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At only 24, Samuel Kim Arredondo, better known as Samuel, has lived through nearly every iteration possible in a K-pop idol’s career.

As a child growing up in L.A.’s Koreatown, he attended Wilshire Park Elementary School — but by the fifth grade he had moved to South Korea with his mother, Kyung-ju, with dreams of K-pop stardom. There, he became a trainee under Pledis Entertainment.

Now a subsidiary label of Hybe — parent company of K-pop superstars BTS — Pledis was forming what became one of the most successful “third generation” K-pop groups of all time: Seventeen. Samuel, who was in the running to debut with the group, is even captured in early footage from their “Seventeen TV” variety show.

Though he didn’t make the cut, he remained close with the members and helped write lyrics for their 10-year anniversary album. Just last week, he filmed a dance challenge with singer-MC Mingyu for the reggaeton-infused pop number “Zigi Zigi Zigi” — the lead single off of his new EP, “Samuelito,” which dropped June 8.

After leaving Pledis, Samuel — who is fluent in both English and Korean — signed to a new agency, Brave Entertainment, then formed one half of a short-lived hip-hop duo, 1Punch. (He was Punch, the other kid was One.)

In 2017 he competed on the second season of Produce 101, a globally popular Korean competition franchise, where he made it to the penultimate episode before the debut of the group Wanna One. That same year, he released his first solo album, “Sixteen,” fully showcasing his outstanding dance ability, youthful swagger and velvety tenor.

Yet before he could finally make headway, he suffered a devastating loss.

Samuel’s father, José Arredondo, who came to the U.S. from Michoacán as a child, died tragically in a 2019 case that made national and local headlines. After having spent years apart from his father while living in Korea, Samuel spent quality time with him shortly before his death.

José was a pillar of his community; he rose from washing cars to owning his own car dealership, alongside other businesses in Bakersfield. A precocious young Samuel can still be found showing off his dance and Spanish skills in an old commercial for the dealership. (“Volkswagen me hace bailar,” he says before busting a move.)

The loss of his father was made more harrowing when the news went public, Samuel recalls over a Zoom interview from Seoul, where he is promoting his new album.

“The articles went out first,” he explains. “It was everywhere before I even wanted to talk about it, so I had no choice to keep it private … of course it’s definitely hard for me.”

In the aftermath, Samuel went under the radar — but after a year or two, he started to pave a way forward. After getting out of the contract with his former label, and with the support of his mother, he launched his own company, Samuel Music Group.

“If I kept on staying in the past, I think no one would like it — even my dad wouldn’t like it,” he says. “I learned a lot through that emotion as well. Always be grateful, always be thankful every time, and try to say ‘thank you’ always, especially to parents.”

Composed of three songs and one interlude, “Samuelito” takes its name from the childhood moniker some know him by today. As the follow-up to his 2024 EP, “Now,” it is his second record release since he became independent. It’s also his first record sung predominantly in Spanish — along with the occasional sprinkle of English and Korean. (Take the onomatopoeic “Ddook Ddak,” which is Korean slang for “just like that.”)

Singing in Spanish for the first time, he tells me, to music he created himself, made his “heart race.”

“Samuelito” is not so much an exploration of Mexican musical traditions, but of Latin-influenced rhythms and sounds filtered through his uniquely multicultural lens. In the future, he dreams of working with genre-spanning Latino pop artists who crossed over culturally, like Selena Gomez, Camila Cabello and Rauw Alejandro.

In an Instagram reel from earlier this year he described his efforts as “K-tone” — a Latin and reggaeton fusion, powered by K-pop discipline. The comments below were peppered with encouraging responses from fans in multiple languages.

Wrote Liz Zeledon, from Oceanside: “As a Korean-Nicaraguan who grew up with exposure to both cultures, I love hearing Latin influences in K-pop… Korean Latines are so underrepresented in the Korean music industry.”

Reached by phone, Zeledon is a K-pop fan who has kept tabs on Samuel since his Seventeen trainee days; she is also a child of immigrant parents.”Representation is so important, because existence and visibility are not the same thing,” she says.

In the lead-up to the album’s release, Samuel posted photos and videos of himself as a young child. In one, his dad holds him up as a baby, dressed in all-white with a tam hat. Though Samuel says the EP is not an on-the-nose tribute to the elder Arredondo, his spirit resonates through the lyrics of the poignant downtempo track, “Never Say Goodbye.”

“Gritos que yo sé/Que llegan hasta El Cielo/Gotitas en el suelo/Y se me cae el mundo entero,” he sings. (“Cries that I know/Reach all the way to Heaven/Little drops on the ground/And my whole world comes crashing down.”)

“I used to listen to a lot of Spanish music while I was growing up … I used to eat a lot of Mexican food too,” he says. “While I was in the studio last year, I had [this] big vision: [‘What if] I bring back my roots and just be the true me and call this album “Samuelito?”’ It just felt fresh.”

Samuel started songwriting and producing for himself in the making of “Now.” On his new album, only three writers are credited, including himself — which is somewhat of a rarity these days in K-pop. One of them is Canadian Mexican singer-songwriter Andrea Rocha.

From her new home in L.A., Rocha said the main goal was to seamlessly blend two distinct musical cultures. Although Samuel came to the studio with the structure for his songs already in place, they worked on melodies and writing in Spanish together, since this was his first time penning lyrics in the language.

Rocha says she was taken aback by Samuel’s professionalism. “I’d be like, ‘Oh, what about this melody?’ And then he would sing it perfectly,” she says. “I did ask him about his K-pop training, because it sounds really intense. I think it shows how hard he’s worked in those years because he’s got all the star qualities. Compared to a lot of newer artists that I work with, I’m like, ‘Ooh, they’ve [done] a lot of work to get to that level.’”

These days, Samuel splits his time between Seoul and Los Angeles — once again calling Koreatown his permanent home. He also continues to spend time with his dad’s side of the family in Bakersfield.

“I think the biggest thing that I am happy about is getting back to my roots, where I started,” says Samuel.

The Dodgers won the World Series last year, and the year before that. Their lead is the largest in any division this year. That success, and the money that nourishes it, has battalions of fans beyond Los Angeles all but marching outside ballparks with picket signs reading “SALARY CAP NOW.”

It’s a reasonable thought: The Dodgers can’t possibly keep winning if they can’t keep outspending the competition.

Or can they?

“There are a lot of little things that happen behind the scenes that people don’t see,” pitcher Will Klein said. “I understand where people are coming from. It’s easy to be a fan of a smaller team and get mad at other teams outspending you.

“But I think there’s a level of care here, and wanting to win, that exceeds other groups.”

The obvious disclaimer: Any team would be better with Shohei Ohtani and Freddie Freeman and Mookie Betts and Yoshinobu Yamamoto, at a combined price of $1.6 billion. The counter argument: The Angels had Ohtani and Mike Trout and, well, you know.

It takes a roster. In Klein and pitcher Eric Lauer, the Dodgers have done something they do well besides spend: develop valuable contributors out of players discarded by other teams.

The Dodgers grabbed Lauer last month, desperate to fill a hole in their starting rotation. The Toronto Blue Jays had cut him, and he would be joining his seventh major league organization. The logical thought: The Dodgers had found a healthy arm to eat up some innings until they could find someone better.

That still might happen. But Lauer, who is set to pitch Monday, has put up a 3.22 earned-run average in four starts with the Dodgers. Four starts is a small sample size, but in that time, Lauer is a career league-average pitcher performing 28% above league average.

“They got me immediately,” Lauer said. “They figured me out right away, and they knew exactly what was going to help me.”

For Lauer, the changes affected his delivery, but the specifics were not as important as finding a kindred spirit in Connor McGuiness, the Dodgers’ assistant pitching coach.

“I’ve always had a really hard time explaining myself and what I do, because I think a little differently,” Lauer said.

“When I was with the Brewers, it was running joke that it was ‘the language of Lauer,’ because I would describe things so differently and feel things so differently that, if you weren’t close to me and you didn’t know how I operate, it was very hard to understand what I was trying to do.

“Connor just immediately got it. It was like he’s been speaking it forever.”

At one point in his career, Lauer said, he struggled to explain the sensation of catching his heel on the mound as he completed his delivery toward home plate.

“I would describe it as, ‘I was falling backwards and I would catch myself,’ and it’s a really weird concept to think somebody was falling backwards when it doesn’t look like you’re falling at all,” he said. “It looks like you’re just moving forward.

“So they were like, ‘That’s not what you’re doing’ and I was like, ‘That’s what I’m feeling.’ We have to make the connection between the feel and the real so that we can understand each other.”

Klein, who joined his fourth organization when the Dodgers acquired him in a minor league trade last June, is in his first full major league season. He has a 2.37 ERA, and his 0.7 wins above replacement is better than any Dodgers reliever besides veteran closer Tanner Scott.

Klein said other teams had made suggestions on how to improve his game, and with the Dodgers, he has added a sweeper and dumped a slider. But what he needed to do most was throw more strikes, trusting that his lively fastball and curve were good enough to beat the best players in the world.

In the minors, Klein issued 6.9 walks per nine innings. This season, he has issued 3.6 walks per nine innings.

The credit, he said, should be shared with the Dodgers’ mental skills coaches.

“It’s easy to see the guys in the batter’s box — especially when you come up watching baseball and being fans of these guys, it’s easy to see them being above yourself,” Klein said.

“But you’re on the mound with them, so you have to see that too. There’s a lot on the mental side that’s helped me here.”

Dodgers pitcher Will Klein delivers against the Tampa Bay Rays at Dodger Stadium on June 16.

(Eric Thayer / Los Angeles Times)

The Dodgers did not include Klein on their postseason roster for the first three rounds last year, but he said coaches at all levels — in the majors, at triple-A and at the Arizona training complex — never stopped checking in on him, during the season and throughout October.

“When you’re down there, they don’t forget about you up here,” he said. “That kind of commitment and care was levels above what I had experienced.”

When the Dodgers added him to the World Series roster, Klein saved the season, with four scoreless innings to close out an 18-inning victory in Game 3.

Lauer called the communication in the Dodgers’ organization “miles ahead” of any other organization in which he has played.

“The training room, the weight room, the coaching staff, the players to each other,” he said. “Every form of communication is so seamless. Everybody knows what’s going on all the time. There’s no gray area.

“It’s all: ‘This is the plan, this is what we want to happen, this is how we’re going to make it happen,’ instead of: ‘This is the plan, this is what we want to happen, figure out a way to make it happen.’”

Klein raved about how the Dodgers treat player families, and about a high-tech pitching machine so lifelike that he could see what it would be like to bat against him. Lauer reflected on his experience as a first-round pick turned journeyman who went to South Korea to revive his career.

“I have a hard time saying anybody has done a better or faster job of helping me than the Dodgers,” Lauer said.

What Lauer and Klein say substantially echoes what Dodgers president of baseball operations Andrew Friedman said at last year’s World Series about turning the team into a preferred destination for players, and not just because the team wins and spends.

“Communication, being honest, having a really strong player development group in place at the major-league level, and how you treat families and treat the players,” Friedman said then, “I think matters a lot in that.”

To be clear: There is no indication the players’ union is willing to consider, let alone approve, a salary cap.

But, if that were to happen, Klein believes the Dodgers would be just fine.

“Our owners want to win, so they want to get the best product on the field, so they go and spend money,” he said, “and then everyone is mad that they want to win.

“I think they’ll find ways to win more if they can’t spend as much money. Friedman was with the Rays when they weren’t spending as much money and still had success there.

“I think they’re just better at wanting to win than some other people.”

Veteran broadcast journalist Katie Couric has leveled sharp criticism at CBS’ “60 Minutes,” detailing a culture of systemic sexism and marginalization she says she experienced during her tenure at the prestigious newsmagazine.

On this week’s episode of the “Call Her Daddy” podcast, Couric, 69, described incidents during her time at “60 Minutes” when her story ideas were reassigned to her male counterparts. She described the circumstances as “really tough situations.”

The Emmy-winning journalist said she suspected early on that Jeff Fager, the “60 Minutes” executive producer at the time, didn’t take a liking to her.

“I think maybe because he wasn’t really consulted about bringing me over,” said Couric. “I was sort of seen as somebody from a different network coming in and sort of muddying the waters. I hadn’t come up in the CBS system. So I don’t know, he just didn’t like me.”

Couric started her run at the newsmagazine as a correspondent and as an anchor at CBS News in 2006, after spending 15 years co-hosting NBC’s “Today” show. Her role at CBS made her the first female solo anchor of a national weeknight news broadcast. She stayed with the network for five years before taking on a new role as special correspondent for ABC News.

