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The Lakers and free-agent center Jaxson Hayes have agreed up on a one-year contract for him to return to the team, according to people not authorized to speak publicly on the matter.

With Hayes, the Lakers now have a backup center after they agreed to a two-year deal with Deandre Ayton.

Hayes became the Lakers’ starting center when Anthony Davis was part of a trade that sent him to the Dallas Mavericks for Luka Doncic.

Despite shooting a career-high 72.2% from the field as a lob threat for the Lakers during the regular season, he struggled in the playoffs. He started the first four games against the Minnesota Timberwolves in the first-round series but was so ineffective that he didn’t play more than 10 minutes in any game as the Lakers lost 4-1. He did not play at all in Game 5.

In 56 games during the regular season, Hayes averaged 6.8 points and 4.8 rebounds.

Kou Mariya hasn’t shown her work to her family. That’s because Mariya, not her real name, is living a dual identity, and to protect her privacy, only the most sacred of confidants — or business partners — can know her true persona.

Mariya, to her more than 84,000 followers on YouTube, is a friendly, flirtatious vampire singer, as excited to chat about her digitized outfits and accessories as she is to sing a late ’90s pop song. She performs as an animated avatar using motion capture technology, which matches her facial expressions and body movements to the drawn figure.

Mariya spends a significant portion of her days as this cartoon character, at once wholly real while being completely artificial. She is a professional performer, although her stage is virtual. Instead of a glimpse into a room or a home, her surroundings are fully drawn — she could be in a beach setting one day and an ornate office the next.

As a VTuber — that is, virtual YouTuber — Mariya is part of a movement, one led by those weaned on Japanese animation who are now finding ways to make fantasy world-building feel individualized and personal. We connect via video conferencing software, her location in the U.S. a secret, and Mariya appears in her anime form, her silver-white hair occasionally obscuring her welcoming oval eyes, which blink often as she speaks. Her voice is friendly and warm, and it ever-so-slightly dips into an upper register when she laughs or needs to emphasize a point. She nervously chuckles that she’ll be aged “so bad” when she admits the first anime she fell in love with was “Speed Racer.” Whether I’m talking to Mariya the vampire character or Mariya the performer is never quite clear.

Kou Mariya, hosting a Thursday night concert in Hollywood, is a friendly vampire VTuber.

(Kou Mariya)

This weekend Mariya will be hosting a concert in Hollywood with other popular VTubers. There will be live musicians, but the VTubers will be virtual. Mariya says she’ll be performing from an off-site location to protect her identity.

Those in Los Angeles will have multiple opportunities to take part in a VTuber crash course over the Fourth of July holiday. Mariya on Thursday will host the Fantastic Reality concert at the Vermont Hollywood, a performance that makes virtual and real musicians and features Ironmouse, a horned, operatic demon who was briefly the most subscribed streamer on Twitch.

Even more mainstream, a host of VTubers associated with Japanese firm Hololive will invade Dodger Stadium for the second year in a row. Saturday evening’s Hololive Night will feature three of company’s English-speaking talents — Ninomae Ina’nis, IRyS and Koseki Bijou — virtually cheering on the team, singing the seventh-inning stretch and then leading a post-game dance party on the field. A special event ticket will include playing cards of the VTubers.

Hololive, a division of Cover Corp., is one of the largest VTuber talent agencies in the world, with almost 90 active performers across its various divisions. The company’s U.S. office is based in L.A., and its partnership with the Dodgers is to recognize, in part, that the team has a large Japanese fanbase, thanks to megastar Shohei Ohtani. Cover CEO Motoaki Tanigo, however, has a broader goal, and that’s to further bring VTubers to the masses.

“There are two reasons,” Tanigo says, via a translator, for why Cover has targeted L.A. as one of its key markets. The first, he notes, is due to the fact that a large part of the company’s fanbase resides in the L.A. region. The second, he stresses, relates to his business goals, especially the video game firms Cover hopes to partner with. “Doing events in the Los Angeles area is not only important for our user engagement, but it’s a great opportunity to show to our business clients that we have a strong following.”

VTubers have averaged 50 billion YouTube views annually over the past three years, according to a recent YouTube Culture & Trends report. A YouTube sample of 300 virtual creators found that they drove 15 billion views across the site, with 1 billion coming from the U.S. alone. Almost all of these VTubers are steeped deeply in anime lore, culture and tone. And while there are popular male VTubers, a number of the most famous are female-facing. Cover’s roster, for instance, is more than three-quarters female.

Hololive characters on the Dodger Stadium scoreboard at last year’s event. Hololive Night returns on July 5.

(Cover Corp.)

“It’s very exciting,” says Susan Napier, author of “Miyazakiworld: A Life in Art” and professor at Tufts University who specializes in Japanese culture. “It allows for an enormous amount of creativity, and a real sense of ownership over your creation, and a way of playing and melding with your creation. People have been fans and identifying with favorite stories, anime and manga for years. This is, in a way, a very old phenomena. It’s people wanting to participate in a fantasy world that they love.”

Mariya notes she decided to become a VTuber during the worst days of the global pandemic of 2020. “Everyone was in front of their computers and had a sense of loneliness,” she says. “And VTubers [had] that sense of, ‘I’m not alone. I’m not trapped. There’s a whole world out there for me.’ Being a big fan of that, I wanted to try that myself. I did not expect to be able to make this into a career, but somehow people liked me, and I thought I could keep going with this.”

And how, of course, did she land on her character, a vampire with a bat clip in her hair and an open-chested cocktail server-style outfit? “That one is tricky because technically I was born a vampire,” Mariya says. “We’re not scary. We ask permission before entering doors, which is better than a lot of people. We do bite. That’s the only downside.” Right.

The Japan-led VTtuber trend predates the pandemic. The first proper virtual artist to gain fame is widely credited as Kizuna AI in 2016, but VTubers have grown alongside other similar developments. See, for instance, virtual concert artist Hatsune Miku, who performed at Coachella in 2024. VTubers are also closely aligned with video games, often streaming them for their fans. The game medium, of course, has long been associated with virtual avatars, be it Nintendo Mii figures, the personas of “Second Life” or today’s platforms of “Fortnite,” “Roblox” and “Minecraft.” And this summer, in one of the biggest releases of 2025, VTuber Usada Pekora has a role in the PlayStation 5 game “Death Stranding 2,” with famed director and auteur Hideo Kojima admitting he is a fan.

For creator, voice-over actor and Anime Expo attendee AmaLee, the rare VTuber who, while using a stage name, does show her face, anime’s fantastical yet mature storylines reached her as a young teen when she was exploring her creativity. “It’s bridging a gap,” she says of VTubing. “Ever since I was a teenager I loved anime. It’s music, beautiful animation and acting all in one. VTubing brings it into the real world. You can do so much with your VTuber lore story. You’re kind of creating your own anime.”

VTuber Ironmouse will perform at the Fantastic Reality concert on Thursday.

(Ironmouse)

The most appealing VTubers bring a level of real-life authenticity into their work. “If you go back and watch my very first streams, I’m very cemented in this cleanly elegant actor [persona],” AmaLee says. “My voice is different. I dropped it to be cooler. I realized quickly how hard that was to keep, and I didn’t like not being authentically me. I’m a little clumsy, a little blond and I have major tech issues.”

Mariya describes herself as introvert, saying she wouldn’t be streaming — or likely even performing — if it weren’t for VTubing.

“With VTubing, there’s a sense of anonymity that I think is really good for the audience as well,” Mariya says. “Some people don’t want to see a physical person in front of a screen. They want to see anime girls. I think people latch onto the idea that it’s something that is different and bigger than me and bigger than them. It’s a new world.”

Last year’s Hololive Night at Dodger Stadium featured a drone show. Look for an on-field dance party led by the VTubers this year.

(Cover Corp. )

Author and professor Napier says it’s a modern, digitized Renaissance faire, if you will, reflecting basic human desires to dress up and play. As for why it just so happens to be so connected to anime, Napier theorizes the medium fosters the idea of fantasy creation.

“Fantasy and science fiction are very popular culture artistic venues to play and to cosplay,” Napier says. “Anime is really good at presenting you with these — it’s brilliantly expansive. Whatever you’re into, you’ll find it in anime. So if you’re looking to VTube, there’s all this anime material sitting in front of you. You can pick and choose and start playing.”

The dream for the Cover corporation, says Tanigo, is to expand VTubers beyond the world of streaming sites such as YouTube and Twitch — hence, the Dodgers collaboration. In August, Hololive will stage another U.S. concert, this time at Radio City Musical Hall in New York. Music, says Tanigo, is a gateway. “I believe that’s a way of reaching new people,” he says. “It’s an interesting thing to go see. There are also people who may not be interested in VTubing or anime at all, but they can listen to the song that’s released and enjoy it as a piece of music on its own.”

For the performers, with VTubing comes a sense of safety — and even comfort — that isn’t always present in more traditional streaming.

“I did a lot of on-camera streaming in the beginning of my streaming career, but I hated having to get ready, do my makeup, wear something nice,” AmaLee says. “Even after an hour of getting ready to do a stream, someone was still [commenting], ‘You look tired today.’ I hated that. There would be days I would cancel streams because I didn’t want to get ready. Now I have my VTuber model and can be a little gremlin in my pajamas and no one has to know because Monarch is always perfect.”

An anime character, after all, is always ready to go.

