You’ll qualify for membership when you sign up and simply look up your credit score while logged in.
It takes just a few minutes to enter some details such as your address and date of birth to sign up for the credit score check.
Then you automatically become a member of the SuperSaveClub and you can tap through and access the Free Days Out pass.
Through the pass you can look for days out by postcode or location to see what’s on offer close to you.
You can then ‘claim’ an offer such as a free ticket.
Some of the more premium venues are ‘hot picks’ and you can only claim a free ticket once a month.
This includes Whipsnade and London ZSL zoos, as well as GoApe – but it’s worth noting not all GoApe venues are included.
For all other venues you won’t be able to claim more than once in seven days.
Once claimed, vouchers will need to be used withing 14 days.
To cut the cost of days out and top venues, you can also check websites for discounts.
For example, you’ll get 10% off bookings through GoApe when you sign up to its email distribution list.
A Kids Pass can also cut the cost of days out – it costs just £1 to sign up for the first 30 days which can easily be recouped if you are using it to get discounted entry tickets.
Just remember to cancel the subscription if you don’t think you’ll continue using it.
EXCLUSIVE: Kieran McCartney has revealed what fans don’t see on The Apprentice including what Lord Alan Sugar, Baroness Karren Brady and Tim Campbell are really like
Dan Laurie Deputy Editor of Screen Time
07:00, 02 Apr 2026
The Apprentice has been on our screens for over two decades(Image: PA)
Kieran McCartney has revealed what the BBC bosses don’t show on The Apprentice.
The estate agent from East London is one of the eight remaining candidates in the running to become Lord Alan Sugar’s next business partner.
Last week, he put his neck on the line by cutting a dramatic “win or walk” deal with the business tycoon to save himself from being fired.
He’s the first contestant in the BBC show’s 21-year history to make a pact with Lord Sugar that he would lead the next task to victory – or walk away.
As fans wait to see the outcome of the bold move, Kieran’s shared some behind-the-scenes secrets including what Lord Sugar and his aides Baroness Karren Brady and Tim Campbell are really like.
“Those boardroom showdowns are as real as it gets,” he explained, before adding: “Everything is done in one take and they film everything once and once only. It’s all real and raw.
“What you see is what you get. Karren’s [Brady’s] very strong but a big softy and she grows on you.
“[Lord Alan] Sugar had lots of banter and I love that so I was giving it back to him. I don’t think anyone’s ever given back to the way I did and Tim’s just a lovely guy.”
Baroness Brady joined The Apprentice as one of Lord Sugar’s aides in 2010 replacing Margaret Mountford and Tim won the first series of The Apprentice in 2005 taking over Claude Littner in 2022.
Kieran went on to share exactly how much time he spent with Lord Sugar’s trusted advisors during the process.
He added: “When you split into your two teams, you then go into further two teams so there’s four groups overall.
“Karren and Tim spend the morning with one group and the afternoon with the other and then you see them in the boardroom.
“They kind of just sit there but I’m not sure they actually write anything down like you see on camera.”
To remember his ultimatum, Kieran has had a tattoo on his leg of Lord Sugar, Baroness Brady and Tim’s faces with the words “The Apprentice 2026” and catchphrase “win or walk”.
Addressing his thinking process behind his bold offer, he joked: “Lord Sugar will either love my tattoo or send me a legal letter.”
He continued: “I’d love to sit here and say it was all part of a bigger plan but it was a total impulse.
“I thought I was a goner and was going home, it was a last resort and I just came out with it.
“I had to make that deal with Lord Sugar to survive and I put my neck on the line. It was a one-off, never been done and that’s a bit of me.”
Kieran McCartney was speaking to BestBettingSites.co.uk – the leading comparison site for casino sites and The Apprentice airs Thursdays on BBC One and BBC iPlayer at 9pm
WASHINGTON — Democrats’ hopes of reclaiming the U.S. Senate are colliding with a fight within their own party.
In Maine, Senate Minority Leader Chuck Schumer has thrown his weight behind Gov. Janet Mills in a crucial race, but some of his Senate colleagues are backing insurgent candidate Graham Platner in a rebuke of his strategic vision. A similar dynamic is playing out in other battlegrounds, including Michigan and Minnesota, where progressive senators are endorsing non-establishment candidates.
At stake is more than any single race. Democrats are fighting over whether the party’s traditional playbook still works in a country that elected Donald Trump for a second time — and whether leaders like Schumer should remain in charge.
“Clearly there’s a disagreement of strategy here,” said New Mexico Sen. Martin Heinrich, who has endorsed Platner.
He added that “the business-as-usual calculation for what is going to be successful in a given election cycle does not necessarily, in my view, meet the moment.”
The divide reflects a Democratic base frustrated after the last presidential election, when President Biden ran for a second term despite widespread concerns about his age. He dropped out and endorsed Vice President Kamala Harris, who lost to Trump.
Nan Whaley, a Democratic strategist in Ohio who ran for governor four years ago, said the debate is no longer about progressive or moderate.
“It’s really about, who do you trust? Establishment or not establishment?” she said. “And frankly, the establishment hasn’t given us a lot to trust these past few years.”
‘A rebuke of Schumer’
In Maine, Schumer and the Democratic Senatorial Campaign Committee have backed Mills, a 78-year-old moderate in her second term.
Platner, a veteran and oyster farmer, quickly won the backing of Sen. Bernie Sanders (I-Vt.), just days after launching his campaign. His bid has since gained momentum despite scrutiny over past controversial comments and a tattoo resembling a Nazi symbol.
In recent weeks, Heinrich, Arizona Sen. Ruben Gallego and Massachusetts Sen. Elizabeth Warren have endorsed Platner as he builds support on Capitol Hill. Heinrich and Rhode Island Sen. Sheldon Whitehouse held a fundraiser for him, too.
Gallego, a first-term senator who won a battleground race in 2024, downplayed the endorsements as a broader critique of party leadership.
“Senate leadership didn’t back me at the beginning. So I didn’t take that as a critique,” Gallego said.
Michigan also has a contentious primary, with three high-profile candidates. State Sen. Mallory McMorrow has said she would not support Schumer as the caucus leader if Democrats regain the majority, and she’s been endorsed by four senators.
Abdul El-Sayed, running further to the left, has been endorsed by Sanders and has also run on an anti-establishment platform.
U.S. Rep. Haley Stevens has aligned with establishment figures, working with a former executive director of the Democratic campaign committee and securing support from two senators.
Democratic strategist Lis Smith said the endorsements in races like Maine and Michigan are “as much as a rebuke of Schumer as it is an endorsement of these candidates.”
“It’s pretty uncommon for sitting senators to endorse against the Senate leader,” Smith said. “Senators are reading the tea leaves and are getting feedback from the grassroots that they are dissatisfied with Schumer’s performance as leader.”
In Minnesota, an open-seat race has similarly emerged as a test of the party’s direction. Rep. Angie Craig is seen as the centrist candidate in the primary, with endorsements from House Democratic Leader Hakeem Jeffries and Rep. Nancy Pelosi. Lt. Gov. Peggy Flanagan, the more progressive candidate, has been backed by Sanders, Warren and others, including Minnesota Sen. Tina Smith, who is vacating the seat.
“She understands that right now what we need are fierce fighters, people who are willing to stand up to the status quo,” Smith said in her endorsement.
‘The election may impact’ Schumer’s time as leader
Some tensions trace to March 2025, when Schumer voted with Republicans to end a government shutdown, drawing backlash from Democrats who argued he did not push hard enough against Trump’s agenda.
Later that year, Democrats held firm in a record-long shutdown fight, helping regain some ground with activists and progressives. But divisions resurfaced when a group of moderates ultimately sided with Republicans, fueling renewed frustration with party leadership even as Schumer opposed the move.
Since he became Senate leader in 2017, Schumer’s record in elections has been mixed. He led Democrats back to the majority in 2020 and expanded it in 2022 but lost ground in both 2018 and 2024.
“Leader Schumer’s North Star is taking back the Senate and is pursuing a path to do just that,” said Allison Biasotti, a spokesperson for Schumer.
He’s recruited high-profile candidates this year in tough Senate races, such as Alaska, Ohio and North Carolina. Maeve Coyle, communications director for the campaign committee, said Schumer “created a path to win a Democratic Senate majority this cycle” with the recruitment.
“Senate Democrats overperformed in the last four election cycles and in 2026, we will win seats and flip the majority,” she added.
David Axelrod, who served as a top strategist for President Obama, said that being Senate leader is never easy, and that Schumer “has been under fire for some time, particularly from progressives in the party.”
Schumer’s time as leader, Axelrod added, is likely directly linked to the outcome of the 2026 midterms.
“There’s questions as to whether he’ll run in 2028. There’s even questions as to whether he might be challenged as leader,” he said. “I think the results of this election may impact that.”
For now, Schumer’s caucus is tentatively standing behind him. None have explicitly called for him to step aside. But discontent has lingered, with some openly questioning whether the party needs a new direction.
“How people did politics in the 1990s is going to feel different than in the 2020s,” said Heinrich.
Legendary street artist and activist Shepard Fairey was omnipresent at the High Desert Art Fair, which unfolded in and around Pioneertown over two unseasonably hot days last weekend. Founded more than seven years ago by art dealer Nicholas Fahey and artist manager Candice Lawler, the event has morphed from a few dozen people in Lawler’s living room to a few thousand roaming the dusty, sunny environs of the kitschy Old West town, with ancillary events in Twentynine Palms and Joshua Tree.
Fairey, who bought a home in the area during the COVID-19 pandemic, DJ’d a spirited opening night party at the Red Dog Saloon — spinning punk, post-punk and new wave hits by Joy Division, Fugazi and Black Flag to a packed house of art fans wearing paint-splattered DIY couture — and he spoke during the weekend’s most anticipated panel alongside Devo frontman and gallery owner Mark Mothersbaugh in a conversation moderated by singer-songwriter Harper Simon, son of folk icon Paul Simon.
Artist Shepard Fairey DJ’d the opening night party of High Desert Art Fair at the Red Dog Saloon in Pioneertown. The set was heavy of punk, post-punk and new wave.
(Jessica Gelt / Los Angeles Times)
Fairey was forthcoming about his opinions on art, politics and technology, drawing applause at one point for saying that using AI in art is not something to be afraid of. His assessment came after he lamented the fact that social media algorithms punish “decency” and reward “flamboyant narcissism and controversy.” He then joked that the “algorithm’s gonna love this. S— is gonna go nuts,” before talking about his recent collaboration with the digital artist known as Beeple who’s notorious in the art world for selling an NFT of his art in 2021 for $69.3 million.
The Red Dog Saloon was packed with art and music fans during the Friday night opening party of the High Desert Art Fair, which drew thousands of people to Pioneertown during the last weekend in March.
(Jessica Gelt / Los Angeles Times)
“He’s either the vanguard of a new way of working, and a maverick, a trailblazer, or he’s the worst thing that’s happened to art ever, or in between, or both, or neither,” Fairey said as the crowd laughed. “That’s totally my opinion.”
During a late-March event held in Fairey’s hometown of Charleston, S.C., Beeple Studios presented “Shepard Fairey: Obey and Resist,” which leveraged AI to help guests create their own Fairey-inspired paintings. During the panel, Fairey called the results “almost idiot-proof.”
He then elaborated on his feelings about AI’s encroachment on the art world, saying that if he were part of the “traditional art world thinking” he wouldn’t dare “go over to the dark side of digital art and AI, because that’s cheating.”
“All those same people a few hundred years ago when Da Vinci was using the camera obscura were like, ‘Get your proportions right, just by eye. Don’t use a cheating tool,’” Fairey said before taking the analogy to cave paintings and noting that those same types of naysayers would’ve been unhappy when it was discovered that horse hairs at the end of a stick were useful for distributing pigment and might have said, “That’s not keeping it real, bro. Use bloody elbow like everyone else.”
Fairey called that type of thinking “idiotic.”
“A tool in service of someone with a genuine vision that bends the tool to their will, rather than having themselves bent to the tool — that’s what creativity is about,” Fairey said.
The conversation about AI art started when Mothersbaugh, who was headlining a music set at Pappy & Harriet’s later that night, admitted that he was “fooling around with AI” and “just making myself laugh, like mutating old Devo photos and videos. It cracks me up. … I don’t know what is ever going to happen with it. Maybe they’ll just always live on my phone and eventually get thrown away or lost or something.”
