The Southern Section finalized its championship schedule for softball this week, and the Division 1 final between La Mirada and JSerra will take place Friday at 7 p.m. at Bill Barber Park in Irvine.
La Mirada is 26-4 and will be facing JSerra pitcher Liliana Escobar, the best in the Southland. La Mirada lost to JSerra 5-2 on March 7. The Matadores have been led by Riley Hilliard, who’s hitting .577 with 10 home runs.
JSerra (24-8), which began the school year winning the Southern Section flag football championship, is trying to end the year on top behind the arm of Escobar, who has 252 strikeouts in 146 innings. The top hitter has been sophomore catcher Annabel Raftery.
The Division 2 final will match Mater Dei against Whittier Christian on Friday at 4 p.m.
The Southern Section is waiting for the baseball semifinals to be played on Tuesday before announcing dates and times. The only certainty is the Division 1 final will be played on Friday at 7 p.m. at Cal State Fullerton unless either of the finalists has a scheduling issue on that date.
This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.
Zoe Ball has opened up about having an empty nest and her home being ‘so quiet’Credit: Dig It with Jo Whiley and Zoe BallZoe has revealed her 16-year-old daughter Nelly has moved in with her dadCredit: Zoe Ball/Instagram
Mum-of-two Zoe shares both Nelly, and son Woody, 25, with her ex-husband, Norman Cook, 62.
But, the presenter has revealed how her house is now “so quiet” after both of her children had moved out, as her son now lives in Bristol.
Speaking to Jo Whiley, 60, on their Dig It podcast, Zoe reflected on how empty her Brighton home was, in comparison to her co-host’s busy house.
“Mine’s so quiet, it’s like ugh! It’s less and less because Nel is based more at her dad’s now because I think she’s got to that point of, ‘Ah can I just be in one place?’” the star said.
Zoe shares her kids with her ex-husband, DJ Fatboy SlimCredit: Refer to CaptionZoe now lives with her boyfriend Mathieu Weekes in her Brighton homeCredit: Click News and Media
“All of her CSI revision notes are on the wall at her dads and it’s just [nice] not having to move from house to house, so she’s just spending more time there now.”
Zoe then revealed how Nelly was not far away, as Norman lived closed by.
“It’s great because it’s only around the corner and I can nip round at any time, which is great, and she can come here if she gets upset about anything like, ‘Mum, I need you’ but it’s less and less,” she said.
Both of Zoe’s kids, Nelly and Woody, have now moved out of the family homeCredit: Zoe Ball/InstagramIt comes as Zoe recently missed out on the Strictly hosting jobCredit: BBC
The couple have been dating for a year now, with the pair completely smitten with each other.
Speaking about being a single mum and dating, Zoe previously told her podcast: “Introducing new partners, it’s a tricky one.
“You just have to go with the feeling of it. I think it’s okay to have a bit of a private life that isn’t part of the kids’ life for a little bit.
“In the past I’ve rushed that by welcoming someone in and being like ‘here’s my kids. Here’s my life. This is me.’
“And it’s all a bit much. It’s all a bit much for me. It’s all a bit much for the kids.
“Hopefully at some point there is someone where you think actually this person’s pretty cool and they’re pretty laid-back and they’re not going to come in and demand to be part of your kids’ lives.”
A former world junior number one and three-time Grand Slam junior champion, Monfils, by his own admission, perhaps did not fully fulfil his potential in the senior ranks, but he insists his “bucket list is full”.
Over the course of his 23 seasons in professional tennis, he has won 13 ATP titles, reached at least the last eight at three of the four majors – Wimbledon is the exception – and achieved a career-high ranking of sixth in the world.
There were 38 wins over top-10 ranked players, including multiple victories over both Federer and Nadal, and two Davis Cup finals with France.
Such is his longevity, this was his 70th appearance in the main draw of a Grand Slam and 19th at the French Open. He holds the record for most Slam match wins by a male French player in the Open era, even if a major title has been elusive.
But Monfils will be best remembered for his on-court showmanship, athleticism and outrageous shot selection. His near physics-defying slides along the baseline and basketball-like hangtime before smashes have cemented his status as a fan favourite.
“I was never quite good enough to win a Grand Slam,” reflected Monfils before the French Open. “But maybe I won something more important than that – a tennis career I’m proud of.”
In a testament to his popularity on and off the court, the farewell festivities began last Thursday with a charity event on Philippe-Chatrier – fittingly named ‘Gael & Friends’ – featuring appearances from stars such as Jannik Sinner, Djokovic and Naomi Osaka, as well as fellow Frenchmen – both retired – Richard Gasquet and Jo-Wilfried Tsonga.
Gasquet was also in attendance for Monfils’ final bow against Gaston, as were French tennis royalty Mauresmo – the tournament director – and Henri Leconte.
Thirty-five years after his death, jazz giant Miles Davis, who would have turned 100 years old Tuesday, remains a truly larger-than-life figure in music and well beyond.
Still possessor of the biggest-selling jazz record in history, “Kind of Blue,” Davis casts a huge influence over the whole music world for his uncompromising artistic vision, constant evolution, style and more. Though he came from jazz, he may be the biggest rock star there ever was. Talk to any musician, regardless of genre, and they will tell you Davis defined swagger and cool. He had a vibe unlike that of anyone else.
In honor of Davis’ centennial, The Times spoke to an array of notable artists from all walks of music, some who knew and played with him, some fans of the man, but all agreed, Miles Davis was and is a singular force in music, an artist like no other in his vision, passion and feeling for the music. In short, there was only one Miles Davis.
‘A complete innovator’
Chuck D, rapper: I like Miles Davis and all the exterior aesthetics. I like the Blue Note album covers, Prestige album covers, his style, his way of life.
Cindy Blackman Santana and her husband Carlos Santana in 2019.
(Ethan Miller / Getty Images)
Cindy Blackman Santana, drummer: Stylistically, Miles was a complete innovator. I remember hearing him say that he didn’t play right if he wasn’t dressed right. That is completely something that inspires me as well, because it becomes not only what you’re putting out on your horn or your drums or your guitar or your piano, but it’s your whole being that is expressing this innovative approach to music and to life.
Bilal, singer: If you play the music you’ve got to look the part, and it was almost like he got into a movie role or something like that. But he was always into the clothes … It was almost like every era had a different outfit. But, yeah, I definitely take his style. The clothes make you feel a certain way to play that way. So that’s the vibe. You’ve got to have that character, that attitude.
Emmet Cohen, left, performs with Terence Blanchard at Lincoln Center in 2025.
(Slaven Vlasic / Getty Images for Find Your Light)
Emmet Cohen, pianist and composer: I think when you listen to Miles’ records you can really appreciate them all the way through and there’s something in there for all sides of humanity. Whether it was the Prestige records that he pumped out in a couple of days, or there was “Birth of the Cool,” he just knew how to assemble musicians and let them tell their stories. And the storytelling is really where I think the deepest connections are made. He was a rock star, but he had a story to tell. And that always comes first.
‘Always evolving’
Guitarist Lenny Kaye performs onstage at Carnegie Hall in 2023.
(Noam Galai / Getty Images for Tibet House US)
Lenny Kaye, guitarist: He started in the bebop era, with the immortals of that moment in time. But I always got the sense that he was looking for something else. He didn’t want to participate in the faster-than-light speed changes and virtuosity. So, I really respect the fact that when he moved into “Birth of the Cool,” he pulled it back so he could inject more of his human self into it. And over the years, he kept on doing that, “Sketches of Spain,” “Kind of Blue,” one of the most jazz friendly records of all time.
Flea, bassist: Every time Miles changed it up, he destroyed everything that came before. He is the ultimate artist, always evolving, always coming organically from the depths. His music is the warmest and the wildest.
Flea of the Red Hot Chili Peppers released a solo jazz album in March.
(Allen J. Schaben / Los Angeles Times)
Bilal: I really like his electric era, but I would say I keep discovering and rediscovering stuff from Miles that I’m just like, “Damn, man. It’s like it’s another artist because he went through so many different changes.” … The other day I found his “Sketches of Spain” record. I put it on. I was like, “This is crazy. I forgot he was into this too.”
Wyclef Jean, rapper: When you go through Miles’ whole catalog, you see you can have quiet days. You can have loud days. You can have explosive days. But the key is that consistency. And that discipline.
Kaye: I respect Miles. For me, he’s an artist that transcends the jazz genre. He’s so alert to the shifting moods of the culture, the directions of the music. And what I find fascinating about him is his ability to morph into new styles and to keep challenging himself. One thing about Miles is that he doesn’t repeat who he is.
Musician Ron Carter in 2011.
(Theo Wargo / Getty Images)
Ron Carter, bassist: We always thought that we were honored to have Miles hire us out of other guys who were available to him. The first few gigs, we had a couple of weeks up and down the West Coast, and everybody but Miles was trying to find out what the tunes were, what the changes were. I was just trying to do what I thought was necessary to make this guy think he hired the right guy and make the band sound good. … Whatever his method was, it was successful.
Ibrahim Maalouf, trumpeter:Quincy [Jones] always spoke about Miles not just as a genius, but as someone who knew when to move on. And that’s a lesson I still carry with me every day.
Kaye: In “Bitches Brew” he created the template for what would be jazz fusion and made rock ‘n’ roll an important part of his evolution. Just an artist who never stands still and that is what I personally respect and honor within his work. When he saw what an artist like Jimi Hendrix was doing, he thought, ‘Yeah, I know how to access that and not be Jimi Hendrix. I can be myself.’ He understood the tides of cultural transformation as much or better than most musicians of the 20th century.
Don Was performs onstage at Ryman Auditorium in Nashville in 2022.
(Jason Davis / Getty Images for Americana Music)
Don Was, musician and producer:In life, as exemplified by music, if you don’t change, you stagnate. And the thing about Miles that really stands out, I think, is that he was always willing to risk losing his audience in order to keep moving forward. He was courageous in every era, including eras when maybe courage wasn’t held at a premium.
‘More than that’
Maalouf: For me, as a trumpet player, of course, the musical influence; space, phrasing, silence, we can talk about this for hours. But I think that more than that, there’s an attitude.
Ibrahim Maalouf performs at the Paris 2024 Cultural Olympiad at L’Olympia on July 24, 2024, in Paris France.
(Julien M. Hekimian / Getty Images)
Trombone Shorty, musician: Miles has inspired me because of that attitude, ‘I’m going to do what I want.’ He was playing what he felt in whatever time period or whatever decade he was inspired by. He really embraced that tremendously. And that’s always the thing that I admire about him as a person and as a musician. Whatever the spirit is, he’s going to go with that. That’s what I always got from Miles.
Nas, rapper: With Miles it wasn’t just about the music he made, it was about how he carried himself as an artist and a pioneer. His impact on me personally is as much on a human level as it is on the artist level.
Trombone Shorty performs at the Anaheim Convention Center in 2015.
(Jesse Grant / Getty Images for NAMM)
Trombone Shorty: The swagger, he may have created the swag.
Vince Wilburn Jr., nephew and drummer, who now co-manages Davis’ estate: He liked to catch things, that’s why the tape kept continuously rolling, because he said it was songs inside of songs.
Carlos Santana, guitarist: “I recommend that people who never heard of Miles Davis, I’ll say start with “Kind of Blue,” then move on to “Bitches Brew.” Because the thing about Miles Davis is that he teaches people who have never meditated how to stop and be coherent about absoluteness. In one note, Miles can play absoluteness. One note for Miles, like Billie Holiday, like Cindy says, that’s enough to understand all the whys and all the reasons why it’s sacred to be alive.
Was: He probably changed the face of music more than anybody did, at least four or five times. Maybe more than that. It’s a combination of mastery and an unstoppable spirit of adventure that I think make him unique. Because he was absolutely a master of harmony, rhythm, of creating a vibe. Yet he loved upsetting the cart and I think went out of his way to create friction musically, within the band, to keep things stirred up constantly and make every day an adventure. It requires tremendous courage. But also, supreme excellence to do it on the level that he did with the level of musicians that he surrounded himself with. That’s another thing, too. He wasn’t just the most innovative man on the horn. His genius was also as a curator of human chemistry.”
‘Larger than life’
Musician Wyclef Jean performs in 2023.
(Christian Petersen / Getty Images)
Jean: The main thing that I learned from Miles at a very young age is just the braveness, you can’t be scared to just go. Going doesn’t just mean learning one part of it. It means learning the entire metrics. … When it comes to Miles, he’s just a complete teacher; even on how he sees art, how he sees shapes, and also there’s a whole part of Miles that’s tough love when it comes to it. So, all of that instills character.
Bilal: As an older musician, you could see all of the building blocks are in those records. If you take some of those records out, I don’t know where jazz would be. You can see the essential building blocks.
Izzy Escobar, singer: Miles Davis made jazz feel cinematic to me. When I listen to songs like “It Never Entered My Mind” or “Flamenco Sketches,” there’s mystery, romance, restraint and tension in every note. Nothing feels overdone, yet somehow it says everything. As a songwriter, that’s deeply inspiring because the best music doesn’t just sound good … it creates an entire world you can step into. I think that’s why his influence has lasted a century. His music still feels fearless, elegant and emotionally alive — all of which never go out of style.
