year

President Trump, it’s well known, is into gold. Every day brings new evidence that he’s thoroughly enjoying the “golden age” he pronounced in his inaugural address — as few other Americans are — with stock trades, crypto profiteering and much more, even a new taxpayer-financed slush fund to reward his allies.

As for me, I’ve gone into silver. That is, I constantly look for the silver linings in Trump’s heinous acts.

One silver lining, of course, is his cratering job-approval numbers in the polls, especially among the young and Latino voters who made his reelection possible. But here’s another: By his humiliating failure to bring Iran to heel, nearly three months after starting a war that he said would last weeks at most, Trump has brought new, more positive attention to what he again this week derided as “Barack Hussein Obama’s Iran nuclear deal.” (The emphasis on “Hussein” is Trump’s, always.)

The president, along with his Republican cheerleaders, counts his first-term abrogation of the 2015 Iran nuclear agreement, the Joint Comprehensive Plan of Action, as a signature achievement. This week, yet again, he falsely claimed that had he not done so, Iran would have a nuclear weapon. In fact, his action in 2018 taking the United States out of the multinational deal subsequently led to Iran’s rebuilding of its nuclear program, the emboldening of the Iranian hard-liners now in power and the Middle East morass in which the United States is now mired.

That quagmire has left Trump seeming desperate for a deal — almost certainly a worse deal than the one Obama struck. Call it JCPOA Lite.

If he were able to get Iran’s sign-off on the sort of detailed, restrictive agreement that Obama and other world leaders won 11 years ago, he’d be trumpeting himself as the world’s greatest dealmaker. (He does that anyway, but his record proves otherwise.) Instead, by his own failure to date, Trump has invited reconsideration of the very agreement he decried as the “worst deal ever” on his march to election and reelection.

No sooner was the 2015 deal signed than Trump and Republicans succeeded in defining it as a giveaway to Iran that assured, not hindered, its development of a nuclear weapon to threaten Israel and the world. Opponents condemned the agreement for not addressing Iran’s other threats, notably its support for militant proxies throughout the Mideast. Some Democrats, notably Senate Minority Leader Chuck Schumer of New York, were among the foes. Other Democrats, cowed by opposition to the agreement by Benjamin Netanyahu’s Israeli government and pro-Israel lobbyists, were all but mute in the pact’s defense.

Now some Democrats are belatedly finding their voice (and, post-Gaza, some willingness to defy Israel). Along with nonpartisan experts, those Democrats are drawing comparisons between the 2015 agreement, flawed yet successful, and Trump’s promised yet ever-elusive alternative. What’s ironic for Israel and Netanyahu, still implacably against negotiating with Tehran, is that they could end up, under Trump, with a nuclear deal that gives Iran more leeway than the hated JCPOA did.

As Americans are being reminded, the 2015 deal wasn’t just between Iran and Obama, as Trump has long suggested; other signatories were China, Russia, Britain, France, Germany and the 27-nation European Union. Reconstituting that group would be all but impossible today.

The pact’s 159 highly technical pages and five appendices — a far cry from the short-lived one-pager that Trump officials teased earlier this month — required Iran for 15 years to limit its nuclear program to civilian purposes, forfeit more than 97% of its enriched uranium and submit to intrusive monitoring by the International Atomic Energy Agency to ensure compliance. In return, Iran gradually got relief from some, but not all, international economic sanctions and access to Iranian funds that were frozen after the 1979 Islamic revolution. Presumably, after 15 years, the agreement would have been extended somehow.

By all accounts, including those of Trump’s first-term intelligence and national security officials, Iran was complying when he abandoned the deal. Its “breakout time” for building a nuclear weapon was about a year — time enough for the world to intervene — instead of two to three months. Now, though the president boasts he barred Iran from having that weapon by breaking the Iran nuclear deal, he incessantly tells Americans that he went to war against Iran on Feb. 28 because it was on the brink of a bomb — never mind that he also said he had “obliterated” Iran’s nuclear program last summer, a program that was in a well-monitored box until he first took office.

If you’re confused, you’re paying attention.

A month ago, Trump posted online that he was close to a deal “FAR BETTER” than the 2015 accord. “I am under no pressure whatsoever, ⁠although, it will all happen, relatively quickly!” To several reporters, he suggested he in fact had a deal and that Iran had agreed both to suspend its nuclear activities and to forfeit all of its enriched, near-weapons-grade uranium.

Preposterous claims, given Iran’s current government, and Tehran promptly denied them. It was a sign of Trump’s squandered credibility that few, if anyone, believed him in the first place. Nor have folks believed his more recent talk of imminent success; oil markets, too, have learned not to trust the president, as prices at the pumps attest.

