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Sway Dasafo, a pioneering British Ghanaian rapper known for his lyric storytelling and championing of British music, has died. He was 44.

The rapper and producer’s death was announced Thursday on social media by the Mobo Awards, which celebrates music of Black origin. Dasafo’s friend Kash Ahmad confirmed to the BBC that he died at his home in Ghana. No cause of death was provided, but the outlet reported that Dasafo had been diagnosed with Hodgkin lymphoma in 2010 before going into remission later that year.

“We’re deeply saddened to hear of the passing of Sway,” Mobo wrote on Instagram. “Sway will always hold a special place in MOBO history.”

In 2005, Dasafo became the first unsigned artist to win the Mobo award for hip-hop act before he released an official album. He won over other established artists including 50 Cent and the Game off the strength of his mixtapes, “This Is My Promo” volumes one and two.

“Mixtapes effectively provide a diary of my life,” Dasafo told the Guardian in 2005. “They feature skits and interviews of me on radio. When people follow your story, they feel closer to you — it’s like a soap opera. People want to know what’s going to happen next.”

“It was a huge moment,” Mobo’s Instagram statement said of Dasafo’s win. “Not just for Sway, but for UK Hip Hop. At a time when British rappers were still fighting to be recognised alongside their US counterparts, his win made a real statement about the talent, creativity and potential coming out of the UK. … [W]e will always be proud that he was part of the MOBO story and of the history we shared together.”

Born Derek Andrews Safo on Sept. 5, 1982, in Hornsey, north London, to Ghanaian parents, Dasafo grew up primarily in England where he developed a love for literature and music. He started rapping as a hobby when he was 10 and was making beats on his computer at 13.

The versatile rapper got his start in groups such as Phynix Crew and One before going solo and releasing his series of mixtapes. Among his early hits were “Up Your Speed” and “Little Derek,” from his debut alum, “This Is My Demo,” which he released from his own label, Dcypha Productions.

“I’m a positive person and this positivity comes out in my music,” Dasafo said in his 2005 Guardian interview. “I don’t go round holding guns to people’s heads, so I won’t rap about holding guns to people’s heads. Trouble attracts trouble. If you rap about trouble, it will come to you.”

From early in his rap career, he expressed his desire to become a producer so he could sign and nurture other talent. Dasafo has collaborated with artists including Riz Ahmed, Ed Sheeran, Lupe Fiasco and Chamillionaire.

BBC Radio 1Xtra broadcaster Remi Burgz called Dasafo a “UK Rap pioneer” and “one of north London’s finest” during her program, according to the BBC.

“He was mine and many others’ first experience of U.K. rap [and] hip-hop in mainstream media,” she said. “He was a literal example of paving the way and showing that U.K. rap can take up space in music.”

Dasafo is survived by his two sons, Jalil and Ammar-Joseph, and twin daughters, Queen-Inaya and Queen-Imara.

Tensions flared on the eve of a critical week ahead for Paramount Skydance’s proposed $111-billion acquisition of Warner Bros. Discovery, amid new urgency for talks aimed at settling antitrust litigation brought by California Atty. Gen. Rob Bonta and 11 other states.

Over the weekend, opposition intensified to a proposed settlement as details trickled out, including a proposal to establish a bipartisan editorial board to monitor cable news channel CNN, one of Warner’s premier properties that Paramount Chief Executive David Ellison would control along with CBS News.

It wasn’t clear Sunday whether a proposed settlement would require Warner to sell off assets — something Bonta repeatedly has insisted upon. Critics of the deal urged Bonta and other state attorneys general to resist pressure to reach a settlement that would allow Ellison’s deal to move forward.

“State Attorneys General, please hang tough against the giant proposed Paramount-Warner Brothers merger,” Rep. Jamie Raskin (D-Md.) wrote on social media late Saturday.

“Paramount, run by the Ellisons, should not own both CBS and CNN. California must not cave and take a deal that leaves both under the same owner,” Rep. Ro Khanna (D-Fremont) wrote.

Bonta and Ellison have made progress in the talks in recent days, according to four people familiar with the matter not authorized to speak publicly.

However, New York’s Letitia James and at least two other attorneys general who joined Bonta’s lawsuit in July privately have expressed reservations about the proposed compromises, believing they don’t go far enough to mitigate concerns about the power Paramount-Warner Bros. would wield over the film and TV industries should the merger go through, according to the people familiar with the matter.

James isn’t on board with Bonta’s proposed settlement, two of the people said. A potential split within Bonta’s coalition could be a setback because Bonta needs the other state attorneys general who joined his legal effort to sign off on any deal.

A spokesperson for Bonta did not respond Sunday to a request for comment.

Paramount maintains its deal to bring HBO, CNN, CBS, TBS, Comedy Central and two legendary film and television studios together would create a stronger company that could withstand the fierce competition from tech giants such as Apple, Netflix, Google (which owns YouTube) and Amazon. The two studios, on their own, would not be strong enough on their own to remain viable in the streaming age, the company has said.

On Thursday, Paramount lawyers plan to demand that U.S. District Judge Araceli Martínez-Olguín in Oakland require the states and the Writers Guild of America to post a $1.88-billion bond that would cover some of Paramount’s delay-related deal costs should the company eventually prevail.

The states and the WGA, which also sued to block the merger, have balked at the request, which was designed by Paramount to create fissures within the coalition of states, which also include Minnesota, Oregon, Colorado, Connecticut, New Jersey and Massachusetts.

Ellison wants the merger finalized by Oct. 1, when his company will be obligated to make a higher payout to Warner Bros. Discovery shareholders. The company has threatened to move its Hollywood base from its historic Melrose Avenue lot to Tennessee or Texas should the antitrust battle stretch into October.

The prospective loss of an iconic California business — a century-old film studio that helped establish Hollywood — has rattled state and local politicians, who are fearful of losing more jobs at a time when Los Angeles film production levels already are at alarming lows.

Gov. Gavin Newsom, Los Angeles Mayor Karen Bass and Xavier Becerra, the Democratic nominee for California governor, have publicly called on Bonta to settle the suit rather than prepare for a trial next spring. City Councilmember Nithya Raman, Bass’ opponent in the L.A. mayor race, has been one of few California politicians in support of Bonta’s fight.

In an opinion essay Sunday, a trio of 1st Amendment and antitrust experts dismissed Paramount’s threat to leave Los Angeles as a ploy that doesn’t make business sense.

“Ellison’s threat is empty, and the AG should call that out — not give into it,” the experts — Fiona Scott Morton, Gene Kimmelman and Norm Eisen — wrote in the Contrarian.

Both Morton, an economics professor at the Yale School of Management, and Kimmelman formerly served in the U.S. Justice Department during Democratic administrations. Eisen, founder of the group Democracy Defenders Action, is helping lead the Block the Merger campaign.

“Paramount [would be] sinking the cost of moving before it knows what businesses it owns and how best to combine and organize them — which makes expensive strategic mistakes inevitable,” the trio wrote. “A company that raises its own costs while leaving behind the most valuable labor in the industry does not threaten California; it threatens itself.”

The group noted Paramount, in its regulatory filings, still lists its Times Square offices in New York as its corporate headquarters — not its Melrose Avenue campus in Hollywood.

“There is also the possibility that Ellison is planning to move Paramount to Tennessee regardless of how the lawsuit resolves,” the group wrote.

Bonta and Paramount have discussed including in any settlement a condition that Paramount would keep its operations in California for a set period, according to people familiar with the proposal but not authorized to comment.

Merger opponents planned a Sunday evening rally outside Bonta’s offices in Oakland to encourage him to stand tough. The group plans subsequent demonstrations this week outside James’ office in New York City and the Paramount lot in Hollywood.

The jockeying comes as President Trump, who favors the Ellison takeover of CNN and Warner Bros., has sought to block several prominent news organizations, including CNN and Politico, from reporting from the White House.

“Trump just locked CNN out of the White House. Now his billionaire allies want to own it,” Sen. Cory Booker (D-N.J.) added in a Sunday post. “State attorneys general: Don’t settle. Hold the line. Block this merger.”

If George Lucas invites you to a party, you go.

That much was clear Saturday at the Lucas Museum of Narrative Art’s opening-night soiree, where the guest list was as celebrity-heavy as any Academy Awards after-party. As the festivities kicked off around sunset in the courtyard under the museum’s towering elliptical oculus, Oprah Winfrey hugged Robert De Niro, and Harrison Ford and Calista Flockhart skipped the red carpet after chatting with Spike Lee. Laura Dern and Greta Gerwig laughed together by the entrance while Samuel L. Jackson plopped down on a curved bench, joking, “Hey, look what I did!”

He didn’t sit for long because Cynthia Erivo and Andy Garcia showed up and there were more hugs and handshakes and hellos. Owen Wilson, Leonardo DiCaprio, Kim Kardashian, Meg Ryan, Jack Quaid, Gov. Gavin Newsom, Rep. Nancy Pelosi, Justin Trudeau, Mark Hamill and Magic Johnson were there too, and that was just the beginning.

Gov. Gavin Newsom attended the opening-night party for the Lucas Museum of Narrative Art alongside a host of other notable guests and celebrities.

(Carlin Stiehl / For The Times)

After a rousing performance by a white-robe-clad vocal collective called Voices of Fire, co-founded by Pharrell Williams, Lucas’ wife Mellody Hobson noted that, “George kept saying, ‘Will this person come? Do you think this person will come?’”

“I said, ‘They will all come,’” Hobson said as the crowd laughed during opening remarks on a raised platform in the museum’s grand lobby.

And so they did. There was even a banner moment inside the posh fifth-floor Skywalker Grill where a group of directors gathered to be photographed in what could very well become a seminal photo of Hollywood influence in the 21st century. The shot included Lucas, Jon M. Chu, Chris Columbus, Francis Ford Coppola, Lee Daniels, Guillermo del Toro, Jon Favreau, Bryce Dallas Howard, Ron Howard, Peter Jackson, Chris Meledandri, Denis Villeneuve, Christopher Nolan, Spike Lee, Tyler Perry, Steven Spielberg, Frank Miller, Robert Rodriguez, Nathan Fielder and David Benioff.

Organizers were scrambling to find Gerwig, but she had dashed off somewhere else.

“Star Wars” legend Mark Hamill and his wife, Marilou York, were guests at the Lucas Museum of Narrative Art opening party.

(Carlin Stiehl / For The Times)

There were artists in attendance too, of course, but not as many. Jeff Koons, Refik Anadol, Judy Baca and Takashi Murakami strolled through the crowd, as did museum directors including the Broad’s Joanne Heyler and Los Angeles County Museum of Art’s Michael Govan, who was relieved to be attending someone else’s party after hosting so many of his own in April and May when the new Geffen Galleries opened.

Lucas and Hobson went to great lengths to explain why the Lucas Museum matters and why it is different from other museums. Their comments, in many ways, sought to address the criticism that has been lobbed at the museum since it held its press preview a few weeks back.

Though it has received a number of rave reviews, critics have called narrative art a false conceit and argued that the juxtaposition of masterworks with pop culture ephemera does not work. Much of the criticism has been focused on a perceived lack of context since there is almost no wall text clarifying why certain curatorial choices were made.

George Lucas and his wife Mellody Hobson hosted an extravagant opening party at the Lucas Museum of Narrative Art.

(Carlin Stiehl / For The Times)

“When I started it, everybody said, ‘You’re crazy. You shouldn’t do it. It’s not going to work. People are going to come after you,’” Lucas said of his plans for the museum. “I said, ‘People have come after me all my life, especially in the movies.’”

Lucas also addressed why he curated the museum’s 100,000 square feet of gallery space on his own, noting that at a certain point plans were “getting off the rails.”

“I’m going to have to take this over because people don’t understand what I’m doing,” Lucas recalled thinking. “The idea that illustration is an art form and illustrators are artists was just too much for somebody who had been taught otherwise by the art schools that they went to and the universities that they went to.”

People with PhDs often can’t see the big picture, Lucas said, “You can’t say ‘This is art. This is not art.’ Art is in the eye of the beholder. If it is emotional to you, then it’s art. And, of course, I’ve been criticized up and down and sideways for that. But I believe it wholeheartedly — that you get to decide what art is.”

Members of the Virginia Beach vocal collective Voices of Fire, co-founded by Bishop Ezekiel Williams and Pharrell Williams perform at the Lucas Museum.

(Carlin Stiehl / For The Times)

Lucas noted that throughout his career he has worked with many illustrators, “and I will tell you, they are as talented as any artist I’ve ever met. This is the way of giving back to them something that they’ve all wanted … inevitably, all of the illustrators say the same thing — everybody from R. Crumb to Rockwell — they all say, ‘I wish I could be in a museum,’ but they can’t. There isn’t a major museum in the world that’ll have this kind of art in it. I’m hoping this will change that.”

Lucas’ comments came after his friend and co-host Queen Latifah noted to the cheering crowd that, “Paris has the Louvre, New York has the Met and now L.A. has the artistic equal.”

Guests mingle at the Lucas Museum of Narrative Art opening party.

(Carlin Stiehl/For The Times)

It took more than a decade for the Lucas Museum to land in L.A. after a search that included Chicago and San Francisco as well as lots of civic pushback and lawsuits over the use of public parkland.

