year

The first three days of the 2026 FIFA World Cup are done, with the U.S. and Mexico each winning their group stage openers. However, most of the World Cup field is still looking to hit the competitive pitch for the first time.

Here’s everything you need to know about matches being played on Sunday, Monday and Tuesday in the 48-team tournament across the U.S., Mexico and Canada (all times Pacific).

Sunday’s Group E games:

Germany vs. Curacao

Germany’s Antonio Rudiger and Deniz Undav walk on the field before a friendly against the U.S. in Chicago on June 6.

(Alexander Hassenstein / Getty Images)

Where: NRG Stadium, Houston
Time: 10 a.m.
TV: Fox, Telemundo

The buzz: This is David vs. Goliath. Germany, a four-time champion ranked 10th in the world, against Curaçao, the smallest country to qualify for a World Cup. But remember David won that first battle, and Curaçao, with a roster full of Dutch-born-and-bred players and an experienced coach in Dick Advocaat, at 78 the oldest manager in the tournament, won’t be a pushover.

Ivory Coast vs. Ecuador

Ecuador’s Piero Hincapie controls the ball during a World Cup qualifier against Argentina in September 2025.

(Franklin Jacome / Getty Images)

Where: Lincoln Financial Field, Philadelphia
Time: 4 p.m.
TV: FS1, Telemundo

The buzz: Ecuador hasn’t lost since September 2024, a run that’s been fueled by the European-based back line of Willian Pacho (Paris Saint-Germain), Piero Hincapié (Arsenal), Pervis Estupiñán (AC Milan) and holding midfielder Moisés Caicedo (Chelsea). Ivory Coast is the youngest team in the World Cup, with an average age of 25.4 years, but it beat France in its final tournament tuneup. In three previous World Cups, the Elephants failed to advance out of the group stage.

Sunday’s Group F games:

Netherlands vs. Japan

Netherlands standout Frenkie de Jong looks on during an international friendly against Algeria on June 3.

(Dean Mouhtaropoulos / Getty Images)

Where: AT&T Stadium, Arlington, Texas
Time: 1 p.m.
TV: Fox, Telemundo

The buzz: The eighth-ranked Dutch, arguably the best team never to win a World Cup, come into this tournament with a golden generation led by defenders Virgil van Dijk and Nathan Ake, midfielder Frenkie de Jong and coach Ronald Koeman. Japan’s only loss in the last 12 months came to the U.S. in a friendly last September; after that it beat fellow World Cup qualifiers England, Scotland, Ghana and Brazil and played Paraguay to a draw. The Dutch have lost just twice, to Algeria and Germany, in the last 23 months.

Sweden vs. Tunisia

Tunisia’s Hannibal Mejbri warms up before an international friendly against Belgium on June 6.

(Omar Havana / Associated Press)

Where: Estadio BBVA, Guadalupe, Mexico
Time: 7 p.m.
TV: FS1, Telemundo

The buzz: Tunisia played in five of the last seven World Cups without getting out of group play, but this time it brings a roster that blends international veterans such as midfielders Hannibal Mejbri (Burnley) and Elias Achouri (Copenhagen) and young talent, including teenager Rayan Elloumi of the Vancouver Whitecaps, the ninth-youngest player in the tournament. Sweden beat Ukraine and Poland in a pair of UEFA playoff games this spring to grab a place in this tournament. Aston Villa defender Victor Lidelof is the most experienced player with 76 caps, including four World Cup appearances.

Monday’s Group G games:

Belgium vs. Egypt

Belgium’s Joaquin Seys, left, and Axel Witsel celebrate after defeating the U.S. in an international friendly on March 28.

(Mike Stewart / Associated Press)

Where: Lumen Field, Seattle
Time: noon
TV: Fox, Telemundo

The buzz: Belgium hasn’t lost in more than a year, but it also hasn’t played a top-10 team since 2024. It has a veteran core of four players — midfielders Axel Witsel and Kevin De Bruyne, goalkeeper Thibaut Courtois and forward Romelu Lukaka — with more than 100 international caps. Egypt, Africa’s oldest national team, is playing in a World Cup for the fourth time and is still looking for its first win. Liverpool forward Mohamed Salah, the team’s active leading scorer, is the only player on the roster with a World Cup goal.

Iran vs. New Zealand

Iran’s Amirhossein Hosseinzadeh plays the ball during an international friendly against Gambia on May 29.

(Khalil Hamra / Associated Press)

Where: SoFi Stadium, Inglewood
Time: 6 p.m.
TV: FS1, Telemundo

The buzz: For the first time in World Cup history a tournament qualifier, Iran, will play in a country with which it is at war, the U.S. The Iranians, with the second-oldest roster in the tournament, are playing in their fourth straight World Cup. Only a 1-0 loss to the U.S. kept them from advancing out of group play in 2022. New Zealand, playing in its third World Cup, was winless the first two times — although it didn’t lose in its last visit in 2010, playing Slovakia, Italy and Paraguay to draws. The Kiwis are the only team this century not to lose in group play while also failing to advance.

Monday’s Group H games:

Spain vs. Cape Verde

Spain’s Ferran Torres scores during an international friendly against Iraq on June 4.

(Manu Fernandez / Associated Press)

Where: Mercedes-Benz Stadium, Atlanta
Time: 9 a.m.
TV: Fox, Telemundo

The buzz: Cape Verde is one of four nations making its World Cup debut and it will open against second-ranked Spain, a tournament favorite which has lost just once since March 2024. Every player on Spain’s roster plays for a top European team; four of them played in last month’s Champions League final.

Saudi Arabia vs. Uruguay

Uruguay’s Federico Valverde heads the ball past Brazil’s Joao Gomes during a Copa America quarterfinal match in 2024.

(Godofredo A. Vásquez / Associated Press)

Where: Hard Rock Stadium, Miami Gardens, Fla.
Time: 3 p.m.
TV: FS1, Telemundo

The buzz: Saudi Arabia, playing in its third straight World Cup, began its last visit by beating eventual champion Argentina in one of the most stunning upsets in tournament history. And the last time the World Cup was held in the U.S., in 1994, the Arabian Falcons became the first Arab-Asian team to reach the round of 16. Uruguay, a quarterfinalist in 2018, comes into this World Cup with an experienced roster led by Real Madrid midfielder Federico Valverde and Atlético Madrid defender José María Giménez.

Tuesday’s Group I games:

France vs. Senegal

France’s Kylian Mbappe works out with teammates in Waltham, Mass., on Friday.

(Martin Meissner / Associated Press)

Where: MetLife Stadium, East Rutherford, N.J.
Time: noon
TV: Fox, Telemundo

The buzz: France, ranked third in the world by FIFA, played in the last two World Cup finals and is favored to make it back again this year. Its best player, captain Kylian Mbappe, holds the tournament record with four goals in World Cup finals, including a hat trick in Qatar four years ago. Senegal is led by former African player of the year Sadio Mane, the country’s all-time leader in goals. Senegal made the quarterfinals in 2002 and the round of 16 in Qatar.

Iraq vs. Norway

Norway’s Erling Haaland controls the ball during a World Cup qualifier against Moldova in March 2025.

(Aurel Obreja / Associated Press)

Where: Gillette Stadium, Foxborough, Mass.
Time: 3 p.m.
TV: Fox, Telemundo

The buzz: Norway is playing in the World Cup for the first time this century which means Manchester City‘s Erling Haaland will finally make his tournament debut. A three-time Premier League scoring champion, Erling has more goals for club at country at 25 than either Lionel Messi or Cristiano Ronaldo had at that age. Iraq has gone even longer between World Cups, making its only appearance in 1986 when it lost all three games. Iraq won its way back with a 2-1 victory over Bolivia in an inter-confederation playoff last March. The winning goal came from forward Aymen Hussein, the team’s active leader in goals and appearances among outfield players.

Tuesday’s Group J games:

Argentina vs. Algeria

Argentina’s Lionel Messi, fourth from left, practices with teammates in Kansas City, Kan., on Thursday.

(Charlie Riedel / Associated Press)

Where: Arrowhead Stadium, Kansas City, Mo.
Time: 6 p.m.
TV: Fox, Telemundo

The buzz: Top-ranked Argentina was upset by lowly Saudi Arabia in its World Cup opener four years ago, then ran the table to give Lionel Messi the one title he was missing. Argentina returns 17 players from its world championship team, among them Messi, the golden ball winner; goalkeeper Emiliano Martínez, the golden glove winner; and midfielder Enzo Fernández, the 2022 tournament’s best young player. Algeria is ranked 28th in the world, it best ranking in more than a decade, and has lost just twice in the last two years. Its roster features 16 players from first-division clubs in Europe.

Austria vs. Jordan

Mousa Al-Tamari of Jordan controls the ball during the international friendly match against Switzerland on May 31.

(Sona Maleterova / Getty Images)

Where: Levi’s Stadium, Santa Clara, Calif.
Time: 9 p.m.
TV: Fox, Telemundo

The buzz: Jordan played its first international match in 1953 but it hasn’t played in World Cup until now, finally qualifying by finishing second to South Korea in its Asian group. Its best player is captain Musa Al-Taamari, a dynamic winger known as the “Jordanian Messi” who leads active players with 91 international caps. Austria is playing in the World Cup for the first time this century and it hasn’t won a game here since 1990. Its best player in Real Madrid defender David Alaba, a four-time Champions League winner and 10-time Austrian footballer of the year.

SAN ANTONIO — Jalen Brunson and the Comeback Knicks did it again. And now they’re the Champion Knicks.

For the first time in 53 years, New York rules the NBA. Brunson scored 45 points, including 13 straight for New York in the fourth quarter, and the Knicks beat the San Antonio Spurs 94-90 in Game 5 of the NBA Finals on Saturday night.

The Knicks won the series 4-1, rallying from double-digit deficits in all four of those victories. The deficit was 16 on Saturday night. Brunson and the Knicks were never fazed.

“I have no words,” Brunson said during the on-court celebration. “It’s everything I ever dreamed of.”

New York guard Jalen Brunson drives in front of San Antonio center Luke Kornet during the second half of the Knicks’ 94-90 win Saturday.

(Darren Abate / Associated Press)

Brunson, fittingly, closed with a flourish. He set a Knicks record for points in a finals game; it had been 38 by Willis Reed against the Lakers in Game 3 of the 1970 series. It now belongs to the left-handed point guard who changed the franchise’s fortunes when he arrived four years ago.

Mikal Bridges and Josh Hart — the other two parts of the “Nova Knicks” trio that also includes Brunson, three players who were NCAA champions at Villanova and teamed up in New York to try to do the same — combined to score 27 points. Bridges had 14, Hart 13.

“I don’t know what I’m feeling,” Brunson said. “I’m in awe. Whenever someone counted us out, we found a way to come back and do something about it.”

New York Knicks center Karl-Anthony Towns, right, hugs forward Og Anunoby after defeating the San Antonio Spurs for the NBA title on Saturday.

(Darren Abate / Associated Press)

Dylan Harper scored 25 for the Spurs, who got 19 points, 14 rebounds and five blocked shots from Victor Wembanyama.

The Knicks improved to 4-0 in closeout opportunities this season, winning them all on the road. It didn’t feel like the road, though — not with thousands of New York faithful having made the trip to Texas to see a moment 53 years in the making.

New York got to the brink of this title by rallying from 29 points down in Game 4 to win 107-106 on OG Anunoby’s tip-in with 1.2 seconds left on Wednesday night. It was the largest comeback in NBA Finals history and the biggest comeback in any game this season, regular season or playoffs.

By comparison, then, a 16-point rally in this one seemed easy.

The game followed the same script in the opening minutes as all the others in the series, with the Spurs taking a double-digit lead in the first quarter and then frittering most of it away in the second quarter.

The Spurs became the first team in the play-by-play era, which started in the 1996-97 season, to lead five finals games by 10 points or more in first quarters.

The Knicks simply could not make a shot, missing on 16 of their first 18 tries and each of their first 11 two-point attempts. There even was a point in the second quarter when Wembanyama had more blocked shots (five) than the Knicks had made shots (four). San Antonio’s lead was as many as 10 in the first quarter, as many as 16 in the second.

Of course, none of it mattered much. As always, the Knicks came back.

New York Knicks fans react in New York after the team’s title-clinching win over the Spurs on Saturday night.

(Heather Khalifa / Associated Press)

A 22-9 run in the second quarter got New York within three, before Devin Vassell scored just before the halftime buzzer to give San Antonio a 42-37 edge at the break.

And that capped an opening 24 minutes of either offensive ineptitude or defensive prowess, depending on perspective. The 79 combined points in the first half were the lowest in a finals game since Game 7 of Lakers-Celtics in 2010, and the combined 31.8% field goals shooting by the Knicks and Spurs was the lowest in the first half of a finals game in the play-by-play era.

Brunson won NCAA crowns twice with Villanova — both in Texas, the 2016 one in Houston and the 2018 one in San Antonio, just a few miles away from the arena that the Spurs call home.

A Texas three-step of titles, and this one was surely the sweetest of all.

There was a time in the beginning of Sublime’s recent revival when Jakob Nowell, the son of the band’s late singer Bradley Nowell, saw himself simply as a good son trying to help his adoptive uncles — drummer Bud Gaugh and bassist Eric Wilson — restart his dad’s iconic Long Beach trio. The goal wasn’t to take the place of his frontman father who died of an overdose in 1996. “I’ll never look at it as my band. Sublime is my dad’s band, and I’m helping out, that’s all,” he told The Times in 2024. Luckily, he was wrong.

The journey of finding his own voice through his father’s sly, shambolic poetry and reggae rock anthems, along with his determination on the road with Gaugh and Wilson through a barrage of festivals and tour dates helped him eventually step into his own as a songwriter and Gen Z rock star. It’s all been done with the mission to preserving his dad’s legacy and having fun while doing it. Now it feels as natural as the trio sitting together on the waterfront in LBC’s shoreline marina within earshot of the bellowing horn of the Queen Mary earlier this year as they were finishing the recording of “Until the Sun Explodes,” the first album under the Sublime moniker in 30 years.

Just like the band’s original recipe of shoving punk, dub reggae, hip-hop and ska into a blender, the new songs dutifully stick to the formula along with Jakob’s soulful caterwauls that sound scarily similar to his dad. But what emerges from the 21-song tracklist is the evolution of a trademark sound that gives a nod to the past while standing strong on its own, just like Jakob, despite coming to the interview on crutches while healing from a performance-related knee injury. The band members chatted with The Times about recapturing the effortless essence of their immortal beach-ready sound and looking forward to a second chance to chase an endless summer.

This interview was edited for length and clarity

It’s kind of a rare thing for all three of you guys to be in one place at the same time. What was it like working in the studio together to finish the new album?

Bud Gaugh: Magical. Things are just coming together. We showed up, Jake had an idea for another song, and he sent us a little demo and said “Hey, this is what I’ve been thinking about.” And then we get down to the studio [in San Pedro], and he’s like, “Oh yeah, so I had another idea,” and kind of changed it. We jumped in there [and by the end of our sessions, we had written] brand new songs to the list of songs that we already had.

The band’s revival has been a long time in the making. I remember when you guys had your first show together, a surprise gig a couple years ago as part of a benefit show for the Bad Brains frontman H.R. Do you feel you’ve come a long way since then?

Eric Wilson: I never thought the chemistry would be like it was with Bradley.

Jakob Nowell: Especially now that we’ve been playing together this long, the chemistry is very much there. We’re just comfortable and having fun. Jamming together is the best. We get in there to do a take for a song, and I’m always like “Let’s just do like three more!” It’s just that much fun, and that’s how it feels playing live too.

When did the idea for creating a new album come about?

Gaugh: It was pretty much just while we were playing shows, At first, the idea was that we were getting together to do this benefit for H.R. [at Teragram Ballroom in December 2023]. We went from “How’s this going to work?” and then [after the show] it was like, “Wow, this is something special. We should definitely go out and play some more shows, and get this music out there and get the opportunity to bring the music to the people in the purest form that we possibly could.” As we’re doing that, it’s like we’re seeing the reaction in the fans, and we were feeling it emotionally. We realized this is going to be bigger than we ever thought. That’s when we really decided where it was going to go.

Jakob Nowell, right, once thought Sublime was only his late father’s band; now, fronting the Long Beach trio, he’s leading a new chapter that still honors Bradley Nowell’s legacy.

(Allen J. Schaben / Los Angeles Times)

Were any of the songs on the new album mined from previously unreleased material or did you start fresh?

Nowell: There was that song we did with Stick Figure [“Feel Like That”], so I think that kind of inspired us. [We realized] “Oh s—, there really is some meat on the bone.” And then I had found some old recordings of stuff that were just like jams without even like vocals or whatever. Then it became just this thing during sound check or maybe in the middle of sets, we’d just start jamming these random progressions and stuff, and it kind of just evolved from there naturally.

