year

CHICAGO — The boo birds were active at Wrigley Field this week, as the Dodgers were swept by the Cubs in a three-game series.

The vitriol for the World Series favorites, days after they traded for the best player available at the deadline (two-time CY Young winner Tarik Skubal) touched almost every player in the Dodgers lineup. But Cubs fans’ boos were by far the most enthusiastic for the right fielder who’d departed their team in free agency this past winter.

Kyle Tucker, for his part, dodged the first question that mentioned the hostile reception he received in his first series back at Wrigley Field since signing a four-year, $240 million contract with the Dodgers over the offseason.

“I liked playing here last year,” Tucker said after the game Monday. “There were some really great guys over there, and they have a good team. So it’s nice being back and playing here. I liked it.”

When pressed on whether he understood the boos, Tucker said: “I don’t know. I tried my hardest last year. I tried playing through a hand fracture and calf thing, just trying to get back to the playoffs for them and trying to do what I could to help out the team last year with them. Hit really well in the first half, and second half didn’t go as great, and kind of didn’t end up great at the end of the year. But I had a good run.”

Let’s unpack that.

This year, Dodgers fans have mostly seen a version of Tucker who’s on pace for one of the worst offensive seasons in the four-time All-Star’s career. But when the Cubs landed Tucker in a blockbuster trade with the Astros before the 2025 season, hoping he’d elevate their offense, he did just that for the first three months of the season.

His best month was June (.982), when, unbeknownst to the public, he was playing through a small fracture in his right hand.

Not being able to grip the bat properly eventually took a toll on his swing mechanics, sending him into an extended slump. When he finally seemed to be coming out of it in late August, a left calf injury sidelined him in early September.

When the injury lingered far longer than initially expected, hoping to return in time to contribute in the postseason, Tucker made the unorthodox decision to travel to Tampa to work with the physical therapy group that helped him recover from a fractured shin the year before.

Unable to completely eradicate the symptoms of his strained calf, Tucker returned to the Cubs lineup as the designated hitter the last weekend of the regular season and through the playoffs, where he went 7-for-27 with a home run in Game 4 of the NLDS.

Through the ups and downs of the season, Tucker still came out of it with a 2025 Silver Slugger award. He had the second-highest OPS on the team (.841) among players with at least 100 plate appearances, behind former Dodger Michael Busch (.866).

In response to Tucker’s comments Monday, Cubs fans on social media said they were upset with Tucker for playing through his hand injury, and for leaving the team to address his calf injury — which seemed to set up a no-win situation for his relationship with the fan base.

Tucker’s union with the Cubs was always expected to be short term. That was always the case from the moment they acquired him one season away from what was projected to be a lucrative free agency. Nothing had changed by the last out of the team’s 2025 season, as they fell one win shy of meeting the Dodgers in the National League Championship Series.

With the Dodgers, Tucker has yet to put together a real hot streak at the plate. He’s hit far better in away games (.828 OPS) than at home (.601) this year.

On the road again, Tucker went 5-for-11 in three games against the Cubs this week — perhaps a sign of good things to come, in a season full of false starts.

“Just working every single day, just trying to be consistent with my work and what I do in the cage and everything and trying to translate it out onto the field,” he said Monday. “Felt pretty good today. Had good at-bats the past couple days and stuff. So just trying to continue that moving forward into tomorrow’s game and so forth.”

His biggest moment of the series came Tuesday. In his first at-bat of the game, he lifted a solo home run into the left-field bleachers and trotted around the bases to a chorus of boos.

It was the Dodgers’ only run of the game.

Rhea Seehorn possesses what Vince Gilligan calls “Jumbotron face.” As the creator of “Pluribus” and (with Peter Gould) “Better Call Saul,” Gilligan has relied on Seehorn’s ability to broadcast what her characters are thinking and feeling without saying much of anything. Gilligan loves silences and uses them in long stretches, allowing — or, perhaps more accurately, demanding — his audience to figure out what’s happening on their own.

And in Seehorn he found someone who, with a mere sidelong glance or knitted brow, can let you in on Gilligan’s secrets.

But Seehorn carries this ability wherever she goes, she tells me. People take a look at her and make assumptions. She’s 5 foot 4, lean and seems athletic, though she says she’s “the least athletic person that anybody knows.” That hasn’t stopped her from being cast as a golf instructor in the upcoming second season of the Owen Wilson comedy series “Stick” and a track and field coach in a movie she’s shooting right now called “Running.”

“I do not run,” she told the movie’s director, Gavin O’Connor. “I can tell people to run, but you don’t want to see me running.”

It’s not just work, though, where these deductions are made. Up until a few years ago, when people started recognizing her for playing poker-faced attorney Kim Wexler on “Better Call Saul,” Seehorn would be standing in a store and customers figured she worked there. Shopping at the Gap, she’d be asked if a T-shirt comes in medium. In Target, she’d be queried about where to find the Christmas decorations. Even on set, a background person would approach her, wondering if there’s any more plain bagels at craft service.

Why do you think this happens? I ask her. Because, even with her fame and her Golden Globe win for playing Carol, a sad woman forced to save the world from happiness and the hive mind in “Pluribus,” Seehorn, 54, says this still takes place on a regular basis.

“I’ve asked my friends, and apparently my daydreaming or thinking face looks focused,” she says. “I guess my interior monologue is highly interpretable to people, and if you’re standing in a store and you see somebody really thinking and thinking, they’re like, ‘She must be restocking the shelves.’ When in reality, I’m probably thinking about what I said wrong to somebody at a party in the ’80s.”

Rhea Seehorn as Carol Sturka in “Pluribus.”

(Apple TV)

Seehorn bursts out laughing, which she does often and with great gusto throughout our conversation. We’re at The Times, nine years after her last visit to our offices, which I know because she shows me a photo on her camera roll of her youngest stepson, McLain, taken when we were downtown and he was 9, young enough to still be thrilled about being in a “newspaper building.”

This prompts another take-your-kids-to-work memory.

“I brought him and Gray [the other stepson she shares with her partner of 12 years, real estate agent Graham Larson] to the set of ‘Better Call Saul’ when they were 7 and 9, and the thing they were most excited about was signing an NDA,” Seehorn says. “Everybody in the production office made a huge deal of it, pretending like they were spies, because I knew they’d think that was cool.”

Seehorn played Kim opposite Bob Odenkirk on “Better Call Saul” for six seasons, creating a character that evolved from a minor role to what Gilligan calls the “backbone of the series.” Dazzled by her versatility, Gilligan wrote “Pluribus” for Seehorn. But he didn’t want to tell her about it until he had a script and not just an outline. He asked “Saul” executive producer Melissa Bernstein to act as a spy and tell him if Seehorn was close to taking another job. One day, during the show’s final season, Bernstein told him he’d better pounce.

“I didn’t want to miss my opportunity,” Gilligan says over the phone. “That would have been a bummer. Rhea is the manager that makes the show work.”

(Ian Spanier / For The Times)

Where Kim Wexler was a composed and poised overachiever, suppressing her emotions when things (as they often did) spiraled out of control, “Pluribus’” Carol Sturka lets it all hang out. She’s volatile and angry, drinking heavily to obliterate her regret and rage. The characters share a fierce drive to fight for what they believe is right, which, for Carol, means maintaining her autonomy and resisting the good-vibes group contentment of the Others. A hero has never been more reluctant than this curmudgeon.

Seehorn is the ultimate professional: pleasant, quick to credit her colleagues, a team player. So Carol’s bitter fury feels distinct from her friendly personality as well as anything we’ve ever seen her do onscreen. But it’s not entirely foreign. Talking about the “Pluribus” season finale, she said that while she’s never murdered anyone, she has felt out-of-control rage.

When did this happen?

“I’m not going to tell you that!” she answers, laughing.

I’m just trying to picture it, I tell her.

“I know, because a lot of people are like, ‘I’ve never seen you mad,’” Seehorn says. “I suppress. I suppress too much. That’s something I work on with my therapist. I used to scream and yell as a teenager. That’s how I fought. And I just decided in college one day — I think I had an out-of-body experience — that I don’t want to be this person. And it probably moved the needle too far the other way. Now, when I’m angry, often I withdraw and get very quiet. I say everything is fine and then I’m never speaking to you again.”

That could have made playing a highly reactive character like Carol therapeutic. Instead, it did a number on Seehorn’s body.

(Ian Spanier / For The Times)

“Unlike Carol, I cry often when I’m extremely angry and in the middle of trying to tell someone how upset I am,” Seehorn says. “Like the anger disturbs my body so much that it makes me cry. No matter how much I tried to unplug from Carol, my body didn’t understand that I was pretending.”

We start talking about relationships and unhealthy withdrawal and letting things fester to the point that when the emotions come out, it feels abrupt and the other person has no idea what’s going on. And out of nowhere, Seehorn gives me a taste of Carol, growling the words, “Can you just get it?” with such ferocity that I’m almost physically blown back in my chair.

“God, you scared me with that,” I tell her.

“Thank you,” Seehorn says, beaming.

Because she’s a (generally) well-adjusted human being, Seehorn has developed ways of dealing with the terror and flop sweat that comes with playing the lead on an expensive, highly touted TV series, one that earned 18 Emmy nominations, including one for her lead turn. She converted the garage at her home into what sounds like a veritable wonderland. In one corner, there’s a tiny gym. There’s a place to record voice-over work, not a proper booth, which she’d like someday, but close. There’s a space to be quiet and read scripts. There’s an area where she can paint, sculpt, do jigsaw puzzles, Lego sets, embroider — all the things that ease her anxiety but also help her work through creative blocks.

“If I have too much of a vice grip on a scene and I can’t figure it out, I’ll do a jigsaw puzzle or draw while running the lines,” Seehorn says.

She loves creating things, but she also loves projects that involve following instructions. That soothes her. In the middle of enthusing about a cross-stitch embroidery project, she says, “Don’t roll your eyes at me!” Which I most definitely was not doing. That was my daydreaming, thinking face.

(Ian Spanier / For The Times)

Sometimes these projects make their way inside the house, where Seehorn might turn on the television and watch what she calls “murder TV,” sitting under a big, curved metal dome lamp that feels like an interrogation spotlight. There, her brain still working on what she was doing in her office, she’ll lose herself on multiple fronts as she wrestles with a scene.

Seehorn loves watching shows like “Dateline” because they provide a sense of order in a chaotic world. Bad guy. Bad guy gets caught. Bad guy goes to jail. All is well. But it goes beyond that. As an actor, she loves watching people trying to lie — and failing. She can’t believe how bad people are at not telling the truth.

“Every single time, I’m like, ‘Dude’s lying,’” Seehorn says. “Women too, where I’m watching an interrogation scene and thinking, ‘There’s a zero percent chance you did not know someone was going to break in and shoot your husband.’ It’s funny because as actors, whenever we’re playing criminals that are lying to the police, we’re really good at it.”

Does that mean Seehorn is an adept liar? Yes and no. You’ve seen her act. She can make you believe anything. But when she does lie, she is compelled to confess, even when the fib is innocuous.

“I’ll be in a conversation where there’s a bunch of cool people talking about a movie they saw, and I’ll be like, ‘Oh yeah, that was great!’” Seehorn says. “And then I’ll leave and then I’ll come back and say, ‘I didn’t actually see it. I’m sorry.’ And they’re like, ‘Who’s that weird girl?’ I’m good at lying, but bad at holding the guilt.”

So when you’re telling me you don’t know any details about the second season of “Pluribus,” are you misleading me? I ask.

“I know nothing!” Seehorn says. The atomic bomb in the crate that a helicopter carefully deposits in Carol’s driveway in the last scene? “As soon as they said, ‘Cut,’ I went up to Vince and asked, ‘Now can you tell me what we’re doing?’ And he said, ‘I have no idea.’”

“And all these months later, I know no more than that,” she continues.

But if you did…

“You’d be getting a phone call from me about an hour after we say goodbye, confessing all,” Seehorn answers, smiling.

The phone still hasn’t rung.

(Ian Spanier / For The Times)

WASHINGTON — The Department of Homeland Security’s system for paying for detainee medical care has collapsed, records show, leaving a backlog of unpaid claims likely costing millions of dollars.

With a new payment system still not in place, advocates for immigrant detainees fear some are going without necessary treatment as medical providers near a year without compensation.

Newly released federal records reveal what that treatment could be for, detailing more than 233,000 claims for off-site medical and dental care between January and early October of 2025. The claims, for which Homeland Security spent $96 million, show detainees were treated for a wide variety of conditions, including strokes, pregnancy, suicide attempts and frostbite.

For years, Homeland Security relied on a unit of the Department of Veterans Affairs, its financial services center, to process reimbursement claims for detainee medical care. But since that arrangement abruptly ended Oct. 3, the company hired to create a new payment processing system has yet to start reimbursing the medical clinics, dental practices and pharmacies that treat detained patients.

The documents were released by the VA to the nonprofit watchdog group American Oversight through the Freedom of Information Act and shared exclusively with The Times. They paint the clearest picture yet of the off-site medical care received by immigrants in the custody of the federal government before the payment system fractured.

The old system used by Homeland Security was scrapped after critics questioned why the VA was processing paperwork for a different federal department.

During the Biden administration, Republicans claimed that the contract between Homeland Security and the VA took resources from veterans to facilitate healthcare for immigrants and introduced a bill to stop it.

Last year, with President Trump back in office, the VA wrote Immigration and Customs Enforcement on Aug. 19 to say that it would stop processing detainee medical claims by Feb. 28, 2026.

