Queen

Bestselling author Jessica Knoll’s protagonists mostly follow a specific pattern: They are women who have learned Not. To. Flinch.

And, apparently, neither does Knoll. Talking over Zoom about her fourth novel, the erotic thriller “Helpless,” which is out this month, the author is blunt about the challenges it took to complete the book. “It takes a lot of skill to write good sex,” Knoll says. “I relied a lot on feedback from my editor and from my book agents saying ‘this is hot; this is not.’”

Knoll has written romantic scenes before, but “Helpless” needed to be enthralling and economic enough not to get her kicked off of Target’s bookshelves. In the end, the author says, “I went by what felt good and natural for these characters and maybe a little bit of the really unfiltered talk you have with your girlfriends after a couple martinis or are on a girls trip.”

Knoll’s successful career as a novelist rests on her knack for creating provocative page-turners that depict the absolute worst things one person could do to another — but in such a sensational, tongue-prickling-sour-candy kind of way that her books come off as devilishly evil beach reads. Since her debut bestseller, 2015’s “Luckiest Girl Alive,” — a master class in braided narration between a Machiavellian magazine editor and her younger self who endured so much emotional and physical trauma that it’s no wonder she grew up to be extremely calculating — to 2018’s reality TV-set “The Favorite Sister” and 2023’s “Bright Young Women,” a response to the public’s obsession with immortalizing serial killers while also not knowing the name of a single one of their victims. Knoll’s books are not only stories about women who do not care if you like them but also ones where disastrous results await the women who do follow our cultural conditioning to be agreeable to men.

Her “Helpless” heroine is not so different from a lot of her previous main characters: Type A overachievers with cutting inner monologues that let the reader know they’re always one step ahead in the social Darwinism that is female relationships. This time, she’s named Faye Heron, an Emmy-winning Hollywood multi-hyph who found cachet while working on one of those edgy premium dramedies that probably aired on HBO. Faye, and her husband/producing partner, have parlayed this notoriety into indie, cool-kid projects that are just commercial enough that some of the target audiences’ boomer parents may also watch.

When Faye’s beloved college professor dies suddenly and she’s asked to speak at a memorial ceremony, nostalgia and flattery make her drop everything and hightail it back to the leafy northeastern college town. The place is a time capsule with sketchy internet service, drunken frat boys, and — most crucially — Faye’s college boyfriend Henry, who is now married with two kids and still lives in the area. The clothing references and song choices are popcorn for those old enough to remember the aughts but young enough to party during them. The Elsa Peretti-designed Tiffany & Co. heart necklace that was the it-girl accessory of the time, and now is one that Gen Zers are fishing out of the bottoms of their parents’ jewelry boxes, factors significantly into the plot.

Although the story eventually spirals into other tropes of the Knoll-niverse — kidnappings, cover-ups, affairs, the laissez-faire security that only old money affords — Faye stands out because she wants to be told what to do. In a secure and mutually consenting relationship, of course. And preferably after she’s told her partner what she wants.

“Helpless” was influenced by the 1995 Susanna Moore thriller “In the Cut” as well as Sarah J. Maas’ currently uber-popular romantasy series “A Court of Thorns and Roses,” both of which discuss power imbalances and smart women who become enamored with dangerous lovers.

Knoll has always been open about creating work that’s commercial. She famously wrote a 2018 New York Times opinion piece, titled “I Want to Be Rich and I’m Not Sorry,” that discussed her need to rank in money with an almost Scrooge McDuck fervor: “Success, for me, is synonymous with making money,” she writes. “I want to write books, but I really want to sell books. I want advances that make my husband gasp and fat royalty checks twice a year. I want movie studios to pay me for option rights and I want the screenwriting comp to boot.”

(Evelyn Freja / For The Times)

During our Zoom, with the background carefully faded behind her wavy blond bob, she promises that she doesn’t just copy and paste her subjects and settings from what sells.

“I’m just always looking on what the spin is; like, what the timely take is on something that happens to capture my attention,” she continues, citing a habit she credits to her early career working in women’s magazines like Cosmopolitan and Self. She adds that “I just happen to be interested in, like, really dark s—.”

