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Luka Doncic is attempting to bring his daughters to the United States from his native Slovenia after separating from his fiancée, according to reports.

His former fiancée, Anamaria Goltes, 28, has filed a petition in California seeking child support and attorney fees from Doncic. One of Doncic’s daughters was with him for three months in 2025, and his other daughter has never been to California. Doncic, 27, told ESPN that he had “no idea” Goltes filed the petition.

“I love my daughters more than anything, and I’ve been doing everything I can for them to be with me in the U.S. during the season, but that hasn’t been possible, so I recently made the tough decision to end my engagement,” Doncic said in a statement. “Everything I do is for my daughters’ happiness, and I will always fight to be with them and give them the best life I can.”

Doncic and Goltes were engaged for nearly three years. Their oldest daughter, Gabriela, was born in November 2023, and Olivia was born in December. Doncic traveled to Slovenia for Olivia’s birth, missing games against the Toronto Raptors on Dec. 4 and Boston Celtics on Dec. 5.

During his visit, Doncic told Goltes he wanted to bring Gabriela to the United States when he returned to rejoin the Lakers, according to reports. Goltes objected, and Doncic departed without his daughter.

“I don’t even know how to describe it,” he told reporters of being present for Olivia’s birth. “It was a lot. I was there for the birth of my daughter, so that means everything to me. But it was definitely a roller coaster.

“I got to see my daughter again, my newborn. Coming back, it was kind of hard to leave them behind. But it’s a job, so I got to do it. So hopefully I’ll see them soon.”

Doncic posted a photo on social media of Olivia wearing a pink sweater with a heart emoji covering her face. In his first game back, he inscribed a G and O with a heart on his shoes.

“Two girls, they’re going to make my life hell for sure, I know that,” Doncic said, half-joking. “I’m going to be their security after I retire. All jokes aside, it’s the best thing in the world. I’m just blessed.”

Goltes deleted photos of her and Doncic from her Instagram account last week, and Doncic acknowledged that they had separated. Two weeks ago, he filed an injunction with a Slovenian court seeking immediate contact with his daughters, ESPN reported.

Doncic, who was traded to the Lakers from the Dallas Mavericks for Anthony Davis in February 2025, leads the NBA with a 32.5 points-per-game average. The guard also averages 8.4 assists and 7.8 rebounds.

Kara Braxton, who won two WNBA championships during a 10-year career, has died at age 43.

“It is with profound sadness that we mourn the passing of 2x WNBA Champion Kara Braxton,” the WNBA said in a statement Sunday. “Our thoughts are with her family, friends, and former teammates at this time.”

No cause of death has been given.

Born in Jackson, Mich., along with twin sister Kim, Braxton played high school basketball at Jackson High for one season and at Westview High in Portland, Ore., for three seasons.

Braxton, a 6-foot-6 center-forward, played at the University of Georgia from 2001-2004, earning SEC freshman of the year and first-team all-conference honors in 2002. She averaged 15.4 points and 7.3 rebounds a game during her three seasons with the Bulldogs.

“Rest in peace Kara,” Georgia basketball posted on X.

Braxton was selected by the Detroit Shock at No. 7 overall in the 2005 draft. She spent 5 1/2 seasons with the team, winning the WNBA championship in 2006 and 2008 and earning her only All-Star nod in 2007. She also played for the Phoenix Mercury from 2010-11 and the New York Liberty from 2011-14, finishing with career averages of 7.6 points and 4.7 rebounds a game.

New York Liberty’s Kara Braxton grabs the ball between Indiana Fever’s Tammy Sutton-Brown, left, and Tamika Catchings on Sept. 17, 2011.

(Mel Evans / Associated Press)

“We mourn the loss of Kara Braxton, a former Liberty player whose presence and passion left a lasting impact on our organization and the women’s game,” the Liberty wrote Sunday on X. “Our hearts are with her family, friends, teammates, and all who were touched by her spirit. Her impact will not be forgotten.”

Braxton is survived by her husband Jarvis Jackson and two sons, Jelani Thurman and Jream Jackson.

Thurman, a tight end who played three seasons at Ohio State before transferring to North Carolina last month, posted a number of tributes to his mother on his Instagram Story, including a photo of her kissing him as a baby at a Shock media day photo shoot.

“imma miss my queen,” Thurman wrote to accompany another photo, which appears to show him as an older child wearing his mother’s No. 45 jersey to school.

Thurman also posted video of an interview from around the time Ohio State won the 2024 national championship in which he was asked what lessons he learned from his mother that helped get him to that point.

