The Times earned prestigious Associated Press Sports Editors triple crown honors for a sixth consecutive year, claimed first place in two individual categories and finished in the top 10 in eight categories.
The staff submitted work published in 2025 and competed against the largest print and digital sports publications in the country.
The Times also earned first place in event coverage for the staff’s work chronicling the Dodgers World Series Game 7 win, tying with the Dallas Morning News for top honors.
The Times’ eight top-10 finishes included the categories print portfolio, digital, event coverage, special sections, investigative, national beat writing, columns and short feature. The staff also earned an excellence in video award.
Love may not be all you need these days, but a picture with it might help. This you can get beginning later this year when the Huntington installs its newly acquired “LOVE” sculpture by Robert Indiana near the Virginia Steele Scott Galleries of American Art.
Indiana first unveiled the iconic sculpture almost 60 years ago — also just a few days before Mother’s Day — as part of his 1966 solo exhibition at Stable Gallery in New York. While this early version measured only 12 inches high, the Huntington’s edition is 12 feet tall and 12 feet wide, making it an ideal vessel for you and your, ahem, loved ones to snap a pic with.
The polychromed aluminum sculpture is third in an edition of five, with two artist’s proofs, and will be the only “LOVE” sculpture in Southern California available to the public. It arrives at the museum’s San Marino campus as a gift of Terri and Jerry Kohl, who also provided funding for installation and long-term care.
“LOVE” is one of the most recognizable pieces of Pop art ever created — a ubiquitous symbol associated with a variety of social causes, movements and groups, including the LGBTQ+ community during the height of the AIDS crisis.
Indiana’s design for “LOVE,” featuring an L and slightly askew O stacked atop a V and E, first appeared on the Museum of Modern Art’s annual holiday card in 1965, and was apparently among the institution’s most popular holiday cards of all time. The artist completed his first monumental love sculpture, made from steel, in 1970. That sculpture is part of the Indianapolis Museum of Art’s collection.
In a news release, Huntington President Karen R. Lawrence said that Jerry Kohl believed that “LOVE,” “belonged in a place where it would be seen and experienced by millions of visitors in the years leading up to the Los Angeles Olympics, during the games, and far beyond. He recognized The Huntington as a cultural destination uniquely positioned to steward the work and share it with a broad public audience.”
“LOVE” will join a number of other outdoor installations across the Huntington’s expansive grounds and gardens, including two recently acquired sculptures by the Cuban-born artist Enrique Martínez Celaya, in addition to pieces by Sam Francis, Tony Smith and Harry Bertoia.
The sculpture also serves to expand the Huntington’s collection of American art dating from the mid-20th century on, joining works by Andy Warhol, Betye Saar, Elizabeth Catlett, Isamu Noguchi, Paul Manship, Gaston Lachaise, Elie Nadelman, Daniel Chester French, Sargent Claude Johnson, Richmond Barthé and Wilhelm Hunt Diederich.
If you’re planning a Mother’s Day jaunt to the picturesque Huntington, you won’t see the sculpture just yet, but you should still go. (This is where I wish all who celebrate a very happy Mother’s Day. Hi, hardworking, selfless moms everywhere: I see you.)
I’m Arts editor Jessica Gelt and I choose LOVE. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Freeways 2026 Los Angeles Chamber Orchestra fellows Alejandro Lombo, flute, Eder Rivera, oboe, and Nicolás Valencia, viola, and other emerging musicians perform works by Dranishnikova, Piazzolla, Mozart, Dvořák, Gaubert, Julia Moss and Ravel. 7:30 p.m. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. laco.org
My Birthday Party Based on stories by Carl Sandburg and Viggo Mortensen, this immersive theatrical experience includes acrobats, aerialists and clowns from Cirque du Soleil and features surprise guests, with music by Veronika Krausas. Opening night performance by Thelma Houston. 8 p.m. Friday and Saturday; 2 p.m. Sunday, through May 7. Fais Do-Do, 5257 W. Adams Place, L.A. playwithsprung.com
Lorenzo Viotti in Milan, Italy.