On Tuesday at the White House, amid a noisy tour of the billion-dollar-ballroom construction site, Trump told reporters he’d been “an hour away” from striking Iran again that very day but Mideast leaders asked for more time for negotiations.

Don’t hold your breath.

But for the tragic consequences, Obama might be enjoying some justifiable schadenfreude about Trump’s travails.

“We pulled it off without firing a missile. We got 97% of the enriched uranium out,” he told Stephen Colbert in an interview last week. Both U.S. and Israeli intelligence agreed that Iran was abiding by the nuclear limits, Obama added, “and we didn’t have to kill a whole bunch of people or shut down the Strait of Hormuz.”

That sure doesn’t sound like the “worst deal ever.” It wasn’t.

Bluesky: @jackiecalmes
Threads: @jkcalmes
X: @jackiekcalmes

At Jimmy Kimmel’s annual monologue to advertisers at Disney’s recent upfront presentation, the ABC late-night host offered sympathy to his ousted CBS cohort Stephen Colbert.

“First, it’s bad enough to lose your job,” Kimmel said. “Imagine getting replaced by the owner of the Weather Channel.”

Byron Allen, the media mogul whose holdings do include the Weather Channel, laughed when the gag was repeated to him during a recent phone conversation. “I like Jimmy Kimmel a lot,” he said.

Allen, never lacking in self-confidence, can afford to roll with the jokes. Episodes of his 20-year-old syndicated program “Comics Unleashed,” a half-hour show featuring mostly lesser-known stand-ups sharing routines and stories, are replacing “The Late Show with Stephen Colbert” on CBS in the 11:35 p.m. time period starting Friday.

While it’s a triumph for Allen, 65, it’s also a sign of how the traditional late-night talk show — one of television’s most culturally influential formats — may no longer be sustainable in the era of streaming TV.

CBS said last year it canceled Colbert because it lost $40 million a year as the late-night viewing habit among audiences has eroded in the streaming era. Many in the TV industry are skeptical of the claim, believing Skydance Media wanted to silence the relentless Trump-bashing host in order to clear the government regulatory path for its acquisition of network parent Paramount. (The FCC’s approval of the deal came days after the cancellation was announced.)

Cedric the Entertainer, left, with Byron Allen on the set of “Comics Unleashed.”

(Allen Media Group)

But no one who has worked in late-night television in recent years can dispute how financial challenges are clouding the format’s future. Polished after-hours programs with a live audience, large teams of writers and producers and high-priced hosts are fighting off obsolescence as traditional TV audiences get smaller and ad revenues shrink. While CBS is the first to act, other networks have thought about getting out of the business altogether.

Since 2022, “The Late Show” lost 20% of its audience in the advertiser-coveted 18-to-49 age group, according to Nielsen data. Ad spending on all late-night television shows hit $209 million in 2025, down from $519.7 million in 2017, according to data from Guideline.

“Nothing is forever, especially in television,” said former network executive Ted Harbert, who oversaw the launches of “The Tonight Show Starring Jimmy Fallon,” and “Late Night with Seth Meyers” at NBC. “Digital tech is killing late night.”

The hosts of the programs and their funniest bits are arguably seen by more people than ever before thanks to clips replayed on social media platforms. But the revenue generated by digital viewing doesn’t approach what the networks get for audiences watching live on TV.

Over the last 10 years, late-night shows flocked to YouTube as a way to be a part of the national conversation and bring attention to the shows. Harbert believes the notion that the clips alone — which may feature a funny bit or a snapshot of a conversation with a guest — would help lure viewers to traditional TV was folly.

“The shows cannibalized themselves by making their show available in snack-size clips after the network airing,” he said. “And viewers obviously would rather watch a couple of five-minute clips than a whole show.”

Late-night shows were once among the most profitable programs on TV because of their ability to reach viewers in the 18-to-34 age group that attract premium prices for commercial time. But the same demographic was the first to gravitate to streaming platforms and abandon traditional TV which thrives on appointment viewing.

Daniel Kellison, a former producer for “Jimmy Kimmel Live” and “The Late Show with David Letterman,” noted that Kimmel — who has also been targeted by the Trump administration for his harsh barbs — has seen his TV ratings increase this year.

But the overall trend for the time period is still down. While Kellison believes Colbert’s cancellation is an effort by CBS to appease Trump, he agrees that the genre needs to evolve and adapt to the changing media landscape.

“There’s always going to be an audience for conversation around politics and life and these sort of shows will exist in different formats and I think it’s incumbent upon people to figure out how to present them,” he said.

CBS executives have said they want to develop a new network show in the late-night time period. But for the next year it will lease the slot to Allen. His company Allen Media Group pays CBS for the time, covers the cost of production and sells the advertising. He is also the host. The deal will erase whatever losses the network experienced in that TV block.

