year

Nov. 3 (UPI) — The United States’ 10 richest billionaires saw their wealth grow last year by nearly $700 billion, according to a new report published Monday by Oxfam, which warns the Trump administration is worsening U.S. inequality.

The report states that in the past year, the wealth of U.S. billionaires grew by $698 billion.

Oxfam, the British-founded confederation of nearly two dozen non-governmental organizations, citing Federal Reserve data, found that between 1989 and 2022, a household in the top 0.1% gained $39.5 million, while a household in the top 1% gained about $8.3 million. Meanwhile, a bottom 20% household saw its wealth only grow by $8,465.

This equals to the poorest household in the top 1% having gained 987 times more wealth than the richest household in the bottom 20%, according to the report.

It continues by stating that while the wealth of working- and middle-class families have barely grown in more than three decades, America’s richest have seen their purses overflow.

As evidence, Oxfam said the share of national income going to the top 1% doubled from 1980 to 2022, while the share going to the bottom 50% decreased by one-third.

It also pointed to the top 1% owning half of the entire stock market, while the bottom half of Americans only hold 1.1%.

“The data confirms what people across our nation already know instinctively: the new American oligarchy is here,” Abby Maxman, Oxfam America’s president and CEO, said in a statement accompanying the publication of the report.

“Billionaires and mega-corporations are booming while working families struggle to afford housing, healthcare and groceries.”

The report warns that the Trump administration is taking actions that threaten to worsen inequality in the United States.

According to Oxfam, the Trump administration, backed by a Republican-controlled Congress, “has moved with staggering speed and scale to carry out a relentless attack on working class families, and use the power of the office to enrich the wealthy and well-connected.”

Maxman said the Trump administration and congressional Republicans “risk turbocharging” this inequality, while adding that what they are doing isn’t new, but what is different “is how much undemocratic power they’ve now amassed.”

In the working-class city of Commerce, where cars speed past on highways and the Citadel Outlets tower over neighborhoods, there is a steakhouse named Stevens. By day, it’s a classic and charming old restaurant where working people go for quiet, hearty meals.

But every Sunday night, the outside world disappears.

As waiters whisk about in starched button ups, couples lead each other by the hand toward the dance floor in the restaurant’s ballroom, where Stevens’ tradition of Salsa Sundays has been bringing the community together for 73 years.

At 7 p.m. every Sunday, beginner lessons start at Stevens Steakhouse.

(Emil Ravelo / For The Times)

An eight-piece band plays brass, electric guitar, bongos and timbales, filling the room with music as dancers twirl in a dizzying array. One attendee, 29-year-old Amy Hernandez, greets a few familiar faces before she steps onto the dance floor, spinning in confident steps with a wide smile on her face.

Hernandez is part of a revival that’s been getting younger people excited about salsa music — and flocking to Stevens. She grew up watching her father dance salsa, but started diving back into the genre on her own to find comfort during the L.A. wildfires earlier this year. She credits Bad Bunny’s “Debí Tirar Más Fotos” for re-sparking her interest.

“It was very healing for me,” she says of the album, which blends old-school Puerto Rican boricua samples with Latin dance and reggaeton influences for an emotional imagining of Puerto Rican identity.

For decades, Stevens has brought friends, couples, and families together for live music and dance.

(Emil Ravelo/For The Times)

When college friends recommended Stevens as an affordable place to dance, Hernandez mentioned it in passing to her dad. “He laughed and said, ‘I remember that place. I used to dance there too,’” Hernandez says.

The increasingly mainstream artists of Latin fusion genre reggaeton are returning to tradition. Along with the music of Bad Bunny, who’s headlining the upcoming Super Bowl halftime show, you can find classic salsa references in reggaeton star Rauw Alejandro’s latest album “Cosa Nuestra,” and in Colombian pop star Karol G’s multi-genre summer album “Tropicoqueta,” which will be at the center of her headlining Coachella set.

“You can feel the younger energy,” says longtime Stevens salsa instructor Jennifer Aguirre. “It makes me really happy to see a younger generation take on salsa. Because I was worried for a bit. I didn’t know how salsa is going to continue.”

Los Angeles has a unique relationship with salsa, the Afro-Caribbean dance born from Cuban mambo. In cities like Miami and New York, salsa arrived with Cuban and Puerto Rican immigrants. Instead, L.A.’s salsa influence came from Golden Age Hollywood, where Latin dance in movies produced a singular, flashier Angeleno style, characterized by quick turns and theatrical movement, according to salsa historian Juliet McMains.

The 1990s were another high for the genre, when West Coast pioneers like the Vazquez brothers and their first-of-its-kind dance team Salsa Brava sparked a local dance craze. The Vazquezes introduced the “on-1” step and innovated a flashier, dramatic style of salsa in L.A. that brought crowds to competitions and congresses through the 2000s. Legendary late promoter Albert Torres founded the L.A. Salsa Congress in 1999, the first congress on the West Coast, drawing a worldwide audience for Angeleno salsa.

Opened in 1952 by Steven Filipan (and located on Stevens Place), Stevens in Commerce became a local hub for Latin music. “The interesting part was that the area wasn’t Latin at all,” says Jim Filipan, Steven’s grandson and now the third-generation owner of the restaurant. “My grandfather had a foresight that this genre would be the future.”

Jim recalls his childhood growing up in the restaurant. “We would have hundreds of people on Sundays,” he says. “The ballroom, the restaurant, everyone was dancing salsa, and it was incredible. My dad took over in the ‘70s, and I was running it with him in the ‘90s.”

Yet by the 2010s it was apparent that another genre was taking hold of the Latin dance scene: bachata, ushered in by smooth-singing New York stars like Prince Royce and Romeo Santos. Salsa quickly went from being considered hip to rather old-fashioned.

During a Stevens dance lesson, guests learn how to spin on the dance floor.

(Emil Ravelo / For The Times)

Aguirre witnessed the genre lose interest firsthand. “It was like an immediate switch,” Aguirre says. “Salsa just wasn’t as popular anymore, and people would walk over to the other side of the restaurant to take the bachata lessons.”

The pandemic also dealt a large blow to local salsa clubs, as peers in the long-standing dance club industry fell to lower attendance rates and rising rent. And in the last year, two historic venues, the Conga Room and the Mayan, closed permanently.

Stevens almost had the same fate. The financial burdens during the pandemic made Jim consider closing for good. But he couldn’t help but consider the responsibility of his family’s legacy and the special place Stevens holds for local dancers.

“It’s very emotional for me because I have four generations in this restaurant, and now my daughter works here,” he says.

When Stevens reopened, the community came back in droves, ushering in a new era of excitement for salsa.

These days, at the beginning of every class, dance instructor Miguel “Miguelito” Aguirre announces the same rule.

“Forget about what happened today, forget about your week, forget about all the bad stuff. Leave it at the door,” Aguirre says. “It’s going to be better because we’re going to dance salsa.”

Dance instructor, Miguel Aguirre, right, mans the DJ booth alongside DJ Pechanga, another longtime employee of Stevens. Every weekend, the duo brings Latin music to the forefront of the space.

(Emil Ravelo/For The Times)

Aguirre has taught salsa at Stevens for 30 years. In many ways, the steakhouse has shaped his life. It’s where he discovered his love for teaching dance and much more.

“I started coming here in the ‘90s, sneaking in through the back door. I was a teenager, so not old enough to show my ID, but one day, Jim just said, ‘You guys cannot come in through the back anymore. You can come into the front,’” Aguirre says. “And then one day he said, ‘Hey, we are missing the instructors. They’re not coming in. Can you guys teach the class?’ And, I’m still here.”

Jennifer Aguirre, a fellow dance teacher at Stevens, is his wife. She met him one day at Stevens’ annual Halloween party.

“He asked me to join his class because they ‘needed more girls,’” Jennifer says, laughing.

Now Jennifer teaches the beginner’s class, while Miguel is on intermediate. But once 10 p.m. hits, it’s social dancing time. The whole floor comes together and a familiar community converges. If attendees are lucky, they might catch Jennifer and Miguel, a smooth-dancing duo, letting loose, stepping and dipping effortlessly.

On a recent Sunday night, the low-lighted ambience of the restaurant met the purple lights of the dance room, with people sitting all around for a peek at the moves on display. Buttery steaks and potatoes cooking in the kitchen tinged the air as the dance floor came alive with women spinning in dresses and men in shining shoes gliding to the rhythm of the music. Miguel Aguirre manned the DJ stand, asking two singles if they knew each other and encouraging them to dance.

Gregorio Sines was one of the solo dancers on the floor, swaying partners easily under Miguel’s encouragement. Years ago, his friend, who frequented Stevens, dragged Sines out to dance socials, telling him it would be the best way to meet people and open up.

As someone who began with anxiety to dance in front of others, Sines now performs in Stevens’ dance showcases. He says consistently returning to the steakhouse’s historic floor and immersing himself in the supportive community not only changed his dance game, but brought him out of his shell.

“I tell anyone, if you’re scared to dance, you just have to get out there,” Sines says. “There’s a community waiting for you.”

You may not know Eliot Mack’s name, but if a small robot has ever crept around your kitchen, you know his work.

Before he turned his MIT-trained mind to filmmaking, Mack helped lead a small team of engineers trying to solve a deeply relatable problem: how to avoid vacuuming. Whether it was figuring out how to get around furniture legs or unclog the brushes after a run-in with long hair, Mack designed everything onscreen first with software, troubleshooting virtually and getting 80% of the way there before a single part was ever manufactured.

The result was the Roomba.

When Mack pivoted to filmmaking in the early 2000s, he was struck by how chaotic Hollywood’s process felt. “You pitch the script, get the green light and you’re flying into production,” he says, sounding both amused and baffled. “There’s no CAD template, no centralized database. I was like, how do movies even get made?”

That question sent Mack down a new path, trading dust bunnies for the creative bottlenecks that slow Hollywood down.

In 2004 he founded Lightcraft Technology, a startup developing what would later be known as virtual production tools, born out of his belief that if you could design a robot in software, you should be able to design a shot the same way. The company’s early system, Previzion, sold for $180,000 and was used on sci-fi and fantasy shows like “V” and “Once Upon a Time.” But Jetset, its latest AI-assisted tool set, runs on an iPhone and offers a free tier, with pro features topping out at just $80 a month. It lets filmmakers scan a location, drop it into virtual space and block out scenes with camera moves, lighting and characters. They can preview shots, overlay elements and organize footage for editing — all from a phone. No soundstage, no big crew, no gatekeepers. Lightcraft’s pitch: “a movie studio in your pocket.”

A series on how the AI revolution is reshaping the creative foundations of Hollywood — from storytelling and performance to production, labor and power.

The goal, Mack says, is to put more power in the hands of the people making the work. “One of the big problems is how siloed Hollywood is,” he says. “We talked to an Oscar-winning editor who said, ‘I’m never going to get to make my movie’ — he was pigeonholed as just an editor. Same with an animator we know who has two Oscars.”

Eliot Mack, CEO of Lightcraft, an AI-powered virtual-production startup, wants to give creators the power and freedom to bring their ideas to life.

(Christina House/Los Angeles Times)

To Mack, the revolution of Jetset recalls the scrappy, guerrilla spirit of Roger Corman’s low-budget productions, which launched the early careers of directors like Francis Ford Coppola and Martin Scorsese. For generations of creatives stuck waiting on permission or funding, he sees this moment as a reset button.

“The things you got good at — writing, directing, acting, creating, storytelling — they’re still crazy useful,” he says. “What’s changing is the amount of schlepping you have to do before you get to do the fun stuff. Your 20s are a gift. You want to be creating at the absolute speed of sound. We’re trying to get to a place where you don’t have to ask anyone. You can just make the thing.”

AI is reshaping nearly every part of the filmmaking pipeline. Storyboards can now be generated from a script draft. Lighting and camera angles can be tested before anyone touches a piece of gear. Rough cuts, placeholder VFX, even digital costume mock-ups can all be created before the first shot is filmed. What once took a full crew, a soundstage and a six-figure budget can now happen in minutes, sometimes at the hands of a single person with a laptop.

This wave of automation is arriving just as Hollywood is gripped by existential anxiety. The 2023 writers’ and actors’ strikes brought the industry to a standstill and put AI at the center of a fight over its future. Since then, production has slowed, crew sizes have shrunk and the streaming boom has given way to consolidation and cost-cutting.

According to FilmLA, on-location filming in Greater Los Angeles dropped 22.4% in early 2025 compared with the year before. For many of the crew members and craftspeople still competing for those jobs, AI doesn’t feel like an innovation. It feels like a new way to justify doing more with less, only to end up with work that’s less original or creative.

“AI scrapes everything we artists have made off the internet and creates a completely static, banal world that can never imagine anything that hasn’t happened before,” documentary filmmaker Adam Curtis warned during a directors panel at the 2023 Telluride Film Festival, held in the midst of the strikes. “That’s the real weakness of the AI dream — it’s stuck with the ghosts. And I think we’ll get fed up with that.”

How you feel about these changes often depends on where you sit and how far along you are in your career. For people just starting out, AI can offer a way to experiment, move faster and bypass the usual barriers to entry. For veterans behind the scenes, it often feels like a threat to the expertise they’ve spent decades honing.

Past technological shifts — the arrival of sound, the rise of digital cameras, the advancement of CGI — changed how movies were made, but not necessarily who made them. Each wave brought new roles: boom operators and dialogue coaches, color consultants and digital compositors. Innovation usually meant more jobs, not fewer.