“We did not realize how hard it would be to give a city a museum,” Hobson said during her remarks, later joking: “If your husband or spouse comes home and says they want to build a museum, I suggest your response is a hard no.”

Laura Dern, left, and Greta Gerwig spent the early part of the night chatting and laughing.

(Carlin Stiehl / For The Times)

Hobson went on to extol Lucas’ vision and his ability to never waver from his dream for the museum.

“He was driven to create a space that would showcase the brilliant illustrators that he thought were too often overlooked and ignored,” Hobson said. “And if critics say that a museum of narrative art is too much like a popcorn movie and not enough like an art film, well, we love popcorn movies in our family.”

Like a popcorn movie, the evening ended happily with a drone show in the night sky narrated by Winfrey and Jackson, and featuring images from the museum’s collection including the Cave of Altamira, N.C. Wyeth’s “The Storybook,” Julie Bell’s “The Huntress,” Banksy’s “Girl With Balloon,” the “Star Wars” Millennium Falcon and Maxfield Parrish’s “Ecstasy.”

Afterward the party moved inside from the rooftop terrace for a performance by the Black Eyed Peas.

The LA Times/SurveyMonkey poll set out to measure feelings about football and Super Bowl, both in the U.S. as a whole and in the Los Angeles region.

Each day, a huge range of organizations — schools, churches, bowling leagues, companies and more — use SurveyMonkey’s online platform to poll their members, customers or associates.

In total, more than 2 million people take SurveyMonkey polls on an average day, giving the company access to a broad cross-section of the American public.

To conduct surveys on questions of broad public interest, like this one, SurveyMonkey randomly selects some of those people and asks them if they’d be willing to take an additional online poll. Those who say yes get a survey to fill out.

As with traditional telephone surveys, the results then are weighted to match standard Census Bureau measures of the nation’s population — to make sure that the sample mirrors the nation’s distribution of age, race, gender, geography and education levels.

The result is a representative sample of the adult population.

In this case, the poll, which was developed jointly by SurveyMonkey and The Times, was conducted in English and Spanish from Feb. 1-7 among a national sample of 7,590 adults. The sample included 1,659 Californians and 743 people who live in Greater Los Angeles, which encompasses Los Angeles, Orange, Ventura, San Bernardino and Riverside counties.

As with all polls, the results are subject to sampling error. For this survey, the modeled error estimates are 2 percentage points in either direction for the national sample, 3.5 percentage points for the statewide California sample and 5 percentage points for the Los Angeles metro area.

To attract patrons, the Los Angeles County Library turned to some of the most familiar faces on earth: Hello Kitty and her friends.

The bet seemed to be paying off Friday, as thousands of adults flocked to local branches to snag library cards featuring the adorable anthropomorphic gang on launch day.

The county’s library director, Skye Patrick, told The Times Thursday evening that they were bracing for “complete mayhem.”

A library spokesperson said they were still tallying the number of card sign-ups, but at least 4,400 had been issued as of Friday afternoon.

One of them went to Mar Vista resident Sisa Salazar.

“I thought it was super cute,” the 22-year-old said as she waited in line at the Marina del Rey branch Friday afternoon.

The florist used to frequent the library in high school, checking out books and watching shows. But she lost her card in recent years.

So when she came across the special Hello Kitty-themed card on Instagram, she took the opportunity to get a replacement.

Shortly after 2 p.m. Friday, the line for Hello Kitty library cards at the Marina del Rey branch stretched out the door.

(Iris Kwok / Los Angeles Times)

The Marina del Rey library remained busy throughout the afternoon, with a steady line of more than 50 people stretching out the door. Across town, dozens of people lined up outside the South Whittier Library before its 10 a.m. opening, hoping to be among the first to snag the card.

The West Hollywood, Carson, West Covina, La Mirada, Marina del Rey and Alondra branches ran out of cards on the first day, library spokesperson Jessica Lee wrote in an email. She noted the cards can still be found at other locations and roving bookmobiles.

In addition to Hello Kitty, the card depicts several other recognizable characters produced by the Japanese company Sanrio: My Melody, Kuromi, Pompompurin, Keroppi, Cinnamoroll, Chococat and Pochacco.

Many people in line in Marina del Rey chatted about their favorite Sanrio characters and exchanged childhood memories.

Playa del Rey resident Rebecca Leach, 43, already has an L.A. County Library card, which she often uses to read e-books on the Libby app.

Playa del Rey resident Rebecca Leach said she wanted to get the Hello Kitty library card because she grew up with the character and finds it nostalgic.

(Iris Kwok / Los Angeles Times)

But for the registered nurse, who dons a Hello Kitty badge reel at work, nostalgia was part of the card’s appeal. She has fond childhood memories of playing with a color-changing Hello Kitty plush toy. Leach visited several branches Friday before finding a manageable line in Marina del Rey.

“I think it’s great that they’re promoting the library more and doing outreach,” said Jolyne Jimenez, 51, a library assistant at the Santa Monica Public Library and fan of My Melody.

She spent her day off at the Marina del Rey library waiting for the card. (The Santa Monica Public Library is independent of the L.A. County Library system.)

Limited-edition library cards aren’t new in L.A. County. Previous popular designs have included cards commemorating the centennial of the 19th Amendment and the FIFA World Cup, Patrick said.

“What is uncommon is this amount of buzz,” Patrick said, adding that she hoped the heavy interest in the card would translate to increased awareness of the library’s offerings — not just books and e-books, but streaming content, household tools, musical instruments and podcast equipment.

The Hello Kitty card is available through Oct. 18, Patrick said. The library has permission to use Sanrio’s characters for one month for free and plans to restock the cards before the collaboration period ends.

WASHINGTON — Thousands of people joined outside the John F. Kennedy Center for the Performing Arts on Friday evening to protest President Trump’s plans for the facility, lending their voices to a chorus of organizations and individuals who have been horrified that he might make good on his threat to close and tear down the storied institution.

The crowd streamed in from the nearest subway stop, crowding streets in the Foggy Bottom area of Washington and locking down traffic as they walked, many carrying signs, as they joined in an event dubbed “Hands Around the Kennedy Center.” At one point some held hands, forming a human chain around the center.

Chris Raleigh, co-founder of Hands Off the Arts, which set up the gathering, said in an interview that he hoped it would show that people are willing to fight to keep Trump’s plans for the building at bay.

One of the most iconic buildings on the Potomac River waterfront, the Kennedy Center has been a focus of Trump’s remake of Washington since 2025, when he began installing his loyalists on its governing board. Late last year, he had his named placed on the center in front of that of President Kennedy. A judge ruled that Trump’s name was illegally added and ordered it removed.

The Kennedy Center board, which remains aligned with the president, voted Tuesday to close the center indefinitely for repairs hours after U.S. District Judge Christopher Cooper blocked their plans to return Trump’s name to the building. On Thursday, the judge ordered the Kennedy Center to provide 30 days’ notice before making any major physical changes to the building, including demolishing it.

Raleigh said he, like others, is concerned that Trump could take the step without notifying the court. “Look at the East Wing,” he said, referring to the demolished portion of the White House. “We got up one morning and there was a giant hole there.”

Raleigh said the Kennedy Center is more in the public eye than the East Wing was. He added that he doesn’t believe the president fully understands why people are so upset, “but that’s our job, right? This may be the line that no one expected, but this is where the line is going to be.”

Protesters talked about the importance of the center as the pinnacle of the nation’s performing arts world.

Bud Wilkinson, a local member of the arts community, set up a chalkboard with Trump’s name written on it hundreds of times. Protesters flocked to him to erase the names and replace them with hearts.

“The Kennedy Center is vital to the arts in Washington. We need it. We need this,” Wilkinson said. “This is not just about putting the president’s name on the Kennedy Center. It’s about censoring the performances and the programming. That’s what started all this. So that’s what the nitty-gritty really is about this. So I want to replace all of this with love. That’s why there’s a heart.”

Alina Baciu talked about the opportunities and relationships that students at the Duke Ellington School of the Arts have with the center and how those relationships might be affected by what’s going on.

Her daughter had opportunities to take advantage of all the center had to offer as a student at the Ellington school, she said. “I mean, they borrowed the beautiful costumes and the beautiful dresses from the Washington National Opera for their performances at Duke Ellington,” she said. They also performed on the center’s Millennium Stage.

“All of those things have gone away because of this craziness. And it just hurts my heart,” Baciu said.

Laura Steinberg, a volunteer for the last 10 years, said the loss of performances has already been heart-wrenching. “This reminds me of that picture from Tiananmen Square, where that young man stood in front of the tank,” she said of the throngs present. “This was my visceral response to this. I’ll stand in front of the wrecking ball if it’s going to come to that. My guess is many of these people would come down because we saw what he did to the East Wing. Nobody thought he would actually do it. So I think the shock has mobilized people.”

Friday’s event followed a tumultuous week in federal courts in Washington, where filings and counter-filings flooded the courts as the administration continues pushing for the president’s vanity projects. The administration has made substantive steps to begin work on a number of projects, despite the fact they are still being litigated. Such projects include Trump’s triumphal arch and the administration’s takeover of East Potomac Golf Links and the U.S. Institute of Peace.

Speaking from the Oval Office, Trump said he was willing to save the center, which he said was losing money. He did not address a question about demolishing it.

“We have a lot of people working very hard on it to save it,” he said. “I can save it easily, but why should we be doing that and then raise money for the rest of our lives to keep it afloat? Because that’s what you have to do, if we get no recognition. I think the Trump administration should be recognized as having saved the Kennedy Center.”

Fields writes for the Associated Press.

You need a boost, right?

We’re living under a dark cloud, with a steady downpour of graft, thuggery and baloney.

There’s the raffling of presidential pardons and the attacks on reporters for doing their jobs, the clownish trade war with Canada, the bungled disaster in Iran, the petty obsessions with the ballroom and the Kennedy Center, the hogwash about a stolen election, the attacks on immigrants and the shameless presidential profiteering while working people suffer the cost of Trump’s countless broken promises.

I could go on, and I will. But rest assured, I have not forgotten about the boost I promised.

For all the affronts, nothing strikes me as more sinister than the Trump administration’s ambitious assault on the planet. Despite nearly daily headlines about the global calamity of overheated oceans, melting glaciers, stark weather transformations and species extinction, Trump keeps shoveling more coal onto a fire that will rage long after he’s dead and gone.

He’s gutted environmental protections and scientific research and dismantled clean energy initiatives. Now his administration is rolling back limits on power plant emissions, attempting to open the California coast to more oil drilling and sabotaging the state’s ambitious goals on emission controls and electric vehicle conversion.

We don’t need AI to threaten the future of humanity. We’ve got Trump.

It’s tempting to duck under the covers and wait for the nightmare to end, but the good news is that a lot of people are standing up rather than rolling over, rebelling against the ignorance and callous disregard that threatens our most precious and fragile shared inheritance.

In August, hundreds showed up to defend California’s authority to govern its own coast at a Santa Monica hearing of the National Oceanic and Atmospheric Agency, and 18,000 more people filed comments online.

The rollback of environmental safeguards is, for many, a call to arms.

“Yes, I am discouraged. … But I am not despairing,” said Bill McKibben, an author and environmental activist who is organizing a worldwide event called Sun Day for next year to promote clean energy. “We’re reacting to multiple crises, and we’re led by a pack of fools, so why would anybody not stand up?”

McKibben launched a national movement five years ago called Third Act, and tens of thousands of people 60 and older have signed on to advocate for climate action, voting rights and civic participation. Third Act now operates in about 30 states, with a robust chapter in Southern California.

Former Times reporter Zan Dubin has worked as both a volunteer and a paid communications consultant for Third Act, and I asked her what someone could expect to do if they became a member of Third Act/SoCal.

Environmentalist and author Bill McKibben is organizing a worldwide event called Sun Day next year to promote clean energy.

(Amanda Swinhart / Associated Press)

“We do it all,” Dubin said, from promoting climate-friendly candidates to running phone banks and testifying at public meetings. She said Third Act co-sponsors protests at Dodger Stadium, and she and others planned to meet at Vin Scully Avenue and Stadium Way for Sunday’s game against the San Francisco Giants. They want the Dodgers to stop doing business with Big Oil and bench their sponsorship deal with Phillips 66.

She also called out Disneyland for its exhaust-spewing Autopia attraction, along with former Times climate columnist Sammy Roth, and Disneyland responded by announcing in 2024 that it was switching to electric cars beginning in 2027.

Dubin, co-founder of National Drive Electric Week, said 170 volunteer-led events were being held nationwide over the next month to promote EVs, and she was leading one Friday in Irvine.

“Action is absolutely the antidote to despair,” Dubin said. “I find that despite the onslaught of these horrifying headlines … taking action invigorates me.”

Claremont resident Margaret Davis knows that feeling. She emailed me in 2023, prior to participating in a Third Act event, and said many retirees have time on their hands, which puts them in a powerful position.

“The climate crisis is the greatest existential threat humans have ever faced, hence we live in a time when we can make the greatest change for the better,” Davis wrote at the time.

When I called her a few days ago, Davis told me she’s now a member of Senior Stewards Acting for the Environment. She lives at Pilgrim Place — a senior community with a focus on justice, peace and environment — where residents meet regularly to study, discuss and advocate for sustainability, biodiversity and environmental causes.

“When I was in college in 1970, we had the antiwar movement and that was the first year of Earth Day,” Davis said. “At the time, I thought Earth Day was just a distraction from what was going on in the world.”

