week

Quarterback Matthew Stafford, the reigning NFL most valuable player, is now under contract with the Rams through the 2027 season.

Stafford signed a contract extension Thursday, the team announced. Terms of the deal were not released but it is a one-year extension worth $55 million, a person with knowledge of the situation said. The person requested anonymity because the contract has not been posted.

Stafford, 38, is scheduled to carry a salary-cap number of $48.3 million this season, according to Overthecap.com.

With Stafford, receivers Puka Nacua and Davante Adams and a defense featuring edge rusher Jared Verse and recently acquired All-Pro cornerback Trent McDuffie, the Rams are regarded as a favorite to play in Super Bowl LXI at SoFi Stadium.

Whether Stafford, a 17-year veteran, plays in 2027 remains to be seen.

Last month, the Rams selected former Alabama quarterback Ty Simpson with the 13th pick in the draft. Fourth-year pro Stetson Bennett also is on the roster.

The Rams and Stafford had been working on the framework of an extension ever since Stafford announced during NFL Honors in February that he would return this season to play for a team that advanced to the NFC championship game before losing to the eventual Super Bowl champion Seattle Seahawks.

The team and the quarterback have been conducting contract talks on a year-to-year basis since 2024, after Stafford delayed his arrival to training camp because of a contract impasse. Last year, Stafford and the team came to an agreement on March 1.

In 2025, Stafford passed for 46 touchdowns, with eight interceptions. He was voted All-Pro and won his first MVP award.

Stafford has been participating in voluntary offseason workouts. The team begins more comprehensive organized-team activities next week.

Training camp opens in July in preparation for the Sept. 10 season opener against the San Francisco 49ers in Melbourne, Australia.

WASHINGTON — A political influencer has filed a complaint against Tom Steyer’s campaign for governor, saying the committee failed to notify her of disclosure requirements, as required by law, when she was paid to meet with Steyer in March and later produced social media content from the meeting.

What’s more, she said the Steyer campaign falsely accused her of posting paid content in support of Steyer’s chief Democratic rival, Xavier Becerra, and failing to disclose it in a complaint filed by the billionaire’s campaign this week.

Maggie Reed, who regularly posts satirical takes on politics to roughly half a million followers on Instagram and TiKTok under the username mermaidmamamaggie, said she was actually paid by Steyer’s campaign and signed an agreement that barred her from disclosing the payment.

She posted, and later deleted, a video from her meeting with Steyer in March.

“In plain terms: the Committee paid for political content, structured it to look like an ordinary creator’s organic opinion, and used a non-disclosure agreement to keep the public from learning the truth,” says the complaint, filed Thursday with California’s Fair Political Practices Commission.

Steyer’s campaign disclosed in a campaign filing that it had paid the agency that represents Reed $5,000 for digital advertising, but didn’t indicate that the payment was connected to Reed’s meeting with Steyer or her production of content.

The Steyer campaign said that while it did pay to meet with Reed, it left the decision of whether to create content entirely up to her.

Since then, Reed has produced several videos expressing support for Becerra, the former California congressman and U.S. Secretary of Health and Human Services, but she said that she was not paid to produce those videos and that they reflected her genuine support for Becerra’s campaign.

Becerra has been the top Democrat in recent polling in the race, maintaining a narrow edge over Steyer and a firm grip on one of the top two spots in the June 2 primary that would send him to the general election in November.

Reed’s complaint is the latest volley in a back and forth involving the use of paid influencers in the gubernatorial race.

Two influencers who support Becerra — but were not paid by his campaign — filed a complaint last week saying that a number of influencers had created paid content in support of Steyer, but failed to disclose so in their posts.

Steyer’s campaign then filed a complaint earlier this week in which it leveled accusations against Reed and another influencer named Jay Gonzalez, who is now a paid staffer on the Becerra campaign. The complaint alleges that Gonzalez made several pro-Becerra posts after joining the campaign and belatedly amended them to include disclosure that they were sponsored.

The Becerra campaign has maintained that it does not otherwise pay influencers to produce content on its behalf.

Steyer’s complaint included screenshots of an email sent to Reed’s talent agency by a gubernatorial campaign gauging her interest in producing paid content.

While the screenshots produced in Steyer’s complaint did not disclose who had sent the inquiry, Reed said in her complaint that the request had come from a staffer for the gubernatorial campaign of former Los Angeles Mayor and California State Assembly Speaker Antonio Villaraigosa.

Disclosure of paid political content by social media creators is required in California thanks to a law passed in 2023.

Influencers themselves are required to disclose that a post they created was sponsored, but campaigns are required to notify them of the requirement.

Violation of the law doesn’t trigger civil, criminal or administrative penalties, but the FPPC has the right to take violators to court and request that a judge force compliance with the law.

The agreement Reed signed with Steyer’s campaign, which was attached to her complaint, indicated that she needed to follow all applicable state, federal and local laws, but made no specific mention of her requirement to disclose that content she produced was sponsored.

The agreement did specify that Steyer’s campaign might need to disclose the payment.

Chinese President Xi Jinping will likely visit North Korea as early as next week, sources said Wednesday.

“We have obtained intelligence indicating that President Xi Jinping will visit North Korea soon,” a high-ranking government official told Yonhap News Agency.

Another government official also said there is a high possibility of Xi visiting North Korea later this month or early next month, noting Chinese Foreign Minister Wang Yi‘s visit to Pyongyang last month and the recent trips by Xi’s security guards and ceremonial staff to the North Korean capital.

During the meeting with Wang, North Korean leader Kim Jong-un expressed willingness to strengthen high-level exchanges and enhance strategic communication with Beijing, as he recalled his visit to China last year.

The two nations mark the 65th anniversary of signing a comprehensive treaty on cooperation this year.

Xi’s possible visit to the reclusive regime also follows summit talks with U.S President Donald Trump in Beijing last week. During the talks, the two leaders reaffirmed their shared goal of denuclearizing North Korea.

A separate government source said the Chinese leader could seek to mediate relations between North Korea and the United States.

During his state visit to China in January, South Korean President Lee Jae Myung asked Xi to help mediate inter-Korean relations, and the Chinese leader responded positively to the request, according to the source.

Copyright (c) Yonhap News Agency prohibits its content from being redistributed or reprinted without consent, and forbids the content from being learned and used by artificial intelligence systems.

Last week, news organizations and Disney bloggers learned that the Mouse House had filed building permits with the city of Anaheim related to a parking structure at Disneyland Resort.

That immediately sparked rumors about a third park — a long-held dream of Walt Disney Co. fans who want to see more rides, themed areas and Mickey-related shopping destinations.

But that will remain a dream — at least for the foreseeable future.

Anaheim city officials confirmed as much in an internal email about one of the news articles, noting to City Council members and the mayor that the permits were, in fact, for minor parking lot improvements within the existing Toy Story parking structure off Harbor Boulevard.

The email, which was reviewed by The Times, said the improvements were not related to an already-approved expansion of Disneyland Resort, or “what could ultimately be developed on the property in the future.”

A Disneyland spokesperson told me the permits are related to painting and striping at the Toy Story parking structure. So much for a third theme park.

It’s not the first time there’s been a hullabaloo about an additional park at Disneyland Resort.

In the early 1990s, there were serious talks about a Disneyland expansion called Westcot Center, a West Coast version of Walt Disney World’s Epcot in Florida. The plan at one point was to include three hotels, a public plaza and a number of retail, dining and entertainment options all around a central lake. At one point, both Anaheim and Long Beach were vying to be chosen as the site.

But that all collapsed in the mid-’90s amid financial concerns. Disney later built California Adventure, and briefly teased the idea of a third theme park complex with both a water park and amusement park that could complement the two-park resort. But that but never came to fruition.

The idea came up yet again about 10 years ago at an annual shareholders meeting in San Francisco, when former Chief Executive Bob Iger batted down speculation about a third park.

“We have plans at Disneyland for an expansion that we have not announced but those plans at the present do not include a third gate,” he said at the time.

More on that expansion later, but the truth is Disney simply doesn’t have enough land in Anaheim to build out a third theme park. I spoke with Len Testa, president of theme park travel site TouringPlans.com, who laid out the issues for me.

A third park would probably need a minimum of 80 to 120 acres of land to accommodate big new rides, as well as necessary behind-the-scenes facilities like employee break rooms and other back-of-the-house infrastructure.

“They’re landlocked,” he said. “And to acquire that land now in any way that would keep the campus centralized and avoid the logistics of a far-flung transportation network, that would be prohibitively expensive.”

That’s not to say that Disneyland Resort isn’t expanding on the land it does have.

Two years ago, Anaheim approved expansion plans for a project known as DisneylandForward, which will allow the company to build new attractions alongside shops, restaurants and hotels.

Development plans include a bigger Avengers campus with two new rides, as well as a “Coco” ride and “Avatar”-themed area in California Adventure, as well as a new parking structure.

Although it’s not a park, adding new lands and rides is “mission critical” for Disneyland Resort, Testa told me. After all, to drive attendance, you need to regularly open new attractions.

And these new rides can’t just be any old rides — they have to be “epic, mammoth blockbusters” that no one’s seen before, which takes time, space and money, he said.

Disneyland Paris is a good example. The European tourism resort saw a notable boost in attendance after it opened a World of “Frozen”-themed land in March.

“When you have that type of expansion and you can fill the park, you feel very, very good about that,” Disney Chief Financial Officer Hugh Johnston said last week at the MoffettNathanson media, internet and communications conference. “When we leverage our [intellectual property] and take that IP and build big new attractions, not little things … it’s these big new things that actually tend to just really bring in the consumers.”

That’s also key when you consider Disney’s growing competition from Universal Studios, which recently opened Epic Universe in Orlando and siphoned off some attendance from Walt Disney World.

And while the company’s TV and film business is vital, its theme parks still throw off most of the cash — new Disney CEO Josh D’Amaro recently called the parks the “physical centerpiece of the company.” And of course, they retain a deep link to Disney’s heritage.

As Walt himself noted, Disneyland is a “living” entity that would “never be finished.”

Stuff We Wrote

Film shoots

Number of the week

Lionsgate’s musical biopic “Michael” retook the top spot at the box office last weekend with a haul of $26.1 million in the U.S. and Canada.

The film, which chronicles the early career of singer Michael Jackson, has had remarkable staying power atop the charts since it debuted in late April. The film’s weekend revenue was down only 31% in North America compared with the previous weekend.

Overall, “Michael” has now made an estimated $703.9 million in worldwide box office revenue, with $421.1 million coming from international markets.

What I’m watching

Now that WNBA season is in full swing, I’ve been watching my L.A. Sparks and caught the game against the Toronto Tempo on Sunday. It was a rough game, but here’s hoping the Sparks can start turning things around, and quickly.

Welcome back to The Times’ Lakers newsletter, where we’re not in Cancun just yet.

I fortunately have gotten some much-needed sleep during the week since the Lakers were eliminated, but NBA news never rests, especially during this pivotal offseason that could reshape the entire roster.

With almost half of the roster spots in flux, we’ll start with one player who we know will be back next season.

Luka Doncic fourth in MVP voting

He led the league in scoring but Luka Doncic finished a distant fourth in the most valuable player voting, which was announced Sunday before Game 7 of the Eastern Conference semifinals.

While Oklahoma City’s Shai Gilgeous-Alexander won his second consecutive MVP in a landslide, Doncic didn’t receive a first-place vote. Gilgeous-Alexander finished with 939 total points and 83 first-place votes. Nikola Jokic was second (634 total points, 10 first-place votes) and Victor Wembanyama was third (569 points, five first-place votes). Doncic, who had 250 total points, only had one second-place vote, and even fifth-place finisher Cade Cunningham had two first-place votes that contributed to his 117-point total.

This MVP discussion was one of the most competitive in recent memory. A fourth-place finish, especially without a single first-place nod, doesn’t quite do justice to how productive Doncic’s season was. He averaged 33.5 points, 7.7 rebounds, 8.3 assists and 1.6 steals per game. Despite playing without Doncic for the last month, the Lakers maintained a top-four seed in the competitive Western Conference and won 50 games for the second consecutive year. It was just the fourth time in the last 20 years that the league’s scoring champion didn’t receive a first-place MVP vote.

Some of the MVP race comes down to campaigning. Wembanyama, along with stellar play, repeatedly made his case during interviews. Doncic brushed off any chances to do the same.

Doncic preferred to let his play speak, but the message didn’t quite get through. During one of the most magical Marches in league history, Doncic dropped from second in NBA.com’s MVP ladder to fourth.

The season-ending hamstring injury on April 2 didn’t give him a chance to restate his case.

The more disappointing effect of the injury was that Doncic was not close to returning in time for the postseason, where he watched from the sideline as the Lakers got swept by the Thunder.

“It’s very frustrating,” Doncic said last week in his exit interview immediately after the season-ending loss. “I know some people wanted me back, but obviously I wasn’t close to clearing. … If I could be out there, I would be, 100%. Everybody in that room knows that. But it was very tough. Like I said, this is the best time to play basketball. I was sad not to be able to help my team.”

Doncic said he will not play for the Slovenian national team this summer while he prioritizes time with his daughters and recovering. His second daughter Olivia was born in December, and Doncic, who missed two games to be present for the birth, quietly managed a custody battle during the season after he and his former fiancee split.