Fager remained at “60 Minutes” from 2004 to 2018. He also served as the chairman of CBS News. He was eventually fired for allegedly sending a “harsh” message to a CBS reporter. At the time, he was also facing accusations of ignoring inappropriate behavior at “60 Minutes.” He previously denied the claims. CBS could not be reached for comment.

Trouble first came to a head when Couric pitched a profile of the rising pop star Lady Gaga. Fager had initially turned down the idea until he decided to pursue the story a year later, as Gaga had gained more notoriety.

Couric said she had proposed a fresh angle on Gaga’s Catholic school upbringing, but when she arrived for the interview, she discovered her name had been replaced with Anderson Cooper’s. His interview with Gaga aired in February 2011.

“It made me crazy,” Couric said.

A similar situation occurred once again when Couric was set to interview then–Secretary of State Hillary Clinton. The confusion began when the State Department reached out to Couric, wondering why fellow correspondent Scott Pelley’s team was inquiring about Clinton.

“So I go to Jeff Fager, and I say, ‘I thought you wanted me to do Hillary. You told me explicitly that you wanted to assign that story to me,’” Couric said. “And he said, ‘Yeah, we decided to change things up.’”

Couric said she was frustrated with Fager, for repeatedly going “behind [her] back.”

“Like, without even the decency to call me and say, ‘Guess what? We decided to reassign the story, and this is why,’” she said. “Talk about getting gaslit. I mean to me, that is the definition of it.”

Couric isn’t the only former “60 Minutes” to call out sexism at the newsmagazine. Meredith Vieira, who worked as a correspondent in the late 1980s and early 1990s, said in 2018, that she’d experienced sexism at CBS.

In the last few months, “60 Minutes” has undergone a massive upheaval. Under CBS News editor-in-chief, Bari Weiss, several correspondents, including Scott Pelley, and the program’s top producers were fired. Anderson Cooper also recently resigned from his post at the newsmagazine. With the upcoming season slated to begin in September, the program is currently under pressure to replenish its ranks.

WASHINGTON — Senate Republicans who were berated by President Trump over opposition to his war in Iran held a late-night vote Wednesday to try to appease him, rejecting a war powers resolution a day after a similar measure passed.

Trump harangued GOP senators face to face earlier in the day for allowing a vote to block his war in Iran on Tuesday, further escalating a feud that has diverted GOP efforts to focus on election-year affordability issues and brought much of the chamber’s business to a halt. He exchanged particularly harsh words with Louisiana Sen. Bill Cassidy, one of four Republicans who had voted with Democrats on the measure.

Hours later, though, Cassidy was invited to receive a personal briefing on the war at the White House from Vice President JD Vance and envoy Steve Witkoff. Cassidy then returned to the Capitol to vote against a separate but nearly identical war powers resolution.

“I want to thank Vice President Vance and Special Envoy Witkoff for the thorough briefing this afternoon on Iran. I appreciate the quick invitation to the White House to address many of my concerns,” said Cassidy, who lost reelection last month after Trump endorsed his opponent, in a post on X.

Kentucky Sen. Rand Paul, a Republican who has repeatedly voted with Democrats to halt the war, voted present this time “to give the President more space and leverage to negotiate a lasting peace,” he said on X. The measure failed 47-50-1 just before midnight on Wednesday, and the Senate then left town for a two-week recess.

It’s unclear whether the move will be enough to appease Trump, who had called the Republicans “losers” for voting against his war and had called Cassidy a “lunatic” at the lunch after their tense exchange. But the vote was a clear signal to the president from Republican senators who still want to placate him, despite increasing tensions in recent weeks and his decision Wednesday morning to reverse himself and delay signing a housing bill that received overwhelming bipartisan support.

Senate Majority Leader John Thune, R-S.D., and a small group of his Senate GOP colleagues called Trump after the vote. Thune told reporters that the president was “pleased with the outcome.”

Trump later thanked Thune in a social media post and noted that Cassidy and Paul had switched their votes. “This vote puts Iran on notice!” he wrote.

The war powers measure blocked by the Senate on Wednesday was on a separate track from the nearly identical resolution adopted on Tuesday, which had also been passed by the House. Both votes were largely symbolic, and the measures do not carry the full force of law.

Cassidy had sharp words for Trump

Invited by Florida Sen. Rick Scott to speak at a GOP luncheon in the Capitol, Trump had signaled ahead of time that he would use the closed-door meeting to push senators to pass his proof-of-citizenship voting bill. But the conversation was more focused on Tuesday’s vote on war powers.

Most Republicans stayed quiet. But Cassidy stood up and defended his vote.

“I stood and said, ‘You have not told the American people what’s going on,’” Cassidy told reporters after the meeting. “This was supposed to last four weeks, it’s lasted four months. Our original objectives have not been achieved.”

The two men “went back and forth,” Cassidy said, and he “matched his tone and volume.” Cassidy said that he eventually de-escalated, but he did not want to be bullied.

“I am voting for war powers until I get a briefing,” he said afterward.

Trump repeatedly told Cassidy to sit down, according to a person familiar with the private meeting who was not authorized to discuss it. At one point, the president called the senator a “lunatic.”

Publicly, Trump said afterward that they had “a really great meeting.” But he hinted at the discord.

“We like everyone in the room,” Trump told reporters on his way out. “I don’t like a few people, but that’s OK.”

The luncheon capped weeks of friction between Trump and Senate Republicans and added a new layer of frustration as Tuesday’s vote was the first time the Senate had adopted a war powers resolution on the Iran war. Trump made clear he was in no mood to compromise before it even started, calling off a scheduled signing ceremony on a housing bill that passed both chambers overwhelmingly this week and that GOP lawmakers were touting as an election-year achievement.

Trump reverses on housing bill

Republican senators were eager for a conciliatory meeting with the president after escalating tensions in recent weeks. But Trump upended their plans when he declared on social media just beforehand that he wouldn’t sign the legislation until they send him the SAVE America Act, his bill to require proof of citizenship for all voters.

North Carolina Sen. Thom Tillis said he doesn’t know why Trump is holding the housing bill “hostage” for the voting bill that “will never pass in this Congress.”

“It makes no sense to me,” Tillis said as he walked into the luncheon.

Thune said the housing legislation, which aims to lower costs, is “an affordability issue,” and that ”eventually I hope he finds a way to sign it.”

It’s unclear if Trump might veto the legislation or if the late Wednesday night vote will change his outlook. But by rejecting a public bill signing, Republicans worry that Trump is indicating a level of indifference to voters’ affordability concerns heading into November’s midterm elections.

Trump and Senate Republicans have been at odds

Trump’s move on the housing bill is his latest reversal after weeks of being at odds with Senate Republicans.

Trump has blocked the Senate from confirming one of his own nominees, asked them to fund parts of his White House ballroom project despite opposition and forced them to defend the Iran war even as they question the strategy and endgame.

Trump has also helped whittle down his own support in the Senate after endorsing primary challengers to two GOP incumbents who were previously reliable votes for his agenda — Cassidy and Texas Sen. John Cornyn. Both men have become more critical of Trump since losing reelection.

“If we’re going to win the midterm elections, we need to get on the same page,” Cornyn said ahead of the meeting. “We’re not on the same page now, and that I think is dangerous.”

Trump pushes Thune on SAVE America Act

Trump has pressed Republicans for months to kill the Senate filibuster and focus on the proof-of-citizenship voting bill, even though Thune has repeatedly told him that neither has the votes.

While Thune remains popular in his conference and cordial with the president, he has spent much of his time lately telling Trump what he doesn’t want to hear. Thune said Tuesday that while Trump and some in their conference want to see the voting bill pass, “it’s just not realistic.”

Thune devoted weeks of floor time to the voting bill earlier this year and has said he supports it. But he has repeatedly said there aren’t enough votes to scrap the filibuster that triggers a 60-vote threshold to pass most bills in the 53-47 Senate. And Democrats are uniformly opposed to the bill.

“I think people at some point have to come to grips with that,” Thune said.

Jalonick, Sloan, Cappelletti and Mascaro write for the Associated Press. AP writers Josh Boak and Kevin Freking contributed to this report.

Diego Cano-Lasso had been looking for an architectural project when he found two hillside lots with spectacular views for sale in Mt. Washington. With work scarce in 2012, the SCI-Arc graduate persuaded his family to invest in the property, and together they bought the two plots for $95,000.

“We are not developers,” he says, “but sometimes you have to jump.”

He didn’t realize the Mt. Washington project would take 12 years to complete, including a shutdown during the COVID-19 pandemic, or that he, his family and friends would end up doing much of the work themselves.

Diego Cano-Lasso stands in front of the hillside lots in 2012. (Hassan Ismail) The lots today. (Myung J. Chun / Los Angeles Times)

As a fan of Los Angeles’ Midcentury Modern architecture, he imagined designing and building a post-and-beam dream home next-door to a similar home by his aunt Lucia Cano and her husband, José Selgas, of the Madrid architecture firm SelgasCano, stretching over the hillside and connecting to the city below.

Growing up in Madrid, the 41-year-old Cano-Lasso first discovered modernist architecture as a child while visiting his grandfather Julio Cano Lasso’s architecture office. There, he saw architectural photographer Julius Shulman’s famous photo of Pierre Koenig’s glass and steel Case Study House No. 22 in West Hollywood, one of L.A.’s most iconic homes and a lasting symbol of midcentury L.A.

“It’s why I moved here,” Cano-Lasso says. “Midcentury design was like a dream to me, because it’s not just an architectural style; it’s a lifestyle.”

But his dream quickly hit a snag when the geotechnical engineer arrived in Mt. Washington to assess the site.

“He said the plots were unbuildable,” Cano-Lasso recalls. “He told me, ‘It is impossible. We cannot even do the soils report, because a big machine can’t fit up here on these narrow streets.’”

Eventually, Cano-Lasso found someone who visited the site and said, “No problem.”

La Canaria House by José Selgas and Lucia Cano features canary yellow aluminum tubes.

Cano-Lasso and his wife, Belén Rodero, in the open kitchen and living area of La Canaria House.

Then the city told him that he didn’t have the right to build on the property. To get permission, Cano-Lasso and his family would need to widen the narrow street, put in a sewer system and add a power pole.

Permits were just as difficult. According to Cano-Lasso, neighbors complained about the project, and the city bureaucracy dragged out the process for three years.

Eventually, he and his crew began digging into the hillside and moved more than 120 truckloads of soil through the steep, narrow streets of Mt. Washington. Without a general contractor, they managed construction themselves and hired different crews for each job.

When COVID-19 hit, construction on the project stopped, and Cano-Lasso returned to Spain. Construction did not restart until 2022, by which time the construction industry had changed and the project felt even more challenging to complete.

“Everything cost more, and there weren’t enough skilled workers,” Cano-Lasso says. As a result, Juan de Santiago, the master builder Cano-Lasso hired and calls “paramount to the project,” was too busy to finish the houses, which had windows and drywall but still needed finishing.

“The only way we could do it was by doing most of the work ourselves and with friends,” Cano-Lasso says.

With help from his brother Alejandro Cano, who is also known as Cato, and his wife, Belén Rodero, they handled everything from carpentry and metal work to lighting, wall finishes, flooring, painting, furniture, custom garage doors and landscaping.

“What I didn’t realize at the time — not even when hundreds of boxes of Moroccan tiles showed up at our door in Madrid — was that I was signing up for both a crash course and a career in tiling,” Cato says of designing murals for three of the Cano Home’s four walls. “I wasn’t expecting to lay a single tile, let alone take on the filing, sanding, rearrangement and all the care and attention required when most tiles come in odd sizes.”

Seven years and plenty of mishaps later, including the time a truck got stuck on the narrow, winding streets of Mt. Washington hauling 42-foot wooden beams, Cano-Lasso finally has a finished home that feels peaceful and warm.

With eye-catching details everywhere, the 2,250-square-foot homes feel relaxed and reflect the style of a Spanish designer inspired by Frank Lloyd Wright and Rudolph Schindler. (Cano-Lasso once lived in Schindler’s Sachs apartment in Silver Lake.) The open floor plan, designed by his father, Spanish architect Diego Cano Pintos, features warm oak floors, inexpensive radiata pine walls and ribbed wood ceilings.

“I am enjoying witnessing the house being lived in,” Cano-Lasso says of renting his house to music producer Jennifer Jimenez and interior designer Hanna Li, pictured right.

The rooms of the Cano House are filled with colorful art, accessories and custom furniture by Andrew Riiska and Cato. “Although we were working toward a deadline on a project that had already been under construction for several years, most pieces of furniture were designed and fabricated on site, with the conviction that we were building something special,” Cato says of setting up a furniture workshop in the garage.