But AI doesn’t just change the tools. It threatens to erase the people who once used the old ones.

Diego Mariscal has seen first hand as AI has cut potential jobs for grips.

(Jennifer Rose Clasen)

Diego Mariscal, 43, a veteran dolly grip who has worked on “The Mandalorian” and “Spider-Man: No Way Home,” saw the writing on the wall during a recent shoot. A visual effects supervisor opened his laptop to show off a reel of high-end commercials and something was missing. “There were no blue screens — none,” Mariscal recalls. “That’s what we do. We put up blues as grips. You’d normally hire an extra 10 people and have an extra three days of pre-rigging, setting up all these blue screens. He was like, ‘We don’t need it anymore. I just use AI to clip it out.’”

Mariscal runs Crew Stories, a private Facebook group with nearly 100,000 members, where working crew members share job leads, trade tips and voice their growing fears. He tries to keep up with the steady drip of AI news. “I read about AI all day, every day,” he says. “At least 20 posts a day.”

His fear isn’t just about fewer jobs — it’s about what comes next. “I’ve been doing this since I was 19,” Mariscal says of his specialized dolly work, which involves setting up heavy equipment and guiding the camera smoothly through complex shots. “I can push a cart in a parking lot. I can push a lawnmower. What else can I do?”

Who wins, who loses and what does James Cameron think?

Before AI and digital doubles, Mike Marino learned the craft of transformation the human way: through hands-on work and a fascination that bordered on obsession.

Marino was 5 years old when he first saw “The Elephant Man” on HBO. Horrified yet transfixed, he became fixated on prosthetics and the emotional power they could carry. As a teenager in New York, he pored over issues of Fangoria, studied monsters and makeup effects and experimented with sculpting his own latex masks on his bedroom floor.

Prosthetics artist Mike Marino asks a big question related to generative AI: What role do the human creatives play?

(Sean Dougherty / For The Times)

Decades later, Marino, 48, has become one of Hollywood’s leading makeup artists, earning Oscar nominations for “Coming 2 America,” “The Batman” and last year’s dark comedy “A Different Man,” in which he helped transform Sebastian Stan into a disfigured actor.

His is the kind of tactile, handcrafted work that once seemed irreplaceable. But today AI tools are increasingly capable of achieving similar effects digitally: de-aging actors, altering faces, even generating entire performances. What used to take weeks of experimentation and hours in a makeup trailer can now be approximated with a few prompts and a trained model. To Marino, AI is more than a new set of tools. It’s a fundamental change in what it means to create.

“If AI is so good it can replace a human, then why have any human beings?” he says. “This is about taste. It’s about choice. I’m a human being. I’m an artist. I have my own ideas — mine. Just because you can make 10,000 spaceships in a movie, should you?”

Marino is no technophobe. His team regularly uses 3D scanning and printing. But he draws the line at outsourcing creative judgment to a machine. “I’m hoping there are artists who want to work with humans and not machines,” he says. “If we let AI just run amok with no taste, no choice, no morality behind it, then we’re gone.”

Not everyone sees AI’s rise in film production as a zero-sum game. Some technologists imagine a middle path. Daniela Rus, director of MIT’s Computer Science and Artificial Intelligence Lab and one of the world’s leading AI researchers, believes the future of filmmaking lies in a “human-machine partnership.”

AI, Rus argues, can take on time-consuming tasks like animating background extras, color correction or previsualizing effects, freeing up people to focus on what requires intuition and taste. “AI can help with the routine work,” she says. “But the human touch and emotional authenticity are essential.”

Few directors have spent more time grappling with the dangers and potential of artificial intelligence than James Cameron. Nearly 40 years before generative tools entered Hollywood’s workflow, he imagined a rogue AI triggering global apocalypse in 1984’s “The Terminator,” giving the world Skynet — now a cultural shorthand for the dark side of machine intelligence. Today, he continues to straddle that line, using AI behind the scenes on the upcoming “Avatar: Fire and Ash” to optimize visual effects and performance-capture, while keeping creative decisions in human hands. The latest sequel, due Dec. 19, promises to push the franchise’s spectacle and scale even further; a newly released trailer reveals volcanic eruptions, aerial battles and a new clan of Na’vi.

A scene from “Avatar: The Way of Water.” Director James Cameron differentiates between using machine-learning to reduce monotonous movie-making work and generative AI.

(Courtesy of 20th Century Studios/Courtesy of 20th Century Studios)

“You can automate a lot of processes that right now tie up a lot of artists doing mundane tasks,” Cameron told The Times in 2023 at a Beyond Fest screening of his 1989 film “The Abyss.” “So if we could accelerate the postproduction pipeline, then we can make more movies. Then those artists will get to do more exciting things.”

For Cameron, the promise of AI lies in efficiency, not elimination. “I think in our particular industry, it’s not going to replace people; it’s going to free them to do other things,” he believes. “It’s going to accelerate the process and bring the price down, which would be good because, you know, some movies are a little more expensive than others. And a lot of that has to do with human energy.”

Cameron himself directed five films between 1984 and 1994 and only three in the three decades since, though each one has grown increasingly complex and ambitious.

That said, Cameron has never been one to chase shortcuts for their own sake. “I think you can make pre-viz and design easier, but I don’t know if it makes it better,” he says. “I mean, if easy is your thing. Easy has never been my thing.”

He draws a line between the machine-learning techniques his team has used since the first “Avatar” to help automate tedious tasks and the newer wave of generative AI models making headlines today.

“The big explosion has been around image-based generative models that use everything from every image that’s ever been created,” he says. “We’d never use any of them. The images we make are computer-created, but they’re not AI-created.”

In his view, nothing synthetic can replace the instincts of a flesh-and-blood artist. “We have human artists that do all the designs,” he says. “We don’t need AI. We’ve got meat-I. And I’m one of the meat-artists that come up with all that stuff. We don’t need a computer. Maybe other people need it. We don’t.”

Reshaping creativity — and creative labor

Rick Carter didn’t go looking for AI as a tool. He discovered it as a lifeline.

The two-time Oscar-winning production designer, who worked with Cameron on “Avatar” and whose credits include “Jurassic Park” and “Forrest Gump,” began experimenting with generative AI tools like Midjourney and Runway during the pandemic, looking for a way to keep his creative instincts sharp while the industry was on pause. A longtime painter, he was drawn to the freedom the programs offered.

“I saw that there was an opportunity to create images where I didn’t have to go to anybody else for approval, which is the way I would paint,” Carter says by phone from Paris. “None of the gatekeeping would matter. I have a whole lot of stories on my own that I’ve tried to get into the world in various ways and suddenly there was a way to visualize them.”

Midjourney and Runway can create richly detailed images — and in Runway’s case, short video clips — from a text prompt or a combination of text and visuals. Trained on billions of images and audiovisual materials scraped from the internet, these systems learn to mimic style, lighting, composition and form, often with eerie precision. In a production pipeline, these tools can help concept artists visualize characters or sets, let directors generate shot ideas or give costume designers and makeup artists a fast way to test looks, long before physical production begins.

But as these tools gain traction in Hollywood, a deeper legal and creative dilemma is coming into focus: Who owns the work they produce? And what about the copyrighted material used to train them?

In June, Disney and Universal filed a federal copyright lawsuit against Midjourney, accusing the company of generating unauthorized replicas of characters such as Spider-Man, Darth Vader and Shrek using AI models trained on copyrighted material: what the suit calls a “bottomless pit of plagiarism.” It’s the most high-profile of several legal challenges now putting copyright law to the test in the age of generative AI.

“Forrest Gump” director Robert Zemeckis, left, with production designer Rick Carter at an art installation of the movie’s famed bench. (Carter family)

(Carter family)

Working with generative models, Carter began crafting what he calls “riffs of consciousness,” embracing AI as a kind of collaborative partner, one he could play off of intuitively. The process reminded him of the loose, improvisational early stages of filmmaking, a space he knows well from decades of working with directors like Robert Zemeckis and Steven Spielberg.

“I’ll just start with a visual or a word prompt and see how it iterates from there and what it triggers in my mind,” Carter says. “Then I incorporate that so it builds on its own in an almost free-associative way. But it’s still based upon my own intuitive, emotional, artistic, even spiritual needs at that moment.”

He describes the experience as a dialogue between two minds, one digital and one human: “One AI is artificial intelligence. The other AI is authentic intelligence — that’s us. We’ve earned it over this whole span of time on the planet.”

Sometimes, Carter says, the most evocative results come from mistakes. While sketching out a story about a hippie detective searching for a missing woman in the Himalayas, he accidentally typed “womb” into ChatGPT instead of “woman.” The AI ran with it, returning three pages of wild plot ideas involving gurus, seekers and a bizarre mystery set in motion by the disappearance.

“I couldn’t believe it,” he says. “I would never have taken it that far. The AI is so precocious. It is trying so much to please that it will literally make something out of the mistake you make.”

Carter hasn’t used generative AI on a film yet; most of his creations are shared only with friends. But he says the technology is already slipping into creative workflows in covert ways. “There are issues with copyrights with most of the studios so for now, it’s going to be mostly underground,” he says. “People will use it but they won’t acknowledge that they’re using it — they’ll have an illustrator do something over it, or take a photo so there’s no digital trail.”

Carter has lived through a major technological shift before. “I remember when we went from analog to digital, from ‘Jurassic Park’ on,” he says. “There were a lot of wonderful artists who could draw and paint in ways that were just fantastic but they couldn’t adapt. They didn’t want to — even the idea of it felt like the wrong way to make art. And, of course, most of them suffered because they didn’t make it from the Rolodex to the database in terms of people calling them up.”

He worries that some artists may approach the technology with a rigid sense of authorship. “Early on, I found that the less I used my own ego as a barometer for whether something was artistic, the more I leaned into the process of collaboratively making something bigger than the sum of its parts — and the bigger and better the movies became.”

Others, like storyboard artist Sam Tung, are bracing against the same wave with a quiet but unshakable defiance.

Tung, whose credits include “Twisters” and Christopher Nolan’s upcoming adaptation of “The Odyssey,” has spent the last two years tracking the rise of generative tools, not just their capabilities but their implications. As co-chair of the Animation Guild’s AI Committee, he has been on the front lines of conversations about how these technologies could reshape creative labor.

To artists like Tung, the rise of generative tools feels deeply personal. “If you are an illustrator or a writer or whatever, you had to give up other things to take time to develop those skills,” he says. “Nobody comes out of the womb being able to draw or write or act. Anybody who does that professionally spent years honing those skills.”

Tung has no interest in handing that over to a machine. “It’s not that I’m scared of it — I just don’t need it,” he says. “If I want to draw something or paint something, I’ll do it myself. That way it’s exactly what I want and I actually enjoy the process. When people tell me they responded to a drawing I did or a short film I made with friends, it feels great. But anything I’ve made with AI, I’ve quickly forgotten about. There’s basically nothing I get from putting it on social media, other than the ire of my peers.”

What unsettles him isn’t just the slickness of AI’s output but how that polish is being used to justify smaller crews and faster turnarounds. “If this is left unchecked, it’s very easy to imagine a worst-case scenario where team sizes and contract durations shrink,” Tung says. “A producer who barely understands how it works might say, ‘Don’t you have AI to do 70% of this? Why do you need a whole week to turn around a sequence? Just press the button that says: MAKE MOVIE.’ ”

At 73, Carter isn’t chasing jobs. His legacy is secure. “If they don’t hire me again, that’s OK,” he says. “I’m not in that game anymore.” He grew up in Hollywood — his father was Jack Lemmon’s longtime publicist and producing partner — and has spent his life watching the industry evolve. Now, he’s witnessing a reckoning unlike any he, or anyone else, has ever imagined.

“I do have concerns about who is developing AI and what their values are,” he says. “What they use all this for is not necessarily something I would approve of — politically, socially, emotionally. But I don’t think I’m in a position to approve or not.”

Earlier this year, the Palisades fire destroyed Carter’s home, taking with it years of paintings and personal artwork. AI, he says, has given him a way to keep creating through the upheaval. “It saved me through the pandemic, and now it’s saving me through the fire,” he says, as if daring the universe to test him again. “It’s like, go ahead, throw something else at me.”

‘Prompt and pray?’ Not so fast

Many in the industry may still be dipping a toe into the waters of AI. Verena Puhm dove in.

The Austrian-born filmmaker studied acting and directing in Munich and Salzburg before moving to Los Angeles, where she built a globe-spanning career producing, writing and developing content for international networks and streamers. Her credits range from CNN’s docuseries “History of the Sitcom” to the German reboot of the cult anthology “Beyond Belief: Fact or Fiction” and a naval documentary available on Tubi. More recently, she has channeled that same creative range into a deepening exploration of generative tools.

Puhm first began dabbling with AI while using Midjourney to design a pitch deck, but it wasn’t until she entered a timed generative AI filmmaking challenge at the 2024 AI on the Lot conference — informally dubbed a “gen battle” — that the creative potential of the medium hit her.

“In two hours, I made a little mock commercial,” she remembers, proudly. “It was actually pretty well received and fun. And I was like, Oh, wow, I did this in two hours. What could I do in two days or two weeks?”

What started as experimentation soon became a second act. This summer, Puhm was named head of studio for Dream Lab LA, a new creative arm of Luma AI, which develops generative video tools for filmmakers and creators. There, she’s helping shape new storytelling formats and supporting emerging creators working at the intersection of cinema and technology. She may not be a household name, but in the world of experimental storytelling, she’s fast becoming a key figure.

