people

What’s done is done.

The Dodgers went to the White House on Thursday and met with President Trump for the second year in a row, following back-to-back World Series championships.

At the time of their visit, the Dodgers had the best record in Major League Baseball with 65 wins and 38 losses. Winning three titles in a row won’t be easy, but assuming they pull off another victory in October, here are five reasons the Dodgers should not go back to the White House next year.

What’s the point?

Ceremonial visits have been going on for years, and both Democratic and Republican presidents have embraced the tradition with athletes from various sports.

If you’d like to know why I didn’t have anything to say in 2021, when the Dodgers visited President Biden at the White House, that’s a good question.

I didn’t dwell on it at the time because I think such visits are kind of ho-hum. But now we’ve had three visits in five years, and in my head, this hammers home the point that baseball players have nothing to gain from a visit. They’re baseball players, and as such, there is no higher honor than winning the World Series.

I like baseball, but it’s not like these guys are astronauts, just back from the moon.

If the Dodgers want to mark their achievement and honor the game of baseball in the nation’s capital, fine. They should go to the Smithsonian as a team and visit the display where Jackie Robinson’s jersey is enshrined.

They’re being put in an awkward position

As Dodgers shortstop Mookie Betts put it in saying that he wouldn’t join his teammates, he couldn’t win either way.

“If I do” go, he said, “people are gonna hate me. If I don’t, people are gonna hate me.”

That’s an exaggeration, but I get his point. Dodger utility man Kiké Hernandez said he wasn’t going, either, explaining that he was busy rehabbing an injury.

The Dodgers should take the pressure off the players by politely declining an invitation to visit.

Besides, people like baseball because it’s an escape, a distraction, a diversion. You want to have a clear head as you try to remember why you willingly packed up your kids and paid $400 for lousy seats and food at Dodger Stadium to watch Kyle Tucker, at $60 million a year, foul out to the catcher.

You do not want to think about the American political cesspool as you watch the Dodgers rally from behind, win in late innings, and inch ever closer to going back to the White House again next year.

They’re being used

The players were apparently told they could make their own decision about whether to go to the White House.

What they should have been told was that they were being exploited.

When a president hosts a team at the White House, there is only one reason.

It’s a photo op.

Not for the team, but for the president.

Baseball might no longer be the national pastime, but it’s a part of American culture, with fans of every political stripe in every state. There’s kind of a folksy quality in the manufactured banter between a president and the ballplayers. He can fawn over them and joke with them and look more like a regular guy — one of the boys.

“This is really a special team,” Trump said during the Dodger visit. “It’s special winners. They’re champions, and just unbelievable.”

Yeah, we knew that when they beat the Blue Jays.

Nine months ago.

Too much ring kissing is a turnoff

If you are going to go, can you at least not embarrass yourself?

Dodgers Chairman Mark Walter handed Trump a Dodgers jersey and World Series ring at the White House. Somehow, he managed to restrain himself from bending to one knee and kissing the president’s ring.

“Thank you for welcoming us today, Mr. President,” Walter said. “We’re proud of that team and what it has achieved, and we hope to be back here again next year.”

As The Times’ Maddie Lee noted, this was just days after Bloomberg reported that “two insurance companies controlled by Walter, as well as Guggenheim Partners, where Walter is chief executive, are being investigated by federal prosecutors for potential financial improprieties.”

“No charges have been filed,” Lee wrote. “Representatives from the parent company of the insurance firms as well as from TWC Global — the Walter business empire that controls his sporting investments, including the Dodgers and Lakers — have told reporters they are cooperating with the investigation.”

So that’s another problem with the Dodgers’ visit.

How can we not wonder about ulterior motives?

It’s hard to keep track of who’s kissing whose ring.

Politics is unavoidable

The Dodger brain trust has attempted to cast White House visits as an exercise in tradition, not politics.

“Like I’ve always said, my company line, my personal line is I hope that we get this invitation every year,” Dodgers manager Dave Roberts said before the visit. “Because that’s the goal: to win a championship, to get this invitation to the White House. And I’m not a politician, and I’m doing something that teams have done for decades. And so that’s where I stand, really. I’m a baseball coach. That’s what I do.”

That couldn’t be more naive.

The Dodgers love to project a wholesome, family-friendly essence. But American discourse has not been more vulgar, polarizing or politicized in my lifetime, and I’m reminded of the line, “Lie down with dogs, get up with fleas.”

In Trump’s world, there are only two kinds of people: friends and foes. The Dodgers are now friends, and when Venezuelan World Series hero Miguel Rojas was singled out by Trump, who launched an unprovoked attack on his country, that reeked of calculated political staging.

The White House itself has been a staging ground for political assaults on the Dodgers’ home state and on immigrants who come from regions of the world that are home to some of the Dodger players. Election integrity has been politicized. The Supreme Court has been politicized. The water quality in the reflecting pool has been politicized. And at a White House cage fight, a former first lady was brazenly disparaged.

You can’t peel off your baseball uniform, put on your wedding suit, and stand there with the president, smiling and shaking hands and being voluntarily patronized, without having made a political statement.

Better to stick to what you know best.

And besides.

Trump is a Yankees fan.

steve.lopez@latimes.com

Kevin Lyman has always lived life on the move. For years it was a symptom of working to keep up with Warped Tour, a punk rock circus on wheels. Since bringing the festival back last year to celebrate its 30-year anniversary, he’s switched his mode of transport from buses to planes. What started as a two-month tour across the U.S. and parts of Canada is now a strategically placed, five-date extravaganza starting this weekend in Long Beach. With stops in Montreal, Mexico City, Orlando and Washington, the tour has gotten bigger with the partnership of EDM promoter Insomniac but Lyman insists that the soul of it remains the same.

Thriving on a mix of punk, emo, ska, hardcore, metal and action sports, Warped has become an entry point to festival culture for a new generation of fans, requiring Lyman to always move forward in his musical tastes while still trying to stay true to the essence of what made Warped more of a community than just an annual event.

Recently he chatted with The Times to discuss the process of continuing the fest’s revival and why it’s still a vital part of the summer festival ecosystem.

What were your initial thoughts after Warped Tour’s big comeback in Long Beach last year?

I was really nervous. To be honest, I knew I had one shot at getting it right. I knew there were going to be bigger stages, we were going to have video and lights, but I also knew that I had to make it feel like Warped Tour between the performances. So that little bit of controlled chaos we had between the stages — the merch tents, all the sponsorship booths, the skate ramps, the surprises we threw out each day — I think it was mission accomplished. The feedback overall has been fantastic from the fans. For some people closer to my age demo, maybe it was a little too much — their feet hurt. But Warped came back strong, we went back on sale [for 2026] fairly quickly, and to still have 50% of the people buy the tickets right away without knowing a band on the bill yet was great.

Jimmy Eat World is doing like their 25th anniversary of “Bleed American” at the fest this year. What does it mean to you to have some of those early Warped Tour bands like that on the bill again?

It felt good to have a lot of those bands. For me, one of the more emotional ones last year was Rise Against. They had such a big moment. They were such a part of Warped Tour, and you get them to come back and then watch that crowd, every phone went up in the crowd, and probably 50% of the people there had never seen them before.

“I’ve been a disruptor, and the disruption I’ve caused has attracted enough people. Now we’re a niche of people,” Lyman says. “Warped is a great niche.”

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You’ve always had your own way of doing things that created the culture of Warped Tour. Why do you feel it is still so vital in the festival ecosystem today?

I had to carve a niche out for myself in the industry. I was never going to really quite conform. I kind of came from that rebellious spirit that Goldenvoice instilled in me back in the ‘80s when I worked for them, and Gary Tovar was rebellious. So I’ve always kind of had that mentality of, “Hey, let’s go against the norm. Let’s make it something our own.” And even when I’m teaching at USC now, I say you have to learn the foundations of every business. And those foundations, to me, were working 12 years in the clubs of L.A., 320 nights a year, and then you have to make something your own. I always say when you decide to go for it — go for it. And I did, and it seemed to connect with enough people and resonated with enough people that I’d been around that said, “Wow, this is different. He needs to work on it. But instead of knocking him down, let’s support him.”… I’ve been a disruptor, and the disruption I’ve caused has attracted enough people. Now we’re a niche of people. Warped is a great niche.

How did you keep Warped on people’s minds year-round while you were planning it out this year?

That was a challenge because before we used to have the two-month tour, so we were able to build community to keep the conversation going. Community is a big driver for me. Everything we’re doing now is investing in the community, and I think it’s working. [In January] we had a downtown Long Beach event with the band Holy Wars, we had an event in Orlando. We had one event in a fraternity house backyard in Virginia, we had events in Mexico City and Montreal … canned food drives, blood drives or, you know, register to vote. We’ll drop those kind of events so we’re constantly in everyone’s mindset. And it’s not about monetizing. I think people are always asking “How do you monetize the superfan?” I’m like, “How do you reward them?” Giving people a free Sunday afternoon event in Long Beach, that’s a thank you. Those are the people that are going to spread the word when you post a video, they’re going to share it with all their friends, and then they’re going to be telling kids at their schools. A third of the people going to Warped had never been to a festival or even a concert before, so we need to engage them in a different way.

What are your ways of scouting out bands you want to take a chance on when booking the festival?

Well, I have a great booker named Amanda Phelan. She books with me, so she’s kind of that on the ground talking to the agents and things. I don’t necessarily do that much anymore. I talk to them, but my part is more like, “Oh, I want to see what bands other bands are talking about, or young people are talking about.” And then I’m also talking to lots of the independent promoters out there that you know I used to work with.

Why do you think younger generation of fest goers will keep discovering Warped Tour?

We used to be that festival where you know it was over by sunset, your mom could pick you up at the curb or you could get home by dark, and then you went off to other festivals. We were your entry point to festivals. We may be that entry point again, but a lot of it now will come down to price point. We know the economics of Warped Tour are conducive for people that want to go on two levels: ones that want to come and explore a festival, and other ones, maybe some of your peers, who don’t get to go out every night and see bands anymore because they all have real jobs and things. But they can go for one for two days and catch up on all music, which makes you feel like you’re staying young.

Indiana Fever guard Sophie Cunningham stands by her comments about transgender athletes competing: She says she just ‘wants to protect’ women’s sports.

Despite her views that were expressed in an ESPN article published Tuesday, Cunningham insisted the next day that she doesn’t have anything against the transgender community.

“I got a lot of negative feedback about me hating trans. And I’m like, ‘I never once said that,’” Cunningham said in the article. “I think that I am here to extend love. But I also think with that love is truth, being honest. And I want to protect young girls in a locker room, or young girls in sport who shouldn’t have to go against biological men.”

The article became fodder for questions Wednesday before the Fever’s 123-88 victory against the Connecticut Sun.

“I think it’s kind of common sense,” Cunningham told reporters. “And I think I’ll always believe in that. I think it’s really important to protect children, and that’s little girls who are also involved in that category. And so I’ll stand on what I said, and I’ll always believe that.”

She reiterated that her feelings on the matter don’t stem from hatred.

“I think there is room for absolutely everyone here, and I think there is room to love everyone,” Cunningham said. “I truly think when you get people in the same room and you have conversations, you actually have a lot in common with a lot of people. And so I’m there to love.

“But I’m also there to love biological women, and I think that there are rights that need to be protected. And, like I said, I’m gonna stand true to that. I’ll never falter in my beliefs in that. But I have never once said that I hated the trans community. Like I said, I think there’s space for everyone.”

Cunningham appeared to triple down on her comments Thursday morning on Instagram, writing simply, “I said what I said.”

The topic of transgender athletes participating in women’s sports has become a polarizing issue in recent years. In February 2025, President Trump signed an executive order, “Keeping Men Out of Women’s Sports,” that looked to ensure that entities receiving federal funding abide by Title IX in alignment with the administration’s view that a person’s sex is the gender they were assigned at birth.

Last month, the Supreme Court upheld laws in West Virginia and Idaho that banned transgender athletes from competing on girls’ sports teams. Days later, two transgender girls who were the first to challenge Trump’s executive order dropped their lawsuit in New Hampshire.

“Men should not be playing in women’s sports. It’s completely ludicrous that anyone could support that,” White House press secretary Karoline Leavitt told reporters Thursday. “It’s even more ludicrous that you do have [Sophie] Cunningham — a female athlete herself, very accomplished in her own right — coming forth and speaking that truth that men shouldn’t play in women’s sports, we want to protect women and girls, and the backlash she is receiving from Democrats and left-wing figures across the country is astonishing.”

The league’s collective bargaining agreement states that “only players who are women are eligible to play in the WNBA,” but does not specifically exclude transgender women. When reached for comment, a WNBA representative referred The Times to a statement released by the Fever on Wednesday.

“Our players are thoughtful adults with their own perspectives and voices, and those views are their own,” the team said. “We are committed to welcoming fans from every background and treating everyone with respect, and that’s what guides us as an organization.”

Cunningham has been called “MAGA Barbie” since her college days at Missouri, according to Complex, because some of the people she follows and engagement with conservatives on social media.

In 2022, when Pennsylvania swimmer Lia Thomas became the first transgender athlete to win an NCAA Division I national championship, Cunningham reposted a since-deleted tweet stating that “female collegiate athletes deserve so much better than this.”

Soon after, Cunningham posted a statement saying that she stands “with all people, especially my fellow athletes.”

“I do not judge, but support all races, religions, sexual preferences and gender equity,” she wrote. “We all have a place in this world to compete and I hope we are able to grant everyone that opportunity fairly.”