Later, she said, “I came to realize it was the biggest issue of all time.”

Climate activist Sim Bilal stands next to pumps at an oil field in Los Angeles in 2024.

(Allen J. Schaben/Los Angeles Times)

Like Davis, I went to college in the ‘70s, and there’s no denying that our aggressively consumptive generation played a key role in manufacturing a crisis for our children and grandchildren. We’ve got matches in our hands and smoke on the horizon, and if we’re honest with ourselves, we’d see atonement not as a hobby, but as a duty.

As for the next generation, climate activist Sim Bilal, 24, said he too shares the sense that this is both a wickedly frightening time and a moment of opportunity.

“In the last month, we’ve gotten more young people involved,” said Bilal, executive director of Youth Climate Stewards 4 Local Action. “We usually have to reach out to them, but so many people have been wanting to get involved, and they’re so eager, and that’s been affirming for me. The policies are depressing, but the fact that people are reenergized and want to fight back is really exciting.”

Bilal said faith in politics, government and corporations is not high among his peers, but he’s trying to grow a network of young people to cultivate and support future leaders.

“A mentor told me there are two kinds of power — organized people, and organized money,” said Bilal, whose activism began when his grandmother died and he began wondering if her cancer, and global warming, were connected to the oil drilling in his South L.A. neighborhood. “We don’t have the money, but a lot of the work we do is political and civic education, demystifying power, and making people understand they have agency.”

You needed a boost, right?

There you go.

Whatever your age, do not despair.

Get off the chair.

steve.lopez@latimes.com

HENRICO, Va. — In-person voting for this year’s midterm elections began Friday, ushering in the final six weeks for Americans to decide which party they trust to lead Congress through a cost-of-living crisis, a prolonged war in Iran and other pressing issues.

Election administrators say they are prepared and confident the vote will be accurate and secure. Nevertheless, President Trump has continued with efforts to denigrate certain voting methods and reshape how elections are run, through court challenges, an expansive federal hunt for noncitizen voters and a pressure campaign to force election officials to share sensitive voter data.

Friday marked the start of early voting in Virginia. Voters in a handful of other states, including Idaho, Minnesota and South Dakota, can cast absentee ballots in person, typically at a local election office or voting center. More expansive early voting is scheduled to begin in those and other states in the coming weeks.

At a voting location in Fairfax, Virginia, 18-year-old college student Sanya Singhal was among the first to vote early in person Friday morning, arriving well before the site opened to get in line.

“Why not just have a little fun in life, you know, try to be the first early voter?” she said. “I really want to participate in my democracy.”

At a voting location in suburban Richmond, a poll worker rang a bell as the building opened and about a dozen voters in line began to file in. Stephen Gura was excited to be the first.

“This election is critical. We need to stop the Trump agenda. We need to start electing people who will stand up for people in this district,” said Gura, who added that he voted for U.S. Sen. Mark Warner, a Democrat, and Shannon Taylor, the Democratic nominee against Republican incumbent Rob Wittman in the 1st Congressional District.

The Nov. 3 election includes votes for governor and state legislature in most states and will determine whether Republicans maintain control of the U.S. House and Senate. If Democrats retake Congress, it will alter the trajectory of the final two years of Trump’s term, most likely leading to investigations and other oversight efforts.

Voting underway after unusual redistricting and Trump’s bid to control how elections are run

At the suburban Richmond voting center, a steady stream of voters flowed in and out for the first hour of early voting. William Curry, a 74-year-old retiree who described himself as a libertarian-leaning independent conservative, voted for Warner’s Republican challenger, Bert Mizusawa, and Wittman. Curry said he generally approves of the job Trump has done, apart from the war with Iran.

“He’s in a mess he can’t get rid of,” Curry said of the conflict.

On a rainy day in Sioux Falls, South Dakota, Bill Goehring, 67, said he voted early at the county office because he will be traveling later. He voted for a mix of Democrats and independents, and said Trump’s “dictatorial tendencies are bad for America.”

The start of early voting comes at a time of deep angst among many Americans about issues including rising gas and grocery prices, the war in Iran, the looming risks of artificial intelligence and Trump’s aggressive immigration enforcement campaign.

It also follows an unprecedented spate of mid-decade redistricting for the U.S. House that began when Trump urged the Republican-controlled legislature in Texas to redraw its congressional map to help the party. California and other states followed.

The changes affect millions of people: Research shows 1 in 10 Americans this fall is a resident of a different congressional district than in 2024.

Those partisan efforts are expected to continue before the 2028 elections after a landmark ruling this year from the U.S. Supreme Court weakened the federal Voting Rights Act’s protections against racially discriminatory redistricting.

As the start of early voting approached, Trump was focused on efforts to assert federal control over election administration, even as the Constitution bestows the power to run elections on the states and, in some cases, Congress. The nation’s highest court rejected Trump’s bid to restrict mail ballots this week, but several of his administration’s other efforts to influence the voting process and mine state voter lists for illegitimate voters continue.

Virginia’s attorney general said Thursday that Trump’s administration may have violated several of the state’s laws after a whistleblower accused federal employees of misrepresenting themselves on voter lookup tools to hunt for noncitizen voters. In a letter, Attorney General Jay Jones demanded that the Department of Homeland Security confirm in writing whether it had directed anyone to access Virginia voters’ information without first obtaining permission from those voters.

Trump for years has raised the specter of widespread noncitizen voting in U.S. elections, and this year is no exception. But despite his administration’s insistence that hundreds of thousands of people are illegally on voting rolls across the country, research continues to show noncitizen voting is exceptionally rare.

David Becker, executive director and founder of the Center for Election Innovation and Research, said he wouldn’t be surprised if the Republican president continues “his disinformation campaign and his attack on election officials.” But he said he thinks despite that and other challenges, “ultimately the process will hold as it has in past years.”

Advocates suggest voters cast their ballots early

Voting rights advocates have encouraged voters this year to cast mail ballots early, in part because of concerns about recent changes in U.S. Postal Service operations that could delay the application of postmarks to ballots.

“Voting early, whether in person or by mail, is good for all of our communities because it gives voters options, eases lines on Election Day and can even mean faster results,” said Hannah Fried, co-founder and CEO of the voting rights group All Voting Is Local.

The top official at the U.S. Postal Service also encouraged voters who cast ballots by mail to get them in early.

“We say seven days,” postmaster general David Steiner said in an interview. “Everything is solved if people vote early.”

In a news briefing Thursday, Minnesota Secretary of State Steve Simon urged people not to be swayed by stories they might have seen or read that cast doubt on election operations. They would be able to vote “just like they always have,” he said.

“I just want to reaffirm that Minnesota’s elections are fundamentally free, fair, accurate, honest and secure,” he said.

Swenson, Rankin and Raza write for the Associated Press. Swenson reported from New York and Raza from Sioux Falls, S.D. AP writer Mike Catalini in Philadelphia and AP video journalist Nathan Ellgren in Fairfax, Va., contributed to this report.

With a boisterous laugh, Giselle Bonilla recalls her introduction to Hollywood at the age of 12: on the set of “Freedom Writers,” the 2007 drama about at-risk high school students in Long Beach. She played a young version of Eva, one of the film’s main characters.

“I remember the first thing we shot was an initiation scene where I get the s— beat out of me,” she tells De Los, sitting at a coffee shop in Silver Lake on Sept. 11 (more on this date later). “They put this candy blood in my mouth, and I thought it was so fun.”

In retrospect, Bonilla, 31, finds great irony in how that initial foray into professional acting fictionally materialized her Mexican immigrant parents’ worst nightmare.

“We don’t come from money. They hustled all their lives and put my sister and I in private education, because they had this irrational fear that I would join a gang … then the first thing I ended up booking as an actor was getting initiated into a gang,” she says grinning.

Since that unique formative experience, Bonilla has traveled a winding path in and out of the industry, which ultimately led her to direct her first feature: the dark comedy “The Musical,” in theaters Friday.

The movie’s antihero, Doug (Will Brill), is a middle school theater teacher plotting his revenge against his ex-girlfriend Abigail (Gillian Jacobs), also a teacher — and her new boyfriend, the more charming Principal Brady (Rob Lowe).

Doug’s plan? To secretly persuade his young students to put on a musical about the horrors of 9/11 and its aftermath that’s certain to cause controversy and get the principal in trouble.

“I feel like you can be more honest with comedy,” says Bonilla about why this genre appeals to her. “You can get away with everything that you’re angry about and want to yell about. If you make them laugh first, people tend to listen.”

Left to right, back row: Alex Heller (screenwriter), Will Brill (center row) Gillian Jacobs, Giselle Bonilla (director) and Rob Lowe (on the floor) from “The Musical” at the Los Angeles Times 2026 Sundance Film Festival studio presented by Chase Sapphire in Park City, Utah on Jan. 24.

(Christina House / Los Angeles Times)

Though the actual show is only a small element of the narrative, it turned off distributors, who argued they wouldn’t be able to market a comedy that involved such a delicate subject.

Still, “The Musical” is making it to the big screen as a self-released title thanks to its executive producers, who believed in the film enough to put in more money for a release.

“I’m going to make sure people watch it regardless,” Bonilla says about being very involved in the marketing. “Even though it didn’t sell at Sundance, we still found a way, which is how we made the whole movie. It was nonstop fighting against the universe just to make a comedy.”

Less than a week before production started, Bonilla lost the actors who were originally playing Principal Brady and Abigail. As her film fell apart, she reached out to the industry contacts she had made after working as an assistant for a few years. Miraculously, the screenplay piqued Lowe’s interest. He came on board, essentially saving the project.

Will Brill and Rob Lowe star in “The Musical.”

(Blue Harbor Entertainment)

As a student at the AFI Conservatory, Bonilla had directed a short film version of “The Musical” that writer Alexander Heller, aware of her affinity for comedy, had conceived for Bonilla to direct. The core group of artists who made the short also worked on the feature.

And though she has always pushed for diversity on screen — including in her short films “Virgencita” and “Bullfighter” — for “The Musical,” Bonilla believed the adults had to be white.

“It would be way more damaging if I had pinned a brown person to be behind the staging of a musical about 9/11,” she explains. “It was very clear to me that this was a comedy about white liberalism and how people weaponize tragedy for their own agenda.”

When it came to the kids in Doug’s class, Bonilla wanted to reflect the multicultural mosaic that is the Los Angeles Unified School District. To be able to see herself in “The Musical,” Bonilla wanted a Latina girl as the child with the most ambition to succeed in the arts. That character became Lata: played in the feature by Melanie Herrera in her first acting credit.

“She’s a dancer. But she’s very precocious and has a really confident, type-A personality,” Bonilla says of the young actor. “Melanie gives Reese Witherspoon in ‘Election,’ like, ‘I will do whatever I have to do for the part,’ and I recognized that in myself as a kid.”

Filmmaker Giselle Bonilla on the set of “The Musical.”

(Peter McCollough)

An L.A. native raised in North Hollywood, Bonilla started doing improv at a young age encouraged by her father, Art Bonilla, who grew up in Tijuana and has worked as an actor in the U.S. for over 40 years.

Her mother, originally from Sinaloa, does workers’ compensation insurance, which provided a stable income and allowed her partner to pursue acting.

“It was tough seeing him struggle and not have any agency over work,” Bonilla says of her father. “He’s such a great actor and he’s really funny, but he’s always getting cast in these very small bit parts as a gardener or an immigrant crossing on the border.”

Unsurprisingly, when Bonilla began auditioning for roles as a teenager, similarly one-dimensional and stereotypical characters from a “troubling perspective” came her way.

“They always make the main character in those stories a white person,” she says. “And then we’re painted as these puppies that just keep getting beat up. I didn’t want to contribute to that.”

Bonilla’s interest in being on the other side of the camera solidified after playing an illiterate South Central high school student in the Byron Allen sitcom “Mr. Box Office.” She attended Pasadena City College, where she studied film production, then used the residuals from the show to help pay for her tuition at NYU Tisch School of the Arts.

Attending film school on the East Coast was, as she puts it, a necessary experience, because she grew up rather sheltered.

“I’m a first-gen Mexican American woman and I was supposed to live at home until I get married,” she explains; but it also exposed her to the concept of impostor syndrome.

“I always had this impostor syndrome at NYU, because that was where I first really confronted wealthy people,” she explains. “I had never been in a predominantly white institution before. And that was really eye-opening.”

It was only when COVID restrictions were lifted that Bonilla decided to apply to the AFI Conservatory, where she regained her confidence and met her now close collaborators.

She has, however, never forgotten her biggest and earliest supporters. Since she started directing, Bonilla has cast her father in many of her short films. And in “The Musical,” you can see both of her parents in the audience during the culminating school show.

“My dad is the one that yells at Rob Lowe at the end in slow motion. He’s pissed that I cut his line, but it was a union film, and we couldn’t afford to give my dad a line,” she says. “But he will be the first one to tell you that he’s not an extra. He did a ‘cameo!’”

“The Musical” director Gisella Bonilla poses at the Los Angeles Times 2026 Sundance Film Festival studio presented by Chase Sapphire in Park City, Utah, on Jan. 24.

(Christina House / Los Angeles Times)

Bonilla’s next project takes inspiration from her memories attending a Catholic school run by nuns in Sun Valley, where a teacher was discovered to be a pedophile. She describes it as “an erotic thriller told from the perspective of virgins.”

