woman

When women take the ice for Thursday’s Olympic free skate in the global fashion capital of Milan, five skaters will compete in dresses made by Los Angeles-based designer Lisa McKinnon.

McKinnon has become the must-have name in figure skating couture, dressing the entirety of the U.S. and South Korea women’s teams. Americans Alysa Liu, Amber Glenn and Isabeau Levito wore McKinnon’s designs in the short program and will do so again in the free skate.

And one of those dresses may be featured on the medal podium. Liu stands in third place after Tuesday’s short program, while Levito is in eighth and Glenn tumbled to 13th with the free skate still to come.

McKinnon knows exactly how clothing needs to fit on bodies moving across the ice — for spins, for jumps, for everything it takes to win. The fabric must be able to stretch in all directions, which necessitates a four-way stretch fabric. Design with a two-way stretch and a skater might not be able to lift their arm. Dress skaters in spandex, power mesh and stretch velvet, and they’ll move like they do in training.

American Amber Glenn competes in the figure skating short program at the Winter Olympics in Milan on Tuesday.

(Robert Gauthier/Los Angeles Times)

McKinnon sources most of the fabric locally from the fashion district in downtown L.A.

“It’s really great to just go in person because sometimes it’s the fabric that can inspire you to create something with,” McKinnon said.

McKinnon’s time on the ice that taught her how to create fashion for an athlete tailored for movement and aesthetic appeal. She grew up as a competitive figure skater in Sweden, and she started making bodysuits and dresses — which she wore to practice — for herself at age 11 or 12. By 16, she was designing dresses for elite skaters in her hometown, Mariestad, Sweden, including a Swedish national champion. At the time, they shared a coach, and the coach asked McKinnon to design a dress for the skater.

“They had seen the dresses that I made for other skaters,” she said. “They were just — you know — putting their faith in my hands that I could do this.”

After high school, McKinnon skated in tours in Europe and then North America. In the United States, she first settled in Las Vegas, where she designed dresses for local skaters. When she moved to L.A., bigger name skaters started calling. She designed for Ashley Wagner, three-time U.S. champion, and Karen Chen, who competed in her dresses at the 2018 Olympic Games. McKinnon says they were the ones who “got her noticed.” Noticed to the point that Milan is by no means the designer’s Olympic debut. In 2018, she outfitted pairs gold medalists Aljona Savchenko and Bruno Massot from Germany.

Since then, McKinnon has become the go-to designer for elite women’s figure skaters in the United States. At U.S. nationals in St. Louis in January, eight of the 18 senior women competed in McKinnon’s dresses. In the final warm-up alone — composed of the six skaters leading after the short program — five wore McKinnon designs. There, Glenn, Liu and Levito stood on the podium in her dresses.

In St. Louis, McKinnon hand delivered a dress to Liu, the reigning world champion who debuted a long-awaited Lady Gaga free skate routine. Liu practiced in the dress and McKinnon was able to make on-the-spot adjustments.

Surprisingly, hand delivery isn’t the norm for the dresses that run from $3,000-$8,000, averaging around $5,000 (McKinnon charges by the hour). Because McKinnon designs for skaters who train all over the country — Liu in Oakland, Glenn in Colorado Springs, Colo., and Levito near Philadelphia in southern New Jersey — FedEx shepherds the dresses across the country. Skaters make sure the dresses fit OK before McKinnon and her four-person seamstress team add sparkle, which usually means a crystal count in the thousands. Beads, paillettes and pearls are often mixed into the shine. Each crystal is hand affixed with E6000 glue.

American Christina Carreira and partner Anthony Ponomarenko compete during the ice dancing free skate at the Winter Olympics on Feb. 11 in Milan.

(Robert Gauthier/Los Angeles Times)

McKinnon affixed faux rose pedals to a dress for American ice dancer Christina Carreira to debut during the skater’s own Olympic debut. Midway through the skating season, Carreira and partner, Anthony Ponomarenko, returned to their free dance from two years ago, “Perfume: The Story of a Murderer.” They needed new costumes to differentiate from their performances two years ago, and McKinnon had already designed costumes for the team’s rhythm dance to La Bouche’s “Sweet Dreams.” McKinnon made the new dress in a little over a week, and it was set to arrive three days before Carreira left her training base in London, Canada, for the Games.

Except the dress didn’t arrive.

McKinnon learned that the package was stuck at a FedEx facility in Memphis, Tenn., after Winter Storm Fern pummeled the region.

“We would call and sometimes they’d say it’s in L.A., sometimes they’d say it’s in Memphis, so we didn’t know where it was,” Carreira said. “We weren’t getting answers, but going on social media actually helped.”

Carreira woke up after her flight to Milan to find an Instagram message with a photo of her dress. A woman told Carreira that her husband had found the package and put it on the first plane to Detroit, where Carreira’s coach, Scott Moir, retrieved the package to bring to Milan.

Carreira first tried on the dress in Milan. “It fit perfectly,” she said. “Lisa has never met me. She’s only seen me over FaceTime, and the two dresses she’s made fit perfectly.”

Carreira and Ponomarenko placed 11th in their Olympic debut.

“I wanted a dress that made me feel special at the Olympics,” Carreira said. “And both of those dresses did that.”

Carreira came to McKinnon’s designs through Glenn, who skated her short program to Madonna’s “Like a Prayer” wearing a McKinnon design based on the 1989 music video. After admiring McKinnon’s designs, Carreira talked it over with Glenn at an early season competition in Oberstdorf, Germany.

“She said Lisa was super easy to work with,” Carreira said. “The dresses fit perfectly.”

McKinnon designs from her studio, which occupies the first floor of her apartment in West Hollywood. There, McKinnon and her team watch their dresses take the runway in Milan. Except the runway is made of ice and the skaters will do much more than walk.

MILAN — She’s the only U.S. skater still in medal contention. Alysa Liu is the last person to care.

The unbothered 20-year-old is the only American who finished in the top six of the women’s short program Tuesday and is holding the weight of an Olympic medal drought that’s as old as she is. But after placing third in the short program, she said she hadn’t even looked at the standings. She is angling more for an invitation to the post-competition gala than a medal.

“A medal?” Liu asked with a sarcastic scoff and giggle. “I don’t need a medal. I just need to be here, and I just need to be present. And I need people to see what I do next.”

Next will be the women’s free skate Thursday, where Liu will try to be the first U.S. woman to stand on an Olympic podium for singles figure skating since Sasha Cohen in 2006.

The United States entered the Milan-Cortina Games with three strong contenders to end the drought, but will need comeback performances from the other two “Blade Angels.”

Alysa Liu is the top hope for the U.S. in women’s singles figure skating after finishing third in the short program.

(Robert Gauthier / Los Angeles Times)

Isabeau Levito skated cleanly in her Olympic debut but finished the short program in eighth with 70.84 points, almost eight points back from leader Ami Nakai’s 78.71.

Amber Glenn appeared poised to join Liu in medal contention after she started her “Like a Prayer” program with a steady triple axel. Looking inspired from a good luck message from Madonna this week, Glenn executed a strong triple-triple combination with her second jumping pass. The crowd at Milano Ice Skating arena roared.

Then Glenn popped her last planned triple jump. She earned zero points on the element. Her face fell immediately.

Glenn went through the motions of her step sequence but she looked lifeless, and after her program, she clutched the necklaces on her burgundy lace dress and knelt at center ice. She broke down in tears when she hugged her coach.

“I had it,” Glenn said through sobs.

With 67.39 points in 13th place, the three-time national champion is well outside the medal race led by Nakai and three-time world champion Kaori Sakamoto, who is in second with 77.23 points. Levito, skating in her mother’s hometown and paying homage to iconic Italian actress Sophia Loren with her short program, is less than six points out of podium position behind Liu’s 76.59 points.

Snoop Dogg and Martha Stewart, wearing bedazzled headphones in a booth at the top of the arena, were shown on the video screen after Glenn’s skate clapping for her performance. U.S. teammate Ilia Malinin cheered behind them.

Malinin could empathize as Glenn held back tears on the ice. The United States won the team figure skating competition with a dramatic one-point victory but hasn’t secured any of the individual gold medals that appeared likely. Malinin, whose free skate collapse was one of the most stunning moments of the Milan-Cortina Games, cited the intense Olympic pressure.

Isabeau Levito competes during the women’s short program Tuesday.

(Robert Gauthier / Los Angeles Times)

After a shaky performance in the team competition, Glenn tried to escape the spotlight by training with U.S. teammates at a facility in Bergamo, 50 minutes outside of Milan. She tried to commit to rest and recovery and shy away from social media. She said after training Monday that she felt physically strong and had refocused enough to make the competition feel like any other world championship.

Knowing how hard it was for Glenn to get one jump away from putting herself into medal contention made the sight of her mistake all the more painful for Liu.

“She works so freaking hard,” Liu said after seeing Glenn’s skate on TV screens in the interview area. “Genuinely, such a hard worker, and she’s overcome a lot, and I just want her to be happy.”

Liu received some of the loudest applause of the night. Before beginning her program, she skated by the boards and high-fived both of her coaches, who hugged and hopped for joy when Liu executed her tricky triple lutz-triple loop combination jump. After hitting her ending pose, Liu covered her face to hide the tears that often well up in her eyes after her program set to “Promise.”

The reigning world champion returned to her second Olympics seemingly oblivious to any sort of pressure after a two-year retirement changed her perspective on skating. In Beijing, she was a 16-year-old who skated as she was told. She executed the jumps, performed to the music and wore the costumes that she was given.

But she laid the road to Milan all by herself and on her own terms.

One strong free skate away from her first individual Olympic medal — and second overall after helping the United States to team gold last week — Liu can’t be bothered to fret about how she’ll prepare for her last Olympic competition. Instead, she said she wants fans to see her new gala program.

A new dress just arrived and the choreography is almost done. All she needs is an invitation.

CORTINA D’AMPEZZO, Italy — It’s all downhill after 40.

Downhill at screaming speeds, that is, fast enough to capture Olympic gold, which is precisely what 41-year-old Elana Meyers Taylor did Monday night in the women’s monobob.

America’s most successful female bobsledder finally got her gold medal. She was four one-hundredths of a second faster than Germany’s Laura Nolte — compiled over four heats — netting her sixth Olympic medal.

Those prizes — a gold, three silvers and two bronzes — tied Meyers Taylor with speedskater Bonnie Blair as the most decorated U.S. woman in Winter Olympic history.

“I still can’t even put into words what this means having the gold medal,” Meyers Taylor said. “It’s still surreal.”

She became the oldest American woman to win a gold medal at the Winter Games, having covered the winding course four times in two days in a total of 3 minutes, 57.93 seconds.

American gold medalist Elana Meyers Taylor and bronze medalist Kaillie Humphries pose for a photo during the medal ceremony for monbob bobsled in Cortina d’Ampezzo, Italy, on Monday.

(Julian Finney / Getty Images)

Monobob is a women’s event that made its debut at the Beijing Olympics four years ago. Only one person competes, pushing the sled at the start and piloting down the course at speeds of 70 to 80 mph. There were 20 competitors in the inaugural event, and American Kaillie Humphries — who claimed the bronze Monday — won the first gold medal in the event.

The triumph came after Meyers Taylor went a whole World Cup season without standing on a podium, finishing 10th in the standings.

“The season was miserable,” she said, noting she has suffered back problems for months.

Her husband and two young children were waiting for her at the finish line, and Meyers Taylor is about as down-to-earth as an elite athlete can get. Both of their children have special needs and are deaf.

American Elana Meyers Taylor celebrates after winning the monobob bobsled competition in Cortina d’Ampezzo, Italy, on Monday.

