series

Victor Wembanyama produced an inspired performance as the San Antonio Spurs beat defending NBA champions the Oklahoma City Thunder 118-91 to set up a decisive game seven in the Western Conference Finals.

San Antonio coach Mitch Johnson had called on Wembanyama to score more than 20 points after a disappointing showing in game five, and the 22-year-old duly delivered.

Wembanyama finished with 28 points, 10 rebounds and three blocks as the Spurs dominated after taking an early lead to level the series at 3-3.

The Frenchman came out of the game with almost eight minutes remaining in the third quarter and midway through the Spurs scoring 20 consecutive points.

Johnson praised Wembanyama’s “passion and desire” and taking “responsibility” after his dominant display.

Stephon Castle finished with 17 points, nine assists and one turnover, while Dylan Harper added 18 points off the bench.

Thunder star Shai Gilgeous-Alexander could not replicate his 32-point outing in game five as he finished with 15 points and four assists after making only six of 18 shots.

It was Gilgeous-Alexander’s lowest scoring output since he scored 14 in game three of the 2025 Western Conference finals against the Minnesota Timberwolves.

The two-time NBA MVP is shooting just 37.9% from the floor in the series after making 51.4% of his field-goal attempts during the first two rounds of this year’s post-season.

“I’m not sure, to be honest,” Gilgeous-Alexander said when asked why he is struggling.

“A lot of the shots that I’m shooting, I shot plenty of times before. They feel good, and it’s not good.

“They [San Antonio] were the aggressors from start to finish. They played harder than us, hit more shots, were more aggressive, were in attack mode. We were on our heels.”

Whoever wins game seven in Oklahoma City on Saturday, 30 May (Sunday 01:00 BST), will face the New York Knicks in the NBA Finals.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

There are, it goes without saying, a lot of movies out there. And so even for someone like myself, whose job is just to stay on top of them, sometime a title slips by. I had not taken much notice of “Is God Is” before it opened last week without playing any festivals in advance, but the reviews and conversation around it grabbed my interest. Once I realized that Tessa Thompson and Janicza Bravo were involved as producers, I made sure to carve out time to see the movie this week. And am I ever glad I did.

The debut as writer-director for Aleshea Harris (adapting her own play), “Is God Is” is among the most exciting movies released so far this year. Kara Young and Mallori Johnson are absolutely electric as twin sisters who set out to find the estranged, abusive father who abandoned them after leaving them and their mother horribly scarred in a fire. There is a volatile unpredictability to the storytelling that gives it a fresh energy. I saw it at a more-or-less empty matinee, but I’m glad I did. Catch this in theaters while you can.

35 years of ‘T2’

Linda Hamilton in the movie “Terminator 2: Judgment Day.”

(Rialto Pictures)

As far as I’m concerned, James Cameron’s 1991 “Terminator 2: Judgment Day” is the quintessential summer movie. You can pay close attention or not, the special effects and action are amazing, the villains are sentient machines (shades of our AI-addled present) and it has a song by freaking Guns N’ Roses.

The main cast of Arnold Schwarzenegger, Linda Hamilton, Robert Patrick, Edward Furlong and Joe Morton are all perfectly tuned into the movie they are making, full of chaos, mayhem and just the right amount of thoughtfulness. (Morton and Hamilton in particular give the film an unexpected soulfulness.)

To celebrate the film’s 35th anniversary, the American Cinematheque is screening the film in 70mm, 35mm, 3D and DCP at different venues on different days. (Check carefully, as there have already been some schedule changes.) The Academy Museum will show the film on Wednesday in 4K with visual effects supervisor Dennis Muren and special effects creator Shane Mahan present. The film is also playing the Vista in 70mm June 6 and 7.

In his original 1991 review, Kenneth Turan wrote, “Most of all, what makes ‘Terminator 2’ come alive in a major way is Cameron’s intuitive understanding of the mechanics and psychology of action films. Unlike many of the wanna-bes who find themselves in charge of pictures these days, this is one director who really knows how to direct. … Cameron flamboyantly underlines, for those who may have forgotten, why the pure adrenaline rush of motion is something motion pictures can’t live for very long without.”

Lena Dunham before ‘Girls’

David Call and Lena Dunham in the movie “Tiny Furniture.”

(Joe Anderson / IFC Films)

Lena Dunham recently published her second memoir, “Famesick,” a portrait of her rise to cultural prominence and media ubiquity and subsequent retreat from it, which makes this a perfect moment to revisit a key component of her initial ascent, the micro-budget 2010 feature “Tiny Furniture.” Made when Dunham was in her early 20s, the film is a deadly accurate portrait of post-collegiate ennui, shot partly in her parents’ NYC apartment, and remains fresh and startlingly insightful.

The Eastwood Performing Arts Center will be screening the film Friday and Saturday. The film is showing along with the “Welcome to Bushwick a.k.a The Crackcident” episode of Dunham’s series “Girls.”

I profiled Dunham at the time, having first encountered her at SXSW the year before when she was there with her film “Creative Nonfiction.”

“That movie is so personal,” Dunham said of “Tiny Furniture” during an interview from the New York production office of the pilot for what would become “Girls.” “It’s like I wrote it, I directed it, I star in it — if you don’t like the movie you don’t like me.”

With the lacerating self-awareness that made her a star, she added, “And I also understand there is something essentially unappealing about ‘girl makes movies about being a loser and then gets un-loserly things to happen to her.’ It’s a little absurd.”

More onscreen Bob Dylan

Rupert Everett, Fiona Flanagan and Bob Dylan in a production still for 1987’s “Hearts of Fire.”

(Skinner / Mirrorpix / Getty Images)

It was just a few weeks ago that we wrote about a program of Bob Dylan live concert footage. In honor of his 85th birthday, the American Cinematheque will be putting on another program of two oddball rarities from his long career.

Rarely screened in theaters, the 2021 film “Shadow Kingdom,” directed by Alma Har’el, was originally released to a pay-per-view streaming site. Though it purports to be a performance at the Bon Bon Club in Marseille, France, the film was actually shot on a soundstage in Santa Monica. The musicians on screen are not playing live and are not even the same musicians who played on the prerecorded tracks.

The whole thing is very confusing in a very Bob Dylan way, but also kind of incredible. With its Dust Bowl “Twin Peaks,” last-nightclub-on-Earth vibes and spare, haunting arrangements of many Dylan classics that he rarely plays at his own concerts anymore, it is a truly one-of-a-kind document.

The same could be said of the 1987 film “Hearts of Fire,” directed by Richard Marquand (who also helmed “Return of the Jedi!”) and screening in 35mm. In a rare acting turn, Dylan plays a reclusive musician who takes a young singer (Fiona) under his wing, only to have her fall for a pop star played by Rupert Everett. Let’s charitably call Dylan’s performance singular as he delivers every line as if he isn’t sure why he is in the movie. It’s still fascinating.