Jorma Kaukonen, guitarist: I had always thought of jazz as somewhat of a haughty art form. Probably because at the time many of the time signatures and chordal progressions that Miles used were over the head of a young guitar player still functioning in the blues and folk idioms. … The growing rock and art movement in the Bay Area in that era taught us to eschew boundaries and labels, and it became possible to see similarities and possibilities with jazz music that would have gone previously unnoticed. Our harmonic tendencies were nowhere near as complex, but they were rapidly becoming more sophisticated thanks to our exposure to such great improvisers as Miles! Miles knew no boundaries.
Jean: One thing that I learned from Miles is someone can have the best technique. They could be moving around. But if you can dig and play from your soul, this instrument just becomes a vessel of sound and orbit, bro, it’s over. There’s a connection with the soul. And I wouldn’t be able to do that, bro, if I didn’t have people like Miles to really teach me how to hear.
Theo Croker plays trumpet the Kennedy Center in 2018.
(Paul Morigi / Getty Images for Thelonious Monk)
Theo Croker, trumpeter: He was definitely a larger-than-life figure. And it encourages me to be a larger-than-life figure. Growing up as a kid, we sit in a room all day and play trumpet for hours. You see somebody like Miles Davis and you’re like, “Wow, I can be a rock star.” Because I couldn’t sing, otherwise, you end up being a pop star, Prince, Michael Jackson and Stevie and all that. But Miles was that for the trumpet, of course. So, it’s so much bigger than music.
Musician Mia Doi Todd performing in 2012.
(Paul Redmond)
Mia Doi Todd, musician and singer: Miles Davis was such an outstanding band leader, bringing together a group of musicians and seeking to break the boundaries. That is what I look to him most for as a celestial mentor, being a band leader and creating those sonic landscapes. The records that I love most of his are from that electronic jazz fusion era, which weren’t his most popular at the time. I love “On the Corner.” I’m a person of mixed race, so the records that he was bringing together, all these different musical elements, those are the ones that I really admire … “I wish I could play in that band.”
Maalouf: There’s this idea that music is not about providing something. It’s about searching. It’s about staying alive artistically. I think that strength goes far beyond music, it’s really a message for all the musicians that we are. Never stay where people expect you to stay. Every time the audience thought they understood him, he changed direction. And I think that’s definitely one of the most inspiring parts of his musical life.
Was: I never met him. But he was a heroic figure to me as a teenager, very much in the same way that simultaneously, like Bob Dylan and the Rolling Stones were, or John Lennon was, or Allen Ginsberg was.
Bilal performs in New York City in 2023.
(Roy Rochlin / Getty Images)
Bilal: That [artistic vision] is a major influence that I take from Miles. … I always approach the music in that way where you got to do your own thing. You’ve got to have something to say, and you’ve got to want to evolve and always look for ways to grow and change and with the music. Miles was quintessential at that.
Trombone Shorty: To me, Miles Davis was a real rock star. It just wasn’t the sound. When he walked on stage … he looked the way that the music sounded to him. … And as he grew, he just really embraced everything that was coming to him, and he didn’t run away from it. He wanted to have his influence and also be tremendously influenced by things that were happening. He was just the coolest; when they say cool, Miles Davis has to be next to that word.
‘Playing within the language that he created’
Nas performs in New York City in 2018.
(Bennett Raglin / Getty Images for Jenn-Air)
Nas: I think Miles’ impact on every inch of music after him is the most impressive part. Musicians from every genre speak on his influence. It has no language or cultural barriers.
Jean: I would literally tell everybody to do a deep dive and start with early Miles, start from the bebop and the blues, don’t just go in. I started my daughter with “Birth of the Cool.” Now she’s vibing and slowly working her way up.
Musician Vince Wilburn Jr. in 2011.
(Theo Wargo / Getty Images)
Wilburn Jr.: Style, creativity, forever evolving, ever looking back, unapologetic. Lenny White used to say everybody wanted to live and be like Miles, all the musicians. You have Miles, and then you have everyone else.
Santana: Miles is what I call a sacred rascal, a divine rascal, a genius. When I’ve been in the room with Herbie [Hancock], Wayne [Shorter] and Tony [Williams], and the name Miles comes up, they all stop. It has such an impact on all of them to this day it shows that Miles is Da Vinci, Stravinsky, Picasso. Collect all the geniuses of this planet, and that’s what Miles is in one note. In one note, he reveals more because in one note, he teaches an individual how to hug infinity with emotions.
Kaye: I think of him as a lodestar for someone who wants to continually move music forward into the future because that’s what music is about. When you play music, you’re moving from one note to the next and creating the future of that piece. I just find Miles a fascinating creature of transformation. Miles, for all his artistic innovation, was a pop star.
Maalouf: Miles Davis’ legacy is not only a sound, it’s a mindset. He gave all of us the permission to be many people in one lifetime. It feels to me it’s the secret and he was generous enough to do it himself and show the world and especially the jazz world that is not always easy to please that someone can be many people in one lifetime. It’s not only true for music. It’s true for everything in life.
Cohen: He’s always on the cutting edge of the next thing and the next group of musicians that he finds. The story in that is that there’s constant change, constant evolution, and to find the thread throughout is kind of the meaning of life. And to play his music is the same thing. He created a language. So, when we play his music, we’re playing within the language that he created.
Was: “That’s why he’s that cat. He’s the most rebellious musician of all time, I think. He was the complete package man, no one more innovative or influential.
The idea grew as organically as the purple cauliflower at Erewhon. One day, I walked from my place in Los Feliz to the beach. I stopped at two Erewhon locations on the way to refuel. I made a reel about my journey and posted it to Instagram. My friend Fish saw it and said, “You should walk to all the Erewhons.”
I thought: I don’t have time to do that. I’m a very serious person who needs to write her novel.
But later I found myself mapping out an 89-mile hike in my Notes App, starting in Pasadena and ending in Calabasas, stopping at all 10 Erewhon locations on the way. (My route did not include the Palisades, which is closed because of the fires; nor did it include LACMA or the new Glendale locale.)
“I need to write my novel” is a thought I have a lot. I usually heed this thought and sit at the desk like a soldier, imagining the wonderful day when I’ll sell said novel — for an amount that would probably be comparable to a fraction of an Erewhon employee’s yearly salary.
Erewhon Trail map illustration by Swan Huntley.
(Erewhon Trail map illustration by Swan Huntley. )
I really wasn’t in the mood to write the novel, though. When I imagined myself pecking away at the keyboard, I felt bad. When I imagined myself walking around L.A. in my Home Depot gardening hat, I felt good. So, I put on my hat, got into an Uber headed for Pasadena, and texted my sister, “Carpe diem, bitch.” Or at least that was my intention. What I actually sent was, “Carpet diem hitch.”
Over the summer, I hiked a little bit of the Pacific Crest Trail. A few years ago, I biked the Camino in Spain. I’ve walked from Los Feliz to the beach a handful of times. I’ve traversed the length of Manhattan thrice. Before that, when I was a teenager, I used to trek from La Jolla to Del Mar while drinking beer (I carried a cooler; yes, I’m sober now) and listening to Sarah McLachlan on my Discman. I’ve always been drawn to activities that many people find tedious. Like walking forever. Or writing a novel.
Starting in the fourth century, pilgrimages were served up by the church as a way for Christians to pay penance for their sins. They were hard and dangerous and a lot of people died. Fast-forward to now: Such treks have taken on an “Eat, Pray, Love” aura. Or a “Wild “ aura. They live in the realm of self-help and of sport. They’re a way to create friction in an increasingly frictionless world. By walking from Mexico to Canada, or from Erewhon to Erewhon, I wonder whether we’re trying to get back to the part of ourselves that wants to try harder.
Or we just want to become more valuable dinner party guests.
What do you do?
I do really long walks.
I ordered a Goddess Smoothie in Pasadena, and then I repeated this tradition at every store thereafter. The smoothie costs $19, tastes like heaven, and it’s green, which my brain reads as “good for me.”
It took me a little over three hours to walk 11 miles to Silver Lake. I got a Vegan Avocado Sandwich for lunch, took an Uber home and posted a reel on Instagram about my first day on the trail. A lot of people liked it. Some of them called me a genius.
In the last 10 years, I’ve published four novels and two illustrated books for adults. I was naïve and just totally blindly happy about the publishing process in the beginning. People wanted to buy my work? Other people wanted to read it? Cool.
The first book, “We Could Be Beautiful,” did well because the publisher put real money into the marketing of it. Then that stopped happening. At a certain point, I realized that expecting too much was unwise. It was up to me to market my books myself. Which meant: social media.
They say you have to see a book cover six times before you buy the book — or consider buying it. There are a lot of book covers on Instagram. Actually, there’s a lot of everything on Instagram, and out of all the everything, is a book cover that exciting?
No.
My second reel, which depicted my journey from Silver Lake to Studio City, went a little bit viral. To date, almost 10,000 people have shared it with their friends. Why? I think the answer has something to do with a desire for levity.
If the atmosphere of the world could be depicted by an Erewhon beverage, it wouldn’t be a vibrant, cheerful one, like the bright magenta Pitaya Smoothie. It would be the dark and brooding Germ Warfare Shot. I find it perplexing that people talk about the apocalypse as if it’s happening later. It’s happening now. If we were really thinking about how climate change is affecting us, we’d be out in the streets screaming. All the time. But we’re not doing that. We’re carrying on with our usual lives. Apparently, for me, that includes walking to Erewhons.
Any long-distance trek is as much an internal journey as it is external. As I continued the trail, I started to think that maybe my endeavor was a reaction to my feeling of total powerlessness. I can’t save the polar bears. I can’t force the president to go to therapy. But I can add some levity to the brooding atmosphere.
Recently, someone commented on one of the reels, “Transplants make LA locals look bad.” This person, and many others, hear the name Erewhon and assume I’m poking fun at it. Erewhon has become a joke about L.A. — a joke that was amplified after Hailey Bieber invented her smoothie in 2022 that Erewhon dubs the “Strawberry Glaze Skin Smoothie.” I’ve never had it, but I can tell you that it looks like a sky full of strawberry clouds. According to an Erewhon employee I spoke to, this smoothie was a turning point. It aligned the brand with wealth and power. Now, Erewhon evokes the image of smooth-skinned, health-conscious Angelenos with money to burn.
The Erewhon Trail, then, inevitably becomes a conversation about privilege, my own included. Instagram hid my two favorite comments, because it was worried they’d be too rude to show, but I think they’re the funniest ones.
This is what white people do on Prozac.
This is what happens when a liberal arts teacher gets fired.
To both of these comments, I say: Yes.
I’m not on Prozac yet, but maybe after I get fired, I will be.
In order to get fired, though, I’d have to get an actual job, which might never happen.
The most intense leg of the trail was from Santa Monica to Calabasas. My friend Fish joined me. Google said it would take 27 miles. After marching through the mountains, I decided to use my own intelligence to make the route shorter. This cut out four miles, bringing the total to 23. For long stretches, Fish and I walked in the bike lane, or in the bramble by the side of the road. That’s the penalty for straying from Google. Your sidewalks disappear and your chances of getting hit by a car go way up.
My legs were noodles by the time we got to Calabasas. I crawled across the parking lot to show my viewers how weak they’d become. The employee at the door smiled at me and handed me a basket, and I thought about the pain of my legs, which no one could see, and about all the secret battles people are fighting all the time, and I wished that we cared about each other as much as Erewhon cares about us. Multiple employees were perfecting the already-perfect plateaus of bell peppers and apples in the produce section. Their thoughtfulness was the opposite of the vibe I encounter in most public restrooms, which is that the strangers who were there before me didn’t have many thoughts about my experience. As lame as the fact that an Erewhon smoothie costs $19 is that so many of us need to be paid to be nice to each other.
When I tell people about my love for Erewhon, they either say, “Duh, I know,” or something along the lines of, “That place is ridiculous, right?” This is almost always followed by the mention of a food item and some amount of money. Like, “Doesn’t a carrot cost $12,000?”
Actually, I tell them, no. Although sometimes, yes. There is a Japanese strawberry that’s famously expensive ($20), but that’s avoidable. I then explain that contrary to popular thought, there is a way to shop at Erewhon on a budget. A jar of soup, for example, costs $15.50. If you return the bottle, you get $3 back. In my opinion, the soup can be two meals, so that’s $6.25 per meal. A lot of the produce is either the same price or only a little bit more expensive than at other health food stores, and it’s in consistently better shape. The most important piece of making Erewhon more affordable, though, is becoming a member. You get 10% off, a free drink of the month and discounts on a bunch of items.
You might be wondering: How many Erewhon memberships has she personally sold?
She’s lost count.
The other reason to go to Erewhon is the environment. It’s visually appealing and the employee-to-customer ratio is notable, and the result is that you feel like you’re at a resort. And frankly, these simple things — a nice environment, high quality food — should be available to everyone.
