“Israel, as the occupying power, has the obligation to ensure the needs of people are met in Gaza.” As he prepared to leave Gaza, the Red Cross’s Patrick Griffiths is hopeful the Rafah crossing’s “opening” will give Palestinians a chance to heal, but says more must be done.
Walmart has reached a $1 trillion market valuation, a first for the big-box retailer.
The company’s shares hit a high on Tuesday morning trade as the stock continues to soar on the news of a new CEO and looming trade negotiations with India, where the Arkansas-based company maintains a large presence both in supply chain and domestic markets within India. The stock was up 2.1 percent from the market open in midday trading.
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Walmart, which has 11,000 stores in 19 countries, joins a slate of nine corporate giants in the so-called trillion dollar club, including Nvidia, Apple, Alphabet, and Microsoft, among others. Amazon is the only other retailer that has broken the barrier and is now valued at $2.6 trillion.
Trade deal bump
On Monday, United States President Donald Trump announced a trade deal with India that would slash tariffs to 18 percent from 50 percent and that impacts Walmart, which has strategically shifted supply chain operations to India and away from China.
On Tuesday, in an interview with CNBC, US Trade Representative Jamieson Greer said that the White House is still ironing out the details of the deal, but that still hasn’t slowed Walmart’s stock from popping on the looming deal.
“We have an announcement of an India deal, but still no timeline about when it comes into effect and whether the secondary tariffs, the 25 percent linked to India’s purchase of Russian oil, when those would be removed, so I think there’s still a lot of questions,” economist Rachel Ziemba, founder of Ziemba Insights, told Al Jazeera.
While there are limited details on the specifics of the deal, markets are responding to tariffs likely to come down.
“Markets are, of course, forward-looking. I think this sort of reinforces a view in the marketplace that incremental tariffs will be less this year,” Ziemba said.
The big box retailer jumped from 2 percent of its global exports coming from India in 2018 to 25 percent in 2023, according to a Reuters review of import data in 2023. Walmart hopes to source $10bn in goods from India by next year.
At the time, the company also decreased its percentage of goods from China to 60 percent from 80 percent.
Walmart did not respond to Al Jazeera’s request for comment.
The Federation of Indian Export Organisations (FIEO), a lobby for exporters, said the cut in US tariffs will significantly boost Indian exports, including textiles and apparel, putting them on par with Asian peers, such as Vietnam and Bangladesh.
According to data from ImportYeti, a platform that tracks import contracts for major companies, Walmart’s biggest import areas are in home fabrics, apparel and toys.
“Those are the products facing the highest tariffs, while consumer electronics and other categories have largely been shielded. If the India–US deal becomes a reality, it would put tariffs on Indian goods entering the US at roughly the same level as those from Southeast Asia, making that supply-chain realignment more attractive. You also highlight the importance of the Indian market,” Ziemba added.
While the trade deal is in focus, Walmart has also invested significantly in India domestically, as well, and holds an 80 percent stake in India’s e-commerce giant Flipkart.
C-suite changes
The surge also comes concurrently with a shake-up in the C-suite. On Monday, John Furner took over as Walmart’s chief executive, succeeding longtime CEO Doug McMillion who announced his retirement late last year.
Furner, who started at the company in a job stocking shelves, has climbed up the ladder. Most recently, he served as the CEO of Walmart US, where he focused on key initiatives driving growth, including curbside pick-up. Prior to that, he served as the CEO of Sam’s Club, Walmart’s wholesale chain.
Furner’s appointment comes as the company grows as an e-commerce giant and intends to double down in AI tech, healthcare services, e-commerce, and hybrid options with its brick-and-mortar footprint.
“As AI rapidly reshapes retail, we are centralizing our platforms to accelerate shared capabilities, freeing up our operating segments to be more focused on and closer to our customers and members,” Walmart said in a statement last month.
“Walmart is masterful at brick-and-mortar retail and remains highly competitive with Amazon. I love that because it shows consumerism is still alive and well. Five years ago, the narrative was the fall of the mall and the decline of retail. This confirms the opposite. Walmart also has a clear strategy for retaining consumers and managing the customer experience,” Brett Rose, CEO and founder of United National Consumer Suppliers (UNCS), a distributor that focuses on excess inventories, which it provides to more budget-friendly retailers, told Al Jazeera.
The tech-centric focus comes as e-commerce has grown for the company, which reported a 28 percent jump in e-commerce sales compared with the previous quarter. Walmart is slated to release its next earnings report on February 19.
“What you need to look at is that Walmart has successfully become a marketplace, not as big as Amazon, but big enough to give it a run for its money,” said Rose.
Though we’re solidly into 2026, a trend has emerged on social media: Reminiscing on the year 2016.
Through throwback posts, people have been traveling back to the year when dog and flower crown Snapchat filters, Instagram eyebrows, the mannequin challenge and the Chainsmokers were everywhere.
But why, you may ask? On social media, 2016 is remembered as the last carefree era, a time when people posted whatever they wanted without overthinking it, when folks actually danced at parties instead of pointing their phones at the DJ booth to “capture content.”
2016 also brought many cultural milestones to L.A., from Kobe’s final game to the rise of selfie culture to all things Issa Rae. In the spirit of nostalgia, we’ve rounded up 16 moments that bring us back to that time. So let’s crank up Beyoncé’s “Lemonade” album and take a ride down memory lane, shall we?
Team owner Robert Kraft also failed to receive enough votes to be included in the Class of 2026, according to multiple media outlets. The inductees will be announced Thursday night at the NFL Honors ceremony in San Francisco.
Kraft was among the many people who expressed disbelief last week when the news surfaced that Belichick, who coached the Patriots to six Super Bowl victories and nine appearances in the NFL’s championship game, would not be entering the Hall of Fame in his first year of eligibility.
“Whatever perceptions may exist about any personal differences between Bill and me, I strongly believe Bill Belichick’s record and body of work speak for themselves,” Kraft said in a statement.
“He is the greatest coach of all time,” he added, “and he unequivocally deserves to be a unanimous first-ballot Pro Football Hall of Famer.”
Belichick and Kraft were part of a pool of candidates separate from that of the modern-era players. Belichick was this year’s finalist in the coaches category, while Kraft was the finalist in the contributors category. Three former players — Ken Anderson, Roger Craig and L.C. Greenwood — were selected as finalists in the seniors category.
The 50 members of the Hall’s selection committee were allowed to vote for up to three of those five finalists. A maximum of three of those finalists can make it into the Hall by receiving at least 80% of the votes. If none of them gets 80%, then the person receiving the most votes makes the cut.
Kraft was first nominated for the Hall of Fame in 2013 and was a finalist for the first time this year. He has made it to the Super Bowl 11 times since buying the Patriots in 1994, more than any team owner in NFL history.
While Kraft may not have his name announced as a Hall of Famer this week, he could be getting a pretty decent consolation prize days later — if coach Mike Vrabel, quarterback Drake Maye and the rest of the current Patriots bring home the Lombardi Trophy by beating the Seattle Seahawks in Super Bowl LX.
Welcome back to The Times’ Lakers newsletter, where we are freezing out butts off on this East Coast trip.
As the team continues to work its way through the Grammy trip, your usual scribe who writes this newsletter, Thuc Nhi Nguyen, is off to Milan to cover the Winter Olympics. That means you are stuck with me, Broderck Turner, for the next month to discuss the Lakers here.
All things Lakers, all the time.
Austin Reaves’ return?
At some point on this eight-game trip, the prevailing thought was that Austin Reaves would return to play after being out with a left calf strain. But we are still waiting for that to happen.
The Lakers’ last game on this trip is Tuesday at Brooklyn, meaning Reaves will have been out a little over 5 ½-weeks since the injury first occurred during the Christmas Day game against the Houston Rockets.
Reaves had been upgraded from out to questionable for the games at Washington on Friday night and the New York Knicks on Sunday, but didn’t play.
And for the Nets game Tuesday, the Lakers have listed Reaves as questionable.
Lakers coach JJ Redick said Reaves worked out on Saturday but it was not “like a stay-ready game.”
Before the Lakers played the Knicks, Redick said Reaves would be a game-time decision.
Reaves did not play, missing his 19th straight game.
“Yeah, I just would say he’s day to day, game to game, however you want to phrase it,” Redick said after the Lakers lost to the Knicks. “ We’re hopeful to have him for Tuesday, but he’s gotta feel 100% confident.”
In many ways, Reaves and the Lakers face a conundrum regarding his health.
Reaves always wants to play and the Lakers need him to play, but calf injuries can be tricky and can lead to more serious injuries if they aren’t completely healed.
Reaves had missed three games in December with a mild left calf strain, returned to play against the Suns and then went down one game later against the Rockets on Christmas.
Reaves was then diagnosed with a Grade 2 left gastrocnemius (calf) strain and was given a timeline of four to six weeks before a return to play.
Luka Doncic had been out with a calf strain for more than a month when the Lakers traded for him from the Dallas Mavericks last February.
“It’s definitely hard with a calf. I’ve been through that. It’s not an easy injury,” Doncic said Sunday night. “So, we just want him to be healthy. If he’s not ready to come back, don’t come back. But obviously, we’d love to have him out there. We can’t wait for his return.”
Reaves is averaging career-high in points (26.6), assists (6.3) and rebounds (5.2) per game. He is shooting 50.7% from the field.
His outstanding play means Reaves is in line for a big payday. The Lakers can pay him a maximum deal of five years worth about $241 million.
So, yes, Reaves is understandably being cautious.
Trade winds
Dalton Knecht is apparently being used as trade bait by the Lakers.
(Gina Ferazzi / Los Angeles Times)
Two of the players people around the NBA said the Lakers had shown some interest in were traded for each other last week, leaving L.A. still searching for the right move to make … or not to make.
Cleveland traded De’Andre Hunter to the Sacramento Kings for Keon Ellis, two wing players that had been attached to the Lakers as possible candidates to be acquired.
The NBA trade deadline is Thursday at noon PST.
So, the Lakers still have time to do a deal, but people not authorized to speak publicly on the matter say teams have little interest in guards Gabe Vincent and Dalton Knecht, the two most prominent players the Lakers seem to be pushing.
The Lakers do have a first-round draft pick they can attach to one of them, but so far appear hesitant to make it part of a deal.
MSG nostalgia
Was this LeBron James’ final game in Madison Square Garden?
(John Munson / Associated Press)
So, after LeBron James had 22 points, six assists and five rebounds against the Knicks, he was asked if it was weird to think that game the Lakers played the Knicks could be his last time playing in Madison Square Garden.
James, in his 23rd season, has given no indication on when he will retire.
“At the end of the day, everything has to come to an end at some point,” James said. “So, no matter what it is, it’s going to be like, ‘I’ll never play again in Madison Square Garden. I’ll never play again in certain arenas. I’ll never play again, period.’ So, at that point it doesn’t matter. You’re going to always miss it. You’re going to miss the game in general. So this one will always have a special place in the journey because it is Madison Square Garden. But yeah, when that time comes, yeah, for sure.”
On tap
Tuesday at Brooklyn (13-35), 4:30 p.m. PST
The Lakers end their eight-game trip against a Nets team that has the second-worst record in the Eastern Conference. The Nets have lost eight of their last 10 games. Michael Porter Jr. leads the Nets in scoring, averaging 25.6 points per game.
Thursday vs. Philadelphia (27-21), 7 p.m.
Just as the 76ers started to play better and get healthy, Paul George was suspended 25 games without play for violating the NBA’s anti-drug policy. But the 76ers still have All-Star guard Tyrese Maxey, who is averaging 29.2 points per game, and center Joel Embiid.
Saturday vs. Golden State (27-23), 5:30 p.m.
It has become one of the more enjoyable moments to see LeBron James and Warriors All-Star guard Stephen Curry, two of the NBA’s elder statesmen still flourishing, perform against each other. But Curry is dealing with a right knee injury, leaving his status unclear.
Status report
Bronny James (left lower leg soreness) is questionable and rookie forward Adou Thiero (right MCL sprain) is out.
Cold, cold, cold
It was pretty cold in New York.
(Adam Gray / Associated Press)
Man, this trip has been a cold one.
Snow in Washington, D.C.
Snow in New York.
Snow when I was in Dallas, which meant it took 12 hours to get home to L.A. because of flight cancellations and delays.
How about this weather report in New York over the weekend — 20 degrees, but feels like 3. So, hearing from friends back home saying they were on the beach in shorts while I was freezing was just mean.
Survey time
It’s a hot topic in our letters basket….. Do you want LeBron James to return to the Lakers next season?
Hey, it’s Thuc Nhi here! Ciao from Milan! I made it here after one aborted landing attempt at the Charles de Gaulle airport, which forced me to sprint through the terminal after customs to catch a 70-minute connection that was more like 30 minutes. My bags didn’t catch up, but a maritozzo and a latte from illy made the wait a little sweeter. The Italian cafe chain has a location in the CityLife shopping mall across a park from the Main Press Center and after the traditional first-day Olympic activities of getting my credential validated and getting lost learning the press center layout, I definitely deserved a treat. For more Olympic adventures, you can follow me on Instagram.