Verena Puhm, a director, writer and producer, has used generative AI in a number of her projects, says it’s breaking down barriers to entry.

(Jason Armond/Los Angeles Times)

Some critics dismiss AI filmmaking as little more than “prompt and pray”: typing in a few words and hoping something usable comes out. Puhm bristles at the phrase.

“Anybody that says that tells me they’ve never tried it at all, because it is not that easy and simple,” she says. “You can buy a paintbrush at Home Depot for, what, $2? That doesn’t make you a painter. When smartphones first came out, there was a lot of content being made but that didn’t mean everyone was a filmmaker.”

What excites her most is how AI is breaking down the barriers that once kept ambitious ideas out of reach. Luma’s new Modify Video tool lets filmmakers tweak footage after it’s shot, changing wardrobe, aging a character, shifting the time of day, all without reshoots or traditional VFX. It can turn a garage into a spaceship, swap a cloudy sky for the aurora borealis or morph an actor into a six-eyed alien, no green screen required.

“It’s such a relief as an artist,” Puhm says. “If there’s a project I’ve been sitting on for six years because I didn’t have a $5 million budget — suddenly there’s no limit. I remember shopping projects around and being told by producers, ‘This scene has to go, that has to go,’ just to keep the budget low. Now everything is open.”

That sense of access resonates far beyond Los Angeles. At a panel during AI on the Lot, “Blue Beetle” director Ángel Manuel Soto reflected on how transformative AI might have been when he was first starting out. “I wish tools like this existed when I wanted to make movies in Puerto Rico, because nobody would lend me a camera,” he said. “Access to equipment is a privilege we sometimes take for granted. I see this helping kids like me from the projects tell stories without going bankrupt — or stealing, which I don’t condone.”

Puhm welcomes criticism of AI but only when it’s informed. “If you hate AI and you’ve actually tested the tools and educated yourself, I’ll be your biggest supporter,” she says. “But if you’re just speaking out of fear, with no understanding, then what are you even basing your opinion on?”

She understands why some filmmakers feel rattled, especially those who, like her, grew up dreaming of seeing their work on the big screen. “I still want to make features and TV series — that’s what I set out to do,” she says. “I hope movie theaters don’t go away. But if the same story I want to tell reaches millions of people on a phone and they’re excited about it, will I really care that it wasn’t in a theater?”

“I just feel like we have to adapt to the reality of things,” she continues. “That might sometimes be uncomfortable, but there is so much opportunity if you lean in. Right now any filmmaker can suddenly tell a story at a high production value that they could have never done before, and that is beautiful and empowering.”

For many, embracing AI boils down to a simple choice: adapt or get cut from the frame.

Hal Watmough, a BAFTA-winning British editor with two decades of experience, first began experimenting with AI out of a mix of curiosity and dread. “I was scared,” he admits. “This thing was coming into the industry and threatening our jobs and was going to make us obsolete.” But once he started playing with tools like Midjourney and Runway, he quickly saw how they could not only speed up the process but allow him to rethink what his career could be.

For an editor used to working only with what he was given, the ability to generate footage on the fly, cut with it immediately and experiment endlessly without waiting on a crew or a shoot was a revelation. “It was still pretty janky at that stage, but I could see the potential,” he says. “It was kind of intoxicating. I started to think, I’d like to start making things that I haven’t seen before.”

After honing his skills with various AI tools, Watmough created a wistful, vibrant five-minute animated short called “LATE,” about an aging artist passing his wisdom to a young office worker. Over two weeks, he generated 2,181 images using AI, then curated and refined them frame by frame to shape the story.

Earlier this year, he submitted “LATE” to what was billed as the world’s first AI animation contest, hosted by Curious Refuge, an online education hub for creative technologists — and, to his delight, he won. The prize included $10,000, a pitch meeting with production company Promise Studios and, as an absurd bonus, his face printed on a potato. But for Watmough, the real reward was the sense that he had found a new creative identity.

“There’s something to the fact that the winner of the first AI animation competition was an editor,” Watmough says. “With the advent of AI, yes, you could call yourself a filmmaker but essentially I’d say most people are editors. You’re curating, selecting, picking what you like — relying on your taste.”

Thanks to AI, he says he’s made more personal passion projects in the past year and a half than during his entire previous career. “I’ll be walking or running and ideas just come. Now I can go home that night and try them,” he says. “None of that would exist without AI. So either something exists within AI or it never exists at all. And all the happiness and fulfillment that comes with it for the creator doesn’t exist either.”

Watmough hasn’t entirely lost his fear of what AI might do to the creative workforce, even as he is energized by what it makes possible. “A lot of people I speak to in film and TV are worried about losing their jobs and I’m not saying the infrastructure roles won’t radically change,” he says. “But I don’t think AI is going to replace that many — if any — creative people.”

What it will do, he says, is raise the bar. “If anyone can create anything, then average work will basically become extinct or pointless. AI can churn out remakes until the cows come home. You’ll have to pioneer to exist.”

He likens the current moment to the birth of cinema more than a century ago — specifically the Lumière brothers’ “Arrival of a Train at La Ciotat,” the 1896 short that famously startled early audiences. In the silent one-minute film, a steam train rumbles toward the camera, growing larger. Some viewers reportedly leaped from their seats, convinced it was about to crash into them.

“People ran out of the theater screaming,” Watmough says. “Now we don’t even think about it. With AI, we’re at that stage again. We’re watching the steam train come into the station and people are either really excited or they’re running out of the theater in fear. That’s where we are, right at the start. And the potential is limitless.”

Then again, he adds with a dry laugh, “I’m an eternal optimist, so take what I say with a grain of salt.”

THE UK’s biggest one-day Christmas market is to return in just a few weeks after it was abruptly cancelled last year.

Thousands are expected to attend the event in a historic market town.

Shoppers will be able to choose from 120 stalls set up in the centre of Beverley in Yorkshire next month after council officials confirmed the event would be back in place this year.

Stalls at the Beverley Festival of Christmas will once again be brimming with seasonal gifts and local treats.

There will also be live entertainment, music and dancing – and, of course, an appearance from Santa and his reindeers – as well as birds of prey on display, and traditional brass bands.

The event had to be cancelled at the last-minute in 2024 after Storm Darragh caused chaos across the UK last year.

GO WEST

I grew up in the South West – here are the best Christmas markets

JINGLE HELL

UK’s biggest Xmas market faces travel chaos with ‘widespread cancellations’

Locals and visitors were left disappointed after council officials took the decision to cancel the market in the run up to the event after 34 flood warnings were issued across the country and a cold weather health alert was put in place.

At the time, a spokesperson for East Riding of Yorkshire Council said the event, which was established in 1995 by local shop owner John Bird, had involved six months of planning and the decision to cancel “had not been taken lightly”.

Announcing its return for 2025, councillor Nick Coultish, cabinet member for culture, tourism and leisure at the council, said the event is “the flagship tourism event for our region and is an important date in the calendar for businesses and traders”.

‘Hugely popular’

He added: “It is always a hugely popular event, with visitors from all over the UK coming to enjoy the festive stalls and entertainment. 

“The event will also provide a welcome boost to the local visitor economy at such a wonderful time of the year.”

The council said that Beverley’s historic centre will be “transformed into a magical Christmas shopper’s wonderland” for the event.

News of its return has prompted an outpouring of support and excitement with hundreds of locals and visitors commenting on Facebook.

One person posted: “I cannot wait to stand in this market. So excited.”

Another person wrote: “We will be there.”

A third person said: “Can’t wait. This is one of our fave Christmas markets.”

A fourth person was equally excited at the news the market is to return, posting: “Love Beverley. Nice place.”

A fifth said: “Will defo have to go!”

The festival will again be sponsored by The Beverley Arms, part of hospitality company Thwaites.

Rick Bailey, chairman at Thwaites, said: “We’re so proud that The Beverley Arms is once again part of The Beverley Festival of Christmas, it’s such a special celebration that brings the whole town together, showcases the very best of Beverley, and captures the true spirit of the season.”

This year’s event will run from 10am to 4pm on Sunday, 14 December.

Also making a return to Beverly this year is the Reindeer Rampage Christmas Trail, which is running from 1 November to December 31.

This is a popular event in the town with locals and visitors asked to find Santa‘s reindeer, which are “hiding” in shop windows in Beverley.

You can pick up a free map and reindeer mask from the Tourist Information Centre on Cross Street and find out more details here.

The market itself will take place over several areas in the town, including Saturday Market, and will also feature a parade to mark the start of the festival.

The parade will leave from Wednesday Market when the event opens at 10am and it will move down Toll Gavel to Saturday Market.

MUM’S HELL

I found out partner was a paedo after inviting him to live with me & my son, 15

JET RIDDLE

How 224 passengers died on plane from Brit hol hotspot… as mystery ‘solved’

Taking part in the parade will be feature Santa Claus, Rudolph and the rest of his reindeer, live music, comedy acts, steam punks, Bernese mountain dogs and much more.

This year’s event will take place on 14 December in Beverley

There’s a good chance that a horror movie will be nominated for the 2025 best picture Oscar.

And if Ryan Coogler’s “Sinners” or Guillermo del Toro’s “Frankenstein” make the cut, it will be the first time in the Academy Awards’ 97-year history that a fright film has been nominated in consecutive contests.

It’s long overdue. And if you believe part of Oscars’ purpose is to promote the industry and celebrate its achievements, there’s no better time for the academy to get over its traditional disdain for cinematic monstrosities.

As most other sectors of Hollywood’s film business look precarious — adult dramas, the traditional awards season ponies, are dropping like dead horses at the box office, while attendance for the once-mighty superhero supergenre continues to disappoint — horror has hit its highest annual gross of all time, $1.2 billion, with a good two months left to go.

“Sinners,” released in April, remains in fifth place on the domestic box office chart with $279 million. Its fellow Warner Bros. offerings “The Conjuring: Last Rites,” “Weapons” and “Final Destination: Bloodlines” occupied slots 12 through 14 as of mid-October.

Mia Goth as Elizabeth and Oscar Isaac in “Frankenstein.”

(Ken Woroner / Netflix)

“Horror has been, historically, the Rodney Dangerfield of genres,” notes Paul Dergarabedian, head of marketplace trends for global media measurement firm Comscore. “It can’t get no respect.

“But horror is very important to the industry on so many levels now,” he continues. “We have four horror movies in the top 15 this year, all of those generating over $100 million in domestic box office. And to make a significant scary horror movie, you don’t have to break the bank. Look at [‘Weapons’ filmmaker Zach Cregger’s 2022 breakout feature] ‘Barbarian’; half of that was shot in a basement.” Similarly, compare “Sinners’” $90 million price tag to “Black Panther’s” $200 million.

Horror’s popularity has gone in cycles since Universal’s run of classic monster movies in the early 1930s. But profitability has been a reliable bet more often than not — and Karloff’s “Frankenstein” and Lugosi’s “Dracula” still resonate through pop culture while most best picture winners of the same era are forgotten.

Still, it wasn’t until 1974 that “The Exorcist” received the first best picture nomination for a horror film, and ahead of the success of “The Substance” at the 2025 Oscar nominations the genre’s fortunes had only marginally improved. Indeed, many of the titles usually cited as a mark of horror’s growing foothold in awards season — “Jaws,” “The Sixth Sense,” “Black Swan,” 1991 winner “The Silence of the Lambs” — are arguably better characterized as something else entirely, or at best as hybrids. (To wit, the sole monster movie that’s won best picture, Del Toro’s 2017 “The Shape of Water,” is primarily considered a romantic fantasy.)

Ryan Coogler’s “Sinners.”

(Warner Bros. Pictures)

Fright films’ reputation for delivering cheap thrills to undiscerning audiences was often deserved, but there were always stellar horror films that the academy overlooked. And more recently, films such as “The Substance,” “Sinners” and Jordan Peele’s 2017 nominee “Get Out” have pierced ingrained voter prejudices against the genre by adding social commentary and undeniable aesthetic quality without compromising gory fundamentals.

“The horror genre really does seem to be attracting great directors who are immersed in it, have a real auteur point-of-view and make interesting movies that have horror elements but explore other themes as well,” notes The Envelope’s awards columnist, Glenn Whipp. “‘Sinners’ is Ryan Coogler’s vampire movie, but it’s also about the Jim Crow South and American blues music. How can you resist that if you’re an academy voter?”

And with horror packing in filmgoers like no other genre, high-profile nominations could help the Academy Awards broadcast attract the bigger ratings its stakeholders have been desperately seeking at least since “The Dark Knight” failed to make the best picture cut in 2008.

Austin Abrams in “Weapons.”

(Warner Bros. Pictures)

“That was the whole reason we went to 10 potential nominees,” Dergarabedian recalls. “We wanted to have more blockbuster representation at the Oscars. This may be the perfect storm. If I were an academy voter, I would vote for ‘Sinners’ and ‘Weapons.’ I don’t think that’s an overstatement, given the films that have come out this year.”

Even beyond this “perfect storm,” though, Whipp sees a sea change afoot.

“Everything’s an Oscar movie now if it’s well made,” he says. “Studios aren’t really making traditional, grown-up dramas and the academy can only nominate what’s in front of them. Horror is being produced at a rate that is greater than it used to be, and at least two of these Warner movies really landed with audiences and critics. The genre is attracting some of our top filmmakers right now, and that’s something that will trickle down to the Oscars.”

