popular Fallout franchise as part of the division’s broader restructuring, according to people familiar with the matter.

The video-game studio, based in Irvine, California, also laid off around a quarter of its workforce, said the people, who asked not to be identified because they were not authorized to speak to the press.

As part of the shake-up, Obsidian has canceled a planned sequel to the 2025 roleplaying game Avowed along with other unannounced projects.

Under the new plan, studio design director Josh Sawyer will lead a new title in the Fallout universe — a series of roleplaying games that take place in an alternate history in which the U.S. has been ravaged by nuclear war. The emerging strategy is still in flux, the people said, and could still change.

Previously, Sawyer had been directing a roleplaying game that was similar structurally and thematically to Fallout but was not part of the franchise.

An Xbox spokesperson declined to comment.

The shifts take place as Xbox Chief Executive Officer Asha Sharma executes what she has called a “reset” of the organization. On Monday, Sharma announced plans to cut 3,200 jobs and divest five studios. She’s said she’ll invest more in the company’s biggest franchises, including Fallout, which has sold tens of millions of copies and led to a hit show from Amazon.com Inc. that is currently filming its third season.

Despite its critical and commercial success, the Fallout video-game series has not seen a new entry since 2018’s online title Fallout 76 because its primary developer, Xbox’s Bethesda Game Studios, has been focused on other projects. Bethesda has also regularly updated and created new content for Fallout 76, which has reached more than 23 million players.

The only Fallout game in the last two decades to not come from Bethesda was 2010’s Fallout: New Vegas, developed by Obsidian and directed by Sawyer. Although New Vegas has become a fan favorite, Bethesda has maintained control over the franchise. The Rockville, Maryland-based studio will work with Obsidian on the new project, the people said.

Obsidian released three games last year, two of which did not meet sales expectations, including Avowed, the company told Bloomberg Businessweek. The studio had been hoping to build on Avowed by developing a sequel in a shorter timeframe using the world and technology that it had already created.

Progress on the sequel was going well, and it was on track to be announced within the next year. But in the end, it did not fit into Sharma’s overall strategy, according to people familiar with the game’s development.

Some Obsidian employees will continue working on the Avowed sequel as they wait for new projects such as Fallout to be ready, perhaps in hope of one day reviving the game, the people said.

Obsidian will also continue to develop downloadable content for last year’s The Outer Worlds 2, the people said, and will also still work on its live-service multiplayer survival game, Grounded 2.

Schreier writes for Bloomberg.

Justin Bieber better be a fast singer.

The World Cup final halftime show already was going to feature three superstar acts with 121 Billboard Hot 100 hits, 20 No. 1 singles and 12 Grammy Awards among them.

Somehow that must not have been enough star power, because another performer with 123 hits, eight chart toppers and two Grammys has been added to the lineup.

Bieber was announced Wednesday as the fourth co-headliner for the July 19 intermission extravaganza at MetLife Stadium in East Rutherford, N.J., joining South Korean boy band BTS, U.S. pop culture icon Madonna and Latin music superstar Shakira.

Four gigantic worldwide acts might seem like a lot to cram into an 11-minute (!) show, but apparently curator Chris Martin doesn’t see it that way. In addition to the quartet of headliners, Martin also has lined up Nigerian Afrobeats performer Burna Boy, soon-to-be-departing Los Angeles Philharmonic conductor Gustavo Dudamel and Staten Island elementary school choir the PS22 Chorus (which will be performing with Martin’s band Coldplay).

Oh yeah, the Muppets will be there, too. Bieber will be lucky if he gets a chance to sing a bar or two from a list of hits that includes “Peaches,” “Sorry,” “Love Yourself” and “Daisies.”

Nonetheless, he seems happy to be part of the festivities, which will support the FIFA Global Citizen Education Fund, weeks after attending the U.S.-Paraguay game at SoFi Stadium, where he gave a surprise performance of his song “Yukon” in a backstage area.