Welcome back to the Times of Troy newsletter. When you read this, I will hopefully be lying on a beach somewhere on Maui. Which means the Times of Troy will be taking a brief break next week. A tanner — read: redder — version of me will be back and recharged the following Monday. With the whole family coming and three kids under three in the mix, though, hopes of reaching peak relaxation may be slim!
But before I’m off, let’s dive a little deeper into the defense that the Trojans’ new defensive coordinator, Gary Patterson, plans to bring with him to USC.
Fight on! Are you a true Trojans fan?
In the 1997 edition of the American Football Coaches Assn.’s annual Summer Manual, Patterson, then just 37 and in his second year as New Mexico’s defensive coordinator, laid out his vision for the scheme that later became his calling card.
The 4-2-5, at that time, was unique in college football. The spread offense was just starting to take root, and Patterson wanted a scheme built to stop it. What he designed, it turns out, would still stand up almost three decades later.
That’s primarily because Patterson’s defense was built specifically to be adaptable, year to year, week to week, even play to play.
“Defenses must have enough flexibility in their scheme to limit offenses in their play selection, but be simple enough to be good at what they do,” Patterson wrote in 1997. “During a game we must look like we do a lot, but only do enough to take away what offenses do best.”
Patterson’s scheme has evolved plenty since then. But the principles remain the same. At its most basic level, the scheme uses four down linemen, two linebackers and a “five-spoke secondary” that utilizes three safeties (strong, weak and free). The safeties, in Patterson’s defense, are the glue that binds the scheme together. At any point, two of the three can walk up — to defend the run, for instance — and the look becomes more of a 4-4 defense. Or one can move up for a 4-3 look. It all depends on the offense’s personnel and tendencies.
“He’s going to scout you until his eyeballs come out,” former Texas coach Tom Herman said back in 2018.
The ability of Patterson’s defense to adapt on the fly to fit the situation makes it difficult to exploit. The idea, as Patterson sees it, is to confuse the offense as much as possible, both at the line of scrimmage and in the defensive backfield.
That’s not a revolutionary concept. What makes his approach especially distinctive is that every play includes two separate calls on defense, one for the front six and another for the secondary. The secondary is actually split into two as well, allowing Patterson to have each side playing different coverages, if he so desired. Meaning on any given play, one cornerback might be in man coverage while the other is in zone.
Sounds complicated, right? Well, that’s the idea.
“At first, I thought, ‘Man, it’s gonna be hard,’” said David Bailiff, who was Patterson’s first defensive coordinator at Texas Christian. “But it’s like algebra. When you get it, it’s a piece of cake. And he’s a great teacher of it, too.”
How his defense might look at USC is still to be determined. As of last week, Patterson was still learning his new players’ names, let alone understanding how to use their skillsets. But he said last week that he expects to “add to what we do” at USC now that he can get bigger, faster and stronger athletes on the field than he had at TCU.
He’d initially conceived of the 4-2-5 to account for a talent disparity at New Mexico and TCU, where Patterson only cracked the top 20 in recruiting class rankings once in two decades as coach. At USC, though, that won’t be a problem. Which begs the question: What might Patterson’s defense look like with a host of four- and five-stars at his disposal?
“The better the athlete we have, the more an offense must contend with our individual ability, plus the multiplicity of the scheme,” Patterson wrote in 1997. “We want offenses to guess what they should spend most of their time working on. Our job is to find out what their answer is.”
Patterson hasn’t led a defense since 2021. But as he sets out to install his scheme in the coming months at USC, the hope is that it’s the answer to what’s been missing through four years of Lincoln Riley.
Way-too-early game-by-game prediction for 2026
The Big Ten rolled out its schedule for 2026, and USC’s slate is just as challenging as we expected. There are way too many questions still to be answered to have any real idea how the season might shake out for the Trojans. But as a thought exercise, why not give it a go, anyway?
Aug. 29 vs. TBD: USC hasn’t finalized who will fit into this slot (more on that below), but whoever it winds up being won’t stand a chance of upending the Trojans in their season opener.
Sept. 5 vs. Fresno State: The Bulldogs were no pushover in Year 1 under Matt Entz, who traded his post as USC’s linebackers coach for Fresno. But USC has too much firepower.
Sept. 12 vs. Louisiana: The Ragin’ Cajuns have one of the best nicknames in college football. And that’s where their advantages over USC stop.
Sept. 19 at Rutgers: Traveling as far east as possible for a Big Ten opener isn’t ideal, and I could see USC opening a bit rusty. The Trojans still roll.
Sept. 26 vs. Oregon: Here’s where things get interesting. It will have been almost a decade since USC last beat the Ducks when they meet this fall in the Trojans’ conference home opener. Dante Moore is back, but I think this game will be more evenly matched in 2026. My instinct says it’s a loss, but I reserve the right to change later.
Oct. 3 vs. Washington: This is a tricky one, especially right after the Oregon matchup. Husky quarterback Demond Williams is the real deal, even if he did try to bail for LSU in the offseason. That shouldn’t be an issue when he hits the field. Especially since the defense backing him up could be among the best in the nation. USC barely escapes with a win in this first simulation.
Oct. 10 at Penn State: Woof. USC travels to State College at the end of a three-game gauntlet that could decide its season. We don’t know much about the Nittany Lions yet, but I believe in Matt Campbell, and playing at Beaver Stadium — and probably in a White Out game — is no joke. Another toss-up, but if USC’s beat-up at all by this point, it could struggle.
Oct. 24 at Wisconsin: Camp Randall is one of college football’s best venues, but the Badgers won’t be able to keep up with USC.
Oct. 31 vs. Ohio State:Halloween at the Coliseum delivers USC’s most frightening matchup of 2026. My guess — and I’m going out on a limb here — the Buckeyes will be dominant again. If USC can score a win here, making the Playoff should be a foregone conclusion.
Nov. 14 at Indiana: The defending champs may look a lot different next season, but I still trust Curt Cignetti to get it done. Especially at home. USC starts 3-4 in the Big Ten.
Nov. 21 vs. Maryland: The loss to Maryland two years ago was one of the worst in my tenure on the USC beat. The Terps are better now, but I don’t see USC slipping up again.
Nov. 28 at UCLA: It’s impossible to say what UCLA will look like in the fall, but I wouldn’t be surprised if Bob Chesney has them competing right away. For now, I’ll stick with USC as my crosstown winner.
Final record: 8-4.
USC will need to reach 10 wins to make the College Football Playoff. But it might be an uphill climb just to reach nine. USC will need to win at least one of its matchups against Oregon, Indiana and Ohio State, then also survive toss-up games against Penn State and Washington.
Zachariah Branch helped USC defeat San Jose State 56-28 in 2023.
(Jae C. Hong / Associated Press)
—USC has just 11 games scheduled for 2026. What’s going on with that 12th game? With Notre Dame and USC unable to reach a deal to extend their rivalry, USC still has one slot left to fill in its 2026 non-conference slate. That open game will be played at the Coliseum, during Week Zero on Aug. 29 because by opting to play in Week Zero, USC will get the privilege of a second bye during the season, where other Big Ten schools only have one. The problem is playing that early requires an exemption from the NCAA. So if USC intends to play the game at home, that means its only path to playing in Week Zero is to find a team that’s also playing at Hawaii. Any team playing Hawaii is allowed an exemption to play a 13th game in its season. Very few teams fit that criteria and still have an opening in Week Zero. But one makes the most sense, and it’s an opponent that USC opened the season against not that long ago: San Jose State. Don’t be surprised to see the Spartans come to the Coliseum again for the season opener in August 2026.
—Gary Patterson is bringing at least one defensive assistant of his choice to USC. Paul Gonzales, who spent last season as Baylor’s defensive pass-game coordinator, will be the Trojans’ defensive backs coach, taking the place of Doug Belk. Gonzales worked closely with Patterson from 2013 through his 2021 exit at Texas Christian, where he worked with cornerbacks and safeties. USC already has a cornerbacks coach in Trovon Reed. So we can assume that Gonzales will work with the safeties, which are critical in Patterson’s scheme.
—Defensive line coach Shaun Nua and offensive line coach Zach Hanson are staying put. Both had opportunities to leave USC after the season and ultimately opted to stay. Keeping Hanson is especially significant. The Trojans’ standout offensive line coach was in the mix to become an offensive coordinator at his alma mater, Kansas State, where his close friend, Collin Klein, is now the head coach. Yet Hanson still opted to stay, which I think is telling.
—The USC women’s win over No. 8 Iowa might have saved the season. Hopes of a postseason run were looking a bit bleak for USC before last Thursday night’s impressive home upset of the Hawkeyes. But the Trojans are now up to 20th in the NET rankings, with three Quad 1 wins, while a softer part of the schedule approaches. USC still can’t afford to drop too many of its nine remaining games, but the Iowa win is a sigh of relief on that front.
—New Dedeaux Field is still under construction. And will be when USC’s baseball season opens against Pepperdine on Feb. 13. That shouldn’t be a problem when it comes to playing actual baseball games. But the baseball offices, press box and concession stands aren’t finished yet (though, there will be temporary options). As such, baseball games will be free to fans this season. But USC not being able to deliver on the amenities that were promised by the time the stadium opens is a big miss for a baseball program that deserves more respect and could’ve used a boost in fan support. USC chose to prioritize finishing the football facility. Most schools probably would have done the same. For what it’s worth, Andy Stankiewicz, who just led the Trojans to their first NCAA tournament in a decade, has been very understanding of the whole situation.
Olympic sports spotlight
Freshman Max Exsted has been with USC’s men’s tennis program for just a few weeks, but he’s already made quite an impression. The mid-year addition from Minnesota has already won Big Ten Freshman of the Week twice in the first three weeks of the season.
That’s a great sign for a men’s tennis program that must replace an ITA All-American and All-Big Ten player in Peter Makk. The Trojans are 4-3 to start this season under seventh-year coach Brett Masi, whose contract was extended through 2028 in October as part of USC’s wider efforts to lock up its reliable Olympic sports coaches long term.
USC has made the NCAA tournament in four of six seasons under Masi. The expectation should be that that continues this year.
Times of Troy survey results
We asked,”How do you feel about the Gary Patterson hire?”
The results, after 414 votes
Cautiously optimistic it could work, 69.6% Thrilled! We got a Hall of Famer!, 16.8% Mildly concerned it will fail, 8.9% Convinced this will be a disaster, 4.7%
The mystery thriller genre has really hit a stride recently, with shows like “All Her Fault,” “Beast in Me” and “Task” all getting mentions in this space over the last several months. I don’t think “His & Hers” belongs in that group of standouts, but I’m willing to see it through.
That’s mostly on account of the always-charming Tessa Thompson, who plays a former TV anchor drawn back into an investigation when a murder takes place in her small Georgia hometown. Her estranged husband, played by Jon Bernthal, just happens to be the detective assigned to the case. Both are under serious suspicion right from the jump.
There’s high off-the-rails potential here, as tends to be the case with Netflix thrillers. But it’s also an easy binge, and now that I’ve watched a few episodes, I need to know where this mystery goes.
Until next time …
That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at ryan.kartje@latimes.com, and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.
SANTA CLARA — The Rams took care of their first order of business, signing coach Sean McVay and general manager Les Snead to contract extensions, the team announced Monday.
McVay, 40, and Snead, 55, were entering the final years of their contracts.
McVay, who was hired in 2017, and Snead, who has been the general manager since 2012, had previously been extended after Super Bowl appearances in the 2018 and 2021 seasons. They had offers on the table before this season but did not sign them.
The Rams have made two Super Bowl appearances and have been in the playoffs seven times in McVay’s nine seasons.
The Rams finished 12-5 this season and advanced to the NFC championship game before losing to the Seattle Seahawks, who play the New England Patriots on Sunday in Super Bowl LX at Levi’s Stadium in Santa Clara.
The Rams will now turn their attention to possible extensions for receiver Puka Nacua, defensive lineman Kobie Turner, edge rusher Byron Young and offensive lineman Steve Avila.
More than nine million people have been internally displaced in Sudan since fighting began between the Sudanese army and the RSF in 2023. Visiting a camp, UN Humanitarian Coordinator Denise Brown warns of scarce resources and growing dangers for civilians.
Hi, and welcome to another edition of Prep Rally. I’m Eric Sondheimer. It’s the final week of regular-season high school basketball before playoff pairings are announced Saturday.
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Prep Rally is devoted to the SoCal high school sports experience, bringing you scores, stories and a behind-the-scenes look at what makes prep sports so popular.
With basketball playoff pairings coming Saturday, there has been few changes at the top for boys or girls.
Sierra Canyon (21-1) and Redondo Union (24-3) have stayed No. 1 and No. 2 for weeks. Sierra Canyon still likely has two challenging games left in the Mission League tournament Monday and Wednesday, but both would be at home. Redondo Union faces rival Mira Costa for a second time Tuesday at Mira Costa.
Kaleena Smith of Ontario Christian.