The new songs that I’ve heard fit right in the vein of what people love about Sublime. What was it like putting some of those new songs in the setlist as you were building them?

Nowell: It was like magic. We were joking yesterday that sometimes we’ll play a new song for the first time just randomly and I’d see people try mouthing the lyrics and stuff and I’ll say “you’ve never even heard this before! I know you haven’t. We don’t even really know what the hell we’re saying.”

Gaugh: You frontin’! [Laughs]

Nowell: But [the new material] sounded like it was supposed to be there, so it was kind of a rad little test in a lot of ways. We almost don’t even have to think about it. That’s always going to be the guiding goal of any band trying to make fun music that’s relatable.

Wilson: What if you’re Slayer? That’s not true if you’re Slayer.

Jakob, it seems like you’ve gotten a lot more comfortable in the frontman role since joining the band. What’s it like just taking the lead, not just for the sake of your dad, but for the fans?

Nowell: Oh, dude, it’s the best. I don’t even have to think about it. We really feel like this is — we’re a band, you know?

Gaugh: It’s [Jakob’s] band too. Now it’s our band. It’s us.

Nowell: It feels like that whenever we’re hanging out, just doing stuff, or at the studio or at these shows. So, this upcoming year feels like a really rad adventure. We got all these different eras [of fans] — people who were in their 50s when [Sublime’s] first stuff dropped, who are still alive, and then their kids and their grandkids and great grandkids. Everybody finds a piece of the discography they can relate to. That’s what is most exciting. It’s not just one or two songs, people sing along to everything.

I was at Warped Tour in Long Beach last year when you guys played and —

Nowell: That was my favorite set!

To me that felt like it encapsulated what you were talking about with the multigenerational groups of fans that have enjoyed you guys and associate you with Long Beach.

Gaugh: It was like a homecoming for me. I remembered playing the Chili Cook off, you know, right over there in the same area [as Warped Tour], and it was just bringing me back 30 years. It’s so meaningful to be in our backyard playing our music again, right there. This is where it all started. It’s come full circle.

Nowell: It was like playing at a local bar in a cool way. I had this huge group of people up front, they were just talking and shouting and saying stuff, like f–ing with us and joking around. I was like “Damn this is great!”

How about you, Eric? How’d you feel playing Warped?

Wilson: [Mumbles] It was f–ing awesome.

Now that you’ve played all these festival shows, from Coachella to No Values, you’ve got your own festival going on. Can you talk a little bit about Sublime Fest and your Sublime Reef Madness Cruise and how you came up with it?

Nowell: We could put on a bunch of the bands we love, and some of our boys, like Vandals, and make it our own vibe.

Gaugh: You walk around Coachella and there’s so many different elements there. Wouldn’t it be neat if we could make like all this like a Long Beach element, a Sublime element. Looking at this thing, it’s like “Oh wow. So we can actually get some of our friends and set up like a tattoo booth, and have our idea of art and everything out there, and mix it all together — food, art, music — bringing all these different elements, and friends of ours that play music. We get to decide who’s going to share the stage with us, so it’s really neat. It’s like planning a high school party or something like that.

Nowell: The biggest backyard party ever seen.

You guys always had your own sound going on, what’s it like to see that the fans still want it?

Wilson: It took a lotta years to catch on, but it did.

Nowell: Yeah, the kids really want that, like ‘90s, Y2K kind of vibe. That was the last era of like cool authenticity and stuff. You can see it when young people make stuff to look retro … when things get so high fidelity, we’re almost losing a little element, so I think these festivals kind of seek to bring some of that back in a way that everybody can get into.

With “Until the Sun Explodes,” Sublime’s first album in three decades, Jakob Nowell, Bud Gaugh and Eric Wilson rediscover their studio chemistry, jamming new songs that feel instantly familiar onstage.

(Allen J. Schaben / Los Angeles Times)

You guys also have the timeless iconography of the Sublime sun logo. The title of the album is “Until the Sun Explodes.” Does that title have any particular meaning to you?

Nowell: It’s almost just another way of saying “forever,” like “Oh baby I’m gonna love you till the sun blows up.” That’s gonna happen in billions of years, if at all. The fact that [Sublime’s] lasted this long and has this many fans is evidence to me that we wanna be here forever. I think that’s what everybody wants for themselves.

Jake, you’ve taken steps to advance your own aspirations and music with your label, Sunburnt Records, how does that fit into where Sublime is right now?

I was inspired by the whole Skunk Records thing [Sublime’s first label], Evan Zinger with [his lifestyle brand] SRH, and just all the local brands I grew up with when I was a kid. So just trying to do a cool, chill local thing that has that vibe of putting on small shows and kind of getting to use this new notoriety to be like, man, I have so many friends in these small bands like Strange Case and Eight Ball, and other bands up and down Southern California. Let’s put on shows and sneak them on a Sunburnt Stage at [Sublime Fest] and if people really like that Sublime sound here’s a bunch of kids who are carrying the torch like Slightly Stoopid did when they started out. Mike Watt always said “start your own band!” So the more we can inspire people to do that and be some small part of that, it’s a dream come true.

Do you feel like this version of Sublime is something Brad would be proud of?

Gaugh: We all kind of brought our own element to the music orignally. So we just kind of followed that recipe. Jake’s his own person, he’s got his own influences, and we just kind of stick with that idea. Jake brings in his feelings, and Eric brings in his and we sat there and recorded this song, and then as we were recording it, we’re coming up with ideas. It’s like, “Oh wait, we should do this here, slow that down there, stop here,” it’s all a conglomeration of ideas, everyone does their part, brings in their own spices and we mix it in a pot like gumbo.

The city witnessed Carl Lewis win four Olympic gold medals, cheered Valerie Brisco-Hooks’ historic golden double and watched Edwin Moses extend his 400-meter hurdles unbeaten streak. L.A. has history with track and field.

Now when Ato Boldon, a UCLA Hall of Famer and four-time Olympic medalist for Trinidad and Tobago, looks to this weekend’s L.A. Grand Prix and the city’s future with the sport, he wonders what it holds.

“I’ve always felt like L.A. needs a signature event,” Boldon said, “and with the Olympics coming up in two years, you look at the quality of this event this weekend, and you’re like, yeah, this is the kind of meet they should have all the time.”

At the halfway mark of the Olympic quadrennium, the USA Track & Field event serves as an important checkpoint for the sport’s hope to break out of the four-year popularity cycle.

The two-day event, which begins Saturday with the women’s hammer throw at the South Bay Athletic Club, features 18 Olympic or world champions competing primarily at USC’s Allyson Felix Field. Sunday’s marquee competition beginning at 1 p.m. will be televised on NBC.

With USA Track & Field building toward a home Olympics, L.A. has been a critical but stubborn market to conquer. Last year’s L.A. Grand Prix, which would have been the third edition of the meet, was canceled in April. The decision, USA Track & Field Chief Executive Max Siegel said, came down to another meet scheduled in the same venue within the same month.

But that competing event, part of Michael Johnson’s upstart Grand Slam Track league, was canceled only weeks before it was set to take place at UCLA’s Drake Stadium, leaving L.A. without a major track competition last summer.

“We knew last year when we canceled the meet that we had every intention leading up to the Olympics to be present in the L.A. market,” Siegel said.

The city knows great track. UCLA boasts legends such as Rafer Johnson, Jackie Joyner-Kersee and Florence Griffith-Joyner. USC, which boasts more Olympians than any other U.S. university, had athletes win nine Olympic medals in track and field at the 2024 Games in Paris, including double gold medals for Rai Benjamin in the 400-meter hurdles and 4×400-meter relay and a 4×100-meter relay championship for TeeTee Terry.

After Terry ran the second leg of the relay, Sha’Carri Richardson’s stare down at the end of her anchor leg became one of the iconic shots of the Paris Games, where 70,000 people packed Stade de France and millions more tuned in for one of the most-watched Olympics.

But the sport is back in the shadows like it always seems to be outside of Olympic years, said Boldon, now NBC Sports’ track and field analyst. There have been several attempts to penetrate the U.S. sports consciousness since the successful Paris Games. Reddit co-founder Alexis Ohanian launched Athlos, a women’s track and field meet that began in New York City in 2024 and added a stop in London to its 2026 schedule. Grand Slam Track, founded by the Olympic legend Johnson and touting major names including Gabby Thomas and Sydney McLaughlin-Levrone, filed for bankruptcy last year, after completing only three of four planned events in its first season, and is only now emerging from it.

This year’s inaugural USATF Tour aims to organize the fragmented sport by streamlining the calendar and working with existing event coordinators to provide resources, including prize money and travel for top athletes, marketing and drug testing. The tour, which was in College Station, Texas, last week for the Lone Star Grand Prix, has 17 events in 10 states.

American Tara Davis-Woodhall after winning the women’s long jump at the 2025 world championships in Tokyo.

(Ashley Landis / Associated Press)

“I feel like LA28 gives the country something to organize around,” said Siegel, who hopes track and field can rise to be among the five most popular sports in the United States. “People are paying more attention to athlete stories in anticipation of what’s going to happen on U.S. soil.”

There is no shortage of stories at the L.A. Grand Prix. Almost everyone who matters in American track and field will be there, Boldon said. Kenny Bednarek, the silver medalist in the 200 meters in Paris, will line up in the 100 meters against Botswana’s Letsile Tebogo, who took gold in the 200 in 2024.

Tara Davis-Woodhall, the reigning Olympic long jump champion, will compete in her signature event and race in the 100-meter hurdles for just the second time in the last five years. Her husband, Hunter Woodhall, will race in the 400 meters on Saturday, when Para athletes will be among those competing in the L.A. Distance Classic at Allyson Felix Field.

Richardson will run her first 100-meter race of the season. The 2024 Olympic silver medalist could be in line to end a three-decade gold medal drought in 2028. No U.S. woman has stood atop an Olympic podium for the 100 since 1996, when Gail Devers won in Atlanta.

Such a stacked field outside of an Olympic year on U.S. soil could be a sign of a changing tide for track and field, Boldon said. The L.A. Grand Prix is a gold-level event on the World Athletics Continental Tour, the second-highest tier of single-day international competition. As athletes vie for world ranking points, the event could be a true Olympic preview two years before the Games begin at the Coliseum.

“This,” Boldon said, “is not a normal week in our sport.”

On a Thursday in early June, under the hot bright lights of the famous Blue Note jazz club in Hollywood, the legendary trumpeter and composer Arturo Sandoval took center stage with a microphone in hand — and a hip wiggle for good measure. Rocking a silk shirt adorned with rhinestones, and backed by his incredibly nimble band, the Cuban-born virtuoso kicked off his four-night residency at the club with sizzling banter and panache.

“I had to watch what I said in Cuba,” he told the audience. “Now I live in the United States of America, man — I say whatever the hell I want. Do you like it? Well, if you don’t, I don’t care!”

Now 77, Sandoval feels he was liberated by the power of jazz. Released in May, his dynamic new album, “Sangú” — Spanglish for “sounds good!” — is bursting with the free-spirited energy he’s cultivated in the decades since he came to the United States from Cuba. Sandoval maintains a fiery pace throughout the album, commanding not only the trumpet, but the timbales and piano. (He even recorded his own scat singing for the appropriately-titled track, “Scat.”)

Once derided by the revolutionary government as “Yankee imperialism,” jazz music became a staple of Sandoval’s daily diet. As a young trumpet player in Cuba’s national band, he sought refuge in the sounds of Charlie Parker and Dizzy Gillespie by tuning into Voice of America: a radio program covertly broadcast from the States. Sandoval eventually served three-and-a-half months in jail in the 1970s when he was caught listening to the program — but with famed pianist and director Chucho Valdés, Sandoval would pioneer a distinctly Afro-Cuban jazz fusion with the Orquesta Cubana de Música Moderna, which was renamed Irakere and won a Grammy for best Latin recording in 1980.

It was in 1990, while touring Europe with his hero Gillespie, that Sandoval finally defected from Cuba with his wife and son — and found the refuge he’d been seeking in the U.S.

“Jazz is synonymous with freedom,” he said. “And I’ve always said the most important word in any dictionary around the world is the word ‘freedom.’”

Inside his Tuscan-style home in the Valley, Sandoval’s shelves are lined with the myriad of awards he’s collected in the time since he arrived in the States: an Emmy award for scoring the 2000 movie based on his own life, “For Love or Country,” which starred Cuban American actor Andy García; 10 Grammy statuettes and the Presidential Medal of Freedom, which was presented to him by President Obama in 2013.

Just last month, Sandoval was also awarded knighthood by the King of Spain. “Does that make me Don Arturo Sandoval?” he audibly asked the ChatGPT application on his phone; indeed, it does. (“My wife gets a little jealous of ChatGPT,” he added with a laugh.)

Come July 4, Sandoval will perform at the America250 concert in Washington D.C., which is a bipartisan celebration of the United States’ 250th birthday. Co-chairs of the event include former President George W. Bush, former First Lady Laura Bush, former President Obama and former First Lady Michelle Obama. Seated next to his Bösendorfer grand piano, Sandoval spoke with The Times while on break from his world tour to discuss the new album, his collaborations with Karol G and Ariana Grande, as well as his weakness for a good cigar.

This interview was edited and condensed for clarity.

• Share via Close extra sharing options

What keeps you playing the trumpet after all these years?
I have no choice. The piano is not that complicated, but the trumpet is a pain in the butt. The trumpet is merciless. You have to practice every single day, otherwise it sends you a bill.

How do you smoke cigars and stay healthy enough to play the trumpet?
I’ve been a big time cigar smoker since I was 14 years old. I never miss a day. I had a good one already. Every year they put me in the MRI to check my lungs. And the doctor always says, “Man, you have lungs like a person who never smoked.” A cigar is completely different from cigarettes. [With] a cigar you don’t inhale to the bottom of the lung, you know, it’s from here [taps his throat]. That’s the art.

You’ve been knighted by the king of Spain! How does that feel?
Great! We’re having 30 people over tonight. My wife is cooking for everyone. The consul [from Spain] called me three or four days ago [and] said, “Arturo, I got a surprise for you. I just got a package from the king at my house, ready to give it to you.” And I said, “What kind of joke is that?” My four grandparents came from Spain to Cuba — from my mother’s side, they were from Tenerife, Isla Canaria. From my dad’s side, they were Gallegos from Galicia. Even if I weren’t related to my family in Spain, whatever — I love Spain!

Given how restricted music and expression were in Cuba, how did you get into the international jazz community?
We put together a big band called Orquesta Cubana de Música Moderna [later called Irakere]. I met a journalist who played the saxophone — he said, “Man, you ever hear any jazz music?” He played for me a compilation or recordings of Dizzy Gillespie and Charlie Parker. That was in ’67 or ’68. Ten years later, I got a phone call from the guy — there was a jazz cruise going around the Caribbean and they [were in Havana] for 48 hours. I told him, “Pretend we never had this conversation!” But I went to the harbor. When the boat arrived, I saw Maestro Gillespie coming down the stairs. I didn’t know how to say one word in English. But God has always been good to me.

A guy behind him started talking to me in perfect Spanish. He was a percussionist playing with the great Stan Getz … a bunch of good musicians there. Dizzy started asking me questions through him. They said, “You have a car?” I had a Primo 1951, but it was falling apart. He said, “Ok, show me Havana.” He stayed for a jam session that night with Irakere. Gillespie went back to New York and told everybody about those musicians he heard in Cuba. Then one day a guy came to Irakere’s rehearsal and introduced himself with a translator — he was the president of CBS Records. A few months later, he put us on the plane [to New York] and drove us in a little bus straight to [perform at] Carnegie Hall. CBS made a recording of that, [which gave us] our first Grammy.

Many years later, in 2013, you were awarded the Presidential Medal of Freedom. What’s something special you remember about that night?
My granddaughter Lola was there, she was 6. It’s customary to take a photo with the president and the first lady. And we did, the whole family. When we got together for the photo, Lola started pulling at Obama’s jacket. He looked her and said, “May I help you?” She said, “Mr. President, I missed school today. I need a note from you.”

I said, “Oh Lord.” But Obama smiled and said, “Of course.” Then he got a paper with the White House [logo] on top and wrote, “Please excuse Lola from the school today … [Signed,] Barack Obama.”

Legendary jazz trumpeter Arturo Sandoval, shown performing at Dorothy Chandler Pavillion in Los Angeles in 2016.