Even with a seeming endorsement from the White House and a nickname that’s followed her, Cunningham says her political views are “very much in the middle.”

“I agree with things on both sides, disagree with things on both sides,” she said in the ESPN article. “And that’s all I’ve ever said about my political beliefs. But people love to assume.”

On Wednesday, Cunningham went into more detail, telling reporters “I’m not a very political person.”

“But I do have beliefs, I have morals, and I’ll always stand on those and be true to who I am,” she added. “… And so when it comes to just protecting young girls in sport and women in sport, I feel very strongly about that.

“That’s why you have Title IX. That’s why you have some of the greats in women’s sports. If Title IX and women’s sports weren’t protected, then you wouldn’t hear about any type of women in sport.”

In the Mid-City neighborhood where Syd grew up, lots of people now refer to this 34-year-old musician as the mayor.

“During COVID, I’d spend all day on the grass waving at everybody,” she says with a laugh. More recently, a bunch of “unruly teenagers,” as Syd describes them, have been doing doughnuts in the street near her parents’ house.

“I’m out there talking about, ‘Hey! Stop!’ I had one of my trucks parked in front, so I was like, ‘Y’all ain’t finna mess my s— up.’ But also they were hanging out the window — it was really dangerous.” She laughs again.

“I’m an old head when it comes to safety.”

Syd’s new album happily embraces a sense of maturity — of “feeling more sure of myself than I ever have,” she says. Released last week, “Beard” — the title was inspired by Syd’s wife’s request that she maintain the peach fuzz on her upper lip — sets thoughts of romantic commitment and professional achievement against gleaming R&B grooves that occasionally nod toward Afrobeats or bossa nova. It’s Syd’s third solo LP since she emerged nearly two decades ago as a member of the Los Angeles hip-hop collective Odd Future; it also comes eight years after her most recent album with the Internet, the Grammy-nominated soul-music combo she shares with Matt Martians and Steve Lacy (the latter of whom dropped his new “Oh Yeah?” on the same day Syd dropped “Beard”).

Yet for all the growing up she’s done, “ironically, I feel younger than I’ve ever felt,” Syd says. “Beard’s” blurry cover photo, which shows her shaved head and slightly doleful eyes, “captures exactly what I was trying to portray with the music,” she adds. “It’s kind of this nonbinary image, where if you’re looking at it and you don’t know who I am, you might wonder: Is that a 12-year-old boy?”

Syd and I are talking over coffee at a crowded spot on Jefferson Boulevard that she says she visits every day. (So many people say hi to her that I’m inclined to believe it.) The restaurant isn’t far from her house, which itself is just an eight-minute drive from her folks’ place; eventually, she says, her parents plan to swap homes with Syd and her wife, the model Simone Clay, so that the couple can fulfill their dream of becoming foster moms in the larger house.

“With all my privilege and with all the peace I’ve been able to create for myself, I would love to spread that,” says Syd, whose full name is Sydney Bennett and whose younger brother Travis (known as Taco) also came up through Odd Future before finding success as an actor.

Syd recorded “Beard” between a studio she built at her parents’ place and a studio in North Hollywood owned by Raphael Saadiq, the veteran R&B star whom Syd counts as something of a mentor. The singer says she can relate to the way Saadiq moves between making solo records, working in a band (in his case Tony! Toni! Toné!) and writing and producing for other artists, as Syd did on Beyoncé’s 2022 “Renaissance” album.

“Syd is just looking for things in music that are breathing,” says Saadiq, who plays bass and co-produced several cuts on “Beard.” “She keeps developing, and she’s not developing to be relevant — she’s developed because she loves doing it. People like Syd and myself, we’ve been at this since we were kids. We were the ones in the neighborhood who’d walk outside and say, ‘Anybody want to get on this track? Anybody want to play?’”

Songs on “Beard” like “Closet” and “My Love” reflect recent changes in Syd’s life, not least her decision to get hitched last year, which she attributes in part to an uncertainty about how long same-sex marriage will remain legal in the United States.

“You know the Supreme Court,” she says with a shrug.

She also quit drinking after realizing that she was waking up more often than not with a hangover. “People around me weren’t like, ‘She be drinking,’” Syd says. “But it was every day, and it was just at the crib. Everybody has a different relationship to it, and I found that mine was tied to boredom, which I think is probably better than it being tied to sadness. But that’s also what made it a little bit harder to call it a problem, you know what I mean? I had to realize: OK, this might not be a problem for someone else, but it’s not serving me.”

So two and a half years ago, she stopped — and on a holiday some can’t imagine without booze.

Says Syd: “I raw-dogged New Year’s Eve, bro.”

“Ironically, I feel younger than I’ve ever felt,” Syd says.

(Nabil)

“Beard” encompasses shifts in Syd’s business too. After fulfilling her contract with the Columbia label, the singer signed last year to Warner Records, where an old high school pal, Tim Hinshaw, oversees a boutique label called Free Lunch. The new deal inspired her to mix up her creative process and hold a songwriting camp with an assortment of writers and producers, among them the duo Nova Wav, who’ve also worked with Beyoncé; on “Beard,” the duo co-wrote and co-produced the hooky “Callin” and “Jasmin 17,” a lusty boudoir jam titled after the unisex fragrance. (Additional collaborators on the album include James Fauntleroy, Van Hunt, Rodney Jerkins, Big Sean and Jordan Ward.)

Given her high-profile gig writing and producing Beyoncé’s “Plastic Off the Sofa” — a sensual retro-soul number that went on to win a Grammy — I tell Syd that I assume the offers came rolling in immediately afterward to join other A-list acts in the studio.

“To be honest, that opportunity didn’t give me any more producing opportunities,” she answers, to my surprise. “Nobody was reaching out — like, ‘Hey, can I get beats?’” She’s not bothered, though, since what the experience did do was “give me the confidence to produce this album for myself.”

And anyway, she’s got a solo tour coming up, not to mention a long-awaited Internet LP to finish. The band has been recording intermittently at her place, and last month she spent a week working at Martians’ studio in rural Georgia.

“We’re closer than we’ve probably ever been,” Syd says of the band, whose drummer, Christoper Smith, put out yet another solo record on the same day as “Beard” and Lacy. Syd doesn’t want to reveal too much about the Internet’s new music. But she will say that so far the group has avoided using Auto-Tune, the vocal-processing software that she feels has become sadly ubiquitous.

“I want nuance, I want texture, I want the lack of perfection,” she says. “I’d rather mess up naturally than not mess up unnaturally.”

When a pitcher purposely throws high and inside, the batter has four choices.

He can stare down the pitcher. He can charge the mound. He can get revenge by walloping the next pitch for a hit.

Or he can ignore the intimidation tactic and continue as if nothing happened.

The last choice is the wimp’s way out, since the batter will lose his teammates’ respect, while opposing pitchers will consider him a pushover and fire more brushback pitches at him.

Ever since the Dodgers visited the White House last spring to commemorate their 2024 World Series win, President Trump has launched a barrage of metaphorical fastballs trying to hurt Los Angeles — in the courts, in speeches and on social media, but especially via his deportation deluge that’s starting to simmer again.

So how have the Boys in Blue responded in defense of the metropolis they wear on their jerseys and the community that has sustained them for nearly 70 years, making Dem Bums one of the most valuable franchises in baseball?

They’re scheduled to visit the White House today so Trump can use them as a photo op and bask in their 2025 championship.

That’s like staying in the dugout during a bench-clearing brawl after a pitcher plonks a batter, then offering the offender a handshake the next inning.

Winning back-to-back titles and blazing through this season has brought Angelenos much-needed happiness during a terrible stretch for the city — but winning is what the Dodgers are supposed to do. They’re also supposed to do more.

This is the team of pioneers like Jackie Robinson and Sandy Koufax, Glenn Burke and Fernando Valenzuela. The squad whose mythology insists it’s a franchise apart from the rest of professional sports because the Dodger Way is kinder, braver and more willing to take moral risks that transcend baseball and make society better.

And yet manager Dave Roberts told Times sports columnist Bill Shaikin in February that he would gladly accept another White House invitation “to continue to try to do what tradition says and not try to make political statements, because I am not a politician.”

Well, thank God the Dodgers broke baseball’s longstanding tradition of segregation long before Roberts, who is Black and Japanese American, was born!

Manager Dave Roberts of the Los Angeles Dodgers looks on from the dugout during a 2025 game against the San Diego Padres at Petco Park in San Diego, California.

(Sean M. Haffey/Getty Images)

Most of the Blue Crew fans I know — who are mostly Trump haters, by the way — roll their eyes every time a wokoso member of Dodger Nation complains about the team’s White House visits or the failure of players, coaches and executives to speak out more forcefully against Trump’s anti-immigrant campaign. Politics have no place in baseball, my friends and family members will say.

But standing up for L.A. by snubbing Trump or calling out his war against us isn’t political at all.

Angelenos need a champion on the Dodgers to say what needs to be said: The City of Angels is wonderful, and Trump is wrong to target it. If you can’t stand up for the simple belief that we don’t deserve to be Trump’s personal piñata, then you have no place playing for the Dodgers.

Only two players have announced they’re not going to the White House: superstar Mookie Betts and fan favorite Kiké Hernández. The latter, a native of Puerto Rico, endeared himself to the Dodger faithful last year during the height of the immigration raids with an Instagram post that read, “I cannot tolerate watching our community continue to be violated, attacked, abused and separated. ALL people deserve to be treated with respect, dignity and their human rights.”

This time around, Hernández told the Times that he’s not going so he can focus on a rehabilitation stint in the minors. When pressed by reporter Maddie Lee, he said, “I’d rather take a day off than do team activities.”

Nice way to rhetorically strike out, Kiké.

Betts, meanwhile, said he wants to spend time with his newborn child — as legitimate a reason as any. But then he sat down for a short interview with Fox News.

“I don’t know why the world sees athletes as political figures or these people that can make change,” Betts said. The future Hall of Famer, who like Roberts owes a lot to Robinson for paving the way for him and other Black players, hemmed and hawed as if he didn’t quite believe what he was saying.

Dodgers past and present haven’t been averse to political stands — they just usually happen to be of the conservative variety.

After his retirement, Robinson campaigned for Richard Nixon’s unsuccessful 1960 presidential bid but left the GOP eight years later, accusing Nixon of “prostituting himself to the bigots in the South” to win the presidency.

Other Dodger legends, from former owner Peter O’Malley to Steve Garvey to Tommy Lasorda, were proud, vocal Republicans as well. Reliever Blake Treinen pitched in a game with “Charlie Kirk” written on his hat after the assassination of the far-right commentator — you know, the guy who lambasted L.A.’s response to Trump’s immigration hammer as “open rebellion to American sovereignty and authority … in a corrupt blue city.”

Treinen — who skipped the Dodgers’ 2021 White House visit when Joe Biden occupied the Oval Office — was at it again this year when he and teammate Alex Call declined to wear Pride Night-themed caps, choosing instead to play with the standard-issue one. They followed the example of Dodgers titan Clayton Kershaw, who wore a Pride cap last year but adorned it with a verse from the Book of Genesis commandeered by MAGA Christians to accuse LGBT+ people of appropriating rainbow colors to celebrate their supposedly wicked ways.

Dodgers management didn’t browbeat Treinen and Call, and that’s fine — ballplayers should be entitled to share their personal thoughts, however noxious. I even understand why the team might want to ham it up with Trump this week — that’s what multimillionaires seem to want to do these days, after all.

Federal agents stage outside Gate E of Dodger Stadium on June 19, 2025.

(Myung J. Chun / Los Angeles Times)

What offends me most is that Dodgers owner Mark Walter knows what Trump is doing to L.A. is wrong, even if he’ll never publicly say anything.

Last June, the team announced that it had prevented Immigration and Customs Enforcement agents from entering the Dodger Stadium parking lot — the feds denied that this happened. The Dodgers also announced they would donate $1.1 million to nonprofits to assist people affected by the immigration raids — a response to community disgust about video of federal agents in front of a Dodger Stadium gate with people who had been detained at a nearby Home Depot.

Soon after, the Dodgers were hit with a federal civil rights complaint, filed by a legal group co-founded by Stephen Miller, accusing them of discrimination because of their diversity, equity and inclusion initiatives. This year, Walter’s investment firm rid itself of all shares in GEO Group, which runs immigrant detention centers on behalf of the federal government.

Yet now, the Dodgers are going to the White House.

Enjoy the trip, fellas. Hey, maybe one of you will shake Trump’s hand and tell him that multicultural, immigrant, Dodgers-blue Los Angeles is all right.

Hey, maybe the Angels will win the pennant.

The 2026 FIFA World Cup has wrapped, but some Angelenos who rented their homes to fans are still tallying up profits from a month of soccer frenzy in the city.

Driven by projections of massive tourism and a $750 first-time host incentive from Airbnb, many local property owners expected a sizable payout. While some savvy owners were able to cash in big during the tournament, others experienced only a moderate bump.

But something they all walked away with was some extra cash in their pockets and a blueprint for the LA28 Olympics.

We spoke with three L.A. Airbnb hosts to find out what they earned through their rentals during the World Cup, the luxurious renovations and amenities that helped their properties stand out and what advice they’d give others to prepare for the next global gold rush.

Wellness retreat-inspired house in Inglewood, 3 bedrooms

Lia Pilla turned one of her Airbnb properties into what she calls the Pink Palms Retreat. The Inglewood home features an infrared sauna, a large hot tub and more.