(Nick Koza)
In girls, Ontario Christian (26-1) closes out the regular season on Tuesday at Rancho Christian. Sierra Canyon (24-2) has never lost in the Mission League and came away Saturday with a win over a very good Oak Park team. Etiwanda (26-2), the defending state champion, continues to be the danger for Ontario Christian and Sierra Canyon.
Rising teams in boys basketball: Village Christian had an 11-game winning streak snapped but remains dangerous. Corona del Mar (26-1) has a final game left against Newport Harbor and can be a top seed in Southern Section Division 1. Damien has been surging with a 26-4 record. Palisades (14-11) is on a six-game winning streak and the heavy favorite to win the City Section Open Division title. The Dolphins might might be a surprise team in state playoffs depending on what division they are placed.
Rising teams in girls basketball: Sage Hill (23-4), despite a coaching change in the middle of the season, will be an Open Division team and has Texas-bound Amalia Holquin in top form. Brentwood won the Gold Coast League title. Mater Dei, despite losing its best player to injury, has won the Trinity League title.
Boys basketball
Brentwood’s Ethan Hill.
(Steve Galluzzo / For The Times)
Brentwood (24-3) is tied for first place in the Gold Coast League with Crossroads going into the final week of the regular season.
Orange Lutheran pulled off the biggest upsets of the week, knocking off St. John Bosco. The Trinity League tournament begins Monday. Orange Lutheran coach Nate Klitzing, despite having little size on his team, has done a remarkable job getting his team close to a playoff spot.
The Mission League tournament continues Monday with Loyola at Sierra Canyon and Crespi at Sherman Oaks Notre Dame. The winners play Wednesday. All four teams have earned automatic playoff berths. Loyola first-year coach Cam Joyce got his team into the playoffs with a must-win against St. Francis on Saturday. Otherwise, the Cubs’ record would have been below .500.
Heritage Christian knocked off Village Christian 74-71 with two freshmen and three sophomores in the starting lineup.
(Eric Sondheimer / Los Angeles Times)
A young Heritage Christian team is getting dangerous and upset Village Christian. Here’s the report.
Cleveland is headed to the West Valley League championship. San Pedro hosts Narbonne on Friday to decide the Marine League championship.
The Toyota Arena in Ontario will host the Southern Section Open Division finals Feb. 27 or Feb. 28.
Ed Waters of Crenshaw earned his 300th coaching victory.
Ventura upset Mater Dei on Saturday to add some interest in the Southern Section girls pairings.
Sierra Canyon is the new school for standout guard Hamiley Arenas, the sister of Alijah Arenas. She averaged 23.3 points for Sherman Oaks Notre Dame as a freshman. She hasn’t played for the Knights this season after a stress fracture injury and hasn’t been medically cleared to return. She attended Sierra Canyon in middle school.
The Trailblazers are 24-2 and routed Oak Park behind Jerzy Robinson, who scored 29 points.
Amalia Holguin of Sage Hill turned in a 64-point performance on senior night against Laguna Beach.
Birmingham (22-3) plays Granada Hills (18-7) on Monday at Granada Hills to decide the West Valley League championship.
Palisades played its first home basketball game since the Palisades fire in January of 2025. Here’s the report.
When the baseball season begins next month, three of the top senior pitchers will come from the Bay League in Garrett Jacobs (left) of Mira Costa, Robby Zimmerman of Redondo Union and Kai Van Scoyoc of Palos Verdes.
(Eric Sondheimer / Los Angeles Times)
The Bay League held a media day last week, and it’s clear the league has three of the top senior pitchers for the coming season in Garrett Jacobs,Robby Zimmerman and Kai Van Scoyoc. Two are UCLA commits, the other a USC commit.
Get ready for big sophomore season from Sherman Oaks Notre Dame’s Dru Wilson. An outfielder who will be one of the team’s closers. pic.twitter.com/JZWpV0Mg2T
There will be few teams in Southern California with more pitchers who can throw with high velocity than Sherman Oaks Notre Dame. The Knights have two closers in sophomore Dru Wilson and senior Malakye Matsumoto, who throw in the 90s. The starting pitching is also pretty good with Beckett Berg, A.J. LaSorta, JuJu Diaz-Jones and Peter Jackson. Have no sympathy for the Knights if they have to play a doubleheader with their pitching depth.
Former Sherman Oaks Notre Dame pitcher Hunter Greene returned to his alma mater to present two scholarships to students. Here’s the report.
Four freshmen ready to contribute immediately for UCLA baseball. Angel Cervantes (Warren), Zach Strickland (Maranatha), Dominic Cadiz (SO Notre Dame), Aiden Aguayo (La Mirada).
Palisades football coach Dylen Smith is the NFL Don Shula coach of the year.
(Steve Galluzzo)
Palisades football coach Dylen Smith has been named one of two high school football coaches of the year and winner of the NFL Don Shula High School Coaching Award. He guided the Dolphins to 10 consecutive wins in the wake of the Palisades fire. . . . .
There’s growing speculation that Orange Lutheran will announce that football coach Rod Sherman and the school are parting ways. He has been head coach since 2021 and his team eliminated top-seeded St. John Bosco in the Division 1 playoffs last season. Sherman said last week that he was still coach. School officials have declined comment. . . .
South East has an opening for football coach. The athletic director is seeking applicants at: drc0906@lausd.net.
Austin Montoya is the new football coach at St. Paul. He was head coach at Schurr last season. . . .
Dave Ramos is returning as football coach at Schurr. . . .
Former Warren and Cathedral football coach Kevin Pearson has been hired as the offensive coordinator at Long Beach Poly. He has worked for some outstanding quarterbacks through the years, including Heisman Trophy winner Bryce Young. . . .
Frankie Valdez is the new girls volleyball coach at Viewpoint. . . .
Mater Dei is seeded No. 1 for the Southern Section girls water polo playoffs. Here are the pairings. . . .
Aaron Castillo is the new flag football coach at Mater Dei. . . .
Former Franklin High baseball coach Rick Campbell has died. He took his team to three appearances at Dodger Stadium in City finals, winning twice. . . .
Birmingham won City Section wrestling dual meet championships for boys and girls on Saturday. . . .
One of the best freshman girls soccer players has been St. Genevieve’s Mia Rizo. Here’s the report. . . .
The Chen brothers, JT (left), a sophomore, and Ollie, a freshman, have helped Harvard-Westlake clinch the Mission League boys soccer title.
(Eric Sondheimer / Los Angeles Times)
Harvard-Westlake clinched its third Mission League soccer title in four years and Cathedral won the Del Rey League. Here’s the report. . . .
South East is looking like a City Section soccer title contender. Here’s the report.
From the archives: George Holani
Boise State RB George Holani runs into the secondary at the 2023 L.A. Bowl.
(Robert Gauthier/Los Angeles Times)
Former St. John Bosco running back George Holani is going to the Super Bowl as a back-up running back for the Seattle Seahawks. He was a star for the Braves and at Boise State.
He had back-to-back years rushing for more than 1,000 yards for St. John Bosco before graduating in 2019.
From ESPN.com, a story on a survey asking youth coaches why they quit.
From the Washington Post, a story on a high school basketball coach in Maryland in his 39th season.
From the Los Angeles Times, a story on the positive reception high school coaches have for new UCLA football coach Bob Chesney.
Tweets you might have missed
This is pretty amazing. The official is Drew Spooner. The coach is Derek Fisher. Spooner’s father, Bill, was an NBA official when Fisher was a player and coach. pic.twitter.com/sOS1bZbtp1
Have a question, comment or something you’d like to see in a future Prep Rally newsletter? Email me at eric.sondheimer@latimes.com, and follow me on Twitter at @latsondheimer.
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This huge park that’s 2.5 hours from the UK is already among the largest in Europe, and visitors arriving in 2026 will have two more thrilling experiences to enjoy including a one-of-a-kind ride
The theme park is among the largest in Europe(Image: Publicity Picture)
One of the largest theme parks in Europe, which is popular with Brits on holiday, has announced two huge new attractions for the summer season.
PortAventura World is already a vast theme park set in a popular part of Spain. The resort includes PortAventura Park, the main theme park, which is split into six worlds including China, Mexico, and even Sesame Street. There’s also the separate Ferrari Land, which is themed around the luxury car; and PortAventura Caribe Aquatic Park, a large water park which has a range of waterslides, a lazy river, and more.
The first new attraction will be found in Caribe Aquatic Park and is named Coral Bay: The Lost Legend. It’s set to be a 6,000 m² family area themed around a pirate bay that has risen from the depths of the water.
At Coral Bay, visitors will be able to make a splash on a water coaster, which PortAventura claims will have a unique twist that’ll be a first in Europe. This is in addition to an adventure pool, featuring a fun obstacle course for kids to take on. The new area will also include more waterslides and new food and drink options for visitors.
The second addition is Makamanu Jungle: The Adventure Trek. The attraction will be added to the Polynesia area of PortAventura Park. Guests will experience exploring the deepest jungle, with secret walkways, hanging bridges, and obstacles and challenges for both “children and their companions”.
The adventure park will join existing rides in the Polynesia world, including Tutuki Splash, a water ride that’s popular on hot sunny days as it includes a cooling splash at the end, and Kontiki, a pirate ship-style ride with a Tiki theme.
PortAventura confirmed that both attractions will open to the public by summer, although it didn’t give exact dates.
PortAventura is close to the popular tourist town of Salou, and just a short drive from Reus Airport, which has seasonal flights to the UK from easyJet, Jet2, Ryanair, and TUI throughout the summer months. It’s also just under 90 minutes from Barcelona, and a popular day trip for those staying in the city.
If you want to spend longer exploring PortAventura, one option is to stay in the resort’s hotels, six of which can be found on-site and include unlimited visits to PortAventura Park. Packages also include one-day access to Ferrari Land, and discounted tickets to Caribe Aquatic Park, so you can enjoy all that this vast resort has to offer.
Four-star Hotel PortAventura is a popular option for guests as it offers direct access to the park through its Mediterrània area, home of Europe’s fastest rollercoaster, Furius Baco. Themed around a charming Mediterranean village, the hotel has its own pool, games room, and entertainment. Guests can also opt for half- or full-board stays, with buffets and an on-site restaurant.
Another fun-themed hotel is the Hotel Gold River, which is close to the park’s cowboy-themed Far West area. Designed to look like a Wild West town, the hotel has its own saloon and an upmarket Victorian-style restaurant. It also has three pools open for the summer season, so you can cool off after a day exploring the park.
Have a story you want to share? Email us at webtravel@reachplc.com
Everyone told me how spectacular Las Vegas would be, with its mega resorts, huge entertainment venues and bustling casinos, but there was something no one warned me about
Vdara Hotel & Spa, and the second hotel is Resorts World
Mega resorts towered over me as I walked along the iconic Las Vegas Strip, the echo of country music seeping from a four-storey bar, colourful signs flashing in every direction and the Bellagio fountains taking centre stage every 15 minutes.
Inside the sprawling resorts, I was met with the vibrant, blinking slot machines, elaborate interior themes and celebrity restaurants, along with impressive nearby venues that make up ‘Entertainment Capital of the World’. This was everything I expected from the city of Nevada, and so much more.
With its bustling, energetic and chaotic atmosphere, it felt as though I had stepped into a parallel universe. After all, I was at the heart of America’s playground. Yet, amid all of the expected madness, there was something that completely took me by surprise during my first time in ‘Sin City’.
Amy Jones
Amy Jones
Las Vegas is situated in the Mojave Desert, the smallest and driest desert in North America. Beyond the glitz of the Strip, you can see the rugged mountains and sprawling golden desert that make up this striking landscape. But what I didn’t factor in was how dry the air would feel.
Of course, I knew deserts were dry, offering hot days and cold evenings, but it was nothing like I had experienced before, especially while walking around such a built-up city. It left me constantly thirsty, made my knuckles crack, and my lips were as dry as the Mojave Desert itself!
I needed to constantly carry a bottle of water around with me to quench my thirst at any given moment, moisturise my knuckles multiple times a day, and apply lip balm as if my life depended on it. I panicked when I accidentally left my lip balm in my hotel room one day, and saw my knuckles become redder and redder as the days went on.
It bewildered me how much it affected my skin and thirst. I could feel the dry air around me, even though it was only around 20C during the day, and I can only recall the air feeling fresh once during my five-day trip. Yet, it only added to the experience and reminded me that I really was in the heart of a desert.
While I was taken aback by the climate change, it appears that other travellers are familiar with the Las Vegas air. One shared on TripAdvisor: “I have a real problem with dry skin in Vegas and always take crack cream. Seems to help.”
Another advised: “HYDRATE – you cannot drink enough water. This is your best defence. (If you are enjoying those wonderful free cocktails while gambling, ask for a bottle of water with each drink.)
I had another encounter with the desert during a guided hiking tour through the Valley of Fire with Love Hikes, just a few hours’ drive away. Here, I was instantly amazed by the dramatic orange rock formations and miles of golden floor as I wandered through towering valleys.