The stage is set for an experimental music show by the General, featuring the stylings of Devo frontman Mark Mothersbaugh.
(Jessica Gelt / Los Angeles Times)
It’s a rock ‘n’ roll art fair
The idea that AI won’t cannibalize artists and their work on a massive scale is refreshingly utopian, but in many ways so was the fair itself. It takes magical thinking to grow anything in the harsh desert environment, which is why artists have been making the trek for decades. There was a youthful, rock ‘n’ roll vibe to the proceedings that was punk in quality but earnest in its quest to be seen.
Mothersbaugh’s gallery, MutMuz, occupied one of 20 rooms reconfigured as show spaces at the Pioneertown Motel, as did Gross!, a Chinatown gallery founded by former Liars drummer Julian Gross and populated with the work of musicians such as Karen O, O’s costume designer Christian Joy and TV on the Radio’s Tunde Adebimpe.
A work of painted fabric by Karen O‘s costume designer Christian Joy hangs in Gross! Gallery at the Pioneertown Motel during High Desert Art Fair. The gallery is owned by former Liars drummer Julian Gross who features plenty of work by fellow artists.
(Jessica Gelt / Los Angeles Times)
Desert pioneers are key to the spirit of the place
The fair featured tours of a number of the most interesting attractions in the area, including the Noah Purifoy Desert Art Museum of Assemblage Art in Joshua Tree and artist Andrea Zittel’s arts outpost and residency program, High Desert Test Sites.
Old computers are stacked at the center of an installation titled “Carousel” (1996) by Noah Purifoy at the Noah Purifoy Desert Art Museum of Assemblage Art in Joshua Tree.
(Jessica Gelt / Los Angeles Times)
Purifoy’s fantastical assemblages made of found objects and unloved detritus provided the most fitting example of the creative desert mindset. Outsider art in every sense of the word, and laden with scathing political and social commentary, Purifoy’s installations morph and change in the elements. A nonprofit exists to preserve them, but tour guide Teri Rommelmann said preservation efforts aren’t meant to alter the course of nature and time, but rather to save the work from sinking into the sand.
Noah Purifoy’s 2001 installation “White/Colored” is the most frequently vandalized piece in the outdoor Joshua Tree museum dedicated to his work.
(Jessica Gelt / Los Angeles Times)
Another aspect of the preservation work is erasing vandalism, which happened most during the pandemic, and was quite telling in its main target: An installation featuring a water fountain marked “White” next to a toilet affixed with a water fountain mouthpiece and labeled “Colored.”
Noah Purifoy’s sculpture “Ode to Frank Gehry” (2000) stands in the sand as part of the Noah Purifoy Desert Art Museum of Assemblage Art. The piece was once featured in a show at the Los Angeles County Museum of Art, and transporting it can be quite tricky.
(Jessica Gelt / Los Angeles Times)
At High Desert Test Sites, Zittel’s famous A-Z West escape pods are no longer used for camping after the city said the nonprofit would have to attain a commercial camping permit to continue. Nonetheless, the organization’s 80 acres are home to a variety of artist residencies, which use the windswept isolation of the desert to activate dormant ideas. It was just announced that environmental artist Lita Albuquerque will have a residency at the site.
Andrea Zittel’s famous A-Z West escape pods at High Desert Test Sites can no longer be used for camping, but they still dot the nonprofit’s 80 acres of land as an example of the creativity that the desert environment unleashes.
(Jessica Gelt / Los Angeles Times)
The tiled kitchen that artist Andrea Zittel designed for the main residence at High Desert Test Sites, which she lived in for nearly 20 years and can now be rented by artists in residence.
(Jessica Gelt / Los Angeles Times)
Art is everywhere in the desert — and growing
The success of this year’s High Desert Art Fair bodes well for the future of the area as a cultural destination.
Next year will see the return of Desert X, which for the first time will keep its large-scale, site-specific installations up for six months, timed to coincide with other SoCal cultural happenings including the Coachella Valley Music & Arts Festival and Frieze. There are also semi-permanent art installations everywhere in the area, including along driveways and the roadside. This includes a hair salon and museum in Joshua Tree, and the recently opened Reset Hotel in Twentynine Palms features dozens of rooms in retrofitted shipping containers, some with outdoor bathtubs and firepits. The hotel has also carved desert trails in its backyard, with plans to build an art park filled with installations.
The shipping container rooms at the new Reset Hotel in Twentynine Palms feature outdoor living spaces with firepits and bathtubs. Some overlook trails that will lead to a planned art park on the property.
(Jessica Gelt / Los Angeles Times)
An influx of artists, collectors and art fans will surely have an impact on an area that is already wary of gentrification and the rising cost of living that accompanies it. But there will be no stopping progress, only a utopian, Fairey-like hope that those who come will be inspired to keep and nurture the magical qualities of the place.
The Lakers followed the lead of their oldest member, the triple-double producing LeBron James, in dispatching the Wizards 120-101 at Crypto.com Arena on Monday night.
Two days off between games left James looking spry, with lob dunks and dunks on the fast break contributing to his 21 points, 12 assists and 10 rebounds. James was eight for 16 from the field in notching his third triple-double of the season and the 125th of his 23-year NBA career, ranking him fifth all time.
At 41 years and 90 days old, James once again became the oldest player in league history to record a triple-double, passing his previous mark (41 years, 79 days).
Lakers star LeBron James dunks against Washington at Crypto.com Arena on Monday.
(Robert Gauthier / Los Angeles Times)
“I mean, I’ve had moments more this year and last year that I’ve enjoyed more in the moment,” James said. “It’s pretty cool to know that I’m at this point in my career (and) I’m still able to do those things, man. It’s super dope. It’s super humbling. And I just try to put the work in and continue to put the work in and those are the results of it.”
James achieved the triple-double despite playing just 33 minutes.
“Yeah, I don’t know what to say. He’s very praise-worthy,” Lakers coach JJ Redick said. “I tried to give every version of the same soliloquy about his longevity. But I don’t have anything for you tonight.”
For James and his teammates, Sunday’s practice had “value” because it allowed them to clean up some things, do some “teaching” and get some “reps” that will pay off with the playoffs approaching.
They put that into action against the Wizards, but the Lakers did so without star guard Luka Doncic, who did not play after being given a one-game suspension by the NBA for his 16th technical foul.
Austin Reaves took over the primarily ballhandling duties with Doncic out, running the show in delivering a near double-double with 19 points and nine assists. Reaves was just four for 11 from the field and he missed all four of his three-point attempts, but he was 11 for 12 from the line.
Lakers guard Luke Kennard, center, drives between Washington’s Tre Johnson, left, and Jamir Watkins during the first half Monday.
(Robert Gauthier / Los Angeles Times)
Backup center Jaxson Hayes was outstanding in scoring 19 points on eight-for-eight shooting, including a three-pointer with six minutes and 41 seconds left.
Luke Kennard had 19 points off the bench, knocking down four of five from three-point range.
Deandre Ayton was a force for the Lakers, his efficient five-for-five shooting leading to 12 points, seven rebounds and three blocks.
Each of them played their part to help the Lakers win for the 12th time in 13 games and limit the effect of Doncic’s absence.
Doncic leads the NBA in scoring (33.7 points per game), is fourth in assists (8.2), second three-pointers made (4.0) and first in points scored in the first quarter (12.0). He’ll return against the Cleveland Cavaliers on Tuesday night.
“Yeah, I mean we had a professional approach,” James said. “We came in, we got the job done, understanding it doesn’t matter who we’re playing, we’re still trying to build habits for the postseason. So, a good win for us.”
Although the Lakers won handily, it was against a Wizards team tied for the worst record in the NBA (17-58). Washington has lost 18 of its past 19 games.
For the Lakers (49-26), the game was about making strides from a practice they rarely get to have.
“The value is being able to continue to improve,” Redick said before the game. “And again, I said this, we’ve placed a heavy emphasis on what we’re teaching in film and what we’re cleaning up in film, because we haven’t had court time to do that. So [Sunday], it was some of the game clean-up stuff. All the guys got some reps doing some things that they probably won’t do during a real game.”
Actor James Tolkan, known for his role as the Hill Valley High principal in “Back to the Future” and the no-nonsense commanding officer in “Top Gun” has died. He was 94.
Tolkan died Thursday in Lake Placid, N.Y., where he lived, his booking agent, John Alcantar, told the Associated Press on Saturday.
In “Back to the Future,” Tolkan portrayed Vice Principal Gerald Strickland, who surveyed the school’s halls with a whistle around his neck and a tardy slip burning a hole in his pocket.
“You got a real attitude problem, McFly,” Tolkan’s character snaps at Michael J. Fox’s character, Marty McFly, in the cult classic 1985 film. “You’re a slacker. You remind me of your father when he went here. He was a slacker, too.”
The line became one of Tolkan’s most famous, and mega-fans would flock to Comic-Cons around the country to ask the star to call them a slacker, requests he typically obliged.
The actor had a number of film and television gigs through the 1960s and ’70s, but he was doing David Mement’s Broadway play “Glengarry Glen Ross” when he got the offer to play Strickland in “Back to the Future.”
“I always said, ‘I’m never going to Hollywood until they send for me,’ ” he told T.C. Restani during a 2015 interview. “And I said, OK, this is my chance. And of course, nobody realized that it was going to be such an important picture. But it was. It was one of those marvelous events where all the planets were aligned and ‘Back to the Future’ became this shooting star of a movie.”
Tolkan was also well known for drilling Maverick and Goose with swift reprimands and tough love between puffs of his cigar as their commanding officer, Tom “Stinger” Jardian, in the 1986 blockbuster “Top Gun.”
“That was very special, because when you make a movie you never know, but in ‘Top Gun,’ everybody felt like it was going to be a success,” Tolkan told Bob McCarthy during a 2016 Comic-Con interview. “ They just felt it, knew it right from the first day.”
Born June 20, 1931, in Calumet, Mich., Tolkan was the son of a cattle dealer — Ralph M. Tolkan. He moved around in his adolescence, spending time in Chicago and landing in Arizona after his parents’ divorce. It was there that his athletic skills got him noticed by the Eastern Arizona College football coach. Tolkan landed a scholarship to the college, but his academic career was short-lived, and he left to enlist in the U.S. Navy.
After a year of service during the Korean War, he was discharged due to a heart ailment, and with $75 to his name he set out for the Big Apple to try his hand at acting. In New York, Tolkan studied under Stella Adler and Lee Strasberg at the famed Actors Studio and started landing stage roles before working his way to the big screen.
Although his experience in the military informed the types of roles Tolkan would play — Army office, Air Force commander, police lieutenant, attorney — his work as an actor was his passion. “If you choose to be an actor, you have to choose to be an actor, and you have to stick with it through thick and thin,” he told a FanX audience member during a 2023 panel at the Salt Lake City pop-culture convention. “When things get tough, you can’t think about doing something else. You’ve got to say to yourself, ‘I’m gonna do this.’ ”
Other notable acting projects of Tolkan’s include the 1973 film “Serpico,” starring Al Pacino; the 1981 movie “Prince of the City”; the role of Napolean in Woody Allen’s 1975 film, “Love and Death”; and the 1983 film “WarGames,” in which he acted alongside Matthew Broderick.
Tolkan is survived by his wife of 54 years, Parmelee Welles.
City Councilmember Nithya Raman came out ahead of incumbent Karen Bass in a new poll on the Los Angeles mayor’s race, though the poll’s director cautioned that it did not give the whole picture.
Raman had a commanding lead in a field of five major candidates, with 33% of voters supporting her, while Bass trailed at 17%, according to the poll by the Loyola Marymount University Center for the Study of Los Angeles.
Leftist Rae Huang came in just behind Bass at nearly 17%, while tech executive Adam Miller had 13% and conservative reality TV star Spencer Pratt had 12%.
In the Loyola Marymount poll, unlike the other polls, respondents were given brief descriptions of the candidates, including their occupations and political priorities.
Raman was labeled a “progressive LA City Councilmember focused on housing affordability, homelessness and systemic reform,” while Bass was “incumbent mayor of Los Angeles, veteran legislator, focused on homelessness.”