The last 15 months have been tumultuous for Doncic, but he grew as a leader for the Lakers, coach JJ Redick said, specifically in his dedication to building off-court relationships with teammates after the shocking trade that brought him to L.A. left him in a daze for months.

“I don’t think we got the best version of Luka, the person, [last year],” Redick said. “He was great, but he was phenomenal this year as a teammate and a leader. And obviously, as a player, the guy had a tier one season relative to the rest of the league.”

Still first in the Lakers’ hearts

Will Marcus Smart and Deandre Ayton be back with the Lakers next season?

(Kenneth Richmond / Getty Images)

Doncic took his role as a leader so seriously last season that it started during free agency when he placed recruiting calls to Marcus Smart and Deandre Ayton. With both players facing player options to return, Doncic didn’t commit to trying to woo anyone back.

“We’ll see,” Doncic said. “Can’t tell you nothing.”

Most of the Lakers’ roster could change next season, but Doncic is still at the center of every decision. General manager Rob Pelinka said it’s an “ongoing collaborative process” with Doncic regarding any offseason moves.

Pelinka said the roster will be “retrofitted” around Doncic. It wasn’t that long ago that a superstar still in his prime fell in the franchise’s lap, which shook up every existing blueprint. The new archetype are three-and-D players and rim-running centers.

Ayton was supposed to be a solution at center when he signed last year. When asked how he is approaching his player option, Ayton said after the season-ending game that he hadn’t made a decision yet, but that he had enjoyed his time with the organization thus far.

“It’s purple and gold, that’s about it,” said Ayton, who was the No. 1 pick in the same draft in which Doncic went third. “Just being honored and happy to be on this platform. And another chance, and all of that. There’s great players I learned [from] here.”

Ayton flashed his potential. He was a force during the first-round playoff win over Houston. The Lakers needed him in that series and he delivered. But he also acknowledged that it was “a very humbling experience” being on a team that did not need him to score, instead asking him to primarily rebound and defend the rim with consistency.

Considering that Ayton is coming off career-lows in points (12.5), rebounds (eight) and minutes (27.2) per game, it might be hard for him to command a better salary than the $8.1-million option he has on the table.

Smart can opt into $5.4 million. The 32-year-old could decline the player option with hopes of securing a long-term contract, whether with the Lakers or elsewhere, after he proved he could still be an effective defensive spark plug and offensive shot-maker. Had a late-season right ankle injury not lingered so long, Smart, who played only 62 regular-season games, could have been in the conversation for an all-defensive team nod.

The Lakers need strong defensive players around Doncic and Austin Reaves if the duo reunite as the team’s backcourt of the future. The chemistry on and off the court between the guards was one of the highlights of the season and a reason to be hopeful that it could work in the future.

Doncic called playing with Reaves and LeBron James “an unbelievable experience.” Pelinka said at his end-of-season news conference that Reaves has expressed interest in returning to the Lakers. James’ future is more uncertain: Pelinka said the team will give James space to decide on his own, although he “would love” to have the NBA’s all-time leading scorer back.

Favorite thing I ate this week

Pho with rare beef and beef balls from Pho Show in Culver City.

(Thuc Nhi Nguyen / Los Angeles Times)

I was playing hurt the last few days of the season. I sniffled, sneezed and hand-sanitized my way through Game 4 and the end-of-season news conference with Pelinka and Redick then scooped up the ultimate sick day dinner: pho.

The pho tai bo vien (rare beef and beef ball pho) from Culver City’s Pho Show didn’t heal me completely, but it sure helped. I basically slept for three straight days after the Lakers’ season ended. Now between the remaining playoff games across the league, I’ll be catching up on TV shows, reuniting with the friends I neglected for months and enjoying my rent.

In case you missed it

Letters to Sports: Another split decision on future of LeBron James and the Lakers

Lakers continue retooling of organization with plans for more hires

Lakers want LeBron James and Austin Reaves to return next season

‘I don’t know.’ LeBron James unsure if he’ll return for 24th season or retire

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!

The Preakness Stakes at Laurel Park, Md., could feature a historic finish even if there is no chance to produce a Triple Crown winner this year.

The Preakness post time is 4:01 p.m. PDT. The race will air on NBC.

Kentucky Derby winner Golden Tempo isn’t running the Preakness. Cherie DeVaux, the first woman to train a Derby winner, said the schedule was too tight for Golden Tempo, with two weeks between races.

But trainer Brittany Russell has prepared Taj Mahal for the race and could follow up on DeVaux’s big win with one of her own. Russell would be the first female trainer to win the Preakness and could extend a potential female trainer Triple Crown bid in an industry long dominated by men.

“It would sort of feel like probably a fairy tale,” Russell said of a potential win. “ … It would mean an awful lot.”

Iron Honor in the ninth post position opened the day favored slightly at 9-2. Taj Mahal in post No. 1, Chip Honcho in post No. 6 and Incredibolt at post No. 12 were not far behind with 5-1 odds.

Taj Mahal has one other edge, winning three previous races at Laurel Park, home of the Preakness.

The Chargers essentially lived on an airplane last season, traveling more miles than any other NFL team.

This season, they will have a long runway followed by a dramatically sharp ascent.

They open against three first-time head coaches in succession, then face four Super Bowl-winning head coaches in a row.

Their first three games are against Arizona (Mike LaFleur), Las Vegas (Klint Kubiak) and Buffalo (Joe Brady), before squaring off against Seattle (Mike Macdonald), Denver (Sean Payton), Kansas City (Andy Reid) and — after a week off — the Rams (Sean McVay).

And it’s not as if the Chargers will be homebodies, as they have four coast-to-coast trips with road games at the Bills, Baltimore, Tampa Bay and Miami. So they will still be racking up the frequent-flier miles.

The NFL made an effort to put some space between those cross-country games for the Chargers.

“We’re always being sensitive, trying to make sure we’re not pingponging a team across the country with travel to the East Coast and back,” said Hans Schroeder, the NFL’s executive vice president of media distribution. “So we try to make sure those trips are broken up where we can, and we’re not doing too much of that back and forth.”

This marks the third season under Jim Harbaugh, who has had remarkable success at every stop in his coaching career but has yet to win a playoff game with the Chargers. Same goes for quarterback Justin Herbert, who was drafted in 2020 and is still looking for his inaugural postseason victory.

SoFi Stadium will host the Super Bowl next February, and the Battle For Los Angeles in Week 8 when the Chargers play at the Rams, a rare meaningful matchup of the crosstown foes.

The Chargers will play three preseason games, all Thursday night games against opponents they will face in the regular season. They will play at Houston on Aug. 13, followed by home games against San Francisco (Aug. 20) and the Rams (Aug. 27). All will be broadcast on CBS-LA.

Here is a game-by-game look at the regular-season schedule (all times Pacific):

Sept. 13, ARIZONA, 1:25 p.m. (CBS): It’s a gentle start against the rebuilding Cardinals, who figure to have Jacoby Brissett at quarterback in place of the familiar Kyler Murray, who is now with the Minnesota Vikings. The last time these teams played was in Arizona two years ago, and the Cardinals won, 17-15.

Sept. 20, LAS VEGAS, 1:05 p.m. (CBS): Back-to-back home games for the Chargers, who opened last season in Brazil. The Chargers swept the Raiders last season. Could No. 1 overall pick Fernando Mendoza be starting at quarterback for the Silver and Black?

Sept. 27, at Buffalo, 10 a.m. (Fox): The first of four East Coast trips for the Chargers, who are stepping into a tough environment but at least won’t have to deal with a Buffalo winter. This is the start of a rugged seven-game stretch for the Chargers.

Oct. 4, at Seattle, 1:25 p.m. (CBS): The last time these teams played was 2023, so the rosters have pretty much turned over since then. Kenneth Walker III ran for 167 yards in that 37-23 win by the Seahawks. He was Super Bowl MVP last season and is now playing for Kansas City, so the Chargers will see enough of him.

The Chargers and quarterback Justin Herbert are set to play host to the New England Patriots on Thanksgiving weekend.

(Robert Gauthier / Los Angeles Times)

Oct. 11, DENVER, 1:05 p.m. (CBS): The Chargers and Broncos split last season, with each team holding serve at home. The Chargers won by three at SoFi, but the Broncos held their second-stringers to a mere field goal in the regular-season finale with Denver winning at home, 19-3.

Oct. 18, at Kansas City, 1:25 p.m. (CBS): As is the case with the Buffalo game, the Chargers are sidestepping some potentially harsh weather. They beat the Chiefs in Brazil in last season’s opener, then beat them by three points at Arrowhead in Week 15.

Oct. 25: Bye week. In recent years, the Chargers have almost always gotten their week off in the first half of the season. They had so many injuries last season, they could have used a week off every other week.

Nov. 1, at Rams, 1:05 p.m. (Fox): This is a home game for both teams, so the Chargers catch a break in terms of travel. It will be the third time these stadium-mates have met since the Rams returned in 2016. They split in the previous two meetings, with the Rams winning in 2018 and the Chargers in 2023.

Nov. 8, HOUSTON, 1:05 p.m. (CBS): Harbaugh’s Chargers are 0-2 against the Texans, losing by four to them at SoFi last season, and getting clobbered at Houston in the opening round of the 2024 playoffs, 32-12.

Nov. 16, at Baltimore, 5:15 p.m. (ESPN): This is a “Monday Night Football” game, and for good reason. It isn’t Harbaugh versus Harbaugh — as it would have been when brother John Harbaugh was coach of the Ravens — but Jim Harbaugh vs. Jesse Minter, his former Chargers defensive coordinator.

Nov. 22, JETS, 1:05 p.m. (Fox): Finally, something of a respite after a battering stretch of games. Of course, in the NFL, you can never breathe easy. The Chargers have beaten the Jets five times in a row, true, but those games were played over the past 14 seasons so those lopsided numbers aren’t relevant to this matchup.

Nov. 29, NEW ENGLAND, 5:20 p.m. (NBC): Back to the grind for the Chargers, who generated next-to-no offense in the playoffs last season against the eventual AFC champions. It was a low-scoring game all around, but the Patriots never looked concerned in their 16-3 victory.

Dec. 6, at Tampa Bay, 10 a.m. (CBS): The Buccaneers have beaten the Chargers four times in a row, although that’s dating to 2012, so much of that is ancient history. Baker Mayfield has revived that franchise — and his own career.

Dec. 13, at Las Vegas, 1:05 p.m. (CBS): Sure, the Chargers might face Mendoza in Week 2, but there’s an even greater likelihood they will see him the second time around.

Dec.17, SAN FRANCISCO, 5:15 p.m. (Amazon Prime): This is a Thursday night game, and Harbaugh will be facing the franchise he got to the Super Bowl in the 2012 season. If the NFC West turns out to be as competitive as expected, the Chargers could do the Rams a solid here.

Dec. 27, at Miami, 10 a.m. (Fox): The Chargers won at Miami last season on a last-second field goal by Cameron Dicker. December is a good time of year to play in South Florida.

Week 17, KANSAS CITY, TBD: This is where the schedule gets squishy and the NFL pushes games around to give the most exciting ones the most exposure. This game is TBA. It could be a good one, considering the rivalry.

Week 18, at Denver, TBD: Just like last season, the Chargers finish at the Broncos. A difficult final exam, and maybe another gateway to the postseason.

Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s David Zahniser, with an assist from Connor Sheets and Sandra McDonald, giving you the latest on city and county government.

We’ve reached the point in L.A.’s city election season where a juicy piece of news is popping off every day.

With a little over two weeks until the June 2 election, the campaigns’ remarks are getting more scathing, the spending more expensive and the scramble by supporters to get their chosen candidates into the top two more intense.

Like everyone else, we’re struggling to keep track of it all. In the meantime, here are a few of the more unusual moments from the past week:

The police union targets fifth-place candidate Rae Huang

You’ve probably heard about the digital attack ads put out by the Los Angeles County Federation of Labor warning voters that reality TV personality Spencer Pratt is “the LAST thing Los Angeles needs.”

Savvy political players said it wasn’t an attack ad at all, but rather a thinly veiled bid by the County Fed, a group that supports Mayor Karen Bass, to boost Pratt’s chances of making the Nov. 3 runoff election. Those observers say the mayor and her allies would rather run against Pratt, a Republican in a heavily Democratic city, than Raman during the campaign’s second round.

Now, another ad is up. But this time it’s from the Los Angeles Police Protective League, another union that is backing Bass’ reelection.

The league reported Wednesday that it’s spending about $100,000 on digital ads against mayoral candiate Rae Huang, who has been polling in the single digits.

Like the County Fed ad focused on Pratt, it’s not so much a lacerating attack as it is a list of the candidate’s beliefs.

“She supports the anti-business Green New Deal to increase taxes on corporations to provide free public transportation,” the digital ad says.

Once again, political sophisticates see a ruse, saying the police union is trying to lift Huang’s profile among voters, helping her pull support away from one of Bass’ top rivals, Councilmember Nithya Raman. Such a scheme, if successful, would ensure that Pratt ends up in the top two.

Asked about its new ad, league spokesperson Tom Saggau said the union is alerting voters that Huang “hates cops, corporations and real estate developers and voters should be aware.”