Ipswich

The place names are tiny poems: Silent Street, where sound was deadened with straw out of respect for convalescing soldiers during the Anglo-Dutch wars of the late 17th century; Smart Street, named after a benevolent merchant and library builder, William Smarte; Star Lane for Stella Maris, Our Lady of the Sea; Franciscan Way, leading to Grey Friars Road, evokes monkish times. Thirteen medieval churches rise above the old town, some in disrepair. Others are renascent: St Mary-le-Tower was recently redesignated as a minster in recognition of its value to the community and its 1,000 years of existence. That’s not so long ago in a town settled very early – perhaps as early as the fifth century, and established by the seventh – by the Anglo-Saxons.

You have to rummage to find historical treasures, which lie scattered, disguised, buried, bullied. The town has one of the best-preserved medieval cores in the country, but local planners wrapped it in roads, houses and, latterly, retail and leisure centres. Things are revealed by walking: the Tooley’s Court almshouses; lemon-hued, half-timbered Curson Lodge; gloriously pargeted Ancient House; an opulent town hall; and an ostentatious former post office on Cornhill, the main square. Seen from between the columns and arches of Lloyds Avenue, it could be Trieste or Venice, minus the overtourism and rip-off cappuccinos.

Erica, from The Friends of the Ipswich Museums, shows me around the mansion in Christchurch Park. Only four families ever lived here – the Withypolls, Devereux, Fonnereaus and Cobbolds – each associated with their times’ trades and trends: Atlantic merchant-adventurers, titled nobles, Huguenot linen traders, brewers and bankers. A standout exhibit is a patinaed oak overmantel rescued from a house on Fore Street that belonged to Thomas Eldred, who sailed round the world with Thomas Cavendish on his 1586-8 circumnavigation. The flagship Desire gave its name to a port on the Patagonian coast. In a corner hangs a portrait of Admiral Edward Vernon, who participated in the War of Jenkins’ Ear between Britain and Spain in the mid-18th century and the capture of Portobelo in Panama; he wore grogram cloth and is thought to have introduced toasts of rum-and-water – or “grog” – to the navy.

Ipswich traded with northern Europe from Saxon times, growing to become a Hanseatic League port, exporting wool and woollen cloth, and importing wine from Bordeaux.

On the harbour front is Isaacs on the Quay, a pub carved out of an old maltings. Behind it, at 80 Fore Street, is – according to Historic England – “the last surviving example of a 15th- to 17th-century Ipswich merchant’s house with warehouses at the rear opening directly on the dock front, where merchandise was unshipped, stored and distributed wholesale or sold retail in the shop on the street front”. The local council considered filling the harbour in to build houses, but a festival in 1971 showed the area could be a place of recreation as well as cultural preservation; the Ipswich Maritime Trust, still very active, grew out of this showdown.
Things to see and do: Willis Building; river cruise on the sailing barge Victor; free A Peep into the Past tour at Christchurch Mansion; Blackfriars monastery ruins

Ramsey, Isle of Man

Travelling overland to Ramsey from Douglas, you have a premonition of how important the sea must once have been. The meandering road and heritage electric railway both scale a mountain on the journey. Doing the trip on foot or horseback must have been hell. The Isle of Man’s longest river, the Sulby, plummets and meanders down from the uplands to meet the sea at Ramsey. Vikings, as well as Scots, entered the Isle of Man here. Its name derives from the Old Norse for “wild garlic river”.

The small working port breaks up a shoreline of sand and pebble beaches backed by apartment buildings and grand-seeming hotels. Timber and aggregate are massed up on the wharves. A bulk carrier called Snaefell River is moored beneath a single tall crane. To the south is the long Queen’s Pier, once a landing stage. Victoria never disembarked, but the pier recalls her visit. Above town is the Albert Tower. The consort made landfall.

Once Ramsey was a popular seaside resort, with Steam Packet ships to Kirkcudbright and Garlieston in Dumfries and Galloway; Liverpool and Whitehaven (I can see the Cumbrian fells). A swing bridge – closed to motorised traffic – connects the northern beach to Ramsey town centre, a likeable mishmash of Victorian buildings housing pubs, food and drink outlets, antique and bric-a-brac shops – and a very 80s strip mall with a Tesco, a drycleaner, a model shop and tattooists.

On the edge of town, I find myself at Grove House, now a museum. It was the holiday home of the island’s second most famous Gibb family. Duncan Gibb was a shipping agent from Greenock. The house reaches out to foreign climes. A tiger skin on the floor of the drawing room. A leopard skin in the bedroom. Mahogany furniture from a primeval forest. Curtains from India. A japanned backgammon set. When the men sailed away or died out, a matriarchy took over.

The Trafalgar pub, on West Quay, must have seen so many deals and binges, squabbles and scuffles. I drink an Odin’s mild in the corner. Locals look bristlingly familiar with one another, conspiratorial, as if they know something I never will.
Things to see and do: Manx Electric Railway to Laxey and Snaefell summit; Ramsey Nature Reserve beach walk; walk up to Albert Tower; the TT

Lancaster

It’s easy not to notice the River Lune or the Lancaster Canal. The former snakes north of the town centre, often behind buildings – supermarkets, an enterprise zone – and is cut off by the city’s notorious roads. The canal sneaks up from the south-west, hopping across the river near a McDonald’s. Anyway, the natural movement here for pedestrians is upward and inland.

The Romans took the high road. Marching through north Lancashire, operating in conjunction with naval transports, they could look out for landing troop detachments. A Roman fort was built on the hill now occupied by Lancaster Castle. It dates from the 12th century, as does the name of Lancashire, and is infamous as the place the Pendle Witches were imprisoned prior to their trial, sentencing and hanging. A small exhibition in a dungeon of the Well Tower recounts the key points of the story, reminding us Jack Straw refused to pardon them in 1998. The castle housed a prison till 2011; its Shire Hall is still used as a courtroom.

Lancaster was once England’s fourth largest slave port, with at least 122 ships sailing to Africa between 1700 and 1800. Local merchants were involved in the capture and sale of around 30,000 enslaved people. Slave-produced goods from the West Indies included sugar, dyes, rice, spices, coffee, rum and, later, cotton for Lancashire’s mills. Fine furniture, gunpowder, clothing and other goods were produced in and around Lancaster and traded in Africa for enslaved people, or sent to the colonies.

The slave trade and abolition trail, revised by Lancaster University professor Alan Rice, takes in churches, with their memorials to merchants who made money from slavery; the Sugarhouse, a nightclub on the site of a former refinery; Gillow’s Warehouse, which imported slave-harvested mahogany to make furniture; and 20 Castle Park, home of the slave-owning Satterthwaite family. On the abolition side are a Friends Meeting House (Quakers were among the earliest opponents of slavery) and, most poignantly, three benches in and near Williamson Park provided by philanthropists for the vagrant poor – including cotton workers laid off during the cotton famine caused by anti-slavery measures taken by Lancashire firms.

The small city of Lancaster, with its university campus and would-be genteel airs, looks and feels innocuous, and altogether unconnected to stormy seas. But it’s the nexus of a significant dark maritime history.
Things to see and do: Ashton Memorial; Maritime Museum; Gallows Hill; Judges’ Lodgings.

Chris Moss’s visits were assisted by Ipswich Central, Visit England, and the Isle of Man government

ATLANTA — Jo Adell’s run-scoring double in the eighth inning ended a scoreless tie and the Angels beat the Atlanta Braves 4-0 on Tuesday night.

The Angels (42-42) reached .500 for the ninth time this season, while the Braves (38-46) have lost five of six.

Adell’s double down the left-field line off Dylan Lee (1-3) drove in Mike Trout, who doubled. Jorge Soler, who came off the injured list after missing 11 games with lower back inflammation, added a two-run double off Enyel De Los Santos in the four-run inning.

Angels shortstop Zach Neto returned as the leadoff hitter after missing four starts with a jammed right shoulder.

“Having the two guys back makes a huge difference,” interim manager Ray Montgomery said before the game.

The refurbished lineup struggled against Atlanta right-hander Grant Holmes, who gave up only three hits and recorded 10 strikeouts in six innings. Angels left-hander Tyler Anderson also threw six scoreless innings with seven strikeouts.

Rookie right-hander José Fermin (1-0) earned his first win with a scoreless seventh.

Key moment

Michael Harris II ended an 0-for-22 drought with a triple to open the fifth. The Braves couldn’t drive in Harris thanks in part to Ronald Acuña Jr.’s third of four strikeouts in the game.

Key stat

A first-inning single extended Matt Olson’s career-best, on-base streak to 31 games. The longest active streak in the majors of games safely reaching base began May 29.

Up next

Braves rookie right-hander Didier Fuentes, 0-2 with a 10.80 ERA after two starts, was moved back one day to start Wednesday. Outfielder Jurickson Profar is expected to make his return from an 80-game suspension for performance-enhancing drug use. Left-hander Yusei Kikuchi (3-6, 2.79) is the Angels’ starter.

Warner Music Group will lay off an unspecified number of employees as part of a months-long restructuring plan to cut costs, Chief Executive Robert Kyncl said in a memo to staff Tuesday.

Kyncl said in the memo that the plan to “future-proof” the company includes reducing annual costs by roughly $300 million, with $170 million of that coming from “headcount rightsizing for agility and impact.” The additional $130 million in costs will come from administrative and real estate expenses, he said.

The cuts are the “remaining steps” of a period of significant change at the company, Kyncl said, with previous rounds of layoffs and leadership switch-ups happening in the last two years as he worked to “transform” the company.

“I know that this news is tough and unsettling, and you will have many questions. The Executive Leadership Team has spent a lot of time thinking about our future state and how to put us on the best path forward,” Kyncl said in the internal memo that was reviewed by The Times. “These decisions are not being made lightly, it will be difficult to say goodbye to talented people, and we’re committed to acting with empathy and integrity.”