Rental host: Lia Pilla

How long have you been a host? Since 2021

Pre-World Cup rate: Ranged from $350 to $550

Price during the World Cup: During opening weekend, I got $2,730 for two nights. Of course, I have to pay a cleaning fee, but just in two nights, I’m a few hundred short of paying my mortgage, so that was really cool. For the following games, I maybe got like $400 to $500 a night. Then for the final weekend, I got like $3,400 for four nights, so it went back up.

What updates did you make, if any, to prepare? Last July, I did a full remodel of the house and turned it into what I call Pink Palms Spa Retreat. It’s all pink on the outside. It has an infrared sauna and a huge hot tub that can fit up to like 20 people. It has a large dining table with a firepit on top of the table, lush privacy trees and a custom gym.

Were you surprised with how things played out? I was expecting to make a couple hundred thousand off this World Cup, I’m not gonna lie, but I didn’t so I was like “OK. That kind of sucks.” I think L.A. got a little bit [cheated] with the teams we had. We had Team USA, which was cool, but we didn’t have any of the the big name teams like Argentina or France or Spain, so I think that’s one reason why the prices weren’t as high. I also think the political climate has made a big impact. Some people are scared to come to the U.S. or they aren’t allowed to come. But I’m happy with what I did get.

What’s one thing you’re thinking about doing with the money you made? I always invest back into the business. I want to touch up everything at all of my properties, so it continues to look like the pictures because your reviews are so important. I also have a Europe vacation planned.

Any advice for hosts preparing for the Olympics? Do your research on the market. Think “If I’m traveling to Los Angeles, what would I want?” because it’s also about the experience you create. Know what amenities people like. If you’re starting out or you’re already a host, I highly recommend having software in place for property management, cleaning and pricing.

‘Hillside hideaway’ in Woodland Hills, 2 bedrooms

Matthew Motamedi was surprised to see an influx of bookings on his Woodland Hills hideaway, which is roughly 30 miles away from SoFi Stadium.

(Kayla Bartkowski / Los Angeles Times)

Rental host: Matthew Motamedi

How long have you been a host? Since July 2025

Pre-World Cup rate: In late spring, we were charging $250-$280 per night on average.

Price during the World Cup: It was around $300, which is normal during July for us. We undercut the hotels and some of the other listings in our area by $100.

What updates did you make, if any, to prepare? We added a super crazy, comfy couch made of fake fur and people love it. That’s one of the important things about an Airbnb. There needs to be a really good hangout spot, so the couch needs to be super comfortable, and if the couch isn’t comfortable, no one wants to stay there.

Were you surprised with how things played out? Our property was so far away from SoFi Stadium (nearly 30 miles) so I thought it was going to be a non-event for us. It was supposed to be like that, but it definitely affected us because I started getting a lot of European and Spanish-speaking tenants.

What’s one thing you’re thinking about doing with the money you made? We’re definitely putting the extra money back into the property because we’re not there yet. There’s so much we want to do. During the World Cup, I was able to upgrade the AC unit, added a smart thermostat and invested in landscaping, which we want to do more of. We want to invest in the curb appeal and add more outdoor furniture. Maybe a movie room. We also want to get an auto pen so we can write handwritten cards for guests because it’s kind of hard to write perfect handwriting in different languages and in cursive. [Laughs] You can pick a font and it holds a ballpoint pen. To have that would be really cool.

Any advice for hosts preparing for the Olympics? You have to curate the experience and get more involved. If you can’t get involved, you need a co-host. Find a cousin, a sister, a brother, a friend, someone you trust with good taste to help you. Also, don’t just put up random paintings. Make it so that people want to move there. A lot of my guests are like “I wish I could live here.” You need a hotel scent and to provide laundry supplies. Ask your guests about their allergies and snack preferences then put together a snack basket. They freak out when they see that. Have a comfy couch, add plants like the fiddle-leaf fig (it looks bougie and you only have to water it once a week) and get a good cleaner. With that, you’re going to do really well.

Modern suite with luxurious amenities in Westchester, 1 bedroom, 2 guests

Sara Geissler at one of her Airbnb units.

(Jason Armond / Los Angeles Times)

Rental host: Sara Geissler

How long have you been a host? I started my [rental management] business about 10 years ago, but have been a full-time host for roughly eight years.

Pre-World Cup rate: About $195 a night.

Price during the World Cup: $234, which is about a 15% increase so a little bump. It wasn’t anything crazy.

Were you surprised with how things played out? I probably was expecting a little bit more because it was such a huge event. What I was a little surprised by though was how long the stays were. I was thinking that people were going to come in for a few days, but most of my stays were for a week or longer. We were pretty booked. I think we only had a couple days in between bookings.

What updates did you make, if any, to prepare? We bought the home a year ago and we’ve been getting it ready for the last four months. I added a private hot tub and an Eight Sleep Pod, which is a really fancy mattress topper that heats and cools your mattress. I tried to go all out with my amenities. We’ve got all the fancy soaps, deluxe robes and we added a washer and dryer. I always think about what I’d want when I’m traveling. I always put Q-tips, cotton balls and makeup wipes. For the kitchen, just having all the little stuff you need there. A wine bottle opener is No. 1.

What’s one thing you’re thinking about doing with the money you made? Paying my property taxes and my mortgage. [Laughs] Honestly, we’re putting it toward our living expenses and being able to afford our house. It’s been a huge help because everything is so high.

Any advice for hosts preparing for the Olympics? Really think about what you would want and put yourself in the shoes of the traveler. I always recommend people to try out your space before they rent it out. That will help you realize things like this faucet doesn’t get hot water or I forgot to put an ice cream scoop in the kitchen. You don’t want your guest to be a guinea pig.

LOOKING for a beach spot in the UK when it is hot and sunny can often just feel like a battle against crowds of people.

But one beach destination is so big, that even with people on the beach it never becomes crowded.

Harlech Beach in Snowdonia National Park in Wales stretches for four miles, with sand dunes, mountain views and even a castle.

The beach is known for being a scenic spot as well as one of the cleanest beaches in Snowdonia, according to Go North Wales.

Thanks to the size of the beach, it is the ideal spot for kids to run around and keen watersports enthusiasts can try out surfing at the beach.

If you happen to visit the beach during the warmer months, you might even be lucky enough to see leatherback turtles, as they migrate to the beach to feed on jellyfish, according to Sykes Cottages.

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In fact, the largest leatherback turtle ever recorded in the world was found on the beach in 1988, weighing 916kg – it is now in the National Museum Cardiff.

Visitors often note how the beach is also free from crowds, with one recent visitor commenting that there is “plenty of space for all”.

Another person commented: “You can walk for miles and the views are sensational, I felt like we were abroad!”

Overlooking the beach, you can head to the 13th century Harlech Castle, which was used by Edward I and is now a World Heritage Site.

You can walk up to the castle too, if you fancy spending longer at the beach.

Tickets to see the castle cost £10.90 per adult, £7.90 per child or £34.90 for a family of up to five.

There is a car park about 400 metres from the beach, along a path, where you will also find a cafe and a shop.

Though, if you don’t drive, it is actually still easy to get to the beach.

Harlech Railway Station, which sits on the Cambrian Coast Line, is only a 10-minute walk away.

Fox TV executives knew their telecast of Sunday’s 2026 FIFA World Cup Final would be big.

But bigger than every NFL game outside of the Super Bowl, the perennial ratings blockbuster, was not on their radar.

“I have to admit that I didn’t see it coming, that we and Telemundo would combine for almost 65 million viewers for the final,” Mike Mulvihill, executive vice president and head of strategy and analytics for Fox Sports. “That’s beyond what we could have hoped for.”

Spain’s World Cup victory over Argentina by a 1-0 score attracted the largest audience for any sports telecast outside of the Super Bowl since the 1994 Winter Olympics when Nancy Kerrigan and Tonya Harding competed in the women’s figure skating short program.

The 38.9 million viewers who tuned in on Fox was enough to make the final the most-watched soccer telecast in history. Telemundo’s coverage set the record for a Spanish language soccer telecast with 23.9 million viewers.

It capped a month of massive viewing for the quadrennial tournament. In the United States,128.4 million people watched some portion of the World Cup across Fox’s broadcast network, its cable outlet FS1 and streaming platform Tubi. The 104 matches averaged a record high 7.7 million viewers, a 116% increase over the 2022 World Cup in Qatar.

Spanish language coverage on NBCUniversal’s Telemundo and the Peacock streaming platform combined to average 6.3 million viewers across the 104 matches, up 143% over the 2022 tournament.

Ad revenues for the tournament topped $1.2 billion, according to data from Guideline, which tracks media spending.

Having the tournament in the U.S. with games airing in daytime and prime time helped. Mulvihill noted the tournament came up at a fortunate time on the sports viewing calendar. The NBA Finals were over and Major League Baseball’s post-season and the NFL season are months away.

But even with that soft competition for sports fans’ attention, the World Cup demonstrated an ability to bring in viewers who don’t follow the sport. Fox data showed 53% of viewers who tuned into its coverage had not watched any soccer in the past year. The network’s research found that a majority of U.S. sports fans could name only two stars, Cristiano Ronaldo and Lionel Messi, and their home countries.

What brought the audience in? Mulvihill credits social media, which tends to be an angry place during big sporting events. The lead up to the World Cup was no different, but the doom and gloom went away once the action began.

“There was a lot of negativity around this tournament on social as there always is about everything related to the cost of tickets and related to challenges that foreign visitors might face coming to the U.S.,” Mulvihill noted. “As soon as the ball was kicked, and the matches were in progress, that just completely pivoted to overwhelming positivity.”

Patrick Rishe, director of the sports business program at Washington University in St. Louis, said the global reach of social media made the international stars accessible to U.S. fans and created a “fear of missing out” effect that likely drove them to watch.

“There is a communal aspect of soccer, in particular, where you can be in a room with people wearing 10 different colored jerseys, and they all just kind of get into the camaraderie of it, and the highs and lows of it, and the drama of it,” Rishe said. “So even if you don’t have rooting interests, it’s just fun to be a part of it.”

The appeal of communal viewing showed up in the Nielsen data. Out-of-home viewing accounted for 27% of the audience. For Sunday’s final, the figure was 35%

People were having viewing parties or gatherings at home as well. An average of 1.955 viewers per home watched the World Cup. The figure for last year’s regular season NFL games was 1.685 viewers.

The question going forward is whether the World Cup will spur more interest in soccer in the U.S. Major League Soccer has reportedly seen significant increases in ticket sales. The league, which has most of its matches on Apple TV, launched an ad campaign with the tagline, “Thanks World, We’ll Take It From Here.”

Versant acquired the rights to carry 300 Bundesliga matches. The company’s USA Network will carry at least 30 matches from the German domestic league, with the rest streaming on the company’s free Fandango platform. The league was previously available on ESPN’s streaming service, which required a subscription.

Telemundo acquired the Spanish-language TV rights to the Union of European Football Assns. men’s club competitions, including the Champions League.

Fox paid $485 million for the rights to the 2026 World Cup, while Telemundo shelled out $600 million for the Spanish-language telecasts.

But the real prize is the rights for the 2030 World Cup, which both TV networks and streamers are expected to vigorously pursue, even though the time zones will not be as hospitable to the U.S. (The host countries are Morocco, Portugal, and Spain.)

During a recent appearance at the CNBC Sport x Boardroom Game Plan Summit in New York, ESPN Chairman Jimmy Pitaro made it clear where he stands.

“Of course we’re interested,” Pitaro said. “This has been a juggernaut. We’re not at all surprised by it.”

Pat McAfee knows just what the world needs in 2026.

More Pat McAfee.

The former Indianapolis Colts punter and kicker already is seemingly everywhere — as the host of his own show every weekday on ESPN, as an analyst on “College GameDay” and guest on a number of other shows on the network, as a commentator/participant with WWE until earlier this year, as host of multiple podcasts, etc.

McAfee has not, however, released an album full of songs written and sung entirely by the two-time Pro Bowl selection himself.

That situation will be rectified in a matter of weeks.

McAfee announced Wednesday that he would be dropping his debut record, “The Diary of a Polarizing Figure,” on Aug. 14, a musical collaboration with country singer-songwriter Ernest.

“For as long as I can remember my mere existence has made people hate my guts,” McAfee wrote in an X post announcing the project. “I’ve been writing songs about it for 20yrs & it’s time to let them aht.. A LOT of headlines & narratives.. if I was to die, I’d like my kids to know exactly who their dad is.”

Although McAfee definitely has his detractors, it’s interesting that he’s putting out an album focusing on the haters, considering his current popularity is such that he is reportedly in talks for a contract extension with ESPN that would pay him more than $60 million a year.

Some online commenters have criticized McAfee for the timing of his announcement, which comes a day after a number of his ESPN colleagues were laid off by Walt Disney Co. McAfee reposted one such complaint on X and commented simply, “The Diary of a Polarizing Figure, August 14th, 2026.”

He said Wednesday on “The Pat McAfee Show”: “A lot of things are being said about me at this exact moment. [People] are going to hear my responses through these songs because these types of situations have been happening to me throughout my entire life. … Literally since elementary school I’ve had people that just don’t like me because I’m too loud and everything like that.”

In December, McAfee released a country-rock single called “Dookie,” also a musical collaboration with Ernest. A news release at the time stated that the single marked “a new partnership between McAfee and DeVille Records / Big Loud Records.”

Ernest told Whiskey Riff early this year that he and McAfee had recorded eight or nine songs together.

“Any EA Sports game should have a Pat McAfee song on it,” Ernest said in describing the former West Virginia standout’s musical style. “It’s locker room hype s—.”