(Al Bello / Getty Images)

She taught them some new words in sign language in the days leading up to the race.

“We went over what ‘champion’ is,” she said, adding she also taught them to sign “bobsled race” and “gold.”

Asked about her pre-race assessment that a gold medal would mean everything and nothing to her, she smiled and said: “It still is everything, and it still is nothing. Because at the end of the day, in six days I’ve got school pickups and dropoffs in the middle of Texas.”

Humphries — who has three golds and two bronzes in her career — was tied with Meyers Taylor heading into the fourth and final heat. They are both mothers who split time between intense training and all the challenges of parenthood.

“I hope it inspires other people to go out and chase it, whatever it may be,” said Humphries, 40.

“I grew up in a sport where if you have kids once you get to 40, it’s all downhill and alumni … I get to be proof that that’s not true.”

American gold medalist Elana Meyers Taylor and bronze medalist Kaillie Humphries celebrate with Humphries’ son after the monobob competition at the Winter Olympics in Cortina d’Ampezzo, Italy, on Monday.

(Julian Finney / Getty Images)

Meyers Taylor, who was born Oct. 10, 1984, is eight days older than American ski racing legend Lindsey Vonn, who is recovering from a violent crash in the women’s downhill and has undergone multiple operations in the last week.

“I was at the Alpine race when she went down, and that was heartbreaking,” Meyers Taylor said.

“To do that at 41, she’s incredible.”

Humphries said staying atop the sport will be quite a challenge for the monobob medalists.

“These girls are young,” she said. “They’re putting up a good fight. I won’t lie, the starts are challenging, so we’ve got some work to do.”

MILAN — After a one-hour on-ice training session and on the way to yet another interview, Isabeau Levito has one big problem on her mind.

One of the plants in the U.S. figure skater’s room has started growing mold. She needs to figure out how to wrangle it.

“That’s our task of the day,” Levito said Monday.

Nevermind that the biggest competition of her life was starting in about 24 hours.

Isabeau Levito competes during the free skating competition at the U.S. figure skating championships on Jan. 9 in St. Louis.

(Jeff Roberson / Associated Press)

Levito and the United States’ “Blade Angels” are trying to stay calm under pressure at the Olympics, where chaos has reigned at Milano Ice Skating Arena.

The United States was expected to dominate figure skating in Milan, but has yet to win a gold medal in an individual event entering Tuesday’s women’s short program. A supposed sure-fire gold medal disappeared in stunning fashion with Ilia Malinin’s eighth-place collapse. Three-time reigning world ice dance champions Madison Chock and Evan Bates settled for a “bittersweet” silver that was marred by judging controversies.

But the talent and depth on what is likely the best U.S. women’s Olympic team in decades could help end a 20-year Olympic medal drought in women’s singles skating. The last U.S. woman to stand on an Olympic podium for an individual event was Sasha Cohen in 2006. Sarah Hughes’ 2002 gold medal was the last for the United States in women’s singles.

Alysa Liu has already ended one skid. The reigning world champion was the first U.S. woman to win the world title since 2006. With blonde horizontal stripes dyed into her black hair and a piercing in her upper lip, the 20-year-old Liu is putting an alternative spin on figure skating.

Three-time national champion Amber Glenn combines power in her triple axel with emotion on the ice.

Levito, the 2024 world silver medalist, is the classic balletic skater who packs a humorous punch behind her teenage smile.

In a sport that once pitted young women against each other to fit a singular “ice princess” mold, the “Blade Angels” find their strength in their diversity.

“I really like that we’re all so different,” Levito said. “We have our own strengths and our own personalities and our own ways we want to look and appear. … We all have the same passion for the sport and have very aligned goals of wanting to do our best, and once we do that, we’re all happy, regardless of who beat who.”

NBC announcing team Tara Lipinski and Johnny Weir dubbed the trio of medal contenders “the big three,” but the skaters workshopped their own nickname after nationals. They nixed “Babes of Glory” and “Powerpuff Girls” for copyright concerns. Their final choice was a mashup of “Blades of Glory” and “Charlie’s Angels.” If you like it, credit Liu.

“If people don’t like it,” Liu said, “don’t say I made it.”

Liu and Glenn have already won a gold medal in Milan, helping the United States win the team event in dramatic fashion. But with the two events spaced more than one week apart, “being in a high-pressure atmosphere for so long takes its toll,” Glenn said.

The 26-year-old has faced additional challenges on social media at the Games. She had to resolve potential copyright issues concerning her free skate music and received threats for comments she made during a news conference when asked about President Trump’s policies regarding the LGBTQ+ community. Glenn, who identifies as bisexual and pansexual, encouraged people in the queer community to “stay strong during these hard times,” refusing to avoid political conversations because “politics affect us all.”

American Amber Glenn competes during the team skate at the Winter Olympics in Milan on Feb. 8.

(Natacha Pisarenko / Associated Press)

While she said Monday she doesn’t regret the comments, she has also had to take a break from social media to focus on her remaining competitions at the Olympics.

“I’m happy to do what I do and stand for what I stand for,” Glenn said. “But it has been —”

She paused.

“Complicated.”

Not only are the Olympic Games the largest stage for many sports and a dream that begins from childhood, but the spotlight has only increased with social media in recent years, Glenn said. Amid the pressure, she tries to lean on her teammates and embody the advice of U.S. figure skating alumni who tell her simply “enjoy it.”

“Four years ago, I could never have imagined even making it here,” Glenn said. “To just be here is a privilege that I don’t take lightly, and I need to remind myself of that and to just really soak in the experience, not just the results.”

Isabeau Levito skates during the U.S. figure skating championships on Jan. 11 in St. Louis.

(Jeff Roberson / Associated Press)

To reset after the team competition, the “Angels” went with the pairs skaters — whose competition started one week after the team event wrapped — to train at a U.S. facility in Bergamo, about a 50-minute drive outside of Milan. The training sessions are longer than what’s available at the competition venue, said Levito, who only took two training sessions in Milan before Tuesday’s short program.

The last U.S. figure skater to take Olympic ice, Levito has passed her time at the Games in the Olympic village. After making the Olympic team, the New Jersey native was most excited about the village. To her, it was going to be like “a magic kingdom,” she said before the Games.

It’s lived up to every expectation. She walks by the Olympic rings every morning. She and her teammates lounged in front of the TV watching the pairs competition Sunday and Glenn ordered ramen. Levito and U.S. ice dancer Christina Carreira named the adopted plants in their shared room Christabeau and Isatina. Levito is loving the experience so much that she won’t even harp on the fact that she briefly battled food poisoning.

She felt “horrible” off the ice, but it didn’t affect her training.

“When I was skating,” Levito said, “I flipped a switch in my head.”

She’ll need to switch it again Tuesday.

CORTINA D’AMPEZZO, Italy — World-class athletes, thrilling events, stirring medal ceremonies, I will remember all of those from the Winter Olympics. But what I experienced Sunday on my 45-minute bus ride from my hotel to Cortina will stay with me longer.

There was a young woman sitting across the aisle. She looked to be in her mid-20s, about the age of my daughter, and was wearing a knit cap with a Switzerland logo. Her dark hair was in long, thin braids and framed her friendly face.

“How’s it going?” I asked, setting down my backpack.

“Nervous,” she said with a faint smile.

That started the conversation, one that would have me repeatedly wiping my eyes with my sleeve.

Her name was Michelle Gloor. She’s 25 and from a small town outside of Zurich. Her boyfriend, Cedric Follador, is pilot of the Swiss bobsled team and has races throughout the week. She was heading to watch him practice.

Michelle knows all about the sport. In fact, she had been the brake woman on the Swiss national team and had hoped to be competing in these Olympics herself. She grew up as a track-and-field athlete, a sprinter, and only took up bobsled in 2022.

Women’s bobsled — or bobsleigh, as Europeans call it — is a two-person operation with a pilot in front and brake woman in back.

“The first responsibility is pushing the sled as fast as I can, together with my pilot,” she said in a German accent and near-flawless English. “I have to sit still and count the curves until we reach the finish line, when I have to pull the brakes. I’m responsible that the sled won’t crash into something.”

Her best friend had made the transition from track to bobsled, was looking for a brake woman, and convinced Michelle to give it a try.

“My first bobsleigh ride was in St. Moritz and I was so nervous,” said Gloor, a third-year law student at the University of Zurich. “I think I was crying in the back of the sled because I’d never felt anything like that, all the G-forces and you don’t have any cushion in the sled. It all hurts.

“But after the second run, I felt the adrenaline and it was great. It caught me from then. It took me two runs.”

She was 22 and the future was bright. They entered the Swiss championships and won. Michelle got serious about her new sport, training every day, eating right, building muscle.

Immersed in that world, she met Cedric but for the first 1½ years they were just casual friends. Their conversations were all bobsled-related.

“Then in spring 2024 he texted me and asked, ‘How are you?’” she said. “More personal stuff.”

They had been dating for about six months when a discovery would dramatically change their lives.

In November 2024, during a routine check-up, a gynecologist found evidence of cancer in Michelle’s ovaries. If there were signs she was ill, Michelle hadn’t noticed them. She had been tired the prior summer, yes, but she attributed that to her training.

“It was pretty advanced,” she said of the cancer. “I went to the women’s doctor every year and they couldn’t explain why they couldn’t see it earlier. I don’t know. I’m not questioning that anymore. It’s just … yeah.”

There was no time to wait. By December, she was in surgery. Doctors opened her abdomen from her breast bone down, looking for more growths. They deemed the operation a success, and six months of chemotherapy began in February.

“I lost my hair,” she said. “I had long, black hair. Losing that wasn’t bad. But I lost the hair on my face — my eyebrows, my eyelashes — that was hard. But I always knew it just had to be.”

Her doctor told her her cancer was Stage 3.

“That means it’s on the other organs too,” she said. “But the difference between Stage 3 and Stage 4 is it’s not in my lungs. It’s in my tummy area but not more upwards.”

Cedric was by her side.

“I asked him after the diagnosis if he wants to join me in this journey or not,” she said. “I can understand if he won’t because we were together not even half a year, and I can understand if he said, ‘Hey, it’s too much for me. I can’t do that.’

“Then he took time for himself, and he came back and said he wants to stay with me. He wants to support me in every imaginable way.

“He drove me to therapy when he was in town because he had a bobsleigh season going on from November until March, in my toughest time. Every time he was home, he was there for me. When he wasn’t there, we were phoning every day. He was there all the time, even when he wasn’t there physically.”

Her parents and younger brother were there for her too, of course, but she wanted to give them some time to themselves. Cedric was her rock.

There are elements in his job as a driver that both help him in his sport, and her in her disease.

“As a driver, you really need to focus on what’s going on straight ahead of you,” she explained. “You can’t really switch away your thoughts. You have one minute of full concentration. I think you can compare it to Formula One because you only see the next curve in front of you.

“He’s very calm and I think that helps him in a sporting way to not overreact emotionally and stuff like that. But also for me as a partner, I’m very emotional. When I’m too excited or too sad or too angry, he can calm me down to a normal level. On a stress-less level, and to be stress-free is very important for someone who has cancer.”

Switzerland’s Cedric Follador, right, and Luca Rolli compete in two-man bobsled at the Milan-Cortina Olympics on Monday.

(Richard Heathcote / Getty Images)

Michelle, petite and pale, has lost about 40 pounds over the past year. Mostly muscle.

“I was avoiding sugar in the beginning of the illness,” she said. “You read so much stuff. But after losing so much weight, doctors told me just eat what you want to eat. Because having energy is more important than eating too much sugar.”

In August, doctors discovered more cancer in her. Another surgery to open her abdomen.