It’s unclear how many employees will be laid off or what departments will see cuts, but Kyncl emphasized the company will be focused on increasing investments in its artists and repertoire department and mergers and acquisitions.

Hours before the news of layoffs, the company announced a $1.2-billion joint venture with Bain Capital to invest in music catalogs. The collaboration will add to the company’s catalog-purchasing power across both recorded music and music publishing, Kyncl said.

“In an ever-changing industry, we must continue to supercharge our capabilities in long-term artist, songwriter, and catalog development,” he wrote. “That’s why this company was created in the first place, it’s what we’ve always been best at, and it’s how we’ll differentiate ourselves in the future.”

In 2024, Warner Music laid off 600 employees, or approximately 10% of its workforce, and in 2023, 270 jobs were cut.

Warner Music Group shares closed at $27.83, up 2.17%, on Tuesday.

There once was a time the City Section had the best quarterbacks, the days of John Elway (Granada Hills), Tom Ramsey (Kennedy) and Jay Schroeder (Palisades) all playing against each other.

This fall, the City Section has lots of quality returning quarterbacks, making it possible for them to get some attention at a time the talent level has been dwindling overall.

Let’s start with Diego Montes of Kennedy. He’s 5 feet 11, 160 pounds, an A student and certified baller. All he did as a junior was pass for 2,508 yards and 24 touchdowns and rush for 1,400 yards and 25 touchdowns. He had a 91-yard run.

“I have more stamina,” he said after a spring of running track. “We run tempo offense, so being able to get up on the line right after you bust a 20-yard run or chip away at the defense, you’re in better condition. I’m not scared of putting my shoulder down.”

Liam Pasten of Eagle Rock had 3,602 yards passing as a junior and has his own hair-cutting business, so defenders be nice because he can make you look good in other ways.

Chris Fields of Carson, Jack Thomas of Palisades, Seth Solorio of San Pedro and Elijah McDaniel of Dorsey are the rarest of the rare — they left Southern Section schools to join the City Section, coming from Lawndale, Loyola, St. John Bosco and Warren, respectively. Each has a chance to lift and provide big-time contributions this fall.

One of the top freshmen quarterbacks in Southern California should be Thaddeu Breaux of Hamilton. At least he’s expected to have the opportunity to pass and pass. Coach Elijah Asante is projecting 50 pass attempts a game.

There’s returning quarterbacks at Cleveland, Taft, South Gate, Birmingham and elsewhere, so that’s a good sign the offenses in the City Section should be in good position to roll from the opening games on Aug. 22.

They should remember there’s NFL Hall of Famers from the City Section who once wore jerseys they are wearing. The names of Elway, Bob Waterfield (Van Nuys) and Warren Moon (Hamilton) come to mind.

Official practice begins at the end of next month.

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CBS

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Doechii / X

Doechii

‘Drowning in vices’

Reuters

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Picture books are not usually the stuff of Supreme Court rulings. But on Friday, a majority of justices ruled that parents have a right to opt their children out of lessons that offend their religious beliefs — bringing the colorful pages of books like “Uncle Bobby’s Wedding” and “Pride Puppy” into the staid public record of the nation’s highest court.

The ruling resulted from a lawsuit brought by parents in Montgomery County, Md., who sued for the right to remove their children from lessons where LGBTQ+ storybooks would be read aloud in elementary school classes from kindergarten through 5th grade. The books were part of an effort in the district to represent LGBTQ+ families in the English language arts curriculum.

In a 6-3 decision, the Supreme Court ruled that schools must “notify them in advance” when one of the disputed storybooks would be used in their child’s class, so that they could have their children temporarily removed. The court’s three liberals dissented.

As part of the the decisions, briefings and petitions in the case, the justices and lawyers for the parents described in detail the story lines of nine picture books that were part of Montgomery County’s new curriculum. In her dissent, Justice Sonia Sotomayor even reproduced one, “Uncle Bobby’s Wedding,” in its entirety.

Here are the nine books that were the subject of the case:

Pride Puppy
Author: Robin Stevenson
Illustrator: Julie McLaughlin

Book “Pride Puppy” published by Orca Book Publishers.

(Orca Book Publishers)

“Pride Puppy,” a rhyming alphabet book for very young children, depicts a little girl who loses her dog during a joyful visit to a Pride parade. The story, which is available as a board book, invites readers to spot items starting with each of the letters of the alphabet, including apple, baseball and clouds — as well as items more specific to a Pride parade.

Lawyers representing the parents said in their brief that the “invites students barely old enough to tie their own shoes to search for images of ‘underwear,’ ‘leather,’ ‘lip ring,’ ‘[drag] king’ and ‘[drag] queen,’ and ‘Marsha P. Johnson,’ a controversial LGBTQ activist and sex worker.”

The “leather” in question refers to a mother’s jacket, and the “underwear” to a pair of green briefs worn over tights by an older child as part of a colorful outfit.

The Montgomery County Public Schools stopped teaching “Pride Puppy” in the midst of the legal battle.

Love, Violet
Author: Charlotte Sullivan Wild
Illustrator: Charlene Chua

Book “Love Violet” published by macmillan publishers.

(macmillan)

The story describes a little girl named Violet with a crush on another girl in her class named Mira, who “had a leaping laugh” and “made Violet’s heart skip.” But every time Mira tries to talk to her, Violet gets shy and quiet.

On Valentine’s Day, Violet makes Mira a special valentine. As Violet gathers the courage to give it to her, the valentine ends up trampled in the snow. But Mira loves it anyway and also has a special gift for Violet — a locket with a violet inside. At the end of the book, the two girls go on an adventure together.

Lawyers for the parents describe “Love, Violet” as a book about “two young girls and their same-sex playground romance.” They wrote in that “teachers are encouraged to have a ‘think aloud’ moment to ask students how it feels when they don’t just ‘like’ but ‘like like’ someone.”

Born Ready: The True Story of a Boy Named Penelope
Author: Jodie Patterson
Illustrator: Charnelle Pinkney Barlow

Book “Born Ready” published by Random House.

(Random House)

In “Born Ready,” 5-year-old Penelope was born a girl but is certain they are a boy.

“I love you, Mama, but I don’t want to be you. I want to be Papa. I don’t want tomorrow to come because tomorrow I’ll look like you. Please help me, Mama. Help me be a boy,” Penelope tells their mom. “We will make a plan to tell everyone we know,” Penelope’s mom tells them, and they throw a big party to celebrate.

In her dissent, Sotomayor notes, “When Penelope’s brother expresses skepticism, his mother says, ‘Not everything needs to make sense. This is about love.’ ”

In their opening brief, lawyers for the families said that “teachers are told to instruct students that, at birth, people ‘guess about our gender,’ but ‘we know ourselves best.’ ”

Prince and Knight
Author: Daniel Haack
Illustrator: Stevie Lewis

“Prince and Knight” is a story about a prince whose parents want him to find a bride, but instead he falls in love with a knight. Together, they fight off a dragon. When the prince falls from a great height, his knight rescues him on horseback.

When the king and queen find out of their love, they “were overwhelmed with joy. ‘We have finally found someone who is perfect for our boy!’ ” A great wedding is held, and “the prince and his shining knight would live happily ever after.”

“The book Prince & Knight clearly conveys the message that same-sex marriage should be accepted by all as a cause for celebration,” said Justice Samuel Alito, who wrote the majority opinion, a concerning message for Americans whose religion tells them that same-sex marriage is wrong.

“For young children, to whom this and the other storybooks are targeted, such celebration is liable to be processed as having moral connotations,” Alito wrote. “If this same-sex marriage makes everyone happy and leads to joyous celebration by all, doesn’t that mean it is in every respect a good thing?”

Uncle Bobby’s Wedding
Author: Sarah S. Brannen
Illustrator: Lucia Soto

In “Uncle Bobby’s Wedding,” a little girl named Chloe learns that her beloved uncle is engaged to his partner, a man named Jamie. At first, she worries that the marriage will change her close bond with her uncle. But she soon embraces the celebration and the joy of getting another uncle through the union.

In the majority opinion, Alito wrote that the book sends children the message that “two people can get married, regardless of whether they are of the same or the opposite sex, so long as they ‘love each other.’ ” That viewpoint is “directly contrary to the religious principles that the parents in this case wish to instill in their children.” Parents ability to “present a different moral message” to their children, he said, “is undermined when the exact opposite message is positively reinforced in the public school classroom at a very young age.”

In her dissent, Sotomayor includes the entire book, writing that, “Because the majority selectively excerpts the book in order to rewrite its story.”

The majority’s analysis, she writes, “reveals its failure to accept and account for a fundamental truth: LGBTQ people exist. They are part of virtually every community and workplace of any appreciable size. Eliminating books depicting LGBTQ individuals as happily accepted by their families will not eliminate student exposure to that concept.”

Jacob’s Room to Choose
Author: Sarah Hoffman and Ian Hoffman
Illustrator: Chris Case

Book “Jacob’s Room To Choose” published by Magination Press.

(Magination Press)

“Jacob’s Room to Choose” is a follow-up to “Jacob’s New Dress,” a picture book listed as one of the American Library Assn.‘s top 100 banned books of the last decade.

Jacob wears a dress, and when he tries to use the boy’s bathroom, two little boys “stared at Jacob standing in the doorway. Jacob knew what that look meant. He turned and ran out.” The same thing happens to his friend Sophie, who presents as a boy and is chased out of the girl’s bathroom.

Their teacher encourages the whole class to rethink what gender really means. The class decides everyone should be able to use the bathroom that makes them feel comfortable, and makes new, inclusive signs to hang on the bathroom doors.

