Witness testimony began Wednesday with an accusation of negligent supervision in the high stakes trial against the Angels by the family of deceased pitcher Tyler Skaggs.
Tim Mead, an Angels employee of 40 years, was portrayed by the plaintiffs lawyer, Rusty Hardin, during four hours of direct examination as a well-meaning boss who repeatedly ignored company policy by failing to report the improper conduct of Eric Kay, the team communications director who gave Skaggs the fentanyl pills that killed him.
Hardin brought up a litany of instances where Kay likely violated Angels rules that could have resulted in discipline and even termination long before the July 2019 road trip to Texas during which Skaggs died in his hotel room after chopping up and snorting the illicit drugs provided by Kay.
Mead acknowledged that he knew of Kay’s years-long episodes of bizarre behavior, an extramarital affair with an intern, and problems with prescription medication, but that he never reported any of it to human resources.
Hardin asked if he was putting Kay ahead of the organization by doing everything he could to save him, allow him to regain his health and keep him employed.
Mead responded: “I guess I wasn’t consciously doing it at the time. … I was concerned about the organization, for him, his family and my staff.”
Hardin asked Mead if he was thinking of an obligation to organization or to Kay, and Mead replied, “A bit of both.”
Hardin: Did you recognize a conflict between those roles?
Mead: “Yes that entered my mind.”
Hardin asserted that it strains credulity that Mead asserted he knew nothing of Kay using or distributing illicit opioids when on the last day of the 2017 season Kay’s wife, Camela, reached out to Mead to infom him the family was conducting an intervention in their home that evening.
Mead and Tom Taylor, the Angels’ traveling secretary, visited the Kays the next morning, and Camela Kay testified during a deposition that the Kays directed him to Eric’s bedroom, where he had stashed 60 pills, stored in handfuls of 10 in small plastic bags.
Pressed by Hardin, Mead repeated that he couldn’t say he didn’t do what Camela Kay testified he did, but that he had no recollection of it. Mead insisted that he knew nothing of Eric Kay using or distributing illicit drugs to Skaggs or anyone else.
Cross-examination of Mead by Angels lawyers will take place Friday. The court is in recess every Thursday during what is expected to be a two-month trial.
Following Mead on the witness stand will be Taylor and team president John Carpino. More than 75 names are on the witness list, including current Angels star Mike Trout, former manager Mike Scioscia and several former players who testified in depositions that Kay or Skaggs gave them opioids.
Lawyers for the Angels and the family spoke to the jury for the first time Tuesday, delivering dramatically different opening statements.
Angels owner Arte Moreno sat in the front row along with Carpino, although neither one was present Wednesday. Skaggs’ widow, Carli, sat next to Tyler’s mother, Debbie Hetman. Tyler’s father, Darrell Skaggs, was absent because of poor health.
Representing Skaggs’ widow and parents are two lawyers with decades of experience representing high-profile and celebrity clients — Shawn Holley and Hardin.
Early in her career, Holley, 63, worked under Johnnie Cochran and was a member of the O.J. Simpson defense team in 1995. Since then, she has represented clients ranging from entertainment titans Michael Jackson, Tupac Shakur, Justin Bieber, Kanye West, Lindsay Lohan, Snoop Dogg, Axl Rose and the Kardashian family to athletes such as Trevor Bauer, Mike Tyson, Lamar Odom, Reggie Bush and Sugar Ray Leonard.
Hardin, 83, represented the Arthur Andersen accounting firm during the Enron scandal more than 20 years ago. He also has won favorable verdicts for numerous athletes such as Roger Clemens, Wade Boggs, Warren Moon, Scottie Pippen, Calvin Murphy, Steve Francis, Rudy Tomjanovich and Rafer Alston.
The Angels are represented by Todd Theodora, chief executive of the nationally respected law firm Theodora Oringher. Theodora and the Angels have had a longstanding professional relationship.
Theodora served as lead trial counsel for the Angels in the suit brought by the city of Anaheim in 2005 when the team re-branded as the Los Angeles Angels of Anaheim. The city sought more than $300 million in damages against the Angels, who prevailed in a jury verdict.
Theodora wouldn’t comment on the Skaggs case because of the ongoing litigation, but after the Angels’ court victory regarding the name change, he described to The Times the all-consuming nature of a lengthy trial.
“You find yourself literally thinking about the case from the moment you wake up until the moment you go to bed and many times in the middle of the night as well,” Theodora said.
The stakes are high in the Skaggs trial. Holley delivered opening statements for the plaintiffs and said a fair estimation of Skaggs’ lost future earnings is $118 million. She added that the Angels must also compensate the family for “loss of companionship, solace, moral support and financial security.” And, Holley said, the family should be awarded punitive damages “not only because [the Angels] failed to keep Tyler safe, they put him in harm’s way.”
Taking a deliberate, soft-spoken approach, Holley walked the jury through a timeline of Kay’s drug use and eventual distribution of opioids. She said Angels team doctor Craig Milhouse wrote Kay numerous oxycodone prescriptions despite the fact he lacked any legitimate medical condition.
Holley attempted to establish that Kay’s drug use escalated year after year, saying there was “a complete failure by the Angels to grasp the magnitude of the problem.”
Holley said that Kay revealed his drug use in text messages and emails, and that a clubhouse attendant witnessed Kay snorting lines of drugs in a kitchen area outside the Angels clubhouse.
Citing evidence in Kay’s criminal trial — he is serving 22 years in prison for supplying Skaggs with fentanyl — Holley said Kay used his Angels email address to purchase illicit drugs on the website OfferUp.
By 2019, Kay’s drug usage had reached a point that he went through an outpatient treatment program that ended shortly before the Angels went on the road trip to Texas during which Skaggs died. Holley contended that human resources requires a “fitness for duty exam” before returning to work following a drug rehab stint.
“The Angels, again, did nothing,” she said. “So less than two months after learning Eric Kay had been dealing drugs to players, two months after Eric Kay overdoses and less than a month after outpatient rehab ended, the Angels decided to send Kay on the road trip. Within hours, Tyler Skaggs was dead.”
Theodora countered by saying the team “knows right from wrong,” and that it was Skaggs who engaged in “reckless choices that we teach our children and grandchildren not to do, for good reason.”
Theodora pointed out that in addition to the counterfeit fentanyl pill that Skaggs chopped up and snorted the July 2019 night he died in a Texas hotel room, he had a blood-alcohol level of .140 and a therapeutic level of oxycodone.
“The evidence will show he was not playing through pain, he was not prescribed these pills,” Theodora said. “It is downright shameless for anyone to say it was justified for someone to chop up and snort opioids, that they were just being used to get through a long season.”
Skaggs was involved in three crimes, Theodora said, “one, criminal possession; two, taking or ingesting illicit drugs; and three — as you’ll hear from five players — Tyler was distributing illicit pills to them.”
Opening statements and Mead’s testimony underscored the reasons a recent one-day settlement conference between the two sides went nowhere,
Skaggs was found dead in his hotel room in Southlake, Texas, on July 1, 2019, before the Angels were scheduled to start a series against the Texas Rangers. The Tarrant County medical examiner found that in addition to the opioids, Skaggs had a blood-alcohol level of 0.12. The autopsy determined he died from asphyxia after aspirating on his own vomit, and that his death was accidental.
Prosecutors alleged Kay sold opioids to Skaggs and at least five other professional baseball players from 2017 to 2019. Several players testified during the trial about obtaining illicit oxycodone pills from Kay.
The Skaggs family filed their lawsuit in June 2021, alleging the Angels knew, or should have known, that Kay was supplying drugs to Skaggs and other players. Testimony during Kay’s criminal trial established that Kay was also a longtime user of oxycodone and that the Angels knew it.
The Angels responded by saying that a former federal prosecutor the team hired to conduct an independent investigation into Skaggs’ death determined no team executives were aware or informed of any employee providing opioids to any player.
But just the same, the Dodgers outfielder declined to stay with the team at the historic — and allegedly haunted — Pfister Hotel in downtown Milwaukee during the first two games of the National League Championship Series against the Brewers this week.
Hernández told reporters before Game 2 on Tuesday that his wife, Jennifer, was the one who insisted on finding somewhere to stay other than the 137-year-old hotel that has been the source of spooky tales from MLB players for decades.
“I don’t believe in ghosts. I have stayed there before. I never see anything or hear anything,” Hernández said. “But my wife is on this trip, and she says she doesn’t want to stay in there. So we have to find another hotel.”
Hernández added, however, that his wife told him that she has heard from other players and their wives that there had been “something happening” over at the team hotel.
Asked to elaborate, Hernández said he had been told that in “some of the rooms, the lights, goes off and on, and the doors — there are noises, footsteps. … I’m not the guy that I’m gonna be here saying, ‘Oh yeah, I experienced that before,’ because I’m not, and I don’t think I’m gonna experience that.’”
Dodgers manager Dave Roberts was asked during his pregame media availability Tuesday if he had any ghost stories to share from the team’s stay at the Pfister.
Share via
“I don’t,” Roberts said. “Those stories went away when I was about 10 years old. So, no, not anymore. I’m OK to go to bed now.”
Over the years, not everyone has been as at ease about staying at the creepy old digs. In 2005, then-Dodgers closer Eric Gagne told The Times’ Steve Henson that the place freaked him out.
“It’s old, weird and scary,” Gagne said. “It’s very creepy. I don’t sleep well there.”
Henson also noted at the time that former Dodgers third baseman Adrián Beltré had “reported a ghostly presence turning on lights and tickling his toes” during a 2001 stay at the Pfister. Fellow Times staff writer Kevin Baxter reported in 2007 that Beltre Beltronce insisted on sleeping with a bat for protection after he had a brush with a ghost” at the hotel.
One-time Dodgers infielder Michael Young told ESPN that he once heard loud stomping noises in his room while he was trying to sleep.
“So I yelled out, ‘Hey! Make yourself at home. Hang out, have a seat, but do not wake me up, OK?’” Young said. “After that, I didn’t hear a thing for the rest of the night.”
Current Dodgers shortstop Mookie Betts decided a couple of years ago he doesn’t want to take any chances at the spooky spot.
“I don’t know if they’re real or not, nor do I care,” Betts said of the hotel’s alleged ghosts after a 2023 game against the Brewers in Milwaukee. “My boys are here, so we just got an Airbnb. That’s really it.”
Betts admitted to the Orange County Register that the Airbnb rental was “just in case” the scary stories were true and “it was a good excuse” not to stay at the creepy old building.
Last, during another series in Milwaukee, Betts appeared to confirm that he will continue to find alternative lodging for road games against the Brewers.
“You don’t want to mess with them,” Betts said of the Pfister’s alleged ghosts. “I’m staying at an Airbnb again. That part is not gonna change.”
The Dodgers more than survived their two games in Milwaukee this week, riding dominant performances by starting pitchers Blake Snell and Yoshinobu Yamamoto to take a 2-0 National League Championship Series lead over the Brewers.
The Dodgers who checked in to the Pfister Hotel also appear to have survived another stay in downtown Milwaukee. And with the next three games (if that many are necessary) taking place at Dodger Stadium, they have the chance to make sure they avoid returning to the (allegedly) haunted haunt this postseason.