One of Raman’s challenges, as a councilmember representing Los Feliz and Silver Lake as well as parts of the San Fernando Valley, is to spread her name recognition citywide, with the June 2 primary election about two months away. She entered the race to challenge Bass, her one-time ally, at the last minute, hours before the early February filing deadline.
The Loyola Marymount poll of 370 registered Los Angeles voters was conducted from Feb. 11 to March 16. It did not include a choice for “undecided,” while the other two polls showed that significant percentages of voters hadn’t made up their minds.
“This poll shows if only positive descriptors are used and context is provided, Raman is ahead,” said Fernando Guerra, director of Loyola Marymount’s Center for the Study of Los Angeles, who directed the poll.
Guerra said he believes Bass is the front-runner, taking the previous polls into account.
Bass’ campaign took issue with the Loyola Marymount poll.
“In 2022, this same LMU poll had Karen Bass at 16% — she ended up winning the primary with 43%. The only thing more ridiculous than this poll is Spencer Pratt’s performance on The Hills,” said Alex Stack, a spokesperson for the Bass campaign, referencing Pratt’s reality show.
Raman’s campaign did not immediately respond to a request for comment. In a post on X citing the poll, Raman wrote, “OUR CAMPAIGN IS SURGING … Angelenos are ready for a city that actually works.”
Paul Mitchell, vice president of the bipartisan voter data firm Political Data Inc., said the poll’s sample size was too small to draw conclusions and that the poll was less reliable because it was conducted over the course of more than a month.
He also noted that with many of the candidates relatively unknown, including the descriptors could have a major effect.
“I’m sure Nithya Raman doesn’t have citywide name recognition, but that description is really great,” Mitchell said.
Guerra said he didn’t include an “undecided” option because he wanted to “force” respondents to give an answer, similar to when they actually vote.
In the Emerson poll, more than 50% of voters were undecided on who to support for mayor. The Berkeley IGS poll showed about a quarter of voters were undecided.
In LMU’s mayoral poll from 2022, released in early March of that year, 42% of respondents chose “undecided/someone else” for mayor.
After Bass, who had 16% support, then-City Councilmember Kevin de Léon was second at 12% in the 2022 poll. Rick Caruso, the billionaire developer, who ended up making the runoff election against Bass, received 6% support.
In that year’s June primary, Bass got 43% of the vote, Caruso nearly 36% and De Léon about 8%.
This year’s LMU poll also asked L.A. voters what kind of candidate they would prefer for mayor.
Nearly 50% said they prefer a Democratic Socialist, while 25% said they want a moderate Democrat, 19% said a conservative and just 8% said an establishment Democrat.
“Los Angeles is much more progressive than its elected leadership. This poll captures that,” Guerra said.
Some disagreed.
Mike Trujillo, a consultant for moderate Democrats who is not representing anyone in the mayoral race, said polling he has done across the city shows that the Democratic Socialists of America’s popularity is much lower.
Raman is a dues-paying member of the Los Angeles chapter of DSA, which endorsed her in her two successful City Council campaigns.
“If you believe this poll, I have bridges to sell you on 1st Street, 6th Street, and Alameda Street — and there’s no bridge on Alameda,” he said. “The poll was basically A to Z in Nithya Raman’s contact list.”
This year’s LMU poll also asked L.A. County voters about the governor’s race. Former U.S. Rep. Katie Porter led at about 16%, followed by Republican Steve Hilton at 13% and billionaire Tom Steyer at 12%.
The Berkeley IGS poll showed two Republicans — Riverside County Sheriff Chad Bianco and Hilton — leading the crowded field of gubernatorial candidates by slim margins among voters statewide, with Democratic support split among multiple candidates in a left-leaning state.
COLUMBIA, S.C. — Mark Sanford, the former South Carolina congressman and governor whose political ascendancy was stalled by a 2009 affair, wants to return to Congress — again.
Just hours ahead of the deadline to do so, Sanford filed candidacy paperwork with state officials to run in the June 9 GOP primary for South Carolina’s 1st District seat, which he has held twice before.
Sanford’s first political office was in the 1st District. An outsider with almost no name recognition, he navigated a primary for the open seat, finishing second before winning the runoff. He served for six years before his outside run at governor, again pushing his way through a crowded primary, then knocking off the last Democrat to hold the office.
But his eight years were overshadowed by the Appalachian Trail, which became shorthand for Sanford’s disappearance to go to Argentina to see his lover. Sanford’s wife, family and his staff didn’t know where he was.
Beating back both an ethics inquiry and calls to resign, Sanford held fast, leaving office on his own terms.
In 2013, Sanford won back his old seat, beating 15 other candidates in a primary and runoff. He won two more full terms before falling to a GOP challenger in 2018 who had President Trump’s backing.
The seat would go on to flip to Democratic hands that fall for the first time in decades, won back by GOP Rep. Nancy Mace in 2020. Mace is running for governor this year.
Sanford, 65, also briefly ran for president in 2020, challenging Trump for the nomination in what he characterized as a “long shot” effort around warnings about the national debt. Some, including Sanford’s former gubernatorial staffers, initially questioned whether the effort was a serious one, positing that it might be an effort to stay relevant after the 2018 defeat.
Sanford dropped out of the contest just ahead of the New Hampshire primary. Sanford’s home state would ultimately opt not to hold a 2020 GOP presidential primary, clearing the way for Trump’s nomination in South Carolina.
Sanford did not immediately return a message seeking comment on Monday. True to the themes that have dominated his political thinking, an email release on Sanford’s candidacy focused on the national debt, with the candidate saying he felt 1st District voters wanted a representative “who is an advocate for financial sanity that has been lost in Washington for all too long.“
Since leaving the U.S. House, Sanford has hung onto more than $1.3 million in a federal campaign account, funds that he can now use in a primary already crowded with multiple Republican and Democratic candidates.
Kinnard and Collins write for the Associated Press.
Global streaming revenue surged to $150 billion last year, driven largely by an increase in prices by Netflix and other streamers, according to a new report.
In 2025, global streaming subscription revenue grew by 14%, reaching a total of over $157 billion, the report from Ampere Analysis found. In the last five years, revenue has tripled from the $50 billion seen in 2020.
Streamers continue to dominate the digital distribution market with rising monthly subscription fees , more consumers choosing subscriptions with ads, and platforms expanding their global reach.
“As the streaming market matures, the emphasis is no longer on pure subscriber growth but on extracting greater value from existing audiences,” said Lauren Liversedge, a senior analyst at Ampere Analysis. She noted that the growth is happening “particularly in the most competitive markets.”
Over the next five years, Ampere Analysis estimates subscription revenue will grow by another 29%, potentially reaching over $200 billion worldwide by 2030.
The U.S. is the largest driver of this revenue growth, as the country accounts for 50% of 2025’s global streaming subscription revenue, per Ampere Analysis. Netflix accounted for the largest revenue share in the U.S. at 14%. Last week, the company also announced a price hike, where its premium tier costs $27 a month. This marks the second time in a little over a year that the streaming service raised its fees.
“Our approach remains the same: We continue offering a range of prices and plans to meet a variety of needs, and as we deliver more value to our members we are updating our prices to enable us to reinvest in quality entertainment and improve their experience by updating our prices,” said a Netflix spokesperson in a statement.
It’s not the only streaming service to increase its prices, as Disney+, HBO Max and Apple TV made similar moves last year.
Recent data from Deloitte highlights some of the price sensitivity U.S. streaming audiences are experiencing. More than two-thirds of streaming subscribers are now opting for ads, marking a 20% increase from 2024.
That cost-conscious sentimentexpands beyond North America, reaching Western Europe, according to Ampere Analysis. The total revenue from ad tiers has risen rapidly across these markets over the past five years, up from less than 5% in 2020 to 28% in 2025.
But even as consumers demonstrate their willingness to pay less and watch ads, streaming platforms still benefit, making money from both subscription fees and advertising. When accounting for that ad revenue, streaming services generated closer to $177 billion in global revenue last year. Advertising is expected to become an even more important revenue stream for these companies, as ads alone could add $42 billion in annual revenue by 2030, per Ampere Analysis.
Kenyan distance runner Albert Korir has admitted to doping, prompting officials on Monday to ban him for five years.
Long a fixture at the New York Marathon, Korir tested positive for a blood-boosting substance in three separate samples taken in October while he was training to run in the New York Marathon on Nov. 2. He finished third in the race.
A verdict issued by the Athletics Integrity Unit said that Korir’s results since October will be disqualified, including that third-place finish in New York.
The three positive results provide “clear evidence of the athlete’s use of a prohibited substance on multiple occasions which is expressly identified in the definition of aggravating circumstances,” the verdict stated.
The punishment was reduced by one year because Korir, 32, admitted to taking a banned substance without requesting a hearing. He is banned until January 2031.
Korir will keep his 2021 New York Marathon title. He also was runner-up in 2019 and 2023, and finished third in 2024 in addition to 2025. His other first-place finishes came in the 2019 Houston Marathon, the 2017 Vienna Street Race and the 2019 and 2025 Ottawa Race Weekend.
Korir tested positive for Continuous Erythropoietin Receptor Activator (CERA), a long-acting agent that stimulates red blood cell production much like the banned substance EPO. It is used legally to treat anemia associated with chronic kidney disease and typically is administered once every two to three weeks.
The World Anti-Doping Agency said in October that Kenya had made “significant” progress in tackling doping but the country remains on probation while it seeks to improve its monitoring.
The action by WADA occurred after Kenyan runner Ruth Chepngetich, the world marathon record holder, was banned for three years after admitting the use of Hydrochlorothiazide (HCTZ), a banned diuretic used as a masking agent.
“Everyone is at least a dormant ballet nerd,” declares 22-year-old Eden Lim, while sitting for an interview in the suburban Dallas studio where she and her sister, Jordan, 24, film and edit their popular YouTube channel “Ballet Reign.”
Judging from the near-universal backlash to Timothée Chalamet’s recent bad-mouthing of ballet, Eden’s summation of the central tenet of their show may be true. With 67,000 subscribers in 166 countries and growing, the Lim sisters are mixing Gen Z humor and exuberance with astounding erudition to bring ballet to a new generation and fire up older, longtime fans.
With episode titles such as “Addictive Ballet Moments to Alter your Brain Chemistry” and promises like “This will increase your lifespan and double your morale,” they are on a mission to ensure that ballet not only survives but thrives.
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Mirthfulness is the Lim sisters’ medium, but their message is serious. During each show, they parse video clips of great performances, often by explaining the history of the piece and giving detailed behind-the-scenes stories. They dissect the most famous pas de deux with trenchant insight and introduce their audience to the greatest dancers, including Natalia Osipova and Roberto Bolle. With signature, irrepressible enthusiasm, the sisters help viewers see precisely what makes the shows and dancers so extraordinary.
Eden, left, and Jordan Lim of YouTube channel “Ballet Reign” trained as professional dancers before deciding to focus on their show full time.
(Larsen & Talbert / For The Times)
A video clip featured in the “Addictive Ballet” episode shows New York City Ballet principal dancer Ashley Bouder launching herself into a jeté so high she seems to leave Earth’s gravity. In midair she manages to turn herself 180 degrees before being caught by her partner, despite her momentum seeming to drift into his arms like a feather blown by a breeze.
While watching the singular feat, Eden exclaims, “Call the news channels! We found a person who can actually levitate!”
Jordan says the goal is to make viewers feel equipped to say, “I understand what’s going on, and I can appreciate it, and I can appreciate that this was done well.”
“Ballet Reign” launched three years ago with modest hopes. The sisters sought a mere toehold in the YouTube universe, aiming for a narrow niche audience of fellow ballet fanatics (“ballet nerds”) ages 16 to 25. To their initial astonishment, they have attracted a far wider viewership spanning all ages, even followers who hitherto had only scant interest in ballet. They have drawn in many young children and older adults, with those 65 and up now their third-largest subscriber group.
The show has rapidly won acclaim from within and outside of the ballet world — perhaps because the depth and breadth of their knowledge makes it hard to shake the suspicion that they secretly are Ivy League professors.
The Lim sisters speak with sophistication about classic ballets and dancers they love — delivering their message through a whimsical show that has attracted fans of all ages.