“This is not a blip,” Dergarabedian concludes. “It’s a trend that feels like it’s happened overnight but it’s been a long time coming. Back in 2017 we had our first $1-billion-plus horror movie box office. If they stop making good horror movies it might be a blip, but I think Hollywood should take this and bloody run with it.”

Last week, HBO Max announced it raised its standard subscription by $1.50 to $18.49 a month — up 23% from when the streaming service launched five years ago amid the pandemic.

Such announcements have become almost routine in the television business as inflation hits streaming platforms that are under growing pressure to turn a profit and pay for higher programming costs.

Once seen as a cheaper alternative to cable, the cost of a streaming subscription for the top platforms continues to rise, much like higher prices for groceries, gasoline and housing.

In fact, the average price for subscriptions to the top 10 paid subscription streaming services in the U.S. increased 12% this year, following double-digit percentage increases per year since 2022, according to Victoria, British Columbia-based Convergence Research Group.

The research firm included streamers such as Netflix, Disney+, Hulu, Peacock, Apple TV and others in its data set. It factors subscriptions that are with ads or ad-free and does not take into account bundling. All of the major streaming services in the U.S. raised their prices on plans this year, except for Paramount+ and Amazon Prime Video, which boosted rates last year.

The price hikes reflect the tough economic realities of media companies that need to replace dwindling revenue from legacy pay TV channels that have seen sharp declines in viewership.

“The rest of their businesses have effectively been under attack by streaming and so they need this area to be profitable in order to compensate for the decline in their own businesses,” said Brahm Eiley, president of the Convergence Research Group. “It’s been tremendous pressure on them.”

Streaming services have been running as loss leaders for some time, said Tim Hanlon, chief executive of Vertere Group LLC, a media consulting firm.

“There’s no question that streaming is now under the gun to be its own profit center,” Hanlon said.

If rates go much higher, consumers may balk, experts said.

“The industry is playing a dangerous game by continuing to raise prices,” said Andrew Hare, senior vice president for the media research consultancy Magid. “We’re nearing a boiling point of rising churn and overwhelming choice.”

Magid has also already seen an uptick in the percentage of consumers who intend to cancel at least one streaming service in the next six months. The figure was 24% in the second quarter of 2025, up from 19% a year earlier.

“Hard as it is to imagine, the cable bundle is starting to look like a better value all the time,” Hare said.

Here is a look at which major streamers have raised prices on their ad-free streaming plans this year.

HBO Max

HBO Max raised prices across all of its plans. Its lowest-cost, ad-free streaming plan went up by $1.50 to $18.49 a month, while the annual version of that plan also increased $15 to $184.99.

HBO Max’s parent company, Warner Bros. Discovery, had 125.7 million global streaming subscribers in the second quarter, up 22% from a year earlier.

Like other streamers, HBO cited the need to help pay for quality content. The platform offers big-budget shows including drama “The Gilded Age” and “House of the Dragon,” which takes place in the “Game of Thrones” universe.

Consumers should brace themselves for more price hikes. Warner Bros. Discovery CEO David Zaslav said at a Goldman Sachs investors conference last month that he believes HBO Max is underpriced.

“We want a good deal for consumers, but I think over time there’s real opportunity, particularly for us in that quality area to raise prices,” Zaslav said.

Peacock

Big-time sports properties have been moving to streaming platforms and guess who is going to help foot the bill? Consumers, of course.

Ahead of becoming a major provider of NBA games this season, Peacock increased prices on its plans, including the premium plus ad-free streaming service, by $3 to $16.99 a month. That was the third price hike since Peacock launched in 2020, where its ad-free plan started at $9.99 a month.

The Comcast-owned streamer, which has 41 million paid subscribers, has weekly games on Mondays and Tuesdays and will have a Peacock exclusive NFL game on Dec. 27. Peacock next year will air the Milan Cortina Winter Olympics and continue to stream major sporting events such as NFL games.

In a July earnings call, Comcast Corp. President Mike Cavanagh touted how Peacock will have the most hours of live sports of any streamer next year.

Netflix

Netflix has also gotten into the sports business, with the addition of two NFL games on Christmas Day.

The streamer, which remains the industry juggernaut, is also expected to add Major League Baseball’s Home Run Derby and an opening night game when MLB finalizes a new media rights deal this year.

The company cited its entry into high-priced sports when it raised its prices on most of its plans, including on its cheapest ad-free monthly plan by $2.50 to $17.99 in the U.S. earlier this year.

“As we continue to invest in programming and deliver more value for our members, we will occasionally ask our members to pay a little more so that we can re-invest to further improve Netflix,” Netflix said in a letter to shareholders in January.

The slice of sports is coming at the expense of fans who need multiple subscriptions — if they want to keep up with every NFL game.

“A certain type of fan is starting to recognize they are being fleeced,” Hanlon said.

Higher prices on ad-free plans can help drive traffic to a streamer’s lowest-priced plans with ads. Netflix launched its subscription plan with ads in 2022 at $6.99 a month and it has only increased by a $1 to $7.99 a month since then in January 2025.

While many major streamers offer cheaper plans with ads, others offer free streaming services with ads such as the Roku Channel or Tubi.

A recent research study by Magid found that three-quarters of consumers are fine with watching commercials, if it saves them money.

Four in 10 said they’re “overwhelmed” by the number of services they use. The average number of streaming subscriptions per household in the third quarter is 4.6, up from 4.1 the previous year.

“Together, these trends point to a more value-driven streaming consumer seeking affordability and simplicity,” the study said.

Apple TV

Apple TV was once one of the lowest-priced subscription service plans, launching at $4.99 a month. Since then, prices for Apple’s video streaming service have increased to $12.99 a month, with its latest price jump of $3 in August.

The Cupertino-based company has been trying to make its streaming business more financially sound, but faces a formidable task as it has been a big spender in attracting name talent to its programs and movies.

When Apple TV first launched, it had just nine programs, but since then has expanded its library to include critically acclaimed shows and films including comedy “Ted Lasso,” drama “Severance” and “The Studio.”

Apple said in a statement that while it did raise its prices on its standard monthly ad-free plan, the cost of its annual subscription remains at $99 and Apple One bundled packages did not change.

Disney+

Last month, Disney+ announced it would increase the cost of its ad-free streaming plan by $3 to $18.99 a month. Hulu did not increase its price on its ad-free monthly streaming plan.

It was the fourth consecutive year the Burbank entertainment giant has boosted its streaming prices since launching Disney+ six years ago, when the service cost just $6.99 a month.

Despite the recent price hikes from Disney and others, Eiley from Convergence Research Group thinks there’s still room for customer growth.

At the end of last year, just 36% of U.S. households had a traditional TV subscription, compared with more than half of U.S. households in mid-2022, according to Convergence Research Group data. By the end of 2028, the research firm forecasts just 21% of households will have traditional TV subscriptions.

“There’s still a massive amount of cord cutting going on,” Eiley said.

TORONTO — Beneath his feet, confetti decorated the turf. Behind him, the video boards congratulated his team on its latest championship.

The Dodgers owner who lives and breathes championships smiled broadly. Magic Johnson always does, of course. This time, he had an impish twinkle in his eye.

“They said we ruined baseball,” Johnson said. “Well, I guess we didn’t.”

If you are not in Los Angeles, you might be screaming in frustration. The team with all the gold makes the rules, and the new rule is that the Dodgers win every year, and now their most famous owner is mocking you?

He is not.

He is, however, issuing a subtle warning to all of baseball’s owners: Don’t let your desperation for a salary cap destroy a sport on the rise — in no small part thanks to the Dodgers.

The NBA was not much more than a minor league 45 years ago. This is crazy to imagine now, but the NBA Finals aired on tape delay, on late-night television, most often at 11:30 p.m. The NBA audience was so small that advertisers would not pay prime-time rates for those commercials, so the games were not broadcast in prime time.

Johnson helped change that. The rivalry between his Lakers and Larry Bird’s Celtics revived the NBA, and then Michael Jordan and the Chicago Bulls became global sporting icons.

From 1980-88, either the Lakers or the Celtics won the NBA title in every year but one. From 1991-98, the Bulls won six titles.

The Celtics and Lakers and Bulls did not ruin the NBA.

“What the Celtics and Lakers were able to do, and Michael Jordan’s Bulls, was to bring in new fans — fans that were, ‘Oh, I don’t know about the NBA,’” Johnson said, “but the play was so good, and the Celtics and Lakers and Bulls were so dominant, people said, ‘Oh man, I want to watch them.’

“It’s the same thing happening here.”

The NBA leadership could not believe its good fortune. Baseball’s leadership appears intent on lighting its good fortune on fire.

“My phone was blowing up with people who hadn’t watched baseball for a long time,” Johnson said. “They were watching this series.

“This was good for baseball around the world.”

The World Baseball Classic is four months away. The World Series most valuable player, the Dodgers’ Yoshinobu Yamamoto, is from Japan.

So is the Dodgers’ Shohei Ohtani, the closest baseball has ever had to its own Jordan. The Dodgers rescued him from purgatory in Anaheim and surrounded him with a star-studded roster, and now he makes more money from pitching products than pitching baseballs. To the Dodgers, he doubles as an All-Star and cash machine.

The league — and all the owners complaining about the Dodgers and their spending — happily profited from this traveling road show. The Dodgers get the same share of international merchandise and broadcast revenue every other team does.

The Dodgers led the major leagues in road attendance, again. The league sent the Dodgers to Seoul last spring and Tokyo this spring, meaning that, for two years running, they were one of the first two teams to report to spring training and one of the last two playing at season’s end. The league’s television partners rushed to book the Dodgers, even for games at times inconvenient to the team.

“MLB put us in every hard situation you can think about,” infielder Miguel Rojas said. “We never complained. We were trying to come through for the fans, for baseball, and everybody should be recognizing what we are doing.”

With the Blue Jays in the World Series, Canadian ratings for the World Series increased tenfold. The Dodgers did not destroy the Jays. They survived them, and barely at that.

The Dodgers have not ruined competition, despite the spotlight.

“They have a great team,” Toronto infielder Ernie Clement said. “There’s no denying it. They’re one of the best teams probably ever put together, and we’ve taken ‘em to seven games, so that’s got to say something about us.”

Toronto manager John Schneider said his team, which won more games than the Dodgers this season, had chances to sweep the World Series.

“People were calling it David versus Goliath,” Schneider said, shaking his head from side to side. “It’s not even… close.”

The Dodgers make a lot of money, pour the money back into the team, and win. They give the people what they want.

“People want the best,” co-owner Todd Boehly said.

Granted, not every team can spend like the Dodgers. Most cannot, and baseball should be able to find ways to share the wealth without risking its tenuous but growing popularity by locking out players in pursuit of a salary cap.

After all, isn’t a compelling product with stars from home and abroad good for baseball?

“You bet,” controlling owner Mark Walter said. “I think they think so, too.”

It was time to go. The parade was 36 hours away, and Johnson had to rest his throat.

“I’m hoarse,” he said. “I’ve never been hoarse.”

So we’ll leave you with one bit of sports trivia, in response to the mistaken notion that a salary cap assures competitive balance: In the Magic, Bird and Jordan years, the ones that lifted the NBA into popular culture, did the NBA have a salary cap?

It did then. It does now. Onto the quest for a three-peat.

Highlights from the Dodgers’ 5-4 win in 11 innings over the Blue Jays in Game 7 of the World Series.

Elliot Zwiebach was 62 years old when he sang in front of a live audience for the first time.

The retired reporter had always loved show tunes, but he’d never considered singing in public before.

“I sang for my own amusement, and I wasn’t very amused,” he said recently.

But one night, after attending a few open mic nights at the Gardenia Supper Club in West Hollywood as a spectator, he got up the nerve to step onto the stage and perform a tune backed by a live band.

For his first song, he picked the humorous “Honey Bun” from the Rodgers and Hammerstein musical “South Pacific.” It was frightening and he didn’t sing well. And yet, the following week he came back and did it again.

Newbie Ian Douglas, left, and longtime singer Elliot Zwiebach look over a sign-up sheet at the Gardenia’s long-running open mic night.

Sixteen years later, Zwiebach, now 78, is a core member of what the event’s longtime host Keri Kelsey calls “the family,” a group of roughly 25 regulars who sing jazz standards, show tunes and other numbers from the Great American Songbook at the longest-running open mic night in L.A.

“It’s very much like a community,” Zwiebach said on a recent evening as he prepared to sing “This Nearly Was Mine,” another song from “South Pacific.” “Everyone knows everyone.”

For 25 years, the small, L-shaped Gardenia room on Santa Monica Boulevard has served as a musical home for a diverse group of would-be jazz and cabaret singers. Each Tuesday night, elementary school teachers, acting coaches, retired psychoanalysts, arts publicists and the occasional celebrity pay an $8 cover to perform in front of an audience that knows firsthand just how terrifying it can be to stand before even a small crowd with nothing more than a microphone in your hand.

“You are so vulnerable up there with everyone staring at you,” said Kelsey, who has hosted the open mic night for 24 years and once watched Molly Ringwald nervously take the stage. “But it’s also the most joyous experience in the world.”

Director and acting coach Kenshaka Ali sings “Goodbye Pork Pie Hat” by Rahsaan Roland Kirk.

The singers are backed by a live, three-piece band led by guitarist Dori Amarilio. The rotating group of musicians — a few of them Grammy winners — arrive not knowing what they will be playing that night. Some singers bring sheet music, others chord charts. And there are those who just hum a few bars and allow the musicians to intuit the key and melody enough to follow along. Poet Judy Barrat, a regular attendee, usually hands the evening’s piano player a copy of the poem she’ll be reading and asks him to improv along with her.