(Courtesy of Timothy Norris)

Your new album is so cinematic. What’s the story behind it?
One day my son and his wife, who’s my manager, came over and said, “Papa, you’re getting old. You have to change your repertoire.” I said to my son, “I’ve been feeding you for 50 years and then you come and tell me what to do? Gimme a break!” But to be honest, when the pandemic happened, I was locked [inside] here. I used to travel a lot, and I was so frustrated and sad. So for two-and-a-half years, I started writing two or three new tunes a day and recorded a few hundred on my own. They picked 100 out of those; I said, “[Now] pick 12.”

When I got with the band, when somebody told me what to play — a little faster, a little slower — I said, “What the heck, man?” But I did it. And they were right. I’m so happy, blessed and grateful because they are amazing musicians. Nobody’s weird. No drugs, no alcohol, strictly into the music.

You joined Karol G’s band at Coachella this year — how did that happen?
As an old man, it’s not every day you have the opportunity to play Coachella. She called me last year to play on a tune in her latest album, “Ivonny Bonita.” So when they invited her to Coachella, she said, “Arturo, we’d like to play with you there.” She’s got great charisma and knows how to put a show together. To play for [more than] 150,000 people each night? That’s not my daily gig. I was nervous, but grateful for the opportunity. And when I checked my followers on Instagram, I got like 5,000 people in a few days — that never happens to me!

Let’s talk about Instagram!
Oh that’s a funny story. [In 2018] I did an album of duets with Stevie Wonder, Pharrell Williams, Ariana Grande … big time people. When Pharrell wrote a song for our duet, we were in the studio, cutting the track. He said, “Arturo, I’m producing for Ariana Grande in a studio across the hall. You would like me to call her?” I said, “Of course, man.” They sang together, Pharrell and Ariana. And by the end, I got my phone and said, “Ariana, can we take a photo with Pharrell?” She took my phone out of my hand to take [a selfie] and said to me, “Put it on Instagram.” I didn’t know what that was. She said, “You don’t know what Instagram is?” Sorry, I’m old! But I put it on Instagram, thanks to Ariana Grande. She’s so talented, man.

How do you stay dedicated to music after all this time?
People talk a lot about the word “talent.” What’s that? A lot of people supposedly have big talent, but they don’t have the passion, the discipline, the commitment. See those roses in my yard? If somebody gave you a seed, you put it in a vase with fresh dirt. Add some vitamins and water, and if you’re lucky, you’re gonna have a rose. But if they gave somebody the exact same seed and they left it on a table somewhere, that rose is gonna die! I’m 77 years old and I still practice every day. Nothing goes to my head. All those awards would mean nothing if I didn’t take care of what I had.

Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s David Zahniser and Noah Goldberg, giving you the latest on city and county government.

Los Angeles voters have finally gotten some closure on the outstanding contests in the June 2 primary election, with City Councilmember Nithya Raman qualifying for the runoff against Mayor Karen Bass, and Measure ER, the countywide sales tax hike, prevailing after a week of ballot counting.

With nearly all the votes counted, Angelenos are now getting a more granular understanding of the strongholds built up by each of the top three mayoral candidates.

Districts that went big for Bass, Raman and Pratt

Early on in the vote-counting process, it looked like Raman might not win her Hollywood Hills-based district, which stretches from Silver Lake to Reseda. In the end, she pulled out a first-place finish, securing nearly 34% of the vote compared to Bass’ 31%, according to Paul Mitchell, vice president of the voter data firm Political Data Inc, who aggregated county precinct data into council districts. Spencer Pratt, the former reality TV personality, trailed at 27%.

Still, Raman’s strongest support came from three districts on the eastern end of the city.

Mitchell’s analysis showed Raman with 45% of the vote in Council District 13, which includes all or parts of Echo Park, Hollywood and Atwater Village. She got nearly 40% in Council District 1, which takes in parts of Highland Park, Mt. Washington and Angeleno Heights. And she scored nearly 38% of the vote in Council District 14, which includes downtown, Boyle Heights and El Sereno.

Those districts are represented by Hugo Soto–Martínez, Eunisses Hernandez and Ysabel Jurado, respectively — all members of Democratic Socialists of America, who all endorsed Bass instead of Raman, a DSA member herself. Raman placed first in all three.

Bass found her greatest strength in the three districts that cover South L.A., coming in first in all three. Her best performance was in District 8, represented by Council President Marqueece Harris-Dawson, where she led with nearly 62% of the vote.

The mayor received 45% of the vote in Council District 10, which stretches from Koreatown to the Crenshaw Corridor, and 42% in Council District 9, which stretches from the southern edge of downtown south to 95th Street.

Pratt performed the strongest in the west San Fernando Valley. He was the top vote-getter in District 12, which is represented by Councilmember John Lee and includes Chatsworth, Granada Hills and Porter Ranch. In that district, he received 39% of the vote, Mitchell’s assessment showed.

Pratt got nearly 37% of the vote in District 3, which is represented by Councilmember Bob Blumenfield and includes Woodland Hills, Warner Center and Canoga Park.

Pratt also led the pack in the 5th District, which takes up much of the Westside and is represented by Councilmember Katy Yaroslavsky. He had 30.7% of the vote, compared to Raman’s 30.6%, according to Mitchell’s analysis.

Nithya Raman attacks the L.A. ‘political machine’

It was one of tougher attacks of the mayoral primary: Raman accused Bass of engaging in “pay to play” — making decisions that benefited certain interest groups, who then spent big on her reeelection.

At her first post-election press conference Wednesday, Raman revisited that line of attack, criticizing Bass over her push to upgrade the city’s Convention Center. That $2.6 billion project was approved in the middle of the city’s financial crisis, when the council was contemplating major job cuts, Raman said.

“Downtown business groups then spent over a million dollars supporting her in her reelection. Meanwhile, the city went back to voters asking them to pay more to fix their streetlights. That is the political machine at work,” she said.

Pay to play was a potent issue in the 2005 election, when Mayor James Hahn was defeated by Councilmember Antonio Villaraigosa. At the time, federal agencies had opened corruption investigations into decisions at the city’s harbor and airports, as well as the Department of Water and Power. That year, the phrase “pay to play” was synonymous with criminal wrongdoing.

In a video acknowledging his primary defeat, Pratt said he got into the mayor’s race to “expose this corrupt machine.”

Raman stopped short of such a framing.

“It’s not corruption,” Raman told reporters at Vista Hermosa Park. “But it is evidence that the system, and how it works, particularly the influence of money in politics, has led to some very broken priorities here in the city.”

Last year, policy analysts warned the Convention Center project would be a financial drag from the moment it opens, consuming more than $100 million per year throughout the 2030s. Business groups and labor organizations pushed back, saying the project would help revitalize downtown while creating much needed construction jobs.

The Central City Assn., a downtown-based business group that supported the Convention Center upgrade, spent about $1.6 million on efforts to reelect Bass.

“Nithya Raman doesn’t think we need more jobs or visitors to our hotels and restaurants that produce the tax revenues downtown generates for the entire city, so it’s hard to support her,” said Central City Assn. President and Chief Executive Officer Nella McOsker in a statement.

Bass spokesperson Alex Stack also pushed back on Raman’s criticism, saying the mayor has been with “every group and industry to deliver results for Angelenos.”

“Nithya Raman can’t get anything done and then attacks the same groups she sought to endorse her campaign,” he said.

Pratt trailed Trump among L.A. voters

As a mayoral candidate, Pratt was dogged by questions about whether he was MAGA — shorthand for the movement that first powered President Trump into office in 2016. The Republican had received fulsome praise from Trump-aligned figures, including podcast host Joe Rogan and Greg Gutfield of Fox News.

Pratt downplayed his GOP ties. Still, there’s one area where he definitely had some similarity with Trump: His performance with L.A. voters.

Trump and Pratt both picked up roughly one out of every four votes in L.A. during their respective campaigns.

Pratt, former star of MTV’s “The Hills,” had 25.5% of the vote in L.A., according to results posted Friday. In November 2024, Trump did a little better, receiving 26.5%, county election results show.

Trump had 369,319 votes in L.A. two years ago, compared to 976,781 for then-Vice President Kamala Harris. By Friday, Pratt had 217,638 votes, compared to 247,242 for Raman and 292,115 for Bass.

It might not be fair to compare Pratt and Trump, given that there were key differences between the elections. Pratt was competing in a primary campaign, while Trump was in a general election. The candidate pool was different as well.

Trump was running in a six-way contest where Harris was his main rival. Pratt, on the other hand, was in a race featuring 13 other candidates.

Although two-thirds of those candidates were complete unknowns, four of Pratt’s rivals ran serious campaigns, amassing endorsements and spending significant amounts of money.

State of play

— TRUMP VS. LAHSA: The Trump Administration moved Thursday to block the embattled Los Angeles Homeless Services Authority from receiving federal funds, saying the agency was badly managed and engaged in fraud. Elected officials across the city denounced the move, while nonprofit groups also voiced alarm. “This is intended to create chaos,” said Jerry Jones, the head of the Greater LA Coalition on Homelessness, which represents groups that serve the region’s unhoused.

— PAYOUT PROBE: Dist. Atty. Nathan Hochman said Wednesday that he believes four out of every five claims in the largest sex abuse settlement in U.S. history — one that resulted in a $4 billion payout by Los Angeles County— may be fake. Hochman has asked a judge to pause the sex abuse payments while he continues his criminal investigation into the plaintiffs, lawyers and therapists involved in filing the claims.

— GET READY TO RUMBLE: The showdown between Bass and Raman is going to get ugly, political experts said this week, in part because they agree on a number of big-picture political issues. Both will need to court at least some of the disaffected voters who picked Pratt in the primary.

— A SCATHING SENDOFF: As we mentioned higher up, Pratt released a video Friday that was both an acknowledgment of his primary election defeat and a vitriolic screed against Bass and Raman, his former rivals. Pratt called them “morons,” “commie animals” and “corrupt communists,” and made clear he intends to ramp up his attacks in the coming months. “I don’t have campaign laws hamstringing me now. It’s war,” he said.

— WOOING LATINOS: Bass carried far more Latino-majority neighborhoods than her rivals in last week’s primary, a Times analysis found. She carried 35 Latino-majority neighborhoods, including Boyle Heights, Pacoima and Historic South-Central. That was a 46% increase from 2022, when she won 24 Latino-majority neighborhoods in her primary against Rick Caruso and Kevin de León, the analysis found.

— EKING OUT A WIN: The countywide sales tax hike known as Measure ER prevailed this week, with late-arriving ballots pushing the number of ‘yes’ votes just above 50%. “It’s a lifesaver to carry us through the storm we’re all in,” said County Supervisor Holly Mitchell, who led the push among her colleagues to get the measure on the ballot.

— AN EXPENSIVE FEE-FA: Bass was set to attend the U.S. opening game of the World Cup Friday at SoFi Stadium in Inglewood after being invited by FIFA, her office said. Still, Bass wasn’t exempt from the high ticket prices she criticized earlier this year. She paid $2,735 out of pocket for her ticket, a spokesperson said. On a related note, the mayor announced more than 100 “Kick it in the Park” events where Angelenos can watch World Cup games for free.

— MORE OF THE SAME: In a break with recent history, every council member who ran for reelection this year won their race. “People see what we’re doing, and they want us to keep fighting for them,” said Councilmember Tim McOsker, who won nearly three out of every four votes in his San Pedro-to-Watts district.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program to address homelessness went to the area around 54th Street and Western Avenue, in the South L.A. district represented by Harris-Dawson.
• On the docket next week: The City Council meets Wednesday to take up a sprawling package of charter reform proposals, including a move to ranked-choice voting and a larger number of council members. Will the council send those ideas to voters or punt them for another two years? Stay tuned!

Stay in touch

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

OK, I’ll admit it. I’m going to miss Spencer Pratt.

I had never heard of the former reality TV star before he said God wanted him to be mayor of Los Angeles. And now that he’s out of the race, he’s still serving up lazy fastballs down the middle of the plate, calling the top two vote-getters — Mayor Karen Bass and Councilmember Nithya Raman — dummies and morons.

Quick question for Pratt: If you’re on record claiming that 9/11 was an inside job and the Sandy Hook massacre was a hoax, and you run for office in a deep blue city with President Trump’s backing but not much of a plan or even a clue as to what a mayor can or can’t do, should you be calling other people morons?

And yet the pouting Pratt pulled more than 200,000 votes. So sore loser or not, he tapped into a lack of faith in elected officials and simmering frustration with City Hall, which happen to be the essence of today’s column.

I have five questions for Bass and Raman. They’re somewhat inter-related and have to do with matters I hear about regularly from readers:

Infrastructure (sidewalks, streets, etc).

Homelessness (billions of dollars spent, and a long way to go).

Parks (L.A.’s national ranking for quality and accessibility just dropped again).

Trash and blight (no explanation needed, right?).

And focus. (Do the candidates have a clear set of goals and a plan for achieving them?)

We’ve got five months to visit and revisit these topics, and today I’m going to focus on the first, so here we go.

Infrastructure:

A few days ago, I met with Earl Ofari Hutchinson of the Los Angeles Urban Policy Roundtable. Hutchinson is a longtime community activist and commentator, and he had just launched a torpedo in the direction of City Hall.

“There are hundreds of busted, dangerous sidewalks in South L A that have gone unrepaired for years,” he wrote to his network of followers. “They cause hundreds of injuries, and have resulted in massive numbers of claims and payouts in settlements. LA City Officials must act now to jumpstart a crash program to fix these sidewalks.”

On my way to meet Hutchinson, I traveled west along Florence Avenue and saw dozens of typical rough patches on the street and sidewalks. But if there were a contest to identify the all-time worst sidewalks in Los Angeles, Hutchinson’s discovery of the one at 71st Street and 11th Avenue would be a Hall of Fame contender.

For starters, it’s got the classic uplift, and the villain is the usual suspect — ficus tree roots. A 20-foot slab of sidewalk is pitched sharply, as if designed by trip-and-fall lawsuit lawyers. Way back in 2014, in my early days on sidewalk patrol, I was able to crawl under a similarly ruptured sidewalk in West L.A., and I could’ve done the same at 71st and 11th.

But I thought better of it after Hutchinson peered into the opening and said it looked like a comfy home for rats and other vermin.

The homeowner, Sharon Kelly, can’t use her front gate because of the lopsided sidewalk. She let me borrow her tape measure, which revealed a 16-inch rise in the pavement.

“It keeps rising,” Kelly said. “But it was already lifted when we came here.”

That was in 1997. I asked if she’s called the city for help.

“Several times,” she said, and the only response was a slapdash temporary asphalt patch.

Hutchinson said residents have responded in force to his call for emergency sidewalks repairs, just as they did when he crusaded for a crackdown on widespread illegal dumping.

“Dozens of residents have come out of the woodwork, and here’s what they all say: ‘We have called our city council person and various city departments repeatedly, over and over again.’”

And the response?

“Nothing,” Hutchinson said.

While we were talking, two people with walkers steered clear of the worst spot near Kelly’s property. Charles McQuarn, 77, said traversing the neighborhood means zigzagging around all the hazards.

“I gotta come out into the streets, too,” he said.

When he was a teenager, McQuarn said, he worked for a community group that fixed sidewalks. I mentioned that Councilmember Monica Rodriguez has been using Conservation Corps youths to do the same, but it’s time to scale up that program and come up with other remedies to speed the process.

The city is fixing about 600 sidewalks each year, the backlog of requested repairs stands at about 30,000 and if you get onto the waiting list, you’re looking at about 10 years before help arrives.

When we were done on 71st Street, Hutchinson led me over to a nearby stretch of Florence where, for blocks and blocks, it appears as if there have been volcanic eruptions around the trees. Large chunks of cracked sidewalk form mounds, one after another. The Hutchinson Himalayas are a site to behold — a mile-long museum of municipal neglect.

And it’s been like this, Hutchinson said, “for years.”

The question for Bass and Raman: What will you do to speed the repairs?

Homelessness:

Voters have been generous when it comes to repeatedly taxing themselves more, and more, to address homelessness. There’s been Measure H, Measure A, Measure ULA and Proposition HHH.

Yet although billions of dollars have been spent and tens of thousands of people have been helped and housed, more than 40,000 people are homeless in the city and roughly 70,000 in the county. In her primary victory speech, Bass said families shouldn’t have to step around encampments, and Raman has said greater urgency is needed.

Questions for Bass and Raman: Why haven’t taxpayers gotten more for their money with the two of you at the helm, what are you going to do to speed progress and create more accountability, and what distinguishes you from each other?

Parks:

In the annual rankings by the National Trust for Public Lands, Los Angeles has dropped from 90th to a tie for 93rd in park investment and accessibility among the nation’s 100 most populous cities.

The City Council is about to consider a motion to increase park funding through charter reform (with dozens of community groups in support), and progress is ridiculously slow on an agreement to use schools as after-hours playgrounds.