(Vittorio Zunino Celotto / Getty Images)
Rachmaninoff’s ‘Second Symphony’ In his L.A. Phil debut, flamboyant Italian-Swiss conductor Lorenzo Viotti and violinist Lisa Batiashvili join the orchestra for a fiery program of late-Romantic works. 8 p.m. Friday and Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Picasso: Le Monstre Sacré Peter Tate’s solo performance piece, adapted by the actor and director Guy Masterson from Terri D’Alfonso‘s “The Loves of Picasso,” explores the complicated artist’s legacy from within. 8 p.m. Thursday-Saturday; 3 p.m. Sunday, through May 17. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
TJ Shin’s solo exhibition “Delta” is at Ehrlich Steinberg through June 11.
(Ehrlich Steinberg)
TJ Shin The L.A.-based artist’s solo exhibition “Delta,” rooted in game theory, consists of a multi-channel video installation, drawings and a newly commissioned text by writer and professor Sunny Xiang. 11 a.m.-5 p.m. Wednesday-Saturday, through June 11. Ehrlich Steinberg, 5540 Santa Monica Blvd., L.A. ehrlichsteinberg.com
The Sound of Music The Hollywood Hills (and San Diego and Costa Mesa) are alive with the sound of Rodgers & Hammerstein on this tour of the latest revival of the classic romantic musical set in Austria as Nazi Germany moves to annex it. Through May 24. Hollywood Pantages Theatre, 6233 Hollywood Blvd.; May 26-31. San Diego Civic Theatre, 1100 Third Ave.; June 2-14. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. soundofmusicontour.com
SATURDAY
Ascent This world premiere of a play by the late Henry Ong details the true story of aerospace engineer and cyberneticist Qian Xuesen, who co-founded Jet Propulsion Laboratory and was instrumental in United States’ World War II efforts before being unjustly forced to return to China. Direction and dramaturgy by Diana Wyenn. 8 p.m. Thursdays-Saturdays; 3 p.m. Sundays, through June 14. Skylight Theatre Company, 1816 ½ N. Vermont Ave, L.A. skylighttheatre.org
Maintenance Artist The Laemmle “Culture Vulture” series continues with a 2025 documentary about Mierle Laderman Ukeles, who, inspired by Marcel Duchamp, inaugurated the idea that routine activities could be seen as performance art. Directed by Toby Perl Freilich. 10 a.m. Saturday and Sunday; 7 p.m. Monday. Laemmle Glendale, 207 N. Maryland Ave.; Laemmle Town Center 5, 17200 Ventura Blvd., Encino; Laemmle Monica Film Center, 1332 2nd St. laemmle.com 6 p.m. May 16. Getty Center, 1200 Getty Center Drive, L.A. getty.edu
Wild Up: The Center Is Between Us The eclectic ensemble performs Robert Ashley’s “The Park” and “The Backyard,” narrated live by Christopher Rountree, from the 1978 avant-garde spoken work album “Private Parts,” before being joined by the santoor and tabla duo of Kamaljeet and Jas Ahluwalia, along with cellist Chris Votek, for new work. 8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
SUNDAY
Los Angeles Children’s Chorus LACC presents two spring concerts: Sunday, featuring the Apprentice Choir, Intermediate Choir and Chorale; and May 17 with the Concert Choir, Young Men’s Ensemble and Chamber Singers. 7 p.m. Sunday and May 17. Pasadena Presbyterian Church, 585 E. Colorado Blvd. lachildrenschorus.org
MOMentum Place Celebrate Mother’s Day in the great outdoors with aerial and circus performers, dancers and musicians, preceded by a brunch from chef David Gussin and Prose Restaurant. Brunch, noon; performance, 2 p.m.; Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd., Topanga. theatricum.com
Shirley MacLaine, Debra Winger and Jack Nicholson in James L. Brooks’ 1983 hit “Terms of Endearment,” which won five Oscars.
(Paramount Pictures)
Terms of Endearment James L. Brooks won Academy Awards for writing, producing and directing this adaptation of Larry McMurty’s novel, which should resonate with anyone who has or had a challenging relationship with their own mother on this Mother’s Day. Featuring a stacked cast including Oscar winners Shirley MacLaine and Jack Nicholson, and nominees Debra Winger and John Lithgow, as well as Jeff Daniels and Danny DeVito. Presented in 35mm. 2 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
MONDAY
ASCAP Foundation Musical Theatre Workshop Three new musicals presented as live readings with musical accompaniment and expert feedback panels: “Lilyville” by Antonius Anand Nazareth (Monday); “The Waiting” by Maria Isabella Andreoli and EmmaLee Kidwell (Tuesday); and “Legendary” by Cheeyang Ng (Wednesday). 7 p.m. Monday-Wednesday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
TUESDAY
Rachel Ward, left, and Jason Patric in “After Dark My Sweet.”
