time

Four hours before Sienna Spiro is due to launch her first U.S. headlining tour, the 20-year-old singer and songwriter from London sits upstairs in the Troubadour’s empty balcony, peering down as several crew members wheel a grand piano onstage.

“The fact that I’m 11-and-a-half hours from home and that this room is gonna be filled with people that have never met me and that I’ve never seen before — that’s just crazy,” she says. “I’m kind of scared.”

The song that brought Spiro to West Hollywood this past Tuesday is “Die on This Hill,” a showstopping pop-soul ballad about staying in a toxic relationship — “I’ll take my pride, stand here for you,” she sings, “I’m not blind, just seeing it through” — that’s been streamed more than 300 million times on YouTube and Spotify since it came out in October. Built around tolling piano chords and Spiro’s titanic vocal, the song hit No. 9 in the U.K. and broke into the Top 20 of Billboard’s Hot 100; last month, Spiro — whose famous admirers include SZA, Mark Ronson and Alex Warren — was nominated for the Critics’ Choice prize at England’s annual BRIT Awards.

With its unabashed emotion and its throwback feel, “Die on This Hill” can be heard as the latest in a long line of melodramatic ballads by young Brits such as Amy Winehouse, Duffy, Lewis Capaldi and Olivia Dean, the last of whom was just named best new artist at the Grammys. Yet Spiro’s voice stands out: Rich and pulpy, with a crack she knows how to deploy for maximum heartbreak, it might be the most impressive instrument to come out of England since Adele emerged nearly two decades ago.

“Sienna is a true artist with the voice of a generation,” says Sam Smith, one more English singer (and former best new artist winner) with a flair for ugly-cry theatrics. Late last year, Smith, who identifies as nonbinary, invited Spiro to join them onstage in New York for a performance of Smith’s song “Lay Me Down.” Spiro, Smith recalls, “blew the room away” — one reason they brought her out again Wednesday night at San Francisco’s Castro Theatre, this time to sing “Die on This Hill” together.

Says Smith of the younger artist: “The world is at her feet.”

At the Troubadour, where she’ll follow Tuesday’s sold-out concert with an encore appearance Friday night, Spiro describes singing as a life calling. “I’ve known what I wanted to do since — honestly, since I’ve been a conscious human being,” she says. Dressed in a black-and-white-striped turtleneck, she has her legs folded beneath her on a wooden bench; her dark hair hangs loose around her face, yet to be styled into the ’60s-inspired do she’ll wear come showtime.

“I always felt a bit invisible,” she adds, whether at school with friends or at home as a middle child. “Not in a victimized way. But I always struggled with that existentialism. Music is the only thing that’s made me feel real.”

Are we to believe that one of pop’s bright new stars was once … kind of a bummer?

“In my own way, yeah,” she says with a laugh. “It’s OK. It happened. Character building.”

Spiro grew up privileged in London, one of four children of Glenn Spiro, a prominent jeweler who counts Jay-Z as a client and pal. Her dad turned her onto Frank Sinatra and Nina Simone and the Italian film “Profumo di donna” when she was little; by age 10 she’d written her first song (“Lady in the Mirror,” it was called) and played her first gig (at a pub not far from Heathrow Airport).

At 16 she enrolled at East London Arts and Music, a performing arts academy she describes as “the up-and-coming version” of London’s prestigious BRIT School, whose alumni include Adele and Winehouse. Her academic career didn’t last long, though: On her first day of classes she posted a TikTok of herself covering Finneas’ song “Break My Heart Again” that triggered a wave of interest from various record-industry types; soon she dropped out and began regularly traveling to Los Angeles to work on music.

Today Spiro says she has a “love-hate relationship” with the town where she estimates she spends half her time. “I’m very English, and I think something about English people is our honesty — you don’t really have to guess what people are saying. What was shocking to me when I came here was that people didn’t say what they meant.

“I was very, very lonely, and it was hard to make music when you feel that,” she adds. “I make sad music, but it’s hard to be a teenager and be away from your family and your friends and be in a place where you kind of have to play pretend being an adult.”

Did suffering among the two-faced liars of L.A. ever lead her to question her commitment to music?

“No. It just made me question how I was doing it. And not everyone’s a two-faced liar. There are some good ones out there.”

Was she ever at risk of becoming a two-faced liar herself?

“Oh, I’m too English for that,” she says. “If I did that, I’d get a slap.”

Sienna Spiro performs this week at the Troubadour in West Hollywood.

(Ariana Drehsler / For The Times)

Spiro started releasing singles in 2024 and quickly signed a deal with Capitol Records; last year she opened for Teddy Swims on the road and turned heads with “You Stole the Show,” a luxuriously gloomy slow jam with echoes of Adele’s “Skyfall.”

For “Die on This Hill,” which she wrote with Michael Pollack and Omer Fedi (both of whom went on to produce the song with Blake Slatkin), Spiro wanted to capture the feeling of “when you go above and beyond just to feel something reciprocated back from someone,” she says. But if the writing came quickly, the recording didn’t: Spiro jokes that she cut “900 different versions” of the song, including one she says sounded like Silk Sonic and another that sounded like Lauryn Hill.

“I was desperate for something up-tempo,” she says, given that virtually everything she’d dropped so far had been a ballad. Yet Fedi pushed her to cut the tune live with just her on vocals and Pollack on piano. They did four takes, according to the producer, one of which forms the basis of the record that eventually came out.

“Very old-school, very human,” Fedi says of the process. “Maybe I’m corny but with Sienna, less is really more. Her voice is so special, so big and upfront, that you just want to put a giant flashlight on it and let it shine.”

In early January, Spiro gave a bravura performance of “Die on This Hill” on Jimmy Fallon’s late-night show; one clip on TikTok has been viewed more than 70 million times. For that appearance, she wore a retro mini dress printed with an old photo of Johnny Carson behind his desk; for a recent performance in the BBC’s Live Lounge, she wore a different dress showing the faces of the four Beatles.

On stage at the Troubadour, her dress features images of the Chateau Marmont and the Capitol Records tower — a bit of setup, she says, for her next single, “The Visitor,” which is due March 13. Spiro has been slowly assembling her debut album for the past two years, but with headlining concerts to play, she’s reaching back for some of her oldies from 2024.

Some, not all.

“To be real with you, some of my early stuff wasn’t the most authentic,” she says as her drummer starts thwacking a snare during sound check . “I was trying to be someone else because I really wasn’t comfortable with myself.”

Can she point to an example?

“‘Back to Blonde,’” she says, referring to a vaguely Lana Del Rey-ish number about a woman who dyes her hair after killing a no-good lover. “I put it out for all the wrong reasons. It was a mistake — an inauthentic move that I regret making.”

What were the wrong reasons?

“It’s a long story, and it’s not very interesting. I didn’t do it because I loved the song — that’s what I’ll say. But at the end of the day it’s my name and I have to stand by it.”

Which is why she’s taking her time on the LP. Some artists her age don’t care much about the album format but Spiro is a true believer. Among her faves: Sinatra’s “In the Wee Small Hours,” Stevie Wonder’s “Songs in the Key of Life,” Adele’s “21” — “a perfect album,” she says — and Billie Eilish’s “Hit Me Hard and Soft.”

“I love an album where you don’t ever question why a song’s on there,” she says. “Where everything feels intentional.”

She doesn’t want to divulge too much about the work in progress. “The problem with me is I have a huge mouth and I give everything away,” she says, which — hey, great.

“No, I know it is for you,” she adds with a laugh. “But not for me, because then when I actually want to do the big reveal, I’ve got nothing because I’ve said it all.”

She will allow one detail: “It won’t be 12 ballads, I’ll tell you that.” She looks toward the ceiling, jiggling her head slightly, as though she’s doing some mental math regarding the track list.

“I mean, there’s a lot of ballads,” she says. “I just love a ballad — I can’t help it.”

The United States used Precision Strike Missiles (PrSMs) for the first time during its ongoing war with Iran, US Central Command (CENTCOM) said on Wednesday.

The war entered its seventh day on Friday, with attacks continuing across Iran and other countries in the Middle East.

CENTCOM stated in an X post that PrSMs provide an “unrivaled deep strike capability”.

“I just could not be prouder of our men and women in uniform leveraging innovation to create dilemmas for the enemy,” the post quoted Admiral Brad Cooper, head of CENTCOM.

It is unclear where these PrSMs were launched from, or which specific targets they hit in Iran.

So what is the PrSM, and why is it significant that it has been used by the US for the first time?

What are Precision Strike Missiles?

PrSMs are described as long-range precision strike missiles by their developer, the Maryland, US-headquartered defence firm Lockheed Martin, which delivered the first PrSMs to the US Army in December 2023.

PrSMs can hit targets ranging from 60km (37 miles) to more than 499km (310 miles) away, according to Lockheed Martin.

The company’s website adds that PrSMs are compatible with the MLRS M270 and HIMARS family of launchers, both also developed by Lockheed and used by both the United Kingdom and US armies.

MLRS stands for multiple-launch rocket systems, used to launch missiles. The UK sent a number to Ukraine in 2022. HIMARS stands for High Mobility Artillery Rocket System. In 2022, the US sent a number to Ukraine, as well.

M-142 HIMARS is a high-tech, lightweight rocket launcher that is wheel-mounted, giving it more agility and manoeuvrability on the battlefield. Each unit can carry six GPS-guided rockets, or larger missiles like Army Tactical Missile Systems (ATACMs) and PrSMs, which can be reloaded in about a minute with only a small crew.

Lockheed Martin adds that PrSMs can be rapidly developed. “We are ready to produce and deliver to meet the US Army’s accelerated timeline for this long-range precision fires priority,” the website says.

PrSMs feature “open systems architecture”, which means that it is easier to plug in new components, upgrade parts, or work with equipment from other companies. Similarly, they are “modular and easily adaptable”, enabling components to be switched around.

They also feature “IM energetic payload”, or Insensitive Munitions energetic payload, which makes explosions safer, the producer says. This means the warhead is made from explosives that are less likely to blow up accidentally if hit by fire, shrapnel or by accident, but still explode properly when triggered as intended.

What is different about the PrSMs?

PrSMs will ultimately replace the ATACMs currently being fired from the HIMARS launchers, significantly increasing their range from 300km (186 miles) to more than 499km (310 miles), without changing the vehicle carrying the missile.

PrSMs also offer double the “missile load” of ATACMs. While a HIMARS launcher is able to carry one ATACMS missile in its pod, it can carry two PrSMs per pod.

Does the PrSM give the US a strategic advantage?

CENTCOM confirmed that PrSMs have been used in the US and Israel’s attacks on Iran, codenamed Operation Epic Fury and launched on February 28.

CENTCOM posted a video of the PrSMs being launched from M142 High Mobility Artillery Rocket Systems in an open desert terrain.

PrSMs do give the US military a boost for its pre-existing long-range capabilities.

Gulf countries such as Kuwait, Saudi Arabia, Bahrain, Qatar, the United Arab Emirates and Oman, specifically the Musandam Peninsula, which have military bases hosting US assets and troops, have at least some territory within 400km (250 miles) of Iran.

The US is using PrSMs in conjunction with other long-range missiles such as Low-Cost Unmanned Combat Attack System (LUCAS) one-way drones, MQ-9 Reaper drones, ATACMs and Tomahawk Cruise Missiles.

The range for LUCAS one-way drones is about 800km (500 miles), while the range for ATACMs is about 300km (186 miles) and the range for Tomahawk cruise missiles is about 1,600km (1,000 miles).

Why is the introduction of the PrSM significant?

The range of this missile is significant as it is likely that it would not have been permitted under the Intermediate-Range Nuclear Forces (INF) Treaty with Russia, which the Trump administration withdrew the US from in 2019. This is because it can exceed the maximum 500km (310-mile) range the treaty imposed on certain land-launched missiles.

The treaty was signed in 1987 by US and Soviet Union leaders Ronald Reagan and Mikhail Gorbachev. It sought to eliminate the presence of land-based nuclear missiles and medium-range arsenals between 500km and 5,500km (310 and 3500 miles) from Europe.

The US suspension of the treaty allowed Washington to resume development of its own medium-range, land-based arsenal.

Following the US suspension, Russia invited the US to reciprocate in a unilateral moratorium on the deployment of ground-launched intermediate-range missiles instead. While Washington initially rejected the offer, in 2022, it said it would be willing to discuss this.

In August last year, the Russian Ministry of Foreign Affairs announced Russia’s withdrawal from this moratorium, however, saying the US had “made significant progress” and “openly declared plans to deploy US ground-launched INF-range missiles in various regions”. INF stands for intermediate-range nuclear forces.

The statement added that such actions by Western countries posed a “direct threat” to Moscow’s security.

By my count, Philip Glass has written 28 operas, the same number as Verdi. The count is iffy because Glass pushes the boundaries between what we tend to call opera and the fuzzier idea of music theater. His first, “Einstein on the Beach” in 1976 — a collaboration between the composer and the late, innovative theater maker Robert Wilson — is a non-narrative effusion of imagery, movement, music and text, each a brilliantly independent entity that somehow excites a hard-to-pin-down purpose.

His latest (and probably his last, Glass turns 90 this year) is “Circus Days and Nights” — a touching and thrilling opera for a circus and staged at a circus in Mälmo, Sweden, in 2021 — caps a wondrous 45 years of operatic advancement. You would have to go back to Handel’s 42 operas, Mozart’s 22 or Verdi’s oeuvre for operatic equivalence.