“Helpless,” Knoll stresses, is a work of fiction; even though fans may be looking to draw comparisons to her life since “Luckiest Girl” was heavily influenced by her own career and childhood. Like the book’s Faye, Knoll went to a private liberal arts college. She’s spent time in the Adirondacks with the wealthy families who vacation in bare-basics cabins on the land they own. And she has dealt with her share of studio executives. Unlike Faye, Knoll is happily married to her husband, financial technology executive Greg Cortese. They share a young daughter. Last year, the family moved back to New York after some time in Los Angeles.

She does relate to Faye’s wealth dynamics. Her “Helpless” heroine grew up middle class but now has reached the “made it” level of nervous cockiness that happens when you combine new money and fame; the dream of so many who move to L.A. Henry, Faye’s ex, and his family are so comfortable in their generational wealth that he was raised to wear the same, now-bleach-stained, chambray button-down he had in college than buy a new one because clothes aren’t sound investments.

Knoll says she doesn’t want “things to feel didactic,” but concedes that class divides offer a treasure trove of stories.

“I just find myself going back to, again and again, this idea of someone who is the outsider because they don’t have the pedigree of their peers, but however many years later they’ve accomplished something and they think that they’re on more equal footing with these people from their past,” Knoll says. “Then something happens that brings them back into this environment where maybe they felt less-than years ago. They think that they’re going to go back and be like, ‘well, I’ll show you now because I’ve made it’ and those feelings of inferiority are still there.”

As she’s grown older and her career has become more stable, Knoll says she doesn’t think about success and fame the same way she did when she wrote her viral opinion piece or gave interviews where she talked about money and her own financial security. She says now that her priority is “the longevity of the career.”

Like her heroines, no one tells Knoll what to do. Unless she gives the OK.

Friedlander is a pop culture and entertainment journalist based in Los Angeles who hates coffee but loves Coke Zero.

LONDON — A local boy sleeps in his own bed, plays in front of a king and queen and makes a Cinderella run to the Wimbledon semifinals. Sounds like a Hollywood script that might never see the silver screen.

But it’s no fairy tale — it’s Arthur Fery’s out-of-nowhere performance over the last 10 days.

Fery, a virtually unknown British wild card with a triple-digit ranking, has become the emotional heartbeat of Wimbledon while legitimately diverting some national attention from England’s World Cup quest.

The royal treatment at his matches across the All England Club has come in more ways than one.

Fery, who grew up five minutes from Wimbledon and is staying at home during the tournament, first played before grass-court king Roger Federer, Wimbledon’s eight-time singles champion, during Monday’s fourth-round victory. Two days later, he beat No. 9 seed and French Open runner-up Flavio Cobolli of Italy in the quarterfinals 6-4, 7-6 (4), 6-0 in front of Queen Camilla.

Ranked 114th, Fery had never reached the semifinals of an ATP Tour event, let alone a major, before his brief chat with the queen following the match.

“She just said, ‘Congratulations, keep going,’” 23-year-old Fery told reporters later. “I told her it was my birthday on Sunday, so it would be great to play the Wimbledon final on my birthday.”

That’s still a match away. To get there, Fery will have to get past one of the hottest players on tour: No. 2 seed Alexander Zverev, who is fresh off his first Grand Slam title at the French Open. Looming on the other side of the draw is a highly anticipated showdown between defending champion Jannik Sinner against 24-time major winner Novak Djokovic.

If Fery can continue his magical run to the end, he would become the first British wild card to win a Wimbledon title.

Arthur Fery reacts after defeating Flavio Cobolli in the Wimbledon quarterfinals on Wednesday.

(Maja Smiejkowska / Associated Press)

Born in France, Fery’s family moved to Wimbledon when he was an infant. His mother played professional tennis. He was a top British junior but chose to sharpen his game for three years in the U.S. collegiate system at Stanford, as many of his compatriots have done.

“I came out with a lot of hunger coming out of that, and I was ready to attack the pro circuit,” Fery said.

After struggling with bone bruising in his arm that limited him to playing mostly on the lower-tier Challenger circuit in recent years, Fery is finally healthy and playing consistently.

His path to the last four in London has been a masterclass in clutch come-from-behind performances. The Brit has stared down near-certain elimination in multiple matches, repeatedly breaking his opponents’ momentum with Houdini-like on-court acts.

At 5-foot-9, Fery possesses a skill set perfectly suited for low-bounding grass.

His compact strokes, low center of gravity, and elite movement allow him to hug the baseline, take time away from opponents, and confidently execute delicate volleys at the net, according to ESPN analyst Chris Eubanks.