“This termination is necessary to reallocate resources to support mission-facing programs,” the letter states.

On Sept. 30, the right-wing Center to Advance Security in America filed a lawsuit against the VA seeking answers to a year-old request for records related to the alleged diversion of resources. The VA didn’t respond to requests for comment. But then-VA press secretary Pete Kasperowicz told the Daily Signal that the department had, under President Biden, focused on unnecessary activities such as processing healthcare claims for immigrants.

“Under President Trump, the department has abandoned these radical liberal priorities and rededicated itself to providing the best possible care and benefits to the Veterans, families, caregivers and survivors we serve,” he said.

Three days after the lawsuit was filed, the VA stopped processing Homeland Security claims. Later that month, ICE awarded multimillion dollar no-bid contracts to two companies tasked with taking over claims processing: Acentra Health for healthcare services and Ardent Group for pharmacy services.

Federal law requires Homeland Security to provide medical care to the people in its custody. Those held by Customs and Border Protection near the border, or by ICE in the country’s interior, are civilly detained for the purpose of removal proceedings. ICE is holding more than 65,000 detainees as the agency touts record-high arrests this summer.

ICE and Customs and Border Protection rely on about 3,000 community-based providers and local hospitals, which submit about 300,000 claims annually for detainee care, according to ICE.

The claims outlined in the VA documents show ICE paid $77.3 million, 80% of the total, and CBP paid $19 million. Together, the agencies paid on average about $260 for off-site care per detainee from January to October 2025, a Times analysis found. By comparison, federal prisons in fiscal year 2025 spent about $2,700 per inmate on external medical care.

For ICE, medical conditions that had the highest number of claims included screenings for tuberculosis and other diseases and treatment for hypertension, chest pain and type 2 diabetes. Some of the highest-paid amounts related to treatment of psychosis, schizophrenia and sepsis.

More than a third of the claims for CBP — and more than half of the total paid amount — went to a category of claims called “injury, poisoning and certain consequences of external causes.” That includes traumatic injuries such as fractures, concussions and hemorrhages.

Among other notable claims are 2,267 for pregnancy, birth and maternal care, 1,793 for seizures and 419 for suicide or self-harm. The most expensive claim was $292,199 for treatment of leukemia.

Homeland Security did not return requests for comment but frequently says it provides comprehensive medical, dental and mental health care, which officials tout as the best healthcare many detainees ever received.

Dr. Amy Zeidan, an emergency medicine doctor and associate professor at Emory University who studies immigrant detainee health outcomes, said the VA data show detained immigrants require significant medical care. She said some of those entering detention facilities likely have chronic conditions and don’t get proper care, while others likely develop serious conditions while detained.

“There is a high burden of disease in detention facilities that we have always suspected but really had no evidence to support,” she said. “It’s not like these are people getting routine visits for mildly high blood pressure — these are people who require hospitalizations.”

“If claims are no longer being paid, this is a big problem because outside care is certainly needed,” she added.

The decision to end the processing agreement with the VA “created an emergency,” according to ICE officials. That phrase appears in a contracting document for Acentra Health that was first reported on by independent journalists through the newsletter Popular Information.

Several vendors expressed interest in the job, but ICE said a formal competition would take months and the lack of a way to process claims could delay necessary medical care, such as dialysis, prenatal care and chemotherapy.

ICE needed to come up with a new way to process medical claims “instantly” in order to “prevent any further medical complications or loss of life,” the contracting document states. “Off-site providers who are not paid timely may not accept new patients or continue to provide vital care and services.”

The ICE officials wrote that Acentra Health provides the same claims processing system used by the VA and would be able to restore claims processing services quickly.

Claims processing was slated to resume April 30, but providers still haven’t been paid.

The ICE Health Service Corps website says providers should “hold all claim submissions while we work to bring the new system online.”

Lindsey Rodarmer, public relations manager for Acentra Health, said the company’s role under its contract is solely to build out the claims processing system — not to start processing claims.

“The timeline for the completion of this project depends on factors beyond any single party, including two government shutdowns, funding lapses, and the timing of federal authorizations, all of which have impacted the project schedule,” Rodarmer said.

According to a federal contracting website, Acentra has been paid $44.6 million of its $67.5-million contract, which Rodarmer said was extended until Sept. 24. Ardent Group has been paid $26.7 million of its $42.6-million contract, which is slated to end Oct. 24.

In June, Homeland Security posted a request for information to identify other potential vendors. The agency wants companies to answer 29 questions. The first asks for a “realistic timeline” on when the processing of claims can begin.

Rodarmer said Acentra responded to the request for information and, if chosen, would begin paying out claims under the system it built.

Last month, Reps. Mark Takano (D-Riverside) and Delia Ramirez (D-Ill.) wrote to the leaders of the VA and Homeland Security seeking answers about when Acentra will begin processing reimbursements, whether any claims have been paid since Oct. 3, and how many detainees have had health complications or died because they were unable to access off-site healthcare. The lawmakers said the agencies haven’t responded.

In an interview, Ramirez said she believes the lack of payment for medical claims is directly tied to an increase in detainee deaths. At least 23 people have died in immigration custody this year. Last year the agency reported 33 in-custody deaths.

She said that without answers to the questions she raised with Takano, there’s no way to know what Homeland Security has been billing for and how much care has been put on hold.

“In our current system, if no one is paying for services, no one gets healthcare,” Ramirez said. “Since DHS and VA stopped processing medical claims nine months ago, it is clear that our neighbors are being deprived of necessary medical care in violation of the law.”

Meanwhile, detained immigrants and their supporters have raised increasing alarms over medical care provided by ICE.

ICE said Edwin Jovanny Lopez Cornejo, 41, of El Salvador suffered a medical emergency on Saturday and was pronounced dead after being taken to a New Jersey hospital.

The agency said Lopez Cornejo had received proper medical care and was seen by medical professionals. His mother, however, told a local immigrant rights group that she believed he hadn’t received his medication for diabetes, high blood pressure and seizures.

In California, a court-appointed medical monitor issued a report last month finding that the state’s largest immigrant detention center repeatedly has delayed assessments, treatment and administration of medication for detainees. The center’s operator told The Times it was reviewing the report and that nothing matters more than the health, safety and well-being of people under its care.

At the California City Detention Facility, one man waited months for a surgery he never received. The 34-year-old man asked to be identified by his initials, A.S., over concerns about his immigration case.

A.S. said he tripped and broke an ankle while detained in late February. He was transported to a local hospital and placed in a cast.

Medical records show A.S. didn’t see a specialist until April 10, when it was determined he needed surgery. At an appointment June 1, A.S. said a doctor told him he had missed a scheduled operation, which medical records appear to confirm.

He said the doctor told him too much time had passed and the surgery no longer was possible because of risk of complications. The doctor ordered physical therapy, A.S. said, but medical records show he didn’t receive any.

A.S. was released from the detention center last month still limping and in pain. Unable to find work or pay to see a doctor, he has resorted to recycling cans and bottles to support himself.

“They knew about my situation — there were requests asking to be seen, there were complaints I had filed, so it’s not like they didn’t know,” A.S. said. “Instead, it’s as if they didn’t want to give me the medical attention.”

When I moved into my Leimert Park apartment about two years ago, an older woman rushed downstairs to greet me.

“I’m so excited,” she said, introducing herself as Cassandra. She had lived in the tight-knit apartment building for more than 20 years and watched plenty of people come and go. “I was worried about getting a crazy neighbor, but you seem great,” she added, hugging me tightly and handing me a tray of sandwiches to share with my friends who were helping with the move.

Over the next few days, I met my other neighbors, including Miss Rosita and Mr. Art. After a few shared meals, long conversations and traded favors, all of them became more than just the people next door — they became family.

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There’s a quiet comfort in knowing your neighbors, especially in a sprawling, sometimes lonely city like Los Angeles. That kind of connection is fading. A study by the Stanford Center on Longevity showed that the percentage of Americans who frequently interact with their neighbors — meaning they spend time with or talk to their neighbors more than once a week — declined among all age groups from 2017 to 2023.

We wanted to find people who are bucking the trend, so we asked readers to nominate the neighbors who make their corners of Southern California feel like home. The stories that folks shared are poignant, inspiring and might just make you want to walk over to the porch next door (or welcome mat across the hall) and introduce yourself immediately.

One of my favorite neighbors, Mr. Art, died last fall. He was a sweet retiree who’d tell me about his weekly fishing adventures and close my garage whenever I was in a hurry and would forget. Another neighbor called me the day he died, and we cried together, sharing our favorite memories of him. I’ll always be grateful to Mr. Art, who made my life better all because he once took the time to meet his new new neighbor.

Here are some of our favorite reader responses, edited for length and clarity. Each of the neighbors featured in this story will receive an L.A.’s Most Neighborly Neighbor certificate, illustrated by Cristina Spanó, whose art is shown above. Do you have a neighbor who goes above and beyond? Download and print your own certificate (PDF) and share it as a token of your appreciation.

He’s saved us from many, many parking tickets. She hosts the sweetest front porch chats.

Bill and Linda Melber.

(Ronaldo Bolanos / Los Angeles Times)

Neighbor: Bill and Linda Melber

Nominated by: Corrinne Harol

When were you neighbors? 1994 to now

What neighborhood did you live in? Santa Monica

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Corrinne, on how Bill and Linda show up as neighbors:

Linda and Bill are the most generous neighbors imaginable. Bill has taken out my trash bins for decades. It started when I was living in Canada for most of the year, but he still insists on doing it. He makes it his personal mission that no one gets a parking ticket for street cleaning on our block, going up and down the block twice a week to remind anyone who forgot. One time he called me about my car, but I was too far away to get back to move it. Bill had a key to my house, but the gate was locked. He climbed over the fence, got my car keys and moved my car for me! He also makes children’s toys that he distributes to any children on the block or that he encounters out and about.

His wife, Linda, is equally neighborly, hosting regular chat sessions on their lovely front porch and checking in on me whenever I have been ill, as she does to anyone in her orbit. They are truly a gift to the neighborhood.

He made me feel welcome when I was in culture shock

Tommy Bui and Hector Chavez.

(Tommy Bui)

Neighbor: Hector Chavez

Nominated by: Tommy Bui

When were you neighbors? 1996 to 2022

What neighborhood did you live in? Pacoima

Tommy, on how Hector has shown up as a neighbor:
The greatest neighbor I ever had was my childhood friend, Hector. I’m the child of Vietnamese refugees, and when they claimed asylum in Los Angeles, we were plonked into the cultural collision that was Spanish-speaking Pacoima. I was seemingly the only Asian child in a five-mile radius. I certainly stood out among the perfectly creased khaki pants and palm combs and top-buttoned flannels contrasted with my clueless bowl haircut and Ninja Turtle suspenders.

Confounding the astronomical unlikeliness, we got along like two peas in a pod. I got a crash course on Angeleno aesthetics and the ins and outs of the rough and tumble San Fernando Valley hurly-burly. I was a regular staple at his welcoming household. Simpatico and simply siblings by circumstance. Sunday dinners and holidays and “Sandlot”-like weekend street shenanigans. My youth was alarmingly idyllic with the hopped fences, bicycle slaloms through traffic and occasional near-misdemeanor mischief. Shoulder to shoulder alongside Hector, I wouldn’t trade a single moment of it.

Though no longer neighbors, we’re still navigating life’s milestones in our own corners of Los Angeles. We’re both new fathers and hurtling toward middle age completely agog at how quickly the time gallops by.

She gave me a gold turtle to make me feel better after my breakup

Fatine Ait-Haddou and Raynette Syfu.

(Fatine Ait-Haddou)

Neighbor: Raynette Syfu

Nominated by: Fatine Ait-Haddou

When were you neighbors? Since 2021

What neighborhood did you live in? Historic Filipinotown

Fatine, on how Raynette has shown up as a neighbor:

I had just moved into my new apartment after breaking up with a long-term ex. I was sobbing every single day. During my first intro with Raynette, she gave me a little gold turtle and said it would bring me safety, luck and calmness. I named it Lucky and I still have it. Raynette brings me meals all the time and checks on me whenever she hasn’t seen me for a few days. She even gave me a huge bag of her vintage clothes. One of the most insane things she’s done for me is give me a fake baby, one that was heavy and realistic. She said that because I lived alone and didn’t live near family, it could be nice to have additional family. [Laughs] Honestly, it was a very “her” move. She’s truly amazing and looks out for me. I couldn’t be more grateful.

He taught me new chess strategies — and life lessons

Ali Ras and Jemimah Yamamoto.

(Jemimah Yamamoto)

Neighbor: Ali Ras (born Fitz Albert Thomas)

Nominated by: Jemimah Yamamoto

When were you neighbors? From 2021 until his death in 2025

What neighborhood did you live in? Arlington Heights

Jemimah, on how Ali showed up as a neighbor:
I moved to Los Angeles in the summer of 2021. I was in my late 20s, and I was a bit unsure of my move. Even more so, I was unsure of the neighborhood I ended up in thanks to Facebook Marketplace. But as fate would have it, it revealed to me that I was destined to be there. I’d see an old man with his gray dreads and sing-songy voice as I would walk from parking my car on the street. One day, he introduced himself and over time we developed a relationship. Him, as my chess teacher, and me as his eager student. I’d bring over my chessboard and we’d play for hours on his porch. He’d always say I was too aggressive with my pawns and that I wasn’t afraid to lose them. He’d play slowly and deliberately. I never won a single game against him. I’d like to think that that itself was a lesson.