Back to the question of whether or not Erewhon is ridiculous — yes, of course it is. If you sit at any of the locations and listen to the conversations around you, you’ll probably feel like you’re an extra in a satirical movie. At Studio City, I overheard two moms in white pants and cashmere sweaters talking about how, based on their Instagram recon, they figured out that so-and-so was sitting next to so-and-so at a benefit dinner. Another snippet I overheard in Studio City: “You gotta make music from the heart, man, and the label will feel it.”
It didn’t occur to me to ask for free merch until after I’d finished the trail. Armando at the Santa Monica location was the lucky recipient of my request. I explained my uniquely heroic feat to him, and then wondered aloud if perhaps I could get a sweatshirt, or at least a hat.
Sadly, Armando was unauthorized to give me merch, but he did offer me a gift card in a tiny envelope. I was very grateful. I assumed the card was worth $50 at least.
After we parted ways, I opened the envelope.
Ten dollars.
Enough to put a down payment on a smoothie.
My dreams now are so different from when I was younger. Back in grad school, I imagined that maybe I’d write a bestselling novel, and maybe it would be adapted for the screen, and maybe my tombstone would read: She contributed very serious literature to civilization.
What I never accounted for was, of course, the unknown. Maybe one day, over a decade after school ended, I’d get a lot of attention for making performance art about walking to grocery stores.
Huntley’s novels include “I Want You More,” “Getting Clean With Stevie Green,” “The Goddesses” and “We Could Be Beautiful.” She’s also the writer/illustrator of the darkly humorous “The Bad Mood Book” and “You’re Grounded: An Anti-Self-Help Book to Calm You the F— Down.” She lives in Los Angeles.
The majority of the 42 athletes taking part used performance-enhancing substances and Enhanced Games said “13 athletes set personal bests”.
The event was played out in front of a curated crowd of around 2,500, with tickets not on sale to the general public.
On the track, American former world champion Fred Kerley – one of the athletes competing ‘clean’ – won the men’s 100m in 9.97 seconds, which was short of his personal best of 9.76.
British swimmer Ben Proud, who won silver in the men’s 50m freestyle at the 2024 Paris Olympics, triumphed in the 50m butterfly, clocking 22.32 seconds which was 0.05secs short of Andrii Govorov’s world record.
“We all know what we came for. And that’s world records. And so to be that agonizingly close, it’s frustrating,” Proud said.
Another British Olympic swimmer, Emily Barclay, won the women’s 50m freestyle in 24.09, around half a second slower than the world record.
Weightlifter Hafthor ‘Thor’ Bjornsson, who played The Mountain in TV show Game of Thrones, was another taking part but was unable to break his own deadlift record of 510kg.
Drugs used at the Enhanced Games must be legal and approved by the US Food and Drug Administration (FDA).
They include testosterone, growth hormone, peptides, anabolic steroids and other substances banned in sport.
Those behind the event argue enhancement already exists in elite sport, but secretly and without transparency, and say bringing it into the open where it can be monitored makes it safer.
However many sporting governing bodies have publicly rebuked athletes for choosing to compete in the games and some sporting governing bodies have banned athletes for taking part.
The IOC and Wada have described the Enhanced Games as “immoral” and “a dangerous and irresponsible concept”, while World Athletics president Lord Coe said anyone taking part was “moronic”.
The project was founded by entrepreneurs Aron D’Souza and Maximilian Martin in 2023 and has attracted backing from prominent investors including billionaire Peter Thiel and Donald Trump Jr.
Martin had predicted that athletes would beat “quite a few” world records at the event.
Clara Adams expected to win the 400-meter dash Saturday in the Southern Section Masters Meet at Moorpark High. The Long Beach Wilson junior not only won, she broke the section record, circling the track in 51.98 seconds.
“To be honest, I did not expect a 51 today … that was my end goal and I got it before state,” said Adams, who topped the previous mark [set by Norco’s Shae Anderson in 2017] by one hundredth of a second. “It says a lot about my training and teammates who push me in practice every day. I’m ecstatic.”
Even better than breaking a section record is breaking a state record and Adams was smiling wider several hours later after she and teammates Brooke Blue, Brooklyn Fowler and Saniah Varnado did just that by clocking 3:33.83 in the 4×400 relay to obliterate the time of 3:35.49 set by Moore League rival Long Beach Poly in 2004. Rosary Academy was a distant second in 3:41.33.
“The 400 was our first race of the day, all of us ran it and we all qualified for state and that carries over to the rest of the day,” said Adams, who ran the third leg and widened the Bruins’ lead before handing the baton to Varnado for the anchor leg. “The state record is a bonus. We handled our business and now we have a week to prepare to go for the national record.”
Florida Montverde Academy owns the national record of 3:31.68, achieved at the 2024 New Balance Nationals Outdoor in Philadelphia, but Wilson’s foursome was content with the state record, at least for now.
“We already had a good lead when I got it but everyone was getting loud and I was pushing,” Varnado said. “I was thinking we could run in the high 3:30s. I’m proud of how well we did and hopefully we can do even bigger things at state.”
The CIF state track and field championships are next weekend (prelims Friday and finals Saturday) at Buchanan High in Clovis and as usual the Southern Section will be well-represented as numerous athletes met the qualifying standards.
After three-peating in the 1,600 and 800 one week before at the Southern Section finals, Corona Santiago senior Braelyn Combe won both events again Saturday, winning the 1,600 in 4:43.03, well off her 4:41.36 effort at the section finals but still more than two seconds faster than runner-up Reese Holley of JSerra. She won the 800 Saturday by about the same margin in 2:06.04.
Calabasas dominated at the section finals with four runners breaking the Division 3 record in the 100. They were back at it Saturday as last week’s champion Malia Rainey ran 11.33 to win the first heat. Devyn Sproles equaled Rainey’s 11.41 one week before to win the second heat and take second overall. Marley Scoggins (11.46) was third and Coyotes teammate Olivia Kirk (11.62) was fifth.
Tra’via Flournoy led off Rosary’s 4×100 relay, which won in 44.79 at the Masters Meet on Saturday in Moorpark.
(Steve Galluzzo / For The Times)
Rosary’s 4×100 relay established itself as the favorite at state finals with a 44.79, more than a second faster than runner-up Canyon Country Canyon. The Royals’ foursome of Tra’via Flournoy, Justine Wilson, Pfeiffer Lee and Maliyah Collins is hoping to top the state-record (44.23) it set at Arcadia in April when it heads north for the state meet.
“It wasn’t a [personal record] but it was faster than last week,” said sophomore Collins, who ran the anchor leg. “This was a tuneup. Our handoffs were clean and we got the baton around the track. That was our main focus.”
West Ranch junior Tamea Crear (23.50), Kirk (23.54) and Rosary’s Wilson (23.61) and Collins (23.69) took the top four spots in the 200 meters.
San Jacinto Valley Academy sophomore Kaaliyah Lacy clocked 13.44 to win the 100 hurdles, one hundredth off her state-leading time that earned her the Division 4 section title one week ago. Varnado won the 300 hurdles in 41.53.
Irvine senior and Duke commit Summer Wilson, a three-time Southern Section champion in the 3,200, ran a new-season best (10:14.45) and shaved nearly 10 seconds off her time in the Division 2 sectional race.
Irvine’s Summer Wilson wins the 3200 meters in 10:14.45 at the Masters Meet after placing third last year.
(Steve Galluzzo / For The Times)
After sweeping the all three jumps events at the Division 3 section finals, Jurupa Valley senior AB Hernandez did the same Saturday, winning the long jump in 20 feet, 0.75 inches, the triple jump in 40-7 and the high jump in 5-8.
Los Alamitos senior Cassidy Nguyen cleared 13-2 to win the pole vault while Aliso Niguel was first in the discus (165-10) and shot put (49-0) after winning the Division I section crown in both last week.
Woodbridge junior Aidan Antonio won the 3,200 boys race in 8:55.30 while Sterling White of Oaks Christian became the first freshman in state history to break nine minutes, finishing seventh in 8:59.26 to break the ninth-grade record of 9:01.1 set by Eric Hulst of Laguna Beach in 1973.
Riverside King’s Maximo Zavaleta (4:06.30) and Antonio (4:06.54) battled all the way to the finish line to claim the top two spots in the 1,600.
Having won the Division 3 boys title in 38.39 one week earlier, Servite’s 4×100 relay won Saturday’s race in 40.17, followed by Moorpark (40.60) and Loyola (40.83).
“I like the first leg and coming out of the blocks because I get to see my teammates win,” said Jace Wells, whose exchange to Jorden Wells was smooth. Kamil Pelovello and Benjamin Harris ran the last two legs. The foursome set the state record (39.70) at Arcadia.
Harris won the 100 in a wind-aided 10.17 (one hundredth faster than his time in the Division 3 section finals last week), then won the 200 in 20.80 (31 hundredths slower than his winning time a week ago).
“It’s what I expected — I’m proud of it,” Harris said of his 100 time. “I just wanted to execute, win my race and move on. There’s more work to be done.”
Loyola’s Ejam Yohannes beats Servite’s Jaelen Hunter by 11 hundredths of a second in the 400-meter dash.
(Steve Galluzzo / For the Times)
In the most exciting finish of the day, Loyola senior Ejam Yohannes edged Servite sophomore Jaelen Hunter by 11 hundredths of a second in 46.40 in the 400 meters, one week after Hunter ran 46.36 to set a section Division 3 record. Johannes cut three tenths off his Division I winning time last week.
Upland (3:18.54) won the boys 4×400 and Gardena Serra (3:18.88) was second. Crean Lutheran’s Noah Richardson cleared 15-6 to win the pole vault while Redondo Union’s Bo Ausmus won the discus with a throw of 185-7 and the shot put with a mark of 61-9.
Having won the Southern Section Division 3 high jump crown in a lifetime best and state-leading 7-01 seven days earlier, Sherman Oaks Notre Dame senior JJ Harel still had the best height Saturday at 6-10, tied with Nathaniel Baca but winning on fewer misses. Harel aims to repeat as state champion.
Moorpark’s Davis Benson was first in the long jump Saturday at 22-11.75 (he won the Division 3 section crown with a leap of 23-5 last week), followed by Dane Malloy (22-10.5) and Harel (22-9.25). Paloma Valley senior Arthur Stringer won the triple jump in 47-4.5.
Long Beach Poly’s Lynnox Newton won the 110 high hurdles in 13.69, Etiwanda’s Brandon Andrade (13.85) was second and Benson (13.94) third. Andrade (37.01) was second behind Palm Desert’s Kingston Penny (36.86) in the 300 hurdles.
There’s nothing better than losing track of time while wandering around a city bursting with character before popping into cosy bookshops – and there’s only one UK city for it
08:22, 24 May 2026Updated 08:23, 24 May 2026
This UK city has the ‘best bookshops’ and is a haven for bibliophiles(Image: Getty Images)
A beautiful city brimming with cosy bookshops, including one that holds a Guinness World Record, offers the perfect escape for book lovers or those looking to explore the ‘city of dreaming spires’.
With the magnificent medieval architecture of Gothic spires and honey-colored stone, against grand libraries, cobbled streets and narrow lanes, a stroll around Oxford is enough to transport you to a scene from Hogwarts. And rightly so, as the historic city, renowned for its prestigious university, was used as a filming location for the Harry Potter franchise.
The historic Duke Humfrey’s Library, which dates back to 1487 and is part of the Bodleian Libraries, was portrayed as the Hogwarts Library in Harry Potter and the Philosopher’s Stone. Meanwhile, the vaulted ceiling of the Divinity School was used as the backdrop for the Hogwarts Infirmary.
But it was Christ Church College that provided numerous scenes for Harry Potter, with its staircase and hallways used to represent Hogwarts, and its Tudor great dining hall famously inspiring The Great Hall in the wizarding boarding school. New College also took centre stage with its ancient covered cloisters and courtyard, used to portray parts of Hogwarts.
UK’s best city for bookshops
Yet away from its famous movie links and breathtaking architecture that characterise the city, Oxford is an oasis for bibliophiles. The city has the optimal balance of world-famous literary heritage and a vibrant, modern vibe, so there really is something for everyone.
Thanks to its literary delights of more than 30 bookshops nestled among the historic streets, Oxford was named as the UK’s best city for bookshops by Time Out. The publication conducted a survey and found that 60 per cent of people said that Oxford’s book offerings were either ‘good’ or ‘amazing’, and it’s easy to see why.
The city is the birthplace of the well-known UK bookseller and library supplier, Blackwell’s, after it was founded in 1879. Its flagship store is situated on Broad Street in Oxford, and is a labyrinthine maze of shelves stacked with hundreds of thousands of titles.
Yet it’s the Norrington Room, nestled underground, that is perhaps the most impressive feature of this sprawling bookshop. Spanning 10,000 square feet and featuring over three miles of shelves stacked with more than 150,000 books, it is officially the largest single bookselling room and holds a Guinness World Record for this impressive accomplishment.