“It’s extremely important for voters to know about Rae Huang’s reckless plans to dismantle the police department and blow the city budget with free public transportation and other giveaways,” he said.

Huang said on social media that the police union is going after her because “they know change is possible.” At the same time, she acknowledged the ads were somewhat flattering.

“I think LAPD’s a little scared of me because they just spent over $100,000 in attack ads against me,” she said in a campaign video. “But they’re making me look good, so … thank you!”

Rob Quan, who is part of the advocacy group Unrig LA, replied to Huang at one point on X.

“They aren’t trying to stop you they are trying to boost you,” he wrote.

Raman backers really want Huang to drop out

With the primary campaign nearly over, impatient Raman supporters have been taking matters into their own hands, calling on Huang to drop out and ensure that Bass faces an opponent to her left.

Evan Goodrich, a Raman voter who lives in Echo Park, said he wants Raman in the top two. Voters shouldn’t squander their chance at getting a progressive mayor and creating change at City Hall, he told The Times.

Goodrich, 31, was more blunt on social media.

“Your campaign is broke, you have a snowball’s chance in hell of winning, and you’re costing us the most progressive viable candidate we have. It’s time to drop out!!!” he wrote, in a response to a Huang post.

Huang, a member of the Democratic Socialists of America, said she’s not going anywhere.

During a Q-and-A posted on Reddit, she pushed back at the idea that her campaign is splintering the progressive vote, arguing that she views Raman as “neoliberal,” not progressive.

Raman has shifted her positions on police hiring, anti-encampment laws and Measure ULA, the tax on high-end real estate sales, Huang’s campaign said.

“I would not consider Nithya to be a progressive candidate, full stop. I do see her as being continuing to be a part of the establishment,” Huang said.

Huang did acknowledge that she sees Raman as being to the left of Bass.

Raman accuses Bass of ‘pay-to-play’ politics

As she battles to get into the top two, Raman launched a broadside against Bass this week, accusing her of engaging in multiple “pay-to-play” deals.

In a burst of social media posts, she accused Bass of negotiating “a sweetheart LAPD Union contract that bankrupted the city and a convention center expansion that will cost us over $4 billion after debt payments.” Special interests that supported those deals are now reciprocating, Raman said, by campaigning for the mayor.

Raman offered what she said is a fresh example of pay-to-play politics: the mayor’s push to allow owners of second homes to rent those places out on Airbnb or other short-term platforms, a practice currently prohibited by city law.

The Central City Assn., which supports the move, announced plans this week to spend $1 million on a campaign supporting Bass. A large part of its funding is coming from Airbnb, which also favors the idea. The downtown-based business group also supported Bass on the Convention Center.

“This is what pay-to-play politics looks like,” Raman said.

Bass has been defending her policy moves, saying the police raises were needed to keep officers from taking more lucrative jobs in other cities. The Convention Center expansion will boost tourism and a struggling downtown, Bass said.

The mayor also reiterated her support for the vacation rental policy, saying it would only be temporary, generating additional taxes for the city while ensuring more beds are available for the 2028 Olympic Games.

Bass campaign spokesperson Alex Stack called the allegations “another conspiracy theory from a failing candidate who is grasping at straws after her debate disasters and polling showing she won’t make the runoff.”

“The City should absolutely be exploring every way to maximize the economic benefit from the Olympics and to generate revenues paid by visitors, not Angelenos,” he said in a statement.

Nella McOsker, who heads the CCA, struck a similar note, praising Bass for supporting pro-business policies and calling Raman’s assertions “ridiculous.”

Wait, there’s a sheriff’s race?

If the mayor’s race has been blowing up, the contest for Los Angeles County Sheriff has been downright sleepy.

Sheriff Robert Luna, now seeking a second 4-year term, holds a substantial financial edge over the rest of the field, according to the most recent batch of fundraising reports.

In mid-April, Luna had more than $738,000 cash on hand, compared to about $114,000 for former Sheriff Alex Villanueva, who is attempting a comeback. Each of the other challengers had less than $50,000, spending reports show.

Sheriff’s Capt. Mike Bornman, one of the eight candidates running to unseat Luna, said the campaign had a single candidate forum in Compton, and that neither Luna nor Villanueva took part.

State of play

— BERN NOTICE: U.S. Sen. Bernie Sanders announced Friday he is endorsing a handful of council candidates: Eunisses Hernandez on the Eastside, Hugo Soto–Martínez in Hollywood, Faizah Malik on the Westside and Estuardo Mazariegos in South L.A. Sanders is also backing Deputy Atty. Gen. Marissa Roy in her bid for city attorney.

— HITTING THE MOTHERLODE: You can’t put a price on a mother’s love. Or can you? The independent expenditure committee working to elect city controller candidate Zach Sokoloff, bankrolled by his mother Sheryl Sokoloff, continued its campaign spending spree this week, reporting it had paid out nearly $4.8 million by Thursday. The latest tranche of money went toward attack ads against City Controller Kenneth Mejia.

— WAGE WARS: The City Council took the first step Wednesday toward scaling back a planned $30 hourly minimum wage for hotel and airport workers, in the hope of persuading business leaders to drop a planned ballot measure to repeal the city’s business tax. Under the plan, the hourly wage would reach $30 in 2030, instead of summer 2028. The move is not final and more deliberations are planned next week.

— OLYMPIC ANGST: State lawmakers pressed organizers of the 2028 Olympic Games about the effort to secure federal funding, pointing to Trump’s animosity toward California. Joey Freeman, vice president of state affairs for the LA28 Organizing Committee, assured legislators that his committee has a “wonderful working relationship” with the Trump administration. L.A. is on the hook for hundreds of millions of dollars if the games lose serious money.

— POLL POSITION: A new voter survey showed Bass continuing to lead the pack of candidates in the mayor’s race, with Pratt in second and Raman third. Paul Mitchell, vice president of voter data firm Political Data Inc., questioned the poll’s accuracy, saying it oversampled Latinos and undersampled people over 50.

— DUMPING THE DEBATE: The FOX11 mayoral debate that had been planned for this week was canceled after Bass and Raman pulled out. Pratt had already declined to attend the event.

— TARGETING TAXES: L.A. County voters historically have been generous about sales tax hikes, signing off on increases to pay for public transit and homeless servcies. But with the public reeling from soaring gas prices and other rising costs, some are wondering if they will get behind Measure ER, a half-cent sales tax hike to pay for healthcare programs.

— DIGITAL FIRST: TV ads used to dominate in L.A. mayoral campaigns. But this year, candidates have been relying heavily on social media, posting snappy, off-the-cuff videos in the hope of going viral.

— REALITY, STARS: Songwriter/producer David Foster and his wife Katharine McPhee held a star-studded fundraiser for Pratt at their home, one that featured McPhee singing a parodied version of Tina Turner’s “The Best,” according to a video posted on X. Pratt has been scooping up donations from a number of Hollywood players, including Universal Music Group chief executive Lucian Grainge and Sandra Rebish, also known as TLC’s Dr. Pimple Popper.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program to combat homelessness went to Boyle Heights this week, tackling encampments at Hollenbeck Park and at the entry to the Sixth Street Bridge. The area is represented by Councilmember Ysabel Jurado.
• On the docket next week: The council meets Tuesday to take another stab at renegotiating the terms of the $30-per-hour wage hike for airport and hotel workers.

Stay in touch

That’s it for this week! Send your questions, comments and gossip to LAontheRecord@latimes.com. Did a friend forward you this email? Sign up here to get it in your inbox every Saturday morning.

Welcome to Bunker Talk. This is a weekend open discussion post for the best commenting crew on the net, in which we can chat about all the stuff that went on this week that we didn’t cover. We can also talk about the stuff we did or whatever else grabs your interest. In other words, it’s an off-topic thread.

This week’s caption reads:

Sleeping accommodation in the Clapham deep shelter, London. Four thousand beds at three shillings a night, deep beneath London, are being offered to Festival of Britain visitors. The beds, together with dining accommodation, are in Clapham’s deep shelter, now taken over by the London County Council. The deep shelter is a mile long, runs 45 feet beneath the underground railway. (Photo by PA Images via Getty Images)

Prime Directives:

• If you want to talk politics, do so respectfully and know that there’s always somebody that isn’t going to agree with you. 
• If you have political differences, hash it out respectfully, stick to the facts, and no childish name-calling or personal attacks of any kind. If you can’t handle yourself in that manner, then please, discuss virtually anything else.
• No drive-by garbage political memes. No conspiracy theory rants. Links to crackpot sites will be axed, too. Trolling and shitposting will not be tolerated. No obsessive behavior about other users. Just don’t interact with folks you don’t like. 
• Do not be a sucker and feed trolls! That’s as much on you as on them. Use the mute button if you don’t like what you see.  
• So unless you have something of quality to say, know how to treat people with respect, understand that everyone isn’t going to subscribe to your exact same worldview, and have come to terms with the reality that there is no perfect solution when it comes to moderation of a community like this, it’s probably best to just move on. 
• Finally, as always, report offenders, please. This doesn’t mean reporting people who don’t share your political views, but we really need your help in this regard.

TV or not TV. . . .

THAT’S ENTERTAINMENT: TV has rarely equaled the event-style entertainment of last week–Johnny Carson’s retirement from “The Tonight Show” and the controversial birth on “Murphy Brown.”

With Vice President Dan Quayle objecting to Murphy Brown’s out-of-wedlock motherhood, there was genuine national involvement in both the sitcom and Carson’s final show, which predictably drew his biggest audience ever–55 million viewers.

And Quayle’s remarks inevitably linked both events, providing material for Carson on his farewell outing, not to mention fueling gags during the week for “Tonight” guest Robin Williams, as well as David Letterman on his follow-up show.

Carson thanked Quayle on his last program “for making my final week so fruitful.”

The comedian also said: “I have not really made any plans (for retirement). But the events of this last week have helped me make a decision. I am going to join the cast of ‘Murphy Brown’ and become a surrogate father.”

Programs such as Ted Koppel’s “Nightline” tried seriously to come to grips with the issues raised by Quayle in his comments about values.

And the Los Angeles station that carries “Murphy Brown,” KCBS Channel 2, reported that of the more than 10,000 viewers who paid 50 cents to cast a vote in a 900-number call-in poll about Quayle and the “Murphy Brown” birth, 62% agreed with the vice president that the show set a bad example.

But the comedians had a free-swinging field day. On the Thursday outing of “Tonight,” Williams zeroed in on the vice president: “He’s one taco short of a combination plate.”

Letterman, meanwhile, was relentless. On Wednesday night, his list of “Dan Quayle’s Top 10 Other Complaints About TV” included: “Too much liberal news coverage, too little golf and cartoons.” On Thursday night, he said that one of the Top 10 things Quayle likes about TV is “Matlock” because it proves the judicial system is working.

With all the fuss, some observers noted that CBS will rerun the “Murphy Brown” birth on Sept. 7, Labor Day, and wondered whether the topical series might incorporate the controversy as it moves into the new fall season of an election year.

Williams, by the way, also had a “Tonight Show” observation about billionaire Ross Perot, a potential presidential candidate: “Well, you know he’s not going to write a bad check.”

The comedian also had some thoughts about Carson’s future: “You could run with Gorbachev. He doesn’t have a green card, but what the hell.”

In any case, it’s doubtful that Carson ever had better back-to-back shows than his two final broadcasts. The raucous, brilliant Thursday program with Williams and Bette Midler was a perfect prelude to the quiet, classy exit of the comedian on Friday.

And not only did Carson’s farewell attract 62% of the audience in 25 major cities, his lead-in also gave the Letterman show its highest ratings ever for those markets–with an amazing 43% share of the viewers.

In addition, while Carson’s share of the Los Angeles audience was likewise amazing at 72%, he also attracted a mind-boggling 77% of the television viewers in Portland, Ore.

Exit laughing–except for a touching monologue by Letterman on his show following Carson’s finale. Abandoning his wise-guy persona–well, for a few moments anyway–Letterman delivered a straight tribute, crediting the success of his show to the fact that it followed Carson.

In great part, true, especially at first. Letterman, however, has been a giant talent and an influential shaper of the television medium himself. But his salute was a fine gesture, acknowledging that somebody has to open the door for you.

SECOND BANANAS: Former TV sidekicks such as Ed McMahon, who was with Carson from the beginning on “Tonight,” have done quite well for themselves.

McMahon, of course, has “Star Search.” Regis Philbin, who used to play second fiddle to Joey Bishop on his late-night series, has a successful talk show. And Hugh Downs, who was Jack Paar’s sidekick on “Tonight” in the pre-Carson days, is co-host of “20/20” with Barbara Walters.

ACTOR: All the obits of Robert Reed naturally focused on his role as the father in “The Brady Bunch.” But that’s not how I remember him, because “The Brady Bunch” was not part of my life. For me, he will always be the young, dedicated attorney who co-starred with E. G. Marshall in the fine CBS series “The Defenders.” Reed was an earnest, convincing performer.

