It’s not every day that umpires decide a player used an illegal bat in a high school baseball game, so Wednesday’s Mission League game between host Sherman Oaks Notre Dame and Sierra Canyon began with a bang. A Sierra Canyon batter in the first inning was declared out after the umpires inspected the aluminum bat following an appeal from Notre Dame.
Sierra Canyon coach Tom Meusborn had a brief discussion with the umpires but their decision was not reversed. The bat apparently had a crack, which caused a strange sound. So began a sometimes tense, nearly four-hour game for second place in the Mission League.
Sierra Canyon scored two runs in the top of the seventh inning to take a one-run lead, keyed by an RBI double from Brayden Goldstein and a bases loaded walk. In the bottom of the seventh, the Knights received two walks with one out. Sierra Canyon brought in sophomore pitcher Milo Benattar, who got a fly out and force play to save a 3-2 victory.
Sierra Canyon is 8-3 in league and Notre Dame 7-4.
It’s the first inning. 20 minutes have passed and now the umpires call out Sierra Canyon batter for using illegal bat. Never a boring a day in Mission League. pic.twitter.com/baEJB95FwW
Harvard-Westlake 12, St. Francis 1: The Wolverines, ranked No. 1 in the Southern Section power rankings, received home runs and four RBIs each from James Tronstein and Ira Rootman. Evan Alexander struck out 10 in 4 1/3 innings.
Chaminade 7, Crespi 0: Jackson Schroeder struck out 11 and gave up one hit. Isaiah Hearn and Robby Morgan each hit home runs.
Loyola 11, Bishop Alemany 4: Bobby Rapp had three hits to lead the Cubs.
Simi Valley 8, Royal 3: The Pioneers handed their rivals a first Coastal Canyon League defeat. Ryan Whiston had three hits, including two doubles.
Garfield 3, Bell 1: The Bulldogs improved to 7-0 in the Eastern League with a nine-inning win, possibly locking up a City Section Open Division playoff spot. Michael Santillan broke the 1-1 tie with an RBI single in the ninth.
Cypress 1, Foothill 0: Jake DeLaquil had the game-winning RBI single in the bottom of the 10th inning. Drew Slevcove struck out 13 in eight scoreless innings. Landon Smith pitched the final two innings for Cypress. Caden Lauridsen threw nine scoreless innings for Foothill.
St. John Bosco 6, Servite 3: Brayden Krakowski threw four innings of scoreless relief. Aaron Garcia had two RBIs.
Mater Dei 8, JSerra 5: Jack Reis hit a home run and Ezekiel Lara, Jaxon Olmstead and Emilio Young each had two hits for Mater Dei.
King 4, Corona Centennial 1: Eli Lipson had a two-run double and Jason Jones threw a complete game.
Corona 17, Eastvale Roosevelt 5: Adrian Ruiz had three hits and four RBIs.
Norco 3, Corona Santiago 2: After a scoreless game for five innings, Norco broke through for three runs in the sixth. Marcus Blanton had a two-run single. Santiago scored two runs in the bottom of the seventh before Jordan Ayala got the final out on a strikeout.
El Dorado 1, La Habra 0: Juilian Rodriguez struck out five and walked none in throwing the shutout. Brady Abner drove in the winning run in the sixth.
Gahr 9, Warren 1: Bryce Morrison gave up one run in five innings with six strikeouts and Andres Gonzalez had two hits and three RBIs.
San Clemente 2, Aliso Niguel 1: Easton Muraira threw a complete game for the Tritons.
Huntington Beach 4, Los Alamitos 2: Jared Grindlinger struck out eight in five innings.
Rancho Christian 10, Hillcrest 0: Jake Brande struck out 12 in five innings and gave up one hit. Hudson Abbe and Sean Downs each hit home runs.
Bishop Amat 4, La Salle 2: The Lancers clinched the Del Rey League title. Joaquin Ortiz went three for three.
Ayala 13, Diamond Bar 3: Easton Sarmiento finished with three hits and Dylan Wood added two hits and two RBIs.
Oaks Christian 2, Agoura 1: Justin Baird struck out eight in six innings for Oaks Christian. Carson Sheffer had two hits.
Mira Costa 7, West Torrance 1: Caden Ceman finished with three hits.
Torrance 4, Palos Verdes 3: Tessei Magori delivered a walk-off hit in the bottom of the eighth inning.
Softball
Norco 15, Corona Centennial 0: Peyton May gave up one hit and struck out 10 with no walks and Camryn May contributed three RBIs.
SAN FRANCISCO — With the California governor’s race quickly approaching, six candidates will face off Wednesday evening in the first debate since former Rep. Eric Swalwell dropped out of the race in the aftermath of sexual assault and misconduct allegations.
The debate takes place at a critical moment in the turbulent contest to replace termed-out Gov. Gavin Newsom. Ballots will start landing in Californians’ mailboxes in less than two weeks, and voters are split by a crowded field of eight prominent candidates. The debate also takes place after former state Controller Betty Yee ended her campaign because of a lack of resources and support in the polls.
Two Republicans — Riverside County Sheriff Chad Bianco and conservative commentator Steve Hilton — and four Democrats — billionaire Tom Steyer, former Biden administration Secretary Xavier Becerra, former Orange County Rep. Katie Porter and San Jose Mayor Matt Mahan — will take the stage at Nexstar’s KRON4 studios in San Francisco. Former Los Angeles Mayor Antonio Villaraigosa and state Supt. of Public Instruction Tony Thurmond, both Democrats, were not invited to participate because of their low polling numbers.
As the candidates strive to distinguish themselves in a crowded field, the debate could include fiery exchanges about the role of money in politics and potential heightened attacks on Becerra, who has surged in the polls since Swalwell dropped out. With the debate taking place on Earth Day, environmental issues are also likely to be raised.
The Wednesday night gathering is the first televised debate in the gubernatorial contest since early February. Last month, USC canceled a debate hours before it was set to begin over mounting criticism that its criteria excluded all major candidates of color.
The 7 p.m. debate is hosted by Nexstar and will be moderated by KTXL FOX40 anchor Nikki Laurenzo and KTLA anchor Frank Buckley. It can be viewed on KRON4 (San Francisco), KTLA5 (Los Angeles), KSWB/KUSI (San Diego), KTXL (Sacramento), KGET (Bakersfield) and KSEE (Fresno). NewsNation will also air the debate.
Ireland’s Nations Championship fixture against Japan will take place at McDonald Jones Stadium in Newcastle, Australia on 11 July (11:00 BST).
Andy Farrell’s side open the inaugural tournament against Australia in Sydney on 4 July and will face the Brave Blossoms before travelling to New Zealand to take on the All Blacks at Auckland’s Eden Park on 18 July.
Ireland have won 10 out of 11 Tests with Japan, the sole defeat coming at the 2019 Rugby World Cup at Shizuoka Stadium. Ireland won the last meeting 41-10 in Dublin last November.
After July’s fixtures, Ireland will host Argentina, Fiji and South Africa in November at Aviva Stadium.
The biennial 12-team Nations Championship comprises six rounds of matches across the summer and autumn Test windows before a ‘finals weekend’ on 27-29 November at Twickenham’s Allianz Stadium.
After each team has played the other six from the opposing hemisphere once, they are ranked within their own hemisphere.
The finals weekend in London will start with the sixth-placed northern hemisphere side taking on their southern hemisphere equivalent, and culminate in the two group winners taking each other on for the title.
The results on the finals weekend will also contribute to a north v south overall score and title.
It’s not only easy to get lost in the Los Angeles County Museum of Art’s new David Geffen Galleries, it’s inevitable, intentional — and one of the best things about the place.
The museum has deconstructed the traditional, boxy narrative of art history and rendered the story itself a matter of curves and continuities. Art in the collection is freed from its departmental silos and put into conversation across genre lines, place and time.
The museum has physically invalidated the binaries of center and periphery, major and minor arts. In a startling and largely gratifying way, LACMA has done what the poet Audre Lorde, alluding to a different but not unrelated aspect of patriarchal dominance, deemed impossible: used the master’s tools to dismantle the master’s house.
The change goes far beyond a remodel. It’s a reinvention, a recalibration, a revisionist fever dream.
The vision conceived by museum director and Chief Executive Michael Govan and architect Peter Zumthor is not perfect, and brings with it a modest set of frustrations, but as a whole, the installation registers as ravishing and bracingly fresh. It thrusts us midstream into the ageless, ceaseless flow of makers worldwide reckoning with life, earth and being.
It prompts us, as we bob about, to reflect on our own proclivities and preconceptions, our patterns of reception and perception.
It compels us to recognize that what matters is not just what we see in the museum but how we see, what pulls us close and why, what private histories we bring to the occasion, what expectations, what tools.
Over two visits to the new building, getting my physical bearings mattered less and less as I surrendered to the generative sensations of not knowing. The museum has produced a dense guidebook to the new galleries, whose title, “Wander,” doubles as invitation and imperative. Even at 430 pages, the book is only minimally useful as an orientation device. For help with that internal navigation, Rebecca Solnit’s moving 2005 book, “A Field Guide to Getting Lost,” proved a better compass.
LACMA’s guidebook to the David Geffen Galleries, called “Wander,” doubles as invitation and imperative.