(Larsen & Talbert / For The Times)
They comment with equal sophistication on ballet steps, choreography, history, musicology and the minute details of costume design. Eclectic references pop out of nowhere — a metaphor from quantum physics, an aside that the flute is the instrument whose sound is closest to a sine wave, that a serinette is an 18th century music box used to teach caged canaries to sing.
Even actual professors laud the show.
Nicolas Krusek routinely shows “Ballet Reign” episodes in his classes for adults on ballet history at Simon Fraser University in Vancouver. Krusek says what makes the show compelling “is the spirit of the videos, just the sense of joyousness and benevolence that they communicate, and a real sense of reverence for the art and the artists.”
John Meehan, a Vassar College professor of ballet and former principal dancer with American Ballet Theatre, calls their episode on Igor Stravinsky’s “The Firebird” ballet “amazing,” adding that it conveys at least as much information in much more palatable form than a “dry” university lecture.
Julie Cronshaw, director of the Highgate Ballet School in London, says even for learned, longtime balletomanes the show opens up a whole new realm of understanding and appreciation. For those weighed down by adult concerns, watching an episode leaves them feeling uplifted.
This is why Jordan believes “Ballet Reign” has attracted a significant older audience — and also because the sisters honor tradition.
“They’re looking at the content and saying, ‘These are pieces that I grew up watching. And these are the dancers that I adored when I was younger,’” Jordan says.
Eden says she hopes “it’s because our content, and the way we deliver it, is able to touch hearts.”
The Lim sisters keep a disciplined schedule, turning out polished, deftly produced episodes 52 weeks a year.
(Larsen & Talbert / For The Times)
The show also benefits from its high production values, with expertly edited clips from performances, clever blurbs of text and quirky cutaways to, say, a pole vaulter as an allusion to how high a dancer jumps.
Episodes generally begin the same way, with the sisters sitting behind a table with an old-fashioned radio-days microphone nicknamed “Mike-elangelo” between them. Eden kicks things off by announcing, “Ladies and gentlemen, this is Ballet Reign.”
A flash of superimposed text identifies them as “*Very certified*, extremely serious ballet experts.”
Jordan and Eden revel in each other’s company, finish each other’s sentences and play off each other with insightful or witty interjections.
“We grew up best friends from the beginning, and that’s never changed,” Jordan says.
They keep a disciplined, grueling schedule, turning out polished, deftly produced episodes 52 weeks a year.
Comments validating their efforts come in frequently. “You really helped me through a dark time,” reads one. Another notes, “I was going through a really difficult life transition and having your videos helped me get through.”
Jordan says, “That’s a sort of impact that I genuinely did not see coming.”
The sisters are openhearted and enjoy revealing ballet’s best-kept secrets, but they have kept a remarkably mysterious online profile. Until now, they have never even disclosed their last names, let alone anything about their background, education or experience.
There is also nearly nothing on the internet, and fans have long wondered about their credentials, including whether they are professional dancers themselves.
On the show the sisters certainly come across as if they were. Surprisingly, the answer is no — with an “almost” caveat.
The oldest of four siblings, Jordan and Eden spent nearly all of their childhood in Ottawa. From the time they were small the sisters beelined toward becoming professional ballet dancers. Jordan says when she was 4 she got up at the crack of dawn every day and put in a VHS tape of a ballet class that her mother, Mary Lim, had bought. With fierce determination, she performed tendus and relevés along with the older students on the tape.
Eden’s ballet fascination quickly followed. Mary says she soon realized she had no choice but to send them to ballet school.
“Obviously, if you look at a 4-year-old doing ballet at 7 a.m. every single day, you’re like, OK, let’s try lessons,” Jordan says.
Eden, left, and Jordan Lim of “Ballet Reign” are the oldest of four siblings and spent nearly all of their childhood in Ottawa before relocating to Texas to pursue their careers.
(Larsen & Talbert / For The Times)
By 2015, the girls needed a better ballet school than was available in Ottawa. Their parents packed up the family and moved to Dallas, where the pair enrolled in the Ballet Academy of Texas. Aside from ballet classes they were entirely homeschooled, but they had plenty of experience dancing in school performances, ballet competitions and with real companies.
Mary says the intent was “to give them an opportunity to move and carve their own path … We wanted them to find their passions.”
The moment the sisters had worked for all their lives arrived in 2020, when the time came to set off around the country — and the world — to audition for ballet companies. But the COVID-19 pandemic hit just as they got started, and almost everything in the ballet world shut down.
Jordan says the hiatus led them to reflect for the first time on whether their lifelong ambition was truly what they wanted. At the same time they groped for a way to put their passion for ballet to temporary use.
For years the sisters had fantasized, half-seriously, about having their own YouTube channel. Eden convinced an initially reluctant Jordan it was time to make the daydream real, and “Ballet Reign” premiered on Dec. 21, 2022.
The sisters say they convinced themselves they were using the show to take “a gap year” while waiting out the pandemic. As the first months passed, and their audience widened and sent glowing feedback, they began to realize they were having a big impact and touching lives. It dawned on them that this wasn’t just an interlude but their calling.
In an agonizing twist, just as the show had gotten underway, Jordan received word she had been accepted by a professional ballet company. She turned down the offer.
“It was one of the hardest decisions I’ve ever had to make,” Jordan says, but in retrospect the right one.
SACRAMENTO — While the UCLA women’s basketball team has a veteran roster that was in this exact position a season ago, the Bruins have an entirely different vibe during their current postseason run.
This year, they expect something different, in large part because of an upgraded starting lineup.
A tangible difference is the addition of Charlisse Leger-Walker and Gianna Kneepkens. Each was the top scorer on their former squads — Washington State and Utah, respectively — and have taken on drastically different roles as arguably the fourth and fifth pieces of this Bruins team.
Charlisse Leger-Walker hits a reverse layup in front of Minnesota’s Grace Grocholski during the tournament on Friday in Sacramento.
(Eric Thayer/Los Angeles Times)
“It’s huge we have them,” said senior Gabriela Jaquez, who has spent her entire NCAA career with the Bruins. “They’re perfect fits here. Charlisse as a point guard has been great, and then just being a guard out there, a ready shooter, doing whatever we need, and obviously them being able to defend is really great for our team.”
With the Cougars, Leger-Walker averaged double-digit scoring and more than 10 shots per game in every season. With the Bruins, her production has dropped to 8.7 points per game on 7.1 shots.
Where she has improved, though, is a career-high 5.7 assists per contest.
“I look at the talent we have, especially on the offensive end, there are a lot of times where I don’t have to shoot and force some of the shots that I would have to back at Washington State,” she said. “I’ve always been able to facilitate and be that connector, but this is the role I am needed in the most here.”
Kneepkens was the Utes’ top shooting option and Pac-12 freshman of the year. There, she was relied on as the team’s top three-point shooter, and after Alissa Pili left, their top scorer overall.
During her graduate season, she has taken a significant reduction in shots per game, going from 12.3 field goals per game to 9.4.
“I think it tells you what their ‘why’ is, what their purpose is, why they came here,” UCLA coach Cori Close said. “It wasn’t to get their own stats. It was to be a part of something bigger than themselves.”
On a night where neither of them did much shooting against Minnesota, though, it was their defensive length that made a significant difference against a physical Golden Gophers team. It was the kind of defense they could not have played a year ago with Londynn Jones, who transferred to USC, in the spot Leger-Walker now occupies and Angela Dugalic starting rather than providing invaluable depth coming off the bench.
UCLA guard Gianna Kneepkens dribbles under pressure from Oklahoma State forward Achol Akot during an NCAA tournament game at Pauley Pavilion on March 23.
(Ronaldo Bolanos/Los Angeles Times)
Offensively, Leger-Walker’s presence has given the Bruins more options to score from throughout the floor. Known as a three-point threat at Washington State, she needs to be guarded on the perimeter but also not be left to connect to other open players.
“But I think Charlisse, specifically, is one of the best processing point guards I’ve ever been around,” Close said. “Her ability to understand how rotations are happening in the second line, what’s the next play and if she makes one mistake, boy, she’s not making it a second time. … Having Charlisse on our team has freed Kiki [Rice] up in some ways and vice versa. So that’s been really fun to see.”
Rice has played more of a shooting guard role this season with Leger-Walker taking over at point guard, which has opened her up to shoot more and drive to the hoop without facilitating as often.
That freedom has given Rice her best offense season yet.
“[Leger-Walker’s] basketball IQ is insane,” Rice said. “She gets buckets, she defends super well, she does it all for us. She’s selfless, and she kind of knows when to take over. I’m grateful we’ve had her this year.”
Close said that Kneepkens played one of her best defensive games in the win over Minnesota, but that her length playing as a wing has opened up the UCLA defense to guard the perimeter all season.
“It’s just learning to play with great players,” Kneepkens said. “If that’s finding them when they’re open, then I’ll do that. Or if I need to take my shot, I’ll do that too.”
UCLA’s biggest wins have featured dominant performances from Lauren Betts and generally, its other bigs — Sienna Betts and Dugalic — playing at their best.
But the true depth of the Bruins has come from having long guards who can defend and change up what they need to do in any given matchup. They might be the difference going into the toughest parts of the tournament.
“Coming to a program also where you are surrounded by elite players, and at the end of the day we want to win and be a part of a program that can do that,” Leger-Walker said. “Whatever that role is that we have to adjust to throughout the season, I think, we really bought into that.”
Kicking off the upcoming season at the Mark Taper Forum — which recently celebrated its top-grossing musical ever with “Here Lies Love” — is the world premiere of Zack Zadek’s original musical “The Turning,” a folk thriller set in California’s Sequoia groves.
The show, said Center Theatre Group’s artistic director Snehal Desai as the company announces its 2026-27 slate of performances, has a “very L.A. vibe.”
Next up is a batch of shows meant to provide audiences some comedic relief amid a midterm season that’s sure to sow anxiety: Karen Zacarías’ “Destiny of Desire,” Cole Escola’s “Oh, Mary!” and the family-favorite “Dog Man: The Musical.” Then in the spirit of springtime renewal, thought-provoking plays like “John Proctor Is the Villain” and “Fences” will leave audiences in contemplation before festive summer item “Boop! The Musical” swoops in to lift spirits.
When Desai plans the company’s season lineup, he always surveys the year ahead — literally.
“I look at the calendar a lot as to, where do we think we’re gonna be a year from now? Six to eight months from now?” Desai said in a recent interview at his office in downtown L.A.
Some entries in Center Theatre Group’s upcoming season are scheduled intuitively, like the Mischief Comedy team’s “Christmas Carol Goes Wrong,” running in the thick of the holiday season. But with others, Desai said he orchestrated the lineup to tell a programmatic story, like an artist might order tracks on an album.
As an artistic director, Desai said, he always encourages visitors: “Join us all season, versus just coming for the things you like,” and maybe you’ll be pleasantly surprised.
This year as Desai consulted his calendar, he looked even farther ahead than usual, toward Center Theatre Group’s 60th anniversary season (2027-28) and the L.A. Olympics in 2028.
“We were having conversations of, what are the plays that we want to do or we want to bring back,” Desai said, when the theater company’s associate artistic director Lindsay Allbaugh suggested “Fences,” the final play of August Wilson’s acclaimed Century Cycle to be staged at Center Theatre Group.
“I said, ‘Oh, that’s what we want,’” Desai said, “both to end this season and kick off our 60th.”
The artistic director could not yet confirm who would direct the Pulitzer Prize-winning drama about a former Negro League baseball player and his family navigating life in 1950s segregated Pittsburgh.
Desai, who has not shied away from politically charged material during his tenure at the theater company, said Wilson’s play aligned with his intent this season to platform work “asking who we are as a country and as a community and society.”
“I wanted voices that felt bold and fearless, that were both outspoken and unafraid in a world where, right now, it feels like there’s a lot of things that are trying to stifle us from speaking out or coming together,” he said. To him, presenting “Fiddler on the Roof” in Yiddish is revolutionary, as is “John Proctor Is the Villain’s” dissection of a classic through a feminist lens.
Desai added that he planned to balance that rabble-rousing spirit with productions that leaned more “celebratory and communal” and provided “different ways of having catharsis.”
“Oh, Mary!” offers riotous fun, and “Destiny of Desire” is an homage to an oft-dismissed yet widely consumed medium, the telenovela.