“The FIFA World Cup brings the world together in a way nothing else can,” Bieber said in a statement. “I’m grateful to be part of this Halftime Show, and even more grateful knowing it’s already helping expand access to education for children around the world.”

One song that is sure to be featured during the set is this year’s World Cup anthem, “Dai Dai,” by Shakira and Burna Boy. The two acts already performed the song during the tournament’s opening ceremony in Mexico City.

Speaking of hit collaborations, Madonna recently charted with “Bring Your Love,” a duet with Sabrina Carpenter. Not to start any rumors, but surely they can squeeze one more pop superstar onto that stage, right?

Storied norteño group Los Tigres del Norte announced Tuesday that they are teaming up with departing L.A. Philharmonic conductor Gustavo Dudamel for a special performance Aug. 21 at the Hollywood Bowl.

The show is part of a series titled “Celebrating Gustavo at the Bowl,” which looks to send off Dudamel in style as he transitions into his new role as the music and artistic director of the New York Philharmonic. The “Jaula de Oro” artist’s appearance is part of “Gustavo’s Fiesta,” which will also feature performances by other prominent Latino artists.

The norteño act has sold 37 million albums and recorded 500 songs over a career that’s spanned five decades. They have seven Grammy Awards, eight Latin Grammys and have had 66 songs land on Billboard’s Hot Latin Songs chart, the most of any Latin music act ever.

In 2018, Los Tigres del Norte became the first norteño act to headline at the Hollywood Bowl.

Recently, the “La Puerta Negra” hitmakers were immortalized in U.S. pop culture history when its members appeared in animated form in a December 2025 episode of “The Simpsons” and performed an original corrido about the escapades of Homer Simpson and Pedro Chespirito (also known as the Bumblebee Man).

Also featured on the Aug. 21 lineup are Grammy-winning singer Lila Downs, the all-female Mariachi Reyna de Los Ángeles, the explosive cumbia group La Sonora Dinamita and the legendary Mexican bolero trio Los Panchos.

The show will serve as Dudamel’s third-to-last performance as the music and artistic director of L.A. Philharmonic. On Aug. 22, he will be in concert with Foo Fighters. His farewell weekend will conclude Aug. 23 and will serve as a benefit for his homeland of Venezuela, which suffered catastrophic losses from twin earthquakes in late June.

Donations will benefit Dudamel’s Earthquake Recovery to Support Venezuelan Communities fund, in partnership with the United Nations Development Programme and the Development Bank of Latin America and the Caribbean fund.

Edwin Díaz insists he did nothing wrong.

After facing live batters for the first time Sunday since undergoing elbow surgery in April, the Dodgers’ reliever pushed back against allegations linking him to illegal cockfighting in Puerto Rico.

“I’ve been doing that before because, like the story said, that’s legal in Puerto Rico,” Díaz said.

USA Today published a story in May highlighting social media posts advertising cockfighting tournaments that picture Díaz in his Dodgers uniform. The story also referenced a story in El Nuevo Día, the largest circulating newspaper in Puerto Rico, quoting Díaz.

No one from Major League Baseball has reached out to Díaz about a possible suspension, he said.

“They didn’t reach out to me because I wasn’t doing anything illegal,” Díaz said.

In 2019, a federal law banning cockfighting took effect in Puerto Rico. Before the law, the blood sport had been made illegal in all 50 states, but not U.S. territories. Many Puerto Ricans saw the ban as an attack on their culture and vowed to defy the law.

Puerto Rico responded by passing a law saying that it’s legal to host cockfights as long as people don’t export or import the animals or any goods or services related to cockfighting. The U.S. Supreme Court in 2021 declined to hear a challenge to the federal law brought by a group that argued Congress exceeded its power by applying the ban to Puerto Rico.

Anyone found guilty of taking part in cockfighting faces up to five years in prison and a $250,000 fine. Spectators could receive a one-year prison sentence.