Once again, she’ll tackle an unsavory topic and figure out how to bring it to fruition; then distribute it come what may, because she refuses to be boxed in by the industry’s expectations.

“Identity stories are very important. If someone wants to do that, they should be able to do that,” Bonilla says. “But I don’t think our opportunity as Latinos should be limited to painting ourselves as victims against the supremacists.”

A solitary man believes he’s been wronged by a vast, overarching system. Feeling helpless to take it on directly, he picks up a gun and violently confronts the most powerful person he can think of who embodies his grievance.

It is a chilling dynamic that keeps repeating itself in American culture, and one at the heart of “American Hostage,” a dramatic miniseries making its debut Sunday on MGM+.

The eight-episode series re-creates the true story of Tony Kiritsis, an Indianapolis man who, in 1977, kidnapped Richard O. Hall, a mortgage broker whose family Kiritsis blamed for his own financial hardships.

The standoff lasted 63 hours, during which Kiritsis kept a shotgun attached by wire to Hall’s neck, and it became a national media spectacle. Throughout the crisis, Kiritsis made live calls to Fred Heckman, a local AM radio news broadcaster, pleading to listeners for the justice he believed he was due.

A half-century after this incident, not even the creators and stars of “American Hostage” can say for certain why we find stories like this so compelling — or why they keep happening in real life.

“We haven’t quite figured this situation out,” said Jon Hamm, who plays Heckman in “American Hostage” and is one of its executive producers.

Jon Hamm plays Fred Heckman, a radio news broadcaster, in “American Hostage” and is an executive producer.

(Jason Armond/Los Angeles Times)

The “Mad Men” star — no stranger to period pieces — said that beneath its retro production values and wide lapels, “American Hostage” is fundamentally about how people who feel voiceless in our society fight to be heard, even if the means is violence.

“There’s a lot that really resonates in the current media landscape and culture 50 years down the road, that people can still really connect with,” Hamm said.

Hamm and his colleagues hardly need to argue that point when the nation has been fixated on the case of Luigi Mangione, who in August pleaded guilty to federal charges in the December 2024 killing of Brian Thompson, the chief executive of UnitedHealthcare.

Though work on “American Hostage” had begun before Mangione’s crimes and the show was not inspired or motivated by them, series co-creator Shawn Ryan said that audiences have a boundless fascination with these types of stories — with or without any counterparts in current events.

“Dramatically, it’s always very interesting to see somebody do the wrong thing for the right reason,” Ryan said.

The TV series originated with a 2022 scripted podcast, produced by Criminal Content and also called “American Hostage,” on which Hamm also played the role of Heckman. It told of how Kiritsis, an Army veteran, enacted the kidnapping on his belief that the Hall family had swindled him on his mortgage — a loan for land where he had hoped to build a shopping center.

While Kiritsis sought to use Hall’s life as a bargaining chip for prosecutorial immunity, he also portrayed himself as an underdog taking on powerful financial interests. On the other end, Heckman wrestled with the moral predicament of giving airtime to a potential murderer while hoping to keep Hall alive. (Hall survived the ordeal and Kiritsis, acquitted of his crimes by reason of insanity, was later institutionalized.)

In the spring of 2022, Hamm approached Ryan, the creator of TV thrillers like “The Shield” and “The Night Agent,” with the idea of adapting the “American Hostage” podcast into a miniseries.

Ryan created the TV adaptation with Eileen Myers, a collaborator of his on shows like “Last Resort” and “Mad Dogs.” They both saw in the source material a story that was a combination of classic 1970s films like “Network” and “Dog Day Afternoon.”

(In a parallel development, Kiritsis’ story was also adapted into the Gus Van Sant film “Dead Man’s Wire,” which was a box-office disappointment earlier this year.)

Ryan and Myers said they were fascinated with how the American news media covered the kidnapping in instantaneous fashion and in an era long before the internet. In the 1970s, Ryan said, “There were fewer journalists and they were better and more trusted, and if Walter Cronkite said something, you believed it.”

Shawn Ryan, Jon Hamm and Eileen Myers executive produce the TV adaptation of “American Hostage.” Hamm approached Ryan, who brought in Myers to co-create and co-showrun the series.

(Jason Armond / Los Angeles Times)

The question that journalists like Heckman were confronted with, Myers said, was, “Do you allow a man who’s got a shotgun to somebody’s head dictate the terms of whether you’re going to put them on the air or not?”

Hamm, who has played alluring if ultimately disreputable characters on “Mad Men” and now Apple TV’s “Your Friends & Neighbors,” said he appreciated that “American Hostage” gave him a character who an audience can feel good about rooting for.

“I thought, I’m 55 years old,” Hamm said. “I was close to Fred’s age when this all went down. It was fun to play somebody morally conflicted that is actually on the good side.”

With some hesitation, Hamm pointed to the career trajectory of Bryan Cranston, who followed his celebrated heel turn on “Breaking Bad” with projects like “All the Way,” the play and TV film about President Lyndon B. Johnson.

“I don’t want to draw a comparison that’s stretching the bounds of reality,” Hamm said, “but Bryan went from Walter White to LBJ. You go, ‘All right — he’s still morally conflicted, but at least he’s on the right side of things.’”

“American Hostage” also benefited from the casting of Giovanni Ribisi (“Saving Private Ryan,” “Avatar,” “Sneaky Pete”), who brings a blend of volatility and humanity to the role of Tony Kiritsis.

Hamm recalled how Ribisi was in the midst of shooting another project — the upcoming Prime Video miniseries “The Greatest,” about Muhammad Ali — when he agreed to do a reading for “American Hostage” over Zoom.

“He brings value to every project he does, and he’s picky, as he should be,” Hamm said. “He’s a phenomenal DP — he might just go be a camera person or something if he wants to do it. So we were lucky to get him.”

Giovanni Ribisi plays Tony Kiritsis, the man who kidnapped Richard O. Hall. “So we were lucky to get him,” Hamm said.

(Steven Ackerman / MGM+/Sony Pictures Television)

There are of course unavoidable parallels between the stories of Kiritsis and Mangione, including the fact that both men were celebrated as folk heroes by some people who identified with their broader resentments.

But Hamm drew a crucial distinction between the two cases: Mangione “killed a guy,” he said. “He shot a man in cold blood. Like, I don’t care how good your point is. That’s not how we do it.”

Going back to the Boston Tea Party, Hamm said, every era of American history has had its dissidents who feel “wronged and done over by a system that is stacked against you” and are willing to take aggressive actions against it.

Hamm said that feeling persists and thrives today. “I think this is a big part of the rise of Trumpism,” he said. “I think this is a big part of the rise of the MAGA mentality, of ‘I have been done wrong and no one is hearing my complaints.’”

When those feelings go unaddressed for long enough, Hamm said, people will come to accept a certain amount of lawlessness from the figures they feel can solve their problems.

“We have a guy in the Oval Office right now who thinks that the laws don’t apply to him and a Supreme Court that said, ‘Yeah, they don’t — you can do whatever you want,’” he said.

For supporters of President Trump, Hamm said, “I think it’s fun for them to be able to flout the law and say, ‘Who cares?’ and all the things that they’re currently saying, but it’s not the principles that we were founded on.”

Hamm and Ryan make no secret of the fact that they’d like to keep “American Hostage” going as an anthology series and explore more of what Hamm called “these watershed moments of American life, to see how they rippled and how we got here from there.”

One could certainly imagine other events that would fit the show’s interest in real-life hostage crises that became media spectacles — the 1974 abduction of Patty Hearst; the 1963 kidnapping of Frank Sinatra Jr. — though Hamm kept any specific plans for the series close to the vest.

Perhaps the upper limits they face are the hours in a day to make and to broadcast the show.

“We’re living in great times right now for television,” Hamm said. “There’s so many opportunities to tell stories. Almost too many.”

We’re hunkered down in a dark stairwell on the side of a hotel facing a busy street in Hollywood. To passersby, we could easily be mistaken for two teenagers hiding in the shadows. In reality, I’m sitting with Kelela, the electronic R&B architect whose uncompromising vision has quietly reshaped the contours of alternative music.

Dressed in oversize sunglasses, an acid-washed tee, light blue jeans, checkered Vans and a vibrant auburn-colored French bob with micro bangs, she effortlessly rolls a joint with long ombre nails that mimic smoke and fire. She slips it between her lips and flicks a lighter stamped with a single word: Gotham.

(Robert Gauthier / Los Angeles Times)

Her lighter choice is pure coincidence, she says, but it fits the apocalyptic visual universe she’s built for “New Avatar,” her dark, guitar-heavy third album that merges her early D.C. indie roots with shoegaze, grunge, futuristic club music and R&B. Produced almost exclusively by Oscar Scheller — who has crafted tracks for PinkPantheress and Lily Allen — the 12-track project finds Kelela chasing intimacy, desire and emotional refuge in the midst of an increasingly chaotic world. From the color-inverted cover art to her icy white hair and bleached brows in the video for “idea 1” — a song that draws inspiration from Octavia Butler’s 1993 sci-fi classic “Parable of the Sower” — the world-building is unmistakable.

“I used it to describe the context … of these stories on the record,” Kelela explains about the Gotham visual concept. “It’s a basic reference, but it feels like it applies. It’s the context for people needing to be saved and everything being f— on some level, but there still being hope.”

Just a few miles from the Hollywood stairwell where we’re sitting, Kelela will translate her genre-flexing record for the stage at the Wiltern during two back-to-back shows on Sept. 21 and 22.

Although she’s a New Yorker now, Los Angeles plays a crucial role in her musical journey. In 2010, the Ethiopian American singer-songwriter moved to Venice to work as a nanny before taking a gig as a solar panel telemarketer — a job she picked to avoid moving back home but unexpectedly excelled at.

“I’ve sold solar power to hundreds of people in the L.A. area,” she quips. “I would level with people. I didn’t sound like a salesperson because I can’t sell something that doesn’t make sense.”

(Robert Gauthier / Los Angeles Times)

The job funded her first solo apartment in MacArthur Park, but an insurance payout from a totaled car ultimately gave her the financial runway to leave sales behind and focus solely on music. That freedom manifested into her debut mixtape “Cut 4 Me,” featuring fan favorites like “Send Me Out” and “Bank Head.”

“It’s a very L.A. story,” she says with a laugh.

More than 10 years after the breakthrough record, Kelela returned to L.A. to record “New Avatar” with Scheller at his home studio in Silver Lake.

During their first session, she played him “Outta Time,” a track featuring British singer-producer A.K. Paul (Jai Paul’s brother) that she’d been holding onto for a decade until she was ready to make her first guitar-centered album. She also showed Scheller her “white bag” playlist — a collection of indie, rock and alternative tracks she loved as a teenager, from Incubus to Deftones to the Red Hot Chili Peppers. He understood the assignment and by the end of their session, they walked away with two songs: the lead single “Idea 1” and the sensual, U.K. garage-infused “Don’t Piss Me Off.”

“I had a sketch and I think that felt very magical,” Kelela says.

Their natural flow was part of the reason why Kelela was able to release “New Avatar” sooner than previous albums. It arrives just three years after its predecessor, “Raven.”

(Robert Gauthier / Los Angeles Times)

But leaning into her “white bag” wasn’t just about nostalgia. It’s a return for the artist who was once the frontwoman of indie rockers Dizzy Spells and was rocking out with her then-boyfriend, guitarist Tosin Abasi (of Animals as Leaders). It’s also a direct confrontation with the industry’s racialized genre boxes — a phenomenon Kelela identifies as “sonic racism.”

“It’s designed to keep us apart, to keep us out,” she says, “and I think clocking that is really important.”

She points to the unspoken kinship that forms when Black fans who love heavier guitar music find each other in white-dominated crowds.

“When they meet it’s a different type of bond through the music — like ‘I’ve always felt on the outside,’ but also ‘We are so inside,’” she says. “That catharsis is another feeling and I knew so much of my audience had an experience with this music, but maybe had to compartmentalize and be on the outside in order to enjoy it.” With “New Avatar,” she wanted to “dismantle and disrupt” that dissonance without abandoning her R&B roots, she says.

(Robert Gauthier / Los Angeles Times)

That philosophy echoes through the record’s lyricism. Where 2023’s “Raven,” a rave-inspired, post-pandemic offering that ruminated on the times and being firm in your boundaries, “New Avatar” is its older sister who is a bit more wise and speaks with even sharper conviction.

“We need space to feel over it,” she says, “and to not be considered Debbie Downers. That’s basically the role that Black women have been sort of relegated to — to be truth tellers. Then everyone’s like ‘Ugh, come on…’ But it’s like we’re laughing all the time. I’m so happy. I’m not unhappy.”

She adds, “The key is not rooted in escapism. The key is rooted in being honest about what you saw, and that’s kind of the tradition that I’d want my work to live in.”

On “Point Blank,” Kelela explores the emotional labor for a woman in a one-sided relationship: “By now, I hope you see/That bullet set me free/And the more I pour, the more you reap/And I’m too spent too weep.” As the title implies, “Don’t Piss Me Off” sees a woman losing her patience with a lover: “Know you want me/Tell me I’m wrong/Takin’ all night/Don’t piss me off.” But by the album’s closer “If We Meet Again,” she cuts ties entirely: “If we ever amend/Nevermind, over and out.”