RETURN ENGAGEMENT: Fans of Hal Linden, who played the title role in the cop comedy “Barney Miller,” may want to take a look at his new one-hour series, “Jack’s Place,” which debuts tonight on ABC and finds him as the host and owner of “an intimate neighborhood cabaret.” Comedy writers, by the way, would do well to study the refinement, wit and elegance of “Barney Miller” to learn what the craft is really all about.

BASES LOADED: Well, of course Fox’s Los Angeles station, KTTV Channel 11, unloaded the Dodgers. Fox is building a national network, and you can’t have baseball games repeatedly preempting your regular series in the country’s second-biggest TV market, thus killing your ratings.

PADDED CELL: NBC is boasting about winning the May sweeps. Yeah, well, great. It won in large part because of the big finales of series that are leaving the network: “The Cosby Show,” “Night Court,” “Matlock” and “The Golden Girls.” Sweeps help to set ad rates for local stations, so the lunacy of fixing prices based on shows that won’t be there anymore is straight out of Kafka.

BULLETIN BOARD: If you haven’t yet caught “Swimming to Cambodia,” with Spalding Gray, it’s on KCET Channel 28’s “Movie City Showcase” Saturday night at 9.

BEING THERE: “On Ork, if someone wants to be president, we just say, ‘Sure, go ahead. It’s cool.’ “–Mork (Robin Williams) in “Mork and Mindy.”

Say good night, Gracie. . . .

Professional visual artists hate generative AI. This should come as no surprise, but a new survey released last month by a trio of researchers at Carnegie Mellon University breaks down just how much: 99% of respondents out of a pool of 378 verified professional visual artists noted their dislike for the technology, with 92% categorizing it as “strong dislike.”

Even more jarring, the survey found that 80% of respondents believe that they’re in competition with the technology. The artists expressed deep concerns about the impact AI is having on their careers, with 54% saying it has diminished their income, 75% their job and clientele security, and 90% their income opportunities. Another 77% said it had negatively impacted their career growth, 61% the future of their career, and 74% their career sustainability.

The jobs most heavily affected include commercial artists, graphic designers and concept artists in entertainment whose work is sometimes entirely replaced — or largely commandeered — by images generated using tools like Midjourney, Adobe Fireplay or DALL-E; but fine artists working in traditional media are also experiencing a devaluation of their work and a shrinking pool of employers.

“I’m working on getting out of the field and planning to get my PhD in something non-art related because I can’t see my current work as being sustainable when I see them actively replacing me [with] chatGPT,” a costume designer and illustrator said in the survey, which notes, “Demoralization, disempowerment, disrespect, stress, and fear are also commonly expressed, not only regarding individual careers but also extending towards the field at large.”

“It’s been pretty demoralizing at times seeing a lot of younger artists giving up because they don’t see a future in art. That they’re abandoning their creative passions because of AI,” another illustrator said. A comic artist, writer and painter noted that AI underscores that art is not important to the general public. “It has been demoralizing largely because generated AI images look like crap but there is a segment of the population who seem to not care,” the artist said.

Then there is the unnervingly meta task of artists trying to prove they are human, or that they did not generate their work using AI.

“I find users online to be more critical, looking at art less to enjoy it and more so to figure out if it’s AI generated or not. There’s a lot of pressure and anxiety in proving you are a real person now,” one illustrator and designer said. Another artist and sculptor said, “I have seen false accusations for use of AI in work from other artists who do not use AI and I am fearful of being accused of this as well, I now record the creation process of most things so that I have proof AI was not utilized.”

This study affirms the findings of a less formal ongoing survey conducted by Brian Merchant, a former Times technology columnist who now writes an indispensable newsletter on Substack called “Blood in the Machine,” which keeps razor-sharp track of the ways AI is affecting labor, and the pattern of Big Tech deflecting responsibility for harm. As part of an ongoing series titled, “AI Killed My Job,” Merchant invited visual artists to write to him about their experiences, and published the most compelling — and crushing — responses.

In that column, Merchant discusses the “good enough” principle of AI-generated art, noting, “Creative workers aren’t typically worried that AI systems are so good they’ll be rendered obsolete as artists, or that AI-generated work will be better than theirs. Their fear is that clients, managers, and even consumers will deem AI art ‘good enough’ as the companies that produce it push down their wages and corrode their ability to earn a living.”

An idea highlighted in the following letter published by Merchant from an anonymous source:

“I’ve been out of work for a while now. I made children’s book illustrations, stock art, and took various art commissions.

Now I have several maxed out credit cards and use a donation bin for food. I haven’t had a steady contract in over a year. two weeks ago, when a client who has switched to AI found out about this he gave me $50 out of ‘a sense of guilt.’ Basically pity for the fact that Illustrator, as a job, does not exist anymore.”

One thing Merchant is exceedingly good at is reminding readers that there is a surge of dissent swelling from the proletariat — and that after you’re done feeling the necessary despair, you can join the anti-AI resistance. For visual artists that can be as simple as utilizing a growing number of defensive tools when it comes to protecting art, most notably Glaze and Nightshade. The former adds the smallest pixel-sized changes to your artwork, which serves to confuse AI so it can’t train on your style; the latter — as the name implies — acts more like a poison that corrupts AI training data so it can’t scrape from a protected image.

I’m Arts editor — and proud Luddite — Jessica Gelt. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Celeste Butler-Clayton as Coretta Scott King in “Experiencing the Dream: The MLK Musical.”

(Triple T Photography)

Experiencing the Dream: MLK the Musical
The show’s 26 songs will be recorded live with an orchestra of 27 musicians under the direction of Leon Lacy, with orchestrations by Felipe Paccagnella, vocal arrangements by Tony Jones and musical direction by arranger/producer William Taylor. The cast includes Eric Dawkins, Bishop Jonathan Mason, Yolanda Gibbons, Patricia Jackson, James Singleton, Melvin Crispell, Pam Blackmon Kendle and Celeste Butler-Clayton. Written by Kesha L. Ealy and Marcus S. Mason. Mason also composed the music.
7 p.m. Greater Emmanuel Temple, 3740 E. Imperial Hwy., Lynwood. MLKthemusical.com

Riverdance 30 — The New Generation
The Irish music and dance phenomenon marks its three decades with a special anniversary tour.
7:30 p.m. Friday; 2 and 7:30 p.m. Saturday; 1 and 6:30 p.m. Sunday. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org

SATURDAY

Ryuichi Sakamoto, left; Bang on a Can All-Stars.

(The Wallis)

Ryuichi Sakamoto
Contemporary music sextet Bang on a Can All-Stars pay tribute to the Japanese composer with works from his album “1996,” which included pieces from his film scores, including “Merry Christmas, Mr. Lawrence” (1983), “The Last Emperor” (1987), for which he won an Academy Award, “The Sheltering Sky” (1990) and “Little Buddha” (1993).
7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

Vijay Iyer and Wadada Leo Smith
The longtime collaborators perform music from their 2025 album “Defiant Life” which Iyer noted “was shaped by our ongoing sorrow and outrage over the past year’s cruelties, but also by our faith in human possibility.”
8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Radiance + Reverie
Los Angeles Chamber Orchestra music director Jaime Martín leads the group in Mozart’s “Haffner” Symphony, “Selah,” a world premiere of a new Double Concerto by Christopher Cerrone performed by violinist Anthony Marwood and cellist Coleman Itzkoff, and Tchaikovsky’s “Mozartiana.”
7:30 p.m. Saturday. Zipper Hall, 200 S. Grand Ave., downtown L.A.; 4 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org

Mads Mikkelsen and Zlatko Burić in ‘Pusher II: With Blood on My Hands.”

(Jens Juncker-Jensen / NWR / Magnolia Pictures )

Pusher trilogy
Danish filmmaker Nicolas Winding Refn’s gritty triptych takes us through the violent criminal underworld of Copenhagen in three interconnected films, each with a different protagonist: “Pusher” (1996), starring Kim Bodnia; “Pusher II: With Blood On My Hands” (2004), starring Mads Mikkelsen; “Pusher III: I’m The Angel Of Death,” starring Zlatko Burić.
5 p.m. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com

Jodi Siegel
The singer-songwriter and guitarist is joined by guitarist Greg Porée and percussionist Justin Porée for an evening of blues, R&B, soul and jazz.
8 p.m. Sierra Madre Playhouse, Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

SUNDAY
Celebrating Photography
The Getty has a series of events inspired by the exhibition “Photography and the Black Arts Movement, 1955–1985” (which continues through June 14). It begins Sunday with a free, daylong Family Festival featuring live music, dance, storytelling and interactive workshops. On Wednesday evening, moderator Karen Grigsby Bates and authors Dr. Karin L. Stanford and Mark Speltz discuss the new book “Marching West: The Los Angeles Civil Rights Movement in Photographs.” Thursday morning, the panel “Backstage: An Unfurling of the JPC: Black Photography & Visual Culture” examines how the Johnson Publishing Company and its photographers impacted Black visual culture and the larger field of photography. Finally, on June 7, authors Jeanne Moutoussamy-Ashe (“Viewfinders: Black Women Photographers”) and Deborah Willis (“Black Photographers, 1840 to 1940: An Illustrated Bio-Bibliography”) discuss their work as artists and historians.
Family Festival, 10 a.m.-5 p.m. Sunday; “Backstage: An Unfurling of the JPC,” 10 a.m. Thursday (also online); “Marching West,” 7 p.m. Wednesday (also online); “Viewfinders,” 4 p.m. June 7 (also online). Getty Center, 1200 Getty Center Drive, L.A. getty.edu

F For Fake
A 35 mm screening of Orson Welles’ 1973 enigmatic docudrama profiles professional art forger Elmyr de Hory as a starting point for examining authenticity and authorship.
6 p.m. Brain-Dead Studios, 611 N. Fairfax Ave. studios.wearebraindead.com

Philip Glass and the Poets
The first major Philip Glass 90th birthday celebration (he was born Jan. 31, 1927) features Timo Andres on piano and spoken word performance by Taylor Mac, with special guest appearances by Lucinda Childs and the San Francisco Girls Chorus and their artistic director Valérie Sainte-Agathe.
7 p.m. UC Santa Barbara, Campbell Hall. artsandlectures.ucsb.edu

TUESDAY

Gustavo Dudamel will lead the L.A. Phil in Wagner’s “Die Walküre” in three parts, Tuessday-Sunday at Disney Concert Hall.

(Etienne Laurent / For The Times)

Die Walküre
Conductor Gustavo Dudamel and the L.A. Phil, along with director Alberto Arvelo, tackle the second installment in Wagner’s epic Ring Cycle in three stand-alone parts with opera stars Jamez McCorkle, Jessica Faselt, Christine Goerke and Ryan Speedo Green, and scenic designs by Frank Gehry.
Act I, 8 p.m. Tuesday and Friday; Act II, 8 p.m. Wednesday and Saturday; Act II, 8 p.m. Thursday and 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

WEDNESDAY
Being There
Peter Sellers received an Oscar nomination for his portrayal of a simple gardener catapulted into the media spotlight and presidential politics in Hal Ashby’s prescient 1979 satire. Shirley MacLaine, Jack Warden and Melvyn Douglas co-star. Screening in 35 mm with an appearance by cinematographer Caleb Deschanel.
7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Life of Mozart
The Pasadena Choral Society presents the composer’s unfinished “Requiem” within a dramatic framework using Mozart’s own words. Milo Brody plays Mozart, accompanied by pianist Tali Tadmor, with solos by soprano Erika Boychenko, alto Ali Frazzini, tenor Eric Wernerand bass Chris Tickner.
7:30 p.m. San Marino Community Church, 1750 Virginia Rd #0412. givebutter.com/lifeofmozart

Primary Trust
Times theater critic Charles McNulty described Eboni Booth’s 2024 Pulitzer Prize-winning play as “a quirky, small-scale, quietly reflective work that’s as tenderhearted as it is spryly comic and as poignant as it is ultimately uplifting,” when it had its West Coast premiere at La Jolla Playhouse. Once again directed by Knud Adams, it arrives in Los Angeles with a cast that includes Ugo Chukwu, Rebecca S’manga Frank, Petey McGee and James Urbaniak, with music by Luke Wygodny.
Through June 28 Mark Taper Forum, 135 N. Grand Ave., downtown L.A. centertheatregroup.org

Studio installation view from “A Palace in Time” at the Skirball beginning May 20.

(Courtesy of Robert Russell and Lisa Edelstein.)

Skirball Spring Exhibitions
The Skirball Cultural Center launches three new exhibitions next week: “Inventing America: The Comic Book Revolution”; “Outsiders, Outcasts, Rebels + Weirdos: Punk Culture 1976–1986”; and “Robert Russell and Lisa Edelstein: A Palace in Time.” All three open May 20, Skirball Cultural Center, 2701 N. Sepulveda Blvd., Los Angeles. skirball.org

THURSDAY

Ain’t Misbehavin’
Grammy Award-winning artist Ledisi headlines this Ebony Repertory Theatre production, in association with Fig Street Films, of the Tony Award-winning revue, a tribute to the music of Fats Waller. Directed by Wren T. Brown, with choreography by Dominique Kelley and music direction by William Foster McDaniel. Chester Gregory, Connie Jackson, Marty Austin Lamar and Natalie Wachen co-star.
May 21 through June 8. Nate Holden Performing Arts Center, 4718 W. Washington Blvd. L.A. ebony rep.org.