During my Saturn return, I was depressed and felt a bit lost. On days that felt the darkest, he would call. He would ask me how I was doing, and it would cut through all the facade of “I’m good.” It was the tone of his voice that made you want to be honest. His way of caring felt like a miracle because you don’t even have to explain anything to him, he would just know. At the time, his presence was exactly what I needed.

He was the only person I gladly let walk into my house unannounced

Eric Pendleton

(Kim Quitzon)

Neighbor: Eric Pendleton

Nominated by: Kim Quitzon

How long were you neighbors? More than 20 years

What neighborhood did you live in? San Fernando

Kim, on how Eric showed up as a neighbor:
“Uncle Eric” was more than just a neighbor; he was family. Walking through the door unannounced yelling “Hi, family!” across the living room. “I came to check on the backyard.” Every week he would mow the yards after he lost his job and took pride in landscaping the grass, but that was just the surface of what he meant to us. On the popular street of Orange Grove in San Fernando where crowds line up during Halloween, Uncle Eric was our honorary neighborhood watch. Rolling up and down the street on a new bike every day, checking in on every neighbor that would give him the time of day.

From watching the dogs when we were away to helping set up family parties, he was one of us. He just happened to live three doors down. Unfortunately, Eric passed away from cancer last year. The whole block was devastated, and we all held a potluck in his honor. We will miss him, and he truly is the epitome of an amazing neighbor.

She sat with me after my mom died while I cried

Pamela Yeh and Hilah Johnson.

(Pamela Yeh)

Neighbor: Hilah Johnson

Nominated by: Pamela Yeh

When were you neighbors? From 2017 until mid-2020 when she and her family moved to Austin, Texas. Over the years, we’d become close friends, so I was gutted by their move. The most amazing thing happened, though. In 2022, they moved back to L.A., just a few blocks away from us. They live about 10 minutes away from us now, but we still see each other all the time.

What neighborhood did you live in? West L.A.

Pamela, on how Hilah has shown up as a neighbor:
Hilah has shown up for me and my family in hundreds of ways over the years, but I want to tell you this one story. In September 2025, my mom, who had been living in an ADU we built in our backyard, died. She was my heart, and I was utterly crushed. I lived in a fog of grief and shock. Hilah came over and just sat with me while I cried and cried. She made the video montage of my mom for her memorial, which was extra difficult because a family member had all sorts of unreasonable demands. Eventually, she got me to go to a dance class, and we’re still dancing, one step at a time, at the wonderful local Flow Motion.

He’s the beloved ‘Fairy-Car-Father’ on our street

Rodrigo Mangrobang

(Leigh Ann Jackson)

Neighbor: Rodrigo Mangrobang

Nominated by: Leigh-Ann Jackson

How long have you been neighbors? Since I moved to Northeast L.A. 15 years ago

What neighborhood did you live in? Northeast L.A.

Leigh-Ann, on how Rodrigo has shown up as a neighbor:
Rod, as most of the block calls him, is a retiree who lives with his wife across the street from me. He spends a lot of time outside gardening and working on his cars and can seemingly sense whenever a neighbor is having car trouble. He’ll stop what he’s doing, bring over his tools and get to work, no questions asked. He’s not very chatty, but he speaks auto fluently! He saw me pull out of my driveway once and flagged me down to tell me I was headed for a blowout soon. He then instructed me to pull back into the driveway and patched the tire for me on the spot. I even watched him go outside to help a stranger whose car had broken down in the middle of the road. He’s our street’s Fairy-Car-Father.

She had the best local recs. Yelp couldn’t come close.

Sofie Ringold and Eileen Ogle

(Sofie Ringold)

Neighbor: Eileen Ogle

Nominated by: Sofie Ringold

When were you neighbors? From 2020 to 2025

What neighborhood did you live in? Sherman Oaks

Sofie, on how Eileen showed up as a neighbor:
When my husband and I bought our first home, the COVID vaccine hadn’t been released yet, and we didn’t meet any of our neighbors. A few days later, an older woman wearing a mask knocked at our door. She said that a package had been delivered and she didn’t want it to get stolen. The package had arrived only minutes earlier, so it was pretty clear she wanted to scope out her new neighbors, and during a time of social distancing, this was the perfect excuse. She introduced herself as Eileen. She lived next door with her partner, Judith. We exchanged numbers and said a friendly goodbye.

As the world slowly became more comfortable with social interaction, Eileen began introducing us to everyone on the block. Soon, while we were walking our dog around the neighborhood, people would stop us and ask if we were new. When we told them we lived next to Eileen and Judith, their eyes lit up. It was clear they were local legends. Like all first-time homeowners, we quickly ran into our share of problems. But who needs Yelp when you have neighbors who have already vetted every home service you could possibly need? Need a gardener? Call Eileen. HVAC needs maintenance? Call Eileen. Going away for the weekend and need someone to check on your cats? Call Eileen.

Sadly, Eileen passed away in December. A cloud hung over our street for weeks. Then on Christmas morning, the sun broke through and a rainbow appeared. My husband took it as a sign from Eileen.

He went from my flirty neighbor to my husband of 16 years

Brett Boyd and Sara Mortimer-Boyd.

(Sara Mortimer-Boyd)

Neighbor: Bretton Boyd

Nominated by: Sara Mortimer-Boyd

When were you neighbors? We became neighbors in 1996 until 1997, when we moved in together

What neighborhood did you live in? Silver Lake

Sara, on how Bretton has shown up as a neighbor:
Bretton would come to my door asking for things (cigarettes, food, etc.) while trying to flirt. I was very intrigued by him, but I didn’t think he was “my type” at the time. It was confusing at first. One day, he invited me upstairs to his apartment for coffee and breakfast, which became a regular thing. He got me addicted to coffee and to his amazing cooking. He started coming over to my apartment more and we became really close friends before becoming romantic. I remember one time he left for a few weeks to visit his parents, and I realized in his absence that I loved him and wanted to spend every day with him. We moved in together in 1997, got engaged in 2002 and have been happily married with children for the last 16 years. He still cooks dinner for our family every night at our home in Highland Park.

He helped organize a food train when my son was diagnosed with leukemia

Scott Marshall-Miller

(Scott Marshall-Miller)

Neighbor: Scott Marshall-Miller

Nominated by: Mev Blount

When were you neighbors? From 2006 to 2017

What neighborhood did you live in? Studio City

Mev, on how Scott has shown up as a neighbor:
My husband and I moved next to Scott and his husband when I was pregnant with our first child. Scott welcomed home his daughter nine months after mine was born, so we were new stay-at-home parents together. His husband is an incredible baker, and he and Scott were always bringing over plates of deliciousness. The chocolate croissant bread pudding is legendary! I was raised that you never return a plate empty so I’d bake something or add some homegrown veggies to the plate. That plate went back and forth through the hedges between our houses for years.

Both of our husbands traveled for work a lot, so Scott and I spent hours together, especially before bedtime and during the “witching hour” with our little ones. We’d sit on my front lawn, nursing half-glasses of Trader Joe’s finest Two Buck Chuck wine while his daughter and my two kiddos rolled around, wearing themselves out. Scott and I would knock on each other’s doors when the parenting was too much. He and I would always answer the door with an “Oh, it’s you. Come in. No one else can see me as a hot mess.”

When my youngest got leukemia at 7, Scott was part of my core group who ignored me when I said we didn’t need help. They organized a food train, and Scott was the one who set up a cooler on my front porch and insisted people drop food without knocking, knowing we were overwhelmed. He was always there when I needed to laugh or cry, and he made our L.A. suburb feel like the small Ohio town where I grew up. I still find glitter ground into our kitchen tiles from the Halloween when he made his daughter a purple witch costume. Sadly, Scott died suddenly in his sleep a few years ago. Tiny bits of glitter are embedded in our tiles, a bright reminder of Scott and the beauty and joy he brought to even the most mundane tasks. He made L.A. feel like home.

During his eight seasons as a head college football coach, Lincoln Riley often faced a frustrating conundrum when it came to playing freshmen: Were a handful of plays at the end of a blowout really worth burning a whole year of eligibility?

“I can remember at times going to a player in the game,” Riley said Tuesday. “‘We can probably play you like five to 10 plays at the end of the game. But if you do that, we can’t play you anymore, or we’re going to have to take your redshirt.’ We’re having to talk about that in-game. … You had to be ready to adjust on the fly.”

But after years of meticulously monitoring that playing time, those adjustments will no longer be necessary, after the NCAA adopted new eligibility rules in June. The new model gives athletes a blanket five years to compete, effectively eliminating the need for redshirts or special waivers. It also could alter how rosters are constructed.

Riley has been calling for the rule change since shortly after he became USC’s head coach. And it is now being implemented at the best possible time for his Trojans.

With so many highly touted freshmen from USC’s No. 1 recruiting class sure to see the field this season, there’s no need now for Riley or his staff to look four years into their future while deciding when and how to give them game-day snaps.

“Now you can just make the best decision in the moment,” Riley said. “I think that’s great for the player. … Just play the guys who deserve to play.”

For USC, it means that a fleet of first-year players are sure to see the field, not just during the nonconference slate but beyond, as Riley and his staff feel out which members of the Trojans’ 2026 class could contribute when the schedule suddenly stiffens in late September.

“Any opportunity that we get a chance to play these guys, however it comes out,” Riley said, “you love the fact to be able to do it.”

Some schools could land veteran roster reinforcements as a result of the rule change after a judge granted an injunction allowing anyone in the class of 2022 who would’ve used the fifth year of eligibility to return to claim it. The decision is being appealed by the NCAA. Former USC wideout Jay Fair has indicated on social media that he intends to pursue that route, but as of Tuesday, Fair hadn’t rejoined the program.

The Trojans stand to benefit more than most from the new eligibility rules this season. But Riley does have one issue with the new rule. It currently stipulates that a player’s eligibility clock begins with either their full-time enrollment or the academic year following their 19th birthday, whichever occurs first.

Trent Mosley smiles while leading Santa Margarita to a Division 1 title. Mosley is among the freshmen at USC who will benefit from new eligibility rules.

(Craig Weston)

So as it stands, any freshman with a birthday prior to Sept. 1, 2006, is left with one fewer year to play than their freshmen counterparts.

At USC, that affects two members of the 2026 recruiting class — wide receiver Trent Mosley and safety Madden Riordan.

For Mosley, a former Rancho Santa Margarita star, a fifth year may not ultimately matter. He’s already 20 years old and on track to potentially start in the slot as a freshman.

But USC’s coaches were quick this week to note that the Trojans’ freshmen, no matter how talented, still had some acclimating to do.

“Age is really just a number,” inside receivers coach Chad Savage said of Mosley. “When you’re a freshman and you come into college, there’s a big learning curve, right? Whether it’s playbook, whether it’s everyday life, whether it’s the weight room, whatever it may be, um, I think from a maturity standpoint, he is very mature, but it’s just one step in front of the other, every single day with Trent.”

Tanook Hines, USC’s top returning receiver, was a bit less restrained in his evaluation.

“Trent Mosley definitely stands out,” Hines said. “He seem like a vet, like he’s already been here.”

Riordan, meanwhile, is older than some of the vets on USC’s defense, including junior starting linebacker Desman Stephens, who already has 26 games under his belt at USC. It follows then that Riordan’s football IQ has made an impression with coaches early on.

He’s one of the several freshmen who might have been on the brink of a redshirt, given his weight. But Riordan added almost 15 pounds during the summer to hit 180 and could push for a place in USC’s defensive back rotation.

Riley said he believes Mosley and Riordan — and any other freshmen, for that matter — should get the chance to play all five seasons. No matter how old they are when their college careers start.

“We have a few guys that we are in the process of seeking some clarification and potentially getting some relief on that,” Riley said of the age restrictions. “Our belief is if they’re five for five coming out of high school, they should be five for five. We should keep it simple.

“Hopefully we get to that point.”

Comedian and podcaster Christina Pazsitzky just dropped the “divorce episode” of “Your Mom’s House” and addressed her split from Tom Segura after 20 years as a couple: “Mom’s drinkin’ and smokin’ on this episode.”

Pazsitzky told guest host Duncan Trussell that she wanted to formally address the news after word got out that the comedy power couple had separated this year. “Yes, Tom and I are divorcing, and it is extremely sad,” she said, beginning to cry.

“Sorry, I didn’t want to cry this soon. It is very sad. That being said, we have tried to work it out for several years for the sake of our children and our family, and we gave it all we could, but we just couldn’t work things out. We are no longer a couple.”

Pazsitzky said the former couple were trying to make their two children a priority as they navigated the split.

“Look, we had 20 amazing years together, and that’s a really good run, I think, in a marriage,” she said, noting that the two had built their comedy careers, podcasting empire and a family over the course of their relationship.

“I wanted to address the audience specifically because we’ve been through a lot together — for those of you that have listened to us since the very beginning — we’ve been through Tom and I getting married and living in Silver Lake and being two broke comics. We’ve been through births and deaths, tragic accidents, cancer, COVID, all the things, and I want you to know that I’m still your mom, and I’m still here, and we will survive.”

The comedian reassured listeners that she and Segura were amicable and that there was no need to take sides. “This is not an ugly divorce,” she continued. “Like, we’re cool, dude.”