Notably, the majestic desert in the state park has been used as a movie filming set, including for Transformers, Star Trek: Generations, The Professionals and Viva Las Vegas, which starred Elvis Presley. While it’s a far cry from the casinos, you can still find some glamour in the rugged terrain.
Yet, there was something else that surprised me during my trip, and that was how much smaller Las Vegas felt than I had expected, even while wandering around the iconic Strip. I thought it would feel like a gigantic city, but the span of the Strip, despite its enormous towering resorts and gigantic landmarks, was more compact than I had imagined.
There was so much to see and explore, but with its Strip measuring approximately 4.2 miles, you could easily walk its length, something I really didn’t think about until I saw it for myself. Although it would take around two hours to walk the extent of it, it felt like nothing compared to the streets of New York or London.
The population of Las Vegas was 641,903 at the 2020 census, but is thought to have increased since then. Meanwhile, the Las Vegas metropolitan area has an estimated 2.4 million residents across an estimated 7,891 square miles. This is in contrast to New York, which has an estimated population of 8,478,072, as of July 2024, spanning across a whopping 300.46 square miles.
However, while I think the Strip was more compact than I had expected, the city stretches far beyond the glitz with neighbourhoods scattered across the desert right to the edge of the mountain backdrop.
The seventh in an occasional seriesof profiles on Southern California athletes who have flourished in their post-playing careers.
Tai Babilonia’s life changed forever when she was asked to hold a boy’s hand.
At first she resisted.
“I didn’t want to,” she remembered. “He’s a yucky boy.”
But Mabel Fairbanks, Babilonia’s skating coach, wouldn’t take no for an answer, bribing the 8-year-old with stickers and a Barbie doll if she would just reach out and grab the hand of 10-year-old Randy Gardner.
It would be another 40 years before she let go.
By then Tai Babilonia and Randy Gardner had become one of the most decorated pairs in U.S. figure skating history, their individual names eventually melding into one.
“My last name is ‘and Randy,’” Babilonia said. “And I embrace it.”
U.S. pairs figure skating duo of Tai Babilonia and Randy Gardner in 1979.
(Tony Duffy / Getty Images)
As a pair “Tai and Randy” won five U.S. championships, medaled in three world championships and qualified for the Olympics twice, all before Babilonia’s 21st birthday. Their success also pushed open doors that had long been closed since Babilonia, Black on her mother’s side and part Filipino and Native American on her dad’s side, was the first U.S. skater from any of those ethnic groups to compete in the Olympics or win a world title.
Among those to follow her were Debi Thomas, a two-time U.S. champion and a bronze medalist at the 1988 Winter Olympics, and Elizabeth Punsalan, a two-time Olympian and five-time national champion in ice dancing.
At about the same time Babilonia and Gardner were moving from competitive skating and the Olympics to the Ice Capades, another young girl was just starting to pursue her own Olympic dreams. Tiffany Chin would go on to win a national championship, two Skate America titles and just miss a medal in the 1984 Winter Games, retiring before she was old enough to legally drink.
In that brief but brilliant career, Chin changed U.S. figure skating forever. She was the country’s first Asian American national champion and first Chinese American Winter Olympian, paving the way for Olympic medalists Kristi Yamaguchi, Nathan Chen, Michelle Kwan and siblings Alex and Maia Shibutani.
After retiring from skating, Babilonia, now 66, dabbled in coaching and sportswear design, became a motivational speaker, an activist and, most importantly, a grandmother. But the legacy Babilonia and Chin created will be on display in Italy this month when the U.S. fields one of the most eclectic Olympic figure skating teams ever, with 12 of the 16 athletes having immigrant parents.
Five of the six singles skaters — Alysa Liu, Isabeau Levito, Ilia Malinin, Maxim Naumov and Andrew Torgashev — are first-generation Americans while the other, women’s national champion Amber Glenn, identifies as pansexual. Pairs skaters Emily Chan, Spencer Howe and Ellie Kam and ice dancers Anthony Ponomarenko, Christina Carreira, Vadym Kolesnik and Emilea Zingas are also immigrants or first-generation Americans while Madison Chock, the reigning Olympic champion in ice dancing, has Hawaiian, Chinese, German, English, Irish, French and Dutch ancestry.
At a time when diversity, equity and inclusion programs are being dismantled, immigrants are being attacked and diversity is labeled a weakness, America’s Olympic figure skaters have come to mirror the country at large.
“It’s wonderful and so important,” said Babilonia. “Especially now.”
Nearly 60 years after Babilonia and Gardner skated together for the first time, the decision to pair them seems inspired, even providential.
It was neither. Fairbanks, Babilonia learned later, simply needed a couple to skate in a club show at the Culver City Ice Arena.
“We just happened to be similar in height. And I guess we were cute,” Babilonia said last month during a lengthy interview at the Colonial Revival-style mansion in the West Adams District that houses the LA84 Foundation.
Gardner was already an excellent skater, as strong and athletic as he was outgoing and friendly; Babilonia was shy and far less steady on the ice. But that wasn’t the only thing that made their pairing unusual.
Gardner was white and Babilonia was Black. And in 1968, asking them to hold hands in public was scandalous, even in Culver City. However, Fairbanks, a legendary coach who had spent much of her life pushing back against convention, didn’t see color. She focused only on talent.
Randy Gardner and Tai Babilonia roller skating together in May 1979.
(Tony Duffy / Getty Images)
“Mabel was the coach who taught all races, Hispanic, Black, mixed, Jewish,” Babilonia said. “Mabel broke down that wall.”
Fairbanks, who was Black and Seminole, was born in the Deep South at a time when ice rinks were segregated. Even after moving to New York, where she bought a pair of skates for $1 at a pawn shop, then taught herself how to use them, she skated mostly in nightclub shows, where she was limited to jumps and moves that wouldn’t show up the white skaters.
She soon moved to Los Angeles, touring internationally with the Ice Capades and Ice Follies, before becoming a coach and mentoring hundreds of young skaters, including Olympic medalists Scott Hamilton, Yamaguchi and Thomas.
“If it weren’t for Mabel Fairbanks, you wouldn’t have any color in the predominantly white skating world,” said Babilonia, who is shopping a biopic of Fairbanks, who died in 2001.
“People don’t really know her. She’s like a hidden figure.”
Yet three years after Fairbanks made Tai and Randy a pair, they left her for John Nicks, who was coaching at the Paramount Iceland.
“He took our skating to a whole different level. And it happened really quick,” said Babilonia, who still calls her former coach Mr. Nicks. “That’s when we started winning and improving and just really became a great pair of skaters.”
Two years later Babilonia and Gardner won the U.S. junior nationals and three years after that they won the first of five national championships, qualifying for the 1976 Winter Olympics in Austria, where they finished fifth. Gardner wasn’t old enough to vote and Babilonia didn’t have a driver’s license. But together they were holding their own against the best pairs skaters in the world.
“Such an incredible year,” Babilonia said. “We won our first U.S. title, became Olympians, I got my learner’s permit and had a crush on Peter Frampton.”
But they were just getting started. Gardner and Babilonia wouldn’t lose in the U.S. championships for the rest of the decade. And 11 months before the next Olympics, they won their first world championship, then celebrated by skating for the queen of England at Wembley Stadium.
Tai Babilonia and Randy Gardner compete at the World Figure Skating Championships in Tokyo in March 1977.
(Tony Duffy / Getty Images)
With the Winter Games coming back to the U.S. at Lake Placid, the Americans were favored to keep the Soviet Union off the top step of the medal platform for the first time since 1960, the last time the Olympics were held in the U.S.
Only they never made it to the ice.
Nicks had moved his skaters from Paramount to the Ice Capades Chalet, a buff-colored concrete-block building in Santa Monica, five blocks from the Pacific Ocean. During a training session there, Gardner inflamed a groin injury that had plagued him for months.
It got worse when they got to Lake Placid and Gardner had a Xylocaine injection, but the anesthetic was too strong and it only made things worse; the pain was gone, but now Gardner couldn’t feel his leg at all. They pulled out of the competition moments before it was supposed to begin.
The next morning, with the skaters, their parents and their coach perched on the stage at a high school auditorium for a hastily arranged news conference, hundreds of reporters tried to get a shattered Babilonia to turn on her partner. She didn’t take the bait.
“She totally had my back,” Gardner said. “There was so much camaraderie and trust and love between the two of us. She understood that it was a major injury and it was devastating. It changed the path of our career.”
“I’m not going to say it ruined it,” he added. “It just changed the path.”
Two months after leaving Lake Placid in sorrow, Gardner and Babilonia, who had gone from “Tai and Randy” to the “Heartbreak Kids,” turned pro, signing a three-year contract with the Ice Capades that included endorsement deals.
They never skated in the Olympics again. And while the money was good, the pace was punishing, with eight shows a week on a 30-week tour.
“You’re performing every night, weekends two shows a day,” Babilonia said. “If you don’t pace yourself, which I didn’t, it will rock your world in a negative way.
“You can’t do all the tricks you did as a teenager every night.”
Tai Babilonia and Randy Gardner skating in 1979, the same year they won the pairs world championship.
(Tony Duffy / Getty Images)
Babilonia had never truly dealt with the emotional pain of the Olympic withdrawal. Now she was also dealing with the strain and fatigue of the ice show schedule as well as an identity crisis.
“Randy figured out how to put Tai and Randy in a box and leave them there and go on with his life,” Babilonia said. “I didn’t know how to separate them from me.”
So she sought answers in amphetamines, heavy drinking and a number of brief but high-profile romances before hitting rock bottom just before her 29th birthday, when she tried to kill herself with an overdose of sleeping pills. Her recovery started seven months later with an emotional first-person account of her fall in People magazine.
“I did it because I knew I had to,” Babilonia, still fit and youthful, said of a confession in which she blamed no one but herself. “I had to stop what I was doing and this was part of my recovery process. I couldn’t say yes quick enough.
“Something inside of me said, ‘This is your moment. Get it out. It may help some people,’” she continued. “And it did.”
The magazine cover story was followed 19 months later by the prime-time NBC movie “On Thin Ice,” which went over much of the same territory, with Babilonia and Gardner playing themselves in many of the skating scenes.
“It took me a while to watch the whole thing. Some scenes were hard,” said Babilonia, who speaks in a confident, careful cadence. “It was just part of my recovery process.”
She’s been sober 17 years and her relationship with Gardner, who came out as gay in 2006 — also in People magazine — has lasted longer than her marriage. Along the way, Babilonia matured from the shy withdrawn child who refused to hold a boy’s hand into a bold, strong and confident woman.
“She’s totally mature. She is worldly. And she’s an advocate for equality in sports, people of color and all that,” said Gardner, 68, whose home in Manhattan Beach is about 10 miles from the Culver City ice rink where he and Babilonia learned to skate once stood.
The former teammates still meet at least once a month and talk on the phone frequently, although they haven’t been on the ice together since Gardner underwent surgery on his back a year ago.
Flames from a olympic torch passes in front of Tai Babilonia at LA84 Foundation in January.
(Ronaldo Bolanos / Los Angeles Times)
When she stopped skating Babilonia tried coaching, but that didn’t work because she didn’t know how to teach the moves she had so easily mastered. Instead, she launched a clothing line, became a motivational speaker, volunteered with various groups promoting diversity on and off the ice, co-hosted a TV interview show taped in Santa Barbara and, for the last nine years, has co-hosted a holiday skate party for kids from the Union Rescue Mission. She also continues to skate in charity events.
All that in addition to her work with Atoy Wilson, a former U.S. novice champion, on the Mabel Fairbanks biopic, tentatively titled “Black Ice: The Mabel Fairbanks Story.”
“I want to try everything,” she said. “I want to experience everything.”
But her real job, she quickly adds, is being a grandmother to Ryett, her son’s 2-year-old boy in Arizona.
“I love being a grandmother,” she said. “Absolutely love it.”
She is also a prolific presence on social media, where most of her posts are either trenchant comments on the politics of today or black-and-white photos from back in the day, when she and Gardner — Tai and Randy — were winning medals and opening doors, helping to change U.S. figure skating forever.
“I appreciate what we did more as I get older,” Babilonia said. “We were pretty good and we made our mark. We worked hard. We became two-time Olympians. We met the queen of England.
NEW YORK — Lakers star LeBron James made the NBA All-Star team for a record 22nd time Sunday after being selected as a Western Conference reserve by NBA coaches.
James had been selected as an All-Star starter 21 consecutive times, an NBA record, but fans didn’t choose him this season. The 41-year-old James is just the second player to earn multiple All-Star selections after the age of 40, joining Lakers legend Kareem Abdul-Jabbar.
Minnesota’s Anthony Edwards, Denver’s Jamal Murray, Oklahoma City’s Chet Holmgren, Houston’s Kevin Durant, Phoenix’s Devin Booker and Portland’s Deni Avdija also were named Western Conference reserves.
The Eastern Conference reserves are Cleveland’s Donovan Mitchell, Atlanta’s Jalen Johnson, New York’s Karl-Anthony Towns, Indiana’s Pascal Siakam, Miami’s Norman Powell, Toronto’s Scottie Barnes and Detroit’s Jalen Duren.