“He defends well,” said Eubanks, a 2023 Wimbledon quarterfinalist. “He can scrap. He can claw. He can dig his way back into points. And when he ventures forward, he’s very, very comfortable at the net. This is a picture-perfect example of someone whose game is built for the surface.”

Still, it’s hard to fathom the multitude of milestones for Fery, who briefly reached the No. 1 ranking in college and earned 2023 Pac-12 Singles Player of the Year honors before leaving early to pursue a pro career.

He arrived at Wimbledon with just one main-draw victory at a major, a losing record as a professional, and only one previous ATP quarterfinal, at Queen’s Club last month. He’s now 11-8, won his first two five-set matches, and is the first British wild card to reach the Wimbledon men’s semifinals in the Open Era. The only other men’s wild-card semifinalist was Goran Ivanisevic, who won the title as a wild card in 2001.

Fery, who started the season ranked No. 185 and will climb to at least No. 36 after the tournament, said there were a “lot of first times” as he reflected on his unprecedented run. “First five-setter, longest match that I’ve ever played, first time breaking into the top 100, first second week in a slam, all at home, five minutes from where I grew up. It’s a great story for me,” he said.

The gap with his fellow semifinalists is understandably massive.

Entering Wimbledon, Djokovic, Sinner and Zverev’s combined records include 29 Grand Slam titles, 2,088 match wins and 155 tour-level titles. Fery was 6-8 in tour-level matches with zero titles.

But he has singlehandedly lifted the tournament for locals. With top hopes Jack Draper and Emma Raducanu withdrawing before the tournament and the rest of Britain’s singles prospects falling one by one — 18 men and women were eliminated by the third round — Fery became the nation’s last knight standing.

If his first name inevitably evokes Arthurian legend, Fery’s march through the draw gave Britain reason to believe again. No sword, no Round Table, just world-class shot-making, a lion’s heart and a Centre Court crowd thrilled to rally behind him.

“This is really quite something to see on home soil,” said Russell Fuller, the BBC’s tennis correspondent, who compared it with Raducanu’s stunning U.S. Open win in 2021 as a qualifier.

Fery earned every bit of it.

In the first round against Damir Dzumhur, Fery dropped the opening set and trailed by a break in the second before surging back. Against Zizou Bergs in the third round, he faced a 4-1 deficit with a double break in the fourth set, and again fell behind 4-1 in the fifth, before somehow surviving.

Then, stepping onto Centre Court for the first time against former top-10 stalwart Grigor Dimitrov of Bulgaria in the fourth round, Fery clawed out of a 2-sets-to-1 hole and a break down in the fourth set to clinch the victory in a fifth-set tiebreak.

“He carries himself with humility, but he’s a fierce competitor, and he’s got a ton of belief in himself,” said Stanford men’s coach and former top-60 player Paul Goldstein, who flew to England Tuesday to see his former charge compete against Cobolli.

While Fery attempts to outmaneuver Zverev on Friday, the other semifinal features a 2025 Wimbledon semifinal rematch between seven-time Wimbledon winner Djokovic and top-ranked Sinner, who defeated the Serb in straight sets on his way to the title. It’s also their second Grand Slam semifinal meeting in 2026. At January’s Australian Open on hard courts, Djokovic bested 24-year-old Sinner in five sets before falling to now-injured Carlos Alcaraz in the Melbourne final.

Arthur Fery hits a return during his Wimbledon quarterfinal win over Flavio Cobolli on Wednesday.

(Clive Brunskill / Getty Images)

Djokovic, 39, enters the match after surviving a grueling five-set, 5-hour-plus quarterfinal slugfest against No. 3 Félix Auger-Aliassime that concluded just minutes before Wimbledon’s 11 p.m. curfew. But the seventh-seeded Serb has a way of defying Father Time and he has had two days to recover on a surface where points are shorter and generally less taxing on the body.

Italy’s Sinner, who defeated Alcaraz in last year’s Wimbledon final, has been efficient if not at the level that saw him capture five consecutive titles before crashing out in the second round at the French Open. After a first-round scare here, the four-time Grand Slam champion has dominated opponents behind his improving serve, winning 80% of his first-serve points. He hasn’t dropped a set since the opening round. Sinner leads the head-to-head with Djokovic 6-5.

According to Eubanks, Djokovic must disrupt Sinner’s movement to break his rhythm, and take his chances.

“He’s got to play similar to how he played in Australia, where it was just all-out aggression,” Eubanks said.