“They said it’s still there,” she said. “Those microcells which they couldn’t remove because they couldn’t see them, they grew. But once all those microcells have grown up and been removed, or have been killed by therapy and medication, there won’t be any new cells because the ovaries have been removed, so they don’t produce any more.”

She tries not to Google her illness anymore. It doesn’t help her frame of mind. She’s changed in other ways, too.

“I was a very direct person before my illness,” she said. “Now I’m even more direct and straight-forward. I say no, and I don’t explain myself. If I don’t want to do something, I don’t have to. I just say no.

“Before that, I had a bad feeling about myself and explained myself just because I say no. I don’t do that anymore.”

In December, she began radiation. She has another scan after the Olympics.

There are times she just can’t believe this is happening.

“Women or even men my age, you live in your world, you are following your dreams,” she said. “And you don’t think about something happening in your life. I only know young people in Switzerland, so I can only speak for them. But they don’t talk about that.

“They are not sensible about what can happen, and that’s why it’s important for me to speak out about it. For example, with a women’s doctor, you have to go. It can happen to anyone.

“I’m a young woman. I do sports since I’m 10 years old. I don’t drink alcohol. I don’t smoke. But it still can happen.”

Her illness has shined a spotlight on her friendships. Lots of her old friends showed concern at first, then went on with their lives. A handful checked in on her frequently. Some are new.

“I got in touch with a woman during chemotherapy, she was there too,” Michelle said. “She has breast cancer. She saw my cross necklace, and we were talking about faith and how it helped in those hard times.

“We are still in contact now. We are writing letters to each other. We’re not texting or phoning, just writing letters and sending postcards. She’s as old as my mom, but it’s very cool to have someone with almost the same story.”

How will that story end? Michelle has her hopes, this fearless young woman who took to bobsledding on her second time down the track.

“My goal is to be in the Olympics in four years,” she said. “I’ll be 29 by then. The age is still good — even better than now for a bobsleigh athlete. And I have a great team. My bobsleigh pilot is very supportive and she said she always has a place for me in the sled.”

This week, Michelle is supporting Cedric — just a sliver, she said, of the way he has supported her. They got engaged in December. It happened at sunset in his little hometown in the Swiss Alps.

“He was talking about himself and us, and then he proposed to me,” she said. “I said yes. Of course.”

Tuesday’s live TV and streaming broadcasts for the Milan-Cortina Olympics unless noted (subject to change). All events stream live on Peacock or NBCOlympics.com with a streaming or cable login. All times Pacific. 🏅 — medal event for live broadcasts.

MULTIPLE SPORTS
8 p.m. — “Primetime in Milan” (delay): Figure skating, freestyle skiing, snowboarding, short track speedskating and more. | NBC

CURLING
Men (round robin)
12:05 a.m. — U.S. vs. China | Peacock
12:05 a.m. — Switzerland vs. Sweden | Peacock
12:05 a.m. — Czechia vs. Germany | Peacock
3 a.m. — U.S. vs. China (delay) | USA
Women (round robin)
5:05 a.m. — Denmark vs. U.S. | Peacock
5:05 a.m. — Italy vs. Japan | Peacock
5:05 a.m. — South Korea vs. Switzerland | Peacock
5:05 a.m. — Sweden vs. Canada | Peacock
Men (round robin)
10:05 a.m. — U.S. vs. Italy | Peacock
10:05 a.m. — Canada vs. Britain | Peacock
10:05 a.m. — Germany vs. Switzerland | Peacock
10:05 a.m. — Sweden vs. Norway | Peacock
Men (round robin)
6:30 p.m. — U.S. vs. Italy (delay) | USA

BIATHLON
5:30 a.m. — 🏅Men’s 4×7.5-kilometer relay | Peacock
6:05 a.m. — 🏅Men’s 4×7.5-kilometer relay (in progress) | USA

BOBSLED
10 a.m. — Two-man bobsled, Run 3 | Peacock
12:05 p.m. — 🏅Two-man bobsled, final run | Peacock
2:30 p.m. — Two-man bobsled, runs 3-4 (delay) | USA

FIGURE SKATING
7:20 a.m. — Women’s short program, warm-up | Peacock
9:30 a.m. — Women’s short program, Part 1 | USA
11:40 a.m. — Women’s short program, Part 2 | NBC

FREESTYLE SKIING
1:45 a.m. — Women’s aerials, qualifying | USA
4:30 a.m. — Men’s aerials, qualifying | Peacock
8 a.m. — Men’s aerials, qualifying (delay) | USA
9 a.m. — Men’s and women’s aerials (re-air) | NBC
10:30 a.m. — 🏅Men’s big air, final | NBC

HOCKEY
Men (qualification playoff)
3:10 a.m. — Germany vs. France| Peacock
3:10 a.m. — Switzerland vs. Italy | Peacock
7:40 a.m. — Czechia vs. Denmark | Peacock
12:10 p.m. — Sweden vs. Latvia | USA

NORDIC COMBINED
12:10 a.m. — Men’s ski jump, large hill | Peacock
1 a.m. — Men’s ski jump, large hill (delay) | USA
4:45 a.m. — 🏅Cross-country, 10 kilometers | Peacock
6:50 a.m. — Cross-country, 10 kilometers (delay) | USA

SHORT TRACK SPEEDSKATING
5:30 a.m. — Men’s and women’s team pursuit, semifinals | USA
7:20 a.m. — 🏅Men’s and women’s team pursuit, finals | USA

SNOWBOARDING
4 a.m. — 🏅Women’s slopestyle, final | USA
9:45 a.m. — Women’s slopestyle, final (re-air) | NBC

In this episode of The Envelope video podcast, Teyana Taylor describes the “slingshot” of success that’s come with “One Battle After Another” and shares her insights as to why fictional revolutionary Perfidia Beverly Hills does what she does in the film.

Kelvin Washington: Hello, everyone, and welcome back to The Envelope. Kelvin Washington, Yvonne Villarreal, we have Mark Olsen as well. Hopefully you all have been great since the last time I saw you. Everybody been good?

Mark Olsen: Of course.

Washington: Well, I tell you what, there’s a list of folks who’ve been very good because they’ve been nominated for an Oscar. And obviously, you kind of get the usual suspects, if you will. And then you get some surprises out there. Some folks you go, “Whoa!” So I want to start with you. Either of you can jump in on this. Is there someone that maybe surprised you, a film or something that you were just excited about or maybe someone said, “Them again?” or “That film again?”

Olsen: I think it was very exciting that “Sinners” got the most nominations of any film ever with 16 nominations. It was nominated in every category that it was eligible for. To see a movie that has had commercial success and felt like a cultural moment now being recognized somewhere like the Academy Awards, it’s just exciting to see that all coming together and rolling along for that film, regardless of how it turns out at the show.

Villarreal: I was very excited to see Rose Byrne get acknowledged for “If I Had Legs I’d Kick You.” Because I was worried about that movie losing steam after all the raves it got at Sundance [in 2025] and it’s a smaller movie. I wasn’t sure, “Are people going to remember it?” But I just think she’s so great in that film.

I was sort of surprised that Chase Infiniti didn’t get nominated.

Olsen: Because of the nature of the movie, the whole lead/supporting business was tough, and also it being her first movie, it’s a little harder to get that nomination — especially in lead actress, faced with, say, Kate Hudson, someone who’s been in the business for a long time, is much beloved in the industry, has obviously family historical ties to Hollywood. It’s interesting to see even in the nominations this sort of alchemy of like, “a little of this, a little bit of that” as far as who the academy was choosing to recognize.

Washington: You know, I go back to something you said, Mark, when you go to “Sinners.” You mentioned the blockbuster feel of it, getting people’s butts to the theaters, spending money. And also kind of original. We’ve had vampire movies before, but, you know, you get the “Transformer 12’s” and “Expendable 32’s.” I think a lot of folks were excited to see something original that also had commercial success as well.

Another film that had a bunch of success is “One Battle After Another.” You had a chance to speak with a star from that film, who’s been a star in her own right musically, but now into the film world, with Teyana Taylor.

Olsen: That’s right. It’s so exciting. She’s nominated for best supporting actress. This is a long movie, it’s over two and a half hours long. She more or less exits the picture about 30 minutes in. So I think it says something about the strength of her performance that her character kind of hovers over the rest of that movie. You feel her in the movie, even though she’s actually not onscreen. So at the Oscar nominees luncheon recently, we had a chance to sit down with Teyana and she was just so vibrant, so full of energy, really has a great attitude about this moment for herself. I mean, she just recently won a Golden Globe, she hosted “Saturday Night Live.” So much is like happening for her, seemingly right now and she’s just got this real like, taking it all in, very open to it [attitude]. It was really an exciting conversation.

Washington: A culmination of all her hard work. Here is Mark’s conversation with Teyana Taylor.

Teyana Taylor.

(Ian Spanier / For The Times)

Mark Olsen: You were just at the Super Bowl. About a week before that, you were a nominee at the Grammys. About a week before that you hosted “Saturday Night Live.” About a week before that you won a Golden Globe. And you’re here today as an Academy Award nominee. I’m sure I’m leaving some things out. I would say what’s the last year been like for you, but I feel like, what’s the last month or two been like for you? It feels like the rocket ship has really taken off.

Teyana Taylor: Yeah, it’s really taken off. I’m so blessed and I’m so honored and I’m filled with so much gratitude to just see so many prayers get answered all at once, where I’m also OK with one at a time. But it’s all happening, you know? And I’m just beyond blessed. And like we were talking about earlier, just how much fun I’m having with it. I’m really having a good time and I’m taking it all in because life is short and life is so fragile. So I just try and take time to enjoy life and enjoy my blessings and enjoy just being alive and well.

Olsen: Has there been a moment that felt the most surreal, like a “What is happening to me right now” moment?

Taylor: Honestly, all of it, because it reminds me of a slingshot, you know what I’m saying? It’s just like, here’s the way, here’s the way, here’s the way, here’s the way, here’s the work, here’s the prayers, here’s the tears, just here, here, here, here, here. And then whoosh — whatever the ball hit, it knocked down everything at once. And that’s what this feels like. It feels really good because literally everything is happening at the same time. So it’s not like only one moment or only two moments that’s making me feel this way. It’s everything. The small wins, the big wins, the medium wins. Every single win and every single blessing is a big deal to me. You know what I’m saying? Even my Ls. I’m not gonna win everything and I’m not gonna get everything, and some things are not even meant for me. But even those are blessings. It’s preparation for something that is in store for me and something that is meant for me, because all of this is already written. What’s for you is for you and will be for you, because that’s just what’s written. So I have that mindset.

Olsen: You’ve been doing this since you were a teenager, at first as a choreographer and a dancer, a singer, an actor, you’re going to direct your first feature soon. What keeps you moving through all of this, through these different disciplines and pursuits?

Taylor: My babies. My support system. My village. My community. I love to make my people proud. I love to make my peers proud, my family. I just love to make everybody proud and that’s what keeps me going. Even right now, I’m also in culinary school. So it’s just juggling that, but taking out the little moments to just be quiet and cook and feed my people. So it’s a push. It’s understanding it’s a marathon and that it’s not a sprint. It’s a part of the faith walk. And I think that’s what keeps me going, to wake up and feel so blessed, how could I ever complain? How could I ever be like, “Oh, this is too much”? It is everything I’ve ever asked for. I’m never going to complain about answered prayers. What pushes me is just the reassurance from my support system, the reassurance from Father God himself, the reassurance for my babies. They keep me going. That’s who I do it for. I want to create generational wealth. So them babies are my reason. They are my why.

Olsen: To start asking you about “One Battle After Another,” your character, Perfidia Beverly Hills, she’s inspired a lot of conversation and some controversy. For you, was there something about that character that you felt you hadn’t seen on screen before?