Clippers star Kawhi Leonard, seventh in scoring at 28.7 points per game and first in steals (2.1), could be chosen by commissioner Adam Silver to replace Milwaukee’s Giannis Antetokounmpo, who’s a starter but is injured.
James was averaging 21.9 points, 6.6 assists and 5.8 rebounds over 33.1 minutes per game. He was shooting 50.2% from the field and 34.9% from three-point range through 30 games.
James missed the first 14 games because of sciatica and started slowly when he returned, but has been playing at a higher level recently.
In January, James scored 109 fourth-quarter points, tied with Durant for the most in the NBA. James helped the Lakers post a league-best 14-2 record in clutch games entering Sunday’s game at New York.
James will join Lakers teammate Luka Doncic, who had the most All-Star votes, in the Feb. 15 game at the Clippers’ home arena, Intuit Dome.
The new All-Star format will be a three-team tournament that features two U.S. teams and one world team. The U.S. teams will have 16 players and the world will have eight. Doncic, who is from Slovenia, will play for the world team.
The teams play a round-robin of 12-minute games, with the top teams advancing to the final 12-minute championship.
Macaulay Culkin paid tribute to his “Home Alone” co-star Catherine O’Hara following her death at age 71.
O’Hara died Friday at her home in Los Angeles after a brief illness, her agency CAA confirmed. Following the news, Culkin mourned his movie mom on social media.
“Mama. I thought we had time,” the actor wrote. “I wanted more. I wanted to sit in a chair next to you.”
“I heard you. But I had so much more to say,” he continued. “I love you. I’ll see you later.”
O’Hara played the frazzled yet fierce Kate McCallister, mother to quick-witted troublemaker Kevin McCallister, in the iconic “Home Alone” (1990) and its sequel “Home Alone 2: Lost in New York” (1992). The films launched Culkin to fame and have become bona fide Christmas classics, whose emotional core lies in the palpable chemistry between Culkin and O’Hara.
The pair reunited in 2023, when O’Hara honored Culkin at the latter’s Hollywood Walk of Fame induction ceremony, praising the “sweet, yet twisted, yet totally relatable sense of humor” that helped him survive his early launch into the spotlight.
“The reason families all over the world can’t let a year go by without watching and loving ‘Home Alone’ together is because of Macaulay Culkin,” O’Hara said in her speech.
“Thank you for including me — your fake mom who left you home alone not once, but twice — to share in this happy occasion,” she said. “I’m so proud of you.”
News of O’Hara’s death brought tributes from the actor’s film and TV industry peers, including her collaborators from over the years.
Dan Levy, who co-created and co-starred in “Schitt’s Creek” with his father, Eugene Levy, said his TV mom was “extended family before she ever played my family.”
“What a gift to have gotten to dance in the warm glow of Catherine O’Hara’s brilliance for all those years. Having spent over fifty years collaborating with my Dad, Catherine was extended family before she ever played my family,” he wrote on Instagram. “It’s hard to imagine a world without her in it. I will cherish every funny memory I was fortunate enough to make with her.”
Eugene Levy reflected on his five-decade-long relationship with O’Hara.
“Words seem inadequate to express the loss I feel today. I had the honor of knowing and working with the great Catherine O’Hara for over fifty years,” Levy said in a statement. “From our beginnings on the Second City stage, to ‘SCTV,’ to the movies we did with Chris Guest, to our six glorious years on ‘Schitt’s Creek,’ I cherished our working relationship, but most of all our friendship. And I will miss her. My heart goes out to Bo, Matthew, Luke, and the entire O’Hara family.”
Seth Rogen, who recently teamed up with O’Hara on the Emmy-winning comedy “The Studio,” said in an Instagram post that she was among his earliest inspirations.
“I told O’Hara when I first met her I thought she was the funniest person I’d ever had the pleasure of watching on screen,” Rogen said, citing “Home Alone” as “the movie that made me want to make movies.”
“Getting to work with her was a true honour,” the actor, who co-created, directed and stars in the series, continued. “She was hysterical, kind, intuitive, generous… she made me want to make our show good enough to be worthy of her presence in it.”
Other members of “The Studio” crew also honored their late co-star.
Ike Barinholtz, who plays chaotic executive Sal Saperstein in “The Studio,” captioned an Instagram photo of him and O’Hara: “I never in a million years thought I would get to work with Catherine O’Hara let alone become friends with her.”
“So profoundly sad she’s somewhere else now,” Barinholtz added. “So incredibly grateful I got to spend the time I did with her.”
Ron Howard, who made a guest appearance as himself in the show, called O’Hara “a wonderful person, artist and collaborator.”
“I was lucky enough to direct, produce and act in projects with her and she was simply growing more brilliant with each year,” the filmmaker wrote Friday on X. O’Hara appeared in Howard’s 1992 dramedy “The Paper.”
O’Hara’s “Beetlejuice” co-star Michael Keaton also mourned the late actor, tracing their relationship back to well before the beloved Tim Burton movie.
“She’s been my pretend wife, my pretend nemesis and my real life, true friend,” Keaton wrote on Instagram. “This one hurts. Man am I gonna miss her.”
Justin Theroux, who joined O’Hara in 2024’s “Beetlejuice Beetlejuice,” also wrote on Instagram, “Oh Catherine. You will be so missed.”
Burton himself memorialized O’Hara with a cast photo from the “Beetlejuice” sequel.
“Catherine, I love you. This picture shows how much light you gave to all of us. You were a special part of my life and after life,” the venerated director captioned the shot on Instagram.
Martin Scorsese, who directed O’Hara in “After Hours,” said in a statement to IndieWire that her loss feels “impossible.”
“Catherine was a true comic genius, a true artist and a wonderful human being. I was blessed to be able to work with her on ‘After Hours,’ and I’m going to miss her presence and her artistry. We all are,” he said.
“Home Alone” director Chris Columbus said in a statement to the Hollywood Reporter that he was “heartbroken, along with the rest of the world,” upon learning O’Hara had died.
“I was an obsessive fan of Catherine’s brilliant comedic work on ‘SCTV’ and was thrilled when she agreed to play Kevin’s mom in ‘Home Alone,’ ” Columbus said.
“What most people don’t realize is that Catherine carries the weight of 50% of that film. The movie simply would not work without her extraordinary performance. Catherine grounds the picture with a profound emotional depth,” he added. “I will miss her greatly. Yet there is a small sense of comfort, realizing that two of the finest human beings I’ve ever known, Catherine and John Candy, are together again, brilliantly improvising, making each other laugh.”
Meryl Streep, who acted with O’Hara in the romantic comedy “Heartburn,” said in a statement to the Associated Press that O’Hara “brought love and light to our world, through whipsmart compassion for the collection of eccentrics she portrayed.”
Andrea Martin told the outlet that her fellow “SCTV” cast member “is and will always be the greatest. It is an honor to have called her my friend.”
Pedro Pascal, who worked with O’Hara on the sophomore season of “The Last of Us,” said on Instagram that he was thankful the two crossed paths.
“Oh, genius to be near you. Eternally grateful,” Pascal said. “There is less light in my world, this lucky world that had you, will keep you, always.”
Melanie Lynskey, who featured in the first season of “The Last of Us,” called O’Hara “the pinnacle of greatness” in her own social media salute.
“So grateful I got to tell her what she meant to me- how she inspired me, shaped my sense of humour and understanding of the work we do,” Lynskey wrote.
“I’m sure every actor she met told her similar things. She did not behave as though she’d heard it a million times, she listened and accepted it with grace and wit and tremendous kindness,” the Emmy nominee added.
Lynskey recalled interacting with O’Hara at a 2013 Live Read of “Glengarry Glen Ross” and while filming Sam Mendes’ 2009 romantic comedy “Away We Go.”
During both stints, Lynskey said, “I saw [O’Hara] be nothing short of wonderful to every single person she encountered, from the director to the PAs.”
“When people say someone ‘lit up a room,’ this is what they mean,” she said.
“The Last of Us” showrunner Craig Mazin said on Instagram, “I think [O’Hara] would prefer that we keep laughing somehow, or at the very least not cry. Not possible at the moment.”
Others in the industry hailed O’Hara as a generational actor who shined in everything she touched.
“Catherine O’Hara changed how so many of us understand comedy and humanity. From the chaos and heart of ‘Home Alone’ to the unforgettable precision of Moira Rose in ‘Schitt’s Creek,’ she created characters we’ll rewatch again and again,” Kevin Nealon, who, alongside O’Hara, led the claymation sitcom “Glenn Martin, DDS,” wrote on X.
Josh Gad, who worked with O’Hara on the animated comedy series “Central Park,” expressed his disbelief at her death on Instagram.
“Why is the world such a heart breaking place right now? I truly cannot process how to say goodbye to someone so full of life who seemed to just be hitting her prime,” Gad said.
“Goodbye legend. Thank you for making us laugh until we hurt… which is why right now we are all hurting so damned much knowing we will never again get those laughs,” the “Frozen” voice actor added.
“Only one Catherine O’Hara, and now none. Heartbreaking,” echoed actor-comedian Michael McKean, who worked with the late actor on the mockumentaries “Best in Show,” “For Your Consideration,” “Waiting for Guffman” and “A Mighty Wind.”
O’Hara’s fellow “Bartok the Magnificent” voice actor Hank Azaria called her death “a profound loss.”
“Comedy will never be the same without Catherine O’Hara. An inspiration to us all, especially little Bartok,” Azaria captioned a social media clip featuring O’Hara’s character, Ludmilla, in the animated film.
Rita Wilson in an Instagram tribute called her “a woman who was authentic and truthful in all she did.”
“You saw it in her work, if you knew her you saw it in her life, and you saw it in her family,” the actor and singer said, offering condolences to O’Hara’s husband, Bo Welch, and their two children.
As Ellen DeGeneres put it on Instagram, “Sending love to all who adored her, which might just be everyone.”
Actor and professional wrestler Paul Walter Hauser called O’Hara “my Meryl Streep.”
“I could watch her in anything. Didn’t matter how good or bad the film or show was. I wanted to see what she would do,” Hauser wrote on Instagram, citing the actor’s work in “After Hours,” “Waiting for Guffman” and “Best in Show,” among other projects.
“A freaking angel just went home to Heaven. And she’s not home alone,” he wrote.
This year’s Sundance felt marked by great uncertainty. Personally, I was never quite sure how to feel, as the many unknowns of next year’s move to Boulder meant that it was unclear how much this year was supposed to feel like the end of something or the start of a new beginning. I didn’t know just how mournful to be, though, as the festival marched along, it became clear there was a space for nostalgic reflections.
The first movie I ever saw at Sundance was Andrew Fleming’s comedy “Hamlet 2” in the Library Center Theatre. Which means it was 2008 and I was then an intrepid freelancer who talked my way into sleeping on a recliner at a condo rented by The Times until staffers trickled out and I eventually had the place to myself because of the vagaries of an extended rental agreement. Which is how I found myself, entirely unexpectedly, in a room interviewing all of Crosby, Stills, Nash and Young, who were in town for their tour documentary “CSNY/Déjà Vu.”
That sense of surprise and discovery — and in-person interactions that likely wouldn’t happen anywhere else — are what have brought me back to the festival every year I could manage since. It’s exactly why I have been a huge fan of the festival’s NEXT section, made up of films that don’t quite fit elsewhere in the program. A standout this year was Georgia Bernstein’s debut feature, “Night Nurse,” a film of assured poise about a young woman (a compelling Cemre Paskoy) who takes a job at a retirement home only to find herself drawn into a series of phone scams, erotic role play and psychosexual transference with one the clients. Recommending the film to colleagues feels a little like an HR violation, but the kinky undercurrents and unsettling emotions are worth it.
Cemre Paksoy and Bruce McKenzie in the movie “Night Nurse.”
(Lidia Nikonova / Sundance Institute)
Many conversations around the festival seemed to firmly center on “The Invite” and “Josephine,” but another film people consistently brought up was “Wicker.” Written and directed by Eleanor Wilson and Alex Huston Fischer, adapting a short story by Ursula Wills-Jones, the film takes place in an unspecified time and place: a sort of medieval-ish middle European village of the mind, in which an unmarried woman (Olivia Colman) asks a local basket weaver (Peter Dinklage) to make her a husband. That he comes out looking like Alexander Skarsgård sets the whole town into a tizzy. Nimble and inventive, with convincing special effects work, the film is a charming parable that continually finds ways to reset itself.
It is unclear just how planned it was, but there could have been no better film than “The Only Living Pickpocket in New York” to be the final fiction feature to debut in the Eccles Theatre, one of the festival’s most storied venues. Character actor Noah Segan’s directorial debut, the movie is a warmly elegiac portrait of the city and the pain of recognizing when your time has passed. Led by a quietly commanding lead performance by John Turturro, the film also features Steve Buscemi and Giancarlo Esposito in supporting roles.