Jamal Robinson, who achieved his dream of retirement in 2024 and pays himself a whopping £138,000 a year, has revealed what he forks out to live in a “premium” area of Dubai “right off the beach”
Jamal Robinson achieved his dream of retirement in 2024 (Image: Facebook)
Jamal Robinson, who decided that he wanted to retire early when he was just a teenager, went from working as a church janitor to a position at Taco Bell for minimum wage, but would ultimately secure roles at Microsoft, IBM, and Amazon.
Jamal, who at the time of speaking was 40, achieved his dream of retirement in 2024. He’s now living as a US expat in Dubai, in the United Arab Emirates, and has managed to save a cash pot worth nearly $4million (about £3m).
A former executive director of generative AI at Microsoft, Jamal accumulated millions in savings and investments and pays himself a staggering figure of about £11,500 every month.
Jamal told CNBC Make It: “What I love most about Dubai is it really caters to people that have been retired and are looking for a lot of services and activities.”
He continued: “I found that, most often, the things that were promised to me in America actually existed here. So, the levels of safety, the levels of like integration of people into society where everyone’s accepted.”
Jamal revealed that he pays himself roughly $15,400 per month (about £11,500), but he tends to spend around $9,000 (£6,700), usually allowing himself around $2,000 for food (£1,500).
A chart displayed Jamal’s spending for December 2024 (which he conceded was a “unique” month). Among his outgoings were $4,429 (about £3,300) for rent, $2,840 ($2,100) for health and wellness, and a discretionary fund of $1,549 (£1,160).
He claimed that Dubai is “actually much cheaper” for him than the majority of the major US cities in which he’s lived. Jamal added that the UAE city allows people to live the “kind of lifestyle” they want and accommodates “a lot” of price points.
A city synonymous with luxury, Dubai is also a popular holiday destination and global hub for leisure and business. Home to more than 200 nationalities, it also boasts the tallest building in the world, the 828-metre Burj Khalifa.
In addition, curious visitors can take advantage of its luxurious malls and traditional souks, and, in further evidence of its wealth, you may even spot the police driving supercars.
According to the Telegraph, it’s expensive to live in Dubai, and expats will have to pay for medical insurance. Despite this, there’s no income tax imposed on people, meaning you keep more of the cash you earn.
It reports that, as of June 2024 (according to figures by CBRE), average yearly rents for apartments and villas were AED 56,000 (about £11,265) and AED 166,000 (£33,393). It also stated that the average salary of someone living in Dubai was £54,647.
Lacking confidence as a 14-year-old freshman, Melion Busano entered high school with one thought in mind.
“Just get the four years over with,” he said.
In September 2022, while getting 30 minutes to try out for the basketball team at Eagle Rock High, his confidence was shaken even more.
“They said if we send you a text, you made the team. I never got that text,” he said. “I was in denial. ‘Maybe they forgot me.’ After the third or fourth week, I was [thinking], ‘Maybe they didn’t send that text.’”
Rejection left him adrift, but then came the moment that changed his life. While carrying around a camera for film class, the JV football coach, Vince Vergara, noticed him, pulled him aside and asked, “Hey, do you want to play football?”
He joined the JV team as a sophomore. His mother had refused to let him play football years ago after seeing the 2015 film, “Concussion.” This time, she told him, “Be careful.”
He started from scratch.
“I had to learn on the fly,” he said. “I didn’t know what type of run plays or nothing. Never played youth football, never played flag.”
Last season as a junior, he made varsity and had 211 yards rushing and two touchdowns. This season, as a much improved 5-foot-10, 195-pound senior, he’s become so valuable that coach Andy Moran said he’s the best running back in the City Section, having rushed for 824 yards and 13 touchdowns going into the Northern League title decider against Franklin on Friday.
“He doesn’t go down and everybody has prepared to stop him and hasn’t,” Moran said.
He had 143 yards rushing against Granada Hills Kennedy, 108 yards against Monrovia, 146 yards against Bell, 141 yards against Marquez and 107 yards against L.A. Marshall.
His father was a Marine for 20 years and came here as a teenager from Belize. His mother is from the Philippines.
“Sadly I have not gone to either but would love to go,” he said.
His first name stands for “My Lion.”
“You’re a lion, so you’re fierce,” his father tells him.
With renewed confidence, Busano has discovered a love for football and a belief he can keep getting better with experience.
He even tried out for basketball again and made the team, then decided to focus on football.
His father told him, “Try again, work harder, make yourself a better person.”
It’s all part of the high school experience — experimenting, exploring and dealing with the positives and negatives that happen to everyone in their teenage years. His younger brother also made the football team.
“Now I’m kicking myself why didn’t I do this my freshman year,” Busano said. “Now I appreciate the little things, about discipline, always do your job, don’t do someone else’s job. It’s helped me grow up as a person. I was very ignorant and blind walking into this. I felt I probably won’t be the worst player but probably second string, but I came onto the field and started. It was, ‘Wow.’”
Soon he hopes to visit Belize or Manila to learn more about his parents’ home countries.
“My dad says my grandma has a house where you can wake up and look out the window and the beach is right there,” he said. “I want to visit both.”
He’s a 17-year-old seeing a whole different world and a whole different future with the help of his football experiences.
If you are not prepared for it, fame can be downright deadly. Alanis Morissette knows that better than anyone. Thirty years ago, she released her third studio album, “Jagged Little Pill,” which won five Grammys, including album of the year and best rock album, and went on to sell 33 million copies.
So, Morissette has a complicated relationship with fame. Now, she will be examining that and many other dimensions of her incredible three-decade career in a new Vegas residency at Caesars Palace that begins Wednesday and runs until Nov. 2.
As Morissette explained in a wide-ranging talk with The Times, the Vegas show will be much more than a concert. The show will take on a narrative feel that will showcase her humor, improv, wellness and all the other traits that have defined her over the years.
I love that you paired with Carly Simon on the song “Coming Around Again” because I see such a kinship based on you two over generations. There is so much in common between “You’re So Vain” and “You Oughta Know.” Not the least of which is I am sure you are both beyond over being asked, “Who is the song really about?”
Right, because what people don’t understand, and I can’t speak for Carly, but there’s a difference between revenge and revenge fantasy. I’m all about the revenge fantasy and punching pillows and gyrating and sweating and losing your s— in art. And Lord knows I’m unmeasured in other areas day-to-day, too, so it’s not like I’m some paragon of containment, but yeah, just the revenge thing, there’s a lot of schoolyard stuff going on. That’s all I’ll say for the moment.
Obviously, this is 30 years of “Jagged Little Pill.” I remember seeing Bruce Springsteen in ’88, when he did “Born to Run” acoustic. Every night when he introduced it, he would say,“I was thinking about how much that song was me, and how much I don’t want it to be me.” And I thought that was so interesting because, of course, there are songs you want to be you. So, what songs did you want to be you?
Yeah, there are so many songs that I would write about potential. So, I’d be in a relationship, and I would be writing about what I wanted to the point where whomever I may have been dating at the time, if I shared the song with them, sometimes they would say, “Who’s this about? This can’t possibly be about me.” I’m like, “Well, you know what? You’re onto something there. This is about what I wish we could be.” I think about also a song, because I’m working on the Vegas show, so we’re integrating so much. And I think the song “Not the Doctor” is probably one of the ones that I realized the naivety of having written, like, your issues just get away from me. Having been married now for 15 years, I realized that your partner’s challenges, you take each other on — all of it. So, there’s a little bit of knowledge now that makes “Not the Doctor” funny to sing.
And then “Incomplete” is a song that is a manifestation, as you just described, that I would be good. It’s like a prayer manifestation. There’s a song, “Knees of My Bees,” that I wrote about what I wished. In praise of the vulnerable man, it was what I wished. So yes, there’s some composites being made where I take seven people whom I had a similar pattern repeat, and I just lop them all into one song as one person and unify the communication; there’s no holds barred.
Has there been talk about extending the show? It does sound like you are putting a crazy amount of work into a show that right now lasts little more than a week.
For a long time — and a lot of journalists have said, “Yeah, right,” when I say this — but my energy doesn’t go into outcome. Whether the show is seen three times or 300,000 times, that’s not up to me in this moment. I’m creating stories and sharing parts of myself that I have hidden for the ’90s imperative of staying in your lane or it’s career suicide. So, I’m still unlearning that, which is the reductiveness of the ’90s, where you have to stay one thing. Then, well, what is one supposed to do if they have multiple talents or multiple intelligences dying to be expressed? We’re going to contain that so that we can keep the ’90s credo going. So, over the years, it’s just been, can I bring these other aspects of self into the whole expression of me through academia, through movement, through channeling, through live shows, through interviews right now? There are so many ways to express, and the ’90s really did say, “You do it one or two ways; you step out of that and your career is over.” Thank God that messaging is softened.
How have you seen culture and values change over your career?
It used to be “I want to be a millionaire,” and now everyone wants to be a billionaire. It used to be “I want to look 21 forever,” now it’s “I want to look 14 forever.” And then it used to be “I want to have fame as a means to an end for activism.” Now it’s just “I want fame as an end,” so it’s an interesting value system snapshot right now. And so many of us are flying in the face of it, so I’m not really worried about that. But the value system has gotten smaller almost, as though fame in and of itself is going to correct our attachment wounds. It doesn’t work, and I’m constantly raising my hand going, I thought fame would result in this profound sense of community that I’d be amongst my people and we’d be petting each other’s heads by the fire. That was not the case.
I think for anyone who comes out the other side of fame, there has to be a tremendous sense of gratitude that you survive it.
That’s a big piece of this Vegas show without me nailing it on the head or belaboring the point. It’s like, “How are some of us still here?”
How do you express that in the show? And it is interesting given your passion for wellness and mental health, it is in Vegas. Which has never been known for either.
Yeah, Vegas has been known for addiction and gambling, acting out, sexual acting out. What is Vegas known for? “What happens in Vegas stays in Vegas.” It’s been known for that, but I believe that there’s a whole seismic shift going on. I have never underestimated people who come to my shows. Even in workshops, people are like, “Alanis, it’s too much.” And my thought is, “No, it’s not.” People can close their eyes, they can walk out, they can shut the radio off, they can take a break in the cafeteria. Part of why I love that it’s Vegas is that there’s this ceilinglessness in terms of no holds barred again, like I want to wear a boa. You want to do a backflip. Apparently, we’re doing a backflip. What has happened over the years is that again, it was this one-lane push, stay in your lane. And while this was all happening, there were all these other archetypal imperatives getting at me, like what about dancing? What about comedy? What about article writing? What about keynote speaking? What about workshop leading? What about channeling? There are all these other forms of expression that I live for. So, in some ways, I was cultivating them maybe privately. That’s just who I am. And I integrated it into every lyric.