(Kino Lorber)
After Dark My Sweet Actor Jason Patric presents a screening of his personal 35mm print of director James Foley’s 1990 neo-noir adapted from the Jim Thompson novel. Introduced by Alex Winter and followed by a Q&A with Patric and writer/film critic Travis Woods. 7:30 p.m. Vidiots, 4884 Eagle Rock Blvd. vidiotsfoundation.org
Sarah Andon “Eclectic Engagement: Explorations in Sound, Space, and Collaboration” features the L.A.-based flutist and an all-star ensemble, including percussionist Nick Terry, pianists Todd Moellenberg, Bryan Pezzone and Aron Kallay, flutist Sarah Wass, violinist Shalini Vijayan and electronicist Cristina Lord performing works by Toru Takemitsu, Sungji Hong, Gabriela Lena Frank, Nicolás Lell Benavides, Herman Beeftink, Jerry Goldsmith, Ennio Morricone and Nino Rota. 8 p.m. Monk Space, 4414 W. 2nd St., L.A. brightworknewmusic.com
WEDNESDAY
Alexandra Silber adapted a new book for Lerner & Loewe’s classic “Brigadoon.”
(Jason Armond / Los Angeles Times)
Brigadoon Tyne Daly headlines this new adaptation by Alexandra Silber of the classic Lerne & Loewe musical about a mysterious Scottish village that only appears once a century. Directed by Katie Spelman, with original dances created by Agnes Demille. Through June 14. Pasadena Playhouse, 39 S. El Molina Ave. pasadenaplayhouse.org
A Sea Symphony Pasadena Chorale performs Walt Whitman’s words with Vaughan Williams’ music, featuring solos by sopranos Rachel Adcock and Asha Srikantiah and baritones Eric Werner and Tobin Sparfeld. 7:30 p.m. First United Methodist Church Pasadena, 500 E. Colorado Blvd. pasadenachorale.org
THURSDAY
Camerata Pacifica The ensemble performs a program that includes works by Beethoven, De Mey and Bunch, and concludes with Shostakovich’s “Symphony No. 15 for Piano Trio and Percussion,” arranged by Viktor Derevianko. 8 p.m. Thursday. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A.; 7 p.m. May 15. Academy of the West, 1070 Fairway Road, Santa Barbara. 8 p.m.; 3 p.m. May 17. Bank of America Performing Arts Center, Scherr Forum, 2100 E. Thousand Oaks Blvd.; 7:30 p.m. May 19. The Huntington, 1151 Oxford Road, San Marino. cameratapacifica.org
Arts anywhere
New and recent releases of arts-related media.
Open-Door Playhouse Playwright Bernadette Armstrong launched this online venture during the pandemic to help other authors get their work heard by audiences. The endeavor has continued, producing dozens of audio versions of 10-minute and one-act plays delivered as podcasts. The latest release, “Holy Hell,” written by Barbara Lindsay, features a man (played by Gary Lamb, who also directed) and a woman (Elaine Mello) separately recounting the tragedy that united them. Open Door Playhouse is free, relying on listener donations. opendoorplayhouse.org
“Rupert García: The Making of an American Artist, a Testimonio” by Mario T. García.
(Rutgers University Press)
Rupert García: The Making of an American Artist, a Testimonio An oral history 30 years in the making, the book chronicles the life and career of the American Chicano visual artist and activist, whose work as a painter, pastellist and screen printer both documented and galvanized cultural movements from the 1960s onward. The book’s author, historian Mario T. Garcia of UC Santa Barbara, will be in town for a book signing at 7:30 p.m. on Friday at Vroman’s Bookstore, 695 E. Colorado Blvd., Pasadena. vromansbookstore.com Rutgers University Press: $35, 215 pages.