Still, some Puerto Ricans such as Díaz view the topic as part of the island’s history, initially brought to the Caribbean by 16th-century Spaniards when the island was first colonized.

“It’s a pastime I’ve followed since I was a child,” Díaz told El Nuevo Día in March. “It’s legal in Puerto Rico, thank God. Otherwise, I wouldn’t be here.”

Diaz is on track to return to the Dodgers after the All-Star break, although his exact return date remains unclear. His fastball felt good, so locating his slider was the next step toward his return.

Times staff writer Hannah Fry contributed to this report.

Donny Hathaway had already been expounding on the splendors and indignities of American life by the time he got to the Troubadour in West Hollywood in the last week of August 1971.

A classically trained pianist with a declamatory voice shaped by his years in the church, Hathaway closed Side 1 of his 1970 debut with an original called “Tryin’ Times” — “Maybe folks wouldn’t have to suffer,” he sang, “if there was more love for your brother” — and finished the LP with a stately rendition of Nina Simone’s “To Be Young, Gifted and Black.” Months after the album was released, he dropped a joy bomb of a holiday single, “This Christmas,” that unapologetically made space for a Black experience in the yuletide-industrial complex.

Donny Hathaway performs at Mister Kelly’s in Chicago in 1971.

(Val Mazzenga / Chicago Tribune / Tribune News Service via Getty Images)

Yet Hathaway captured something indelibly American during his week of shows at the Troubadour, which were recorded (along with a later gig at New York’s Bitter End) for the singer’s classic “Live” album that came out in February 1972. On an LP full of spine-tingling performances, the undeniable high point is Hathaway’s take on Carole King’s “You’ve Got a Friend” — a clear-eyed if optimistic portrait of resilience and cultural exchange.

King — who’d made her name in the 1960s as half of a prolific Brill Building songwriting duo with her husband, Gerry Goffin — wrote “You’ve Got a Friend” after leaving Goffin and moving to Los Angeles with her two young daughters. Here she remade herself as a low-key singer-songwriter dispensing wise yet unflashy tunes about love, home and family — part of a gentle resetting of pop’s mood after the turmoil of the previous decade.

Cut like the rest of the album at A&M Studios on La Brea Avenue, “You’ve Got a Friend” helped drive King’s 1971 “Tapestry” LP to sales of more than 10 million copies and to a boatload of trophies (including album, record and song of the year) at the Grammy Awards; the singer’s pal James Taylor, whom she’d performed with for the first time in late 1970 at the Troubadour, topped Billboard’s Hot 100 with his own cover of “Friend” featuring background vocals by Joni Mitchell.

On the advice of Atlantic Records’ Jerry Wexler, Hathaway also recorded “Friend” as a studio duet with Roberta Flack, a fellow Howard University alum; their take sat in the Top 20 of Billboard’s R&B chart as Hathaway began his run at the Troubadour — popular enough that the audience on “Live” erupts at the sound of Hathaway’s opening organ lick.

Carole King at A&M Studios in Los Angeles in 1970.

(Jim McCrary / Redferns via Getty Images)

Indeed, the crowd is really the thing in this live version of “You’ve Got a Friend.” Hathaway and his band — including guitarist Phil Upchurch, bassist Willie Weeks and 16-year-old Fred White (soon to be of Earth, Wind & Fire) on drums — are cooking, to be clear; the groove is funky and viscous, and Hathaway’s vocal is gorgeous, not least in his nimble ad-libs.

But it’s his interplay with the few hundred folks in the room that elevates the recording to a deeply moving piece of art.

For King (and Taylor), the song’s promise of unflagging support is an intimate one-to-one matter; their renditions use homey acoustic arrangements to create a picture of two people exchanging confidences. In Hathaway’s hands, “Friend” is about community: Before he even asks them to, the audience takes over for him on lead vocals in the song’s chorus, a congregation in all but name.