Kurosawa’s late masterpiece

Mieko Harada in Akira Kurosawa’s 1985 epic “Ran.”

(Rialto Pictures)

One of the highlights of the Academy Museum’s ongoing series on Japanese filmmaker Akira Kurosawa will be this weekend’s 35mm showing of 1985’s “Ran,” a retelling of Shakespeare’s “King Lear” shifted to 16th century Japan. Playing in 35mm in the big David Geffen Theater, it’s a chance to see a truly epic-scaled film under ideal conditions.

Reviewing the movie on its initial release, Kevin Thomas wrote, “‘Ran’ is a heroic saga of human destiny, a war movie with some of the greatest battle scenes in the history of the cinema, a costume drama of the utmost magnificence — and a crackling good samurai movie chock full of swordplay and palace intrigue.”

David Fincher’s secret soft heart

Gary Oldman and Amanda Seyfried in the movie “Mank.”

(Netflix)

The last couple months have been a real feast for Fincher-heads out there, with high-profile screenings of “Seven,” “Fight Club” and “Zodiac.” Now, David Fincher’s 2020 film “Mank” will be playing this weekend at the Vista. Because it came out during the pandemic (and was launched by Netflix), the film has only ever played a limited number of theaters, let alone in 35mm, which should do wonders for its black-and-white photography.

From a screenplay by Fincher’s father Jack, the film stars Gary Oldman as writer Herman J. Mankiewicz, working on the script for “Citizen Kane” with Orson Welles. Amanda Seyfried gives a vibrant performance as actor Marion Davies, who attempts to save Mankiewicz from his own worst instincts when it comes to her own paramour, mogul William Randolph Hearst.

In his review Justin Chang called the movie “very much a story about class divides and clashing egos, outsiders and insiders, striving and ambition, creation and authorship, and the thrill and loneliness of being the smartest guy in the room. … The off-kilter rhythms feel both immersive and agitated, as if Fincher were trying to both hypnotize you and jolt you awake with his lustrous Old Hollywood homage.”

New this week

Director Boots Riley, photographed in Los Angeles in May.

(Ian Spanier / For The Times)

• Amy Nicholson and Joshua Rothkopf finished out their time at this year’s Cannes Film Festival. (The awards will be announced over the weekend.) Amy took a look at what many have felt to be a weak program this year, while Josh spoke to Korean filmmaker Na Hong-jin, whose sci-fi action film “Hope” has a cast that includes Michael Fassbender and Alicia Vikander as space aliens.
• I spoke to Boots Riley, a musician and political activist turned filmmaker whose new movie is “I Love Boosters.” Riley maintains a deep sense of political commitment in his work, one which he does not feel he has to betray by also making things that are entertaining and enjoyable.
• The first new “Star Wars” movie in theaters since 2019, Jon Favreau’s “The Mandalorian and Grogu” is now playing. As Robert Abele put it in his review, “The brand is back together for ‘The Mandalorian and Grogu,’ which is a movie, a hoped-for franchise revival, a fourth season of sorts and an affable throwback. But it’s never quite riveting enough as canon or fodder to supplant anyone’s memories of [insert favorite “Star Wars” film here].”

Mike Trout hit a two-run homer, Nolan Schanuel added an RBI double and the Angels clinched a series win with a 5-2 victory over the Texas Rangers on Saturday night.

Zach Neto walked to open the bottom of the first inning before Trout launched his 13th home run over the center-field wall for a 2-0 lead. Neto scored again in the fifth on Schanuel’s double to make it 3-1.

Schanuel exited after his hit with left calf tightness. Vaughn Grissom took over at first base.

Oswald Peraza added insurance in the eighth with a two-run single.

Walbert Ureña (2-4) threw five innings, yielding one run and five hits while striking out six. Kirby Yates earned his first save of the season by pitching a hitless ninth.

Nathan Eovaldi (5-5) gave up three runs and five hits in seven innings while striking out six for the Rangers.

Ezequiel Duran hit a sacrifice fly in the second for Texas’ first run, and Kyle Higashioka added his third homer in the seventh on a 395-foot shot to center.

The Angels had more hits (eight) than strikeouts (six) for the second consecutive game and have won two in a row for the first time since May 5-6.

UCLA captured its ticket to the Women’s College World Series, winning a best-of-three super regional over Central Florida with a 14-4 victory Saturday night at Easton Stadium. The Bruins also set a new NCAA record for WCWS appearances, reaching the double-elimination tournament in Oklahoma City 34 times.

Facing elimination, UCF threw five total pitchers at the Bruins’ lineup. None could silence UCLA’s bats.

While Megan Grant had another quiet night, working three walks, her presence in the box was enough to drive in a run. The right fielder worked a full count in the third inning. With the bases loaded, she hit a sac-fly to far right field. Only feet separated her from setting a new program career home-run record. The accolade still belongs to Stacey Nuveman (90 home runs).

A batter later, shortstop Aleena Garcia hit an RBI-single that bounced off the top of Evan’s glove to give UCLA the lead. Catcher Alexis Ramirez added a run to the momentum an inning later when she homered over the left field wall.

Meanwhile UCF’s starter Tori Payne consistently worked from behind the count and walked five batters. The righty’s pitch count topped 92 by the fifth inning. UCF coach Cindy Ball-Malone pulled Payne when she loaded the bases and gave up a run by hitting a pitcher.

Reliever Lena Elkins couldn’t work out of the jam without run damage. Ramirez doubled down the left field line, scoring two. The Bruins left two on base.

While UCLA didn’t fall behind after tying the score in the third inning, UCF challenged the Bruins’ ace Taylor Tinsley and the defense more than on Friday.

In the first, Tinsley left one bad pitch too far into the strike zone, and the Knights’ shortstop Aubrey Evans sent the ball flying over the center field wall. Tinsley then took a deep breath and continued. She struck out the next batter, and got a quick groundout to third base. When Tinsley ended the inning on a swinging strikeout, she ripped off her mask and screamed as her teammates poured out the dugout to give her high fives.

Tinsley held the Knights hitless until the fourth inning, where she gave up three singles. Kaniya Bragg saved the Bruins from any opposing runs when she trapped Sierra Humphreys’ single in the clay before it could reach the grass.

While Tinsley had struggled to find the zone that inning, she stranded the runners, striking out one batter and eliciting a groundout to short.

Her struggles to find the zone reappeared in the fifth, though she wasn’t the only one facing challenges. With two runners on the base, Ramirez tried to throw out a runner stealing second, but the ball slipped away from Bragg and trickled into the outfield grass. One runner scored and another advanced to third, later scoring on a foul out to left field.

Despite having two outs, Tinsley gave up two singles and an equal number of walks, loading the bases and giving up another run. Central Florida’s Coco Jaimes flew out to left to end the inning, but the Knights had scored three to close UCLA’s lead to 6-4.