Arturo Sandoval, who frequently performs in Los Angeles, has a new album, “Sangú.”
(The Wallis)
Sangú Trumpeter, bandleader and composer Arturo Sandoval’s latest album — the title is a malapropism of “sounds good” made during the studio sessions — features 12 tracks of Afro-Cuban funk, blending bebop, fiery jazz fusion and batá-inspired rhythms. Sandoval will perform June 4-7 at Blue Note Los Angeles. Self-released: digital download, $9.50. arturosandoval.com
— Kevin Crust
Culture news and the SoCal scene
Maria Wirries and LJ Benet in “The Lost Boys,” from left; Sara Chase and Brad Oscar appear onstage during curtain call of “Schmigadoon!” on opening night, and Joshua Henry and the cast of “Ragtime.”
(Matthew Murphy, left and right; Valerie Terranova / WireImage, center.)
Tony Award nominations were announced early this week with musicals “The Lost Boys” and “Schmigadoon!” leading nominations with 12 each, followed by “Ragtime” with 11. Malia Mendez has the full list, here, and Times theater critic Charles McNulty followed up with a story on 10 standout Broadway performances and shows worth celebrating, including Laurie Metcalf in both Samuel D. Hunter’s “Little Bear Ridge Road” and this spring’s revival of “Death of a Salesman.”
The Pulitzer Prizes were announced the day before the Tony nominations, and Bess Wohl’s play “Liberation” took home the 2026 Pulitzer for drama. The win foreshadowed what would come next: “Liberation” was nominated for five Tonys, including best play and director.
McNulty also rounded up three major Broadway musicals in one handy, sweeping review: “Cats: The Jellicle Ball,” “The Lost Boys” and “Titanique.” “Cats,” notes McNulty, has managed to distance itself from its kitschy reputation and checkered past to become “one of the hottest tickets of the Broadway season. It didn’t take a miracle, only a complete conceptual overhaul.” Happily, “The Lost Boys” also won McNulty over despite his “antipathy to vampire schlock.” “Titanique” was not McNulty’s favorite, but he noticed that his fellow theatergoers couldn’t get enough.
Joe Mantello at his home in New York on Friday, April 3, 2026.
(Evelyn Freja / For The Times)
There was not one free moment in McNulty’s New York itinerary in early March. While attending a flurry of shows, our critic also sat down to a brunch interview with director Joe Mantello during rehearsals for the new Broadway revival of “Death of a Salesman.” “A two-time Tony-winning director (‘Assassins,’ ‘Take Me Out’), Mantello has a résumé so extensive that it can be startling to recall that he’s the original Broadway director of “Wicked,” the blockbuster that has allowed him to write his own ticket. There aren’t many theater directors who can pick and choose their projects without worrying about their next paycheck, but he has become the Mike Nichols of our era in terms of the breadth and consistency of his theatrical success,” writes McNulty,
The Times got the scoop that Holocaust Museum LA will reopen June 14 as part of the new $70-million, 70,000-square-foot Goldrich Cultural Center. The center doubles the museum’s original 35,000-square-foot footprint and broadens the institution’s “focus on inclusion and community, with a diverse range of events and ramped-up educational offerings,” writes Times contributor Solvej Schou.
Composer John Williams, 94, attended the dedication ceremony of the new John Williams Performing Arts Center at North Hollywood High on April 29, 2026.
(Genaro Molina / Los Angeles Times)
Times contributor Tim Greiving, who is also the author of a biography on John Williams, covered a ribbon-cutting ceremony for the new John Williams Performing Arts Center at North Hollywood High — the famed film composer’s alma mater. Williams, 94, was in attendance and gave a few brief remarks in front of a crowd filled with other notable school alumni and friends including Kathleen Kennedy.
The Times published an exclusive on Pasadena Playhouse’s new 2026-27 season, which includes the post-Broadway debut of “Real Women Have Curves: The Musical.” Other offerings include a new production of Friedrich Dürrenmatt’s tragicomedy “The Visit,” the L.A. premiere of “Passing Strange,” and a revival of “Cat on a Hot Tin Roof.”
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Comedian Kathy Griffin is staging her first-ever residency at the Plaza Theatre in Palm Springs. “Can You Handle This Heat? The Kathy Griffin Palm Springs Residency,” is scheduled to run from Jan. 31 to Feb. 26, 2027. Tickets go on sale today.