Ceramic rain gutters from Ceramiques Est in Spain have been repurposed as wall-mounted light fixtures for indoor use. Door handles are made from stones found on the beach, and glass light fixtures by Luz Mixtura in Spain echo Robert Irwin’s disc installations. Large boulders from the excavation were brought inside to serve as furniture. Built-ins were made in Spain and shipped to Los Angeles in three containers. Outside, the house is covered in shou sugi ban charred-wood siding, which they installed themselves.

Both homes have similar structures and layouts with four bedrooms and four bathrooms, but La Canaria House features canary yellow powder-coated aluminum tubes inspired by California sunsets, while the Cano House is minimal and warm. “The homes are all about the beams,” Cano-Lasso says, which makes them look like they are floating above the city.

The neutral rooms feel warm and simple, with striking pops of yellow that reflect Southern California’s sunshine and decks that allow a smooth flow from indoors to outdoors.

Li, left, and Jimenez in their music room. The custom DJ workstation, designed by Li, is clad in ceramic tiles designed to look like plywood.

Behind the Cano House, Cano-Lasso created a narrow outdoor space with built-in banquette seating, a raised-bed herb garden and a water fountain. Now the house opens up to the outdoors, making it easy to entertain. “The garden is the coolest feature,” he says. “It really makes the house feel special.”

In some ways, the modern design has revived the midcentury ideal by using post-and-beam construction, an open floor plan, simple materials and easy indoor-outdoor access, all with Cano Lasso’s artistic touch.

But finishing the project also left Cano-Lasso with the large debt he took on — he estimates the project cost about $1 million, although he saved around 40% by acting as his own contractor.

Cano-Lasso and his wife divide their time between La Canaria House and a project in Venice, so he is renting out his dream house to interior designer Hannah Li and music producer Jennifer Jimenez, who grew up together in Pasadena.

Li descends the spiral staircase to the music room on the first floor.

Renting such a personal project might seem overwhelming for the tenants, since the rental included some of Cano-Lasso’s custom furnishings, but the two have made the house their own. They added a striking listening room on the first floor, with a turntable lined with ceramic tiles designed by Li to resemble plywood.

“We’re all artists in this house,” Jimenez says. “We’re always creating here, and other music producers often come over to make music and jam with us. It’s such an inspiring, creative space.”

“It’s a very comfortable house,” adds Li, who enjoys practicing archery on the terrace deck.

The friends’ rental is filled with treasures from their travels, along with pieces Li designed specifically for the home. Li turned one of the first-floor bedrooms into a cozy study by paneling the walls with wood and adding textiles she collected on her trips.

Recently, they hosted a birthday party with art-making stations, candle-making and even goats and they invited their landlord. “Mt. Washington has so many artists, so it’s wonderful to bring everyone together,” Li says.

Cano-Lasso, greets Jimenez, center, and Li on their side-by-side terraces.

When asked if he might consider tackling another hillside project, Cano-Lasso laughs.

“When I finished, I said, ‘I will never do that again,’” he says. “Now I’m starting to think there’s a plot of land for sale nearby. We installed a sewer line, so why not take advantage of it?”

Despite his debt, he isn’t planning to sell the house. “In a way, the project doesn’t finish with construction; I am enjoying witnessing the house being lived in,” he says. Even if he’s not the one living in it.

South Africa’s team has celebrated reaching the World Cup knockout stage for the first time after defeating South Korea 1-0 at Monterrey Stadium in Mexico. A video showed players dancing and chanting in the dressing room.

Kara Zor-El (Milly Alcock) can swill an entire sorority’s supply of booze. As a Kryptonian, her hangovers are instantly cured by a yellow sun. And so director Craig Gillespie’s “Supergirl” follows a trail of empty beer bottles to find Superman’s lonely younger cousin marking her birthday on a solo interstellar bender, pounding shots alongside her dog, Krypto.

Unlike sweet-natured Kal-El (David Corenswet), a.k.a. Clark Kent, who escaped Krypton as a baby, this traumatized 20-something bore witness to their home planet’s long and painful extinction. Playing grief like the sandblasted absence of emotion, Alcock’s Supergirl isn’t in the mood for Metropolis do-gooding. She prefers slumming it at extraterrestrial honky-tonks with suitors who look like armadillo-plated slugs. She’s most visibly depressed when she tries to convince herself she’s having fun.

Who doesn’t want to go on a “Star Wars” cantina crawl? The opening stretch of “Supergirl” is great — Alcock even passes out on a toilet with aplomb. Briefly we hope that Gillespie and screenwriter Ana Nogueira are shaking up the superhero format like a bottle of gas-station champagne. I’d love to see Alcock’s heroine in a grotty, silly “Animal House”-style comedy, out-drinking a galaxy of alien squids. But the limits of Hollywood’s imagination squeeze Supergirl to stop partying and start doing some regular old rescuing. Sigh. Someone’s gotta save franchise movies from themselves.

As usual, there’s a tyke in trouble: 13-year-old Ruthye (Eve Ridley), a fellow orphan with a ramrod disposition and a tidy brunet braid that gives away that her character is modeled on Hailee Steinfeld’s vengeful teenager in “True Grit.” Ruthye wants to hunt and kill the creep who murdered her family. Unlike Supergirl, the child thinks it’s healthier to exorcise — not imbibe — one’s heartache. The duo visit an Epstein-island-like planet of kidnapped breeding women where, in one of the script’s subtler sick horrors, the locals imply that pubescent Ruthye is more valuable than aged 23-year-old Supergirl. (Although some of the caged extras appear to be as ancient as 30.) It’s yet another swiped idea, this one from “Mad Max: Fury Road,” for a minor story beat that’s unnecessary. Still, Alcock reacts with exactly the right note of disdain: “Cool,” she croaks. ‘Nuff said.

They’ve come to this cesspool to find the villainous Krem, an unrecognizably vile Matthias Schoenaerts with a mug that’s been pierced all over like he face-planted into a pile of thumbtacks. His biker-scumbag-times-infinity prosthetic design is fantastic, but what makes it genius is that the makeup team allowed a couple of metal studs to fall off Krem’s forehead before his first close-up. You know, for that lived-in barbarian sex trafficker look.

As Ruthye, Ridley’s crisp British elocution is the cleanest thing in the movie, which is shot by Rob Hardy in shades of mustard smog and latrine brown. Neither Supergirl as a babysitter nor Gillespie as a storyteller let the kid carry her share of the action, but I suspect Ridley has the talent for it. She seizes her small opportunities to impress in the film’s second half. Spitting on a baddie, her righteous loogie stings like a moral disinfectant.

Meanwhile, Jason Momoa swaggers into the fray from the cover of an ’80s hard-rock album with Kiss’ makeup, Manowar’s muscles and Meatloaf’s motorcycle. His character, a blue-skinned bounty hunter, only tangentially slots into the plot. Really, Momoa’s massive presence is here to prove that James Gunn was serious when he announced he was hard-resetting DC Comics’ film canon up to 2023’s “Aquaman and the Lost Kingdom.” Momoa as Aquaman is dead. Long live Momoa as Whoever This Guy Is.

Gillespie likes to champion difficult women, from Tonya Harding in “I, Tonya” to the Dalmatian-skinning Disney villain of “Cruella.” Yet as his budgets have mounted, so has the pressure to make his problematic ladies popular with a mass audience. “Supergirl” feels anxious to entertain. The jokes all have the same sense of snarky humor, no matter what species is cracking them. One scene even has a comic slow clap that, in my theater, didn’t get a reaction. The camera and cutting pace refuse to relax. Major set-piece action shots are impossible to follow. You can’t squint past the distracting lens flares.

Alcock’s wildling Supergirl is the one reason to see the film. As in her too-brief role on the “Game of Thrones” prequel “House of the Dragon” and her rollicking cameo at the end of 2025’s “Superman,” the Australian actor is a striking combination of grounded conviction and otherworldly essence, the ideal one-two for a character who plays anti-gravity fetch with her dog. Floating weightless in the stars, her hair unbrushed and bathrobe-like jacket shrugged on, she makes the impossible look casual. (Supergirl’s iconic red-and-blue minidress is so not her style.)

Alas, Krypto the pup is sidelined early on with a whimper, both from him and us. Maybe he’ll get more screen time when the digital animators figure out how to make him look more realistic. (Between the mutt’s anime eyes and that gawky-phony deer in “Disclosure Day,” are CGI creatures getting worse?)

Grief tethers Supergirl to Ruthye, even though they disagree on how to handle it, and it also seems to repel her from Corenswet’s dopey, innocent Clark Kent. There’s rich irony in the personality contrast between the cousins. Her Kryptonian parents raised her to help humanity; his parents intended their son to rule it. But due to twists of fate, she’s the miserable, maladjusted one. The movie has no time to mine the psychology underneath their clash, let alone summon a sniffle for the other pitiful characters who die during this escapade. Perhaps it’s holding that tension back for a sequel, but I’d rather invest in the characters now.

A flashback to Supergirl’s first touchdown on Earth has the awkwardness of a study-abroad student realizing she doesn’t like her host country at all. Despite our planet seeming to have enforced its monoculture on outer space — an extraterrestrial dive bar band even does “The Girl From Ipanema” — Supergirl appreciates little of it besides some product-placement dog treats and, in a forced touch, the pop music on her headphones as well as crammed into the soundtrack next to Claudia Sarne’s gravelly score. I’ll accept this degenerate Supergirl sporting a retro Blondie shirt, but not her willingly choosing to listen to mopey contemporary Earth jams like Rilo Kiley and a twee cover of Jimmy Eat World over, say, Kryptonian death metal.

Still, the production design has imaginatively askew takes on the mundane: gridded jail cells, plodding space buses, clumsy oxygen suits that shimmy on with a satisfying squeak. When Supergirl makes a pit stop at a celestial convenience store, she samples a snack that I’m forced to call poop-corn. If “Supergirl” sells enough of it, hopefully Alcock can rampage again in a more confident sequel that truly cuts loose.

Richard Montoya of Culture Clash doesn’t mince words when it comes to politics, current events or the state of mainstream Hollywood. But he does sugarcoat his technological limitations as a 67-year-old comic in the dreaded age of video calls with a punchy Chicano twist.

“I’m a low-tech Aztec,” he writes via email when requesting a Zoom link to our Monday interview.

Culture Clash — which includes members Montoya, Ric Salinas and Herbert Sigüenza — arrived on the scene as a guerrilla sketch theater group from the San Francisco Mission District in 1984. By that time, the Chicano movement had reached its peak, thanks to the United Farm Workers labor movement, as well as student activist organizations like Movimiento Estudiantil Chicano de Aztlán (MEChA), which advocated for Chicano unity, political empowerment and educational access.

Luis Valdez, founder of El Teatro Campesino — who began putting on social justice-oriented plays for the striking Delano farmworkers in 1965 — backed the slapstick satire troupe, considering the trio “the cutting edge of fresh, new Latino comic genius.”

Culture Clash stood out in a time when Chicanos became more vocal and visible — and its members challenged an entertainment industry that has historically lacked Latino representation. Between 1993 and 1996, Culture Clash hosted its own self-titled TV show on the syndicated Fox network. The show, which was filmed at the Mayan Theater in downtown Los Angeles, is widely considered the first Latino sketch comedy to air on American television.

Throughout the last four decades, Culture Clash has parodied nearly every prominent Latino figure in history, including Che Guevara, Frida Kahlo, Ritchie Valens, Rita Moreno, Edward James Olmos and others. Its members have mocked hard-shell cholos and gangsters, often by placing them in funny scenarios. For instance, take this clip, in which the trio take on cholo characters and reimagine what it would be like to surf on the Southern California shore.

But they’ve also taken on more serious topics in their classic “Chavez Ravine” play, which looks into one of the darkest chapters in L.A. history: the forceful removal and displacement of families, mostly Mexican, in the 1950s under eminent domain. Recently Montoya attended a live reading adapted by Somos El Teatro, led by Xolo Maridueña, Mariana da Silva and Angel Villalobos at Elysian Park.

“It gives us so much life that people are finding the issues of swindlers, whether it’s gentrification, the taking over of settlements,” says Montoya. “The generational trauma of losing your home in L.A. has never gone away.”

But not every Culture Clash joke or skit has been safe from criticism. Montoya still remembers how a conservative pundit chastised the group for using light humor to discuss the 1992 riots, when LAPD officers were acquitted for using excessive force in the arrest and beating of Rodney King.