“A lot of the songs are like “Y’all ain’t s—,’” she says laughing, “But I try to say it in an artful way.”

Two bright spots on the album arrive in the final act: the dream pop-infused “New Life Forms” featuring Fousheé and “The Bridge,” a song about yearning with PinkPantheress, who returned the favor after Kelela appeared on her track “Bury Me.” Directed by Yasser Abubeker, “The Bridge” music video features a memorable, sultry dance number between the two singers — a sequence Kelela encouraged fans to learn before her shows.

“I cried the first time that Yasser sent me the edit,” she says. “It’s like a love letter to Black queer culture, our intimacy. It’s so sexy without me and her having an overt love interest. It just feels so implied in this smart way.”

The day before we met in Hollywood, Kelela gave an intimate live performance for Spotify. Backed by an all-Black femme band featuring a string quartet, guitar, bass and backup vocals, she performed “Idea 1” and a cover of Incubus’ “Mexico” — a rendition that earned her praise on social media from Incubus’ frontman, Brandon Boyd, himself.

“It’s a really important image,” says Kelela about the video. “In addition to it sounding exquisite, I’m not gonna lie, it also tore visually and symbolically.”

She’ll also be backed by a full band during her “New Avatar Live” tour, which she envisions as a high-energy rave that could break into a mosh pit at any moment.

(Robert Gauthier / Los Angeles Times)

“It’s another medium for me to be able to articulate or dismantle those constructs around what makes sense together,” Kelela says. “It’s going to be first and foremost — like any record or anything that I do — cathartic for me.”

She continues, “So I’m going to be living my best f— life and through that I know I will give a good show because it just excites me. It’s a dream come true to be able to pull these things together.”

SACRAMENTO — With just over six weeks until the Nov. 3 election, the two candidates for California governor hit the campaign trail Thursday to promote plans to address the state’s high cost of living and continue rebuilding after the deadly wildfires that burned thousands of Los Angeles homes last year.

Democrat Xavier Becerra and Republican Steve Hilton are vying to replace termed-out Gov. Gavin Newsom, who is considering a run for president in 2028.

While Becerra holds a comfortable lead in the solidly-Democratic state, according to recent opinion polls, Hilton has aggressively attacked the veteran Democratic official as an “empty suit” who would bend to special interests in Sacramento.

“Xavier Becerra will be a rubber stamp for Democrat laws that raise your costs. That is the simple choice in this election,” Hilton said during a morning press conference in front of the state Capitol.

With a stack of file boxes representing the more than 1,100 bills passed by the legislature this year towering over him, Hilton, a former Fox News host and one-time advisor to a UK prime minister, pledged to veto any bill that would lead to higher costs if he is elected governor.

“We have to go in a new direction. Lower your costs, cut the BS, the bureaucracy, and these bills that raise costs for every Californian,” he said.

Hilton called out bills now on Newsom’s desk that would expand the state’s antitrust law and tighten rules for packaging made of recycled materials, measures opposed by business groups. Another signed by Newsom earlier this year allows Los Angeles and Contra Costa counties to surpass a 2% limit on local sales taxes.

California Republican gubernatorial candidate Steve Hilton speaks during a town hall with union film industry workers at Blue Cloud Movie Ranch on Wednesday in Santa Clarita.

(Justin Sullivan / Getty Images)

He has promised to slash state regulations and the government workforce to deliver $3 gas, tax-free earnings up to $150,000 and vehicle registration fees capped at $73.

Becerra, a former secretary of U.S. Health and Human Services, met with survivors of the devastating 2025 Altadena wildfires, first responders and community leaders before outlining his plans to prevent such destruction and to deal with fires when they do inevitably break out.

Becerra said his first priority is to secure the $30 billion in disaster aid that the federal government has failed to deliver.

“Job one, if I’m fortunate to become the governor, will be to fight, fight, and fight, get that money that people for nearly two years here in Altadena and the Palisades and elsewhere have been waiting for,” he said, speaking to reporters on what used to be the deck of a home belonging to a member of the Altadena Town Council.

Becerra recalled that during his 24 years in Congress there was widespread, bipartisan support for sending federal assistance to disaster areas, including areas devastated by hurricanes on the Eastern Seaboard or floods in the South. California deserves the same response, he said.

He said he would seek to leverage tax dollars to help communities better prepare for wildfires, creating buffers and hardening structures because of wildfires that will inevitably occur in certain communities.

“It’s not a matter of if, it’s a matter of when,” Becerra said.

Becerra said he would seek to work with local governments to create a functional emergency alert system throughout the state. In the aftermath of 2025 wildfires, there was heavy criticism about delayed emergency notifications and evacuation orders.

He also said that wildfires now occur year-round, not just during what was once called fire season, and it was critical to make sure that firefighters were prepared to respond year round by not expecting them to work more than 60 or 70 hours per week when a fire breaks out.

“We want people to stay in these positions because when the fires hit, we can’t be asking where is the fire force,” he said.

When asked about the cost of gas, Becerra blamed the Trump administration for a “reckless, illegal war in Iran” and “crazy, illegal” tariffs that have contributed to higher prices.

Hilton, who is endorsed by President Trump, blamed the state’s high cost of living squarely on state policies, not on fuel prices driven up by the war.

“We don’t need to make changes at the federal level to lower peoples’ costs in California,” Hilton said. “I’m focused on what I can do as governor to lower costs in California, and that is to roll back the Democrat policies that have given us the highest costs. It’s not federal policies that have given us the highest gas prices in the country, it’s Democrat policies in California.”

A Public Policy Institute of California survey released earlier this week showed Becerra with a 22-point lead over Hilton, driven by Democrats’ large voter registration advantage.

According to a May report from the Secretary of State’s office, just under 45% of voters were registered as Democrats, 25% Republicans and 22% with no party preference. The remaining 7% were registered with another political party.

Becerra and Hilton are scheduled to meet in a Sept. 30 debate hosted by CNN.

An unprecedented surge in border crossings over the last decade reshaped America: Millions of people from more than 150 countries arrived, bringing the U.S. immigrant population to its highest levels.

Now, data obtained exclusively by the Associated Press paint a picture of who these migrants are, where they went and what happened after the border.

Some went to cities that have long been magnets for immigrants — New York, Miami — but increasingly, others found their way to smaller cities with less developed immigrant footholds. Blocks, neighborhoods and entire cities were remade in places like Elkhart, Ind., Knoxville, Tenn.,and Dodge City, Kan.

And while the vast majority of migrants traditionally were from Mexico, this surge included people from an astonishing number and diversity of countries: India, Ecuador, Ghana.

Via a Freedom of Information Act request, AP obtained federal records on the self-reported destinations of 4.5 million migrants released in the United States after crossing the Mexican border — both legally and illegally — between October 2018 and July 2025.

Migrants must provide U.S. Customs and Border Protection with a street address. AP obtained their destination ZIP codes, citizenship by country, ages, genders and the dates and border regions where they encountered authorities.

Some probably never arrived at the addresses they gave. Authorities lacked resources to check, though migrants must report truthfully to pursue their cases in court and get work permits. Some have moved elsewhere in the United States or left the country, voluntarily or involuntarily. But many have stayed put.

Data on their initial destinations after the southern border provides both a sweeping and an unusually granular look at how the immigration surge — one that peaked during President Biden’s administration and was a major reason voters returned his predecessor, Donald Trump, to the White House — is playing out today.

Here are some key takeaways from the data.

Cities drew migrants from several continents

The Border Patrol encountered migrants from 174 countries in one year alone, a sharp departure from earlier periods when they were nearly all Mexican and Central American. The growth of social media and new migration routes were key in bringing people from around the world. Cincinnati, for example, experienced a large number of arrivals from West Africa, Uzbekistan and India.

Some cities — ones that for generations have had robust international communities — were further diversified by the range of countries from which people arrived.

New York City’s Queens borough registered at least 25 nationalities with significant arrivals, including five countries that each sent more than 7,000 people: Ecuador, China, Colombia, Venezuela and India.

Philadelphia had 11 nationalities with at least 1,000 new arrivals, led by Brazil, Haiti and the Dominican Republic but also including Russia and Venezuela. The city’s metro area also received more than 1,000 migrants from Georgia.

Florida remained No. 1, but many people looked elsewhere

While Florida was the most popular state, Latin American immigrants increasingly looked elsewhere for more promising job prospects and a better quality of life. Many turned to places with small but established communities of immigrants from their homelands.

For Cubans, nine of the top 10 destination ZIP codes were in Florida, but people of the Caribbean nation also flocked to Louisville, Ky., Grand Island, Neb., and Odessa, Texas. Colombians went to the Denver suburb of Aurora. Paterson, N.J., was the top pick among Peruvians. Some Venezuelans headed to the growing suburbs south of Salt Lake City; others to pockets of Atlanta, Chicago and Denver.

More women and children came than men

Nearly 6 of every 10 migrants released at the border were women and children, a dramatic shift from a few years earlier when migrants were predominantly men.

The change is visible in many places and across nationalities, but some stand out. Tulsa, Okla., attracted Mexican women and children. Ecuadorian women and children went to Spring Valley, N.Y. Guatemalan women were drawn to Chattanooga, Tenn.

Those who came from China headed to L.A. and New York

Chinese migrants, who trekked by hundreds nightly in California’s mountainous border with Mexico, largely gravitated to two places: New York City, especially the Queens and Brooklyn boroughs, and a cluster of neighborhoods in the Los Angeles area.

Trump’s deportation machine hit some migrant magnets and overlooked others

Immigration arrests have hit some areas that ranked among the most popular destinations for migrants in recent years, including Miami and New York. Others that experienced a large migrant influx have gotten less attention from authorities, including Silicon Valley, Madison, Wis, and Stamford, Conn.

Jarrett, Kessler, Lodhi and Spagat write for the Associated Press.

WASHINGTON — The unprecedented spate of mid-decade redistricting for the U.S. House has changed the congressional districts for one-tenth of Americans and significantly altered the makeup of at least one-fifth of districts, according to a new study.

A report by Protect Democracy found that 34.8 million people — about one in 10 Americans — now live in a different district than they did during the 2024 election cycle. And about one-fifth of all Americans now live in a district where more than a quarter of voters are new to the district compared with the last election cycle.

The findings display the stark overhaul that partisan redistricting fights kicked off by President Trump last year have caused for Americans across the country. The new congressional maps are increasingly drawn in ways that favor partisan politics over factors like geography and shared communities. That raises concerns among scholars about how the country’s hyperpolarized politics are affecting American democracy.

“If this trend continues, it really brings into question whether or not elected officials are really representing their constituents anymore, or if the voters are being randomly picked by mapmakers to squeeze out partisan advantage,” said Ben Raderstorf, a policy advocate at Protect Democracy and one of the paper’s co-authors.

The bare-knuckled partisan redistricting battle for the House began when Trump urged the Republican-controlled legislature in Texas, the second most populous state, to redraw its congressional map to help the party. The highly unusual plan prompted an immediate response from California, the most populous state, which held a successful referendum to tilt its map toward Democrats.

Other states followed, and Republicans are positioned to potentially gain nine seats because of redistricting.

The Protect Democracy report warns that such partisan tactics reduce faith in American elections generally and insulate incumbent lawmakers from public opinion. That can make political organizing more difficult, the report cautioned, potentially worsening the country’s already highly polarized politics. Both parties may also enter a “doom loop” where they embrace more aggressive and frequent redistricting efforts to avoid ceding any ground to their rivals.

In some states such as Missouri, the mid-decade redistricting has created confusion for voters about which district they live in and which candidates will appear on their November ballot. After conflicting lower court rulings, the U.S. Supreme Court last week blocked new Missouri districts backed by Trump that had been used in the primary, leaving the state to revert to its previous districts for the general election.

The report concludes with a call for new electoral structures the authors believe would eliminate the potential downsides of partisan redistricting, like proportional representation or a formal truce between the parties to implement nonpartisan districting plans.

Nine states already use nonpartisan commissions to draw congressional district lines but those provisions have limits. California, for instance, suspended its nonpartisan maps with a referendum last year in response to Texas’ redistricting measures.

Such remedies would face long odds in Congress and statehouses, but scholars believe there are few other avenues to turn down the temperature in the partisan redistricting fights.

“This is only going to get worse until somebody stops it,” Raderstorf said. “The logic of gerrymandering points inevitably towards maximalist partisan advantage on both sides. There is no off-ramp other than reform. It is the only way to break the cycle.”

Brown writes for the Associated Press.

MIDVALE, Utah — Snow-covered mountains ringing a valley of wide, free-flowing roads remind Venezuelan transplants that the growing suburbs south of Salt Lake City offer what Miami can’t.

One million Venezuelans were released into the United States after crossing the Mexican border during a record immigration surge, and many shunned Miami and other longtime immigrant footholds for smaller places with less established communities — a pattern found in an exclusive Associated Press analysis of federal data from fall 2018 to summer 2025.

These cities and towns promised better jobs, cheaper homes, less traffic and higher quality of life, outweighing Florida’s allure of tropical weather and ease of getting by on Spanish alone.

Enrique Vera, 32, crossed the border in Yuma, Arizona, in 2021 and went to Miami to settle with his mother, who’d been there six years. But he found Florida untenable, he told AP — “the work, the conditions, the low pay.”