The Soraya has announced it 2026-27 season featuring eight noteworthy debuts and 45 performances, including Sutton Foster with Chris Walden and the Pacific Jazz Orchestra; the eclectic band Snarky Puppy; Majo Aguilar con Mariachi y Banda; Dance Theatre of Harlem; National Symphony Orchestra of Ukraine; Los Angeles Philharmonic; Audra McDonald; and the National Symphony Orchestra. The new lineup also introduces Chad Hilligus as the Soraya’s new executive and artistic director.
Grand Performances announced its 40th annual Summer Concert Series featuring free outdoor shows in downtown L.A.’s California Plaza from June 6–Aug. 29. Highlights include a June 13 anniversary celebration with Jungle Fire, Healing Gems and DJ Liza Richardson; a tribute to the music of Stevie Wonder with DJ Spinna, Monalisa and MC Cognito; and a tribute to Roy Ayers led by composer Sly5thAve with a 12-piece ensemble including drummer Kassa Overall.
To describe a movie as including a ski mask, a camcorder and $50,000 in cash would certainly lead one to imagine a specific type of story. Add two men and sex work and the brain might roll around more pointed scenarios.
But none of that can prepare you for what micro-indie “Blue Film” has in store. The nexus of perversion, pain and sexual purpose driving writer-director Elliot Tuttle’s dark, discursive chamber drama is of a stripe rarely attempted in even the most self-consciously daring movies. Should you need a self-imposed break afterward from intimate two-handers, even Tuttle might understand, then wink in the general direction of his Pasolini posters. (I’m guessing at this provocateur’s wall art.)
Is it clear yet that “Blue Film,” set primarily in a house in Los Angeles over the course of a revelatory night, isn’t for everybody? Some of that “everybody,” incidentally, includes the festivals and distributors who rejected the queer filmmaker’s debut feature, despite having critical buzz, Tony-winning actor Reed Birney as one of its stars and indie guru Mark Duplass as a mentoring producer.
But certain subjects (spoilers ahead) are bound to trigger a different kind of scrutiny. Initially, our attention is on macho-posturing tattooed camboy Aaron (“Boots” star Kieron Moore), graphically boasting to his followers online of the big payday he’ll receive that evening from a submissive client. What he later encounters, however, at the door of a Craftsman on a quiet street is a masked, polite, older host (Birney) with a camera and, once it’s turned on, a lot of personal questions, the kind that begin to crack the facade of a young man used to being in control of his transactional life.
Then his client’s face is revealed and Aaron recognizes it’s his middle school teacher Hank, a convicted pedophile who once coveted him. Hank, who completed prison time for the attempted assault of a different boy, has made a cross-country trip to seek out the adult version of someone who could have been his first victim. He is still processing what he is, wondering if desire, even love, is available to him anymore.
The question is, will you care? Even viewed through Aaron’s cautious, clear-eyed empathy, it’s a steep ask. But you should. Tuttle’s fearless inquisition won’t insult your intelligence, ask your mercy or hogtie your feelings. Honestly, it’s refreshing to be repulsed and intrigued by a movie willing to plumb these psychological depths when Hollywood won’t. In its commitment to unvarnished talk — even if that leads to a clunky staginess — “Blue Film” has thoughts about identity, choice, sin and salvation. There’s a sincere engagement with humanity’s more difficult realities.
Needless to say, this type of graphically articulated exchange wouldn’t work if the performances didn’t land. Thankfully, Moore’s affecting portrayal of jumbled masculinity mixed with situational curiosity is well-calibrated, while Birney, a pro with a challenge, eases us into Hank’s weary self-possession (if not always the nauseating facts of it) before coloring outside the lines with a believably interesting philosophy about reckoning.
But “Blue Film” is tough, make no mistake. Awkward and searching, it exists in a filmic space that you could argue was opened up by last year’s courageous documentary “Predators.” And sometimes that gaze is just discomfiting, full stop. Tuttle wants that. He has room to improve but he’s someone to watch, plumbing the hard-to-fathom.