“After relabeling the bathroom doors to welcome multiple genders, the children parade with placards that proclaim ‘Bathrooms Are For Every Bunny’ and ‘[choose] the bathroom that is comfy,’ ” lawyers for the parents wrote.

IntersectionAllies: We Make Room for All
Author: Chelsea Johnson, LaToya Council and Carolyn Choi
Illustrator: Ashley Seil Smith

Book “IntersectionAllies: We Make Room for All” published by Dottir Press.

(Dottir Press)

“IntersectionAllies,” written by three sociologists, is a story about characters with different identities, including one who uses a wheelchair, and another, Kate, who identifies as transgender. One page shows Kate in a gender-neutral bathroom, saying, “My friends defend my choices and place. A bathroom, like all rooms, should be a safe space.”

In the majority opinion, Alito describes a discussion guide included with the book that he said asserts: “When we are born, our gender is often decided for us based on our sex . . . . But at any point in our lives, we can choose to identify with one gender, multiple genders, or neither gender.” The guide asks readers, “What pronouns fit you best?” Alito wrote.

What Are Your Words?: A Book About Pronouns
Author: Katherine Locke
Illustrator: Anne Passchier

“What Are Your Words” is a picture book about a child named Ari whose pronouns are “like the weather. They change depending on how I feel. And that’s ok, because they’re my words.” Ari’s Uncle Lior (who uses they/them pronouns) is coming to visit, and Ari is struggling to decide which words describe them.

“The child spends the day agonizing over the right pronouns,” the lawyers for the parents wrote. At the end, while watching fireworks, Ari says, “My words finally found me! They and them feel warm and snug to me.”

My Rainbow
Author: DeShanna Neal and Trinity Neal
Illustrator: Art Twink

“My Rainbow” tells the true story of a Black child with autism who self-identifies as a transgender girl. Trinity wants long hair, just like her doll, but has trouble growing it out. “The mother decides that her child knows best and sews him a rainbow-colored wig,” lawyers for the parents wrote.

The Montgomery County Public Schools also stopped teaching “My Rainbow” during the course of the lawsuit.

This article is part of The Times’ early childhood education initiative, focusing on the learning and development of California children from birth to age 5. For more information about the initiative and its philanthropic funders, go to latimes.com/earlyed.

TALLAHASSEE, Fla. — Florida Republican Gov. Ron DeSantis’ administration is racing ahead with construction of a makeshift immigration detention facility at an airstrip in the Everglades over the opposition of Native American leaders who consider the area their sacred ancestral homelands.

A string of portable generators and dump trucks loaded with fill dirt streamed into the site Thursday, according to activist Jessica Namath, who witnessed the activity. The state is plowing ahead with building a compound of heavy-duty tents, trailers and other temporary buildings at the county-owned airfield in the Big Cypress National Preserve, about 45 miles west of downtown Miami.

A spokesperson for the Florida Division of Emergency Management, which is helping lead the project, did not respond to requests for comment.

State officials have characterized the site as an ideal place to hold migrants, saying there’s “not much” there other than pythons and alligators.

Indigenous leaders who can trace their roots to the area back thousands of years dispute that — and they’re condemning the state’s plans to build what’s been dubbed “Alligator Alcatraz” on their homelands.

For generations, the sweeping wetlands of what is now South Florida have been home to Native peoples who today make up the Miccosukee Tribe of Indians of Florida and the Seminole Tribe of Florida, as well as the Seminole Nation of Oklahoma.

“Rather than Miccosukee homelands being an uninhabited wasteland for alligators and pythons, as some have suggested, the Big Cypress is the Tribe’s traditional homelands. The landscape has protected the Miccosukee and Seminole people for generations,” Miccosukee Chairman Talbert Cypress wrote in a statement on social media.

There are 15 remaining traditional Miccosukee and Seminole villages in Big Cypress, as well as ceremonial and burial grounds and other gathering sites, Cypress testified before Congress in 2024.

“We live here. Our ancestors fought and died here. They are buried here,” he said. “The Big Cypress is part of us, and we are a part of it.”

Critics have condemned the facility and what they call the state’s apparent reliance on alligators as a security measure as a cruel spectacle, while DeSantis and other state officials have defended it as part of Florida’s muscular efforts to carry out President Trump’s immigration crackdown.

Tribal leaders and environmentalists are urging the state to change course, noting that billions of dollars in state and federal funds have been poured into Everglades restoration in recent years, an investment they say is jeopardized by plans to house some 1,000 migrants at the site for an undetermined amount of time.

Indigenous leaders and activists are planning to gather at the site again Saturday to stage a demonstration highlighting why the area is “sacred” and should be “protected, not destroyed.”

“This place became our refuge in time of war. It provides us a place to continue our culture and traditions,” Miccosukee leader Betty Osceola wrote in a social media post announcing the demonstration.

“And we need to protect it for our future generations,” she added.

Payne writes for the Associated Press.

Weathered and bumpy, the wall hidden among the surplus clothing stores of the Fashion District was hardly the perfect canvas.

But artist Sloe Motions’ vision for the memorial mural in honor of Kobe Bryant and his daughter Gianna following their deaths in 2020 brought the stretch of Main and 14th streets to life with vibrant hues of purple and gold.

One of the most well-known Kobe murals across Southern California, the art piece — outside Jimmy Jam T-Shirts — was the backdrop for a commercial for Super Bowl LVI featuring Vanessa Bryant and has drawn fans from near and far.

For years, the mural remained untouched — an unspoken mark of respect for the artist and the subject but one that abruptly ended this year.

In late March, someone tagged the artwork with large bubble letters outlined in black and filled in with white — a similar style to other street tagging visible across the city.

Sloe Motions went back to work, painstakingly restoring the mural. There was much fanfare in downtown when the new mural made its debut in late May. But within a few days, it was again defaced. The artist is disappointed but vows to restore it once again — this time in a new location.

“This one has a lot of meaning to it, so it hurts me that people would do something like this where they’re disrespecting the Bryant family. It just exposes these people’s demons,” Sloe Motions said.

Graffiti has long been an element of Los Angeles life, and residents of downtown are used to tags as part of the landscape. This is, after all, the place where taggers coated the unfinished Oceanwide Plaza high-rise complex with graffiti, generating international attention and debate about the line between art and vandalism.

But the treatment of the Kobe tribute surprised Sloe Motions.

“This isn’t just another Kobe mural. It’s a memorial,” he said.

Street art has long been a part of the culture of Los Angeles, where murals — sanctioned and unsanctioned — and graffiti harmoniously share canvas space. Some abide by the unwritten code that you don’t cover someone else’s art. Others take a more autonomous approach, creating what they want where they want.

“Great cities have great public art,” said Wyland, a Laguna Beach-based artist who has painted murals across the world. “This Kobe mural, it’s become part of the fabric of Los Angeles. And for someone to come in and destroy it like that doesn’t make any sense.”

Los Angeles is known as a city of murals — some of which remain respectfully untouched for years, while others like the Kobe memorial are a seemingly irresistible target for taggers. There was a time when some property owners believed hiring the right muralist to grace your walls — or including a portrait of the Virgen de Guadalupe — could keep taggers away. But not anymore.

In many ways downtown Los Angeles is the perfect gallery for viewing street art, turning nondescript buildings into colorful canvases that tell the story of the region.

Ife Ewing, co-owner of Jimmy Jam T-Shirts, says street art has changed in the 13 years her business has been housed on Main Street.

James Ewing, co-owner of Jimmy Jam T-Shirts, looks at a mural Wednesday of Kobe and Gianna Bryant that has been vandalized again on the side of the business at 14th and Main streets.

(Genaro Molina / Los Angeles Times)

“Before, it was isolated to designated areas,” she said. “It’s a different breed of artists now. They have no respect for business owners, property owners. It’s disrespectful. You have to call it what it is, it’s just disrespect.”

Sloe Motions is far from the only muralist to feel burned.

Judy Baca’s famed mural of a female Olympic runner is beloved, even though it has been hit by taggers in the past. Then in 2019, the mural — part of the 1984 Olympics art movement — was mysterious whitewashed, sparking outrage. Metro eventually admitted one of its graffiti abatement contractors had covered the mural and vowed to restore it.

“They would rather paint on the mural than see even a mark of graffiti on the mural,” Baca said at the time.

The latest vandalism to Bryant’s mural felt like another blow to the area.

A post on June 3 from the DTLA Insider Instagram account summed up the situation simply: “We really can’t have nice things.”

The mural image is a spin on a photograph capturing a sweet moment during the 2008 NBA Finals when the Lakers legend — a proud “girl dad” — leans down and kisses the side of his smiling toddler’s head as he cradles her in his arm during a news conference.

Sloe Motions was drawn to the emotion in the photograph — the purity of a father’s love and a daughter’s admiration for her hero. It was captured years before Gigi started playing basketball, showing off her own version of her dad’s envied fadeaway jumper.

Next to them, the words “Mambas Forever” with an infinity symbol are painted in purple and gold.

Bryant, 41, and 13-year-old Gigi, along with seven others — John Altobelli, 56; Keri Altobelli, 46; Alyssa Altobelli, 13; Christina Mauser, 38, Sarah Chester, 45; Payton Chester, 13; and pilot Ara Zobayan, 50 — died Jan. 26, 2020, when the helicopter Zobayan was flying crashed in the hills of Calabasas.

After the initial vandalism in late March, Sloe Motions had sought donations to help cover the cost of restoring the mural in the current location, hoping to preserve the spot for the Bryant family.

“There’s just a lot of meaning at that wall,” he said.