The two became a couple in their 20s while working as stand-ups on the Los Angeles comedy scene. Pazsitzky said the two were “kids” and that people change over the course of multiple decades. She looked back on the “wild ride” of being poor together, living in Silver Lake and getting married with $200 between the two of them.

“Cancer couldn’t kill me, you think a dude’s gonna f— take me out?”

For all but one of the past 58 years, horse racing’s Triple Crown arrived at the same time on the calendar. The Kentucky Derby was run on the first Saturday in May, followed two weeks later by the Preakness and three weeks after that by the Belmont.

Three races for 3-year-olds in five weeks. Win them all and enter racing’s pantheon.

Those last two sentences remain true. But after 48 hours of upheaval this week, the times — and in particular the calendar — are changing. (The only exception since 1969 came in the pandemic year of 2020 when two of the three races were held in September.)

On Monday, Churchill Downs Inc. and the New York Racing Assn., which host the Derby and Belmont, respectively, announced a new six-race series for 3-year-olds that includes those two races on their traditional dates, but not the Preakness. The Thoroughbred Championship Series will feature a points system, with horses who compete in at least four races eligible to share a $5-million bonus pool that will pay down to the top eight finishers.

Then on Wednesday, the Maryland Jockey Club announced the Preakness would be moved back eight days, to the fourth Sunday in May. That date usually falls on Memorial Day weekend, though 2027 is an exception.

The goal is to get more Derby horses to run in the Preakness after more than 85% of the entrants in the last five years, including three winners — Rich Strike (2022), Sovereignty (2025) and Golden Tempo (2026) — skipped the Maryland race. Their trainers cited the short turnaround between the two events; very few horses these days compete in races two weeks apart.

“This extra week between the Kentucky Derby and the Preakness opens the Preakness to potential participants who use modern training methods,” said Bill Knauf, president and general manager of the Maryland Jockey Club.

“I think it’s a great idea,” Bob Baffert, the only trainer to win the Triple Crown since 1978, with American Pharoah (2015) and Justify (2018), said via text message. “Extra week and on a Sunday. Triple Crown tradition stays intact. Win-win for all because you have a choice to go for it if you think you have the right horse after winning the Derby.”

Baffert had said in a post Monday on X that the “greatest achievement in racing will always be winning the Triple Crown.”

But if horses were skipping the Preakness because of a 14-day turnaround, how many will run a week later knowing it’s just 13 days before the Belmont, especially since the latter race is part of the new series?

This year, no horse competed in all three races. Last year, there was one: Journalism, who sandwiched a win in the Preakness around runner-up finishes in the Derby and Belmont.

“As a traditionalist, sentimentally it’s difficult to see the timing and structure of the Triple Crown being adjusted,” Aron Wellman, president of Eclipse Thoroughbred Partners, which co-owns Journalism, said in a phone interview. “However, as a proponent of innovation and recognizing that the industry at large has fallen behind the times in so many respects, I applaud the innovation of Churchill Downs Inc. and NYRA.”

Did those outfits just put a dagger in the Triple Crown?

“I don’t know how much more of a dagger Churchill and NYRA should be blamed for putting into the Triple Crown when in the last two years, the winner of the Kentucky Derby has skipped the Preakness and waited for the Belmont,” Wellman said.

He also noted that Churchill Downs made an $85-million offer this spring to purchase the intellectual property rights to the Preakness, but the state of Maryland matched it.

“If anything, Churchill’s move to secure the IP [intellectual property rights] for the Preakness was a gesture on their part to try to save the Triple Crown because the daggers have already proven, if not fatal, then close to it,” Wellman said.

“So I don’t place any blame on Churchill and NYRA for the steady decline or demise of the Triple Crown. … And now knowing that they [can’t] institute whatever changes they were going to make, they’ve taken it upon themselves to try to do something positive for the industry and their respective brands. Which I applaud them for.”

The other races in the new series are the Matt Winn Stakes in July at Churchill Downs, the Jim Dandy in late July or early August at Saratoga, the Travers in late August at Saratoga, and a new “championship race” that will be scheduled in September at Churchill. Each race will have a minimum purse of $1 million (the Derby is worth $5 million; the Belmont and Preakness $2 million each).

NBC will televise the Churchill races, with Fox handling those in New York. NBC also announced a new deal to carry the Preakness through 2032, the same year its rights to the Derby expire.

CHICAGO — Dodgers third base coach Dino Ebel went directly to Shohei Ohtani’s competition for NL MVP with his gripe.

Ebel, who coached Cubs star center fielder Pete Crow-Armstrong with Team USA in the World Baseball Classic this year, gave him grief for serving as the designated hitter on Wednesday. He couldn’t play center field every day?

Ohtani and Crow-Armstrong had just traded leadoff home runs, so Crow-Armstrong told reporters that he shot back with: “Well, it took your guy 10 pitches, it only took me one.”

He was exaggerating slightly. Ohtani’s leadoff homer came on the seventh pitch of the at-bat against Cubs left-hander Shota Imanaga. And that, of course, wasn’t really how Crow-Armstrong felt.

“A [seven]-pitch at-bat to start the game and finish it off with a 110 [mph] ball at 20 degrees is pretty ridiculous,” Crow-Armstrong said.

The National League MVP race transformed into a head-to-head showdown between the frontrunners at Wrigley Field on Wednesday, as the Dodgers fell to the Cubs 7-6.

“Over the course of a season, there’s a lot of ups and downs,” Ohtani, a four-time MVP, said through interpreter Will Ireton. “It’s too early to think about that. So in a way for me it’s more important for the team to win and for me to contribute to that.”

Though Crow-Armstrong played along with the MVP talk, he came around to a similar sentiment.

“I would be crazy to say that I don’t want to win an MVP, but if we’re talking about having priorities straight, I think mine are pretty straight,” he said. “It’s not on the forefront of my mind. It’s fun to joke about and it’s fun to acknowledge and I think it’s absolutely OK to pay attention to. But it’s not following me up to the plate.

“If you guys want to talk about all this back and forth, like, I really should go get in the lab and start pitching. I really should.”

Ohtani was considered the runaway MVP favorite early in the year, while his pitching performance also put him in the Cy Young conversation. But his extended absence from the mound (left knee issue) and Crow-Armstrong’s contributions on offense and defense have made the race more interesting.

Crow-Armstrong entered Wednesday leading the majors in fWAR (7.5), followed by Ohtani (6.4).

Chicago Cubs designated hitter Pete Crow-Armstrong drops the bat after hitting his second home run against the Dodgers.

(Jessie Alcheh / Associated Press)

“Simply put, just having your name in the same conversation as someone as profound as [Ohtani] feels, it’s awesome and it’s a nice nod,” Crow-Armstrong said. “It’s cool. But … I would feel much more accomplished taking them (the Dodgers) down at some point. I want to see this group (the Cubs) in October because I think it’ll be a dangerous, dangerous group in the playoffs.”

Dodgers manager Dave Roberts irked Cubs fans a week and a half ago when, asked to evaluate Ohtani’s season overall, he said he’ll still be the NL MVP.

“I haven’t followed the race,” Roberts said before the game Wednesday. “I have followed what Pete’s doing, and he’s figured some things out with the bat. “He’s having a heck of a year. And he has rightfully made it a lot closer than most people expected. He’s had a tremendous season.”

That continued in the finale of the three-game series, for Crow-Armstrong and Ohtani.

Ohtani, struck first, notching the 32nd leadoff homer of his career and 29th as a Dodger, breaking a tie with Davey Lopes for the second-most in franchise history, behind Mookie Betts (32).

In the bottom half of the inning, Crow-Armstrong matched Ohtani with a tying blast.

The next inning, he delivered a two-run double, and in the fourth, he mashed a two-run blast off the right-field scoreboard to put the Cubs up 5-1.

Not to be outdone, Ohtani led off the fifth inning with a single, but the Dodgers failed to score. Then in the eighth, he made it his first multi-homer game of the season, with a two-run shot that trimmed the Cubs’ lead to 7-6.

“He’s a great player,” Ohtani said of Crow-Armstrong. “But I’m really focused on myself on the hitting side of things right now, really working towards hopefully getting back on the mound and working on that side of the game as well.”

Ohtani’s timeline back to the mound is nebulous at this point. Roberts didn’t have a specific day circled to resume playing catch, and Ohtani didn’t provide one, either.

“It’s getting pretty good day by day,” Ohtani said of his knee. “It’s hard to tell at this point what the schedule is going to look like. First I need to do [weighted ply balls], then go into long toss, then go into a bullpen progression. Rather than rush the progression of this I would rather make sure we’re headed in the right direction. But making sure we’re taking the right steps.”

The Dodgers’ rotation depth means he doesn’t necessarily need to build up to a full starter’s workload by the end of the year. Ohtani said he’d leave the timing of his progression up to the front office.

“Any innings we get from him are bonuses, given he’s a two-way player,” Roberts said. “Whether it’s one inning, two innings, three innings, I’m not too concerned about the timeline. … I certainly see him as a starter, but how much he could give us, to then have somebody [piggybacking] behind him, that we don’t know yet.”

Freddie Freeman pulled

Dodgers first baseman Freddie Freeman left the game in the bottom of the fifth inning after a pitch hit his right hand. But X-rays came back negative, Roberts said.

“I obviously didn’t come out of that at-bat because I knew it hit my bat as well,” Freeman said. “It hit bat, then hand and pinched my hand onto the bat. Next pitch, I swung. I could swing, and I swung again. As the adrenaline wore off, pain got a little bit more.”

Freeman said he expects to be ready to return to the lineup by the Dodgers’ next game, against the Arizona Diamondbacks on Friday.

DRIVING Home For Christmas singer Chris Rea left a £12million final gift to his family, documents show.

The hitmaker, who died three days before Christmas last year aged 74, passed the sum into a trust for his wife Joan.

Court records seen by The Sun show Rea left £14,435,894, reduced to £12,063,178 after taxes, debts and costs were removed.

A grant was issued by the High Court earlier this week.

He had signed his final will in October 2025, just two months before his death.

In the 19-page document, Rea asked to be cremated.

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Joan will also collect all of her husband’s personal belongings and future royalties from her husband’s hits being played on the radio.

Rea was born in Middlesbrough in 1951 to an Italian father and Irish mother.

He joined local band Magdalene in 1973 before launching his solo career by performing in local bars and clubs.

His 1978 debut album, Whatever Happened to Benny Santini?, spawned the US hit Fool (If You Think It’s Over), which landed him a £15,000 payday and a Grammy nomination for best new artist.

Rea produced 25 studio albums in a lengthy career, scoring two UK Number Ones – The Road to Hell in 1989 and follow-up album Auberge in 1991.

But it was his festive track, 1978’s Driving Home for Christmas, that made him a household name.

Rea had been dumped by his manager and banned from driving when his then-girlfriend Joan was forced to drive down to London in a Mini to drive him back up north.

He later recalled coming up with the melody and lyrics during the lengthy trip home.

The track only reached Number 53 when originally released in 1986, but has since become a staple of the festive season.

It has returned to the UK Singles Chart every year since 2007 and peaked at Number 10 in 2021.

Rea was diagnosed with pancreatic cancer at just 33 and went through nine operations in a decades-long health battle, spending more than 32 weeks in hospital.

He lost his pancreas, gallbladder and part of his liver to surgeries, and later developed type 1 diabetes.

At one stage, the star was taking 34 pills a day.

He suffered a stroke in 2016, prompting him to give up cigarettes, before collapsing on stage in Oxford the following year.

Chris said of his health battles: “The original illness hit me hard. I almost had a nervous breakdown with the shock of it. That was the Mount Everest to climb.

“When they said it was pancreatic cancer, I could not believe it. It seemed that if your DNA says you are going to have cancer, then you can.

“They did not think I would recover from the first operation, but I was determined to do so for my wife and the girls.”

The star continued performing despite his illnesses, and made his final TV appearance in a 2020 Christmas special of Mortimer & Whitehouse: Gone Fishing, filmed in his home city of Middlesbrough.

Chris met wife Joan when they were both teenagers growing up in Teesside and they stayed married for 57 years.

They had two daughters, Josephine, born in 1983, and Julia, born in 1989.

Comic Mortimer and TV host Jools Holland led tributes to Chris after his death last year.

Bob, recorded a cover of Rea’s Let’s Dance with Middlesbrough FC in 1997, wrote: “A lovely brilliant funny giant of a bloke… RIP Chris.”

His record label, BMG, said: “Over a remarkable career spanning more than four decades, Chris Rea created an extraordinary and deeply human body of work, defined by emotional honesty, restraint, and craft.”

Sound engineer Stuart Epps, who worked with the singer for decades, remembered him as “an amazing guy and an amazing musician”.

And Squeeze pianist Holland said: “Sad we’ve lost dear Chris Rea. A brilliant musician and the kindest of men.”

Jelly Roll is taking a break from performing after a highly publicized split from Bunnie XO.

Last week, the “Save Me” singer paused his Salt Lake City concert to announce the hiatus. “This has truly been a lifetime experience for me,” Jelly Roll told the crowd at the Rice-Eccles Stadium, per Country Now. “And in a couple of nights, I go to Colorado Springs and do my last show for a year or two. I’m fixing to take some time off and heal. Thank you for the opportunity.”

The Grammy Award-winning country star (born Jason DeFord) and “Dumb Blonde” podcaster (Alisa DeFord) finalized their divorce last month after nearly 10 years of marriage.