“By looking at it and treating it as dynamite, exploding it and then by bringing some levity and a whole lot of seriousness to the Rodney King matter allows us a moment, a fraction of time to look at the issues a little bit differently,” says Montoya. “That laugh allows us a moment to examine it differently.”

On June 27, Culture Clash will return to Grand Performances, a free summer concert series at California Plaza in downtown L.A., with comedic sketches colored by political and social satire. The show, titled “American Payasos! Culture Clash’s End Times Cabaret” will be co-presented with De Los.

While their 40-year-plus legacy might merit a show reminiscent of old goofball skits — like their early 1989 show “The Mission” that poked fun at the problematic Spanish Franciscan missionary Junipero Serra — this will not be an “oldies but goodies show,” as Montoya put it. “We are highly pissed off about a lot of stuff right now.”

“ We’re thinking a lot about the Mexican American patriarchy, Cesar Chavez, Dolores Huerta and it’s time to address some of these things,” says Montoya. “ We want to look at the service workers of Los Angeles, the people that sell cotton candy in MacArthur Park, the people that sell ice cream in Echo Park and the people working the World Cup.”

For the veteran comic, son of the late Chicano poet Jose Montoya, it is also impossible to ignore the immigration enforcement raids that have rattled Los Angeles communities in recent years.

“This is a very strange moment for satirists,” says Montoya. “We have a responsibility to use those tools to say what’s going on in our city and country and provide these moments where we can do a little bit closer examination because the people in power aren’t telling us what’s going on.”

In the last five years, Montoya has fiddled around with digital media, creating sporadic videos featuring old clips of the troupe, as well as videos of Latino media, to connect with technologically diverse audiences of all ages. (One example is a video calling on people to get out the vote, that features clips of Speedy Gonzales and honors political figures like Huerta.)

Although Montoya believes Culture Clash is nearing the end of its career, there’s a question lingering inside his mind: What does a graceful exit look like for a group like Culture Clash, which has never been fully integrated into mainstream Hollywood and still left such a profound legacy in the world of Latino entertainment?

The answer to that might still be unknown, but like any Culture Clash project, it will likely be wickedly satirical and punchy. Says Montoya: “We’re ready to go out with a huge, loud bang that can say something against the power structure.”

Culture Clash will take center stage on June 27 at Grand Performances, in partnership with De Los. Also performing is the retro cumbia-quebradita musician É Arenas (bassist of Chicano Batman), the cumbia-fusion, luchador-masked cumbia group La Nueva Ola de Cumbia, as well as DJ Dali.

Katelyn Ohashi has gone viral for her gymnastics routines.

She has won two ESPY Awards.

She’s a former national champion and All-American who earned 11 perfect scores of 10 during her time at UCLA.

She once took first place in the all-round at an elite national competition, with the now-legendary Simone Biles finishing as runner-up.

But Ohashi apparently has some unfinished business in the sport, as the 29-year-old athlete announced her return to elite gymnastics Tuesday on Instagram.

“After a few years of contemplating whether I wanted to continue chasing a dream I had as a little kid, I have decided to go for it,” Ohashi wrote. “I’m taking it one day at a time; one skill, one event, one dream. I don’t have any regrets in my career and I want to be able to continue saying that no matter what happens. So here goes nothing!”

Katelyn Ohashi accepts the trophy for best play during the 2019 ESPY Awards at Microsoft Theater in Los Angeles.

(Kevin Winter / Getty Images)

Ohashi thanks Pacific Reign Gymnastics, a U.S. national training center in Woodinville, Wash., “for taking a chance on me.” Her post also includes a video of herself at the gym performing a couple of floor skills — with her signature broad smile across her face. The clip uses the same audio of a phone buzzing and ringing as the video Serena Williams posted earlier this month to announce her return to competitive tennis.

Also on Tuesday, Pacific Reign posted on Instagram several photos of Ohashi working out at its facility, along with the caption, “Queen Kate trains to reign.” The gym also announced on its Instagram Story that Ohashi would compete Saturday at the American Classic event in Minneapolis.

Little else is known about Ohashi’s comeback plans. The Times reached out to an agency that represents the gymnast but received no immediate response. Pacific Reign referred questions pertaining to Ohashi to the same agency.

Born in Seattle, Ohashi made her senior elite gymnastics debut at the 2013 American Cup, where she outscored U.S. teammate Biles for all-around gold. Later that year, Biles would win the first of her record six world championships in the all-around.

Ohashi became a fan favorite while competing for the Bruins from 2015 to 2018. She earned nine perfect scores on the floor and two on the beam, with video from a January 2019 floor routine reportedly garnering 240 million views across various platforms (including a repost from future Vice President and Democratic presidential candidate Kamala Harris).

UCLA gymnast Katelyn Ohashi’s viral floor routine.

The same routine won Ohashi two 2019 ESPY Awards, for best play and best viral moment.

In 2018, Ohashi was the co-national champion in the floor exercise and helped the Bruins win their seventh and most recent NCAA title. The 10-time All-American last competed in the 2019 national championships, where she placed third on the beam and helped UCLA finish third in the team competition.

“We can’t wait to see you back on the floor, Kate!” UCLA gymnastics posted Wednesday morning on X.

Ohashi was a featured performer in Biles’ “Gold Over America” gymnastics tours in 2021 and 2024.

The Owens family curse strikes again — and this time it’s here for the next generation.

In the new trailer for “Practical Magic 2,” released Wednesday, Sally’s (Sandra Bullock) daughter Kylie (Joey King) learns about her family’s legacy and curse after her paramour is involved in an accident.

“It’s true, we’re witches and the curse is real,” Sally tells a tearful Kylie, who along with her sister (Maisie Williams) grew up being told stories where everyone who fell in love died. But the siblings didn’t believe they were actually cursed.

“I will never trust you again,” Kylie responds.

Directed by Susanne Bier, the sequel of 1998’s “Practical Magic” will follow Sally and Gillian (Nicole Kidman) as they chase after Kylie who has set off to “fix the curse,” which will put her on a dark path. Along the way, the sisters encounter a mysterious “scholar of the craft” played by Lee Pace.

The trailer also offers a glimpse into Sally and Gillian’s present lives — with the latter teasing the former’s apparent lack of love life. It seems Sally is uninterested in tempting the fates since for generations those who have fallen in love with members of the Owens family have been cursed to die. Even after things take a turn with the tragic accident, it’s clear that their sisterly bond remains strong. While Sally seems worried about her daughters inheriting her powers, the clip also hints that there might be some happier times ahead.

Also returning for the sequel are Dianne Wiest and Stockard Channing, who play Sally and Gilly’s aunts Jet and Franny Owens. In the original film, Jet and Fran are the witchy, eccentric aunts who took in their nieces after their parents died. The “Practical Magic 2” cast also includes Xolo Maridueña, who plays Kylie’s seemingly ill-fated love interest, and Solly McLeod.

Written by Akiva Goldsman, Georgia Pritchett and Kelly Marcel, “Practical Magic 2” is based on the 2021 novel “The Book of Magic,” the fourth and final installment of author Alice Hoffman’s “Practical Magic” series.

“Practical Magic 2” will hit theaters Sept. 11.

NEW YORK — When Varun Venkatesh cast his ballot in New York’s primary this week, he thought about “a good litmus test for me as a voter.” He wanted to know what the candidates are doing for the Palestinian cause.

The 27-year-old Brooklyn resident decided to support Claire Valdez, who was backed by Mayor Zohran Mamdani, over Antonio Reynoso, another progressive who was the choice of the Democratic establishment, because she had “a clear and more consistent stance.”

Valdez triumphed in her congressional primary, as did two other insurgent candidates endorsed by Mamdani, and Israel was a key issue in each of the races. Now the question for Democrats is how many more voters like Venkatesh are out there as the party charts its path toward the November midterms and the next presidential election.

The war in Gaza, which began during Joe Biden’s presidency and undermined Kamala Harris’ bid to replace him, remains an open wound, and how Democrats attempt to stitch it closed will help define their future. A step in any direction risks alienating pieces of the party’s unwieldy coalition at a time when it’s trying to unify around the mission of retaking control of Congress.

“The Israel question has become defining,” said Matt Bennett, who leads the centrist Democratic group Third Way and frequently criticizes progressives as jeopardizing outreach to independent voters. He said some in Mamdani’s camp have embraced “a new level of extremism,” warning that “Republicans are very good at weaponizing crazy ideas on the fringe against mainstream candidates.”

Mamdani has no such concerns as he tries to reshape the Democratic Party from the mayor’s office of the country’s largest city. He sharply criticized the American Israel Public Affairs Committee for defending what he calls “a status quo of immorality” in Gaza, and voters who celebrated his slate’s victories on Tuesday night chanted “Free Palestine.”

The mayor, meanwhile, argues that New York should shape Democrats’ search for their national identity in the coming years.

“When does the race for 2028 begin?” Mamdani asked last week on a stage with his slate of candidates. “It starts now.”

Israel-Palestine conflict animates Democrats’ left flank

Even for a party accustomed to searing debates between progressives and moderates, the schism over Israel has been blistering. Although the U.S. alliance with Israel once had bipartisan support, the ascendancy of Israel’s right wing led by Prime Minister Benjamin Netanyahu strained those ties over the years. Then the war in Gaza shredded them.

Biden was denounced as “Genocide Joe” by pro-Palestinian supporters, who shifted their attention to Harris once she replaced him as the Democratic nominee for president two years ago.

“She was trying to the right thing,” said Jamie Harrison, who led the Democratic National Committee at the time. “It was a hard and awkward place to be in.”

Harrison said the war in Gaza helped cost Harris the state of Michigan, which has a sizable Arab American population. However, he doubts that it was a defining national issue then or now.

“It’s one thing to be in New York. But I can tell you that most places, including where I am in South Carolina, it’s not what people are talking about,” he said. “They are concerned about affording gas and groceries and housing.”

Harrison expects Democrats to look for middle ground in the future, which includes “still supporting Israel’s sovereignty” while calling for “reducing U.S. aid to Israel and changing the nature of the relationship.”

One primary victor blasted the ‘hug Bibi’ strategy

Finding middle ground has been difficult so far, as demonstrated by the primary in New York’s 10th congressional district.

Brad Lander, the former city comptroller backed by Mamdani, successfully challenged U.S. Rep. Dan Goldman in the race.

Both candidates are Jewish, and both have criticized the Israeli government. But Lander says the war in Gaza is a genocide, and Goldman does not.

“Our party needs to admit that Joe Biden’s ‘hug Bibi’ strategy was a catastrophic mistake,” Lander said in his primary victory speech. He added, “We cannot keep paying for Netanyahu’s wars with our tax dollars. Democratic voters are saying this, loud and clear.”

Ari Rassouli, a voter in the district, said the incumbent’s views on Israel were “one of the many reasons that I didn’t like Dan Goldman.”

Describing the war as a genocide, she said “a candidate that is in support of that has no place in our democracy at all.”

While talking to reporters on Tuesday, Lander acknowledged that Israel was among the top issues along with affordability and immigration.

“I like talking to Jewish voters who feel anxiety about the times we live in and say, ‘I have these values, I want to treat everyone like they’re equal and with dignity and created in God’s image. How do we navigate the times we’re in?’” he said.

He added with a smile, “Those are probably the longest conversations at the polls.” ___

Barrow, Peoples and Offenhartz write for the Associated Press. AP writers Anthony Izaguirre and Larry Neumeister contributed to this report.

The Space Shuttle Endeavour is approaching its final mission. But this time, it won’t be blasting into a different atmosphere.

The California Science Center on Wednesday announced its Samuel Oschin Air and Space Center will open to the public on Nov. 13. The $450-million, 200,000-square-foot addition will permanently house the Korean Air Aviation Gallery and the Kent Kresa Space Gallery. But its centerpiece will be the Samuel Oschin Shuttle Gallery, where the Space Shuttle Endeavour will be on permanent display in its vertical “ready-to-launch” position.

When it debuts, the gallery will be the only place in the world with a complete shuttle stack, including orbiter, solid rocket boosters and an external tank.

“I’ve been here a long time. We’ve done a lot of great stuff, but this just keeps getting better. Everybody on our team was so proud of it,” said Jeffrey Rudolph, the Science Center’s president and chief executive. “We are incredibly excited, and we actually think people are gonna come from all over the world to see this thing.”

The Samuel Oschin Air and Space Center will open to the public on Nov. 13. The $450-million, 200,000-square-foot space includes the Samuel Oschin Shuttle Gallery, where the Space Shuttle Endeavour will be on permanent display in launch position.