UCF couldn’t enjoy the beginnings of a comeback for long. Garcia smashed a three-run homer over the right field wall in the sixth inning. Woolery tacked on an extra run on an RBI-double in the seventh and Garcia put the final nail in the coffin when she hit another three-run homer to nearly the same spot. Garcia’s seven RBIs are the most in a single game in program history. Bre Alejandre hit the final home run of the night, extending the Bruins’ single-season NCAA-record setting home run total to 200. With no one left to pitch, Ball-Malone put Payne back on the mound and she finished the game for the Knights.

Tinsley finished the game with 11 strikeouts, four earned runs, three walks and nine hits, marking her 24th complete game of the season and 32nd victory.

UCLA will play Alabama in the first game of the WCWS on Thursday.

Maggie Graham scored in stoppage time to lift host Houston past Angel City for the Dash’s first victory in 51 days.

Graham fired a shot from just outside the box after a series of one-touch passes up the middle of the field. Houston (4-5-2) ended a six-game winless streak.

Kat Rader put Houston on the board in the 17th minute. Angel City (4-5-1) tied it nine minutes later on Maiara Carolina Niehues’ penalty kick.

Houston was without goalkeeper Jane Campbell after she sustained a head injury Wednesday against San Diego. In her place, Caroline DeLisle made her first career NWSL start.

WASHINGTON — The U.S. Secret Service shot a person near the White House on Saturday, and a bystander also was shot, a law enforcement official said.

Both individuals were said to be in critical condition, according to the official, who spoke on condition of anonymity because they were not authorized to discuss the investigation.

Journalists working at the White House on Saturday reported hearing a series of gunshots and were told to seek shelter inside the press briefing room.

On X, the Secret Service said it was “aware of reports of shots fired near 17th Street and Pennsylvania Avenue NW” — one block from the White House — and was “working to corroborate the information with personnel on the ground.”

In a social media post, FBI Director Kash Patel said officers were responding to shots fired and said he would “update the public as we’re able.”

President Trump was inside the White House at the time.

Evidence of the shooting was visible on a sidewalk just outside the White House complex, where yellow crime scene tape snaked across the pavement and Secret Service officers placed dozens of orange evidence markers on the ground. Medical material, including what appeared to be purple surgical gloves and kits typically used by emergency medical personnel, were also seen.

In a post shared on X, Selina Wang, the senior White House correspondent for ABC News, shared video of the moment she said she heard what “sounded like dozens of gunshots” and ducked for cover. Writing that she had been performing an ordinary task that reporters at the White House do every day — filming themselves on a cellphone, for a social media post — Wang’s video shows her speaking for a few seconds about Trump’s statements earlier Saturday about a potential Iran deal.

As the sounds of gunfire are heard in the background, Wang’s eyes grow wider, and she ducks down in the media tent, which is among those situated in a line along the White House driveway where broadcasters film their reports. On X, Wang’s video had been shared thousands of times as of Saturday evening, and viewed at least 3 million times.

The Metropolitan Police Department said on its X account that the Secret Service was working the scene and cautioned people to avoid the area. The scene is near where a gunman ambushed two members of the West Virginia National Guard in November.

U.S. Army Spc. Sarah Beckstrom, 20, died from her wounds. Andrew Wolfe, then 24, was critically wounded. Rahmanullah Lakanwal has been charged in that incident.

The gunfire Saturday comes nearly a month after what law enforcement authorities said was an attempted assassination of the president on April 25 as he attended the annual White House Correspondents’ Assn. dinner at a Washington hotel. Cole Tomas Allen of Torrance recently pleaded not guilty to charges that he attempted to kill Trump and remains in federal custody.

Following that scare, Secret Service officers shot a suspect they said had fired at officers near the Washington Monument, also near the White House. Michael Marx, 45, of Midland, Texas, was charged in a complaint filed in U.S. District Court in connection with the May 4 shooting. A teenage bystander was wounded in that incident.

Superville and Durkin Richer write for the Associated Press. AP photojournalists Jose Luis Magana and Alex Brandon and writers Gary Fields, Meg Kinnard and Matthew Daly contributed to this report.

MILWAUKEE — Something about American Family Field in the regular season disagrees with the Dodgers.

They began this road trip with a pair of statement series, sweeping the Angels and edging out the Padres. But their momentum came to a grinding halt when they fell 5-1 to the Brewers on Friday in Milwaukee.

The loss brought back memories of last year, when the Brewers swept the regular-season series, before the Dodgers swept them in the National League Championship Series.

“I don’t think people appreciate how well this team plays baseball,” manager Dave Roberts said before the game. “There’s not a lot of fanfare as far as name recognition. But the way [Brewers manager] Pat Murphy gets these guys to play, it’s a fun brand of baseball.

“They don’t strike out much. They put the ball in play. They bunt, they hit and run, they steal bases, they can pitch. It’s a good matchup. Last year, during the regular season, we couldn’t beat these guys once, so I expect us to play better baseball this year.”

That brand of baseball was a bit of a nightmare for Dodgers starter Justin Wrobleski in the first inning. The Brewers batted around en route to a five-run rally. Five of their six hits were singles. The one exception was William Contreras’ three-run homer.

The next inning, they tacked on another run when Contreras singled and then scored when Andrew Vaughn’s double ricocheted off the wall in the right-field gap.

Wrobleski turned around his outing by blanking the Brewers for the next three innings, but the deficit proved to be too steep for the Dodgers to overcome.

Wrobleski has only given up more than two runs in one other start this season. That one also featured one high-scoring inning and a mid-game adjustment.

The Dodgers’ offense, in contrast to the Brewers’, didn’t record a hit off Brewers starter Logan Henderson until the fourth inning. He faced the minimum through the first three innings — a leadoff walk erased when Shohei Ohtani was caught stealing.

Finally in the fourth, Ohtani worked a 2-2 count and lined a hung change-up into right field. Then Freddie Freeman and Andy Pages drew walks to load the bases with two outs. But the Dodgers failed to capitalize.

The Dodgers again threatened after the Brewers replaced Henderson with left-handed reliever Shane Drohan, drawing a pair of walks to put runners on first and second. But the inning ended with a long flyout from Max Muncy, just a few feet shy of a base hit.

They needed some help from the Brewers’ defense to finally put a run on the board. Third baseman Luis Rengifo mishandled a ground ball to let Teoscar Hernández reach base in the seventh inning. A single from Dalton Rushing and a fly out from Miguel Rojas moved him to third. Ohtani delivered the sacrifice fly.

The Dodgers’ Max Muncy leaves the game after being hit by a pitch during the eighth inning against the Brewers at American Family Field on Friday in Milwaukee, Wisc.

(Patrick McDermott / Getty Images)

The Dodgers may have to deal with additional repercussions. Muncy exited in the top of the eighth inning after being hit in the hand/wrist by a pitch.

Muncy shouted as soon as the 95.5-mph sinker struck him, and he appeared to cradle his right arm. After consulting with an athletic trainer, he touched first base and was replaced by Santiago Espinal.