As the trio took the stage with Segan and other cast members after the film, it quickly became apparent how special it was to have those three actors there in that moment. Buscemi rattled off a quietly astounding number of films he has appeared in with “New York” in the title — “New York Stories,” “Slaves of New York,” “King of New York” — while Turturro spoke movingly about his relationship with Robert Redford, whose absence hung heavy over the entire festival.
John Turturro in the move “The Only Living Pickpocket in New York.”
(MRC II Distribution Co. L.P. / Sundance Institute)
As Esposito began talking about what Sundance has meant to him over the years, his words took on a fierce momentum. He recalled when he first came to the festival in the ’90s, he was “ecstatic because it gave a voice to those who didn’t have a voice. … We didn’t come to sell a film to a big studio. We came to share our small movie with human beings that could really see themselves in a mirror on the screen.”
Of Redford, he added, “His vision is priceless. It’s the gem that we all hope for. It’s the juice of why we live. It’s the connection of why this movie works. It’s the love of what we do. This, to me, will stick with me for the rest of my life. My interactions with this man who started this festival will always be a beacon of light in my creative process.”
It was a beautiful and inspiring way to leave that theater for the last time and, in turn, leave Park City behind for a future that, while full of unknowns, will for now also hold the promise of new discoveries to come.
If anyone told Mariah Carey ahead of time that Friday night’s MusiCares Person of the Year tribute would feature a live auction — an auction in which a meet-and-greet with the singer in Abu Dhabi was offered to the highest bidder — you sure couldn’t tell by observing her reaction.
Seated near the stage at the Los Angeles Convention Center, a camera feeding close-up images of her face to several screens, Carey appeared genuinely surprised by an auctioneer’s description of the backstage hangout in which she’d be expected to participate next month.
But such is the life of a queen.
Watching Carey respond in real time was actually the best thing about this annual Grammy-weekend gala meant to honor an artist’s work and philanthropy. Though the 56-year-old herself sang for only a minute or so at the end of the show, Carey was a delight to behold as a series of admirers took turns performing some of her many hits (and a handful of deep cuts).
Jennifer Hudson performs.
(Emma McIntyre / Getty Images)
The look of game recognizing game as Jennifer Hudson crushed “Vision of Love.” The tenderness with which she regarded her old friend Busta Rhymes doing their “I Know What You Want.” The slowly dawning realization that this heavily tattooed white man named Teddy Swims was really going to pull off “Without You.”
“That was terrifying,” Swims said when he finished the song — an all-timer of a power ballad with a lengthy chain of custody going back through Carey, Harry Nilsson and the doomed Welsh band Badfinger.
Best of all was the sight of Carey proudly singing along to Foo Fighters and Taylor Momsen as they blazed through a pair of tunes from the cult-fave grunge album she secretly recorded in the mid-1990s under the name Chick.
Dave Grohl of Foo Fighters, left, and Taylor Momsen perform.
(Matt Winkelmeyer / Getty Images)
Other acts on the bill included Adam Lambert, who went slow and moody for “Can’t Let Go”; the British girl group Flo, which gave an airy performance of “Dreamlover”; and Laufey, who kept a watchful eye on a giant prompter scrolling lyrics at the back of the room as she did “It’s Like That.”
Then there was Billy Porter, who took “Always Be My Baby” way over the top with wild vocal runs that made up for what they lacked in precision with — well, mostly with volume.
Carey took the stage late in the evening to give her thanks to “so many friendly and familiar faces — people I’ve worked with, people I’ve long admired, even people I thought I’d never see again.” After her speech, Jon Batiste popped out to lead a random assortment of stars through an all-hands finale of “All I Want for Christmas Is You,” which recently set a new record for the most weeks at No. 1 on Billboard’s Hot 100.
Charlie Puth? Gayle King? Rita Wilson? Carey looked pleased(-ish) to see each one.
Oakland civil rights attorney James Cook has been on the ground in Minnesota for months figuring out answers to these question as he goes.
A fast-talking Minneapolis native who still lives in the Twin Cities part time, Cook is one of a handful of attorneys who have dropped everything to aid (for free) those caught up in the federal crackdown — protesters, immigrants and detained citizens — too many of whom have found themselves facing deportation, arrest or even been disappeared, at least for a time.
Civil rights attorney James Cook in the rear view mirror as he makes phone calls in his car in Minneapolis.
(Caroline Yang/For The Times)
“They are leaders that are on the ground really helping people through this process,” Minnesota school board member Chauntyll Allen told me.
She’s one of the protesters arrested inside a local church, charged with conspiracy to deprive others of their constitutional rights by Pam Bondi’s politicized Department of Justice, which also Friday arrested journalist Don Lemon for the same incident. Cook is one of the lawyers now representing Allen.
“It shows us that the judicial arm, or some of the judicial arm of our democracy, is willing to step up and ensure that our democracy stands strong,” Allen said of Cook and others like him.
While it’s the images of clashes in the streets that captivate media and audiences, it’s lawyers like Cook who are fighting an existential battle in the background to preserve the rule of law in a place where it is increasing opaque, to put it gently.
The legal work behind detentions has largely been an overlooked battlefield that will likely rage on years after ICE departs the streets, leaving in its wake hundreds if not thousands of long-and-winding court cases.
Beyond the personal fates they will determine, the outcome of the civil litigation Cook and others are spearheading will likely force whatever transparency and accountability can be pulled from these chaotic and troubling times.
It’s time-consuming and complicated work vital not just to people, but history.
Or, as Cook puts it, “I’ll be 10 years older when all this s— resolves.”
Federal agents stand guard against a growing wall of protesters on Jan. 24 in Minneapolis, just hours after Alex Pretti was shot by federal agents.
(Caroline Yang/For The Times)
Cook told me this while on his way to the Bishop Henry Whipple Federal Building where some detainees are being held, maybe. It’s hard to find out. A few years ago, when immigration enforcement in Minnesota ramped up under the first Trump term, activists tried to get the name of the building changed, arguing Whipple, the first Protestant Episcopal bishop in the state, had been an advocate of the marginalized and wouldn’t want his name associated with what the feds were up to.
Cook is well aware that the guns carried by the federal agents are not for show, even without the Boss’ new ballad. Just a few days ago, one of the first times he drove his beat-up truck up to the gate, the federal guards at Whipple pointed their guns at him.
“I’m like, ‘Hey, I’m going to take my keys out of the ignition, drop them on the ground. So please don’t shoot,’” he said.
They lowered the guns, but Cook was scared, a feeling that doesn’t come easy.
Long before his law degree, when he was a punk-rock loving teen in the 1980s, fresh out of Southwest High, the public school not too far from Whipple, a former coach convinced him to give up college dreams and instead pursue a shot at making the first Muay Thai kickboxing team at the Olympics.
The martial art ended up not making it as an official Olympic sport, but the experience launched Cook into a professional boxing and kickboxing career that took him to competitions around the world, and taught him fear is not a reason to back down.
But, “Father Time is undefeated,” Cook said. “I got older and I started losing fights, and I was like, all right, time to get back to life.”
That eventually led him to obtaining a law degree in San Francisco, where after an intern stint as a public defender, he decided he wanted to be a trial attorney, fighting in court.
Civil rights attorney James Cook has been doing pro bono immigration work since the crackdown began in Minneapolis.
(Caroline Yang/For The Times)
He started cold-calling John Burris, another Bay Area lawyer who is an icon of civil rights and police misconduct cases. Burris, who has been called the “Godfather of Police Litigation,” was involved in the “Oakland Riders” case in 2000, when officers were discovered to have planted evidence. He also represented Rodney King, the family of Oscar Grant, and the family of Joseph Mann among many others.
But Burris, a boxing fan, didn’t respond to Cook’s calls until the young lawyer offered him free tickets to one of his fights, which he was still doing on the side.
“And then immediately I got a call back,” Cook said.
Burris said Cook’s history as a fighter intrigued him, but “I did say to James, you can’t be a fighter and lawyer. You can’t get punched in your head all the time.”
Cook did not take this advice.
Still, Burris said, “It was his persistence that I admired, because the type of work we’re involved in, you need people who are dedicated, who have some real commitment to the work, and he showed that kind of consistency and dedication.”
Cook’s been working with Burris more than 20 years now, but until recently, the labyrinth of the immigration system wasn’t his area of expertise. It’s been a crash course for him, he said, on the often arcane laws that govern who gets to stay in America and who doesn’t.
It’s also been a crash course on what a civil rights emergency looks like. Along with his work looking for locked-up immigrants, Cook spends a lot of time on the streets at protests, helping people understand their rights — and limitations — and seeing first hand what is happening.
“If you ever wondered what you would have done in Germany, now is the time,” he said. “Now is the time to do something. People are being interned.”
In the hours after Pretti was shot, Cook was at the location of the shooting, in the middle of the tear gas, offering legal help to anyone who needed it and bearing witness to conduct that will almost certainly face scrutiny one day, even if government leaders condone it now.
Law enforcement officers launch tear gas canisters as they work to push the crowd back and expand their perimeter in Minneapolis on Jan. 24.
(Caroline Yang/For The Times)
“The way the officers chase people down, protesters who were really just protesting lawfully and were beaten and pepper sprayed and gassed — all those are civil rights violations,” Burris said. “And so the law is the guardrails. So there has to be lawyers who are prepared to protect those guardrails and to stand as centurions, as I refer to us.”
Cook has tried to calm protesters, he told me, and prevent clashes. But people are mad, and resolute. His greatest fear is summer — when warm weather could bring even larger crowds if enforcement is still ongoing. He’s worried that the actions of the federal agents will spill over into anger at local cops enforcing local laws, leading to even more chaos.
“I’ve always supported cops as long as they do their job correctly,” Cook said.
For now, he’s taking it one day at a time, one case at a time, one name at a time.
Protesters raise an inverted American flag as law enforcement officers launch tear gas canisters in Minneapolis after Alex Pretti was killed by federal agents.
(Caroline Yang/For The Times)
Tuesday, Cook passed through the armed checkpoint at Whipple carrying a list of about seven people, folks who have been picked up by federal agents for one reason or another, or reasons unknown, and now cannot be located. They are not in the public online system that is meant to track detainees, and family and friends have not heard from them.
If he’s lucky, Cook will get information on one or two, that they are indeed inside, or maybe at a detention center in Texas, where many have been sent. But there will be more whose location remains unknown. He’ll make calls, fill out forms and come back tomorrow. And the tomorrow after that.
“This is what we do,” he said. “I’m always in it for the long run. I mean, you know, shoot, yeah, that’s kind of the way it works.”
In 1790, the U.S. Supreme Court convened in New York City for its first session. Only three of the six justices were present so there was no quorum.
In 1861, Texas seceded from the United States.
In 1865, U.S. President Abraham Lincoln signed the 13th Amendment, which abolished slavery.
In 1896, Giacomo Puccini’s opera La Boheme premiered in Turin, Italy.
In 1946, Norwegian Trygve Lie was selected to be the first U.N. secretary-general.
In 1947, members of the Jewish underground launched pamphlet bombs throughout Tel Aviv, warning British military authorities to expect further retaliation against its drive to suppress violence in the Holy Land.
In 1951, the Defense Department, responding to needs to effectively execute its Korean War strategy, ordered drafting of 80,000 men during April for assignment to the U.S. Army.
File Photo by Kevin Dietsch/UPI
In 1960, four Black students, later known as the Greensboro Four, staged the first of a series of non-violent protests at a Woolworth lunch counter in Greensboro, NC.
In 2011, Egyptian President Hosni Mubarak, with hundreds of thousands of protesters demanding his departure after a reign of nearly 30 years, announced he wouldn’t seek re-election.
In 2021, the Myanmar military took control of the government and announced a nationwide state of emergency hours after detaining leader Aung San Suu Kyi and other high-ranking elected government officials in a coup.
In 2023, seven-time Super Bowl champion Tom Brady announced his re-retirement from the NFL after 23 seasons in the league.
Surrounded by stunning Georgian architecture, it feels like you’ve stepped back in time, and it’s no wonder this city has been used as a filming location for Netflix’s Bridgerton
It’s certainly one of Britain’s most beautiful cities(Image: Joe Daniel Price via Getty Images )
Britain boasts countless cities, each with its own unique character, but one historic gem stands out as possibly England’s most stunning. Its streets exude a timeless charm and relaxed atmosphere, featuring an eclectic mix of independent boutiques and upmarket retailers, while food lovers will find themselves spoilt for choice.
Now, Bath in Somerset looks set to become an even bigger draw for tourists as visitors discover this enchanting city has served as the backdrop for some of Netflix’s most talked-about releases. The globally acclaimed series Bridgerton filmed scenes throughout this Georgian city – and with the latest series now available on Netflix, eagle-eyed fans might recognise some Bath landmarks.
The city also played host to the three-part Agatha Christie Netflix adaptation ‘Seven Dials’, featuring Mia McKenna Bruce, Helena Bonham Carter and Martin Freeman.
I paid a visit last year, though it wasn’t my first trip as I’m based in a nearby county – yet this magnificent place never fails to leave me awestruck. While it has an affluent feel, ordinary residents call Bath home, too.