For Sinner, he added: “His serve can be a neutralizing force for what Novak is going to try to do.”

On the other side of the ledger, Fery’s poise under pressure and deft use of the home crowd will be paramount to continue his surprise run against Germany’s Zverev, whom he called a “step up again” from his last five matches. Zverev, 29, is seeking his fifth major final and first at Wimbledon.

“I’m ready for it,” Fery said. “I have nothing to lose. I’m just going to go out there and … put my game on the court, do what I’ve done, believe in myself. We’ll see where that takes me.”

Home has never been closer to Centre Court. Nor has Arthur Fery ever been closer to tennis history.

In an era hallmarked by what experts call a “sex recession,” Six Sex is a symbol of liberation.

The Argentine baddie fashions herself as a baby-voiced, bikini-clad fembot, beamed in from the clubs of Buenos Aires — and has become known for cheeky, instructive celebrations of desire. Her songs are designed to galvanize like-minded club rats into Dionysian revelry, or, in the case of the song “How to Make Your Ass Bigger,” squats.

To a certain subset of the Latine underground, she represents a pure-hearted hypersexuality. Yet, for the artist behind the persona, Francisca Agustina Cuello, this wasn’t always the intention.

“I don’t know if it was because I still had to keep my innocence or what, but I didn’t envision the project that way,” she said, calling from a hotel room in Barcelona. “That response sort of came about from the people, towards me. So, I said OK, I’m making it my own.”

In doing so, Cuello has churned out six thumping EPs as Six Sex, a campy character that she describes as a “fable” — a mix of “fantasía y hedonismo.”

That dynamic is taken to extremes on her debut album, “Ultra”, released June 6. It’s a dark and propulsive journey through decades of electronic dance music, best described by its own opening words portending “ultra terrorific fantasy.” (The phrase conjures up images of grandeur, but really, it evokes that “Blades of Glory” quote: “no one knows what it means, but it’s provocative.”)

“I feel like nothing I say is all that serious,” she said about her lyrics. “It’s a thing about my personality to be silly and goof around.”

“Ultra” centers Cuello’s winking, suggestive sense of humor. “Not Your Mom” features a conversation with a garbled, omnipotent voice akin to the parents in Charlie Brown; “FUchi!” features schoolyard taunts about “low dickie energy;” the album ends with “No More Porn,” a playful yet powerful subversion of sexual expectations.

“At the same time, for me, that acts as a filter,” she added with a laugh. “Weeding out the people who get scandalized by it, and identifying the people who get it and say: ‘Yas, yo también quiero tener cuatro novios.’”

Earlier this year, Cuello took the stage at Don Quixote, performing in front of a sold-out crowd for her Los Angeles debut. The smell of sweat permeated the air as she ripped through several of her hits — including collaborations with Reysha Rami and German producer MCR-T. Every single one of her signature ponytail flips sent the room into hysterics. The audience screamed every word at the top of their lungs; it was the loudest, most raucous show I’d been to in years.

Cuello took a breather in the middle of her world tour to chat with De Los over Zoom about all things Six Sex: her new record, her writing style and how it feels to connect with fans spun into febrile intensity.

This interview has been condensed for clarity and was translated from Spanish to English.

“[I’m] weeding out the people who get scandalized,” says Six Sex of her provocative music.

(Catalina Jacobo)

I was really taken by the “Ultra” album cover. You’re wearing a white bikini and in this “come to Jesus” pose. What was the goal?
[laughs] It was hard, because I wanted the cover to represent what the entire journey of the album meant to me. I was looking for something strong and heavy in visual terms, because with “Ultra”, this is the first time I’ve finished a long, heavy project and I see the start of something. It’s like something new was unlocked. I found a new way to convey feelings, and a new way to create as well. It’s not like I just finished, and it is what it is. Rather, it is the beginning of something bigger.

Is there an element of separation at all between the artistry and you as a person?
I think they’re pretty close. It’s as if Six Sex was sort of a fable, or like a hentai or comic [version of] my life. It’s also happened that things I wrote as a joke later became reality. But generally, I draw inspiration from things that actually happened to me.

Is it weird to put those intimate experiences on an album?
No, not for me. Because I’m not speaking so seriously, I don’t feel exposed. Even though my persona and my character are very close to one another, I don’t have to prove anything to anyone. I’m not trying to make you believe in something. The songs stop being about me as soon as someone else listens to them. There are certain things we can all see ourselves represented in, and I think my music aims for that, too.