(Museum Associates / LACMA)
Solnit, citing the cultural critic Walter Benjamin, writes, “to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery.” She goes on to recall how roaming freely as a child was key to developing self-reliance, which feels apt to the LACMA strategy. We are put in charge of making our own way, through tapestries and tea sets, past ancient jug and contemporary sphinx, without heavy-handed authoritative direction.
The history of art reads here as one long, free verse poem-in-progress, gorgeous and absorbing. Even so, many of the most memorable moments come in the form of cogent micro-essays, smartly curated ensembles of work bearing a legible, lucid premise. Some of these are contained within four (rectilinear) walls; some occupy less demarcated spaces. “Tonal Variations: Photography and Music,” for instance, gathers images by Paul Caponigro, William Eggleston, Lisette Model and others. These artists were also serious pianists, attuned, no matter which instrument they were using, to the qualities of rhythm, pattern and progression.
Lisette Model, “Window at 5th Avenue,” 1940, Los Angeles County Museum of Art
(Museum Associates / LACMA)
In a section headed “The Global Appeal of Blue-and-White Ceramics,” a long display case houses a timeline articulated sculpturally. The sequence advances from a 9th century bowl made in Iraq to a 13th century vessel from China, a 14th century example from Thailand, another from 15th century Syria, up to work by a 20th century German artist who transformed a functional vessel into personal adornment by cutting a string of beads out of the planar surface of the bowl.
Dish, Turkey, Iznik, c. 1530-35, Los Angeles County Museum of Art
(Museum Associates / LACMA)
On the wall facing this display is a huge vitrine containing an 18th century Talavera jar from Mexico, paired with a 2025/26 color photograph by Brooklyn-based Stephanie H. Shih. In the still-life composition, a cheeky visual lesson on the collision and convergence of cultures, the jar holds flowers, cactus and edible Mexican treats influenced by Chinese and Filipino flavors.
Top, Stephanie H. Shih, 梅國 “(Still life with chamoy and Dirty T Tamarindo),” (2025- 26); bottom, Jar (c. 1700-50)
(Museum Associates / LACMA)
Shih is one of a handful of artists commissioned to create new work using the museum’s collection as muse. L.A.-based Lauren Halsey is another. Her formidable, untitled 2026 sphinx regally commands its space among ancient Egyptian and Roman sculpture, a marvel of the cross-temporal and cross-spatial, spiked with specific references to Black self-determination.
Setting recent works among older ones is an effective element of LACMA’s overall plan to shed outworn hierarchies. It recasts every piece of art by every artist throughout the single-story space as equally relevant. The seamless integration of old and new feels stealthy, and a touch subversive, a doubling-down on the museum’s approach to time as nonlinear, sinuous and delightfully slippery.
Lauren Halsey’s untitled 2026 sphinx.
(Museum Associates / LACMA)
That said, a few words readily available would help connect the dots without undermining the provocation. Text — where and how it appears, or doesn’t — is my only major complaint about the installation of the new galleries.
Text panels announce, in one or two paragraphs, the themes of each given section: “Images of the Divine in South Asia”; “The Evolution of Abstract Painting in Modern Korea”; “Textile Conversations: Africa and Black America.” Individual object labels are kept minimal, containing only basic identification about each work, no commentary. When asked about this decision during my first walkthrough, Govan replied that more time reading means less time looking — “and we have the internet.” Every thematic text panel has a QR code that links to the Bloomberg Connects app, an aggregate guide to museums and other cultural sites that offers selected, augmented entries.
Determining how much didactic information is insightful and sufficient, and how much constitutes excessive artsplaining, is a delicate, ongoing challenge for museums. Where LACMA landed on this contested plain strikes me as unfortunate and counterproductive.
A few lines of explanation or context on a wall label can add perspective for even the most informed visitor, and provides crucial support to those with less foundational exposure and access to art.
You can take or leave text on a wall without breaking your stride, but text accessed via QR code is another matter. (Never mind that connectivity is spotty inside a sprawling concrete shell, and several times when I tried to get information from the app, I couldn’t.) Encouraging us to shift our gaze from the wall to our devices — to assume that accursed downward tilt of the neck when splendors abound before our eyes — is simply detrimental. It breaks the spell of being fruitfully lost in the present, and retethers us to the digital distractions that dominate our days.
Wall text beside Francis Bacon’s “Three Studies of Lucian Freud” (1969), at Los Angeles County Museum of Art.
(Museum Associates / LACMA)
Shouldn’t the imaginative minds that created this space, this opportunity to revel in direct sensual experience, want us to keep our attention where our bodies are? Why this fallback to current convention, when the rest of the experience is about radical reinvention? This feels like a missed opportunity. I’m hoping a more experimental, exploratory approach to providing information, context and interpretation, in keeping with the rest of the enterprise, might yet come.
Does the new structure serve the art? Mostly, very well.
The lighting is varied, treated as another texture in the space, palpable and rich. There’s a generous amount of natural sunlight, but some spots are noticeably dim. Some gallery walls are glazed in deep hues (reddish and eggplant), and the intensity of the color is jarring at first. But neutral, white-box viewing spaces (with even, predictable lighting) can be found elsewhere on LACMA’s campus and pretty much anywhere art is shown. Here, the very irregularity of the interior environment, including the concrete surfaces — richer and more textured than I expected — heightened my alertness. And keener senses tend to make for more consequential experiences.
In deciding how to organize roughly 2,000 works of art across 110,000 square feet of exhibition space, LACMA devised a conceptual schema that isn’t apparent in the galleries themselves. The “Wander” guide maps out the division of the space into four regions correlating to bodies of water: the Indian, Atlantic and Pacific oceans, and the Mediterranean Sea. While the zones and their boundaries aren’t indicated by obvious signage, and I caught one laughable categorization (Ansel Adams’ photographs of the Pacific shoreline landing in the Atlantic section), this schema at least doesn’t get in the way.
And what does work about the propositional structure is its comprehensive realignment. It moves to retire art historical frameworks of the past, dependent on borders between places and times.
Throughout this installation, we are repeatedly reminded of the impact of trade and migration, the fluid movement of resources and belief systems. We’re reminded of porousness and simultaneity, and that all art histories are, in the end, propositional structures.
Here’s a new one, the Geffen Galleries say. Try it out. You might get lost. Indeed, you will get lost. And what wonders await you in the uncertainty and mystery.
Patrick Muldoon, known for his roles on “Days of Our Lives,” “Melrose Place” and “Starship Troopers,” has died. He was 57.
The actor and producer reportedly died Sunday, his manager confirmed to Variety. According to Deadline, Muldoon died suddenly after a heart attack. The Times has reached out to Muldoon’s reps for comment.
Muldoon originated the role of Austin Reed on the daytime soap opera “Days of Our Lives.” He first portrayed the aspiring boxer and brother of Lisa Rinna‘s Billie Reed from 1992 to 1995, and returned to reprise the role from 2011 to 2012 (the character had since become a forensic accountant).
“Austin is a wonderful role,” Muldoon told The Times in 1995. The actor explained he took his “sweet time” mulling over whether to leave the show because “it was one hell of a decision to make.”
“I’m leaving for no other reason than why other people leave soaps,” Muldoon said at the time. “To take a shot at doing other things like nighttime, movies and other things. … I feel confident right now so I figured I better take the shot sooner than later. If I don’t, I’ll always wonder ‘what if.’ ”
He played the recurring villain Richard Hart on the primetime soap “Melrose Place” for three seasons beginning in 1995. Muldoon’s big-screen roles include Zander Barcalow, a pilot and rival of Casper Van Dien’s Johnny Rico, in Paul Verhoeven’s 1997 movie “Starship Troopers.”
Born September 27, 1968, in San Pedro, Muldoon’s early passions included football. He started playing at the age of 6 and would go on to play at Loyola High School and then at USC.
“I did fairly well for being a smaller tight end,” Muldoon told The Times in 2012, adding that getting run over during practice by USC teammateJunior Seau — the late linebacker who had a 20-year NFL career — was among the factors that led him to pursue acting instead. Muldoon began his acting career during the sport’s offseason, and his earliest roles were on shows such as “Who’s the Boss?” and “Saved by the Bell.”
In addition to acting, Muldoon was a producer with credits on films such as “Riff Raff” (2024), “Marlowe” (2022), “The Card Counter” (2021) and “The Comeback Trail” (2020). Most recently, he shared on Instagram his excitement of being among the executive producers for the upcoming film “Kockroach.”
Newcastle head coach Eddie Howe says captain Bruno Guimaraes has “a chance” of returning on Saturday after missing 12 games with a hamstring injury.
“He is desperate to help the team, desperate to be involved, so there is a possibility,” added Howe.
Joelinton begins a two-match ban for accumulating 10 bookings this season.
Bournemouth remain without Justin Kluivert and Lewis Cook, although the latter is back in partial training.
They have no other absentees for the team’s first match since the announcement that head coach Andoni Iraola will leave the club at the end of the season.
● From Gameweek 28 onwards, no FPL midfielder has scored more goals than Newcastle’s Anthony Gordon (£7.4m, three).