Given the proximity to the civil rights movement, it’s impossible to hear Hathaway’s “You’ve Got a Friend” as disconnected from the struggles of Black people. At the Troubadour (as in his and Flack’s duet), he nixes the song’s second verse to arrive more quickly at the bridge, in which he describes a cold world filled with those who’d “hurt you and try to desert you” — even “take your soul if you let them.”

As Emily J. Lordi notes in her 2016 book about “Donny Hathaway Live,” the crowd lays back during the bridge before rejoining Hathaway for the song’s second chorus; the decision, somehow spontaneous and collective at once, is an expert bit of record-making on the part of an audience that, according to legend, hadn’t been told the concert was being taped.

“From this perspective,” Lordi writes of Hathaway’s fans — some number of whom had surely availed themselves of the Troubadour’s bar, as she points out — “they are not stealing the show so much as they are holding him up, ensuring he won’t sing the duet alone.” Together, performer and audience are turning back (not that they necessarily had a choice) to the ugly truths that singer-songwriter music sometimes sought to move past.

In this way, Hathaway’s “Friend” becomes a reinvention of a reinvention — an act of moral imagination about as American as it gets.

This wasn’t the only instance of a Black soul singer interpreting a tune King had written as a single mom newly arrived in L.A.: In May 1972, the Isley Brothers released a sultry cover of “It’s Too Late”; a month after that, Aretha Franklin’s live “Amazing Grace” album mashed up “You’ve Got a Friend” with “Precious Lord, Take My Hand,” completing the gospel-ification that Hathaway had begun in a bastion of white rock culture temporarily remade as an African American church.

Yet in Hathaway’s “Friend” you can hear the whole story American music tells about identity and belonging (and about commercial ambition).

“This might be a record here,” Hathaway tells the crowd near the end of the song, and so it was — a document of adaptation, a testament to borrowing, a bulwark against pretty fictions.

LeBron leaving Lakers is a good thing

From Bill Plaschke: Of all the calculated maneuvers by LeBron James during his eight years with the Lakers, he saved his smartest for last.

He left before the door could hit him in the butt.

He knew the Lakers didn’t want him back, so he skipped out before they had a chance to say goodbye.

He leaked the news alone, before the Lakers could publicly confirm, because he wanted to sell that this was his decision, when it absolutely was not.

This was not his idea. This was not his call. This was the Lakers saying, enough is enough. This was the Lakers saying, we want our team back.

This was arguably the greatest player in basketball getting the message and getting out before they threw him out

Officially, on Tuesday, James informed the Lakers that he’s going to leave them as a free agent and finish his career elsewhere.

Unofficially, yay!

Continue reading here

LeBron James and Lakers share gratitude as he leaves team, look ahead to what’s next

Luke Kennard leaves Lakers for two-year deal with Phoenix Suns

Clippers send Kawhi Leonard to Toronto

From Joaquin Ruiz: The Kawhi Leonard era is over in Los Angeles.

A deal to send the seven-time NBA All-Star forward back to Toronto, where he won his second NBA title, has been finalized, according to a person with knowledge of the situation who is not authorized to speak publicly on the matter.

The trade — which will net the Clippers All-Star forward Brandon Ingram, shooting guard Gradey Dick, two first-round draft picks, a pick swap and two second-round picks — marks the end of another promising-but-empty chapter in the franchise’s ringless history.

Continue reading here

World Cup: Mexico advances to Round of 16

From Eduard Cauich: Mexico once again enjoyed a night of celebration with its fans, this time after defeating an old nemesis — the knockout stage of the World Cup.

El Tri won its first knockout match at a World Cup since 1986, beating Ecuador 2-0 on Tuesday night at the majestic Azteca Stadium packed with 80,824 fans.

From 1994 to 2018, Mexico failed to win a World Cup knockout game and, in 2022, failed to advance past the group stage — its worst showing at a World Cup since 1978.

“Bringing joy to the fans is the best thing that can happen to us,” Mexico coach Javier Aguirre said after the win. “Our duty is to give it our all on the field. Our duty is to defend our crest and represent our country with dignity.”