(Allen J. Schaben / Los Angeles Times)

The Air and Space Center opening will mark the completion of the master plan adapted by the Science Center in 1993. One of three surviving space shuttles, the Endeavour made 25 successful missions into space between 1992 and 2011. In 2012, the shuttle arrived at LAX atop a modified Boeing 747 before being taken on a procession through the streets of Los Angeles to reach Exposition Park. Construction on the Samuel Oschin Air and Space Center, a sleek, 20-story building designed by ZGF Architects, finished in April.

“This shuttle really represents everything that my husband loved,” said Lynda Oschin, the widow of Samuel Oschin. “He was very involved in relativity, exploration, inspiration, children, math, science.”

Dennis R. Jenkins, project director at the California Science Center, estimated that at the height of construction, the team averaged about 400 construction workers a day. For Jenkins, who spent 30 years of his career as a NASA contractor working on space shuttles, seeing the Endeavour in its vertical position is “particularly special.”

“I walk in there 50 times a day, and 50 times a day it takes my breath away,” Jenkins said. “Especially when we have the theatrical lights on instead of the work lights, it is just so stunning to me. I’ve been around space shuttles for exactly 50 years now, and it still takes my breath away.”

Retired astronaut Barbara Morgan, who flew aboard Endeavour in 2007, said the shuttle will inspire space enthusiasts.

“This takes me back! I am right there again, strapped in, excited to launch,” Morgan said in a statement. “But this is even better, because here now is Endeavour for our future generations. She will launch big dreams.”

Jeff Rudolph, president and CEO of the California Science Center, gets a close-up view of the aft section and main engines of the Space Shuttle Endeavour, displayed in a vertical, launch-ready configuration at the new Samuel Oschin Air and Space Center at the California Science Center.

(Allen J. Schaben / Los Angeles Times)

The gallery will open with a video of the shuttle’s history, produced by J.J. Abrams’ company, Bad Robot. The video ends with a simulated launch of the shuttle — complete with fog machines — before the walls retract, letting visitors take in the Endeavour in all its massive glory.

The Endeavour is visible from several angles. Visitors walking around the bend of the center’s second-floor gallery can peek inside the payload bay, which was used to transport cargo like satellites into space. Step downstairs, and viewers can walk underneath the shuttle’s massive engines. To catch a bird’s-eye perspective of the Endeavour, guests can take a glass elevator to the 20th story to look at the shuttle through a glass floor.

“You go up slowly, [the elevator] stops at different levels. You see inside where the payload is, and at every stop you see something else, and when you get to the top and you look down,” Oschin said, the view is just unbelievable. It’s breathtaking. I don’t know what other word I could use.”

Despite the grandeur of the Endeavour, the Science Center didn’t want to glorify it either. Rudolph explained that the tiles on the shuttle’s wings, which were part of its thermal protection system, show the damage on each launch. The shuttle reflects the physical toll space took on the vessel.

“This thing went 25 missions into space, and you can see,” Rudolph said. “When we first got [the Endeavour] at LAX and had it in the United hangar a couple of weeks before we moved it through the street, the United guy said, ‘Do you want us to paint it?’ and we said ‘No! We wouldn’t think of it.’”

Jeff Rudolph, president and CEO of the California Science Center, walks through a doorway toward the Space Shuttle Endeavour during a tour and preview of the new Samuel Oschin Air and Space Center at the California Science Center.

(Allen J. Schaben / Los Angeles Times)

The center’s goal is to present the shuttle as close to mission-ready as possible. Rudolph explained that the exhibit’s hardware, including its bolts and nuts, are unique and extremely specialized. Since the space shuttle program concluded in 2011, many of Endeavour’s missing pieces are no longer produced. Jenkins spent years sourcing pieces of equipment.

However, the largest artifact of the exhibit was the most challenging to source. ET-94 — the exhibit’s ginormous, bright orange external fuel tank— was particularly difficult to get a hold of because it shouldn’t still exist.

“External tanks were only used once. … We jettisoned them on the way to orbit, and it burned up in the atmosphere before it hit Earth,” Jenkins said.

Jenkins explained that the ET-94 was built for a future Columbia Space Shuttle mission, but after the Columbia was destroyed, the fuel tank was used for research. To complete the Endeavour’s full shuttle stack, Jenkins persuaded NASA to donate the $65 million to the Science Center.

The Endeavour will not be alone in the gallery. Plans are in the works for a variety of unique, ancillary creations including a 15-second slide that mimics the path of reentry as a space shuttle descends back into Earth’s atmosphere. Visitors will start inside a dark slide that gives way to an orange glow followed by a double sonic boom. The slide finishes with an S turn, which the Endeavour executed to burn energy.

For Rudolph, the effort represents a giant leap toward the Science Center’s goal of making space exciting for “the next generation of scientists, engineers and explorers.”

“I just can’t wait to stand there and watch people come in, and kids especially. There are going to be a lot of tears looking at this, that I can tell you, happy tears,” Oschin said. “It’s something for children. Children are our future and our hopes for the future. This is going to be very inspiring for them and extremely exciting for them to see.”

Tokyo isn’t one city. It’s many cities, and each is its own universe.

Occasionally — at a certain subterranean bar big enough for only seven people, or a sushi counter on the fifth floor of a random office building — I feel as if I’m stepping into another time or dimension.

Finding your way to any of the millions of restaurants, cafes, bars and shops (some are micro-businesses in an alley in a village in the city) can be like figuring out a many-layered puzzle. Like Tokyo, each experience is dense.

Use these handy dining guides for all of your summer travel, near and far.

The Japanese word for hospitality is omotenashi. But its meaning goes far beyond just customer service. Even the translations “wholehearted, selfless hospitality” or “flawless care” don’t cover all of the philosophies that make up omotenashi: magokoro (“true heart” or “sincere feeling”), ichigo ichie (“one time, one meeting”) and kuuki wo yomu (“reading the air”). The last refers to the intuitive ability to anticipate guests’ needs before they ask — an idea rooted in tea ceremony, which is rooted in Buddhism. It’s hard to grasp that level of selflessness.

Here are some of our favorite places to lose yourself in Tokyo. — Betty Hallock

WASHINGTON — The Senate for the first time approved a war powers resolution Tuesday seeking to block U.S. military action against Iran, as lawmakers warily watch President Trump’s efforts to resolve a conflict that the administration launched on its own and now needs Congress to fund.

It was the 10th time the Senate has tried to stop the war, and the outcome, on a vote of 50 to 48, was a stunning turnaround from past efforts. While the resolution is largely symbolic, and does not fully carry the force of law, it reflects the growing concerns from a number of Republican lawmakers in both the House and Senate over both the war and the deal Trump struck with Iran to end it. The House approved the resolution earlier this month.

“Time after time, the vast majority of Senate Republicans sided with Trump and his war instead of the American people,” said Senate Democratic Leader Chuck Schumer of New York.

Schumer said Americans have paid the price for “Trump’s historic blunder in Iran. It’ll go down in the history books as one of the worst foreign policy forays America has ever made.”

In the past, as many as four GOP senators have voted for the war powers resolutions, and they did so Tuesday — Republicans Lisa Murkowski of Alaska, Susan Collins of Maine, Rand Paul of Kentucky and Bill Cassidy of Louisiana. One Democrat, Sen. John Fetterman of Pennsylvania, voted against the resolution.

On this vote, the absence of two Republicans, including Sen. Mitch McConnell of Kentucky, who was admitted to the hospital recently for an undisclosed matter, left the GOP without a full majority to halt the effort. Sen. Dave McCormick (R-Pa.) also missed the vote.

The vote also comes as the Pentagon is seeking $80 billion from Congress, mostly for the Iran war as it backfills munitions and stockpiles.

Trump to meet senators as Republicans balk at Iran deal

Trump himself is headed to the Capitol this week to meet with GOP senators as Vice President JD Vance has been overseas working to negotiate with Iran to end its nuclear ambitions — which had been among the stated rationales for the war.

The president is not pleased with the Republicans who have been critical of the deal he struck with Iran, according to one GOP senator granted anonymity to discuss the private dynamics.

The terms of the Iran deal are spelled out in a memorandum of understanding that Trump signed last week, starting a 60-day clock for the sides to reach a broader agreement over ending Iran’s nuclear program.

But Republicans have particularly objected to the $300-billion fund to help Iran rebuild, which is far greater than the $1.7 billion then-President Obama refunded the country under his administration’s 2015 Iran deal.

“I believe President Trump is getting very poor advice on Iran,” Sen. Ted Cruz (R-Texas) said last week on his podcast after the deal was made public.

Democrats have repeatedly forced Iran votes

Over and again, Democrats have been forcing votes on the Iran war, almost since the U.S. and Israel launched missile strikes on Iran on Feb. 28.

Nearly each week they’re in session, the Senate Democrats have put forward war powers resolutions, but they have failed to amass the majority needed for passage in the narrowly split chamber, where Trump’s Republican Party holds the majority.

The House pushed its own version to passage earlier this month, with four Republicans joining all Democrats in approving the war powers resolution, over the objections of House Speaker Mike Johnson (R-La.) and the GOP leadership.

While such resolutions do not go to the president for his signature, passage stands as a powerful, if symbolic, statement from Congress and a rebuke of the administration’s military actions.

Sen. Tim Kaine, the Democrat from Virginia who has led his party’s efforts, said the pause in warfighting, as Trump’s team works to shore up a fragile ceasefire, provides the perfect time for Congress to step back and assess “what should the next chapter be.”

Hegseth seeks $80 billion from Congress for the Iran war

Defense Secretary Pete Hegseth is also on Capitol Hill this week, seeking roughly $80 billion in supplemental funding to shore up defense supplies in the aftermath of the Iran war, which is drawing scrutiny when many Americans are reeling from high gas prices and costs of living.

The Pentagon early on had estimated the war cost $11.3 billion during its first week, and experts have put the overall price tag at close to $100 billion.

The Defense Department’s funding request is part of a broader beef-up of military money the White House wants as part of its budget request this year.

The Trump administration is seeking $1.5 trillion in defense funding this year — a 50% increase — including $350 billion that it wants in a so-called budget reconciliation package. Johnson and GOP leaders are working to pass that package on their own, over the objections of Democrats, much the way they approved Trump’s big tax cuts bill last year.

The 2025 tax cuts package also included a sizable increase of about $175 billion for the military.

Mascaro writes for the Associated Press.

Time to break out the “Paper Rings”: Taylor Swift and Travis Kelce’s trip down the aisle is just around the corner.

Since Swift and Kelce’s engagement in August 2025, fans have been wondering when, where and how they’ll tie the knot — and looking for clues anywhere they can.

All of the signs indicate that wedding bells should be ringing any day now. Here’s everything we know so far.

The reception may take place at Madison Square Garden

Leave it to Taylor “Eras Tour” Swift to hold her wedding at the most iconic arena in the U.S. In early June, TMZ reported that the Swift-Kelce wedding would take place at New York City’s Madison Square Garden, with over 1,000 attendees.

Fans immediately jumped on board with the theory, since Taylor has played the venue eight times and famously loves the Big Apple. There’s also notably a “Blank Space” on the MSG calendar between June 28 and July 7. According to TMZ, Swift even secretly had a “massive stage” built offsite to use at the venue, which can hold up to 22,000 people.

The tabloid also broke the news that MSG was not the couple’s first choice wedding venue. Allegedly, they were hoping to tie the knot in Rhode Island, where Swift has an oceanside property, on June 13, but that plan fell through after it was leaked to the press.

Importantly, sources also said that while the celebratory reception is set for MSG, the ceremony will take place beforehand “somewhere more intimate.” Could Rhode Island still be on the table?

It could happen any day now (or maybe it already has?)

Though Swift and Kelce have kept their official wedding date under wraps, signs point to the upcoming Fourth of July weekend. Back in April, Page Six reported that the date was set for July 3, and last Monday, New York Mayor Zohran Mamdani helped legitimize the rumor at a press conference, addressing the city’s preparedness for a holiday weekend with a World Cup matchup at MetLife Stadium along with other high-profile events.

“We are the biggest city in the country,” he said. “We are used to big events, and we are incredibly excited for this one. We know it coincides with July 4, America 250, Taylor Swift’s wedding all happening at the same time.”

However, given TMZ’s report that the nuptials will take place before the massive reception, some outlets are speculating that vows may have already been exchanged.

The bachelor and bachelorette parties may have already gone down

Sightings of Swift and Kelce gathering separately in single-sex groups have prompted major speculation about the stars’ respective bachelor and bachelorette parties.