The country music star filed for divorce from his wife in Tennessee’s Williamson County on May 18, citing irreconcilable differences. The announcement shocked country fans who had followed the couple through podcast appearances and acceptance speeches that painted a rosy picture of the pair’s relationship.

Jelly Roll’s the Little Ass Shed Tour concluded last week in Colorado after two months of shows; he also co-headlined several stadium concerts with Post Malone. The musician released his latest single, “Hands Up,” on June 24, followed by the music video on July 17, which was filmed at San Quentin Rehabilitation Center and incorporated inmates from the facility. Details on a forthcoming album have yet to be released.

Jelly Roll and Bunnie XO were regulars on the podcast circuit and spoke candidly about the ups and downs of their relationship. In Bunnie’s 2026 memoir, “Stripped Down: Unfiltered and Unapologetic,” she wrote about Jelly Roll’s 10-month affair in 2018 and her subsequent emotional unraveling.

The couple also has been open about their struggle with IVF in recent years. In a since-deleted podcast episode, Bunnie XO said the pair still planned to get pregnant post-split.

Dory Funk Jr., a pro wrestling icon and one of three members of the Funk family to be inducted into the WWE Hall of Fame, has died at age 85.

Marti Funk, Funk’s wife of 40 years, told Florida’s Ocala Gazette that her husband died Tuesday while in hospice care. No further details were given.

Born on Feb. 3, 1941, in Hammond, Ind., Funk was the oldest of Dory and Dorothy Funk’s two sons. Spending most of his childhood in Amarillo, Texas, Funk grew up admiring his father, a professional wrestler and promoter who once wrestled in Canada as a heel named the Outlaw who hailed from the fictitious location Double Cross Ranch. As wrestlers, Funk and his brother, Terry, often were billed as being from there as well.

“As a kid, I used to dream I could do all the things my father could do,” Funk said during a 2007 interview for World Wrestling Entertainment. “I wanted to be just like him.”

Funk played offensive and defensive line on the West Texas State University football team (now West Texas A&M) from 1959 to 1962 — he was inducted into the university’s athletics Hall of Fame in 1990 — and went straight into professional wrestling. His 50-plus years in the business included stints in a number of associations across the U.S. and Japan.

He was the National Wrestling Alliance heavyweight champion for more than four years uninterrupted (February 1969 to May 24, 1973). In 1986, Funk and his brother joined WWE (then known as WWF) as a team and defeated Tito Santana and Junkyard Dog at WrestleMania 2.

Funk’s involvement in wrestling also expanded into promotion. In addition, he and Marti owned and operated the Funking Conservatory, a wrestling school where he trained a number of future WWE superstars including Kurt Angle, Christian, Edge, the Hardy Boyz, Mark Henry and Mickie James.

“He was such a good guy,” Marti told the Ocala Gazette, “such a good guy!”

The Funk brothers were inducted into the WWE Hall of Fame in 2009. Dory Funk Sr., who died in 1973 at age 54, was inducted posthumously to the hall’s Legacy Wing in 2025. Terry Funk died in 2023 at age 79.

WWE chief content officer Triple H announced Funk’s death Tuesday afternoon on social media.

“From the Double Cross Ranch to the @WWE Hall of Fame, Dory’s style inspired countless performers in our industry” Triple H wrote. “Whether it was at WrestleMania 2, WCW, ECW, or the dozens of NWA-affiliated promotions, his travels across North America and Asia were a part of the early blueprint that helped build this business into a global phenomena.

“A hard-nosed and fierce competitor, his rugged in-ring style was only eclipsed by the decades he spent training athletes to perform in the squared circle he loved so much. My thoughts and those of the entire @WWE Universe are with his loved ones during this difficult time.”

The manager of the team that most needed Tarik Skubal sat in his office Sunday at Angel Stadium. The Milwaukee Brewers, the team that opened play Sunday with the best record in the major leagues, did not get Skubal.

The Dodgers did. Of course they did.

“L.A. is America’s team,” Brewers manager Pat Murphy said.

Not based on the cries from across America, from fans outraged that the Dodgers helped themselves to the best available talent yet again to baseball insiders mystified that the Detroit Tigers could not land a better return for Skubal than the three prospects the Dodgers swapped, or at least taken a couple more days to pursue a better return.

“Was I rooting for the Dodgers to get Skubal? Personally, no,” Angels pitcher Brent Suter said. “I was hoping another team that hadn’t won the World Series the past couple of years was going to get him.”

Suter pitched for the Brewers for seven years.

Pitcher Tarik Skubal walks to the dugout during a matchup between the Tigers and the Orioles Wednesday in Detroit.

(Paul Sancya / Associated Press)

“They have a loaded farm system,” he said. “I thought they were going to get him.”

The road to the World Series runs through Los Angeles. The Brewers also posted the best record in the majors last year, then the Dodgers swept them in the National League Championship Series.

In last year’s NLCS, the Brewers started an opener twice, Freddy Peralta once and José Quintana once. In a five- or seven-game series this October, the Brewers could have started Jacob Misiorowski twice and Skubal twice.

That could have mitigated the Dodgers’ huge advantage in slugging. The Dodgers have seven players in double digits in home runs. The Brewers have four.

But any and all statistics obscure the larger point: If you’re a Brewers fan, when is your year?

The Brewers never have won a World Series. They are in line for their eighth playoff appearance in nine years.

Sustainable success is nice, and difficult to achieve. Much credit to the Brewers, who play in baseball’s smallest market.

But the point of the game is to win the World Series. If you’re not going all in when you have the best record in the majors for the second consecutive year, when are you going all in?

If not now, when?

“I know we made our efforts, too,” Murphy said. “I trust the way we operate. I understand the way we operate.”

Milwaukee Brewers infield players celebrate after defeating the Angels Saturday at Angel Stadium.

(William Liang / Associated Press)

This is all the more maddening in Milwaukee because, in 2008, the Brewers tried their best. That July, they traded four prospects for Hall of Fame pitcher CC Sabathia. Only one, outfielder Michael Brantley, developed into a productive major leaguer. That’s the norm, not the exception, in multiprospect trade packages.

As it turned out, the Brewers lost in the first round of the playoffs, and Sabathia did not survive the fourth inning of his lone postseason start. Then he signed with the New York Yankees. So what? The Brewers went for it, and their fans believed.

After the trade for Skubal, Fangraphs increased the Dodgers’ chance to win the World Series from 25% to 31%. That still means a two out of three chance the Dodgers do not win.

“He’s an amazing player,” Suter said, “but it doesn’t mean a guaranteed World Series. It doesn’t guarantee anything.”

I could not believe the number of fans that reached out to say small-market teams could not match the Dodgers’ proposal because they had little chance to re-sign Skubal as a free agent.

Again, so what? We’re playing to win the World Series, not the Baseball America prospect rankings.

The Brewers, with small-market resources, touted former Angels infielder Luis Rengifo as a significant winter free-agent signing. The Dodgers countered with Edwin Díaz and Kyle Tucker.

“L.A. is America’s team and has all the big names,” Murphy said. “Now they just added to that, with maybe the best pitcher in the game, certainly one of the greats in this era.”

If the Brewers and Dodgers meet again in October, Murphy will only be too happy to tell us who the underdog is.

“It’s going to be David and Goliath,” Murphy said. “We haven’t earned that right yet. We haven’t got there yet.

“If we get there, I’m sure the narrative will be pretty similar: the haves and the have-nots.”

Murphy wanted to make one thing perfectly clear: Fans across America might despise the Dodgers, but he does not.

“They’ve got a bunch of great dudes,” he said. “Freddie Freeman, Mookie Betts, Teoscar [Hernández]. I don’t know [Shohei] Ohtani. He doesn’t even know who I am. But I feel like Ohtani is a great dude. I can just tell by his presence.

“How can you not love [Max] Muncy? Doc [manager Dave Roberts] is my good friend. [Coach Dino] Ebel, we’ve got his whole family playing for the Brewers.”

The Brewers made first-round picks of Ebel’s sons Brady and Trey over the past two years, paying $5.55 million in signing bonuses. The Ebel boys are top prospects. They can look forward to a long stay in Milwaukee.

Paramount Skydance must wait until March to defend its proposed $111-billion acquisition of Warner Bros. Discovery — a blockbuster deal that would reshape Hollywood by uniting two storied studios.

On Tuesday, U.S. District Judge Araceli Martínez-Olguín scheduled a March 2 trial to decide the merits of an antitrust challenge brought by 12 state attorneys general, led by California Atty. Gen. Rob Bonta. The states are teaming up to try to derail Paramount’s merger, and have snared preliminary victories — prompting a concession from Paramount to put the merger on hold until after the trial.

Paramount had asked for a Nov. 4 trial date.

Tech scion David Ellison wants to add HBO, CNN, HGTV, Food Network and the Warner Bros. studio to his smaller stable of Paramount properties. The trial will span 12 days and conclude March 19, the judge wrote in her order.

“We will continue to vigorously defend the transaction and remain committed to closing as soon as possible so its benefits for the creative community and consumers can be realized,” Paramount said in a statement.

The Writers Guild of America has separately sued to block the merger.

Friday marks the one-year anniversary of Ellison’s purchase of Paramount.

“Looking back on the past twelve months, I’m incredibly proud of how our team has turned those priorities into measurable progress, reflecting their talent, hard work, and dedication,” Ellison wrote in a Tuesday letter to shareholders as the company released its second-quarter earnings.

Results were mixed.

Revenue inched up 1% to $6.91 billion compared to the year-ago period, when Paramount was controlled by media heiress Shari Redstone.

The company’s studios and streaming divisions turned in stronger performances but costs, including $153 million in merger-related expenses, weighed on the corporate entity.

Profit declined 28% to $41 million, or 4 cents a share, compared to $57 million in the year-earlier period.

Paramount said it now has 81.6 million streaming customers, an increase of 2 million from the first quarter.

Streaming operations produced $2.5 billion in revenue, a 9% boost from the same quarter a year ago. Paramount+, which boasts the Taylor Sheridan-produced “Landman” and “Dutton Ranch,” also televised President Trump’s birthday extravaganza, the UFC Freedom 250 fights in June from the White House lawn.

Coverage of the FIFA World Cup in some Latin American countries assisted the streaming results. (Fox and Telemundo broadcast the highly rated soccer matches in the U.S.)

Studios revenue increased 16% to $1.3 billion, boosted by Paramount’s television studios and its licensing deals as well as the ability to consolidate revenue from Skydance properties. During the quarter, the Melrose Avenue film studio released “Scary Movie,” which brought in $231 million in global ticket sales, surpassing expectations.

Television media, which includes the CBS network, TV stations and the company’s struggling cable channels, declined 9% to $3.1 billion. Advertising revenue fell 14% and the company felt the loss of South American television operations, Telefe and Chilevision, which it divested after the Ellison takeover.

The company revenue during the current quarter should come in around $7 billion. It also released its full-year guidance, saying it expects $30 billion in revenue, up 4% over 2025.

Paramount released the earnings after markets closed Tuesday. During regular trading, shares gained nearly 2% to close at $8.38.

“I would choose to be Latina in every lifetime,” Kali Uchis said from her Saturday night closing set at L.A.’s EDM music festival Hard Summer. “Where are my Latinos at?”

The crowd responded with a resounding roar.

Throughout the day, fans crossed the grounds in bright Latin American soccer jerseys, the eye-catching complementary greens and reds of Mexico and the rich blue of El Salvador dotting the crowd. They held up flags, piñatas and tall signs pasted with images of Dr. Simi and “Dragonball Z” hero Goku — used to mark one’s place in the sea of people.

“Electronic music is for the beach and for Latinos,” said Dominican dembow artist and Hard Summer act Tokischa. “It’s for us. We love to dance, to feel sexy. And electronic music does that.”

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Hard Summer attendees, like Jason, wore Mexican flags as accessories in Inglewood on Saturday, Aug. 1, 2026.  (Katerina Portela / De Los)

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Latino Hard Summer ravers added a spin to festivalwear with vibrant jerseys, flags, and accessories in Inglewood on Sunday, Aug. 2, 2026.  (Katerina Portela / De Los)

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Chris Mondaca couldn’t contain his excitement as he danced to Miguelle and Tons’ set at Hard Summer on Sunday, Aug. 2, 2026.  (Katerina Portela / De Los)

Hard Summer first launched in downtown L.A. in 2007 — yet no Latin artists received top billing. Between Justice, Peaches and hip-hop group 2 Live Crew, the festival became a summit for English-language acts in the electronic and hip-hop genres. Yet last year’s lineup included Colombian reggaeton artist Feid as headliner, along with DJs Deorro, Funk Tribu and Sara Landry, who boosted the Latino community’s presence at the event.

This year at Hollywood Park in Inglewood, Colombian American crooner Kali Uchis headlined the main stage after a day of memorable sets by Argentine singer Six Sex, Mexican producer duo R∅z and Mexican American DJ Bolo.

“The underground DJ scene [in Southern California] is beautiful, but I will say: a few years ago, there was not a lot of Latino representation in the big festival lineups,” said Edgar Avalos, known as Bolo. “I feel like there are more opportunities for Latinos in these lineups. And I want to create an environment for Latino ravers to feel like they’re welcome in this space.”

Saray Zamora, Dafne Carbajal, Ailynn Sanchez , Cecilia Garrido and Celest Garrido decided to go to Hard Summer themed in their family’s home country flags in Inglewood on Saturday, Aug. 1, 2026.