Thanks to an expanded 48-team World Cup format with a knockout round of 32 teams and a formidable home-field advantage, Mexico achieved a goal that had seemed impossible.

Continue reading here

For Sebastian Berhalter, a shot with the U.S. national team was well worth the wait

Tuesday’s World Cup results

Round of 32
Norway 2, Ivory Coast 1
France 3, Sweden 0
Mexico 2, Ecuador 0

Today’s World Cup TV schedule

All times Pacific
9 a.m., England vs. DR Congo, Fox, Telemundo
1 p.m., Belgium vs. Senegal, FS1, Telemundo
5 p.m., U.S. vs. Bosnia-Herzegovina, Fox, Telemundo

World Cup round of 32 schedule, results

Round of 32 results
Canada 1, South Africa 0
Brazil 2, Japan 1
Paraguay 1, Germany 1 (Paraguay wins on PK’s, 4-3)
Morocco 1, Netherlands 1 (Morocco wins on PK’s, 3-2)
Norway 2, Ivory Coast 1
France 3, Sweden 0
Mexico 2, Ecuador 0

All times Pacific
Wednesday
England vs. Congo DR, 9 a.m., Fox, Telemundo
Belgium vs. Senegal, 1 p.m., FS1, Telemundo
U.S. vs. Bosnia-Herzegovina, 5 p.m., Fox, Telemundo

Thursday
Spain vs. Austria, noon, Fox, Telemundo
Portugal vs. Croatia, 4 p.m., Fox, Telemundo
Switzerland vs. Algeria, 8 p.m., FS1, Telemundo

Friday
Australia vs. Egypt, 11 a.m., Fox, Telemundo
Argentina vs. Cape Verde, 3 p.m., Fox, Telemundo
Colombia vs. Ghana, 6:30 p.m., Fox, Telemundo

Round of 16 schedule

All times Pacific
All games on Fox and Telemundo

Saturday
Canada vs. Morocco, 10 a.m.
Paraguay vs. France, 2 p.m.

Sunday
Brazil vs. Norway, 1 p.m.,
Mexico vs. England or DR Congo, 5 p.m.

Monday
Portugal or Croatia vs. Spain or Austria, noon
U.S. or Bosnia-Herzegovina vs. Belgium or Senegal, 5 p.m.

Tuesday, July 7
Argentina or Cape Verde vs. Australia or Egypt, 9 a.m.
Switzerland or Algeria vs. Colombia or Ghana, 1 p.m.

Dave Roberts gets 1,000th win as manager

From Bill Shaikin: For Dave Roberts, it’s 1,000 down and Cooperstown to go.

Victory No. 1: 15-0 over the San Diego Padres in 2016, with vintage Clayton Kershaw on the mound and Adrián González in the cleanup spot. Amid the postgame handshakes, González showered Roberts with bubble gum.

“There was no stress,” Roberts said. “It was such a nice soft landing.”

Victory No. 1,000: 9-3 over the Athletics in Sacramento on Tuesday with home runs from Tommy Edman and Miguel Rojas, and with Justin Wrobleski striking out a career-high 11 to become the Dodgers’ first 10-game winner.

Pretty soft landing too, and well worth a celebration. Roberts doffed his cap in gratitude for a spirited postgame ovation from the fans here, almost all of them Dodgers fans. Inside the clubhouse, Rojas and Freddie Freeman led a champagne and tequila toast.

Continue reading here

Walter Alston, Dave Roberts and everyone in between: The 10 managers in L.A. Dodgers history

Dodgers box score

MLB standings

Angels lose to Mariners

Julio Rodriguez had three hits and scored twice, Bryan Woo took a shutout into the seventh inning and the Seattle Mariners put together a five-run sixth Tuesday night to beat the Angels 8-3.

Rodriguez and Colt Emerson both had three of Seattle’s 13 hits. Randy Arozarena and Cole Young scored two runs apiece.