Question for Bass and Raman: Do you support the charter reform, and what else are you going to do to address the sad state of the city’s parks?

Trash and blight:

In downtown L.A., vandalism, shuttered storefronts and post-COVID abandonment have crippled what was a vibrant, revenue-generating economy that benefited the whole city.

In Hollywood, a resident hired her housekeeper to help report illegal dumping of goods that are often used to construct more homeless encampments, leading to all sorts of problems.

On the south lawn of City Hall, a graffiti-tagged monument and fountain have been out of commission for most of the last six decades.

Question for Bass and Raman: At the very least, can you fix the fountain?

Focus:

Like any big city with great assets and unlimited challenges, many residents have a love-hate relationship with L.A. But years ago, someone told me he loves Los Angeles because it’s a messy, multi-cultural work in progress, set on a dramatic landscape between mountain and sea, trying to figure out what it wants to be.

Question for Bass and Raman: Whether in the realm of basic services or grand visions, what three or four primary objectives do you have over the next four years?

In other words, what do you want L.A. to be?

steve.lopez@latimes.com

Gene Shalit, the fast-talking funnyman who reviewed films, plays and books for NBC’s “Today” show has died. He was 100.

Shalit’s family confirmed the longtime critic’s death Friday, telling NBC that he “passed away peacefully after 100 years of an amazing life.”

According to a 2010 interview with Guy Ludwig, Shalit’s producer for more than 20 years, Shalit was hired as a contributor at “Today” in 1968. He reviewed books once a month or so, but audiences were so fascinated by his eccentric personality and equally unconventional looks that NBC ramped up the critic’s on-air appearances.

In January 1973, on the same day he was promoted to arts editor, Shalit debuted “Critic’s Corner,” the segment that would ultimately make him a household name. In 2010, Shalit retired as one of the last regular film critics on a major network.

Ludwig referred to Shalit as the “foxy grandpa” of the “Today” show.

Shalit cut his teeth in media as an entertainment columnist for McCall’s magazine, eventually landing the role of senior film critic for Look magazine in 1968 and writing a humor column for Ladies’ Home Journal. His quick wit, punchy puns and unique voice came through even on the page, and NBC took notice.

“No one at NBC had seen him. They’d only read his stuff. So he walked into this executive’s office and the executive took one look at him and said, ‘Mr. Shalit, have you ever thought of radio?’” Ludwig told “Today.”

“They didn’t know how the public would react to someone who looked so different from people who were typically on TV in 1967.”

On “Critics Corner,” Shalit favored humor over the highfalutin. He was an everyman’s critic. Of 1997’s action-thriller “Face/Off,” he said, “Now, ‘Face/Off’ is a literal title, because both of their faces are taken off. Then each face is put onto the other’s head. Even their voices are switched with microchip implants. In other words, this is an entirely reasonable, rational movie!”

“Many critics will give so much of the plot of a movie away that they destroy the movie for the viewer … I just don’t give away the story,” he told the Associated Press in 1993.

During his tenure, he was known to bust up his colleagues, and “Today” anchors ranging from Edwin Newman, Barbara Walters and Jane Pauley to Tom Brokaw, Bryant Gumbel, Katie Couric, Al Roker and Meredith Vieira.

But not everyone appreciated Shalit’s style. In 1989, a leaked in-house memo from “Today” show co-host Bryant Gumbel to Marty Ryan, the former executive producer of the NBC program, complained that Shalit’s film reviews “are often late and his interviews aren’t very good.”

Eugene Shalit was born March 25, 1926, in New York City and grew up in Morristown, N.J. He launched his elementary school’s first newspaper, “The Spotlight,” and purchased a fedora to seal his fate as a journalist. In Morristown High School he wrote the school newspaper’s humor column “The Broadcaster.” In 1949, he graduated from the University of Illinois at Urbana-Champaign.

Shalit was married to Nancy Lewis for 28 years until her death in 1978 and never remarried. The couple had six children: Peter, Willa, Emily, Amanda, Nevin and Andrew. Emily died from ovarian cancer in 2012.

Golf legend Phil Mickelson is refuting an accusation that he inappropriately touched a female employee at a prestigious golf club in Southern California a few months ago.

According to Golf Digest, Mickelson allegedly approached the worker at Farms Golf Club in Rancho Santa Fe and made “nonconsensual and inappropriate physical contact.” After she rejected him, she reported to her supervisors and accused him of sexual misconduct.

Mickelson hired Tom Clare, a top defamation attorney, who said video evidence contradicted the allegations.

“There is a great deal of misinformation circulating and, while Phil’s full attention is devoted to a private family health matter, he has retained defamation counsel and is determined to hold accountable any publication or individual trafficking in speculation or false rumors,” Clare said in a statement to Golf Digest.

Clare did not immediately respond to The Times’ request for comment.

The San Diego County Sheriff’s Office said it investigated but found no evidence of an assault. However, the allegation resulted in the immediate removal of Mickelson from the golf grounds and revocation of his longtime membership at the club.

Farms Golf Club said in a statement to the golf magazine that it conducted a thorough investigation before confronting Mickelson and stood by its decision to end his membership. Farms also said no video cameras were in the area where the alleged misconduct occurred.

“Following a staff member report of member misconduct, the club provided immediate and ongoing support to the staff member, conducted a thorough independent investigation of the incident and took decisive action,” the statement read. “This individual is no longer a member of The Farms Golf Club.

“To protect the safety and privacy of our staff and member, we are unable to speak further on the matter.”

Mickelson, who turns 56 next week, withdrew from professional golf this year because of family health reasons, last playing at the LIV Golf South Africa in March. A married father of three, Mickelson won six major tournaments on the PGA Tour — three Masters, two PGA Championships and one British Open — before he left the tour in 2022 for the upstart LIV Golf League, which will lose the financial backing of Saudi Arabia’s Public Investment Fund this fall.

His estimated career earnings exceed $1 billion, including $97 million in PGA Tour prize money, a reported $200 million signing bonus to join LIV Golf and an estimated $800 million from endorsements and business ventures.

Mickelson was one of the most popular players on the PGA Tour before his controversial move to LIV and comments about his Saudi backers, and his career survived some unsavory headlines, several of which pertained to gambling.

The Detroit News obtained federal court records that claimed a mob-connected bookie handled bets for Mickelson and was accused of cheating the golfer out of $500,000 in 2007.

Mickelson was accused by the U.S. Securities and Exchange Commission in 2016 of getting an insider trading tip and buying $931,000 of stock from sports gambler Billy Walters. Mickelson was not charged and agreed to pay back the amount.

Federal auditors investigating Mickelson’s role in the scheme found that his gambling losses totaled more than $40 million from 2010 to 2014, according to an unauthorized biography of Mickelson.

The Directors Guild of America’s national board on Friday unanimously recommended its membership vote in favor of a four-year contract with the major studios that would increase wages, boost contributions to its health plan and establish guardrails surrounding AI technology.

“We entered this negotiation with three main priorities: secure our Health Plan, protect jobs, and ensure that our members remain secure as AI continues to impact our industry,” DGA President Christopher Nolan said in a statement. “We succeeded in these areas and gained in many others.”

Under the proposed contract, major studios would increase their contributions to the DGA’s health plan by 24.4% over four years, the largest since the plan was founded. In return, the DGA would recommend changes to its plan’s trustees including “modest” increases to the eligibility threshold and annual premiums, the DGA said on Friday.

The contract also increases minimum salaries for most jobs by 2.5% in the first year and up 3% for each of the following years in the agreement. Directors of network non-prime time strip dramatic programs will see their minimum salaries increase 2.5% for each year under the agreement.

The union, which represents more than 19,500 directors and members of directorial teams in areas such as film, commercials and news, said the agreement helps the union’s push for a federal production incentive. Hollywood creatives believe such a benefit could prevent U.S. entertainment jobs from moving overseas where production costs can be significantly lower. The proposed agreement secures a commitment that most senior management at the major studios represented by the Alliance of Motion Picture and Television Producers “would engage in meaningful advocacy for a federal production incentive above and beyond the ongoing lobbying efforts of the Motion Picture Association,” according to the DGA.

The contract also adds more guardrails to AI technology, including treating footage created by artificial intelligence as the same as footage shot by a camera, meaning it will still be under the director’s control, according to the DGA. Major studios will also be required to notify the DGA if an employer decides to license a director’s work to train a generative AI system to create new work, the union said. The agreement also establishes an employer-funded program to enhance directors’ AI skills.

“With these gains, a four-year Agreement was both appropriate and necessary to provide stability and potential for growth at a moment when the industry has been experiencing contraction,” Nolan said in a note to members on Friday.

DGA and AMPTP reached the tentative contract earlier this week. At that time, AMPTP said “we appreciate the hard work and commitment of our guild partners in achieving a fair deal that helps advance a stable and successful entertainment industry.”

DGA members will have until June 25 at 5 p.m. to vote on the plan. If approved, the contract would go into effect July 1 and run through June 30, 2030.

The Washington National Opera filed a lawsuit on Thursday that demands more than $17 million from the John F. Kennedy Center for the Performing Arts. The opera company claims it is owed millions in donations that have been withheld.

The lawsuit claims that after the opera company and the Kennedy Center parted ways in January, center officials have not returned more than $17 million in gifts and donations that belong to the opera company. The lawsuit lists the federal government as a defendant because the Kennedy Center was established by Congress.

According to the suit, the opera company and the Kennedy Center had a longstanding contract in which WNO produced its operas at the Kennedy Center, which in return, provided a number of services and other support for the opera company including managing its donations.

In late 2025, after approximately 15 years of affiliation, the suit claims that the Kennedy Center stopped performing the obligations of their agreement, which included marketing, fundraising and administrative support, as well as timely reporting on the growth of the opera company’s funds. When the opera company requested the Kennedy Center remedy the issue, center officials asked to sever ties.

“Five months have now passed since the termination of the affiliation, and the Kennedy Center still has not returned the funds to WNO,” reads the suit. “To the contrary, according to the Kennedy Center’s Chief Financial Officer, the Kennedy Center has put a significant portion of WNO’s money at risk by using it to collateralize the Kennedy Center’s line of credit.”

In an emailed statement responding to the lawsuit, Roma Daravi, a spokeswoman for the Kennedy Center, told The Times that the contract between the opera house and the center financially burdened the center for more than a decade. The statement claimed that taking into account the company’s endowment, an external accounting firm calculated that the opera company had “accumulated a $72 million deficit to the center” between 2011 and 2026.

“The Center has acted transparently and in the best interests of the public throughout this process,” the statement reads. “This lawsuit is meritless, and we plan to pursue a countersuit to defend the institution.”

The legal action comes during a tumultuous time for the Kennedy Center. Last year, President Trump fired the board and appointed himself chairman of the Kennedy Center.

In December, President Trump’s name was installed on the exterior of the center the day after his handpicked board of trustees voted to change the institution’s name to the “Trump-Kennedy Center.” Last month, a federal judge ordered President Trump’s name to be removed from the exterior of the building within two weeks and a halt to the Trump administration’s planned two-year closure of the venue.

On Friday, the court-ordered deadline for removing his name sparked widespread interest and crowds gathered outside the center. A live cam was also placed near the structure.

The Times arts editor Jessica Gelt contributed to this report.

The stunning victory by the New York Knickerbockers over the San Antonio Spurs on Wednesday gave ABC the most-watched NBA Finals Game 4 since 1998, the year of Michael Jordan’s last championship with the Chicago Bulls.

Nielsen data showed an average of 20.9 million viewers watched the Knicks overcome a 29-point halftime deficit to top Victor Wembanyama and the Spurs 107-106 at Madison Square Garden, the greatest comeback in NBA Finals history. The Knicks have a 3-1 lead in the series and will play Game 5 on Saturday in San Antonio, attempting to win their first NBA championship in 53 years.

Through the first four games, the NBA Finals are averaging 19.6 million viewers, also the highest since the Bulls-Utah Jazz faced off on NBC in 1998. The series is on track to become the most-watched since the NBA Finals moved to ABC and ESPN in 2002.

“The match-up is ideal from a media business standpoint, featuring the nation’s largest media market with New York, teams with robust followings and multiple all-stars, especially Wemby, the compelling new face of the NBA,” said Lee Berke, president of LHB Sports Entertainment & Media, Inc.

The Knicks-Spurs series is up 116% over the first four games of last year’s match-up between the Oklahoma City Thunder and the Indiana Pacers. But the most encouraging numbers for ABC and ESPN is the growth among younger viewers, who have become harder to reach in the age of social media and streaming. Ratings among teens aged 12 to 17 are up 138% while the 18 to 24 age group is up 147%.

ABC is also seeing spikes in viewing among women, up 121%, and the Latino audience due to its large populations in the markets of New York and San Antonio, according to Flora Kelly, ESPN’s senior vice president for audience research.

Viewing in the New York market alone is accounting for 18% of the national audience.

Este Haim, Taylor Swift, and Mariska Hargitay react during the 2026 NBA Finals at Madison Square Garden on June 10, 2026.

(Al Bello / Getty Images)

In addition to delivering highly competitive games, the NBA Finals also had President Trump and pop superstar Taylor Swift in attendance at Madison Square Garden. Both are capable of turning a live TV event into a full-blown spectacle.

“What we’re seeing is that this Spurs-Knicks series is a tremendous cultural moment,” Kelly said.

Trump attended Game 3, making him the first sitting president to attend an NBA Finals. While Trump was a fixture at Knicks games before he entered the national political scene, some commentators, such as ESPN’s Stephen A. Smith, believed the president’s insistence on attending Monday’s contest became a distraction that disrupted the home team’s momentum. (The Knicks lost the game 115-111, ending the team’s streak of 13 consecutive wins).

Swift showed up for Game 4, joining “Law & Order: SVU” star Mariska Hargitay and the other celebrities that regularly show up court side at Madison Square Garden.

PARIS — Canadian Prime Minister Mark Carney became a symbol of middle power resistance after a celebrated speech earlier this year, but he is expected to be more muted in his criticism of President Trump at an upcoming summit in Europe.

Carney’s speech at the World Economic Forum in Davos, Switzerland, helped make him an international political star in January, when he declared the global rules-based order over and condemned coercion by great powers on smaller countries. The prime minister received widespread praise and attention for his remarks and upstaged Trump at the gathering.

But the G7 summit of industrialized democracies that begins Monday in France comes ahead of the scheduled July 1 review of the United States-Mexico-Canada Agreement, or USMCA, the latest iteration of the North American free-trade pact that has intertwined the economies of the United States, Mexico and Canada since the early 1990s. It is a crucial moment in trade talks, and Trump said this week that he may not renew the deal.

More than 70% of Canada’s exports go to the U.S., so preserving the accord is critical for Canada.

Canadian historian Robert Bothwell said Trump is more of a problem for Carney “than anybody else because we are more exposed to the United States than anybody else.”

Trump leaves for the G7 summit right after he hosts UFC fights at the White House on Sunday for his 80th birthday.

The summit will unfold as tensions are ramping up between Trump and Canada. One of the world’s most durable and amicable alliances — born of geography, heritage and centuries of common interests — is broken, as seen in several recent examples of tension between leaders.

Ontario Premier Doug Ford, the leader of Canada’s most populous province, had a reception with the U.S. Chamber of Commerce in Washington canceled Monday at the last minute. Vic Fedeli, one of Ford’s ministers, said if Trump forced the chamber to cancel, “Ford should be wearing that as a badge of honor.”

Trump said again this week that the U.S. doesn’t need anything that Canada has. Carney has set a goal for Canada to double its non-U.S. exports in the next decade, saying Trump’s trade war is causing a chill in investment.

In other developments, the opening of a major Canadian bridge across the Detroit River that Trump previously threatened to block was delayed Thursday due to unresolved issues.

Trump’s actions, including launching a trade war and suggesting Canada become the 51st U.S. state, have infuriated Canadians and created the political environment for Carney to win the job of prime minister after promising to confront Trump.

Trump administration officials keep noting that only two countries, China and Canada, retaliated against America in the trade war. U.S. Trade Representative Jamieson Greer says Canada’s retaliatory measures are a major issue in talks.

Daniel Béland, a political science professor at McGill University in Montreal, said Carney seems to have moderated his tone toward the Trump administration to avoid worsening relations.

“There is a clear tension between what Prime Minister Carney said in his Davos speech about middle powers standing up to hegemons and his attempt to nudge the U.S. administration ‘in the right direction’ with regard to the USMCA review and trade policy more generally,” Béland said.

Carney has downplayed Trump’s most recent comments about Canada becoming the 51st state.

Canada and Mexico want the USMCA to be renewed for another 16 years. Trump has mused about withdrawing from it. More likely it will be subject to annual reviews for the next 10 years.