“With ‘Destiny,’ you’re able to take that format of something that people often watch in isolation at home, and enjoy it together,” Desai said.
Regional theater faces a slew of challenges: rising production and personnel costs, post-pandemic audience declines and competition from digital media. The situation has felt particularly bleak in L.A., Desai said, as seeming moments of recovery in the past year or so were squashed by the L.A. wildfires, then last summer’s immigration crackdown and associated civil unrest.
“We just constantly live in this time period that feels like we’re on shifting sands,” Desai said. Nonetheless, the company is finding paths through the desert, including with alternative programming through CTG: FWD.
The CTG: FWD initiative this season will bring “Riverdance 30 – The New Generation,” “Clue” and “The Music Man” to the Ahmanson Theatre, and “Dog Man” to the Kirk Douglas Theatre.
Another strategy Desai said the theater company has employed is heavy investment in new works development, particularly new musical development. New works are time-and resource-intensive, Desai said, but they’re also good investments, offering the best chances at longevity and commercial prospects.
With “The Turning,” Center Theatre Group spotlights an emerging voice that Desai said represents “the future of American theater.”
After Desai was introduced to Zadek’s folksy musical “The Turning,” he said, “I just kept listening to it over and over again. I was like, ‘I can’t wait for the cast recording of this to be on Spotify.’”
The artistic director was also thrilled to find an ultra-rare gem in Zadek’s piece: a truly original story.
“A lot of things are adaptations these days: adaptations of films, of TV shows,” Desai said. “So to get a world premiere musical that is based on its own original concept — that, I found, was really compelling.”
Following back-to-back seasons of directing his own productions, Desai is taking a breather this go-around to focus on broader administrative duties. But he still hopes to be a resource for visiting directors learning how to navigate the “special space” that is the Mark Taper Forum — and its neighbors the Ahmanson Theatre and the Kirk Douglas Theatre, which will get its own season announcement in the spring or early summer.
Within the first 72 hours of a 26-day game, “Survivor 50,” featuring 24 veteran players, had already delivered feuding, anguish and heartbreak. Legendary rivals Ozzy Lusth and Benjamin “Coach” Wade appeared to bury the hatchet, only for their conflict to reignite soon after. Kyle Fraser was forced out due to injury, and Jenna Lewis-Dougherty, who competed in both the show’s inaugural season and “All-Stars,” was the first person voted out after more than two decades away from the game.
Yet there were also moments of nostalgia, connection and excitement as returning players arrived on the beach, grateful to be part of the show’s landmark 50th season.
This raw display of humanity has kept the show’s torch burning for over 25 years. “‘Survivor’ is built on a timeless idea because human nature doesn’t change,” says Jeff Probst, the host, executive producer and showrunner of the reality competition series. “It’s essentially behavioral psychology in the wild.”
Back in Fiji’s Mamanuca Islands for “Survivor 50: In the Hands of Fans,” the show has added a novel element. Fans were given a say in key decisions, voting online to shape production and game mechanics, from choosing tribe colors to requiring castaways to earn rice and supplies instead of receiving them at the start.
“What a great twist,” says Wade in an interview over Zoom. “‘In the Hands of Fans’ transforms the game. Instead of it being, ‘They are playing,’ it’s ‘We are playing.’”
Though he was disappointed to be deprived of staples upon his arrival, he smiles and says that if he were watching at home rather than competing, he also would have wanted players to start with nothing.
Singer-songwriter and “Survivor” superfan Zac Brown coooked and performed for contestants on the show.(Robert Voets/CBS)
“Survivor” has also leaned into its famous fan base this season, bringing in self-proclaimed superfans, including Grammy-winning singer-songwriter Zac Brown — who appeared in Episode 4 as a reward for a winning tribe for whom he spearfishes, cooks and performs. The show also nods to Billie Eilish via the Billie Eilish Boomerang Idol featured in the season premiere. The game piece was handpicked by the Oscar- and Grammy-winning pop star — whose 2022 song “TV” references “Survivor” — and accompanied by a letter in which she outlined its instructions.
But Mike White, creator of “The White Lotus,” represents the show’s most intertwined cultural crossover. He drew inspiration for his hit HBO series from “Survivor” and cast several former tribemates in cameos. “Survivor 50” also features “The White Lotus” Easter eggs.
Returning to the franchise for the first time since he finished as runner-up in 2018, in the Season 50 premiere he says, tearfully, “There are times in ‘White Lotus’ where I’m so fried … it’s a 129-day shoot, but I look back on my ‘Survivor’ experience, and I’m like, ‘Dude, I did that and I can do this.’” Yet White’s hard-won resilience couldn’t protect him from being voted out in a blindside in Episode 4, proving that fame offers no immunity.
And that is the point. At its core, “Survivor” is about watching people from all walks of life dropped into a remote, unforgiving landscape where they must outwit, outplay and outlast one another for a $1 million prize — hungry, exhausted and sore, roasting in the blazing sun or shivering through rainstorms, and enduring grueling physical competitions. They must cooperate with the very people they’re competing against. And as alliances form and fracture, each day grows more fraught.
Former “Survivor” contestants Mike White, left, and Quintavius “Q” Burdette in Season 50.
(Robert Voets/CBS)
“It’s very simple but very deep,” Probst says. “The goal is not to get voted out, but the strategy in achieving that goal is infinite, so the game’s easy to understand, but it’s impossible to master. That’s why it’s so much fun to watch. You’re constantly asking yourself, ‘What would I do?’”
It’s one thing to ask from the comfort of home, but another to live it out, and on national television to boot, says Wade. Coach “When you step on that beach, the stakes are so much higher,” he explains. “Nobody really thinks about the million dollars. They’re thinking about surviving, not getting voted off.”
“Most people would be able to do it,” he continues. “But what you’d realize is what happens to your character and your facade when you’re deprived of everything — food, comfort, reaching out to your friends and having a support system that you know and trust. When you strip all of that away, this stops being a game, and your character will be forged, revealed or shattered.”
A four-time player, Season 23 runner-up and 2015 Survivor Hall of Fame inductee, Coach is one of the show’s most legendary figures. Known as the Dragon Slayer, he’s often shown meditating, praying, waxing philosophical, and pontificating on nobility, integrity and honor. His grandiose persona rubbed many the wrong way early on, earning him a villain label.
Reflecting on his legacy, Wade partly blames the edit but acknowledges he often took himself too seriously, was arrogant, and tried too hard to be larger than life, yet he stresses his authenticity. “The way I look, dress and talk — I’m polarizing,” he says. “That’s who I am in my real life, so that’s who I am out there.”
Probst affirms that what you see is what you get. “Coach shows up authentically every day,” he says. “He wears his mythology on his sleeve and has it tattooed on his body. When he pulls back his hair into a ponytail and quotes Magellan, that’s Coach: ‘I’m the guy with quotes about war and victory and fearlessness and courage. That’s actually who I am.’”
This season, Wade calls himself “Coach 4.0,” but Probst remains skeptical. “Every time he plays, Coach refers to himself as the new version of Coach,” Probst says. “But the minute he starts talking, everybody thinks the same thing: ‘Coach, you may have some more maturity and life experiences now that you’re married and have kids, but you’re exactly the same.’”
That’s not a critique of Coach. After observing more than 750 players over 25 years, Probst believes, “We are capable of much more than we think we are, and simultaneously, at our core, we generally are who we are. It doesn’t mean you can’t change or become a better version of yourself, but you’re going to have some core instincts.”
Benjamin “Coach” Wade in “Survivor 50.” (Robert Voets/CBS)
Coach in 2011’s “Survivor: South Pacific,” the show’s 23rd season. (Monty Brinton/CBS)
The show’s unflinching exploration of human nature traces back to visionary British television producer Charlie Parsons. He conceived the social experiment based on a combination of his curiosity about people, the influence of “Lord of the Flies” and “Robinson Crusoe,” and his boarding school experience.
“It was an all-boys school and quite a competitive place, so there was an element of survival in that,” Parsons says over Zoom. “It wasn’t a bad experience, but if you’re 13 and you’ve never lived away from home before, it can be quite a wrench to live for a month at a time away from your parents. On one occasion I called my parents and said, ‘Will you rescue me?’ And they didn’t.”
In 1988, Parsons turned his concept into “The Castaways,” a three-part documentary for a magazine-style television program he was showrunning.
Several years later, he was approached by Disney’s Buena Vista Productions to make an American version of a successful British morning show he created. When that didn’t pan out, he pitched what would eventually become “Survivor,” developing it with Buena Vista in hopes of selling it to ABC.
But, he says, the radical concept didn’t fit neatly into existing TV genres, and the network balked. “It’s difficult to imagine, but back in the ‘90s this idea of reality TV basically didn’t exist,” Parsons says. “Television was reasonably siloed … ABC took a long time deciding because they could see that there was something about it, but in the end they passed.”
In 1997, however, the concept found immediate success in Sweden with “Expedition Robinson,” leading to expansion in more Scandinavian countries.
The leap to America required a new alliance. During Parsons’ development process with Buena Vista, he’d met fellow British TV producer Mark Burnett at a party in Los Angeles where he’d told him about the reality competition format he was building. Burnett then called every six months pressing to produce it until Parsons finally agreed to grant him the American licensing rights.
“Mark had an incredible energy and presence, which meant that he could go and sell the s— out of it,” Parsons says. “He could persuade the networks to take a risk on something risky.”
Even so, as Burnett relayed in a comprehensive 2010 Television Academy interview, he faced a difficult pitching process. But after every major network passed, he re-approached CBS, where then-CEO and President Les Moonves was game to try original programming during summertime when reruns caused dwindling viewership. But when Moonves commissioned a pilot, Burnett said a stand-alone episode was too costly and couldn’t capture the show’s slow-burn endgame.
Instead, he proposed a sponsorship model built on integrating products into the game, pitching the value of a castaway using a branded cellphone to call home, or the desperation for a slice of pizza and a beer. After Burnett secured corporate sponsors, Moonves greenlighted “Survivor.”
Though firmly embedded in the culture today, “Survivor” was revolutionary when it debuted May 31, 2000, quickly becoming a cultural phenomenon. The Season 1 finale averaged 51.7 million viewers, surpassing both the Academy Awards and Grammys that year. Time magazine featured Lewis-Dougherty on its late June 2000 cover, and “The Late Show With David Letterman” featured a “Survivor”-themed Top 10 list presented by the show’s 16 castaways.
From its exotic location to the now-iconic buffs, “Survivor” established a world all its own, complete with a unique lexicon of immunity challenges, tribal council and Probst’s signature catchphrase, “The tribe has spoken.” As the enduring face of the show, Probst is central to its legacy, earning four Emmys for his role as host.
But even Probst’s survival wasn’t guaranteed. About 15 years ago, the relentless travel and schedule left him so depleted that he briefly quit the show. A few months of rest, however, allowed him to reevaluate. “It really was, ‘I don’t know if I have anything left in my tank to bring to the game.’ That might be what partly influenced Mark to make me showrunner even faster,” Probst says. “I needed to be more of a storyteller on this show.”
The cast of “Survivor” Season 1, standing from left: Ramona Gray, Dirk Been, Gretchen Cordy, Richard Hatch, Sonja Christopher, Susan Hawk, Kelly Wiglesworth, Sean Kenniff, B.B. Andersen and Rudy Boesch. Seated from left: Gervase Peterson, Jenna Lewis, Joel Klug, Stacey Stillman, Greg Buis and Colleen Haskell.
(Monty Brinton/CBS)
He’s quick to note the show’s collaborative ethos, however. “The term ‘showrunner’ is pretty misleading at this point. We make this as a team,” Probst says. Under his stewardship, “Survivor” is more cinematic, reimagined through the lens of Joseph Campbell’s “The Hero’s Journey,” and family friendly. Probst also notes the necessity of continually evolving game design, creating unexpected twists and advantages to keep players on edge and never knowing whom to trust.
The pandemic brought changes as well. With production shut down amid a world in turmoil, Probst felt “Survivor” needed more levity. When filming resumed, due to the 14-day quarantine requirement, back-to-back seasons were shot and the format was shortened from 39 days to 26. The faster-paced “New Era” that began with Season 41 also coincided with CBS’s 2020 diversity mandate requiring at least 50% of the cast to be nonwhite, and Probst dropped his longtime catchphrase “Come on in, guys” in favor of more inclusive language.