Glass’ subject matter varies widely in epochs and ethoses, from ancient Egypt to Walt Disney’s Hollywood. Taken as a whole, these 28 operas reveal how we got to be who we are historically, artistically, spiritually, politically and fancifully, often including more than one of those categories, as in his third opera, “Akhnaten,” which Los Angeles Opera has now remounted at the Dorothy Chandler Pavilion. The instantly recognizable musical style has remained, over the years, consistently abstract and refreshing. It doesn’t tell you how to think, how to feel, even how to understand. It simply grabs your attention; you do the interpreting.

Still, America knows little of Glass’ operatic enormity. The early “portrait” operas — “Einstein,” “Satyagraha” (about Gandhi) and “Akhnaten” (the 14th century BC Egyptian pharaoh) — appear in repertory here and there (meaning mostly in Europe) as do a trio of operas based on Jean Cocteau films. The rest remain little mounted, while several but not all have been recorded. The Metropolitan Opera, for instance, commissioned “The Voyage” in 1992 to celebrate the 500th anniversary of Columbus’ arrival in the Americas, but the epic opera is nowhere to be found in our semisesquicentennial year. It is sadly no longer even thinkable that “Appomattox,” Glass’ revelatory reminder of an America that once honored goodwill negotiation over political self-interest, return to the Kennedy Center, where its final version had its premiere 11 years ago.

L.A. Opera has been better than most American companies in its attention to Glass. It has excellently presented the three portrait operas on its main stage, beginning with “Einstein” in the final and most brilliant revival of the original Wilson staging. The “Satyagraha” and “Akhnaten” revivals have been the designed-to-dazzle inventions of quirky director Phelim McDermott, a co-founder of Impossible, an eccentric British theater company. When new in the last decade, they felt the most arresting productions of these operas since Achim Freyer’s in Stuttgart, Germany, in the early 1980s. Almost every performance at the Dorothy Chandler Pavilion has sold out.

John Holiday as the titular ruler in Philip Glass’ “Akhnaten” at the Dorothy Chandler Pavilion.

(Ariana Drehsler / For The Times)

McDermott’s “Akhnaten” got the most attention thanks to breathtaking jugglers and lavish costumes, along with a touch of full-frontal novelty as Akhnaten gets clothed in his kitschy, glittery getup for his inauguration. Glass had chosen the pharaoh because he is thought to have been the first monotheistic ruler.

Akhnaten is revealed in episodes of his life that are not fleshed out but presented as ritual, including the ravishing love duet with his wife, Nefertiti. The revolutionary pharoah builds a great city and reduces spiritual chaos by focusing on a single-minded form of worship. He looks androgenous in portraits, which led Glass to create the role for countertenor.

The sung texts are in ancient languages, and there are no projected song titles. Instead, a narrator gives a somewhat notion of what’s what in the language of the audience, as is Akhnaten’s great aria, a hymn to Aten (god of the sun).

Ultimately, the pharaoh’s prescient spiritual optimism comes in conflict with the all-powerful establishment priests, who kill Akhnaten and Nefertiti. The opera ends with Akhnaten’s son, presumably Tutankhamun, restoring polytheism, and then, once the staging jumps millennia into the future, it’s rediscovered by modern-day tourists. The currency couldn’t be missed Saturday, the Shia cleric and Iran’s supreme leader Ali Khamenei having just been assassinated along with his wife at the start of America’s and Israel’s Iran war.

Sun-Ly Pierce as Nefertiti and John Holiday as Akhnaten in Philip Glass’ “Akhnaten” at the Dorothy Chandler Pavilion.

(Ariana Drehsler / For The Times)

In the opera, it so happens, the ghosts of Akhnaten, his wife and mother, have the last word in a glorious trio.

When first performed at L.A. Opera a decade ago, the lavish production, co-produced with English National Opera, helped recover a neglected opera. In the meantime, “Akhnaten” has gone practically mainstream. The Metropolitan Opera, which also mounted McDermott’s production, released it on CD and DVD, winning a Grammy for best opera recording.

Since then, the choreographer Lucinda Childs, veteran of “Einstein on the Beach,” has staged a stunningly chic “Akhnaten” in Nice, France, that is available on YouTube. Last year, director Barrie Kosky created a sensation with his staging at Komische Oper Berlin, which starred American countertenor John Holiday.

Holiday happens to be the Akhnaten in the L.A. Opera revival, and he is magnificent. McDermott had built his production around the gracefully emotive Anthony Roth Costanzo, slight and luminous in voice and build and game for nudity. If Costanzo’s disarming enthusiasm for the role has been significant in mainstreaming “Akhnaten,” Holiday, who is a very different presence, may be the next step.

Although he can be a popularly gregarious crossover performer, here he suggests a ruler of profound, unflappable dignity, rather than vulnerability. His hymn to Aten is an exercise in majesty, an ode not just to the sun but to the expanses in which our solar system circulates.

In general, the singers class up the production. Sun-Ly Pierce as Nefertiti and So Young Park as Queen Tye add allure. The large cast of smaller roles and chorus is excellent. Zachary James returns as both Amenhotep III, Akhnaten’s father, and the engaging narrator who occasionally threatens to get carried away. McDermott had perfectly employed James as the droll animatronic Disneyland Lincoln in his animation-friendly, slightly goofy production of “Perfect American” in Madrid, where the opera premiered. Here McDermott’s inspired staging demonstrated that Glass’ forgiving personal portrait of Walt Disney makes it the quintessential Hollywood opera that no one dares bring to squeamish Hollywood.

Zachary James as Amenhotep III in Philip Glass’ “Akhnaten” at the Dorothy Chandler Pavilion.

(Ariana Drehsler / For The Times)

Hollywood, however, is hardly squeamish when it comes to synchronized jugglers. For McDermott, they suggest somber ritual and were, in fact, known in Akhnaten’s Egypt. For the audience, they are a thrill a minute. For Glass, they may take on deeper meaning now that the circus is where he landed 26 operas later.

As for Finnish conductor Dalia Stasevska, making her L.A. opera debut, she keenly keeps score and bounding balls together with cinematic flair. Glass removed violins from the orchestra to achieve a dark, primordial orchestral sound along with pounding percussion. Stasevska finds light, color and action. She conducts for the moment. Picturesque wind instruments suddenly burst forth as if a flock of birds were flying over the pyramids. Solo brass can sound momentous. The percussion pounds like nobody’s business, opening the score up to all the implied emotion and glitter on an over-stuffed stage.

Childs’ exalted use of dance and Kosky’s dazzling theatrical imagination may have moved us into a sleeker, more sophisticated and paradisal Glassian realm, but the sheer passion McDermott and Stasevska bring continues its own attraction.

In the meantime, McDermott has worked with Glass on a theatrical show, “The Tao of Glass,” that has been seen in New York and will run throughout much of the summer in London. In a better world of Glass, it would be running alongside “Akhnaten” at the Ahmanson. But the Labèque sisters will be at Walt Disney Concert Hall at the end of the month with a two-piano program based on Glass’ operatic Cocteau trilogy. Also check out L.A. Opera’s several excellent podcasts on “Ahkhnaten” — the company has quietly become a leader in the medium.

Benidorm is often known as Little England due to the number of British tourists that flock to the Spanish resort, but one couple were surprised when they decided to visit the Costa Blanca

A couple who visited Benidorm for the first time were surprised by what they discovered. Content creators Ashley McCarthy and Kelsey Lewis claimed that tourists either “love or hate” the Spanish resort.

But after finding a “really good deal” and picking up £50 flights, they decided to jet off to the popular holiday hotspot and find out what it’s really like. Upon boarding their plane, Kelsey pointed out the “variety” of passengers, from hen-dos, to families, and couples wanting a short getaway.

In a video Kelsey said they woke up to a “beautiful sunrise” on the Costa Blanca before deciding to explore the city further. They were also impressed with Benidorm’s famous beaches.

Ash said: “Look at these palm trees, look at this sand, the sand is so soft. This is a really nice beach.”

He commented on how a number of buildings along the promenade looked like “something from Dubai”. The couple later decided to take a walk along the beach towards Benidorm Old Town.

Ash continued: “I wasn’t expecting this walkway along the beach to be so nice. It’s really clean and I like how they’ve incorporated greenery, it feels almost like a garden than a promenade.”

He added: “I don’t get why Benidorm gets so much hate. I get the other side where it’s a bit tacky, a bit rowdy, but it was fun. This side’s lovely.

“There’s a reason it became so popular in the first place and that’s got to be because of these beaches.”

The pair did however find time to check out Benidorm’s pubs and bars, including one named The Red Lion. Benidorm has long been a hit with British travellers, who make up around 40 percent of visitors to the resort.

It has led to the city receiving the nickname “Little England”. Ash said: “There’s so many bars, restaurants and pubs here, you just wouldn’t make your way through they even if you lived here.”

Ash, from Wales, later admitted he was impressed by how well kept Benidorm is. He concluded: “To be honest, I don’t really understand the hate it gets.

“Yeah, there’s parts of it that can be rowdy or tacky or whatever you want to call it, but it’s a massive place and there’s a lot of areas that are really nice. It’s not just about the strip and there’s so much restaurants, bars, cafes, nature, like outdoor space, beaches and whatever that there’s enough to enjoy without even seeing that side of it.

“But I think the thing that surprised me the most was it’s really clean. There’s no rubbish on the floor anywhere. Well maintained. It’s well kept.”

The couple praised the Spanish resort for its weather as well, enjoying highs of 20C during their February trip. The area boasts well over 300 days of sun throughout the year and in March daytime highs can reach anywhere between 20 and 22c.

Elsewhere, Benidorm recently got access to its very first Wetherspoon branch. The Castell de Santa Bàrbera, the chain’s first Spanish pub, opened at Alicante-Elche Miguel Hernández Airport.

It serves a range of Spanish and British dishes including Full English breakfasts and patatas bravas. Wetherspoon founder and chairman Tim Martin said: “We are delighted to have opened in Spain.

“We believe the pub will be popular with a wide range of customers travelling home from Alicante Airport, including those travelling home to the UK and those using the terminal for trips to England and beyond. We aim to open a number of pubs overseas in the coming months and years, including those at airports.”

Coming into her senior year, Ciena Alipio wanted to be as present as humanly possible and learn how to trust herself going into every competition.

She set forth goals for herself and a bigger one for the UCLA gymnastics team. With the first box checked after clinching their second consecutive Big Ten title, the work toward meeting each of her standards is just beginning.

“You’re seeing the result of every hard practice that we’re having,” Alipio said after Friday’s victory over Maryland. “We’re putting in work and we’re doing what we absolutely have to every single day in the gym and I think it’s just putting it all together on the same day.”

After an unbeaten conference season, Alipio has not only transformed herself into a three-event staple in the lineup, she was among the 45 nominees for the 2026 AAI Award along with her teammate Jordan Chiles — an NCAA honor that is given to the most outstanding senior female gymnast of the season.

“She’s just one of those athletes that’s really willing to do whatever it takes to be at her best for the team, and she’s an incredibly hard worker,” coach Janelle McDonald said. “She puts her heart into everything she does and she really has a growth mentality that she takes into every aspect of her life.”

During the first three years of her college career, Alipio was known as a balance beam expert. That fact hasn’t changed, except now she added success on the uneven bars and the floor exercise.

She’s currently ranked No. 4 in the nation on beam and leads the team with six individual titles in the event. Against Nebraska in January, Alipio led the meet in the floor exercise. On her way to another Big Ten title, she has shown consistency by hitting all 23 of her routines without a fall.

Alipio is averaging a mark above 9.800 on beam, bars and floor exercise. The two-time first-team All-American on beam has been named Big Ten event specialist of the week three times this season for her high performances on multiple apparatuses.

McDonald describes the Big Ten balance beam champion as a steady leader who leads by example, someone who’s willing to put her head down and go through the grind to get better — a valuable asset to any team.

“To see somebody always trying to show up and get better with that growth mindset is so great,” she said. “Ciena really has leveled up in her leadership in that she’s somebody that continually checks in on people.”

When Alipio notices someone needs a little pick-me-up, she’s there to support them, McDonald added.

“She’s also just become a really great messenger of our team culture and just [continues] to build and tighten our culture where it’s needed and to step up in those moments when the team needs a leader.”

UCLA gymnast Ciena Alipio celebrates with teammate Jordan Chiles after completing a balance beam routine.

(Jesus Ramirez / UCLA Athletics)

With two meets left in the regular season — against Stanford on Saturday and Utah on March 14, senior night at Pauley Pavilion — Alipio is just going to have fun competing.

“Coming in as a freshman I was like, ‘Oh, I have so much time,’ and now it has gone by in a blink of an eye,” she said. “… But I’m really, really trying to just stay present for the next few weeks and just enjoy every single moment with this team.”

Rosen update

McDonald and the coaching staff will take a conservative approach to dealing with Katelyn Rosen’s foot injury from Friday’s meet. Resting her and making sure she is 100% to go for the Big Ten championships is the priority. Replacing her at the top of rotations is an ongoing conversation.

“We really look for that lead-off to be very steady,” she said. “Somebody that doesn’t kind of go with the ups and downs of their emotions. They can show up, be really steady, kick off the event really aggressively, confidently and so those things we’re gonna be looking for this weekend [against Stanford].”

Myles Garrett is in a hurry to become the greatest pass rusher in NFL history. The Cleveland Browns All-Pro defensive end set the single-season sack record in 2025 and has cracked the top 20 career leaders after only nine seasons.

“I’m going to take that down, and I prefer I take it down in the next five years,” Garrett told Casino Guru News last month.

Off the field, however, his urgency to get from point A to B is a problem. He’s accumulating speeding tickets at an alarming rate.

On Feb. 21, Garrett was handed his ninth speeding ticket since his NFL career began in 2017. He was cited for driving 94 mph in a 70-mph zone on Interstate 71 between Cleveland and Columbus, Ohio.