Carney arrived in Paris on Friday morning and will meet with French President Emmanuel Macron in the evening, a few days before the summit in Évian-les-Bains, France.

The prime minister will also travel to Ireland this weekend to meet with the Irish prime minister in a bid to diversify trade away from the U.S.

This is Carney’s ninth trip to Europe in the 15 months since he became prime minister in March 2025.

The U.S. “will clearly remain Canada’s largest trading partner for the predictable future,” Béland said, calling it an inescapable reality that Carney “must keep front of mind even as he seeks to make Canada somewhat less dependent on trade with the U.S.”

Gillies writes for the Associated Press.

Dodgers and Rams head team physician Neal ElAttrache was questioned by Major League Baseball investigators Friday following a detailed report by the New York Times that the renowned surgeon and sports medicine expert supported the therapeutic use of performance-enhancing drugs by UFC star Conor McGregor.

MLB spoke with ElAttrache, according to a person familiar with the matter but not authorized to comment publicly. The league considered the interview informational, not an investigation. The NFL, Rams and Dodgers declined comment.

“I have spoken with MLB and I am very comfortable with the process that the league and I will complete to assure the public that I have followed every rule and regulation in my medical treatment of athletes without exception,” ElAttrache said in a statement to the Los Angeles Times. “My record is completely clean, including in this case. I will leave it to MLB officials to provide any further comment as they see fit.“

ElAttrache performed surgery on McGregor in July 2021, inserting a rod, plates and screws into his left leg after the fighter broke his tibia and fibula during a bout against Dustin Poirier in Las Vegas.

McGregor’s recovery was lengthy and arduous. ElAttrache told the New York Times that while he did not prescribe steroids for McGregor, he referred him to a specialist who did. Furthermore, ElAttrache wrote a letter supporting McGregor’s request for a therapeutic use exemption from UFC drug policies.

“I felt it would be appropriate to consult other physicians with expertise in bone healing/bone metabolism,” ElAttrache told the paper via text. “I recommended the consultations but not the course of treatment.”

ElAttrache said he told McGregor to check with UFC drug testers about prescriptions the consultant gave him. “I purposely wasn’t involved with his evaluation by the consultant nor with prescribing medication,” ElAttrache said.

The exemption request was denied by USADA (the drug testing organization the UFC used then), triggering a split between the two organizations. McGregor withdrew from the UFC anti-doping program shortly thereafter and was no longer required to undergo testing for banned substances.

ElAttrache, operating primarily out of the Cedars-Sinai Kerlan-Jobe Orthopaedic Clinic in Los Angeles, has performed elbow or shoulder surgeries on prominent current and former Dodgers including Shohei Ohtani, Clayton Kershaw, Tony Gonsolin and Walker Buehler as well as former Rams stars Cooper Kupp and Cam Akers.

Among the hundreds of surgeries performed over three decades by ElAttrache, his patients included the four 2024 MLB Most Valuable Player and Cy Young Award winners — Ohtani, Aaron Judge, Chris Sale and Tarik Skubal. ElAttrache’s patients include 18 of 29 players who won the MVP or Cy Young awards over the last 10 years.

Other prominent athletes who became his patients include former Lakers legend Kobe Bryant and star NFL quarterbacks Tom Brady, Aaron Rodgers and Joe Burrow.

ElAttrache was a boxer long before he became a renowned surgeon and team physician. He attended Notre Dame, where organized boxing was first introduced by Knute Rockne as a conditioning program in the 1930s. An intramural tournament known as the Bengal Bouts was formed and decades later ElAttrache became a champion, winning the 185-pound division in 1978.

Before world lightweight boxing champion Vasiliy Lomachenko returned from shoulder surgery to defend his title in 2019, ElAttrache counseled him against using his left hook because he wasn’t mentally ready to do so.

“When that arm goes into that position, the brain remembers that was the position where that dislocation occurred,” ElAttrache told the Los Angeles Times at the time. “It takes time to overcome that apprehension.”

It has taken McGregor five years since his injury to return to the octagon. He is scheduled to do so July 11 in a welterweight bout against Max Holloway at UFC 329 in Las Vegas as the main event of International Fight Week.

His recovery and startling physical transformation hardly a year after his injury became a frequent topic on social media. Fellow UFC fighter Anthony Smith said on Michael Bisping’s “Believe You Me” podcast in November 2022 that the reason McGregor pulled out of the UFC drug testing pool was obvious.

“There’s only one reason you would do that,” Smith said. “He’s looking jacked as s—. You keep seeing videos of him flexing in front of mirrors and screaming and he’s huge. He healed really fast. Like, really fast.”

On his show in December 2022, podcast host Joe Rogan noted McGregor’s impressive physique and the USADA testing loophole.

ElAttrache told the New York Times that he stopped treating McGregor after steering the fighter to someone who could obtain banned substances.

“I purposely wasn’t involved with his evaluation by the consultant nor with prescribing medication,” ElAttrache told the Times. He said “expert opinions” could help McGregor and “optimize his chance of solid union and healing of his fractures.”

Seeking the exemption, however, was viewed by USADA and some UFC officials as McGregor trying to find a way to use banned drugs. McGregor re-entered the drug-testing pool on Oct. 8, 2023, the same day UFC notified USADA that it would end the partnership.

Because McGregor had long been suspected of taking banned substances to revive his career, the mixed martial arts community reacted to the New York Times investigation with a measure of closure.

“OK, it’s confirmed now,” co-host Conner Burks on the popular MMA podcast “The Boys in the Back” said. “None of this came as a massive shock to me.”

“It seemed like the worst kept secret in combat sports,” co-host Eric Jackman said.

In a written response to a question posed by the New York Times, McGregor’s manager, Audie Attar, did not say whether McGregor had used banned substances. He said that “even with surgery there was a real risk Conor might not walk again, a high likelihood he would face numerous lifelong side effects that would limit his mobility and serious doubts he would ever return to the octagon.”

Attar said McGregor withdrew from the UFC drug-testing pool “to focus fully on his recovery” under the care of “his team of world-renowned physicians.”

“They oversaw a combination of a gruesome surgery, intense physical therapy and appropriately prescribed medicines,” Attar said. “It is an unfathomable breach of health and privacy protections that my client’s purported personal medical records would be disclosed.”

McGregor attempted to return to fighting in June 2024, but a scheduled bout against Michael Chandler was canceled because McGregor broke a toe during training.

Combat Sports Anti-Doping officials were unable to locate McGregor for testing on the day the fight was canceled, and he missed tests on two subsequent occasions. Under the UFC Whereabouts Policy, the three failures constituted an anti-doping violation equivalent to a failed drug test.

The UFC suspended McGregor in October 2025 for 18 months because of testing violations. The suspension expired in June, clearing him to compete.

Times staff writers Bill Shaikin, Sam Farmer and Gary Klein contributed to this report.

Hi, and welcome to another edition of Dodgers Dugout. My name is Houston Mitchell and my second favorite announcer is the great Harry Doyle.

Who is the best at ABS challenges?

A friend of mine, Tom Black, asked me the other day why Freddie Freeman never makes an ABS challenge. It made me wonder who makes a lot of challenges, who’s the best at it, etc., which led to this newsletter.

The majors instituted the Automated Ball-Strike challenge system this season, which allows a batter, pitcher or catcher to challenge an umpire’s ball or strike call.

First, some quick ABS rules:

1. Only the batter, pitcher or catcher can make a challenge. No one else.

2. Challenges must be made immediately after the umpire’s call, without assistance from the dugout or other players.

3. The player taps his cap or helmet to alert the umpire to his desire to challenge the call. Players are also encouraged to verbalize their challenge, to leave nothing to doubt, but the cap/helmet tap represents the official challenge.

4. A team gets two challenges per game. If a challenge is successful, they retain their challenge. Theoretically, you could challenge every pitch as long you were correct every time. Once you are wrong twice, you are out of challenges.

5. If a game goes into extra innings, any team that starts the extra inning out of challenges will get one challenge for the 10th inning. If they exhaust that challenge, they will then get another challenge for the 11th, and so on. If a team has challenges remaining at the start of the 10th inning, they will not get an additional challenge for that inning, though they will for any subsequent inning if they are out of challenges at the start of the inning.

There has been an average of 4.1 challenges per game.

From MLB.com:

How is the ABS strike zone measured?

Like the plate, it is 17 inches wide. The top end of the zone is at 53.5% of the player’s height, while the bottom is at 27% of the player’s height. The depth of the zone is 8.5 inches from both the front and back of the plate to its center.

All position players in Spring Training had their heights measured by a team of independent testers conducting manual measurements and by representatives from a research institute using biomechanical analysis to confirm the manual measurements and safeguard against potential manipulation. Players are measured standing straight up without cleats.

And now that the technical stuff is out of the way, let’s look at who is good and bad at challenges (all numbers through Tuesday and courtesy of baseball-reference.com):

Teams that are most successful at getting calls overturned:

1. Arizona, 60.2% (68 of 113)
2. Cincinnati, 59.9% (85 of 142)
3. Detroit, 59.5% (78 of 131)
4. Chicago Cubs, 59.4% (82 of 138)
5. Texas, 58.7% (64 of 109)
6. Dodgers, 58.4% (73 of 125)

The five worst:
1. Pittsburgh, 42.4% (53 of 125)
2. Cleveland, 44.7% (68 of 152)
3. Washington, 45.8%, (60 of 131)
4. Chicago White Sox, 47.2% (76 of 161)
5. San Francisco, 48.1% (65 of 135)

Minnesota has made the most challenges with 179, Boston the fewest with 105.

Best challenge overturned % by hitters (minimum seven challenges):

CJ Abrams, Washington, 100% (7 for 7)
Nick Kurtz, Athletics, 85.7% (6 for 7)
Xander Bogaerts, San Diego, 75% (9 for 12)
Davis Schneider, Toronto, 75% (9 for 12)
Aaron Judge, Yankees, 75% (6 for 8)
Teoscar Hernández, Dodgers, 70% (7 for 10)
Brent Rooker, Athletics, 70% (7 for 10)
Jose Altuve, Houston, 69.2% (9 for 13)

The worst
Trea Turner, Philadelphia, 12.5% (1 for 8)
Spencer Horwitz, Pittsburgh, 14.3% (1 for 7)
Andrés Giménez, Toronto, 14.3% (1 for 7)
James Wood, Washington, 20% (3 for 15)
Mauricio Dubón, Atlanta, 22.2% (2 for 9)

Most challenges by a batter
Sal Stewart, Cincinnati, 29 (65.5%, 19 for 29)
Gary Sánchez, Milwaukee, 19 (42.1%, 8 for 19)
Cam Smith, Houston, 17 (41.2%, 7 for 17)
José Caballero, Yankees, 16 (56.3%, 9 for 16)
Ronald Acuña Jr., Atlanta, 16 (43.8%, 7 for 16)

Best challenge overturned % by catchers, minimum 10 challenges
Carson Kelly, Chicago Cubs, 84.4% (27 for 32)
Mitch Garver, Seattle, 81.8% (18 for 22)
J.T. Realmuto, Philadelphia, 80.8% (21 for 26)
Travis d’Arnaud, Angels, 80% (8 for 10)
Sandy León, Atlanta, 77.8% (14 for 18)
Salvador Perez, Kansas City, 75% (33 for 44)

Worst challenge overturned % by catchers, minimum 10 challenges
Bo Naylor, Cleveland, 33.3% (4 for 12)
Jhonny Pereda, Seattle, 35% (7 for 20)
Samuel Basallo, Baltimore, 36.4% (8 for 22)
Drew Millas, Washington, 38.9% (14 for 36)
Elias Díaz, Texas, 40% (4 for 10)

Most challenges by a catcher
William Contreras, Milwaukee, 81 (60.5%, 49 for 81)
Edgar Quero, White Sox, 66 (48.5%, 32 for 66)
Nick Fortes, Tampa Bay, 58 (58.6%, 34 for 58)
Patrick Bailey, Cleveland, 55 (58.2%, 32 for 55)
Shea Langeliers, Athletics, 53 (58.5%, 31 for 53)

Pitchers don’t make very many challenges. The most is five by Freddy Peralta of the Mets.

How Dodgers batters have done:

Freddie Freeman, 100% (1 for 1)
Mookie Betts, 75% (3 for 4)
Teoscar Hernández, 70% (7 for 10)
Miguel Rojas, 62.5% (5 for 8)
Alex Call, 60% (3 for 5)
Alex Freeland, 50% (1 for 2)
Max Muncy, 50% (2 for 4)
Will Smith, 50% (1 for 2)
Kyle Tucker, 40% (2 for 5)
Andy Pages, 33.3% (3 for 9)
Shohei Ohtani, 33.3% (1 for 3)
Dalton Rushing, 33.3% (1 for 3)
Hyeseong Kim, 0% (0 for 1)

Dodgers catchers
Will Smith, 66% (31 for 47)
Dalton Rushing, 61.1% (11 for 18)

Dodgers pitchers
Tyler Glasnow, 100% (1 for 1)
Edwin Diaz, 0% (0 for 1)
Kyle Hurt, 0% (0 for 1)

Big milestone for Freeman

Freddie Freeman got his 2,500th hit during the rout of Pittsburgh on Tuesday.

“It means a lot,” Freeman told reporters after the game. “And then when your manager and teammates appreciate what you’ve done over the course of your career, it does mean a lot. Yeah, there’s always another goal to get to. But to step back and realize how long you have to play … to play at a high level over many, many years to get there, it does mean a lot.”

Freeman became only the 102nd player in history to get 2,500 hits. He is on pace to finish with 167 hits this season, which would give him 2,598 hits in his career, letting him pass the following players on the all-time hits list: Jimmy Ryan, Buddy Bell, Joe Morgan, Todd Helton, Heinie Manush, Garret Anderson, George Van Haltren, Steve Finley, Willie Davis, Manny Ramirez, Richie Ashburn, Ernie Banks, Reggie Jackson, Julio Franco, Vladimir Guerrero and Luis Gonzalez. He would be in 85th place, just one hit behind Steve Garvey.

Through Tuesday, Freeman had 796 of his hits with the Dodgers. Up next in his career is the magical 3,000-hit milestone.

“I would love to,” Freeman said. “I’m not going to deny that. But do I know if I’m going to get there? I don’t know.”

Will Smith to IL

The Dodgers put Will Smith on the injured list because of an inflamed disk in his neck and recalled catcher Chuckie Robinson from the minors. Smith will be eligible to come off the IL next Friday.

“Hopefully, the day I’m able to come off,” Smith told reporters, “I can come back and play, that’s the plan for now.”

Robinson had one at-bat with the Dodgers last season and in 52 games in the majors he is hitting .131.

Ohtani, Wrobleski hurt?

Thursday’s win over Pittsburgh could have proved costly. Shohei Ohtani left the game because of an inflamed left knee, and pitcher Justin Wrobleski left early after getting hit on the inside of his right leg by a liner. He left because of a sore hamstring.

The Dodgers were very optimistic that both would be fine, but we’ll see how they feel on Friday. Ohtani had surgery on that knee in 2019, but this is in a different part of the knee. Not sure if that’s a good thing or bad thing.

“[Friday], he’ll get there, do his routine, play catch, push off, land on it, see how it reacts,” Roberts said. “And then obviously take swings and see how it reacts too.”

Up next

Friday: Dodgers (Roki Sasaki, 3-3, 4.03 ERA) at Chicago White Sox (Sean Burke, 3-3, 3.88 ERA), 4:40 p.m., Sportsnet LA, AM 570, KTNQ 1020

Saturday: Dodgers (Yoshinobu Yamamoto, 6-4, 2.68 ERA) at Chicago White Sox (TBA), 1:10 p.m., Sportsnet LA, AM 570, KTNQ 1020

Sunday: Dodgers (Emmet Sheehan, 3-3, 4.70 ERA) at Chicago White Sox (Erick Fedde, 1-5, 4.69 ERA), 11:10 a.m., Sportsnet LA, AM 570, KTNQ 1020

All times Pacific

*-left-handed

In case you missed it

How the Dodgers plan to shuffle catchers with Will Smith on the injured list

Dodgers Debate: The pitching blues of the summer

And finally

Vin Scully discusses the history of Friday the 13th. Watch and listen here.

Until next time …

Have a comment or something you’d like to see in a future Dodgers newsletter? Email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.

WASHINGTON — A year after the Trump administration kicked off its aggressive immigration enforcement tour with military-style raids across greater Los Angeles, federal officials have veered toward a less flashy but broader strategy: making immigrants’ lives harder so they will leave.

The changes range in scale and scope, from disqualifying immigrants from certain jobs to indefinitely pausing the processing of visa applications. They target those lawfully present as well as the undocumented.