The city appears pristine and secure, with no shortage of distinctive shops to peruse or purchase from. Magnificent residential areas such as the Royal Crescent in Bath harken back to the 1700s, serving as perfect filming locations for costume dramas, reports the Express.
Properties on Bath’s Royal Crescent have an average selling price of £585,000, as per Rightmove. However, if that’s a bit steep for you, there are plenty of stunning period holiday homes available for short stays while you explore these famous filming locations.
You can actually step foot inside No. 1 Royal Crescent, the fictional home of Bridgerton’s Featherington family. This curved street also served as the backdrop for many of the show’s most memorable scenes.
The Georgian property, No. 1 Royal Crescent, has been converted into a museum, adorned and furnished in the style of the late 1700s, allowing visitors to “step into the lives of the Featheringtons”.
With recent releases from Netflix and BBC, Bath is being tipped as the UK’s “next biggest tourism destination” for 2026. But the city has long been a popular spot for tourists, thanks to its historical landmarks, unique Roman Baths and connections to famed English author, Jane Austen.
To help fans plan the ultimate getaway and immerse themselves in the worlds of Bridgerton and Seven Dials, a UK holiday lodge provider has delved deep into the internet to uncover the Georgian city’s most iconic filming locations from both hit shows.
According to research by holidaylodges.co.uk, there are five must-visit filming locations in Bath.
At the city’s North Parade Buildings, you can follow in the footsteps of Martin Freeman and Mia McKenna Bruce. These honey-coloured old buildings form part of a Grade II listed Georgian terrace.
The leafy location sits near Bath Abbey, which also features in Agatha Christie’s Seven Dials.
The stunning North Parade Buildings can be seen during a sequence where ‘Bundle’ (portrayed by Bruce) tails Superintendent Battle (Freeman).
Meanwhile, Bath’s Great Pulteney Street serves as the setting for Seven Dials’ action-packed car chase sequence. This thoroughfare is frequently described as the city’s most impressive street, stretching towards the magnificent Pulteney Bridge.
This location also serves as an excellent starting point for enthusiasts keen to discover Bridgerton filming locations, with the Holbourne Museum and the Royal Crescent just a brief stroll away.
The cobblestoned Abbey Green square in the city appeared in both Seven Dials and Bridgerton, making it essential viewing for period drama enthusiasts. In Bridgerton, the Abbey Deli frontage in this location doubled as the ‘Modiste’ dress boutique.
Meanwhile, at The Holbourne Museum, guests can discover Lady Danbury’s rather grand home, wandering around the refined exterior and stunning grounds of the museum as though visiting Lady Danbury’s opulent residence in Bridgerton.
The finest accommodation options near Bath, for enthusiasts wanting to transform their screen-inspired visit into a rural retreat, features gorgeous lodging just 30 minutes’ drive from the city, according to holidaylodges.co.uk.
Midnight Moon, a chic, luxury timber-framed lodge boasting a peaceful setting and stunning outdoor area, serves as an ideal base for a restful and scenic retreat near these thrilling filming locations. Rates begin at £465 per night.
The Barn in Wiltshire presents another excellent choice for a peaceful rural escape close to Bath. Featuring French doors opening onto a private courtyard, this superb wooden-clad barn is well-suited for a family, small group or two couples, with prices starting from £171 per night.
MELBOURNE — Elena Rybakina finally won her second Grand Slam title with a victory over top-ranked Aryna Sabalenka at the Australian Open on Saturday, and it was something of a testament to quiet achievers.
After some tumult at the start of 2025, including the suspension of her coach, Rybakina finished off last year with a title at the WTA Finals in November. And now she has started the new year with a major championship.
Her low-key celebration was symbolic of her understated run through the tournament: a small fist pump, a quick embrace with Sabalenka, a handshake with the chair umpire, a smile, and a few hand claps on the strings of her racket and a wave to acknowledge the crowd.
It happened quickly after Rybakina closed with an ace to cap a third-set comeback and a 6-4, 4-6, 6-4 win over a regular rival who beat her in the final here in 2023.
“The heart rate was definitely beating too fast. Even maybe [my] face didn’t show, but inside it was a lot of emotions,” the 26-year-old Rybakina, who was born in Moscow but represents Kazakhstan, said of her calm and clinical finish.
She knew she had to capitalize quickly this time, after she acknowledged getting tight and needing almost a half-hour from her first match point to her match-winning point in a semifinal win over Jessica Pegula.
Elena Rybakina plays a backhand return during the women’s singles final at the Australian Open on Saturday.
(Dita Alangkara / Associated Press)
Three years ago, Rybakina won the first set of the Australian Open final but lost the match in three.
This time, after breaking in the first game and taking the first set, she rallied after losing the second set and going down 3-0 in the third. She won five straight games to regain control.
“It gives me a kind of relief,” she said, “also, a lot of confidence for sure for the rest of the season.”
It was a second major title for fifth-seeded Rybakina, who won Wimbledon in 2022 and entered that Australian final three years ago as the only major winner in the contest.
While Sabalenka went on to win another three majors, including back-to-back triumphs in Australia and the 2024 and ’25 victories at the U.S. Open, Rybakina’s results dipped and she didn’t reach another major final until this tournament.
Career change
A win over Sabalenka at the season-ending WTA Finals has changed her career trajectory. She has the most match wins on tour since Wimbledon, and is now on a roll of 20 wins in 21 matches.
“Last year I didn’t start so well,” she said. “I qualified for the [WTA] Finals late. I just hope I can carry this momentum. Do a good job with the team and continue this way.”
Rybakina is 10-0 in her last 10 matches against top-10 players, and she’ll return to No. 3 in the rankings.
Kazakhstan’s flag was unfurled on the court at Rod Laver Arena after Rybakina had paraded the trophy around and posed for photos with her team.
Coaching team
She paid tribute to her coach, Stefano Vukov, who spent time under suspension last year by the women’s tour. Vukov received a silver plate from the tournament organizers for being the champion’s coach.
“Of course I would like to thank my team,” she said. “Without you it wouldn’t have been possible. Really. We had a lot of things going on [last year]. Thank you to all of you, and hopefully we can keep on going strong this year.
“It’s a win for all the team, all the people who support me,” she said. “I just hope that I can carry this moment throughout the whole season and keep on improving.”
She said she’d been working with Vukov since 2019 and she finds it helpful to hear the constant stream of technical and tactical advice he conveys from his seat beside the court. The more, the better, she said, because eventually she listens.
“We won many titles together,” Rybakina said. “And even last year in Ningbo, WTA Finals, and now this trophy I felt just, again, proud and thankful to my team for the work.”
Win some, lose some
Aryna Sabalenka reacts after winning a point against Elena Rybakina in the women’s singles final at the Australian Open on Saturday.
(Dita Alangkara / Associated Press)
For Sabalenka, it’s back-to-back losses in the final in Australia after going down in an upset last year to Madison Keys.
“Of course, I have regrets. When you lead 3-love and then it felt like in few seconds it was 3-4, and I was down with a break — it was very fast,” she said. “Great tennis from her. Maybe not so smart for me.
“But as I say, today I’m a loser, maybe tomorrow I’m a winner. Hopefully I’ll be more of a winner this season than a loser. Hoping right now and praying.”
Rybakina went on the attack from the start and her serve was strong, with six aces and — apart from the two breaks at the end of the second set and the start of the third — she fended off six of the breakpoint chances she faced.
While Sabalenka’s emotions intensified, Rybakina maintained a determined quietness throughout.
During the summer of 1998, a 19-year-old rapper named Eve (formerly known as Eve of Destruction) received a phone call from her producer friend Scott Storch about an opportunity to hop on a record with the Roots.
The hip-hop band from Philadelphia, formed by Black Thought and Questlove, was bubbling at the time and Eve, a known battle rapper in the city, was excited to work together on a song called “You Got Me.”
After tweaking the verse that Black Thought, the band’s lead MC and co-founder, wrote for her, Eve laid down her vocals, rhyming the lyrics “Another lonely night? / It seems like I’m on the side, you only lovin’ your mic.”
“It was really exciting,” Eve said, while lounging on a couch in a Hollywood residence. The rapper, actor and fashion designer has been based in London for the last decade. “I think that was my most professional setting because they obviously were already signed.”
When the song, which is featured on the Roots’ career-defining “Things Fall Apart” album, was released in 1999, it was the first time the world heard Eve’s voice — but no one knew it was her. To her surprise, she wasn’t listed as a contributing artist on the track.
She was also surprised to find out that Jill Scott, a poet and rising neo-soul singer from Philadelphia who wrote and sang the initial hook, was replaced by Grammy-winning singer Erykah Badu. After receiving the wrong address for the shoot, Eve wasn’t featured in the music video either.
In 2000, the Roots and Badu won a Grammy for “You Got Me,” but because Eve wasn’t listed on the track, she didn’t receive an award. By this time, Eve was signed to Ruff Ryders and promoting her debut album “Let There Be Eve…Ruff Ryders’ First Lady” including her breakout single “Want Ya Want,” so although it hurt her feelings at the time, she moved past it, she said.
“There was no time to kind of go back and think about it,” said Eve, who opened up about the situation in her 2024 memoir “Who’s That Girl.” After years of seeing each other and even performing the song together, she and Questlove spoke about the matter for the first time when she made an appearance on his podcast and apologized to Eve for the oversight. “We were extremely inconsiderate, insular and uncommunicative with each other that things like that always spilled on the sidelines,” the drummer said on the podcast. (Questlove wasn’t available for comment further at the time of publication.)
(Allen J. Schaben/Los Angeles Times)
Last fall, Eve received another unexpected phone call — this time from the Recording Academy. After hearing Eve talk about the “You Got Me” situation on Ebro Darden’s podcast, the Recording Academy wanted to give her an award for her contributions to the track.
“They were like, ‘Listen, we didn’t even know about this situation at all until we heard the podcast,’” Eve recalled.
After 26 years, Eve was given a golden gramophone Thursday night during the Recording Academy Honors presented by the Black Music Collective in front of a star-studded audience. For her, the award feels like “validation in a way to that little girl, to little Eve,” she said. “She deserves that.”
She added, “Whatever is yours can’t miss you.”
Ahead of the ceremony, Eve spoke to The Times about coming up in the Philadelphia music scene as a teenager, what the “You Got Me” situation has taught her and what receiving this award means to her now. She also talked about the impact of her second studio album, “Scorpion,” which turns 25 this year, and what it was like to bring her toddler son on tour with her for the first time.
This interview has been lightly edited for length and clarity.
You grew up in West Philly at a time when so many future greats were coming up at once — the Roots, Jill Scott, Bilal and Scott Storch. When you were just a teenager, you were hanging out at studios with some of them and attending jam sessions at Questlove’s house. What did the energy in Philly feel like back then?
It was amazing because music was everywhere. I knew that I wanted it to be my life, so every weekend I was doing something. I should’ve been going to school, but I was going to the studio because I knew that I wanted music to be my life. And in Philly, there was always something going on whether it was a block party or a jam session or an open mic night. I was at everything.
Scott Storch was the person who called you about getting on the Roots’ “You Got Me” record. What was your reaction when you got that call?
When you are young, there’s that no fear thing. I remember being excited, of course, but also like, “Yes! I’m supposed to be here,” not from a cocky place but more affirmative. It was really exciting, but it was also very professional. I think that was my most professional setting because they obviously were already signed. I’d never been around that before, so I remember [being] like “This feels like the business.”
(Allen J. Schaben/Los Angeles Times)
You were around 19 or 20 at that time, right?
I must have been around 19 because I would’ve gotten signed and dropped [from Aftermath] when I was 18. [laughs]
At that time you were in between record deals, so it must have felt like a big opportunity.
Absolutely. You know what’s funny, I probably just took it for granted in the sense of like “Oh yeah, this is the start.” They are signed. It’s funny because I think back on the situation and I guess I thought it was gonna pop off from there. That’s why all the events that happened afterward were like “Ugh.”
Take me back to the day that you laid down your verse. Who was in the studio with you?
I’m pretty sure Black Thought and Jill [Scott] were there. Even if not the whole session, I don’t know if I’d come in if she’d finished or whatever, but I’m pretty sure she was there.
How did your verse come together?
I had this whole thing in my head, but Black Thought had a whole verse already. But then I was like, “I’m not gonna just say your verse.” Now, I have a writer sometimes, but back then, especially because I was a battle rapper, it was like I can’t say somebody else’s bars. That’s not real. So he had this whole thing and then I kind of tweaked it to make it feel and sound like me.
I had a lot of audacity back then. I really did. [laughs] Because most people would be like “Yeah, cool.” Also, I was like if I’m going to put my voice on this, I really want to feel like me. I have thought about this [situation] so much now, and I’m sure that also attributed to them being like, “We don’t need to reach out. We don’t need to make sure it’s OK” because the majority of it was written by him. Not that that’s an excuse because there is no excuse.