(Katerina Portela / De Los)

The Mexican American DJ and L.A. native Deorro was an inspiration to Avalos, who describes him as “one of the first to break through on major lineups.” Following Deorro’s example, Avalos felt inspired to start his own record label Vibraza for Latino artists and to advocate for their inclusion in festivals — which includes not just onstage visibility, but career opportunities offstage too.

“I feel like there’s a huge bubble, a lot of dope emerging acts within the Latino dance community,” Avalos said. “It’s a blessing to be a part of the crew that’s putting [Latino DJs] on the map.”

According to Luminate’s 2026 data report, electronic dance music dominated the first half of 2026 as the largest growing genre in the U.S. Meanwhile, nearly 1 in 10 streams in the U.S. were songs in Spanish — and casual monthly listenership of Latin music in the States climbed to a peak of 54% of streams in the first quarter of this year.

“[Latino electronic] music makes you feel like … when you’re in the streets, you’re dancing, you feel proud, you let go of certain things or norms,” said Francisca Cuello, known as Six Sex. “Something about being Latino represents a cultural release and an understanding of fun that fits so well with electronic music at night.”

Cuello performed her new album, “Ultra,” as her pouting femme-bot persona who waxes poetic about eroticism over thumping techno beats. She said she was shocked by the number of people who sang the music back to her, despite the album having only been released earlier this summer.

“I never set out to make electronic music, but it’s what called to me,” Cuello said. “To be so far from my country and to connect with people in a country so different from mine, like the U.S., it’s such an honor.”

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Hilary Joy fans herself and jumps at one of the last Hard Summer DJ sets of the night in Inglewood on Saturday, Aug. 1, 2026.  (Katerina Portela / De Los)

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Many of the Latina festivalgoers at Hard Summer wore colors of their home country’s flags or ribbons in their hair, as Alejandra Tadeo chose to do in maximalist braids on the way to Roz’s set in Inglewood on Saturday, Aug. 1, 2026.  (Katerina Portela / De Los)

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Saiah Landaverde said they were most convinced to go to their first Hard Summer for the Latino artists, like Six Sex, on the lineup. They danced with their friend Josh Roque at Roz’s set in Inglewood on Saturday, Aug. 1, 2026.  (Katerina Portela / De Los)

Festival attendee Azareal Hernandez-Moreno said she was most excited for the Hard Summer lineup this year because “it’s for us.”

“I feel like it’s a big moment for these artists to perform at such a big festival,” said Hernandez-Moreno. “[They] get to represent where they’re from. It means something to us as Latinos, as fans.”

Atop the Beatbox Art Car — a Hard Summer stage for emerging acts, which is approximately 20 feet tall and built to resemble a rainbow boombox — DJ Spiñorita mixed house, Latin dance and original funk for her audience. Donning a slicked-back hairstyle, Virgen de Guadalupe top and thick golden hoop earrings that reflected the penetrating rays of the sun, Spiñorita nodded and lifted her arms as ravers mouthed lyrics of “El Sonidito” back to her.

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Hard Summer attendee Angel Rosario dances along to a DJ set by VTSS in an El Salvador jersey in Inglewood on Sunday, Aug. 2, 2026.  (Katerina Portela / De Los)

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Heidy Menendez dressed up in blues and whites to represent El Salvador as she held up a Spanish meme totem that reads, ‘If you know this is how I get, why do you invite me?’ at Roz’s Hard Summer set in Inglewood on Saturday, Aug. 1, 2026.  (Katerina Portela / De Los)

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Latino Hard Summer ravers added a spin to festivalwear with vibrant jerseys, flags, and accessories in Inglewood on Sunday, Aug. 2, 2026.  (Katerina Portela / De Los)

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Miami-based Ecuadorean Peruvian DJ Milushka in the media hub of Hard Summer on Sunday, Aug. 2, 2026.  (Katerina Portela / De Los)

Spiñorita, who is Angela Ramirez by day, said that the L.A. rave scene is one of support and community among Latina artists, who run events for themselves year-round.

“We’re out here and brown and proud of it,” Ramirez said. “We’re putting in the work to make fundraisers for social issues and giving back to our community. Raving and DJing helps to heal trauma and helps us to open up.”

Earlier that day, R∅z sparked crowds of fans to run to their stage as they brought out música mexicana star Peso Pluma. The artist reached out to the crowd as he rapped in Spanish, fans jumping and raising their phones to take pictures and document the moment.

“Viva Mexico!” said R∅z’s Hugo Lara, as cheers rang and flags waved before him.

“I think that because the demographic here is very Latino, we’re all supporting each other,” said Frida Mitre, a Hard Summer attendee. “It was very heartwarming when [Kali Uchis] asked if we were out here, especially because we’ve been going through a lot.

Mitre said one of the sets she was most excited for was Tokischa — “for being so herself.”

Dominican-born rapper and musician Tokischa in her green room at Hard Summer in Inglewood on Saturday, Aug. 1, 2026.

(Katerina Portela / De Los)

“I was born and raised — lived my entire life — in the Dominican Republic,” said Tokischa, just after her high-octane performance. “Where my music plays, it reaches Dominicans there. In the crowd, I saw some Dominican flags. I raise that really high. I just want to see my community having fun.”

As the sun lowered on Sunday, and most Latino artists had finished for the day, local DJ Bianca Oblivion began spinning records jubilantly in her Mexican flag corset, grinning in the afterglow of a landmark weekend.

“It’s a really cool moment to be a Latino DJ,” she said. “Whatever people’s idea of what Latino music is … is not limited. We’re constantly crossing genres and cultures. We’re on the rise.”

Patti Scialfa’s cancer battle has taken a turn for the better. Take it from the Boss himself.

Bruce Springsteen announced the improvement in his wife and longtime E Street Band member’s health over the weekend in a video message for the Pan-Mass Challenge, a bike-a-thon fundraiser that benefits cancer research at Dana-Farber Cancer Institute. In the video, shared Tuesday on Facebook by Pan-Mass Challenge, the 76-year-old rocker praised the organization’s ongoing commitment to advancing cancer research and spoke about Scialfa’s battle with blood cancer.

“As you know, Patti’s been living with her multiple myeloma for over eight years but now thankfully she is in remission,” he said in his video message, which played during the PMC 2026 opening ceremony in Worcester. “Like millions of families facing cancer, we’ve learned what every patient learns: Hope has a face.”

Scialfa’s cancer battle became public in 2024 when she shared the health revelation in the world tour documentary “Road Diary: Bruce Springsteen and the E Street Band.” Scialfa, now 73, said in the film that she was diagnosed in 2018 with multiple myeloma, a condition that occurs when cancerous plasma cells build up in bone marrow and crowd out healthy blood cells, according to the Mayo Clinic.

In the film, Scialfa said touring with her husband and the E Street band was difficult because of her disease and she has had “to be careful what I choose to do and where I choose to go.” She has been part of the E Street Band since 1984 and is its only woman member.

Scialfa, who provides backing vocals and plays tambourine and guitar, married Springsteen in 1991.

Scialfa was absent from the video message, but Springsteen said her health journey offers a lesson he hopes “every American can understand.” “Medical research isn’t an idea. It isn’t politics,” he said, “it isn’t a line in a budget. It’s the reason why families find hope when hope seems hardest to find.”

Times staff writer Mark Olsen and former staff writer Nardine Saad contributed to this report.

Like most good stories, this one requires planning. Organizers with the L.A. Sports and Entertainment Commission spent nearly nine years preparing to bring the FIFA World Cup to L.A. The most popular sporting event in the world was just the start of a mega-event trilogy that turns the page to Super Bowl LXI at SoFi Stadium and will culminate with the largest Olympics ever in 2028.

“We are on the international stage for three years,” said Kathryn Schloessman, president and chief executive officer of L.A. Sports and Entertainment Commission, or LASEC, said. “What story are we telling and how are we doing that?”

The World Cup was a riveting first chapter. The 39-day tournament brought more than 560,000 fans to SoFi Stadium for eight matches, 250,000 fans to 10 official fan zones and a projected $892 million in economic impact across L.A. County, according to LASEC.

The expanded World Cup, with 48 teams and 104 matches over 16 venues in three countries, is only a logistical qualifying match compared to the 2028 Olympic and Paralympic Games. The first Olympics in L.A. in 44 years will welcome 11,198 athletes across 51 sports from more than 200 countries competing over 20 days. The 2028 Paralympics will come to L.A. for the first time with a 23-para sport schedule that will begin competition before the opening ceremony for the first time.

Despite the difference in scale, John Harper, chief operating officer of LA28, called the successful World Cup’s local matches “an immense learning opportunity for us in a lot of ways.”

Attending World Cup matches as a fan and behind-the-scenes observer, Harper was impressed by the transportation services provided by L.A. Metro. The agency said it provided more than 212,000 rides directly to and from SoFi Stadium and 15 parking and transit hubs in L.A. and Orange counties through an enhanced service. Harper was encouraged by the interagency work between different public partners that helped the eight matches go off without a major hitch.

But the biggest lesson was in the spirit of the fans who packed watch parties, streets and bars.

“It really demonstrated the power of sport,” Harper said. “Not only the energy in the stadium, but the energy in the city and L.A. being such a diverse city, you really saw the world come to life on the streets of L.A.”

The World Cup exceeded expectations, Schloessman said, delivering economic effects, local supplier opportunity and community engagement. LASEC hosted fan areas at 10 different locations, highlighted by the tournament-opening festival at the Coliseum. The City of L.A. hosted seven free “Kick It In the Park” watch parties. Sports bars and restaurants overflowed with customers who drank beer taps dry.

“It was just this six-week interlude of time when people liked each other and people were having fun together,” Schloessman said.

LA28 hopes to create a similar, harmonious energy during the Games with sports parks at major sports zones. Areas where multiple venues are clustered together, such as L.A. Live, Exposition Park, Long Beach, Inglewood and Carson, will have dedicated areas for pin trading, sport trials, entertainment zones and sponsorship activations.

Fans cheer during a watch party at LA Plaza de Cultura y Artes during a World Cup match between Mexico and Ecuador on June 30.

(Gina Ferazzi / Los Angeles Times)

While LA28 will be responsible for hosting official live sites for the Games, local communities can organize their own Games-time activities. LASEC worked with local organizations and businesses leading up to the World Cup to promote opportunities, including watch parties, meetups or themed decorations while still adhering to strict rules regarding FIFA broadcasts and logos. LA28 will provide similar guidance leading up to the Olympic and Paralympics Games.

“It is our responsibility, with the organizers, with the authorities, to create an Olympic experience for as many people as possible,” said Pierre Ducrey, International Olympic Committee sports director, who was impressed by the atmosphere of a FIFA fan event in Kansas City where he attended a match featuring his native Switzerland facing off against Argentina. “Whether they have a ticket to be in the stadium or they don’t, we want to create special moments for them that they can remember.”

LA28 sold more than 4 million tickets in its first ticket drop, and after last week’s presale, the second drop will resume Aug. 10. With 14 million tickets available, the 2028 Games could break the sales record set by Paris 2024, which sold 12 million tickets between the Olympics and Paralympics.

The biggest World Cup ever also boasted the highest attendance, but some of the tournament’s best parties came outside of stadiums.

Santa Monica put screens on every block of the Third Street Promenade for World Cup watch parties where patrons were allowed to carry alcoholic beverages within a specific area of the open-air mall. More than 40,000 people walked through a fan hub on the Santa Monica Pier. The city closed down more than a mile of downtown Santa Monica during the World Cup final for a block party that attracted 20,000 people.

And, Santa Monica Mayor Caroline Torosis proudly emphasized, it was free.

“I think major global events have an extractive history,” Torosis said. “We are trying to change that. We are also trying to use it as an opportunity to showcase the city itself. So how do we benefit our local community but also reintroduce Santa Monica to the region?”

Santa Monica balked at the chance to host competitions for the 2028 Games. Talks to host beach volleyball near the iconic pier broke down in 2025, six months after a study indicated that being a venue city could result in a net loss of $1.45 million, while not hosting the competition could still generate $10.65 million in profit because of the city’s status as a popular tourist destination.

Santa Monica already has deals in place to host hospitality houses for several countries in 2028, including France and Switzerland. Broadcast partners will set up studios on the city’s iconic pier. With plans for watch parties and other accessible celebrations for fans, Torosis envisions Santa Monica being “the place to be” during the Games.

“We are prepared for the influx of people that are going to be in the city,” Torosis said. “I think that FIFA was a great dry run.”

Inglewood was at the center of the World Cup with eight matches at SoFi Stadium. The city got an economic boost from an estimated 625,000 fans, including thousands who traveled to support their national teams without a match ticket, Inglewood Mayor James T. Butts Jr. said.

Fans from all over the world, sporting their country’s colors, flooded Market Street for the city-hosted Wood Cup festival to begin the tournament. Packed prematch marches stunned organizers who were unfamiliar with the tradition. While SoFi Stadium’s name was changed to “Los Angeles Stadium” per FIFA’s sponsorship rules, broadcasters still emphasized they were in Inglewood.

“It really gave a boost to community pride that Inglewood is now an international city,” Butts said.

Inglewood will remain the setting for the mega-event story. SoFi Stadium, in addition to hosting a second Super Bowl in five years, is the scene for the 2028 Olympic opening ceremony — which will be shared with the Coliseum — as well as Olympic swimming and the Paralympic opening ceremony. Neighboring Intuit Dome will host the Olympic basketball tournament.