A wander around the store is a bookworm’s haven, welcoming a gentle calmness away from the busy streets outside, along with a friendly atmopshere, and of course, an abundance of enticing reads. Many have often described it as a tardis-like space, as it spans across multiple floors, with a welcoming café to enjoy a warming cuppa and sweet treat alongside a gripping thriller -it’s easy to spend hours in the historic yet cosy bookshop.
Independent bookshops
But that’s not the only notable offering for bibliophiles alike. Elsewhere, there’s the independent Bookstop and the Last Bookshop by Bill and Ben Books, with a focus on those preloved titles, alongside the little shop of Arcadia found on St Michael’s Street.
In Oxford’s iconic 250-year-old market, where small shops burst with eateries, vintage clothing and produce, there’s Gulp Fiction, which hosts book clubs, author events and jazz nights. St Philip’s Books, situated next door to the Alice in Wonderland shop, is another highlight in the city for those rare finds, while Daunt Books in Summertown is packed with titles suitable for all ages.
Yet it’s easy to lose track of time while exploring Oxford, especially as the city famously runs on its own time.
‘Oxford time’
Before the railway standardised British time back in the 19th century, cities would set clocks by the sun. Due to Oxford’s location, its natural solar time is five minutes and two seconds behind Greenwich Mean Time (GMT). In a long-standing tradition, it’s known as ‘Oxford time’, and today, many of its scheduled events and lectures begin five minutes past the hour.
Whether you’re an avid reader or simply want to explore the historic sites used as a film set and a place on its own time, a day trip or weekend escape to Oxford is absolutely worth it. Just be sure to set your watch five minutes and two seconds behind to experience it like a local!
Do you have a travel story to share? Email webtravel@reachplc.com
WASHINGTON — President Trump said Saturday that the United States and Iran have agreed on the basic terms of an agreement to end the two countries’ nearly three-month-long war and reopen the Strait of Hormuz.
“An Agreement has been largely negotiated,” Trump wrote in a social media post. “Final aspects and details of the Deal are currently being discussed, and will be announced shortly. In addition to many other elements of the Agreement, the Strait of Hormuz will be opened.”
Iran’s state television network quoted Foreign Ministry spokesman Esmail Baghaei as saying the draft pact will be a “framework agreement” that defers talks toward limiting Iran’s nuclear program until later. Trump did not mention the nuclear issue in his statement.
If that is the form the deal takes, it would represent at least a short-term concession from the president, who initially demanded a definitive end to Iran’s nuclear program as the price of peace.
Trump has also relaxed an earlier U.S. demand that Iran give up its right to enrich uranium and says he would be satisfied with a deal to “suspend” enrichment for 20 years.
Those signs of U.S. flexibility have raised alarm from Iran hawks, reportedly including Israeli Prime Minister Benjamin Netanyahu. They say they fear Trump is so intent on restoring the flow of oil from the gulf that he might agree to a deal that falls far short of U.S. goals.
Mark Dubowitz, a leading critic of past agreements with Iran, said he worries that Trump might settle for “a foolish agreement” to reopen the Strait of Hormuz.
“I’m concerned that the administration is looking to cut some ‘Phase One’ deal” in which Iran is given “significant sanctions relief in exchange for agreement to reopen the strait,” he said in an interview Friday. “I think that would be a foolish agreement. Iran would get real money, but they could continue to close the strait any time they wanted simply by making threats.”
Robert Kagan, a conservative foreign policy scholar at the Brookings Institution, wrote that a deal to reopen the strait while deferring the nuclear issue would amount to a U.S. “surrender.”
“On the present trajectory, Iran will emerge from the conflict many times stronger and more influential than it was before the war,” Kagan wrote in the Atlantic.
When the war began in February, Trump said he wanted not only to end Iran’s nuclear activities and destroy its ballistic missile program, but bring about regime change as well.
Instead, the nuclear talks have focused on narrower, more achievable goals: a “suspension” of nuclear enrichment for 20 years or less and removal or destruction of Iran’s highly enriched uranium, the essential ingredient for a nuclear weapon.
“A basic agreement shouldn’t be impossible to achieve,” said John W. Limbert, who worked on Iran policy at the State Department for three decades, and was one of the American hostages seized by Iranian militants in 1979. “The deal would be some kind of verifiable limits on the nuclear program in return for economic relief.”
“The fact that we’re talking about a suspension of all enrichment, and the question is whether it will be five years, 20 years or halfway in between — that’s important,” said Nate Swanson, an Iran expert who worked at the National Security Council under President Biden and Trump. “That sounds like you really have the basis for an agreement. … But don’t fool yourself to think that completely addresses the situation.”
Swanson said other issues, including Iran’s nuclear research and its advanced ballistic missiles, haven’t been addressed.
Despite signs of progress toward an agreement, the gaps between the two countries remain large.
Part of the problem is that both sides appear to believe they have won the war, said Danny Citrinowicz, a former Iran analyst at Israel’s defense intelligence agency.
Trump and other U.S. officials frequently assert that the United States has gained the upper hand by destroying Iran’s navy, air force and many of its missiles.
But the Iranians use a different scoring system, Citrinowicz said.
“Iran does not measure success the same way Washington often does,” he wrote in an email. “From Tehran’s perspective, simply holding firm in the face of American pressure can be framed as a win.”
“Tehran believes time is working against Trump politically and strategically,” he added. “Iran is prepared for prolonged confrontation; the United States, far less so.”
And even if a negotiated agreement is reached, the deals under discussion now won’t resolve all the conflicts between the two countries.
“An interim deal to buy time [is] probably where we end up,” Swanson said. “Buying time is not a bad thing. Ending a war is not a bad thing. But it’s not a comprehensive solution.”
One by one, the visitors descend through a tight tunnel cut through volcanic rock into the damp foundations of the Teatro Romano buried beneath Herculaneum, with the weight of 2,000 years of city above them. “This is a time machine,” the guide says, “and we are going back.” It is pitch black as film-maker Gianfranco Rosi’s camera finds torchlight catching the tourists’ transparent waterproof capes, making them appear like ghosts.
Released on the streaming platform Mubi this March, Rosi’s documentary Pompei: Below the Clouds threads a needle from classical antiquity to the present day. Presented in ashen black and white, without narration or interviews, it places the viewer inside the region surrounding Naples and leaves us there, each scene presenting a place and a moment in the area’s long history.
Illustration: Guardian Graphics
Naples is one of the oldest continuously inhabited cities in the world, and most visitors see only a fraction of it before boarding the Circumvesuviana at Porta Nolana and riding the narrow-gauge railway east to Pompei or Herculaneum. In Below the Clouds, Rosi does not alight there. He stays on the train, camera in hand, and traverses this seismic landscape – from the Sorrentine peninsula, crowned by Vesuvius in the east, to the lesser-known craters of the Phlegraean Fields in the west. The train, Rosi says, is “my time machine”. His lens draws us into the Naples most visitors never see.
As a film-maker myself, who has lived and worked in Naples for the past 15 years, I was inspired by Below the Clouds to make my own pilgrimage, and boarded the overcrowded, noisy trains I usually avoid.
Villa Oplontis ‘feels like a secret discovery’. Photograph: Alfio Giannotti/Alamy
Before the Circumvesuviana reaches the archaeological site of Pompei, it skirts the Bay of Naples, passing through a number of overlooked towns characterised by a stratification of history visible in the architecture. Drawing into the station of Torre Annunziata, Rosi holds the camera on the visible layers of the town’s history: diamond-patterned Roman brickwork cut from nearby volcanic quarries, Doric columns from an excavated Roman villa, and the still-lived-in mid-century housing blocks rising above them. That Roman villa is worth stopping for. Believed to have been built for Poppaea Sabina, the second wife of Emperor Nero, Villa Oplontis feels like a secret discovery. Its frescoes are almost untouched, its colonnade pristine, and on this day, as always, there was scarcely another soul in sight.
Back on the Circumvesuviana, I head east to Somma Vesuviana. A team from the University of Tokyo has been excavating here for decades, slowly uncovering the Villa Augustea, the imperial estate where the Emperor Augustus is believed to have died in AD14. It was not the great eruption of AD79 that buried the villa, but a later one in AD472. The archaeological treasures still buried across the region are so numerous that tomb raiders have long burrowed into the soft volcanic stone looking for loot to sell on.
A graffitied train on the Naples to Sorrento line stops at Pompei Scavi–Villa dei Misteri station. Photograph: PBW Pix/Alamy
A second train line, the Cumana, runs in the opposite direction. It departs from Montesanto station in central Naples and heads west, reaching Pozzuoli in 25 minutes. At the end of the line lies a working port city of 75,000 people living in the basin of one of the world’s most geologically active calderas (volcanic craters). The lore surrounding Vesuvius has long overshadowed the dangers posed by the Phlegraean Fields, which rumble daily beneath the city’s foundations.
Stepping off the train at Pozzuoli, I was hit by the pungent sulphuric smoke drifting over the port. I had timed my arrival for a simple lunch at Abbascio ù Mare (a local favourite serving fish landed from the boats that morning) before visiting the Macellum of Pozzuoli, a 2nd-century Roman market near the harbour. Here, I found the clearest record of what is known as bradyseism, the movement of magmatic fluid and gas beneath the surface of the Earth that lifts and lowers the land, sinking entire towns and raising them again centuries later. Halfway up the ancient columns, I spotted bands of small holes in the stone. These were bored by molluscs when the columns once stood metres below the bay. Rosi’s camera follows the phenomenon underwater, descending into the submerged ruins of nearby Baia, where robed marble figures stand upright on the seabed as shoals of fish drift over mosaics and between their feet.
Gianfranco Rosi’s documentary shows the submerged ruins of Baia, where robed marble figures still stand on the seabed. Photograph: Antonio Busiello/Alamy
Between east and west, at the intersection of the Circumvesuviana and the Cumana, lies Naples – known to the Greco-Romans as Neapolis (the new town) because it was new compared with Pompei and Baia. In the centre of the city, at the Museo Archeologico Nazionale di Napoli, Rosi films Maria, the museum’s archaeologist, deep in the storage vaults. This is what he calls the casaforte (the safe of memory) – shelf upon shelf of fragmented marble torsos, legs and busts, the overflow of 2,000 years of excavation. These artefacts are down here, Maria says, until it is their turn to return to the museum floor above – a mirror, Rosi suggests to me when we speak, of society’s own hierarchies. Like Rosi, I am obsessed with these perfectly formed marble figures, the survivors of catastrophe, that live in the galleries of the museum upstairs among the frescoes and bronzes, pulled from the same volcanic earth that buried thousands of people under Vesuvius.
Rosi juxtaposes the marble torsos with shots of dismembered ex-voto, small metal plates shaped like individual body parts. These are offerings, often left in churches or street shrines along with prayers to saints in exchange for bodily cures.
At the small church of Santa Maria Francesca delle Cinque Piaghe in the Quartieri Spagnoli, one of my favourite corners of the city, hundreds of ex-votos in the shape of pregnant women have been left for the saint of fertility. These practices, still very much alive today, speak to the Neapolitan impulse to marry the sacred and the profane.
A scene from Gianfranco Rosi’s documentary Pompei: Below the Clouds. Photograph: Venice Film Festival
Rosi’s film ends in an abandoned cinema somewhere along the train line, its seats destroyed, its screen partly intact. Into this ruin, Rosi projects clips from Roberto Rossellini’s Journey to Italy, a film about the past, playing in a ruin, in a city built on ruins, above a city that was itself once buried. Like a Chronovisor (a mythical 1950s invention that supposedly broadcast actual historical events), the cinema is where the present tense becomes the past even as you watch it. Just like Naples. Just like Below the Clouds.
By the end of the film’s nearly two-hour runtime, the viewer has made the same journey as those visitors descending into the foundations of the Teatro Romano in Herculaneum to behold and reflect on a civilisation buried mid-sentence. Below the Clouds insists, however, that this confrontation does not require a museum ticket. “We are already living inside the catastrophe,” says Rosi.
UCLA claimed the first of a best-of-three super regional over Central Florida with a 9-1 run-rule win Friday at Easton Stadium, putting the Bruins one win away from reaching the Women’s College World Series.
Freshman infielder Bri Alejandre squared up and smashed a home run over the center-field wall to give UCLA the lead in the second inning. She tied the Big Ten freshman home-run record with her 23rd of the season.
“You don’t want this heat,” one fan yelled from behind home plate. The Bruins, though, were just getting started.
UCF struggled to find answers to match UCLA’s offensive firepower. Three Knights pitchers tried in vain as the Bruins diced up the diamond even though UCF walked UCLA and NCAA home-run leader Megan Grant three times.
Ava Stuewe ended her night in the fourth inning after she walked one Bruin and hit another. But her replacement, sophomore Isabella Vega, couldn’t find her footing, either.
UCLA strung together a sacrifice bunt and an RBI-ground out to score one run. Ramsey Suarez sliced a double down the left-field line as the ball landed less than a foot into fair territory.
Second baseman Kaniya Bragg’s three-run home run put UCLA up by five in the fifth inning. And Rylee Slimp ended the game with a three-run homer.