By Season 45, in keeping with Probst’s narrative-driven vision, the previously hourlong episodes expanded to 90 minutes.
Television habits have also changed since viewers once dissected tribal council proceedings at the office the next morning. Streaming breathed new life into “Survivor,” with younger viewers discovering it during the pandemic, while its cross-generational appeal keeps it a broadcast powerhouse. The Season 50 premiere drew 9.1 million viewers across live broadcast and delayed streaming, and in the weeks leading up to the launch, viewers revisited older seasons, boosting streaming numbers ahead of the anniversary.
According to Mitch Graham, CBS executive vice president of alternative programming, “Survivor” ranks No. 1 in the coveted 18 to 49 demographic, and the Season 50 launch generated the biggest social media engagement in the franchise’s history.
Even as the reality TV landscape has grown crowded, Probst remains unfazed. “It’s a show like no other,” he says. “It’s adventure, survival, strategy, interpersonal relationships, social politics. … This multi-layered storytelling gives it durability because any given week you have no idea what you’re going to watch.”
Meanwhile, as Season 50 continues to unfold, no one knows who will be crowned “Sole Survivor” on May 20 in Los Angeles, the show’s first live finale since 2019. But rest assured, by then they’ll have revealed exactly who they are.
Braylon Mullins sank a desperation three-pointer with 0.4 seconds left to give Connecticut an astonishing 73-72 victory over top-seeded Duke on Sunday, earning the Huskies a spot in the Final Four after they rallied from a 19-point first-half deficit.
The Blue Devils led by three before UConn’s Silas Demary Jr. made one of two free throws with 10 seconds left. With Duke playing keep-away to prevent the Huskies from fouling, Cayden Boozer’s pass near midcourt was deflected, and after UConn came up with the ball, Demary made a shot from well behind the three-point line.
It’s the second straight season to end in a huge collapse for Duke, which was the top overall seed in this year’s tournament. The Blue Devils led by six with 1:14 remaining before falling to Houston in last year’s national semifinals.
UConn missed 18 of its first 19 attempts from three-point range and finished five for 23. The fifth will be remembered in Connecticut for generations.
llinois will face UConn and Michigan will take on Arizona next Saturday, with the winners squaring off two nights later for the national title.
The Arizona-Michigan game is a matchup of top seeds. UConn is seeded second and will play No. 3 seed Illinois.
Arizona is the early favorite to take the title next Monday night in Indianapolis, listed at 19-10 odds by BetMGM Sportsbook, followed closely by the Wolverines — coming off a 95-62 drubbing of Tennessee on Sunday — at 2-1.
On March 29, Taix as we know it closes forever. The iconic French restaurant originally opened downtown in 1927 and relocated to its current chalet on Sunset Boulevard in 1962. It’s a grim reminder of L.A.’s insatiable appetite to destroy its own heritage and especially devastating to a certain milieu of writers and artists, myself very much included. Since it announced its closure, I’ve been visiting as often as I can to say farewell, not only to the charmingly shabby faux-1920s interiors, but to the many lives I’ve lived at its tables. First as a young guitarist when a bandmate worked the bar’s soundboard, next with the Chinatown artist scene, then with Semiotext(e)’s avant-garde lit circle, later through firecracker romances and heartbreaks during the art party Social Club, recently floating through the louche carnival of Gay Guy Night and now with the circus of beatniks from my reading series Casual Encountersz.
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It’s difficult to explain why this cavernous and windowless restaurant means so much, so I’ve tried to list everything I love about Taix.
I love that they don’t play music. I love the 1960s bathrooms. I love the bottomless tureens of soup. I love the complimentary crudité from the pre-pandemic era. I love the cold pats of butter. I love that you can always get a table, no matter how many people roll in. I love the free refills on Diet Cokes. I love the 80-year-old couples on dates. I love how the dim lighting makes everyone seem chic. I love the frayed carpeting. I love the fake votive candles. I love the icy martinis. I love the corner booth beside the fireplace. I love the smoked mirrors and tin-plate ceilings in the elegant back dining rooms. I love the small fortune I’ve spent there picking up the check for many strippers, poets and bohemians. I love its rundown glamour, which miraculously evokes Old Hollywood, Belle Époque and trashy Americana all at once. I unironically love the food, which isn’t spectacular, but is very comforting. I love how a waitress once ran off with a friend of mine and slept on my couch for a week. I love how my wife generally hates eating at restaurants but loves eating at Taix. I love how every L.A. artist I know has their own singular version of this list.
The only thing I don’t love about Taix is that its owners are tearing it down to erect soulless condos. I know the city needs housing, but not like this. I hope we’ll all find a new place to call home again soon.
Taix shaped me as a writer and artist, along with so many others, which is why before the new owners demolish this cultural institution, I asked other creatives what the Echo Park landmark means to them.
Chris Kraus.
(Ariana Drehsler / For The Times)
Chris Kraus, writer, artist and co-editor of the independent press Semiotext(e): When I moved to L.A. in 1995, Taix was the go-to place, with its deep banquettes, cuisine bonne-femme and its nightly prix-fixe specials. Mostly it was police officers and their wives who went there. Sylvère Lotringer and I went often, for him it was a little reprieve from the non-Frenchness of L.A. He could order in French and exchange pleasantries with an elderly French waiter who seemed to live there. Years later, when Sylvère moved to Ensenada and was less active with Semiotext(e), Taix was the site of our “Annual General Meetings” — Hedi El Kholti, Sylvère and I would have dinner together and Hedi would catch Sylvère up on all the forthcoming publications and projects. Taix was a place to run into people unexpectedly. About a decade ago, when the bar was refreshed, it changed again and I kind of lost track of it.
Rachel Kushner, novelist: I dined at Taix probably once per week for 23 years. It hurts so much that it is closing. I simply stopped going, so that I could begin to grieve, and also to avoid every last random tourist standing by the host station, on their phone, and the glum possibility of being seated in the second dining room, a.k.a “the Morgue” as my friend Benjamin Weissman put it. I want to protect my memories of the special occasions I enjoyed in this perennial special occasion establishment … I want to remember Bernard, a cheerful Basque from Biarritz who worked there 60 years, got progressively trashed over the course of his shift, went to Bakersfield on Sundays to party with his sheep-herding countrymen, came back Wednesdays sunburned and happy. The old valets who were let go during the pandemic. I used to give them a Christmas bonus every year, as a thanks for letting me park my classic out front. Look, I was born in Taix. I mean, in a way. I nursed my newborn in Taix. He grew up there. People who criticize the food are losers, and will never understand. The steak frites are great. The panna cotta, discontinued after the pandemic, was my favorite. The Louis Martini Cabernet was reliable. (Bernard told me the wine cellar downstairs took up the entire footprint of the main restaurant. Don’t know if that’s true.) Meanwhile, I can’t put my arm around a memory. All the smart girls know why. It doesn’t mean I didn’t try.
Cord Jefferson, writer and director: When I started going to Taix, in 2004, you could still gamble at the bar. They sold keno slips and lottery tickets, and whenever Powerball got over $100 million, I’d buy a ticket with my pint. Where else can you do all that while simultaneously watching a game and eating a tourte de volaille? Taix was where I watched the heroic Zinedine Zidane headbutt the gutless Marco Materazzi in the saddest World Cup final ever. When France lost that afternoon, my favorite server, Phillipe, cried. Phillipe’s teeth were often as wine-stained as his customers’. He’d bum me cigarettes in the parking lot and speak abusively about the ways the neighborhood was changing. I’m happy Phillipe is not around to see the digital renderings of what they plan to erect once they demolish the Taix chateau: another condo building with all the charm of a college dorm. It’s a damn shame what’s happening to Taix. I wish I had more money so I could buy it and keep it around, but I never won the Powerball.
John Tottenham, novelist and poet: It’s a shame that Taix is closing, not only because other plans will now have to be made for my funeral reception, but because it was the last civilized watering hole in the neighborhood. There isn’t anywhere else that one can walk into and immediately satisfy the social instinct among a convivial and refreshingly diverse clientele in what is becoming an increasingly homogenized locality. It has been the nexus of my social life for over 20 years, and is simply irreplaceable.
Jade Chang.
(Ariana Drehsler / For The Times)
Jade Chang, novelist: I’d only known Taix as a raucous bardo of a French restaurant, then there was a memorial service for Alex Maslansky, my beloved friend Max’s brother, owner of Echo Park’s best bookstore, Stories. Alex was a beautiful and beleaguered soul, born worried, born romantic, difficult and hopeful and apparently a shockingly good poker player. The room was packed with music people and book people, sober friends and poker friends, packed with the gorgeous girls who’d always loved him, our collective sorrow potent and sweet enough to pull the walls in around us tight as we said goodbye and goodbye.
Alexis Okeowo, New Yorker staff writer: I was a late discoverer of Taix, stumbling upon it when I moved to a bungalow just above Sunset during the pandemic from New York. I seemed to only see writer friends there. I met up with a journalist for drinks and then ran into a new writer friend at the bar. I later had a big, spontaneous dinner with TV writer friends and then a birthday celebration in the dining rooms that ended in two friends escorting me home, sick and happy off a mostly-martini meal and the selfies I took in the bathroom with the iconic pink and gold wallpaper. Every time, there was talk about ideas and gossip and so, so much laughter.
Alberto Cuadros, writer/curator and co-founder of the Social Club: About 10 years ago, Max Martin and I started Social Club as a weekly social salon at Taix. We thought of it as a kind of Beuysian social sculpture, it was a weekly ritual, and over time it became something of an institution in the L.A. art world. Everyone knew where to go in L.A. on a Wednesday if they wanted to meet interesting people or find friends. I even met my wife there who was visiting from Montreal.
Siena Foster-Soltis, playwright: Taix felt like one of the few remnants of the L.A. I grew up in and love so dearly.
Ruby Zuckerman.
(Ariana Drehsler/For The Times)
Ruby Zuckerman, writer and co-founder of the reading series This Friday: Taix is the only restaurant in L.A. that doesn’t lose its mind if new friends drop in halfway through dinner or if you stay at your table for hours after you stopped ordering. That kind of flexibility leads to spontaneous nights where what started off as an intimate hang expands into an all-out party. As a writer, that flexibility has allowed me to meet editors, collaborators and readers, drawn together by pure fun rather than networking. One of my favorite nights involved getting in a physical altercation with novelist John Tottenham after he stole my phone to send prank texts to my boyfriend. I’ll miss taking selfies in the bathroom.
Blaine O’Neill, DJ and events organizer: I always say Taix is the “People’s Country Club.” It is exceptional because of the staff who understand the importance of hospitality, and the scale of the space is humane. You’re able to evade feeling pinched by the noose of transactional cosmopolitanism.
Tif Sigfrids, gallerist and publisher Umm…: Taix was a cultural nexus. A space with broad range. It went from being the dark bar I read books and day-drank at in my 20s to the place where I rented a private room to host my son’s first birthday party. It’s where I watched Barack Obama get elected twice, the Lakers win back-to-back championships, and where I indulged in countless night caps and an unreasonable amount of all-you-can-eat split pea soup. You never knew what kind of hot jock, wasted poet or other type of intrigue you might run into there. You can’t make a place like Taix up. It’s a place that just miraculously happens.
Kate Wolf, writer and editor: Though I have been going to Taix for nearly 20 years, embarrassingly, it was only in the last year that I realized the building wasn’t from the 1920s. Those smoke-stained mirrors, that tin ceiling, the drapery and light fixtures are in fact set-dressed — ersatz! Which of course only makes me love the place more. Taix’s history, and its spot in the city’s cultural firmament, cannot be denied. But what really makes it so special are the people who work there and the clientele, not its past. This point is perhaps my only hope in losing what is my favorite restaurant in Los Angeles. That by some divine grace, we will all find each other again in another spot, designed to a different decade than the horror-filled present, and fill it with the same warmth, the same bottomless soup bowl, the same cheer.