Many athletes have attempted musical careers, with varying degrees of critical and commercial success. It would seem far fewer sports broadcasters have tried the same crossover, with John Tesh probably being the best-known example after his stint covering athletic events for CBS and NBC in the mid-1980s.

If he wants advice from a peer, perhaps McAfee might seek it from Terry Bradshaw, the four-time Super Bowl champion and longtime NFL analyst who also has released a number of country/gospel albums and even had a top 10 country hit with a cover of “I’m So Lonesome I Could Cry” in the 1970s.

McAfee said on his show that he “wrote this entire thing over the last 20 years or so in the notes section” of his phone.

“A lot of very personal stuff in here,” he said. “Finding my singing voice has been fun. That has been a blast. Then [to] all the incredible people in Nashville who have assisted and kind of helped me piece all this together, I’m so grateful and thankful.”

According to WHO figures, 999 people have died in DRC and two in Uganda due to the Bundibugyo strain of the virus.

Nearly 1,000 people have died from Ebola in the Democratic Republic of the Congo (DRC), the country’s health ministry says.

DRC’s National Institute of Public Health said on Wednesday that 999 deaths have been confirmed since the outbreak of the Bundibugyo strain of the virus began in May.

According to the World Health Organization (WHO), two people have also died from the virus in neighbouring Uganda.

DRC’s Health Ministry said that as of Monday, 2,473 cases had been recorded in the latest outbreak. At least 737 patients are currently in isolation and hospitals, it added.

The DRC outbreak was declared on May 15 after several deaths were recorded in the northeastern province of Ituri, where cases remain concentrated. Several cases linked to the DRC’s outbreak were then reported in Uganda.

This outbreak has killed more people at a quicker rate than any Ebola outbreak on record, including the 2013-2016 outbreak that is considered the worst on record with over 11,000 deaths out of at least 28,000 cases. That outbreak took about eight months to reach 1,000 deaths.

Last week, WHO chief Tedros Adhanom Ghebreyesus warned that the current outbreak had over the past month “expanded faster than any previous outbreak” of the virus.

Cases of Ebola, which spread through close contact and infected bodily fluids, have also been found in other Congolese provinces outside of Ituri.

‘We must act now’

The WHO’s incident manager for the Bundibugyo strain, Thierno Balde, told reporters on Tuesday that despite plans to ramp up responses to the virus, “the outbreak remains ahead of us and we are still in a phase of catching up”.

Currently, there are no approved vaccines or treatment for the Bundibugyo strain.

Separately, on Tuesday, the head of Africa’s Centres for Disease Control and Prevention (Africa CDC) also said the outbreak was “escalating at an alarming pace”.

“We must act now. If we do not stop it today, this will become the worst outbreak the world has ever documented,” Africa CDC Director-General Jean Kaseya said in a post on X.

“This is not the time for delay. We must mobilise every available resource, strengthen the response on the ground and stop this outbreak before more lives are lost.”

Kaseya also separately told a conference on Tuesday that he had written to US Health Secretary Robert F Kennedy Jr and asked him to lift Ebola-related travel restrictions on Uganda since the country has not reported any new infections in about a month.

Uganda’s last Ebola patient was discharged on July 16, beginning a 42-day countdown after which it can be declared free of the virus, according to WHO guidelines.

But the US is restricting entry for all travellers who were recently in DRC and some travellers who recently visited Uganda or South Sudan.

Thirty years ago a teenage boy, traveling abroad and without parents for the first time, came upon a scene of staggering destruction.

At Pompeii, when Tom Hiddleston saw the casts of the bodies killed by the explosion of Mt. Vesuvius in AD 79, he wasn’t just horrified, he was mesmerized, even excited; amid all that death it felt like the past was alive.

“Until that point, it had existed in books in the classroom, but I felt like was going back in time, walking into the past,” he said in a recent video interview about “Pompeii: Out of Time With Tom Hiddleston,” his new series that’s a hybrid of travelogue, documentary and extensive dramatic reenactments (with a meta touch).

“I was knocked sideways by the quality of the preservation,” he recalled of that teenage visit. “You can hear that these buildings carry the echoes of the lives they contained because of the frescoes, the mosaics, the furniture. You feel 2,000 years compress and collapse. It’s like magic.”

Hiddleston knows something about magic and time travel. After studying classics at Cambridge, his acting career led to the Marvel Cinematic Universe and the role of Loki, the god of mischief and “the boundary crosser.” Loki’s movie misdeeds get him “removed from the timeline of history,” and in the “Loki” spinoff TV show, he faces his past while bouncing through time.

One place Loki lands is Pompeii. Hiddleston was actually on a set in Atlanta, but there he was speaking Latin and revisiting his own past. “I felt this extraordinary confluence of my passions.”

Tom Hiddleston in a scene from the series, where he speaks to experts about Pompeii and how the eruption of Mt. Vesuvius unfolded.

(Christian Black / National Geographic)

Hiddleston had been talking with producer Kevin R. Wright about his fascination with the ancient world, and after seeing Hiddleston in fictional Pompeii, Wright got the ball rolling on “Out of Time,” co-writing and helping to produce the series, which debuts Wednesday on NatGeo and Thursday on Hulu and Disney+.

On the show, Hiddleston travels back to Pompeii and the lip of the volcano, speaking to experts of Pompeii’s history and volcanoes but also one in surviving disasters to help him understand people’s behavior as the sky was falling on them. “It’s about trying to gather as much evidence from different disciplines,” he explained.

Hiddleston’s enthusiasm for the project is evident throughout our interview: Each question earned a five-minute response, all delivered with passion (and incredibly articulate with no verbal fillers or talking in circles) and fascinating digressions — he broke down the Greek and Latin roots of the words “democrat” and “republican,” mentioned the classical references in the architecture of the New York Stock Exchange and British Museum, and tied in the relevance of Christopher Nolan’s “The Odyssey.”

Here, for instance, is a portion of his answer to my first question about whether the driving force of the series was the importance of facts in understanding history, using storytelling and imagination to create empathy for the people of Pompeii, or to show the way our past still has lessons to offer today:

“I wanted a series with an original dynamism, which could be immersive and propulsive and emotional, and bring the story of Pompeii and its people back to life in a way that could be different and innovative. I wanted to evoke for the audience the feeling that I had when I first went to Pompeii.

“At university, I had teachers who taught me to live in the question and that our relationship with the past is a two-way street. One cannot examine the past without acknowledging that we look back from the perspective of where we stand. We tell stories to understand something about ourselves — we need to know who we were to think about who we are now.

Darius Arya, an archeologist and historian, with Hiddleston in the ancient city of Herculaneum. (Paolo Verzone/National Geographic)

Human remains inside of boat sheds, where people took shelter from the eruption of Mt. Vesuvius. (Paolo Verzone/National Geographic)

“The engine of my commitment was centered on empathy, trying to honor the lives of the people of Pompeii. If we could gather enough evidence, enough fragments of truth, they might add up to a picture of history, which would generate great reserves of feeling and compassion so we could see ourselves in their predicament, their instincts, their choices, their capacity to help each other. And that experience of empathy and compassion would connect us to a thread across time to people experiencing a terrifying and traumatic event, and to see that in our world now.

“But we were very careful about the idea that the truth matters. In writing history, there must be intense rigor — evidence is important and if you have evidence that should counteract any bias or hypothesis.

“But the evidence here is incomplete so at some point, you have to take an educated guess, a leap of imagination. The past is a two-way street with the present, but it’s also an eternal mystery and all of our questions will never be answered so there’s that joy of living in the question.”

When the publicist said our time was up, Hiddleston stepped out of time and took one more question. And then another and another, nearly doubling the time allotted, thrilled to be exploring the connections between past and present.

While many people think that the city’s population was wiped out, the vast majority actually escaped and modern research has found the names and details of hundreds of survivors. Hiddleston notes that “one great gift of Pompeii is that the Romans didn’t have paper, so the walls, the columns, the houses, the public buildings are covered in writing: deeds, business contracts, advertisements, gossip, doodles.”

In this behind the scene photo, director of photography Jim Jolliffe runs with a camera, following Frankie Treadaway playing Avianius, a teenage boy whose story is reenacted in the series.

(Darrin Zammit Lupi / National Geographic)

The three episodes track the stories of a teenage boy, a successful businesswoman and a soldier in the nearby town of Herculaneum, with a sprawling cast and special effects bringing those scenes to life. “We thought that in the words of Pliny the Younger, ‘their lives were worthy of our memory.’ ”

While there have been other more traditional Pompeii documentaries, Hiddleston felt he had something distinctive to offer, thanks to his “day job.”

“I take a piece of writing and a character, real or imagined, and research as much as I can, and then imagine it and try and breathe life into a person,” he says. “Even when I’ve played real people, I’ve run out of evidence. That’s when you just have to extend your empathy and compassion, your knowledge of human beings and the breadth and range of human experience, the things we all share and can connect with to find an internal world of variety and depth.”

Hiddleston wanted to extend that to the people of Pompeii. “They were three dimensional people with rich lives,” he says. “We follow the trail of breadcrumbs as far as we can, and then try to bring them to life with empathy and compassion.”

When Sebastian Dollinger and his colleagues first drove into Yosemite National Park, they felt like they were entering the world at its finest — a prehistoric beauty of hulking rocks with every waterfall flowing in the valley.

It reminded Dollinger, who lives in Sweden, of the Swiss Alps in summer.

The moment didn’t last long.

As the group, in the park in early May for a fashion shoot for California luxury brand Robert Talbott, neared Mirror Lake in Yosemite Valley, Dollinger’s party felt like it had been overtaken by a massive swarm of bees as droves of other tourists buzzed around them, he said.

A tourist stands in front of an overlook near Yosemite Valley during a sunrise in mid-June in Yosemite National Park.

Tourists wait at the Yosemite Falls bus stop.

“I could have taken up climbing and gone up El Capitan just to escape the people,” Dollinger said, referencing Yosemite’s famous rock wall, “but I’m just a creative director.”

This summer, Yosemite is seeing a significant uptick in visitation, driven by the park’s internationally known splendor, its popularity on social media and a lack of its politicized reservation system. As droves of tourists flock to Yosemite, it raises the question: Is it still possible to have a fun time there despite the crowds?

Hopefully, yes, but that answer comes with a few heavy asterisks. Park-goers and local business owners say it’s crucial for those venturing into Yosemite this summer to plan their excursions outside peak times to avoid the worst of the crowds, and even then, pack their patience. The best-laid plans can still result in visitors facing significant lines at the park’s gate and restaurants, crowded hiking trails and a relentless search for parking.

By the end of June, Yosemite had seen at least 183,000 more visitors than last year, according to preliminary park visitor data. Just over 2 million people visited the park by the end of June, a 10% increase compared with last year’s visitation data.

Crowds pose for photos on the Mist Trail.

The increase in visitors is, in part, because the National Park Service is not using a timed-entry reservation system this year.

The National Park Service announced in February — after the agency under the Biden administration studied extensively how to best implement a reservation system — that officials would instead use “targeted management.” This has included sending congestion alerts to visitors’ mobile phones and encouraging visitors to venture outside the valley, as it represents only a fraction of its almost 1,200 square miles of parkland.

When asked how the agency planned to address overcrowding in Yosemite this summer, a National Park Service spokesperson who declined to give their name to The Times said in an emailed statement that temporary traffic delays can occur during peak times but aren’t evidence of “operational failure.”

“They reflect the reality of managing one of the nation’s most visited national parks while keeping visitors safe and protecting park resources,” the spokesperson said. “Claims of widespread ‘overcrowding’ are not an accurate characterization of current park operations. Visitors have benefitted [sic] from expanded access for months now, and we are seeing operational efficiency from managing traffic only when and where necessary, rather than blanketing the park with restrictions for entire seasons.”

Dozens of tourists hike their way up the Mist Trail in mid-June, one of the more popular trails in Yosemite National Park.

Visitors like Dollinger say this new approach is not working.

“After we hiked for about three hours, we met a couple from Japan, and when I talked to them they were almost in tears,” said Dollinger, who has visited other state and national parks in California. “They saved for five years to do this trip, flew to San Francisco from Tokyo, stayed in San Francisco and hired a car, and went to the park for five days, which I can only describe as hell.”

Not every Yosemite visitor that The Times spoke to for this story had as bad of a time as Dollinger, but no one disputed crowds being an issue.

Chidumebi Ajaero, who lives in L.A., said he was “very concerned” when he and his friends left for their trip in mid-April over how crowded the park would be.

It was Ajaero’s first time to visit Yosemite after moving to California about 2½ years ago from Houston. He has been to other national parks and said he knows they can get “quite chaotic” when busy.

Tents set up in Upper Pines Campground on a June weekend in Yosemite National Park.

Ajaero and his friends arrived in Yosemite on a Friday afternoon and were surprised to find there was no line to enter the Big Oak Flat entrance.

They set their campsite up at Upper Pines, a campground in the valley, and headed out early on the Mist Trail, which takes hikers to Vernal and Nevada falls via its large stone steps. There were a considerable amount of people on the trail with them, he said.

“It’s not until you get to the waterfall itself and you have the steps, and everybody is taking pictures,” Ajaero said. “There’s actually a line to move up. You’re just waiting for your turn to step up” to capture the waterfall.

Ajaero said he’s glad he went before Memorial Day, when visitation started to increase more significantly.

But because of how curated Yosemite Valley is, with a grocery store, souvenir shops and restaurants, Ajaero said it felt more like an amusement park than his trips to Joshua Tree National Park, where visitors are far more on their own.

Hikers walk on a boardwalk designed to prevent erosion in sensitive meadows.