Since President Trump’s second term began, the administration has used executive orders and federal regulations to chip away at services or benefits, such as work permits and small business loans, that immigrants could obtain in the past.

Now, immigrants are finding that freedoms — the ones that once made the U.S. a desirable place to start over — are disappearing. Many are retreating back into the shadows as they fear previously routine tasks, such as traveling across states, filing taxes and seeking medical care.

“The priority is to force people to leave the country or not come, regardless of legal status or really any other criteria,” said David Bier, immigration studies director at the Libertarian think tank the Cato Institute. “They’re taking a sledgehammer to the system.”

Trump won the White House in part on his promise to clamp down on illegal immigration, but recent polling shows support for his agenda has waned, especially after immigration agents shot and killed two U.S. citizens in Minneapolis.

In a statement, White House spokesperson Abigail Jackson said Trump’s highest priority has always been the deportation of immigrants with criminal records. The Department of Homeland Security said Trump also prioritizes immigration that strengthens the country financially, socially and culturally.

President Trump displays the signed “Secure America Act” during a ceremony in the Oval Office on Wednesday. The act provides $70 billion for immigration enforcement and border-security agencies.

(Aaron Schwartz / CNP, Bloomberg)

The number of arrests by ICE agents has declined. On average, ICE arrested about 1,000 immigrants per day in early March, down from a peak average of just under 1,400 in mid-January, agency data show. And there are fewer detained immigrants — facilities across the country held about 60,000 detainees in April, compared to more than 70,000 in late January.

The downturns prompted some Trump loyalists to say the administration is failing to fulfill his signature promise, which is an assertion the administration rejects.

“ICE is NOT slowing down,” said Homeland Security spokesperson Lauren Bis. “Since Day One, DHS law enforcement has been delivering on President Trump’s promise to the American people to arrest and deport criminal illegal aliens.”

At a border security conference last month, Tom Homan, who leads border policy for the White House, suggested immigration agents would return to more muscular enforcement tactics.

“You ain’t seen s— yet,” he told the audience.

But along with focusing on deportations, the administration is deploying other tactics to deter illegal — and legal —immigration.

ICE agents confront protesters on June 8 as they gather outside the federal immigration center at Delaney Hall in Newark, New Jersey, where ICE is housing detained immigrants.

(Spencer Platt / Getty Images)

Curtailing visas

Last month, the Department of Homeland Security announced that “except in extraordinary circumstances,” immigrants seeking lawful permanent residency must leave the U.S. to complete the process. After a backlash, the administration defended the policy, saying it won’t prevent anyone who qualifies for a green card from getting one.

U.S. Citizenship and Immigration Services, the agency in charge of processing immigration benefits, has upped security screening since Trump took office. The agency says that’s to root out fraud, but critics say all it does is unnecessarily slow down a system that already vets applicants vigorously.

The administration indefinitely banned people from 75 countries from receiving immigrant visas, which allow people to move permanently to the U.S.

In a similar move, the government halted the processing of immigration applications for people from 39 countries and who are already in the U.S. On June 5, a federal judge struck down the policy in a scathing ruling that said the administration “justifies its actions with pretextual concerns of ‘national security’ that mask anti-immigrant sentiments.”

Children of Guatemalan origin, from left, Areimy, Mariela and Enrique, arrive at Miami International Airport on Dec. 4, 2025, as they prepare to leave the United States to reunite with their recently deported parents in Guatemala.

(Chandan Khanna / AFP via Getty Images)

The judge’s ruling may offer relief, but for many immigrants, the effects of the policy are devastating. Armin, a 42-year-old from Iran, said he has racked up more than $15,000 in debt since the pause took effect in December. Armin asked The Times not to fully identify for fear of jeopardizing his immigration case.

The nutritional scientist came to the U.S. in 2019 on a student visa and has a pending green card application under a provision that allows certain highly skilled immigrants to apply for permanent residency without needing an employer to sponsor them.

After receiving his PhD and completing a postdoctoral program, Armin was in between jobs when he received a research grant in November. But with the processing of his work authorization halted, the university that issued the grant said it couldn’t hire him as a research associate. In February, he was turned down for another job.

Armin said he is confused about why the administration won’t differentiate between legal immigrants and those who should be deported.

“I can’t believe it,” he said. “I’m doing research and my research has national interest benefits. You expect support from the government. Unfortunately they don’t differentiate. They don’t care about your resume.”

Bier said the visa policies affect half of all legal immigrants coming from abroad. He published a report in April about how Trump has cut legal immigration far more than illegal immigration, noting that the administration’s policies have led to big drops in visas for international students, high-skilled workers and refugees.

“The legal immigration system is being used as a means to carry out the mass deportation agenda,” he said.

Alessandro Negrete, who lived most of his life in the U.S. undocumented, crosses into Mexico after deciding to leave.

(Robert Gauthier / Los Angeles Times)

Encouraging self-deportation

More than 90,000 immigrants have been granted voluntary departure since the start of the Trump administration, according to federal immigration court data through April that was analyzed by TRAC, a data research organization. Voluntary departure avoids official deportation and can leave open the possibility of an immigrant returning to the U.S. legally.

Homan, who declined to be interviewed for this story, has said self-deportations were part of the administration’s immigration plan all along.

“We knew if we surged unlimited ICE resources in the interior, and we do these operations, that that will force those that are here illegally to leave on their own,” he recently told the Washington Examiner.

Halting work permits

In the past, asylum seekers and others with deportation protections have had the ability to seek permits to work legally in the U.S. But work is now an administration target.

One proposed regulation would prevent asylum seekers from working legally in the U.S. Another proposal, published Friday, would further restrict access to work permits for other immigrants.

Under a rule that took effect last month, asylum seekers pay an annual $102 fee within 30 days of receiving a notice from U.S. Citizenship and Immigration Services. If the deadline is missed, their applications will be rejected — with no opportunity to appeal — and they could be placed in deportation proceedings. Those who apply for asylum with the agency have entered the U.S. legally, such as on a visa, and are not undocumented.

Asylum seekers rest at a Tijuana migrant shelter a day after President Trump began his second term in the White House.

(Robert Gauthier/Los Angeles Times)

Conchita Cruz, co-executive director of the Asylum Seeker Advocacy Project, said many asylum applicants have not received notice that the fee is due.

Cruz said she believes the Trump administration is using these changes as an excuse to dismiss people’s asylum claims. While the president has the power to decide whether to offer or rescind humanitarian programs, such as Temporary Protected Status, the right to seek asylum is enshrined in law.

“We’re worried this is a pretext for people to fall out of the asylum system and fall out of the workforce,” she said.

The processing of work permits has already been slowed, leaving many immigrants who still qualify for employment authorization unable to work.

During a House Homeland Security Committee hearing last week, Rep. Lou Correa (D-Santa Ana) asked Homeland Security Secretary Markwayne Mullin to help him speed up the work permit renewals for two police officers who were recently fired by agencies in his district because their DACA status expired.

Mullin said he would help but that Congress ultimately must pass a permanent solution for DACA recipients.

“These are police officers on Main Street, sir,” Correa responded.

“Not all of them are,” Mullin said. “I’m not just going to wave a magic wand and fix them all.”

“You have that magic wand — that’s your job,” Correa said.

It wasn’t just Democrats complaining about slow processing. Rep. Gabe Evans (R-Colo.) similarly asked Mullin for help because many of his constituents — “farm workers, youth ministers, nurses, grocery store business managers” — who have lived and worked in the U.S. legally for decades are now having trouble renewing their visas.

Secretary of Homeland Security Markwayne Mullin, left, and President Trump, center, walk to the motorcade after exiting Air Force One at Joint Base Andrews, Maryland, on May 20.

(Kent Nishimura / AFP via Getty Images)

Calls for mass deportations

Mullin, who took the reins in March after Trump fired his predecessor, Kristi Noem, rolled back some of Noem’s policies, including telling agents to stop entering homes without judicial warrants and canceling some contracts she had initiated.

But the changes and the downturn in arrests have drawn criticism from some fervent Trump supporters.

“Trump’s legacy is tied up in this,” said Mike Howell, a former DHS attorney who founded a group called the Mass Deportation Coalition. “It’s going to be hard to tell a younger voter to get excited to show up when one of their top issues is mass deportation and, a year and a half in, it doesn’t appear it’s going full-steam ahead.”

Howell said enforcement at work sites is critical to scaling up arrests and deportations. That more such operations haven’t happened, he said, is a political decision to appease wealthy donors and special interest groups who don’t want to see their workers deported.

The architect of Trump’s immigration agenda is Stephen Miller, a top White House aid who has called for a “moratorium on immigration from third-world countries,” demanded 3,000 arrests per day and said that immigrants and their descendants “recreate the conditions, and the terrors, of their broken homelands.”

Royce Bernstein Murray, a former Homeland Security official who worked on immigration policy under the Biden administration, said the winding down of flashy enforcement surges has given the administration more time to “focus on tearing down the legal immigration system.”

“This is Stephen Miller’s sweet spot,” she said. “He was never in enforcement — he’s a policy guy. This is really an opportunity for him to make good on all he has planned for years.”

While ICE has, in recent months, returned to its more conventional targeted enforcement tactics, Homan has sought to make clear that mass deportations are still a goal.

“For the people out there saying ‘President Trump’s getting weak on mass deportation,’ you don’t know what the hell you’re talking about,” Homan said at the border expo.

On Monday, Homan told Fox News that he had just reviewed plans for an ICE operation that would surge agents to New York City.

Friday marks one year since a deadly Air India Boeing crash, which killed 260 people in a densely populated suburb of the city of Ahmedabad in India’s western state of Gujarat.

Families of those killed gathered at the site on Friday to mark the anniversary of the disaster, but they are still waiting for answers about what caused the plane to come down shortly after takeoff from the nearby airport.

Indian authorities are expected to issue an interim report in the coming days, another source of frustration for the victims’ relatives, who had been hoping for a definitive finding and a final disclosure. Media reports, citing unnamed sources, suggest that Indian investigators will delay issuing a final report into the crash, citing the need to complete an analysis of the plane’s engines.

Under international aviation rules, a final report is due “if possible” within a year of an accident. If an investigation goes on for longer, an interim statement should be issued on each anniversary.

What happened to the Air India plane?

Flight AI171, an Air India Boeing 787 Dreamliner plane which had taken off only moments before, en route to London Gatwick, crashed into a medical college hostel in the residential area of Meghani Nagar, close to the international airport on the edge of India’s western city of Ahmedabad.

According to flight tracking website Flightradar24, the plane’s final signal was received seconds after takeoff at 1:38pm local time (08:08 GMT). It had reached an altitude of 625 feet (190 metres) before crashing back to the ground outside the airport.

The plane had issued a mayday alert to air traffic control just before all communications from the aircraft ceased.

How many people died in the crash?

Of the 242 people on board, all except one passenger were killed. These included 169 Indian nationals and 52 British nationals. A total of 260 people died, as 19 people on the ground close to the crash site were also killed. Another 67 people near the site were injured.

The sole survivor on board the plane, Vishwash Kumar Ramesh, is a British national whose brother was killed in the crash.

On Thursday, Ramesh’s representative, Sanjiv Patel, told the UK’s Guardian newspaper that Air India had paid £21,500 ($28,800) in compensation to Ramesh to help support his wife and their five-year-old son. It is not clear whether similar payments have been made to other families.

Relatives of the victims are meeting on Friday at a conference organised by lawyers, along with aviation and air safety experts, in Ahmedabad. They are due to hold a candlelight vigil after sunset.

What have preliminary reports shown?

This was the world’s first airliner crash involving a 787 Dreamliner, a Boeing model that has been in service since 2011.

In accordance with international aviation law, India’s Aircraft Accident Investigation Bureau (AAIB) published a preliminary report one month after the disaster.

That 15-page document said the fuel supply to the jet’s engines had been cut off moments before the crash, raising questions about possible pilot error.

It also published a conversation between the captain and his copilot about the fuel supply being cut off – two brief sentences that prompted theories of pilot suicide.

The report was met with strong criticism.

It did not state why the fuel switches were turned off – whether it was the fault of a pilot, or a result of a malfunction.

The preliminary report did not make any safety recommendations to Boeing or engine maker GE Aerospace, suggesting no technical issues had been discovered.

The crash also hit Air India at a sensitive stage of its post-privatisation turnaround, which has been slowed by supply-chain snags, an airspace ban imposed by Pakistan on Indian carriers and, more recently, the US-Israeli war on Iran.

What’s the latest on the investigation?

Under international rules, a final report is due “if possible” within a year of an accident, but sometimes investigations take longer. If it cannot be completed, therefore, an interim statement should be issued on each anniversary. With investigations continuing, the AAIB is expected to issue only an interim report at this stage.

The Federation of Indian Pilots union has been pushing for investigators to seek more technical data about the plane from Boeing and Air India to allow for a “rebuttal of the pilot suicide theory being explored by the AAIB”.

“It [an interim report only] will cause more speculation and more misunderstanding,” Charanvir Randhawa, the union’s president, told reporters at a packed news conference in Ahmedabad ahead of the anniversary of the crash.

“We have requested the Indian government and India’s Aircraft Accident Investigation Bureau (AAIB) not to come out with any interim report.”

A cockpit recording of dialogue between the two pilots of the Air India 787 before it crashed supported the view that the captain cut the flow of fuel to its engines, according to US officials’ early assessment reported by Reuters last year.

But the AAIB said at the time it was “too early to reach any definite conclusions”.

Investigators conducted engine testing in April and visited France last month as part of their analysis of the engine management unit, a source told Reuters on the condition of anonymity, as the information is not public.

On Thursday, Bloomberg also reported that the final report into the crash can be expected within three months, once studies of the engines, which had been sent to the US for examination, are concluded.

The captain’s father has asked India’s top court to order an independent investigation that examines possible causes other than deliberate pilot action – a cause that has been suspected in some other fatal crashes and was confirmed in the case of Germanwings Flight 9525, which crashed into the French Alps in 2015, killing all 150 people on board.

Embattled reality TV personalities Todd and Julie Chrisley are suing an Atlanta law firm and one of its attorneys, alleging that legal mistakes led to the couple’s conviction.

The lawsuit, filed June 5 in U.S. District Court for the Northern District of Georgia, alleges that Atlanta-based Balch & Bingham LLP and attorney Chris Anulewicz “put their own interests ahead of their clients’ lives” by taking on the couple’s case and appointing Anulewicz as the lead, which they say meant “money, publicity, and the kind of high-profile notoriety that brings in business.”

According to the Chrisleys, Anulewicz “had no meaningful criminal defense experience,” and “Balch knew this — or should have.” They also claim that while representing them, Anulewicz steered them into a $75,000 investment in his brother-in-law’s food truck business.

The lawsuit claims that the couple’s conviction and subsequent federal prison sentence were the result of an “unlawful, warrantless search of the Chrisleys’ warehouse” by the Georgia Department of Revenue, and that Anulewicz missed a deadline to suppress derivative evidence that was ultimately used as the foundation of the prosecution’s case.

“That illegal search launched the entire federal case,” reads the lawsuit. “The district court agreed the search was illegal and suppressed the physical documents. But Anulewicz — operating without supervision from Balch — never moved to suppress the derivative evidence: the emails, bank records, and financial documents that federal agents obtained because of what they learned from the illegal search.”

The couple is seeking $25 million in damages, claiming that because their team didn’t have the documents suppressed, they were convicted on every count.

“They served time in federal prison,” reads the suit. “They were separated from each other and from their children. They lost their television show and endorsement deals, costing them more than $25 million in income. Their reputations were destroyed. They have spent millions more in appeals and post-conviction proceedings, all of it an attempt to undo harm that a single timely motion would have prevented.”

In 2022, an Atlanta court found the “Chrisley Knows Best” couple guilty on charges of conspiracy to commit bank fraud, bank fraud, conspiracy to defraud the United States and tax fraud. Julie Chrisley was also charged with wire fraud and obstruction of justice.

Todd Chrisley received a 12-year sentence, along with 16 months’ probation, while his wife was sentenced to seven years in prison and 16 months’ probation.

In 2024, the Chrisleys’ daughter, Savannah, appealed to President Trump to free her mom and dad. During the Republican National Convention, she gave a speech about the “rogue prosecutors” who locked up her parents.

Last year, Trump granted the reality stars a full pardon.

Jay V. Surgent, an attorney who represents Todd and Julie Chrisley, said in a statement to The Times that the reality stars “have correctly been pardoned by President Trump.” He alleged that Georgia officials violated the “Chrisley Knows Best” stars’ constitutional rights due to their notoriety and criticized local authorities’ “improper seizure of evidence.”

Times staff writer Alexandra Del Rosario contributed to this report.