● In Gameweek 32, Junior Kroupi (£4.6m) became the first teenager to score 10+ goals in his debut Premier League season since Robbie Keane for Coventry City in 1999-00. He has scored in back-to-back matches for Bournemouth.
● Cherries defender Marcos Senesi (£5.2m) has picked up more defensive contribution points than any other defender (44) this season. He is the sixth-highest scoring defender in the game with 141 points.
Paul W. Downs can’t help it that even on the weekends, his life intersects with “Hacks,” the HBO comedy he co-created and co-showruns with his wife, Lucia Aniello, and their friend Jen Statsky. (He also appears on the show as Jimmy LuSaque Jr., the besieged manager of its two stars, played by Emmy winners Jean Smart and Hannah Einbinder.) The fifth and final season of “Hacks” premiered last week, but on Downs’ days off, he often finds himself at its previous filming locations or hanging out with cast members who have become like family.
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
Downs moved to Los Angeles in 2011, but soon after, he and Aniello were hired to write (and for him to act) on the über-New York show “Broad City,” keeping them away from the West Coast for years. Now the couple live in Los Feliz, which they enjoy with their young son.
“I love Los Feliz because it’s a real neighborhood with restaurants and bars, but also feels close to nature with Griffith Park,” Downs says. “Also it’s very central to my Eastside friends and Westside agents.”
And if he had to live at a local mall, like the character Ava Daniels did in the third season of “Hacks,” which would he choose?
I’m sleeping in if I can, which I can’t because I have a toddler, but let’s say I can sleep ’til 10. That would be insane.
Then I’m making coffee at home. I’m making it with my 4-year-old because he likes to make my coffee now. He always wanted to help, now he really wants to do it on his own. I’m still there to supervise, but he does do a lot of it.
I do batch brew. I’m doing Verve Coffee that I’m grinding there, and then I’m brewing four cups because I need my coffee. I had a Moccamaster for a long time, but I recently got a Simply Good Coffee. There’s no plastic — it’s all glass and metal.
11 a.m.: Chocolate croissants for everyone
We’re driving to Pasadena and we’re going to [Artisanal Goods by] CAR, which is the place to get the best chocolate croissant, I think, in the world. I don’t just think in L.A., I think they’re better than Paris. I’m going there with my wife and my kid and I’m having another coffee and some pastry. We’re ordering three [chocolate croissants]. We’re not doubling up.
11:45 a.m.: The family business
We’re driving to Fair Oaks in Pasadena. There’s a place called T.L. Gurley. We shot “Hacks” there, actually. Not only in Season 1, but also full circle in Season 5. We’re going to shmay around and look at antiques. My kid is going to want to play a vintage pinball machine. We’re going to find a little piece of art for the house or what have you. It’s not necessarily that I’m on the hunt. It’s to pass the time and to have some fun. If I could do anything and have a leisurely day and take my mind off work, that’s what I’m doing.
People love to interact with my kid when he’s there. We’re really training him to appraise things at a young age. My parents are part-time dealers of antiques. My grandmother bought and sold antiques. It’s kind of a family business.
Then we’re going to Chevalier’s Books. What’s sad is that I’m often not looking for leisure material. I’m looking for something that I’m interested in learning more about or writing about, or that they’re turning into a show I want to audition for. But we’re also doing Little Golden Books for my son. He’s obsessed. We’re not huge on screen time, so we really encourage the book-buying.
2:30 p.m.: Cast pool party
We’re having some family fun in the pool and we’re doing that until evening. We invite people over all the time. My sister-in-law is a New Yorker, but she actually wrote last season on “The Rooster” and she’s often writing on shows in L.A., so she’s often here and she’ll have a couple friends come over. I know this sounds like a piece of PR or something, but we’ll really literally have Hannah [Einbinder] and maybe Mark Indelicato from “Hacks” come over to swim. Jen, our co-creator of “Hacks,” will come over.
6:00 p.m.: Family dinner
Sometimes we’ll order Grá to the house, which is a pizza place in Echo Park — excellent sourdough crust pizza. But if we don’t do that, an ideal evening is an early dinner at All Time on Hillhurst in Los Feliz. We’re ordering the ceviche and my son is having all of it and not sharing with anybody at the table.
8:45 p.m.: A thrilling ending to the day
After putting my kid to bed, my wife and I, in an ideal world (full disclosure: we haven’t done this in two years), we’ll watch something together that we’ve been meaning to watch. We have a long list of movies and we either want to revisit or that we haven’t seen that we need to watch.
We don’t watch a lot of comedies. It’s a dream to watch a “Black Bag” or a little espionage thriller. We really like that because it’s so different than the stuff that we’re working on in the day.
Often the things we watch are things that we admire. We like deconstructing it as fans of film and television. We do like talking about the making of it, but it’s less of a critique and more of a listing of the things we appreciated about it.
10:30 p.m.: No work tomorrow
And then it’s lovemaking ’til morning on a perfect Sunday. If it’s a perfect Sunday, there’s also a Monday that’s off.
Back when late-night TV sets were still the primary route for a comedian to reach a mainstream audience, Ari Shaffir found a different way to make his mark. It started with creating a show where comics could tell completely uncensored, unhinged real-life stories. What started as a live show grew into “This Is Not Happening” on Comedy Central, and later, into “Ari Shaffir’s Renamed Storytelling Show,” building a loyal fan base along the way, with clips still making the rounds 15 years later.
Supporting shows leads to new opportunities, and while Shaffir’s latest chapter may close the book on his storytelling run, his final offering is certainly a strong one. Aptly titled “The End,” and taped live at the Box NYC, this seven-part series will be released and available for purchase through YMH Studios on Thursday , and it’s jam-packed with comedians that quite literally might kill you. Especially one.
The lineup is too stacked to leave anyone out, so buckle up for wild, unforgettable stories from Shaffir, Tom Segura, Ali Siddiq, Nate Bargatze, Tony Hinchcliffe, Ms. Pat, Shane Gillis, Sam Tallent, Steph Tolev, Jim Breuer, Robert Kelly, Chris Distefano, Big Jay Oakerson, Jordan Jensen, Joe List, Steve Simeone, Mark Normand, Duncan Trussell, Roy Wood Jr., Jessa Reed, Sarah Tollemache, Dan Soder and Colum Tyrrell.
Dan Soder, left, and Shane Gillis appear in Chapter 6.
(Troy Conrad)
Everyone’s stories are so next–level, and I almost choke-laughed and died during Ms. Pat’s. It also looks incredible, tell me everything about the room.
Ari Shaffir: The room is called the Box, and it’s this burlesque place. Or maybe you call it modern burlesque because it’s not just those feathers. I really don’t know, but I feel like burlesque has evolved and that’s what this place is. It’s kinda crazy, and it’s definitely a night out. Dave Chappelle used to have these “comedian balls,” which were so cool because he would just invite comics. Like, all of the comics. He’d invite everyone out and pretty much without saying it was like, talk to each other and trade ideas about the industry. It was just so cool in there, and we scouted a bunch of places, but the look of this place, it was just right.
It makes so much sense that the room is called the Box now, visually.
What you saw wasn’t even color-corrected, so I appreciate it. I went to test the sound because we put the stage in a different place. It moves around and we just thought it looked better with all the red, but I wanted to hear what the sound was like when they were not on the stage too. They were like, oh the emcee will have a cordless as they move around, and I watched it, and it was great. But man, I was so f— up on molly that I was grinding my teeth so hard that I cracked a molar, so yeah, that place rules!
Ali Siddiq appears in Chapter 7.
(Troy Conrad)
Well, the room took my breath away, kinda like the lord took your solid tooth away. It’ll make sense to fans of your podcast You Be Trippin’ that ‘The End’ is produced by YMH Studios, but how did this series even end up happening?
Tom [Segura] and I have a relationship, we were openers for Rogan together, and we were kinda broke together, so we just talk about things. He’s so funny and prolific and I like talking things out with him. I talked to him about doing my special “Jew” too, but they were busy with the show, and you know back then, people weren’t jumping on getting into YouTube specials. So I had a chance to think about doing this show over the pandemic and finally was like, alright, let’s start working on this, and they said, “Come talk to us about it because we can help you now.” They have a great infrastructure there, and a streaming service too, so it’s like they already have everything built in, and Tom was like, “Dude, this show meant a lot to me, and we should make it again.” It’s not going to be a huge moneymaker for Tom, you know, it’s like pro bono work for lawyers, so it’s really cool of them. Another cool thing about this is the way the staff kicked in too. They’re all super talented, and kind of wasting their time on podcasts because they’re more talented than that, but it’s cool to work with a family and I liked the way they really took ownership of the work they did.
They’re a well-oiled machine of fun over there! With so many wild stories in the mix, is there anyone you are especially excited for people to see?
I’m excited to show some people new people. Even with the live shows, it’s always like, let me show you two headliners you know, a mid-level guy you’ll know and let me show you two people that you just don’t know. That’s what stand-up is in New York, L.A. and even Austin. There are some killers no one has ever heard of, and they’re destroyers. So I’m excited to show people Colum Tyrrell because he rules, he’s so funny, and his story is great. Tony Hinchcliffe’s story was really good, he’s just a monster storyteller in every sense of the word now. I just rewatched all of these a few times in a row for sound, and Roy Wood Jr. is so smooth it makes me feel like I’m needy and insecure on the stage. He’s just so calm and so good you’re like, “Damn, I’ve never been this smooth.” Sam Tallent is going to be one people talk about, Jim Breuer is so great, Steph Tolev crushed it with something fun and interesting and wow, this is really tough. Every time I’m doing a promo for this show it’s like, but what about this person, and this one?