Sinéad [O’Connor] said this perfectly, I don’t know word for word what she said, but the essence was you love the art, but you hate the artist. She said something about, “I appreciate that my audience wants everyone to hear more angry emotions from me through my songs, but then I have to be angry. And no one takes that into consideration.” I was like, “Yeah, because we’re used in the best way possible.” Artists are used as a screen upon which people identify themselves or people find who they are by hating and loving and trolling and attacking and it’s all projection, everything’s f— projection. So yeah, I just think people who are in the public eye have an experience inside of a social construct that is so violently unusual. And there’s no empathy afforded to them for that, other than maybe from people like you and me.
“There are all these other forms of expression that I live for,” says Alanis Morissette. “So, in some ways, I was cultivating them maybe privately. That’s just who I am. And I integrated it into every lyric.”
(Shervin Lainez)
How did you learn to deal with it? Unfortunately for Sinéad, she never was able to handle the fact that people were so hateful toward her, even though it had nothing to do with her.
I know, and basically that is the lack of handbook that is egregious, because so many people who were in the public eye are now physically gone. So much of it is their temperament, and I used to do talks at the neurobiology conferences at UCLA, and I would bring up the idea of temperament needing to be taken into consideration, whether it’s around suicidality or anything. Most artists are highly sensitive empaths. That is a version of neurodivergence over excitability, high-achieving, profound subtle awareness and attunement. All of these qualities that make the sweetest artists. And yet that temperament in a world that is doing what you just described Sinéad receiving, which is projecting hate, hate, hate, hate, hate. There’s no handbook on how to go, “Hey, we’re going to do shadow work here. We’re going to talk about rejection. We’re going to talk about if anyone’s saying anything that brings something up for you, bring it into therapy. Look at that part. Look at what they’re saying.” Also, always from me, look at the opposite. If you’re being invited to look at the part of you that is an a—. Always also look at the part of you that is deeply, deeply kind. For me, that’s the wholeness journey.
Being older, what have you learned about how to deal with all this?
I really do believe, Steve, that I could write a f— handbook now. I feel like if you and I got together, I could write the handbook, and we just hand it out to all the new celebs.
Do you now feel a responsibility to be able to pass your wisdom on to the new generation like Billie Eilish and Olivia Rodrigo?
I feel great passion about it. I happen to be someone who is hilariously conscientious and intensely empathic. I’m always blown away by them, and then I see people like Olivia and I just think, “Oh, everything’s going to be okay. We’re all going to be okay if Olivia exists; we’re good.” [laughs]
What happened to your book?
What’s interesting is I did two years worth of narrative storytelling that we recorded. Initially it was for a memoir, or some version of what was being asked for was a memoir. That’s kind of a hard “no” for me because we’re using all the pieces that feel relevant to this particular story. The reason I didn’t want to do the memoir is ’cause there’s no way to articulate a life. There’s way to articulate snapshots. There’s a way to articulate chapters, maybe. But there’s no way to articulate, like, this is my sentimental life story. It’s not possible. So that’s why songs are so great. It’s like four minutes of a moment. Let’s just keep writing these moments and capturing these moments and that’s what Vegas is for me: a moment.
One of the things I’ve talked about with artists that they love so much about Vegas residency is you get to mix it up night to night. But it sounds like you’re going to have a show, so are you going to be incorporating different stuff or is it going to be more of a narrative story?
Both. For me as an actor, I’ve always enjoyed improv. I love it when there’s a general sense of structure for something, but then go off within it. This is the way I’ve always been, both sides of the brain. I want some structure and predictability and some version of a set list, which we already have. But then within some of the interstitial stuff and the scenes and the comedy and the physicality and the movement, yeah, it’s a movable feast. We’ll see what happens. I am completely out of my wheelhouse publicly, not privately, because I was in improv teams since I was 14. And I think comedy is one of the best forms of activism art, I really do, maybe even above music. So, we’re integrating all these forms of art. And I’m not thinking about any outcome. It’s really amazing to write a record, write a song, write an email, frankly, with no agenda. The agenda is just “let’s express ourselves.” And that’s plenty.
Do you feel like you’re having more fun now at this point in your career than any other point?
I have the most fun with collaborating. So, I can’t say this is any more fun, but I can say that there’s more people. So, in the past, it’s been me alone writing or me and my bestie writing or me and Glen [Ballard] writing. So, in some ways it was insulated, isolated and with the musical and with Vegas, let’s multiply those collaborators by at least five. What I’ve said a few times, and I still stand by it, is that for me, the happiest place is in this communal “can’t swing a dirty sock without hitting a master” kind of environment, and it is truly six plus six is a thousand for us.
Do you feel like, as you’re getting older, people are embracing you more?
Yeah, I make more sense. There was a period of time where I didn’t make any sense and perhaps there wasn’t that much resonance. And then 25, 30 years later, I feel like I’m starting to make sense to the world in a way that I didn’t expect to happen. I just always thought, “Oh, I’ll be on that smallest part of the bell-shaped curve forever and I’ll probably be kind of lonely there. And that’s just what it is in this lifetime.” But here I am 30 years later and I’m starting to get a sense that what I’ve been talking about this whole time is resonant for people. And I can’t tell you how healing that is for me.
Serve Robotics(SERV -0.55%) develops autonomous last-mile logistics solutions. It has a major deal with Uber Technologies(NYSE: UBER) that will see thousands of its latest robots deployed into the Uber Eats food delivery network. But this is more than just a commercial partnership, because Uber is also one of Serve’s largest shareholders.
Uber acquired a company called Postmates in 2020, and in 2021, it spun Postmates’ robotics division out into a new company that became Serve Robotics. Serve is still relatively small with a market capitalization of just $890 million, but at the time of this writing, its stock has soared by 67% over the past year alone.
Serve has identified an enormous addressable market for its delivery robots, so should investors join Uber and buy the stock?
Image source: Getty Images.
A potential $450 billion opportunity
Existing last-mile logistics networks are quite inefficient, because they rely on cars with human drivers to deliver relatively small commercial loads from restaurants and retail stores. Serve is betting those workloads will increasingly shift to autonomous robots and drones, creating a potential $450 billion opportunity by 2030.
Serve’s latest Gen 3 robots have achieved Level 4 autonomy, meaning they can safely operate on sidewalks in designated areas without any human intervention. This makes them ideal for transporting small food orders, which is why 2,500 restaurants in five U.S. cities have used them to make 100,000 deliveries since 2022.
The Gen 3 robots use Nvidia‘s Jetson Orin platform, which includes all of the computing hardware and artificial intelligence (AI) software they need to operate autonomously. Having such a powerful technology partner will help Serve scale as quickly as possible, which is key to bringing costs down to management’s target of just $1 per delivery. At that point, using robots will be substantially cheaper than using human drivers.
Serve has a contract with Uber Eats to deploy 2,000 robots across Los Angeles, Miami, Dallas, Atlanta, and Chicago before the end of 2025. The company rolled out its 1,000th robot on Oct. 6, meaning its capacity will double in just the next few months.
But it won’t stop there, because last week Serve announced a new multiyear deal with DoorDash, which operates the largest food delivery network in the U.S. The two companies are yet to provide firm numbers, so it’s unclear how many more robots Serve will have to deploy.
Scaling a robotics business is not cheap
Despite its status as a publicly traded company, Serve is still very much a start-up. Its revenue tends to be quite lumpy, which is typical when a product is in the early stages of commercialization. The company brought in just $642,000 in revenue during the second quarter of 2025 (ended June 30), which is a tiny amount relative to its $890 million market cap.
But Serve’s business could scale extremely quickly. Management thinks the company will generate up to $80 million in annual revenue once all 2,000 Gen 3 robots are up and running, which bodes well for 2026. Wall Street predicts Serve will generate $3.6 million in total revenue this year (according to Yahoo! Finance), so $80 million would be a monumental jump.
But so far, the road to commercialization has been paved with substantial losses. Serve lost $33.7 million on a generally accepted accounting principles (GAAP) basis during the first half of 2025, so it’s on track to exceed its 2024 loss of $39.2 million by a very wide margin. The company spent $16 million on research and development alone during the first half of this year, so based on its minuscule revenues, its losses are no surprise.
Serve had $183 million in cash on hand as of June 30, and it raised a further $100 million from investors in October, so it has enough cushion to sustain its losses for the next few years (assuming they don’t materially increase). However, if the company doesn’t chart a pathway to profitability by then, it might have to raise even more money, which will dilute existing shareholders.
As a result, there is a lot riding on the successful commercialization of Serve’s 2,000 Gen 3 robots.
Serve stock trades at a sky-high valuation, but is it a buy?
Serve stock is extremely expensive right now. Its price-to-sales (P/S) ratio is a mind-boggling 486, making it substantially more expensive than any other major AI stock. Palantir Technologies, which also trades at a sky-high valuation, looks cheap by comparison because its P/S ratio is 128. For some further perspective, Nvidia stock has a P/S ratio of just 27.
With that said, if we assume Serve will generate around $80 million in revenue next year, its forward P/S ratio is just 11. In other words, it almost looks like a bargain.
But investors can’t always rely on management’s guidance, especially in this case because it assumes a perfectly smooth transition to commercialization for the Gen 3 robot. As with any new product, there will probably be bumps in the road, and we simply don’t know if it will scale successfully.
As a result, investors might be better off waiting a few more quarters to see if the rollout of the robots actually translates into as much tangible revenue as management expects. If it doesn’t, Serve stock could suffer a sharp correction because of its current valuation.
THE new and enormous theme park in Riyadh is set to open within the next two months despite it still being under construction.
Six Flags Qiddiya City said it’s will open later this year after reports it would be pushed back to spring 2026.
Sign up for the Travel newsletter
Thank you!
The new Six Flags theme park will be home to four record-breaking rides – like Falcon’s FlightCredit: Six Flags Qiddiya CityThe Iron Rattler will be the tallest tilt ride in the worldCredit: sixflagsqiddiyacity
Falcon’s Flight, the fastest and tallest roller coaster in the world with speeds of 155 mph and heights of 639 feet.
The Sirocco Tower, will become the tallest free-standing shot ride in the world with a maximum height of 475 feet tall.
Iron Rattler, the tallest tilt coaster in the world at 208 feet tall. And Gyrospin, the tallest pendulum ride in the world will be 173 feet tall.
The Six Flags Qiddiya City will have six different lands; Steam Town, City of Thrills, Twilight Gardens, Grand Exposition, Valley of Fortune and Discovery Springs.
Discovery Springs is where visitors will be transported to deep underwater.
It has a ride called ‘Into the Deep’ where riders will be transported into sea caves on the interactive dark ride.
Discovery Springs will have deep sea immersive and water drop ridesCredit: sixflagsqiddiyacityInside Six Flags Qiddiya City will be six different themed areasCredit: Six Flags Qiddiya City
A rollercoaster called Sea Stallion, which will become the tallest and fastest rider-controlled coaster in the world, that will travel over rivers and behind waterfalls.
It also has a water drop adventure ride, and playground for children called Aquatopia.
There will be eight themed zones inspired by the wildlife found in Saudi Arabia, for example Camel Rock and Viper Canyon.
Inside the water park that’s also set to open in late 2025, will be 22 rides, a surf pool, water coaster and slides.