“Comics Unleashed” has been running in the 12:35 a.m. hour since CBS canceled “After Midnight” last year. When that show moves to the earlier time slot, it will be replaced by another Allen program, “Funny You Should Ask,” a comic quiz show hosted by John Kelley.

Allen said he has great respect for the late-night TV tradition. His mother was a tour guide at NBC in Burbank and he was able to hang out on the studio lot to watch Johnny Carson tape “Tonight.” Allen would get advice from Carson, whom he calls his hero and mentor, and eventually got a shot at doing stand-up on “Tonight” when he was 18 years old.

Allen even asked CBS to move the start date of “Comics Unleashed” to May 22 because it is the anniversary of Carson’s final show in 1992. But his sentimentality ends when it comes to the economics of programming in that time slot.

“We will be in profit,” Allen said of “Comics Unleashed,” which according to Nielsen has seen its audience grow in the 12:35 a.m. time slot by 26% since October.

Kimmel has accused CBS of dumping Colbert for “Comics Unleashed” because Allen’s show doesn’t partake in political humor that could alienate the White House as Skydance moves to close its next acquisition: Warner Bros. Discovery.

“I feel like CBS is turning 11:35 p.m. into a ‘least’ time slot,” Kimmel said at the Disney presentation. “Least as in least likely to offend the president with the rerun of ‘Comics Unleashed’ from 2007 featuring Paula Poundstone and Andy Dick.”

Poundstone and Dick are not among the 1,000 comedians who have appeared on “Comics Unleashed” over the years, many of whom went on to become stars. But not having the program dabble in political humor is a business decision.

The guests stick to storytelling and slice-of-life material that doesn’t date, which is why the episodes can attract an audience years after being taped. They don’t plug books, movies, concerts or any other elements that would be dated by future airings.

“Twenty years ago when we shot our first episode I said ‘we’re making it ‘I Love Lucy,’” Allen said. “I want these shows to be funny today and 20 years from today.”

Allen said his company will produce 130 new episodes of “Comics Unleashed” for the 2026-27 TV season.

But the reason the current set of late-night hosts leaned into politics so heavily in recent years is because it works.

When Colbert took over “The Late Show” from Letterman in 2015, the program’s ratings sputtered as the audience did not really know Colbert outside of the satirical figure he played on Comedy Central with his show “The Colbert Report.”

The night Trump scored his surprising win in the 2016 presidential race against Hillary Clinton, Kelly Kahl, then an executive vice president of CBS Entertainment, sent a text to Chris Licht, then executive producer of “The Late Show,” telling him it was “the best thing to happen to the show.”

Colbert found his voice on the program, which rose to No. 1 in the ratings and has been there ever since.

Netflix is dropping a three-part docuseries that revisits Michael Jackson’s 2005 trial in which he was acquitted on charges of child molestation.

“Michael Jackson: The Verdict” drops June 3 and features archival footage and interviews with key players involved in the trial including jurors, figures from both the defense and the prosecution, journalists who were inside the courtroom and other eyewitnesses who saw the events unfold firsthand.

“It has been 20 years since the trial of Michael Jackson in which he was found not guilty. Yet, to this day, controversy still rages,” the filmmakers said. “No cameras were allowed in court, and so the public’s view of the facts at the time were filtered by commentators and presented piecemeal. It was time to take a forensic look at the trial as a whole.

“Anyone interested in the Michael Jackson story should feel this documentary gives them a window into what was largely a closed event and a chance to feel closer to what happened.”

The Santa Barbara Superior Court trial lasted 14 weeks, and the jury, which included eight women and four men, deliberated for more than 30 hours across seven days.

Jackson was acquitted on 10 felony charges: four counts of child molestation, four counts of plying a minor with alcohol in order to molest him, one count of attempted child molestation and one count of conspiracy to hold the boy and his family captive at the Neverland Ranch. He faced more than 20 years in prison.

Produced by Candle True Stories, the production company behind Netflix’s “Untold: The Liver King,” and directed by Nick Green, “Michael Jackson: The Verdict,” comes at a time of renewed interest in the “King of Pop.”

The Jackson-estate-approved biopic “Michael” hit theaters last month, and depicts the origin story of the hitmaker from childhood through his upward trajectory to superstar status in the 1980s. Notably, the movie omitted the slew of allegations that followed Jackson from the ’90s until his death in 2009.

WASHINGTON — Barney Frank, the longtime Democratic congressman and leading liberal who brought new visibility to gay rights and crafted the most significant reforms to the financial system in a generation, has died. He was 86.

Frank died late Tuesday, according to Jim Segel, Frank’s former campaign manager and close friend.