It was also nice to see past killers on, definitely love to see the classics doing something new.
Yeah, having Big Jay [Oakerson] back was a key because he’s on the Mount Rushmore of this show, and we have three of those on “The End.” Jay, Ms. Pat and Ali Siddiq. We couldn’t get Sean Patton out because he was shooting something, and Bert [Kreischer] had a movie or something with his daughter moving or maybe it was a graduation…
Ms. Pat, from left, Ari Shaffir, Dan Soder, Duncan Trussell, Shane Gillis and Colum Tyrrell.
(Troy Conrad)
What a funny world, though, if Bert Kreischer paid to have a graduation moved so he could do your show.
Yes! Just pay the school to move the graduation for a week! Don’t you make like $50 million a year? It’s so funny how it used to be crazy to think of someone making $100 million and now there are like 10 comics who make at least half of that. And without doing press! It is really cool, though, I haven’t paid for lunch in so long. And Ali Siddiq has become so huge, he’s like the success story of this storytelling show in its entirety. Everyone got helped a little bit, but Ali kind of broke off of these stories and to see him so successful and still so smooth, it’s really cool. You can’t be “niche” doing arenas, and there’s this independent boom that’s not going to wait for anybody. So it’s another big win for us, it’s our turn in the whole story of this.
So then is this really “The End” or could it be a new start?
There is a very, very small percentage of a chance that it comes back. The plan is that this is it, and that’s why we called it that. I’m just glad you liked the show. I’m glad you liked the look and the intimacy, and that you picked up on all of that. It feels so long ago that you forget, but that’s so awesome to hear because it was a lot of fun. I think comedy fans that knew about the show before will want to see more of it because it’s just this funny televised storytelling, and they missed it. And everything turns over every five years anyway, so new people can now be like, actual stories being told like this in front of an audience? What is this cool new thing?
It was not just a nation of sports fans and media that became entranced when former Chargers great Philip Rivers, like a soldier, answered the call to duty and joined another one of his former teams, the Indianapolis Colts, at age 44, five years after his last game. (Five years after! No misprint). Former players, like me, were curious and envious.
This was a selfless, noble act by Phil. A player is not eligible for the Hall of Fame until five years after his last season. Thus, Phil has delayed his consideration as a candidate by another five years.
The winter is not merely a matter of age; it is long after the time when the pro football player lived a life at full throttle, doing what years of unromantic labor crafted his mind and body to do.
Jim Porter, the president and chief executive officer of the Pro Football Hall of Fame, reported that about 35 million males, from youth leagues to high schools to colleges, have played organized football. Of that total, only about 22,000 have played in a professional game. Shameful pride compels me to say there are only about 300 players in the Hall of Fame.
Colts quarterback Philip Rivers throws the ball during a game against the San Francisco 49ers on Dec. 22 in Indianapolis.
(Zach Bolinger / Associated Press)
Now, at 88 years old, I am in that winter of life; a time long after leaving that locker room, a place that was alive with bravado and bonds with teammates, each knowing the devastating work it took to, not only get there, but to stay there, because each year the team would bring in a fresh group of draftees and players acquired by trade who wanted your spot. As teammates, we had an unspoken contract to do the drills to the extent that the movements become instinct, to do the work, to play injured, to show up.
The memories of teammates stay fresh. I will share a few stories that stick with me about players early Charger fans will recall:
Power of Alworth
San Diego Chargers wide receiver Lance Alworth poses for a photo in 1970.
(Associated Press)
Lance Alworth is in the Pro Football Hall of Fame. Our team in the ‘60s had many players that deserve to be called great; however, we all held Lance in special regard because he encompassed high levels of skill and character. He had speed, elusiveness, and he blocked (something of a dirty word to many wide receivers). The best way to describe how I felt about Lance is to relate an incident that took place when our plane was returning from an East Coast game. The plane hit a long stretch of weather so bad that it caused the plane to rise and drop and shake to such an extent that I knew it was going to crash and kill us all. I truly felt it was all over. Then I remembered that Lance was on board and I relaxed, thinking we are safe because God would not kill Lance. I am still amused that I actually thought that.
A formidable man
Ernie Ladd, seen here in action for the San Diego Chargers, on Oct. 29, 1963.
(Associated Press)
Ernie Ladd was a 6-foot-9, 325-pound defensive tackle who played the position with skill and fury and, for four seasons, before severe knee injuries reduced him from great to good, was as skilled as anyone who ever played the position. And strong. Ernie joined the Chargers in 1961. In 1963, coach Sid Gilman made the Chargers the first team in professional football to employ a strength coach and direct that all players begin a weight-training program. At that time, I was one of only a few players in professional football that lifted year-round because coaches, at all levels of football, discouraged weightlifting, believing it tied up an athlete’s muscles. Ernie had never lifted weights. During our first training session with our strength coach, Alvin Roy, Ernie lifted 300 pounds over his head. I had trained for years and my best lift at that time was a military press of 325 pounds.
He demonstrated strength and restraint when a dispute arose between him and a teammate, who I will refer to as X, a defensive lineman whose play fell far below expectations when he was a high draft choice. Ernie was given to fun-loving razzing of others in the locker room. X took offense and swung his fist at Ernie. Ernie caught the fist in his big right hand, then grabbed X’s forearm and bent the wrist up, forcing X to the ground. Ernie then said, “X, if I let you up, are we done?” X, red with embarrassment, said it was over and Ernie released him.
The reason this stuck with me was because it reminded of an incident in the John Steinbeck novel, “Of Mice and Men,” in which Lennie, a slow-witted worker on a ranch, was being repeatedly struck by the ranch foreman until Lennie caught the foreman’s fist in the air and crushed his hand. The reference is a bit strained because Ernie was extremely bright.
Ernie was the most joyful game participant I had ever seen, bright and quick-witted, laughing before a game, getting energy from the thrill of what was about to take place. Before one of our games, he said to me in a mockingly serious voice, “Ronnie Jack, I hope I don’t kill anyone out there today. If I do, I want you to represent me and plead self-defense.” At the time, I was going to law school at night.
Surprising Wright
Ernie Wright left college early and joined the team at age of 20, the same year I signed up for the Chargers — 1960. He played offensive left tackle, making All-Pro several times. He was extremely bright, great work ethic, and proved it by having a very successful post-football business career.
Different players have different game-day, pre-event routines. I tried to stay calm and collected no matter how big the moment. I believed that if I allowed myself to get charged up by adrenaline rushes before the game started, I would use up energy I needed for the entire game.
My pregame ritual became a curious thing for Ernie. After one of our games, Ernie approached me, and the following conversation took place:
Ernie: I have been watching you before games and seeing your lips moving and I thought you were praying. I finally decided today to get closer so that I could hear what you were praying for. Was it for a team to win, was it to kick butt. You were singing to yourself! You were singing “Fly Me to the Moon.” Is that what you have been doing before all these games?
Me: That’s it. It is my way of staying calm.
Ernie (laughing): And here I thought you were deeply religious, and I have been careful not to swear around you.
A mind for politics
Republican vice presidential candidate Jack Kemp accepts a jersey from football players at Fairfax High in 1996.
(John Hayes / Associated Press)
Jack Kemp was the Chargers’ first quarterback. After an injury in his third year, he played for the Buffalo Bills. After football, he became a congressman in the Buffalo area and, later, presidential candidate Bob Dole’s choice to join his Republican ticket as his vice presidential running mate. Jack and I were training camp roommates during our first year with the Chargers. We became close friends. Jack was constantly thinking about politics and the relationship between government and the public and how power and policy shape everyday life and collective freedom.
Jack’s early political beliefs embraced the John Birch Society, a movement that felt expansive federal power is a threat to individual liberty. Among the Birch beliefs that Jack embraced was that there should not be Social Security, that if it was absent, people would then accept the responsibility of regularly putting away funds for their retirement.
During the week before a game in San Diego, I told Jack that Social Security is earned insurance, not welfare, that it spreads the risks across society, and keeps seniors out of poverty. I gave as an example my mother, who was a first-generation American with only a fifth-grade education who, prior to my retiring her when I signed with the Chargers, held minimum wage jobs that barely covered monthly expenses of her raising my brother and me by herself. I told Jack that her, and likely millions like her, given the choice of setting aside a dollar a month for retirement or spending it to care for her family, would place family first.
The depth of Jack’s constant thinking of politics became clear to me the Sunday of that week. I have forgotten the name of our opponent, but I do remember that it was a brutally contested game on a very hot day and we were ahead by only three points. At halftime, our team was walking toward the locker room when I heard Jack call out to me: “Ron, Ron, wait up.” I thought he was going to ask my opinion on what run plays would be best to call. Nope. Jack said: “I’ve been thinking about what you said about Social Security and people like your mother. I agree with you. Social Security must stay.” Then he was back to football: “OK, then, let’s get ‘em.”