Taylor: Yes. Perfidia is complex and she is also misunderstood. This is a woman who has been in survival mode, who has been fetishized, who has been ignored, not seen. We’re seeing this woman deal with that, where in movies we’re used to seeing us women have to be in capes all day and you see this woman rip this cape away and it’s just unapologetically herself — even in her weakness. And even like you said, with the controversy of her sexuality, I think her sexuality is her armor. It is also her power. She’ll give somebody what they want to get what she wants. And literally in the movie, she’s made selfish decisions. But if you think about her spirit and mentally and emotionally as a woman, it felt good to see a woman actually be selfish and put her[self] first, which we never really get to do because we have to be super this, super this, super this. Super mom, super wife, super woman, super chef; everything is always with a super in front of it. And you see this woman not really caring about what people think. Nobody can quiet her. And in this space of, “OK, you’re too loud, quiet down; you stand too tall, have a seat,” Perfidia is all of the things that they can’t make her do. She’s like, “I’m gonna stand tall, I’m gonna use my voice, I’m gonna use whatever I need to use to get what I want.” And she makes decisions that we don’t agree with, but I think one thing we all can agree on is that she’s a badass. And I can always respect anybody that’s unapologetically themselves.

Another thing that I feel like the controversy is proof of is how much of a nonfactor postpartum depression is. Half of the mistakes we see Perfidia make is her dealing with postpartum depression. You see the moment where they say, “Perfida, she’s a runner. She comes from a long line of revolutionaries.” That in itself is a pressure on her to feel like she gotta keep that going. The revolution is instilled in her. It’s a part of her identity. So imagine getting pregnant and you’re feeling like, “Oh, my God, does this slow down the revolution? Am I gonna play house with a person that’s ignoring me?” Nobody is really taking the time to think about what’s happening in her mind. We can’t control how a person handles postpartum depression. We hear her, through the door, cry, and then we see Bob put his ear to the door — and instead of him walking in, he walked away. And then what was the result of that? Her walking away. Even if it had to be walking away from Baby Willa, it’s something that she felt like she needed to do, and that’s what postpartum make you do sometime. And every mother handles postpartrum depression differently. But I think that’s what I love about her character, because you get to see a harsh reality that I know is hard to take in. But when you watch it a few times you understand exactly what’s happening. … I think that’s what makes the letter at the end so important. Because you hear the pain, you hear the hurt, you hear the regret, you hear the accountability, “Do you have love? Are you happy? Will you try and change the world like we did? We failed, but maybe you will not.”

And that’s another thing. This is a story that Paul Thomas Anderson wanted to tell. It was Perfidia’s job to go and anchor this boat and stay there and create the path for Willa to take on these battles, because her past haunted Willa and Bob. That’s a part of Perfidia being supporting — supporting the next steps of what is for Willa. It’s for Willa to go on and to rise. So you see Perfidia in the beginning of the movie, you see her drive this boat, you see her get to the middle of the sea and you see her anchor herself. And from there, we have to continue the story. So I’m happy that the controversy around her can create dialogue like this, can create healthy dialogue or even uncomfortable dialogue. As long as it’s dialogue and we’re conversing and we are speaking and people are speaking from their point of views, I can absolutely respect that.

Olsen: Is that a conversation you expected to have? When you were making the film, were you and Paul, or you and your co-stars talking about the depiction of Black women in the movie? Or have you been surprised that’s been such a talking point now that the movie’s out in the world?

Taylor: Honestly, I’m not surprised of any of the talking. I think one thing that I said before the movie even dropped and we were doing our press junkets, I was always very boisterous about the fact that this movie, period, not just the character, would definitely shake the table, and it would definitely spark, whether it was great debates or — I love conversation and I like when we can converse. Get it off your chest, tell me how you feel. And I’m open to receive that. So I knew that it would shake the table. I also knew that it needed to be done. Postpartum depression is a big thing for me that I feel like it needs more light. It needs light around it. We need more solutions for it. And like I said, you see this person, this woman in survival mode. You see this woman be ignored. You see this woman be fetishized. And is that not the truth? Is that not what happens, especially in this place of a Black woman feeling the least protected? So I’m really happy that Paul put wings on that to be able to spread and fly with that. And like I said, I know it’s probably tough to take in, but that’s what we got to see because everybody is not wearing capes. Everybody is not handling things the way you may handle things, I may handle the things, the way that person or this person may handle things. So we all just got to give grace and take in the film. It’s a story that’s being told.

Olsen: To me, one of the biggest surprises about the movie is considering how cohesive and complete it feels, to learn how improvisatory and collaborative the process of making the movie was. Were you surprised by that? What was it like for you entering into the process of making this movie with Paul?

Taylor: I was shocked at how collaborative it was. And I loved every bit of it because one thing about it is, again, when you are telling a story that someone wrote — he’s been working on this project for 20 years. This is something that I consider to be his baby. And when you’re trusting me to take on a job like this, I don’t ever wanna walk into any set and feel like I’m doing what I want to do. I just want to be of good support. If you tell me, “Hey, let’s find this together,” I’m gonna find it together. If you say, “This is my vision of what that is and this is how I want it to be,” it’s my job to give you that vision of what you want it be, and then add my little sauce on top of it. But to be fully collaborative, I thought it was really dope. We found Perfidia’s layers and we color-coordinated those layers. And I’m really happy that he let me be a part of that.

Olsen: What do you feel you brought to Perfidia or you were able to add to the character?

Taylor: I was able to add a lot. Paul was very, very collaborative. And again, we found her layers, which was the most important, especially with such a complex character. And you know, I just came from “A Thousand and One.” So I came from being another complex character, but this one was complex to a whole other level, where we almost didn’t understand why we never see Perfidia cry. But you see these little moments, like little details, in her face that’s just like, it’s this strength, but the strength — because I also don’t really love the term “strong Black woman” — it’s this strength that you feel like she has to have because the strength is really survival mode. And again, like I said, you hear her crack down and you hear her vulnerable, and nobody stepped through that door. So when you see a strong Black woman, there is no grace, it’s, “Oh, she’s OK, she fine, she got it all figured out.” And then you hear her vulnerable and you still feel like even at her most vulnerable, she got this, she’s strong. And it’s just like, “Step through the door. Step in early. Step in the first time. Hear me the first time, see me [this] time, wipe the first tear away. Would she have walked out that door on Baby Willa and Bob, had he walked through that door when he heard her cry?

Olsen: I’ve heard you a number of times when you’re talking about Paul, you always call him Paul “Let Him Cook” Thomas Anderson. What does that mean?

Taylor: Let him cook! Listen, because he to me is a master chef. And honestly, I’m very, very big on leadership. I respect the person that is a leader. What makes it so dope is because, with being in culinary school, I originally signed up for culinary school, of course, to learn the art of culinary, but to just cook, I love to cook and I wanted to learn the art of that. With being enrolled in culinary school, it’s a lot of writing work and a lot of discussion forums and a lot of quizzes and stuff like that. So you’re not only learning to cook, but you’re learning how to run a business. You’re learning how to navigate your staff, front of house, back of house, in the kitchen. You have to understand it’s a whole system in how you handle people in general. In the kitchen they call it like a “servant leader,” where your leader is in the kitchen with you, they’re cooking with you. They’re your mentor, they are your guidance, but they’re cooking with you. They’re not just pointing, “Do this, do that, boom, boom, boom.” And it’s just, like, his gentle servant leadership is something that I respect so much and something that inspires me as an upcoming movie director on how to handle and navigate my staff.

So it’s like the best of both worlds because I have PTA and then I have culinary school who’s teaching me how to be the best leader. Even in how we handle people, it’s bigger than just the people that work for us or with us. It’s also the people that come into this restaurant. It’s your customers. It’s just the hospitality of it all and the hospitality that he gives, it’s really amazing to see. I’m also a big sports girl. So even in regards to him being our quarterback, you know, he’s not on the side, pointing at what to do. He’s on the field with you. But he has an even bigger job because now he’s trusting that he’s going to throw this ball to you and you’re going to receive that ball. So we’re his receivers, we’re his wide receivers to take it to the touchdown. It’s all about being present. And that’s what I learned in culinary, it’s what I learned in sports, it’s just everything about being a leader as I prepare to lead my village and lead my community. That’s just so important to me. So I always respect people that are in the field with you. I become a warrior for you. You see Paul, you’re running in the battlefield, you look to your left, he’s with you. He’s not on a horse, he’s not on his high horse. He’s in the field with you. Let’s go, we got this! And it just makes you want to you want to go so hard for him. And that’s how I look at it. So I am a student. I am a teammate. I am a soldier. I am a warrior. That’s what I am with people that are great leaders.

Olsen: When you won the Golden Globe, your speech was so moving and you specifically spoke to your “brown sisters and little brown girls” and said that their light does not need permission to shine. Can you talk more about that? What was it that made you want to say that in that moment, specifically talking about this movie?

Taylor: I thought it was a very important moment on a very important stage. I wanted to use my voice and I wanted to use my platform. And in that moment, I had the voice and the platform to say just that. It’s nothing less than that. There’s nothing beyond that. Exactly what I said. We deserve space. What that night showed was that here’s the space. And I appreciated that. I was filled with so much gratitude. That moment hit hard for me because I was that little girl that sat on the floor on a TV watching the other queens onstage accept their awards. Like, “You can do it too, you can do it too.” And I knew that one day when it was my turn, I would tell my little queens, “You can do it too — all the little queens that look like me, you can do it too, you deserve space.” To know that also my daughters were watching as well, it’s everything to me. It’s everything for me to know that they embrace that as well. It’s so important. I’ve gotten so many women come up to me like, “Wow, that speech was just everything.” And that’s what it’s all about. That’s what is all about: to inspire, uplift and remind us that there is space.

Olsen: Before I let you go, you just bring it on red carpets time and time again. And the one thing I like is that you wear these really bold outfits, and it never looks like the clothes are wearing you. Do you have tips for people? What do you do for confident personal style?

Taylor: Honestly, follow your heart. Follow your heart. If you see it and you like it, put it together. You might put it together and be like, “That didn’t work the way I [intended].” Practice. Play in clothes. I love to play in clothes — but also will walk in the store and redress a whole mannequin. I’ll also be like, “I like that tie, I think it should be a little bit tighter.” I dream about certain outfits. I dream of certain moments where I’m like, “Oooh. I already know what I feel like I want my Oscar dress to look like. I already know what I want my Golden Globes dress to look like.” It’s always a vision. Or sometimes you might have a base. You might see something and be like, “I like this, but I feel it could use this.” Add it. If you feel like something can use something, add it. Because before you know it, now you done created your own thing. So don’t hesitate. When I was younger, I used to hesitate and be like, “This looked pretty cool, but now I’m not gonna do it.” And then later on, I see somebody try it, and I’m like, “Oh, I should have just…” Always follow your gut and always follow you heart.

CORTINA D’AMPEZZO, Italy — Mikaela Shiffrin’s Olympic woes continued Sunday, with the American skier finishing 11th in the women’s giant slalom at the Milan-Cortina Games.

Italy’s Federica Brignone won the race for her second gold of these Olympics, posting a combined time of 2 minutes and 13.50 seconds. Sweden’s Sara Hector and Norway’s Thea Louise St. Jernesund tied for silver (+0.62). Hector and St. Jernesund, stunningly, posted identical times in both of their runs — 1:03.97 in Run 1 and 1:10.15 in Run 2.

Shiffrin’s second run started strong but she lost time in the middle part of the course to finish in 1:10.17 combined time of 2:14.42 (+0.92).