The citation from the Wayne County Sheriff’s Office says Garrett was driving his green 2024 Porsche at 1:35 a.m., returning home after attending a Miami of Ohio basketball game in Oxford.

Body cam footage shows the officer telling Garrett that she kept the charge under 100 mph so that a court appearance wouldn’t be mandatory. Garrett reportedly still holds a Texas driver’s license — he attended Texas A&M — and told the officer that he did not have an Ohio license.

Cleveland Browns’ Myles Garrett wears a jacket displaying his girlfriend Chloe Kim before the women’s snowboarding halfpipe finals at the 2026 Winter Olympics, in Livigno, Italy.

(Lindsey Wasson / AP)

The officer wrote that the famously affable Garrett was “kind and cooperative,” and that drugs and alcohol were not a factor.

Garrett’s need for speed flies in the face of his persona. He has written poetry since high school, peppers social media with inspirational sayings and donates time and money to several charities.

His girlfriend is two-time gold-medal-winning U.S. Olympic snowboarder Chloe Kim, for whom he wrote a poem he shared on social media: “You enrapture fools to kings, and exist without a peer, put on this Earth for many things, but our love is why you’re here.”

Verse hasn’t slowed his roll. On Aug. 9 he was cited for ticket No. 8, clocked at 100 mph in a 60-mph zone in a Cleveland suburb a day after the Browns returned home from a preseason game at Carolina.

Garrett’s seventh ticket followed a frightening crash in 2022. He flipped his gray 2021 Porsche 911 Turbo S off State Road in Sharon Township and he and a female passenger were injured. He was cited for failing to control his vehicle due to unsafe speeds on what had been a slick roadway.

A witness told a responding police officer that Garrett’s vehicle went airborne, took out a fire hydrant and rolled three times. Garrett sustained shoulder and biceps sprains and was sidelined for the Browns’ game that week against the Atlanta Falcons. His companion was not seriously injured.

Cleveland television station WKYC reported that in September 2021 Garrett was stopped twice in a 24-hour period — for driving 120 and 105 mph. The infractions occurred on Interstate 71 in Medina County, where the speed limit is 70 mph, and he paid fines of $267 and $287.

A year earlier, Garrett was cited for driving 100 mph in a 65-mph zone of Interstate 77 — again while driving a Porsche — and paid a $308 fine. He accumulated his first batch of speeding tickets in 2017 and 2018, and the police reports recite similar circumstances: Garrett driving well over the speed limit, cited without incident, paid a nominal fine.

The piddly fines certainly aren’t a deterrent. Garrett, 30, and the Browns agreed to a four-year contract extension in March 2025 that made him the highest-paid non-quarterback in NFL history at the time. The deal pays the seven-time All-Pro more than $40 million a season and includes more than $123 million in guaranteed money.

He set the NFL single-season sack record with 23.0 last season, surpassing the 22.5 accumulated by T.J. Watt and Michael Strahan. Garrett has 125.5 career sacks, averaging 14 a season, a pace that would enable him to break Bruce Smith’s career record of 200 in five years.

“That is definitely on my mind to go out there and get,” Garrett said. “That’s a goal I’ve had for years now since college.”

Garrett has declined to discuss his driving habits.

“I’d honestly prefer to talk about football and this team than anything I’m doing off the field other than the back-to-school event that I did the other day,” he told reporters after ticket No. 8 in August, referring to a charity appearance.

“I try to keep my personal life personal. And I’d rather focus on this team when I can.”

Running free during a game of catch on the empty field at SoFi Stadium is a fantasy most Angelenos will never experience. For comedians Jo Koy and Gabriel Iglesias, it’s just a warm-up to a dream that’s been a lifetime in the making.

Gripping the football with fingers covered in Filipino tribal tattoos extending in a sleeve up his arm, Koy looks across the expanse of emerald green turf at his son jogging toward the south end zone of the Inglewood stadium on a recent afternoon. “To be able to throw at SoFi is crazy,” Koy said with a sparkling grin of bright white veneers.

The 54-year-old comedian with a beard full of gray stubble drops back to pass, launching a tight spiral underneath SoFi’s massive technicolor halo scoreboard hovering above a sea of empty stands. Joseph Jr. — a wiry 22-year-old with a head full of curly dark brown hair — runs briskly toward the goal line with a black cast on his left arm. He raises his right arm just in time to scoop it into his chest for a touchdown. The imaginary crowd goes wild.

“Yes!!!” Koy shouts, his excitement echoing in the stadium. He jogs over to Joseph in his navy blue coverall jumpsuit and L.A. Dodgers cap to deliver a satisfying father-son chest bump.

A few yards away, Iglesias is watching Roka, his tiny black chihuahua, dart around the field like four pounds of rambunctious entitlement. The plus-sized comedian — better known as “Fluffy” — is sporting his typical loose-fitting vintage Hawaiian shirt, denim shorts and black flat cap. Whenever they stand together, the duo’s dynamic is like a modern-day Laurel and Hardy.

Nearly 70% of tickets for Koy and Iglesias’ SoFi show sold within days, making this the largest stadium stand-up performance to date.

(Christina House/Los Angeles Times)

“The fact that we’ve known each other as long as we have is wild … we’ve known each other since we both had hair,” Iglesias, 49, says as they both lift up their caps in unison, laughing and exposing their shiny bald heads.

On March 21, this stadium will be filled with more than 70,000 guests as the pair takes center stage at the Super Bowl of comedy — the largest stadium stand-up show to date. Koy and Iglesias are now part of a small fraternity of comics, including Kevin Hart, Dane Cook, Bill Burr and Larry the Cable Guy, who’ve sold out stadiums across the country.

The one-night-only show, which won’t be televised or recorded as a special, is meant to be one giant party for comedy fans who’ve supported Koy and Iglesias since their early days. The comics will be passing the mic back and forth throughout the night, which will feature special guests, surprise moments and plenty of other unplanned interruptions that will make for a roughly four-hour show. Though the L.A. comedy scene tends to exist in the shadow of Hollywood, this feat managed by two of its biggest names puts a historic spotlight on stand-up.

“It’s more sweet because it’s taken so long,” Iglesias said. “This wasn’t an overnight thing. Nowadays, everybody wants everything so fast. Between the two of us, we’ve got about 60 years of comedy experience.”

“It’s insane. I can’t explain it,” Koy adds, staring up at the stadium’s glass roof, preparing to crack it with decibels of laughter. “Every time we come in here and look up, I’m like, ‘There’s going to be a stage here the size of the end zone.’ We took the stage from the arenas that we normally play and injected steroids into it.”

For comedians who’ve witnessed their ascent, which now literally includes hands and feet cemented in front of TCL Chinese Theatre and a star for Fluffy on the Hollywood Walk of Fame, the journey has been incredible to watch.

“It’s huge for stand-up, it used to be just in dingy clubs and bars and always something small and intimate and kinda like an afterthought,” said fellow comedy star Tiffany Haddish, a longtime friend to both Koy and Iglesias. “To be honest I never thought comedy would be this big.”

Jay Leno, a confidant to Iglesias and the man who inspired him to start his own insane car collection and offered Koy his first late-night appearance on “The Tonight Show,” agrees that a show like this is a huge step for comedy.

“My attitude when I came to this town was if you can’t get in through the front door, go in the back door,” Leno said. “And they didn’t do it the traditional way, they got to where they are as comedians, one audience member at a time.”

For the two L.A. comedians, the historic milestone represents decades of work and signals comedy’s arrival in mainstream entertainment venues.

(Christina House/Los Angeles Times)

When the pair of arena-selling comics announced last year they’d be joining forces to perform at SoFi, the task of filling the massive concert venue and football stadium seemed laughable. But within a week, it clearly wasn’t a joke. Nearly 70% of the tickets were sold just days after going on sale. Now, weeks before the gig, the show is completely sold out with more seats being added. If there’s one person who is not necessarily surprised, it’s Iglesias. By his calculations — including his ability to sell out Dodger Stadium twice for the filming of his 2022 Netflix special, “Stadium Fluffy,” and Koy’s ability to sell out the Forum a record-setting six consecutive times (more than any other comedian) — the math checked out.

“At a certain point it’s like we’ve been doing [huge stand-up shows] for so many years, it becomes normal,” Iglesias said. “What do you do to change things? What do you do to grow? The worst thing that happens is it fails. But at least we know we tried it. Then we know what our ceiling is. But as of now, this isn’t the ceiling.”

Despite the logic, looking at the stadium’s massive seating chart during an initial meeting with the venue made the task feel akin to climbing Mt. Everest.

“SoFi is the size of like five Forums. That seating chart on a wall was the most discouraging thing I could possibly look at,” Koy said. “And then looking at the amount of money it was gonna cost us even before we sell one ticket. Me and Gabe should’ve been looking at that and been like, ‘What … are we thinking? Hell nah we ain’t doing this … !’”

It took more than a little convincing from Iglesias to get Koy on board. “[Jo] does not like change. I had to break down the math for him and I pushed it a lot,” Iglesias said. “And I’m glad we did because now that it’s sold out, the hard part is over. We just have to show up and deliver a kick-ass show. And then we can both celebrate after, crack a couple bottles and I know I’m taking a week off after that.”

Unlike a typical arena show, which takes several months to coordinate, their big night at SoFi required a full year of planning. The production and stage will be three times the size of the comedians’ normal stages and will be managed by the same team that produces stadium shows for acts like Los Bukis and Bad Bunny.

“It’s more sweet because it’s taken so long,” Iglesias said. “This wasn’t an overnight thing. Nowadays, everybody wants everything so fast. Between the two of us, we’ve got about 60 years of comedy experience.”

(Christina House/Los Angeles Times)

“It’s almost like a chessboard,” Iglesias said. “You got to do a bunch of moves in order to pull something like this off, it’s not just we’re gonna do it. This took a lot of planning, a lot of coordinating.”

When asked how the tickets could’ve possibly moved so fast, outside of typical avenues of good marketing and promotion, Koy says it was really comedy fans making a statement of support for them and for stand-up.

“There’s no such thing as marketing on this one, to me it’s a phenom,” he said, noting the pride both he and Iglesias have to see the excitement and support from local fans, especially Filipino and Latin communities across L.A. that have been a major part of their respective fanbases. “That type of reaction and that response to us saying we’re gonna be at SoFi is almost like a bragging right and it’s ‘our night, we’re gonna be there, I don’t care where we’re sitting.’”

The SoFi gig was conceived in February of 2024 during Koy’s sixth sold-out show at Kia Forum. In the hoopla of Koy breaking his own audience record at the venue, Iglesias crashed the show, presented his friend with a plaque and laid down the gauntlet in front of 17,500 fans. When Iglesias asked Koy if they should contemplate performing “across the street” together, the crowd erupted with excitement.

“Our agents and managers were like, ‘Are you sure you wanna do that?’’’ Iglesias said. “I think they missed a couple bonuses. But at the end of the day, it’s part of history.”

“That’s what’s beautiful about Gabe, he’s not scared to take on those big risks,” Koy said. “But the whole thing was a risk. We gotta alter our tour dates and sacrifice other opportunities to make this happen.”

“Every time we come in here and look up, I’m like, ‘There’s going to be a stage here the size of the end zone,‘” Koy said about the upcoming SoFi show on Mar. 21. “We took the stage from the arenas that we normally play and injected steroids into it.”

(Christina House/Los Angeles Times)

For Koy, a life of comedy was a risk inspired by his heroes while growing up in Tacoma, Wash. He traces it back to being 15 and seeing Eddie Murphy perform at Climate Pledge Arena during his “Raw” tour in Seattle. He remembers taking a panoramic look at the sold-out crowd roaring in the darkness before the leather-suited legend even took the stage. “I’m like, ‘Wait a minute, this guy got this many people in here?’ I just thought that was the most impossible thing,” Koy remembers. “And now I get to share this moment with my son and let him walk with me and let him see that this is possible.”

When Koy was moving up the comedy ranks under his real name Joseph Glenn Herbert, the thought of calling himself a comedian felt like a pipe dream. Koy, the son of a white father and Filipina mother, saw comedy as a way to channel an overactive personality and need to make people laugh into a career. Going from coffee shop open mics in Tacoma to clubs and casinos in Las Vegas in 1989, Koy scratched out a living doing random jobs to move to L.A. in 2001 with hopes of making it big.

Working at a bank or Nordstrom Rack offered some stability as he drove up and down Sunset Boulevard in his battered Honda Prelude with one broken headlight, looking for a way forward to pursue his passion. Haddish, his longtime friend, spent years working with Koy, who served as her mentor at the Laugh Factory. Between sets on stage, the two would often take breaks to fantasize about fame.

“Jo and I would sit outside of the Laugh Factory and have these conversations and we’d be eating hot dogs wrapped in bacon and we’d be dreaming about being in a big movie, playing big theaters and helping people heal through laughter,” Haddish said. “Now here we are.”

“At the end of the day, this is a big stamp. And I think it also lets other comics know, ‘Hey, man, step up your game. Let’s grow this,’” Iglesias said.

(Christina House/Los Angeles Times)

Pulling off a show of this magnitude is jaw-dropping to think about, Iglesias said, even after having achieved a similar feat just a few years ago at Dodgers Stadium where he filmed his special over the course of two shows. He also set a record for fines incurred by a performer for going over his allotted time slot (a hefty $250,000 for not leaving the venue until 4 a.m.). The SoFi gig leaves him only one shot to get it right. This time around, Iglesias feels infinitely less pressure despite the bigger venue.

“[Dodger Stadium] for me was grueling,” Iglesias said. “I didn’t know what to expect, I didn’t know how it was gonna go. Every day we were pulling our hair out trying to figure it out. Fortunately we were still able to pull it off and we learned a lot from it. This time around, believe me when I tell you the stress of this show is not even there.”