I was surprised. It was a, “Wait … did that just happen?” moment. We were in the middle of a football game!
Being a part of something special
Athletes, as a group, have always been ahead of the country in improving racial and religious relations among the population. I am reminded of my senior year at the University of Southern California in 1959 when Willie Wood and I were elected co-captains of the football team. That was done at a time when 99% of the fraternities at the school barred us from membership because Willie was Black and I was Jewish. That sentiment in America meant nothing to our predominately white Christian teammates who, true to the nature of sports, judged teammates only on their character, work ethic and production.
Missing the demands of the game
And then there were the opponents. How deeply they are missed, those men across the line who made excellence necessary. While it is true that some opponents were less skilled than others, the collisions with all of them were just as real.
Playing against greatness was a measurement of who you were. I had the, yes, the pleasure of playing directly against fellow Hall members such as Deacon Jones, Buck Buchanon, Bobby Bell and Claude Humphrey, and a slew of other notable defensive linemen. They, and others, were equally committed to stopping me from doing my job.
It has now been 54 years since I left the game and I still miss it.
Mix was inducted into the Pro Football Hall of Fame in 1979.
Biblical stories like Jonah and the whale would be required reading for Texas public schools students under proposals that are putting the state at the center of another contentious wrangling over the role of religion in classrooms.
Religious leaders, teachers, parents and students spent hours Tuesday before the state education board arguing about the reading list for the state’s 5.4 million kindergartners to 12th-graders. The debate is part of widening efforts in the U.S. to incorporate religion in schools, mostly in Republican-led states, driving legislation and legal action.
Nationally, President Trump has pledged to protect and expand religious expression in public schools. And Texas, a red state that is home to about 1 in 10 of the nation’s public school students, often helps set the agenda.
Texas became the first state to allow chaplains, in 2023. And just last year, a Republican-led mandate that the Ten Commandments be displayed in public schools took effect in the state, although around two dozen districts took them down because of a lawsuit.
But while the debate over Texas’ reading list could have national implications, to the speakers the issue boiled down to whether the passages are essential to understanding the nation’s history and morals — or unconstitutional.
“Our children need truth,” said Nathan Irving, a pastor and father of eight from Myrtle Springs, Texas. “Truth is the only currency that never devalues. Investing truth into our children is the most loving thing that we can do for them. This is the truth. This country and this state were founded upon a Christian worldview. Like it or not, it is true.”
Final vote on the changes still ahead
A final vote on the list is expected in June, and if approved by the Texas State Board of Education, the changes would take effect in 2030.
Several speakers cited the “establishment clause” of the 1st Amendment, which states that “Congress shall make no law respecting an establishment of religion.”
“This list is a tool of proselytization that has no place in our public schools,” Rabbi Josh Fixler, of Congregation Emanu El, a reform synagogue in Houston, told the board. “There is a difference between teaching about religion and teaching religion, and this list will force teachers to cross that line.”
Megan Boyden, a mother of three from Denton, Texas, described is as a direct attack on her private faith.
“As a Christian mother, it is my right and responsibility to teach our family’s religion,” she said. “It is not the state’s job to shed through the lens of a teacher who may not share the same beliefs I do. Will Bible passages be taught in conflict with my beliefs?
“What,” she asked, “of non-Christian students?”
The list stems from a state law passed in 2023, which called for the creation of a state-approved list of high-quality materials.
Third-graders would learn about the Road to Damascus, which tells the story of Paul’s transformation from an early persecutor of Christians into a follower. Seniors, meanwhile, would learn about the Book of Job, a story about a man whose faith is tested when he loses everything.
The list also includes classics like Dr. Seuss’ “The Cat in the Hat,” stories about the national folk hero Daniel Boone. And there are also works by famous African Americans like Frederick Douglass and Martin Luther King Jr. and a book about Harriet Tubman of the Underground Railroad fame.
Texas has already approved optional curriculum that incorporates the Bible
The GOP-leaning board previously approved a new Bible-infused curriculum that is optional for schools to incorporate in kindergarten through fifth grades.
The board also is considering social studies standards that have been criticized as too state-centric, not focused enough on world events and rife with an undercurrent of American exceptionalism. They call for students to “identify the Texas flag as a symbol of Texas pride,” and recognize the state song “Texas, Our Texas.”
Students also are supposed to be able to understand stories about Texas Independence.
Curriculum debates crop up occasionally. Over the years, state boards in places such as Kansas have debated whether the teaching of evolution should reflect doubt about the well-established scientific theory — and leave room for arguments that the universe’s complexity points to an intelligent design.
Allison Cardwell, a mother of a fourth-grader and a fifth-grade social studies teacher, urged the board to rethink the standards. She said fifth grade would be the only time most Texas students would receive instruction in U.S. history until high school.
“We have to ask ourselves, how can we expect to create citizens who value liberty, responsibility, and the principles this country was founded on, if we don’t ensure that they truly understand those foundations?” she said.
Fred Fleitz, former chief of staff of the NSC, predicted Wednesday that U.S. President Donald Trump could meet with North Korean leader Kim Jong-un for a summit sometime this fall. Fleitz made the comment at the Asan Plenum in Seoul. Photo courtesy of Asan Institute of Policy Studies
A former Trump administration official predicted Wednesday that U.S. President Donald Trump could meet with North Korean leader Kim Jong-un for a summit sometime this fall, citing Trump’s continued indications of interest in resuming dialogue with the reclusive leader.
Fred Fleitz, a former chief of staff of the National Security Council under the previous Trump administration, made the remarks as speculation persists that Trump and Kim may resume dialogue around the time when Trump visits China for summit talks with Chinese President Xi Jinping, in May.
“I believe there is a good chance of a Trump-Kim summit this fall,” said the vice chair of the America First Policy Institute at a press event on the sidelines of a forum hosted by the Asan Institute of Policy Studies.
“President Trump has often indicated that he wanted to resume a successful personal diplomacy … It is something that Trump believes in that this was a big success that he has to build upon,” he said.
Fleitz pointed out that although Trump is open to meeting Kim again, he would not back away from the U.S. demand for denuclearization.
“The Trump administration might join talks with North Korea but will be pushing for denuclearization,” he said. “I would strongly advise the Trump administration that another progress should be that North Korea has to stop sending weapons (to Russia for its war) in Ukraine.”
“They are helping a disastrously bloody war and I don’t think it’s a lot to ask for Trump to say that to Kim Jong-un.”
On a similar note, Victor Cha, Korea chair at the Center for Strategic and International Studies, gave an outlook of a “more than 50 percent chance” that Trump will meet Kim, after he meets Xi in Beijing.
“I don’t think Xi Jinping will want a meeting (between Trump and Kim) before his summit with Trump,” he said. “There is a greater than 50 percent chance that they could meet after their (Trump-Xi) meeting in Beijing.”
Cha also noted that unlike the approach to China, Russia or Iran, Trump shows that he puts North Korea in a “different basket” in terms of his potential engagement with Kim.
“I think he clearly wants to engage with him, which is just fascinating,” he said.
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One of L.A.’s most unique art galleries is closing up shop.
Gallery 1988, which opened in 2004 and proclaimed itself “the first pop culture-focused art gallery in the world,” will cease operations at the end of April. In a post on Instagram, gallery owner Katie Sutton said that while the gallery had been forced to close its physical space on Melrose a few years back, she had “really tried to keep things going [online], especially for our amazing artists.” Unfortunately, she wrote, “the [art] market is the worst I’ve seen it in over two decades,” and the decision to close became inevitable.
A launching pad for artists whose work paid tribute to television, film, video games and more, Gallery 1988 was renowned for shows like the annual “Crazy 4 Cult,” which showcased pieces celebrating underground classics from across the entertainment space. It also specialized in single-focus shows like “Weird Al,” which celebrated the career of the oddball recording artist “Weird Al” Yankovic, and “You’re the Very Best, Like No One Ever Was,” which paid tribute to the world of Pokémon.
Exhibitions at Gallery 1988, which is closing after 20 years, often featured lines around the block, with fans who camped out for a chance to score a prized piece.
(Courtesy of Gallery 1988)
Perhaps most famously, the gallery collaborated with studios to create art-focused campaigns around properties such as “The Avengers” and “Star Wars: The Force Awakens,” while also launching solo shows from artists like Scott C, Luke Chueh and Tom Whalen.
Gallery 1988 was renowned for selling work that ranged in price from $10 into the thousands, enabling customers from around the world to buy pieces that spoke to them, whether a postcard-sized digital print or a large oil-on-canvas painting.
A number of other galleries have closed in recent months across Los Angeles, including Blum, Nino Mier Gallery, Clearing, Tanya Bonakdar Gallery and L.A. Louver. Sutton says that she’s heard through the gallery grapevine that “even galleries that haven’t closed are struggling,” adding that “it’s a hard time for everybody.”
Though there’s never one reason a business closes, some industry observers and art fans have cited the rise in AI-generated content potentially devaluing original art overall. It’s especially true in the pop culture space, with consumer activity down not just at places like Gallery 1988 but also at events such as WonderCon in Anaheim, where artists could often expect to make a good chunk of change.