“It’s totally freeform,” said Andy Langham, a jazz pianist who toured with Natalie Cole and Christopher Cross and often plays the Gardenia. “I read the stanzas and try to paint pictures with the notes.”

Keri Kelsey, singing “Mack the Knife,” has hosted the Gardenia’s open mic night for 24 years.

The Gardenia, which opened in 1981, is one of the few venues in L.A. specifically designed for the intimacy of cabaret. The small, spare room has table service seating for just over 60 patrons and a stage area beautifully lit by an abundance of canned lights. Doors open at 7 p.m. on Tuesday nights, but those in the know line up outside the building’s nondescript exterior as early as 6 p.m. to ensure a reasonable spot on the night’s roster of singers. (Even though there is a one-song-per-person limit, the night has been known to stretch past 12 a.m.) Nichole Rice, who manages the Gardenia, takes dinner and drink orders until the show starts at 8:30 p.m. Then the room falls into respectful silence.

Pianist Andy Langham and guitarist Dori Amarilio perform live music accompaniment for each open mic participant at the Gardenia.

“This is a listening room,” said singer-songwriter Steve Brock, who has been attending the open mic night for more than a decade. “I’ve been to other rooms where I’m competing with tequila or the Rams. Here, when anyone goes up in front of that microphone, everyone stops.”

On a recent Tuesday night, the show began as it always does with an instrumental song by the band (a piano, guitar and upright bass) before an opening number by Kelsey. Dressed in a black leather dress and knee-high boots, she had this time prepared “Mack the Knife.” “This may be one of the loungiest lounge songs ever,” she said. “Maybe that’s why I really like it.”

People begin to line up outside the Gardenia at 6 p.m. to get a spot for the Tuesday open mic night.

The first singer to take the stage was Trip Kennedy, a bearded masseur who performed “The Rainbow Connection” in a sweet tenor. When he finished, Kelsey shared that she was cast as an extra in “The Muppets Take Manhattan.”

“It was the most ridiculous thing,” she said, filling time as the next singer consulted quietly with the band. “I was a college student who dressed up as a college student for the audition.”

Dolores Scozzesi, who sang at the Hollywood Improv in the ’80s between comedy sets, performed a moody arrangement of “What Now My Love.” “This is a [chord] chart from 2011,” she told the audience before she began. “I want to try it because these guys are the best.”

Monica Doby Davis, an elementary school teacher, sings the jazz standard “You Go to My Head” at the Gardenia.

Zwiebach performed a medley of two Broadway hits, “I’ve Grown Accustomed to Her Face” (which he altered to “his face”) and “This Nearly Was Mine,” easily hitting all the notes. After, his young friend Ian Douglas, a relative newbie who started attending the open mic night in the spring, sang the jazz standard “You Go to My Head.” Zwiebach praised the performance.

“I know that song very well and you did a great job,” he said.

Monica Doby Davis, who once sang with the ’90s R&B girl group Brownstone and now works as an elementary school teacher, also performed “You Go to My Head.” Although she had left the entertainment business decades ago, she said finding the Gardenia open mic night 13 years ago “brought music back to my life.”

Tom Nobles, left, sings alongside bassist Adam Cohen, center, and pianist Andy Langham at the Gardenia.

There were many beautiful, intimate moments that night, but perhaps the best was when Tom Nobles, an actor and retired psychoanalyst in a purple knit cap and thick plastic glasses, forgot the words to “Lost in the Masquerade” by George Benson.

He stumbled for a moment, a bit perplexed, before turning to his friends for help.

“Whoever knows the words, sing it with me,” Nobles said to the crowd.

Quietly at first and then louder and stronger, the whole room broke out into song.

We’re lost in a masquerade. Woohoo, the masquerade.

When Dwayne Finley graduated from Van Nuys High in 1984, he had ideas of becoming a high school sports official.

For 35 years, he has been working as a football, basketball and baseball official for both the City Section and Southern Section.

He became such a good umpire that he has worked college baseball for 30 years.

Finley has always been known for keeping his cool and keeping games under control.

Coaches appreciate his ability to speak with them to clarify questions. And he’s nowhere near ready to retire.

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].

SOME places in the UK are especially memorable thanks to television series that have been filmed there, particularly in the south of England.

The pretty village of Looe is famous for being the backdrop of Beyond Paradis and Port Isaac was used for years in Martin Clunes‘ series Doc Martin – now the Lizard peninsula is set to be big thanks to the HBO Harry Potter series.

Earlier in autumn, the coastal peninsula of Lizard became a magical backdrop as actor John Lithgow who plays Albus Dumbledore, was spotted filming there.

Thanks to its location, the area is expected to soar in popularity next year, following in the footsteps of many other television series.

The Lizard peninsula is the southernmost point of the British mainland and is mostly recognisable thanks to its incredible coastline.

One of the spots where Harry Potter has been filming is in Cadgwith Cove, a small fishing village.

YULE DO

Travel expert reveals cheap UK holiday parks with Xmas breaks from £9pp a night

CHRIMBO WIN

Enter these travel comps before Xmas to win £2k holidays, ski trips & spa stays

The beach on the cove is split in two, one part is where you’ll find the fishing boats, and the other is where visitors and locals will go swimming, snorkelling and rock pooling.

Further around Cadgwith Cove is a 200-foot blowhole called the ‘Devil’s Frying Pan’.

The village itself is full of chocolate-box looking cottages, and anyone wanting to stay in Cadgwith Cove can do so at the local inn.

Harry Potter is also expected to film in Kynance Cove, a tidal beach famous for its white sand, turquoise sea and rock stacks.

Anyone can visit Kynance Cove, but there is a small fee for parking – unless you’re a National Trust member.

It’s worth the trip though with some visitors even describing it as “the best beach, give you Portugal vibes”.

Others describe it as a “Cornish gem”, however, there are warnings of strong waves and fast-rising tides.

Kynance Cove was even voted as being one of the World’s 50 Best Beaches in 2024.

While there aren’t many facilities, there is a cafe on the beach that serves sandwiches, salads, jacket potatoes, pasties and hot drinks.

For more budget-friendly holiday stay option on the peninsula, Brits can head to Lizard Point Holiday Park run by Parkdean Resorts.

The site is closed for the winter season, but reopens in March next year.

A five-night stay in May on a Trelan Caravan with a flatscreen TV, comfy sofas and sleeps up to six starts from £219, which is £7.30pppn.

The Compass Bungalow is the same price but sleeps up to four people; however, it is more spacious and has a brand new kitchen and bathroom.

Facilities include indoor and outdoor pools, kart and bike hire, children’s shows from PAW Patrol to Milkshake Mornings.

Kids can also check out the soft play, amusement arcade, bungee trampoline, adventure golf, high ropes, table tennis, football as well as art and craft sessions.

There are on-site bars and restaurants, an ice cream parlour, drinks van and Street Eats for takeaways.

Port Isaac further north became so well-known after being used as the filming location for the BBC Doc Martin series that ran for 18 years.

It became the fictional village of Portwenn, showing off its clusters of stone cottages and narrow streets.

Beyond Paradise, starring Kris Marshall and Sally Bretton, is filmed in the beautiful town of Looe, also in Cornwall.

The spin-off to Death in Paradise started in 2023 and is set in the fictional town of Shipton Abbott. The beaches of Looe and Fore Street are popular locations and the Guildhall is what they use for the Shipton Abbott Police Station.

Martha’s restaurant, The Ten Miles Kitchen, is filmed in The Stables, Port Eliot House & Gardens a cafe 20 minutes inland from Looe in the parish of St Germans.

It’s a great place to pop in for a coffee or brunch and a look over the garden estate.

COST CUTTER

John Lewis launches early Black Friday sale a MONTH early with up to £300 off

SPY STORY

Telltale clues CHEATERS use to spot you secretly reading their dodgy texts & pics

Here are five locations from popular TV shows that are free to visit…

Gavin and Stacey

Gavin and Stacey came to an end with the finale episode over Christmas, but you can still keep the show’s spirit alive with a trip to Barry, Wales.

Trinity Street in Barry is home to the homes of Gwen, Uncle Bryn, and Doris – now belonging to Gavin and Stacey.

On Barry Island itself, there’s the famous Marco’s Cafe and the Arcade where Nessa worked the slots.

Just up the road is The Colcot Arms aka Smithy’s local Essex hangout and of course the Tadross Hotel which doubles as The Dolphin – where pints cost £4, according to reviews left by guests.

Midsomer Murders

In rural Oxfordshire there is one of the deadliest villages around, Midsomer. ITV’s Midsomer Murders is filmed mostly in the quaint and historic town of Wallingford.

Wallingford isn’t the only location used. Just 30 minutes up the road is the village of Thame which also doubles as Causton village.

In Thame, the Spread Eagle, a red-brick hotel that serves up four roast mains on a Sunday, has been used for filming. They’ve also used The Black Horse, which has monthly offers from Happy Hour to deals on main courses.

Rumsey’s Chocolaterie has also appeared on-screen, and it’s worth a trip there just for the hot chocolates alone. They also offer workshops where you can make truffles and chocolate figurines.

At the Thame Museum, they offer a free Midsomer Walking Tour leaflet and there’s an opportunity to have a photo taken next to the ‘Causton Town Hall’ sign.

All Creatures Great & Small

The Yorkshire Dales is the home to beloved series All Creatures Great and Small.

Grassington becomes the fictional market town of Darrowby and there are lots of familiar sights, as most of the village is used for filming.

The production team dress up shop fronts, with The Stripey Badger Bookshop becoming G F Engleby Grocers and The Devonshire transforming into the Drovers Arms.

The traditional family pub is very highly rated and offers everything from hearty breakfasts to Sunday lunch. It even offers ‘Dining for Dogs’ with ‘Diced Chuck Steak Doggy Dinner’ or ‘Sausage Stew’ on the menu.

For the chance to spot some filming, plan a trip in late Spring, early Summer as the cast begin with the Christmas special around that time.

Call the Midwife

Call the Midwife has returned for series fourteen and there are plenty of locations from over the years to visit for free.

In the latest series, the ladies of Nonnatus house took a trip to the seaside which was filmed on West Wittering beach, in Sussex.

The cast were unlucky though, and filmed during Storm Agnes which resulted in Cliff Parisi developing hypothermia.

Another recognisable location is the lighthouse from the 2019 Christmas Special, where Nurse Val and Nurse Lucille go to Scotland.

It’s actually the Eilean Glas Lighthouse on the east coast of the island of Scalpay. To get there, park in the village of Kennavay and take the 30-minute trail. The building also operates as a small museum and serves tea and coffee during open hours.

Shetland

Talking of Scotland, Shetland is the filming location for Shetland, obviously. The TV series starring Ashley Jensen is filmed in the main town and port, Lerwick.

The most recognisable spot of Lodberries House, which was the home of former lead DI Jimmy Perez (Douglas Henshall).

Another popular location for the show is Commercial Street, which has featured in almost every single series of Shetland ever.

There are also lots of other iconic locations in Lerwick, including Lerwick Town Hall, Bain’s Beach and Lerwick Harbour.

You can get to Shetland by flying to a Scottish terminal, Aberdeen, Edinburgh, Glasgow, Inverness and Kirkwall all have direct flights to Lerwick.

For more on Harry Potter, here’s the quaint suburb 30 minutes from central London that’s Harry Potter’s new childhood home.

Plus, the tiny pretty village in ‘trending’ English county that has its own castle and beach and is a great stop for Potterheads.

TORONTO — It was a game that started on Saturday and ended on Sunday, a World Series contest so packed with the rare, the historic and the dramatic that it couldn’t possibly be confined to one day.

At 11 innings, it was the longest Game 7 this century, and it equaled the longest in more than a century. It was the first Game 7 that had a ninth-inning home run to tie the score and the first to feature two video reviews that prevented the go-ahead run from scoring.

“It’s one of the greatest games I’ve ever been a part of,” Dodgers manager Dave Roberts said after his team outlasted the Toronto Blue Jays 5-4 to win its second straight World Series and end the longest season in franchise history, one that began in Japan and ended in Canada.

The victory made the Dodgers the first team to win back-to-back titles in 25 years and with that championship, Roberts’ third, he passed Hall of Famer Tommy Lasorda to become the second-most-decorated Dodger manager ever. He now trails only Walter Alston, another Hall of Famer, who won four World Series with the team.

Roberts, however, won his three titles over six seasons, something no Dodger skipper has ever done.

“It’s hard to reconcile that one,” said Roberts, whose jersey from Saturday’s game is on its way to Cooperstown, joining the cap the Hall of Fame requested after last year’s World Series win.

“I’m just really elated and really proud of our team, our guys, the way we fought. We’ve done something that hasn’t been done in decades. There was so many pressure points and how that game could have flipped, and we just kept fighting, and guys stepped up big.”

So did the manager.

Every move Roberts made worked, every button he pushed was the right one. Miguel Rojas, starting for the second time in nearly a month, saved the season with a game-tying home run in the top of the ninth while Andy Pages, inserted for defensive purposes during the bottom of the inning, ran down Ernie Clements’ drive at the wall with the bases loaded to end the threat.

In the 11^th he had Yoshinobu Yamamoto pitch around Addison Barger, putting the winning run on base. But that set up the game-ending double play three pitches later.

“Credit to him, man. Every single move he did this postseason was incredible,” said Tyler Glasnow, one of four starting pitchers Roberts used in relief Saturday. And he had a fifth, Clayton Kershaw, warming up when the game ended.