Coronation street fans think they have worked out who killed Theo Silverton after telling scenes aired on Friday night’s episode of the world’s long-running TV soap
Could Theo have been killed by his ex-wife?
Coronation street fans think they have worked out who killed Theo Silverton. The scaffolder, who was played by former Tracy Beaker star James Cartwright, was found dead at the end of the ITV soap’s much-hyped murder week.
When Theo was introduced, he was married to Danielle Silverton (Natalie Anderson) but he began an affair with Todd Grimshaw and, once he had split from his wife, they began an official relationship but it quickly turned sour.
For almost a year, Theo terrorised Todd with bizarre forms of abuse, both mental and physical, and caused the death of his best friend Billy (Daniel Brocklebank) in the crossover with Emmerdale.
Still coming to terms with the loss of Theo, on Friday’s episode of the world’s longest-running TV soap, Todd was surprised to see Danielle turn up at his flat amid the murder investigations, where she revealed more about her past with Theo. He said: “The police have already interviewed me. I had nothing to do with Theo’s death.”
But Danielle wasn’t convinced, and she shot back: “If he hadn’t met you, he’d still be alive. My kids would still have a dad! Maybe you got cold feet, thought it was easier if he was dead.”
It was then that Danielle started to say more about what she had been through. She said: “Since he’s been gone, I’ve been thinking back over our relationship. What kind of man he was. It’s what made me wonder if you’d snapped. Killed him.
“He was a good dad… especially when the kids were little. I knew he had a short fuse. God, sometimes we’d go at it like hammer and tongs.” When Todd claimed he “gave Theo power,” Danielle pushed back as she said: “No. Theo took power. He had all the power in our relationship, too. He just… didn’t abuse it.
“Though, actually, he did make all the decisions about everything. Where we lived, how we lived, how we parented. Every time we argued, I gave in. Because, secretly, I was afraid of him. I mean, he never hurt me or the kids, and I didn’t want to believe he was a bad man. But I knew how controlling he was.”
Danielle is an official suspect along with Todd, his father figure George Shuttleworth, his daughter Summer Spellman, and Theo’s former colleague Gary Windass, as revealed by bosses of the soap earlier this week. But fans think that they might have sussed it after Danielle’s sudden appearance.
One fan wrote on X: “Oh wow, I wasn’t expecting Danielle to say that. Was it Danielle?” whilst another said: “Go on, admit it Danielle.” A third suspected that the way in which Danielle had instantly accused Todd meant that she was the guilty one.
They wrote: “That scene where she turned up to the flat was very interesting because she instantly interrogated Todd, almost like she was deflecting or bluffing. That’s what made me think she killed him.”
Coronation Streetairs Monday to Friday at 8:30pm on ITV1 and is available to stream from 7am onITVX.
Trevor Bauer wants to pitch in the majors again — so much so that he’s willing to start over in the lowest levels of the minor leagues and work his way up.
And he’s willing to do it without being paid.
That’s the hypothetical Bauer proposed Friday on X: A talented former Cy Young Award winner signs a minor league deal with an MLB team for a “$0 salary” and can be cut at any time at no financial risk to the organization.
Since his last MLB start on June 28, 2021, as a member of the Dodgers with a $102-million, three-year contract, Bauer has been accused of sexual assault by four women. He served a 194-game suspension for violating the league’s sexual assault and domestic violence policy. He has denied all the allegations and has never been charged with a crime.
While some might think signing Bauer might be a risky move for an MLB organization, Bauer feels his plan is foolproof in that regard.
“Hypothetical: You’re the owner of an MLB team,” Bauer wrote. “I offer to take $0 salary and sign a minor league contract and go to Low A. If the ‘he sucks now’ crowd is right and I get lit up, you cut me, lose $0 and there’s no risk to the big league club.
Hypothetical: You’re the owner of an MLB team. I offer to take $0 salary and sign a minor league contract and go to Low A.
If the “he sucks now” crowd is right and I get lit up, you cut me, lose $0 and there’s no risk to the big league club.
If the “clubhouse cancer” crowd is…
— Trevor Bauer (トレバー・バウアー) (@BauerOutage) May 8, 2026
“If the ‘clubhouse cancer’ crowd is right, you see it immediately at Low A and cut me. You lose $0 and there’s no risk to the big league club. If there’s massive negative PR, which we already know there won’t be, you just cut me and move on. The story is dead in a couple days, you lose $0, and there’s no risk to the big league club.”