Jensen Karp, who co-founded Gallery 1988 with Sutton but stepped back after a health scare nearly two years ago, says that while he certainly sees a “malaise in culture because of AI” that’s indicative of the population “losing the understanding of what true art is,” he wouldn’t attribute the collapse of Gallery 1988 solely to that one thing.
Kristin Tercek “Rejoice” 2015 for the “Force Awakens” show with Disney, LucasFilm and Unicef at Gallery 1988.
“Our customer base was the people who looked up release dates and who went to the Arclight, and that sense of community is just not there anymore post-pandemic,” Karp says. With the entertainment industry struggling in L.A. as well, that means less disposable income floating around for things like art — especially from the kinds of people who might be inclined to buy a portrait of, say, Steve Martin in the movie “The Jerk.”
Greg Simkins, a California based artist who often sold through Gallery 1988 under the name “CRAOLA,” says he’s felt the impact of the entertainment industry’s contraction firsthand. “People like directors, producers and actors were some of our biggest clients,” Simkins says. “All of the sudden they’re leaving, going to places like Atlanta and Canada. AI is screwing up the movie industry too, and those are the kinds of people who had expendable money to buy original art so it trickles down.”
It doesn’t help that there’s more pop culture-centered art floating around now, and not just on sites like Instagram and Etsy. Though Gallery 1988 was a frontrunner in celebrating popular culture through art when it opened, even hosting a “Rick and Morty”-themed show before the Adult Swim series had a lick of merchandise, it also became a proof of concept for companies including Disney and Netflix, which have started selling their own artist-created material inspired by their properties.
And with Hollywood releasing fewer movies into theaters, the base of what Gallery 1988 artists could pay tribute to also began to contract. Frequent gallery contributor Whalen says that when Gallery 1988 opened, it was filling a niche and “creating fresh content for movies that spoke to” people in their 20s and 30s. Over time, though, art that celebrated properties like “Ghostbusters,” “Back to the Future” and “The Goonies” started to overwhelm the market, causing “a lot of the 1970s and ‘80s movies to become stale,” Whalen says.
Scott C’s “Breaking Bad Upon the Mount,” 2012, for the “Breaking Bad Art Project: With Sony and Vince Gilligan” at Gallery 1988.
While Sutton and Karp both say they’re beyond grateful that they got to open Gallery 1988 in the first place, let alone keep it open for more than 20 years, they’re worried about what closing the gallery will mean to some of their contributing artists.
“There are so many incredible artists out there and there are so many more places for them to show their work now and that’s amazing,” Sutton says. “But with that bombardment of media from everywhere, it’s hard to really see stuff because it’s coming at you from all directions. So many artists are out there trying to make a living and support their families and that’s just becoming harder and harder.”
“So many of the artists we showed never expected to have an art gallery email them,” Karp says. “I’m so proud of all the artists we worked with and what we were able to do, but I also know that [Gallery 1988 shutting down] closes up an avenue for all of them too and that sucks.”
This story contains spoilers for “The Super Mario Galaxy Movie.”
Everybody’s favorite fearless and super capable princess is back for another adventure — along with the denizens of her kingdom and a pair of New York plumber brothers — in “The Super Mario Galaxy Movie.”
Now in theaters, the follow-up to the 2023 blockbuster “The Super Mario Bros. Movie” sees Princess Peach, Mario, Luigi and Toad joined by some new yet also very familiar faces as they try to thwart yet another evil plan by a member of the Bowser clan. The result is some intergalactic travel and family-friendly action.
Directed by Aaron Horvath and Michael Jelenic, who also helmed the first film, “The Super Mario Galaxy Movie” formally introduces into Nintendo’s movie universe the cosmically powerful Rosalina and her flock of star-shaped Lumas, Bowser’s ambitious mini-me, Bowser Jr., the insatiable dinosaur-like Yoshi, ace pilot Fox McCloud and more video game fan favorites. (That includes Mr. Game & Watch, one of Nintendo’s earliest playable characters.)
These introductions, of course, don’t stop when the film’s main story ends.
Much like the first installment, “The Super Mario Galaxy Movie” features a couple of bonus scenes that are shown after the credits begin to roll. The first is a mid-credits scene that involves a breakout character from “The Super Mario Bros. Movie,” and the second, shown after the credits end, introduces another Nintendo royal.
Many Lumas appear in “The Super Mario Galaxy Movie.”
(Nintendo and Illumination)
The mid-credits scene is justice for Lumalee
Lumalee quickly won audiences over in “The Super Mario Bros. Movie” with his cheerfully nihilistic one-liners while imprisoned by Bowser. The blue Luma doesn’t appear during the main story of “The Super Mario Galaxy Movie,” but the star-shaped creature steals the mid-credits scene.
The bonus scene takes place sometime after the movie’s main story ends at the prison where Bowser and Bowser Jr. have been locked up. After Fox teases a possible sequel or “Star Fox” spin-off by mentioning he is finally “heading home” as he approaches his ship, audiences get a glimpse of what’s in store for the Bowser duo’s foreseeable future.
Peace may not be an option, because their prison guard is former Bowser captive Lumalee. And the role reversal — complete with uniform — doesn’t appear to have changed Lumalee’s outlook on life in any way.
The blue Luma said it best in the first “Mario” movie: “Life is sad, prison is sad, life in prison is very, very sad.” Just how sad things might get for the Bowsers will be up to Lumalee.
Peach fights off some Ninjis in “The Super Mario Galaxy Movie.”
(Nintendo and Illumination)
The second post-credits scene introduces a new princess
The final bonus scene in “The Super Mario Galaxy Movie” is more of a teaser for what could come in a future “Mario” installment.
This stinger takes place back at the hub known as the Gateway Galaxy. The mischievous thieving monkey Ukiki is once again trying to make off with the belongings of a passerby when he is stopped by another traveler: Princess Daisy.
Daisy is a character that first appeared in the 1989 Game Boy game “Super Mario Land.” Much like Peach in the first “Super Mario Bros.” video game, Daisy was the princess players were trying to rescue. She has since become a Nintendo regular, being featured as a playable character in “Mario”-related titles including in the “Mario Kart,” “Mario Party” and “Super Smash Bros.” series of games as well as the latest main series installment, “Super Mario Wonder.”
Although Daisy does not have any lines in the film, the video game incarnation of her is known to be energetic and feisty.
This brief glimpse of Daisy is another indication that there is more to come in the Mario movie franchise. Audiences will have to wait to see if (or when) a third movie is officially announced.
Jordan Pickford: Japan’s opening goal was the first time Pickford had conceded for England in 922 minutes. He had to produce a smart save in the second half to keep the hosts in the game. 6
Ben White: Beaten once early on but showed the consistency he has done for Arsenal after that. A constant hard-working presence down the right-hand side. One particularly good overlapping run in the first half. 6
Ezri Konsa: In with a big chance of starting the first game at the World Cup. One crucial block to deny Ayase Ueda with the shot hitting the bar and going over. 6
Marc Guehi: Given the armband by Tuchel for the first time. A couple of shaky moments early on but after that as dependable as ever. 6
Nico O’Reilly: Another important game for O’Reilly as he makes the left-back position his own before the summer. He showed his ability on the ball and moved into midfield whenever he could. 7
Kobbie Mainoo: A bright start and some nice footwork when moving the ball around midfield. Beaten a couple of times on Japan attacks when trying to defend. 6
Elliot Anderson: A certain starter at the World Cup. Assured in midfield, provided a drive to England’s play and tried to make things happen. One of the better performers on the night and clipped the crossbar with a good effort. 7
Cole Palmer: The Chelsea attacker was given the nod as the number 10 over Phil Foden who played as a false nine. There was always a sense that something could happen when Palmer was on the ball. However, he was caught on the ball and punished for Japan’s opener. Came off just before the hour mark. 6
Morgan Rogers: Started on the right wing and asked to provide a threat through the middle with no natural striker in the starting line-up. Not his best position but did the job that was asked of him. 6
Anthony Gordon: Put in another energetic performance with lots of hard work but not many moments to threaten the Japan defence. 5
Phil Foden: The Man City forward started as a false nine as Tuchel looks for a position for him in England’s squad. It was not a good night for Foden who will be worried about his place on the plane for the World Cup. Replaced in the 59th minute. 5
An uprising typically has a long parentage and, if effective enough, can leave behind many like-minded descendants. Such is the bracing air that Palestinian filmmaker Annemarie Jacir breathes into her historical drama “Palestine ’36” as she dramatizes the 1936-1939 Arab Revolt against occupying Britain’s increasingly punitive, underhanded rule, offering up a multifaceted rebellion tale with plenty of contemporary resonance.
That being said, Jacir’s fourth feature — packed as it is with storylines — could stand a bit more context and fewer of the expositional traps that big-cast sagas easily fall into. But the key element that grounds Jacir’s version of an old-fashioned epic (and helps it withstand its faults) is that we’re seeing a place rarely depicted with such sweep, detail and scope outside of biblical epics. It’s as if a long-disused history book’s pages have finally been opened, dust giving way to color and purpose.