Added Dodgers co-owner Magic Johnson: “He did some coaching tonight. This was a great manager’s game from him. He’s proven how great a manager he is. He’s a Hall of Famer.”

Roberts asked Yamamoto, who pitched six innings Friday to win Game 6, to throw another 2 2/3 innings in Game 7. It worked; Yamamoto won that game too.

“What Yoshi did tonight is unprecedented in modern-day baseball,” said Roberts, who came into the postgame interview room wearing ski goggles and dripping of champagne. “It just goes down to just trusting your players. It’s nice when you can look down the roster and have 26 guys that you believe in and know that at some point in time their number’s going to be called.”

And Roberts needed all 26 guys. Although the Dodgers players wore t-shirts with the slogan “We Rule October” when they mounted a makeshift stage in the center of the Rogers Centre field to celebrate their victory early Sunday, October was only part of it. Their year started in Tokyo in March and ended in Toronto in November, making it the first major league season to begin and end outside the U.S.

“We really extended the season,” Max Muncy, whose eighth-inning homer started the Dodgers’ comeback, said with a grin after the team’s 179^th game in 226 days.

“Look back at the miles that we’ve logged this year,” Roberts said. “We never wavered. It’s a long season and we persevered, and we’re the last team standing.”

That, too, is a credit to Roberts, who has made the playoffs in each of his 10 seasons and went to the World Series five times, trailing only Alston among Dodger managers. His .621 regular-season winning percentage is best in franchise history among managers who worked more than three seasons. And he figures to keep padding those records.

“We’ve put together something pretty special,” said Roberts, who celebrated with his family on the field afterward. “I’m proud of the players for the fans, scouting, player development, all the stuff. To do what we’ve done in this span of time is pretty remarkable.

“I guess I’ll let the pundits and all the fans talk about if it’s a dynasty or not. But I’m pretty happy with where we’re at.”

On Sunday morning Glasnow, who missed the playoffs last season with an elbow injury, was pretty happy with where he was at as well.

“To be a part of the World Series is crazy,” he said, standing just off the infield as blue and gold confetti rained down. “You dream about it as a kid. To live it out, I feel so lucky. This group of guys, I’m so close to everyone. So many good people on this team. It’s just the perfect group of guys.”

The perfect manager, too.

The wait for the first Dodgers parade of the century: 36 years.

The wait for the second: One year and two days.

On Monday, in celebration of the Dodgers becoming baseball’s first back-to-back champion in 25 years, Los Angeles will throw another party for the Dodgers.

The Dodgers’ 2025 championship parade starts Monday at 11 a.m. and runs through downtown, followed by a rally at Dodger Stadium. The rally requires a ticket, which can be obtained starting at noon Sunday at dodgers.com/postseason.

For fans with rally tickets, parking lot gates will open at 8:30 a.m. and stadium gates at 9 a.m. The event is expected to start at about 12:15 p.m.

The parade and rally will be aired live on Channels 2, 4, 5, 7, 9 and 11 as well as SportsNet LA and AM 570, the team said.

In last year’s rally, Dodgers manager Dave Roberts and Ice Cube performed next to one another, with Roberts dancing and Ice Cube singing.

At one point, future Hall of Famer Clayton Kershaw took his turn at the microphone and hollered, “Dodger for life!”

In September, Kershaw announced he would retire at the end of the season. In his only World Series appearance, he got a critical out in the Dodgers’ 18-inning victory in Game 3.

He’ll make his final Dodger Stadium appearance as a player as part of a second consecutive championship rally. He’ll be back: The Dodgers will retire his No. 22 — they retire the number of all their Hall of Famers — and he’d certainly be in line to throw ceremonial first pitches in the Dodgers’ future postseason runs.

For now, though: Three-time champion Dodger for life.

Japanese horse racing has been on the precipice of breaking through on the U.S. scene. It seemed like it was almost there in 2021 when it won three Breeders’ Cup races. But after that it leveled off.

Through 10 races at this year’s Breeders’ Cup, horses from Japan underperformed. But in the 11th, the most important race in the two-day event, the breakthrough became official when Forever Young held off Sierra Leone, last year’s winner, to win the $7-million Breeders’ Cup Classic by a half-length.

The last time we saw Forever Young in this country was a year ago when the 4-year-old colt finished third in the Classic. Before that, he was third in the Kentucky Derby by a whisker while being on the receiving end of some bumping down the stretch by Sierra Leone. Without that he might have been victorious in a race that was won by Mystik Dan.

The commonality between the 2021 and 2025 Breeders’ Cup days was that both were run at Del Mar.

Forever Young was almost the victim of some legal chicanery on Saturday as trainer Chad Brown entered a horse — called a rabbit — with little chance to win so that he could set a fast pace. Sierra Leone, also trained by Brown, needs a fast pace to weaken the other horses, which would benefit Sierra Leone’s late running style.

But this time, Forever Young overcame all the obstacles thrown at him. He ran a very tactical race being placed close to the lead and never farther back than third.

Forever Young paid $9.00 to win. He was followed in order by Sierra Leone, Fierceness, Journalism, Mindframe, Baeza, Nevada Beach, Antiquarian and Contrary Thinking, who was the rabbit in the 1 1/4- mile race.

It was the third Breeders’ Cup win for trainer Yoshito Yahagi. When asked if this was his most satisfying win, Yahagi said, through a translator: “I will never, ever get satisfied until I get retired as a trainer.”

Forever Young was the third foreign horse to win the Classic, joining Argentine-bred Invasor in 2006 and Irish-bred Black Tie Affair in 1991.

“So last time here, the horse was 75% conditioned,” Yahagi said. “And this time we create 100% condition. Forever Young is an amazing horse.”

The winning jockey was Ryusei Sakai.

“We got the No. 1 in America,” Yahagi said to NBC.

The Classic lost a lot of luster when the favorite, Sovereignty, the winner of the Kentucky Derby and Belmont Stakes, was scratched earlier in the week when he spiked a fever. Sovereignty was the top-rated horse in the country and a possible horse-of-the-year winner. Many were hoping for a rematch with Journalism, who finished second in both those races and won the Preakness, which Sovereignty did not run in.

Trainer Bill Mott only brought two horses to the Breeders’ Cup, Sovereignty and Scylla. While Sovereignty didn’t make the starting gate on Saturday, Scylla ($17.20 to win) sure did, winning the biggest race of the year for female horses, the $2-million Distaff.

“It’s certainly difficult to see what happened to Sovereignty,” Mott said. “I think everybody that’s connected [with this sport] has been through it and we knew when it happened, he wouldn’t be able to compete and not at the level that he would need to. And it seems as though he’s recovering well but he’s really not the story here.

“I mean this one is about Scylla and about Junior [Alvarado, his jockey] and the Juddmonte connections.”

Alvarado took her to the front and never looked back, winning the 1 1/8-mile race by 5 1/2 lengths. Nitrogen was second and Regaled finished third. Favorite Seismic Beauty contended early but then faded to 12th in the 13-horse field.

The second richest race on the card, the $5-million Turf, was supposed be a matchup of two-time winner Rebel’s Romance and Minnie Hauk, who had five wins and two seconds in seven starts. They ran together for most of the 1 1/2-mile race but long shot Ethical Diamond started rolling in the top of the stretch and cruised to a 1 1/4-length win. Rebel’s Romance was second.

The Irish-bred Ethical Diamond, trained by William Mullins and ridden by Dylan Browne McMonagle, paid $57.40 to win.

The first Breeders’ Cup race of the day, the $1-million Filly & Mare Sprint, became less interesting when two of the favorites, Sweet Azteca (2-1 morning line) and Tamara (7-2), were scratched by the veterinarian. There was a third scratch that took the field down to seven.

Bob Baffert had three of the horses in the race, including Splendora, who won in dominating fashion by 4 3/4 lengths and paid $7.80. He was midpack until the far turn of the seven-furlong race before jockey Flavien Prat let him loose in the stretch.

It was Baffert’s 20th Breeders’ Cup win, tying him for second with the late Wayne Lukas. Aidan O’Brien won his 21st Breeders’ Cup race on Friday.

“[Lukas] changed every industry for the better,” Baffert said. “He brought elegance to the game. … To be part of it and then to tie him, it’s an honor for me. … I still miss him. I loved having conversations with him. It’s an honor to tie him.”

Shisospicy ($12.60) broke on top and held the lead to the finish to win the $1-million Turf Sprint, which was ran at five furlongs. The 3-year-old filly is trained by Jose Francisco D’Angelo and was ridden by Irad Ortiz, Jr., who picked up his 22nd Cup victory.

She’s Quality was eased shortly out of the gate in the Turf Sprint by jockey Colin Keane and walked onto the equine ambulance. She was transported to an equine hospital and is back in her barn being monitored.

Ortiz picked up his 23rd win in the next race when he won the $2-million Sprint aboard Bentornato. It was also the second straight victory for D’Angelo. Bentornato broke on top and was never headed in the six-furlong race. It was only his second race of the year for the 4-year-old ridgling. Bentornato finished second in last year’s Sprint, losing to Straight No Chaser, who finished seventh on Saturday.

There were three additional Breeders’ Cup races after the Classic, the turf Mile, Dirt Mile and Filly & Mare Turf.

Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s Noah Goldberg, with an assist from Libor Jany, giving you the latest on city and county government.

How do you spot a journalist?

The question lies at the center of a legal battle between Los Angeles City Atty. Hydee Feldstein Soto and the Los Angeles Press Club, as well as a political battle between Feldstein Soto and the City Council.

Two weeks ago council members called on her to give up her opposition to a federal judge’s order prohibiting LAPD officers from targeting journalists with crowd control weapons. According to the press club, dozens of journalists were excluded from public areas or attacked by police during chaotic summer protests against the Trump administration’s immigration crackdown.

Despite the slap down by the council, Feldstein Soto hopes to press forward. This week, in a confidential attorney-client memo shared with The Times by a source, she stressed to the council why she still wants to appeal the judge’s preliminary injunction, which she says makes virtually anyone a journalist.

In the injunction, U.S. District Judge Hernán Vera proposes “indicia” for LAPD officers to identify journalists, which include wearing distinctive clothing or carrying professional photographic equipment.

But the City Attorney’s Office, which is representing the city in the case, sees future issues.

“The problem with this vague definition is that anyone can claim they are a Journalist under the court’s definition,” Supervising Assistant City Atty. Shaun Dabby Jacobs wrote in the memo. “All a person needs to do is print out a badge that says ‘Press,’ or carry a camera … and they can go behind police line or into other restricted areas.”

The memo asks what clothing might identify a person as a journalist. “Is it simply that the person is wearing a suit or professional work dress? … It would be very easy for someone who is not a member of the media and is intent on causing trouble or harm to other peaceful protesters or to the LAPD, to pose as a journalist since they have some of these ‘indicia of being a Journalist.’”

Vera’s injunction imposes more onerous conditions on when police can use “less lethal” weapons than state law does, the memo also argued, allowing the “less lethal” force only when “danger has reached the point where deadly force is justified.”

The injunction also creates issues if the LAPD calls on mutual aid organizations, like the sheriff’s department or federal partners, since it applies only to the city’s police, the memo said. “The city could potentially be liable for our law enforcement partners’ actions if they act in a manner inconsistent with the terms of the injunction.”

All in all, the memo said, the judge’s injunction amounts to a “consent decree.”

With the nine-page memo in hand, Feldstein Soto headed to a closed session with the council Tuesday. Tempers flared when she and Chief Deputy City Atty. Denise Mills suggested that the press club’s lawyer, Carol Sobel, took on the case only to make money, according to two City Hall sources. (Feldstein Soto’s spokesperson, Karen Richardson, said the city attorney does not comment on closed session conversations but added that Feldstein Soto “absolutely did not say that.”)

Many council members, including Council President Marqueece Harris-Dawson, came to Sobel’s defense, according to a source with knowledge of the meeting.

“I’m trying to restrain myself right now,” Sobel said when she heard about the claim from Mills and the city attorney. “I’m really outraged. It is a baseless suggestion, and it doesn’t alter the fact that they’re shooting people in the head. Whether I get paid or not, they’re shooting people in the head.”

Sobel said she has taken on pro bono work frequently over her 40-year career and that when she is paid, it is partially to help fund future pro bono work.

Susan Seager, who also represents the press club in the case, took issue with Feldstein Soto’s continued pursuit of an appeal.

“She’s a cop wannabe,” Seager said. “She’s just a fake Democrat doing what [LAPD] Chief Jim McDonnell wants her to do.”

Richardson said Feldstein Soto has been a Democrat since 1976 and never worked with the police before she became the city attorney.

State of play

— FIRE BOMBSHELL: Los Angeles Fire Department firefighters told a battalion chief that parts of a New Year’s Day fire in Pacific Palisades still were smoldering the next day, according to text messages. Firefighters were told to leave anyway, and the blaze reignited on Jan. 7, killing 12 and burning thousands of homes. Interim LAFD Chief Ronnie Villanueva said the Palisades fire was not caused by “failed suppression” of the New Year’s blaze.

The story in The Times led to a tweet from sports critic Bill Simmons (bet you didn’t expect to see his name in bold in this newsletter!) blasting the city’s “indefensibly bad leadership,” which predictably led to a quote tweet from none other than Rick Caruso, who called Simmons’ tweet “spot on.” “The buck stops with Mayor Bass,” he added.