On Wednesday night, photographers captured Kelce meeting up with pals, including his brother and podcast co-host Jason Kelce, former Kansas City Chiefs teammate Ross Travis and comedian Druski at the members-only Bird Streets Club in West Hollywood.

Across the country, paparazzi captured images of an all-female group — that appears to include Swift and her childhood friend Abigail Anderson Berard — gathering at Swift’s Rhode Island estate. Armed security guards were also spotted on the property.

Rumors of guest list drama are swirling

Unsurprisingly, Swift and Kelce have been tight-lipped about wedding details, but keeping an event this huge under wraps is an uphill battle. Page Six linked the duo to discreet wedding planner Mark Seed, and multiple outlets report that the couple required guests to sign a strict nondisclosure agreement before receiving any revealing information.

Even with the secrecy, rumors of drama have emerged. Swift’s ex-BFF Blake Lively (and her husband Ryan Reynolds) were reportedly not invited to the celebration, and Star reported that a number of guests complained about being invited without a plus one. These kinds of issues might sound familiar to anyone who’s ever planned a wedding — and most people don’t have to add security concerns into the equation.

Welcome back to The Times’ Lakers newsletter, where the offseason is back in full swing.

The Lakers have the 25th pick in the NBA draft, which begins Tuesday at Barclays Center, tipping off what is expected to be a consequential, potentially roster-flipping offseason. Next week, the free agency frenzy kicks up. Players including Austin Reaves, Deandre Ayton and Marcus Smart must decide on their player options by June 29 at 8:59 p.m. PT. Free agents can start negotiations at 3 p.m. on June 30 and put pen to paper as soon as July 6 at 9:01 a.m.

Don’t expect the Lakers’ biggest question to be resolved by then.

LeBron James may drag his retirement debate into the summer as the 41-year-old considers stretching his career to a record-extending 24th season. Before we worry about one career that feels like it will never end, we’ll look at careers that are just starting.

With the 25th overall pick…

The crowd of reporters gathered around AJ Dybantsa’s table was four or five rows deep before the potential No. 1 pick even arrived for his interview at the NBA’s predraft media availability Monday. Across the ballroom at this luxe Manhattan hotel, Kansas guard Darryn Peterson, who any other year could be a lock for the top selection, fielded questions from an equally large gaggle of reporters.

This draft class is drawing attention for its incredible talent and depth. ESPN front office insider Bobby Marks said there are “three No. 1 picks” between Dybantsa, Peterson and Duke’s Cameron Boozer. The excitement shouldn’t stop at just the top of the group.

“What I love about the draft is Jalen Brunson went 33rd, Tyrese Maxey went 21st, Shai Gilgeous-Alexander went 11th, and Steph Curry went right after Johnny Flynn and Ricky Rubio,” ESPN college basketball analyst Fran Fraschilla said. “… Love the top four, also know this draft is such an inexact science.”

This draft is considered one of the deepest in a generation, even outside of the clear-cut top four of Dybantsa, Peterson, Boozer and North Carolina’s Caleb Wilson. But after the forward-heavy top tier, the group probably will be remembered for its talented and diverse group of guards. That’s not necessarily the best fit for the Lakers, who are targeting wings and bigs to build around Luka Doncic.

Mock drafts put prospects including Dailyn Swain, Isaiah Evans, Chris Cenac Jr., Tarris Reed, Henri Veesaar and Jayden Quaintance within the range of the Lakers’ 25th pick. But the draft unravels in unpredictable ways. Teams are approaching the later picks with caution and curiosity.

(Thuc Nhi Nguyen / Los Angeles Times)

“A lot of the teams in the 20s right now are trying to figure out who’s going to be there,” ESPN draft analyst Jeremy Woo said on a conference call with reporters. “I think 25 is right around where the talent pool kind of drops into that next tier of guys.”

Evans, a 6-foot-6 guard from Duke, said he wasn’t offended by prognostications that place him late in the first round. He cares only that he goes to “a city that is going to accept me.” Evans shot 36.1% from three-point range on 7.4 attempts per game last season for the Blue Devils, averaging 15 points and 3.2 rebounds.

Seeing the long list of sleeper picks who turned into All-Stars, MVPs and champions showed Swain that when he hears his name called Tuesday isn’t matter as consequential as what he plans to do next.

“Once I get drafted, whenever that is, I have the same opportunity as the next person,” Swain said. “So I’m just trying to take complete advantage of that and make the most of my opportunity.”

In young players, the Lakers look for “game processors, highly competitive, basketball IQ, team-first players,” president of basketball operations Rob Pelinka said at the end of the season. Those are qualities the Lakers can develop in their next key role player.

Pelinka called player development “a very important area for us to have Lakers excellence in.” Less than 24 hours after being eliminated by a much deeper Thunder team, Pelinka cited Oklahoma City second-year guard Ajay Mitchell as a success story the Lakers want to emulate. The 2024 second-round pick was a playoff game changer for the Thunder, averaging 22.5 points and six assists while shooting 56.3% from the field during Oklahoma City’s second-round sweep.

The Lakers, one year removed from drafting a promising player in the second round, are looking for similar growth from Adou Thiero.

The 6-foot-8 forward has the youth and athleticism Pelinka called “North Stars” for the team’s roster decisions. Compared to his older, ground-bound teammates, Thiero looked ready to leave the atmosphere on some of his rebound attempts.

Coach JJ Redick said multiple times during the season that this would be an important summer for Thiero. His rookie season was marred by persistent knee injuries, first to his surgically repaired left knee and then to his right knee after an MCL sprain kept him sidelined for months. He was not able to participate in summer league or much of the preseason.

Thiero said after the season that he anticipated playing summer league games with his offseason priority being to develop his shooting.

“Just getting the confidence to take the open shot when it’s there,” Thiero said. “Just keep building on my offensive game, try and get more comfortable with the speed of the NBA. … Try to be a little bit more of an impact player for the team.”

Thiero attempted three three-pointers in his rookie season and made one. During his G League appearances, Theiro averaged 15.4 points, shooting 62.5% from the field, and was nine for 14 from three. In college, he was a career 28.4% three-point shooter with 74 attempts in three years.

The Lakers start summer league in San Francisco on July 3 in the California Classic. The four-team event also includes the host Golden State Warriors, San Antonio Spurs and the Miami Heat.

Favorite thing I ate this week

Pesto ham sandwich with roasted tomato soup.

(Thuc Nhi Nguyen / Los Angeles Times)

Before starting the summer league circuit next month, I enjoyed some time at home this June. One of my favorite meals to make at home is a pesto sandwich with homemade roasted tomato soup. I usually like roasted chicken, but I used the ham I already had on hand on sourdough with harvarti and provolone cheese and homemade pesto. I make the pesto with basil, walnuts, Parmesan cheese, garlic and lemon. Instead of olive oil, I use avocado to bind everything together so it doesn’t soak through the bread as easily. You’re welcome to steal this hack for your next sandwich.

In case you missed it

Lakers likely to select a big man or wing in first round of NBA draft

Plaschke: Lawrence Tanter was the Lakers’ smooth operator whose subtlety spoke volumes

Lakers promote Lawrence Tanter to special advisor for game presentation

Until next time…

As always, pass along your thoughts to me at thucnhi.nguyen@latimes.com, and please consider subscribing if you like our work!

L.A. bars offer something for everyone. Want to sip amaro cocktails in a moody Echo Park bar? We’ve got the spot for you. Or maybe you prefer a beachside tiki haunt with frozen Dole Whip and crab rangoons. What about a sprawling West Hollywood rooftop overlooking the hills, or a destination for locally produced sake in Sawtelle Japantown? Much like the drinks that flow from these newly established institutions, the options are endless.

A neighborhood favorite dive relaunched in its former Echo Park location, while a new gastropub brings Korean bar culture to Highland Park. In West Hollywood, a karaoke lounge elevates the art with luxurious surroundings, and just next door, a lesbian-owned LGBTQ+ club debuted just in time for Pride Month. Tapas seemingly is taking the city by storm, with two Spanish cafes on opposite sides of the city offering pintxos and bocaditos alongside vermouth and Tempranillo wines.

Nonalcoholic options are more thoughtful than ever, presenting those of us who aren’t drinkers with smart and layered concoctions that prove just as complex as their boozy counterparts. In Los Feliz, a veteran bar team launched a cocktail destination that puts the focus on L.A.’s seasonal produce, and in Beverly Hills, a three-Michelin-starred chef is behind a stylish new restaurant and lounge in a luxury retail shop. Here are 23 of L.A.’s best new bars to visit this summer and beyond. — Danielle Dorsey

Published on
23/06/2026 – 10:53 GMT+2

SpaceX shares closed at $154.63 on Monday, down around 16% on the day. That leaves them within touching distance of the $150 at which the shares first changed hands when public trading opened, the level set once underwriters finished building the order book, though still some way above the $135 price at which the IPO itself was struck.

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The slide has erased more than $600 billion (€524.2bn) in market value over three trading days, dragging the company down from a peak that had lifted it past Amazon and, fleetingly, Microsoft, in terms of market capitalisation.

Its valuation now sits just above $2 trillion (€1.74tn), below Taiwan Semiconductor Manufacturing Company (TSMC), making it the seventh most valuable company in the world.

The retreat unwinds a remarkable opening run.

After the open at around $150 on 12 June, shares climbed to almost $226 by 16 June, a gain of roughly two-thirds before the company had published a single set of results as a public firm.

Currently, SpaceX is trading over 30% lower than the intraday high of around $226 and only 3% higher than the opening price.

That rally always rested on a thin pool of freely traded shares and lofty expectations for its AI ambitions, leaving it exposed to a sharp reversal once sentiment turned.

Tapping debt to fund the AI push

The latest leg down on Monday coincided with SpaceX’s first move into the corporate debt market.

The company announced an inaugural offering of senior unsecured notes, with people familiar with the plans reportedly putting the target at around $20 billion (€17.4bn).

The proceeds are earmarked chiefly to repay a bridge loan taken on during its merger with Elon Musk’s AI venture xAI earlier this year, with the remainder going to general corporate purposes.

The debut bond sale follows the investment-grade credit ratings awarded last Friday by all three major agencies, Moody’s at Baa1, Fitch at BBB+ and S&P Global at BBB, which open the door to cheaper borrowing and a wider pool of institutional lenders.

In documents tied to the offering, SpaceX also disclosed a cash position of roughly $100.8 billion (€88bn) as of 19 June, much of it raised in the IPO, alongside $29.1 billion (€25.4bn) of long-term debt.

That mix of vast cash reserves and fresh borrowing so soon after a record flotation has unsettled some investors, who see the rapid fundraising as a sign of heavy spending ahead as SpaceX scales its AI and data centre plans.

Opting for debt rather than new shares does, however, spare existing shareholders further dilution, preserving their economic stake while the company funds its expansion.

EASYJET is launching a new international flight route from a UK airport for the first time.

The new route will begin operating flights in 2027.

EasyJet will launch its first international route out of Newquay Airport in Cornwall next year.

Flying between Newquay Airport and Geneva Airport in Switzerland, the route is expected to launch on January 16, 2027.

The seasonal route will then operate once a week on Saturdays until February 27, 2027.

Currently, EasyJet only provides regional and domestic flights from the coastal airport, so the new flight path will be the first international destination for the airline.

FLIGHT FIGHT

Moment hero easyJet captain tackles passenger to floor seconds before take-off

SUN ESCAPE

EasyJet’s ‘sun-guaranteed’ breaks this summer – with VERY cheap holidays

A further 12 routes are also being launched by EasyJet over the next year, including new routes from London Luton to Kittilä in Finland, beginning on November 24, and from Strasbourg in France launching on November 29.

The airline will be operating flights to Kittilä twice a week, on Tuesdays and Saturdays, and fly to Strasbourg four times a week on Mondays, Thursdays, Fridays and Sundays.

New flights from London Southend to Edinburgh, Scotland, will launch on October 25 from £23.99 per person.

The flights will operate twice a week on Thursdays and Sundays between the two cities.

From Birmingham, travellers will be able to fly to Copenhagen, Denmark, from November 16.

Costing from £31.99 per person, the flights will head out twice a week on Mondays and Fridays.

Those living near Manchester can head to Cairo, Egypt from November 9 – the only direct route from the city to the ‘Sphinx’ airport.

Flights will set you back from £131.99 per person and the route operates twice weekly on Mondays and Fridays.

Two new routes are launching from Liverpool Airport to Kittilä in Finland and Reykjavik in Iceland.

Costing from £30.99 per person, flights to Kittilä will begin on November 25 and operate out of the airport twice a week on Wednesdays and Saturdays.