“I didn’t love it as much as the other because of the commercialized feeling of it, and just the fact it never felt you were alone in Yosemite,” he said. “I think there’s too much going on.”

How developed Yosemite should be for its visitors has been a debate since the park’s existence.

Michael W. Childers, author of “The Mountains Are Calling: Tourists and the Unmaking of Yosemite National Park” (Nebraska), said people often use the metaphor of not wanting to turn the park into Disneyland, but a more apt comparison is how closely Yosemite resembles a resort.

Concessionaires have been in Yosemite since its beginnings, as the federal government didn’t have the money to construct its own amenities in the 1850s, he said. Yosemite Hospitality, a subsidiary of hospitality giant Aramark, manages much of Yosemite’s lodging, dining and activities (including the park’s Starbucks inside the valley).

Childers, an associate professor of history at Colorado State University, said his concern is that, since the late 1970s, conservative intellectuals have pushed to privatize the park even further.

He said the chaos being created by the Trump administration through cutting park staff and ending the reservation system is “very intentional” in the quest to argue the only way to manage the park is to privatize Yosemite.

“If you privatize the entirety of a national park, that means that your only one measuring stick is profit, and arguably, national parks are not solely designed for profit,” said Childers, an environmental historian of the American West. “They’re for experience. They’re for democracy. They’re for preservation of natural resources.”

Vehicles stop to pay the fee at the El Portal entrance gate.

Vehicles line the road near El Capitan in Yosemite National Park.

One of park officials’ most significant management challenges started when tourists began entering Yosemite by automobile. Since 1913, people could enter in a personal vehicle, but visitation numbers remained reasonable until 1926 when the “All Year Highway,” a segment of the 140 Highway, opened.

This new thoroughfare created an easy and direct route to reach the park by car that avoided steep mountain roads, according to park history. The road’s opening resulted in a near doubling of total cars visiting the park in just one year, park staff said in an Instagram post.

“The summer of 1927 has clearly demonstrated that parking is one of the most urgent, menacing problems of the entire Yosemite Valley,” said Don Tresidder, president of the Yosemite Park & Curry Co., that year, according to the park.

And has thus remained for 100 years.

The first attempt in recent years to get a handle on car traffic was the reservation system, implemented initially to spread guests out during the COVID-19 pandemic in 2020 but rolled out in 2021, 2022 and 2024 as the park service tested how to best employ it to cut down on traffic and help more visitors enjoy the park.

“Over the past decade, many parks have seen significant increases in visitation and crowding in popular areas, especially during peak seasons,” the agency wrote in 2024 as it sought public comments on park management. “In some parks, the level of demand is exceeding the capacity for which infrastructure was designed or is outpacing the National Park Service’s ability to sustainably support visitation.”

The park service planned to use visitor feedback and research to guide how reservations would be rolled out in 2025. Environmental and park advocates argued for the reservation system, saying that it not only protected the wildlife and land, but also that it was popular among guests.

But when Trump started his second term in office, not only did park management strategy change, so did the way the federal government viewed the park service. Hundreds of park workers were laid off, although some got their jobs back. Others took buyouts, and overall there was a 24% decline in permanent workers, according to the National Parks Conservation Assn.

One of the reservation system’s biggest critics is Rep. Tom McClintock (R-Elk Grove), who said the system was decimating the economies of local gateway communities, the term used for the small mountain towns around Yosemite.

Parking lots are filled to capacity during peak hours, creating traffic congestion in Yosemite National Park.

“This is not to say that crowding in the valley hasn’t been a big problem, but the solution is better management and more capacity, not restricting access,” McClintock said on the House floor in June, noting the park had more parking, rooms and campsites before the 1997 flood destroyed infrastructure that he said wasn’t replaced.

Under the timed-entry system, visitors could still enter the park without a reservation if they arrived early — before 6 a.m. in 2021 and 2022 and 5 a.m. in 2024 — or after 4 p.m., and would be required to pay an entry fee for a three-day pass allowing them to reenter outside of peak hours.

But entering the park early or late in the day still wasn’t doable for everyone, including Ronny Shields, a father of two children from Ventura.

Shields, a lifelong Southern California resident, struggled to book a reservation when Yosemite implemented the system until he finally snagged one in 2024. His family had a great time and was eager to return.

In early June, Shields, his wife and kids, ages 4 and 7, made the trek back to Yosemite, staying outside the park at Tenaya at Yosemite in Fish Camp. Shields had researched and found information online suggesting the nearby southern entrance was less crowded.

His family arrived on a Saturday afternoon and entered the park without a wait. They found the valley was quieter than they’d ever seen it as people left.

Tourists stand in a meadow with a perfect view of Yosemite Falls.

For the rest of their trip, they entered the park before 8 a.m. or after 3 p.m., except for one day when they entered later in the morning and waited 40 minutes to enter. The other times, they found no wait.

Once inside the park before 8 a.m., their first stop was the Bridalveil Fall Trail, a short trek that takes visitors right to the base of the thundering cascade. When Shields and his family left the trail about 9:30 a.m., they noticed other guests couldn’t find parking.

They faced the same problem after they went to get food and then tried to park near the Lower Yosemite Falls trailhead. After 20 minutes, they found a spot — and joined the masses.

The trail “doesn’t feel like a hike — it feels like you’re in a crowded mall, but I think that’s the nature of the beast because it’s very short and very scenic,” Shields said.

Comparing his two visits to Yosemite, Shields said he preferred not having to deal with the reservation system, but that came with some caveats. He noticed far more visitors, although he’d expected even more. He saw more trash, several guests going off trail and trampling plant life, and far fewer park rangers to tell them to stop.

He said he didn’t see any park staff in the outdoor areas, and instead, he and his wife made sure to take their kids into the park’s buildings so they could speak to the rangers.

Tourists swim and play in the Merced River in Yosemite National Park.

“It’s nice for the kids to be able to ask questions and learn from people that love it,” Shields said. “Even I learned something.”

Jennifer Liu, a Moreno Valley resident, was at the park the same time frame as the Shields family and was able to mostly avoid the crowds on her backpacking trip through the park’s backcountry.

Liu meandered through the park using a few different trails, including the Sunrise Lakes route, to reach her ultimate destination: Half Dome on her birthday. She left her backcountry campsite about 4:30 a.m. to reach Half Dome by 6 a.m., catching the sunrise at 8,800-feet elevation from the granite monolith.

“I got lucky — the clouds cleared out and there was a nice sunrise,” she said.

Not in a hurry, Liu stayed at the top for four hours. Her fellow hikers sang her happy birthday, and she witnessed a couple get engaged.

Sunset over the Half Dome lookout in Yosemite National Park.

“By 10, when I headed back down, that’s when the crowd was starting to pick up,” Liu said, adding that she was grateful there was still space to navigate the dome’s cable system without being rushed by others.

As a means of crowd control, the National Park Service has attempted to funnel people out of the valley, where the majority of tourists spend their time and into its less frequented locations.

Park officials have tried to rebrand Hetch Hetchy, a massive reservoir surrounded by glacier-carved rock walls, by claiming that “many have compared Hetch Hetchy’s grandeur to the more well-known Yosemite Valley,” according to a recent update on the park’s website. (Previous versions of the Hetch Hetchy page made no such claim, according to archived versions of the website viewed through the Internet Archive.)

The park service doesn’t cite a source for such claims. California naturalist John Muir compared the two valleys’ beauties, but that was before Hetch Hetchy Valley was transformed by the O’Shaughnessy Dam into a massive reservoir.

“John Muir lost the fight over Hetch Hetchy, and the dam was built. And people who live in San Francisco today drink the water of Hetch Hetchy,” historian William Cronon said in the Ken Burns national parks documentary. “Muir died feeling that he’d been defeated by that, and that was a great tragedy at the end of his life.”

Still, Hetch Hetchy has long been whispered among Yosemite regulars as a place to find a little quiet.

That’s changed too.

An empty road under El Capitan in Yosemite Valley National Park.

“We used to have these secret spots we could tell people about,” said Elisabeth Barton, owner of Yosemite Basecamp in Groveland, which offers lodging, trips by local outfitters, gear and more. “‘Go to Hetch Hetchy,’ you’d say quietly and look over your shoulder. ‘Go to this waterfall’ or ‘Do this hike.’ … One of the things we’re noticing is, very quickly on a weekend, [the park] is sending out that alert that Hetch Hetchy is full or that Hetch Hetchy has ‘extreme visitation.’ It’s weird.”

Barton, whose company runs a visitor center in downtown Groveland, said there’s not much she and her team can recommend for people coming Thursday through Sunday into the park. It will be crowded regardless.

On a recent Saturday, Barton met a hiker who was devastated he couldn’t easily enter the valley without dealing with crowds. Barton let him in on a less popular trip that involved a great swimming hole, fish tacos at Whoa Nellie Deli, an adventure around Mono Lake and a drive through a stunning mountain pass. She recommended that he take a long way to reenter the park, enabling him to see the valley at a time he’d miss the crowds.

He called her a week later and told her to never recommend that to anyone ever again. He’d had a great day until he tried to reenter the park and instead waited four hours at the Tioga Pass in a line that stretched for miles. “You’re right, it was beautiful,” he told her, “but to what end?”

“I just wasn’t prepared for that,” Barton said. “It just broke me.”

Even sacred sites — with signage directing visitors away from the area — have been trampled by crowds.

The American Indian Council of Mariposa County, also known as the Southern Sierra Miwuk Nation, fought for decades to establish Wahhoga Village, which is an ancient village site and the last place that Indigenous people lived in Yosemite Valley before being driven out by the National Park Service.

Today, Wahhoga Village includes a traditional roundhouse, traditional cedar bark houses known as umachas and the only cabin that the park service didn’t burn when it evicted the remaining families from the site in 1969.

Wahhoga is not listed on Yosemite maps and is not intended to be used by those who aren’t either authorized or invited by the council to be there, said Deborah Tucker, a council member whose father advocated for years for Wahhoga.

But, Tucker said, in recent weeks, tourists have been found picnicking in the site. Hikers were tromping right through the middle of the village, led by a user-generated route on a popular outdoors adventure app, she said.

And while there, someone peed all over the village’s grinding stones, which are used for processing acorns into flour, along with other foods, said Tucker, whose father is Paiute and Shoshone and her mother was Choinumni, a branch of Yokut, tribes indigenous to the region.

Tourist beat the heat and float on tubes in a river in Yosemite National Park.

Under the current administration, “it’s a free-for-all,” Tucker said. “You can come up there and do what you want, park where you want and you’re disrupting not just sacred sites but other park sites that the park service has [established],” leading to littering and other pollution, noise that harms the birds and speeding cars that threaten the safety of bears and other wildlife.

Tucker said because the current administration seems fixated on money over conservation, she hopes that when people visit the park this summer, they will at least hold themselves accountable, showing respect for the land and its inhabitants.

“Clean up after yourself, maybe clean up after one another, and don’t take anything home with you that you didn’t bring,” Tucker said when asked what she’d say to the park’s visitors. “Enjoy that experience, and [you’re] welcome to come back again.”

I’m one of those rare Mexicans who never cared for soccer.

My family is from the north-central Mexico state of Zacatecas, where baseball is king and even volleyball was more popular in the ranchos of my parents than futbol. The childhood sports idols for my generation of cousins were Dodgers pitcher Fernando Valenzuela and boxing champion Julio César Chávez, not Mexican soccer legends Hugo Sánchez and Jorge Campos. Our dads bought us hats and bats to occupy our summer, not kits and cleats. I don’t even remember any of us ever owning a soccer ball — and I have nearly 100 cousins.

The first World Cup I remember was the 1994 edition hosted by the United States. I remember reading a huge Times special preview section on the affair and collected some of the commemorative pins that McDonald’s sold. But the matches were background noise in our living room during family parties as we splashed around in the swimming pool at our Anaheim home. When the tournament finale happened at the Rose Bowl, my favorite cousins and mutual best friend instead caught a baseball game at Angel Stadium and knew about Brazil’s victory over Italy only because the people above us in a private suite let us know.

As a sports fan, I paid enough attention to soccer as the decades passed to know who was who and what team was what and which sides kept winning — and that was mostly because I enjoyed EA Sports’ excellent video game version of it. What made playing soccer on consoles so fun — an exponential number of domestic leagues and international tournaments, the fact that every English-language match seemed to have a Scottish color commentator, the seeming aimlessness and formlessness on the pitch broken up by flairs of beauty — made it a slog when watching in real life.

As a reporter, I knew enough about soccer culture to file stories from watch parties across Southern California’s cornucopia of diasporas every World Cup. As a Mexican American, I cared enough about Mexico’s perpetually heartbreaking El Tri squad to watch their runs and sigh about how we’ll always have it harder than most. But I never bothered to tune in to other matches even as soccer leagues from across the globe have stormed network, cable and streaming channels in recent years.

I never hated the sport — it just never moved me. But when the final whistle blew on this year’s World Cup finale and three-quarters of the packed house at Chapter One: The Modern Bistro cheered wildly, I realized I was finally, truly a soccer fan.

Over 104 games, a bunch of questionable VAR calls, another heartbreaking downfall by Mexico, a bizarre Tom Cruise pregame monologue in the last match and the brilliant goal by Ferran Torres in extra time that let Spain squeak by Argentina 1-0, I slowly learned and felt why soccer is the world’s most popular sport, why a billion-plus people watched alongside me Sunday afternoon, and why this Cup kept setting viewership records in the United States and beyond until the end.