The severity of Muncy’s injury was not immediately clear.

Chris Taylor retires

The MiLB transaction log Friday showed that former Dodger Chris Taylor has retired after a 12-year major-league career. He spent a decade with the Dodgers, was named the 2017 NLCS MVP, won two World Series, and was an All-Star in 2021.

Kyle Busch was one of NASCAR’s biggest stars and most successful drivers.

He was Cup Series champion in 2015 and 2019 and his 234 wins in NASCAR’s top three series is an all-time record.

The driver known as “Rowdy” and “Wild Thing” may have been known for brash behavior that included post-race fights and feuds with other drivers, but he was also respected as a fierce competitor and dedicated family man.

His death Thursday at age 41 came as a shock to the racing world. No cause of death has been disclosed.

“Our entire NASCAR family is heartbroken by the loss of Kyle Busch,” NASCAR said Thursday in a statement released jointly with the Busch family and his team, Richard Childress Racing. “A future Hall of Famer, Kyle was a rare talent, one who comes along once in a generation. He was fierce, he was passionate, he was immensely skilled and he cared deeply about the sport and fans.

“Throughout a career that spanned more than two decades, Kyle set records in national series wins, won championships at NASCAR’s highest level and fostered the next generation of drivers as an owner in the Truck Series. His sharp wit and competitive spirit sparked a deep emotional connection with race fans of every age, creating the proud and loyal ‘Rowdy Nation.’”

The statement concluded: “NASCAR lost a giant of the sport today, far too soon.”

Busch is survived by his wife Samantha, son Brexton, 10, daughter Lennix, 4, parents Tom and Gaye Busch, and older brother Kurt Busch, a NASCAR Hall of Fame inductee who was the Cup Series champion in 2004.

Kyle Busch, left, and Kurt Busch pose with their mother, Gaye Busch, prior to a race May 8, 2022, in Darlington, S.C.

(James Gilbert / Getty Images)

RCR announced Friday that it is suspending the use of Busch’s No. 8 and will run No. 33 in its place.

“Kyle Busch was instrumental in the design of RCR’s stylized No. 8 and it has become synonymous with Kyle and an important symbol for his fans and the NASCAR industry,” the team said in a statement. “No one can carry it forward to the level that he did. The No. 8 is reserved and ready for Brexton Busch when he is ready to go NASCAR racing.”

Busch spent the early years of his NASCAR career with Hendrick Motorsports.

“This is an incredibly painful shock for all of us and a heartbreaking loss for the NASCAR family,” team owner Rick Hendrick said in a statement. “Kyle was one of the most talented drivers I’ve ever seen and a racer in the truest sense of the word. He had a fire and competitive spirit that drove him to be great.

“I watched Kyle grow up in this sport and valued the friendship we shared long after he drove for our organization. As much as he loved to drive a race car, nothing brought him more joy than being a husband, a father and watching his son race.”

Busch won his first Cup Series race in 2005 and claimed rookie of the year honors the same year.

Jeff Gordon, left, talks with Kyle Busch prior to a race Oct. 30, 2016, in Martinsville, Va.

(Robert Laberge / Getty Images)

“Kyle was a fierce competitor who demanded the very best from himself each time he put on the helmet,” former Hendrick teammate Jeff Gordon wrote on X. “As teammates, I saw firsthand the passion and intensity he brought to the sport every single day. He was a champion and prolific racer who made a tremendous impact on NASCAR and was a lifelong advocate for all forms of motor sports.”

Fellow former Hendrick teammate Jimmie Johnson wrote on X: “Kyle Busch wasn’t just one of the fiercest competitors our sport has ever seen, he was one of the most talented race car drivers I’ve ever shared a track with. We spent years as teammates at Hendrick Motorsports, and even as competitors, there was always a deep respect for what he could do behind the wheel.

“Kyle pushed all of us to be better. His passion, intensity, and love for racing were unmatched, and his impact on this sport will be felt forever. I’ll always remember the many laughs and conversations away from the spotlight, and most importantly the way he cared so deeply about his family. …

“NASCAR lost one of its greatest talents today, and we’ve all lost a friend.”

Busch was let go by Hendrick Motorsports after the 2007 season, making room for the team to sign Dale Earnhardt Jr.

“Kyle and I had a really challenging existence for many years,” Earnhardt wrote on X. “But we luckily took the time to figure out our differences and that was something he instigated with a conversation in his bus around how we each managed our racing teams. I was super eager for us to get on better terms. But it was he who made the effort for that to be possible.”

Earnhardt added: “Kyle was one of the greatest drivers in NASCAR history. No one can deny that. But he was also a father, a husband, brother, son, and a friend to many. My heart is broken for the Busch family. I will never be able to make sense of this loss but I am thankful that we had found a way to become friends.”

Busch then moved to Joe Gibbs Racing, where he remained until 2023 and saw much of his career success.

“Kyle was a fierce competitor, an incredible teammate, and, far more importantly, a devoted husband, father, and son,” Joe Gibbs Racing said in a statement. “His impact on our organization and on the sport of NASCAR will never be forgotten.”

Kyle Busch, left, stands in the garage with Denny Hamlin before a practice Oct. 11, 2007, in Concord, N.C.

(Streeter Lecka / Getty Images)

Former JGR teammate Hamlin wrote on X: “Absolutely cannot comprehend this news. We just need to think of his family during this time. We love you KB.”

Busch was ranked 24th in the Cup Series this year, with his best finish being eighth place at Watkins Glen International in Dix, N.Y., on May 10. He also was racing part-time for Spire Motorsports in the Craftsman Truck Series. He had two victories in that series this season, including one last week at Dover Motor Speedway in Delaware.

“Simply put, he was one of the best to ever do this,” Spire Motorsports co-owner Jeff Dickerson said in a statement. “But for those closest to him, there was always another side. For years, many of us would tell people there was a softness behind the public persona they rarely saw. As much of a bad ass as he was on the track, some of us were lucky enough to experience how deeply he loved, how much he cared, and yes, how much he hurt. …

“We used to tell people about that side of him, and some would assume we were just trying to reshape public perception. No one could question it now. By now, the world has seen the incredible devotion he had to being a father to Brexton and Lennix. He loved his kids more than anything. The pride in his voice whenever he talked about them is something I will always remember with gratitude. … My heart absolutely breaks for you, Brexton and Lennix.”

Here are more tributes to Busch posted on X by members of the racing community:

— “I made him earn every victory and stole a few from him along the way,” Brad Keselowski wrote. “We took our shots at each other, in the media and on the track. But I’d like to think that somewhere deep down there was an appreciation that we pushed each other to perform at the highest level, even if neither of us would’ve admitted it. Tonight, I feel a little like the coyote with no more roadrunner to chase. His loss is all of our loss, but none more so than his family’s.”

Kyle Busch, left, and Clint Bowyer sit together in the garage during practice Sept. 21, 2007, in Dover, Del.