Flights to Reykjavik will launch even earlier, starting on November 2 and will take off twice a week on Mondays and Fridays, costing from £43.99 per person.

Newcastle is set to get several new destinations by the end of the year, including Barcelona in Spain, Berlin in Germany, Copenhagen in Denmark, Hurghada in Egypt and Rovaniemi in Finland.

First to launch will be the flights to Barcelona on October 25, costing from £28.99 per person and operating twice weekly on Fridays and Sundays.

On October 27, flights to Hurghada will launch heading out on Tuesdays and Saturdays and costing from £121.99 per person.

Copenhagen flights are set to begin on November 5, followed by Berlin on November 20 and finally Rovaniemi on November 25.

“Do you have an extra ticket?” a man shouted outside SoFi Stadium last Thursday.

The World Cup has been drawing fans from around the globe. But for many, getting a seat in the stadium has come at a steep price.

Some were lucky enough to nab $400 to $500 tickets through official World Cup lotteries, others paid thousands of dollars to catch the action IRL. Tickets for the upcoming USA versus Turkey match were selling for more than $1,400 on resale sites.

The demand has been so high that authorities have been warning fans about how to avoid ticket scams.

As crowds flocked into the stadium, we asked attendees about how much they paid to get into the most-watched sporting event in the world. Here’s what they shared.

Their responses have been lightly edited for length and clarity.

Luis Moreno, Luis Moreno Jr., Angelica Castellano, Diana Moreno and Ramon Aguilera of Orange County

Luis Moreno, Luis Moreno Jr., Angelica Castellanos, Diana Moreno and Ramon Aguilera sport Mexico gear.

How much did you pay for your tickets?

Diana: We don’t want to say because I don’t want our parents to know.

*Whispers* We paid retail. It was like $500 per ticket. For Father’s Day, we wanted to make sure he got to enjoy it.

Why did you want to attend the World Cup?

Castellano: We went in ‘86 in Mexico, ‘94 in Pasadena and now here. We’re excited because I want to enjoy it with my kids. If we didn’t come, I would’ve been sad because they need to see how it is.

Diana: Now, it’s our turn. Even though [today’s match] is not our country, we still had to come and experience it. We’ll watch our team play later on the big screen.

Did you have to give up anything to be here?

Diana: Work, but that doesn’t matter. This is more important. Time with family.

Luis Jr.: Sleep. [Laughs]

Diana: It’s Thursday. We’re out here watching the game, we’re drinking, so there’s no complaints.

Was it worth it?

Diana: Absolutely. No matter what happens today. The fact that we’re here, it’s already a success.

Tell me about your outfit. You’re rocking Paisaboys, an L.A. brand.

Diana: I got the Paisaboys shirt on, repping. I know they have a collaboration with Nike. I got my Nike shoes on and I’m just ready to have a good time. My mom sewed her top last night. She wanted to add a little touch to it.

Angelica: Yes! This is an old, old, old jacket.

Diana: My dad’s outfit is sponsored by me. All Adidas, Father’s Day gift.

Luis Sr.: I got lucky this year.

Adam Chapman and Sarah Harrell of Washington, D.C.

Adam Chapman and Sarah Harrell.

How much did you pay for tickets?

Harrell: We went to two games: USA versus Paraguay [in Los Angeles] and Senegal versus France in New Jersey/New York.

Chapman: The L.A. tickets were way more expensive. We bought them presale for like $1,940, but the [seats] were still very high in the arena and the resale prices are actually cheaper than the ones we bought on presale. It’s horrible. [Laughs]

Why did you want to come to the World Cup?

Chapman: This is my first men’s World Cup. I went to the women’s World Cup in Australia a couple years ago. The last time the U.S. had a men’s World Cup here was like forever ago. We’re probably not going to have another in our lifetime, so I really wanted to make sure we had a chance to go to some games.

Did you have to give up anything to be here?

Harrell: We’re moving the day we get back, so we were packing until the moment we got here. Some of this gear was last-minute purchasing in order to make that work. Also, we took a six-hour plane ride, middle seats. We really committed to get here. We got cat sitters, we both took days off from work, the whole thing.

Was it worth it?

Chapman: Yeah, just for the experience. It’s more money than we would’ve wanted to pay but yeah.

Harrell: We bought the tickets like a year and a half ago, so it’s been on the calendar forever. We ended up getting to bring my brother and his best friend to celebrate his 40th birthday, so it sort just worked out for all of us.

Laila Samimi and Elizabeth Cambage of Los Angeles

Laila Samimi and Elizabeth Cambage.

How much did you pay for your ticket?

Cambage: Nothing. Sorry.

Samimi: We were blessed.

Why did you want to attend the World Cup?

Cambage: This is my first fútbol game ever. I wanted to come cause it’s L.A. Yay sports! It’s a once-in-a-lifetime opportunity. Let’s get out there and get into it.

Samimi: I’m born and raised in L.A. so I’m happy to see the World Cup here.

Tell me about your outfit inspiration.

Samimi: I’m wearing Honor the Gift, Russell Westbrook’s brand, a Nike top, my shorts are from a random boutique in L.A. and Jordan shoes.

Cambage: I just went crazy at the Nike store. I’m not gonna lie. We just came from the Nike store. I’m reppin’ USA today. Yes, I am Australian, but I do live in America and USA is AUS. [Laughs]

Kenan Sahbaz of St. Louis and family

Bosnia and Herzegovina fans cheer on their team.

How much did you pay for your ticket?

I got mine directly through the FIFA website. We paid $500 a piece. I brought my son, my cousins and their kids.

Why did you want to attend the World Cup?

Sahbaz: This is our very first World Cup. It’s a historic event for our very small country, Bosnia and Herzegovina. This is a huge accomplishment in the past 12 years. This is going to be the first time we’ve made it here again. We’ve got a really good squad and I think we can do some amazing things for our country. This is a time when we really need some support and joy in the country, and no better way to do it than at the World Cup.

Who’s your favorite player?

Kids: Džeko.

Did you have to give up anything to be here?

Sahbaz: A lot. Work. Time. We were initially going to go on vacation to the Bahamas, but I asked him either the Bahamas or the World Cup. So when we found out that we made it, it was the World Cup. We canceled everything else. We even went to the qualifiers in Wales and that was a once-in-a-lifetime experience as well. There was just no way we were going to miss it.

Was it worth it?

Sahbaz: 100%. Win or lose, we still win today.

Daniel Henriquez and David Njenga of Seattle

David Njenga, left, sports Kenya gear, while Daniel Henriquez cheers for El Salvador.

How much did you pay for your ticket?

Henriquez: This match was $500 each. We bought it in like October of last year.

Why did you want to attend the World Cup?

Njenga: Because this is the World Cup. You have to go to a World Cup. This is my second one. I was in Qatar for the last World Cup.

Henriquez: The energy! World Cup baby!

Njenga: There’s people from all over the world. We are all assembled here to enjoy this moment.

Henriquez: This is what happens when all the world comes together. This is our utopia. We all love each other. We’re all here for one thing, to support our country.

Did you have to give up anything to be here?

Njenga: My job. I have to be at work right now, but I took the day off. I don’t mind.

Henriquez: I’m a nurse for the fire department. My boss was awesome. She gave me a day off. I love my boss Nancy. Go Nancy!

Was it worth it?

Njenga: It is worth every penny. It’s not even the money. It’s the experience. After this, we head to San Francisco for another game.

Henriquez: Then we’re heading to Vancouver and then we have another game in Seattle.

Njenga: We’re going to six games [in total]. Our Houston tickets were the cheapest. They were about $400.

Cindy Vazquez of Grenada Hills

Cindy Vazquez Zavala reps Mexico with her outfit.

How much did you pay for your ticket?

It was free.99. Shh!

Why did you want to come to the World Cup?

This is my first World Cup. The Jordan team invited me to attend this game, so lucky me. That’s why I’m wearing Jordans today. I’m in the industry so they invited a few employees from neighborhood stores to come.

Tell us about your outfit inspiration.

Today there’s a Mexico game, so I still gotta rep even though I’m attending this match [Switzerland versus Bosnia and Herzegovina]. The outfit is a Nike T90 jersey and my lace is from Amazon. I got the little [soccer] ball, the little World Cup and teddy bear from the gas station. I needed it.

Did you have to give up anything to be here?

I actually had to request PTO to attend, but the store is still running without me. Right after this game, I actually have to jet back. I work at Feature, which is a sneaker boutique in Studio City. S/O Feature for allowing me to come here!

Fabian Almiron of Spain

Fabian Almiron, originally from Paraguay but currently living in Spain, rides Metro to the game.

How much did you pay for your ticket?

I paid $1,100 for the first game [June 12], $290 for the Turkey game [June 19] and the last game with Australia was $170 [June 25].

Why did you want to come to the World Cup?

This is my first World Cup. I live in Spain, but I’m rooting for Paraguay. I’m very excited to be seeing them participate after 16 years.

Did you have to give up anything to be here?

I used like 20 to 25 days of vacation time to come see the World Cup.

Was it worth it?

Yes!

Sunny Kwong, Sam Mallari, Antonio Evangelista, Michael Evangelista of San Diego and Los Angeles

Antonio Evangelista, Sam Mallari, Michael Evangelista and Sunny Kwong are decked out in Bosnia and Herzegovina gear.

How much did you pay for your ticket?

Michael: We paid $400 each. We got lucky with the last chance lottery. They released the tickets a few months ago.

Why did you want to attend the World Cup?

Michael: We’re rooting for Bosnia this time. This is our first World Cup.

Antonio: It’s a lifelong dream. I’ve loved the sport ever since I was in the Philippines.

Did you have to give up anything to be here?

Michael: Most of us had the day off. I worked in the morning at like 6 a.m. and then I’m going to work afterward. I really wanted to carve out time to be there.

Mallari: I took time off because this is my first soccer game ever and I wanted to experience the World Cup with true fans.

Was it worth it?

Michael: 100%. It’s honestly a once-in-a-lifetime experience. It’s been awesome to be here with my dad. We watched the last World Cup finals and we were literally in tears. I know he’s been playing soccer ever since he was in the Philippines military.

Antonio: 20 years.

Becky Clift of Orange County and William Wagner of San Diego

Colleagues William Wagner and Becky Clift sport traditional festival inspired outfits to cheer on Switzerland.

How much did you pay for your ticket?

Clift: They were gifted to us.

Wagner: We’re a fortunate group.

Why did you want to come to the World Cup?

Clift: The World Cup in America is super fun, so we wanted to support it and be a part of it. This was the game that we got tickets for, so we decided to dress up a little bit and have some fun.

Wagner: We’re both soccer people. We both speak the world’s language, so we’re happy to be a part of it here.

Tell me about your outfit inspiration.

Wagner: I have a very close Swiss friend who was equipped for this. One quick phone call and here I am.

Clift: Then I had to get mine so I could support.

Did you have to give up anything to be here?

Wagner: A full day of work. We’re both engineers. We know each other through work.

Was it worth it?

Wagner: We’ll find out.

Clift: Heck yeah!

Jorge Morales of Topanga

Jorge Morales holds out a ball he got at the World Cup opener in Mexico City.

How much did you pay for tickets?

It was between $800 to $900 for my USA versus Paraguay tickets. I bought them through Seat Geek.

Why did you want to come to the World Cup?

I wanted to experience it not just in Los Angeles, but I also wanted to experience it in Mexico. I’m going to three games in Los Angeles and four in Mexico City. Going to my first World Cup in Mexico City was a whole different ballgame. Mexico played in their home country and they won. It was like pandemonium. Even though it was raining over there at the time, it was still a lot of fun. Everyone was hugging each other. I’m looking at you, New York Knicks fans. [Laughs]

Did you have to give up anything to be here?

I’m used to traveling, so I’m like this ain’t nothing. I just wanted to experience a World Cup game and the fact that it’s in three countries, you’re not going to experience that any other time. It’s the one and only World Cup where you’re going to see three countries hosting it.

Alexi Kulik, Marcella Harkness, Luke Kulik and Ian Harkness of San Diego

Switzerland fans Alexi Kulik, Marcella Harkness, Luke Kulik and Ian Harkness.

How much did you pay for your ticket?

Ian: $450 per ticket.

Alexi: We won the ticket lottery. That’s the only way ‘cause the resale is expensive.

Why did you want to attend the World Cup?

Marcella: This is our first World Cup!

Ian: I was at the Switzerland versus Qatar game. Similar outfit. We got it dialed this time. Lots of fun. Tough ending, but what are you going to do?

Luke: We wanted to support Switzerland. Everyone in the family is Swiss. It’s fun to go to a World Cup game. We were just excited to get tickets. I think it’s a great way for the family to spend time together and a good excuse to get out of work.