When was the first time that you realized you didn’t receive credit for the song? If I’m not mistaken, I think Jill Scott found out that her vocals were replaced by Erykah Badu after she heard it on the radio.
I think it was kind of the same thing. It all happened so fast like, “Oh, the song is out.” I probably heard it around the same time and thought “Oh, that’s not Jill. Oh, that’s Erykah Badu.” It was such a weird timeline because I did the song a year or a few months before, and then by the time I heard the song, I was living in Harlem and I was signed to Ruff Ryders.
The song went on to win a Grammy for rap performance by a duo or group in 2000, but because you weren’t credited, you didn’t receive an award. In your book, you talk about how this situation lined up with you being dropped from Aftermath Entertainment and moving back home from L.A. How did you deal with all of this emotionally?
I feel like I had a month that I was just [felt] — I don’t know if I’d call it depressed — deflated. I really felt like damn, this was it and now I’m back home. I was just in L.A. in a condo with a nice bank account. Now I’m back at my mom’s house in my pajamas and I gotta catch the bus. What the hell is happening to my life? [laughs] That was horrible so I was wrestling with my feelings and my sadness, but my mom was great. My mom has always been my rock. She was supportive and she [didn’t] tell me to get over it. She kind of just let me wallow in it, but [she was] positive as well like, “Maybe that wasn’t the time.” It was crazy, but I will say, I needed it. I’m happy that happened because I wouldn’t have the career I have now. Like going back to the Aftermath thing, if I had come out then, I wouldn’t have the career that I have now. I feel like I did need to be humbled because it was definitely the Philly attitude that got me fired, that got me dropped. [laughs] My name at the time was Eve of Destruction, my battle rap name, so it was the time that I sat with my feelings and I was like if I get this chance again who is it that I want to be as an artist? Who do I want to show the world? I didn’t want to take on a title. I was like I’m just going to show them myself. I’m going to show them Eve.
Some fans knew that you didn’t receive credit on this track, but others found out for the first time when you talked about it last year during an appearance on Ebro Darden’s podcast.
It’s crazy how many people are mad about it for me. I had friends who were like, “Girl, so what’s going to happen?” [laughs] But it is a funny thing. Why wasn’t I mad enough? Or was it — this is the over-analyzer [in me] — one of those moments where I just wanted to forget about it. Because, yeah, my feelings were definitely hurt if it was a fake address. Or did we get the address wrong? So maybe I was like, “I’ll just put it on the back burner,” but Ebro definitely did not. And you know what, I’m happy he didn’t because sometimes it takes for a person to be your champion or your cheerleader in certain things and I do appreciate it.
“You Got Me” is one of the Roots’ biggest songs to this day. Was it weird hearing it played everywhere when it first came out?
During that time I did not see them. It was very weird. That song had come out, I was doing my thing, but we ran in different circles hip-hop-wise. I guess we just never crossed paths. I never really saw them. I think they were on tour by then and I was with Ruff Ryders. We didn’t see each other until years later because we have performed that song now three times probably at separate points in my career, which is also weird. [laughs]
That is weird.
It’s weird. I don’t know what’s wrong.
Now, 26 years after “You Got Me” won a Grammy, you are finally receiving your award and honored at the Black Music Collective Recording Academy Honors. What was your reaction when you found out?
It was weird at first because the [academy] called a lot of different people. They called like four different people because they wouldn’t tell anybody why they wanted to talk to me. Finally, I think Swizz [Beatz] was probably the last person they called. Then we got on the phone and I remember I was having martinis in London. It was a FaceTime [call] and I was standing under a lamp. It was not professional on my side and I was trying real hard not to be tipsy. I was like, “This is so cool. Thank you, guys.” [laughs] My friend, who I was with, was like “What did you have to take a call for?” and I was like “Girllll.” So it was a fun night. I came home and told my husband, fell asleep and when I woke up, I completely forgot about it. Then my friend texted me and was like “Do you remember?” and I was like “Oh s—! Yeah!” It’s just such a cool thing and since then it’s been like “Wow.” They said, “We could send you the Grammy, but we’d like to give it to you.” It’s really nice. It’s a really interesting feeling because obviously it’s been so long, something that I thought I was done with, in a way, so it feels good.
What did they tell you exactly?
They were like “Listen, we didn’t even know about this situation at all until we heard the podcast.” It was the podcast that I did with Ebro when they were like “Oh nah.” Even Swizz was like “Sis, we gotta make this happen. That’s not cool.” And I was like “OK, cool.”
Does receiving this award now feel like reconciliation at all? Or maybe validation?
In a way, validation to that little girl, to little me. It sounds a bit cheesy, but she deserves that. It’s a great moment. I’m still wrapping my head around it in a way especially since I’ve been away from music for so long and for this to be happening like this is very cool.
(Allen J. Schaben/Los Angeles Times)
What have you learned or taken away from this situation?
I think I’m honestly still processing because I was joking, but kind of not, like I want to talk to my therapist about why I let this go. What was it? Why did I think, “Oh nah, it’s cool. We squashed it.” But it’s like no, this is bigger than that. But good s— comes to good people and I know for sure I definitely deserve it. [laughs]
In other exciting news, this March marks the 25th anniversary of your second album, “Scorpion.” What memories rush back to you when you think about that time of your life, living and working in Miami?
Oh my God. There’s so many. It was so fun. I remember the house we rented. I had one Yorkie, then I bought her a friend in Florida. It was silly s— that I remember and then just being in the studio day and night. Then the Marleys were on the other side. It was just a good time. I was fully in it. It was a lot of pressure because it was like “We gotta get this album done now.” It’s when I really think I felt the business of music in the sense of like, “We gotta meet these deadlines. We gotta get this album out,” which was stressful but I was still naive enough, I think, to still be having fun. I was going out. I met Trina. Trina is my girl. Overall, it was a really good time.
Between experimenting with new sounds, crossing genres with artists like Gwen Stefani, and making the theme red, “Scorpion” felt very intentional. Reflecting back, what did that era represent for you personally beyond the music?
I feel very lucky that Ruff Ryders always allowed me to artistically do what I wanted to do. They never said things like “Oh this might not work.” And even sonically, they weren’t the ones who were fighting back, it was more like executives and Interscope, but for me “Scorpion” means red. Red is a scorpion color. We gotta come out stinging, but I also want to show that I’ve grown, that I’ve matured and really show what my ear is. I felt really lucky that they didn’t fight me on it. They let me do exactly what I needed to do. It felt collaborative because that’s how Ruff Ryders worked anyway. There were people in and out of the studio all the time, but it made it good because sometimes a conversation led to a hook or a verse.
Last year you went on tour with Nelly, Ja Rule and Chingy, and you brought along your son. What was it like having him there with you, seeing you on stage?
It was grueling. I ain’t gone lie. It was amazing, but being on tour with a toddler is different. That being said, the reason I said yes to doing the tour is because he’s young enough that I can kind of tote him around, but he’s old enough that he can remember. Seeing him on the side of the stage was like “Oh, my little baby.” It was also fun. Like everybody on that tour had bangers, so even me performing or being backstage and hearing Ja or hearing Nelly or hearing Chingy, it was a good tour. The crowd showed up. It was a really cool tour too because in some places, it was like generations of people together like the kids and the moms, and then there were a lot of young people, and I was like “Oh, I love this.”
What else do you have coming up?
Listening to new music and discovering new artists. I am excited about this 25th anniversary because we are going to do some really fun stuff with it and we’re talking about some re-imaginings with it. Just touch some of the songs that people love and give it a bit of life. What else? I don’t know. I’m just “momming.” That’s my favorite thing right now. He’s getting so big. I cannot believe he’s about to be 4. Watching him grow is nice.
What’s the difference between Brett Ratner and Leni Riefenstahl? Riefenstahl, for all her many sins, was technically innovative; Ratner (unless you count an almost fetishistic fascination with first lady footwear), not so much.
But in the end, they are both political propagandists, collaborators if you will, with heads of state determined to create a narrative that is, at best, at odds with reality and, at worst, a targeted attempt to distort it.
Am I saying that “Melania” is as horrifically significant as “Triumph of the Will”? No, I am not. But it is motivated by the same base forces, and as fun as it might be to watch Jeff Bezos lose most of the $75 million Amazon paid for the purchase and then marketing of the film, it is important to remember that.
As Melania Trump said herself at the film’s premiere: “Some have called this a documentary. It is not. It is a creative experience that offers perspectives, insights and moments.”
A “creative experience” for which the first lady, who serves as narrator and executive producer, reportedly received about $28 million.
Money she very much does not earn.
Anyone who goes into “Melania” hoping to see even a glimpse of what it is like to be first lady, or indeed Melania Trump, will find instead a super-long version of “we followed [fill in the blank] as they got ready for the Oscars.”
Only in this case, it’s Donald Trump’s second inauguration, which Ratner (given his first big job since being accused by six women of sexual misconduct) frames as the Second Coming, from the lingering shots of the sleek lines of the motorcade to the use of “His truth is marching on” from “Battle Hymn of the Republic” as the first couple takes the stage at one of the inaugural balls.
(And in case you think that’s not obsequious enough, at the end of the inaugural festivities, Ratner, off camera, says, “sweet dreams, Mr. President,” which honestly could have been the title of this film.)
Most of the “action” involves the first lady making entrances: off private jets, out of big black cars and into well-appointed rooms. There, Trump and her designers wax rhapsodic over a gown designed to disguise any seams, admire an inaugural dinner menu that begins with caviar in a big golden egg and discuss the furnishings that will be moved in as soon as the Bidens move out.
These mind-numbing glories are interrupted just long enough for Tham Kannalikham, an interior designer in charge of the White House transition, to talk about how her family immigrated to America from Laos when she was 2 — the opportunity to work in the White House is, for her, the ultimate American dream. Beside her, Trump, also an immigrant, remains silent.
Other things happen. Trump has a video conference with French First Lady Brigitte Macron to discuss initiatives to end cyberbullying, meets with Queen Rania of Jordan to discuss helping foster children and comforts former Hamas hostage Aviva Siegel. Siegel, whose husband, at the time of filming, is still a hostage, provides the film’s one real emotional moment, despite having been clearly included as an opportunity for Trump to reveal a bit of personal kindness (and some political messaging).
We follow Trump as she and her husband attend Jimmy Carter’s funeral, during which her narration describes the pain of her mother’s death the year before, and as she “sneaks” the cameras into a room where her husband is rehearsing his inaugural speech.
There she suggests, with a completely straight face, that he add the word “unifier” to “peacemaker” in his description of what he hopes to be his legacy, a term he then uses in his speech the next day.
Throughout it all, the first lady remains relentlessly poised and personally inaccessible, lending new and literal meaning to the term “statuesque.”
Given the nature of the film’s subject, and the fact that she is the one literally calling the shots, no one with half a brain could expect to see any interesting or authentic “behind-the-scenes” moments (Melania wearing sweats or counting her breakfast almonds or, I don’t know, sneezing). A brief scene in which the remarkably tone-deaf Ratner attempts to get her to sing along to her favorite song, Michael Jackson’s “Billie Jean,” elicits (finally!) a genuine laugh from her, and while his decision to repeatedly zoom in on her admittedly well-shod feet becomes increasingly creepy, it at least offers drinking-game potential.
Even so, “Melania” is as cynical a piece of filmmaking as exists since the art form began.
Listening to her describe the seriousness with which she takes her duties; her love, as an immigrant, for this great nation; and her dedication to making life better for all Americans — especially children and families — I was reminded of the climactic scene in “A Wrinkle in Time,” when young Charles Wallace has been ensnared by the soothing rhetoric of the evil brain-washing IT.
The superficial blandness of “Melania” isn’t boring; it’s calculated, infuriating and horrifying.
The first lady is describing an alternative universe of peace, love and unity while her husband has unleashed armed Immigration and Customs Enforcement agents to terrorize and detain children and adults (many of whom are citizens or here in this country legally) and, in at least two cases, kill American citizens who protest their actions. She wants to help children and families while her husband slashes federal assistance programs and holds school funding hostage. She would have us believe she is battling cyberbullies while her husband, the president of these United States, regularly engages in lies, direct threats and character assassination on social media.
President Trump is many things but he is not a unifier — he believes, as he has assured us time and again, in winning, and, as he has also said and shown, he will choose retribution over reconciliation every time.
Melania Trump is, of course, not her husband. But this film is little more than a 90-minute campaign ad. Which, given the fact that Trump cannot legally run for president again, should be cause for much concern.
Many criticized the decision to release “Melania” mere days after federal agents killed Alex Pretti and Renee Good in Minneapolis, and excoriated those notables, including Apple CEO Tim Cook, who chose to attend an early celebratory screening that included “let them eat” cookies with “Melania” scrawled in the icing.
For the kind of person who makes, and buys and distributes, a film that purports to be a “documentary” and is really just old-fashioned, through-the-looking-glass propaganda, however, it’s actually the perfect time.
Why worry about the federal government killing its own citizens when we can all ooh and aah over the fact that the first lady’s inaugural gown is constructed so that none of the seams show? Especially if it makes her husband happy.