In the comments on Bauer’s post, someone challenged him on the notion that “we already know there won’t be” any negative PR if he is signed. In response, Bauer pointed to his current stint with the Long Island Ducks of the independent Atlantic League to support his argument.
“Where has the negative PR been?” wrote Bauer, who is 3-1 this season and pitched a no-hitter for the Ducks late last month. “I’m playing in America. In New York of all places. Most ‘hostile’ media market in the United States. Stadiums are sold out when I pitch. There’s no boycotts. No media frenzy. Where is it?”
Bauer wrote in his proposal that if none of the negatives he laid out earlier happen, then the organization can promote their cost-free pitcher through the ranks, re-evaluating him every step of the way, until he reaches the big leagues — “if I earn it,” he wrote, “which you’d be 100% in control of deciding.”
“If you don’t think I’m good enough, you lose $0 and there’s no risk to the big league club,” Bauer wrote. “You could take away my ‘antics’. You could take away my social media. You could ask anything of me. If I don’t comply, you cut me, lose $0, and there’s no risk to the big league club.”
One X user asked why Bauer doesn’t just take away his “antics” on his own.
“Because no teams actually care about that,” Bauer responded. “They enjoy the content. And I’m not going to rob baseball fans of great baseball entertainment just to solve a problem that only exists in the minds of x bots.”
Informed that the MLB Players Assn. might have an issue with him playing for free, Bauer replied, “Who gives a crap about what mlbpa does or doesn’t want?”
This isn’t the first time Bauer has made what he considers to be a low-risk proposal for an organization to bring him back into the league. In 2024, Bauer spoke with The Times’ Bill Shaikin about an offer he made to play for the league minimum.
“The reason for that was, I want to go back to work, and I am trying to find any way that I possibly can to limit the risk and exposure for a team,” Bauer said. “I realize there are a lot of other things, outside of the on-field stuff, that go into whether to sign me. So I figured that, if I could limit the on-field risk as much as possible, perhaps that offsets some of the other perceived risks.”
It remains to be seen whether any club is willing to take up Bauer on his current offer.
“What logical reason is there to not do this?” Bauer wrote. “At worst, you cut me and there’s no risk to the big league club. At best, you get a Cy Young winner for $0 who you know can still pitch and could help the big league team if and when you see fit.”
Former Miami Marlins president David Samson weighed in on Bauer’s proposal in a post on X.
“This will never happen,” Samson wrote. “First of all, no team wants to sign him. Secondly, no player is allowed to play for $0. And finally, no team wants to sign him.”
An Amazon MGM Studios executive allegedly solicited kickbacks from an aspiring vendor in exchange for post-production contract awards on shows, according to a recently filed lawsuit.
Joe Eckardt, owner and president of Hollywood-based postproduction services firm Unbreakable Post, alleged that the studio’s head of postproduction, Frank Salinas, told him during a business lunch in 2023 that Salinas could “ensure” Unbreakable Post would be included as an approved vendor to bid on Amazon-affiliated projects.
Salinas would give Eckardt the target budget number for his company’s bid and “effectively guarantee that Unbreakable would be awarded the work,” the lawsuit states.
After the contract was awarded, Eckardt would then pay Salinas a percentage of the project value as a kickback, the lawsuit says.
After Eckardt refused, he alleges that his contract opportunities with Amazon dried up.
He states in the lawsuit that although he had done “substantial” work, served as a postproduction consultant or selected vendor on shows such as the Mexico, Brazil and Argentina productions of the reality series “Temptation Island” and the third season of documentary series “Coach Prime,” he was not selected by Amazon for a contract with those projects.
In 2025, Eckardt alleges that he reported Salinas’ conduct to Amazon and after six months of information gathering, the company told him that “its investigation had concluded and that the allegations were ‘not substantiated.’”
Amazon MGM Studios did not respond to a request for comment. Salinas declined to comment.
Eckardt’s lawsuit was filed Wednesday in Los Angeles County Superior Court. He alleges that he lost more than $1 million in contracts, income and future business opportunities. He is seeking a jury trial.