I want to ask about your performance style. I saw you live in Los Angeles and was really taken by the energy exchange between yourself and the crowd. How do you approach live performance?
Nowadays, I’m in a balance between performance and being a human being that connects with people and can pause to look in the eyes of the audience to register how they feel. I like being in a showgirl role, and at the same time, knowing when to step out of it.

Sometimes I go up there after having a crappy day, thinking that I’m gonna screw it up. And when I get up there and connect with the people, everything flows in a perfect way.

Does the music transform when it’s performed live, versus on a record? A lot of your music seems designed to be played in the club.
I think it’s very personal. For me, I’m a bit autistic; sometimes when I’m at a show, I get different sensations. It really depends on the person. I like seeing people’s reactions live when I start playing these songs for the first time. People were super hyped. They were enjoying them and jumping around a lot. It feels really fresh.

You reference ‘90s club classics all over “Ultra,” including by U.K. band the Prodigy on “Bitch Up.” How did these sounds come into your life?
These sounds evoke a special kind of nostalgia for me. Even though I hadn’t been listening to them lately, they sounded like something I wanted to bring back to the table — songs my uncle used to listen to when I was really young. Like a CD [of] pirated songs that somehow ended up at my house, and at the time I was like, “Wow, what is this music?”

There’s an element of Six Sex that gives “fembot,” like a female, sexy robot. I’m curious if you feel that playing out in your work.
[laughs] I didn’t know about the fembot thing. I don’t use Twitter. I [keep] a bubble… against some things that I don’t know. But I’ve always liked the idea that people have that perception of me, to some extent.

How do you feel about the rise of AI as a musician, especially considering your persona adopts that perception?
I mean… I don’t have a formed opinion on the matter. I do think that, I don’t know, it’s all very relative. For one thing, I obviously feel like it strips away the human value, but at the same time, it’s also a tool for humans. So it’s kind of contradictory. I feel weird about it…. I don’t know.

Zooming out, I’ve noticed Argentina has been having a musical moment over the last few years between yourself, Ca7riel y Paco Amoroso, Juana Rozas… How do you feel Argentina being represented or even challenged in your music?
I feel that culturally, Argentina is a very rich country. However, I do feel like, over generations, a paradigm was broken, and new sounds have been created that don’t necessarily abandon the roots of our music, but were created out of counterculture.

That same kind of counterculture is what makes Argentina be in such turmoil. It’s also the context of our country. Economic, political, social. The key Argentinian figures we refer to nowadays are constantly changing. And that allows you to listen to a variety of genres from Argentina, from people doing different things, and at the same time raising the flag and saying: “Yo soy argentino.” And we love that.

Serena Williams is back.

And so is her blistering serve.

After almost four years away from the sport, the 44-year-old tennis legend made a triumphant return Tuesday at Queen’s Club in London. She teamed with Canadian teenager Victoria Mboko for a 7-6 (2), 6-2 victory against Nicole Melichar-Martinez of the United States and Erin Routliffe of New Zealand in an opening doubles match at the grass-court HSBC Championships.

Williams recorded service winners of up to 120 mph during her first professional match since the 2022 U.S. Open.

“It was so fun,” Williams said afterward in an on-court interview. “I had so much fun playing with Victoria. She really was able to hold up the team and really play big on the big points. I could really rely on her. We’ve never played together, but it just felt so natural playing with her.”

Williams has won 14 Grand Slam titles and three Olympic gold medals in doubles, all with sister Venus Williams as her playing partner.

Serena Williams and Victoria Mboko of Canada wave to the crowd after defeating Nicole Melichar-Martinez and Erin Routliffe on Tuesday at the Queen’s Club in London.

(Alberto Pezzali / Associated Press)

“I feel very honored to play with Serena,” Mboko said. “I had a lot of fun, if anything. We really did that out there. I’m so happy to be playing beside you. And we’re going for more.”

In September 2022, Williams had registered as retired with the International Tennis Integrity Agency.

Last December, however, Williams reentered the agency’s drug-testing pool, a move that led to speculation about a possible return for the 23-time Grand Slam singles champion. She announced her professional tennis return last week as a wild-card doubles entry at the Queen’s Club tournament.

Days later, Williams was added to the 16-team doubles field at Germany’s WTA 500 event.