Shiffrin, the all-time leader in World Cup wins, has failed to reach the podium in her last eight Olympic events. Although Shiffrin won gold in the giant slalom in the 2018 Olympics, her subsequent performances in Beijing in 2022, and last Tuesday in Cortina, have people wondering if the Games present a brick-wall mental block for her.

After all, she came into these Olympics having won seven of eight World Cup slalom races, and finishing second in the one she didn’t win.

Yet Tuesday, in the women’s combined, she was 15th out of 18 finishers. That was a disappointing debut for a legendary racer looking to bounce back from her last Olympic showing.

Four years ago, she was a favorite in Beijing but went 0 for 6 on podiums and failed to cross the finish line three times. Her best individual result was ninth in the super-G.

Sunday was all about Giant Slalom, a discipline in which Shiffrin holds the women’s record for most World Cup wins with 22.

But she has endured a long dry spell in the discipline in recent years. She didn’t have a top-three result in giant slalom between January 2024 — when she was runner-up at the race in Slovakia — until her third-place finish in Czechia last month. She failed to reach the podium in her 11 races in between.

That said, since the end of 2025, she has been steadily improving, going from sixth to fifth to fourth to third in World Cup finishes leading into the Olympics.

That upward trajectory was not evident in her first GS run Sunday morning. On a cool but sunny start to the day, she skied the course at the Tofane Alpine Skiing Centre in 1:04.25 — best of the four Americans but 1.02 seconds off Brignone. That put Shiffrin in seventh place heading into the afternoon session.

Brigham Young receiver Parker Kingston has been charged with first-degree felony rape by prosecutors in Utah.

The Washington County Attorney’s Office announced the charges on Wednesday, almost a year after a 20-year-old woman told officers at St. George Regional Hospital that Kingston had sexually assaulted her on Feb. 23, 2025.

The St. George Police Department gathered digital and forensic evidence and interviewed the involved parties and other witnesses before turning the information over to the Washington County Attorney’s Office for review.

Kingston, 21, is being held without bail and is scheduled to appear in Utah’s Fifth Judicial District Court on Friday afternoon.

Kingston has been with the Cougars for four years and has one season of college eligibility remaining. In a breakout 2025 season, he had 67 receptions for 928 yards and five touchdowns with 119 yards and three touchdowns rushing. Over the past two seasons, Kingston has also returned three punts for touchdowns.

“BYU became aware today of the arrest of Parker Kingston,” the school said Wednesday in a statement. “The university takes any allegation very seriously, and will cooperate with law enforcement. Due to federal and university privacy laws and practices for students, the university will not be able to provide additional comment.”

Last year, then-BYU quarterback Jake Retzlaff was accused in a civil lawsuit of raping a woman in November 2023. Retzlaff contended that the sex was consensual, and the parties agreed to dismiss the case with prejudice in June. Facing suspension for violating a BYU honor code that requires students to abstain from premarital sex, Retzlaff transferred to Tulane.

SACRAMENTO — Gov. Gavin Newsom signed a bill on Wednesday to provide $90 million to Planned Parenthood, a move intended to help offset the losses from recent federal cuts targeting abortion providers.

“These cuts were designed to attack and assault Planned Parenthood,” said Newsom, speaking at a news conference near the Capitol. “They were not abortion cuts; they were attacks on wellness and screenings and they were attacks on women’s healthcare.”

The Republican-backed “One Big Beautiful Bill Act,” signed last year by President Trump, blocked federal Medicaid funding from going to Planned Parenthood. More than 80% of the nearly 1.3 million annual patient visits to Planned Parenthood in California were previously reimbursed by Medi-Cal, the state’s version of Medicaid.

Sen. John Laird, who authored the legislation for the funding, Senate Bill 106, said the measure showed that California won’t back down. “This is us standing up to the immediate cut that was in that bill,” said Laird, (D-Santa Cruz). “This is how we are fighting back.”

Jodi Hicks, chief executive officer of Planned Parenthood Affiliates of California, thanked legislators for their support and said the organization could not survive without support from the state. She said Planned Parenthood would always fight against federal attacks but “needed an army” this time to stand beside them.

During the news conference, First Partner Jennifer Siebel Newsom expressed frustration with reporters for asking off-topic questions and said the media should be more concerned about women’s issues.

“All of these questions have really been about other issues,” she said. “This happens over and over and over again — (and we) wonder why we have such a horrific war on women in this country.”

Planned Parenthood offers a range of services, including abortions, birth control, cancer screenings and testings for sexually transmitted diseases. A coalition of states, including California, filed a lawsuit last year against the Trump administration over the cuts to the nonprofit. The states argue in the ongoing lawsuit that the measure violates the spending powers of Congress by singling out Planned Parenthood for negative treatment.

Senate Bill 106 has drawn ire from Republicans, who question why funding is going to Planned Parenthood when many hospitals in the state need more financial support.

“For rural Californians, this conversation is about access to care,” Sen. Megan Dahle (R-Bieber) said in a statement from the Senate Republican Caucus. “Hospitals are cutting services or facing closure, forcing families to drive hours for life-saving treatment. State lawmakers should prioritize stability for these communities.”

A woman recently visited a Victorian train station in the UK, but was left floored when she made a discovery hidden within its walls. Sometimes the most unexpected things await us

Thousands of people visit train stations every day, but sometimes more lies within them than we realise. One woman recently discovered this when she visited an old train station in the UK, and it left her totally taken aback.

Korina, known as thedreamywanders on Instagram, recently shared her epic find on social media, and it’s since gone viral, as people can’t believe how beautiful her discovery was. When she entered the train station, she ended up finding a lot more books than she did trains, and the experience left her, and her followers, totally mesmerised, and it’s pretty easy to see why.

It’s not the first time people have made such amazing discoveries at train stations either. For example, the secret world of London’s Underground was also previously exposed.

In Korina’s clip, she wrote: “POV: You entered a Victorian train station and found the UK’s cosiest second-hand bookshop.” Alongside this, she added: “Barter Books is set inside a Victorian train station and it feels like stepping into a different world.

“There are shelves everywhere, cosy corners to browse and model trains running overhead as you explore. It’s the kind of place where every book feels like it’s waiting to be found.

“There’s also a café on site and fireplaces around the shop, so you can grab a coffee, sit by the fire and read for a while. One of those places you could easily lose track of time in.”

The post quickly got people talking, and dozens were quick to comment. They shared all sorts of thoughts.

One said: “Oh I love this spot! You really captured its magic.” Another added: “Had the absolute joy of introducing a friend to this place today. He loved it.”

A third replied: “Wow, this is amazing.” Meanwhile, a fourth commented: “It’s a truly wonderful world. A place I could spend a whole weekend.”

One more also chimed in with: “I think I bought 17 books last time I was there.” Another also noted: “Such an adorable bookshop.”

Where can you find it?

The bookshop is located in Alnwick, Northumberland. If you haven’t visited before, it’s known for its charming atmosphere, with towering shelves of second-hand books and a lovely collection of old railway memorabilia. Barter Books also features a unique “barter” system, where customers can trade in old books for store credit.

It’s considered a gorgeous place to visit for both book lovers and history enthusiasts alike. You’ll find it located in the historic former Alnwick Station, and it was opened in 1991 by Stuart and Mary Manley.

The station, which was built back in 1887, was later transformed into an amazing bookshop. It still contains much of its original Victorian architecture, including the station’s platforms and waiting rooms. Today it is one of the largest second-hand bookshops in Europe.

If you haven’t visited Northumberland before, it’s directly adjacent to and north of Newcastle upon Tyne. Many areas can be accessed in less than an hour by car or public transport.

It serves as a rural, and coastal counterpart to the city, offering easy access to attractions like Alnwick, Morpeth and the coast. As well as this, Northumberland is directly adjacent to Scotland, forming the northernmost county of England and sharing the border to the north and west.

SACRAMENTO — California lawmakers on Monday approved a one-time infusion of $90 million for Planned Parenthood and other women’s health clinics, a direct respond to the Trump administration’s cuts to reproductive healthcare and access to abortion providers.

“Trump is tearing down healthcare and increasing costs,” Assembly Speaker Robert Rivas (D-Hollister) said in a statement. “Democrats are building it up — investing millions in women’s health and maternal care, because families come first in California.”

The legislation providing the funding, SB 106, carried by Sen. John Laird (D-Santa Cruz), is intended to help offset the losses from federal cuts that targeted abortion providers. The Republican-backed One Big Beautiful Bill Act, signed last year by President Trump, prohibited federal Medicaid funding from going to Planned Parenthood.

The bill now heads to Gov. Gavin Newsom.

California and a coalition of other Democrat-led states filed a lawsuit against the Trump administration last year over the provision. More than 80% of the nearly 1.3 million annual patient visits to Planned Parenthood in California previously were reimbursed by Medi-Cal, the state’s version of Medicaid, which provides healthcare coverage to low-income Americans.

Assemblyman David Tangipa (R-Clovis) voiced opposition to the legislation Monday.

“Why does Planned Parenthood get a $90-million grant when right now over 60 hospitals in the state of California are on the verge of shutting down?” Tangipa asked, speaking on the Assembly floor. “Hospitals across our state that deliver high quality care to women are on the brink of closure.”

Planned Parenthood offers a range of services, including abortions, birth control and cancer screenings.

This year’s lineup of Oscar-nominated live-action shorts is as diverse as any in recent memory. From gritty political reality to absurdly cutting political commentary, tongue-in-cheek parody to touching, intimate drama (plus a moody adaptation of a Russian short story), voters have a wide selection from which to choose.

‘Butcher’s Stain’

Following the horrific attacks of Oct. 7, 2023, a Palestinian butcher in an Israeli shop finds himself accused of defiling a tribute to the hostages.

“I worked at the supermarket, and I experienced the collective trauma everyone was going through,” says writer-director Meyer Levinson, but he also felt how much animus “was pointed to the Palestinians that were working at the supermarket … individuals who have nothing to do with anything that happened, especially like my [movie’s] character, who is an everyday, working-class guy, trying to get money for his family, and has nothing to do with politics.”

Levinson calls making the film, his first, “one of the greatest experiences of my life. The set of a student film is a magical place; people come there for free, for passion. You just have to get them a decent sandwich.

“There were Palestinians, Jewish Israelis, Palestinians within Israel on set. It was this sort of paradise where we could come together. I’ve learned so much from my Palestinian actors, who’ve taught me about their community.”

‘A Friend of Dorothy’

(Filthy Gorgeous Productions)

In Lee Knight’s film, a chance meeting between a young Black Englishman in the process of finding himself and an elderly, white Englishwoman blossoms into an unexpected kinship — one based on Knight’s experience.

“I had a unique friendship with an elderly neighbor,” says Knight. “Me and my husband looked after her. She had this huge passion for the arts that she didn’t get to explore; when she realized we were actors, it was a huge thing for her. We became very, very close.

“She told me she would hide gay men in the garden during the war” and help them during the time of England’s infamous Section 28 (“banning the ‘promotion’ of homosexuality,” Knight says). He says it was meaningful for her “to see an interracial, gay couple happy and safe in her lifetime. As a gay man, I loved being around women because they didn’t judge me.”

‘Jane Austen’s Period Drama’

A charming country hillside. A fetching lass in Regency garb and her paramour, confessing his ardor. And the equivalent of a needle scratch as he’s halted by the appearance of blood on her skirt. Yes, that’s what’s meant by “Period Drama.” How will Miss Estrogenia Talbot elucidate this conundrum to Mr. Dickley? And once comprehending, shall he go with the flow?

Co-writer and co-director Julia Aks (who plays Estrogenia) admits it was the titular pun that got her and co-writer and co-director Steve Pinder going, but, “As we followed the thread, it made me reflect on shame I maybe hadn’t thought about. And the more I talked to women about funny period stories, I found they had heartbreaking ones.”