Woo (7-6) gave up just four hits and struck out five in 6 1/3 innings. The Angels’ first two runs in their three-run seventh were charged to him after he gave way to reliever Eduard Bazardo. That ended Woo’s streak of home shutout innings at 32 1/3, which stretched over a span of five games dating to May 6 against Atlanta.

Continue reading here

‘He’s a friendly killer.’ How Angels’ José Soriano balances competitive fire, mentorship

Angels box score

MLB standings

Serena Williams loses at Wimbledon

From Chuck Schilken: Experience took on youth Tuesday morning at Wimbledon’s Centre Court as 44-year-old tennis legend Serena Williams played her first singles match in nearly four years, against 20-year-old Australian Maya Joint.

Advantage: youth, as Joint pulled out a 6-3, 6-7 (6), 6-3 win over the 23-time Grand Slam champion, and advances to play 29-seed Alexandra Eala of the Philippines — a 6-1, 6-2 winner over Renata Zarazúa of Mexico — on Thursday.

“She has such an aura. She’s such a legend,” Joint said of Williams during an on-court interview after her first-ever Wimbledon win. “And this court has so many huge names that have played on it. I’ve been dreaming about this moment since I was a little kid, so this is pretty crazy.”

Continue reading here

This day in sports history

1903 — Maurice Garin wins the first stage of the first Tour de France bicycle race. Garin finishes 55 seconds ahead of Emile Pagie. The first stage, from Paris to Lyon, is 467 kilometers long, and takes 17 hours and 45 minutes, riding both day and night. Only 37 riders of 60 are able to complete the day’s race.

1920 — Suzanne Lenglen of France becomes the first player to win three Wimbledon titles in one year, taking the singles, doubles and mixed doubles.

1932 — Helen Moody wins her fifth women’s singles title in six years at Wimbledon, defeating Helen Jacobs 6-3, 6-1.

1938 — Don Budge defeats Henry Austin 6-1, 6-0, 6-3 to win the men’s singles title and sweep the singles, doubles and mixed doubles titles at Wimbledon for the second straight year.

1947 — Basketball Assn. of America (BAA), which later became the National Basketball Assn. (NBA), holds its inaugural college player draft.

1951 — Beverly Hanson wins the Eastern Open by three strokes over Babe Zaharias in her first start on the LPGA Tour. Hanson is the only golfer to win a tournament in her first pro start.

1961 — Mickey Wright beats defending champion Betsy Rawls by six strokes to win the U.S. Women’s Open.

1977 — Britain’s Virginia Wade wins the singles title on the 100th anniversary of Wimbledon, defeating Betty Stove 4-6, 6-3, 6-1.

1990 — Cathy Johnston completes a wire-to-wire performance, beating Patty Sheehan by two strokes to win the LPGA du Maurier Classic.

1995 — The NBA locks out its players at 12:01 a.m., the first work stoppage in league history.

1997 — Nevada Athletic Commission suspends Mike Tyson indefinitely and withholds $20-million purse for biting Evander Holyfield’s ear during their heavyweight title fight on June 28.

2007 — Cristie Kerr wins the U.S. Women’s Open by making only two bogeys over her final 45 holes. Kerr finishes at 5-under 279 for her 10th career victory.

2011 — The NBA locks out its players, a long-expected move putting the 2011-12 season in jeopardy.

2012 — Spain wins its third straight major soccer title, beating Italy 4-0 in the European Championship final in Kiev, Ukraine. The Spanish, who won the Euro 2008 title and World Cup title in 2010, posts the largest score in a Euro final.

2012 — Tiger Woods wins the AT&T National at Congressional in Bethesda, Md. for the 74th win of his career. That moves him past Jack Nicklaus into second place on the tour list, eight short of Sam Snead.

2018 — NBA superstar LeBron James agrees to a 4-year, $154-million deal with the Lakers, moving from Cleveland Cavaliers.