Yet, UCLA wasn’t perfect. The Bruins left the bases loaded when UCF’s Sierra Humphreys made a diving catch to end the fourth.
The Knights clawed back a run when Humphrey, the first batter of the fifth inning, homered to left. The hit was a small smudge on Bruins ace Taylor Tinsley’s line, finishing with two strikeouts and three hits across the five innings.
She looked shaky earlier in the game when she worked herself into a 3-2 count during the Knights’ first at-bat of the super regionals. As she took a moment to breathe, staring out at the blue wall, center fielder Jolyna Lamar nodded her head three times.
Tinsley then pitched three hitless innings before UCF’s Aubrey Evans doubled off to right in the fourth. Evans ran to third on a wild pitch, but Tinsley worked out of the jam with a groundout that she fielded herself and a lineout to Garcia at shortstop.
UCLA and UCF will play Game 2 Saturday at 7 p.m. and the game will air on ESPN. If the Bruins win, they advance to the WCWS. If they lose, the teams play again Sunday for the WCWS bid.
Kyle Busch was one of NASCAR’s biggest stars and most successful drivers.
He was Cup Series champion in 2015 and 2019 and his 234 wins in NASCAR’s top three series is an all-time record.
The driver known as “Rowdy” and “Wild Thing” may have been known for brash behavior that included post-race fights and feuds with other drivers, but he was also respected as a fierce competitor and dedicated family man.
“Our entire NASCAR family is heartbroken by the loss of Kyle Busch,” NASCAR said Thursday in a statement released jointly with the Busch family and his team, Richard Childress Racing. “A future Hall of Famer, Kyle was a rare talent, one who comes along once in a generation. He was fierce, he was passionate, he was immensely skilled and he cared deeply about the sport and fans.
“Throughout a career that spanned more than two decades, Kyle set records in national series wins, won championships at NASCAR’s highest level and fostered the next generation of drivers as an owner in the Truck Series. His sharp wit and competitive spirit sparked a deep emotional connection with race fans of every age, creating the proud and loyal ‘Rowdy Nation.’”
The statement concluded: “NASCAR lost a giant of the sport today, far too soon.”
Busch is survived by his wife Samantha, son Brexton, 10, daughter Lennix, 4, parents Tom and Gaye Busch, and older brother Kurt Busch, a NASCAR Hall of Fame inductee who was the Cup Series champion in 2004.
Kyle Busch, left, and Kurt Busch pose with their mother, Gaye Busch, prior to a race May 8, 2022, in Darlington, S.C.
(James Gilbert / Getty Images)
RCR announced Friday that it is suspending the use of Busch’s No. 8 and will run No. 33 in its place.
“Kyle Busch was instrumental in the design of RCR’s stylized No. 8 and it has become synonymous with Kyle and an important symbol for his fans and the NASCAR industry,” the team said in a statement. “No one can carry it forward to the level that he did. The No. 8 is reserved and ready for Brexton Busch when he is ready to go NASCAR racing.”
Busch spent the early years of his NASCAR career with Hendrick Motorsports.
“This is an incredibly painful shock for all of us and a heartbreaking loss for the NASCAR family,” team owner Rick Hendrick said in a statement. “Kyle was one of the most talented drivers I’ve ever seen and a racer in the truest sense of the word. He had a fire and competitive spirit that drove him to be great.
“I watched Kyle grow up in this sport and valued the friendship we shared long after he drove for our organization. As much as he loved to drive a race car, nothing brought him more joy than being a husband, a father and watching his son race.”
Busch won his first Cup Series race in 2005 and claimed rookie of the year honors the same year.
Jeff Gordon, left, talks with Kyle Busch prior to a race Oct. 30, 2016, in Martinsville, Va.
(Robert Laberge / Getty Images)
“Kyle was a fierce competitor who demanded the very best from himself each time he put on the helmet,” former Hendrick teammate Jeff Gordon wrote on X. “As teammates, I saw firsthand the passion and intensity he brought to the sport every single day. He was a champion and prolific racer who made a tremendous impact on NASCAR and was a lifelong advocate for all forms of motor sports.”
Fellow former Hendrick teammate Jimmie Johnson wrote on X: “Kyle Busch wasn’t just one of the fiercest competitors our sport has ever seen, he was one of the most talented race car drivers I’ve ever shared a track with. We spent years as teammates at Hendrick Motorsports, and even as competitors, there was always a deep respect for what he could do behind the wheel.
“Kyle pushed all of us to be better. His passion, intensity, and love for racing were unmatched, and his impact on this sport will be felt forever. I’ll always remember the many laughs and conversations away from the spotlight, and most importantly the way he cared so deeply about his family. …
“NASCAR lost one of its greatest talents today, and we’ve all lost a friend.”
Busch was let go by Hendrick Motorsports after the 2007 season, making room for the team to sign Dale Earnhardt Jr.
“Kyle and I had a really challenging existence for many years,” Earnhardt wrote on X. “But we luckily took the time to figure out our differences and that was something he instigated with a conversation in his bus around how we each managed our racing teams. I was super eager for us to get on better terms. But it was he who made the effort for that to be possible.”
Earnhardt added: “Kyle was one of the greatest drivers in NASCAR history. No one can deny that. But he was also a father, a husband, brother, son, and a friend to many. My heart is broken for the Busch family. I will never be able to make sense of this loss but I am thankful that we had found a way to become friends.”
Busch then moved to Joe Gibbs Racing, where he remained until 2023 and saw much of his career success.
“Kyle was a fierce competitor, an incredible teammate, and, far more importantly, a devoted husband, father, and son,” Joe Gibbs Racing said in a statement. “His impact on our organization and on the sport of NASCAR will never be forgotten.”
Kyle Busch, left, stands in the garage with Denny Hamlin before a practice Oct. 11, 2007, in Concord, N.C.
(Streeter Lecka / Getty Images)
Former JGR teammate Hamlin wrote on X: “Absolutely cannot comprehend this news. We just need to think of his family during this time. We love you KB.”
Busch was ranked 24th in the Cup Series this year, with his best finish being eighth place at Watkins Glen International in Dix, N.Y., on May 10. He also was racing part-time for Spire Motorsports in the Craftsman Truck Series. He had two victories in that series this season, including one last week at Dover Motor Speedway in Delaware.
“Simply put, he was one of the best to ever do this,” Spire Motorsports co-owner Jeff Dickerson said in a statement. “But for those closest to him, there was always another side. For years, many of us would tell people there was a softness behind the public persona they rarely saw. As much of a bad ass as he was on the track, some of us were lucky enough to experience how deeply he loved, how much he cared, and yes, how much he hurt. …
“We used to tell people about that side of him, and some would assume we were just trying to reshape public perception. No one could question it now. By now, the world has seen the incredible devotion he had to being a father to Brexton and Lennix. He loved his kids more than anything. The pride in his voice whenever he talked about them is something I will always remember with gratitude. … My heart absolutely breaks for you, Brexton and Lennix.”
Here are more tributes to Busch posted on X by members of the racing community:
— “I made him earn every victory and stole a few from him along the way,” Brad Keselowski wrote. “We took our shots at each other, in the media and on the track. But I’d like to think that somewhere deep down there was an appreciation that we pushed each other to perform at the highest level, even if neither of us would’ve admitted it. Tonight, I feel a little like the coyote with no more roadrunner to chase. His loss is all of our loss, but none more so than his family’s.”
Kyle Busch, left, and Clint Bowyer sit together in the garage during practice Sept. 21, 2007, in Dover, Del.
(Russ Hamilton / Associated Press)
— “There aren’t really words for today,” Ricky Stenhouse Jr. wrote. “I’ve raced against Kyle for a long time, and anyone who’s lined up next to him knows exactly what made him special, he gave you everything he had, every single lap, and he made all of us better for it. But more than the wins and the records, I keep thinking about Samantha, Brexton, and Lennix, and the entire Busch family right now. That’s where my heart is. Rest easy, Rowdy. The sport won’t be the same without you.”
— “I just talked to him Friday,” Clint Bowyer wrote. “In complete shock, as we all are. The devastation and sadness is beyond words. Praying for Samantha, Brexton, Lennix, his entire family and loved ones.”
— “I’m so sad and stunned to hear the news about KB,” William Byron wrote. “He meant so much to a lot of people, not just myself. Kyle was the best mentor you could ever have. He was incredibly unselfish, cared about his people and his family deeply. And helped shaped my career to what it is. I’m heartbroken.”
May 22 (UPI) — The Federal Communications Commission on Friday opened public comment on a petition from the Disney-owned network ABC to declare its show The View as a “bona fide news interview program.”
Disney submitted the petition in early May on behalf of its television station KTRK-TV in Houston and its parent company ABC for the declaration in order to receive an exemption from laws requiring that non-news programming include equal time for representation of political candidates for office.
The equal time rule is part of the Communications Act of 1934, which created the FCC and regulations for the use of wire and radio, and later television, communications.
The rule is meant to ensure equal access to broadcast station facilities for all candidates for office — essentially, the same amount of air time — to prevent broadcasters from using the public airwaves to push one political candidate or party over another.
Disney and ABC’s request for an exemption to the rule, which are generally granted for news broadcasts, stems from years-long squabbling between President Donald Trump and various people who have hosted The View, which is a news and pop culture analysis program hosted by a panel of women.
“Is The View a ‘bona fide news interview program?” FCC Chairman Brendan Carr said in a post on X announcing the public comment period.
“Under FCC case law, tv shows do not qualify as ‘bona fide news’ if their decisions are based on partisan purposes, such as an intention to advance or harm an individual’s candidacy,” Carr said.
Disney compared the show to NBC’s Meet The Press and CBS’ Face The Nation, which feature interviews and roundtable analysis of political and news topics.
Carr, however, contends that The View does not meet the criteria of those shows as news programs, and so should be required to offer time to multiple candidates in a political race if they feature one of them.
In its May 7 petition to the FCC, Disney and ABC noted that the FCC’s actions could upend “settled law and practice,” as well as “chill critical protected speech both with respect to ‘The View’ and more broadly.”
The filing also notes that the show has “been broadcasting under a bona fide news exemption granted to it more than 20 years ago,” and that the exemption “remains valid.”
Kevin Warsh takes the oath of office as he is sworn-in as the new chairman of the Federal Reserve by Supreme Court Associate Justice Clarence Thomas in the East Room of the White House on Friday. Photo by Yuri Gripas/UPI | License Photo
WASHINGTON — Seeking to reassure U.S. allies, a bipartisan group of senators is departing for a tour of Arctic nations. And this time they’re leaving the men behind.
From the eight senators to their staff and military liaison officers, the all-female group will pay diplomatic visits to government officials in four Arctic nations, witness the challenges for militaries in the region and visit a Norwegian archipelago so remote they will need escorts to avoid run-ins with polar bears.
“I want them to experience, first of all, the awesomeness of the Arctic,” said Republican Sen. Lisa Murkowski of Alaska, who is leading the trip alongside Democratic Sen. Jeanne Shaheen of New Hampshire, the top Democrat on the Senate Foreign Relations Committee.
The trip was born out of both senators’ work to stabilize relations with U.S. allies in North America and northern Europe at a time when President Trump has taken an aggressive, go-it-alone stance in the region. Just this week, the Pentagon announced that the U.S. would pause participation on a joint board with Canada for continental defense that dates back to World War II.
Murkowski and Shaheen said that is the wrong approach in an Arctic region that has increasing strategic value and unique challenges.
“We will reassure our allies that we recognize and appreciate the importance of our allies and partners in the Arctic as in so many other areas,” Shaheen told the Associated Press, adding that she expected the group to discuss “what more we can do as members of Congress to support those relationships.”
The group is split evenly between Democrats and Republicans, with Sens. Cindy Hyde Smith, Katie Britt and Cynthia Lummis making up the Republican side, and Sens. Maggie Hassan, Kirsten Gillibrand and Catherine Cortez Masto from the Democrats. Departing Friday, they will visit Arctic or sub-Arctic regions in Canada; Greenland, which is an autonomous territory of Denmark; Svalbard, a Norwegian archipelago that is one of the northernmost inhabited areas on Earth; and Iceland.
Understanding the Arctic
Murkowski and Shaheen said they want the group to come away with a deeper understanding and appreciation for Arctic communities that are experiencing the effects of climate change, as well as the unique challenges of conducting military operations in the region.
“It’s to understand what it means to go into a remote, isolated community that has no access by road,” Murkowski said, adding that the group would see how military sites need airplane hangars because aircraft cannot be kept outside overnight in the Arctic cold.
NATO has recently tried to foster cooperation in the High North through a series of joint military exercises, especially as nations like China and Russia increase their activities there.
As climate change thins the Arctic ice, it could potentially create a northwest passage for international trade as well as reignite competition with Russia, China and other countries over access to the region’s mineral resources. The region is also host to a number of undersea cable projects that hold strategic value.
The group will also visit Indigenous communities that have lived in the region for generations and understand the environment. Murkowski said she hopes the senators come away from the trip “excited and intrigued and hopefully inspired.”