The consistent stream of global events doesn’t faze Butts. In a city that will have hosted an NBA All-Star Game, eight World Cup matches and another Super Bowl in less than a calendar year, the Olympic chapter is already written.

“We do it time and time again,” Butts said. “This is what we do.”

Paramount Chairman David Ellison believes the tug-of-war over his proposed $111-billion purchase of Warner Bros. Discovery comes down to a single question: whether he can be trusted to control CNN.

“I believe this fight is not really about market share,” Ellison wrote in a Tuesday op-ed in the New York Times, noting that regulators around the world, including the U.S. Justice Department, have approved the deal that has been temporarily blocked by an antitrust lawsuit brought by California Atty. Gen. Rob Bonta and his coalition of Democrat state attorneys general.

“I believe a plainer worry sits beneath the briefs and the news releases … The issue is whether I can be trusted as a steward of Warner’s CNN,” Ellison wrote.

The rare opinion piece serves as Ellison’s acknowledgment that his family’s close association with President Trump has sullied his standing in Hollywood and beyond.

Shakeups at CBS News, which is part of Paramount, the departure of CBS late night host Stephen Colbert, and a visible presidential lobbying effort — including hosting a dinner for Trump in Washington in late April and attending Trump’s birthday extravaganza in June with UFC fights on the White House lawn — have come with a cost.

More than 5,000 entertainment industry workers, including such high-profile stars as Jane Fonda, Ben Stiller, Bryan Cranston and Mark Ruffalo, signed an open letter early this year, calling on Bonta to try to block the merger.

Bonta and the other state attorneys general sued, saying the merger of two of the major film studios would give Paramount-Warner Bros. more than 25% of the wide-release theatrical film market. Their lawsuit also alleged the combined company would own too many cable TV channels — more than 50, including CNN, TBS, HGTV and Comedy Central.

Many in Hollywood fear that the consolidation of two historic studios will bring thousands of layoffs and contribute to a bleaker employment picture. Ellison’s Skydance Media’s takeover of Paramount a year ago resulted in the loss of 2,000 jobs.

Some have opposed the Warner Bros. deal, saying one family shouldn’t be allowed to control two significant news operations: CBS News and CNN, which is owned by Warner Bros. Discovery.

“There has been speculation about my politics, my loyalties, my intentions,” Ellison wrote.

“Unfortunately, I can’t give anyone a view into my heart and mind, but I can share this: I have regularly voted for candidates of both parties; I hold some views that would be called conservative and others that would be called liberal, just like most Americans,” Ellison said. “And when it comes to our news operations, I do not aspire to lead these companies to bend their newsrooms to my views. I believe that news should be based on facts and truth.”

“Great news organizations like CNN and CBS News are here to tell it straight down the middle,” he said. “That requires newsrooms that reflect the whole world, not one side of it. And it requires independence. Our journalists will continue to answer to the facts and to all the people they serve — not to any party or cause.”

“These were founding principles for both CNN and CBS News, for legends like Ted Turner and Edward R. Murrow, and it is exactly that kind of independence that has always fueled the greatness of “60 Minutes,” Ellison wrote.

Fired “60 Minutes” correspondents, including Cecilia Vega, have complained that since Bari Weiss became editor-in-chief of CBS News last fall, journalists have been asked to tilt the presentation of controversial news events, including protests to Immigration and Customs Enforcement actions earlier this year in Minnesota, which led to the deaths of two Americans.

Paramount has pushed back saying the plaintiff states have defined markets that fail to factor in the rise of technology companies, including Netflix, Google’s YouTube and Amazon Studios, which also attract significant swaths of viewership.

The Writers Guild of America has separately sued to block the merger, saying the deal would lead to less opportunities and lower pay for writers struggling to stay in the industry.

U.S. District Judge Araceli Martínez-Olguín, who is overseeing the high-profile case, issued a temporary restraining order to block the merger from finalizing while the two sides hash out the evidence. Late last month, Paramount agreed to delay the merger until after a trial — or until June 1, whichever date comes first.

In court documents filed Friday, Bonta and his coalition of 11 other Democratic attorneys general proposed having a two- to three-week trial in April to weigh the evidence.

Ellison’s Paramount pushed back, saying the media company would like to start the courtroom action on Nov. 4.

Now the judge must schedule the court date.

“The states claim this deal will give one company too much influence over theatrical releases and cable operators, while the W.G.A. argues that our combined market power will hurt writers,” Ellison said in the opinion piece. “Both suits imagine a Hollywood that no longer exists — an industry ruled by a handful of legacy studios.”

Susanna Hoffs calls it “the list”: a faded piece of paper ripped from a Filofax day planner on which are scrawled the names of every guy she’s ever gone out with — some famous, some not, some “kind of douchey,” as she puts it with a what-can-you-do shrug.

“It was like a dating profile but pre-internet,” Hoffs says of the tally, which she composed sometime in the late 1980s as she was racking up hits — among them the chart-topping “Walk Like an Egyptian” and “Eternal Flame” — as the frontwoman of the Bangles. “I’m a nice Jewish girl,” she adds. “I was just keeping track, doing my homework.”

Today at the bottom of the list in all caps sits the name of Jay Roach, the movie director whom Hoffs met on a blind date in 1991. He’s the subject of a new song called “None of Them Were You,” in which the singer runs down some of Roach’s predecessors — “a very dapper Brit,” “a suave and handsome actor” — before musing on her deep connection with the man to whom she’s now been married for 33 years.

“I ended up with such a good guy,” she says. “It almost brings a tear to the eye.”

“None of Them Were You” isn’t the only tune with that potential on an album Hoffs is preparing to release next month. Due Sept. 18 from her Baroque Folk label, “The List” — Hoffs’ first set of original material in more than a decade — collects a dozen touching and witty songs based on tales from her life as an artist, wife, businessperson and mother. At 67, her winsome singing voice is remarkably unchanged from the era of big hair and dangly earrings. Yet the music reflects an emotional wisdom that had to be earned through experience, as in the folky “Time,” which ponders her and Roach’s relationships with their two adult sons.

“I see you dancing in the kitchen / I feel your tiny hand in mine,” she sings, “What if you fly back home this summer? / We could spend a little while.” (Beware, parents — this one will wreck you.)

A voluble presence with an easy laugh, Hoffs points out that she’s hardly been “hiding in a cave” since 2012’s “Someday.” In 2024, she put out a long-shelved solo record of songs she’d cut back in 1999; before that, she made a series of expertly curated covers albums, including three she recorded with the power-pop maestro Matthew Sweet. But publishing her first novel in 2023 — “This Bird Has Flown,” a charming bestseller about a one-hit wonder looking for a comeback — rejuvenated Hoffs’ devotion to songwriting.

“I never thought the book would sell, and I never thought it would get great reviews,” she says on a recent afternoon at her home in Brentwood. “That was a big turn career-wise.”

For “The List,” Hoffs teamed with CJ Camerieri, a musician and producer known for his work with Paul Simon and Bon Iver, among others; Camerieri in turn recruited an array of songwriters to collaborate with the two of them, including a couple of Grammy winners in Dan Wilson and Jesse Harris.

“Sue has built up decades and decades of goodwill in this town,” Camerieri says, seated next to Hoffs on a sofa, “so you call up somebody like Dan and you say, ‘Hey, you want to write a song with Susanna Hoffs?’ and he goes, ‘Great, yeah, I’m in.’”

The process was simple, the producer explains: “We’d start in Sue’s kitchen with coffee at 10 in the morning —”

“I’m really good at coffee,” Hoffs interjects. “I mean, I use Nespresso. But I’m good at being a hostess to all the lads.”

“So I’d give everybody a yellow legal pad and Sue would start telling stories,” Camerieri continues. “We’re all scribbling notes, and after about an hour, we’d go, ‘I think we got enough here,’ and we’d go write songs about what she’d told us.”

They recorded at Hoffs’ place — “We’d move this couch and the drums would go right here,” she says — beneath a vaulted ceiling that provided just the right ambience. First-call players like Greg Leisz and Wendy Melvoin stopped by to take part in the sessions; for harmony vocals in a country-ish ditty called “Bad Case of Loneliness,” they got Rufus Wainwright, with whom Hoffs had done a version of the Turtles’ “Happy Together” for Roach’s 2025 comedy “The Roses.”

The dreamy-rootsy arrangements are never less than handsome — and never prettier than in “Fool,” which Hoffs says was inspired by her love of the records Dionne Warwick and Burt Bacharach made together. Yet “The List” was built to showcase Hoffs’ rich storytelling.

The LP opens with “Casablanca,” in which she recounts a run-in with the Grateful Dead’s Bob Weir in New Orleans in the late ’80s. The Bangles were on tour opening for George Michael; the Dead had a gig at the University of New Orleans’ Lakefront Arena. After Hoffs and Weir ended up at a crawfish boil put on by the Neville Brothers, the two took a walk along Lake Pontchartrain — “He was very cute,” Hoffs says — then later strolled again through the French Quarter.

“At one point, I looked back and there was a sea of Deadheads who realized it was Bob Weir,” she says. “But I was with him. I got to be his pal, which I just couldn’t believe was happening. It was delicious.” (Between the two walks, the Bangles famously jumped onstage with the Dead to perform “Iko Iko.”)

As we’re talking, Camerieri tells Hoffs that he recently met Weir’s former tour manager — Weir died in January at age 78 — and that he’d relayed Hoffs’ memory of the encounter. “He was like, ‘I know this story,’” Camerieri says the manager replied. “‘Bob used to talk about the time he got to walk around New Orleans with Susanna Hoffs.’”

“Oh my God!” Hoffs says, eyes starting to glisten. “So it meant something to him too.”

Bookending “The List” is “What Are Wings For,” a stately ballad about sticking to one’s guns that Hoffs and Camerieri wrote with Edie Brickell, who’s married to Simon, on a trip they took to the couple’s ranch in Texas.

“We were there during the World Series [in 2024],” Camerieri recalls, “and we watched the Yankees game with Paul every night after working on songs.”

Adds Hoffs with a laugh: “He also told me that he thinks the Bangles’ version of ‘Hazy Shade of Winter’ is better than his. I was like, ‘Please don’t — yours is the iconic version.’”

By the time the Bangles covered that Simon & Garfunkel tune for the soundtrack to 1987’s “Less Than Zero,” the band was already a fixture on the radio and MTV. Hoffs formed the group in 1981 with sisters Vicki and Debbi Peterson, who learned to play together in the garage of Hoffs’ parents’ house, just a few blocks from where the singer lives today.

The Bangles came up through L.A.’s ’60s-steeped Paisley Underground scene and found stardom after the addition of Michael Steele with “Manic Monday,” a sparkling pop-rock gem gifted to the band by Prince. (Beyond her list of boyfriends, one of Hoffs’ prized possessions from back in the day is Prince’s original cassette demo of “Manic Monday.”)

“He was brilliant but mischievous,” Hoffs says of the late trailblazer, on whom she modeled the character of Jonesy from her novel. “I remember one time he invited us to Sunset Sound in the middle of the night. We get there and we’re jamming, then suddenly we look around and he’s disappeared. ‘OK, I guess we’re done.’”

The Bangles with an assortment of music execs in Los Angeles in 1987.

(Lester Cohen / Getty Images)

After eight Top 40 singles and a triple-platinum LP, the Bangles split in 1989 amid differing ideas about the band’s creative direction and ambitions. The members pursued solo and other projects but reunited to record a song for 1999’s “Austin Powers: The Spy Who Shagged Me,” which Roach directed; two more Bangles albums followed in 2003 and 2011, the second minus Steele, whom Hoffs says she’s not in touch with at the moment.

Compared to the Go-Go’s, whose parallel career was detailed in a 2020 documentary and who were inducted into the Rock & Roll Hall of Fame a year later, the Bangles haven’t quite cemented their legacy, though an authorized biography came out last year and a doc is currently in development.

Yet Hoffs doesn’t seem especially troubled by the possibility that the Bangles might be underappreciated, perhaps because she’s got plenty of her own stuff going on. Before “The List” comes out, she’ll play her old hits in a Sept. 5 gig at Largo at the Coronet and in a handful of dates opening for Billy Idol; after the new album drops, she’ll head east for a residency at New York’s Café Carlyle.

She and Camerieri are also at work on a musical adaptation of “This Bird Has Flown” for the stage or the screen. And just the other day she found a folder on her computer full of songs she wrote years ago with her friend Marvin Etzioni of Lone Justice.

“I don’t like using the word ‘bucket list,’ but all these things are labors of love,” Hoffs says.

What’s the trouble with “bucket list”?

“Oh, I don’t know,” she says, smiling. “It just seems, like, death-y.”

You can’t keep a beloved news team down, even after more than a decade since being yanked off the air in a move that stunned fans and local TV newsrooms.

For almost 20 years, KTTV Fox 11’s “Good Day L.A.” was hosted by Steve Edwards, Dorothy Lucey and Jillian Barberie, becoming a dominant fixture in the fiercely competitive morning show arena. The show’s popularity for a time outdistanced network morning shows and crosstown rivals “The KTLA Morning News.”

The trio’s freewheeling banter spiced with humorous mayhem and mischief enchanted legions of viewers while bringing freshness to the familiar formula of news, weather and sports. The distinct personalities meshed effortlessly — veteran newsman Edwards, relentlessly upbeat co-host Lucey and fiery weather reporter Barberie, who injected the proceedings with outrageous, at times crass comments along with declarations that “my breasts are real.”