2018 — Park Sung-hyun wins the PGA Women’s Championship at Kemper Lakes Golf Course in a playoff with Nasa Hataoka and Ryu So-yeon.

2018 — David Toms wins the Men’ US Senior Open at Broadmoor Golf Course by one stroke over Miguel Angel Jimenez, Jerry Kelly and Tim Petrovic.

Compiled by the Associated Press

This day in baseball history

1910 — Comiskey Park — then known as White Sox Park — held its first major league game, with the St. Louis Browns beating Chicago 2-0.

1917 — Fred Toney of the Cincinnati Reds pitched complete-game victories in a doubleheader against the Pittsburgh Pirates. Toney threw a three-hitter in each game for 4-1 and 5-1 wins, setting a record for the fewest hits given up in a doubleheader by a pitcher.

1920 — Walter Johnson of the Washington Senators defeated the Boston Red Sox 1-0 at Fenway Park with the season’s only no-hitter.

1925 — Hack Wilson of the New York Giants hit two home runs in the third inning of a 16-7 victory over the Philadelphia Phillies in the second game of a doubleheader. Wilson also doubled twice during the game.

1941 — Joe DiMaggio of the New York Yankees singled off Boston’s Jack Wilson in the fourth inning, tying Willie Keeler’s hitting streak of 44 games.

1951 — Bob Feller of the Indians pitched his third career no-hitter, beating the Detroit Tigers 2-1 in the first game of a doubleheader at Cleveland.

1990 — Andy Hawkins of the New York Yankees pitched the sixth no-hitter in the majors this season and the third in less than 48 hours, but lost 4-0 to the Chicago White Sox on two outfield errors in the eighth inning.

1997 — Detroit’s Bobby Higginson homered in the first inning against the New York Mets, tying a major league record by homering in four consecutive at-bats over two games. Higginson, who struck out looking in his next at-bat, became the 23rd player since 1900 to accomplish the feat and the fourth Tiger.

2009 — One run was enough for a victory for three National League teams, the first time in 33 years there were three 1-0 games in one league on the same day. The Mets, Dodgers and Reds came away with 1-0 victories. The last time there were three 1-0 games in one league was Sept. 1, 1976, in the NL.

2009 — Hanley Ramirez extended his RBI streak to 10 games in the Florida Marlins’ 5-3 victory over the Washington Nationals. Ramirez hit a two-run double in the third inning to become the first shortstop in NL history with an RBI streak of double-digit games.

2013 — Andy Pettitte passes Whitey Ford for the most strikeouts in New York Yankees history when he records his 1,957th in the Yankees’ 10-4 win over the Twins. The win goes to reliever Joba Chamberlain, his first of the year, as he benefits from a three-run outburst off reliever Jared Burton in the 8th. The Yankees then add four runs in the top of the 9th as they end a five-game losing streak.

2014 — The Cleveland Indians executed an unorthodox triple play in the fourth inning against the Dodgers that required two video replay reviews to sort out. With runners on first and third, Adrián González lifted a fly ball to left fielder Michael Brantley, who threw out Dee Gordon at the plate. Catcher Yan Gomes then fired to second baseman Jason Kipnis for the tag on Yasiel Puig as he slid headfirst. Cleveland manager Terry Francona challenged the original safe call at second and got the play overturned after a replay delay that lasted 1 minute, 29 seconds. Dodgers skipper Don Mattingly then challenged the call at the plate, but that call stood after another wait of 1 minute, 34 seconds. Cleveland went on to a 10-3 win.

2015 — Carlos Carrasco came within one strike of throwing the Cleveland Indians’ first no-hitter since 1981, giving up an RBI single to Joey Butler over leaping second baseman Jason Kipnis’ glove in an 8-1 victory over the Tampa Bay Rays.

2019 — Angels pitcher Tyler Skaggs is found dead in his hotel room a few hour before the team’s scheduled game with the Texas Rangers. Police confirm that no foul play is suspected.

Compiled by the Associated Press

Until next time…

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.