Arts anywhere

New and recent releases of arts-related media.

Shaina Taub, Jenna Bainbridge and the cast of “Suffs” during the 77th Annual Tony Awards in 2024.

(Theo Wargo / Getty Images for Tony Awards Productions)

Suffs
When the national tour of Shaina Taub’s musical about the suffragette movement marched through the Hollywood Pantages last fall, Times theater critic Charles McNulty wrote that it “is as informative as it is uplifting. It is above all a moving testament to the power of sisterhood. The struggle for equality continues to face crushing setbacks today, but Taub wants us to remember what can happen when people stand united for a just cause.” Captured on Broadway in December 2024, “Suffs,” starring Taub, who also wrote the book, music and lyrics for the show, debuted on PBS’ “Great Performances” earlier this month and is streaming online until the end of July. pbs.org

— Kevin Crust

Culture news and the SoCal scene

Johnie’s Coffee Shop in Los Angeles May 8.

(Ariana Drehsler / For The Times)

Artist Gary Baseman staged his first hometown show in more than a decade at the long-shuttered, but still iconic Johnie’s Coffee Shop along Miracle Mile on Wilshire Blvd. The Googie-style structure opened its doors for the exhibit, which featured a variety of Baseman’s drawings on menus from L.A.-area restaurants.

The critic Rex Reed died this week at the age of 87 and Times theater critic Charles McNulty wrote an appreciation of the often acerbic provocateur. “He didn’t mince words or allow nuance or second thoughts to stand in the way of a zingy phrase or a colorful wisecrack. Unbridled opinion was his stock-in-trade,” McNulty wrote.

McNulty also weighed in with a review of a revival of Eugène Ionesco’s “Exit the King,” directed by Michael Michetti at A Noise Within. Ionesco, a Romanian-born French playwright, is one of the pillars of the Theatre of the Absurd, McNulty writes, adding, “The existential philosophy of Camus and Sartre, self-evident truths for these absurdist writers, is conveyed less through the content than through the style of their plays. Language is no longer a means of communication but a mark of the unbridgeable distance between human beings.”

People play a satirical video game installation titled “Operation Epic Furious Strait to Hell,” created by guerrilla art group Secret Handshake.

(Heather Diehl / Getty Images)

You can order a Diet Coke, or bomb Iran in a new video game about the Iran war called “Operation Epic Furious: Strait to Hell,” which was installed near the National Mall in Washington, D.C. by the anonymous arts activist group Secret Handshake. For the past year and a half the group has secured permits to erect an ongoing series of satirical public sculptures — mostly about President Trump’s alleged ties to convicted sex trafficker Jeffrey Epstein — on and around the National Mall. This is the group’s first foray into video games.

Times classical music critic Mark Swed devoted a recent column to the genius of the American theater director, playwright and performer Robert Wilson, who died last year at the age of 83. “So far this year, there have been, or will be through the end of June, major Wilson opera and theater productions in Moscow; Paris; Ljubljana, Slovenia; Düsseldorf, Germany; Adelaide, Australia; Kaunas, Lithuania; Vienna; Rome; Tokyo; Luxembourg City, Luxembourg; Berlin; Riga, Latvia; and Sophia, Bulgaria. That is to say, pretty much Wilson business as usual,” Swed writes, before examining two new performances of Wilson’s work in Brooklyn and Houston.

Artist Todd Gray stands in front of his work inside the Wilshire/La Cienega Metro Station on May 1 in Los Angeles.

(Carlin Stiehl / For The Times)

Iris Kwok marked the opening of L.A. Metro’s new D Line extension by profiling four of the artists behind the public artwork in three new stations. Nine artists in total worked on site-specific installations: Mariana Castillo Deball, Eamon Ore-Giron, Ken Gonzales-Day, Todd Gray, Karl Haendel, Soo Kim, Fran Siegel, Susan Silton and Mark Dean Veca.

Julius Miller broke the news that a series of seven digital billboards promoting peace will go up across the city as part of the Broad Museum’s upcoming exhibit, “Yoko Ono: Music of the Mind,” which opens May 23. The billboards arrive nearly 57 years after Ono and John Lennon “erected a billboard near the Chateau Marmont emblazoned with the words, “WAR IS OVER! If You Want It.”

Culver City’s Wende Museum of the Cold War announced it will build a $16-million expansion in Hawthorne. It plans to transform a newly purchased Midcentury Modern building into a research institute and interactive storage facility for its collections — “a ‘living archive,’ as it’s calling the facility,” writes Deborah Vankin. The opening is currently set for 2028.

Alvin Ailey’s American Dance Theatre’s Chalvar Montei leaps for the stars. The troupe will perform as part of the Glorya Kaufman Presents Dance at the Music Center.

(Dario Calmese / Courtesy La Jolla Music Society
)

The Music Center announced its lineup this week for the 2026–27 season of Glorya Kaufman Presents Dance at the Music Center. Highlights include the Joffrey Ballet’s West Coast premiere of “The Sleeping Beauty,” Compañía Nacional de Danza’s North American premiere of “Don Quixote,” and the Los Angeles premiere of a Jerome Robbins ballet festival curated by Tiler Peck. Alvin Ailey Dance Theater is also part of the lineup, and choreographer Sonya Tayeh will unveil an L.A. premiere set to the music of Sinéad O’Connor.

The Los Angeles Philharmonic has announced the 2026 summer season at the Ford. The open-air venue across from the Hollywood Bowl is now in its seventh season under LA Phil leadership, and shows are set to run through Oct. 31. Grab your picnic basket and select a date from a wide variety of shows including dance, music and film. Stand-out acts include Bilal and DJ Rashida, Matteo Bocelli, Jacob Collier, Judy Collins and Bruce Cockburn, Ani DiFranco and Valerie June, Helado Negro and Reyna Tropical, Joe Hisaishi, Iron & Wine, the L.A. Phil, and Punch Brothers.

The Institute of Latino Art has opened in Pomona, with a grand opening reception scheduled for June 13. Occupying the former Latino Art Museum space, the new gallery was founded by artist Oscar Magallanes. A news release notes, “ILA represents a new artist-led institution in the Inland Empire, working to connect regional communities with contemporary Latin American and Chicano art. The inaugural exhibition, ‘Reclamation: Art in Contested Spaces,’ features NSRGNTS, Lapiztola, and Rubén Ortiz-Torres.”

— Jessica Gelt

And last but not least

Times columnist Mary McNamara went to Yorkshire and wrote that it was the bucket-list literary trip of her dreams. Mine too!

THE UK is set to hit highs of 25C next week, according to the BBC – so you can expect the beaches to be busy at the weekend.

So we’ve rounded up some of the best alternative bays and coves that are quieter than their busy neighbours – and some local top tips.

Swap Margate for…. Kingsgate Bay

The golden sands of Margate’s Main Beach can be pretty crowded come summer – but just down the road is the much quieter Kingsgate Bay.

The tiny patch of sand is overlooked by Kingsgate Castle and the Captain Digby pub, and it known for it’s rocky arch formation which you can walk through when the tide is out.

“It’s on the King Charles III England Coast Path so you’ll likely only be joined by hikers and dogwalkers.

“But the steep steps down also keep it nice and secluded – I often take a book for some peace and quiet there.” Kara Godfrey, Deputy Travel Editor.

COAST ALONG

English beach could soon reopen to the public after being closed for 18 years

JUST THE TICKET

I explored English destination with best beaches and award-winning chippies

Swap Hunstanton for… Thornham Beach

Hunstanton in north west Norfolk gets pretty rammed with tourists in the summer – where the roads get clogged with holidaymakers rushing to its promenade, and it’s easy to waste half of your day sitting in traffic to get there,.

If you head just 10 minutes east along the coast, you’ll find Thornham Beach.

“Park up in a quiet spot on the side of the road and walk through the pretty pinewoods to reach a massive beach that is much less chaotic.

“You’ll find dog-walkers and the odd family with a picnic, but no flashy amusement lights and blaring music – just a gorgeous stretch of sand.” Jenna Stevens, Travel Reporter.

Swap Paignton for… Fairy Cove

Paignton is one of Devon‘s busiest seaside towns, especially in the summer.

But just behind the harbour is Fairy Cove, and is a much quieter alternative.

“With a mix of sand and pebbles, this beach is ideal for getting away from crowds of people for either a quiet swim or gently walk.

“The cove is only accessible via steps at the corner of the harbour, but it does mean there are range of facilities nearby as well as the town within walking distance.” Cyann Fielding, Travel Reporter

Swap Clacton-on-Sea for… Frinton-on-Sea

When heading to the Essex coast, you’re likely to be drawn in by the big names like Clacton-on-Sea – but it’s so busy, it’s usually hard to even find a spot to lay your towel on the beach.

But if you want a trip to Essex without the frills and thrills, try driving 20-minutes north to Frinton-on-Sea.

“It has a sweeping golden beach with multi-coloured beach huts and is generally much less busy than its neighbout to the south.

“And there’s usually much more breathing space to explore its independent shops, not to mention the town’s only pub, The Lock and Barrel.” Alice Penwill, Travel Reporter

Swap Folkestone for…. Sandgate

There is so much to do on the main Folkestone beach, so that means you can expect crowds too.

But walk along the promenade and you’ll find Sandgate, a similar pebble beach but filled with locals rather than tourists.

“It still has all the pubs, wine bars and cafes you want after a day at the beach, but has a much more peaceful vibe.

“I recommend getting an ice cream at the beach hut and watching the rowers and paddle boardings practising.” Kara Godfrey, Deputy Travel Editor

Swap Newquay for… Mawgan Porth

Newquay’s Fistral Beach is popular for a reason – it’s home to next level waves that surfers continuously rave about and it’s got everything from cute shops, board rental shops and cafes. So when the sun shines it tends to get extremely busy.

At the opposite end of Newquay, however, and less than seven miles away is Mawgan Porth.

“This beach is just as impressive visually – sparse softs sands backed by craggy cliffs – but tends to be far emptier thanks to its wide expanse of sand that stretches very far back, meaning you’ll always find a spot for your picnic blanket or lounger.

“It’s dog-friendly year round and my Frenchie Dora loves the vast space just as much as I do – chasing frothing waves along the shoreline.” Sophie Swietochowsi, Assistant Travel Editor

Swap Polzeath for… Hawkers Cove

Cornwall’s Polzeath is often referred to as the St Tropez of Britain because of the high-end crowd it attracts and the rather lavish dining spots on its doorstep. It is, however, crowded from dawn until dusk on a hot day, with some of its bars open ’til very late.

Almost opposite this beach, across the mouth of the Camel river, you’ll find Hawker’s Cove which is far enough away from the main bay that many visitors can’t be bothered to venture here.

“If you do manage to make the walk from the main car parks, however, you’ll be rewarded with a small(ish) patch of sand and pretty much complete isolation.

“There’s not much nearby, but that’s why I love it: just you, sweeping dunes and one teeny tea shop selling scones, light bites and smoothies.” Sophie Swietochowsi, Assistant Travel Editor

Swap Durdle Door for… Man O’ War Bay

The unique geological gem Durdle Door is a magnet for tourists heading to the Jurassic Coast in Dorset.

But for those who can make it, Man O’ War Bay, immediately to the east of Durdle Door, offers a quieter alternative  and is less crowded.

“There are a set of steep steps to navigate to get to the semi-circular cove so getting to it isn’t for the faint-hearted.

“But make it, and you’ll be rewarded with the same views and less people.” Lisa Minot, Head of Travel.

The holidaymaker revealed how he enjoyed a week-long holiday at a budget price

A social media user has wowed travel fans after sharing how much he spent on a week’s holiday in Mexico. The holidaymaker explained his bargain travel hack in a TikTok post shared under the username @Byseyi.

In the viral video, Byseyi revealed he spent £360 per person on a last-minute holiday to Mexico. He said: “So this is one travel tip that I don’t really hear that many people talk about. And this is actually how me and my wife travelled to Mexico for a week for around £360 per person, and that’s flights and accommodation.”

The TikTok creator claims: “So if you’re able to travel last-minute, go and look at TUI’s last-minute flight deals on the flight section of their website. Because what happens is they’re trying to get rid of some of these last-minute flights and not have empty seats going. So we ended up booking a flight for two people to go to Cancun, Mexico, for £538 for both of us.

“Managed to find some good accommodation in Tulum that was cheap for £185. And even right now, if you go on the website, you’ll see a flight to the Dominican Republic for £384 if you’re able to travel in the month of May.

“So it’s really just for those people, maybe you had a holiday that got cancelled and you’re trying to plan a new thing, or you have the flexibility to just travel last minute. So it doesn’t apply to everyone, but for those that it can work for, you can get something good for cheap.”

The video gained over 115k views and 14k likes on TikTok. Replying to the video, a viewer said: “Thanks for reminding me being fully remote is a win.” A second comment read: “A digital nomads dream lol …let me go check out TUI.” A third social media user wrote: “Yep! TUI got me to Aruba for £196 return, directttt! best!”

Someone else shared: “I always like these deals but they don’t work for people who like to explore more than one city in a country. But I think it’s great when you are simply looking for anywhere to go to.”