Who wouldn’t be moved by the heroic performances of underdog countries against the game’s traditional powers, such as tiny Cape Verde and ancient Egypt? Who couldn’t feel the thrill of seeing young stars meet the hype around them and exceed it — Erling Haaland of Norway, Lamine Yamal of Spain, Mexican midfielder Gilberto Mora, to name the most fabulous? Who didn’t want to interact with fan bases that distilled the best of their side’s cultures and traditions and showed it off to everyone and anyone — I’m doing Norway’s Viking Row even as I type.

Who can’t learn from the life lessons soccer offers — and I’m not talking about the obvious geopolitical metaphors? I knew some of them, yet I never really absorbed them until I decided to make Chapter One my gustatory church for the Cup and watch as many games there as possible. I caught so many that I effectively became a walking Manhattan cocktail for the summer, and while my liver won’t forgive me for a while, my heart and soul absolutely have.

The one thing I always admired about domestic leagues — well, except Major League Soccer — is the relegation system, where the bottom teams in one league swap places with the top teams in a lower-ranked league at the end of each season. For national tournaments, the corollary is how poorer countries always have to match up against richer ones for regional face-offs and qualifiers that culminate in the quadrennial dream that is the World Cup.

That makes soccer a beacon of hope and possibility that few other team sports can offer, especially in an era where top teams try everything possible to keep everyone else out of their riches (which is why relegation will probably never come to MLS). In a world where the haves are grinding down the have-nots, soccer is a reminder that anything truly is possible for anyone — you just have to keep at it.

The Chapter One gatherings quickly taught me how the long lulls broken up by spurts of passion that I once found a drag were actually as stirring as a religious experience. It’s impossible not to feel this watching even one game — but a succession of them have the effect of a full conversion.

Cheers and chants turned into prayers. Boos against opponents and bad referees and yells at your side to do better was the Spirit moving you to testify. Text threads among friends became daily missals. When your side scored, it was like the gift of life itself — I’ve never been in a louder environment than when Mexico scored against England, a roar that rivaled a jet engine.

When your side lost, like Mexico eventually, inevitably did, it was a reminder that we all must at some point — but that we shouldn’t dwell on defeat because while eternal glory isn’t guaranteed, it can happen. And that’s why soccer teaches we must continue no matter how bad our team performed, no matter how terrible things get or how hopeless life seems.

After every Mexico match, downtown Santa Ana became the most wonderful expression of happiness I’ve ever been lucky enough to join — fireworks, conga lines, street takeovers or just standing among thousands of strangers and soaking it all in. It was the revival of a people whom a year early were angrily protesting on those same city blocks if they weren’t sheltering in place because ICE was running roughshod over Southern California.

Only soccer could’ve caused such a joyous revolt. We should all channel some of that magic into our daily lives.

And in the middle of all this emotion, I actually watched what was going on. I saw talented teams such as South Korea collapse under pressure and my beloved Mexico valiantly fall against an English squad that was taller, faster and just better — for now. Haaland’s singularity was a testament to how humanity seeks heroes — but Spain’s ultimate triumph via crisp passes and selfless teamwork offered a stirring, convincing collective counterpoint.

Soccer probably won’t supplant my love for baseball, football, basketball and hockey — but I can now mention it in the same breath as them.

International and professional soccer is rife with corruption and avarice and increasingly embraces the worst tendencies of late-stage capitalism. And yet fans suspend their cynicism for a few hours — for a tournament, for a season — because they know that the communion that soccer offers is pure and holy.

It truly is the people’s game. And no amount of Gianni Infantino or mysteriously suspended red cards can ever take that away.

Now that the Cup is over, my mind is racing with what club teams I should start to follow and continue my World Cup experience. I already kind of like Bayern Munich because that was the side I chose in EA Sports FIFA 18 (to show how retrograde my soccer knowledge remains, I still think James Rodriguez, Thomas Müller and Robert Lewandowski play for them), but who will I root for in Premier League? I can’t do Arsenal even though Chapter One is the official Orange County home for Gooner fans because that would be too obvious. Maybe Crystal Palace, about which I know nothing other than that was also the name of the Bakersfield music hall owned by country legend Buck Owens?

Zacatecas has never had a successful club team — baseball still rules there, after all — so I think I’ll root for Pumas UNAM to honor all my Mexico City friends who urged me forever to give soccer a true chance. I don’t really know any La Liga squads besides Real Madrid, Atlético Madrid and FC Barcelona, so I have a lot of studying to do there. And between the Galaxy and LAFC? Well, time for me to catch a home-and-home El Tráfico and let their support groups court me.

One team I know I’ll now follow: Angel City, the L.A. women’s soccer side brilliant enough to rebrand itself “Immigrant City Football Club” last summer in the midst of President Trump’s deportation deluge while the city’s other professional sports teams stayed quiet. And I’m already counting down the months before Brazil hosts the Women’s World Cup a year from now and Chapter One becomes my Cheers anew.

Soccer: it’s been a long time coming between you and me. But here I am! Drop those hydration breaks, and you’ve got a fanático for life.

EAST RUTHERFORD, N.J. — This summer’s World Cup will be remembered for a lot of things.

It was the first to be played in three countries, the first with 48 teams and the overall attendance nearly doubled the previous record. Norway’s Erling Haaland and Cape Verde’s Vozinha were captivating while Egypt and Canada both won World Cup games for the first time, advancing to the Round of 16.

And Spain, glorious Spain, gave up just one goal in eight games to dethrone the reigning champions and become the first nation in history to own both the men’s and women’s World Cup titles at the same time.

But the tournament will also be remembered for a classless and churlish Argentina, which forever stained itself with a thuggish performance in the game and an ungracious one afterward.

If La Albiceleste had simply kept its composure it would have secured a place next to Brazil and Germany, the only other countries to reach three finals in four World Cups, as one of the greatest teams of all time. Instead, some of its players turned the postgame handshakes into a brawl, with Argentine midfielder Leandro Paredes drawing a red card for grabbing Spain’s Eric Garcia by the throat and shoving him to the turf.

It was believed to be the only red card ever handed out after a World Cup final, and the ignominy it brought was well-deserved. But the childishness was just beginning. When Spain assembled on the podium to accept the World Cup trophy, which had been Argentina’s moments earlier, the South Americans turned their backs.

More than an hour later Lionel Messi, who has cemented his stature as the greatest player in World Cup history, soiled that status by leading the players out of the locker room and through a back exit to the team bus, avoiding the media many had been so eager to speak with during the team’s unbeaten run to the final.

Argentina’s Nahuel Molina, top, reacts after Spain won the World Cup final between Spain and Argentina in East Rutherford, N.J.

(Pamela Smith / Associated Press)

It was an attack on class and decorum as well as violation of FIFA rules, which require players to leave the stadium through a “mixed zone” accessible to media. They are not required to stop or speak, but certainly someone owed some accountability to the tens of thousands of fans in Argentine jerseys who packed Times Square and MetLife Stadium over the weekend and the millions in Argentine who filled plazas and town squares to watch the team play.

“We’ve been great in victory and we need to be great in defeat,” Argentine coach Lionel Scaloni said moments after Paredes was booked for assault. “We have shown today that we know how to lose, too. We lost the game and we accept that.”

Scaloni, who did address the media, later broke down in tears.

“I already cried all the tears I had in the dressing room,” he said in Spanish.

Scaloni, 48, may be out of a job when his contract expires in December, but his message for the fans was don’t cry for me, Argentina.

“It is hard to ask people to enjoy this equally. It is very hard to convince people that this is a triumph,” said Scaloni, who has lost just twice in 15 World Cup games.

“When you win, not everything is good. When you lose, not everything is bad.”

But while Argentina was being petty and petulant, Spain was practically perfect in every way. Not only did it concede just one goal in the tournament, it held Argentina without a shot into extra time Sunday — the first time that’s ever happened in a World Cup final — and ran its unbeaten streak to a record 38 games overall.

The win, which came on substitute Ferran Torres’ goal moments into the second extra-time period — and less than 20 minutes after Argentina was reduced to 10 men when Enzo Fernández was given a second yellow card for a foolish tackle — not only made Spain the first country to be the men’s and women’s world champion at the same time, it also made it the first to be the men’s world, European and Olympic champion at the same time.

No country in history has dominated the sport as Spain is dominating it now. And since Spain is the second-youngest team to win the World Cup in 56 years, La Roja could be on top for some time.

“After the match, some of the players who have been with us the longest asked me ‘coach, what is left for us win? We’ve won everything,’” said Spain’s manager Luis de la Fuente. “I told them, well the next match in September.”

That’s a UEFA Nations League match with England, which finished third in this World Cup. A little further down the road is the 2030 World Cup, which Spain will co-host, making it the first country in history to defend its title at home.

“When you arrive at a moment like today and think about the journey we’ve taken, you realize the importance of that process,” said De la Fuente, a former youth national team coach who managed many of the players on the World Cup team — among them Dani Olmo, Mikel Merino, Mikel Oyarzabal, Unai Simón, the tournament’s top goalkeeper, and Rodri, tournament’s top player — to U-19 and U-21 European titles.

“We certainly wouldn’t be here today — we wouldn’t have achieved anything — without the journey we’ve shared with these players,” the coach continued. “We have that raw material, those wonderful Spanish footballers. And they way they compete, that is what brought us here.

“That goes back many years.”

De la Fuente, soft-spoken and professorial, is also scrupulously polite, an example many of his players follow. And while it is undoubtedly easier to display grace and dignity in victory than it is in defeat, the difference in the way Argentina and Spain exited the World Cup was far greater than the gap that separated them on the scoreboard, something De la Fuente unwittingly highlighted in speaking about his team late Sunday.

“It seems people were surprised that, alongside talent and brilliance, good people can also play the game,” he said. “This proves that it is possible; that good, supportive, generous people with strong values can form a genuine team.

“We played against the best national teams in the world, yet we were the best team. We demonstrated that a team built on good people — supportive people, people who hold values and principles that prioritize the common good over individual interests. Traveling with people like that makes for a better, safer journey.”

In Spain’s case, it also makes a World Cup champion.

Staff writers Eduard Cauich and Jad El Reda contributed to this story.

Waving a Mexican flag with a vaquero sombrero on, El Malilla made history at Coachella last year as the first reggaeton Mexa act on the lineup.

To keep the momentum going, the rising Mexican star had planned for his first U.S. tour to take place last summer. After the Trump administration ramped up the ongoing ICE raids around the same time, El Malilla decided to put the safety of his fans first and postpone the tour.

“With what was happening with Mexicans and immigrants — the big problem being ICE — I decided to pause the tour, because I didn’t feel comfortable exposing my fans to that kind of situation,” El Malilla says over Zoom from his home in Valle de Chalco. “For me, it was important to bring this tour to the U.S., but in a safe way without putting anyone in harm’s way.”

After wrapping up the Mexican leg of his “Tu Maliante Bebé” Tour, El Malilla, who was born Fernando Hernández Flores, is now preparing to bring his show to the states. The 19-show trek will kick off July 24 in Palm Springs, followed by a concert at The Novo in Los Angeles the next day.

Mexican artist El Malilla.

(Joss Andreu)

“The Novo is very important for me because it’s going to be my biggest venue for this U.S. tour,” he admits. “To see how Los Angeles has adopted me, embraced me, and shown me love, I’m going to feel like I’m home.”

Following his Coachella debut, El Malilla has pushed reggaeton from Mexico into the mainstream. He imbues the genre with Mexican swagger, slang and sex appeal in his explosive hits such as “B de Bellako,” “Mami Tú” and “Balenciaga” featuring corrido singer Luis R. Conriquez.

Since then, El Malilla has expanded the scope of reggaeton Mexa following collaborations with Puerto Rican pioneers such as Jowell y Randy and Colombian superstar J Balvin. The perreo heartthrob is also tapping into new genres for his upcoming sophomore album. In an interview with The Times, El Malilla opened up about leading the reggaeton Mexa movement and what to expect from his tour.

How do you feel about representing Mexican culture and reggaeton Mexa with this tour in the U.S.?
I feel very happy to bring a bit of our culture, our slang, our sound and our essence to the U.S. for my fans that haven’t had a chance to see a show of mine. Something that’s very crazy for me is when I performed in Chicago last year, there were people with signs that said they were from different places in Mexico like the State of Mexico. It made me very nostalgic to know that I’m also from the State of Mexico and we’re here. It’s important for me to represent our roots. Get ready, because I’m coming with perreo sucio. [Laughs.]

What do you think when you fans always ask for you to take off your shirt at your concerts?
It makes me laugh because when I sing “Rodillas,” people start screaming for me to take off my shirt. My show lasts like two hours and that’s barely the first song. I enjoy it, because I consider El Malilla to be a showman. I love to be onstage and have fun with my fans. Though some people might see me as a sex symbol, I don’t see myself that way, but to each their own.

What does it mean for you to be breaking down barriers for reggaeton Mexa?
It makes me very happy. I’ve been thinking about that recently. When would you think that an iconic pop star like Danna would collaborate with an iconic chacalón [Mexican slang for “bad boy”] like myself? That never crossed my mind before, but now in 2026, our reggaeton, our essence and our sound has become important in Mexico and even more so on a Latino level. Now everything is possible. There [are] no longer barriers for reggaeton Mexa, or for Mexican singers. Today, your biggest dream is possible.

Who else would you love to collaborate with in the future?
Lately, I’ve spent more time in the U.S. and I’ve been soaking up more English music. I discovered that I really like The Weeknd. A collaboration with him would be crazy! I returned to Coachella this year to sing with Cachirula & Loojan … and to be able to see Justin Bieber live was incredible. I would love to collaborate with him. On the Latin side, I would love to collaborate with Nsqk, De La Ghetto, Ñengo Flow or a reggaeton pioneer like DJ Blass.