After less than two weeks there, Vera and his mother accepted a cousin’s invitation to Utah. In the southern suburbs, with massive new housing tracts and pristine shopping centers, Vera found factory work but soon quit to turn a hobby baking for co-workers into his own business. Today he employs 15 people — many, like him, asylum seekers — at a warehouse and two bakeries.

Utah — known as a relatively immigrant-friendly state despite deep Republican roots and support for President Donald Trump — became a top destination for Venezuelans crossing the border, along with parts of the Chicago, Denver, Atlanta, Dallas and Houston metro areas, AP’s data show. Venezuelans also went to smaller cities including Madison, Wisconsin; Albuquerque, New Mexico; and Savannah, Georgia.

It’s a pattern playing out across the U.S.: Some Cubans eschewed Florida and went to Louisville, Kentucky, and Odessa, Texas; Colombians chose the Boston and Denver areas; and Paterson, New Jersey, was the top pick among Peruvians.

These communities have both benefited from the influx of people and struggled to integrate their new arrivals.

Venezuelans stand out for their sheer numbers. About 8 million people, or one-fourth of the country’s population, have fled since 2014, many to the United States. About 30,000 of the 1 million released into the U.S. in AP’s data said they were going directly to Utah.

For Venezuelans in Utah, Trump’s deportation drive has instilled widespread fear

Despite the growing population here, there are few Venezuelan flags, bumper stickers or displays of patriotism on the bustling commercial strips of Midvale, an older suburb of about 40,000 people at the interchange of two highways. Signs are generally in English. The Venezuelan population has mixed in with the largely white population as new houses, malls, office parks and warehouses have gobbled up barren hillsides to meet demand for cheaper land.

President Donald Trump’s immigration crackdown instilled fear and made Venezuelans less visible since 2023, when arrivals peaked in Utah and in the United States as a whole. Everyone here seems to know someone who returned to Venezuela voluntarily because they feared being detained and deported or because they lost their work authorization.

In May 2025, Alberto Salcedo opened the parking lot of his Centro de Apoyo Familiar Church to Venezuelan food trucks. The asylum-seeking evangelical pastor dreamed of creating a vibrant gathering spot for Venezuelan immigrants. Nearly 20 vendors and 5,000 visitors came each week, he said, with trucks serving empanadas, arepas, even burgers and sushi. But that dropped down to maybe five vendors and a few hundred people. The fear of deportation is real, he said.

Restaurant owner Fidel Arrieta said it’s affected his business, too. He opened Arempa’s, his first restaurant in downtown Salt Lake City in 2019, drawing non-Latino customers and Venezuelan immigrants alike. Arempa’s — where the walls are filled with photos of Venezuelan waterfalls, an image of Mona Lisa eating an arepa and Miss Venezuela portraits — grew to five restaurants. But three closed in the last year as business slowed.

Arrieta’s wife — co-owner Sandy Arrieta — wanted to stay open. But he believes nothing will turn around while Trump’s in office.

“Until the government changes, the problems will not end,” said Fidel, 65, who immigrated in 1994.

For proof of the growing Venezuelan population, look no further than Utah’s churches

In 2001, Gregorio Rausseo immigrated to Utah, knowing no one. Fast-forward more than two decades, to 2023: Rausseo had just started as pastor at Saint Therese of the Child Jesus Church and was ready for the annual celebration of the patron saint of Zulia, an oil-rich Venezuelan state that includes Maracaibo, the country’s second-largest city. He was shocked to see more than 1,000 parishioners snake into the lobby and parking lot.

“I asked the deacon, ‘All of them are Venezuelan?’ He said … ‘They are all Maracuchos,’” a term for someone from Maracaibo.

Today, Rausseo estimates about 40% of his church’s more than 700 families are Venezuelan immigrants.

Carlos Trujillo, a 42-year-old lawyer who handles immigration cases, puts Venezuelan immigrants in three categories: those who came for the Church of Jesus Christ of Latter-day Saints; those who came to join family or friends; and those who came knowing no one. He has repeatedly heard variations of, “This is a place where I can bring my family and have a start.”

Trujillo — who immigrated in 2001, as an 18-year-old whose parents decided he would do better living with family closer to the Mormon church headquarters — said his firm has about 1,700 immigration cases, with staff fielding calls in a large room resembling a call center.

Many of the Venezuelans here came after COVID hit, flying to the Mexican border before January 2022, when Mexico tightened travel restrictions for Venezuelans. That prompted hundreds of thousands to walk through the Darien Gap, a jungle in Panama and Colombia, on a grueling journey through at least eight countries.

Ashly Estupinan, 18, walked the jungle with her grandmother. In Mexico, they used the appointment app CBP One to enter the U.S. in San Diego. Trump ended CBP One on his first day in office, two years after his predecessor, Joe Biden, started it and let more than 900,000 people come legally with two-year permits.

Estupinan, who graduated high school this spring, and her grandmother chose Utah because her uncle was there. “It’s very tranquil, very pretty, the people are very friendly,” she said.

Word of mouth and family advice brought many to Utah

Juan Gonzalez, 41, a cook at Arempa’s, walked the jungle for four days with his brother — passing corpses, he said — before eventually crossing the U.S. border in Texas. He went to Utah on the advice of a distant cousin.

“He had gone to other states, and Utah struck him as the best one,” Gonzalez said, noting he’s drawn to the state’s “strong economy.”

Many Venezuelan immigrants here work in food service — at restaurants or selling meals from their homes. Some proudly noted that a local Walmart now stocks special flour for arepas.

Others cycle through low-wage jobs: construction, nail salons, warehouse and factory work.

Gonzalo Rodriguez, 39, worked as a laborer, carpenter and office manager before rising to general manager of Fillerup Employment Services, a construction company. He said it had about 25 Venezuelans in its workforce of about 300 when he arrived in 2020. By 2022, that grew to 165.

At one point, Rodriguez said, Venezuelans camped in tents on the sidewalk at the company’s office park in suburban Sandy, waiting for work and accepting food while migrant shelters were full.

Julio Gonzalez, 33, climbed company ranks from laborer to human resources manager after crossing the border in 2021 with his wife and son, then 9, in Del Rio, Texas. A friend in Utah told him it was a good place to live. Many here agree, saying they’ve felt no pervasive racism in Utah.

It was a welcome change for Gonzalez, who said he lived in Panama for six years under anti-Venezuelan xenophobia that prompted his move to the United States.

Hector Escalona, 42, also started in construction at Fillerup, then opened a barber shop in 2022. He now has 27 barber chairs at three shops, and many employees are Venezuelan. He said he’s expanding his business even with uncertainty about his asylum case.

Others have had less financial success.

Adaya Amaya, 47, ran a catering business from her home and now operates a food truck but barely gets by. She crossed the border in 2021 with her daughter, now 9, and father, now 74. They relied at times on a food bank. She knows other Venezuelans who’ve slept in their cars.

Her father gave up his asylum claim in June to return to Maracaibo because he didn’t want to burden her.

Some wonder: Is goodwill toward immigrants cooling in Utah?

In the 2024 election, Trump — and his immigration enforcement campaign messages — won Utah by 22 points. The same year, Carlos Moreno, who won asylum after fleeing Venezuela in 2009, was elected to the Salt Lake County Council.

The state’s immigrant-friendly reputation is tied to the Utah Compact, a 2010 document signed by hundreds of local governments, businesses and civic leaders that endorses “common-sense immigration reforms that will strengthen our economy, as well as attract talent and business to our state.”

But Trujillo, the immigration attorney, said goodwill cooled during the Biden-era immigration surge and some elected leaders who were allies became more guarded in public comments.

Gov. Spencer Cox called the Venezuelan Tren de Aragua gang “a growing threat in Utah” in 2024, but few major crimes in the state have been linked to the group.

Venezuelan immigrants repeatedly told AP that a small minority of their own are their worst enemies — not just those who commit crimes but those who drink in public, play loud music and repair cars in the street. They say that while some of that behavior may be accepted in Venezuela, they must adopt local norms.

“It makes me angry,” said Joiren Rangel, who arrived in 2018 and worked at an Amazon warehouse before opening two Venezuelan restaurants, one of which closed last year. “We saw that we were in a different country and had to abide by the rules. In Venezuela, I would drive with my daughter seated on my lap. I would never do that here.”

Many here are still waiting on their asylum cases

Some asylum seekers were told to wait 10 years for an initial appointment in 2023, but the government has moved aggressively to winnow the backlog. Still, about 500,000 Venezuelans have pending cases in immigration court, more than any other nationality.

Loreana Pachano, who spent much of her childhood in Miami, has been waiting 10 years for an asylum interview. She was increasingly impatient but now wonders whether she might do better if her case remains open until after Trump leaves office.

She and her husband settled in Florida but tired of long commutes and anti-Venezuelan sentiment. They moved to Utah after a friend told her that construction wages were significantly higher. “If we had to start from scratch, how about we start from scratch somewhere else?” she remembers thinking.

Now a real estate agent, she sells houses to asylum seekers who crossed the border and has seen the impact of Trump’s policies — for example, a bank closing on a house that a Venezuelan client gave up because she lost work authorization when Trump ended Temporary Protected Status for more than 600,000 Venezuelans.

“It feels like we’re building on quicksand. We’re trying to build a future here for ourselves, for our kids,” said Pachano, who flips homes and owns trucking and construction businesses with her husband while raising their 3- and 7-year-old daughters.

“Are we going to be here by the time we reach retirement age? We don’t know. You don’t know when the rug is going to be pulled right under your feet.”

Spagat writes for the Associated Press. AP reporter Aaron Kessler contributed to this report.

KYIV: A Russian drone struck a passenger bus in southern Ukraine early Wednesday, killing five people and wounding at least seven in the latest in a series of Russian strikes on civilian transportation.

Ukrainian President Volodymyr Zelensky called the attack an atrocity with no military purpose.

The strike occurred in the Nikopol district of Ukraine’s Dnipropetrovsk region, near the war’s southern front line. Oleksandr Hanzha, head of the regional military administration, said that all five were killed at the scene while the seven wounded were receiving medical care.

Zelensky described the vehicle as a minibus and said in an X post that the strike had “no military rationale” and that it was “just another atrocity.” He said the strike was connected to Russia’s targeting of logistics and critical infrastructure that has continued “unabated.”

Zelensky said that a passenger train was also struck in the Mykolaiv region on Wednesday, damaging a railway station and a diesel locomotive. Nearly 170 passengers on board the train were evacuated before the strike. An electric locomotive in the northwestern city of Kovel was also struck, Zelensky said.

Ukraine requests locomotives from partners

Russian strikes on Ukraine’s rail network have resulted in more than 500 locomotives being damaged or completely destroyed since the beginning of the all-out war on Feb. 24, 2022, with more than half those strikes occurring this year, Ukrainian Foreign Minister Andrii Sybiha wrote on X on Tuesday.

Sybiha described such attacks as “systematic” and aimed at disrupting logistics across Ukraine. He said that Ukraine urgently needs replacements for damaged locomotives, and called on the country’s partners to assist in finding locomotives compatible with its 1,520-millimeter rail gauge and to assist in financing.

In another post on X on Wednesday, Sybiha said that Russian forces were striking passenger trains, locomotives, stations and railway routes “knowing exactly how essential they are for civilians, evacuations and Ukraine’s economy.”

“This is not collateral damage. It is a systematic hunt for people and an attempt to (paralyze) civilian life,” he wrote.

Zelensky says there is no truce on halting energy strikes

In an interview with CBS News on Tuesday, Zelensky pushed back against an earlier claim by US President Donald Trump that Ukraine and Russia had agreed to mutually cease attacks on each other’s energy infrastructure. Zelensky said that Ukraine was ready to enter such an agreement, if Russia stops striking Ukrainian energy facilities.

Trump said in a social media post Monday that such a truce had been reached, but didn’t offer details on the purported agreement. Previous efforts to broker even a partial ceasefire have repeatedly fallen apart within hours, with both sides accusing the other of violations.

In the CBS interview, Zelensky said that the possibility of an energy truce was discussed during a recent meeting in Kyiv with Trump’s representatives, Steve Witkoff and Jared Kushner, but that he had told them: “If the Russians are ready for an energy truce, that means there will be no attacks on energy facilities at all.”

Russia decorates ship captain who fired flares at Danish helicopter

Russia’s Defense Ministry said Wednesday that the captain of a Russian warship that fired two signal flares toward a Danish military helicopter on Monday, drawing ire from Denmark, has been awarded a medal for his “competent and resolute action.”

The ministry said in a statement that the Soobrazitelny corvette was on a mission in neutral waters in the Baltic Sea when its crew spotted the approaching helicopter, which failed to respond to calls made via the international communication channel.

“To prevent a provocation by the Danish helicopter, the corvette commander decided to fire two red signal flares, after which the helicopter left the area where the Russian warship was located,” the ministry said.

Russian Foreign Minister Sergey Lavrov said Wednesday that Moscow has no aggressive intentions toward Europe, but that if countries on the continent were to launch an attack on Russia, “it would be a completely different kind of war, and a very short one.”

Russian general killed in Ukrainian drone strike

The deputy head of the Russian armed forces’ military-political department, Lt. Gen. Apti Alaudinov, confirmed Wednesday that a decorated Russian general had been killed in the occupied Donetsk region.