Iglesias, a native of Long Beach, has spent over 30 years rising up the comedy ranks. Among his accomplishments are seven major comedy specials, a TV show (“Mr. Iglesias”) and becoming the first Mexican American comic with a top-grossing worldwide tour. Like Koy, who also has seven major specials, Iglesias went through a lot of metamorphosis on stage prior to finding his calling as a gregarious, fun-loving comedian with a penchant for doing cartoon-ish voices.

Leno says one of the key factors in Fluffy’s mass appeal is his likability.

“The great thing about Gabriel is that the kindness comes across, there’s not a mean spirit in his body,” he said. “There’s a lot of comics who are really funny but people don’t like them because they think they’re mean-spirited. … When you watch Gabe even when he does something that’s not fall-down hysterical, you smile because you like him. … I find him a joy to watch.”

Much of what Iglesias learned about marketing himself was inspired by the WWE. The costumes, witty banter and theatrics of the wrestling ring influenced his consistent look and even allowed the name “Fluffy” to become his calling card.

Comedians Gabriel Iglesias, aka, “Fluffy,” in front, and Jo Koy are photographed at SoFi Stadium in Inglewood on February 10, 2026, ahead of their March 21st show.

(Christina House/Los Angeles Times)

“There is a certain level of pandemonium, as they say in wrestling, that’s needed to get people excited,” Iglesias said. “Then there’s the marketing and the way that you do it — so I did study wrestling a lot.”

Handing the kingdom of SoFi over to the court jesters for a night is a feat worthy of celebration.

“At the end of the day, this is a big stamp. And I think it also lets other comics know, ‘Hey, man, step up your game. Let’s grow this,’” Iglesias said. “And it’s not, ‘Step up your game,’ like we’re competing with each other. It’s more so like, ‘Let’s elevate the game of comedy.’”

Right now Koy feels plenty elevated, as though he’s floating every time he enters the stadium and looks up at the stands — like the night he saw Eddie Murphy all those years ago.

“You should’ve heard the whispers me and Gabe had to ourselves walking out of the stadium tunnel, like, ‘Yo, is this really happening?!’” Koy said with a megawatt smile. “Coming from an open mic night at a coffee house, never in my wildest dreams did I say, ‘Someday, a football stadium’ … we’re literally living our dreams right now.”

Paramount’s $111-billion deal to acquire Warner Bros. Discovery will put two of the most storied journalism brands — CNN and CBS News — under one roof.

The combination has been proposed before with the aim of consolidating news-gathering costs. Those plans fell apart largely over who would be in control.

But if the Paramount-WBD transaction is approved by regulators, CNN and CBS News will be forced into potentially rocky marriage where they will have to sort out leadership roles, personnel and editorial direction.

It’s still too early to determine what those moves will be and how widely they will be felt.

Last week CNN Chief Executive Mark Thompson told his troops to avoid “jumping to conclusions about the future.”

But what is certain is that every permutation will be scrutinized closely due to the fraught relationships both CNN and CBS News have with the Trump administration.

“There have been many conversations over the years about combining CBS News and CNN,” said Jon Klein, a digital media entrepreneur who previously held leadership roles at both organizations. “But this time, it’s different. The business case always made sense — but today you’ve got the overlay of the political agenda.”

Before Paramount prevailed in its bid for CNN’s parent, Paramount Chief Executive David Ellison’s father Larry Ellison reportedly discussed changes to the network with Trump. For years, Trump has made CNN the poster child of his “fake news” claims and impugned many of its journalists.

“What has David Ellison and Larry Ellison promised Donald Trump with regard to what they’re going to do with CNN?” said one former executive. “Before you even get through the hurdles of doing this, that’s the overriding question. Are they going to fire anchors Trump doesn’t like?”

There is also apprehension at CBS News, where David Ellison installed Bari Weiss as editor-in-chief in October, with a mandate to have network’s coverage appeal to the political center.

CBS News editor-in-chief Bari Weiss with Turning Point USA’s Erika Kirk at a town hall that aired Dec. 20.

(CBS Photo Archive / CBS via Getty Images)

Weiss — founder of the independent media company The Free Press — came into the role with no experience running a TV news organization, building her reputation as an opinion writer with contrarian views and a disdain for woke ideology.

The former New York Times opinion writer, who is staunchly pro-Israel, drew criticism over the weekend for putting a fire emoji over a comment criticizing New York City Mayor Zohran Mamdani’s condemnation of the U.S. military action in Iran — an unusual public reaction for the head of a major news organization.

Weiss wasted no time taking on the prestigious CBS news magazine “60 Minutes,” which has long been a stubbornly independent operation. She delayed a story on the harsh El Salvador prison used by the U.S. to house undocumented migrants saying it needed more reporting. The story’s correspondent Sharyn Alfonsi accused CBS News management of placating the White House, turning the decision into a public relations fiasco for the network.

Significant changes are coming to “60 Minutes” later this spring, with one or more of its correspondents possibly being replaced, according to people familiar with Weiss’ plans who were not authorized to comment. Weiss has also expressed interest in hiring right-leaning on-air talent for CBS News.

Weiss arrived after Paramount settled a Trump lawsuit with the dubious claim that a “60 Minutes” interview with then-Vice President Kamala Harris was deceptively edited to aid her 2024 presidential election campaign against him.

The willingness to settle the suit was largely seen as Paramount capitulating to Trump in order to get government approval of its merger with Skydance Media. The Ellisons’ tight relationship with Trump was also seen as an asset in their successful pursuit of Warner Bros. Discovery.

The stew of issues bubbling through the transactions is why most of the rank and file at CNN rooted for Netflix to prevail in its bidding for Warner Bros. Discovery. The Netflix bid for WBD did not include CNN or the company’s cable networks, which in the words of one insider would have made it “a stay of execution.”

Now CNN staffers, speaking on the condition of anonymity, are bracing for upheaval. When they look at CBS News navigating the changes under Weiss, they are reminded what they went through after Warner Bros. Discovery took over their network and tried to push the coverage to the center.

After a declaration by WBD Chief Executive David Zaslav that the network needed to be more accommodating to conservative voices — and the telecast of a rowdy Trump town hall — CNN experienced an exodus of viewers.

But the biggest fear that the merger brings is consolidation and the loss of jobs. CNN has 3,400 employees while CBS News is at around 1,000. Cost-cutting is expected to be aggressive across the combined Paramount-WBD, which will have a mountain of debt to service.

The parent companies of CBS and CNN have discussed merging or sharing news-gathering operations and on-air talent numerous times over several decades. In 2019, Viacom, the CBS News parent at the time, had a deal in place to pay CNN an annual license fee to provide international coverage.

Under that plan, CBS would have maintained a few of its signature overseas correspondents, while shuttering its bureaus around the world. But Viacom backed out of the deal.

CNN’s international coverage has long been its calling card and its likely the network will handle that reporting for CBS News once Paramount takes ownership.

Combining the news-gathering operation stateside will be trickier, as CBS News has employees and vendors that operate under contracts with the Writers Guild of America East, SAG-AFTRA and other unions. CNN is a non-union shop.

Resolving the union issue has been a snag in every previous discussion to combine CBS News and CNN over the years, according to several former executives at both outlets.

CNN news anchor Anderson Cooper in New York in 2016.

(Associated Press)

Another development worth watching is what role Anderson Cooper will play in the merged operation. Cooper signed a new deal with CNN last year, but turned down an offer to remain as a “60 Minutes” correspondent, a role he’s had since 2007.

CBS News has pursued Cooper several times over the years to be its evening news anchor. There was even a proposal in 2018 for him to helm “CBS Evening News” while keeping his nightly prime time program on CNN. That idea was shot down at CNN, where leadership believed he was unique to the network’s brand.

In a statement, Cooper cited a desire to spend more time with his two children as the reason for passing on another “60 Minutes” deal. However, associates have said his wariness over the direction of CBS News under Weiss made his decision easier.

Now Cooper is likely headed into the CNN-CBS News tent, which may make him feel a bit like Michael Corleone in “Godfather III” when he said “Just when I thought I was out, they pull me back in!”

“The Bride!” is a maniacal assemblage of ’30s musicals, ’40s noirs, 19th century literature and 21st century ideology. Every wacky second, you’re well aware how perilously close it is to falling apart at the seams. This spiritual sequel to “Frankenstein” is a romantic tale of obsession, possession and fantasy — adjectives that also apply to its filmmaker, Maggie Gyllenhaal, who expends massive quantities of energy jolting it to life. She succeeds by the skin of her teeth.

The monster’s missus comes with as much narrative anticipation as Godot. Mary Shelley’s 1818 novel has Dr. Frankenstein bicker with his creature about her potential existence before deciding against it in fear that “she might become ten thousand times more malignant than her mate.” Over a hundred years later, the debate continued, raging through nearly all of 1935’s “Bride of Frankenstein” which finally introduces Elsa Lanchester and her sky-high bouffant five minutes before the end credits, just enough time for her to make an iconic impression before her arranged husband blows them both to smithereens. Boris Karloff laments, “She hate me.” Lanchester’s Bride never speaks and quite possibly never knows what is happening to her at all.

Gyllenhaal’s empowerment story, meanwhile, feels like an unhinged scream. Jessie Buckley (who starred in Gyllenhaal’s debut, “The Lost Daughter”) tackles the dual roles of the Bride and Shelley, a hat tip to Lanchester, who did the same thing. The action starts in Shelley’s grave where she’s spent centuries seething about the sequel she never dared to write, then cuts to an American nightclub, where her spirit suddenly possesses a drunken strumpet named Ida (Buckley) — not smoothly but herky-jerky, with the angry author causing this gangster’s moll to go on the fritz. Her accent alternates mid-sentence from city gal to snidely British, Ida loudly accusing a mob boss of murdering women. She’s right and she’s next.

Our setting is 1936 Chicago, but this is an exaggerated, fictional world, not ours or even Karloff’s. Elsewhere in town, the original creature, played by Christian Bale, has lurched here from Austria still on his lonely quest for companionship. (For simplicity’s sake, he goes by Frank.) He begs the ethically gray Dr. Euphronius (Annette Bening) to help him finally experience what he chivalrously calls, “a garden of pleasure.” The blunter and crasser Euphronius asks if Frank has a specific shape of mammaries in mind. (Her maid, played by Jeannie Berlin, is a riot.)

This Bride comes alive roughly and rudely not having given her consent either. Regardless, now that she’s here, she still has to figure out her next move, with or without Frank, and often without key pieces of information. Frank has convinced her she’s an amnesiac. Also, somehow, she doesn’t even know that she’s dead.

The theme is, of course, a woman’s right to choose. But what’s interesting about Gyllenhaal’s approach is that she expands Ida’s options beyond an enthusiastic yes and a priggish no into a dim sum menu that includes a dubious yes, an asterisked yes and a no that rejects even having to answer the question. She also overuses Bartleby the Scrivener’s line, “I would prefer not to.” I would prefer not to hear that quote a dozen times in two hours, but neither I nor the Bride get exactly what we want.

A perversity in the script is that Frank is a manipulator and a gaslighter but overall a pretty good dude. Their bond is messy and thrilling, with one of the most delightful romantic montages in ages. There’s a great scene where Frank exposes his unbeating heart to her and gets rejected, yet he laughs with delight because the Bride’s stubborn spirit is exactly what he likes about her.

The Bride also looks dynamite in her bias-cut coral dress and peekaboo black lace bra. Her zapping turns her entire head of hair — not just a streak — shocking white à la Jean Harlow, and leaves an oddly-appealing black blotch on her cheek. It’s a fabulous look, at once sexy and frightful, with an element of cartoonishness as the movie sends her speeding around the country pursued by gangsters and the police, changing stolen cars but never her clothes.

The movie makes no secret of its phony mechanics. In one scene, the Bride is the most famous outlaw in America; in the next, a cop doesn’t recognize her at all. There are several moments that force you to accept that the characters can become psychic at will, including one where Frank somehow mind-controls a party to dance the jitterbug — heck, we almost believe that he invented it — and the smart move is just to give in and enjoy the number.

Whatever Gyllenhaal wants to do, she does, which becomes its own act of captivation and reckless empowerment. It helps that Buckley and Bale are terrific, as is the ensemble at large. The full force of Lawrence Sher’s cinematography, Karen Murphy’s production design and Hildur Guðnadóttir’s orchestral score is fabulous, combining to make something seedy, moody and extravagant.

Gyllenhaal’s love for other variations of this story is right up there onscreen with brash callbacks to Mel Brooks’ 1974 “Young Frankenstein” and the underrated “Frankenhooker.” Yet “The Bride!” isn’t just assembled from her passion for those movies. It seems to be made of every movie: a wild and playful and overbearing ambulation of references.

Almost every role is a Frankencharacter of the director’s cinematic obsessions, like Penelope Cruz’s lady detective who is named for “The Thin Man’s” Myrna Loy, acts like “His Girl Friday’s” Rosalind Russell, and dresses like Barbara Stanwyck in “Double Indemnity.” I suspect that Gyllenhaal’s favorite movie might be the same as my own, the bitterly nostalgic ’80s-does-’30s Steve Martin musical “Pennies From Heaven.” Watch it and tell me if you agree and even if you don’t, at least you’ll have seen one of the greatest films of all time.

There’s a scene in which Frank meets his own idol, an alt-world version of Fred Astaire (played by Gyllenhaal’s brother Jake, who is good at mugging and singing), and vomits his fandom at him until the actor recoils. The intensity of devotion can feel a bit like that. It also exposes that our culture is ready for its own shock of invention. Shelley spawned the entire genre of modern science fiction; today’s talents often feel like remix artists.