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Hedi El Kholti, the co-editor of Semiotext(e). (Ariana Drehsler/For The Times)
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Writers Lily Lady and Siena Soltis-Foster. (Ariana Drehsler/For The Times)
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Poet Meat Stevens (Steven Lesser). (Ariana Drehsler/For The Times)
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Sammy Loren, writer and curator of Casual Encountersz. (Ariana Drehsler/For The Times)
Hedi El Kholti, artist and co-editor Semiotext(e): Taix is where we would end up after every reading since 2004 when I started working at Semiotext(e). I have memories of being there with Kevin Killian, Dodie Bellamy, Gary Indiana, Michael Silverblatt, Colm Tóibín, Rachel Kushner and Constance Debré among others … Taix has that particular anachronistic vibe that made L.A. so charming when I moved here in 1992, one of these places that time forgot. It was odd when it became really hip in the last 10 years. It made me think of what Warhol wrote about Schrafft’s restaurant when it had been redesigned to keep up with the fashion of the moment and had consequently lost its appeal. “If they could have kept their same look and style, and held on through the lean years when they weren’t in style, today they’d be the best thing around.”
Loren is the founding editor of the art and literary conceptual “tabloid” On the Rag and curator of the reading series Casual Encountersz.
A BITTERLY fought five-year dispute between an EastEnders star, his wife and their neighbours over a dog bite on a Lord’s estate has finally ended.
TV actor and film star John Blundell and his wife Mercina were locked in a bitter legal fight with neighbouring lodge owners Alison and Andrew Girdiefski after the row over their tiny pooch Ziggy.
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Mercina and John Blundell are now selling their holiday lodge after the Girdiefski’s made their lives’ hellCredit: B176Alison and Andrew Girdiefski ended up settling out of courtCredit: FacebookZiggy, the Chinese crested dog, that caused a four year feud was placed on the dangerous dogs registerCredit: Instagram/Alison Girdiefski
The Sun can now confirm that Mercina and John have finally seen a closure in their favour, with an out of court payment after bringing a civil court case.
John – who also starred in Quadrophenia and Scum – and his wife are understood to be delighted by the result.
The long-running saga dates back to 2021 at the plush Fritton Lake estate in Norfolk, a 5,000-acre retreat owned by aristocrats Hugh and Lara Crossley, Lord and Lady Somerleyton.
The row all kicked off when Mercina had been visiting her neighbours’ lodge to admire renovation work when she says their small hairless Chinese crested dog, Ziggy, suddenly bit her on the wrist.
The attack, they claimed, left her with a half an in inch wound that later scarred, with the actor’s wife needing hospital treatment.
With the row spiralling out of control – John and Mercina then launched a civil case at Norwich County Court seeking damages.
The Sun has now confirmed the long-running dispute has been settled out of court.
It brings to an end to years of acrimony.
Court officials told The Sun the matter was settled out of court using a Part 36 offer – a formal settlement under the law.
A source close to the couple told us: “While the couple are selling their property at Fritton they are reluctant to talk.
“It has been a very difficult few years for the Blundell’s, who really have done nothing wrong at all.”
Back in 2021, what should have been a tranquil countryside getaway quickly spiralled into a toxic feud involving police, lawyers and estate bosses.
Relations between the couples then soured dramatically.
Lord Somerleyton – pictured with his wife Lara – even tried to mediate between the Blundell’s and Girdiefski’sCredit: ArchantThe 115 lodges at the resort, owned by Lord Somerleyton, sell for up to £350,000 and are set in secluded locations in the 5,000-acre groundsCredit: Fritton LodgeThere is a floating sauna on Fritton Lake as part of the resortCredit: TripAdvisor
The dispute even drew in Norfolk Police, with officers speaking to both sides.
Ziggy was added to a register of dangerous dogs, but no further action was taken due to the time elapsed.
Complaints of harassment were also investigated by Norfolk Police – but no offences were ultimately found.
Mercina also accused the pair of taunting them by singing “who let the dogs out” and filming them nearby.
Frustrated, the Blundells launched civil action – setting them for a court showdown.
The pair even recruited James McNally – known as “The Dog Bite Solicitor” who specialises in getting civil damages on dog attacks.
The Blundells said at the time they had been quoted £1,500 for a plastic surgeon to fix Mercina’s wrist – and were believed to be seeking up to £30k in costs and damages.
And the Girdiefskis had said ahead of the looming case that they found the figures “ridiculous”.
“The sort of money you would expect to be paying somebody who has had their face ripped off by a dog, not this mere 1.2cm cut,” said Alison in July 2025.
Speaking at the time, she added: “From day one, we have accepted responsibility.
“Our Ziggy did bite Mercina and we have never denied this.”
But the dramatic court clash never happened after the Girdiefskis agreed to settle.
A court spokesperson said: “This case was settled out of court by way of accepting a Part 36 offer, therefore there is no final order or settlement details to provide.
“Both sides had solicitors so in the end the court was not involved.”
John said the retreat, meant to be a peaceful escape, had instead become “a living nightmare”.
Both couples are now trying to sell their lodges on the exclusive estate.
The Girdiefski’s and Blundells have been approached for comment.
The Sun have also contacted Lord Somerleyton.
John Blundell starred in Quadrophenia, The Bill and EastendersCredit: IMDBJohn Blundell in The Bill, 1987Credit: ITVJohn Blundell as PC WILLIS in soap EastendersCredit: BBCJohn Blundell playing Banks in film ScumCredit: BBCJohn playing the leader of the rocker gang in cult film Quadrophenia
Months after Kaiser Permanente doctors saw a patient, federal prosecutors said, administrators pushed the physicians to add new, false diagnoses to the medical record in a billion-dollar scheme to defraud the government. Kaiser in February paid $556 million to settle the allegations.
“Deliberately inflating diagnosis codes to boost profits is a serious violation of public trust,” said Scott Lambert, acting deputy inspector general for the U.S. Department of Health and Human Services.
Kaiser faced further scrutiny a month later when the nonprofit healthcare giant paid $30 million to settle another case brought by federal investigators, this one involving claims it had failed for years to provide patients with adequate access to mental health care.
Kaiser said it settled the fraud case without admitting wrongdoing. It said the mental health settlement did not involve its current practices.
Yet critics have pointed to the repeated legal payouts, saying they reflect how Kaiser has veered from its charitable mission in recent years and is now virtually indistinguishable from its for-profit competitors keenly focused on the bottom line.
That shift has also fueled recent tensions with its employees, who have complained about inadequate resources to address staffing shortages and patient delays.
“Their focus is on profit and in doing more with less,” said Kadi Gonzalez, a nurse who works in Kaiser’s obstetrics and gynecology clinic in Downey. Gonzalez was one of more than 30,000 nurses and other Kaiser professionals who walked out in a four-week strike that ended last month.
The unions said their strike was as much about staffing levels and patient safety as it was about wages.
“The more patients a nurse has, the higher the mortality rate,” Gonzalez said. “We don’t have enough providers.”
The Oakland-based giant insures almost 1 of every 4 Californians. It operates as both an insurer and a provider of care in a closed system that makes it difficult for patients to get treatment elsewhere.
Kaiser declined to make its executives available for comment, but issued a statement disputing the claims.
“Our charitable purpose guides every decision we make,” the statement said. “Driven by our mission, we offer better care and coverage to our members, invest billions of dollars in our communities every year, and work to advance high-quality, affordable, equitable, evidence-based care in communities across the country.”
The statement added that its hospitals are “among the best staffed in California” and that staffing levels always meet or exceed state requirements.
A surge in profits
Founded in 1945, Kaiser has long gained national attention for its managed care model and focus on preventative care.
The nonprofit says its mission is “to provide high-quality, affordable health care services and to improve the health of our members and the communities we serve.”
The Kaiser system — the largest healthcare nonprofit in the country — serves 9.5 million Californians. The Times offers Kaiser insurance to its employees.
Last year, Kaiser took in more than $127 billion in revenue, earning a profit of $9.3 billion. The net income was mainly from investments, with a smaller share ($1.4 billion) from its sprawling operations as well as insurance premiums.
Kaiser has continued to hike its insurance premiums faster than inflation.
In 2025, premiums increased an average of 5.1% in Southern California and 8.2% in Northern California, according to Beere & Purves, a general insurance agency. In January, it raised them by another 6.5% in Southern California and 7.1% in the northern part of the state.
Kaiser has been rapidly expanding nationwide. It now has hospitals and clinics in at least 10 states and the District of Columbia, some operating under a separate nonprofit that it created in 2023 called Risant Health.
Kaiser said in its statement that D.C.-based Risant “is a way for us to expand access to high-quality, affordable care to millions more people, in fulfillment of our mission.”
“As a nonprofit, any returns are reinvested back into patient care, infrastructure, workforce benefits, and community health programs—not distributed to shareholders,” it said.
Kaiser said that its annual premium increases were “generally lower” than its competitors.
The surge of money has increased Kaiser’s reserve of cash and investments, which reached $73 billion in 2025 — 68% higher than in 2019, according to its financial statements.
Because Kaiser is registered as a charity, it pays no taxes on its profits or its extensive real estate holdings. After a recent buying spree, the nonprofit system said it had 847 medical offices and 55 hospitals at the end of 2025.
The arm of Kaiser that operates its hospitals and clinics avoided $784 million in federal income tax, $372 million in state income tax and $204 million in property tax in 2024, according to an analysis by the Lown Institute, a healthcare think tank.
In all, Kaiser Foundation Hospitals received nearly $1.5 billion in tax and other benefits by registering as a charity, the institute calculated.
Laws exempt nonprofits from paying taxes with the assumption they will give back to the community.
In 2024, Kaiser Foundation Hospitals provided $963 million in patient financial assistance and contributions to community health programs, but that still fell short of its tax benefit by more than $500 million, according to the Lown Institute.
Dr. Vikas Saini, the institute’s president, said that amount of money could help solve a myriad of California’s social problems.
“If they closed that gap, what would that $500 million get you?” he asked.
In a 2024 study, the institute found that Kaiser had the largest gap between its tax benefits and charitable spending of any of the nation’s nonprofit hospital systems.
Kaiser said in its statement that its combined charitable spending was far more than the institute’s calculation for its hospital arm. It said it not only provided patients with financial assistance, but also spent money on affordable housing, food access, community health and disaster recovery — efforts that totaled $5.3 billion last year.
After the January 2025 wildfires, Kaiser said it provided 2,400 households with financial assistance, opened evacuation centers, deployed mobile health vehicles and provided mental health services to victims.
“We have never been prouder of how we are delivering on our mission for the public good,” the statement said.
As Kaiser has grown, so has compensation for its top executives, which is among the highest of all California nonprofits.
In 2024, Greg Adams, Kaiser’s chief executive, was paid nearly $13 million, according to its filings. At least 40 other executives received total compensation of more than $1 million that year.
The nonprofit has a board of directors of more than a dozen members, with all but a few receiving $250,000 or more a year, according to the filing.
The board helps to oversee Kaiser’s fast-growing operations as well as its $73-billion financial reserve, which healthcare advocates and experts have said is far higher than its competitors and the level the state requires.
“I’m flabbergasted,” Saini said when told of the reserve’s size. “Who decides how big of a reserve is enough?”
Kaiser said it maintained the large financial reserve “to ensure long-term stability, manage emergencies, support major capital investments, and support our people’s retirement benefits.”
And it said senior managers were paid less than most for-profit health plans.
Patients delays, staffing shortages
Some longtime Kaiser members have left for other insurers, citing a decline in care.
Mark Schubb, a Santa Monica resident, had been a Kaiser member since 1995. He said he left in 2022 after experiencing months-long delays to visit his primary care doctor and specialists.
When he complained, Schubb said, “the answer was, ‘Well, you can always go to urgent care.’ “
Gonzalez, the nurse in Downey, said patients often wait three months for an appointment. And when they finally get in, the 20-minute appointment may be double-booked, she said, leaving the physician assistant with 10 minutes to see them.
“They can wait months for an appointment and then they are rushed through,” she said. “Kaiser has the resources to fix these things.”
In one case, 53-year-old Francisco Delgadillo arrived at the Kaiser ER in Vallejo, Calif., in December 2023 with severe chest pain. After an initial assessment, he waited eight hours for care, according to state regulators.
He died in the lobby.
A state and federal investigation found multiple violations, including that Kaiser failed to have a licensed nurse monitoring the dozens of patients in the ER’s waiting room.