On election night, Santa Ana City Council member Jessie Lopez found herself in third place, far behind fellow Democratic council colleague David Penaloza and Republican business owner Mayra Ruiz in the race to represent Orange County’s 68th Assembly District.

Tearful supporters at a California Working Families Party shindig at the Mission Control bar and arcade in downtown Santa Ana hugged Lopez, gifted her flowers and wished her well.

If the 37-year-old was sad, she didn’t show it. Lopez had seen this game play out before.

In 2023, the councilmember decisively beat back a recall attempt funded by Santa Ana’s police union and apartment owners who didn’t like her unabashedly progressive views in a city where centrist Democrats have dominated politics for decades and lefty ones were long ostracized.

I wrote a column shortly after, heralding Lopez’s overwhelming victory as a new era for Latino politics in Orange County, where Latinos make up a third of the population but still wield little power.

Lopez spent the next three years along with her fellow progressive Santa Ana council members shoring up the city’s rent control policies and its immigrant defense fund. Nevertheless, few gave Lopez a chance in her assembly race.

Penaloza — who declined to vote when the council deadlocked on whether to cancel Lopez’s recall election — had the backing of the Orange County and California Democratic Party establishment, from current 68th District Assemblymember Avelino Valencia (who’s running to represent the 34th Senate District) to Assembly Speaker Robert Rivas to Katie Porter, a former Orange County congresswoman who ran unsuccessfully for governor this year.

Penaloza’s campaign mailers and video ads were so ubiquitous these past few weeks that they filled up my mailbox and interrupted my binging of Hulu’s “Vanderpump Villa.”

So did anti-Lopez mailers and commercials, funded by nearly $2.7 million in independent expenditures. Yet Lopez once again beat back her well-funded opposition.

As of Wednesday evening, the latest Orange County Registrar of Voters election results had her in second place — less than 1,000 votes away from Penaloza.

“Voters proved that while money can influence politics, it can’t buy community support,” Lopez said this week as she unsuccessfully tried to enjoy tacos and guacamole at Lola Gaspar in downtown Santa Ana, where well-wishers kept calling her or congratulating the candidate in person. “This race is about the future of California — whether we answer to corporations and insiders or to the hard-working people we’re elected to serve.”

With Orange County Supervisor Vicente Sarmiento easily winning reelection and Unite Here Local 11 co-president Ada Briceño currently coming up short in her bid to represent the 67th Assembly District, which includes parts of Los Angeles County, Lopez may be the sole O.C. Latino progressive running in November for a seat beyond the local level.

Expect Lopez versus Penaloza to become a referendum on whether the leftward trend of Latino voters in Orange County continues — or whether its center holds.

“I’ve chosen my side,” Lopez told me. “I’m proud to stand with working people.”

Then she excused herself — someone else wanted to say what’s up.

Shrek’s abs are more defined than some might expect. Or is it that the shade of his green skin makes them appear more chiseled under bright lights? Maybe it’s just disorienting because no one anticipated gawking at his torso inside the historic downtown Los Angeles venue founded by Hollywood legends Charlie Chaplin, Mary Pickford, Douglas Fairbanks and D.W. Griffith.

These are thoughts that swirl in one’s head while attending this year’s Las Culturistas Culture Awards ceremony, held on a recent Saturday night at the United Theater. An offshoot of the popular podcast that actor-comedians Matt Rogers and Bowen Yang have hosted since 2016, the award show aims to celebrate the year’s biggest pop culture moments and plays like a fever dream more dazzling and deliciously random than a late-night scroll session on TikTok.

After launching in 2022 as a live event outdoors at Lincoln Center, the guerrilla awards show reached TV screens for the first time last year. This year’s ceremony, which will air June 17 on Bravo and stream on Peacock, coincides with the podcast’s 10th anniversary and features a kaleidoscopic array of attendees, including screen veterans like Lisa Kudrow and Will Ferrell, reality TV favorites like “Summer House’s” Ciara Miller and “The Real Housewives of Dubai’s” Chanel Ayan, and anthropomorphic icons like Miss Piggy and a certain green ogre. And the prizes? It’s the only place you can find categories like “Real Housewives Award for Best Way to Start a Confrontation,” “Pornhub Category We Would Never Click On” and “Hilary Duff Award for Millennial Excellence.”

Over lunch at the NBCUniversal lot in Universal City, Rogers and Yang discussed the show’s evolution. These are edited excerpts from the conversation.

Matt Rogers, left foreground, and Bowen Yang perform a musical number inspired by “Heated Rivalry” during this year’s Las Culturistas Culture Awards.

(Monty Brinton / Bravo)

I will probably regret starting our conversation this way, but we all have our blind spots and, to thoroughly prepare for this interview, I watched “Shrek” for the first time last night.

Yang: Oh great! The first one?

Rogers: How’d you feel?

I get it now.

Rogers: Get what, that he is attractive or …?

I’m not quite there yet. You guys reference the film a lot on your podcast and Shrek has also been a figure on the awards show, including this year. I was hoping you’d explain Shrek as a heartthrob to me as if we’re in a pop culture class. When did this idea really take shape?

Yang: Over at least a couple years, to my knowledge, there’s been this online meme culture around Shrek, where it’s like, “Oh my God, Shrek is like a sex king,” but now it’s even spilled over into like dating life. I don’t know if you’ve heard of this, but there’s a verb called Shreking in dating, where it has to do with women dating a guy that’s below their league because he will be nice to them; he will be a Shrek to their Fiona. That’s an interesting thing — you date someone slightly in another zone than you, so that you can be like, “Well, that’s my Shrek,” but meanwhile, there’s the tension between that and Shrek being someone that people are actually attracted to. This just speaks to the enduring power of Shrek as a pop culture icon.

Rogers: I think what it is, is he has an amazing accent. It’s a very powerful thing. He’s independent, he’s self-sufficient, he’s a movie star.

Yang: He said it at the awards. I mean, he’s a rich celebrity.

Rogers: We saw the real Shrek at the awards and he looks pretty f—ing good to me.

Yang: He looked good to me. I don’t know what these Gen Zers are talking about with this Shrek being below your league.

What are the calls with publicists like now to get their clients to participate?

Yang: Last year was a communication puzzle to solve. We were like, “OK, we have to really convey this the right way.” We thought, perhaps naively, now that we’ve done it, now that there’s a proof of concept, it’s going to be much clearer. I think it was clearer, but there was still that degree of, “oh, this is …” — not to like give ourselves too much credit, but this is a concentric circle outside of what is very established in the form of an award show. You’ve got publicists who are like, “Well, we would love for our client to win an award.” And you’re like, “No, that’s not really the point.”

Rogers: Presenting is just as good as winning, just as good as performing. But I think it’s weird that we have been so late to stumble on what the show really is, which is it’s a variety show. And, so, in wrapping your head around it that way, it’s actually pretty easy to get across. It just has the drag of an award show, and that’s our way in.

But I do understand the publicist hesitation because I will say, in a world where it’s your job to protect your client, you’re putting them in a situation that is like, “OK, they’re going to an award show — that’s something this town takes very seriously.” So, it’s an ask to be like, “Hey, can you come take the piss out of this concept that you’re then probably gonna spend eight months of the year trying to actually achieve?” I would be lying if I said that we didn’t want one day to win one of those awards. It’s an acknowledgment of your work, but in that, Bowen and I think the No. 1 thing that’s the funniest thing in the world is people who take themselves that seriously. It’s a healthy mix of appreciation for this thing that was actually a big element of the culture that made us say culture was for us, which was watching award shows when we were kids, and also the reality that we now know as people that are in the industry of what they really are, which is they’re just shows. We’re not condemning them, we’re having fun with it.

1

2

1. Scenes from the 2025 Las Culturistas Culture Awards: Jeff Goldblum, left, accepting the award for Most Amazing Impact in Film for his appearance in “Jurassic Park,” alongside presenter Patti Harrison. (Griffin Nagel / Bravo) 2. Allison Janney was a guest of honor, receiving the Lifetime of Culture award. (Jordan Strauss / Bravo)

Have you been asked to tweak the name of a category or punch it up even more?

Yang: Last week was the window when our producers could be very honest with us and say if something may not be working. Back to the Shrek [bit in this year’s show], actually, that ended up being much dirtier and bluer than it was on stage.

Really? I already knew I wouldn’t be able to include the award category because of Times standards. So the actual bit was raunchier?

Yang: It was even raunchier. It went for it.

Rogers: But it’s also a testament to how much freedom they give us to make our show. If they were concerned at all about us desecrating the image of Shrek, we certainly did not feel that way. I am really shocked and grateful that we get to do something that it feels like we’re getting away with something.

Take me back in time with young Bowen and young Matt. What do you remember about your enthusiasm for award shows growing up?

Yang: It was watching Billy Crystal at the Oscars do song and dance numbers, zing these things in for a laugh that we’re referencing the year, being in these video packages where he was in the movies. That it was live television and just this pageantry of people congratulating themselves, congratulating each other. I would tune in live every single year to all the award shows and I would follow the host changes. I remember Whoopi’s first year [hosting the Oscars]; I remember Ellen’s first year. I was really obsessive. It opened the door for all these things that I currently love, and that I’ve somehow had a fortunate experience in, which is live television, song and dance numbers — everything that Billy Crystal was doing. It keyed me in on how show business works, down to production elements and how filmmaking comes together.

Rogers: I just remember, I looked at the screen and I was like, “Oh, that’s where I belong. I belong with them. I don’t belong out here.” I was one of those Gold Derby kids — I would be on the forums; I still sometimes look at the odds and rankings and stuff. It was like gay sports, particularly with the best actress and best supporting actress races. And then obviously the Grammys, and all of that. One year I was watching, I think it was the People’s Choice Awards or the American Music Awards or something, and Shania Twain lost to LeAnn Rimes, and I cried for a day. I took it so seriously and my mother turned to me and said, “You need to stop.” But you couldn’t tell me it didn’t matter at the time. [Reporter’s note: Twain lost the favorite country new artist award to Rimes at the 1997 American Music Awards.]

As the profile of Bowen Yang and Matt Rogers’ variety-style award show has risen, getting stars on board is an interesting puzzle: “You’ve got publicists who are like, ‘Well, we would love for our client to win an award,’” Yang says. “And you’re like, ‘No, that’s not really the point.’”

(Jason Armond / Los Angeles Times)

What do you remember about your first experience at a major awards show?

Rogers: He was nominated as writer for “SNL” and took me as his date. We were sitting there — the “Queer Eye” guys were sitting like three rows behind us.

Yang: We watched Phoebe Waller-Bridge sweep with “Fleabag.”

Rogers: We watched Michelle Williams win for “Fosse/Verdon.” It was funny because we had gone to the bar and were double-fisting drinks back to the seats and I said to Bowen, “Oh my God, I’m like the Busy Philipps to your Michelle Williams.”

Yang: And who shows up behind us?

Rogers: Busy Philipps taps on our shoulders and goes, “You guys are killing it with those drinks.” And I’m like, she doesn’t even know I’m her. Cut to minutes later, Michelle walking up and giving a banger of a speech.

Yang: That was like our first brush with it. Even now we go to these, and we’re like, this is really something; it’s incredible. We were at the Oscars last year, front row, witnessing all of it go down, witnessing the moment where upsets would happen, feeling the vibe in the room shift. The benefit of our show is that the vibe is pretty high throughout; it does not decline as soon as there are losers in the room.

Las Culturistas Culture Awards took place in late May and is being telecast roughly two weeks later. Do you see it ever going the live route?

Yang: We don’t know. That is my not so secret dream, is to do it live one day. There’s just something about doing it live — and it occurs to me now that I’ve been very lucky and fortunate to have have my reps in. There’s just something so wonderful about it being this event where everyone is tuning in, enjoying it the same time you are. That is really something special.

Rogers: If he’s down, I’m down.

I’m sure this changes each year, but who’s your dream person to snag for an appearance?

Rogers: I would say the people that make it very apparent that they have sketch comedy and impression skills, and maybe you wouldn’t necessarily know that they do until they show that.

Yang: Ariana Grande.

Rogers: Our dream was for Ariana to come do an original character. We actually floated to her the idea — there was going to be like a Banksy reveal of MsMojo, and it was going to be revealed that it was Ariana Grande was MsMojo. But she actually was in rehearsals for the Eternal Sunshine World Tour. Little did we know she also was recording “Petal.” She was a bit too busy to play MsMojo, I guess, this time.

Yang: These two are forever paired in my head, but it’s because she’s another sketch performer: Cher. And sometimes the dream guests are not big names, it’s the people that we came up with in comedy. And actually one of the consumer research reports that we got back before we started writing this year’s show was that the thing that people loved about the Culture Awards was this crossover of reality talent, A-listers and Oscar winners, and comedy people — that mix, those three [types of] people mingling together is what the viewers want.

Rogers: I’m just so proud in every single way of the diverse array of talent that we were able to bring together. I looked out in the audience and it was just a party of so many friends and people we’ve met in the business — people that I didn’t even get to meet that night, but I was just gagged they’re there, especially in the edit, which you’ll see. This is Bowen’s first year in the edit, he had to miss it last year, but that’s what’s so cool about going through the footage, is you’re like, “Oh my God, there’s someone I’ve loved my entire life next to my cousin.” We were saying to each other that it ended up being like a weird love letter to our younger selves, having Mandy Moore and singing “Only Hope” with her and doing the “Pokémon” theme song and getting to hang out with Pikachu.

Do you worry about it ever getting too big?

Rogers: If it ever gets to a point where it couldn’t be funny, that wouldn’t work. We want it to always stay true to what it is, which is it’s our comedy special together. As long as it doesn’t feel like it’s selling out — and I can understand people watching it and being like, “Oh, they obviously had to have Nintendo characters because it’s NBCUniversal or obviously they had to include “Summer House” — none of that is true.

Yang: There’s no mandate.

Rogers: This is genuinely what we would want the show to be, and so as long as it’s that, we’re good.

So what’s your “I don’t think so, honey” on awards shows?

Rogers: I don’t think so, honey — 10 nominees for best picture at the Oscars. Why?

Yang: Totally. Tea.

Rogers: I actually think it helps things that are weirder win because it’s too many. And the way that they ranked choices. I’m a popular-vote person anyway.

Yang: I need us to really get on the same page about play-off music. Sometimes people are encouraged to go on, sometimes we turn against that. Let’s stop innovating, let’s stop trying to break the mold on them. Let’s just respect that as much as we can, unless it’s egregious.

And it’s always a bit within the show.

Yang: This is what I was about to get to. The hosts now are always trying to bitify that; it’s more of a practical thing to keep the show moving. Don’t try to put a hat on top of a hat by making it a comedic moment too. We’ve never really played with that trope, even though we could, and maybe should. For now, my attitude towards play-off music is, these people might not ever be on this stage again.

How soon do you start planning the next one?

Rogers: Hopefully, they give us the green light.

Ana Gasteyer, left, Jamie Lee Curtis and Patti Harrison at the 2025 Las Culturistas Culture Awards.

(Jordan Strauss / Bravo)

How did you go about deciding which categories would return this year and which you invent along the way?

Yang: We did an audit this year of all the categories from the last few years of doing this.

Rogers: Less made it back last year.

Yang: I think maybe about 30 max previous categories [returned] — that’s a decent ratio, 70-30 is nice. From there, we just kind of molded the clay on the table a little bit. We have the benefit of making this a recursive reinvented show every year; the categories itself are the premise, it’s the micro-premise within the segment or the element. The jokes are the nominees. Why not create new opportunities at every turn.

“Las Culturistas” expanded into a video podcast last year. How do you feel about this evolution we’re seeing to the format?

Rogers: It’s not that when I’m on camera with Bowen doing the podcast, like, “Oh, I wish I could be more relaxed,” I just wish the whole industry hadn’t gone this way because I feel like when you’re on camera, you can’t help but be a little bit more self-conscious, and that is going to come through in the podcast product. If I had my druthers, none of them would be on film. I can understand that it helps a lot and I can note a marked difference in the amount of times I get recognized now that we are on social media. It absolutely “helped” our podcast get bigger. That being said, I don’t think it was a good thing for podcasting that they all became TV shows.

Yang: It changes the register and the tone by nature. You cannot help but be motivated by different things, by the appearance of it, by the presentation of it, beyond what it was, which is just radio, which is a really important American form.

As two people who grew up being connoisseurs of pop culture, what is it like to be on the other side of it, to feel the intensity of it — I’m talking about what happened with the Jasmine Crockett comments — to become part of the conversation? What lesson came from that?

Yang: We are experiencing something in an acute way that I think everyone is experiencing, which is we are seeing ourselves in the third person. Everyone is kind of modulating their behavior based on how they are appearing out of body. It’s the way we all move through the world now, which can be snapshot and projected very widely out into the world for whatever reason.