Like the mad scientists she’s sending up, Gyllenhaal goes too far. She triply underlines her feminist themes and nearly sabotages her own clever creation. Ironically, she doesn’t trust the audience to think for itself either. The overkill hits its nadir when the Bride repeatedly wails the survivors’ hashtag, “Me too!” But grab a scalpel and cut 10 minutes out of it and “The Bride!” would be a rip-roaring dazzler. This monster is more than alive, it’s allliiiiiive.

Today’s sinking of an Iranian warship by a U.S. Navy nuclear attack submarine is a hugely significant event in the annals of military history. After all, you have to go back to the final days of World War II to find the last time a U.S. submarine sank an enemy vessel. Since then, however, submarines under the flags of different navies have sunk vessels in combat.

You can catch up with our coverage of the sinking of the Iranian warship here.

In fact, there are some varying accounts as to which U.S. Navy submarine was the last to sink an enemy vessel. The situation at sea as World War II was drawing to a close in the Pacific was a chaotic one, with an increasingly deadly U.S. Navy submarine force tearing through the remnants of Japanese shipping, with subs racking up multiple victories in a short space of time.

With the Imperial Japanese Navy (IJN) in disarray and with Japan still reeling from the two atomic bombs dropped on it, what was left of its seagoing force provided relatively easy pickings for U.S. submarine commanders.

As such, it was on VJ-Day, or Victory over Japan Day, that U.S. subs claimed their last victims before today’s action.

According to available records, on August 14, 1945, the same day that saw President Harry S. Truman announce Japan’s unconditional surrender, two U.S. submarines sank three Japanese warships.

The first victim — a Japanese submarine — appears to have fallen to the USS Spikefish (SS-404).

Commissioned in June 1944, the Spikefish was a Balao class submarine, the Navy’s largest submarine class, with 120 boats completed. With a surfaced displacement of 1,526 tons, the Balao was around 311 feet long and had a speed of 20 knots surfaced, reduced to 8.75 knots submerged. Moving on the surface at a speed of 10 knots, the boats could cover 11,000 nautical miles.

As of the night of August 13, 1945, the IJN transport submarine I-373 was surfaced in the East China Sea, southeast of Shanghai. Transport submarines of this type were used by the Japanese to transport troops and supplies between mainland Japan and remote islands. Spikefish sighted the Japanese sub on its radar at 8:10 p.m. and also detected emissions from its air-search radar. Spikefish got closer before losing visual contact, after which the I-373 disappeared below the waves. Just after midnight, Spikefish regained radar contact. At 4:24 a.m., Spikefish fired a spread of six Mk 14 torpedoes at a range of 1,300 yards. Two of the torpedoes hit I-373, sinking it. Spikefish surfaced and found five survivors in the water, all of whom refused rescue, a grim reflection of the bitter fighting at this late stage of the Pacific conflict. One IJN crew member was forcibly brought aboard the U.S. sub; his 84 compatriots died.

In previous days, the USS Torsk, a Tench class submarine, commissioned in December 1944, had been marauding in and around the Tsushima Strait, which lies between Korea and Japan. Here, the boat had been picking off Japanese merchant vessels and warships.

The Tench class was essentially an improvement of the earlier Balao and Gato classes, moderately bigger but more strongly built and with more fuel. These boats had a surfaced displacement of 1,570 tons, were also around 311 feet long, and had similar surfaced and submerged speeds to the Balao. Thanks to their additional fuel capacity, the Tench boats had a range of around 16,000 nautical miles.

On August 14, Torsk encountered a medium-sized Japanese cargo ship accompanied by the Japanese Type C escort vessel CD-47, off Maizuru in the Sea of Japan. At 10:35 a.m., Torsk launched a Mk 28 torpedo, an experimental type with acoustic homing. The torpedo smashed a hole in the stern of the escort, which quickly went below the waves. An attempt was made to sink the cargo ship, too, as it entered harbor, but the torpedoes missed.

At around midday, a second Type C escort vessel, CD-13, arrived, apparently in pursuit of Torsk. After firing off a Mk 28 torpedo, Torsk dived for safety. From a depth of 400 feet, Torsk launched a Mk 27 torpedo, a weapon known as “CUTIE,” this time with passive homing. The hydrophone operator on the Torsk then detected a large explosion, indicating the Mk 28 had found its target. The Mk 27 impacted moments later.

While the timings are not entirely clear, CD-13 is widely identified as being the last Japanese warship to be sunk in World War II, and therefore the last enemy vessel to have been sunk by a U.S. submarine until today.

The war still wasn’t over for Torsk, however. With more patrol vessels arriving, plus patrol aircraft, the submarine had to remain submerged for more than seven hours after CD-13 went under. After this date, other Japanese vessels would continue to be sunk by mines that had been laid earlier, including by submarines.

Torsk received two battle stars for its World War II service and is today preserved in the Historic Ships collection in Baltimore.

At a press conference today, Secretary of War Pete Hegseth said that the sinking of an Iranian warship by an as-yet unidentified U.S. submarine marked the “first sinking of an enemy ship by a torpedo since World War II.”

This is not true.

The Torsk may have been the last U.S. submarine to have sunk an enemy ship prior to today, but other navies have achieved the same feat.

Back in 1971, during the Indo-Pakistan War, the Indian Navy frigate INS Khukri was sunk by the Pakistan Navy submarine PNS Hangor. The Khukri, with a displacement of around 1,200 tons, became the first warship anywhere to fall prey to a submarine since the end of World War II.

The Falklands War, fought in the South Atlantic in 1982, between the United Kingdom and Argentina, saw the first instance of a nuclear-powered submarine sinking an enemy vessel.

On May 2, 1982, in a somewhat controversial incident, the Argentine Navy cruiser ARA General Belgrano was sunk by a torpedo launched by the British nuclear-powered attack submarine HMS Conqueror, with the loss of over 300 crew.

The controversy around the incident centers upon the fact that General Belgrano was targeted when it was outside a so-called ‘total exclusion zone,’ covering a 200-nautical-mile radius from the Falklands. While there were subsequent protests about the legality of the action, the fact remains that the British had previously warned Argentina that any ships that posed a potential threat to its own task force would be sunk.

Until the sinking of the Russian Navy’s Slava class cruiser Moskva by Ukrainian anti-ship missiles in 2022, the sinking of the General Belgrano was the last time a cruiser was fully destroyed by enemy action.

Another disputed incident occurred in 2010, with the sinking of the South Korean warship ROKS Cheonan.

On March 26, 2010, the Cheonan, a Pohang class corvette, sank in the Yellow Sea, off the country’s west coast, killing 46 of the 104 personnel on board. Exactly why the warship sank remains a matter of conjecture, although a South Korean-led investigation concluded that the vessel was sunk by a North Korean torpedo fired by a midget submarine. The U.S. Navy also stated that the sinking was caused by a non-contact homing torpedo that exploded near the ship. North Korea denied responsibility.

The manner of the sinking certainly appears consistent with a torpedo hit, with an explosion reported near the stern of the ship that caused it to break in half soon afterward.

Since then, the closest we have come to seeing submarines destroying other vessels has been sinking exercises (SINKEX) and similar tests. At times, these have also provided a rare glimpse into the effects of potential adversaries’ submarine weapons capabilities. Case in point, the sinking of a decommissioned Chinese amphibious landing ship by a People’s Liberation Army Navy submarine, seen in the video below: 

The cloak-and-dagger nature of submarine operations means that many details about their use in combat remain closely guarded secrets. In the case of the Cheonan, we may never exactly know what happened to it. For the time being, we also await more information about today’s sinking of the Iranian frigate. What is certain, however, is that this was an unprecedented event, at least as far as the modern U.S. Navy is concerned, and a truly rare action by any standards.

Contact the author: thomas@thewarzone.com

PHOENIX — For 24-year-old Alex Freeland, the time is now.

After the switch-hitting middle infielder enjoyed a cup of coffee in the big leagues last season, he’s trying to break camp with the Dodgers and get increased playing time at second base with veteran Tommy Edman expected to be on the injured list as he works his way back from right ankle surgery.

Freeland, who played 29 games with the Dodgers last season, and second-year utility man Hyeseong Kim, who played 71 games and was on the postseason roster, are among those vying for playing time at the start of the season, with veteran Miguel Rojas and and nonroster invite Santiago Espinal also in the mix.

Kim, who started Cactus League games at second base and center field, recently departed for the World Baseball Classic as he competes for Team South Korea, opening a door for Freeland to get more reps in the heart of the Cactus League season.

“Opportunity is present, so I’m trying to make the most of it,” Freeland said. “It sucks that Tommy’s not ready and he won’t be ready for the beginning of the season. He’s a big part of this team, so I wish him a super speedy recovery and I hope that he gets out there as quickly as possible. But yeah, with Hyeseong being gone, I am getting more reps at second and short, so I’m just trying to make the most of them.”

Freeland entered last season as MLB Pipeline’s No. 45 overall prospect. Though he posted a .190/.292/.310 slash line at the big league level, prospect analyst Jim Callis still has high hopes for Freeland.

“Freeland doesn’t have a wow tool but he does a lot of things well,” Callis said. “His best attribute is probably his defense at shortstop and versatility to play other positions. He’s a switch-hitter who draws a lot of walks and has some sneaky pop. He’s just an average runner, but his instincts allow him to play quicker than that.”

As a switch-hitter, Freeland has had more success from the left side than the right. He worked on his swing from both sides of the plate over the offseason and feels he’s in a good place.

“My right-handed hitting could be better,” Freeland said. “I mean, part of my game is walking, so I felt like I wasn’t patient at the right times last year. Sometimes I was too patient, just taking pitches down the middle. Walking is a big part of my game, so I’m looking to walk, and I feel like I’ve done that this spring training.”

Freeland has drawn eight walks in 24 plate appearances in Cactus League play, and Dodgers manager Dave Roberts has been impressed with what he has seen this spring.

“Maturity,” Roberts said. “Playing both sides of the baseball really well. The bat, right-handed looks really good. Lefty is typically his strong side, but I like the right-handed at-bats. Just playing with a lot of real confidence.”

If it weren’t for the Dodgers’ star-studded roster, Callis believes Freeland’s chances at playing time would be better.

“On a lot of teams, Freeland would be getting a chance to compete for the starting shortstop job, but he’s blocked on the Dodgers,” Callis said. “He’s probably looking at more of a utility role than starting in Los Angeles, and he could be attractive to other clubs in trade talks too.”

Freeland, however, is embracing his role and hopes to earn his stripes. He’s tried to soak up as much as he can from the veteran stars he’s been able to spend time with.

“Miggy Ro has always got something good to say. Muncy, Freddie, I mean they’ve been around so long, they’ve seen so many different things, so it’s like whatever I have a question about, like I can easily go and talk to one of them, and they’ve got an answer for me,” Freeland said of Rojas, Max Muncy and Freddie Freeman. “And it’s great to have guys like that in the clubhouse.”

Freeland grew up an Atlanta Braves fan and admired Freeman for years. Freeland never imagined he one day would share a locker room with the nine-time All-Star first baseman, who spent the first 12 years of his career in Atlanta.

“I watched Freddie growing up and Mookie,” Freeland said of Freeman and Betts. “So, I mean, it’s kind of like a full-circle moment, like I watched Freddie a lot when he was with the Braves, coming up, because I lived in Georgia, so like I’d go and watch minor league games and see him in Gwinett.”

The torta Chingona at Tacos Don Pillo is a beast of a sandwich, a tower of asada steak, jamon asado, tomato, onion, jalapeno, avocado and big slabs of salty, squeaky queso fresco. It’s enough to share, or satiate in a way that requires a nap shortly after. It is the star of the Tacos Don Pillo menu, an expansive list of tacos, quesadillas, burritos, salads, nachos and mulitas. Some days require the heft of the torta Chingona, others lean toward the tacos camarones. The trio of corn tortillas barely contain the plump, grilled shrimp, sweet and smoky grilled onions and slivers of avocado. Expect a perpetual line anywhere near an established meal time, but things move quickly.

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The House of Pies, a Los Feliz institution, is bustling on a chilly January morning.

It wouldn’t be shocking if some of the patrons here for breakfast were casually chit-chatting about the cultural behemoth that “KPop Demon Hunters” has become. After all, the 2025 animated saga about three music stars fighting otherworldly foes is now the most-watched movie ever on Netflix; “Golden,” its showstopping track, has since become the first Korean pop song to ever win a Grammy.

But for Danya Jimenez, 29, who sits across from me sipping coffee, the reception to the movie she began writing on back in 2020 isn’t entirely surprising, but certainly delayed.

“When we first started working on it, I was like, ‘People are going to be obsessed with this. It’s going to be the best thing ever,’” she recalls. But as several years passed, and she and her writing partner and best friend Hannah McMechan, 30, moved on to other projects. They weren’t sure if “KPop” would ever see the light of day. Production for animation takes time.

It wasn’t until she learned that her Mexican parents were organically aware of the movie that Jimenez considered it could actually live up to the potential she initially had hoped for.

“Without me saying anything, my parents were like, ‘People are talking about this’ — like my dad’s co-workers or my aunt’s friends — that’s when I started to realize, ‘This might be something big,’” she says.

“But never in my life did I think it would be at this scale.”

“KPop Demon Hunters” is now nominated for two Academy Awards: animated feature and original song. And that’s on top of how ubiquitous the characters — Rumi, Mira and Zoey — already are.

“Everyone sends me photos of knockoff ‘KPop Demon Hunters’ dolls from across the border,” Jimenez says laughing. “My friend got me a shirt from Mexicali with the three girls, but they do not look anything like themselves. She even got my name on it, which was awesome.”