— TRASH ATTACK: Mayoral candidate Austin Beutner attacked Mayor Karen Bass over the rising cost of city services for Angelenos, calling out the City Council’s vote to increase trash collection fees. The mayor’s campaign responded that the hike was long overdue. “Nobody was willing to face the music and request the rate hikes,” said Doug Herman, spokesperson for Bass’ campaign.

— SAYONARA, SANITATION: The city’s top Bureau of Sanitation executive, Barbara Romero, stepped down this week. Romero, who was appointed by then-Mayor Eric Garcetti in 2021, touted the agency’s accomplishments, including increasing sewer fees and championing the construction of a water purification facility expected to recharge the San Fernando Valley groundwater aquifer.

— FREE(WAY) AT LAST: A judge agreed to place 29 protesters who shut down the southbound 110 Freeway in 2023 into a 12-month diversion program, which would require 20 hours of community service each. If the protesters, who were demonstrating against Israel’s war in Gaza, comply and don’t break other laws, they will have their criminal charges dropped.

— PHOTO BLOCK: L.A. County is trying to block a journalist from obtaining photographs of about 8,500 sheriff’s deputies and other sworn personnel in the department. The dispute centers on a public records request filed by journalist Cerise Castle in 2023 asking for the names and official headshots of all deputies not working undercover. An L.A. Superior Court judge ordered the release of the photos, but the county is appealing.

— A DOZEN BUSTED: Federal prosecutors announced charges against 12 people who allegedly assaulted law enforcement officers during the chaotic protests this summer against the Trump administration’s immigration raids. Many of the charges stem from demonstrators throwing items at police from a freeway overpass on June 8.

— CANDIDATE ALERT: A new candidate has thrown his hat in the ring to be the city’s next controller. Zach Sokoloff works for Hackman Capital Partners, serving as “Asset Manager of the firm’s Television City Studios and Radford Studio Center.” Sokoloff is running against incumbent Kenneth Mejia as well as veteran politician Isadore Hall.

QUICK HITS

• Where is Inside Safe? There were no Inside Safe operations this week. The mayor’s team held a virtual town hall with Councilmember Katy Yaroslavsky to engage with residents near nine operations in the West L.A. area, according to the mayor’s office.
• On the docket next week: Councilmember Curren Price will be in Los Angeles Superior Court for the preliminary hearing in his criminal case. The hearing is expected to last about five days.

Stay in touch

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

CLARKSTON, Ga. — After fleeing the war-torn Democratic Republic of Congo, Antoinette landed in the Atlanta area last November and began to find her footing with federal help.

Separated from her adult children and grieving her husband’s death in the war, she started a job packing boxes in a warehouse, making just enough to cover rent for her own apartment and bills.

Antoinette has been relying on the Supplemental Nutrition Assistance Program, formerly known as food stamps, for her weekly grocery trips.

But now, just as life is starting to stabilize, she will have to deal with a new setback.

President Donald Trump’s massive budget law, which Republicans call the One Big Beautiful Bill Act, slashes $187 billion — or nearly 20% — from the federal budget for SNAP through 2034. And separate from any temporary SNAP stoppages due to the federal shutdown, the law cuts off access completely for refugees and other immigrant groups in the country lawfully. The change was slated to take effect immediately when the law was signed in July, but states are still awaiting federal guidance on when to stop or phase it out.

For Antoinette, 51, who did not want her last name used for fear of deportation and likely persecution in her native country, the loss of food aid is dire.

“I would not have the means to buy food,” she said in French through a translator. “How am I going to manage?”

Throughout its history, the U.S. has admitted into the country refugees like Antoinette, people who have been persecuted, or fear persecution, in their homelands due to race, religion, nationality, political opinions, or membership in a particular social group. These legal immigrants typically face an in-depth vetting process that can start years before they set foot on U.S. soil.

Once they arrive — often with little or no means — the federal government provides resources such as financial assistance, Medicaid, and SNAP, outreach that has typically garnered bipartisan support. Now the Trump administration has pulled back the country’s decades-long support for refugee communities.

The budget law, which funds several of the president’s priorities, including tax cuts to wealthy Americans and border security, revokes refugees’ access to Medicaid, the state-federal health insurance program for people with low incomes or disabilities, starting in October 2026.

But one of the first provisions to take effect under the law removes SNAP eligibility for most refugees, asylum seekers, trafficking and domestic violence victims, and other legal immigrants. About 90,000 people will lose SNAP in an average month as a result of the new restrictions narrowing which noncitizens can access the program, according to the Congressional Budget Office.

“It doesn’t get much more basic than food,” said Matthew Soerens, vice president of advocacy and policy at World Relief, a Christian humanitarian organization that supports U.S. refugees. “Our government invited these people to rebuild their lives in this country with minimum support,” Soerens said. “Taking food away from them is wrong.”

Not just a handout

The White House and officials at the United States Department of Agriculture did not respond to emails about support for the provision that ends SNAP for refugees in the One Big Beautiful Bill Act.

But Steven Camarota, director of research for the Center for Immigration Studies, which advocates for reduced levels of immigration to the U.S., said cuts to SNAP eligibility are reasonable because foreign-born people and their young children disproportionately use public benefits.

Still, Camarota said, the refugee population is different from other immigrant groups. “I don’t know that this would be the population I would start with,” Camarota said. “It’s a relatively small population of people that we generally accept have a lot of need.”

Federal, state, and local spending on refugees and asylum seekers, including food, healthcare, education, and other expenses, totaled $457.2 billion from 2005 to 2019, according to a February 2024 report from the Department of Health and Human Services. During that time, 21% of refugees and asylum seekers received SNAP benefits, compared with 15% of all U.S. residents.

In addition to the budget law’s SNAP changes, financial assistance given to people entering the U.S. by the Office of Refugee Resettlement, a part of HHS, has been cut from one year to four months.

The HHS report also found that despite the initial costs of caring for refugees and asylees, this community contributed $123.8 billion more to federal, state, and local governments through taxes than they received in public benefits over the 15 years.

It’s in the country’s best interest to continue to support them, said Krish O’Mara Vignarajah, president and CEO of Global Refuge, a nonprofit refugee resettlement agency.

“This is not what we should think about as a handout,” she said. “We know that when we support them initially, they go on to not just survive but thrive.”

Food is medicine

Clarkston, Georgia, an Atlanta suburb, is home to thousands of refugees.

(Renuka Rayasam/KFF Health News)

Food insecurity can have lifelong physical and mental health consequences for people who have already faced years of instability before coming to the U.S., said Andrew Kim, co-founder of Ethnē Health, a community health clinic in Clarkston, an Atlanta suburb that is home to thousands of refugees.

Noncitizens affected by the new law would have received, on average, $210 a month within the next decade, according to the CBO. Without SNAP funds, many refugees and their families might skip meals and switch to lower-quality, inexpensive options, leading to chronic health concerns such as obesity and insulin resistance, and potentially worsening already serious mental health conditions, he said.

After her husband was killed in the Democratic Republic of Congo, Antoinette said, she became separated from all seven of her children. The youngest is 19. She still isn’t sure where they are. She misses them but is determined to build a new life for herself. For her, resources like SNAP are critical.

From the conference room of New American Pathways, the nonprofit that helped her enroll in benefits, Antoinette stared straight ahead, stone-faced, when asked about how the cuts would affect her.

Will she shop less? Will she eat fewer fruits and vegetables, and less meat? Will she skip meals?

“Oui,” she replied to each question, using the French for “yes.”

Since arriving in the U.S. last year from Ethiopia with his wife and two teen daughters, Lukas, 61, has been addressing diabetes-related complications, such as blurry vision, headaches, and trouble sleeping. SNAP benefits allow him and his family to afford fresh vegetables like spinach and broccoli, according to Lilly Tenaw, the nurse practitioner who treats Lukas and helped translate his interview.

His blood sugar is now at a safer level, he said proudly after a class at Mosaic Health Center, a community clinic in Clarkston, where he learned to make lentil soup and balance his diet.

“The assistance gives us hope and encourages us to see life in a positive way,” he said in Amharic through a translator. Lukas wanted to use only his family name because he had been jailed and faced persecution in Ethiopia, and now worries about jeopardizing his ability to get permanent residency in the U.S.

Since arriving in the U.S. last year from Ethiopia, Lukas has been visiting the Mosaic Health Center in Clarkston, Ga., to address diabetes-related complications. Food stamps allow him and his family to afford fresh vegetables like spinach and broccoli.

(Renuka Rayasam/KFF Health News)

Hunger and poor nutrition can lower productivity and make it hard for people to find and keep jobs, said Valerie Lacarte, a senior policy analyst at the Migration Policy Institute.

“It could affect the labor market,” she said. “It’s bleak.”

More SNAP cuts to come

While the Trump administration ended SNAP for refugees effective immediately, the change has created uncertainty for those who provide assistance.

State officials in Texas and California, which receive the most refugees among states, and in Georgia told KFF Health News that the USDA, which runs the program, has yet to issue guidance on whether they should stop providing SNAP on a specific date or phase it out.

And it’s not just refugees who are affected.

Nearly 42 million people receive SNAP benefits, according to the USDA. The nonpartisan Congressional Budget Office estimates that, within the next decade, more than 3 million people will lose monthly food dollars because of planned changes — such as an extension of work requirements to more people and a shift in costs from the federal government to the states.

In September, the administration ended a key report that regularly measured food insecurity among all U.S. households, making it harder to assess the toll of the SNAP cuts.

The USDA also posted on its website that no benefits would be issued for anyone starting Nov. 1 because of the federal shutdown, blaming Senate Democrats. The Trump administration has refused to release emergency funding — as past administrations have done during shutdowns — so that states can continue issuing benefits while congressional leaders work out a budget deal. A coalition of attorneys general and governors from 25 states and the District of Columbia filed a lawsuit on Oct. 28 contesting the administration’s decision.

Cuts to SNAP will ripple through local grocery stores and farms, stretching the resources of charity organizations and local governments, said Ted Terry, a DeKalb County commissioner and former mayor of Clarkston.

“It’s just the whole ecosystem that has been in place for 40 years completely being disrupted,” he said.

Muzhda Oriakhil, senior community engagement manager at Friends of Refugees, an Atlanta-area nonprofit that helps refugees resettle, said her group and others are scrambling to provide temporary food assistance for refugee families. But charity organizations, food banks, and other nonprofit groups cannot make up for the loss of billions of federal dollars that help families pay for food.

“A lot of families, they may starve,” she said.

Rayasam writes for KFF.

Polish director Jan Komasa might be best known in the United States for his 2019 Oscar-nominated film “Corpus Christi,” but his biggest box-office success was in Poland for his 2014 film “Warsaw 44,” about the Warsaw Uprising, the bloody effort by the Polish resistance to expel the occupying German army from the city toward the end of World War II.

Komasa knows authoritarianism in its most flagrant, brutal forms, but his new film “Anniversary” imagines a scenario in which fascism doesn’t stomp in, jackbooted, but creeps, pretty and ladylike, on kitten-heeled feet. It’s a thought experiment more than anything else, from a story by Komasa and Lori Rosene-Gambino, the latter who wrote the screenplay.

“Anniversary” maps five years in the life — and obliteration — of an American family, a microcosm of a larger rapid political devolution that turns suburban utopia into a dystopia with a speed that could make your head spin.

Meet the Taylors — we’ll get to know them across reunions and celebrations starting with an anniversary party for Ellen (Diane Lane) and Paul (Kyle Chandler). She’s a professor at Georgetown, a public intellectual caught up in the university culture-wars debate; he’s a chef, and they have four children upon whom they dote: Cynthia (Zoey Deutch, also in this week’s “Nouvelle Vague”), an environmental lawyer, Anna (Madeleine Brewer), a provocative comedian, high-school science nerd Birdie (Mckenna Grace) and brother Josh (Dylan O’Brien), a nebbishy, struggling writer. The camera knits them all together in long shots, swirling around their idyllic backyard.

Josh has brought home a new girlfriend, Liz (Phoebe Dynevor, of 2023’s “Fair Play”), who is carefully coiffed and poised, immaculately presented and mannered, though her perfection gives his sisters pause. After the introductions, she and Ellen have a quiet, awkward moment together. As one of Ellen’s former students, Liz wrote a thesis that scandalized the professor, which Ellen describes to her husband as having “radical anti-democratic sentiments,” advocating for a single-party system. The title? “The Change.”

While Liz says she “came here with the best of intentions” and claims she and Josh were introduced by their shared agent, Ellen is suspicious and rightly so. The enigmatic Liz is mild-mannered and quiet, but her ideas are anything but. As she hugs Ellen, she whispers, “I used to be afraid of you but I don’t think I am anymore.” That is never more clear than when she sends Ellen a copy of her newly published book, “The Change,” dedicated to “the haters, the doubters and the academic stranglers.”

Two years later, the Change is officially afoot. Liz is a celebrity, now working with a mysterious organization called the Cumberland Company. She and Josh are married, pregnant with twins, and he’s achieved a conservative glow-up. New flags are popping up in the Taylor’s well-heeled neighborhood and things are shifting in ways that make Ellen uncomfortable, enraged even. But in the spirit of politeness and family unity, she acquiesces to Paul’s desire for a nice family Thanksgiving, despite their political differences.

Therein lies what might be “Anniversary’s” biggest warning: Don’t let the fox into the henhouse, even if it seems rude not to. Ellen maintains an appropriately wary distance and skepticism of Liz, but Paul’s fatal flaw is his assumption of good faith. He hasn’t even read “The Change” because, frankly, he doesn’t want to know. But as Liz attaches herself to Josh like a parasite, perhaps in an attempt to enact revenge on her former professor, so too do the other Taylor children topple as the nation changes under their feet.