Rogers: When you’re talking candidly, you can never know what piece of what you’re saying is going to be the piece that gets scrutinized again and again and again and again by what feels like the entire internet. And if you did, you would, of course, be more specific, and you would be able to really clearly say why you are saying what you are saying. We have had learning experiences with that, and so what we can do going forward is be more clear about the things that we do believe and stand by. That is something that even 10 years in the game we are learning how to do.

Yang: And I think on a very large scale, what is going to happen is that we are all going to adjust for the fact that we have behaviorally changed because of this idea that we’re seeing ourselves in the third person constantly. For me, personally, I’ve had to wrestle with this idea after being on “SNL” for seven years and having to evaluate myself and having an audience evaluate me every week. I’ve changed behaviorally; I need to get over this fear of being seen. I need to get better about listening to my own voice.

Rogers: The internet is a very weird place and the thing is, it deliberately ignores nuance. It willfully tries to make something seem lowest common denominator, so that there can be a community based around that thing. And that is not good for the world. It’s not good for discourse. It’s not good for our politics. It’s really bad for our politics. Until we can all get on the same page about the ways in which we are willfully misunderstanding each other and calling it discourse, it won’t get better.

Yang: The misunderstandings are about people’s tones, and not necessarily about the things that people are pointing toward.

In less than a month, Riverside’s Mission Inn has gained a new owner, lost two prized pieces of art and sparked a heated debate over the line between private property and community history.

The stage for this controversy was set in early May, when hotel owner Kelly Roberts decided to sell the Mission Inn to the Yuhaaviatam of San Manuel Nation, the tribe that owns the Yaamava’ Resort & Casino in Highland and the Palms Casino Resort in Las Vegas.

But it wasn’t the sale (for an undisclosed amount) that started arguments. It was Roberts’ removal of two beloved paintings from the hotel before the sale closed.

A painting at the Mission Inn in Riverside titled “Charge Up San Juan Hill” is taken down on March 20, shortly before the hotel’s change in ownership.

(James Ranger)

One is an alpine landscape called “California Alps” (1874) by William Keith, which measures roughly 6 feet by 8 feet and was displayed in the lobby near the front desk. The other painting, “Charge Up San Juan Hill” (about 1900) by Vasily Vereshchagin, was displayed on a wall of the steakhouse near the lobby. Both paintings had been a part of the hotel for more than a century.

“It was like a slow-motion version of the Louvre Museum heist, pulled off on a sunny day in Riverside in view of guests, staff and visitors,” wrote David Allen of the Riverside Press-Enterprise.

“There’s an outrage among members of this community,” said Mike Marlatt, a Riverside attorney and former board member of the Mission Inn Foundation.

The issue appears to be what agreements Roberts’ late husband made when he bought the building more than 30 years ago.

Former Riverside redevelopment official Ralph Megna, who facilitated the 1992 sale to Duane Roberts’ Historic Mission Inn Corp., wrote on Facebook that “What Kelly is apparently doing at this point is just pillaging the place in violation of those agreements.” But on a phone call, he was less absolute. He said the original pact included an agreement intended to protect about 180 movable pieces of art and artifacts from removal, but that “there’s shades of gray here.” Megna added, “We trusted people. Good faith turned out to be not so good.”

Duane and Kelly Roberts, photographed in 1998 at their home in Laguna Beach. Duane, who reopened the Mission Inn in the early 1990s, died in 2025.

(Glenn Koenig / Los Angeles Times)

Roberts’ family attorney Alan Jackson, however, said “Kelly is not pillaging anything.” He maintained that when Duane Roberts bought the hotel, “he bought every single item. Every single item was the Roberts family’s personal property.” When Kelly Roberts sold the hotel last month, Jackson said, she was free to keep or sell any of its contents.

In that deal, Jackson said, “the buyers would not close” until the paintings and a sculpture of Duane and Kelly Roberts were removed, because “they’re expensive.” Also, Jackson said that Duane Roberts, “before his passing, made it very clear to Kelly and the family that those are two of his favorite paintings ever.”

Jackson declined to say where the artworks are but said “they are in her possession” and “she has no intention of ever getting rid of those ever.”

The iconic spiral staircase in the rotunda of the historic Mission Inn.

(Gina Ferazzi / Los Angeles Times)

The hotel’s new owner, the San Manuel Investment Authority, declined to address questions about the sale agreement. But in a statement, it said it is “committed to collaborating with the Mission Inn Foundation and the City to respectfully steward and preserve this historic landmark, recognizing its deep history and significance to the Riverside community.”

Despite accolades from groups including Historic Hotels of America, tensions between the Roberts family and Riverside preservationists have risen in recent years. In late 2024, after more than 30 years renting space within the hotel, the nonprofit Mission Inn Foundation and Museum was unable to agree on a lease extension with hotel management and moved to a building on Main Street. Foundation leaders did not respond to messages seeking comment.

“The Mission Inn is so foundational to Riverside that any significant change brings real concern to me and makes me uneasy,” said City Council member Philip Falcone, 28, who has been leading tours of the inn since he was in high school.

The Keith painting is “quintessential California, a romanticized view of the Sierra Nevada range. William Keith, the painter, was friends with John Muir,” Falcone said. As for the San Juan Hill painting, it connects neatly with the history of Theodore Roosevelt, one of nine presidents who have visited the inn.

A guest takes in the view from the Spanish patio at the Mission Inn.

(Gina Ferazzi/Los Angeles Times)

The hotel is largely the creation of Frank Miller, who bought Glenwood Cottage, a modest boarding house, from his father in 1880. Then Miller enlisted investment help from his friend, railroad magnate Henry Huntington, transformed the boarding house into a hotel and renamed it. Over time, Miller built it into an architectural wonderland filled with art and antiques gathered in the U.S. and Europe. By 1931, the enterprise filled a city block.

“It’s a unique property,” said David Stolte, president of the Old Riverside Foundation. “It’s a National Historic Landmark. It kind of sits at the intersection of private commerce and public benefit. The original owner, Frank Miller, intended it as a public space, essentially a cultural museum, in addition to his business of running a hotel.”

After Miller’s death in 1935, the hotel’s reputation spread even further, attracting dignitaries of the day — and the future. It served as the site of Richard and Pat Nixon’s wedding in 1940 and Ronald and Nancy Reagan’s honeymoon in 1952. But by the 1960s, it was much diminished, and a later owner, Benjamin Swig, had sold close to 1,000 antiques and artworks to help pay bills.

By the mid-1980s, the hotel had passed through a period of city ownership and was closed. By 1992, more than $50 million had been spent in restoration and renovation, but the project was scuttled by a bankruptcy. That’s when Duane Roberts, who grew up in Riverside and made his fortune selling flash-frozen burritos, bought the property and reopened it.

Duane and Kelly Roberts, residents of Laguna Beach, also established the hotel’s annual Festival of Lights, an Inland Empire holiday tradition. The hotel today includes 238 guest rooms, four restaurants, two lounges, two chapels, a spa, pool and candy shop.

Besides their stewardship of the hotel, Duane and Kelly Roberts became known as major donors to the Republican party. In 2017, Politico reported that Kelly Roberts was in line to be named the Trump administration’s ambassador to Slovenia, but turned down the post.

After Duane Roberts died at 88 in November, Riverside buzzed with questions over the fate of the hotel, prompting another Roberts family lawyer to offer public assurances.

“Nobody’s buying this hotel. Mrs. Roberts is keeping this hotel,” attorney Patrick O’Brien told a TV news crew in late November. But on May 4, Kelly Roberts and the San Manuel Investment Authority announced the pending sale.

Festival of Lights, Mission Inn’s popular holiday tradition, was created by Kelly and Duane Roberts after they reopened the hotel.

(Allen J. Schaben/Los Angeles Times)

Then on May 20, guests spotted workers removing the two paintings from the lobby area. Longtime hotel-watchers said other items had disappeared in recent years, including an 1876 Steinway piano; a statue of the goddess Pomona; William Wendt’s painting “Houses at Arch Beach”; Ilya Repin’s 1884 painting “Portrait of Madame K.”; and the hotel’s Taft Chair, a sturdy oak armchair commissioned by Frank Miller in 1909 to hold 335-pound President Taft. But the midday, presale removal of the Keith and Vereshchagin paintings prompted immediate outcry.

It was “traumatizing, seeing that stuff on display for so long and then seeing it come down,” said James Ranger, a veteran hotel tour guide and Mission Inn Foundation docent. After all the time and money the Roberts family invested in the property, “leaving on this note puts a sour taste out there,” he said.

The sale closed May 29. Though the Roberts family’s attorneys have insisted that the buyers and sellers are in accord, preservation advocates in Riverside have called for a review of documents associated with Roberts’ purchase of the property.

Meanwhile, the hotel’s new era as a tribal holding begins. Besides the two casino-hotels, the Yuhaaviatam of San Manuel Nation owns several other hotels, including the Waldorf Astoria Monarch Beach Resort & Club in Dana Point. As for the Mission Inn, the tribe has signed on Boston-based Pyramid Global Hospitality to take over management, and several changes are already evident.

Notably, the Roberts’ names have been dropped from the signage. Kelly’s Spa has become simply the spa, Duane’s Steakhouse is now just the steakhouse, and Casey’s Cupcakes, a hotel shop founded by Kelly’s daughter Casey Beau Brown, has closed. The Festival of Lights will continue, a spokesperson said.

Stolte said the Old Riverside Foundation believes the tribe will be “great stewards” for the Mission Inn.

“I wish that their welcome to Riverside was a little smoother,” he said.

Staff writer Alex Wigglesworth also contributed to this story.

Anticipation. Rumors. Anxiously scanning the horizon, hoping that a brilliant force will leave the masses forever changed. Yes, a new Steven Spielberg movie about close encounters with extraterrestrials is landing — and misses the mark.

“Disclosure Day” is a story of truth and feared consequences. A personality-free cybersecurity expert, Daniel (Josh O’Connor), is on the run with evidence of little gray men arriving on our planet to a rude reception. The aliens are kind. Our species is barbaric. Wittily bruising us with that fact, Spielberg opens with a POV of a wrestler kicking the audience in the face. Welcome to Earth.

Elsewhere in America, a weathergirl named Margaret (Emily Blunt) breezes into her Kansas City studio, babbling up until the minute the news camera turns on, a bravura sequence that channels her restlessness, the station’s tempo and the film’s alarm that this ditz has just this morning been stricken with preternatural powers. (The cinematography and editing are by Janusz Kaminski and Sarah Broshar.) Locally, Margaret is known for announcing hailstorms with a sexy shimmy. Suddenly, she’s fluent in Russian, Korean and telepathy. Although she and her boyfriend, Jackson (Wyatt Russell), are a bad match, she’s giving everyone else life advice like an intergalactic Dear Abby.

When Margaret starts spouting alien-ese — spasms of gutteral clicks — on live TV, she and Jackson rush to the hospital for a brain scan followed by several suspicious men who claim to be with the FBI. Russell’s befuddled Jackson is as useless as a traffic cone but Blunt’s Margaret is a gas before the movie makes her go all glassy-eyed and solemn. Yet, the movie is less inspired by why she was chosen or how she feels about it than in dragging us back in time to the moment when it happened, which isn’t that interesting except for its resemblance to a Disney princess having a psychotic break. The CG animals and aliens look stiff, other than a nifty close-up of an eyeball. (Later, I did like how one alien appears to be wearing sportswear.)

Chasing both Daniel and Margaret around the Midwest is a deep-state company called Wardex that wants to steal back the proof in Daniel’s backpack, a heap of hard drives with footage of 70-plus years of extraterrestrial visitations. It’s a treat to see Spielberg enjoying staging this conspiratorial gossip in different film stocks, from the black-and-white noir of 1947 Roswell to the clinical security-camera look of today. Whatever Wardex does on a day-to-day basis is unclear (we just see video screens and lab equipment). But it acts all-powerful, seeming to know more about outer-space tech than its overseers at the Department of Defense.

The script is by David Koepp of the paranoid thriller “Black Bag” and Spielberg’s 2005 version of “War of the Worlds,” yet, this plot strand about private enterprise isn’t science fiction. Last year, in the unrelated UFO documentary “The Age of Disclosure,” current Secretary of State Marco Rubio admitted that companies have a stronger institutional memory of “exotic materials” than any presidential administration: “The people in government who know where it came from originally — they’re long gone and their successors have no idea that it was there at all.” To add nationalistic insult to injury, the head of Wardex isn’t even American. He’s a Brit played by Colin Firth.

If anything, “Disclosure Day” isn’t paranoid enough. Clutching a mysterious tool the shape of a mouse coffin, Firth’s villain tracks Daniel’s location by mentally transplanting himself into another person’s body, changing the color of their pupils to his own icy blue. His gadget also makes his targets super sweaty. This laborious alien tactic leads to a few fun scenes but frankly feels old-fashioned when the omnipresent surveillance that Spielberg himself warned about nearly 25 years ago in “Minority Report” is now here with recording devices constantly tracking our faces, voices and movements just so we don’t have to dial phones, fetch sandwiches or talk to human drivers. Although his movie urged us against this 24/7 spyware future, we have since embraced the convenience.

I bring this up because “Disclosure Day’s” driving question is how humanity will react to life-altering information. (Not that the plot has much momentum — too many scenes end with the belief that ducking 10 feet out of view makes you invisible, with an antagonist simply giving up.) Daniel insists on total honesty: “People have a right to know the truth,” he says. His girlfriend Jane (Eve Hewson) doubts 8 billion people can handle his alien revelations. A Catholic, she’s alarmed that extraterrestrial intelligence could replace the concept of God, naively claiming that “religion holds society together.” Since when?

There’s some wan comedy in an early scene where these new-ish lovers debate the ethics of secrecy while revealing the skeletons they’ve been hiding from each other. Both have pasts you wouldn’t put on a Tinder profile. The script is glancingly empathetic to Jane’s moral turmoil but like Daniel, the film has made up its mind before the movie started. Narratively and logistically, Daniel’s whistleblowing escape limps along with a lack of suspense. Wardex doesn’t even bother to preemptively discredit Daniel in the public’s eye, which, given the two sentences of backstory we know about his character, would be easy.

Nattering in the background are broadcasts about the impending threat of global war at the hands of the United States, Russia and North Korea. Given that scary possibility, the risk that Daniel’s reveal could tip over the world order doesn’t seem that bad. Honestly, I’m dubious of the film’s certainty that folks even have the bandwidth to care about such news, let alone agree on what they’re seeing. The serious journalism Margaret aspires to do is splintering under our distrust of who controls the megaphones. Last month’s infodump of an Armed Forces report listing 209 sightings of unidentified objects was announced with a presidential tweet that “the people can decide for themselves.” I didn’t bother to click. Did you?

Getting information about these space invaders out leaves no time for taking the marvel of their existence in. Decades after Spielberg unveiled his signature shot — a face amazed at wonders we can’t see — he seems wearied by his awareness that today’s moment of revelation would look like a person staring down at their phone. When lens flares continually beam right at the screen, the whole movie feels like enlightenment under duress.

Where are the aliens from and why are they here? Who knows. “Disclosure Day” speeds around frantically, talking constantly and explaining little. Back in 1977, Spielberg’s “Close Encounters of the Third Kind” was a popcorn masterpiece of withheld information. Its quiet assurance that experts had a handle on flying saucers and a plan to meet them felt comforting. Here, Colman Domingo’s renegade intelligence operative also refuses to tell anyone anything, but all the unspoken beats just feel like plot holes. Mostly, his character builds what looks like a Hollywood set to reveal a truth he already suspects. That’s what Spielberg is doing too, but a film needs a sense of curiosity.

Instead, the wows come from good stagings of ordinary action: a car crash, a gripped crucifix, a hideout crowded with jostling, thrumming musical instruments. There’s a great train-track crossing sequence that’s also a vicious callback to Richard Dreyfuss’ epiphany in “Close Encounters.” Yet, I wanted to see more of the old Spielberg, the one who expressed awe in moments of silence rather than relentless motion.

That Spielberg has come full circle to his lifelong obsession with the sky had me convinced that this might be a secret sequel to “Close Encounters” beyond the droll joke that both Dreyfuss’ Roy and Blunt’s Margaret are shacked up with unsupportive blonds. They do share a universe; you’ll see a glimpse of what could pass for an outtake from Devils Tower, a.k.a. Mashed Potato Mountain, on one of Daniel’s hard drives. Still, I left underwhelmed. I didn’t need Dreyfuss to step off a spaceship gangplank and say, “I’m back.” I just needed “Disclosure Day” to have the same spark of intelligent life.