After graduating from Loyola Marymount University in 2018, Jimenez and McMechan quickly found their footing in the industry, as well as representation. But it was their still unproduced screenplay, “Luna Likes,” about a Mexican American teenage girl obsessed with the late chef and author Anthony Bourdain, that tangentially put them on the “KPop” path.

“Luna Likes” earned the pair a spot at the prestigious Sundance Screenwriters Lab, where Nicole Perlman, who co-wrote “Guardians of the Galaxy,” served as one of their advisors. Perlman, credited as a production consultant on “KPop,” thought they would be a good fit.

Jimenez didn’t see the connection between her R-rated comedy about a moody Mexican American teen and a PG animated feature set in the world of K-pop music, but the duo still pitched. Their idea more closely resembled an indie dramedy than an epic action flick.

“If [our version of ‘KPop’] were live-action, it would’ve been a million-dollar budget. It was the smallest movie ever. Our big finale was a pool party,” Jimenez says. “We had all of the girls and the boys with instruments, which obviously is not a thing in K-pop, and everyone was making out.”

Even though their original pitch wouldn’t work for the film, Maggie Kang, the co-director and also a co-writer, believed their voices as two young women who were best friends, roommates and creative collaborators could help the movie’s heroines feel more authentic.

“Maggie had already interviewed all of the more established writers, especially older men,” Jimenez says. “She knows the culture. She knew K-pop, she’s an animator. She just needed the girls’ voices to come through, so I think that’s why we got hired.”

Kang confirms this via email: “It’s always great to collaborate with writers who are the actual age of your characters! Hannah and Danya were exactly that,” she says. “They were very helpful in bringing a fresh, young voice to HUNTR/X.”

Neither Jimenez nor McMechan were K-pop fans at the time. As part of their research, they both started watching K-pop videos, but it was McMechan who got “sucked into the K-hole” first. Still, it didn’t take long until the video for BTS’ “Life Goes On” entranced Jimenez.

“K-pop is a river that you fall into, and it just takes you,” Jimenez says. BTS and Got7 are her favorite groups. For McMechan, the ensemble that captivates her most is Stray Kids.

In writing the trio of demon hunters, the co-writers modeled them after themselves. The characters’ propensity for ugly faces, silliness and a bit of grossness too, stems from the portrayals of girlhood and young womanhood that appeal to them. Jimenez, who says she was an angsty teen, most closely identifies with the rebellious Mira.

“I have a monotone vibe,” says Jimenez. “People always think that I’m a bitch just because I have a resting bitch face,” she says. “But as you can see in the movie, Mira cares so much about having everyone be really close. I feel like that’s how I’m with all my friends.”

Characters with strong personalities that are not simplistically likable feel the truest to Jimenez. In “Luna Likes,” the prickly protagonist is directly inspired by her experiences growing up, as well as the bond she shared with her dad over Bourdain’s “Parts Unknown” show.

“There’s a pressure to show that Mexicans are nice people and we’re hard workers. I was like, ‘Let’s make her kind of bitchy and very flawed,’” Jimenez says about Luna. “She’s a teenager in America and she should be given all the same opportunities — and also the forgiveness for being an ass— and [as] selfish at that age as anybody else.”

Hannah McMechan, left, and Danya Jimenez, co-writers of “KPop Demon Hunters,” met in college.

(Carlin Stiehl / For The Times)

Though their upbringings were markedly different, it was their shared comedic sensibilities that connected Jimenez and McMechan when they met in college. The two were close long before deciding to pen stories together. “Having a writing partner is the best. I feel bad for people who don’t have a writing partner, no offense to them,” says Jimenez.

McMechan explains that their writing partnership works because it’s grounded on true friendship. And she believes they would not have gotten this far without each other. While McMechan’s strong suit is looking at the bigger picture, Jimenez finds humor in the details.

“Danya is definitely funnier than me,” says McMechan. “It’s really hard to write comedy in dialogue versus comedy in a situation because if you’re putting the comedy in the dialogue, it can sound so forced and cringey. But she’s really good at making it sound natural but still really funny.”

Though she had been writing stories for herself as a teen, Jimenez didn’t consider it a career path until as a high schooler she watched the romantic comedy “No Strings Attached,” in which Ashton Kutcher plays a production assistant for a TV series.

“He is having a horrible time. But I was so obsessed with movies and TV, and I was like, ‘That looks incredible. I want to be doing what he’s doing,’” she recalls. “And my dad was like, ‘That’s a job.’”

Danya Jimenez grew up in Orange County.

(Carlin Stiehl / For The Times)

As an infant, Jimenez spent some time living in Tijuana, where her parents are from, until the family settled back in San Diego, where she was born. And when she was around 5 years old, Jimenez, an only child, and her parents relocated to Orange County. Until then, Jimenez mostly spoke Spanish, which made for a tricky transition when starting school.

“I knew English, but it just wasn’t a habit,” she recalls. “I would raise my hand and accidentally speak Spanish in class. My teachers would be like, ‘We’re worried about her vocabulary.’ That was always an issue, so it’s really funny that I turned out to be a writer.”

As she points out in her professional bio, it was movies and TV that helped with her English vocabulary, especially the Disney sitcom “Lizzie McGuire.”

Jimenez describes growing up in Orange County with few Latinos around outside of her family as an alienating experience. She admits to feeling great shame for some of her behaviors as a teenager afraid of being treated differently and desperate to fit in.

“I would speak Spanish to my mom like in a corner because I didn’t want everyone else to hear me speak Spanish,” Jimenez confesses. “If my mom pulled up to school to drop me off playing Spanish hits from the ‘80s or banda, I was like, ‘Can you turn it down please?’”

Like a lot of young Latinos, she’s now taking steps to connect with her heritage, and, in a way, atone for those moments where she let what others might think rob her of her pride.

“During the pandemic I cornered my grandma to make all of her recipes again so I could write them down,” she recalls. “Now I have them all written down on a website. Or if my mom corrects me for something that I’m saying in Spanish, I now listen.”

At the risk of angering her, Jimenez describes her mother as a “cool mom,” and compares her to Amy Poehler’s character in “Mean Girls.” Raised in a household without financial struggles, Jimenez doesn’t often relate to stories about Latinos in the U.S. that make it to film and TV. Her hope is to expand Latino storytelling beyond the tropes.

“That’s very important to me, to just tell Latino stories or Mexican stories in a way that’s just authentic to me and hopefully someone else is like, ‘Yes, that’s me,’” she says. “A lot of people have certain expectations for Latino stories that I’m not willing to compromise on.”

Though they still would like to make “Luna Likes” if given the chance, for now, Jimenez and McMechan will continue their rapid ascent.

They’re “goin’ up, up, up” because it is their “moment.” They recently wrapped the Apple TV show “Brothers” starring Matthew McConaughey and Woody Harrelson that filmed in Texas. They are also writing the feature “Attack of the Fifty Foot Woman” for Tim Burton to direct, with Margot Robbie in talks to star.

“I feel like I’ve just been operating in a state of shock for the past, I don’t know how many months since June,” says Jimenez in her signature deadpan affect. “But if I think about it too much, I’d be a nervous wreck.”

The nostalgia factor is strong

They might appear to be a relic of bygone days, but there’s still a demand for the modest cassette. CDs and digital streaming appeared to spell the end for the mixtape, yet in a corner of Manchester’s Northern Quarter they’re flying off the shelves.

That’s down to Mars Tapes, widely regarded as the last cassette shop in the UK. Operated by Alex Tadros and situated inside Manchester’s independent shopping haven, Afflecks Palace, it’s been hugely successful and is now gearing up for its next phase.

“After seven years of growth, we are entering into our third expansion. This time moving down to a much larger unit on the 1st floor of Afflecks Palace — one of the biggest units in the building,” Alex says.

Mars tapes stocks a selection of classics, a ‘Rewind’ series — official tapes missing their paper inserts — mixtapes and consignments of new music from major labels.

The new premises will showcase an enlarged library of cassette tapes, a broader selection of refurbished vintage audio equipment, and the launch of the Mars Tapes Listening Cafe — a designated area where patrons can savour a coffee whilst listening to tapes from the shop’s collection, reports the Manchester Evening News.

To mark the expansion, they’re throwing a weekend party on March 7 and 8.

The venue will feature a Dave Haslam DJ set on the Sunday and a live gig from emerging Glasgow outfit Cowboy Hunters on the Saturday — the latter will be dropping a new EP on cassette through Sour Grapes Records.

The weekend will also welcome Horace Panter (The Specials), who will be showcasing his cassette artwork throughout both days. There will be a range of in-store discounts for various cassette products, with food and drinks specials available as well.

“Our cassette shop launched back in 2019 in perhaps the smallest unit in Afflecks Palace, and we never expected to grow in the way we have,” adds Alex.

“Now in the midst of our third expansion, into one of the biggest spaces in the building we wanted to celebrate with all of the cassette aficionados that made it possible! We’re offering food, drinks and in-store deals, alongside some fantastic live music from Cowboy Hunters, and DJ sets from Dave Haslam and Glue Tape Jockeys (a cassette DJ set).

“We’re also excited to be bringing down Horace Panter of The Specials who will be exhibiting some of his fantastic cassette based artwork. It’s gonna be a tape heads dream weekend and we can’t wait to welcome everyone down to the new store.”

The launch celebration will run on March 7 and 8 at Afflecks Palace, 52 Church St, Manchester M4 1PW. Complimentary tickets can be secured via Skiddle.

Los Angeles cannabis businesses that owe back taxes wouldn’t have to pay late fees and interest under an “amnesty” program proposed by the City Council.

To qualify, the businesses would have to pay their city taxes within three years.

The council’s unanimous vote on Tuesday, asking the Office of Finance to draft language creating the program, comes at a time when city leaders are searching for money to cover basic services after closing a $1-billion budget gap.

More than 500 of the roughly 700 licensed cannabis businesses in the city collectively owed about $400 million in taxes — an amount that includes $100 million in penalties and $35 million in interest, according to an October report from the Office of Finance.

The total amount owed increased to $417 million as of December, according to Matthew Crawford, the office’s assistant director.

But only about $150 million is collectible, since some tax debts are outside of the three-year statute of limitations and some cannabis businesses are no longer operating.

Based on a projection that about half of eligible cannabis businesses would take part in the program, the city would collect about $30 million in back taxes while waiving about $25 million in penalties, the October report said.

Under the amnesty program, about 20% of the revenue would go to the city’s general fund and the Office of Finance. The Los Angeles Police Department and the city attorney’s office would receive about 40% for illegal cannabis enforcement, and the remaining 40% would fund social equity grants to cannabis operators, particularly members of low-income and minority communities that have been subject to disparate enforcement of criminal cannabis laws.

“The city finds itself with a unique opportunity to bring businesses into compliance and, at the same time, properly fund cannabis industry-centric programming,” City Councilmember Imelda Padilla said during Tuesday’s meeting.

Owners of cannabis businesses say the 10% city tax rate on their gross sales is exorbitant, at the same time that illegal cannabis businesses have carved out a chunk of the market.

“Not only are we competing against the illicit market, we’re competing against licensed dispensaries that the city is allowing to stay open who have made it their business model to not pay tax,” Daniel Sosa, who owns four cannabis dispensaries in the city, told the council on Tuesday.

The amnesty program should be mandatory for businesses that are behind on their taxes, and those who default on their payments should have their licenses stripped, Sosa said.

Sosa said that the tax on cannabis sales should be “just like every other business pays in the city: guns, tobacco, alcohol, major, major billion dollar corporations.”

Other business tax rates in the city range from 0.11% to 0.425%, according to Crawford.

Last month, the council placed a cannabis-related measure on the June 2 ballot that, if approved by voters, would close a tax loophole for illegal cannabis businesses and open them up to the threat of civil collection.

The Lakers were looking to stack wins and are not in position to judge an opponent by its win-loss record.

So, when the Lakers encountered a Pelicans team that arrived at Crypto.com Arena on Tuesday night with a 19-43 record, they knew they couldn’t afford to overlook New Orleans. Especially since the Pelicans had won four of their past five and because they have a talented core of young talent that includes Zion Williamson, Herbert Jones, Trey Murphy III and Dejounte Murray.

It took all five starters scoring in double figures and it took a strong defensive effort in the fourth quarter for the Lakers (37-24) to pull out a 110-101 win over a stubborn Pelicans team.

“Well, we knew we weren’t playing against their record tonight,” said LeBron James, who was one of the starters to score in double figures with 21 points to go along with seven rebounds, seven assists and two blocks. But he also had five turnovers.

“It’s the first time they’ve been whole in quite a while,” James, who was eight-for-12 from the field, continued. “And we know when they’ve been whole what kind of team they’ve been. So, we came in with that mindset, understanding what kind of team we were playing and they won their last four out of five before tonight, or something like that.

“But we didn’t come in with the notion that we were playing against their record. We came in with the notion that we were playing a very athletic team that’s been playing exceptional basketball of late.”

The Lakers have been a better team as of late as well, winning their third straight game after losing three straight.

They won this one over the Pelicans with just enough offense and some timely defense.

Luka Doncic led the Lakers with 27 points, 10 rebounds and seven assists. But he was just 10-for-22 from the field and three-for-10 from three-point range and he had seven turnovers.

“I think we responded in a good way,”: Doncic said. “Sometimes you got to win playing bad. That’s what good teams do. I think that’s what it is today. Obviously it wasn’t our best game, but we managed to get a win.”

Austin Reaves had 15 points on four-for-15 shooting and two for seven on three-pointers, eight rebounds and five turnovers.

Reaves injured his arm late in the fourth quarter after stripping the basketball away from Williamson. But after a quick time out, Reeves returned to the game.