What’s the process been like working on your next album?
I spent a year and a half working on this album. I enjoyed that process so much. Music has given me so much that this album is my way of repaying music for all the blessings it’s given me. You’ll be surprised at what I’m capable of. This is a Malilla that’s now 26 and a little more mature. It’s a more experimental and professional Malilla. I had never made a bolero song and I dared to do that this time. I did my research by listening to Luis Miguel, José José and singers and genres that I wasn’t used to listening to. I found love for those genres and singers. It was a very fun and cool way for me to explore different genres.

On paper, Lauren Meyering’s debut feature “Horsegirls” sounds like it was made in a 2000s indie movie lab: It features a quirky heroine with a unique hobby, a loved one with a devastating illness and the formation of an unlikely community that rallies around our protagonist and her dream. But surprise — the events of “Horsegirls” are inspired by a true story, one close to Meyering, who based the film on her family friends Mackenzie and Sandra Breeden. Sometimes real life can be the realest indie movie of all.

“Horsegirls” might read on paper as too sickly sweet, but Meyering’s thoughtful direction and star Lillian Carrier’s performance keep it from tipping too far in that direction. Carrier stars as Margarita, a young woman with autism who lives with her cancer-stricken mother, Sandy (Gretchen Mol). The pair are inseparable, with Margarita accompanying her mother to chemotherapy treatments and their own special celebration rituals involving karaoke and sharing combo platters.

Sandy desperately wants Margarita to get a job but her first steps toward independence come when she spies a hobby horse rehearsal and becomes fixated on joining. If you’re unfamiliar with hobby horsing, it’s a sport originating from Finland that’s growing in popularity. It involves a choreographed routine involving elements of gymnastics and traditional dressage performed while using a “hobby horse” — a stuffed horse head on a stick.

For Margarita, who loves horses but isn’t allowed to interact with them due to her mother’s safety fears, it seems the perfect solution, and she persists despite the clique-ish mean girl behavior from some of the younger participants. The coach (Jerod Haynes) sees her determination and encourages her participation, so she gets a job at a Halloween store to pay for it but keeps it a secret from Sandy. As it turns out, both mother and daughter are keeping secrets from each other.

While the plot unfolds in a fairly predictable manner, it’s the character of Margarita who keeps us on our toes. Carrier, who also has autism, brings an inherent authenticity to the role as well as a sense of good humor that draws people to Margarita, a character who always says what’s on her mind, whether or not it’s polite or appropriate. But her refreshing honesty is what people respond to, and both she and Sandy know she’s going to need people in the not-so-distant future.

Meyering carefully threads the themes of parental concern and young adult independence throughout her screenplay. The anxieties are universal — any parent wants to feel assured that their child is going to be OK when they’re gone; any child wants to prove that they’re capable and free to do what they want. Characters like Margarita’s store manager Hank (Iqbal Theba) prove that strangers can “get” Margarita just as she is, without her mother’s interference or interpretation, even if it takes some time for Sandy to understand that.

Meyering and cinematographer Natalie Kingston create a naturalistic and often dark look, though “Horsegirls” is beautifully shot. The distinctive photography sets it apart cinematically from other films in this genre — just like Margarita herself, who visually stands out from the other girls.

This is a simple story executed with singular panache, and while “Horsegirls” follows expected narrative beats, it’s in the moments of surprise that it works best, often thanks to Carrier and her straightforward line deliveries, which help the tone pop. The film is a reminder that conformity is never compulsory, and that putting yourself out there is the only way to find out who’s ready to catch you.

Katie Walsh is a Tribune News Service film critic.

Protesters are inviting soccer fans to join them in issuing referee-style red cards during the World Cup final.

A coalition of artists, community organizers and advocacy groups will be handing out tens of thousands of specially designed commemorative red cards to those headed to Sunday’s championship showdown between Argentina and Spain at MetLife Stadium in East Rutherford, N.J.

In addition to the slogan “Unitas Mundi” — Latin for “unity of the world” — the mock referee cards direct people to a website explaining the coalition’s campaign and invite them to participate in a collective demonstration inside the stadium to denounce FIFA President Gianni Infantino and President Trump.

The action comes amid increased scrutiny around Infantino and Trump‘s relationship. Infantino has announced that Trump will join him at the final to present the trophy to the winner. He also awarded Trump the first-ever FIFA Peace Prize — created after the U.S. leader was not awarded the Nobel Peace Prize — in December.

And it was after Trump called Infantino to ask for a review of a red card issued to U.S. striker Folarin Balogun that the star forward’s suspension was delayed to allow him to play in the next game. The controversial move prompted an international uproar and accusations that Infantino has violated established rules around political neutrality.

FIFA has strict rules prohibiting political messaging on flags, banners and other items displayed by players and attendees in and around stadiums.

Organizers of the Final Red Card demonstration are also calling out the Trump administration’s immigration and mass deportation policies, which are back in the spotlight after three people were killed within a week during separate encounters with Immigration and Customs Enforcement officers. The fatalities include two people who were shot and killed by ICE officers in Houston and Maine during immigration operations, and another killed in a car crash while fleeing ICE officers in Florida.

At least 10 people have been killed during the Trump administration’s immigration crackdowns.

The coalition behind the campaign includes Contra-ICE, the arts collective that was also a part of the Flags in the Stands Super Bowl action that involved the “ICE OUT” rally towels. Partner organizations also include Make the Road New Jersey, 50501, People vs the Machines and South Asians for America, according to a press release.

Rescue operations for remaining passengers and crew ongoing, authorities say.

Rescuers in Guyana are racing to find dozens of people missing at sea after a ferry carrying 116 passengers and crew capsized off the country’s coast, according to local authorities.

The MV Barima, which issued a distress call at about 11pm on Saturday (03:00 GMT on Sunday), capsized near Iron Punt while travelling from Guyana’s capital Georgetown to Port Kaituma.

Guyana’s Prime Minister Mark Phillips told the AFP news agency on Sunday that 53 people had been rescued. He said authorities expected to rescue more people as the search operation progresses during daylight hours.

The operation involves Guyana’s coastguard and private vessels, according to Guyana’s Public Works Minister Juan Edghill.

Edghill said the ferry was equipped with some 250 life jackets, eight lifeboats and other safety gear.

He added that a medical team was being dispatched to the search area to treat people “as soon as they are rescued”.

“There is an active search and rescue operation that is taking place, and we pray for the safety of all,” Edghill said in a video post shared on Facebook.

The circumstances surrounding the boat accident were not immediately clear.

The survivors were found clinging to a fish trap and floating debris at sea three days after the boat sank.

Five people have been rescued, including a seven-year-old girl, who were stranded at sea off the Indonesian coast for three days after their boat sank south of Sulawesi. A search is ongoing for at least 20 others.

The five survivors – one man, three women and the girl – were located by a fishing boat before dark on Saturday near Matallang Island off the coast of Sulawesi and taken to a search-and-rescue vessel.

They had stayed afloat by clinging to a fish trap and buoyant debris after the KM Nurul Salsa suffered engine failure and sank on Wednesday with 78 passengers and crew members on board.

“After the ship sank, each of them saved themselves using whatever equipment or makeshift flotation they could find,” local search-and-rescue official Muhammad Arif Anwar said.

“They rigged together jerry cans and pieces of cork tied up with rope, then climbed on top of them.”

They told rescuers they had been part of a group of 25 people, but during their ordeal they were separated from the others by strong winds.

Local media reported 47 people had been rescued the day after the boat sank, and one person is known to have drowned.

Five large ships, a reconnaissance aircraft and a helicopter are being used in ongoing search efforts for those still missing.

The KM Nurul Salsa was en route from Jampea Island to the port of Benteng on Selayar Island in South Sulawesi province. It sank about 43 nautical miles (79km) from the port.

Passenger boats are a common form of transport in Indonesia, an archipelago with more than 17,000 islands. Lax safety standards and problems with overcrowding frequently result in accidents.

Earlier this month, at least six people died and dozens went missing after a ferry carrying 65 people sank off Indonesia’s resort island of Bali.

One year ago, when tickets first went on sale for “The Odyssey” in Imax 70mm, nearly every screening sold out instantly.

The unprecedented ticket mayhem built hype — not just for the film, but for the format. By the time a second round of tickets were made available last month, buyers swarmed with such frenzy that they crashed the AMC Theatres app.

In Los Angeles, home base for cinephiles of every stripe, scoring one of these coveted opening weekend tickets was particularly challenging. Much of the excitement revolved around the fact that “The Odyssey” was the first feature shot entirely on Imax 70mm film, a technical achievement that involved the invention of a new camera.

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Want to see The Odyssey in 70mm but couldn’t get tickets? Glendale’s historic The Alex Theatre has you covered.

For 28-year-old Van Nuys resident Chase Stanley, who tried and failed to secure a ticket, that milestone was top of mind.

“Ultimately, I’m just jealous that I’m not included,” he said. “Since it’s the first movie to capture the whole thing in 70mm Imax, it’s my due diligence to see it like that.”

Despite the enthusiasm from moviegoers, film projection has been considered a dying art since most movie theaters worldwide switched to digital projection in the early 2010s.

More than a marketing tactic, the scarcity of tickets for Imax 70mm screenings underscored both the dearth of theaters capable of projecting films in the premium large format — only 41 — and projectionists with the requisite skills.

A number of renowned directors, including “The Odyssey’s” Christopher Nolan, prefer to shoot on film and strongly encourage analog viewing. But because few theaters own the necessary equipment or employ full-time projectionists, coordinating a release as massive as “The Odyssey” is its own arduous journey.

Jimmy Gonzales is Cepheus, left, Matt Damon is Odysseus and Himesh Patel is Eurylochus in “The Odyssey.”

(Melinda Sue Gordon / Universal Pictures)

Venues new and old

There are 25 theaters in the United States showing “The Odyssey” in Imax 70mm, eight of which are located in California. One of L.A.’s favorites is the Universal Cinema AMC at CityWalk Hollywood, where veteran Imax projectionist Taylor Umphenour has worked for the last three years.

On his Instagram page, Umphenour shares “projectionist POV” photos and videos with more than 22,000 followers, giving them a unique glimpse into the projection booth for movies like “Sinners,” “One Battle After Another” and “Project Hail Mary.” His company, Film Leader Co., supervises film restorations and runs technical operations for a smattering of cinema houses across the country.

In addition to his work at CityWalk, Umphenour has been busy for weeks overhauling the projection setup at the historic Alex Theatre in Glendale.

Releases such as “The Odyssey” have renewed interest in film projectionists and specialty theaters, including the historic Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

The 100-year-old venue opened in 1925 as a vaudeville and silent movie house where Walt Disney previewed his animated shorts, but it changed identities many times over the course of its history. Now, Umphenour and his team are working with Miles Williams, the theater’s artistic director, to transform it into a “premier cinema house” in time for “The Odyssey’s” release. It marks the first time the theater has been used for a first-run film release since “Terminator 2: Judgment Day” in 1991.

“What better opportunity to relaunch this venue than to open with Christopher Nolan’s ‘The Odyssey’? That’s why this project is on such a tight turn,” Umphenour said.

His team built an entirely new, massive booth in just three weeks to house sound equipment and projectors capable of running both 35mm and 70mm film. To secure the Alex a last-minute 70mm print of “The Odyssey” — which costs tens of thousands of dollars to manufacture, ship and distribute and runs about four miles long — Umphenour relied on his relationship with distribution executives at Universal.

The Alex will screen the movie in 70mm, which uses the same film stock as Imax 70mm but runs vertically instead of horizontally, making each physical frame roughly three times smaller than its Imax counterpart. Audiences seeking the larger-than-life Imax experience will have to look elsewhere — like CityWalk — but Umphenour believes that analog screenings will still draw a crowd.

“What’s special about these — about running on film, about running 70mm, about handling premium large formats — is that it does remind people how much they love going to the movies,” he said.

“What it’s all about is expanding that sense of scope and horizon, the analog color, that sense of immersion.”

Not a job for ‘popcorn projectionists’

In advance of “The Odyssey’s” release, Imax contracted 130 experienced projectionists and required each to attend an intensive, weeklong training program.

“I’ve said for years that the projectionist is the last performer in a long chain of people that started with an idea,” Umphenour said. “They are the final person to deliver the vision of the filmmakers to the audience, and therefore, one of the most crucial.” Far from simply pressing a button, film projectionists must actively guide a screening, threading and splicing reels and closely monitoring for mechanical issues.

But thanks in large part to the dwindling number of theaters projecting analog film since 2013, finding capable, actively working projectionists for releases like “The Odyssey” can be a struggle.

Sean McKinnon, director of specialty presentations and AV integration at Boston Light and Sound, is in charge of hiring these projectionists for about 60 venues across the country screening “The Odyssey” in 70mm. He did the same for “Oppenheimer” in 2023, which had the longest theatrical window of the year.

“It was pretty challenging finding people for ‘Oppenheimer,’ especially because the film was so amazing, it was in theaters for so long,” he said of the 122-day release. Staffing projectionists for “The Odyssey” has been “definitely easier,” he said, as the “word has gotten out.”

The talent pool McKinnon pulls from includes theater managers, retired projectionists, trainees from specialized college programs and even workers in other professions who take PTO for the occasion.

“We get people from really all walks of life,” he said. “It’s a special event and people want to be a part of it.”