Kaiser didn’t respond to a request to comment on the death but has disputed claims of inadequate staffing at its hospitals.
Complaints about a lack of available mental health care go back more than a decade.
In 2023, Kaiser agreed to a $200-million settlement after the state found it had canceled tens of thousands of mental health appointments and failed to provide timely care. The settlement included a $50-million fine — the largest the state had ever levied against a health plan.
Garie Connell, a Kaiser therapist and licensed clinical social worker in Encino, said the system had been rationing mental health care for years, while earning big profits.
“They’ve really lost their way,” she said.
Kaiser said it had “made significant investments to expand choice and access to mental health care over the past several years.” The healthcare provider said it now has more than 35,000 employed and contracted clinicians delivering mental health and addiction care.
Unsupported diagnoses
Kaiser said that it settled the alleged $1-billion fraud case last month to avoid the “cost of prolonged litigation” and that the findings of federal investigators involved “a dispute regarding certain documentation practices.”
In their complaint, prosecutors alleged that Kaiser mined data to find possible diagnoses that could be added to patients’ records to make them look sicker than they were. The patients were in Kaiser’s Medicare Advantage plan, which received bigger government payments for patients with multiple ailments.
Doctors were praised and given gifts, including bottles of champagne, the complaint said, for agreeing to the administrators’ requests to add the diagnoses.
As one Kaiser slide in an internal training session explained, “Medicare Queries: Why Now?”
The slide then provided the answer: “Diagnoses = Revenue.”
Paul McCartney sauntered onto the stage of the Fonda Theatre, took in the 1,200 faces before him — “I can see the whites of your eyes,” he said — then offered up a brief history lesson about where we’d gathered Friday night.
The Fonda, he told us, opened 100 years ago; back then, he added, it was called the Music Box.
“Cool little place, innit?”
At 83, McCartney is well into his cool-little-place era.
Last year the rock legend played a string of concerts at New York’s tiny Bowery Ballroom while in town for “Saturday Night Live’s” 50th anniversary; a few months after that, he hit the Santa Barbara Bowl as a kind of warm-up for the latest leg of his Got Back world tour.
Paul McCartney and his band during sound check for Friday’s show.
(MJ Kim)
Friday’s underplay — the first of two instant sell-outs at the Fonda — came as McCartney is drumming up interest in a new studio album he’ll release in May. Outside the venue, a double-decker bus was parked with signage advertising the LP, which is called “The Boys of Dungeon Lane” after a road in his Liverpool hometown.
But that hardly seemed like the purpose of the show itself, which lasted about an hour and 40 minutes and didn’t even include a performance of the album’s lead single. The truth is that Sir Paul genuinely appears to get a kick out of these intimate gigs — out of standing right in front of a crowd and doing the magic trick that is a song like “Get Back” or “Jet” or “Got to Get You Into My Life.”
And why wouldn’t he?
If a Paul McCartney concert in an arena or a stadium is a finely honed spectacle of boomer nostalgia and industrial-strength charm, one of his shows in a club or a theater is a chance to play music, which after six and a half decades still clearly turns his wheels.
You wouldn’t say the shows remind McCartney that he’s a regular guy. (Those six and a half decades have made him anything but.) What they might do, though, is remind him why he became so widely adored — valuable self-knowledge for an artist whose great subject has always been the transformative power of love.
Here, as in Santa Barbara, he and his seven-piece band (which featured three horn players) did a pared-down version of the most recent Got Back set, opening with a killer one-two punch — “Help!” into “Coming Up” — that alone said plenty about McCartney’s range and endurance.
“Let Me Roll It” had a funky swagger, while “Getting Better” chugged with cheerful insistence; “I’ve Just Seen a Face” showed off the group’s crisp harmonies and “Lady Madonna” its tight rhythmic interplay. After “Let ’Em In,” McCartney asked his band member Brian Ray to show off the song’s all-important bass line: a single note plucked over and over and over again.
Friday’s show was the first of two at the Fonda.
(MJ Kim)
He did a few other comic bits, including a memory of Tony Bennett singing without a microphone as a way to demonstrate the excellent acoustics of a concert hall — the punch line was that he later saw Bennett do the same thing at the Beverly Hilton — and some gentle ribbing of the folks sitting up in the “posh seats” of the Fonda’s balcony. Among them, McCartney pointed out, was Morgan Neville, director of the recent “Man on the Run” documentary about McCartney’s life in the aftermath of the Beatles’ breakup.
He also noted that his wife, Nancy Shevell, was in the house and dedicated “My Valentine” to her; truth be told, that one was a bit dreary, as was “Now and Then,” the so-called last Beatles song released in 2023 using machine learning to complete a scratchy demo left behind by John Lennon.
“Thank you, John, for writing that lovely song,” McCartney said afterward, which made it a little harder not to like.
In any event, there were more classics to come, not least a buoyant “Ob-La-Di, Ob-La-Da” and a “Let It Be”/“Hey Jude” twofer that inspired such a lusty singalong that McCartney probably could’ve gotten away with lip-syncing if he’d wanted to.
But of course he didn’t want to — that was kind of the whole point.
Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s Noah Goldberg, with an assist from David Zahniser and Rebecca Ellis, giving you the latest on city and county government.
Adam Miller is running for mayor.
You might not know that, and you might not even know who he is — and his campaign team wouldn’t blame you.
In fact, the Miller team’s own internal poll of 800 likely voters shows the tech entrepreneur with just 6% support, behind incumbent Mayor Karen Bass, City Councilmember Nithya Raman, conservative reality TV star Spencer Pratt and leftist Rae Huang. Only 13% of Angelenos even have an opinion of Miller, with 7% coming down on the positive side and 6% negative.
Miller’s pollster, Jefrey Pollock, admits it’s not often that a campaign brags about a humble 6% backing their candidate.
But during a video conference with reporters, Pollock argued that Miller’s support rises along with his name recognition. When likely voters were given more information about the candidates, he shot up to 20%, according to the poll. When provided with additional positive information about the candidates, Miller finished first, with 27%.
“Adam is the one who jumps up,” said Pollock, who runs Global Strategy Group.
After voters got the first dose of information, 22% supported Bass, down from 26%; 21% went with Pratt, up from 14%; 14% backed Raman, up from 12%; and 8% chose Huang, down from 9%.
In a poll earlier this month by the UC Berkeley Institute of Governmental Studies, co-sponsored by The Times, Miller also came out with 6% support. Bass was supported by 25% of voters, while Raman drew 17% and conservative reality TV star Spencer Pratt came in third at 14%. About a quarter of voters were undecided.
Paul Mitchell, vice president of the bipartisan voter data firm Political Data Inc., said the Miller campaign poll was compelling.
“What I see is a good argument that he can make the runoff,” Mitchell said. “This is a real deal.”
The question for Miller and his team then becomes, how can he introduce himself to more voters before the June 2 primary?
Miller is the former CEO of Cornerstone OnDemand, a global training and development company he built over the course of more than 20 years. The publicly traded company was eventually sold to a private equity firm for $5.2 billion. He is also a co-founder of Better Angels, a nonprofit focused on preventing homelessness and building affordable housing.
Among everyday Angelenos, he’s a no-name.
A television, social media and outdoor billboard advertising campaign launched this week should help change that, Miller’s team said. They said the “omnichannel” blitz cost seven figures but did not provide an exact amount.
The first billboard went up this week at Bundy Drive and Wilshire Boulevard, not far from Miller’s Brentwood home. More are expected next week in the San Fernando Valley.
Miller said he personally loaned his campaign a “majority” of the money for the ad blitz.
How much Miller is willing to spend on his mayoral ambitions?
In 2022, billionaire developer Rick Caruso threw more than $100 million of his own money into his campaign against Bass during the primary and runoff elections. He still lost by more than 10 percentage points.
“Obviously, we have the benefit of hindsight that that strategy did not work,” Miller said of the Caruso campaign. “There’s reasons my candidacy is different.”
For one thing, as opposed to Caruso, who was a Republican before registering as a Democrat to run for mayor, Miller is a lifelong Democrat. (That said, Miller voted for Caruso in 2022, said his spokesperson, Jaime Sarachit).
Miller is a moderate who sees himself as leader who gets things done. He believes the LAPD needs a minimum of 10,000 officers, up from about 8,700. He thinks the city should use anti-encampment laws to move homeless people away from sensitive areas like schools and day cares.
Miller would not directly answer a question about how much of his own money he will spend on his campaign. He has so far loaned it $2 million, “to get it up and running,” Sarachit said.
“That’s a significant sum, obviously,” said longtime L.A. political consultant Bill Carrick. “It’s a lot more efficient to write a check from your personal account than it is to go raise $2 million.”
But Miller said his campaign will largely be “traditionally financed,” meaning he plans to fundraise.
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State of play
— AO-K’ed: Metro’s board on Thursday unanimously approved a new route for a rail line that would extend from South L.A. into West Hollywood — a milestone deal struck after last-minute negotiations between Bass and local leaders. The K Line northern extension would link with four major rail lines and increase the number of riders to 100,000 a day.
— SOCIALIST SNUB: The Los Angeles chapter of the Democratic Socialists of America will not endorse a candidate for mayor. Last weekend, the group voted on whether to reopen its endorsement process and consider backing Huang or Raman but ultimately decided to stay out of the fray for the June primary.
— GUNNING FOR COUNCIL: Leftist City Council candidate Estuardo Mazariegos was convicted of misdemeanor gun possession in 2009. He thinks the conviction is a strength, not a weakness.
— SMALLER BIGGER: On Tuesday, the City Council adopted a strategy that would delay the effects of SB 79 citywide by upzoning 55 single-family and low-density areas, allowing for buildings of four to 16 units that are up to four stories tall. Under SB 79, buildings adjacent to certain transit stops can be up to nine stories.
— NOT UP FOR DEBATE: USC canceled its Tuesday gubernatorial debate, a stunning about-face after days of fiery criticism that every prominent candidate of color was excluded. Although the university defended the methodology used to determine who was invited, it ended up calling off the event with less than 24 hours’ notice.
— PHANTOM SUIT: A man said he has no idea how he became a plaintiff in the county’s $4-billion payout for sex abuse in juvenile halls and foster homes. His lawsuit, which he says was filed without his consent by Downtown LA Law Group, deepens questions around possible fraud in the nation’s largest sex abuse settlement.
— TAX TAKEAWAY: The proposal from a group of business leaders to repeal the city’s business tax has qualified for the November ballot. Organizers said their success — gathering twice as many signatures as needed — shows that voters “want affordability and fairness to be addressed immediately.” Labor unions have vowed to fight the proposal, which would rip an $800-million hole in the city budget.
— HOUSING HUDDLE: Three of the mayoral candidates — Miller, Huang and Raman — took the stage Monday for a downtown forum. The trio went back and forth on housing, transportation and other issues, particularly the future of Measure ULA, the so-called mansion tax. Bass did not attend, citing a previous engagement in New Orleans, where she held a campaign fundraiser with U.S. Rep. Troy Carter (D-La.) and the city’s mayor, Helena Moreno. Pratt also did not show.
QUICK HITS
Where is Inside Safe? The mayor’s signature program visited Skid Row in Councilmember Ysabel Jurado‘s district, moving 25 people indoors.
On the docket next week: The City Council is on recess next week.
Stay in touch
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Congratulations to all the young athletes and their teams on The Times All-Area high school basketball teams. I do wonder about the choices the seniors are making in their commitments to colleges and I look to The Times to explain why UCLA is seemingly not on the radar for these young players.
It used to be known that the Bruins’ academic requirements were a significant barrier to many high school players. Is that still true? Are the local graduates not the cream of the crop that Southern California was known for in past years? Are NIL deals affecting the choices of these future freshmen? Is UCLA not making a strong outreach effort for the top local talent? Is L.A. so awful for these kids that it isn’t even on their radar to stay close to home?
I am sure I am not alone in seeking clarity around the issue of the exodus of local talent to Missouri, Oregon State, Texas, North Carolina, Nevada, and even more confounding, USC.
David Gerne Echt Torrance
The Los Angeles Times welcomes expressions of all views. Letters should be brief and become the property of The Times. They may be edited and republished in any format. Each must include a valid mailing address and telephone number. Pseudonyms will not be used.