(Russ Hamilton / Associated Press)

— “There aren’t really words for today,” Ricky Stenhouse Jr. wrote. “I’ve raced against Kyle for a long time, and anyone who’s lined up next to him knows exactly what made him special, he gave you everything he had, every single lap, and he made all of us better for it. But more than the wins and the records, I keep thinking about Samantha, Brexton, and Lennix, and the entire Busch family right now. That’s where my heart is. Rest easy, Rowdy. The sport won’t be the same without you.”

— “I just talked to him Friday,” Clint Bowyer wrote. “In complete shock, as we all are. The devastation and sadness is beyond words. Praying for Samantha, Brexton, Lennix, his entire family and loved ones.”

— “I’m so sad and stunned to hear the news about KB,” William Byron wrote. “He meant so much to a lot of people, not just myself. Kyle was the best mentor you could ever have. He was incredibly unselfish, cared about his people and his family deeply. And helped shaped my career to what it is. I’m heartbroken.”

Summer is just around the corner. Get into the spirit of long, lazy days — first, let’s pretend those exist in ample supply beyond our dreams — by spending your Memorial Day weekend taking cues from our watch guide. There are plenty of options to suit your tastes, including a new take on one of cinema’s most iconic monster brides and a retrospective of Martin Short’s high-flying career in comedy, the final season of “Hacks” and another television series that expands the “Star Wars” franchise. No sunscreen is required.

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Recommendations from the film and TV experts at The Times

Christian Bale and Jessie Buckley in a scene from “The Bride.”

(Warner Bros. Pictures)

“The Bride” (HBO Max)

Heavy buzz preceded the arrival of Maggie Gyllenhaal’s feminist reboot of the horror classic “The Bride of Frankenstein” earlier this year. The casting of Christian Bale and Jessie Buckley as Frankenstein’s monster and his companion, respectively, along with Gyllenhaal’s obvious passion for the project, seemed to promise cinematic fireworks. However, it divided critics: Some brutally panned the film, calling it overbearing and ludicrous; others applauded the movie as an ambitious big swing that should not be ignored. And while most agreed that Buckley gave a committed performance as the ferocious Bride, her lead actress Oscar win for “Hamnet” did not save the film from bombing and vanishing quickly from theaters. Viewers can now decide whether it was truly a disaster or just misunderstood when “The Bride” hits HBO Max this weekend. — Greg Braxton

Steve Carell and Charly Clive play a father and daughter navigating their complicated relationship in the HBO comedy “Rooster.”

(Katrina Marcinowski / HBO)

“Rooster” (HBO Max)

If you’re looking for some easy laughs this weekend, and you’re a fan of series from Bill Lawrence like “Shrinking” or “Ted Lasso,” this HBO comedy may be right up your alley. The show follows Greg Russo (Steve Carell), a divorced author of “beach reads” who is offered a position at a university where his daughter, Katie (Charly Clive), teaches. Katie, as much as she loves her dad, also wants some space as she navigates the messy relationship with her husband Archie (Phil Dunster), who has left her for a graduate student named Sunny (Lauren Tsai). (Katie does not take it well.) The show is filled with mishaps and misunderstandings that will make you belly laugh. But what also makes this show special is the supporting cast that absolutely kills it when they’re onscreen, including Danielle Deadwyler as Dylan, an English professor; John C. McGinley as Walter, the school’s president; and Robby Hoffman as Mo, Sunny’s friend and roommate. The series just wrapped its first season — I’m willing to bet you’ll binge this one. — Maira Garcia

Martin Short and Catherine O’Hara in “Marty, Life Is Short.”

(From Netflix)

“Marty, Life Is Short” (Netflix)

This delightful and moving documentary brings into focus Martin Short’s life and decades-long career in comedy. Don’t be fooled by its straightforward overview of Short’s rise to showbiz mainstay through his eccentric, vaudevillian brand of comedy. Directed by his longtime friend Lawrence Kasdan, who first collaborated with the comedian on the 1987 comedy “Cross My Heart,” the film goes beyond the bullet points, offering intimate insights about the lows of building a career and a touching look at him as a friend and family man. In addition to hearing directly from Short, the film features soundbites from people who know him well, including Andrea Martin, Tom Hanks, Steven Spielberg, Steve Martin, Eugene Levy and the late Catherine O’Hara. But the true standout moments come from the home footage provided by Short. It’ll leave you longing for a whole docu-series of his star-studded gatherings with some of the names mentioned above. What do you mean we get to see Short and Hanks, both shirtless on a boat, re-enact a scene from “Butch Cassidy and the Sundance Kid” — in this scenario, Hanks’ Forrest Gump is the Sundance Kid and Short’s famous sketch-comedy character Ed Grimley is Butch — as they hurl themselves into the sea? That beats any reality TV moment or DIML vlog on TikTok I’ve seen this year. — Yvonne Villarreal

A scene from Cartoon Network’s “Adventure Time,” featuring Finn the Human, voiced by Jeremy Shada, and Jake the Dog, voiced by John DiMaggio.

(Cartoon Network)

“Adventure Time” (Hulu, Disney+)

With the new “Adventure Time: Side Trips” due on Hulu and Disney+ on June 29, I am watching Pendleton Ward’s original series from the beginning, the better to appreciate its deep world-building and pick up whatever I might have missed the first time. Set in a lush, lively post-apocalyptic world where human boy Finn and shape-shifting dog Jake fight villains and party with friends, it’s gorgeously strange, beautifully designed and full of feeling. Characters include a pie-baking little elephant; Lady Rainicorn, half-unicorn, half-rainbow; a sort of sentient Game Boy; a vampire queen; and the Ice King, looking for a princess (Bubblegum, Flame, Lumpy Space, Hot Dog) to love him. A nexus of creative young animators, it’s the trunk of a tree whose branches include “Summer Camp Island,” “Steven Universe,” “Over the Garden Wall,” and “OK K.O.: Let’s Be Heroes,” which is to say, it’s possibly the most important cartoon show of the 21st century. At 283 episodes, there’s more than one can consume over even a holiday weekend, obviously, but you have to start somewhere. — Robert Lloyd

Clarke Peters, Alfre Woodard, Alfred Molina, Denis O’Hare and Geena Davis in “The Boroughs.”

(Netflix)

“The Boroughs” (Netflix)

In an isolated but fairly posh desert retirement community, freaky things are afoot. Strangely, no one seems to notice until cranky, grieving widower Sam (Alfred Molina) moves in. He hates the Boroughs at first sight and is only there because his now-dead wife signed them up in an apparently unbreakable contract. So of course he’s going to complain about every problem, from a broken door knob to, you know, a mysteriously dead neighbor. And before you can say, “The Thursday Murder Club” meets “Stranger Things” by way of “Scooby-Doo,” he’s reluctantly assembled a group of equally curious residents played by equally high-wattage actors including Geena Davis, Alfre Woodard, Clarke Peters and Denis O’Hare — all of whom make the Boroughs, and “The Boroughs,” well worth the price of admission, be it during nocturnal visits by monsters or an occasionally creaking plot.