Some of that breadth is seen at the beginning in some astonishing newsreel footage from the era, which segues into Jacir’s establishing story threads. We meet village-born Yusuf (newcomer Karim Daoud Anaya), an ambitious young man who moves restlessly between bustling Jerusalem, where he works for a wealthy, British-friendly Palestinian businessman (Dhafer L’Abidine) and his journalist wife (Yasmine Al Massri), and his rural home where villagers are routinely targeted by British authorities. If it isn’t vicious Capt. Wingate (Robert Aramayo) violently rooting out rebels and putting locals in pens, it’s outwardly friendly officials like the secretary who oversees new policies kinder to the increasing numbers of Jewish settlers than to those who have been farming the hills for ages.
The split widens when a labor strike becomes an armed revolt, with Jacir gamely tracking the hardening or shifting loyalties of both her peasant and well-to-do characters. The British, represented at the top by the casually imperious High Commissioner Wauchope (a perfectly cast Jeremy Irons), are decidedly the villains here as a colonial force quick to brutalize Palestinians for speaking up for themselves. Still, by forgoing any Jewish characters when there was already a burgeoning transplanted minority — all we see is a kibbutz being erected in the far distance — seems like too careful an avoidance of contextual reality.
As “Palestine ’36” eventually sacrifices focus on the many characters it has, one wishes Jacir had had the luxury of a classic epic’s standard third hour to build that complexity into a vivid resistance narrative. Wanting more from this material, though, feels better than not getting the opportunity to see it at all. As overdue tales of history go, “Palestine ‘36” (currently one of the last films with access to its real-world locations) is certainly more of a blunt instrument than a novelistic endeavor. But its broad strokes and rooted passions easily earn their place, and deserve to inspire more such stories.
‘Palestine ’36’
In Arabic and English, with subtitles
Not rated
Running time: 1 hour, 59 minutes
Playing: Opens Friday, March 27 at Laemmle Royal and Laemmle NoHo 7
The framed photo of César Chávez and Dolores Huerta sits in my personal office on a bookshelf crammed with volumes about California and the American West.
The two are at a 1973 United Farm Workers convention, presiding over the union they co-founded. After years of victories in the name of campesinos, the group and its charismatic leaders seem ready for what’s next.
A UFW banner emblazoned with the group’s famous black Aztec eagle logo hangs in the center of the picture, making Chávez and Huerta look like equals.
But they’re not.
He’s speaking from a podium, looking down and appearing cast in darkness due to Chávez blue vest melding into his black hair and brown skin. She’s by his side clasping her hands, wearing a colorful blouse that pales in radiance to Huerta’s hopeful face as she looks at the crowd before them.
It’s the only picture of historical figures that I display at home, and it’s in a place where I’m guaranteed to look at it. It has long served as my secular version of a prayer card, a daily reminder to fight for the good in the world and a reminder that giants before me faced challenges far more daunting than mine. It was also a testament to teamwork — when I acquired the photo a few years ago, it called to me in a way a solo Chávez never would have because I always knew el movimento was more than just one man.
Their portrait can never mean just those things ever again after the New York Times reported last week Chávez sexually assaulted two teenage girls in the 1970s and Huerta in the 1960s.
Places left and right — colleges, cities, classrooms, even states that mark Chávez’s birthday as a holiday — are now deleting his name and image from the public sphere. It’s not going to be a quick, easy task even if the cancellation is starting to take place with startling speed: Chávez’s presence is as ubiquitous in Mexican American life as the Virgin of Guadalupe.
Just this weekend, a friend acknowledged that he and his wife had just started reading a book about him to their 5-year-old daughter, a book they now plan to trash.
I thought of doing the same to my photo of Chávez and Huerta. But I’ve decided not to.
I don’t fault folks for wanting to scrub any hint of Chávez from their daily lives and neither does the Cesar Chavez Foundation, the nonprofit headed by his descendants that recently announced in a statement, “We support and respect whatever decision[s]” may come in the weeks and months to come. Communities are entitled to decide whom they should and shouldn’t publicly honor.
But to eradicate Chávez’s civic presence so fast — to tear down his statues, relabel streets and parks named in his honor, paint over his image on old and new murals, to throw away artwork that has adorned homes and offices for decades — doesn’t remove the fact that millions largely saw him as a champion of the downtrodden until last week. It can’t rescind the positive influence Chávez had on generations of Latinos and non-Latinos who saw in him the hopes of a people and now must reconcile their memories with his horrible deeds.
Historians, educators, activists and politicians for far too long elevated Chávez above Huerta in the name of a simplistic narrative that should’ve never been constructed. The public at large bought into those efforts with little skepticism in the understandable desire to have Latinos star in the American story. It’s a culpability we should all interrogate, not immediately purge.
That’s why not only am I keeping up my photo of Chávez and Huerta, I’m going to put it in a more prominent place from where I can’t look away.
Workers for the city of San Fernando cover the statue at Cesar E. Chavez Memorial Park on Thursday.
(Kayla Bartkowski / Los Angeles Times)
It will serve as a memory of a tragic, tremendous moment in the history of Latinos in the United States, where we should be focusing our attention on a presidential administration that wants most of us gone but instead must deal with the fallout from the downfall of one of our own. It will challenge me anew to look past the big names of the past and highlight those whose stories aren’t nearly as known by the mainstream.
Seeing Huerta next to her abuser will forever remind me about how the now-95-year-old sacrificed her own mental health and safety in the name of something bigger than the two of them — a choice no one should ever have to make but one that she nevertheless did.
The photo will stand as the manifestation of the old newspaper adage that if your mom tells you she loves you, go check it out. No one should ever be above skepticism no matter how sanctified and righteous they may seem — that’s why the New York Times investigation crashed into the Chicano collective sense of self like a meteor. No one could’ve imagined that Chávez could’ve possibly done things so monstrous, but maybe we shouldn’t have built him up so much while he was alive and after his death in the first place.
My framed Chávez-Huerta memento will make me think of how the stories of sexual abuse survivors are still not heard enough or even believed. Even now, some Chávez defenders are casting doubt on the claims of Huerta and the three other women named in the New York Times story, questioning their motivations to come forward after decades of silence and decrying how their decision to do so has permanently tarnished the reputation of one the few nationally known Chicano heroes. In Huerta’s case, critics just don’t buy how someone who carried Chávez’s torch decades after his death could all of a sudden supposedly turn on him.
But as a Catholic who has long covered the Catholic Church sex abuse scandal, I know that every sexual assault survivor has their own journey of recovery. I also know that we must always seek the truth instead of living a lie.
And turning Chávez into a historical footnote is a lie. He long served as a moral exemplar; he should now serve as a cautionary tale known to all.
Erasing historic figures from the public sphere is an exercise in power going back to the pharaohs, a way rulers ensured future generations couldn’t learn about their enemies. The push to nix Chávez comes from the trend in recent years by progressive activists to remove monuments that hail problematic figures under the pretense that someone’s sins trump any good they might have done no matter how influential they were.
Again, all communities have that right to reexamine the past. But we can’t and shouldn’t disappear the full story of Chávez, as painful as it is. It’s the easy way out — and remedying wrongs is never easy.
If the photo in my book shelf was only of Chávez, I’d still keep it up. The good he did was really good — the bad he committed was as terrible as it gets.
If you find yourself surrounded by towering palms, mod furniture, vintage-looking neon signs, a 26-foot Marilyn Monroe statue and a backdrop of bare desert mountains, chances are you’ve landed in Palm Springs.
Look, I get it: Palm Springs doesn’t exactly scream Gen Z. It’s long been known — and still functions — as a retirement haven. A place where older adults trade in puffer jackets for gallery strolls, pool lounging and taco sampling under cloudless skies.
But I, a Gen Z reporter, am here to say Palm Springs can be really fun, and it actually aligns with my generation more than you might expect.
“If you’re going to Palm Springs and you’re our age, you’re looking for spots that are content-creatable,” said Ava Bostock, a 25-year-old L.A.-based public relations professional who researches the intersection of media and youth consumer behavior. “We need the picture to prove we were there.”
Palm Springs doesn’t shy away from its past, and that’s exactly what makes it feel so current.
Gen Z, which covers those who are 14 to 29 years old, is fluent in the digital world, but we romanticize the analog: the grainy film photo, the thrifted wardrobe, the rotary-phone energy of another era. Palm Springs leans into that fantasy: sun-faded signage, bubblegum-colored motels, midcentury homes with breeze blocks and Old Hollywood flair. It’s a time capsule built for our aesthetic eye and our camera roll.
“When I revisit the past, the ’60s were so focused on the future and space age and what comes next,” Bostock said. “I don’t think our generation has that. It feels like we’re walking into the future backwards — like we’re so enchanted with the past.”
That fixation shows up in our Pinterest boards, photo filters and travel decisions. “The most iconic images of decades past are at your fingertips,” she said.
In a place like Palm Springs, where roadside signs, retro motels and Old Hollywood architecture are preserved like set pieces, Gen Z can find a slowed-down, stylized version of the past we’ve only ever seen online.
It’s not just about visuals. “The way we consume and vacation and travel is really dictated by content,” Bostock said.
That’s part of what makes Palm Springs feel uniquely Gen Z. It satisfies a generational paradox: a destination that’s hyper-photogenic yet relaxed and immersive. It’s a place where you can stage the perfect coffee photo, then put your phone down and just be.