Alaudinov, who didn’t provide details on the circumstances of Maj. Gen. Anton Grunis’ death, hailed the officer as “a hero” and “one of the most respected generals … a real man and officer and a great patriot.”

The confirmation of Grunis’ death came after Robert “Magyar” Brovdi, commander of Ukraine’s Unmanned Systems Forces, alleged on Wednesday that Grunis had been killed in occupied Donetsk by a Ukrainian drone while at a command post in the village of Kindrativka.

In July, Grunis reported to Russian President Vladimir Putin that his troops had captured the town of Kostiantynivka and he was later awarded the Hero of Russia medal. Ukraine has disputed that Kostiantynivka was fully taken by Russian forces.

Grunis had previously fought in Chechnya, a mainly Muslim republic whose bid for independence after the Soviet Union’s collapse led to years of war with Russian government forces. He also took part in Russia’s campaign in Syria.

In Ukraine, he commanded the 4th Guards Motorized Infantry Brigade.

Meanwhile, 17 other sites were damaged in Ukraine’s Kyiv region between Tuesday and Wednesday morning, according to the head of the Kyiv regional military administration, Tymur Tkachenko. Eight private homes, five vehicles, a municipal building, a hangar and a production facility were among the sites damaged, Tkachenko said on Telegram.

Zelensky said on X that the Kherson, Donetsk and Poltava regions had also come under attack.

In the northern city of Sumy, six people were injured in a Russian guided aerial bomb attack, including a 14-year-old girl, according to the head of the Sumy regional military administration Oleh Hryhorov. Two homes were destroyed and 10 others damaged in the strikes, along with damage to an educational facility, Hryhorov said, adding that two other men were hospitalized after a separate strike hit an industrial zone.

In the port city of Odesa, one person was killed in a Russian attack that sparked a fire at garages and damaged vehicles and private homes, Serhii Lysak, head of the city’s military administration, wrote on Telegram Wednesday.

Russia’s Defense Ministry said that its air defenses downed 71 Ukrainian drones overnight. In the Belgorod region, one person was killed and four others were wounded by Ukrainian strikes over the last 24 hours, according to acting governor Alexander Shuvayev.

Prosecutors said that the group worked on behalf of Russian intelligence services to carry out attacks and murders around the world.

Five people have been charged over alleged Russian intelligence-linked plots involving surveillance, recruitment and planned killings, according to an indictment unsealed by the United States Department of Justice.

Prosecutors said on Tuesday that the group worked on behalf of Russian intelligence services to carry out attacks and murders internationally, including within the US, and that all five remain at large.

The defendants were identified as Russian national Yuri Khrameev, 63, his son Kirill Khrameev, 27, Cubans Oemis Romagoza Durruthy and Yaidel Delgado Suarez, both 35, and 22-year-old Venezuelan Angel Eduardo Castro.

All five were charged with conspiring to finance terrorism, while Khrameev, Suarez and Castro face additional charges of conspiring to commit murder for hire.

At a news conference, Attorney General Todd Blanche said the plots included attempts to kill a Russian dissident believed to be living in the Washington, DC area.

Justice Department officials said the network had recruited several people in the US to carry out surveillance on Russian dissidents, targeting individuals both domestically and in Lithuania.

In one instance, a recruit was reportedly promised $40,000 to make a US-based target “disappear”. A separate recruit was allegedly offered $25,000 the previous year to kill someone in Lithuania.

Russia’s embassy in the US has not commented on the case. Moscow has consistently rejected accusations that it has orchestrated assassination operations on foreign soil, including in the US.

Early in life I discovered I had a particular affliction, and that was a proclivity for spending time at theme parks. I only phrase it that way because I understand some may find such a desire peculiar, which has made me particularly attuned to many comments about theme parks, especially those that aren’t positive.

Too hot, too crowded, too expensive or simply geared only for children. And while I’m happy to discuss or debate all aforementioned topics, there’s one particular criticism that I find especially grating: Theme parks are fake.

This is the argument that they are heavily fabricated and designed to elicit an emotional response, or worse, manipulate us. And it’s one I hear time and time again from grown-up peers. Over the years, it’s cropped up from friends. “Why do you go there?” they will say. “Everything is fake.” It’s appeared in books such as Henry A. Giroux’s and Grace Pollock’s scathing “The Mouse that Roared,” which dismisses the parks as presenting an “infantilized” worldview. And I’ve heard it from people I’ve interviewed, such as the USC professor of psychology who told me that theme parks were so fake, they forbade surprises.

The criticism irks me, in part, because of what it implies. By dismissing a Disneyland or a Universal Studios park as “fake,” there’s an implication that something is “more real.” A national park, perhaps, or a dedicated art institution. I adore those types of spaces as well, of course, but there’s an ignorant snobbery to this sort of remark, a thumbing of the nose that seems to argue I should spend some of my free time elsewhere.

This has been on my mind of late for a pair of reasons. One, I recently visited the Lucas Museum of Narrative Art and have been consumed with the discourse surrounding the value of story-driven art. And two, I recently read “Floating Mountains: The Art of Imagining the Impossible” by famed Disney designer Joe Rohde. The book is many things — an impassioned dissection of creative collaboration, a look at Rohde’s 40 years with Walt Disney Imagineering — but it is also a subtle argument that theme parks are vital, artistic spaces.

A statue of Walt Disney and Mickey Mouse in front of a very real fantasy castle.

(Christina House / Los Angeles Times)

I agree, and so I decided to bring up my pet peeve while talking to Rohde at the recent all-things-Disney fan convention D23.

“It’s a very odd criticism,” Rohde says of the knock on theme parks as being fake.

“Of course they are not real,” he tells me. “Movies are not real. Theater is not real. It’s like René Magritte, ‘Ceci n’est pas une pipe.’ Of course, a picture of a pipe is not a pipe. I don’t understand why that is an issue. It is a creation. In some cases it is a photo-realistic creation. In some cases it is a stylistic creation. But it is a creation. That’s what makes it a work of art.”

In “Floating Mountains,” Rohde, the primary creative behind the stunning Disney’s Animal Kingdom (second only to the original Disneyland in my mind), documents the myriad of disciplines that must come together to create such spaces. Animal Kingdom is full of real-world details. I can spend days exploring just the Africa section of the park, reading anti-poaching signs and piecing together a story that helps inform the area’s magnificent safari ride.

This is a work of art, albeit a less understood one, for narrative place-making and environmental storytelling are borderline experimental, less common than, say, a book or a film. Place-making requires that we not just take in our surroundings but constantly analyze them for story insights.

Joe Rohde, in 2017, discussing Pandora — the World of Avatar at Disney’s Animal Kingdom in Florida’s Walt Disney World.

(Jay L. Clendenin / Los Angeles Times)

Rohde also notes the degree to which Imagineers are taking influence from real-world spaces in an effort to bring narrative details into the parks, ensuring they appear at once familiar and fantastical. In the case of Animal Kingdom, it was Africa’s Lake Manyara National Park, among many other locales, that gave that park its realistic grit. And when it came to the fully imagined floating mountains of Pandora — The World of Avatar, it was finding inspiration in the Italian Baroque art of Gian Lorenzo Bernini, as seen in the entangled vines descending from the apparently hovering mountains.

Now, I am not someone who argues that a trip to Animal Kingdom is a stand-in for a vacation to Africa. Or that visiting the World Showcase of Epcot is akin to a jaunt around Europe. Or that hanging out in Cars Land is a substitute for a drive down Route 66. And an afternoon slugging pints at Hog’s Head at Wizarding World of Harry Potter is certainly not the equivalent of a day at an authentic British pub. No, what a theme park offers is an artistic interpretation, one that filters the natural world through the stories that define our lives.

Theme parks are not so much an escape from the world but a way to make sense of it. View them with an open mind, and they are an entree into storytelling exploration. This is different to me than, say, a re-creation of the Eiffel Tower being plopped into Las Vegas, which is preying on replication as generic spectacle. Theme parks, of course, can fall victim to this, too, when they utilize signposts or characters from a film as a substitute for innovation (see much of the design of Pixar Pier at Disney California Adventure).

Cars Land in Disney California Adventure was inspired by the scenery and history of Route 66.

(Mark Boster / Los Angeles Times)

France at Epcot’s World Showcase, in contrast, aims to weave a brochure-like tale of the country, to introduce us to culinary and architectural standouts that can inspire us to dig deeper. For some, sure, that’s deeper into their wallets, but World Showcase inspired a young me to be curious about the world beyond the suburban Chicago neighborhood I grew up in.

And purely fantastical creations — at least the ones that are done well — are not just references to things we saw on a movie or television screen. I think of Guardians of the Galaxy — Mission: Breakout! at Disney California Adventure, which is specifically designed as a cartoon-like intrusion, a building meant to clash and call attention to its surroundings. It’s all an effort to heighten the concept that the modern American myth — the superhero film — is work that encroaches, with uplifting exaggeration, on real-world settings.

And even a Disneyland classic such as Pirates of the Caribbean requires deep analytical reframing to properly understand it. Sure, it’s a boat ride with singing robot pirates, but that’s not the reason it has endured for more than half a century. I’ve described the attraction as the template for the perfect theme park ride, one that invites the guest to discover a host of mini stories based upon where riders are directing their focus. It’s a huge influence, for instance, on the world of open-world video games, which allow players to pick a direction and discover a narrative path. It’s anything but fake.

Pirates of the Caribbean is a study in environmental storytelling.

(Christina House / Los Angeles Times)

The criticism that theme parks are fake is a surface one, one that fails to properly meet the medium where it’s at. It’s easy, of course, to look at the nostalgia of a Main Street, U.S.A, and the castle up ahead and to write off Disneyland as a rosy, idealized take on America. This is the undiscerning view, for Disneyland is a presentation of an America that never existed, one disrupted by a castle that also doubles as an extended hand.

Think of it as an ask to use one’s imagination and to be open to play: Theme parks are a wholly unique medium that requires a different set of criticism, one that is looking at architecture and design as a storytelling device. And when one gets on a ride, a theme park expects us to be open to a somewhat abstract form of storytelling. Theme parks are also, at their core, a form of participatory art, inviting us to take on a starring role.

The mechanization of what makes a theme park a theme park is simply too complex, too vast and involving too many people to be dismissed as fake. And let me say that there’s no shame in wanting to be immersed in a world crafted by the hands of many a skilled artist, whether that’s the new David Geffen Galleries at LACMA or the Disneyland Resort.

This week in SoCal theme parks

Concept art for Magic Mountain’s upcoming 2027 coaster Thrill Glider.

(Six Flags Magic Mountain)

• A new coaster coming to Magic Mountain. Six Flags announced that coming in 2027 to its Valencia park will be Thrill Glider, a first of its kind thrill ride designed by coaster manufacturer Vekoma exclusively for Magic Mountain. Riders will board what the park is referring to as “hoverbikes,” essentially bike vehicles designed to simulate a flying sensation by being suspended from the track.
• Scary Farm is upon us. Halloween season is officially in full swing as Knott’s Scary Farm opens Thursday. New this year are two mazes, including one that intermixes a host of vintage animation, as well as a magic show collaboration with the Magic Castle.
• Fast & Furious: Hollywood Drift officially opens. Though it’s been in a soft open phase since late July, Universal Studios Hollywood’s Fast & Furious: Hollywood Drift will be properly open as of Wednesday. This means the coaster has passed its final testing and is ready for daily operation. Here’s everything you need to know about Universal’s fancy new coaster.
• Legoland expands its Halloween event. Brick or Treat at Carlsbad’s Legoland begins on Saturday and it’s bigger than ever in 2026. The family friendly event, for which costumes are encouraged, this year has added Brick or Treat Street, with six life-size monster homes to interact with. Also, be sure to head to the park’s new coaster, the Galacticoaster, which has received a Halloween overlay.
• A Walt Disney exhibition at Forest Lawn. Head to Glendale’s Forest Lawn Museum on Saturday evening for the opening reception of “California Visionaries: The Lives and Legacies of Walt Disney and Hubert Eaton,” which explores the connection between Disney and Forest Lawn Memorial-Parks founder Eaton. The exhibition, which promises concept art, rare Disney sheet music as well as items from early Disneyland attractions, is on display until Feb. 7.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Attention readers who are in or near Fillmore: This Saturday is the first-ever edition of the “Time Travel Convention,” a new interactive theatrical experience from Live Action Attractions. Many veterans of the theme park industry worked to bring this event to life, including some who collaborated on the now-shuttered Star Wars: Galactic Starcruiser, colloquially known as the “Star Wars” hotel.

The story: Once a year, time travelers from the distant future head back in time to witness a historic day in small-town America. Players are cast in the role of time travelers, and throughout the day Saturday expect a series of games and costumed characters to interact with. There will be three theatrical moments staged throughout downtown Fillmore beginning at 10:01 a.m.

Register online, and you’ll receive info on where to meet. The event is highly recommended.

RIYADH: Saudi Arabia has surpassed its goal of training 1 million people in AI through a new initiative that embeds ethical use and safety standards into national skilling programs

Speaking at the 4th UNESCO Global Forum on the Ethics of AI in Riyadh, Ahmed Al-Ghamdi, CEO of the Saudi Data and AI Authority’s capacity building sector, said: “We launched SAMAI (One Million Saudis in AI initiative) last year to train 1 million in AI, raise awareness and provide them with the knowledge and skills to use AI in life and in their work.