Though still a criminally underrepresented demographic, aging boomers are having something of a moment on TV (see also “Only Murders in the Building,” “A Man on the Inside” and “Hacks”) and “The Boroughs,” (produced by the Duffer Brothers, who gave us “Stranger Things”) is a perfect example of why. The message of every unlikely-hero story is inevitably one of empowerment — kids/hobbits/retirees are just as capable of saving the day as muscle-bound men in their prime — and actors as strong and experienced as these can glide over plot holes and shoulder three times their weight in disbelief suspension without breaking a sweat. Getting the opportunity to watch such a group do it together is just as much fun as figuring out exactly what is going on at the Boroughs and who’s going to stop it. — Mary McNamara

A scene from Lucasfilm’s “Star Wars: Maul — Shadow Lord.”

(Lucasfilm Ltd.)

“Star Wars: Maul — Shadow Lord” (Disney+)

“The Mandalorian and Grogu” is the shiny new “Star Wars” movie in theaters this weekend — the franchise’s first since 2019 — but let’s not forget that some of the galaxy far, far away’s best storytelling in recent years has been on TV. “Star Wars: Maul — Shadow Lord” follows the dark side warrior in the early days of the Empire’s reign as he works to rebuild his criminal syndicate while getting some revenge on gangsters that have betrayed him. Introduced and presumed dead after being cut in half in a lightsaber duel in “Episode I,” Maul’s resilience and dark ambitions were further explored in “The Clone Wars.” Maul is a formidable, manipulative, intelligent and vicious villain that’s ultimately doomed to fail, but there’s something about his relentless refusal to accept his fate that I find a bit admirable — even if he’s evil. A noir crime thriller, “Maul — Shadow Lord” is set in a gritty, metropolitan planet outside of the rule of the Empire, meaning, yes, the former Sith lord will cross paths with some Jedi on the run. There’s no better way to close out May than getting immersed in “Star Wars.” — Tracy Brown

Jean Smart and Hannah Einbinder in the fifth and final season of “Hacks.”

(HBO)

“Hacks” (HBO Max)

With the series finale of “Hacks” approaching on May 28, it’s the perfect time to catch up on Ava (Hannah Einbinder) and Deborah’s (Jean Smart) latest schemes. Season 5 follows Deborah clawing her way back into public favor after her short stint as a late-night host. Going out with a bang, the show’s final season has been chock-full of guest stars, from Trisha Paytas and Tony Kushner to Jesse McCartney and “Property Brothers” duo Drew and Jonathan Scott. The dynamic between Deborah’s managers, Jimmy (Paul W. Downs) and Kayla (Megan Stalter), is still ridiculously entertaining, even if Kayla still can’t get Jimmy’s coffee order right. Across the characters, the chemistry is palpable as “Hacks” builds to the pièce de résistance of Deborah’s career: a sold-out show at Madison Square Garden. — Katie Simons

Animated characters from the Crunchyroll series “Classroom of the Elite.”

“Classroom of the Elite” (Crunchyroll)

The anime series revolves around Kiyotaka Ayanokoji, a stoic high schooler with a hidden brilliant mind who enrolls in an isolated boarding school. In this cutthroat school, designed as a meritocracy to identify Japan’s future leaders, students are pushed through unconventional tests — such as a survival challenge on a deserted island — and they risk expulsion if they fail. Bribery and backdoor deals run rampant. School officials turn a blind eye to violence — and there is plenty of it.

The show follows Ayanokoji and his classmates as they scheme to climb from the lowest tier, D-Class, to the coveted A-Class. Along the way, it invites the question of whether an archetypal meritocracy can truly exist in a system ridden with loopholes. The calculating Ayanokoji can be a hard protagonist to root for, as he brazenly uses his peers as pawns. By the end of the third season, we see Ayanokoji begin to occasionally open up to a select few classmates, though we’re constantly left to wonder if those moments are genuine or engineered. Season 4, which premiered in early April with weekly releases, picks up with Ayanokoji in his second year and brings a new slate of characters with murky motivations. — Iris Kwok

ICYMI

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A Netflix series has been deemed so good that it has viewers glued to their TVs for six hours straight. They admit the show is amazing, and had them totally hooked

Occasionally we all seek fresh content to watch, and a certain programme that’s recently arrived on Netflix has been considered absolutely exceptional. The crime drama has captivated audiences, with some confessing they’ve devoured it entirely in a single six-hour session as it’s simply so compelling.

If you’re searching for a television programme to genuinely keep you engrossed, it appears this one merits consideration, and it’s recently been spotlighted by Yazmien Yuen on TikTok, who confessed she thoroughly adored it. She stated the Netflix drama is so impressive that she remained seated for six hours continuously watching every single episode.

It’s not the sole offering to have mesmerised viewers lately either. Just weeks ago, audiences acknowledged they were also binge-watching another programme within a single session.

In the clip, Yazmien stated: “Netflix dropped a British crime series called Legends that not enough people are talking about. So, of course, I’m going to bring it to your attention.

“It dropped on May 7. Six episodes that you’re going to [watch] like I did in one sitting and, imagine this, it is based on a true story that most people have never heard of.

“When I saw that at the end I was like ‘you what?’ I was gobsmacked.” Accompanying the clip, she also penned: “I started Legends on Netflix at 9pm and finished at 3am.

“This show is THAT serious – British true crime, undercover agents, Steve Coogan. Six episodes. One weekend. You’re welcome.”

The footage rapidly sparked conversation, racking up hundreds of views. Numerous viewers confessed the programme is utterly addictive.

One viewer commented: “Halfway through it and I deliberately stopped so that it will last a bit longer. It’s so good!”

Another enthused: “I binged it, amazing show.” A third responded: “Very good drama, a must-watch. Steve (Coogan) is great at playing serious parts.”

Meanwhile, a fourth wrote: “I just finished it, it was so good! I literally never switch my TV on, but this had me hooked!”

Someone else remarked: “We have two episodes left and I’m bummed. I don’t want to finish it.”

What’s the plot?

For those unfamiliar with Legends, it’s a British crime drama television series penned and conceived by Neil Forsyth. Production was handled by his company, Tannadice Pictures.

Drawing from real events, it follows British undercover Customs investigators who penetrate the drug underworld during the early 1990s. The ensemble features Steve Coogan, Tom Burke and Hayley Squires.

The narrative explores how Her Majesty’s Customs and Excise was struggling against illegal drug trafficking at Britain’s borders. Through a classified operation, a select group of Customs officers were assigned fresh identities and deployed undercover to penetrate Britain’s most dangerous criminal networks.

Following its Netflix debut in May, the series has garnered favourable critical reception. Audiences appear equally impressed with the offering.

One viewer heaped praise on it, commenting: “Absolutely superb it was.” Another remarked: “This is a quality watch.”