The film addresses stigma surrounding menstruation and includes biologically accurate descriptions; educational groups have screened it. But foremost, this “Period Drama” is a comedy.

Pinder says, “When you hear people laugh and come to life watching it, and then come up to you afterward and look like they’re floating … that is just incredible.”

‘The Singers’

Sam A. Davis didn’t exactly love Ivan Turgenev’s short story “The Singers,” at first — “honestly, I nodded off a couple times,” he says. “But it sneaks up on you. These guys have this fleeting moment of connection.”

The film updates Turgenev’s 1850s Russia to contemporary America, but maintains the “Lower Depths” social stratum. The low-down dive bar is draped in painterly shadows inspired by Renaissance masters, the stale cigarette stench palpable. Then the notion of a singing contest arises, and life stirs.

Davis says, after reading the story, “This sort of kismet moment happened where I opened Instagram and the first video that popped up was Mike Yung singing in the subway station in New York City. I flashed on a modern adaptation, but starring viral singing sensations.”

He recruited them to play themselves without a formal script. “It was almost like casting and writing were one process … I wanted it to be a love letter to the underdog. You never know who you’re sitting next to at the bar.”

‘Two People Exchanging Saliva’

(Misia Films & Preromanbritain)

In bold black and white, we find ourselves in a luxurious French department store. In this world, items are paid for by receiving slaps to the face. And the crime of kissing is punishable by death, raising the stakes as a young sales assistant bonds with a regular customer.

“We were writing in late 2022 and there was the reintroduction of the ‘Don’t Say Gay’ law in Florida,” says co-writer and co-director Natalie Musteata. “In a sense, it presaged the moment that we’re living through; we’re all living in the fever dream of Florida. But other things were influencing us — the policing of queer love through history; you open your phone and see these women [in Iran] being shot at for taking off their hijabs.”

Co-writer and co-director Alexandre Singh says Oscar winner Barry Jenkins told them, on selecting the film for a program he curated at the Telluride Film Festival, “ ‘When I first watched this in 2024, it was surrealist, satirical, almost farcical. I couldn’t imagine how much more relevant it could become, in a scary way.’ ”

The photograph is so intimate, so vulnerable, it’s painful to look at.

It depicts a woman in her early 20s lying on a hospital bed twisted to the side, her wrists and ankles restrained. The black-and-white image — nearly five feet wide — is so crisp that bits of the woman’s toenail polish glimmer and the hair on her thigh appears to spark. Most pronounced: the loneliness and resignation on her face.

“I was 20 or 21 then. I’d had a psychotic episode and was taken to a public hospital in Massachusetts,” says Palm Springs-based artist Lisa McCord of the self-portrait she later staged. “I’m very transparent and I wanted to share my experience afterward. It was the ‘70s. I’d tell people, in school, I’d been in a psychiatric hospital and no one wanted to hang out with me — it was a very lonely time.”

McCord’s work is part of an exhibition at the Los Angeles Center of Photography addressing the idea of loneliness, now considered an epidemic in America. The exhibition, “Reservoir: Photography, Loneliness and Well Being,” was curated by LACP‘s executive director, Rotem Rozental, and includes participation from more than 40 artists representing “a wide array of geographies, approaches, ages, nationalities and lived experiences,” she says.

Rozental had been thinking about loneliness in our society — how increasingly pervasive it is — since the start of the pandemic. In late 2024 she began having conversations about it with LACP board chair and artist Jennifer Pritchard. Art reflects the world that we live in and Rozental felt that, as a photography center, LACP had an obligation to amplify “some of the larger issues” our society is grappling with.

“There’s something about photography that really brings people together around their vulnerabilities,” Rozental says. “Even if it just means you’re seeing, through an image, that someone else is experiencing what you’re experiencing.”

In this case: loneliness — “something that is looming heavy on everybody,” Rozental adds.

Asiya Al. Sharabi’s “Inward” (2025) addresses the uncertainty, and sometimes loneliness, of being a woman and an immigrant.

(Asiya Al. Sharabi)

Chronic loneliness is a serious, growing public health concern, says Dr. Jeremy Nobel, a professor at the Harvard T.H. Chan School of Public Health and author of the 2023 book “Project UnLonely: Healing Our Crisis of Disconnection.”

“Most recent studies indicate that 50% of Americans are often lonely,” Nobel says, adding that a December 2025 study found that “loneliness is increasing, even after the pandemic. And it’s driving a change in behavior, the big one being that people are disengaging from each other and community activities, so that also isolates them.”

What’s more, chronic loneliness has tangible, dangerous effects on our health, he says.

“Loneliness increases the risk of heart attack and stroke and general early mortality by up to 30%. Dementia risk goes up by 40%, diabetes risk goes up 35% from being chronically lonely. That’s increased the urgency to address it as a public health crisis.”

It’s important to note, Nobel says, that there’s a difference between being alone and being lonely, with the former potentially good for your health.

“Being alone means you don’t have social connection. Loneliness is the subjective feeling that you don’t have the social connections you want,” Nobel says. “You can be lonely in a crowd, you can be lonely in a racist workplace, you can be lonely in a failed relationship or marriage. But being alone can actually be quite positive — solitude. You can be in touch with thoughts and feelings and can have emotional growth.”

Nobel consulted with many of the artists during the development of “Reservoir.” It was a natural pairing as his more than 20-year-old nonprofit, the Foundation for Art & Healing, explores how creative expression helps individuals and communities heal. The experience “definitely validated ‘how do creative people use their creative orientation to further explore and reveal what’s going on with loneliness,’” he says. “That’s the power of this exhibit.”

A detail shot from Diane Meyer’s “The Empty Space of Nothing #43” (2025)

(Diane Meyer)

To create the exhibition, Rozental selected six photographic mentors, all established artists, each of whom chose a theme around loneliness — “aging,” “immigration,” “technology and hyper-consumerism” or “the solo creative process,” for example. The mentors then invited artists to create new work responding to their themes. Over nine months last year, the groups of artists met monthly on Zoom — “six countries and seven time zones,” says Rozental — along with therapists, scholars and others to plumb the topic.

The resulting exhibition features mostly two-dimensional photography but also includes multimedia works and 3D installations.

L.A.-based artist Diane Meyer sourced about 100 old black-and-white photographs from private collections. Then she hand-painted each of them, blocking out most everything in the image except select figures with white paint. The individuals in the photos appear to float in a sea of clouds or snow, disconnected.

In one image, two young boys teeter on a seesaw, as if suspended in midair; in another, a middle-aged man lies on a blanket in the fetal position, white paint spilling over onto his blanket and body, as if he is sinking into a void. The creative process — which the work speaks to — is evident here, the artist’s hand noticeable. The paint is splotchy in places and the photographs are pinned delicately to a dark surface, their edges curling, giving the overall installation a textured materiality.

Meyer’s work is in stark contrast to Jacque Rupp’s installation on the opposite wall. Rupp’s slick multimedia work speaks to both technology and societal perceptions of aging women. After recently becoming a grandmother, the Bay Area-based artist asked AI to “imagine a grandmother in 2025.” The result is a black-and-white photo grid of several hundred female faces staring blankly into the camera, mouths closed and eyes vacant. Beside it is a TV monitor on which their faces morph into one another, without audio. The overall effect is polished and high-tech, touching on the perceived invisibility of women as they age.

“I felt that these two works needed to be in conversation,” Rozental says.

Julia Buteux’s “Have We Said Hello” (2025)

(Rotem Rozental)

Nearby, Julia Buteux’s three-dimensional installation of transparent fabric panels hang from the ceiling, shimmying in the air and inviting guests to walk around it. The Rhode Island-based artist downloaded images from social media and deleted the people from them. The backgrounds are colorful but all that’s left of the subject is a transparent imprint of their face and upper body. “So you’re getting the absence of the user,” Rozental says. It speaks to how isolating online social milieus can be.

Asiya Al. Sharabi — who is Yemeni American and lives between Egypt and Virginia — created large-scale, conceptual self-portraits that she manipulated in the printing process. One is a double exposure depicting the front and side of her face. It addresses issues of duality and the uncertainty of her standing in society as both a woman and an immigrant. In another, the artist sits in a rocking chair in a home beside a vase of dead flowers — but her body is transparent. “She almost disappears within the domestic space,” Rozental says.

McCord’s photograph is part of a larger interactive installation that includes a “visual diary” guests can flip through featuring photographs of her life over the decades paired with handwritten diary entries from 1977 to 2021. McCord narrates snippets from the diary, which visitors may listen to on headphones.

“Reservoir” aims, of course, to shine a light on the condition of loneliness. But it also hopes to serve as a public health intervention by hosting creative workshops — incorporating the photography in the exhibition — to address loneliness and spark connection.

“Creative expression changes our brains,” Nobel says. “It reduces levels of the stress hormone cortisol, it increases the levels of the feel-good hormones, so you’re less anxious about the world and in a better mood. It’s then easier to engage with others. It invites us to be less lonely and more connected, not just to other people, but ourselves.”

The exhibition, which closes March 14, is planned to travel internationally, including to the Museo Arte Al Límite in Chile, the Inside Out Centre for the Arts in South Africa and to the Karuizawa Foto Fest in Japan. The goal is to use the workshop element as a model that can be replicated in community arts organizations around the world.

Rozental says photography is the perfect conduit for that, calling the medium “a language, a space for connection and communication.”

“We hope that people will walk into this space and see themselves on the walls,” she says. “Maybe their burden will ease a little bit by knowing that they might feel lonely, but they’re not alone.”

SIR Idris Elba is due to give evidence in the trial of a woman who allegedly stalked him and his wife.

The defendant is to face court next year after being arrested and charged.

The Sun told last year how actor Idris, 53, and his wife Sabrina, 36, had allegedly received unwanted emails and other communications.

The woman was also said to have turned up at private events in London, which the couple attended separately on different days.

A source said: “These events were seriously distressing for Idris and his family.

“He had no choice but to report it to the authorities.”

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The woman, in her 30s, was arrested in October and in November denied five harassment-related charges at Kingston crown court, South West London.

She has been released on bail.

Luther star Idris is expected to take the stand in the trial pencilled in for May 2027.

The Met Police said: “A woman has been charged following an investigation.

“The charges follow an arrest on Sunday, 26 October, 2025.”

MILAN — History didn’t begin in Italy, but it made a number of significant advances there. The foundations for representative government, the 365-day Julian calendar, modern sanitation, newspapers, roads and the postal system were established in Rome.

Centuries later, the rest of the world is still doing as the Romans do.

But if Rome is Italy’s past, Milan is its present and future.

It is the country’s financial center, home to the Italian stock exchange. It’s the world’s fashion center, home to luxury brands including Prada, Versace, Armani and Dolce & Gabbana. And it has one of the largest concentrations of millionaires in the world, one for every 12 of the city 1.37 million residents.

“It’s a city that’s becoming more global and global,” said Giorgio Ricci, the chief revenue officer for Inter Milan, the city’s top soccer club. “Milano is now a real ambassador of that Italian culture, from lifestyle to design to food and whatever.”

And now, like Rome in the summer of 1960, it also has the Olympic Games.

The Milan-Cortina Games are the first Olympics officially shared between two host cities and the most logistically complex Winter Games ever, taking place over 8,500 square miles of northern Italy. And though most of the medals will be awarded in the surrounding mountains at Cortina d’Ampezzo, Valtellina and Val di Fiemme, Milan will be the beating heart of the Games, much as it is the beating heart of the country.

The main opening ceremony will take place at San Siro, the 75,000-seat stadium that is home to the city’s two first-division soccer teams, Inter Milan and AC Milan. Figure skating, speedskating and men’s and women’s hockey will also be held at four other venues across the city.