After representing broad swaths of Boston’s suburbs in Congress for 32 years, Frank and his husband moved to Ogunquit, Maine. He entered hospice there in April with congestive heart failure and is survived by his husband, Jim Ready, and sisters, the longtime Democratic strategist Ann Lewis and Doris Breay, along with brother David Frank.

A self-described “left-handed gay Jew,” Frank was known for his acerbic wit, combative style and focus on marginalized communities. He represented the party’s left wing while keeping close with Democratic leaders who sometimes frustrated progressives.

He is best known as a pioneer for LGBT rights. After decades of grappling with his sexuality, he publicly came out as gay in 1987, the first member of Congress to do so voluntarily. With his 2012 marriage to Ready, he became the first incumbent lawmaker on Capitol Hill to marry someone of the same sex.

But in an April interview as he entered hospice, Frank said he hoped he would be remembered for advocating a brand of politics that embraced progressive ideals without forcing them on voters prematurely. It is an approach he feared was being rejected as Democrats prepare for what could be a rollicking primary as they hope to retake the White House in 2028 and move past the Trump era.

“I hope I made the point that the best way to accomplish the improvements in our society that we need, particularly in making it less unfair economically and socially, is by conventional political methods,” Frank said. “The main obstacle to our defeating populism and going further in the right direction is that mainstream Democrats have to make it clear that we oppose that part of the agenda of our friends on the left that is politically unacceptable. They’re right about a lot of things but you have to have some discretion.”

“You should not take the most unpopular parts of your agenda and make them litmus tests,” he added. “And that’s what my friends on the left have been doing.”

Frank’s path to public life

Born in 1940 in Bayonne, N.J., Frank wrote in his 2015 memoir that he was drawn to public life after Emmett Till, a Black 14-year-old from Chicago, was lynched by white men in Mississippi. Frank would volunteer in Mississippi during the Freedom Summer of 1964, though he acknowledged the fast-talking style was a challenge in the Deep South.

“My direct organizing of Mississippi voters was limited by the fact that my accent [to this day more New Jersey than New England], my poor diction, and my rapid speech, especially when I got excited, rendered me largely incomprehensible to rural Mississippians of both races,” he wrote.

He entered politics in 1968 as an aide to Boston Mayor Kevin White before winning a seat in the Massachusetts House in 1972. Frank was elected to Congress in 1980, an otherwise dismal year for Democrats as the party lost dozens of seats in the U.S. House and Republican Ronald Reagan won the White House.

Frank’s pragmatic style surfaced early in his congressional career. He joined the liberal Democratic Study Group to help push then-Speaker Tip O’Neill (D-Mass.) to respond more aggressively to the Reagan administration. But Frank said he found himself more often agreeing with O’Neill’s less confrontational approach.

Years later, as Congress prepared to pass a massive tax overhaul package, Frank intended to vote “no,” opposed to the bill’s lowering of top tax rates. He changed his mind, however, when he worked out a deal boosting affordable housing tax credits.

“I was happy to sacrifice my ideological purity to improve legislation that was going to become law with or without me,” he wrote.

Rep. Nancy Pelosi, the California Democrat and former House speaker, called Frank an “idealist to the nth degree.”

“The goals, the vision, the promise of it all,” she recalled in an interview. “Nobody could ever surpass what he brought to the table in that regard.”

Making history in Congress

Through his early years in Washington, Frank led something of a double life.

Privately, he socialized in the city’s gay circles and had relationships but did not publicly acknowledge his sexuality. The media at the time rarely reported that someone was gay unless that person was involved in a scandal. When Frank in 1987 invited a reporter to his office to formally ask whether the congressman was gay, Frank responded, “yeah, so what?”

Other elected leaders, perhaps most notably San Francisco’s Harvey Milk, had come out years before. Members of Congress, including Rep. Gerry Studds (D-Mass.), were previously outed through scandal.

Frank’s approach made him the most prominent gay leader in national politics for much of the 1980s and 1990s. He helped secure AIDS funding and pressed the Democratic Clinton administration, unsuccessfully, to lift a ban on gays serving in the military.

But there were low points, too, most notably an overwhelming 1987 House vote to reprimand him for poor judgment involving a male prostitute he hired in 1985. Rep. Newt Gingrich of Georgia, the Republican whip at the time, pressed for the more severe punishment of censure, which was rejected by a large margin.

Frank became something of a punch line among conservative Republicans, with House Majority Leader Dick Armey (R-Texas) calling him “Barney Fag” in 1995. Armey said he misspoke and later apologized from the House floor.

Along the way, Frank became known as one of the most quotable lawmakers in Congress.

Regarding abortion, he said Republicans believed “life begins at conception and ends at birth,” criticizing the party’s push to curb social programs. After Ken Starr released a report describing President Clinton’s relationship with Monica Lewinsky in sometimes intimate detail, Frank said it required “too much reading about heterosexual sex.”