“I had nothing better to do,” Williams said Tuesday. “I got tired of sitting at home. My kids are out of school for the summer, so why not?”

Demi Vollering claimed victory on a shortened queen stage of the women’s Giro d’Italia on Saturday but admitted it was the “weirdest finish line of my life”.

A summit finish in Sestriere had been scheduled for the eighth and penultimate stage, but organisers reduced the route by 28 kilometres as an unstable slab of ice was threatening to fall on to the route.

Ice had already been cleared from an avalanche shortly before the riders passed through the Italian Alps.

Instead the line was hastily moved to one kilometre below the Colle delle Finestre, where Vollering, of FDJ United–Suez, prevailed in a four-way sprint finish.

The pre-race favourite edged out Isabella Holmgren, Antonia Niedermaier and fellow Dutch rider Anna van der Breggen to claim her second stage win of this year’s race.

“It was strange because the Finestre was suddenly the final climb,” said the 29-year-old Vollering. “It was the weirdest finish line of my life, but I’m very happy to take the win.”

Team SD Worx–Protime rider Van der Breggen retains the pink jersey for the final stage, over 145km around Saluzzo at the foot of the Alps, with Vollering having cut the four-time winner’s lead slightly to 49 seconds.

“We hoped that we could get closer to the maglia rosa today,” said Vollering. “Tomorrow’s stage is not as hard as today’s, but we will make a plan and think about how to try to win the Giro.”

Serena Williams has added another stop to her comeback tour: the Berlin Tennis Open.

Just a day after announcing her return to professional tennis, the 23-time Grand Slam singles champion has been added to the 16-team doubles field at Germany’s WTA 500 event.

“Every tournament I add to my schedule right now feels special, and Berlin is no exception,” Williams said in a statement shared by the event on Tuesday. “I’m excited to compete in front of the German fans and continue building momentum throughout the grass-court season.”

Williams is set to play in the doubles tournament at the HSBC Championships at London’s Queen’s Club, which kicks off June 8. On Thursday, 19-year-old Canadian rising star Victoria Mboko confirmed on Instagram that she’ll be Williams’ partner at the event. The Berlin Tennis Open will begin June 13 and Williams’ partner has yet to be named.

The 44-year old tennis great is returning to the sport after almost four years away from competition. She firmly denied rumors of her return on social media just last year.

Williams appeared to poke fun at her own turnaround with a short ad video posted to X on Thursday captioned “I changed my mind.”

Despite prior rumors, Williams’ sister Venus seemed just as surprised as everyone else that Serena was returning to the competitive circuit.

“I think she hits every now and then,” Venus Williams, who also still competes professionally, said during a recent interview at Roland-Garros. “I never see her on the court that often, so I don’t know when she’s been practicing, honestly.”

Despite not having seen her practice first-hand, Venus Williams is not worried about how Serena will play at the upcoming competitions.

“She’s, I think, a little bit of a natural,” she said with a laugh. “She has a pretty good record. She knows what she’s doing. She’s very tenacious. I’m not worried about how she’s going to play, even though I really haven’t seen her play. It’s so crazy.”

A waterfront amphitheater roughly twice the size of the Greek Theatre and two-thirds the size of the Hollywood Bowl is set to open this week in Long Beach — and there’s a lot riding on its success.

City leaders hope F&M Bank Amphitheater of Long Beach, located next to the famed Queen Mary, will supplant declining revenues from oil extraction and lead to an uptick in tourism. Concert promoters, meanwhile, see it as filling an important gap in Southern California’s music venue market.

The temporary amphitheater, which has a maximum capacity of 11,000, is meant to be a precursor to a permanent “Long Beach Bowl,” which is being pitched as the largest waterfront venue on the West Coast. The site opens June 6 with a performance by native son Snoop Dogg, and is expected to last for up to 10 years.

The new amphitheater represents a years-long dream of Mayor Rex Richardson, who began championing an outdoor performance venue on the waterfront in 2023. Soon after the closure of Irvine’s FivePoint Amphitheatre in October of that year, he accelerated those plans by proposing this facility. The general feeling was that Irvine’s loss could be Long Beach’s gain.

“This will be a place where memories are made, where music brings people together and where our city shows up on the big stage,” he said during a January groundbreaking. “The amphitheater represents direction to invest in our city’s future, to embrace our creative economy [and] to shape how people experience Long Beach for generations to come.”

Good vibes by the water is the driving energy behind the temporary venue.