An undercurrent of friction brought an edge to the breezy vibe, with Edwards often acting as the awkward buffer between Lucey and Barberie, who did little to disguise their dislike of each other. Barberie would go on to bash Lucey on Howard Stern’s radio show, calling her “very Christian and Bible-thumpy.” Lucey was frequently distraught by Barberie’s “mean.”

But that winning combination was broken up starting in May 2012, when Lucey was fired as part of a show revamp. Barberie was let go four months later after declining a demotion. And after continuing with other co-hosts, Edwards vanished from the show in December 2017 after allegations of sexual harassment, but there was never an official explanation from him or management about the reason for his departure. The exits sparked a wave of protests from viewers and celebrities, including Suzanne Somers, Piers Morgan and Simon Cowell of “American Idol.”

Dorothy Lucey, left, Steve Edwards and Jillian Barberie in 2001 on the set of Fox 11’s “Good Day L.A.”

(Genaro Molina / Los Angeles Times)

But good days have returned for the former “Good Day L.A.” hosts. More than a decade after being let go, Edwards, Lucey and Barberie are fired up about their new venture.

The trio has reunited for “So Unanchored,” a weekly podcast fueled by spontaneous riffs on their years together, pop culture and their deep friendship. As they did on “Good Day L.A.,” they consistently interrupt one another and the chatter careens from one topic to the next without a breath. Complete sentences are rare.

“We have not missed a beat,” Edwards said as he, Lucey and Barberie relaxed in an office lounge after a recent taping. “It’s the most effortless thing. It makes us very happy when we get together. There’s an endorphin thing going on.”

“And we like each other more,” added Lucey.

They will tape a special live episode Wednesday at 11 a.m.. New episodes usually appear on Fridays.

The shattering of the “Good Day L.A.” team was particularly traumatic for Barberie, the breakout star of the trio. In addition to getting divorced after the Fox 11 job, she was later sideswiped by financial woes and a devastating health scare.

“I lost my job, got divorced and got cancer all at the same time,” said Barberie, her voice cracking as she sat near Edwards and Lucey in the lounge. “The fact that these two were a constant in my life during those 12 years when I was going through all those things is everything. I’m so grateful.”

Of course, there are major differences from their previous collaboration. While “Good Day L.A.” was broadcast at Fox 11’s massive West Los Angeles studio, “So Unanchored” is a no-frills affair staged at a Canoga Park office park.

The hosts sit in a small office, backed by nondescript office furniture and a framed poster of the vintage “Please Stand By” image broadcast by stations when there were technical difficulties.

Lucey, left, Edwards and Barberie in the Canoga Park office where they tape their podcast, “So Unanchored.”

(Annie Noelker/For The Times)

On their initial podcast, Barberie made it clear that there is no love lost when it comes to her former employer.

“I don’t want anything associated with that show,” she said. “Let’s start fresh, man. They used us and they treated us like s— at the end. Who needs them? Goodbye!”

The other major shift is the relationship between Lucey and Barberie.

“Dorothy and I love each other now,” Barberie said on one episode.

Lucey: “We do. Because the last time you saw us, we really didn’t like each other.”

Barberie: “And Steve has never been happier.”

Edwards: “You two are like sisters. You used to be like brothers — Cain and Abel.”

Barberie: “And then something happened between the three of us that got her and I close, and then I got cancer. She took me to all of my surgeries and took care of me. I’m telling you, it’s a beautiful thing.”

Lucey: “We still hate Steve, though.”

Barberie: “We have that in common.”

The burying of the hatchet is a great relief for Edwards, who was troubled by the tension between his colleagues during their time on “Good Day L.A.”

Barberie pressed Edwards on their first podcast: “Be honest, Steve. Did you like it when we didn’t get along?”

Edwards: “Sometimes it would get ugly and my stomach would turn.”

On “So Unanchored,” Barberie has revived her loose cannon role in their dynamic, raw and unfiltered. She will tear up, and moments later throw her head back with an explosive laugh that bounces off the studio walls.

She detailed her wild lifestyle during her TV days: “From 34 to 40, I was single, had five TV jobs, partied like a rock star, dated anyone I wanted and made a s—load of money.”

Though she eventually landed a talk show on KABC-AM 790 after leaving Fox 11, hard times hit in 2019 as she tried to make ends meet while raising two children as a divorced mom battling cancer.

“When I lost everything, I literally collapsed on my money manager’s table. I was bald and I started crying,” she said.

She listed her ranch-style Tarzana home, which was featured in “MTV Cribs,” for $2.5 million in 2021. She currently rents “a beautiful little apartment way out in Thousand Oaks. I love it and my life is quieter.”

Barberie was more explicit on the podcast: “I haven’t dated in 10 years. I have no tinglies down there. I’m dead from the waist down. I don’t want to date. I don’t want a man, an ape beside me at night if I’m having a hot flash. I have no nipples. I have no desire to cook, sit and talk with you. I don’t care.”

Edwards: “So you’re saying there’s a chance.”

Since leaving “Good Day L.A.,” Barberie, left, and Lucey have developed a close friendship. Edwards, standing center, said, “You two are like sisters. You used to be like brothers — Cain and Abel.”

(Annie Noelker / For The Times)

Scott Sternberg, whose production company produces “So Unanchored,” said “Good Day L.A.” was a clear standout on the morning show spectrum.

“There was something different about ‘Good Day L.A.’ from the other shows,” Sternberg said in a phone interview. “Their personalities were all different, but they could finish each other’s sentences and were not afraid to say what they wanted to say. I felt if I could bring them back together, there would be a huge audience who remembered them fondly.”

Asked to define the magic of their chemistry, Edwards said it was not instantaneous.

“At the time, there were five morning shows, including the network,” he said. “It took years for our thing to happen, but when it did, it happened big. We could do no wrong for 10 years. The ratings were crazy good. There was a run for many years when we were No. 1. We made them a lot of money.”

He continued: “Success is based on the relationship between the people on the show and the audience. Once that is established, it doesn’t matter if the show is good or bad that day. I was going through a lot with these two [Lucey and Barberie], and the audience was doing it with us. But the suits don’t care about that.”

The first indication that the show was in trouble came in 2017, when a new management team initiated a revamp of the morning show.

Lucey wrote at the time in her blog “God and Gossip” that her new boss told her that her voice, which has a trace of raspiness, “made his eyes bleed. Not the crusty yucky pink eye. New guy was saying when I spoke I made his eyes bleed. I have read that can happen after you vomit. Now I could almost see my husband saying something like that to me … But from a new boss…”

But station executives did not express regrets about dismissing Lucey, saying in a statement after her ouster: “The revitalization of ‘Good Day L.A.’ has been refreshing.”

Months later, Barberie was approached about taking a reduced role as a field reporter. She turned it down. Edwards’ departure caused a bigger stir because it was so abrupt. KTTV would say only that he was no longer employed by the station.

“Fox never issued a statement, and I never issued a statement,” Edwards said. “Obviously there was not agreement on what happened.”

As they prepared to leave the lounge, the three hugged each other warmly and said they were looking forward to getting together the following week.

“There is one word for us being back together,” Barberie said. “Home.”

GATWICK Airport is set to get a second runway by the end of the decade.

Plans for the new runway have received a huge boost today, after campaigner against the plans lost their bid to challenge it.

The airport expansion was approved back in September and is set to cost £2.2billion.

It will involve moving the airport’s emergency runway 12 metres north and as a result, the airport will be able to host an extra 100,000 flights a year.

The new runway is set to have planes taking off by the end of the decade.

In a ruling on Tuesday, Lord Justice Holgate and Lord Justice Dove dismissed campaigners’ bids against the new runway.

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They said: “We conclude that each of the grounds of appeal raised by each appellant is unarguable.

“Neither appeal has a real prospect of success. We also consider that there are no other compelling reasons for either appeal to be heard.”

Gatwick Airport is the second busiest airport in the UK and has one of the busiest runways in the world.

The runway will be used mainly for more narrow-bodied planes, such as Airbus A320s and Boeing 737s.

Campaigners argued that the Government has not properly assessed the climate impact of an additional runway.

They also commented that there is no need for an expansion at Gatwick Airport, considering Heathrow is not too far away.

People should brush up on this code before heading on their next holiday

Going to the beach or cooling off in the sea when on holiday is one of the most common activities tourists do – and not think twice about. However, when people enter bodies of water, there is always a risk of injury or even death.

Holiday hotspots – like Spain, Turkey and Greece – all have warnings listed on the official GOV.UK Foreign Office pages that provide advice to travellers swimming abroad. The Foreign Office says every year, “people drown in the sea and in swimming pools”.

People who are holidaying with young children should “always supervise” them around pools and the sea – even if they can swim or a lifeguard is present. Situations can change in an instant, even for experienced swimmers.

On the country’s Foreign Office advice page, it said: “Some beaches, especially around Spanish islands, may have strong undercurrents. Hidden rocks or shallow depths can cause serious injury or death. Do not dive into unknown water and do not swim at beaches where a river runs into the sea.”

It adds that most beaches, including those in tourist spots, will use a simple colour-coded flag system to indicate whether an area is safe. These flags follow a standard set of guidelines that are universally recognised, and one should be a clear warning to anyone setting up for a day at the beach.

The Foreign Office said: “Many beaches have a flag system. Make sure you understand the system and follow any warnings (a red flag means you must not enter the water). Take extra care and get local knowledge if there are no lifeguards, flags or signs.”

Beach lifeguards will frequently fly multiple flags at the same time to signal different types of hazards. For example, one flag might be linked to the strength of the water, while another can signal if there is marine life in the area that could sting, like jellyfish.

What do the different coloured flags mean?

• Red flag (high danger)
• Yellow flag (medium hazard)
• Green flag (low hazard)
• Purple flag (marine pests)
• Black and white checkered flag
• Red over yellow (lifeguarded area)

Red flag warns of water conditions that are unsafe, like strong currents, rough surf, or severe undertows. If you see two red flags flying together, the water is completely closed to the public.

Yellow flag warns of moderate surf, light currents, or rougher waters. While swimming is permitted, weak swimmers or children are discouraged from entering, and everyone should take extra care generally.

Green flag signals calm ocean conditions and a low risk of dangerous currents. While it means the water is generally safe, swimmers should still remain aware of their surroundings.

Purple flag warns beachgoers that dangerous stinging marine life is present in the water. This typically means an influx of jellyfish, stingrays, or sea urchins. Crucially, a purple flag is used for smaller marine pests and does not indicate sharks.

Black and white checkered flag designates a specific area reserved exclusively for surfboards, kayaks, and other non-powered watercraft. Swimming or bodyboarding is strictly prohibited inside this zone to prevent dangerous collisions.

Red over yellow flag marks the safest area of the beach. This zone is actively monitored by lifeguards.

It’s been seven years since Mahershala Ali was announced as Marvel’s Blade, but the acclaimed actor says that his involvement in the project is officially dead and buried.

According to the two-time Oscar winner, if the project does get off the ground, it won’t be with him. Ali told GQ during an interview published on Friday that he has “moved on” from the plan to play the iconic vampire hunter that Wesley Snipes made famous in the ‘90s and early aughts.

“If they wanted to do it, we would’ve done it,” Ali told GQ.

Last month, Marvel Studios President Kevin Feige told the “Happy Sad Confused” podcast that he wasn’t proud to have let the project slip through his fingers, saying, “I am feeling like a gigantic loser and failure that we didn’t get off the ground with Mahershala.”

In the same interview, Feige said he was very excited to have gotten Snipes back “for a time” as Blade in “Deadpool & Wolverine.”

In Snipes’ scene in the 2024 Marvel hit, he may have answered any lingering questions on the matter just before blowing up a building with a missile launcher: “There’s only been one Blade,” he said, “there’s only ever gonna be one Blade.”

The project had notably gone through a slew of writers and directors; writer-director Bassam Tariq stepped away in 2022, work was stalled due to the writers’ strike in 2023, and the project just couldn’t seem to get its bearings amid all the brouhaha. During Ali’s interview with GQ, the outlet asked if “Blade” was any closer to becoming a reality.

“Not with me. The best way I can answer this question is, when I look at what is for me, is it was either this or that — and I’ll take this,” he said, referring to “Your Mother Your Mother Your Mother,” his forthcoming action-adventure film penned and directed by Tariq that hits theaters Sept. 25.

“No offense to them. I’ve been doing this professionally for pushing 30 years now, and one thing I’ve learned is that what is for you is for you and what is not is not,” he continued. “For whatever reason, that project is not for me. If they wanted to do it, we would’ve done it. So I have to move on, and I have moved on. ‘Your Mother Your Mother Your Mother’ feels very much in alignment with the type of work I want to be known for. I don’t really want to be known for remakes. I’d love to do original work that resonates with people and impacts them in unique ways.”

Though Ali seemed to be at peace with what happened with “Blade,” he still threw some shade Marvel’s way.

“Again, you had me under contract, they have billions of dollars, if they wanted to do the movie, we would’ve done the movie,” he said. “So we’re not doing the movie.

“When I look at this and ‘Blade,’ I couldn’t have done both, and the reason this even exists is because that project fell apart and Bassam had the time, space, energy and focus to go and write this and then re-approach me,” he continued. “And I was able to use those skills that I had been working on for over a year training for ‘Blade.’ In that way, I feel creatively redeemed on some level, just in my own journey between me, myself and I. But I feel ready to move on from the ‘Blade’ questions. Those questions are for them. They didn’t want to do it, so they should answer that question.”