Rep. Steny Hoyer (D-Md.) entered Congress the same year as Frank and he recalled his former colleague: “You may get a blow, but it was softened by the humor that came with it.”

Presiding over a financial overhaul

By 2007, Frank was the chairman of the House Financial Services Committee, where he would leave his lasting policy mark as the U.S. economy careened toward collapse. He worked with the Republican Bush administration to pass a rescue package, providing vital support to financial institutions but spurring a populist revolt that still courses through American politics.

Once the initial crisis eased, Frank helped develop the most significant reform legislation since the New Deal. Working with then-Senate Banking Committee Chairman Chris Dodd (D-Conn.), the Dodd-Frank Act would enhance consumer protections, impose new capital requirements for banks and boost the ability of regulators to monitor risk.

“Barney and I shared a fantastic relationship,” Dodd said. “I had many good moments in those 36 years in Congress, but none more significant, joyful, or productive than those almost two years working with Barney on our banking bill.”

During President Trump’s second term, his Republican administration has worked to roll back many of the legislation’s provisions, arguing they were too onerous.

Frank faced his toughest reelection campaign in years in 2010 as the tea party wave swept over American politics. He opted against running again in 2012, though remained engaged in politics long after leaving Congress and was a fierce critic of Trump.

Asked for his prediction on who might succeed Trump, Frank said “unfortunately I won’t get to vote for it.”

Sloan writes for the Associated Press.

When Meow Wolf’s Los Angeles location opens later this year, one of its biggest residents will be a 20-foot-tall, 1,000-pound amoeba-like creature named WoWoW.

Created by the L.A.-based multimedia collective Everything Is Terrible, WoWoW is alternately described as a “cosmic entity” and a “cartoony, root vegetable floating alien god.” The multi-eyed organism will serve as the centerpiece of “the N.E.S.T.,” an EIT-designed section of Meow Wolf’s new 26,000-square-foot immersive exhibition space.

In-progress detail of Everything Is Terrible’s WoWoW sculpture for the forthcoming Meow Wolf Los Angeles, shown with multi-color eye lighting.

(Photo by Allyson Lupovich / Meow Wolf)

That acronym has yet to be explained, and is cloaked in Meow Wolf’s intentionally mysterious messaging about its latest incarnation, which is set in an old Cinemark movie theater in West L.A. and will tackle the ephemeral joys and hardships of Hollywood’s dream factory. The L.A. location will be the Santa Fe, N.M.-based immersive art and entertainment company’s fifth outpost after Denver, Las Vegas, Houston and the Dallas suburbs.

The L.A. space boasts 45 local collaborating artists including Gabriela Ruiz, David Altmejd and more. Each is building their own unique installation featuring a variety of sculptures, dioramas and new media.

Everything Is Terrible is one of Meow Wolf’s most prolific partners, creating a variety of psychedelic characters for various installations over the years. The collective dreamed up the N.E.S.T. about two years ago as a way of paying tribute to maximalist roadside attractions like Wisconsin’s House on the Rock or New Mexico’s Tinkertown Museum. It also tells the story of the Noothies, a made-up community of former below-the-line film workers who stumbled upon a god — and a hidden truth about the nature of reality.

The installation presents a paradox by being a Hollywood idea that is completely un-Hollywood. It may wink at the industry’s unseen heroes, but who can afford to make art for art’s sake in the entertainment industry anymore? That seeming contradiction makes it a very Everything Is Terrible idea.

Founded nearly 20 years ago by a group of friends who met at Ohio University, Everything Is Terrible was launched as a found-footage website that created wild and singular art pieces using thrifted VHS tapes. It found viral success with videos about cat massage, and a dancing dinosaur who warns kids about the dangers of pedophilia, as well as its lauded quest to amass as many VHS copies of “Jerry Maguire” as humanly possible. (The group has about 45,000 at the moment, all stuffed in boxes and waiting to be unleashed on the world — perhaps as a pyramid in the desert or maybe featured in some sort of coffee table book.)

“I think our outlook on life has become, ‘look at the worlds that these people created,’” says EIT co-founder Dimitri Simakis. “No one asked them to do this. Someone just wanted to do a kids puppet show in some garage in North Carolina and now they’ve created a simulacra.”

That’s also what the collective is doing with its Meow Wolf exhibit, adds Nic Maier, another EIT member. “It’s what we’ve done for the last 20 years, really. We’re just a bunch of kooks who got together to obsessively make things in celebration of life and in appreciation of each other’s time.”

The marriage of Everything Is Terrible and Meow Wolf is a match made in heaven. The groups first met in 2009, bonded by a shared commitment to interactive art experiences that twist reality using an ornate handmade aesthetic.