“Man, she taught me always go hard,” Thurman said. “There’s one goal, you know what you need to go to do.”

The thrill of victory and the agony of defeat.

We grew up with that line from “ABC’s Wide World of Sports” show.

But really, it’s the spaces in between, that can resonate and bring a sense of mortality to these world-class athletes.

As I witnessed these memorable events in this year’s Winter Olympics, I tried to keep in mind the frail dynamics of our collective psyche while performing against a spectacular backdrop of the Dolemites, or walking the historic, ancient streets of Milan.

There are dozens of photographers working at each event. They, like the athletes on the field of play, are in a competition.

Competing with each other to make the best image. Competing with the elements at outdoor venues, like bitter cold, rain, wind and snow. And most of all, competing with themselves to rise above their personal standard of what constitutes an outstanding photograph.

Witnessing what is probably an athletes greatest moment is both a thrill and an honor.

Here are some of the visual surprises.

Mikhail Shaidorov shows his metal as he takes a bite of the gold medal he won in the Men’s Single Skating Final.

French skier Laura Gauche sails against the backdrop of the Dolomites on her way to the finish line in the Women’s Team Combined Slalom.

Figure skater Ilia Malinin feels the pain of a bad performance during the finals for Men’s Single Skating at Milano Ice Skating Arena.

Megan Keller is mobbed by teammates after scoring the winning goal to beat Canada 2-1 in overtime in the Women’s ice hockey final.

Team USA are reflected in the ice during the Women’s Team Pursuit at Milano Speed Skate Stadium.

Swiss skier Melanie Meillard weeps in the arms of her teammate Janine Schmitt after missing a turn on her slalom run Women’s Team Combined Slalom.

Lindsay Vonn is airlifted off the mountain after crashing during the Women’s downhill Alpine skiing event.

USA skier AJ Hurt wags her tongue after a successful slalom run at the Women’s Team Combined Slalom.

Gloves were flying when Tom Wilson, left, of Team Canada engaged with Pierre Crinon, of Team France, at Milano Santa Giulia Ice Hockey Arena.

Americans Madison Chock and Evan Bates practice before competing in the ice dancing free skate competition.

USA skater Amber Glenn weeps after completing an imperfect routine in the single skating short program.

USA skaters Eunice Lee and Corinne Stonnard crash in the Women’s 3,000m short track speed skating.

French skater Adam Siao Him Fa performs a flip during the finals for Men’s Single Skating.

Medals and a selfie for Italy, Korea and Canada at the Women’s Team Short Track Speed Skating finals.

The Swiss Women’s ice hockey team leaves their equipment on the ice while celebrating an overtime win over Sweden in the bronze medal match.

“How to Make a Killing” boasts an opening so strong that it buys enough audience goodwill to coast through nearly its entire running time. That’s priceless in a screwball murder movie in which everyone’s soul is for sale.

Death row inmate Becket Redfellow (Glen Powell) is four hours away from execution. A priest (Sean C. Michael) solemnly arrives to take his final confession and finds the condemned man lounging in a sleeping eye mask, griping that his last meal served him the wrong flavor of cheesecake. “Kill me now,” Becket quips.

This will be a tale of crime and punishment told in flashback, rewinding to Becket’s mother, an heiress excised from an eleven-figure fortune for giving birth as an unwed teenager. And it will be, as Becket insists, “a tragedy.”

But while the story’s framework is familiar, what gives this intro sequence zip is Powell’s sly nonchalance, the little bounce he makes on his cot when Becket pivots to give the flabbergasted priest his full attention. He has ours, too. Powell has yet to find his perfect role (this one’s close) but his confidence is why the industry is convinced that he’s the reincarnation of a classic leading man: Tom Cruise or Cary Grant if we’re lucky, or at least Bugs Bunny.

Writer-director John Patton Ford’s morally bleak comedy is itself a reincarnation of the 1949 British caper “Kind Hearts and Coronets,” which egged on an exiled sire as he avenges himself upon his royal family by murdering everyone between himself and dukedom. The 21st century American privilege that Becket is chasing in the remake doesn’t rely on formal titles. He wants cold hard cash, plus a couple of private islands, planes and ultra-luxury yachts. Besides, he’s already got a first name that sounds like a last name, signifying the American upper crust.