Lakers star Luka Doncic’s foundation quickly jumped into action, donating $5,000, the full amount needed, to a fundraiser to help restore the art piece.

In late May, Sloe Motions posted on Instagram that the mural was finally finished. He’d added a few additional touches, painting the No. 8 on Gigi’s jersey, an homage to the number that Kobe wore for the first 10 seasons of his career.

A week later, the new details were still visible but under the scrawl of white paint.

On June 4, television news cameras were positioned near the mural, and passersby stopped to assess the damage. A jumble of bright white paint cut across the image, and heavy white dots covered Kobe’s and Gigi’s eyes.

“This time, they really went heavy,” Sergio Bautista, 35, said as he stood in front of the mural. “It’s sad to see.”

Sky Hendrix, who was in the area filming a music video with a friend, expressed his disbelief.

“That’s disrespecting the dead,” Hendrix said as he took in the scene. “Who would do that? He’s the GOAT and she’s just a little girl.”

Despite the vandalism, Sloe Motions showed no real sign of anger as he talked about the future of the art piece somewhere else where more people could view and appreciate it. He said he sent “prayers” to the people who vandalized his work.

“Nothing’s forever, and that’s the beauty of this stuff,” Sloe Motions said. “Some stuff could last a minute, some stuff could last a day, some stuff could last years.”

Times photographer Genaro Molina contributed to this report.

Sports offer an escape, an oasis, a relief from the anxiety and troubles of day-to-day living. There’s the competition, of course. There’s also a reassuring certainty.

Clear-cut winners and losers. Scores meticulously kept. Rules and boundaries that are officiated and maintained as firmly and precisely as a chalked third base line.

In short, none of the compromise or messy ambiguities of daily life, which is part of the appeal and also part of the fantasy.

And it is fantasy to try to divorce sports from the times we live in and the events that unfold, sometimes frightfully, beyond the comfortable confines of the stadium and arena.

Take the Los Angeles Dodgers and the team’s fitful response to the immigration raids terrorizing large swaths of its fan base.

The team, one of Southern California’s most revered (and lucrative) institutions, caved last week amid a growing public outcry and committed $1 million to help families affected by the Trump administration’s heavy-handed immigration policies. Further initiatives, the organization promised, are on the way.

Escapism only goes so far.

“Sports are political through and through,” said Jules Boykoff, a former pro soccer player-turned-political scientist. “and to deny it is to deny reality.”

Amy Bass, a professor of sport studies at Manhattanville University and the author of numerous works on the subject, agreed.

“Sport is part of our cultural, political, social and economic landscape,” Bass said. “It is an industry that pays people. It is an industry that entertains people. It is an industry that expresses some of our greatest moments and our most tragic moments.

“There is nothing,” she said, “that you can’t talk about through the lens of sport.”

Or shout about and argue over, as the case may be.

The Dodgers’ gesture struck many as too little, too late; an unforced error, if you will.

“That’s the best way to describe how the Boys in Blue have acted,” my columnizing colleague Gustavo Arellano wrote, “as the city emblazoned on their hats and road jerseys battles Donald Trump’s toxic alphabet soup of federal agencies that have conducted immigration sweeps across Los Angeles over the past two weeks.”

The Dodgers were studiously vague in last week’s capitulation, er, announcement of $1 million in good will payments. No mention, much less condemnation, of the brutality that ICE has employed in some of its enforcement actions. No reference to the parents separated from their children. No acknowledgment of the innocents — including U.S. citizens — swept up in some of the Trump administration’s indiscriminate raids.

“What’s happening in Los Angeles has reverberated among thousands upon thousands of people,” said Stan Kasten, the team president, in a masterwork of opacity and euphemism. “We believe that by committing resources and taking action, we will continue to support and uplift the communities of Greater Los Angeles.”

But, really, is it any surprise the team would first duck, then seek cover in such platitudes?

Lest we forget, the Dodgers are first and foremost a business, just like every other professional sports franchise. Michael Jordan may or may not have uttered the quote famously attributed to him — “Republicans buy sneakers, too” — as a reason for pro athletes and their teams to steer clear of politics. But it speaks resoundingly to a bottom-line truism of the sporting world.

Put another way, yes, the Dodgers have a substantial and remunerative following in the Latino community, which is very much under siege. But Trump devotees also fill a lot of seats and buy a lot of Dodger Dogs.

If we’re being honest, how many of those who root for the Dodgers — or any sports franchise, for that matter — would be more than willing to yield the moral high ground if it means a winning season and championship? Righteousness, after all, isn’t reflected in the standings.

So what’s a cross-pressured, community-grounded, profit-seeking sports organization to do?

Events, spiraling downward by the day, may have left the Dodgers little choice.

“The more people are affected, maybe I shouldn’t say affected but traumatized, by what’s happening on the streets of L.A. and the neighborhoods of L.A. … this left the Dodgers with much less room in which to try to shimmy through without saying anything,” said Boykoff, who teaches political science at Oregon’s Pacific University. “The circumstances in a lot of ways forced their hand.”

So the organization weighed in — belatedly, tepidly — leaving very few people happy or satisfied.

Little surprise there.

If we’re looking for a bright side, perhaps it’s this: Maybe instead of pretending sports exist in a pristine, politics-free vacuum, we can acknowledge their centrality to our daily lives and find, if not commonality, at least a common ground for discussion and debate.

“We can talk about history, we can talk about economics, we can talk about social change,” Bass said. “We can talk about how sport actually move political needles.”

Not, of course, on the playing field. But in the stands, in sports bars, at tailgate parties, on talk radio, wherever fans of various cloth gather.

“The more we recognize it,” Bass said, “the more that we can see that sport can actually provide this landscape for having very difficult conversations through a place that brings a lot of different kinds of people into the same space.”

It may seem far-fetched at a time of such deep and abiding divisions. But what are sports about if not hope and aspiration?

THE HAGUE, Netherlands — President Trump has a sleepover this week in the Netherlands that is, quite literally, fit for a king.

Trump is visiting The Hague for a summit of the 32 leaders of NATO on Wednesday, and his sleeping arrangements have received a significant upgrade.

He is scheduled to arrive Tuesday night and be whisked by motorcade along closed-off highways to the Huis Ten Bosch palace, nestled in a forest on the edge of The Hague, for a dinner with other alliance leaders hosted by Dutch King Willem-Alexander.

Trump had been expected to stay at a swanky hotel in the town of Noordwijk on the Dutch North Sea coast, but not anymore.

A spokesperson for the Dutch government information service, Anna Sophia Posthumus, told the Associated Press that the president will be sleeping at the palace that is home to Willem-Alexander, his Argentine-born wife, Queen Maxima, and their three daughters, though the princesses have mostly flown the royal nest to pursue studies.

Parts of Huis Ten Bosch palace date back to the 17th century. It has a Wassenaar Wing, where the royal family live, and a Hague Wing that is used by guests. The centerpiece of the palace is the ornate Orange Hall, named for the Dutch Royal House of Orange.

The palace is also close to the new U.S. Embassy in the Netherlands.

Trump is no stranger to royal visits. In 2019, he dropped in to Windsor Castle for tea with Queen Elizabeth II during a tumultuous visit to the United Kingdom.

Corder writes for the Associated Press. AP writers Molly Quell in The Hague and Danica Kirka in London contributed to this report.

COOL Britannia is back – and that’s official. 

High society bible Tatler is among those making the declaration on its new edition, which features the offspring of Nineties music legends Liam Gallagher and Richard Ashcroft. 

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Heralding the rebirth of the Britpop-era movement, the magazine pictures Molly Moorish-Gallagher and musician Sonny Ashcroft proudly standing in front of a giant Union Jack. 

Anyone over the age of 40 is likely to spot the obvious homage being paid to a similar front cover published by Vanity Fair in 1997. 

That iconic picture saw Oasis singer Liam sharing a bed with his then girlfriend, actress Patsy Kensit. 

The couple married a few months later when Oasis were arguably the biggest music stars of the decade. 

And it is no coincidence the new magazine cover comes just days before the Oasis reunion tour, which will have Richard Ashcroft as the support act. 

But Tatler did not go for another “power couple”, like Liam and Patsy were, and instead took the nepo baby route. 

But as the new faces of Cool Britannia take centre stage, it’s less champagne supernova, more alcohol-free explosion.

Tatler

However, editors still think the duo are living proof of a second coming.

The mag claims: “Ahead of the Oasis reunion, Liam’s daughter Molly Moorish-Gallagher and The Verve scion Sonny Ashcroft are leading the Britpop revival. 

“They’re the next generation of Britpop: Molly Moorish-Gallagher and Sonny Ashcroft are gracing the cover of Tatler as their fathers, Liam Gallagher and Richard Ashcroft, prepare for an earth-shattering Oasis reunion. 

“But as the new faces of Cool Britannia take centre stage, it’s less champagne supernova, more alcohol-free explosion.” 

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The piece continues: “She is the daughter of Lisa Moorish and Liam Gallagher; he is the eldest son of Richard Ashcroft and Kate Radley. 

“Together, they are the new faces of the (Br)it crowd. 

“But what do the pair make of Cool Britannia 2.0?” 

It turns out that neither of the nepo babies shares their parents’ hellraising ways, and the revival will not be based around downing pints of lager or being “chained to the mirror and the razor blade”, as Oasis once sang. 

Sonny proudly tells the magazine he’s not one for a night out.

He said: “I’m very much a night-in person.

Seeing friends, some good food and drinks and playing games of some kind.

Molly Moorish-Gallagher, Liam’s daugher

“A nice meal with friends and then gathering over some sort of board game or film at home.” 