A few years later, Maier was hired to work on what would become Meow Wolf’s first large-scale installation, Santa Fe’s “House of Eternal Return.” As he spent hours sculpting large, foam trees for the group, he says he fell in love.

A mystical, neon-colored forest in Meow Wolf’s Santa Fe, N.M., exhibition, “The House of Eternal Return.”

(Meow Wolf)

“We always joke that ever since then, EIT has been a barnacle on the side of the Meow Wolf ship, just hanging on but also occasionally hopping in to contribute,” Maier says.

When Meow Wolf announced it was opening two new spaces, in Las Vegas and Denver, it called on EIT for ideas. Simakis and Maier threw out a few pitches for Denver and one landed: a McDonald’s-like retro freak-out known as Pizza Pals Play Zone, which went on to become one of the attraction’s most talked about, photographed and beloved spaces.

“Pizza Pals Play Zone is super character dense,” says Han Sayles, Meow Wolf’s director of artist collaboration. “It’s just one of those spaces that feels like Meow Wolf. There’s hundreds of different pieces of media framed all around, featuring all of these different characters they created. They even made a bible … that had the narrative backstory of every single character and every deliverable they wanted for that room.”

Pizza Pals Playzone, created by Everything Is Terrible, at Meow Wolf’s Convergence Station in Denver.

(Jess Gallo / Meow Wolf)

When Meow Wolf’s Los Angeles project became a possibility, Sayles says Everything Is Terrible was one of the first groups she pitched as a potential contributor. EIT ended up being offered a custom project, in which the group used Meow Wolf’s extensive production facilities and resources to create their vision for the space, weighing in on everything from the shape of their room to the merch it might inspire in the Meow Wolf gift shop.

“We had a super trusting relationship with them,” Sayles says. “We recruited them as partners and negotiated a deal without knowing what they were going to put in the room. Both Nic and Dimitri have such a beautiful, strong sense of the exact genre of whimsy that we go for and they always deliver super deeply, so we knew it would be amazing.”

Sayles says she also thought the group’s experience of Los Angeles would lend itself well to the overall theme of the venue. Shakti Howeth, a creative director at Meow Wolf, agrees, saying that while Meow Wolf attractions are typically pretty otherworldly, they’re always built around an overarching story.

At Meow Wolf’s “Omega Mart,” in Las Vegas, guests first enter a satiric take on a grocery store, where portals lead to otherworldly art exhibitions.

(Christopher DeVargas / Meow Wolf)

The N.E.S.T., Howeth teases, will relate to some of the L.A. attraction’s character groups and themes, as well as its overall story. How audiences first encounter WoWoW and the N.E.S.T. will depend on which door they use to enter the room. From there, the points of visual interest will compound upon each other.

“We’re just incorporating all the things we love,” says Maier, noting that includes roadside attractions, folk art and anything “outsider.”

“It involves everything from the importance of dirt and worms to video games to experimental film to worker uprisings to entering literal other dimensions where you can meet what might be God, all within a [553]-square-foot space,” Simakis adds. “There have been times when we’ve been in the N.E.S.T. and thought we crammed in too much … but then you realize it has to be like that, because we’re trying to tell the whole story of the universe in just that room.”

For example, Maier spent much of the last two years building 45 beautifully weird costumes for the attraction, only two of which will be physically in the N.E.S.T. The other 43, he explains, are there for “world-building” and to make the story feel lived in. Everything in the space will have been created by Everything Is Terrible and Meow Wolf, including what seems like real found footage.

Simakis calls the group’s vision for the space “unrelenting joy mixed with benevolent chaos,” as well as “a beautiful folk art museum that’s also a space rave.” He likens what the group is doing to “building a puzzle out of thousands of other puzzles, gluing it together to make a new thing.”

“It’s like we’re making a movie that’s not a movie,” Simakis adds. “It’s a video game. It’s a living space. It’s all of these things, but you get to walk around in it.”

If that’s confusing, it’s because it’s meant to be — at least a little. How each visitor absorbs or receives the space will be entirely up to them. And while that could be a bit terrifying for some artists, to pour everything into a piece only to have the public possibly misinterpret or even ignore it, Maier and Simakis say they’re open to whatever comes.

“Millions of people are going to potentially walk through our space, so it has to be really special,” Simakis says. “We’ve also thought about all the different ways people could enjoy it, whether they’re a baby or a stoner or someone who’s just really into immersive entertainment or escape rooms. Even if you just go to take selfies, great. We’re pro-that. But also, if you want to keep going back or you want to spend hours there, I promise we’ve made it worth your while.”

Meow Wolf L.A. opens later this year. You can catch both Meow Wolf and Everything Is Terrible in the Los Angeles County Museum of Art’s Art Parade on June 20, marching in some of Maier’s 45 costumes from the N.E.S.T.