(Eric Thayer / Los Angeles Times)

While Los Angeles and Orange County have no shortage of cavernous indoor arenas, the region has recently lacked a proper “summer shed” capable of hosting many national amphitheater tours, said Nick Storch, head of global artist development for booking agency Independent Artist Group. Those tours typically play venues larger than the Greek, Irvine’s Great Park Live or Costa Mesa’s fairgrounds-adjacent Pacific Amphitheatre, but smaller than the Hollywood Bowl.

Such tours, Storch said, are of “massive” importance to the concert industry. “With amphitheaters, it’s not just the music — it’s the experience of being outside and watching a concert, getting a bite to eat with your friends and all those kinds of things,” said Storch, whose agency’s clients Motley Crue and Five Finger Death Punch will perform at the F&M Bank Amphitheater in September.

“FivePoint was a great venue to help artists that are in that in-between stage, and not fully ready for arenas,” he said. “Long Beach having an amphitheater is going to grow the market again.”

Amphitheaters are also crucial to veteran artists with established fan bases. The long-running hard rock band Tesla — who also will perform at the F&M Bank Amphitheater in September — has not played a show in Los Angeles or Orange counties since the closure of FivePoint, which hosted the group twice.

Brian Wheat, the band’s bassist and manager, said he’s excited the new venue will help change that. “Sheds are great in the summertime, and outdoor summer gigs always create a great atmosphere for both bands and fans,” he said.

Much like the F&M Bank Amphitheater, FivePoint Amphitheatre was designed to serve as a temporary venue following the closure of Irvine Meadows Amphitheatre, which operated from 1981 to 2016. (From 2000 to 2014, it was known as Verizon Wireless Amphitheater.)

At 11,000 seats, the amphitheater is roughly two-thirds the size of the Hollywood Bowl. Its permanent replacement will be “architecturally iconic,” said Mayor Rex Richardson, while this temporary version is likened to a “summer shed.”

(Eric Thayer / Los Angeles Times)

From its opening in October 2017 until its closure, FivePoint hosted nearly 500 concerts, including artists such as KISS, Dave Matthews Band, Charlie Puth, Morgan Wallen and Luke Combs.

Venue operator Live Nation — which manages more than 300 facilities across the country — initially hoped to build a permanent amphitheater nearby, but scrapped those plans in 2023 after the Irvine City Council ended negotiations. Soon after, Live Nation announced the venue would shutter.

After learning of Live Nation’s fallout with Irvine, Richardson and members of his economic development team attended the final FivePoint concert, a performance by the Zac Brown Band, to “explore the feasibility if we were to do the same thing.”

Three months later, Richardson announced plans to build a temporary amphitheater in Long Beach to bridge the gap until a permanent facility — which he envisions as an “architecturally iconic and significant” waterfront venue akin to San Diego’s Rady Shell at Jacobs Park — can be permitted, financed and constructed.

The site’s location is central to its appeal, said Dan Hoffend, executive vice president of North American venues for Legends Global, the operator for F&M Bank Amphitheater. “If you sit in the very top row — what you would consider the worst seat in the house — it’s a spectacular view,” he said. “The Queen Mary is sitting there in all its glory. You’re looking across the harbor. What would be perceived as the worst seat is actually the best seat because you see it all.”

Long Beach Mayor Rex Richardson, left, and amphitheater general manager Tra Jones sit in the stands. Even from the nosebleeds, you still have a view of the waterfront at the F&M Bank Amphitheater.

(Eric Thayer / Los Angeles Times)

Tra Jones, general manager of the new amphitheater and a Long Beach native, said he’s striving to make it feel less stopgap and utilitarian than FivePoint.

“It doesn’t have a temporary feel at all,” he said. “We looked at all our surroundings and said, ‘What does this look like from a stylistic point of view?’ We leaned into the port/SteelCraft vibe — a very cool industrial look. When you walk in, you’re experiencing a vibe. That’s what we want to resonate with concertgoers coming here.”

The word “vibe” also pops up frequently in conversation with Richardson. Under his watch, Long Beach recently started branding itself as “Vibe City,” which he said is an attempt to encapsulate the charm of L.A. County’s second-largest city, and the state’s seventh-largest.

“Long Beach is special, but it’s hard to explain why if you haven’t been here,” he said. “Because you have to experience it for yourself, the best way to describe it is that it’s a vibe.”