“I just hit my funny bone,” Reaves said. “Whole hand went numb, called a time out, kind of went away and was able to play.”

Deandre Ayton had 13 points and eight rebounds.

There also was the defense and energy Marcus Smart and Jaxson Hayes provided the Lakers.

Smart had 10 points, four steals and three blocks. He also was big on offense, drilling a three-pointer with 1:34 left for a 105-98 Lakers lead.

Hayes had eight points, six rebounds and two blocks.

“Jaxson was guarding Zion, which is not easy,” Doncic said. “So, I think he had some big, big plays for us. And obviously Smart has been the key to our wins (this season).”

The Lakers had 20 turnovers through three quarters, which didn’t help their cause.

They had just one in the fourth quarter and that came on a late-game 24-second violation when they were running out the clock.

The Lakers didn’t help themselves by losing their composure.

Doncic was given a technical foul in the second quarter. Luke Kennard received a technical foul in the third quarter and Ayton got a technical foul in the fourth quarter after being called for a foul blocking a shot by Williamson.

Austin Reaves celebrates after making a three-pointer in the second half.

(Allen J. Schaben/Los Angeles Times)

The Lakers had 12 blocks for the game and seven in the decisive fourth quarter.

They held the Pelicans to 35% shooting in the fourth and just 23 points.

“I think we’ve made some strides defensively,” James said. “I think we didn’t play much at all zone tonight. We started the game with it, we kind of went away from it. So, I thought our man-to-man defense was pretty good. I thought Jaxson and Marcus were great on that end and then everyone else kind of trickled in as well.”

A cause of death has been determined for Martin Short’s daughter Katherine, who took her own life in February.

She died Feb. 23 from a gunshot wound to the head, according to the Los Angeles County medical examiner’s database, which listed her case under her legal name, Katherine Hartley.

Her death was confirmed by her family in a statement to The Times two days later.

“It is with profound grief that we confirm the passing of Katherine Hartley Short,” the family said. “The Short family is devastated by this loss and asks for privacy at this time. Katherine was beloved by all and will be remembered for the light and joy she brought into the world.”

The 42-year-old was the eldest of three children adopted by the “Only Murders in the Building” star and his wife, actor Nancy Dolman. Dolman died of ovarian cancer in 2010, 30 years after marrying her husband. Martin Short’s sons are Oliver and Henry.

Hartley, whose body was found at her Hollywood Hills home by L.A. County Fire Department paramedics, legally applied for a name change in 2012 because of her famous father’s public persona.

“My father is a public figure. I am a social worker. I am concerned about potential harassment from future patients resulting from my association with my father,” she wrote in her name-change application, which was filed in October 2012 and approved Jan. 25, 2013.

After obtaining a bachelor’s degree in psychology and gender studies from NYU in 2006, she followed up with a master’s in social work from USC in 2010, People reported. In addition to having a private practice, she worked part time at Amae Health, a Los Angeles clinic providing mental health and psychiatric care, the outlet said. Suicide attempts and ideation are among the conditions the clinic says it specializes in treating.

The death certificate for Katherine Elizabeth Hartley, which was obtained by TMZ, includes a field denoting how the injury occurred. It reads, “shot herself.” According to the outlet, a note was found at the scene.

Martin Short has been hit with horrible news multiple times in recent months. In addition to his daughter, Short’s longtime pal Catherine O’Hara died Jan. 30 after battling rectal cancer and friends Rob and Michelle Reiner were killed in December.

Times staff writer Malia Mendez contributed to this report.

Welcome to the Lakers newsletter, where we dive into the noise surrounding them and how they are trying to ignore it and where we get to see the softer side of LeBron James when it comes to his daughter, Zhuri.

The noise has become deafening amid an uneven stretch of play as the Lakers head toward the final drive of the NBA season.

The noise has only grown as the Lakers search for their consistency and cohesion so late in a season.

Injuries have played a part in their up-and-down play, but so has their subpar play at times.

They are 3-3 since the All-Star break, having lost three consecutive games at one point during this period.

They were ranked 17th in the league in defensive rating (114.2) during this stretch, which is in line with their defensive rating for the season that’s near the bottom at 22 (116.3).

Perhaps the best way to describe these Lakers was provided by Rui Hachimura.

“I think when we play good, like really good, we [are] looking like a championship team, you know,” Hachimura said. “But when we [are] not, like we have a lot of time that we [are] not, then we look like we’re just literally [an] out-of-a-playoff team…At the time we have to kind of have to focus. It’s a long season, you know, it’s just a long season.

“We have a lot of injured guys, in and out, so we have a different rotation, different kind of starting lineup, whatever. But I think we have to focus on that part. We have to play together, playing hard, and those are gonna be really good for us. Staying consistent and we can look like a championship team all the time.”

It’s just that when the Lakers lose games, they lose big, by wide margins, and that has made the noise grow.

In the last few days, coach JJ Redick has used the phrase, “the world is falling for us 19 times,” when they have lost.

Redick is referring to how those 19 losses have been by double digits, the latest a 22-point spanking by the Boston Celtics last week that started the Lakers on a three-game skid. They have lost 24 games on the season.

“We haven’t had the consistent level of effort and execution,” Redick said. “That’s kind of been the thing all season [is] to really establish that identity. But I’m confident we will.”

The Lakers have 22 games left to find it.

They are sixth in the Western Conference and are looking to move up.

“Obviously we didn’t start good [out of the All-Star break], but nothing is over,” Luka Doncic said. “We just got to keep bringing the mindset of trying to win every game.”

Girl’s Dad

LeBron James with his daughter, Zhuri, eight years ago.

(Steven Vlasic / Getty Images)

He was simply a girl’s dad spending time with his daughter at his place of work, all part of a family outing in the San Francisco area.

When LeBron James finished his pregame routine before the Lakers played the Golden State Warriors on Saturday at Chase Center, his 11-year-old daughter, Zhuri, joined him on the court.

She stood at the free-throw line and tossed up an overhead shot that banked in for a basket. The crowd watching applauded, drawing a smile from dad and daughter.

Zhuri capped her time with dad by throwing a lob pass that James dunked while hanging on the rim. The two did their own handshake.

After the game, James beamed talking about spending time with Zhuri. He talked about taking her to Alcatraz, the Golden Gate Bridge and having dinner Friday night.

“I miss a lot of moments spending time with my kids because of my career. Over the course of my career, any time I got moments with them either individually, two of them, three of them all together, whatever the case may be, it’s always special for me,” James said.

“So, to have my daughter want to come on the road and and be with me [is special]. And spent a lot of time yesterday. We went to Alcatraz. She wanted to go to Alcatraz. We saw Alcatraz, saw the Golden Gate Bridge, we went to dinner last night. So, I spent a lot of time. It was pretty cool. It was awesome.”

Zhuri plays volleyball, but she displayed some deft handles while dribbling the basketball.

But make no mistake, James said, she is a volleyball player through and through. Besides, James said, wife Savannah already has a husband who plays for the Lakers, son, Bronny, who plays for the Lakers and son, Bryce, redshirting on Arizona’s basketball team.

“She’s a volleyball player. Don’t get my wife mad. My wife is done with this basketball….” James said, laughing. “She’s done with it. She’s a volleyball player. But she’s been around the game for a while, so she does got good handles. She got a good form, too. But my wife ain’t playing that. Not another one. She said that’s it. That’s it.”

After they were done during their pregame activities, James and Zhuri walked off the court holding hands.

The girl’s dad beamed.

“It’s special. It’s special. It’s definitely softened me up over the last 11 years,” James said. “I had two boys to begin with, but getting a little girl 11 years ago, man, it’s definitely softened me up. So, it’s special to have her. You know, it’s a different type of love.

“If anybody got girls and boys, it’s a different type of love that you [share]. It’s tough love when it comes to my boys. I yell at them and stuff, whatever. They take it. They know how to approach it. It’s different. It’s a little softness with my daughter. So, it’s pretty cool.”

Besides All-Star games, James said it was the first time Zhuri had gone on a trip with him.

The Lakers beat the Warriors too.

“She’s a good luck charm,” James said.

Austin Reaves was sitting next to James in the locker room listening to James.

“She’s going to Denver,” Reaves said.

The Lakers play at Denver Thursday night.

“Uh don’t say that too loud, because she’ll definitely be like, ‘Dad, can I go to Denver?’” James said, smiling. “She already said, ‘When is the next road trip?’”

Redick has two boys, Knox, 11, and Kai, 9, and he can appreciate having that family time, especially when the Lakers spend so much time traveling and having games that take them away.

So, seeing Zhuri and James together was a moment Redick enjoyed.

“Yeah, Zhuri, she rode on the plane back just last night,” Redick said after the game Saturday night. “That was fun for her…[Lakers assistant coach] Scotty [Brooks] has talked a lot about this with me and a number of coaches have. It’s one of the greatest gifts we get. We get to expose our kids to this beautiful sport and this beautiful league.”

On Tap

Tuesday vs. Pelicans (19-43), 7:30 p.m.

Zion Williamson, who had played in his NBA-best 35 straight games, missed the Clippers game Sunday because of a right ankle injury and is listed as day to day.

Thursday at Denver (37-24), 7 p.m.

The Nuggets and Lakers are neck-and-neck for the fifth and sixth spots, respectively, in the West, with Denver at No. 5. All-Star center Nikola Jokic leads the NBA in triple-doubles with 24, averaging 28.8 points (sixth in the league), 12.6 rebounds (first) and 10.5 assists (first).

Friday vs. Indiana (15-46), 7:30 p.m.

The Pacers have the worst record in the Eastern Conference and are in the midst of a six-game losing streak.

Sunday vs. New York (39-22), 12:30 p.m.

Knicks All-Star guard Jalen Brunson is tied for ninth in the league in scoring (26.7). The Knicks are a very good defensive team, holding teams to 111.1 points per game, the fifth-best mark in the league.

In case you missed it

Luka Doncic and LeBron James power Lakers to another rout against last-place Kings

Luka Doncic and Lakers dominate Curry-less Warriors to halt losing streak

Lakers hire former Virginia coach Tony Bennett as a draft advisor

New Lakers executive Lon Rosen discusses increased ticket prices, Magic Johnson

Until next time…

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

Wait, Zendaya and Tom Holland got married and we missed it? That’s what the “Euphoria” star’s longtime stylist said on the red carpet Sunday.

“The wedding’s already happened, you missed it,” Law Roach told “Access Hollywood” in a singsong voice at the Actor Awards, adding, “It’s very true,” after the shocked reporter asked if he was being truthful.

He said the same thing almost word for word to an “Entertainment Tonight” correspondent who took the news completely — almost dismissively? — in stride.

The news came from the same “Project Runway” judge who told E! News last July that Zendaya was so busy that there was simply no time for wedding planning, saying at the time that the “process hasn’t even started yet.” That’s the same self-proclaimed “world’s only image architect,” who for years has also styled Holland.

Holland and Zendaya, who co-starred as Peter Parker and MJ in three “Spider-Man” movies, have known each other since 2016 and confirmed in 2021 that they were romantically involved as well.

Eagle-eyed fans may have suspected the two had tied the knot a few weeks back after Zendaya stepped out Feb. 18 with a plain gold band on her left ring finger in place of her engagement diamond. That big ol’ sparkler had been on the scene since early last year, debuting publicly at the 2025 Golden Globe Awards a year ago January.

At that awards show, when former Times columnist Amy Kaufman — then recently engaged herself — asked the “Dune” actor flat-out if she was engaged, Zendaya flashed her ring, smiled coyly and shrugged her shoulders. That was way more of a “yes” than in 2023 when she shut down engagement rumors after posting a selfie wearing a pearl ring on her left hand and a black Golden State Warriors hat on her head.

“I posted it for my hat. Not for the ring on my right finger, you guys,” she said and laughed in the video that circulated on X and Instagram. “Seriously, you think that’s how I would drop the news? What?”

We didn’t think any wedding news would come via her stylist either, no matter how long the two friends have been working together. Though Zendaya might have been chuckling a bit when she posted a “Save the Date” message on social media three weeks ago to promote her upcoming movie “The Drama.”

Zendaya explained her approach to privacy in a 2023 Elle interview, saying she “can’t not be a person and live my life and love the person I love.”

“But also, I do have control over what I choose to share. It’s about protecting the peace and letting things be your own but also not being afraid to exist. You can’t hide. That’s not fun, either. I am navigating it more than ever now.”

Yes, we reached out to the notoriously private couple’s representatives. No, they did not get back to us immediately to confirm the news or offer any details. Are you surprised? We are not.

The Navy has posted its first pictures from Operation Epic Fury, showing a variety of actions that have been taken so far, especially the launches of RGM-109 Tomahawk Land-Attack Missiles (TLAMs) from its Arleigh Burke class destroyers. One image, in particular, caught our eye. It shows a glossy black TLAM unlike any we have seen before.

To date, we have never seen a black Tomahawk before. Today, the missiles are usually painted in the same haze gray tone we have been accustomed to seeing on pretty much everything in the U.S. Navy. All the other TLAMs shown being fired appear to be painted in this standard scheme, so what we are seeing appears genuinely new.

The dark color of the TLAM in question fits with that of another missile in the U.S. Navy’s inventory, the stealthy AGM-158C Long-Range Anti-Ship Missile (LRASM). These advanced cruise missiles are delivered, at least in part, not in the flat gray tone as seen on their land-attack cousins, the AGM-158 JASSM, but instead with a glossy black coating. This appears to be the case for earlier testing models and at least some operational ones. It’s our best guess that a very similar coating is now being applied to the latest TLAMs coming off the production line for the Navy.