Another response said: “How close to the departure date did you book?” The travel lover replied: “Booked on the 23rd of Feb, flew out 3rd of March.”

Passengers looking for last-minute flights can browse deals on TUI’s website, where there’s a section dedicated to cheap flights. Customers can filter their search by departure date, with options ranging from within seven days to three months. Alternatively, customers planning further ahead can refine their search by month.

Chris Logan, Commercial Director at TUI UK and Ireland, said: “If you’ve got a bit of flexibility, our last-minute flight deals can be a brilliant way to grab a great-value getaway. Flying from over 20 airports across the UK, making it easy to pick a date, pack a bag and set off from a nearby airport. There’s a great choice of destinations on offer too – from European favourites like Spain and Greece, to long-haul escapes across the Caribbean, including Mexico, the Dominican Republic and Jamaica, as well as Florida.

“These direct flights include 10kg of hand luggage as standard, with the option to add more, upgrade for extra space or enjoy a more premium travel experience. It’s always worth checking back – you might find something that gets you away sooner than you think.”

BEIJING — The Trump administration has repeatedly framed the war in Iran as a quick, winnable fight, vowing to defeat the Islamic Republic “totally and decisively” — incomparable to the “dumb” wars in Iraq and Afghanistan.

But from China’s perspective, the parallels are clear.

“You can blow everything up — destroy it all,” one Chinese official told The Times, describing the Americans, “but you don’t have a strategy.”

President Trump arrives in Beijing this week for talks with a Chinese government that is confident as ever in its ascendance on the world stage, taking stock of its leverage and still baffled the U.S. administration chose yet another costly war in the Middle East.

China has watched as the United States, over seven weeks of fighting an outmatched enemy, has depleted nearly half of its stockpiles of high-end munitions — including its THAAD and Patriot batteries — and fired its Army chief of staff, among other Pentagon leaders, who had warned of critical shortages.

Marco Rubio, Trump’s national security advisor and secretary of State, has said the military operation that started the war known as Operation Epic Fury “is over.”

But the Strait of Hormuz, one of the world’s most vital commercial waterways, remains effectively shuttered. Iranian attacks in the region continue. And talks between Washington and Tehran have failed to reach a diplomatic agreement to bring a definitive end to the conflict.

“The Chinese have high regard for the operational proficiency of U.S. forces, but they recognize that, thus far at least, the Trump administration has not achieved its core objectives in going to war with Iran,” said David Ochmanek, a former deputy assistant secretary of Defense now with the Rand Corp.

The war has given Beijing an opportunity, Ochmanek said, “to double down on the claim they have made for the past year and a half that the [People’s Republic of China], not the U.S., is a force for global stability.”

The war has allowed China to demonstrate some diplomatic prowess. An initial ceasefire reached between the United States and Iran last month was only clinched after Beijing pressured Tehran to agree. And China’s advocacy for an open strait — rejecting Iranian attempts to impose a toll system — while opposing the U.S. war itself has allowed Beijing to maintain leverage with both sides.

It has also inflicted costs. Allies of Beijing noticed when the government did not leap to the defense of Tehran at the start of the war. And China has its own vested interest in a free and open waterway, where nearly 50% of the country’s crude oil imports pass through each day.

Building up to the start of the war and throughout its initial weeks, Washington diverted significant military assets from Asia — where Trump’s own national security strategy says they are needed most — to the Middle East.

The USS Abraham Lincoln was redirected from the South China Sea, along with scores of advanced missile interceptors from South Korea and Japan and nearly the entire U.S. inventory of long-range air-to-surface missiles in the Pacific.

Policy experts at the Pentagon were brought in to discuss a potential invasion of Kharg Island, the jewel of Iran’s oil industry, to draw lessons from planning a defense of Taiwan, according to a Defense official, who was granted anonymity to speak candidly. A Marine expeditionary unit was sent from Okinawa to the region for the potential operation.

Chinese officials and analysts have been candid in their assessments of U.S. hard power, impressed by a military they acknowledge remains the best in the world.

But Beijing sees a persistent flaw in U.S. strategy: the belief that military strength alone can reshape political realities, a view further weakened by the pressures on a democratic government whose public grows impatient with wars that drag on beyond days or weeks.

China’s autocracy is free from accountability to the public — and anyway has confidence that Chinese public opinion would be on its side if it were to launch a major military operation against its main target, Taiwan.

But there are lessons of caution to be learned from the Americans, as well.

Over the last year, the Taiwanese Navy has been practicing the rapid deployment of cheap and domestically produced smart mines for the sea — a potential bulwark against enemy blockades of ports and hostile invasion forces.

It is the type of asymmetric warfare that has so far frustrated the U.S. military in the Strait of Hormuz, protracting a war that Trump vowed would last a month or less.

Taiwan, too, would confront Beijing with political realities that military force cannot erase. Nearly 90% of the Taiwanese people oppose a Chinese takeover, and about 60% say they would resist it at all costs.

“Chinese analysts see two things at once,” said Craig Singleton, senior director of the China program at the Foundation for Defense of Democracies. “They are impressed by U.S. military reach, precision and operational capability, but they also see a familiar pattern of American power struggling to translate battlefield success into a durable political outcome.”

That matters for Taiwan, Singleton said, “because China’s own military modernization has borrowed heavily from the American model, relying heavily on joint operations, high-tech precision strikes, decapitation concepts and information dominance.

“If the world’s most experienced military can still struggle to convert military pressure into political success,” he added, “Beijing has to ask whether the [People’s Liberation Army] could do better in a far more complex Taiwan scenario.”

Union leaders trumpeted gains in SAG-AFTRA’s tentative contract with the major studios, citing stronger AI protections and the consolidation of previously separate pension plans.

“The theme of this negotiation really has been about looking out for the future of performers, and I think that the contract delivers on that,” Duncan Crabtree-Ireland, SAG-AFTRA’s chief negotiator, said in an interview Tuesday.

After striking the deal a little over a week ago, SAG-AFTRA said its national board approved the proposed contract on Monday.

The union‘s membership, which includes more than 160,000 actors, broadcast journalists, dancers, DJs, stunt performers, voice-over artists and other entertainment professionals, will begin voting on the new contract later this week.

“The scope of the contract is something that I hope the members find meaningful,” SAG-AFTRA President Sean Astin said.

One of the chief gains, he said, was merging of the pension plans of the two previously separate unions — the Screen Actors Guild and the American Federation of Television and Radio Artists — fourteen years after they agreed to combine.

Their health plans were consolidated in 2017, but the pensions have remained separate until the current negotiation cycle. That was a major sticking point with members, some of whom couldn’t qualify for benefits as their contributions were split between two plans. Studios agreed to boost their overall contributions to the combined plan by 1%.

Union leaders also pointed to stronger protections against AI, including new guidelines that govern how studios should use generative AI and that strongly favor “human performances.”

The guardrails state that producers should not intend to use AI in a human role unless a synthetic actor brings “significant additional value” to the production. The contract draws a distinction between a digital replica that is created with a performer’s consent vesus a synthetic digital character that is not authorized.

“Digital replicas are derived from human beings who have compensation and other protections available to them,” Astin said. “If it can’t be done like that, then they’ve got to bargain with us for some very unique use of synthetics…That’s a pretty high bar.”

Under the new contract, minimum wage rates will increase by 3% annually. The agreement also boosts the so-called bonus for residuals that performers get on most-watch streaming shows. Members will increase their contribution to the health plan by 1%.

The actors’ union first began negotiations with the Alliance of Motion Picture and Television Producers in February and extended those talks in March. They were briefly paused to allow the studios to finish negotiations with the writers’ union.

SAG-AFTRA joins WGA as the latest Hollywood union to strike a four-year deal with the studios. The previous contract term was three years.

The Directors Guild of America is the last union that still needs to land its own agreement. Negotiation sessions with the studios started on Monday. The contract is set to expire on June 30.

WASHINGTON — Defense Secretary Pete Hegseth faced tough questions Tuesday from Republican and Democratic lawmakers about the Trump administration’s end game for the Iran war, the cost of the conflict and its impact on diminishing U.S. weapons stockpiles.

For his part, the Pentagon chief softened his tone from hearings before Congress nearly two weeks ago, notably avoiding the same pointed criticism of lawmakers in his opening remarks as he outlined the Trump administration’s efforts to ramp up production of weapons and other military capabilities.

Even so, Hegseth insisted that the military has plenty of missile defense systems and other munitions for the Iran war or future conflicts as both Republicans and Democrats hammered him with those concerns.

“I take issue with the characterization that munitions are depleted in a public forum,” Hegseth said. “That’s not true.”

The cost of the Iran war has risen to about $29 billion, the vast bulk of which — $24 billion — is related to replacing and repairing munitions but also includes operational costs to keep forces deployed, Pentagon comptroller Jay Hurst said. That’s up from $25 billion that he told lawmakers nearly two weeks ago.

The powerful House and Senate Appropriations subcommittees that oversee defense spending are holding back-to-back hearings to review the Trump administration’s 2027 military budget proposal, which calls for a historic allocation of $1.5 trillion. The discussions in the House quickly veered into the handling of a war that appears locked in a stalemate as higher fuel prices pose political problems for Republicans in the midterm congressional elections.

Hegseth and Caine face bipartisan pushback on munitions stockpiles

Rep. Rosa DeLauro, the ranking Democrat on the House Appropriations Committee, told Hegseth that the “question must be answered at the end of this crisis: What have we accomplished and at what cost?”

“This administration has not presented Congress with any kind of clear or coherent strategy week to week, day to day, hour to hour,” DeLauro said. “The rationale shifts, the objectives change. The end game is ill-defined when it is defined at all.”

California Republican Rep. Ken Calvert, the House subcommittee’s chair, also asked about the impact of the Iran war on military funding as well as the U.S. military’s weapons stockpiles.

“Questions persist about whether we are building the depth and reliance required for a high-end conflict,” Calvert said.

Minnesota Rep. Betty McCollum, the defense subcommittee’s ranking Democrat, pressed Hegseth on whether the military has a plan to draw down troops in the Middle East if Congress passes so-far-unsuccessful efforts to end the Iran war.

“We have a plan to escalate if necessary,” Hegseth said. “We have a plan to retrograde if necessary. We have a plan to shift assets.”

He said he would not reveal any next steps publicly. Noting repeated questions from lawmakers over the military’s weapons stockpiles, drawn down from the Iran war, Hegseth said the concerns have been “unhelpfully overstated” and that “we have plenty of what we need.”

He said the defense industry has been told to “build more and build faster,” blaming the military industrial base’s inadequate capacity on previous administrations and U.S. aid to Ukraine in its war with Russia.

Trump administration faces pressure from impact of the Iran war

President Trump is facing increasing pressure from the economic shocks of Iran effectively closing the Strait of Hormuz, a vital shipping corridor where 20% of the world’s oil normally flows. The U.S. military in turn has blockaded Iranian ports and the two sides have traded fire, with American forces thwarting attacks on their warships and disabling Tehran-linked oil tankers.

Trump said Monday that the ceasefire is on “massive life support” and criticized Iran for its latest proposal, pointing to his demands that Iran significantly limit its nuclear program.

“I would call it the weakest right now after reading that piece of garbage they sent us,” Trump said.

The Republican president also said he wanted to suspend the federal gas tax to help Americans shoulder surging fuel prices. He has previously said higher costs are worth it to prevent Iran from getting a nuclear weapon.

Tuesday’s hearings are giving a mostly new group of lawmakers the chance to grill or applaud Hegseth and Gen. Dan Caine, chair of the Joint Chiefs of Staff, on the planning and execution of the war.

The Senate hearing later Tuesday will include Sen. Susan Collins of Maine, a Republican whose reelection this year is far from guaranteed. She voted with Democrats on an effort to halt the conflict late last month, saying she wants to see a defined strategy for bringing the war to a close.

Alaska Sen. Lisa Murkowski, another Republican on the Senate Appropriations defense subcommittee, has voted against the string of unsuccessful war powers resolutions but spoken of the need for congressional authorization so Americans will know the war’s limits and objectives.

He also will face plenty of friendly Republicans, including the Senate subcommittee’s chair, Sen. Mitch McConnell of Kentucky, and perhaps the Iran war’s biggest booster in Congress, Sen. Lindsey Graham of South Carolina.

Finley, Toropin and Barrow write for the Associated Press. Barrow reported from Atlanta.

One rebound got away. Another went to the Oklahoma City Thunder on a foul by Deandre Ayton. When a third opportunity glanced past Ayton’s nonchalantly extended arm, JJ Redick had seen enough.

The Lakers coach couldn’t even sub fast enough before Ayton’s two-handed frustration shove of Oklahoma City guard Ajay Mitchell put a disappointing punctuation mark on a disastrous 19-second stretch for the Lakers starting center.

Ayton, a key part of the Lakers’ first-round series win, has been largely absent in the Western Conference semifinals against the Oklahoma City Thunder. With the Lakers behind 3-0 in the best-of-seven series after Saturday’s 131-108 loss at Crypto.com Arena, Ayton has averaged 7.7 points per game and 9.3 rebounds against the Thunder.

Desperate to avoid the dreaded 3-0 hole, Ayton was limited to 10 points and six rebounds and just one defensive board. He was held to one-of-seven shooting in Game 2 for just three points, although he had 22 rebounds over the first two games.