Still, Richardson is aware that vibes can only go so far. During an April meeting with residents of downtown Long Beach, attendees were more interested in discussing homelessness and a recent uptick in traffic fatalities than how a new concert venue might add to the city’s cultural cachet. Some downtown residents have circulated a petition regarding noise-related concerns.

“The job of the mayor is to meet the needs of your residents today — keeping a roof over your head, making sure it’s safe to walk down the street, making sure you have access to amenities and services in your community — but also to think about the future,” he said.

That means finding a way to offset revenues from oil extraction, which currently finance many municipal services, and are projected to drop from more than $50 million annually to around $21 million by 2035. According to Richardson, the new amphitheater — managed by Legends Global, but owned by the city — will help cover that shortfall. The venue is projected to be profitable within five years and generate nearly $29 million in revenue by 2036.

Oil revenues, which pay for city services, are projected to drop by more than half. The amphitheater is being pitched as a budget gap solution.

(Eric Thayer / Los Angeles Times)

“We were fortunate that revenue from oil provided a lot of our services and built our beautiful waterfront, but as California moves away from oil production, we have to plan a more sustainable future by investing in what we know will be here in the long haul,” Richardson said. “In order to do that, we have to invest in arts and culture and tourism.”

Richardson is betting on music at a time when other cities — including Los Angeles — are doubling down on sports, warehousing or data centers. The amphitheater is also meant to remind the world of the city’s impact on pop culture.

From War to Warren G and Sublime to Snoop, Long Beach has a rich musical history. The city hosted the first concerts by the Beach Boys and No Doubt, while Rock & Roll Hall of Famers Elvis Presley, the Eagles and Iron Maiden all graced the stage of the Long Beach Arena.

While that venue currently holds more conventions than concerts, Long Beach has hosted notable outdoor music festivals in recent years, including Warped Tour, Day Trip and Dreamstate. Richardson believes the success of those events helped prove the city’s viability as a concert destination.

“This is the first step toward a legacy of leaving our city in a more economically resilient position,” Richardson said. “At every big turn in our city’s economy, we’ve leaned on arts as a way forward, and this is no different.”

Even the bleacher seats represent Long Beach pride at F&M Amphitheater.

(Eric Thayer/Los Angeles Times)

Serena Williams is returning to competitive tennis after all.

Months after insisting on social media, “Omg yall I’m NOT coming back,” the 23-time Grand Slam singles champion announced Monday that she’ll play professionally for the first time in almost four years at the HSBC Championships at the Queen’s Club in London.

Williams, 44, has been given a wild-card entry into the doubles draw of the WTA 500 event, which begins June 8.

“Queen’s Club feels like the perfect place to begin this next chapter,” Williams said in a statement released by the tournament. “Grass has given me some of the most meaningful moments of my career, and I’m excited to be back competing on one of the sport’s most iconic stages.”

Williams teased the announcement earlier Monday by posting a video on social media that featured her phone‘s notifications going off constantly while she seemingly was practicing on the court.

“Good news travels fast,” Williams wrote on the post.

Tournament director Laura Robson said during TNT Sports UK’s coverage of the French Open on Monday that Williams’ playing partner will be Canadian teenager Victoria Mboko, who is ranked No. 9 in WTA singles. Williams has won 14 Grand Slam titles and three Olympic gold medals in doubles with her sister Venus Williams as her partner.

It is not clear whether Williams will participate in any other events. Wimbledon, a Grand Slam event Williams won seven times in singles, begins June 29 in London.

Williams’ last professional match was a loss to Australian Ajla Tomljanovic in the third round of the U.S. Open on Sept. 2, 2002. She registered as retired with the International Tennis Integrity Agency the next day.

Last December, however, Williams reentered the agency’s drug-testing pool. According to the ITIA website, retired players “may not return to sanctioned events unless they have made themselves available for out-of-competition testing for at least six months prior to the event in question.”

The move led to much speculation about a possible Williams return, leading to her social media post denying any such intentions.

Martina Navratilova, the 18-time Grand Slam champion who is the oldest woman to win a tour-level singles match — she was 47 when she won a Wimbledon match in 2004 — expressed excitement for Williams’ return.

“Serena brought the game to another level and it is incredible for the sport that she’s pushing the boundaries and coming back,” Navratilova said in a statement released by the WTA. “To many of the younger players, they never had the opportunity to play her; some may have never watched her on television, so this will be a new and exciting experience.”