As for why black is the new gray, as it would seem, we would expect this to be a low observable coating aimed at enhancing the survivability of the weapon, especially for strikes against maritime targets. It can also make the missile harder to spot while skimming low over the water. Having radar-absorbent and infrared suppressive properties could also be a major benefit. This is especially true for the TLAM, which has been around for decades and has been continuously improved upon to keep it relevant and effective. That has included adding low observable features, such as the chined crease in its nose section that reduces its radar cross-section from the critical front aspect. It’s also worth noting that the small v-shape gray portion of this black TLAM is the inlet door that retracts once the missile is boosted to sustained speed shortly after launch.

This new coating would appear to be part of the upgrades likely included on the latest Maritime Strike Tomahawk, otherwise known as the MST, which has a long-range anti-ship function.

F-18 follows Tomahawk Missile

The Maritime Strike Tomahawk (MST) is a subvariant of the latest Block V variant of the Tactical Tomahawk (TACOM), and is also known as the Block Va. Though the Block IV TACOM already has a demonstrated anti-ship capability, MST has additional features to optimize it for this role. This most notably includes a new multi-mode guidance system that reportedly includes an imaging infrared seeker. All Block V Tomahawks also come with a two-way data link, allowing them to receive course correction and other targeting updates, as well as be entirely retasked, during flight.

A set of unclassified briefing slides that Naval Air Systems Command (NAVAIR) released last year lends additional credence to the black-colored Tomahawk being an MST. One slide includes a mention of MST along with a very low-resolution picture showing a dark-colored missile.

It isn’t clear when the first MSTs were delivered, but unless this coating is being put on past variants of the missile, this may be the first time we have seen one of these new Tomahawk variants in action.

Update:

We are also seeing video showing what appear to be TLAMs with forward swept wings. If these are indeed TLAMs, this would likely be another measure to reduce the missile’s radar cross-section and making it more survivable, and thus battlefield relevant. It’s also possible that this is a long-range Israeli cruise missile that has not been identified, although this seems less likely. Still, Israel does have the Popeye Turbo cruise missile that is nuclear-armed and used as a second strike deterrent aboard its diesel electric submarines. It is possible that this is a conventional version of that weapon.

SACRAMENTO — The race for California governor couldn’t be much closer. And that’s scary for Democrats.

Only the top two vote-getters in the June 2 primary — regardless of their party — will advance to the November election. And although still unlikely, it’s increasingly conceivable that both could be Republicans.

“Scare tactics,” claim naysaying Democrats of such speculation.

But Democrats should have heeded scary rumblings 10 years ago when long shot Donald Trump was first running for president — and not buried their heads in the sand again two years ago when Joe Biden was feebly seeking reelection.

They ignored the warning signs and paid the price.

Now, the latest independent poll of likely voters shows that Republican candidates are running in two of the top three places for governor — meaning it’s possible both could qualify for the November ballot, guaranteeing the first election of a GOP chief executive in 20 years.

The best odds are on one Democrat and one Republican finishing in the top two — virtually assuring a Democratic victory in November.

California is too solidly Democrat — and President Trump too despised here — to envision a Republican beating a Democrat to replace termed-out Gov. Gavin Newsom.

But Democrats could beat themselves if the current field of candidates remains intact. There essentially are eight Democrats and only two Republicans competing in the primary.

If the combined Democratic vote is splintered among the eight Democratic contestants, the two Republicans could end up finishing first and second.

“It’s hard to come up with the math that makes that work,” asserts Mark Baldassare, polling director for the nonpartisan Public Policy Institute of California. He just completed a survey in which “a lot of things show that a Democrat and Republican [top-two finish] is the likely outcome,” he says.

But political data guru Paul Mitchell has been running primary election simulations and after Baldassare’s latest poll, he calculated the chances of an all-Republican finish at 18%.

That seems like the danger zone.

The solution is for some Democratic candidates who have little hope of winning to drop out of the race — very soon, in fact. They shouldn’t even file their official candidacy papers that are due by Friday. After that deadline, it’s impossible to remove their names from the ballot even if they’re no longer really running.

The PPIC poll, released last week, showed a statistical tie between the top five contenders — three Democrats and two Republicans, all within 4 percentage points of each other.

The breakdown:

Republican former Fox News commentator Steve Hilton, 14%; Democratic former Rep. Katie Porter, 13%; Republican Riverside County Sheriff Chad Bianco, 12%; Democratic Rep. Eric Swalwell, 11%; Democratic hedge fund founder Tom Steyer, 10%.

Then came five Democratic stragglers.

Former U.S. Health Secretary Xavier Becerra, former Los Angeles Mayor Antonio Villaraigosa and former state Controller Betty Yee each had 5%. Trailing them were San José Mayor Matt Mahan with 3% and state Supt. of Public Instruction Tony Thurmond at 2%.

Mahan’s a centrist wild card who jumped into the race while the polling was underway. So, there’s a valid excuse for his poor showing.

Swalwell and Steyer entered late last year and apparently took votes away from Porter and Becerra.

Porter and Yee are the only prominent female candidates, but they aren’t particularly being helped by female voters, the poll showed.

There was good news in the survey for Democrats hoping to pick up more congressional seats in California and help the party seize control of the House of Representatives from Republicans.

Asked whether they’d vote for a Democrat or Republican for Congress, 62% replied Democrat and only 36% Republican. That’s not surprising, since Democrats already hold 43 of California’s 52 seats.

Newsom and the Democratic-controlled Legislature last year gerrymandered California’s House districts with the goal of gaining at least five more seats. Voters approved that move by passing Proposition 50.

The especially bright news in the poll for Democrats was that in the five new House districts considered the most competitive, Democrats had a slight edge in voter preference. That was also true in districts held by Republicans.

Additionally, Democrats are much more enthusiastic than Republicans about voting in the congressional contests.

In the competitive districts, nearly two-thirds of voters disapprove of tactics by Immigration and Customs Enforcement in corralling undocumented immigrants. And 57% disapprove of Trump.

Anti-Trump sentiment is extremely high among all voters — 30% approval and 70% disapproval.

One head-scratcher in the poll was the voters’ denial about their political polarization. They were asked what qualification they considered most important in choosing a governor. Only 6% said it was the candidate’s political party. Rubbage.

“There are very few people who are voting outside their party,” Baldassare notes.

Two-thirds of voters answered that a candidate’s stand on issues is the most important consideration for them. Voters of both parties, plus independents, rated a candidate’s position on “affordability” as “very” important — and it topped their list of concerns.

A majority of voters said California is “going in the wrong direction.” This is a gloomy finding for Democrats who have been ruling state government — and most large cities — for many years.

But a much larger majority believe the country also is headed in the wrong direction. Back at ya, Republicans. It’s the GOP that’s in total control of the federal government.

Both parties in California have reasons to run scared this year.

What else you should be reading

The must-read: California Democrats unite against Trump, differ on vision for state’s future
Salud: Retired 100-year-old fighter pilot from Escondido receives Medal of Honor
The L.A. Times Special: Gavin Newsom and Kamala Harris have traveled parallel paths. Will they collide in 2028?

Until next week,
George Skelton

—
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SACRAMENTO — A proposed initiative to require Californians to show identification every time they vote, and election officials to verify registered voters are U.S. citizens, appears to have enough support to qualify for the November ballot.

Proponents say they have collected more than 1.3 million voter signatures on petitions supporting the ballot measure, far more than required under California law, and plan to submit them to county elections officials Monday for verification.

The Republican-led push for the voter ID initiative comes at a time of growing distrust in the integrity of the electoral process nationwide, a wariness intensified by President Trump’s baseless claims that the 2020 election was stolen from him and false assertions that droves of undocumented immigrants are swaying elections with illegal votes.

Proponents of voter ID contend that such laws prevent election fraud and, along with proof of citizenship mandates, prevent noncitizens from voting. Opponents say ID mandates threaten the fundamental constitutional rights of Americans who do not have the mandated documentation readily available, and that the restrictions are unnecessary given that voting by noncitizens is rare and already outlawed in the U.S.

The partisan divide over whether voters must provide proof of U.S. citizenship when registering to vote, one of Trump’s top priorities, continues to consume Washington. House Republicans passed the mandate in early February but the legislation — known as the SAVE Act — has bogged down in the Senate.

Democrats say that under the SAVE Act, many state driver’s licenses would not be adequate documentation to prove U.S. citizenship, forcing people to produce a passport or birth certificate — which many voters do not have. According to a 2023 survey by the Brennan Center for Justice and others, 9% of U.S. adult citizens do not have proof of their citizenship that’s readily available. The survey found that 11% of adult citizens of color were unable to readily access those documents, compared with 8% for white American adults. They accused Republicans of trying to prevent millions of Americans from voting in the next election in order to keep Congress under GOP control.

UC Berkeley Law School Dean Erwin Chemerinsky said that both the SAVE Act and proposed ballot measure in California are not only unnecessary, but harmful to democracy.

“Both are aimed at solving problems that don’t exist,” Chemerinsky said. “There is no evidence of a problem of non-citizens voting. Nor is there evidence of significant fraud with voters casting votes under false names. But both would limit who can vote. As for the SAVE Act, many people don’t have a birth certificate or passport.”

U.S. House Speaker Mike Johnson (R-La.) speaks during a news conference on Feb. 11 at the U.S. Capitol. Johnson was joined by Republicans to speak about the passage of the SAVE America Act, an election bill backed by President Donald Trump that would require proof of citizenship to register to vote and require photo identification at the ballot box.

(Michael M. Santiago / Getty Images)

Rep. Ken Calvert (R-Corona), who supports and voted for the SAVE Act, said it is a simple way to restore voter confidence in elections. But he said the bill’s fate appears grim.

“I don’t think they have the votes,” Calvert said Friday.

Which is why, Calvert says, California must join other states and enact commonsense voter ID and citizenship requirements that can attract bipartisan support. The longtime Republican congressman said he does not believe there has been widespread voter fraud in the U.S., or a that a flood of noncitizens has been voting, but that does not mean those have not happened to some degree and would sway both tightly contested local elections and congressional races.

“I’ve always said it’s probably a small amount, but it’s enough to change an outcome of elections, and could change the numbers we have in Congress,” Calvert said.

The California ballot measure

The petitions being submitted for the California Voter ID Initiative will be reviewed by county election officials, who must verify that the people who signed are registered voters in the state and that the proponents collected at least the 874,641 valid signatures required to qualify for the November ballot.

The ballot measure will make significant changes to how Californians vote, and enact new mandates on county elections officials. Among the top changes being proposed:

• Every time a voter casts a ballot in person in any election in California, they must present government-issued identification.
• Californians voting by mail will be required to list on the ballot envelope the last four digits of a “unique identifying number from a government issued identification” — essentially a pin number like people use at an ATM — that matches the one the voter designated when they registered to vote.
• The California secretary of state and county election officials will be required to verify that registered voters are U.S. citizens by “using government data,” which according to supporters could include information in the federal Social Security Administration database, jury summons information and other government records.
• The secretary of state and county election officials must maintain accurate voter registration lists.
• If requested, the state would be required to a provide eligible voters with free voter identification cards for use during elections.

“We’re creating the legal obligation that in California, when we do voting, we want our election officers to actually give a damn about whether someone’s a citizen,” said Assemblymember Carl DeMaio (R-San Diego), one of the main forces behind the proposed ballot measure. “That’s what we’re asking. That’s why voters support this, because it’s not a burden on the voter. It really is a burden on the election officers to do their job.”

Republican Assemblymember Carl DeMaio of San Diego speaks at a press conference in July to announce a campaign to require voter identification in California.

(Tran Nguyen / Associated Press)

But Jenny Farrell, executive director of the League of Women Voters of California, called the proposed ballot measure an underhanded attempt by Trump and Republicans to make it even harder for people in the state to vote — which they see as a political advantage. The Californians who will suffer the most are “communities of color, people with disabilities, elderly folks, folks who move around a lot, folks who have recently experienced a name change.”

“California elections are already secure. This initiative isn’t really about election integrity. It’s part of this broader national playbook from President Trump and the current federal administration to make voting harder and to create doubts in the minds of the public and to really sow chaos on election day,” Farrell said. “The measure would create new strict barriers for eligible voters. It could wrongfully flag naturalized citizens, and it will create new ways to challenge results.”

Noncitizens who vote in California risk being charged with a felony and deported, she said.

Farrell’s organization has joined with the ACLU of Northern and Southern California, Common Cause, Disability Rights California and other groups to oppose the proposed measure.

The nonpartisan Legislative Analysts Office estimates the new requirements under the proposed ballot measure could potentially cost state and local governments “tens of millions of dollars to the low hundreds of millions of dollars” annually.

What’s the law now in California?

Currently, 36 states require or request that voters provide identification at the time they cast a ballot, and 10 states have strict laws requiring people to produce government-issued photo IDs, according to the National Conference of State Legislatures.

Under current law, Californians are not required to show or provide identification when casting a ballot in person or by mail. They are required to provide identification when registering to vote, and must swear under penalty of perjury, a felony, that they are eligible to vote and a U.S. citizen.

To register to vote, Californians must provide their driver’s license number or state identification card number and the last four digits of their Social Security number, along with other information. The state is required to validate the information using relevant databases, including records at the state Department of Motor Vehicles and Social Security Administration.

Along with a driver’s license, U.S. passport or state identification card, acceptable identification also can include photo identification cards issued by a school, a credit card company, a gym, an insurance company, an employer or a public housing agency. Californians have the option of providing certain other documents, as long as they contain the person’s name and address, including: utility bills, bank statements, government checks, rental statements or government-issued bus passes.

First-time voters who did not present identification when they registered to vote must present ID the first time they cast a ballot in a federal election.

When ballots are sent by mail, election officials are required to verify a voter’s signature on the ballot by comparing it with the signature on the official voter registration records on file.