San Siro in Milan will host the opening ceremonies for the 2026 Milan-Cortina Winter Olympics.

And that will happen, organizers say, whether the venues are ready or not — and one of them is not. The 11,800-seat Unipol Dome, which will be known as Milano Rho Ice Hockey Arena during the Olympics, is one of just two competition venues that had to be constructed for the Games. It played host to the first games of the women’s hockey tournament Thursday despite the fact that construction crews were still administering the final touch-ups outside the building as Sweden was beating Germany in the opener.

“Do we have every area of that venue finished? No,” said Christophe Dubi, the International Olympic Committee‘s executive director for the Olympic Games said earlier this week. “Is it absolutely necessary for the Games? No. Everything that is public-facing, whether for media or athletes, will be first-class.”

Organizers certainly hope so because there’s a lot riding on these Games. If Milan can pull off an efficient, modern, sustainable and technologically “smart” event, it will reinforce the city’s status as one of the world’s top-tier global capitals, one with financial roots and a trendy multicultural image.

Fail in any one of those categories and Milan could suffer significant financial and reputational damage.

A singer busks late at night in Piazza del Doumo in Milan ahead of the Winter Olympic Games.

(Robert Gauthier / Los Angeles Times)

The competition is expected to draw 2.5 million people to Milan — many of them first-time visitors — while generating more than $7 billion in economic activity. Much of that spending went to upgrade the city’s and regional rail lines, which are expected to be overwhelmed given the spread-out nature of the Games.

Days before the Olympic torch was lit at San Siro, Milan’s Piazza del Duomo, which fronts the city’s elaborate Gothic cathedral, was packed with Olympic visitors, many wearing sweatshirts and jackets bearing the flags of their homelands. NBC will anchor its 700 hours of linear TV coverage from a temporary studio tower built in the square, with the iconic church as its backdrop.

Around the corner along the Via Orefici, which dates to the Middle Ages, many of the neighborhood’s trendy boutiques have hung neon signs with the Games logo, proclaiming themselves proud sponsors of the Olympics. At night, a singer who calls herself Anna Soprano performs a solo street opera.

However many locals have failed to catch Olympic fever with high ticket prices and fears about traffic, security measures and crowded Metro trains dampening enthusiasm.

An opera singer performs in Milan ahead of the 2026 Winter Olympics.

Buried beneath Milan’s rush to the modern from the Middle Ages — just beyond the Duomo Cathedral, which was begun in 1386, is the massive 15th Century Sforza Castle — lies a more recent history the city would just as soon forget. Milan was Italy’s Munich, the birthplace of Benito Mussolini’s fascist movement.

Yet it later became the center of anti-fascist resistance, with partisans seizing control of the city in the final days of World War II and executing Mussolini, hanging his corpse from the roof of an Esso station in the Piazzale Loreto. Milan marked that day by naming a prominent square in the city’s center April 25 Plaza for the day the uprising that liberated Milan began.

If Milan is modern Europe, some of the competition clusters outside the city, spread from Valtellina on the Swiss border in the north to Cortina d’Ampezzo, 27 miles south of the Austrian border, represent both the rustic and gentrifying Italy.

The scenic Fiemme Valley, site of cross-country skiing, ski jumping, and Nordic combined , is made up primarily of three small villages — Carano, Daiano and Varena — in the Dolomites mountain range. Despite a history of human activity that dates back more than 6,000 years, the area wasn’t officially established as the municipality of Val di Fiemme until the three townships merged in January 2020.

Today it is a major outdoor-sports destination, having played host to the FIS Nordic World Ski championship numerous times; in the summer it is a favored destination of hikers.

Valtellina, a 75-mile-long valley that runs along the Swiss border, will be the site of Alpine skiing, snowboarding, freestyle skiing and the debut sport of ski mountaineering. The region is known as the heart of the Alps and is a premier Alpine wine area, famous for the elegant reds that come from grapes grown on steep, terraced vineyards.

Cortina d’Ampezzo in northern Italy will host multiple events during the 2026 Olympics.

Cortina d’Ampezzo, meanwhile, is a breathtakingly beautiful ski resort and outdoor sports paradise about 35 miles from the Austrian border. Unlike Valtellina and Val di Fiemme, which are rustic and traditional, Cortina is one of Europe’s most expensive ski towns, its streets lined with high-end stores, luxury hotels and Michelin-starred restaurants. For year-round residents, property prices are the highest in the Italian Alps.

It was scheduled to host the 1944 Winter Olympics before World War II intervened, delaying the its arrival until 1956, when 32 nations — the largest to attend a Winter Games at the time — competed in four sports and 24 events. This month it will be the site of the biathlon, Alpine skiing, curling and sliding sports (bobsled, luge and skeleton).

The new $140-million Cortina Sliding Centre, the second Olympic venue whose construction fell well behind schedule, was completed days before the opening ceremony but a cable car intended to carry spectators to the women’s ski events was not expected to be finished in time. That could lead to traffic jams since visitors will have to take their cars more than a mile up the mountain.

MILAN — Alysa Liu wore a hollow smile on the ice. She had achieved a dream, skating at the Beijing Olympics at just 16, but in a mostly empty arena, few were there to see the moment.

Perhaps that was what Liu secretly wanted.

“It’s not that I didn’t want to be seen,” Liu said. “It’s just I had nothing to show.”

The 20-year-old now proudly presents Alysa Liu 2.0.

Four years after shocking the sport by retiring as a teenage phenom, the Oakland native could win two gold medals at the Milan-Cortina Olympics. She is a title contender in her individual event that begins Jan. 17 as the United States tries to end a 20-year Olympic medal drought in women’s singles figure skating, and she will skate Friday in the women’s short program of a team competition the United States is favored to win.

Armed with a new perspective from her two-year retirement, Liu now smiles genuinely on and off the ice, no matter if there’s a medal around her neck or not.

“I have so much I want to express and show, whether that’s through skating or just through my presence,” said Liu, who placed sixth in Beijing. “It’s exciting to think about that being seen.”

When she made her Olympic debut, Liu didn’t feel like her career belonged to her. Her father, Arthur, was a driving force in her skating career. In a sport where coaches and choreographers often call the shots for young athletes, Liu entered the Olympic stage with programs she didn’t like and clothes she didn’t pick. She was behind a mask and couldn’t express herself. She barely knew how to.

Skating had consumed her entire life. She felt “trapped and stuck” in the sport. So she left.

After retiring following the 2022 world championships — where she won a bronze medal — Liu got her driver’s license. She hiked to Mount Everest base camp with friends. She went shopping for not-skating clothes, played Fortnite until 4 a.m. with her siblings and enrolled at UCLA. She loved studying psychology.

“I found what I like and what I didn’t like,” said Liu, who took time off from UCLA to prepare for the Olympics but hopes to return before her friends graduate. “Really got to know myself, because [when] I had skating, I didn’t really know myself. I couldn’t know myself. I only ever did one thing.”

Alysa Liu practices in Milan on Thursday ahead of the Olympic team competition, which starts Friday.

(Robert Gauthier / Los Angeles Times)

After a casual ski trip reminded her of the joys of skating, Liu made the decision to return to the sport that shaped, and nearly stole, her childhood. But she would only do it on her terms.

The choreography, the music and the costumes would all be her choice. She doesn’t compete to win. She skates to show her art, she said.

In the process, she’s winning more than ever.

She won the world championship in 2025, becoming the first U.S. woman to win the world title since 2006. She won the Grand Prix final in Japan in December, the last major international competition before the Milan-Cortina Games to announce herself as a potential Olympic champion.

The day before her last performance at the U.S. championships, the final competition that would decide her Olympic bid, Liu ran to a St. Louis salon to dye her hair to match a new skating dress. Unbothered by the pressure of the moment, she debuted a Lady Gaga free skate that brought fans to their feet and earned her a silver medal.

“When you are an Olympic athlete that has a chance in front of the world every four years, it literally is your life’s work that’s on the line,” NBC analyst and two-time Olympian Johnny Weir said. “And she has found a way to compartmentalize that and put it down. … I just think it’s so wonderfully healthy and brave and strong to be doing what she is, because it takes a lot of bravery to put down the pressure that the sport naturally has.”

Liu is just a natural talent in the sport, 2022 Olympian Mariah Bell said. Bell remembered during the Stars on Ice tour in 2022 when the skaters rolled into a new city, tired, groggy and sore from the long bus ride, Liu, dressed in a baggy hoodie and billowing sweatpants, could go on the ice and throw perfect jumps without warning. Bell stood in awe.

U.S. figure skater Alysa Liu practices on Thursday in Milan.

(Robert Gauthier / Los Angeles Times)

After Liu’s short program at the U.S. championships last month set a national championship record, Bell was blown away for different reasons.

“She’s so sophisticated and mature and emotional,” Bell said. “When she was younger, she was incredible. But when you’re 13, you don’t skate the way that you do like how she did the short program [at the U.S. championships].”

Skating to Laufey’s “Promise,” a haunting piano ballad, Liu glided through a flawless short program that she said nearly moved her to tears. Fans showered her with stuffed animals.

Liu has always commanded attention in the sport. She was the youngest skater to perform a triple axel in international competition at 12, became the youngest U.S. champion at 13 and followed with another national title at 14. She was the first U.S. woman to complete a quad lutz in competition, doing so in the 2019 Junior Grand Prix in Lake Placid, N.Y.

Six years later, back in that same arena for Skate America in 2025, Liu told her coaches she didn’t remember her historic accomplishment.

“It feels like I’m watching or I got someone else’s memories,” said Liu, who had similar, disconnected, but overall positive memories of her Olympic experience in Beijing. “It feels like a totally different person, but we are definitely the same person.”

U.S. figure skater Alysa Liu practices in Milan on Thursday as she prepares for the team competition, which starts Friday.

(Robert Gauthier / Los Angeles Times)

Exchange the delicate, ballerina-like skating dresses with bold, modern asymmetrical designs. Undo the tight, slicked back bun and bring in halo dyed hair, dark eyeliner and the piercing she did herself on the inside of her upper lip. With three horizontal stripes dyed into her hair, each layer represents a year of the new life Liu is finally happy to put on display.

“I want to be seen more because I like what I have going on,” Liu said. “I like what I’m doing.”

If Hilary Knight is the GOAT of women’s ice hockey, then Caroline Harvey is the kid.

That isn’t just a reference to her age, 23, which makes her the seventh-youngest player on the U.S. Olympic team. The term is also used for baby goats. And with Knight, the oldest player on the U.S. team, expected to retire from Olympic competition after the Milan Cortina Games, that makes Harvey the GOAT in waiting.

“Hilary is a great role model,” Harvey said. “She did blaze that trail. It’s been exciting to see what she did, the legacy she left.”

Like the 10 world championship gold medals, most by a hockey player of either gender; the soon-to-be five Olympic appearances, most by any American hockey player; the scoring titles and MVP awards. But the real legacy she’ll leave will have little to do with any of that.

In 2019, while at the height of her career, Knight risked everything when she joined more than 200 other players in boycotting the existing women’s hockey leagues to form the Professional Women’s Hockey Players Assn. Four years later that led to the creation of the well-funded Professional Women’s Hockey League, with eight teams playing in the U.S. and Canada.

Knight said she took inspiration for that campaign from the 1999 Women’s World Cup soccer team of Mia Hamm, Julie Foudy and Brandi Chastain, which not only won the title but soon after began the decades-long fight with the U.S. Soccer Federation that eventually ended with the women getting the same pay and benefits as the men’s team.

“We credit the ‘99ers to sort of helping us with our vision and creating more equitable space,” she said. “We’re far from there but we’re taking great steps in that direction.”