What do we have here? Some of my very favorite actors — Alfred Molina, Alfre Woodard, Clarke Peters and Geena Davis — starring in an eight-episode, B-grade sci-fi comedy-drama, “The Boroughs,” now streaming on Netflix.

Molina plays Sam Cooper, a retired engineer — that will be important — being brought grumbling to the Boroughs, a posh, city-sized retirement community plopped down in the middle of the Southwestern desert. Sam’s late wife, Lily (Jane Kaczmarek, in flashbacks and dreams), had planned the move, but she died suddenly, while they were dancing to Bruce Springsteen’s “Thunder Road,” which will become a kind of trigger and motif going forth. Still, fate — in the form of daughter Claire (Jena Malone) and son-in-law Neil (Rafael Casal) — has pushed him solo to the Boroughs and a house on a cul-de-sac. (Seen from above, the town is laid out in a series of concentric circles, as EPCOT was meant to be when Walt Disney was alive and it stood for Experimental Prototype Community of Tomorrow. That has no relation to this show; I’m just throwing it out to the fans.)

Before this happens, however, we get a preamble. Is that Dee Wallace, the mother from “E.T.: The Extraterrestrial,” as Grace, a former occupant of Sam’s new home? (Why, yes it is.) Grabbed one night by something clearly not human, she’ll leave the show before the first credit rolls; but we’ll know from the start that there’s a monster on the loose. And even before Sam has settled in, he’ll be attacked by her now-widowed husband, Edward (Ed Begley Jr.), who has escaped to his old house from the Manor — a memory care unit more reminiscent of something out of “Squid Game” than anywhere you’d want to park a beloved fading parent — muttering “The key is in the light, the owl is in the wall,” and thereby turning Sam detective.

The joint is run by young Blaine Shaw (Seth Numrich), who supposedly took it over from his father, who took it over from his father before him, with Hollywood-blond wife Anneliese (Alice Kremelberg) by his side. (It is perhaps no accident that we’re also served a background clip from “Double Indemnity,” featuring a blond Barbara Stanwyck.) They radiate a kind of vampiric smoothness, and it will take you no longer to realize that something’s up with these two than it takes to say “Something’s up with these two.”

Mired in grief, Sam is initially reluctant to interact with his new neighbors, until former weatherman Jack (Bill Pullman) breaks down his defenses. Judy Daniels (Woodard) used to be a reporter, her husband Art (Peters) is a pot-smoking old hippie who pretends to go golfing but heads off to a ghost town where he grows mushrooms, “searching for proof that there’s more to life than just knockin’ about and hangin’ out.” Wally Baker (Denis O’Hare) used to be a doctor, but now needs one. (It’s cancer, and terminal, though it doesn’t show.) They have complicated relationships, but there’s nothing better for ironing things out than creeping together through dark tunnels by flashlight, hoping that nothing jumps out at you, engaging in weightless banter as you go.

Davis plays Renee Joyce, a former music manager who came to the Boroughs to stay with her mother after Renee’s husband stole her money, and stuck around; I think she’s meant to be younger than the rest, but if you want to look up Davis’ age, I will wait here while you gasp in astonishment. She’ll hook up with friendly young security guard Paz Navarro (Carlos Miranda); he played drums in a band once, and they were both at Glastonbury in 2010 and love Barbra Streisand. (What are the odds?) He’ll have a lot to do when a Scooby Gang — that old, invaluable, incredibly satisfying trope — finally comes together.

The series was created by Jeffrey Addiss and Will Matthews, who were co-writers on the 2018 Henson Co. puppet epic “The Dark Crystal: Age of Resistance,” from which they have imported a central plot device regarding vital essences and a magical matriarchal figure. (Called “Mother” there and here.) Their 2020 dying girlfriend film “Life in a Year,” directed by Mitja Okorn, has some thematic mirroring here, as well — death hovers over the story — and it seems probable that somewhere in the series’ gestation, they discussed Ron Howard’s 1985 science-fiction flick “Cocoon,” with its retirement home setting and senior-citizen heroes.

Sewn together from these and other scraps of previous paranormal adventure stories, “The Boroughs” is almost entirely predictable — not a criticism, in this context, since surprises in such a story are liable to bring bad news, and our affection for its heroes ought not to be sacrificed in the name of dramatic effect. That is not the kind of sacrifice the age needs, and this is not that kind of series. Nor is B-grade a pejorative, but rather an honorable tradition, especially when it comes to sci-fi and horror. (We’ll get a glimpse of Roger Corman’s original “Little Shop of Horrors” playing on a TV — cathode ray, of course.) Once you get on its wavering wavelength — sentimental, sincere, sweet, a little silly, not overly concerned with making perfect sense — and realize the show is not out to hurt you, it’s a very enjoyable watch.

Oklahoma City Thunder star Shai Gilgeous-Alexander scored a game-high 30 points to inspire his side to a 122-113 victory against the San Antonio Spurs as the reigning NBA champions levelled the Western Conference final at 1-1.

Gilgeous-Alexander – who has won the NBA’s Most Valuable Player award for a second year in a row – also provided nine assists in their second home game of the best-of-seven series.

Spurs star Victor Wembanyama scored 41 points in the opening game but was limited to 21 in the second match.

“The guys brought it tonight, knowing what it would have meant if we lost this one,” said Gilgeous-Alexander.

“We brought the energy from the jump.”

The game was level at 31 apiece after the first quarter before Thunder moved into an 11-point lead at half-time.

The Spurs did level the match midway through the third and got to within two points of their rivals in the fourth quarter but Thunder pulled away each time on the way to victory.

“We got a W, it’s all you can ask for. Now we got to go on the road against a really good team and go get one,” said Gilgeous-Alexander.

Games three and four will take place in San Antonio on Friday and Sunday.

The New York Knicks lead the Cleveland Cavaliers 1-0 in the Eastern Conference final with game two in New York on Thursday.

Married At First Sight USA Season 19 viewers have had their say just days into the new series

MAFS fans have all voiced the same grievance moments into this evening’s episode as the US show returned.

Married At First Sight USA has officially kicked off, with Season 19 landing on E4 in spectacular fashion. Already, audiences have watched five couples encounter each other for the very first time at the altar, exchanging vows with total strangers.

Yet the new series has already sparked controversy after viewers spotted a glaring difference compared to its Australian version. This evening’s episode (May 20) featured the final couple’s nuptials before the newlyweds departed for their honeymoon.

Within minutes of tonight’s broadcast, UK audiences were distracted by one particular detail during Belynda and Chad’s ceremony. Fans clocked the choice of location, reports OK!.

Taking to X, one viewer posted: “The same venue my god, i thought it was a total scrooge when it came to spending money nothing like the production team on.” (sic)

Another remarked: “I miss the different locations as they made the weddings a bit as they had stunning places but this hotel seems dull.”

A third contributed: “The couples meet ‘How was the venue?’ ‘Same as bl**** yours…and i hated it’. (sic)” A fourth quipped: “Another at the venue. Buy 1 get 5 free.”