After an up-and-down regular season, it appeared that the former No. 1 overall pick was ready to live up to the hype. He was a quiet star in the Lakers’ first-round series win against the Houston Rockets, often guarding All-Star Alperen Sengun one-on-one and dominating the paint. He averaged 11 points and 10.8 rebounds against the Rockets.

Oklahoma City coach Mark Daigneault took note. He called Ayton a “priority” for the Thunder defense in this series. Redick said Ayton raises the Lakers’ ceiling more than any other player.

The Lakers tried to spark their X-factor in the third quarter. They built a two-point halftime lead off the stellar shot-making of Rui Hachimura (21 points) and Luke Kennard (18 points) but funneled the ball toward Ayton after the break.

Lakers center Deandre Ayton dunks against the Oklahoma City Thunder in Game 3 of the Western Conference semifinals Saturday at Crypto.com Arena.

(Robert Gauthier / Los Angeles Times)

Hachimura, who made all four of his three-point attempts in the first half, had a chance at a three on the Lakers’ first possession but instead passed to Ayton, who was fouled on the floor. Marcus Smart tried a lob to Ayton, but the center couldn’t corral the pass. The Lakers went back to him on each of the next two offensive possessions and he scored on both.

He scored six of his 10 points during a three-and-a-half-minute stretch of the third quarter.

“DA is a hell of a player,” said Smart, one of Ayton’s closest teammates. “We all know it. We just want to get him the touches and get him the feel early, just to give them a different look. … All the guards are doing their thing. So we’re just trying to get the big fella involved.”

Ayton’s signature soft touch around the basket has suddenly escaped him. After shooting 60.4% from the field during the first round and a career-best 67.1% during the regular season, Ayton is shooting 39.3% (11 for 28) against the Thunder. He made just three of 11 shots in the restricted area during the first two games.

The Lakers needed Ayton to thrive during this series against the double-big lineup of Chet Holmgren and Isaiah Hartenstein. Some of Ayton’s shooting struggles have depended on where the lanky 7-foot-1 Holmgren has been on the court, Redick said. The Lakers have tried to draw Holmgren out of the paint more to free up Ayton.

Holmgren has still been a force in this series with 21.3 points and 10 rebounds per game. Hartenstein has made 14 of 16 shots from the field in the three games.

Ayton’s backup Jaxson Hayes was also neutralized in Saturday’s blowout, not returning to the game after just eight minutes and 30 seconds of mostly ineffective play. When Redick had seen enough from Ayton in the fourth quarter after he gave up two offensive rebounds and fouled twice in 19 seconds, the coach opted for rookie Adou Thiero.

Thiero, a 22-year-old who tries to make up for his lack of experience with pure motor and athleticism, had a team-high eight rebounds with four points in 13 minutes and 12 seconds.

But the Lakers gave up an offensive rebound off a free throw immediately after Thiero replaced Ayton. Hayes, sitting at the end of the bench with his arms folded across his chest, stared blankly ahead and shook his head slowly.

No NBA team has ever come back from a 3-0 deficit in a best-of-seven playoff series. Ayton has been quiet in this series, but he doesn’t plan to be silenced much longer with the season on the line.

“We ain’t gonna give up,” Ayton said on his way out of the arena. “We will be back to fight on Monday.”

Staff writer Broderick Turner contributed to this report.

It’s hard to believe, as Matt Damon noted in his monologue in this week’s “Saturday Night Live,” that the actor of this summer’s “The Odyssey” has only guest hosted three times during his lengthy career. (In case you’re wondering, his frequent writing and acting partner Ben Affleck has hosted five times.)

That’s a shame because Damon checks all the boxes for what an A-list actor should do when they host the show: be super present, take every opportunity to do the silliest sketches without seeming uncomfortable, and bring at least some of their acting chops to bear to give otherwise lightweight sketches a little extra gravitas or emotion.

Damon did all that and helped start the show off with an extra jolt of energy by returning as Supreme Court Justice Brett Kavanaugh in the cold open, along with last week’s ringer, Aziz Ansari as FBI Director Kash Patel.

Not every sketch worked, like an early Godzilla parody set in a command center that was simply a series of increasingly anticipated spit takes on poor Mikey Day. Things improved when Damon played himself in a pre-taped sketch about a movie made just for moms ahead of Mother’s Day; mom’s fantasy? No conflict among the kids and a blissful marriage to Matt Damon.

Damon also played one of a trio of middle-aged men (including Marcello Hernández and Kenan Thompson) constantly getting beat up by “tough guys” who are sometimes just children. He also played a frustrated dad in a strange cat litter commercial, a substitute teacher trying to get a classroom of students to dance (unsuccessfully) and, memorably, an auctioneer in a fight with his auctioneer wife (Sarah Sherman). In these sketches in particular, Damon’s acting skills helped elevate the characters he played, grounding them in sadness or frustration. It definitely helped.

The “Odyssey” might turn out to be the summer’s biggest movie hit. If that’s the case, let’s hope Matt Damon isn’t kept from hosting “SNL” for so long after this week’s solid job.

Musical guest Noah Kahan performed “The Great Divide” and “Doors.”

At Martin’s Tavern in Washington, D.C., Defense Secretary Pete Hegseth (Colin Jost) returned yet again to shout-bark at those around him, brag about the Iran War he claims he started and, of course, talk about drinking alcohol. But this time, he was joined by his apparent drinking buddy Kavanaugh, who held a gavel and immediately ordered a “six-three decision” (six beers, three shots of Jameson whiskey). Glowing in their victories, Hegseth bellowed, “Can you believe I just started a war?” Kavanaugh replied, “Can you believe I ended abortion? Your body, my choice!” Kavanaugh went on to show off what at first looked like a dinosaur-shaped district map for Tennessee before revealing it’s his field sobriety test, when he was asked to draw a circle. Kavanaugh bemoaned the male loneliness crisis just before they were joined by Patel, who cried, “Does this bar take Kaaaaash?” Patel showed off the bourbon that bears his name. (“Somehow this is a real thing that I, the FBI director, have made. This is real!”) Kavanaugh revealed a secret: that the court is going to let Trump do a third term. “Trump found the original Constitution and on the end, he wrote, ‘Psych!’ ” The three ended the sketch by singing Chumbawamba’s “Tubthumbing” with its callouts of their drink orders.

Damon previewed his upcoming film, even though he had to mention several times that “The Odyssey” won’t be out for another nine weeks. He also had to break the news that the lovely “SNL” tradition of bringing on moms of cast members wouldn’t be happening this year due to Spirit Airlines shutting down. It turns out, after an audience member (“SNL” writer Jack Bensinger) asks, that only Hernández’s mom was able to make it. Damon then recorded a video message to moms out there for anyone who didn’t get a gift for them. “You deserve a night out… nine weekends from now,” he said, suggesting the movie would make a great date night.

Best sketch of the night: Do I hear best sketch of the night? Sold!

A sketch as gimmicky as this one — in which the premise is two auctioneers (Damon and Sherman) are having a marriage-ending fight — only works if the performers are up to the task, and luckily both Damon and Sherman navigated the super-fast dialogue expertly and without looking like they were eyeing cue cards the entire time. The two went back and forth, auctioneering a discussion about weight, infidelity, drinking, their sex life and, eventually, terms of their divorce in front of their four young sons (who, adorably, hold up little numbered signs. Yes, they were played by adult cast members.). Even for “SNL” and for the last-sketch-of-the-night slot, it was a bold sketch for live TV and Damon and Sherman expertly walked the tightrope on this one.

Also good: Your mom will only make it through 23 minutes of this

“SNL” is no stranger to spiky sketch comedy takes on motherhood: remember “Mom Jeans?” For this year’s Mother’s Day take, it presented “Mom: The Movie,” a film devoid of conflict or dramatic tension because “Moms have enough stress. Why not let them feel good for a day?” Ashley Padilla plays the mom in the film, enjoying argument-free time with her kids (Jeremy Culhane, Tommy Brennan and Veronika Slowikowska), who only deliver good news. She’s married to Matt Damon, making her Rhonda Damon, and they met when he noticed her giant turquoise necklace after a movie screening. The film is streaming where moms are expected to find it: on HomeGoods Plus.

‘Weekend Update’ winner: This ‘Update’ segment is bananas — the round kind

This week’s “Update” featured three guest segments. Hernández and Day played kamikaze dolphins who work for the government, giving them a sense of porpoise (their joke, not mine). Jane Wickline expressed her anger at people caring that she’s always late in a funny musical rant. But Culhane’s return as Tucker Carlson continued a dead-on impersonation that covered several topics, including the Met Gala’s wild outfits, the new Michael Jackson biopic, and why eating round bananas is less gay than eating traditionally shaped ones. Culhane’s impression is a thing of beauty, and this time it leaned harder into Carlson’s tendency to express things from a very white point of view. In describing ASAP Rocky’s pink robe from the Met Gala, he said the performer was, “Wearing my least favorite color … African-American.”

Love may not be all you need these days, but a picture with it might help. This you can get beginning later this year when the Huntington installs its newly acquired “LOVE” sculpture by Robert Indiana near the Virginia Steele Scott Galleries of American Art.

Indiana first unveiled the iconic sculpture almost 60 years ago — also just a few days before Mother’s Day — as part of his 1966 solo exhibition at Stable Gallery in New York. While this early version measured only 12 inches high, the Huntington’s edition is 12 feet tall and 12 feet wide, making it an ideal vessel for you and your, ahem, loved ones to snap a pic with.

The polychromed aluminum sculpture is third in an edition of five, with two artist’s proofs, and will be the only “LOVE” sculpture in Southern California available to the public. It arrives at the museum’s San Marino campus as a gift of Terri and Jerry Kohl, who also provided funding for installation and long-term care.

“LOVE” is one of the most recognizable pieces of Pop art ever created — a ubiquitous symbol associated with a variety of social causes, movements and groups, including the LGBTQ+ community during the height of the AIDS crisis.

Indiana’s design for “LOVE,” featuring an L and slightly askew O stacked atop a V and E, first appeared on the Museum of Modern Art’s annual holiday card in 1965, and was apparently among the institution’s most popular holiday cards of all time. The artist completed his first monumental love sculpture, made from steel, in 1970. That sculpture is part of the Indianapolis Museum of Art’s collection.

In a news release, Huntington President Karen R. Lawrence said that Jerry Kohl believed that “LOVE,” “belonged in a place where it would be seen and experienced by millions of visitors in the years leading up to the Los Angeles Olympics, during the games, and far beyond. He recognized The Huntington as a cultural destination uniquely positioned to steward the work and share it with a broad public audience.”

“LOVE” will join a number of other outdoor installations across the Huntington’s expansive grounds and gardens, including two recently acquired sculptures by the Cuban-born artist Enrique Martínez Celaya, in addition to pieces by Sam Francis, Tony Smith and Harry Bertoia.

The sculpture also serves to expand the Huntington’s collection of American art dating from the mid-20th century on, joining works by Andy Warhol, Betye Saar, Elizabeth Catlett, Isamu Noguchi, Paul Manship, Gaston Lachaise, Elie Nadelman, Daniel Chester French, Sargent Claude Johnson, Richmond Barthé and Wilhelm Hunt Diederich.

If you’re planning a Mother’s Day jaunt to the picturesque Huntington, you won’t see the sculpture just yet, but you should still go. (This is where I wish all who celebrate a very happy Mother’s Day. Hi, hardworking, selfless moms everywhere: I see you.)

I’m Arts editor Jessica Gelt and I choose LOVE. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Freeways 2026
Los Angeles Chamber Orchestra fellows Alejandro Lombo, flute, Eder Rivera, oboe, and Nicolás Valencia, viola, and other emerging musicians perform works by Dranishnikova, Piazzolla, Mozart, Dvořák, Gaubert, Julia Moss and Ravel.
7:30 p.m. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. laco.org

My Birthday Party
Based on stories by Carl Sandburg and Viggo Mortensen, this immersive theatrical experience includes acrobats, aerialists and clowns from Cirque du Soleil and features surprise guests, with music by Veronika Krausas. Opening night performance by Thelma Houston.
8 p.m. Friday and Saturday; 2 p.m. Sunday, through May 7. Fais Do-Do, 5257 W. Adams Place, L.A. playwithsprung.com

Lorenzo Viotti in Milan, Italy.

(Vittorio Zunino Celotto / Getty Images)

Rachmaninoff’s ‘Second Symphony’
In his L.A. Phil debut, flamboyant Italian-Swiss conductor Lorenzo Viotti and violinist Lisa Batiashvili join the orchestra for a fiery program of late-Romantic works.
8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Picasso: Le Monstre Sacré
Peter Tate’s solo performance piece, adapted by the actor and director Guy Masterson from Terri D’Alfonso‘s “The Loves of Picasso,” explores the complicated artist’s legacy from within.
8 p.m. Thursday-Saturday; 3 p.m. Sunday, through May 17. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

TJ Shin’s solo exhibition “Delta” is at Ehrlich Steinberg through June 11.