The Bob Baker Marionette Theater was about to debut its first new production in 45 years, and it was uncertain whether one of the show’s signature new puppets would even work. A pelican, with an oversized bucket-like beak, was in need of last-minute maintenance.

This gangly bird, designed to hop, skip, soar and sing to Clarence Henry’s mid-’50s rhythm and blues hit “Ain’t Got No Home,” was supposed to surprise the audience, as its elongated bill is actually hiding a frog. Getting the pelican-frog duo to perform in unison was a feat of mechanical artistry for the team, not to mention the choreography needed by the puppeteer.

• Share via Close extra sharing options

And in the minutes before showtime, director Alex Evans was trying to stay calm. In such moments, he would say later, he only need remind himself of an old adage in the puppet arts.

“Puppets,” he says, “break all the time.”

With that, he was ready to embrace the unknown.

“I always say I love the chaos of live theater,” Evans says. “We got to believe in this thing.”

“Choo Choo Revue,” the latest in a long line of song-and-dance productions, is arriving at a momentous time for the Bob Baker Marionette Theater. Just last month the troupe announced its intent to purchase its venue on Highland Park’s York Boulevard for $5 million, doing so as it was gearing up for performances at the Coachella Valley Music and Arts Festival. The latter went viral, a fact Evans attributes to many of the first week shows of “Choo Choo Revue” selling out.

An organist plays while people file into the premiere of “Choo Choo Revue” at the Bob Baker Marionette Theater.

In many ways, “Choo Choo Revue” is a statement piece. Evans, who also serves as co-executive director with Mary Fagot, wants to place the spotlight on the theater’s current crop of artists, fabricators and collaborators. While the show pays tribute in many ways to the theater’s legendary namesake founder, perhaps most notably in its use of his vintage record collection, it’s time, Evans says, for the Bob Baker Marionette Theater’s next generation to shine.

Evans was instrumental in the decision to shift the team away from the previously announced production of “Arabian Nights,” a project once spearheaded by Baker, who died in 2014. Just ahead of the arrival of the 2020 COVID-19 pandemic, the theater had gone so far as to print an “Arabian Nights” program, and had finished sets and puppets ready to go.

“Choo Choo Revue” is the first new Bob Baker Marionette show since 1981’s “Hooray LA!”

During the forced closure, however, the team began to rethink its future. “It was a deep-breath time to do some internal thinking about who we are and what we want to prioritize,” says Evans, who joined the company in 2007 as a volunteer and became a staffer in 2009.

“The first new show in 40 years — us finishing one of Bob’s shows would have been deeply personal and meaningful, but it would have kept the narrative, internally and externally, that this was one person’s vision,” Evans says. “‘Choo Choo’ is the culmination of so many different ideas and people. It was purposefully about opening the floodgates, that Bob Baker could be more than just the person of Bob Baker.”

It wasn’t a sure thing the Bob Baker Marionette Theater would even reach this milestone. For much of the past decade — since about the death of the theater’s patriarch — the narrative surrounding the theater was one of survival.

In 2019, the Bob Baker Marionette Theater needed a lifeline. Forced out of its edge-of-downtown home of more than 55 years, the beloved troupe with its thousands of handcrafted puppets — a saucy black cat in heels, a fish out of water that can’t help but wiggle — ultimately found a new location in a Highland Park theater, where it signed a 10-year lease.

Then came the pandemic, when the theater relied heavily on community fundraising to cover its rent. California, and Hollywood in particular, has a rich puppetry tradition. Bob Baker Marionette Theater likes to refer to itself as the largest ongoing puppet theater in the U.S. The oldest puppet space in the country resides up north in Oakland at amusement park Children’s Fairyland. And in 2020, Bob Baker found it had many fans, asking at one point to raise $365,000 over the course of a year. It did so in four weeks.

1

2

3

1. L Castro twirls a marionette. 2. The audience gives a round of applause after the premiere of “Choo Choo Revue.” 3. People stand in line for the premiere of “Choo Choo Revue” at the Bob Baker Marionette Theatre. (Carlin Stiehl/For The Times)

Old favorites, including the theater’s famed black cat marionette, make appearances in “Choo Choo Revue.”

But it was the long process of buying its home, namely the belief that it would be in Highland Park to stay, that gave the company the confidence that it could go forward with a new show. The obvious question, of course, is why it took 40 years for a completely fresh Bob Baker experience. Evans gives a long answer, pointing to numerous hurdles, be it the shift in locations, the cost of preserving its historic puppets and collection, as well as just managing priorities.

“It’s not necessarily a financial hurdle,” Evans says, noting “Choo Choo Revue” cost $300,000, with about half of that sum dedicated to the creation of new puppets and scenery.