It’s not all rides and rollercoasters at Qiddiya City, the site will open its own racetrack that spans across two levels – the first of its kind in the world.
The track has even been designed by racing drivers and will have the very first elevated track corner which is 70-metres high – which equates to a 20-storey building.
While the track will mostly be used by professionals, it will host open days for members of the public.
Between the 10th and 15th of every month, the U.S. Bureau of Labor Statistics (BLS) releases the previous month’s inflation data. This information is used by the Social Security Administration (SSA) to calculate the annual cost-of-living adjustment (COLA).
The BLS was slated to release the September inflation report — the final piece of data needed to unveil the 2026 COLA — at 08:30 a.m. ET on Oct. 15. But due to the federal government shutdown, the most-anticipated announcement of the year has been pushed back.
Social Security’s 2026 COLA reveal will occur on Oct. 24
In its simplest form, Social Security’s COLA is the near-annual “raise” passed along to beneficiaries to offset the impact of inflation (rising prices). If benefits weren’t adjusted for the effects of inflation, Social Security recipients would see their income lose buying power most years.
For the last half-century, the Consumer Price Index for Urban Wage Earners and Clerical Workers (CPI-W) has served as Social Security’s inflation measuring stick. With more than 200 different spending categories, each with its own unique percentage weightings, the CPI-W can be reported as a single figure by the BLS each month.
The quirk with Social Security’s COLA calculation is that only the months of July, August, and September (the third quarter) matter. The other nine months of the year can be helpful in spotting trends, but they aren’t used in the COLA calculation.
With CPI-W readings from July and August already known, the only puzzle piece missing is September. Unfortunately, most economic data reports from federal agencies are delayed indefinitely during government shutdowns.
However, some BLS staffers are going back to work and will be releasing the September inflation report on Friday, Oct. 24, at 08:30 a.m. ET, according to information provided to CNBC. The SSA will announce the 2026 COLA on Oct. 24, as well.
Based on estimates from nonpartisan senior advocacy group The Senior Citizens League and independent Social Security and Medicare policy analyst Mary Johnson, next year’s COLA is forecast to come in at 2.7% or 2.8%, respectively. This would work out to an extra $54 to $56 per month for the typical retired-worker beneficiary, and $43 to $44 extra each month for the average worker with disabilities and survivor beneficiary.
While little is set in stone — other than the expectation of the BLS reporting the last piece of data needed to calculate the 2026 COLA on Oct. 24 — retirees are very likely getting the short end of the stick with next year’s raise. COLAs have consistently come up short for retirees, and a projected 11.5% increase in the 2026 Medicare Part B premium isn’t going to help.
Image source: Getty Images.
No speculating here! This is the one guaranteed Social Security change for 2026
Though the government shutdown has delayed the release of key pieces of information, such as next year’s COLA, the maximum taxable earnings cap, the maximum monthly payout at full retirement age, and the withholding thresholds tied to the retirement earnings test, there is one Social Security change that’s guaranteed to take place in 2026. However, you’ll have to go to the state level to see it.
Firstly, yes, Social Security benefits may be taxable at the federal and state levels.
Individuals whose provisional income — adjusted gross income (AGI) + tax-free interest + one-half benefits — tops $25,000, or $32,000 for couples filing jointly, can have some of their Social Security income exposed to federal taxation.
When the calendar flips to Jan. 1, 2026, West Virginia will officially become one of 42 states that don’t tax Social Security income.
In the 2022 tax year, West Virginia made Social Security income exempt from state-level taxation for individuals and jointly filing couples with respective AGIs of $50,000 or less and $100,000 or less.
In March 2024, West Virginia’s legislature passed, and its governor signed, a new law that phases out the taxation of Social Security benefits over a three-year period for those folks who didn’t qualify for this previous AGI adjustment.
Beginning in the 2024 tax year, West Virginians who received Social Security benefits and generated more than $50,000 in AGI (or $100,000 in AGI, if filing jointly) saw 35% of their Social Security benefits exempted from state-level taxation. In 2025, this exemption increased to 65% of Social Security income. In 2026, 100% of Social Security income will be exempted at the state level.
West Virginia will join Kansas, Missouri, Nebraska, and North Dakota as states that have shelved the taxation of Social Security benefits since this decade began.
While this has been anything but a normal COLA announcement month for Social Security, the one thing we do know is that Social Security recipients in West Virginia will be all smiles when the new year arrives.
Reality television production in Los Angeles declined sharply this summer, leading to a nearly 21% drop in overall TV shoot days, a new report shows.
The total number of shoot days in the greater L.A. area from July to September was 4,380, down 13.2% compared to a year ago, according to data from FilmLA, a nonprofit that handles film permits for the Los Angeles region.
Projects that received an incentive have 180 days to start production after notice of their award, and it often takes time to commence filming.
Because of that, FilmLA executives were not surprised to see on-location production continue to slip during the summer months.
“Fortunately, we’ve already begun to see early signs of these incentives having their desired effect,” he said. “We’re excited to be taking calls from productions looking to line up their locations and pull permits,” FilmLA Vice President Philip Sokoloski said in a statement.
TV production totaled 1,441 shoot days, down 20.7% compared to the same time period last year. The decline is especially significant because TV is the region’s main driver of production.
Reality TV dropped to 649 shoot days, down 31.4% compared to last year. Other genres of TV production also saw a downturn — drama (down 19%) and pilots (down 34.5%). Production of television comedies, however, was a bright spot with 79 shoot days, up 41.1%.
Feature film production in L.A. also ticked up with 522 shoot days, an increase of 9.7% compared to last year. But commercial production, which does not receive a tax incentive, was down 17.9% to 668 shoot days.
The report’s “other” category, which includes student films, still photo shoots and documentaries, saw a decrease of 9.9% to 1,749 shoot days.
A shoot day represents one crew’s permission to film at a single location in a 24-hour period.
T.J. Holmes and Amy Robach, the former “Good Morning America” co-anchors who were embroiled in a cheating scandal in late 2022, are ready to tie the knot.
“We are sharing with all of you that we are engaged and we’ve been engaged for a month now,” Robach, 52, announced Tuesday on their “Amy & T.J.” podcast.
“We’re actually surprised we’re just now talking about it,” Holmes, 48, added. “We wanted to let you all know before anybody was able to. We learned that lesson I guess in the past about our relationship: We want to be the first to talk about it.”
The former ABC News personalities infamously found themselves at the center of controversy in December 2022, when several outlets reported they had engaged in a monthslong affair while they were still with their respective partners. Both Holmes and Robach began their ABC News tenures in 2014 and co-hosted the daily program “GMA3: What You Need to Know” starting in 2020. They were known among viewers for their playful interactions and onscreen chemistry.
News of the affair dominated headlines, prompting ABC to bench the anchors. Weeks after news of the scandal broke, ABC News parted ways with both Holmes and Robach. “We all agreed it’s best for everyone that they move on from ABC News,” a representative for the news division said at the time.
ABC filled the former co-anchors’ positions, and Holmes and Robach went Instagram official. Their respective ex-spouses also found comfort in their shared experiences and sparked up a romance of their own.
In December 2023, Holmes and Robach finally broke their silence together about their “year of hell.” The pair said they wanted to disclose their relationship before outlets including Page Six and the Daily Mail ultimately beat them to the punch. They also discussed the scandal’s toll on their mental health.
“We have had each other through it all,” Robach said during the debut of their podcast. “It has been the most beautiful relationship I have had in my life.”
The Latin Recording Academy unveiled the first slate of performers for the 26th annual Latin Grammy Awards, which will take place at the MGM Grand Garden Arena in Las Vegas on Nov. 13.
Among the artists announced were música Mexicana acts Carín León, Pepe Aguilar and Los Tigres del Norte; sad sierreño singer-songwriters Ivan Cornejo and DannyLux; Latin pop icon Gloria Estefan, and Colombian rock band Morat.
“Happy to be at the biggest Latin music festival! Even more so because it features music from my Mexico. Long live Mariachi!” Aguilar told The Times. His latest project, “Mi Suerte Es Ser Mexicano,” is nominated for ranchero/mariachi album.
“Very honored to be part of this musical celebration,” León wrote on Instagram. The 36-year-old singer nabbed three nominations, including for album of the year, contemporary Mexican music album for his LP “Palabra de To’s (Seca),” as well as regional song for “Si Tú Me Vieras,” which features Maluma. León will make history next year by being the first Latin music act to perform at the Sphere in Las Vegas. The one-of-a-kind venue features a 16K resolution wraparound LED screen.
.
“It’s crazy to even say that I’m performing at the Latin Grammys. I think of my parents, all their struggles, and how far we’ve come,” DannyLux shared in a statement. “This isn’t just my moment. It’s for every kid who grew up watching their parents fight for a better life.”
The 21-year-old Coachella Valley native celebrated his second Latin Grammy nomination (“Leyenda” is up for contemporary Mexican music album) by unveiling a billboard on Sunset Boulevard that paid tribute to his parents.
Spanish singer Raphael, who will receive the 2025 Person of the Year award, is also expected to grace the stage. The honoree’s career spans six decades, first wowing crowds during Eurovision Song contests in 1966 and 1967, where he gained recognition for his love-struck ballads “Yo Soy Aquél” and “Hablemos del Amor,” respectively.
WASHINGTON — Republicans on the House Judiciary Committee requested Tuesday that Jack Smith, the former Justice Department special counsel, appear for an interview, part of an escalating effort among the GOP to pursue the perceived enemies of President Donald Trump.
Rep. Jim Jordan, the committee chair, charged in a letter to Smith that his prosecutions of Trump were “partisan and politically motivated.” Smith has come under particular scrutiny on Capitol Hill, especially after the Senate Judiciary Committee said last week that his investigation had included an FBI analysis of phone records for more than half a dozen Republican lawmakers from the week of Jan. 6, 2021
Smith brought two cases against Trump, one accusing him of conspiring to overturn the results of the 2020 presidential election and the other of hoarding classified documents at his Mar-a-Lago estate in Florida. Both were brought in 2023, well over a year before the 2024 presidential election, and indictments in the two cases cited what Smith and his team described as clear violations of well-established federal law. Former Atty. Gen. Merrick Garland, who named Smith as special counsel in November 2022, has repeatedly said politics played no part in the handling of the cases.
Smith abandoned the criminal cases against Trump after he won the presidential election last year. Trump’s return to the White House precluded the federal prosecutions, as well as paved the way for Republicans to go after Trump’s political and legal opponents.
Jordan wrote to Smith: “Your testimony is necessary to understand the full extent to which the Biden-Harris Justice Department weaponized federal law enforcement.”
In just the last weeks, the Trump administration has pursued criminal charges against both James Comey, the former FBI director, and New York Atty. Gen. Letitia James, who for years investigated and sued Trump.
The House Judiciary Committee has been looking into Smith’s actions as special counsel since the start of the year. Jordan said that it had interviewed two other members of Smith’s prosecutorial team, but they had declined to answer many questions, citing the Fifth Amendment.
An attorney for Smith did not immediately respond to a request for comment on the House Judiciary Committee’s interview request.