A fifth observed: “Did they get a discount on the venue as it seems like all the weddings are in the same place.”

Another echoed: “Is the American economy really that bad that they could only have all the weddings in one place to save money?” One person asked: “Oh my god are they honeymooning in the same location same venue, same hotel, same honeymoon come on?” (sic)

Weddings for MAFS USA Season 19 were captured at Hotel Viata in Austin, Texas. The hotel’s website states: “Love is always in the air at Hotel Viata-but this year, it caught the attention of national television.

“The hillside retreat was chosen as a filming location for Season 19 of Married at First Sight, with couples exchanging vows right here in our courtyard and overlooking the hills of West Lake.”

This detail varies considerably from the UK edition, where nuptials occur at various venues including stunning hotels and historic landmarks.

Meanwhile in tonight’s episode, audiences observed certain couples advancing their relationships in terms of physical closeness, with the newly-weds navigating their brand new partnerships.

British audiences might be taken aback to learn that MAFS USA participants genuinely enter into legally recognised marriages.

As reported by People magazine, the couples must sign a pre-nuptial agreement to provide them with certain safeguards and receive support with potential divorce expenses should their union fail.

Married At First Sight USA airs weekdays on E4 at 8pm.

Taijul Islam’s six-for helps Bangladesh bowl out the visitors for 328 in their first home series win over Pakistan.

Bangladesh have sealed a historic home Test series win over Pakistan after handing the visitors a 78-run defeat in their second Test in Sylhet.

Spinner Taijul Islam took six wickets to lead the spirited home side’s series win on the fifth day of the match on Wednesday.

Pakistan, who started the day on 316-7 while chasing a record 437, were bowled out for 328 in the first session after Mohammad Rizwan hit a valiant 94.

It was Bangladesh’s first Test series win at home against Pakistan and their second successive sweep after their 2-0 triumph on Pakistani soil in 2024.

Wicketkeeper Rizwan kept Pakistan in the hunt for an unlikely win with a 166-ball stay after the visitors had slumped to 162-5 on day four.

Rizwan put on an eighth-wicket partnership of 54 with overnight partner Sajid Khan, who made 28.

Taijul broke through to dismiss Sajid for his 18th Test five-wicket haul, and Shoriful Islam had Rizwan caught in the next over to end Pakistan’s resistance.

Taijul took the final wicket of Khurram Shahzad to return figures of 6-120 and trigger Bangladesh celebrations.

The left-arm spinner also took 3-67 during Pakistan’s 232 in the first innings.

Bangladesh wicketkeeper Litton Das scored 126 in their 278 in the first innings.

Veteran batsman Mushfiqur Rahim scored 137 in the second to guide Bangladesh to 390, with contributions from Mahmudul Hasan Joy (52) and Litton (69).

Bangladesh, led by Najmul Hossain Shanto, won the opening Test by 104 runs.

Tom Kane, a prolific voice actor whose signature roles included Master Yoda in a number of animated “Star Wars” shows as well as Professor Utonium on “The Powerpuff Girls,” has died. He was 64.

Kane died Monday from complications of a stroke he suffered in 2020, his representative Zachery McGinnis confirmed to The Times. The voice actor’s death was announced on social media by his talent agency, Galactic Productions.

“From his unforgettable performances in Star Wars to countless animated series, documentaries, and games, Tom brought wisdom, strength, humor, and heart to every role he touched,” reads a statement posted Monday on Galactic Productions’ Facebook page. “His voice became part of our lives, our memories, and the stories we carry with us. … Though his voice may now be silent, the characters, stories, and love he gave to the world will live on forever.”

Kane first joined the “Star Wars” franchise through video games in the 1990s, voicing droids, Imperial officers and rebel pilots in installments such as “Star Wars: Shadows of the Empire” and “Star Wars: X-Wing vs. TIE Fighter.” He would go on to voice other characters, including the iconic protocol droid C-3PO, Jedi Master Yoda and the bounty hunter Boba Fett, in various games over the years.

He continued to voice Yoda in animated “Star Wars” shows, first in “Star Wars: Clone Wars,” Genndy Tartakovsky’s series set after the events of the 2002 film “Episode II — Attack of the Clones,” in which Kane also voiced C-3PO.

But Kane’s most notable “Star Wars” role was as the narrator of the 2008 film “Star Wars: The Clone Wars” and the subsequent series of the same name, where he kicked off each adventure as the spoken version of the classic “Star Wars” opening crawl to set the stage for the story that followed.

“Tom loved ‘Star Wars,’” Dave Filoni, Lucasfilm’s president and chief creative officer, said in the studio’s tribute to Kane. “Fans may best remember him as the voice of the animated Yoda, but truly his voice was the spirit of the Clone Wars. His opening narration introduced an entire generation to the ‘Star Wars’ galaxy getting viewers ready for another adventure far, far, away.”

“When I was first starting out as a director I was fortunate to have someone as legendary as Tom there to help me learn and guide me towards what the actors needed. Very Yoda like indeed,” Filoni added.

Besides his “Star Wars” roles, Kane’s credits also include the devoted valet Woodhouse in “Archer,” the mutant Magneto in Marvel video games, the prim and proper head of house Mr. Herriman in “Foster’s Home for Imaginary Friends” and the flamboyant villain Him in “The Powerpuff Girls.”

Kane said in a 2014 Reddit AMA that “The Powerpuff Girls’” Professor Utonium, who combined sugar, spice and everything nice — along with chemical X — to create the super-powered kindergartners, was the character he most identified with.

“He’s a dorky dad who loves his kids,” Kane wrote in a comment. “That’s pretty much me.”

Tara Strong, who voiced Powerpuff Girl Blossom, described Kane as “Brilliant. Giving. Funny. Supportive. [And] Kind.” in her tribute.

“They say there’s no such thing as a perfect man… those people never met [Tom Kane]. I’ve never in my life met a sweeter soul or a better human being,” Strong wrote in a Monday post on X. “I’m beyond grateful for all the hours we spent together in the booth, and so grateful we got to see him again recently… hug him tight and tell him how much we love and miss him.”

“I love you, Professor. You were the best dad, the best human, and I feel so honored to have known you and called you my friend,” she added.

Born April 15, 1962, in Overland Park, Kan., Kane began his voice acting career at age 15 doing commercials in his hometown of Kansas City, according to IMDb. In addition to his work in games, film and television, Kane has lent his voice to announce awards shows, including the 78th, 80th, 83rd, 84th and 90th Academy Awards broadcasts, as well as on attractions at Disney Theme parks.

“I’m also glad that his characters and voice will live on in many ways,” Filoni said in his tribute. “Wherever you go there’s always a chance that Tom is the voice you hear guiding you through Disneyland or a galaxy far, far away.”

Kane is survived by his wife, Cindy, and their nine children, six of whom joined the family through adoption and fostering.