(Ehrlich Steinberg)

TJ Shin
The L.A.-based artist’s solo exhibition “Delta,” rooted in game theory, consists of a multi-channel video installation, drawings and a newly commissioned text by writer and professor Sunny Xiang.
11 a.m.-5 p.m. Wednesday-Saturday, through June 11. Ehrlich Steinberg, 5540 Santa Monica Blvd., L.A. ehrlichsteinberg.com

The Sound of Music
The Hollywood Hills (and San Diego and Costa Mesa) are alive with the sound of Rodgers & Hammerstein on this tour of the latest revival of the classic romantic musical set in Austria as Nazi Germany moves to annex it.
Through May 24. Hollywood Pantages Theatre, 6233 Hollywood Blvd.; May 26-31. San Diego Civic Theatre, 1100 Third Ave.; June 2-14. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. soundofmusicontour.com

SATURDAY

Ascent
This world premiere of a play by the late Henry Ong details the true story of aerospace engineer and cyberneticist Qian Xuesen, who co-founded Jet Propulsion Laboratory and was instrumental in United States’ World War II efforts before being unjustly forced to return to China. Direction and dramaturgy by Diana Wyenn.
8 p.m. Thursdays-Saturdays; 3 p.m. Sundays, through June 14. Skylight Theatre Company, 1816 ½ N. Vermont Ave, L.A. skylighttheatre.org

Maintenance Artist
The Laemmle “Culture Vulture” series continues with a 2025 documentary about Mierle Laderman Ukeles, who, inspired by Marcel Duchamp, inaugurated the idea that routine activities could be seen as performance art. Directed by Toby Perl Freilich.
10 a.m. Saturday and Sunday; 7 p.m. Monday. Laemmle Glendale, 207 N. Maryland Ave.; Laemmle Town Center 5, 17200 Ventura Blvd., Encino; Laemmle Monica Film Center, 1332 2nd St. laemmle.com 6 p.m. May 16. Getty Center, 1200 Getty Center Drive, L.A. getty.edu

Wild Up: The Center Is Between Us
The eclectic ensemble performs Robert Ashley’s “The Park” and “The Backyard,” narrated live by Christopher Rountree, from the 1978 avant-garde spoken work album “Private Parts,” before being joined by the santoor and tabla duo of Kamaljeet and Jas Ahluwalia, along with cellist Chris Votek, for new work.
8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

SUNDAY

Los Angeles Children’s Chorus
LACC presents two spring concerts: Sunday, featuring the Apprentice Choir, Intermediate Choir and Chorale; and May 17 with the Concert Choir, Young Men’s Ensemble and Chamber Singers.
7 p.m. Sunday and May 17. Pasadena Presbyterian Church, 585 E. Colorado Blvd. lachildrenschorus.org

MOMentum Place
Celebrate Mother’s Day in the great outdoors with aerial and circus performers, dancers and musicians, preceded by a brunch from chef David Gussin and Prose Restaurant.
Brunch, noon; performance, 2 p.m.; Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. theatricum.com

Shirley MacLaine, Debra Winger and Jack Nicholson in James L. Brooks’ 1983 hit “Terms of Endearment,” which won five Oscars.

(Paramount Pictures)

Terms of Endearment
James L. Brooks won Academy Awards for writing, producing and directing this adaptation of Larry McMurty’s novel, which should resonate with anyone who has or had a challenging relationship with their own mother on this Mother’s Day. Featuring a stacked cast including Oscar winners Shirley MacLaine and Jack Nicholson, and nominees Debra Winger and John Lithgow, as well as Jeff Daniels and Danny DeVito. Presented in 35mm.
2 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

MONDAY

ASCAP Foundation Musical Theatre Workshop
Three new musicals presented as live readings with musical accompaniment and expert feedback panels: “Lilyville” by Antonius Anand Nazareth (Monday); “The Waiting” by Maria Isabella Andreoli and EmmaLee Kidwell (Tuesday); and “Legendary” by Cheeyang Ng (Wednesday).
7 p.m. Monday-Wednesday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

TUESDAY

Rachel Ward, left, and Jason Patric in “After Dark My Sweet.”

(Kino Lorber)

After Dark My Sweet
Actor Jason Patric presents a screening of his personal 35mm print of director James Foley’s 1990 neo-noir adapted from the Jim Thompson novel. Introduced by Alex Winter and followed by a Q&A with Patric and writer/film critic Travis Woods.
7:30 p.m. Vidiots, 4884 Eagle Rock Blvd. vidiotsfoundation.org

Sarah Andon
“Eclectic Engagement: Explorations in Sound, Space, and Collaboration” features the L.A.-based flutist and an all-star ensemble, including percussionist Nick Terry, pianists Todd Moellenberg, Bryan Pezzone and Aron Kallay, flutist Sarah Wass, violinist Shalini Vijayan and electronicist Cristina Lord performing works by Toru Takemitsu, Sungji Hong, Gabriela Lena Frank, Nicolás Lell Benavides, Herman Beeftink, Jerry Goldsmith, Ennio Morricone and Nino Rota.
8 p.m. Monk Space, 4414 W. 2nd St., L.A. brightworknewmusic.com

WEDNESDAY

Alexandra Silber adapted a new book for Lerner & Loewe’s classic “Brigadoon.”

(Jason Armond / Los Angeles Times)

Brigadoon
Tyne Daly headlines this new adaptation by Alexandra Silber of the classic Lerne & Loewe musical about a mysterious Scottish village that only appears once a century. Directed by Katie Spelman, with original dances created by Agnes Demille.
Through June 14. Pasadena Playhouse, 39 S. El Molina Ave. pasadenaplayhouse.org

A Sea Symphony
Pasadena Chorale performs Walt Whitman’s words with Vaughan Williams’ music, featuring solos by sopranos Rachel Adcock and Asha Srikantiah and baritones Eric Werner and Tobin Sparfeld.
7:30 p.m. First United Methodist Church Pasadena, 500 E. Colorado Blvd. pasadenachorale.org

THURSDAY

Camerata Pacifica
The ensemble performs a program that includes works by Beethoven, De Mey and Bunch, and concludes with Shostakovich’s “Symphony No. 15 for Piano Trio and Percussion,” arranged by Viktor Derevianko.
8 p.m. Thursday. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A.; 7 p.m. May 15. Academy of the West, 1070 Fairway Road, Santa Barbara. 8 p.m.; 3 p.m. May 17. Bank of America Performing Arts Center, Scherr Forum, 2100 E. Thousand Oaks Blvd.; 7:30 p.m. May 19. The Huntington, 1151 Oxford Road, San Marino. cameratapacifica.org

Arts anywhere

New and recent releases of arts-related media.

Open-Door Playhouse
Playwright Bernadette Armstrong launched this online venture during the pandemic to help other authors get their work heard by audiences. The endeavor has continued, producing dozens of audio versions of 10-minute and one-act plays delivered as podcasts. The latest release, “Holy Hell,” written by Barbara Lindsay, features a man (played by Gary Lamb, who also directed) and a woman (Elaine Mello) separately recounting the tragedy that united them. Open Door Playhouse is free, relying on listener donations.
opendoorplayhouse.org

“Rupert García: The Making of an American Artist, a Testimonio” by Mario T. García.

(Rutgers University Press)

Rupert García: The Making of an American Artist, a Testimonio
An oral history 30 years in the making, the book chronicles the life and career of the American Chicano visual artist and activist, whose work as a painter, pastellist and screen printer both documented and galvanized cultural movements from the 1960s onward. The book’s author, historian Mario T. Garcia of UC Santa Barbara, will be in town for a book signing at 7:30 p.m. on Friday at Vroman’s Bookstore, 695 E. Colorado Blvd., Pasadena. vromansbookstore.com
Rutgers University Press: $35, 215 pages.

Arturo Sandoval, who frequently performs in Los Angeles, has a new album, “Sangú.”

(The Wallis)

Sangú
Trumpeter, bandleader and composer Arturo Sandoval’s latest album — the title is a malapropism of “sounds good” made during the studio sessions — features 12 tracks of Afro-Cuban funk, blending bebop, fiery jazz fusion and batá-inspired rhythms. Sandoval will perform June 4-7 at Blue Note Los Angeles.
Self-released: digital download, $9.50. arturosandoval.com

— Kevin Crust

Culture news and the SoCal scene

Maria Wirries and LJ Benet in “The Lost Boys,” from left; Sara Chase and Brad Oscar appear onstage during curtain call of “Schmigadoon!” on opening night, and Joshua Henry and the cast of “Ragtime.”

(Matthew Murphy, left and right; Valerie Terranova / WireImage, center.)

Tony Award nominations were announced early this week with musicals “The Lost Boys” and “Schmigadoon!” leading nominations with 12 each, followed by “Ragtime” with 11. Malia Mendez has the full list, here, and Times theater critic Charles McNulty followed up with a story on 10 standout Broadway performances and shows worth celebrating, including Laurie Metcalf in both Samuel D. Hunter’s “Little Bear Ridge Road” and this spring’s revival of “Death of a Salesman.”

The Pulitzer Prizes were announced the day before the Tony nominations, and Bess Wohl’s play “Liberation” took home the 2026 Pulitzer for drama. The win foreshadowed what would come next: “Liberation” was nominated for five Tonys, including best play and director.

McNulty also rounded up three major Broadway musicals in one handy, sweeping review: “Cats: The Jellicle Ball,” “The Lost Boys” and “Titanique.” “Cats,” notes McNulty, has managed to distance itself from its kitschy reputation and checkered past to become “one of the hottest tickets of the Broadway season. It didn’t take a miracle, only a complete conceptual overhaul.” Happily, “The Lost Boys” also won McNulty over despite his “antipathy to vampire schlock.” “Titanique” was not McNulty’s favorite, but he noticed that his fellow theatergoers couldn’t get enough.

Joe Mantello at his home in New York on Friday, April 3, 2026.

(Evelyn Freja / For The Times)

There was not one free moment in McNulty’s New York itinerary in early March. While attending a flurry of shows, our critic also sat down to a brunch interview with director Joe Mantello during rehearsals for the new Broadway revival of “Death of a Salesman.” “A two-time Tony-winning director (‘Assassins,’ ‘Take Me Out’), Mantello has a résumé so extensive that it can be startling to recall that he’s the original Broadway director of “Wicked,” the blockbuster that has allowed him to write his own ticket. There aren’t many theater directors who can pick and choose their projects without worrying about their next paycheck, but he has become the Mike Nichols of our era in terms of the breadth and consistency of his theatrical success,” writes McNulty,

The Times got the scoop that Holocaust Museum LA will reopen June 14 as part of the new $70-million, 70,000-square-foot Goldrich Cultural Center. The center doubles the museum’s original 35,000-square-foot footprint and broadens the institution’s “focus on inclusion and community, with a diverse range of events and ramped-up educational offerings,” writes Times contributor Solvej Schou.

Composer John Williams, 94, attended the dedication ceremony of the new John Williams Performing Arts Center at North Hollywood High on April 29, 2026.

(Genaro Molina / Los Angeles Times)

Times contributor Tim Greiving, who is also the author of a biography on John Williams, covered a ribbon-cutting ceremony for the new John Williams Performing Arts Center at North Hollywood High — the famed film composer’s alma mater. Williams, 94, was in attendance and gave a few brief remarks in front of a crowd filled with other notable school alumni and friends including Kathleen Kennedy.

The Times published an exclusive on Pasadena Playhouse’s new 2026-27 season, which includes the post-Broadway debut of “Real Women Have Curves: The Musical.” Other offerings include a new production of Friedrich Dürrenmatt’s tragicomedy “The Visit,” the L.A. premiere of “Passing Strange,” and a revival of “Cat on a Hot Tin Roof.”

Comedian Kathy Griffin in 2019.

(Matt Licari / Invision Associated Press)

Comedian Kathy Griffin is staging her first-ever residency at the Plaza Theatre in Palm Springs. “Can You Handle This Heat? The Kathy Griffin Palm Springs Residency,” is scheduled to run from Jan. 31 to Feb. 26, 2027. Tickets go on sale today.

The Soraya has announced it 2026-27 season featuring eight noteworthy debuts and 45 performances, including Sutton Foster with Chris Walden and the Pacific Jazz Orchestra; the eclectic band Snarky Puppy; Majo Aguilar con Mariachi y Banda; Dance Theatre of Harlem; National Symphony Orchestra of Ukraine; Los Angeles Philharmonic; Audra McDonald; and the National Symphony Orchestra. The new lineup also introduces Chad Hilligus as the Soraya’s new executive and artistic director.

Grand Performances announced its 40th annual Summer Concert Series featuring free outdoor shows in downtown L.A.’s California Plaza from June 6–Aug. 29. Highlights include a June 13 anniversary celebration with Jungle Fire, Healing Gems and DJ Liza Richardson; a tribute to the music of Stevie Wonder with DJ Spinna, Monalisa and MC Cognito; and a tribute to Roy Ayers led by composer Sly5thAve with a 12-piece ensemble including drummer Kassa Overall.

This week, IATSE filed unfair labor practice charges against management at the beleaguered John F. Kennedy Center for the Performing Arts, alleging the center broke its union contract by permanently eliminating union jobs ahead of its controversial temporary closure.

— Jessica Gelt

And last but not least

Looking for a great classic diner? Me too! This Food story will help.