Spotify video podcasts are coming to Netflix, further diversifying the types of content on the Los Gatos, Calif.-based streaming service beyond movies, TV shows and games.
The move reflects how many people are consuming their podcasts not just by listening, but by watching the podcasters conduct their discussions on video.
Roughly 70% of podcast listeners prefer their shows with video, according to a Cumulus Media study. Netflix and Spotify said the partnership will bring podcasts to Netflix that complement the streamer’s “existing programming and unlocks new audiences and wider distribution for the shows.”
There will be 16 Spotify video podcasts initially on Netflix in the U.S. in early 2026, with plans to include other markets, the companies said. Those video podcasts include sports programs like “The Bill Simmons Podcast” and “The Ringer Fantasy Football Show,” culture/lifestyle podcasts like “The Dave Chang Show” and “The Recipe Club” as well as true-crime programs like “Serial Killers.”
“At Netflix, we’re always looking for new ways to entertain our members, wherever and however they want to watch,” said Lauren Smith, the streamer’s vice president of content licensing and programming strategy.
Roman Wasenmüller, vice president and head of podcasts at Spotify, said this partnership helps creators reach new audiences and unlocks “a completely new distribution opportunity.”
Spotify began offering video podcasts on its platform about five years ago, offering an option to its podcasters who had previously been posting videos of their audio programs on YouTube.
Last year, the Swedish audio company unveiled new features that make it easier for creators to earn money from their video content and track their performance on the streaming service.
Netflix has also been diversifying the types of content it offers on its streaming service. Last week, Netflix unveiled a slate of games, such as versions of Boggle and Pictionary, that can be played on TV and are included with its streaming subscription.
Madonna’s “MDNA.” Bruce Springsteen’s “The Rising.” Mariah Carey’s “Memoirs of an Imperfect Angel.”
According to the Recording Industry Assn. of America, none of these albums — each the 12th studio LP by its respective maker — has sold 4 million copies in the United States in the decade or more since it was released.
Yet that’s what Taylor Swift just did in a single week with her 12th album, “The Life of a Showgirl,” which Billboard reported Monday had moved 4.002 million copies in the seven days between Oct. 3 and 9.
That figure, which combines sales and streaming numbers, represents the biggest opening week for an album in modern history, breaking the record set by Adele 10 years ago when her “25” moved 3.482 million units in its first week.
Swift marked the achievement on Instagram on Monday with a note to her 281 million followers.
“I’ll never forget how excited I was in 2006 when my first album sold 40,000 copies in its first week,” she wrote. “I was 16 and couldn’t even fathom that that many people would care enough about my music to invest their time and energy into it. Since then I’ve tried to meet and thank as many people as I could who have given me the chance to chase this insane dream. Here we are all these years later and a hundred times that many people showed up for me this week.
“I have 4 million thank you’s I want to send to the fans,” she added, “and 4 million reasons to feel even more proud of this album than I already was.”
The speed with which Swift hit the 4-million mark is undeniably impressive. Morgan Wallen’s “I’m the Problem,” the biggest album of 2025 so far, has sold and streamed the equivalent of 4.2 million copies, according to the trade journal Hits. But “I’m the Problem” has been out since mid-May; “Showgirl” will almost certainly have surpassed Wallen’s LP by the end of this week (if it hasn’t already).
What’s more remarkable is where “Showgirl’s” blockbuster success comes in the arc of Swift’s career.
Madonna and Springsteen were both in their early 50s when they released their 12th LPs; Carey was 40 when “Imperfect Angel” came out. Swift, in contrast, is only 35 — one advantage of starting out professionally as a teenager.
Still, Swift has been a star for nearly two decades, a point at which many pop musicians have shifted the focus of their work to touring even as they continue to make new records generally ignored by all but their most devoted fans. In 2024, according to Pollstar, Madonna’s and Springsteen’s latest road shows — each drawn from a catalog packed with hit songs — were among the year’s 10 highest-grossing tours.
And indeed Swift has been amply rewarded on the road: At No. 1 on Pollstar’s list was her Eras tour, which sold more than $2 billion in tickets across 149 dates on five continents.
Yet unlike virtually every other veteran act in music, Swift’s recording business is growing along with her live business.
“Everything that’s happening here is historic and unprecedented,” said Hits’ editor in chief, Lenny Beer. “Maybe if the Beatles had stayed together, we’d have seen something like it.”
Also worth considering: Nobody seems to think “The Life of a Showgirl” is Swift’s best album. Reviews have been mixed, and even some fans have expressed disappointment with the record on social media — a once-unthinkable development among the fiercely loyal Swifties.
So how did the singer pull off such a feat?
First, a little math: Of “Showgirl’s” 4 million units, approximately 3.5 million were sales of either digital or physical versions of the album (including CDs, cassettes and vinyl LPs); the remaining half-million came from streams of the album’s songs on platforms like Spotify and Apple Music, which the data firm Luminate counts toward what it calls streaming equivalent albums.
“Showgirl’s” 12 songs racked up 681 million streams in all, Billboard said — the fourth-biggest streaming week of all time, behind Swift’s “The Tortured Poets Department” and Drake’s “Scorpion” and “Certified Lover Boy.” But the album’s sales number is the largest ever recorded since Luminate started tracking sales electronically in 1991.
Among Swift’s strategies to get to that number was selling more than three dozen editions of the album, each with its own artwork and bonus material designed to lure collectors. On vinyl alone, “Showgirl” came out in eight so-called variants, which helped drive the album’s first-week vinyl sales to a modern record of 1.3 million copies.
Offering something for sale doesn’t necessarily mean anyone will buy it, of course. Yet Swift was positioning “The Life of a Showgirl” as a juggernaut from the moment she announced it. Appearing with her fiancé, the NFL player Travis Kelce, on his “New Heights” podcast in August, the singer described the album as a return to the hit-making ways of albums like “Red” and “1989” after the relatively experimental “Folklore” and “Tortured Poets Department.”
To make “Showgirl,” she reteamed with the Swedish producers Max Martin and Shellback, with whom she’d collaborated on some of her biggest singles, including “Blank Space,” “Bad Blood” and “We Are Never Ever Getting Back Together.” On “New Heights” she and Kelce talked about the new album as a “180” from the moody confessions of “Tortured Poets,” whetting appetites for the kind of crisply hooky Taylor Swift songs that blanketed Top 40 radio in the mid-2010s.
Promised the football star: “12 bangers.”
Fans visit an activation for Taylor Swift’s “The Life of a Showgirl” at the Westfield Century City mall on Oct. 4.
(Christina House/Los Angeles Times)
Once “Showgirl” was out, Swift jumped into the promotional fray with more gusto than she’d summoned in years, sitting for numerous radio interviews and putting in appearances on Graham Norton’s, Jimmy Fallon’s and Seth Meyers’ late-night shows; the weekend after the album’s release, a glorified sizzle reel called “The Official Release Party of a Showgirl” played in AMC movie theaters across the country.
On Monday, Swift kept the conversation going with the announcement that two Eras-related projects are headed to Disney+ in December: a six-part behind-the-scenes docuseries and a concert film of the tour’s finale in Vancouver.
“One of the hardest parts of ensuring you have a record-setting first week is making sure that everyone who could possibly be interested in your album knows about it,” said Bill Werde, director of the Bandier Program for Recording and Entertainment Industries at Syracuse University. “I’m not sure anyone has ever covered that need the way Taylor did with this album cycle.”
Yet “The Life of a Showgirl” has not been greeted as enthusiastically as some of Swift’s earlier work.
Pitchfork said “her music’s never been less compelling,” while The Guardian called the album “dull razzle-dazzle from a star who seems frazzled.” Fans on TikTok have complained that Swift’s lyrics — which take up her romance with Kelce, the burdens of fame and an apparent beef with Charli XCX — are unusually shallow; some have even formulated a kind of tradwife critique of “Showgirl” in which Swift is seen as upholding regressive ideas about marriage and domesticity.
The album has also attracted criticism from people who say Swift’s songs recycle familiar elements from other pop tunes without giving credit: the Jackson 5’s “I Want You Back” in “Wood,” for instance, and the Jonas Brothers’ “Cool” in the LP’s closing title track.
“When every song is a derivative of another song, that’s an issue,” said one hit songwriter who asked not to be named in order to speak freely. “That one song is the Jonas Brothers song — the exact same melody. And here’s how lazy that is: It’s the same key and the same tempo.”
In Werde’s view, Swift’s place atop the pop hierarchy makes such carping inevitable. “Anytime an artist gets this big, there’s going to be backlash,” he said — a take with which Swift would likely agree.
“I welcome the chaos,” she said in an interview with Apple Music’s Zane Lowe. “The rule of show business is: If it’s the first week of my album release and you are saying either my name or my album title, you’re helping.”
Even so, the polarized reaction to “Showgirl” — Swift’s 15th album to debut at No. 1 on the Billboard 200 — raises questions about the breadth of Swift’s popularity as compared to its depth. Should the album’s gargantuan numbers be taken as a sign that she appeals to a wide spectrum of pop music lovers or to a committed group of hardcore Swifties willing to spend untold amounts of money to demonstrate their loyalty?
“Showgirl’s” second-week stats should provide the beginnings of an answer, given that they won’t be shaped by one-time sales of all those limited-edition variants.
Then again, another unprecedented chart achievement from the album’s first week is already shedding some light on the matter: “The Fate of Ophelia,” the album’s lead single, is the first song ever to debut inside the top 10 of Billboard’s Pop Airplay chart — an indication of the heavy Top 40 radio play it’s getting along with the millions of daily streams that have kept it atop Spotify’s U.S. Top 50 tally since the song came out.
That’s one banger certified, with more perhaps to come.
When Diane Keaton was 11, her father told her she was growing into a pretty young woman and someday, a boy would make her happy. She was horrified. One boy? Keaton — then going by her birth name of Diane Hall — needed to be loved by everyone. It was an early sign that she was meant to be an actor.
“Intimacy meant only one person loved you, not thousands, not millions,” Keaton wrote decades later in her 2011 memoir “Then Again.” Like drinking and smoking, she added, intimacy should be handled with caution.
“I wanted to be Warren Beatty, not date him,” Keaton confessed, romancing fellow artists as long as their relationship was mutually stimulating and then after that, remaining friends. “I collect men,” she jokingly told me when I interviewed her a decade ago, referring to a photo wall in her Los Angeles home of fellows she admired, including Morgan Freeman, Abraham Lincoln, Gary Cooper and John Wayne. She wanted an excuse to add Ryan Gosling and Channing Tatum, so I suggested a love-triangle comedy as a twofer. “No! Not one movie!” Keaton exclaimed. “I want to keep my career going.”
Just as she hoped, millions of us did fall in love with Keaton, who died Saturday at age 79. She captivated us for over 50 years, from awards heavy-hitters to a late-career string of hangout comedies that weren’t about anything more than the joy of spending time with Diane Keaton, or in the case of her 2022 body swap movie “Mack & Rita,” the thrill of becoming Diane Keaton.