While Molly says her idea of a wild night is: “Seeing friends, some good food and drinks and playing games of some kind.” 

But if the Cool Britannia nepo kids aren’t keeping the Nineties hedonistic vibe going, it seems Gen Z-ers are keeping the momentum going through fashion. 

Love Island host Maya Jama recently recreated Liz Hurley’s famous Versace safety pin dress that she wore to the Four Weddings And A Funeral premiere in 1994. 

Singers Dua Lipa and Lola Young have been inspired by other huge names of the Nineties in their fashion choices. 

And Liam’s son Lennon was pretty much an identikit copy of his dad when he attended a Burberry pub takeover last week. 

A new study has also revealed that youngsters are now huge fans of some of the decade’s greatest hairstyles, including The Rachel from Friends, the floppy hair of actor Johnny Depp and Victoria Beckham’s Posh bob. 

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The study, commissioned by Funkin Cocktails, also found a fondness for Doc Marten boots and baggy jeans, famously sported by the likes of Mark Wahlberg when he was rapper Marky Mark. 

Ashley Birch-Ruffell, from Funkin Cocktails, said: “Nineties fashion is very on trend, and it’s fun to see what our official favourite styles are. 

“There are clearly many iconic hairstyles and memorable moments from this decade that live on in the public consciousness. 

“It seems clear that Nineties trends aren’t going anywhere anytime soon — and why would we want them to?” 

“It’s clear that the whole culture of the Nineties is still considered unapologetically iconic.” 

Gen Z can’t match our hellraising era 

IT was a sensational whirl of bucket hats, Union Jacks, lads’ mags, boozy bands and more than a whiff of the old marching powder, writes Rod McPhee.

The late Nineties were a hellraising golden age not seen since the Swinging Sixties. 

But despite being due another period of partying, I’m sorry to say we’ll never quite be able to match the magic of the original Cool Britannia. 

Trust me, I was there, I did it. I got the T-shirt – and the dodgy Liam Gallagher shaggy haircut

What’s more, I loved it all. From music to fashion, and movies to models, the run-up to the year 2000 was the perfect blend of sex and, yes, drugs, plus lashings of rock ’n’ roll. 

Of course, it’s great to get a taste of the good old days when Oasis stage their comeback tour next week, plus there’s the prospect of the Spice Girls doing a similar celebratory event next year. 

But nothing can once again live up to a period in modern pop culture history which I believe was genuinely unique. Maybe I’m looking back at the past through rose-tinted glasses. 

But no pop groups, artists, catwalk stars or actors these days come close to the tearaway Primrose Hill crowd that kept us entertained and shocked three decades ago. 

That said, no one would love reliving some of the brilliance of the Nineties more than me. 

So let’s make the most of summer 2025. 

Unlock even more award-winning articles as The Sun launches brand new membership programme – Sun Club.

A day after having to leave the biggest game of his life, Indiana Pacers star Tyrese Haliburton shared his first public comments since tearing his right Achilles tendon early in Game 7 of the NBA Finals.

“Words cannot express the pain of this letdown,” Haliburton wrote on X (formerly Twitter) after undergoing surgery Monday to repair the tendon. “The frustration is unfathomable. I’ve worked my whole life to get to this moment and this is how it ends? Makes no sense.”

But for the majority of his five-paragraph post, which Haliburton accompanied with a photo of himself smiling and forming a heart with his hands from a hospital bed, the two-time All Star also delivered a message of optimism and determination. And he did so, in part, by quoting late Lakers legend Kobe Bryant, who overcame the same injury in 2013.

“I think Kobe said it best when in this same situation,” Haliburton wrote. “‘There are far greater issues/challenges in the world then a torn achilles. Stop feeling sorry for yourself, find the silver lining and get to work with the same belief, same drive and same conviction as ever.’

“And that’s exactly right. I will do everything in my power to get back right.”

Bryant’s words were part of a lengthy Facebook post early in the morning on April 13, 2013, hours after tearing his left Achilles tendon while driving to the basket during a game against the Golden State Warriors the previous night. After suffering the injury, Bryant famously stayed in the game long enough to sink two free throws.

In his post, Bryant describes his raw emotions and even uncharacteristically expresses some self-doubt before his famous Mamba Mentality inevitably surfaces.

“All the training and sacrifice just flew out the window with one step that I’ve done millions of times!” wrote Bryant, who was 34 at the time. “The frustration is unbearable. The anger is rage. Why the hell did this happen ?!? Makes no damn sense. Now I’m supposed to come back from this and be the same player Or better at 35?!? How in the world am I supposed to do that??

“I have NO CLUE. Do I have the consistent will to overcome this thing? Maybe I should break out the rocking chair and reminisce on the career that was. Maybe this is how my book ends. Maybe Father Time has defeated me…Then again maybe not!

Kobe Bryant writhes in pain after suffering a torn Achilles tendon during a game against the Golden State Warriors on April 12, 2013, at Staples Center.

(Robert Gauthier / Los Angeles Times)

“Its 3:30am, my foot feels like dead weight, my head is spinning from the pain meds and Im wide awake. Forgive my Venting but whats the purpose of social media if I wont bring it to you Real No Image?? Feels good to vent, let it out. To feel as if THIS is the WORST thing EVER! Because After ALL the venting, a real perspective sets in.”

That’s where Bryant writes the words that Haliburton quoted.

“We don’t quit, we don’t cower, we don’t run,” Bryant wrote later in the post. “We endure and conquer.”

True to his word, Bryant returned to the floor with the Lakers on Dec. 8, 2013. He dealt with several other injuries — including a knee injury that ended his 2013-14 season just six games after he returned from the Achilles — before retiring at the end of the 2015-16 season, his 20th in the NBA.

More than a decade later, a 25-year-old star is using Bryant’s words as inspiration, days after being unable to help his team in a 103-91 loss to the Thunder with the NBA championship on the line.

Here is Haliburton’s full post:

“Man. Don’t know how to explain it other than shock. Words cannot express the pain of this letdown. The frustration is unfathomable. I’ve worked my whole life to get to this moment and this is how it ends? Makes no sense.

“Now that I’ve gotten surgery, I wish I could count the number of times people will tell me I’m going to ‘come back stronger’. What a cliche lol, this s— sucks. My foot feels like dead weight fam. But what’s hurting most I think is my mind. Feel like I’m rambling, but I know this is something I’ll look back on when I’m through this, as something I’m proud I fought through. It feels good to let this s— out without y’all seeing the kid ugly cry.

“At 25, I’ve already learned that God never gives us more than we can handle. I know I’ll come out on the other side of this a better man and a better player. And honestly, right now, torn Achilles and all, I don’t regret it. I’d do it again, and again after that, to fight for this city and my brothers. For the chance to do something special.

Indiana’s Tyrese Haliburton falls to the court with an injury next to Oklahoma City’s Shai Gilgeous-Alexander during the first quarter of Game 7 of the NBA Finals on June 22.

(Nate Billings / Associated Press)

“Indy, I’m sorry. If any fan base doesn’t deserve this, it’s y’all. But together we are going to fight like hell to get back to this very spot, and get over this hurdle. I don’t doubt for a second that y’all have my back, and I hope you guys know that I have yours. I think Kobe said it best when in this same situation. ‘There are far greater issues/challenges in the world then a torn achilles. Stop feeling sorry for yourself, find the silver lining and get to work with the same belief, same drive and same conviction as ever.’ And that’s exactly right. I will do everything in my power to get back right.

“My journey to get to where I am today wasn’t by happenstance, I’ve pushed myself every day to be great. And I will continue to do just that. The most important part of this all, is that I’m grateful. I’m grateful for every single experience that’s led me here. I’m grateful for all the love from the hoop world. I don’t ‘have to’ go through this, I get to go through this. I’m grateful for the road that lies ahead. Watch how I come back from this. So, give me some time, I’ll dust myself off and get right back to being the best version of Tyrese Haliburton.

“Proverbs 3:5-6 ‘Trust in the Lord with all your heart, and lean not on your own understanding; in all your ways acknowledge Him, and He will make your paths straight.’”

OKLAHOMA CITY — Shai Gilgeous-Alexander walked off the court for the final time this season, collapsed into the arms of coach Mark Daigneault and finally smiled.

It was over.

The climb is complete. The rebuild is done. The Oklahoma City Thunder are champions.

The best team all season was the best team at the end, bringing the NBA title to Oklahoma City for the first time. Gilgeous-Alexander finished off his MVP season with 29 points and 12 assists, and the Thunder beat the Indiana Pacers — who lost Tyrese Haliburton to a serious leg injury in the opening minutes — 103-91 in Game 7 of the NBA Finals on Sunday night.

“It doesn’t feel real,” said Gilgeous-Alexander, the Finals MVP. “So many hours. So many moments. So many emotions. So many nights of disbelief. So many nights of belief. It’s crazy to know that we’re all here, but this group worked for it. This group put in the hours and we deserve this.”

Jalen Williams scored 20 points and Chet Holmgren had 18 for the Thunder, who finished off a season for the ages. Oklahoma City won 84 games between the regular season and the playoffs, tying the 1996-97 Chicago Bulls for third most in any season.

Only Golden State (88 in 2016-17) and the Bulls (87 in 2015-16) won more.

It’s the second championship for the franchise. The Seattle SuperSonics won the NBA title in 1979; the team was moved to Oklahoma City in 2008. There’s nothing in the rafters in Oklahoma City to commemorate that title.

In October, a championship banner is finally coming. A Thunder banner.