As Trump threatened to take Greenland earlier this year, Shaheen and Murkowski also teamed up to push for legislation that would prevent the U.S. from attacking any fellow NATO member. They are among the lawmakers pushing to include language in this year’s defense legislation that would prevent the Trump administration from withdrawing military commitments to NATO allies.
Shaheen said, “I also want to know if there are policy directives that we should be thinking about. And it will be great to have a strong bipartisan group there to discuss what we might want to do when we get back.”
How an all-female trip will be different
For some of the nations the group will be visiting, a high representation of women is nothing new. Iceland’s parliamentary body is comprised of roughly 46% women, one of the top ranking countries globally for female political representation.
Shaheen said that research suggests that “when women are the negotiating table, that agreements that are made have a much better chance of lasting for a longer period of time.”
She added that data show that representation of women in government leads to more stable societies, as well as investments back into their communities.
“There are very real reasons why we need to make sure that women are at the table,” she added.
Indiana’s lack of glamour is a point of pride, rooted in Midwestern practicality and endless flat fields of corn.
Lately, though, the Hoosier state has been elevated by towering sports figures. And on Sunday, two will be the fresh faces of the Indianapolis 500, which attracts more spectators than any other single-day sporting event in the world.
Indiana Fever superstar Caitlin Clark will be the grand marshal. National championship-winning Indiana football coach Curt Cignetti will drive the honorary pace car.
But even those high achievers might be awestruck by one of the race car drivers. Or at least what that driver will attempt.
Not only will Katherine Legge be the only woman among the 33 drivers in the Indy 500, which begins at 9:45 a.m. PT on Sunday. The 45-year-old motorsports trailblazer from England will then fly to Charlotte to race in the NASCAR Cup’s Coca-Cola 600, which begins at 3:29 p.m. PT.
That’s 1,100 miles of left turns around two oval tracks.
On the same day.
As impressive as undertaking what is known simply as “The Double” are Legge’s travel plans from Indianapolis to Charlotte. Five hours and 44 minutes separate the starts of the two races. The Indy 500 takes longer than three hours to complete. The commute will take close to two hours.
Legge plans to hustle. She will hop into a helicopter moments after the Indy 500 and head to a nearby private jet that will zip her 366 miles to Concord Airport near Charlotte in an hour. Another helicopter will drop her onto the Charlotte Motor Speedway infield. A golf cart will take a beeline to her Chevrolet Camaro in time for the green flag.
At least that’s the plan.
“Being focused for a three-to-four-hour IndyCar race then a five-hour NASCAR race, it’s the same as driving from New York to Daytona Beach pretty much at, gosh, an average of 200 miles an hour,” Legge said. “You cannot lose focus for a second of any of that. I don’t think anybody can comprehend that.”
Legge is the first woman and only the sixth driver overall to attempt The Double. Although her career has included IMSA sports cars and Formula E in addition to IndyCar and NASCAR, she has never attempted anything this challenging.
John Andretti, Robby Gordon, Tony Stewart, Kyle Larson and (rest in peace) Kurt Busch are the others who have tried.
Larson is the most recent, finishing 18th in the Indy 500 and 37th in the Coca-Cola 600 a year ago. He also tried in 2024 but didn’t get to his car in time in Charlotte because of a rain delay in Indianapolis.
The documentary “Kyle Larson vs. The Double” premiered Wednesday on Prime Video. It follows the two-time NASCAR Cup Series champion through preparation, logistics and grueling reality of getting through the day.
Legge is beginning to relate.
“I was thinking about what I’m going to do with a hybrid strategy at the same time as telling people about how I’m going to do the double,” she said. “It’s this weird disconnect, right? Where you’re like, ‘That’s so cool.’ And conceptually, you know exactly what’s involved, but it doesn’t sink in.”
Busch, who tragically died at 41 on Thursday from an undetermined illness, turned in a valiant effort in 2014, finishing sixth in the Indy 500 despite having limited experience in IndyCar. Engine problems torpedoed his chances in the Coca-Cola 600, however, and he completed only 271 of 400 laps on the 1.5-mile track.
“It was a challenge I put forth for myself,” Busch said. “I enjoyed it. I soaked it in.”
Only once in five attempts did Gordon complete both races, finishing eighth in Indianapolis and 16th in Charlotte in 2002. A year earlier, Stewart turned in the most impressive double, finishing sixth at Indy and third at Charlotte.
Andretti was pioneer of The Double in 1994, finishing a respectable 10th before flying to Charlotte with a nurse and registered dietitian to ensure he stayed hydrated. Andretti was penalized for missing the drivers’ meeting, however, and sent from the No. 9 starting position to the rear of the field. He crashed and withdrew on the 91st lap.
Content with one race Sunday will be defending Indy 500 winner Álex Palou, who will start on the pole after a four-lap qualifying average of 232.248 mph. Six different drivers have won the race in consecutive years.
Legge, who will be racing in her fifth Indy 500, will start in the No. 26 position. Actor and Indianapolis native Brendan Fraser will be the honorary starter and wave the green flag. It will be the beginning of an exhausting day.
“Honestly, I’m doing it because it’s a really cool thing to do, and it’s kind of like this old-school epic badge of honor that you get for doing both races in one day,” Legge told Fox Sports. “I’m not doing it to leave a legacy.
“You can do anything that you put your mind to if you want it enough. It would be remiss of me to not take that responsibility seriously, but at the same time, that’s not why I set out to do it. I set out to do it because I love to race.”
Eight years after going off the air, “Sofia the First” is getting another opportunity to find out what being royal is all about.
Disney’s first preschool princess returns for a new set of adventures in “Sofia the First: Royal Magic” premiering Monday on Disney Jr. The following day, eight episodes will stream on Disney+.
The sequel series finds Sofia — once again voiced by Ariel Winter — leaving home to attend the Charmswell School for Royal Magic. Rapunzel makes a guest appearance in the premiere episode and Moana, Jasmine, Cinderella, Aurora and Elena of Avalor will all stop by over the course of the first season.
According to Disney, “Sofia the First” still holds the record for the top three cable TV telecasts for girls ages 2 to 5 with more than 3 billion hours watched since the series premiered. The trailer for “Sofia the First: Royal Magic” was viewed 7.54 million times on social media in the first 24 hours after it was released. The show’s theme song, which has been updated for the new series, remains popular on TikTok among teens who first watched the show as preschoolers.
Series creator and executive producer Craig Gerber says the show’s tone is one of the reasons for its enduring popularity. “The charm, the humor and the storytelling was simple enough for [children] to understand, but sophisticated enough to stick with them as they were growing out of the key demographic,” he says. “They remember [the show] very fondly and it becomes a source of comfort for them.”
Rapunzel makes an appearance in the premiere episode of “Sofia the First: Royal Magic.”
(Disney)
Originally there were discussions to have a spin-off series with a whole new set of characters going to Royal Prep, the school Sofia graduated from in the first series. But soon Gerber realized that a sequel series was the way to go because of the love for the character. “It became clear that the real exciting part of coming back to this world would be to follow the further adventures of Sofia and bring her to a new audience,” he says.
Sending Sofia to a new school was the obvious choice. “We thought it would be very exciting and fresh for her to go to a school where she could focus on learning magic and mastering the powers inside her,” Gerber says. “In the first series, she learned what being royal is all about. In this series, she’s going to learn what being the most magical princess is all about.”
Winter was 12 years old when she auditioned for the role 15 years ago. At the time, she said Sofia’s voice was close to her own — what she thought she would sound like if she were a princess. But even all these years later, it was easy for her to find the voice again because she never really stopped doing it.
“If people told me that they had a child who loved Sofia, I would be like, ‘Oh, do you want me to make a voice recording for them?’ I’d make at least one of these a week, maybe more,” she says. “The show meant so much to me and I know it meant so much to so many people. To know that I am going to get to help influence another generation of kids in a positive way is just so exciting.”
In addition to Winter, all of the original cast is returning, including Sara Ramirez as Sofia’s mother Queen Miranda, Darcy Rose Byrnes as Sofia’s stepsister Amber, Wayne Brady as her beloved rabbit Clover, Eric Stonestreet as her flying horse Minimus and Tim Gunn as the castle steward Baileywick.
But a whole new series and location also means new characters. Here’s a look at three of the new characters who will be entering Sofia’s world.
Eden Espinosa as Zandrya
Eden Espinosa voices Zandrya, the new villain in “Royal Magic.”
(Disney)
Broadway star Eden Espinosa, perhaps best known for playing Elphaba in “Wicked,” will be voicing the new villain Zandrya. “She is loud, bratty, confident and powerful,” Espinosa says.
“We wanted Zandrya to have that entitled air,” Gerber says. “As if all of the magic should just be given to her and she shouldn’t even really have to work for it. She is a sorceress that is after magical items to give her more power. And because Sofia is becoming more and more confident in her magical abilities, Zandrya has a hard time getting what she wants.”
As master of disguise, Zandrya takes a different form each time she appears in an episode — the better to fool Sofia and get her hands on the magic amulet. That means Espinosa, who also voiced the Queen of Hearts in Disney’s “Alice in Wonderland Bakery” and Cassandra on “Tangled,” gets to take on a new voice with each new episode.
“She’s the most fun character to play,” she says. “Voiceover has always been a dream of mine ever since I saw ‘Little Mermaid’ when I was I think 10.”
Espinosa says Zandrya is “the most fun character to play.” The actor has to take on a new voice whenever her villain takes on a different form.
(Disney)
As in the original series, music will play a big part in “Sofia the First: Royal Magic.” In fact, there will be twice as many songs, with each 11-minute episode getting its own number. “What I love about the songs I’ve gotten the privilege to sing is that they feel current,” Espinosa says. “They feel like it’s on the pulse of what’s happening now. They are bops. The challenge is I have to sing the songs in the voice that I’m in for that episode.”
“We’re very lucky to work with folks like Eden, who can take any personality, any voice and still manage to hit all the notes and convey the acting and and really give a fun, rollicking performance,” Gerber says.
And, like Elphaba, Zandrya might be a little misunderstood. “I think as humans we have all sorts of things going on underneath the surface,” Espinosa says. “While she has a very clear mission and intention, I do know that she has moments in interacting with Sofia that she has reflections that make her think.”
Yvette Nicole Brown as Lady Saddlespur
Yvette Nicole Brown voices Lady Saddlespur, Sofia’s new teacher.
(Disney)
Yvette Nicole Brown is one of Gerber’s go-to performers. She’s been the voice of Chief Faye Fireson on “Firebuds” and Luna on “Elena of Avalor.” So it was an easy yes for Brown when Gerber asked her to be the voice of Sofia’s new magical creature teacher and flying derby coach Lady Saddlespur.
“If I’m doing a show, I’m gonna find room for her,” Gerber says of Brown. “Lady Saddlespur is a fun foil for the kids as she pushes them to be better students.”
“She is a Southern belle,” Brown says of her onscreen alter-ego.“She’s very proper. She believes that everything at Charmswell should be done just so.”
Brown says her favorite part of animation is that it encourages her to tap into her child-like side. “When we were kids, we lived in this place of wonder,” she says. “I remember the first shows I watched. I remember ‘Captain Kangaroo,’ ‘Mr. Rogers’ Neighborhood’ and ‘Sesame Street.’ Those performers have stayed with me my entire life. The honor of getting to be one of the first voices that these babies hear is everything.”
Brown is also delighted by the life lessons the show imparts. “Lessons about accountability, sharing, kindness, regulating your emotions and following directions. The importance of school and learning and being careful and gentle with animals and other people and their feelings. I think it’s a great stepping stone for the babies to learn how to be productive, caring members of society, which is what we’re all supposed to be trying to be.”
Pepper is Sofia’s pet puppy-unicorn. Nate Torrence, who is also the voice of Clawhauser in the “Zootopia” movies, says nothing sounds more adorable than “the collab of a puppy and unicorn.”
Gerber has wanted to create such a character since the original series. “He’s there for comic relief to a large degree,” Gerber says. “And also to give us that little bit of daily magic because Sofia can talk to animals.”
“He’s a pretty lovable guy,” Torrence says. “Even though he plays a little air-headed, he actually is really witty. It’s that old-school Abbott and Costello kind of timing or Charlie Chaplin because there’s so much physical comedy going on with Pepper.”
Because he’s getting to voice a character for so many episodes, Torrence says he’s felt more growth with Pepper than many of the other characters he’s played. “I do think they’ve allowed my voice to be a new kind of voice in the world,” he says. “I get to have a bit more attitude and sass. To be a part of a franchise like this is a nice little dream come true for me.”
For L.A. cool girl and actor Taylour Paige, the perfect Sunday involves lots of shopping — shopping for statement jewelry at Maxfield, minimalist yet playful clothing at Jacquemus and vintage home decor at Pierce & Ward.
“I really love fashion,” says the Inglewood native. “I appreciate fashion. I respect fashion.”
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
Paige’s latest project, “I Love Boosters,” is centered on fashion as well. Written and directed by Boots Riley, the maximalist film follows the Velvet Gang, a pack of small-time shoplifters (played by Paige, Keke Palmer and Naomi Ackie) as they attempt to take down a ruthless fashion mogul in the name of “fashion-forward filantrophy.” It hits theaters Friday.