In her final films, including “Summer Camp” and the “Book Club” franchise, Keaton pretty much only played variations of herself, providing reason enough to watch. I looked forward to the moment her character fully embraced looking like Diane Keaton, writing in my otherwise middling review of “Mack & Rita” that the sequence in which she “picks up a kooky blazer and wide belt is presented with the anticipation of Bruce Wayne reaching for his cowl.”
I wanted to be Diane Keaton, even if she wanted to be Warren Beatty.
The contradiction of her career is that the things we in the audience loved about her — the breezy humor, the self-deprecating charm, the iconic threads — were Keaton’s attempts to mask her own insecurities. She struggled to love herself. Even after success, Keaton remained iffy about her looks, her talent and her achievements. In interviews, she openly admitted to feeling inadequate in her signature halting, circular stammers. That is, when she’d consent to be interviewed at all, which in the first decade of her career was so rare that Keaton, loping across Central Park in baggy pants to the white-on-white apartment where she lived alone, was essentially a movie star Sasquatch.
Journalists described her as a modern Garbo. “Her habit is to clutch privacy about her like a shawl,” Time Magazine wrote in 1977, the year that “Annie Hall” and “Looking for Mr. Goodbar” established Keaton as a kooky sweetheart with serious range. I love that simile because she did refer to her wardrobe as an “impenetrable fortress.” The more bizarre the ensemble — jackets over skirts over pants over boots — the less anyone would notice the person wearing it.
Odd ducks like myself adored the whole package, including her relatable candor. She showed us how to charge through the world with aplomb, even when you’re nervous as heck.
Once young Keaton decided she wanted to perform, she set about auditioning for everything from the church choir and the cheerleading squad to the class play. But her school had a traditionally beautiful ingenue who landed the leads. This was Orange County, after all. Keaton would go home, stare at the mirror and feel disappointed by her reflection. She dreamed of looking like perky, platinum blond Doris Day. Instead, she saw a miniature Amelia Earhart. (She’d eventually get a Golden Globe nomination for playing Earhart on television in 1994.)
Keaton stuck a clothespin on the tip of her nose to make it smaller, and acted the part of an extrovert: big laugh, big hair and, when she stopped liking her hair, big hats. By age 15, she was assembling the bold, black and white wardrobe she’d wear forever and her taste for monochrome clothes was already so entrenched that she wrote Judy Garland a fan letter wondering why Dorothy had to leave Kansas for garish Oz. She might have been the only person to ever ask that question.
Not too long after that, Keaton flew across the country to New York where several things happened in short succession that would have puffed up anyone else’s ego. The drama coach Sanford Meisner gave her his blessing. The Broadway hit “Hair” gave her the main part (and agreed she could stay fully clothed). And “The Godfather,” the No. 1 box office hit of 1972, plucked Keaton from stage obscurity to give the fledgling screen actor its crucial final shot, a close-up.
Keaton made $6,000 for “The Godfather,” less than a quarter of her salary for the national deodorant commercial she’d shot a year earlier. Her memories from the set of the first film were uncharacteristically terse. Her wig was heavy, her part was “background music” and the one time Marlon Brando spoke to her, he said, “Nice tits.”
Nevertheless, Keaton’s Kay is so soft, friendly and assured when she first meets the Corleone clan at a wedding, sweetly refusing to let her boyfriend Michael dodge how the family knows the pop singer Johnny Fontane, that it’s heartbreaking (and impressive) to watch her become smaller and harder across her few scenes. But Keaton says she never saw the finished movie. “I couldn’t stand looking at myself,” she wrote in “Then Again.”
Woody Allen put the Keaton he adored front and center when he wrote “Annie Hall.” He wanted audiences to fall in love with the singular daffiness of his former girlfriend and it worked like gangbusters. It’s my favorite of his movies and my favorite of hers, and there’s just no use in pretending otherwise, as obvious of a pick as it is. Even now that I know the Annie Hall I worship is a shy woman putting on a show of being herself, the “la-di-dah” confidence she projects makes her the most precious of screen presences: the icon who feels like friend.
But I wonder if Allen also made “Annie Hall” so that Diane Keaton could fall in love with Diane Keaton just as he had. Maybe if she saw herself through his eyes, it could convince her that she really was sexy, sparkling and hilarious. But Keaton only watched “Annie Hall” once, in an ordinary theater well after it opened, and she found the experience of staring at herself miserable. She never absorbed her lead actress Oscar win. “I knew I didn’t deserve it,” she said. “I’d won an Academy Award for playing an affable version of myself.”
Nearly herself, that is. The onscreen version of Keaton is stumped when Alvy Singer brings her a copy of the philosophical tome “Death and Western Thought.” But a decade later, Keaton directed “Heaven,” an entire documentary about the subject, in which she asked street preachers and Don King and her 94-year-old grandmother how they imagined the afterlife. (As in Allen’s movie, her grandmother actually was named Grammy Hall.)
“Heaven” is an experimental film that’s heavy on dramatic shadows and surreal old movie footage, the sort of thing that would play best on an art gallery wall. It flopped, as test screenings warned it would, cautioning Keaton that her directorial debut only appealed to female weirdos — people like her. Keaton isn’t a voice in the film. Yet, that she made it at all makes every frame feel personal, and you hear her affection for the cadence of her occasionally tongue-tied subjects. Her first interviewee stutters, “Uh, heaven, heaven is, uh, um, let me see.” Exactly how Annie Hall would have put it.
Today more than ever, I’m wishing Keaton had been comfortable turning her camera on herself. I’d have liked to watch her explain where she thinks she’s gone, however adorably flustered the answer. But in her four memoirs, she safely bared all in print, openly confronting her harsh inner critic, her battle with bulimia, and — yes, Alvy — her musings on death.
“I don’t know if I have the courage to stare into the spectacle of the great unknown,” Keaton wrote in 2014’s “Let’s Just Say It Wasn’t Pretty,” sounding as apprehensive as ever. “I don’t know if I will make bold mistakes, go out on a blaze of glory unbroken by my losses, defy complacency, and refuse to face the unknown like the coward I know myself to be.”
At last, a sliver of confidence peeks out. “But I hope so.”
More than two decades after their peak, the music of Yellowcard is a pop punk message in a bottle. The note that washed ashore from a simpler time describes the image of a young, sharply-dressed band full of aspirations, thrashing on their instruments — violin included — in the echoey tomb of an underground parking garage in the music video for “Ocean Avenue” as the chorus kicks into overdrive.
“If I could find you now, things would get better, we could leave this town and run forever, let your waves crash down on me and take me away,” frontman Ryan Key sang ecstatically at the top of his lungs.
That hit song, the title track of 2003’s “Ocean Avenue,” created a tidal wave of success that changed the course of their career from struggling artists to a world-touring headliner and darlings of MTV’s Total Request Live.
“The first time it happened, we were really young,” Key said, gingerly grasping a spoon with his heavily tattooed hand while stirring a cup of hot tea. “We were quite literally a garage band one minute, and then we were playing on the MTV Video Music Awards and David Letterman and whatever else the next minute.”
It’s a moment that hasn’t escaped his memory 22 years later. Now, he and his bandmates — violinist Sean Mackin, bassist Josh Portman and guitarist Ryan Mendez — are far from the ocean but not too far from water as they look out at a sparkling pool from the window from a suite at the Yaamava’ Resort and Casino in Highland. A couple hours from now, the band will play a splashy pool party gig for 98.7 ALT FM. The set will include a raft of all the old hits, including “Ocean Avenue” of course, as well as their first new songs in almost a decade.
Before the release of the first singles for the new album, “Better Days,” it might’ve been easy to write off their 11th album as another release destined to be overshadowed by their early catalog. However, with the right amount of internal inspiration and outside help from Blink 182 drummer Travis Barker, who produced and played all the drums on the album, the result was a batch of new songs that haven’t simply been washed out to sea. Quite the opposite, actually.
Prior to the album’s release, the title track “Better Days” reached No. 1 on the Billboard Alternative Airplay chart. This achievement came after a 22-year wait since their first appearance on the chart with the “Ocean Avenue” single “Way Away.” Key also notes that it’s the first time fans are using the band’s new music for their TikTok videos instead of “Ocean Avenue.”
“That’s crazy,” Key said. “Everyone is using ‘Better Days.’ I don’t think we’re alone in that. I think for bands in our scene, new music is getting a lot of love and a lot of attention again, and it’s amazing to see.”
It’s been about three years since the band reemerged to play a reunion set at RiotFest in Chicago, following their 2017 farewell show at the House of Blues in Anaheim. At the point they were ready to call it quits, the band was struggling to sell enough tickets to their shows to keep the dream alive. For Mackin, fatherhood forced him to also consider his family’s financial stability, prompting him to enter the corporate workforce as a sales rep and eventually becoming a service director for Toyota. At one point, he was responsible for managing 120 employees. “I just thought that was going to be what I was going to do to take care of my family for the next 20 years,” Mackin said.
After Yellowcard’s hiatus, Key continued playing music in several projects that distanced themselves from the pop punk sound — including recording solo work under his full name William Ryan Key, touring with bassist Portman at his side. Key also produced a post-rock electronic-heavy project called Jedha with Mendez, and the pair also does a lot of TV and film scoring work. For a long time, Key and his bandmates mourned the loss of what they had with Yellowcard. It was the most important thing in Key’s life, though he said he didn’t realize how much the band truly shaped him until it was over.
During their hiatus, band members took day jobs. One member managed 120 Toyota employees before the 2022 Riot Fest reunion reignited their passion.
(Joe Brady)
“Ungrateful is not the word to use about how I felt back then. It’s more like I didn’t have the tools to appreciate it, to feel gratitude and really let things happen and and stay in the moment and stay focused. Because I was so young, I was so insecure about my place, my role in all of it,” Key said.
But after some time away, the raucous 2022 Riot Fest reunion show relit the band’s fire in a way they hadn’t expected. They followed up with a 2023 EP “Childhood Eyes” that pushed the band to take things further with a new full album. Along with these plans came the stunning news that Barker would sign on to produce and play drums for them on the project. For a band that grew up idolizing Blink 182 and Barker specifically as the band’s red-hot engine behind the kit who spent the last 20 years evolving into a music mogul, it was a surreal experience.
“We look at him like a general. It was never lost that the best drummer of our generation is playing drums with us,” Mackin said. “We know him as Travis now, but man, this guy is just oozing talent — he’s doing all these amazing things and he doesn’t seem overrun by it, not distracted one bit. While we were recording, he was right there with us.”
Key says he was initially intimidated singing in front of Barker in the studio and had a few moments where negative, self-conscious thoughts were getting the better of him in the vocal booth during recording. Instead of getting annoyed, he says Barker helped ease his anxiety with a few simple words.
“Travis came into the booth, closed the door, put his hand on my shoulder, and he said, ‘You’re gonna do this as many times as you need to do it. I’m gonna be here the whole time.’” Barker was truly speaking from experience. He told Key at the time that he’d just recorded 87 rough takes of his parts on “Lonely Road,” his hit song with Jelly Roll and MGK. “That was a real crossroads for me,” Key said.