So whether you’re tagging along with your desert-retreating parents or planning a weekend getaway with friends, here’s your Gen Z-approved guide to Palm Springs, from where to caffeinate and vintage shop to the best spots for dancing, wellness walks and content-worthy photo ops.
Time Out has ranked the 51 most beautiful places in the world, and the top spot goes to Spain’s Picos de Europa mountain range that’s just a two-hour flight from the UK with Ryanair
The Picos de Europa is in Spain and located just over 12 miles from the coastline(Image: Manuel ROMARIS via Getty Images)
The world is brimming with extraordinary destinations to discover, and pinpointing the most stunning is no easy feat, but Time Out has tackled the task.
The publication recently unveiled a list of the 51 most beautiful places in the world, featuring everything from lakes to beaches, National Parks, libraries, vineyards, and historic towns. Yet, claiming the number one position is a breathtaking mountain range that provides remarkable hiking opportunities, and it’s merely a two-hour flight from the UK.
The Picos de Europa in Spain is a striking, rugged limestone mountain range that soars to a height of 2,650 metres. Located just over 12 miles from the coastline, the mountains ascend steeply, forming deep gorges to discover, reports Express.
One route, the Cares Trail, ranks among the most sought-after walks in Spain, tracing a canyon and passing through craggy peaks and cascading waterfalls.
Spanning 13 miles in total, it’s not suitable for novices, though its gentle inclines make it achievable for walkers who can manage the distance. A straightforward choice is to board the Fuente Dé cable car, whisking you up the mountainside in moments and letting you relax and admire the verdant landscape below.
Upon reaching the summit, you can also explore additional hiking trails, including some demanding, steep climbs that provide spectacular vistas.
The mountains form part of the broader Picos de Europa National Park, and this region features the Lakes of Covadonga. These glistening blue waters are encircled by peaks and vegetation and resemble landscapes you’d encounter in Scotland or the Lake District, making it difficult to believe you’re in Spain.
This protected national park is abundant with wildlife, including brown bears, wolves, vultures, and eagles, and you’ll probably encounter mountain goats and vibrant butterflies amongst the limestone surroundings.
At the foot of the mountains, you can discover towns like the medieval Potes, brimming with centuries-old stone and half-timbered buildings and cobbled streets that lend it a rustic allure.
The town’s centrepiece is the Torre del Infantado, a 15th-century tower once the residence of medieval royalty, now a museum with a rooftop terrace providing sweeping views of the town.
Arenas de Cabrales on the park’s periphery is another favoured spot to stay. It’s renowned for producing Cabrales cheese, and has evolved into a gastronomic hotspot due to its plethora of acclaimed restaurants serving Northern Spanish cuisine.
Don’t expect to find paella on the menu. In this region, the dishes are hearty and rustic, such as bean stews and grilled meat, with ingredients sourced locally from the mountains.
The Picos de Europa is just under two hours from Santander Airport, and is serviced by airlines including Ryanair. Routes from the UK to Santander operate year-round from Edinburgh and London-Stansted, and seasonal flights operate from Birmingham and Manchester. Flights start from just £15 one-way and take 2 hours from the UK.
Got a story you’d like to share? Drop us an email at webtravel@reachplc.com
JUNEAU, Alaska — The tiny Alaska Native village of Beaver is about 40 minutes — by plane — from the nearest city. Its roughly 50 residents rely on weekday flights for mail and many of their basic supplies, including groceries and Amazon deliveries of everyday household items.
Air service plays an outsize role in the nation’s most expansive state, where most communities rely on flights for year-round access. Planes also play a crucial role in elections, getting voting materials and ballots to and from rural precincts such as Beaver and delivering ballots for thousands of Alaskans who vote by mail — some in places where in-person voting is not available.
The vast distances and relative isolation of so many communities make Alaska unique and are why its residents have a significant interest in arguments taking place Monday before the U.S. Supreme Court.
Many here worry that a case from Mississippi challenging whether ballots received after election day can be counted in federal elections could end Alaska’s practice of accepting late-arriving ballots. Alaska counts ballots if they are postmarked by election day and received within 10 days, or 15 days for overseas voters in general elections.
“These processes have been in place for a long time just to ensure that our ballots are counted,” said Rhonda Pitka, a poll worker and first chief in Beaver, which sits along the Yukon River 110 miles north of Fairbanks.
If the court decides ballots in all states must be received by election day, she said, “they’ll be disenfranchising thousands of people — thousands of people in these rural communities. It’s just basically saying that their votes don’t count, and that’s a real shame.”
The Supreme Court will hear arguments as the U.S. Senate is debating legislation being pushed by President Trump that would require people to show proof of citizenship to register to vote — an onerous burden for many — and a photo ID to cast a ballot.
Most Republicans argue that the bill is necessary to shore up voting integrity, but Democrats and voting rights advocates — and Alaska Republican U.S. Sen. Lisa Murkowski — contend that it amounts to voter suppression. Studies have consistently shown that voting fraud is exceedingly rare in the U.S., and courts have struck down similar measures after finding they prevented eligible voters from casting ballots.
Some ballots already arrive late
Alaska is one of 14 states that allow all mailed ballots postmarked by election day to arrive days or weeks later and be counted, according to the National Conference of State Legislatures and the Voting Rights Lab. An additional 15 provide grace periods for military and overseas ballots.
But Alaska’s geography, weather and great distances between communities — Alaska is more than twice the size of Texas, the nation’s second-largest state — raise the stakes for voters. The unusual way the state counts its votes also makes a grace period important, advocates say.
Under Alaska’s ranked-choice system for general elections, workers in small rural precincts call in voters’ first choices to a regional election office. All ballots, however, ultimately are flown to the state Division of Elections in the capital, Juneau. There, the races not won outright are tabulated to determine a winner.
Even with Alaska’s current 10-day grace period, ballots from some villages in 2022 were not fully counted because of mail delays. They arrived too late for tabulations in Juneau, 15 days after election day.
If the Supreme Court rules that ballots cannot be counted if they arrive at election offices after election day, many Alaska voters could be affected. About 50,000 Alaskans voted by mail in the 2024 presidential election.
“I think there’s probably no other state where this ruling could have a more detrimental impact than ours,” Murkowski, her state’s senior senator, said in an interview.
Murkowski sees the case — a challenge by the Republican National Committee and others to Mississippi’s allowance of late-arriving ballots — as an effort to end voting by mail nationwide.
‘Seeing a level of voter intimidation’
The RNC argues that such grace periods improperly extend elections for federal office, but Mississippi responded that no voting occurs after election day — only the delivery and counting of already completed ballots.
Taken together, Murkowski said, the Trump-backed voting bill and the Supreme Court case could discourage people from voting.
“I think we’re seeing a level of voter intimidation, I’ll just say it,” she said. “I feel very, very strongly that the effort that we should be making at the federal level is to do all that we can to make our elections accessible, fair and transparent for every lawful voter out there.”
Alaska’s other congressional members, Rep. Nick Begich and Sen. Dan Sullivan, both Republican allies of Trump who are seeking reelection this year, support the SAVE America Act now before the Senate. But they also said they want to ensure that ballots properly cast on or before election day get counted.
“We’ll see what the courts choose to do on that issue, but I do think that we need to allow for time for ballots to come in from the rural parts of our state,” Begich said during a recent visit to Juneau.
Alaska officials highlight challenges to the court
A court filing in the Mississippi case by Alaska Atty. Gen. Stephen Cox and Solicitor Gen. Jenna Lorence did not take sides but outlined geographic and logistical challenges to holding elections in Alaska.
In Atqasuk, on Alaska’s North Slope, poll workers counted votes on election night in 2024, tallies they would normally relay by phone to election division officials. But the filing said they could not get through and “chose what they saw as the next best solution — they placed the ballots and tally sheets into a secure package and mailed them to the Division, who did not receive them until nine days later.”
The filing seeks clarity from the Supreme Court, particularly around what it means for ballots to be received by election day.
While it is clear when a ballot is cast, “when certain ballots are actually ‘received’ is open to different interpretations, especially given the connectivity challenges for Alaska’s far-flung boroughs,” Cox and Lorence wrote.
Effect on Alaska Native voters
Lawyers with the Native American Rights Fund and Great Lakes Indigenous Law Center said in filings with the court that limited postal service in rural areas means that some ballots might not be postmarked until they reach Anchorage or Juneau, which can take days.
In the 2022 general election, between 55% and 78% of absentee ballots from the state House districts spanning from the Aleutian Islands up the western coast to the vast North Slope arrived at an election office after election day, they wrote. Statewide, about 20% of all absentee ballots in that election were received after election day.
Requiring ballots to be received by election day, they warned, would “disproportionately disenfranchise” Alaska Native voters. The lawyers represent the National Congress of American Indians, Native Vote Washington and the Alaska Federation of Natives.
Michelle Sparck, director of Get Out the Native Vote, a nonpartisan voting rights advocacy group affiliated with the Alaska Federation of Natives, worries about creating confusion and fear among voters.
She sees the case before the Supreme Court and the Republican SAVE Act as “a multipronged attempt to take control or wrest control of elections away from states.” Alaska, she said, already has enough inherent barriers for many voters.
“There is a minute record of election fraud — not at the rate that requires this heavy-handed response through the legislature and the Supreme Court,” she said.