In fact, women’s hockey has never been better, a popularity both Knight and Harvey hope to build on in the Olympic tournament, which begins Thursday with the U.S. facing Czechia.

“Visibility is really important; continuing to get those eyes,” said Knight, a tireless promoter of the game. “We’re going to have some new and unique viewership. With the Olympics in itself [viewers] might accidentally watch hockey and be like ‘I love this sport.’

“Just having more programming elevates the game on the global stage. And that’s really exciting.”

U.S. forward Hilary Knight skates to the bench after scoring against Canada in November 2023.

(Ross D. Franklin / Associated Press)

The game Knight, 36, is championing is really one she built, especially in the U.S. A two-time NCAA champion at Wisconsin, she’ll be going for her fifth Olympic medal — and second gold — in Milan. Yet she insists the experience never gets old.

“Every Olympics feels like my first Olympics,” she said. “Each is so unique. You’re in a different country, a different culture, just so much fun to be able to explore. The Olympics are so special, whether it’s your first or your fifth.”

These Games are likely to feel a little different, though, since they’ll end with her passing the baton to Harvey, who followed Knight to Wisconsin. The two women have more in common than just their alma mater, though.

Both were the youngest players on the team when they made their Olympic debuts, Knight as a high-scoring forward in 2010 and Harvey as a physical, offensive-minded defenseman in 2022. Both have won multiple world championships and both began their careers playing on boys teams. As children, they both told relatives they would someday play in the Olympics — a prediction that was particularly bold for Knight since women’s hockey wasn’t even an Olympic sport then.

When Harvey joined the national team ahead of the 2021 world championships, Knight shared some advice.

“She said something to the effect of ‘it’s the same game, no matter what level you’re at. Trust your instincts, play natural, play free,’” Harvey said. “That just really stuck with me.

U.S. defenseman Caroline Harvey shoots during a Rivalry Series game against Canada in November.

(Jason Miller / Getty Images)

“Hopefully at some point [I] grow into that leadership role,” she continued. “I’ve had some years now and that past Olympics, it was more of a being a sponge. I’m always trying to learn something new every day from the veterans.”

One thing she’s learned recently is how to beat Canada, which could come in handy in Milan since the U.S. will face its northern neighbors in the final game of group play, and likely a second time in the knockout rounds.

Canada has won five of the last six women’s Olympic tournaments, beating the U.S. in four of the those finals, including the most recent one in 2022. But the U.S. swept Canada in the pre-Olympic Rivalry Series, winning the four games by a combined 24-7. Knight and Abbey Murphy led the tournament in scoring with five goals each.

“When the puck drops, your heart is beating out of your chest,” Knight said of playing Canada. “You’re like ‘am I human? This is insane. This is awesome.’”

Still, when Knight finally does hang up her skates for the final time, those won’t necessarily be the memories she holds closest from her Olympic career.

“I get to do cool things with cool people on a daily basis,” she said. “What I’ve been able to accomplish in my career is incredible. And I’ve obviously played with amazing women and I’m so grateful for every opportunity that I’ve had.

“I’m just at a place where I want to embrace these lasting memories and moments with teammates and friends and family, all those people that go into this journey. That’s what I’m looking forward to.”

After that, the GOAT will give way to the kid.

The Grand Canyon is among the most famous natural wonders in the world. A woman who lives at the bottom of it in a remote village with her family has opened up on the reality of life there.

The Grand Canyon is as one of Earth’s most iconic natural wonders, pulling in millions of visitors from across the globe each year. Now, one woman has revealed she actually lives within the canyon itself – a revelation that’s left people both fascinated and amazed.

Situated in north-western Arizona, the Grand Canyon spans an impressive 277 miles and is a vast chasm sculpted by the Colorado River. Its striking layers of ancient red rock enhance its appeal, and it’s been protected as a National Park since 1919.

Tourists flock there in their millions every year to drink in the spectacular views, hiking trails, and even white water rafting adventures. A TikTok user posting under the handle @heyarielnicole recently shared drone footage of the magnificent landmark, accompanied by text which reads: “Today years old when I found out people live in the Grand Canyon.”

In the caption, she added: “I must have skipped school this day because I did not know this lol! Did y’all know people live in the Grand Canyon?”

Her post has since amassed more than 65.5 million views. The comments section erupted with shocked reactions, while others highlighted Shila S Siyuja, a woman who genuinely does call the Grand Canyon home alongside her family.

Shila uses social media to give followers a glimpse into what it’s really like living within one of the world’s most iconic natural landmarks. While she’s blessed with stunning scenery and access to the great outdoors, there are certain challenges that come with the territory.

One of her most popular videos shows Shila and her family undertaking an “eight-mile hike home” after missing their flight back into the canyon.

The family resides in the renowned Supai Village, nestled at the canyon’s base. This isolated settlement can only be reached by an eight-mile hike, helicopter, or mule ride.

Serving as the capital of the Havasupai Tribe, the village is celebrated for its striking turquoise waterfalls and close-knit community. Residents have access to a shop stocking essentials, a post office, a school, and even a café. Shila’s hiking video attracted many comments from captivated TikTok viewers.

One person asked: “So beautiful!! How long did it take?” Another said: “The real American people.”

A third viewer shared: “I got the privilege to visit your home years ago. Thank you.”

Someone else recalled: “Sister and I hiked at night to avoid the heat. Miss this place so much.”

Among Shila’s other widely-viewed videos is footage captured while she and her family embarked on a shopping trip outside the Grand Canyon. In the clip, Shila is shown boarding a helicopter for her journey home. Footage captured from beneath the aircraft reveals their shopping secured in an external sling load, which dangles from the helicopter’s body using a cable and cargo hook.

Shila and her family aren’t the only ones living there, though. More than 2,000 residents also live in the Grand Canyon, based at Grand Canyon Village on the South Rim.

They don’t make musicals like “Sweeney Todd: The Demon Barber of Fleet Street” anymore.

The ambition on display is awe-inspiring to an almost alarming degree. Consider the lyrical and orchestral complexity of Stephen Sondheim’s score, the way Hugh Wheeler’s book (from an adaptation by Christopher Bond) blends horror and comedy as if the two were natural bedmates and a production concept that views the material of a fiendish penny dreadful through a Brechtian lens.

Could the American theater ever again pull off such an outrageously brilliant musical experiment? Harold Prince’s 1979 Broadway premiere, starring Len Cariou and Angela Lansbury, seems like eons ago in terms of creative possibility.

This is the reason revivals, such as the solid one that opened Saturday at La Mirada Theatre for the Performing Arts under the direction of Jason Alexander, are so important. They remind us not only of the richness of our theatrical past but they also challenge our artists and producers to dream bigger in the future.

Will Swenson stars as “Sweeney Todd” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

Alexander, the beloved “Seinfeld” star who made his Broadway debut in Sondheim and George Furth’s “Merrily We Roll Along” in 1981, knows a thing or two about American musicals, having served for a time as the artistic director of L.A.’s bygone Reprise Theatre Company. His direction has grown in sophistication and ease since he staged Sondheim and James Lapine’s “Sunday in the Park With George” for Reprise in 2007.

Alexander’s production of “Sweeney Todd” has breadth and heft, but also intimacy and lightness. The scenic design by Paul Tate dePOO III savors the show’s Grand Guignol flavors while leaving plenty of flexibility for antic comedy.

The barber chair, the locus of Sweeney’s revenge on the heartless cruelty of a Victorian London that wrecked his life, isn’t the elaborate contraption of other productions. His murder victims don’t fall down a chute after their throats are slit during their shave and a haircut. They have to be tilted into a dumpster that is moved into position, but Alexander makes the comic most of these clumsier stage mechanics.

Will Swenson, the accomplished Broadway actor, offers an unusually sympathetic yet never sentimentalized Sweeney. He understands that Sweeney is first and foremost a victim. The lust for vengeance eventually gets the better of him, but Swenson leads us step by step to depravity through sorrow, injustice and humiliation.

Andrew Polec, right, with the company of “Sweeney Todd” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

He’s man-made rather than a natural monster. The same could be said of Lesli Margherita’s Mrs. Lovett, the proprietor of a filthy and failing Fleet Street pie shop, but it’s a shakier case. She’s the one who gets the bright idea of putting all those corpses Sweeney is intent on piling up into culinary use. Meat is in short supply, and the taboo of cannibalism is no deterrent to a woman who has taken to heart the jungle law of 19th-century British society: Eat or be eaten.

Swenson and Margherita are singing marvels, but Sweeney and Mrs. Lovett’s numbers set up Olympian challenges, vocally as well as lyrically. Their comically macabre Act 1 showstopper, “A Little Priest,” in which they gleefully imagine the variety of human pies, needs a little more time in the oven. Margherita, who played Mrs. Wormwood in “Matilda the Musical” on Broadway, is a deft clown. Swenson may be a step slower in this regard, but he plays it perfectly by accentuating the delight Sweeney takes in the merriment of Mrs. Lovett’s perverse rhyming game.

Swenson, who starred in the Broadway premiere of “A Beautiful Noise, the Neil Diamond Musical,” has a lush baritone. But Sweeney’s descent into an even lower range produces a sound that emerges from unimaginable depths. Finding the beauty in that hellish croak — something that Josh Groban was able to do in the last Broadway revival — can prove exceptionally difficult. It’s Swenson’s detailed character work as a singer that impresses most. His handling of “By the Sea,” the Act 2 duet with Margherita, forensically details Sweeney’s growing distaste for the conjugal fantasies of his partner in crime.

Allison Sheppard and Chris Hunter star in “Sweeney Todd: The Demon Barber of Fleet Street” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

The romantic element of Sondheim’s score is best captured in the gorgeous singing of Chris Hunter’s Anthony Hope, whose crooning of “Johanna” provokes an epidemic of goosebumps throughout La Mirada Theatre. Allison Sheppard’s Johanna, Sweeney’s daughter under the lock and key of the wicked Judge Turpin (Norman Large), warbles as melodiously as the caged birds that mirror her plight.

Nicholas Mongiardo-Cooper’s Beadle Bamford, the judge’s henchman, has a malicious ebullience all his own. He’s not as unapologetically hammy as Andrew Polec’s Pirelli, the tonsorial con man who adopts a fake mustache and an even faker Italian accent, but he lends the musical a satiric gaiety.

Meghan Andrews’ Beggar Woman and Austyn Myers’ Tobias, giving voice to the downtrodden Dickensian masses, infuse the production with the charm of their singing. Myers makes the most of one of the musical’s most beloved numbers, “Not While I’m Around,” Tobias’ duet with Mrs. Lovett that both performers bring to poignant, demented life.

Austyn Myers, center, with the company of “Sweeney Todd: The Demon Barber of Fleet Street” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

Alexander’s staging occasionally overdoes the comic exuberance. The ensemble-cum-chorus, burdened with overblown asylum imagery, is sometimes called upon to inject a circus-like atmosphere, complete with acrobatics. Lee Martino’s choreography, like the production as a whole, is at its best when observing decorous constraints.

If some of the more seductive colors of Sondheim’s score get lost in the acoustic shuffle, it may have more to do with the sound system than Darryl Archibald’s music direction. Unfortunately, the shattering beauty of the music is sometimes swallowed in the devilish din.

The stark visual panache of the production, however, is an impressive sight to behold. Jared A. Sayeg’s crepuscular lighting and Kate Bergh’s humanizing costumes lend contrast and texture to the world-building scenic design.

Hats off to this Southern California “Sweeney Todd” and to La Mirada Theatre for undertaking this Herculean feat. Sondheim and Wheeler’s haunted masterpiece doesn’t need perfection to live again.