The aspect of the album that feels most akin to “Ocean Avenue” was that Barker never really allowed them to overthink anything when it came to songwriting, a skill the band had unwittingly mastered as kids back in the “Ocean Avenue” days by writing songs on the fly in the studio with little time to care about how a song might end up before they recorded it.
“There’s something about the way we did this record with Travis, where we would walk in and did it in a way we haven’t done in 20 plus years with him saying ‘We’re gonna write and record a song today,’” Key said. “ It was a return to that style of songwriting where you have to kind of get out of your comfort zone and just throw and go.”
The final product moves swiftly over 10 songs, the track list starts with a flurry of energy from the bombastic opening drums of “Better Days” that propel a song on inner reflection on the past. It moves on to the high-energy heartbreak of “Love Letters,” featuring Matt Skiba of Alkaline Trio. Avril Lavigne lends her soaring vocals to the unrequited love song “You Broke Me Too.” Songs like “City of Angels” and “Bedroom Posters” track episodes in Key’s life where his band’s hiatus took a negative toll on his outlook on life but also about looking for a way back to rediscovering himself. The album wraps with the acoustic lullaby “Big Blue Eyes,” which Keys wrote as a tribute to his son.
Though the songs on “Better Days” frequently wrestle with self-doubt and uncertainty, the response from fans has been surprisingly supportive, Key said.
“I cannot recall seeing this level of overwhelming positive feedback. People are just flipping out over these songs,” the frontman said. “The recording was such a whirlwind. When I listen to it, it’s still kind of like ‘When did I write that song?’ It happened so fast, and we made the record so fast, but I’m glad we just did it.” Despite the success, Key is hesitant to label the band comeback kids, “probably because we are officially passed kids label,” he said.
“Maybe it’s the return of the gentlemen?” Mackin joked.
Blink-182 drummer Travis Barker produced the album, helping the band recapture the spontaneous energy that defined their 2003 breakthrough “Ocean Avenue.”
(Joe Brady)
Whatever they call themselves, coming back to the band after so many years of different experiences has made Yellowcard’s second shot at a career feel all the more rewarding.
“Because you feel like you know you’re capable of something other than being in this band, capable of connecting with your family in a way that you couldn’t when you were on the road all the time,” Mackin said. “There’s things that happened in that break that set us up for success as human beings, not just as creative people.”
For Key, it’s about taking all the lessons they’ve learned as a band and applying them to their future, realizing that the album’s title refers not just to the past behind them, but what lies ahead.
“This record needed to be the ultimate revival, the ultimate redemption song for our band,” Key said. “And so far it’s, it’s proven to be that.”
WASHINGTON — President Trump is declaring Israel’s war with Hamas in the Gaza Strip over and has already barreled ahead toward far larger goals — arguing that the fragile ceasefire his administration helped broker is a chance to bring a lasting peace to the greater Middle East.
Israeli Prime Minister Benjamin Netanyahu is equally exuberant about the present, but far more measured in his assessments going forward. He’s characterized the deal, which is still in its early stages, as “a proposal to free hostages and end the war” while also saying that his country used two years of often brutal war in Gaza to showcase its military might.
The pair seemingly offering strikingly different perspectives about the prospects for future peace is noteworthy given just how much each lavished the other with praise during speeches before the Knesset, Israel’s parliament, on Monday.
But it also reflects just how different the political and diplomatic stakes may be for each leader going forward.
That’s especially true given that Trump could see his reputation as an international dealmaker tested by a ceasefire that could yet prove precarious, while Netanyahu may have to focus on domestic issues and keeping the Israeli electorate happy given that he’s set to face election no later than next October.
‘You’ve won’ vs. ‘Our enemies now understand’
Trump gleefully added the Israel-Hamas war as No. 8 on the list of global conflicts he’d claimed to have solved — even if that tally exaggerates the role he played in calming some global hot spots. He also declared that the ceasefire would usher in a new “dawn of a new Middle East.”
“You’ve won,” he said of Israel, encouraging the U.S. ally to see the limitations of military force in bringing about enduring peace. “Now it is time to translate these victories against terrorists on the battlefield into the ultimate prize of peace and prosperity for the entire Middle East.”
That followed Netanyahu using his own speech to say, “Our enemies now understand just how powerful and just how determined Israel is.”
Recalling Hamas’ attack on Israel two years ago that sparked the war, he had a message for his country’s adversaries: “Understand that attacking Israel on Oct. 7 was a catastrophic mistake.”
Referring to the militant group Hamas, Netanyahu said, “These monsters take babies as hostages,” adding that “Israel did what it had to do.”
Over the last two years, Netanyahu was steadfast in vowing to achieve “total victory” over Hamas — not only returning the hostages released as part of the ceasefire agreement, but also disarming the group and pounding it into surrender. With Hamas weakened but still intact, he’s fallen far short of that goal.
Trump’s plan also holds out the possibility of Palestinian statehood one day — something that Netanyahu and his coalition partners oppose. By declaring an end to the war, Netanyahu could see his government crumble and be forced into an early election at a time when his popularity remains low and his war goals remain unfulfilled.
‘Economic development’ vs. ‘Civilization against barbarism’
Trump has long approached diplomacy as he would dealmaking in the business world. He’s now saying that promoting economic interests in the greater Middle East can help bridge divides and foster cooperation — even among the most bitter of historical foes.
The president suggested Monday that wealthy Arab countries would be willing to help finance an end to the fighting to promote prosperity in one of the world’s most volatile regions.
“The total focus of Gazans must be on restoring the fundamentals of stability, safety, dignity and economic development,” Trump said.
Netanyahu said he hoped the future would bring “peace inside Israel and peace outside Israel.” But rather than echo Trump’s excitement about regionwide unity through economic development, he called for a future “that will unite civilization against barbarism, light against darkness and hope against despair.”
‘Ready when you are’ vs. ‘Terror axis’
Another key point where Trump and Netanyahu diverged was on Iran.
Trump praised U.S. strikes in June, which he has characterized as a knockout blow against Iran’s nuclear program: “We took a big cloud off of the Middle East and off of Israel.”
But he also acknowledged that Tehran may have a role in helping achieve larger Middle East peace, saying that when it comes to Iran and possible negotiations, officials in the U.S. “are ready when you are.”
“You know what would be great, if we could make a peace deal with them,” Trump added of Iran. “Would you be happy with that? Wouldn’t it be nice? Because I think they want to. I think they’re tired.”
In a speech that often drew raucous cheers from Israeli lawmakers, that particular sentiment elicited a muted response. Netanyahu, meanwhile, saluted his country’s “amazing victories over Hamas and the entire Iranian terror axis.”
‘Little dot’ vs. ‘Hamas’ false propaganda’
Both leaders spoke about mounting international pressure on Israel to end the war — but to different ends.
Netanyahu chastised the global community for having “bought into Hamas’ false propaganda” and said that doing so saw “more and more governments succumb to antisemitic mobs in their own countries” while pushing for Israel to “surrender to Hamas demands.”
Doing so, he said, would have meant that “in no time, the Hamas killers would be back on the border fence, ready to repeat the horrors of October 7th again and again.”
Trump, by contrast, suggested that Israel might have been unable to continue fighting with Hamas for much longer amid outside opposition from so many corners of a world he noted was very big — even while praising Israel’s military and political strength.
The sheer number of people in Gaza killed during the war, the widespread destruction there, and an ongoing starvation and humanitarian crisis, sparked allegations of genocide denied by Israel.
“This piece of land is very small,” Trump said. “You have this little dot, and think of what you’ve done. It’s incredible.”
Mutual admiration. But no joint participation in Egypt summit
Trump hailed Netanyahu repeatedly, and even took the extraordinary step of suggesting that the prime minister be pardoned in an ongoing corruption inquiry.
“Cigars and champagne, who the hell cares about that?” Trump asked.
That was a reference to three corruption cases for which Netanyahu has been indicted. One involves accusations the prime minster and his wife accepted luxury goods — including cigars and champagne — in exchange for political favors.
After Trump was snubbed by the Nobel Peace Prize committee last week, Netanyahu promised to nominate Trump as the first non-Israeli to receive the Israel Prize, the country’s highest honor.
Still, such praise didn’t lead to both men heading to Egypt after finishing their speeches.
Trump left Israel to attend what the White House has billed as a “ peace summit ” featuring 20-plus world leaders in Sharm el Sheikh, Egypt. Netanyahu was invited, but declined Monday. His office said it was too close to the Jewish holiday of Simchat Torah.
SEATTLE — Ramón Rodriguez Vazquez was a farmworker for 16 years in southeast Washington state, where he and his wife of 40 years raised four children and 10 grandchildren. The 62-year-old was a part of a tight-knit community and never committed a crime.
On Feb. 5, immigration officers who came to his house looking for someone else took him into custody. He was denied bond, despite letters of support from friends, family, his employer and a physician who said the family needed him.
He was sent to a U.S. Immigration and Customs Enforcement detention center in Tacoma, Wash., where his health rapidly declined in part because he was not always provided with his prescription medication for several medical conditions, including high blood pressure. Then there was the emotional toll of being unable to care for his family or sick granddaughter. Overwhelmed by it all, he finally gave up.
At an appearance with an immigration judge, he asked to leave without a formal deportation mark on his record. The judge granted his request and he moved back to Mexico, alone.
His case is an exemplar of the impact of the Trump administration’s aggressive efforts to deport millions of migrants on an accelerated timetable, casting aside years of procedure and legal process in favor of expedient results.
Similar dramas are playing out at immigration courts across the country, accelerating since early July, when ICE began opposing bond for anyone detained regardless of their circumstances.
“He was the head of the house, everything — the one who took care of everything,” said Gloria Guizar, 58, Rodriguez’s wife. “Being separated from the family has been so hard. Even though our kids are grown, and we’ve got grandkids, everybody misses him.”
Leaving the country was unthinkable before he was held in a jail cell. The deportation process broke him.
‘Self deport or we will deport you’
It is impossible to know how many people left the U.S. voluntarily since President Trump took office in January because many leave without telling authorities. But Trump and his allies are counting on “self-deportation,” the idea that life can be made unbearable enough to make people leave voluntarily.
The Justice Department’s Executive Office for Immigration Review, which oversees immigration courts, said judges granted “voluntary departure” in 15,241 cases in the 12-month period that ended Sept. 30, allowing them to leave without a formal deportation mark on their record or bar to re-entry. That compares with 8,663 voluntary departures for the previous fiscal year.
ICE said it carried out 319,980 deportations from Oct. 1, 2024 to Sept. 20. Customs and Border Protection declined to disclose its number and directed the question to the Department of Homeland Security.
Secretary Kristi Noem said in August that 1.6 million people have left the country voluntarily or involuntarily since Trump took office. The department cited a study by the Center for Immigration Studies, a group that advocates for immigration restrictions.
Michelle Mittelstadt, spokesperson for the Migration Policy Institute, a nonpartisan think tank, said 1.6 million is an over-inflated number that misuses the Census Bureau data.