“We trained more than that number and an important part of the training focused on ethical AI, responsible use and data preservation,” he told Arab News.

The UNESCO forum is co-hosted by Saudi Arabia, represented by the SDAIA and the International Centre for AI Research and Ethics. 

Al-Ghamdi said that the forum had brought together more than 25 ministers from around the world, as well as global leaders and tech companies under the umbrella of UNESCO to shape the future of AI safety and responsible use.

SAMAI was part of a broader push to invest in capability building across national sectors and entities, enabling them to develop the skills needed to adopt AI safely and effectively, he said.

“In SAMAI we provided training with knowledge on what data to show and what tools to use safely.”

Al-Ghamdi said that ethical AI was positioned as a core element across the SDAIA’s training programs and frameworks, rather than a standalone topic.

The authority announced national frameworks and curricula for AI in January as part of efforts to align education pathways with national needs.

Additional capacity building frameworks were also announced at the International Conference on Data and AI Capacity Building, aimed at professionals, educators and training programs to support wider adoption across the economy, Al-Ghamdi said.

“For example, for the developers it includes training the right model on the right data, avoiding bias, and not using AI for fraud or any violence,” he said.

“It includes respecting the data privacy of people and organizations and complying with data laws within the country and within the world.”

The pace of AI advancement had raised the stakes globally, making governance and ethics central to discussions about safe deployment and public trust, he said.

“The ethics of AI comes in the heart of all activities of capability building in SDAIA. We believe the ethical use and the safety of AI are a priority for us.”

As the fall equinox approached from a week away, the Primetime Emmy Awards made its 78th visit, leaving trophies in some hands, the honor of just being nominated for others and bupkes for the rest of the thousands who make what we call television. Once again I have been called to witness (from afar) and report, so let’s get down to it.

It was the turn of NBC (and Peacock) in the round robin of major networks who broadcast the show, and to keep things literally in-house it was hosted by Mariska Hargitay, “America’s sweetheart sex cop Olivia Benson” from the network’s “Law & Order: Special Victims Unit” and broadcast from the Peacock Theater, formerly the Microsoft Theater, formerly the Nokia in #DTLA, formerly downtown Los Angeles.

When reviewing the Emmys, or any awards show, as television in its own right, the only real questions are what distinguishes it from its many previous appearances on the karmic wheel of life — how it tricks up the basic, immutable form, like different decorations on the same sugar cookie recipe you have been using forever. Anything unexpectedly or especially moving, rousing, funny or strange, things that go against the grain of a production that wants to keep things controlled in order to bring the ship in on time.

This year the critic has been given the gift of Hargitay, primarily a serious actor (and director and producer), following in a long line of comedians and comic actors. There have been other serious actors as host, for example, Raymond Burr in 1959, Tom Selleck in 1984 and Angela Lansbury in 1993. And certainly, if you’re looking for someone to represent the medium rather than merely to comment on, celebrate or joke about it, you could do no better than Hargitay, the longest-serving actor on the longest-running prime-time live-action series on American TV. She’s beautiful, glamorous, self-possessed. She was recently on Broadway in “Every Brilliant Thing,” which involved a degree of what comedians call “crowd work,” so standing up in front of a live audience of people no more famous than she wasn’t going to throw her. Professional comedian Nate Bargatze, who hosted last year, was much more of a dark horse.

Emmys host Mariska Hargitay with singer Taylor Swift and her cat Olivia Benson on screen during a skit the 78th Primetime Emmy Awards.

(Patrick T. Fallon / AFP via Getty Images)

Although I would have bet on a pre-filmed “Special Victims Unit” routine to open the show, which is why I’m not a gambler, it wasn’t until an hour in that it appeared. (It involved murder-style boards, concerning the Case of Whether Taylor Swift would be making an appearance; she did, in the bit.) The pre-filmed production number that did open the show began with Hargitay and her actual good friend New York Knick Jalen Brunson steaming their clothes when Hargitay suddenly realizes she is due across the country to host the show. This led to Joan Jett’s “I Love Rock ’N Roll” reconceptualized as “I Love TV Screens,” which included the “Widow’s Bay” sea hag revealed to be Jennifer Coolidge, bringing boba tea (rhymes with “TV”); other rhymes matched “eating beef” and “watching ‘Beef’” and “Ed Gein” and “mean.” It moved to the live stage, with Hargitay flanked by dancers with television heads. Both segments felt more effortful than funny, but not unfunny.

On her own, however, Hargitay was above all a woman having a good time, never less than likable and game and enthusiastic, managing the scripted patter as well as anyone might have. Her monologue included several jokes about age, one about “L&O” producer Dick Wolf’s real name (Richard Penis), and another about her inability to pronounce “finale” because she’d never been in one. As is practically an Emmys tradition, some of these were confusing (even to the people performing it), or went on too long (Nick Offerman, cornered at his table, describing his work as an erotic house painter), or just had the effect of having been put on their feet without much, if any, rehearsal. Presenting the final award, for outstanding comedy, Woody Harrelson and Matthew McConaughey, told to stretch — the show was actually running short — described the plot of their upcoming Apple series, “Brothers,” until they were allowed to move on.

As to what the Television Academy calls “creative elements,” everything that isn’t a presentation or a speech, they advertised tributes to the 30th anniversary of “Buffy the Vampire Slayer,” certainly a typo, and the 50th of “Charlie’s Angels,” a logical impossibility, but these were really just themed groupings of presenters — Sarah Michelle Gellar and David Boreanaz in the former, Kate Jackson, Cheryl Ladd and Jaclyn Smith in the latter. (The Angels managed a few words for Farrah Fawcett, but none for Shelley Hack, Tanya Roberts or David Doyle.) But there were full tributes to Dolly Parton (Sally Field enthused, Reba McEntire sang); to James Burrows, with Jamie Lee Curtis pivoting emotionally to talk about old friend Rob Reiner, who won a posthumous guest appearance Emmy this year for “The Bear”; and to Catherine O’Hara, with her “Home Alone” child Macaulay Culkin and “Schitt’s Creek” children Annie Murphy and Dan Levy, who spoke to “helping her build a TV character over the age of 60 that wears leather miniskirts and eight-inch heels and speaks in a strange, sometimes unintelligible transatlantic accent, and know that she will not scare an audience away.”

And there was Julianna Margulies presenting the Bob Hope Humanitarian Award to Michael J. Fox, who, in his usual way, was eloquent and funny, and let the people know about the goodness of Bob Hope, setting up a punchline in the bargain. Like a lot of you, I love Michael J. Fox, and I’m just going to leave that here, with a pile of soaked-through tissues.

John Mulaney stole the show as a presenter at the 78th Emmy Awards ceremony at the Peacock Theater in Los Angeles.

(Robert Gauthier / Los Angeles Times)

But what America will mostly remember from this night was John Mulaney, introducing the award for lead actor in a drama, and burning the house down with a routine that went wherever it wanted. “They can play anything, these nominees. Not just doctors. They can play a cop or an FBI agent or a secret agent. And then that’s it. No other examples.”

“Since the creation of television, men have been historically underrepresented,” Mulaney said, explaining that the medium was all “beauty contests and children talking to hand puppets until the early ’60s. Until a man walked out and said, ‘Enough. My name is Fonzie and the president’s been shot.’” Mulaney is a man who has convulsed crowds in arenas and stadiums, but, as a local, nothing made me laugh harder than the words, “You know, I was shooting down Barham last night at 90 miles an hour.”

Nothing against Hargitay, but it’s clear that Mulaney should host this show, and every awards show, from now on.

At age 14, Glen Walsh started surfing because of a crush. He was a boogie boarder until the object of his adoration told him, “What are you riding that for? You should be surfing. Get a surfboard.” So, he did. “I was terrible at it, but I kept going. I was super persistent.”

That resilience proved useful. As a gay teenager in Santa Monica, Walsh was often called slurs on the Venice Pier. “You think you’re like a unicorn — a weirdo,” he says. He felt at odds with the local surf community. To Walsh, surfing was “super straight, very hypermasculine, very intimidating.” Yet his love of the ocean — and sure, crush-worthy surfers — kept him returning to the water. “I wanted to be around them, and surf with them,” he says.

When Instagram launched in 2010, Walsh began posting one of his early loves — only this time, it was morning surf conditions. Every morning, before surfers paddled out, the longtime Venice resident described swells, winds and surf conditions to his followers, becoming for some the town’s trusted surf chronicler.

A “Surf Swim” sign greets beachgoers at Venice Beach — a stretch of coast where daily surf reports and grassroots organizing have helped break down traditional surf stereotypes.

(Christina House / Los Angeles Times)

His videos combined informative dispatches with the laid-back vibe of surfer ASMR. “Light offshore wind. Clean, glassy barrels,” he declares softly to the camera as gray waves break behind him. “Lumpy close-out with hollow barrels with low tide, fam.”

At first, the account functioned like a group chat for local surfers. “Friends were asking me how the waves were, and I was texting them. I figured I’d jump on Instagram and start doing it for them,” says Walsh, who has been a Venice resident for 15 years.

What began as a practical update for a handful of friends eventually attracted followers in London, Berlin and Tokyo — people who checked in daily to see whether the surf was firing in Venice Beach. The account has amassed over 10,000 followers, inspiring imitator accounts. “Now it’s just for everybody,” says Walsh. “I built a community around the surf reports. It really blew me away. I didn’t realize that people were so interested.”

His surf reports have made him an unofficial mayor of Venice surf culture, getting recognized at the beach town’s local hangouts like Hinano Cafe and the Cow’s End. “People stop me and tell me they love my surf reports. They don’t even surf, but they see it every day,” says Walsh. “I always tell people I’m very popular between Washington Boulevard, Lincoln Boulevard and Rose Avenue.” His nickname around town is Glenice Venice.

However, the real triumph wasn’t becoming recognizable around Venice — it was finding other queer surfers, something that felt elusive in Walsh’s youth in Southern California. “I had met a lot of other surfers from all over the world and built a queer community of surfers here in L.A.,” says Walsh. “It was pretty awesome.”

Walsh saw an opportunity to use his surf report to not only report on the condition of the ocean — which is especially unpredictable during our current El Niño cycles — but to also create a burgeoning queer space in the Venice surf scene. “I could set up a community-based surf report for everybody, and the fact that I happen to be queer made it a little more unique,” he says. He began to connect with gay surfers, organizing trips with them and building lasting friendships. “It was just a lot of fun, building a little team.”

Later, Walsh became a co-producer and music supervisor of a movie about homophobia in surfing titled “Out in the Line-Up” that premiered at film festivals across the world in cities such as New York, San Francisco and Sydney, Australia. “The movie kind of spoke for itself. It was a worldwide issue — homophobia in surfing.” Since then, Walsh has served on panels about queer people in the surf world. Last June, the film had a 10th anniversary screening in Venice, hosted by the Venice Surfing Assn. “At some point, I brought some diversity to this culture. I put my name on it,” he says.

In recent years, others have joined Walsh’s efforts to create a burgeoning queer surf scene at Venice Beach. In 2020, Shelly Guidera relocated to Venice and noticed that there wasn’t a strong queer presence in surfing. “My friend and I were maybe the only queer people some of these surfers had ever seen,” she says. Shortly after, Guidera started Dream Team Surf, a collective for queer surfers to meet up and build camaraderie.

Its mission is simple. “It’s all of us looking out for each other,” Guidera says. “ Having a team of people makes the experience that much more enriching and safe.”

Surfers ride the waves near the Venice Pier, where Glen Walsh does his daily surf reports.

(Eric Thayer / Los Angeles Times)

Early on, Guidera was inspired by Walsh’s uplifting presence in the Venice surf scene. “This person is respected in the community for what he brings, which is knowledge and insight and fun and flair,” says Guidera. In turn, Walsh has championed Dream Team Surf.

In January 2025, Dream Team Surf hosted a Pride beach party with a banner that read: “Trans bodies belong on the beach.” In some San Diego area beaches, Guidera says, queer representation can still feel like an anomaly. “It’s so funny because it’s like these people have maybe never seen a woman in a bathing suit with hairy legs,” she says. “I’m like, ‘Oh my God, it’s not that deep.’”

Guidera is certified in surf therapy, taking courses through Groundswell Community Project, a surf therapy program that uses surf to promote holistic healing. The mental health benefits of surfing are lifelong, Guidera explains. “Growing up as a swimmer, surfing was a form of play and wellness,” she says. “It eased the brakes on competition and the structure within competitive swimming.”

Group photo of Dream Team Surf, which hosted a Pride beach party.

(Sara Werner)

Even if you don’t shred waves, being in the ocean can promote healing. “To give people access to the ocean that is in and of itself a form of wellness,” she says. “There’s a level of surrender and humility that comes with surfing and that comes with being in nature. … You have to be so present in such a way that makes you a stronger person.”

Like Guidera, Walsh also works as a surf instructor with a similar goal to instill confidence in his students. “I was teaching a lot of people to surf, mostly women who didn’t want a straight man to teach them how to surf because it feels vulnerable enough,” says Walsh. “I try to break down the stereotypes and have a little fun with them and let them become a kid again.”

When done correctly, he argues, surfing can invite expansiveness. “I love seeing people out there. Feel the fear and do it anyway,” says Walsh. “And creating a lifestyle around it — going to different beaches — and meeting friends.”