The Pacers led 48-47 at the half even after losing Haliburton to what his father said was an Achilles tendon injury about seven minutes into the game. But they were outscored 34-20 in the third quarter as the Thunder built a 13-point lead and began to run away.

Indiana Pacers guard Tyrese Haliburton falls to the court in pain after sustaining an apparent Achilles tendon injury in the first half against the Oklahoma City Thunder in Game 7 of the NBA Finals.

(Nate Billings / Associated Press)

Bennedict Mathurin had 24 points and 13 rebounds for Indiana, which still is waiting for its first NBA title. The Pacers — who were 10-15 after 25 games and were bidding to be the first team in NBA history to turn that bad of a start into a championship — had leads of 1-0 and 2-1 in the series, but they simply didn’t have enough in the end.

Home teams improved to 16-4 in NBA Finals Game 7s. And the Thunder became the seventh champion in the last seven seasons, a run of parity like none other in NBA history.

Pacers forward Pascal Siakam was part of the Toronto team that won in 2019, Thunder guard Alex Caruso was part of the Lakers team that won in the pandemic “bubble” in 2020, Milwaukee won in 2021, Golden State in 2022, Pacers forward Thomas Bryant and Denver prevailed in 2023, and Boston won last year’s title.

And now, the Thunder get their turn. The youngest team to win a title in nearly a half-century has reached the NBA mountaintop.

The Thunder are the ninth franchise to win a title in NBA Commissioner Adam Silver’s 12 seasons. His predecessor, David Stern, saw eight franchises win titles in his 30 seasons as commissioner.

“They behave like champions. They compete like champions,” Daigneault said. “They root for each other’s success, which is rare in professional sports. I’ve said it many times and now I’m going to say it one more time. They are an uncommon team and now they’re champions.”

Reynolds writes for the Associated Press.

WASHINGTON — President Trump on Sunday called into question the future of Iran’s ruling theocracy after a surprise attack on three of the country’s nuclear sites, seemingly contradicting his administration’s calls to resume negotiations and avoid an escalation in fighting.

“It’s not politically correct to use the term, ‘Regime Change,’ but if the current Iranian Regime is unable to MAKE IRAN GREAT AGAIN, why wouldn’t there be a Regime change???” Trump posted on social media. “MIGA!!!”

The post on his social media platform marked a stark reversal from Defense Secretary Pete Hegseth’s Sunday morning news conference that detailed the aerial bombing of Iran early Sunday.

“This mission was not and has not been about regime change,” Hegseth said.

The administration has made clear it wants Iran to stop any development of nuclear weapons, and Secretary of State Marco Rubio warned on Fox News’ “Sunday Morning Futures” that any retaliation against the U.S. or a rush toward building a nuclear weapon would “put the regime at risk.”

But beyond that, the world is awash in uncertainty at a fragile moment that could decide whether parts of the globe tip into war or find a way to salvage a relative peace. Trump’s message to Iran’s leadership comes as the U.S. has warned Iran against retaliating for the bombardment targeting the heart of a nuclear program that it spent decades developing.

The Trump administration has made a series of intimidating statements even as it has called for a restart of negotiations, making it hard to get a read on whether the U.S. president is simply taunting an adversary or using inflammatory words that could further widen the war between Israel and Iran that began with Israeli attacks on June 13.

Until Trump’s post Sunday afternoon, the coordinated messaging by his vice president, Pentagon chief, top military advisor and secretary of State suggested a confidence that any fallout would be manageable and that Iran’s lack of military capabilities would ultimately force it back to the bargaining table.

Hegseth had said that America “does not seek war” with Iran, while Vice President JD Vance said the strikes had given Tehran the possibility of returning to negotiate with Washington.

But the unfolding situation is not entirely under Washington’s control, as Tehran has a series of levers to respond to the aerial bombings that could intensify the conflict in the Middle East with possible global repercussions.

Iran can block oil being shipped through the Strait of Hormuz, attack U.S. bases in the region, engage in cyberattacks or accelerate its nuclear program — which might seem more of a necessity after the U.S. strikes.

All of that raises the question of whether the U.S. bombing will open up a more brutal phase of fighting or revive negotiations out of an abundance of caution. In the U.S., the attack quickly spilled over into domestic politics, with Trump spending part of his Sunday going after his critics in Congress.

He used a social media post to lambaste Rep. Thomas Massie (R-Ky.), a stalwart Trump supporter who had objected to the president taking military action without specific congressional approval.

“We had a spectacular military success yesterday, taking the ‘bomb’ right out of their hands (and they would use it if they could!)” Trump wrote.

Boak and Pesoli write for the Associated Press.

If only! On June 18, 2014, the airwaves and the internet lit up in collective awe at one of the greatest athletic feats in modern history. Clayton Kershaw recorded 15 strikeouts in a 107-pitch no-hitter that many consider the best single-game pitching performance of all time. The asterisk of this epic Dodgers game was the one error in the seventh inning that prevented its official recognition as a “perfect game”: When the Rockies’ Corey Dickerson tapped the ball toward the mound, Dodgers shortstop Hanley Ramirez botched a throw to first base, and Dickerson made it to second.

If only Ramirez had made the play at first! If only coach Don Mattingly hadn’t substituted the ailing Ramirez one inning prior! Los Angeles was one bruised right finger away from celebrating perfection.

Baseball has a celebrated history of quantifying value. No professional sport embraces numbers and statistics in the way baseball does. Statisticians are as much a part of the game as the dirt, chalk and grass. Although baseball has been collecting data since the late 1800s, the empiric statistical analysis that is part of our game today dates back to 1977 with the introduction of sabermetrics.

It’s critical to the game: How else are we to determine success when the majority of what we see is failure? The best hitters in baseball are those who only fail less than 70% of the time; in other words, have a batting average over .300. These perennial all-stars will experience the dissatisfaction and humility of an out in 7 out of every 10 plate appearances. In what other profession can you fail 70% of the time and be considered one of the greats? Consider the mental strength required to accept failure as part of the game and the focus to view each at-bat as an opportunity to fail a little bit less.

We need a similar kind of thinking in life to quantify value in our failure rates.

A “perfect game” is defined by Major League Baseball as a game in which a team pitches a victory that lasts a minimum of nine innings and in which no opposing player reaches base. It’s so rare because failure — by pitchers as well as batters — is expected as a matter of course. Francis Thomas Vincent Jr., the eighth commissioner of MLB, is quoted as saying: “Baseball teaches us, or has taught most of us, how to deal with failure. We learn at a very young age that failure is the norm in baseball and, precisely because we have failed, we hold in high regard those who fail less often — those who hit safely in one out of three chances and become star players. I also find it fascinating that baseball, alone in sport, considers errors to be part of the game, part of its rigorous truth.”

On June 19, 2014, the fans and commentators of baseball praised in dramatic fashion Kershaw’s dominant no-hitter, but with a subtle tone of confusion and denial of the ugly blemish recorded across the team’s box score: 0-0-1. Zero runs. Zero hits. One error. One base runner. An imperfect game. If only!

The collective hope for perfection is understandable. Most people are afraid to fail.

Parades aren’t held for the runner-up. Grades aren’t given just for trying. Job promotions aren’t offered for making mistakes. Placing perfection on a pedestal relieves the collective anxiety — but prohibits the opportunity — of accepting failure as an integral part of life. For an individual, failure is an opportunity to grow and become a better person. For a business, failure is an opportunity to pivot and redefine success. The opposite of perfection is not failure. It is accepting the opportunity to learn from transgressions. Winston Churchill once quipped, “The maxim, ‘Nothing prevails but perfection,’ may be spelled P-A-R-A-L-Y-S-I-S.”

Almost to the day, 75 years before Kershaw’s no-hitter, the world of sports witnessed the catastrophic reality of paralysis. In June 1939, after a week of extensive testing at the Mayo Clinic, Lou Gehrig announced to the world that he had amyotrophic lateral sclerosis. This announcement happened to fall on his 36th birthday. This represented the end of Gehrig’s illustrious baseball career. But 75 years later, what is remembered about this man is not his career batting average of .340, seven-time All-Star appearances, six-time World Series championships, winning of the Triple Crown or two-time league MVP. Sabermetrics could not possibly explain Gehrig’s value to the sport. What endures is what no statistic can capture: his grace. His humility. His courage in the face of loss. What is remembered and honored is his response to the ultimate “failure”: a failure of upper and lower motor neurons to make necessary connections that ultimately leads to rapidly progressive muscle weakness and atrophy. In defiance to an illness that is uniformly fatal, Gehrig paid homage to his teammates, professional members of the MLB and its fans by proclaiming himself “the luckiest man on the face of the Earth.”

Similarly, sabermetrics misses the true greatness of Kershaw’s no-hitter. What could never be displayed in statistics or numbers was Kershaw’s response to the error. After Ramirez’s throwing error, his hat lay at the base of Kershaw’s pitching mound. As I watched from the stands, I could not hear what Kershaw said to Ramirez as he picked it up, dusted off and handed the hat back to his humiliated teammate. But his body language appeared unbelievably humble, accepting and supportive, as if to recognize the lesson of baseball, which is that errors are a celebrated part of the game. To dwell on errors and think “if only” leads to disappointment and blame, but to accept and embrace imperfections with a positive and optimistic attitude defines the ultimate success.

If only we could all be that perfect.

Josh Diamond is a physician in private practice in Los Angeles and a lifelong Dodgers fan. Some of his earliest memories are of attending games with his father; he now shares his love of the Dodgers with his son.

EXCLUSIVE: Married At First Sight star Dave Hand has revealed how his edits didn’t show the complete story and opened up on an issue he has with fellow cast members

A Married At First Sight star has revealed the worst part about the show – and it wasn’t the breakdown of his marriage. Despite exchanging vows and looking to be a strong couple, Dave Hand and Jamie Marinos’ connection was short-lived.