The administration is offering $1,000 to people who leave voluntarily using the CBP Home app. For those who don’t, there is a looming threat of being sent to a third country like Eswatini, Rwanda, South Sudan or Uganda,.
Department of Homeland Security Assistant Secretary Tricia McLaughlin said the voluntary departures show that the administration’s strategy is working, and is keeping the country safe.
“Ramped-up immigration enforcement targeting the worst of the worst is removing more and more criminal illegal aliens off our streets every day and is sending a clear message to anyone else in this country illegally: Self-deport or we will arrest and deport you,” she said in a statement sent to The Associated Press.
“They treat her like a criminal”
A Colombian woman dropped her asylum claim at a June appearance in a Seattle immigration court, even though she was not in custody.
“Your lawyer says you no longer wish to proceed with your asylum application,” the judge said. “Has anyone offered you money to do this?” he asked. “No, sir,” she replied. Her request was granted.
Her U.S. citizen girlfriend of two years, Arleene Adrono, said she planned to leave the country as well.
“They treat her like a criminal. She’s not a criminal,” Adrono said. “I don’t want to live in a country that does this to people.”
At an immigration court inside the Tacoma detention center, where posters encourage migrants to leave voluntarily or be forcibly deported, a Venezuelan man told Judge Theresa Scala in August that he wanted to leave. The judge granted voluntary departure.
The judge asked another man if he wanted more time to find a lawyer and if he was afraid to return to Mexico. “I want to leave the country,” the man responded.
“The court finds you’ve given up all forms of relief,” Scala said. “You must comply with the government efforts to remove you.”
“His absence has been deeply felt”
Ramón Rodriguez crossed the U.S. border in 2009. His eight siblings who are U.S. citizens lived in California, but he settled Washington state. Grandview, population 11,000, is an agricultural town that grows apples, cherries, wine grapes, asparagus and other fruit and vegetables.
Rodriguez began working for AG Management in 2014. His tax records show he made $13,406 that first year and by 2024, earned $46,599 and paid $4,447 in taxes.
“During his time with us, he has been an essential part of our team, demonstrating dedication, reliability, and a strong work ethic,” his boss wrote in a letter urging a judge to release him from custody. “His skills in harvesting, planting, irrigation, and equipment operation have contributed significantly to our operations, and his absence has been deeply felt.”
His granddaughter suffers from a heart problem, has undergone two surgeries and needs a third. Her mother doesn’t drive so Rodriguez transported the girl to Spokane for care. The child’s pediatrician wrote a letter to the immigration judge encouraging his release, saying without his help, the girl might not get the medical care she needs.
The judge denied his bond request in March. Rodriguez appealed and became the lead plaintiff in a federal lawsuit that sought to allow detained immigrants to request and receive bond.
On September 30, a federal judge ruled that denying bond hearings for migrants is unlawful. But Rodriguez won’t benefit from the ruling. He’s gone now and is unlikely to come back.
Bellisle writes for the Associated Press. AP reporter Cedar Attanasio contributed to this story.
ROME — The Vatican took the unusual step on Monday of announcing that it had named judges to decide the fate of a famous ex-Jesuit artist, whose mosaics decorate basilicas around the world and who was accused by more than two dozen women of sexual, spiritual and psychological abuse.
The case of the Rev. Marko Ivan Rupnik badly tarnished the legacy of Pope Francis, given suggestions that the Jesuit pope, the Jesuit religious order and the Jesuit-headed Vatican sex abuse office protected one of their own over decades by dismissing allegations of misconduct against him.
The Vatican office that manages clergy sex abuse cases, the Congregation for the Doctrine of the Faith, said that the five judges named to hear the Rupnik case in a canonical court include women and priests who don’t hold jobs in the Vatican bureaucracy.
It said that such a composition was “done in order to better guarantee, as in any judicial process, the autonomy and independence of the aforementioned court.”
The statement suggested an implicit recognition that prior to now, the Vatican’s handling of the Rupnik file had been anything but autonomous or independent.
Famous artist accused
Rupnik’s mosaics grace some of the Catholic Church’s most-visited shrines and sanctuaries around the world, including at the shrine in Lourdes, France, in the Vatican, a new basilica in Aparecida, Brazil, and the chapel of Pope Leo XIV’s own Augustinian religious order in Rome.
The Rupnik scandal first exploded publicly in late 2022 when Italian blogs started reporting the claims of nuns and other women who said they had been sexually, spiritually and psychologically abused by him, including during the production of his artwork.
Rupnik’s Jesuit religious order soon admitted that he had been excommunicated briefly in 2020 for having committed one of the Catholic Church’s most serious crimes — using the confessional to absolve a woman with whom he had engaged in sexual activity. But he continued working and preaching.
The case continued to create problems for the Jesuits and Francis, though, since more women came forward saying they too had been victimized by Rupnik, with some of their claims dating back to the 1990s.
The Jesuits eventually kicked him out of the order after he refused to respond to allegations by about 20 women, most of whom were members of a Jesuit-inspired religious community that he co-founded in his native Slovenia, which has since been suppressed.
The Vatican initially refused to prosecute, arguing the women’s claims were too old. The stall exposed both the Vatican’s legal shortcomings, where sex crimes against women are rarely prosecuted, and the suggestion that a famous artist like Rupnik had received favorable treatment.
Trial about to start
While Francis denied interfering in a 2023 interview with the Associated Press, he eventually caved to public pressure and waived the statute of limitations so that the Vatican could open a proper canonical trial.
Two years later, the Vatican statement on Monday indicated that the trial was about to start. The judges, appointed on Oct. 9, will use the church’s in-house canon law to determine Rupnik’s fate, though it’s still not even clear what alleged canonical crimes he is accused of committing. The Vatican statement didn’t say. He hasn’t been charged criminally.
To date, Rupnik hasn’t responded publicly to the allegations and refused to respond to his Jesuit superiors during their investigation. His supporters at his Centro Aletti art studio have denounced what they have called a media “lynching.”
Some of Rupnik’s victims have gone public to demand justice, including in a documentary “Nuns vs. The Vatican” that premiered last month at the Toronto International Film Festival. They welcomed word on Monday that the trial would finally start, attorney Laura Sgro said.
“My five clients requested 18 months ago to be recognized as injured parties in the proceedings, so we hope that their position will be established as soon as possible,” Sgro said in a statement. “They have been waiting for justice for too many years, and justice will be good not only for them but also for the church itself.”
The Catholic Church’s internal legal system doesn’t recognize victims of abuse as parties to a canonical trial but merely third-party witnesses. Victims have no right to participate in any proceedings or have access to any documentation.
At most, they are entitled to learn the judges’ verdict. Unlike a regular court, where jail time is possible, canonical penalties can include sanctions such as restrictions from celebrating Mass or even presenting oneself as a priest, if the judges determine a canonical crime has occurred.
Legal hurdles to justice
But it’s not even clear whether the Vatican considers the women to be abuse “victims” in a legal sense. While the Holy See over the last 25 years has refined the canonical rules to prosecute priests who sexually abuse minors, it has rarely prosecuted sex-related abuse cases involving women, contending that any sexual activity between adults is consensual.
The Rupnik case, though, also involves allegations of spiritual and psychological abuse in relations where there was an imbalance of power. It’s one of many such #MeToo cases in the church where women have said they fell prey to revered spiritual gurus who used their power and authority to manipulate them for sexual and other ends.
The Vatican, though, has generally refused to prosecute such cases or address this type of abuse in any canonical revisions, though Francis authorized a study group to look into allegations of “false mysticism” before he died.
Leo has expressed concern in general that accused priests receive due process. But he had firsthand experience dealing with an abusive group in Peru that targeted adults as well as minors, including through spiritual abuse and abuse of conscience.
In a letter earlier this year to a Peruvian journalist who exposed the group’s crimes, Leo called for a culture of prevention in the church “that does not tolerate any form of abuse — whether of power or authority, conscience or spiritual, or sexual.”
Former L.A. schools Supt. Austin Beutner kicked off his campaign for mayor on Monday with a video launch that hits not just Mayor Karen Bass but President Trump and his immigration crackdown.
Beutner, a philanthropist and former investment banker, uses the four-minute campaign video to describe L.A. as a city that is “under attack” — a message punctuated by footage of U.S. Border Patrol agents.
“I’ll never accept the Trump administration’s assault on our values and our neighbors,” says Beutner, a Democrat, as he stands on a tree-lined residential street. “Targeting people solely based on the color of their skin is unacceptable and un-American.”
“I’ll counter these injustices and work to keep every person safe and build a better Los Angeles,” he adds.
The White House did not immediately respond to an inquiry from The Times about Beutner’s video.
The video opens by describing a major biking accident that upended Beutner’s life about 17 years ago, leading him to enter public service and “take a different path.” Not long after, he became Mayor Antonio Villaraigosa’s “jobs czar,” taking on the elevated title of first deputy mayor and striking business deals on the mayor’s behalf.
The video casts Beutner, 65, as a pragmatic problem solver, focusing on his nonprofit Vision to Learn, which provides eye exams and glasses to children in low-income communities. It also highlights his work shepherding L.A. Unified through the COVID-19 pandemic and working to pass Proposition 28, the 2022 measure supporting arts education in California public schools.
Beutner, on his video, also turns his aim at City Hall, high housing costs, rising parking meter rates and a big increase in trash pickup fees for homeowners and smaller apartment buildings. Calling L.A. a city that is “adrift,” Beutner criticized the mayor’s push to reduce homelessness — one of her signature initiatives.
“The city spent billions to solve problems that have just become bigger problems,” Beutner says.
Bass campaign spokesperson Douglas Herman pushed back on the criticism, saying the city needs to “move past divisive attacks.” He said violent crime is down across the city, with homicides falling to their lowest levels in 60 years.
“When Karen Bass ran for mayor, homelessness and public safety were the top concerns of Angelenos. And she has delivered in a big way,” he said in a statement. “Today, homelessness has decreased two consecutive years for the first time in Los Angeles. Thousands of people have been moved off our streets and into housing.”
“There’s more work ahead, but this administration has proven it can deliver,” Herman added. “Mayor Bass is committed to building on this historic momentum in her second term.”
Beutner’s video posted two days after he confirmed that he’s planning to run for mayor, leveling blistering criticism at the city’s preparation for, and response to, the Palisades fire, which destroyed thousands of homes and left 12 people dead.
Beutner’s criticism of Trump’s immigration crackdown in many ways echoes the messages delivered by Bass several months ago, when federal agents were seizing street vendors, day laborers and other workers in L.A.
In June, Bass said the Trump administration was waging an “all-out assault on Los Angeles,” with federal agents “randomly grabbing people” off the street, “chasing Angelenos through parking lots” and arresting immigrants who showed up at court for annual check-ins. Her approach to the issue helped her regain her political footing after she had faltered in the wake of the Palisades fire.
In early September, the Supreme Court ruled in favor of the Trump administration, agreeing that immigration agents can stop and detain individuals they suspect may be in the U.S. illegally merely for speaking Spanish or having brown skin.
The high court ruling set aside a Los Angeles judge’s temporary restraining order that barred agents from stopping people based in part on their race or apparent ethnicity.