Did you have to give up anything to be here?

Luke: Time off work. Time to come here. We drove up here. I don’t think we gave up much. We just enjoy being here.

Ian: $450.

Alexi: And we woke up at 5 a.m., so that we could come up here and spend the day together.

Was it worth it?

All: Yes!

Anja Gegic, Dino Gegic, Benjamin Mustafic, Nordin Kapic, Armin Kapic of Los Angeles

Bosnia and Herzegovina fans Anja Gegic, Dino Gegic, Benjamin Mustafic, Nordin Kapic and Armin Kapic.

How much did you pay for your ticket?

Nordin: $3,000. We’re like literally on the field.

Anja: $450. In L.A., we got it like that.

Why did you want to attend the World Cup?

Anja: This is our second time ever qualifying for the World Cup. We are so proud to be here and support our country today.

Nordin: I mean, look around. Why would you not want to be here today?

Armin: We’re hoping for the win!

All: 2-0!

Bendicht Hügli and Lucia Grajales of Mexico City

Lucia Grajales and Bendicht Hugli, both currently living in Mexico City, hold a Swiss flag.

How much did you pay for your ticket?

Hügli: The ticket was $650. That’s stealing. That’s robbery. When I went in ‘86, I think the tickets were 10% of the price I paid for this year.

Why did you want to attend the World Cup?

Hügli: I had some business in San Diego. I saw Switzerland is going to be here, so let’s hit it and break the bank to get tickets. I went to the World Cup in Mexico City in ’86. I saw 12 games. I’m going to one this time.

Was it worth it?

Hügli: We’ll see. If Switzerland plays lousy, then I’m going to be pissed, but I think they’ll do better than in the first game.

Flavia Sacco and Isidoro Garcia of Washington, D.C.

Flavia Sacco and Isidoro Garcia root for Paraguay.

How much did you pay for your ticket?

Isidoro: I think it was around $500 per ticket. Again, we were very lucky because Paraguay was the first game.

Flavia: It was early bird without knowing who was going to play.

Isidoro: We’re also going to the Paraguay versus Turkey game in San Francisco and the third one in Mexico City.

Why did you want to come to the World Cup?

Flavia: We’re rooting for Paraguay. I’m from Paraguay, born and raised.

Isidoro: This is my second World Cup. I went to the one in Qatar. We were very excited about it. Actually, we were very lucky too because we bought Paraguay’s tickets when they were selling them blank. So we just bought the three tickets for Paraguay before knowing the group stage and then it turned out to be in the U.S., so it was awesome.

Flavia: We were hoping it would be on the East Coast because that’s where we live and it ended up being on the other side of the country, but we already had the tickets and we really wanted to go to a game, so we flew. We’re coming straight from the airport. We have our 5-month-old baby who is at the hotel with my mom.

Did you have to give up anything to be here?

Isidoro: I guess time with our daughter. Even though it’s only going to be a few hours, we miss her a lot. She’s very tiny. Every [moment] is precious with her.

Was it worth it?

Isidoro: Yes, even though it’s a few hours and hopefully Paraguay will pull it off.

Jorge Espinosa of Los Angeles

Jorge Espinosa of Los Angeles.

How much did you pay for tickets?

For the USA versus Paraguay ticket, I think I paid like $1,800, and for another match, I think I paid about $1,020, so a little less. I think that’s when the prices started to go down.

Why did you want to come to the World Cup?

I’ve always wanted to go. I missed my chance to go to Brazil in 2014. I really wanted to go, but I had just taken a huge trip to Asia, so I couldn’t really go. I didn’t have any money left and I’ve been thinking about the World Cup being here since it was awarded to the U.S. I was really bummed out when it was awarded to Qatar instead of the U.S. and also instead of Australia. I’m really excited about it. It feels unreal.

What does it mean for the World Cup to be in your hometown?

It means so much. I remember when they had it here in ‘94. I didn’t get a chance to go to any of the games, but the energy that you feel around the city is like next level. The events they’ve been hosting are so awesome. You get to meet more people from other walks of life and other countries.

Did you have to give up anything to be here?

I just pretty much had to pick up more debt, but I get points so it’ll help fly somewhere. Also, debt disappears when you die so they can try coming after me for that World Cup money, but they never will. [Laughs]

Was it worth it?

I looked at the price and was like, “It’ll never be this cheap in my life, ever.” It’s only ever going to go up, and, hey, it’s in my backyard.

For my 50th birthday, I bought a Toyota Corolla. Wait. Is my midlife crisis car really a Corolla, the best selling and most boring model of all time?

Well, yes. And no.

I have “modded” it, or in layman’s terms, modified the stock components and tuned the engine. This is not your aunt’s Corolla. When I hit the gas, the car pulls hard and the engine buzzes as if it’s powered by a hive of killer bees.

I get thumbs-ups from Mustang drivers and cool head nods from Challenger owners. My favorite is when kids at red lights ask me to rev the engine like I’m F1 driver Lewis Hamilton.

Probably a lot of my drive-by admirers are fans of the movie “The Fast and the Furious,” which was released 25 years ago this month. Fans of modified Japanese import cars, like me, have a love-hate relationship with the $7 billion “Fast and Furious” franchise. On one hand, the movies helped popularize modified Japanese cars. People all over the world fell in love with them and the import car culture they publicized.

On the other hand, the movies left out so, so much of the story.

In Southern California in the mid-1990s and early 2000s, people lived, for the most part, phone-free. The internet was nascent — a repository for flyers and ’zines — and most websites looked like Tetris.

The fashion was baggy everything for guys and short shorts, midriffs and little backpacks for girls. The hair was outrageous. And the cars, especially Japanese import cars, had reached the pinnacle of automotive engineering.

During this era, I was in college at UCLA. I saved up and bought a red 1989 Honda CRX Si. It also had a slick five-speed manual transmission, peppy engine and nimble steering. That car got me to work and through college, and from the mountains of California to the border of Oregon. It probably helped me get girlfriends. It consoled me through breakups. It helped me move to the San Francisco Bay Area for my first grown-up job.

And then, stupidly, I sold it, and all the precious memories it carried.

Now when I hit a loopy freeway interchange at night and my GR Corolla carves through the turns, it’s 1996 and I’m cruising in my CRX, getting pho in San Gabriel or rushing to a flyer party at Naga in Long Beach. That’s the magic of certain cars. A regular car takes you from place to place. A special car takes you back in time.

To be completely honest, I bought the CRX to fit in.

The ’90s import car scene was as diverse as Southern California. But there’s no doubt it started with Asian Americans (specifically Japanese Americans in the South Bay city of Gardena) who were influenced by modified car culture in Japan. Soon, Asian American kids all over the region were taking their inexpensive, underpowered four-cylinder, front-wheel-drive Honda Civics (our parents preferred Japanese reliability over American muscle) and turning them into street rockets.

Not only were they building race cars from scratch, they were also building one of my first experiences with a collective Asian American identity: one that wasn’t overtly about politics and activism, or immigration and assimilation. It was about Asian American joy. It was Chinese, Japanese, Korean, Filipino and Vietnamese Americans building cool-looking, fast cars. It was kids stereotyped as nerds going to parties where the awful stereotype of Long Duk Dong from “Sixteen Candles” was shredded into rubber and obliterated by exhaust blasts.

At the time, the Asian Americans we saw in the mainstream media were negligible or offensive, especially for Vietnamese Americans like me. But in import car culture, I saw, for maybe the first time, Asian guys and Asian girls in a centered and even glamorous light.

We made our own cars and our own car shows. We raced each other and then got fast (with turbos, superchargers and nitrous oxide) and raced others. And we won. We published our own magazines, built our own automotive businesses and, for good and bad, promoted our own outlaw street racer image and our own beauty standard. In those 1990s clubs and car shows, you could see and feel that Asian Americans weren’t assimilating culture. We were creating it.

“The Fast and the Furious” picked up on that. Based on a 1998 Vibe magazine article about street racing import cars in New York, the film was transplanted to Southern California. But it got so many details glaringly wrong. Its street races looked like street raves on major, four-wide roads packed with pedestrians. The races of our scene were clandestine, underground events in industrial, under-policed areas, where cars faced off two at a time.

But the most egregious and inexcusable Hollywood crime to me is that “The Fast and the Furious” whitewashed Asian Americans, the creators of this world, out of starring roles. The Korean American actor Rick Yune appears in the movie, sure — but he plays the villain, Johnny Tran, a guy who hates Vin Diesel’s Dominic Toretto for a crime deal gone bad (understandable) and for sleeping with his sister (ditto). Of course, in a tradition that goes back to “Madame Butterfly” and “Miss Saigon,” Tran dies at the end, shot dead by the blond-haired, blue-eyed hero, Paul Walker’s Brian O’Conner.

A few months ago, seeking a mechanic to mod my Corolla, I was referred to an auto shop in Garden Grove aka Little Saigon. The guy who sent me asked me, “Do you even know who’s working on your car?”

“No,” I replied.

He told me the name, and I Googled it.

Apparently, back in the ’90s, this Vietnamese American mechanic from Orange County had one of the fastest Honda Civics in the world. A true OG of the import car scene modified my car with his own hands. What an honor, and what a connection to the past.

This import car story ends in a full poetic justice circle. As a pioneer and legend of the real-life import car scene, my mechanic wasn’t the villain. He was the hero. He was the fastest, and his car was the most furious.

That’s the heart of my GR Corolla journey. Asian Americans created import car culture. We all deserve to be the hero of our own story.

Ky-Phong Tran is a Vietnamese American writer from Long Beach. He is a professional artist fellow with the Arts Council for Long Beach. This article was produced in partnership with Zócalo Public Square.

A travel journalist who travelled to Italy said they were nearly caught out by a rule introduced in the city of Venice to improve cleanliness

A travel journalist who visited Venice said they nearly lost £86 after breaking a rule they didn’t know about. Joey Handler, a travel journalist, spent six days in Italy travelling around the iconic European country, visiting various popular cities en route.

However, in one of their latest pieces, they admitted they had five regrets from their time in Italy which formed part of a two week trip around Europe.

Reflecting on the trip, back in October 2022, the Joey touched on how at one point in Venice they were stopped by the authorities for doing an act they thought was innocuous.

Joey said the incident occurred after she had completed a walking tour and went for some lunch. Eventually, after passing full restaurant after full restaurant she said she cut her losses and bought an ice cream before deciding to sit down.

However, it was the sitting down that was the problem. The Business Insider journalist explained: “I eventually cut my losses and stood in line for gelato before sitting on a shaded step to enjoy it.

“As I was about to take my first bite, the nearby authorities waved their hands up and down at me — a gesture I could only take to mean ‘get up’. And there I was, committing an etiquette violation that, according to the City of Venice, may result in a fine of 100 to 200 euros.”

As well as being informed by the local authorities about the rule, tourists and others can also be informed by the local government website. On this rule, they said: “Do not consume food and drink sitting on the ground, do not sit or lie down on banks and foundations, monuments, bridges, steps, puteals and high-water walkways

“Fine: 100 to 200 euros DASPO – Urban banning order (offenders will be immediately banned from the place where the offence was committed).”

This means that offenders could be fined anywhere between £86.74 and £173.48 if they’re caught. On why such rules, which include not swimming in the canals, dumping rubbish, walking around in a swimsuit, feeding pigeons and seagulls, not cycling, and not bivouacking in public areas, are in place, the local authority say is to preserve the environment.

They explained: “Current regulations enforced by the Venice City Council Municipal Police forbid certain behaviour, in order to preserve urban cleanliness and landscape, and also for reasons of safety and public hygiene.

“The violation of such regulations involves the application of administrative fines – from €25 to €500.”

This isn’t the only charge people can face if they travel to Venice with tourists als facing an entrance fee which was introduced in 2024 by the city. This fee is around €5 (£4.34) and originally applied on peak days between April and July before being expanded.

However, the new mayor of Venice Simone Venturini, has talked about the possibility of increasing this to €50 (£43.37). He told Corrier della Sera: “If today it ranges from €5 to €10, my proposal is to increase it to €30 to €50.”

Whilst move was in part a reaction to the sheer number of tourists, opponents have warned it risks not being true to the city itself. Former mayor Massimo Cacciari went further and called for the scheme to be removed altogether: “There is no other city in Italy or Europe where you have to enter with a ticket, as though it was a museum.

“It is barbarous, uncivilised and, in my opinion, against the constitution. It is simply obscene. I thought that Venturini would be more intelligent than his predecessor and would scrap the fee.”