Once she learned that Riley was behind the film, she knew she had to be a part of it.
“When I met Boots, he was like, ‘This is the smaller role of the three in the Velvet Gang,’ and I was like ‘I don’t care. I want to work with you,’” says Paige, who has also starred in the film “Zola” and HBO’s “It: Welcome to Derry.”
With her baby and husband by her side, here’s how the new mom would spend a Sunday in L.A.
This interview has been lightly edited and condensed for length and clarity.
7 a.m.: Take a little walk and grab a matcha
I’m a mother so I could wake up anytime between 6 to 8 a.m. When I breastfeed, he’ll actually go back to sleep but it really just depends on the night we had. I’ll have my morning matcha. There was a period where I was making my ceremonial-grade matcha at home and I would like to get back to that, but there’s something about walking to get my matcha that I just really enjoy. I like that it’s a little outing. I like the matcha at Erewhon, but only because I know that when I ask for almond milk, they’re giving me the Almond Malk [brand] which only contains almonds and Himalayan salt. I also like Community Goods, which my homie Pedro runs. My typical breakfast is eggs with Celtic salt and I’ll drizzle some olive oil on it. Maybe I’ll have some cottage cheese or shredded carrots as well.
10:30 a.m.: Stock up at the farmers market
Once we’re up, I have to go to the farmers market in Atwater Village. I need my organic eggs, my strawberries, my lemons, my lemongrass, my hummus and my ghee. Maybe I’ll get like some gorgeous Japanese sweet potato cause I try to eat a sweet potato daily. I eat it with the skin on because you gotta get beta carotene [laughs]. Also, my husband makes this beautiful lemongrass tea that I love at night. It’s kind of been my little postpartum treat that I look forward to. I feel so feminine when I drink it. I don’t know how to explain it, but we get a big bunch at the farmers market on Sundays. Going to the farmers market makes me feel ready for the week.
12:30 p.m.: A second matcha and a late breakfast
Then we’re going to have a late breakfast at All Time. I’m getting the salmon with the crispy rice, broccoli, onions and two big eggs on top. It’s got a little bit of a tart taste. It has a special sauce that you pour on top of it. Probably because I’m sleep-deprived, I’m getting another matcha and a hot water with lemon.
2:30 p.m. Time for some shopping
Then we’re gonna stroll into Pierce & Ward, which is just a couple stores down. It’s a home interior design store. The storefront is literally the color green. It’s just beautiful. I love beautiful things. They do upholstering, but they have a lot of cute little tchotchkes. They’ve got incense. They’ve got beautiful stools, striped upholstering, but they also have, you know, soaps and again incense, and just cute things. The people are so kind in there.
Then we’re going to head over to Melrose Place. We’re going to Margiela and Violet Grey. I’m going to pop into Maxfield. I’m going to try on jewelry. I recently tried on this beautiful Jennifer Meyer emerald gold necklace that I wanted and I was like “How much?” They were like “14” and I was like “Oh, $1,400,” and they were like, “No, $14,000.” I was like, “Oh, OK, cute. I’ll be back.” They have gorgeous Phoebe Philo [pieces], Miu Miu flats, Louise Trotter’s Bottega. I’m having a ball trying things on. Maybe we’re going to swing into Jacquemus because it’s so cute. It’s like a French dream. The girls who work there are so kind and so fly. They told me that he had the couches specifically designed to look like his mom’s couches in his childhood home. They’re bright yellow. It just feels really happy and like a breath of fresh air, and obviously the clothes are beautiful.
4 p.m.: Discover new beauty brands at Formula Fig
There’s this place called Formula Fig. I’m not going to spend too much time in there. Of course they have really beautiful, curated skin care, but they also have cute random things for your hands and feet. You know how we have social media, which is constantly feeding us with things we don’t need, but because someone is selling it to us, it impacts us psychologically. I like that Formula Fig is an experience where you go into the store and discover on your own.
If we have time, we’ll hop in the car and head over to Arcana [Books on the Art]. I can ask anyone who works there, but I’ll ask Lee about absolutely anything. Let’s just say I don’t know what I want, but I know what I’m feeling, or what I want to learn more of, they’re actually art historians in there and they deeply care about books and artists and people. It ends up opening other tabs of people, artists, photographers, writers, painters, watercolor and musicians that I’ve never heard of or I’ve always wanted to know more about.
5:30 p.m.: Sushi for dinner
We’re going to drive our ass to Burbank and we’re getting Sushi Yuzu. Life hack: If they’re too full, we’ll literally go a couple blocks west and hit Kabosu, which is their sister restaurant. I’ve been going here for 10 years. It’s the greatest sushi, so fresh. I love every chef there. We’re starting with the garlic edamame, obviously. Then I’m getting the lime roll, the albacore crispy onion, the garlic sashimi, and I’m going to keep ordering and ordering and be so happy. I’ve put so many people on. I should get equity in the restaurant or something.
7:30 p.m.: Sunset walk before bed
You want a fart walk right after your meal, right? [laughs] So we’re going to go for a nice sunset walk in our neighborhood. Then we’re heading home, giving the baby a bath, I’m taking a shower and we’re going to bed at like 9:30 p.m.
A POPULAR “time warp” attraction has reopened this week following months of closure.
A multi-million pound grant has helped resurrect the model Victorian town in time for the half term.
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The 1900s style town has reopened following months of closureCredit: Alamy Stock PhotoThe Shropshire attraction features a shoe smith and candle factoryCredit: Alamy
Blists Hill, a living Victorian Museum in Shropshire, finally reopened yesterday (May 21), allowing visitors to step back in time once more.
The 1900s style attraction closed in February this year after the National Trust took over the property from the previous owners, the Ironbridge Gorge Museum Trust.
The open-air museum features staff working in 18th and 19th century clothing, with a candle factory, butcher’s shop, school and a shoesmith for visitors to explore.
There is even a bank trading in shillings and pence, which visitors can use to spend at the confectionery store.
JASON ISBELL is a song writer’s song writer. You can tell by the company he keeps.
He’ll never forget the moment some years ago when he heard a certain person singing one of his choruses back to him in unmistakeable tones.
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Grammy-winning Isbell and his band play the UK and Ireland next monthIsbell says recovering from addiction meant dealing with his emotionsCredit: Unknown
“I’ve grown tired of travelling alone. Won’t you ride with me? Won’t you ride? Won’t you ride? ”
Isbell recalls: “At first, I thought it was somebody doing a Bruce Springsteen impersonation of singing my song. And then I realised, ‘No, that’s actually him!’
“It was a huge deal for me to meet Bruce, and for him to know who I was.”
Turned out that one of Springsteen’s sons had brought to his dad’s attention Isbell’s breakthrough 2013 solo album Southeastern, complete with the track Traveling Alone.
To the 47-year-old born in northern Alabama, two miles from the Tennessee state line, it was validation — just like his six Grammys and the fact that Southeastern appears in Rolling Stone magazine’s list of greatest albums of all time.
“I’m a punk but I’m not that big of a punk to pretend something’s not an honour,” the one-time member of Drive-By Truckers decides in his Southern drawl.
“I met Randy Newman and it was the same kind of thing,” he continues, casting his mind back to the 2021 Newport Folk Festival when both artists were on the same bill.
“I was so nervous to talk to Randy but I said to him, ‘Man, your songs are very important to me as a musician, as a human being’ — and he leaned in and said, ‘I like your songs, too’.
“I knew Randy was probably not the sort of person to bulls**t you.”
I’m speaking to Isbell as he prepares to hit these shores with his ace band, The 400 Unit, for a tour of the UK and Ireland which culminates with a night at London’s hallowed Royal Albert Hall on June 11.
But on this day, the hard- working singer is in Dallas for a solo acoustic show, showcasing last year’s captivating, intimate Foxes In The Snow album, when we’re connected via video call.
“My flight was cancelled last night because of bad weather so I drove here — took me nine and a half hours,” he reports from his hotel.
It’s 10am US Central Time and 4pm UK time and, despite the previous day’s exertions, Isbell seems fresh and focused for a deep dive into his life in music — and the songs that define him.
It’s clear from talking to this thoughtful soul that his career can be divided into two distinct categories — before and after he got sober — which he describes in depth later.
But first, we go back to his early life as the son of teenage parents, the subject of his song Children Of Children, and his early introduction to music.
Mom Angela was 17 and dad Mike was 19 when he was born so “I got to spend a lot of time with my grandad, who preached in a Pentecostal church in Alabama, and played guitar, mandolin, fiddle, banjo.
A big moment for Isbell arrived with a yearning composition on his third album, Here We Rest, his second with his band The 400 Unit and the last before he went into rehabCredit: ALYSSE GAFKJENIsbell became ‘obsessed’ with blues after hearing Robert Johnson’s recordings
“And my uncle, my dad’s little brother, played guitar in a rock band.
“When I was around four, my parents would take me to band practice in his friend’s garage, and I would fall asleep, usually when they did Neil Young’s Like A Hurricane.
“Though my dad and mom didn’t play music, pretty much everybody else in my family did, at least as a hobby. It was seen as a birthright thing.
“I know this sounds like down-home Southern horses**t, but my grandad would make me play gospel music with him for a couple of hours a day.
“Then if I could get through it without getting lazy, I could play rhythm guitar. The guitar was huge, and I was small, and it would take a lot of work.”
Isbell became “obsessed” with blues after hearing Robert Johnson’s recordings and “this little white kid from a hillbilly town” would bombard his music teacher with questions about the Mississippi Delta pioneers.
“My teacher was a big rock and roll guy who had a different Rolling Stones T-shirt for every day of the week,” he says.
“He would call me out of class on the loudspeaker in a really gruff voice, so it sounded like I was in trouble. But I knew that he had made me a mixtape.
“There were a lot of people who took an interest in me early on. I got very lucky that way.”
As a teenager in the Eighties, “radio was huge” for Isbell, who singles out Crowded House and Elvis Costello in particular.
“As my parents were not much older than me, we listened to a lot of the same music,” he says.
“In those days, it was big arena bands like Journey and Foreigner, My dad liked country music, too, so he had Merle Haggard and Hank Williams records.”
At this time, Isbell started playing bars in the Southern music mecca of Florence and Muscle Shoals, which, “because of the liquor laws”, also had to sell food.
He says: “They would check the receipts to make sure you sold more food than alcohol, which was terrible for any kind of music scene — but really good for a 15-year-old kid because they couldn’t kick me out!”
In these places, he got to see legendary session men like Spooner Oldham, Donnie Fritts and, crucially, bass player and trombonist David Hood, father of Drive-By Truckers frontman Patterson Hood.
In 2001, Isbell joined the Truckers and hit the ground running by contributing two outstanding songs to their 2003 album Decoration Day, the title track and Outfit.
The singer is touring the UK this summer – kicking off in Belfast on June 2Credit: Getty ImagesIsbell, who battled alcohol addiction, pictured with his bandCredit: Unknown
He says: “I liked playing guitar and singing background vocals, but I had a lot to prove.”
He describes how his dark, Southern gothic magnum opus about a multi-generational family feud came into being: “I wrote Decoration Day on the road, in Carbondale, Illinois, I think.
“We were staying at a friend’s and everybody else was asleep in the house.
“One person always had to sleep in the van to stop people stealing our gear. That night, it was me.
“I woke up early — around eight o’clock in the morning. So I had a couple of hours before everybody else started moving and I came up with Decoration Day.”
Another memorable Drive-By Truckers effort by Isbell is Danko/Manuel, his tribute to roots rock icons The Band, which appeared on the 2004 album The Dirty South.
He says: “At the time, Rick Danko and Richard Manuel were the only two not still alive. Now, none of them are.
“I was reading [drummer] Levon Helm’s book, This Wheel’s On Fire. He talked about having to siphon gas out of cars in parking lots while the rest of them were on stage. They were a bunch of feral kids in the early days.”
In 2007, largely thanks to heavy drinking and unreliable behaviour, Isbell left the Truckers and went solo.
It’s good to report that he’s on friendly terms with his old bandmates these days and joined them on stage last year for Stephen Colbert’s The Late Show.
He says: “We were very close at one point. It’s not easy to make friends in general so I try to keep the ones that I can.
“Even after I got sober, I didn’t quite know why I’d had drinking problems to start with.
“At first, you’re just hanging on for dear life and trying to stay sober. Eventually, if you do it right, you do repair the parts of yourself that you were ignoring.
“Once that happened for me, I was able to reconnect with those guys. We were able to be friends again and they’ve continued to make really valuable music.”
When it came to Isbell making his first solo album, Sirens Of The Ditch in 2007, highlighted by a couple of fan favourites, Dress Blues and The Magician, he had a lot to learn — and fast.
“I didn’t know what the hell I was doing,” he sighs. “I know I had to argue a lot, which actually turned out to be a good thing.”
A big moment for him arrived with a yearning composition on his third album, Here We Rest (2011), his second with his band The 400 Unit and the last before he went into rehab for alcohol addiction.
To this day, Alabama Pines is one of his most performed live songs.