After cameras stopped rolling the duo called it quits and are no longer on speaking terms. But Dave exclusively told the Mirror he wishes nothing but the best for his ex – and wishes his co-stars would all be as amicable.

He also revealed how the narrative for his story on the Australian version of the show wasn’t exactly how things panned out. The tattooed star, 36, admits he wishes viewers had the chance to see how much he was struggling with his dad’s health woes during filming.

“I communicated that a few times on the couch,” he confessed, revealing the scenes were cut from the show. “People just think I went from the partner swap to me not liking Jamie. There was a build up there.

“I cried on the couch the week before because I was struggling so much, you know? Then, yeah, it was quite difficult for me as it just sort of made it out to look like I’ve changed overnight, which definitely wasn’t the case.”

He added there were other instances of the final edit not showing exactly what happened, claiming the duo had also discussed calling time on their relationship and leaving earlier on. “It wasn’t just a me thing. We both communicated that we were both struggling, but you have got to give it to us for giving it a crack and sticking it out.”

The 6’7″ tradesman went on to call out the online taunts from other cast members towards each other. And it is this that he said was one of the worst parts from his experience. “We had cast members coming at other cast members online,” he said, speaking of the show’s aftermath.

“Like, we didn’t need to do that. I think that was quite childish, you know? I was affected by some of it and it’s taken its toll. We should have been looking out for each other if anything.

“I don’t think we should have been taking the p*** out of each other. It was hard to watch, whether you got a good edit or a bad edit, it was still difficult.”

He went on to name Veronica as being someone who didn’t have a good edit, saying she “copped it” in terms of online abuse.

“I still feel sorry or the people who copped it from the whole public. Online social trolling and stuff like that needs to be stamped about and people need to be held accountable for it.

“Just because I can put on a mask and not reply to these people or give them a reaction, doesn’t mean I wasn’t dealing with anything or that it wasn’t affect me. That’s what we have to be scared of as well, because people who suffer in silence, it does eat away at people.

“People think they can say what they want and get away with it, and I don’t think that should be the case at all.”

Despite the issues, Dave is still keen to show what he has to offer on-screen, with UK shows such as Celebrity Big Brother and I’m A Celebrity two options he’d be happy to explore.

He is also interested in giving back to the community and helping others who may be struggling. “I’d love to get into the side of helping young males with their mental health. I think I’m very well experienced enough to talk and help younger kids, especially males.

“Life is full of happiness and joy and these dark days are okay as well. They’re going to be there. I think that the biggest message of all… You know, you can change what you’re going through.”

*If you are struggling with mental health, you can speak to a trained advisor from Mind mental health charity on 0300 123 3393 or email [email protected]

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

The two New York teams dropped by Dodger Stadium a couple of weeks ago, first the Yankees and then the Mets, and broadcasters for each team made sure to complain about how loud it was.

“The Dodger Stadium center field speakers are in full assault mode,” Yankees radio voice Dave Sims tweeted.

On the ESPN Sunday night broadcast from Dodger Stadium that week, Karl Ravech introduced an in-game interview with the Dodgers’ Tommy Edman this way: “He’s in center field now, being blasted by, I think, arguably the loudest speaker system I have ever heard in my life.”

Notwithstanding the audacity of New Yorkers whining about someone else’s volume, the broadcasters did lend their distinguished voices to a long-running debate among Dodgers fans: Is it loud at Dodger Stadium, or is it too loud?

“It’s just all part of an entertainment show,” Mookie Betts said. “There is no ‘too loud.’”

Organists Helen Dell and Nancy Bea Hefley soothed generations of fans, but the traditional soundtrack to a Dodgers game has gone the way of $10 parking and outfield walls free of advertisements. The fan experience now includes a finely choreographed production at virtually every moment except when the ball is in play, and that includes recorded music, cranked up.

“We don’t make it louder just to make it louder,” said Lon Rosen, the Dodgers’ executive vice president and chief marketing officer. “It’s all part of what fits in the presentation.”

And the players, the ones whose performance determines whether the Dodgers win or lose, love the presentation.

“I think it’s great,” Clayton Kershaw said. “Even on the road, I’d rather have that than quiet. St. Louis was just really quiet. It almost felt like golf at times.

“The louder, the more fun, the better. The Dodgers have the best sound system out there. So why not use it?”

Said former Dodgers closer Kenley Jansen: “When I used to come out to ‘California Love,’ that thing used to bang. The bass they have, you can feel that thing shake in your chest.”

Just how loud is it at the ballpark?

To find out, I downloaded a decibel meter and visited Southern California’s three major league ballparks during an eight-day span this month. At Dodger Stadium, I walked around the ballpark, and up and down to different levels, but the readings were relatively consistent no matter where someone might be sitting.

Bottom line: It’s pleasant at Angel Stadium, lively at Petco Park, booming at Dodger Stadium.

Caveat: Even with all other things equal, it always will be louder at Dodger Stadium. The Dodgers sell 50,000 tickets to a game more often than not; no other major league ballpark even holds 50,000.

At 60 and 30 minutes before game time, as fans settled into the ballpark, Angel Stadium and Petco Park registered in the 65-75 dB range, roughly the sound of a normal conversation on the low end and household appliances on the high end.

The introduction of the home team lineup registered in the 80-85 dB range at Angel Stadium, 85-90 dB at Petco Park, and 90-95 dB at Dodger Stadium, roughly the sound of a noisy restaurant at the low end and power tools on the high end.

The high-end levels would be hazardous if sustained throughout the evening, but sounds ebb and flow as the game does. (Decibel levels are measured logarithmically, so an increase of 10 dB means sound is heard 10 times louder and an increase of 20 dB means sound is heard 100 times louder.)

The highest levels at any stadium occur not when a voice pleads “Get loud!” or “Everybody clap your hands!” but organically, as the result of a big moment in the game.

My decibel meter hit 100 dB twice during my three test games: immediately after the Angels’ Travis d’Arnaud homered in Anaheim, and as the Dodgers’ Will Smith slid safely into home plate with the tying run at Dodger Stadium, as the opposing catcher tagged him but dropped the ball.

What distinguishes the Dodger Stadium experience is the hour or so before the game starts. The Angels offer music, spotlight fans on the video board, and “invite you to enjoy the hospitality of Angel Stadium.” The Dodgers impose a relentlessly loud pregame show, with hype guys and hype girls, pounding away well above the 65-75 dB levels in Anaheim and San Diego, with dB readings into the 80s.

A Dodger Stadium screen encourages fans to be loud during Monday’s game against the San Diego Padres at Dodger Stadium.

(Robert Gauthier / Los Angeles Times)

The Dodgers’ pregame show attempts to force anticipation upon the audience, as if that is somehow necessary. It’s not. You’re about to see Shohei Ohtani!

There is always something happening before the game in the center field plaza: a band, product giveaways, Instagram-worthy photo opportunities, the live pregame broadcast for SportsNet LA. You can get hyped there, if you like. Or you can enjoy a conversation with your friends in your seats, instead of getting a headache before the game even starts.

Tyler Anderson, who pitches for the Angels now and used to pitch for the Dodgers, said he finds no fault in the traditional way of presenting the game, or in the Dodgers’ way.

“It’s like you’re trying to turn that venue into one of the best bars in town, where you just go to the bar and listen to loud music and people are having a good time,” Anderson said. “I think that’s the atmosphere they’re trying to create. It’s a fun atmosphere for the fans too.

The center field plaza area at Dodger Stadium is always a lively spot for fans before a game.

(Gina Ferazzi / Los Angeles Times)

“And then some places are more family-based. They’d rather have kids and older families, and young kids and grandkids coming to games. They probably have less of a party atmosphere and less of a bar kind of atmosphere.

“There is no right or wrong way.”

In his ESPN in-game interview, Edman called the Dodgers’ sound system both “absolutely absurd” and “great.”

I asked Edman about that seeming contradiction.

“That was one of the things that stuck out to me my first time playing here, just how loud the speakers are,” he said. “You can’t hear yourself think.”

He got used to it, and to how he need not be distracted because the sound shuts off “once the play actually starts.” He likes it now.

“It makes it more fun,” he said. “It’s like a big league game.”

The Dodgers’ game presentation is creative and compelling. And, instead of eliminating the beloved organ, the Dodgers include talented organist Dieter Ruehle as part of the show. Really, just tone down the pregame hour, and we’re good.

Rosen shrugged off the notion that the Dodgers should tone down anything. If fans did not enjoy the production, he wondered, why would they keep packing Dodger Stadium?

“It’s really not any louder than any other of the more popular stadiums,” Rosen said.

He might be onto something. Veteran baseball columnist Bob Klapisch reported that, during last month’s Yankees-Mets series at Yankee Stadium, “the decibel levels at the stadium routinely reached the mid-90s.”

That, Mr. Yankee Announcer, would be “full assault mode.”

Netflix Inc. will add live television channels and shows from French broadcaster TF1, expanding the streaming platform’s live offer for customers in the country.

French customers will be be able to watch live feeds, including sports, from TF1’s channels, and stream the broadcaster’s shows on demand from next summer, Netflix said in a statement on Wednesday. Netflix will dedicate a portion of the app to TF1 content as part of the distribution agreement.

Netflix is expanding the content it offers customers and has invested in live events such as National Football League games and wrestling matches. The French partnership goes a step further, offering traditional live broadcast content such as dramas and reality television.

Thomson and Berthelot write for Bloomberg.