Taylor Umphenour checks the projector’s focus at the historic Alex Theatre in Glendale.

(Allen J. Schaben / Los Angeles Times)

Outside of big cities, the lack of local projectionists also means McKinnon’s company has to fly people to Morrow, Ga., or Valley View, Ohio, for instance, to run the booth for the duration of a film’s run.

Leah Saint Marie, a filmmaker and former projectionist at the Vista Theatre in Los Feliz, attributed the staffing struggle to the experience and knowledge divide between hobbyists and experts.

“Training is pretty easy if you want to be what they call a ‘popcorn projectionist,’” she said. They “can thread the movie and push start, but if there are any mechanical issues, they can’t fix it.”

“I don’t think anybody who’s going to run a 70mm Imax are popcorn projectionists, because it’s very technical,” she added. Each Imax film print of “The Odyssey” is 11 miles long and weighs roughly 600 pounds.

The most recent data from the U.S. Bureau of Labor Statistics estimated that in 2023, there were 2,610 motion picture projectionists employed in the U.S. — an increase from 1,900 in 2022. In 2012, the BLS estimated roughly 8,000 projectionists and predicted the number would decline by 26.5% in the next 10 years — but it ultimately decreased by 76%.

“If you want to maintain expertise in the field, what you want are enough [movie] theaters out there running film that somebody can try their hand at it and get better,” Umphenour said.

Why film matters

Could the overwhelming audience demand for Imax 70mm screenings translate into a resurgence of fully equipped theaters? According to Imax Chief Executive Richard Gelfond, it’s more complicated than that.

“The problem is they haven’t made new Imax film projectors in about 50 years,” Gelfond told Variety on Wednesday. “We build new projectors every day, but film projectors, using this film, it’s not practical. So we’ve got to find them and retrofit them and rebuild them, which is what we did for ‘Odyssey.’ But can all 2,000 of our theaters be film projectors? No. There’s just not that many around.”

That said, Cinemark reportedly installed Imax 70mm projectors at three of its theaters ahead of “The Odyssey’s” release, and there are 11 more theaters projecting “The Odyssey” in Imax 70mm than there were for “Oppenheimer.”

Cinema engineer Justin Dennis is working with projectionist and production manager Taylor Umphenour to build a new projection booth capable of running both 35mm and 70mm film at the Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

Saint Marie recalled working as a projectionist in Pennsylvania during the period when most theaters transitioned from film to digital. While training at a new theater, she was surprised to find an old film projector still stored in the booth, and even more surprised to learn it was for Nolan’s sake.

“When he releases a [movie] on film, we have to have the projector. A lot of places around the United States kept their projectors specifically for Nolan,” she said.

Nolan isn’t the only director with an affinity for large format film and analog media. Quentin Tarantino, Paul Thomas Anderson and Ryan Coogler (whose 2025 hit “Sinners” made quite a splash in Imax 70mm) are others associated with what Umphenour dubbed “the 70mm renaissance.”

According to Saint Marie, theaters worldwide transitioned from film to digital projection mainly because the cost of shipping a Digital Cinema Package is much cheaper than shipping a film release print. But the community of skilled laborers and enthusiastic audiences who champion analog projection say it’s worth it.

“I think there’s something to be said about what film gives you as an artistic community, versus what digital gives you is just consuming as a capitalistic society,” Saint Marie said. To McKinnon, it comes down to the “tradition of humans telling a story by flickering light” harking back to prehistoric times.

For Umphenour, the story of “The Odyssey’s” release and all of the 70mm fanfare is one of preservationists triumphing over countless obstacles.

“There are 70mm theaters running this film throughout the world that, frankly, have been kept alive through the deep devotion of people who care about this format,” Umphenour said. “They really do deserve to be celebrated because, like so many things in life, if you don’t have people that care about it, you don’t end up with a thing.”

“The results of all this work are not images projected on screen,” he continued. “It’s a community brought together to hear a story well told, which allows them to create a life memory they get to carry forward for years and years.”

Film projection takes center stage at the Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

A beach has been praised for its golden sands and tranquil blue waters that are reminiscent of Mediterranean destinations and holidays abroad – only it’s right here in the UK

A stunning British beach is turning heads for its golden sands and crystal-clear blue waters that wouldn’t look out of place on the Mediterranean coastline – but the best part is, it’s here in the UK.

It’s not always a case of flocking to Europe or the Caribbean for a lavish holiday, because Britain has plenty to offer. From charming towns to villages, locals and tourists can enjoy a diverse array of attractions here. Now if you’re in need of inspiration when it comes to booking your next staycation or day trip, we have you covered. According to Beach Guide UK, a whopping 1,500 beaches can be found across the country.

While the UK is hardly renowned for its reliable sunshine, Cornwall’s spectacular coastline more than compensates. There truly is something for everyone – from stunning stretches of powdery golden sand and unique shingle beaches, to hidden coves, world-class surf spots, and brooding atmospheric shores that could easily double as a backdrop for a BBC crime thriller.

Yet one particular beach is causing quite a stir thanks to its breathtaking Mediterranean-esque charm. Step forward Carbis Bay.

Discover Carbis Bay: Cornwall’s Mediterranean-Style Hidden Gem

This much-loved seaside village and resort sits approximately one mile southeast of the iconic St Ives, nestled on the western shores of St Ives Bay along the Atlantic coast.

Nature enthusiasts and walkers will find themselves equally captivated by Carbis Bay, as the South West Coast Path – England’s renowned 630-mile long-distance trail winding around the south west peninsula’s coastline – runs above the shore.

TikTok user Suzanne posted footage of Carbis Bay on the popular social media site.

Overlaid on the video, which sweeps across the golden sand and brilliant blue waters, she penned: “Okay… this might be the prettiest beach in the UK.”

Alongside the clip, Suzanne added the caption: “Carbis Bay, Cornwall, looking like the Mediterranean.”

Best Things to Do at Carbis Bay Beach: Swimming and Water Sports

The spot has also received recognition from Visit Cornwall, which notes: “Just a mile out of St Ives, Carbis Bay Beach is the perfect destination for a relaxing day at the beach. The bay’s lush cliffsides and position on the Atlantic Coast assure tranquil waters, making it the ideal spot for swimming.

“Tucked away into its own corner of St Ives Bay, Carbis Bay enjoys a perfect, natural shelter from the worst of the Atlantic swell, making its waters a tranquil paradise ideal for swimmers of all ages.”

Visit Cornwall continues: “The golden beach itself is perfect for soaking up the sun on warm summer days, or constructing elegant castles in the sand.

“While surfers might wish to look elsewhere for a swell, any with an interest in stand up paddle boarding or kayaking may just find that Carbis Bay ticks every box.”

Planning Your Visit: Travel Times and Carbis Bay Hotels

The travel to Carbis Bay can vary but if you’re coming from London, a car journey will roughly take 5 hours. Alternatively, a train journey is about 4 hours and 41 minutes. From Bristol, this is slightly closer and about 3 hours in the car.

Meanwhile it’s around 4 hours if you’re leaving from the Midlands.

It’s best advised that if you are visiting St Ives, booking yourself accommodation might be the less exhausting option. Hotels in Carbis Bay average about £350 to £470 per night during summer.

However rates can vary drastically and drop around £100 at any other time of the year. Meanwhile, luxury 5-star estates (like the Carbis Bay Estate) can range from £475 to £1,000+ per night depending on seasonal demand.

When you walk into a room with Los Primos del Este, the happy-go-lucky guys immediately make you feel like part of the family. What they first cultivate with silly banter and lighthearted ad-libs eases into a more vulnerable, introspective atmosphere, comparable to a cathartic therapy session.

When I met the norteño-sax band in at Interscope Records — the major label that signed them in early 2023 — it was just a couple of hours before the official release of Los Primos’ new album, “Dulce Amargo,” on Thursday.

For a young band of players in their early 20s, they play it cool; “Dulce Amargo” is their eighth LP to date. The project feels thoroughly chiseled to their refined sonic tastes (influenced by Julión Álvarez, Legado 7 and Remmy Valenzuela) inflected with raw, sentimental lyricism and a wailing saxophone that commands each track with the spirit of an electric guitar.

“Play it back to back and actually start understanding the sound more and realize there’s new sounds being created,” said lead vocalist Geovanni Flores. “Because a lot of people get stuck in their old ways.”

Made up of five members — Flores, bassist and supporting vocalist Ariel Jesus Lopez, accordionist Juan Luis Hernandez, drummer Alejandro Tellez and saxophonist David Tellez — the group has built a steady momentum in the música mexicana genre. They’ve championed the resurgence of norteño-sax, a subgenre that fuses the accordion sounds of norteño music with an invigorating alto saxophone, made popular by legendary groups like Conjunto Primavera.

Since forming in 2017, the North Carolina-based band has gained over 2 million listeners on Spotify through catchy norteño-sax songs like “No Es Mentira (Version Norteña),” “Poema” and “Mami” — drawn together by a polka-like beat that has made them a staple of Mexican dance venues.

In 2024 alone, the subgenre grew by 39% in both the U.S. and Mexico, per Spotify.

Los Primos del Este formed in 2017 out of North Carolina.

(Arwen Clemans / Los Angeles Times)

The band took a few years to find its groove. Its 2020 debut album, “PDE,” experimented more with the prickly, sad sierreño sound popularized by acts like Eslabon Armado and DannyLux — as well as trap-infused corridos tumbados with a thumping tololoche. Still, this was music one could bop their head to, even if dance parties were limited during the global pandemic. With norteño-sax, the group could incorporate contemporary dating themes into songs that bring people physically closer to one another on the dance floor.

“There’s been a sense of maturity that’s happened within the group. In the past, we would just make music to make music and release it,” said Flores. “ We thought about every single detail now, even down to the album cover.”

Before getting into the thick of their recent music catalog, Los Primos del Este quickly unfurled details of the album cover, which shows the group sprawled across the flatbed of a white truck. The image was inspired by Alejandro Cartagena, a Dominican Republic-born Mexican creative who photographed carpooling laborers on the flatbeds along a highway in Monterrey, Mexico, in 2012. The project was a visual representation of how everyday people — often marginalized individuals — navigate transit in a sprawling suburban area.

Such an open stance on community issues appears to be a norteño-sax speciality. In 2000, their forefathers Conjunto Primavera previously told The Times that they make music for working-class audiences: “Wealthy people don’t like what we do.”

“Personally, I found myself in the bed of a truck at one point, low-income, trying to make something out of nothing,” said Lopez. “That’s the world I grew up in, and that’s the world I wanna show everybody. It’s not all sweet, you know?”

The band also nods to injustices faced by immigrant communities — including the recent fatal shootings of 52-year-old Lorenzo Salgado Araujo and 26-year-old Johan Sebastian Duran Guerrero by Immigration and Customs Enforcement agents in Texas and Maine, respectively.

“We’re willing to take the heat,” said Lopez, referring to the band’s pro-immigrant stance. “The community looks at us as a negative presence, but in reality, we’re hard-working, dedicated family people.”

It is both that honesty and vulnerability that are etched into the 14-track LP “Dulce Amargo,” which translates to “bittersweet” in English. The band shared that each member contributed details of his own personal experience to the brainstorming sessions — a process they likened to therapy.

“We were comfortable enough with each other to let [our] stories be heard,” said Lopez. “In the Latino community, there is kinda like that stereotype [that] you have to be strong.  I think this message goes out to everybody — if you’re feeling something, specifically the men, it’s OK to just let it out.”

(Arwen Clemans/Los Angeles Times)

The hazy love melody “Tremenda,” for example, underscores an intense yearning for connection. Written after Lopez was starstruck by a woman, its first lyrics begin in wondrous marvel: “Tal vez fue tu mirada,” or, “Perhaps it was your gaze.”

“What’s the first thing you do when you look at somebody? I look at the eyes,” said Lopez. “They say the eyes are the doors to the soul.”

Alejandro Tellez’s contribution came with the punchy “Linda Sonrisa,” that pleads for someone to realize the realities of the mistreatment they’re facing with another lover.

“How many times are you gonna let him do you wrong until you realize that you have the right guy in front of you?” said Alejandro Tellez in a sing-song twang. “That’s a story that I went through in high school.”

For Flores, the EDM-fused, echoing melody “Mejor Sin Ti,” struck a personal chord; could a relationship be the only thing standing in your way to personal success? “Some people do hold you back, some people tie you down — that’s what I felt,” said Flores.

Hernandez gets a bit teary-eyed when talking about his favorite song, “Sentimientos,” a whirling polka-driven ballad about an avoidant situationship, he said. “To me, it’s like we both kinda love each other already, but we’re kind of afraid to say it,” he explained. “A lot of people are afraid of falling in love again, so that song hits close to home.”

The concept behind “Mereces Mejor,” a trance-inducing ode with floating melodies that implores a loved one to recognize their self-worth, was inspired by David Tellez’s own experience with unrequited love: “She’s trying to go to the bad guy, and I’m over here giving everything I got.”

As the five artists prepare to take their new album on the road — including an upcoming performance at the Lone Star State’s Truck Show Texas Fest on July 25 — they want to make clear that norteño-sax is not a stagnant subgenre. Like most of música mexicana, it, too, is evolving, both in sound and lyricism, encapsulating today’s complex dating culture. Their emotional vulnerability is welcome in a field flooded with artists that may otherwise shrink away from such honesty — perhaps due to the stigma of mental health issues in the Latino community, especially among men.

“We understand that changing the sound may not be for everybody, but we’re making music for the next generation,” said Lopez. “Who knows? Maybe their parents might end up liking this too.”