“When I wrote it, everything else in my life sucked,” he says. “It was a very dark time. I was in physical and psychological pain. Working on it was the most relief I got.”
He adds: “The complication in that song adds a lot of value to it — the fact that you’re yearning for a place that isn’t perfect.
“It’s a dynamic that finds its way into a lot of Drive-By Truckers’ work and a lot of my own. It’s very possible to miss a place that wasn’t necessarily all that good to you.
“That song doesn’t have a chorus, it never gets huge so it’s not an anthem. But it stands out in my solo work and I still like it. It has never let me down.”
Everything changed for Isbell after rehab and first notice of his sober approach is 2013’s breathtaking Southeastern with its enduring keepers, Cover Me Up, Stockholm, Elephant and the aforementioned Traveling Alone.
“I wasn’t in the same type of pain,” he says. “Recovering from addiction heavily involved dealing with myself — my life, my emotions, my situation — not postponing it.
“When I was drinking, I would write until the sun went down and then I’d think, ‘I need a drink’.
“With Southeastern, I would stay working for hours and hours at a time because I didn’t have anything else to do. It’s not like I was going to the bar.”
The record proved a big commercial success even if a song like Cover Me Up, recently covered by Morgan Wallen, is about recovering from addiction and the healing power of love, while Elephant is an unflinching study of mortality and the impact of cancer.
Today, Isbell performs such tracks from a slightly different perspective.
“With a room full of people cheering for these songs, we get to celebrate the fact that these horribly sad songs exist,” he smiles.
Next, we rattle through a few more Isbell staples like 24 Frames from 2015’s Something More Than Free with its sparkling electric guitar passages.
“I may have doubled up two exact same slide-guitar parts on that. It’s the old George Harrison trick from My Sweet Lord and it works every f***ing time.”
He sees guitar playing as his “hobby”. “My girlfriend paints very seriously and that’s her work,” he says by way of example.
“Lately she started working with miniatures and building doll houses, and that’s her hobby. It’s very close to painting but it’s not a commercialised part of her life.
“That’s how I look at guitar playing. Singing, songwriting, touring — that’s my job. If left alone for a couple of hours, I just sit and play guitar — that’s my hobby.”
There’s a profound Isbell song on 2017’s The Nashville Sound, If We Were Vampires, a big favourite of his friend, the late, great singer John Prine, who he describes as “thoughtful, witty, highly intelligent and emotionally open”.
“There’s some magic in that song,” he says. “Everything else on the album was written when I thought, ‘There’s so many f***ing love songs, why would I bother to do another one?’
“By the time I got to the chorus of If We Were Vampires, something hit me — the reason you love somebody, go through all that effort and pain, is because you’re going to die.
“Without death, we wouldn’t be motivated to live. It was one of those moments where I was like, ‘Wow! Thank God I weaved my way to that path’.”
A telling Isbell insight is revealed by It Gets Easier with its line, “it gets easier, but it never gets easy”, from the 2020 album Reunions.
It addresses his sobriety and brings this reflection: “I don’t think about drinking as much as I used to, but I do sometimes, not necessarily when things are bad.
“When it is going badly, the first thing you do is you make a plan – talk to friends, talk to a therapist, go to a meeting.
“For quite a few years, the hardest times have been to not think about drinking when things are going really well.”
Isbell’s consistently fine recorded output includes 2023’s Weathervanes, with standouts like reflective acoustic ballad Cast Iron Skillet and gritty rocker King Of Oklahoma, about the downward spiral of a blue-collar worker who turns to prescription meds.
Mention of them is cue for him to offer a warning to those attending his upcoming shows.
“When I’m writing a record, I think, ‘How am I going to make these people hold their pee for four more minutes?’
“Because when the new material comes out, that’s usually when everybody heads to the bar!”
Jason Isbell & The 400 Unit play Belfast June 2, Dublin June 3, Bristol June 5, Gateshead June 6, Glasgow June 7, Manchester June 8, Birmingham June 10 and London’s Royal Albert Hall June 11
For a guy who has become known for his monstrous output of clips, comedy specials and content, it’s a wonder Josh Johnson has time to stop to think about what makes his comedy timeless. As a former writer and now one of the hosts of “The Daily Show,” much of Johnson’s humor outside of specials relies on his ability to deliver jokes on the dumpster fire du jour when it comes to pop culture and politics. But for his latest one-hour special, “Symphony,” premiering Friday on HBO, he wanted to orchestrate something different that would still be funny 40 years from now, regardless of what’s fashionable or who is running the country.
Using music as a canvas to paint a funny, layered portrait of the human experience, Johnson creates a set that comes alive with the sound of more than the laughter at the Wiltern, where the special was filmed earlier this year. With stories focused on surviving rowdy family, moments of loneliness, struggles with faith, and navigating our deepest human relationships, Johnson’s abilities as a pensive storyteller are conducted masterfully. The result is an hour that helps showcase his refined comedic voice, surprise the audience and sound the trumpets for his next round of touring.
This interview was edited for length and clarity.
Why was it important for you to veer so strongly into music as a theme of your new special, “Symphony”?
I think music, in a way that nothing else does, brought the central points and themes of the special home. In the beginning [scene] with the title card and the busker who has a [music-related] quote in front of him, that’s sort of the mission statement of the special and everything I’m trying to do. The thing to me is including the music to help bring about these ideas and bring each section home and bring it all the together in a way that obviously I’m also attempting to do through the comedy. I think thematically there’s nothing stronger to make the overall point than music.
What inspired you to shoot it at the Wiltern?
The Wiltern is so beautiful and it also lends itself to that sort of art aspect I’m talking about in the very beginning of the special. Things that have that look of the Wiltern help not just create a spectacle, but give you something really beautiful to look at. You get something really beautiful to listen to in the music, and then the comedy helps decorate the hour that we’re spending together.
“If you speak to a lot of people’s timelessness around family and culture and some of the bigger topics, but without naming names, I think that you create something that really stands the test of time,” Johnson says about his new special, “Symphony,” premiering Friday on HBO.
(Ser Baffo / HBO)
You definitely play around with the format of a typical special in this new hour. As somebody who has mastered the ability to release a crazy amount of comedy in recent years on YouTube and social media, what aspect of a traditional one-hour special do you still find important?
I think that everything that I’ve been doing so far is pretty topical and very of the moment, even when I’m not talking about a specific pop culture or political topic. I think that there’s a time for comedy of the moment, but then I also think there’s an aspect that you want to be timeless, and that’s what the specials are for me. You want the piece to be something that people watch 40 years from now, and I don’t always expect every single set that I put out to have that level of longevity. Because no matter how it feels right now, there’s going to come a time where we look at the people who take up so much of our bandwidth and our thoughts throughout the day as just a sort of passing political fashion or the things that we see as like huge indicators of where society is right now will eventually become forgotten crazes. But I think that if you speak to the human condition, if you speak to a lot of people’s timelessness around family and culture and some of the bigger topics, but without naming names, you create something that really stands the test of time.
There’s a duality between your timely comedy on “The Daily Show” and the timelessness you’re aiming for in specials. Was it important for you to separate the two ways that people might see you as a comedian?
People are going to have their takeaways from whatever you do. I try bringing the same amount of intention to everything, but as far as the way people see me, it’s something that’s kind of out of my control.
Religion comes up a lot in the special, the Bible specifically. I’d read somewhere that you had taken a break from practicing Christianity in recent years. If so, what was your reason for including the topic in your special?
I wouldn’t even necessarily call it a break, I just think that there’s moments you’ll find yourself in, where whether you grew up on a text or a certain few tenants that you live by, there’s always going to come a time where it’s really important to revisit those things… It’s not necessarily that I bring religion up in the special because I stopped practicing. It’s actually because I think that if I’m breaking life down into these sort of pillars that make up a person — I’m not saying religion has to be one of them — but I do find it to be an aspect for a lot of people. So if I’m once again trying to speak to things from a universal perspective as best I can, I think it’s something that that definitely comes up.
Comic Josh Johnson turns his new hour into a concertlike experience, using live music, a busker’s credo and L.A.’s ornate Wiltern Theatre to tie jokes into a single, sweeping theme.
(Ser Baffo / HBO)
Considering how well you use music as a backdrop for the special, how long did it take to come up with a concept for the hour? Did you write the jokes before coming up with the structure or vice versa?
I basically had a structure before I had a set, and I went to the director Jacob Menache about the idea for this thing like three years ago and we were talking about how best to make it work. That was long before I knew what jokes were going to go where, or how many things, how many aspects we were going to add to it, or anything. So I think that it’s been a long time coming, as far as like the actual structure of what you end up seeing.
Watching your special was the first time I paid real attention to who the musical director was in the credits. What was it like working with respected bassist and producer Derrick Hodge on creating the concept for the music in “Symphony”?
I look at Derrick as someone who was doing a lot of interesting things, and so I thought it was going to be a fantastic opportunity to get to work with him. I don’t know that much about music, to be honest. I try to dabble with producing here and there because I have ideas, but it’s the real musicians, the real artists that take the ideas that I might pitch out and create something with it. So I really leaned on Derrick as much as possible to like bring us home. I feel like so much of what I was trying to do was in bringing an overall idea of the structure of a set and asking Derek, “Hey, what do you think about this?” I don’t know if I could have ever thought up a way to create what I was trying to build without him.
Was there something about you that you felt like you wanted to get across in this special that maybe you haven’t gotten to in your previous specials?
It can be tough to show new shades of yourself when you put out a lot of stuff, and you are always kind of coming with stories about your life and your childhood or anything like that when I think of putting a set together, especially something that is attempting to be timeless. Overall, I think every new story is a new story to [the audience]. But I think that if you can express how you used to think versus how you think now, that can be revealing. Towards the beginning [of “Symphony”] I talk about how there are things I didn’t understand until pretty close to the special in theory, things I didn’t understand until like a week ago, or I’ve always held this belief, or something like that, and I think that if you can give people insight to your evolution as a person, I think that’s a really powerful thing.
“I think music, in a way that nothing else does, brought the central points and themes of the special home,” Johnson says.
(Ser Baffo / HBO)
Were there any things that occurred during the rehearsal process that genuinely surprised you?
Watching it come together was a huge surprise, because you know, [the director] Jacob’s out here in L.A., I’m in New York, and so I make the flight down and everything, but the Thursday rehearsal with the musicians [before the taping] was the first time I was seeing everything come together. It was first time I was hearing everything, and so I think watching something finally come to life after such a long period of time is always going to throw you for a loop.
Now that the special will finally be out, what plans do you have next about how to showcase your comedy?
I’m really excited for people to see what’s coming. I start the tour Comedy Band Camp in June. I have some surprises for people there as well, and I’m looking forward to showcasing lots of artists. I’m looking forward to showcasing as much as I can that helps me elevate the level of craft and what I bring to people. And so I’m doing that through even more collaborations. I’m going to be hyping up some people that maybe you’ve heard of, or maybe you haven’t heard of. The special is kind a beautiful kick off for the tour that I’m going to be doing because we are going to be on the road for quite a while, and I chose Comedy Band Camp as a theme, because camp is this thing that people are nostalgic for, it’s a place to go that is safe, where you make friends. Band is about people coming together for a shared goal, it’s about everyone having a singular purpose towards creating art. So I think mixing those two things together will be a unique experience that no one can get anywhere else, and it’ll be a challenge to present it as best as possible. But I have a lot of plans for how I’m going to do that.
Netflix is dropping a three-part docuseries that revisits Michael Jackson’s2005 trial in which he was acquitted on charges of child molestation.
“Michael Jackson: The Verdict” drops June 3 and features archival footage and interviews with key players involved in the trial including jurors, figures from both the defense and the prosecution, journalists who were inside the courtroom and other eyewitnesses who saw the events unfold firsthand.
“It has been 20 years since the trial of Michael Jackson in which he was found not guilty. Yet, to this day, controversy still rages,” the filmmakers said. “No cameras were allowed in court, and so the public’s view of the facts at the time were filtered by commentators and presented piecemeal. It was time to take a forensic look at the trial as a whole.
“Anyone interested in the Michael Jackson story should feel this documentary gives them a window into what was largely a closed event and a chance to feel closer to what happened.”
The Santa Barbara Superior Court trial lasted 14 weeks, and the jury, which included eight women and four men, deliberated for more than 30 hours across seven days.
Jackson was acquitted on 10 felony charges: four counts of child molestation, four counts of plying a minor with alcohol in order to molest him, one count of attempted child molestation and one count of conspiracy to hold the boy and his family captive at the Neverland Ranch. He faced more than 20 years in prison.
Produced by Candle True Stories, the production company behind Netflix’s “Untold: The Liver King,” and directed by Nick Green, “Michael Jackson: The Verdict,” comes at a time of renewed interest in the “King of Pop.”
The Jackson-estate-approved biopic “Michael” hit theaters last month, and depicts the origin story of the hitmaker from childhood through his upward trajectory to superstar status in the 1980s. Notably, the movie omitted the slew of allegations that followed Jackson from the ’90s until his death in 2009.