This Dickensian vengeance setup gives us an awful lot of people to murder, all caricatures of the elite. The original “Coronets” offed a posh feminist who scattered political leaflets across London from a hot air balloon, Ford spins that passé joke into a gag where Becket’s spoiled cousin (Raff Law) hovers in a helicopter sprinkling money over a pool party and then for good measure, cannonballs into the water to stuff bills in the crowd’s open and appreciative mouths. (For his next trick, perhaps Ford will remake Terry Southern’s outlandish satire “The Magic Christian,” which has a scene like that but five times filthier.)

Lore goes that when Alec Guinness received the “Coronets” script with an offer to play four of the ill-fated tycoons, he wrote back greedily and said, “Why not eight?” To our good fortune, Guinness did play all eight, even the suffragette. “How to Make a Killing” shares the wealth, giving cameos to a very funny Zach Woods as the scion who fancies himself a hipster artist (he takes photos of the unhoused) and Topher Grace as the Redfellow who found faith or, rather, a more sanctimonious spin on grift as a megachurch pastor. Likening himself to Jesus, Grace’s bleached blond huffs, “Don’t hate on me just because my dad’s a big deal.”

There’s a tease of real-world critique in how the preacher has decorated his office with framed photos of himself with various presidents and drug-runners, alluding to the inescapable suspicion that the world is run by a powerful club whose only admissions requirement is a bank balance with plenty of zeros. The jabs stop at allusions — they’re entertaining but as thin as a communion wafer. Still, I guffawed when Becket popped back into his present-day cell to poke fun at his audience, the Catholic priest: “The last thing the Church wanted was an investigation,” he says with a smirk. “I’m sure you know all about that.”

Like his lead character, Ford himself had to ascend in clout to direct this script, which he launched on the Black List in 2014. He instead made his debut with the much-smaller 2022 indie “Emily the Criminal,” which starred Aubrey Plaza as an art student desperate to pay off her student loans. His heart is with the strivers who find that our K-shaped economy makes it impossible to go straight.

Yet he hasn’t cracked whether the corpses in “How to Make a Killing” are victims themselves. The rich Redfellows get dispatched one by one in scenes that are fun but empty — neither cathartic nor comic, simply boxes to be checked off to great big poundings of thunder and harpsichords.

Surely, I thought, the film will figure out how it feels by the time it offs a Redfellow who’s merely ordinary-terrible: Bill Camp’s drunken, cowardly banker. But it doesn’t and the real victim of the indecision is Powell, who is rarely given a reaction to play. (Guilt? Rage? Glee?) He needs to give us an extra hint how he’s feeling — as an actor, Powell is so slick that even his regular smile comes across phony. I’d say he couldn’t be sincere if he tried, except Powell actually does try for one scene and the bleary, terrified look in his eyes is devastating.

While the promise of that gangbusters opening sequence goes a tad unfulfilled, “Killing” has two strong twists and plenty of reasons to enjoy the romp. I suspect that the movie might be too smart for its own good, or perhaps hemmed in by a cynicism that, everywhere we look lately, it appears that crime does pay. As Becket says early on, “We’re all adults here.” Ford sees all the wrong moves and isn’t sure-footed in choosing the right one, even though I think he has. Today’s crowd wants to smash Marie Antoinette’s cake and eat it, too.

At least along the way, there’s a playful love triangle between Julia (Margaret Qualley), the privileged nightmare who’s had Becket wrapped around her pinky finger since grade school, and Ruth (Jessica Henwick), a humble school teacher. Both characters stake out their polarized corners — the rich bitch versus the sweetheart — with Qualley somehow always arranging her legs to be seductively horizontal in her too-few scenes. Henwick is saddled with the more prosaic role and dialogue (“It’s scary to dream small,” she says). Nevertheless, her presence is so compelling that we root for Ruth every time she’s onscreen.

I’m glad that Ford is part of today’s guillotine crew making capers about economic inequality. But the best shot in the movie shows his promise as a romantic comedian: Becket and Ruth bump into each other in the rain and just as they make eye contact, the sun comes out and they share a smile. It’s a tiny moment of magic that gives you hope that these young lovers can work it out. Better still, it even gives you hope for humanity, even if the movie’s overall forecast for society is stormy.

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1. Yoshiki Ideguchi, who traveled from Tokyo, watches at Dodgers spring training at Camelback Ranch in Arizona Monday. (Ronaldo Bolanos/Los Angeles Times) 2. Children lean against a fence and wait to greet players during Dodgers spring training at Camelback Ranch in Arizona on Monday. (Ronaldo Bolanos/Los Angeles Times) 3. A fan holds a World Series bobblehead while waiting to greet players at Dodgers spring training at Camelback Ranch in Arizona on Monday. (Ronaldo Bolanos/Los Angeles Times)