Some might find “Anniversary” too vague: What, precisely, is Liz’s political stance that makes her so powerful and so repugnant to Ellen? She has advocated for a “single-party system” branded under the guise of “solidarity,” but the result is an autocratic surveillance state that suppresses free speech, upheld by a violent paramilitary police force. The film never gets into the specifics, perhaps because the only ideology of fascism is the concentration of power. “Anniversary” suggests the rhetoric doesn’t matter when we can turn on each other so easily, humanity and freedom crushed under such a state.

It is fascinating that recent movies that attempt to grapple with contemporary sociopolitical issues often feminize the threat: the #MeToo cancel culture fable “Tár” or this year’s academia scandal film “After the Hunt.” “Anniversary” situates a nonthreatening woman as the vessel for such evil, even as Liz’s male host, Josh, starts to embody the most extreme outcomes of what she has set in motion.

“Anniversary” is a deeply nihilistic film that can’t be described as a cautionary tale — that horse has already left the barn. Rather, it’s a hypothetical question as character study, an examination of how this happens and an assertion that a system like this shows no mercy, not even to its most loyal subjects, despite what we want to believe.

Walsh is a Tribune News Service film critic.

I’ve visited 12 new countries this year, and even though each one has its own charm, I’d say there’s one that didn’t quite cut it

This year has been a rollercoaster of adventures for me. I’ve had the good fortune to discover new cities, sample local cuisines, and meet individuals whose tales have lingered with me long after my journey’s end. From savouring Italian dishes in Sardinia to exploring Poland, I’ve ticked off 12 new countries on my travel list in 2025.

Each nation has offered something unique, but not every destination leaves you yearning for more. Among all the places I’ve visited, there’s one country I wouldn’t be in a hurry to return to.

That’s not because it wasn’t stunning, but because sometimes travelling teaches you what you do and don’t want from a trip.

One of my stops this year was Mauritius, a small island nation in the Indian Ocean that many people describe as a true paradise, reports the Express.

It was exactly that, turquoise waters, palm tree-fringed beaches and sunsets that look like they’re straight out of a film. It’s the kind of place that many people dream of visiting, but for me, it just didn’t live up to the hype.

For starters, it’s a very, very long way from the UK. It’s around 12 hours of flying, not including the connections and airport hours that make the journey feel even longer.

By the time I finally landed, I was expecting something truly unforgettable, but I found myself wondering whether the distance was really worth it.

The island itself is undeniably beautiful, but after a few days, I felt like I had seen most of what there was to see. Aside from the beaches and a few nature spots, there isn’t a lot to do.

Now, I understand that Mauritius isn’t typically a destination for exploration, but more of a tranquil retreat. However, during my visit, I realised that I’m more of an adventurer when it comes to holidays.

Mauritius is undoubtedly appealing to newlyweds or those seeking a serene getaway. It’s calm, and the locals are friendly and hospitable.

Yet, for me, it lacked the magic that makes me fall head over heels for a location. It’s one of those places I’m pleased to have visited once, but I don’t feel compelled to return.

On the other hand, out of the other 11 countries I’ve travelled to this year, some have left me eager to go back. From the late-night street food in South Korea to the relaxed allure of Belgium, each place has made a lasting impression.

Even closer to home, Jersey took me by surprise with its blend of British familiarity and tranquil island life, while Croatia won me over with its historic towns.

Mauritius might not have been the ideal holiday spot for me, but even that experience played a part in my year of globetrotting.

Had Amorim’s one-year anniversary been marked on 1 October, judgement would have been almost exclusively negative.

At that point, only Tottenham of the 17 teams who remained in the Premier League throughout his tenure had fewer points than United’s 34 from 33 games. After three successive victories, Wolves and West Ham are also behind them now.

On Thursday, for the first time, Amorim was shortlisted for manager of the month. In his news conference he was asked about the possibility of Champions League qualification.

If they win at the City Ground, United will go second.

Even if it is only for a matter of hours, it will be the first time they have been that high, mid-season, since a victory at West Ham in September 2021, immediately before Solskjaer’s world unravelled.

Amorim warned of reading too much into his side’s current form. But three successive wins coupled with Sir Jim Ratcliffe’s ‘three-year’ comments, means a chronical of his first year does not read like an epitaph.

A month ago, the private stinging rebuke of one critic close to the dressing room was that Amorim’s enthralling news conferences were all he was good at.

Yet, while box office in their delivery, it is the part of the job he likes the least. He is emotional, which shows itself after games. But apart from solemn moments, when he speaks on behalf of the club on matters of importance, his words are not rehearsed.

His jovial nature is at odds with his intense and serious persona on the training ground – and his rather detached presence at times.

Last season, when media were allowed to observe the first 15 minutes of training before European games, it was noticeable that Amorim watched the routine sprints and rondos on his own, from a different pitch, sometimes 50 yards away.

This, it is explained, is partly because he has no role to play but also because he is using the time to think about the messaging he will deliver in the main session.

Filmed footage of his first training session last November shows Amorim telling midfielder Kobbie Mainoo exactly how many strides he needed to move after laying a pass off, then where to open his body out to create maximum passing angles.

This summer, sources said there were points where he had two players taking up the same positions in training, before running through different scenarios to ensure they moved into the right area of the pitch.

While this may seem peculiar it does make sense given Amorim knows which players fit into which slots in his team.

That first recorded session also showed Amorim working on speed in transition, especially defensive turnovers.

Finally, with gaps between games allowing full preparation weeks, this reinforced messaging is paying off. Awful days at Grimsby and Brentford are outliers rather than the norm.

United officials say now, as they have done consistently throughout the past 12 months, there has never been an internal conversation about Amorim’s future. The club’s hierarchy, from Ratcliffe down, is supportive. The aim for the season remains European qualification.

But have there been times when Amorim himself wondered if he would get this far?

“It’s hard to say,” he said. “There were some moments that were tough to deal with, to lose so many games, was so hard for me because this is Manchester United.

“Putting all the attention on Europa League and not winning, was massive.

“So, I had some moments that I struggled a lot, and was thinking maybe it’s not meant to be. Today is the opposite. Today I feel – and know – it was the best decision in my life, and I want to be here.”

If you’re not on social media, good for you. If you are, you know that any good start by Dodgers pitcher Yoshinobu Yamamoto is immediately followed by a flood of venom aimed at former major league outfielder Josh Reddick.

No sooner had Yamamoto thrown his World Series complete game last week than Reddick got 3 million views for one of his tweets from two years ago.

Many of those viewers were happy to tell him he was a moron.

In 2023, the Dodgers signed Yamamoto, the winner of Japan’s version of the Cy Young award for three years running, for $325 million.

Reddick’s tweet: “How do you give a guy $325 million without ever throwing a pitch in MLB”

On Friday, the Dodgers will turn to Yamamoto to keep their season alive and force a Game 7 against the Toronto Blue Jays. He could — and this sounds insane in modern baseball — throw his third consecutive complete game.

Two weeks ago, after Yamamoto had thrown a complete game in the National League Championship Series, Reddick appeared on the “Crush City Territory” podcast.

“If Paul Skenes did not exist, Yoshinobu Yamamoto would be winning the Cy Young, going away,” podcast host Chandler Rome said.

Then Rome asked Reddick to answer for his tweet.

“I don’t think I would say I regret it,” Reddick said. “I’d probably say that tomorrow if they gave it [that money] to somebody else. That’s just my opinion, and I’m allowed to have it because it’s social media …

“That was my opinion, and obviously it was wrong. This guy has been phenomenal, and very, very, very, very, very, very good to come over here and do what he’s done. I’ll admit I was wrong on that one.”

Reddick said he regularly hears about it from Dodgers fans.

“They enjoy it,” he said. “I just love how much I live in Dodgers fans’ heads every day, and how they just look forward to making it feel like they’re upsetting me by sending these tweets and just completely ruining my day.

“If you’re a Dodger fan: It doesn’t bother me. So you do you for your two seconds of fame, and go back to work.”

At the time of the podcast, Reddick’s tweet had 9 million views. Now it has 12 million.

“It’s like wrestling, man,” he said. “You’ve got to be the good guy or the bad guy. As long as you’re a guy who’s getting noticed, you’re doing something right.

“I’m just playing the heel for the Dodgers for the rest of my life.”

FREDERICKSBURG, Va. — If there’s agreement on anything in the two states with governor’s races this year, it’s that utility bills are a growing concern among voters.

One Virginia voter, Kim Wilson, lamented at a town hall recently that her electricity bill seems to go up every month, no matter how much she tries to mitigate the costs. She was drawn to the event in part by its title: “The energy bills are too damn high.”

“It’s way too high,” Wilson readily agreed.

In New Jersey, Herb Michitsch of Kenilworth said his electric bill has climbed to nearly $400 a month, or more than four times what it was when he and his wife moved into their home half a century ago.

“Something really has to be done,” Michitsch said.

That something must be done is pretty much where the agreement ends. It’s what must be done that splits politicians back into rival camps.

Democratic candidates in the two states are far more likely to embrace clean energy options like wind and solar than their Republican opponents. The two states’ Republican nominees are more closely aligned with the policies of President Trump, who has called climate change a “con job” and promotes more traditional energy sources like gas and coal. New Jersey Republican nominee Jack Ciattarelli has acknowledged that human-caused climate change is occurring, but he says Democrats have driven up costs with their clean energy push.

Which side voters land on in the off-year elections will give both parties plenty to consider in what feels destined to be an emerging economic issue heading into next year’s midterm elections.

At a recent rally in New Jersey, Democratic state Sen. Vin Gopal made clear that he stood with Democratic nominee Mikie Sherrill in support of her plans to lower costs. But Gopal acknowledged that the outcome could signal whether voters are ready to embrace the president’s approach or have simply grown weary of national politics.

“The whole country is watching what happens,” he said.

Technology drives up costs

The debate comes as people in the two states grapple with double-digit percentage increases in monthly electricity bills. The exploding costs are driven by soaring demand, particularly from data centers, and by the rapid onset of energy-intensive artificial intelligence technology. Virginia’s largest energy utility also has linked potential future rate increases to inflation and other costs.

In Virginia’s open race to succeed a term-limited GOP incumbent, Democrat Abigail Spanberger and Republican Lt. Gov. Winsome Earle-Sears are at odds over the development of renewable energy sources.

Spanberger has laid out a plan to expand solar and wind production in underused locations, praising a wind project off the coast of Virginia Beach. In a debate against her opponent, she also said she would “ensure that data centers pay their fair share” as costs rise. The state is home to the world’s largest data center market,

Republican Winsome Earle-Sears wasn’t having it.

“That’s all she wants, is solar and wind,” Earle-Sears said of Spanberger at the debate. “Well, if you look outside, the sun isn’t shining and the breeze isn’t blowing, and then what, Abigail, what will you do?”

In New Jersey, where Ciattarelli’s endorsement by Trump included recent social media posts praising his energy affordability plans, the GOP nominee blames rising costs on eight years of Democratic control of state government.

Ciattarelli says he would pull New Jersey out of a regional greenhouse gas trading bloc, which Democratic incumbent Gov. Phil Murphy reentered when he first took office in 2018.

“It’s been a failure,” Ciattarelli said at the final debate of the campaign. “Electricity is at an all-time high.”

He’s also come out as a strident opponent of wind energy off the state’s coast, an effort Democrats spearheaded under Murphy. A major offshore wind project ground to a halt when the Danish company overseeing it scrapped projects, citing supply chain problems and high interest rates.

At the center of Sherrill’s campaign promise on the issue is an executive order to freeze rates and build cheaper and cleaner power generation.

“I know my opponent laughs at it,” Sherrill said recently.

A growing concern among voters

The candidates’ focus on affordability and utility rates reflects an unease among voters. A recent Associated Press-NORC Center for Public Affairs Research poll found electricity bills are a “major” source of stress for 36% of U.S. adults, at a time when data center development for AI could further strain the power grid.

Perhaps that’s why the statewide races have become something of an energy proxy battle in Virginia. Clean Virginia, a clean energy advocacy group that targets utility corruption, has backed all three Democratic candidates for statewide office in Virginia — a first for the organization. GOP statewide candidates, meanwhile, have accepted money from Dominion Energy, the largest electric utility in Virginia.

To further complicate an already complex issue: Virginia has passed the Virginia Clean Economy Act, which calls for utilities to sunset carbon energy production methods by 2045.

Republican House Minority Leader Terry Kilgore, who represents the southwest edge of Virginia, had failed to alter part of the state’s Clean Economy Act earlier this year. Kilgore, whose top donor is Dominion Energy, said in February: “If their bills go any higher, there are folks in my region that are not able to pay them now, they’re definitely not going to be able to pay them in the future.”

Evan Vaughn, executive director of MAREC Action, a group of Mid-Atlantic renewable energy developers, said candidates from both parties are in a tough spot because bringing down prices quickly will be difficult given broader market dynamics.

“Voters should look to which candidate they think can do the best to stabilize prices by bringing more generation online,” he said. “That’s really going to be the key to affordability.”

Michitsch, who’s backing Sherrill in the governor’s race and said he would campaign for her, said her proposal shows she’s willing to do something to address spiraling costs.

“We need to change,” he said. “And I think she is here to change things.”

Diaz and Catalini write for the Associated Press.