“I think it was more about priorities,” Evans says. “Like, do we get the staff healthcare first, or do we do a new show first? So we got the staff healthcare. Or do we give the stage better lighting.”

As for how and why the team settled on “Choo Choo Revue” as its first production since 1981’s “Hooray LA!,” Evans says not to overthink it.

“It made me giggle,” he says. “It was a jumping off point to imagination. ‘Choo Choo Revue,’ by name itself, I thought to giggle.”

The show is a fantastical representation of a cross-country train trip, filled with adorable puppet trains.

A meticulously detailed log with windows, for instance, or a car that seems to balance natural, mountainous wonders on its back. They’re colorful playthings, at least until the background scenery starts depicting various locomotive styles. Puppeteers will whisk train cars out into the open, each often housing a fantastical creature — a moose, for instance, who takes a break from knitting to prance around to a rendition of the on-theme traditional blues ditty “Midnight Special.”

Behind it all are tens of thousands of hours of handcrafted proficiency. Each new puppet is a work of art. Take, for instance, a swarm of bats that seemed to glow in the dark (the creatures, created for “Choo Choo Revue,” made their debut during last year’s Halloween season).

The Bob Baker Marionette Theater created more than 100 new puppets for “Choo Choo Revue,” including a pelican hiding a frog in its beak.

Or an intricately detailed cicada band. They’re each playing tiny instruments — one a half-open sardine can, another a stringed matchbook. Their wings deserve a close inspection, as the translucent curved fixtures are inspired by stained glass windows. There are trees that ski, and train whistles with big lips and high heels, modeled after harmony group the Andrews Sisters. Wait till the latter toot off their tops, as each of the 100 new puppets is full of surprises.

“We get a bunch of different artists together, and we all brainstorm,” Evans says of the creation process. “Like, ‘Let’s all think for a second about anthropomorphizing trains.’ We did a series of sketches and showed them to each other. I honestly probably have a thousand different fascinating ideas for train movement.”

On opening night, the crowd claps along to the numbers, cheering with delight at each new piece of whimsy that rolls or soars onto the floor-level stage. And as for the showstopping pelican, the frog erupts out of its beak right on cue, a moment that indeed inspires a round of laughter and childlike awe.

As the imaginary train whisks the puppets around the country, the show manages to build anticipation just by making the crowd wonder what comes next. Say, for instance, a fluffy Sasquatch, or a crooner of a moon in pajamas singing an old-timey lullaby to all the little ones seated cross-legged on the floor.

Puppeteer Ginger Duncan twirls a marionette named Comedy.

Much of “Choo Choo Revue,” like the yawning, serenading moon, is rooted in the music of the past. That was a decision made to ensure the show feels in line with earlier Bob Baker works. Yet Evans says the team is emboldend after Coachella to start tackling more contemporary songs at its Highland Park headquarters. The crowd at the Indio festival, for instance, went wild for the puppets swooning to Ben Platt’s cover of Addison Rae’s hit tune “Diet Pepsi.”

“Honestly, if we had done Coachella last year, it would have pushed ‘Choo Choo’ further,” he says, noting he initially feared pop music could distract. “I didn’t think it could work in a way that wouldn’t throw you out of the show.”

And yet Evans doesn’t want to get ahead of himself. He nearly teared up at the end of the “Choo Choo Revue” premiere, saying the following afternoon that seeing this show come together after multiple years was second only to his 2025 wedding in terms of creating an “overwhelming feeling of pride, love and care.”

“Choo Choo Revue” culminates in a look toward the future. That’s when a sleek, silver, oversized high-speed bullet train arrives on the scene.

It can be read as a metaphor.

While the nonprofit is still seeking donor help — at the premiere, Fagot said the company now has secured $4.7 million toward its $5 million goal of buying the theater and it also hopes to raise an additional $2 million for building upgrades — its future is more secure than it has been at any time over the past decade.

At long last, the Bob Baker Marionette Theater can relax and look toward new horizons.

Evans, for instance, can’t help himself excitedly tease a potential next Bob Baker show. He says twice in the interview that the Olympics are on the troupe’s mind.

“We’ve got two years,” he says. And now the permanent home to house it.

WASHINGTON — Shouting over the banging and clanging sounds from heavy construction equipment, President Trump on Tuesday gave a group of reporters a closer look at the construction for the White House ballroom he’s building on the site of the former East Wing to mount a defense for the project that has hit a speed bump in Congress.

The administration has asked for $1 billion from taxpayers for security additions on the White House campus, including for the ballroom. But the Senate parliamentarian ruled the proposal could not be included in a bill to fund immigrant enforcement agencies for three years, and several Republican lawmakers have balked at the price tag in an election year where voters are grappling with gasoline, grocery and other prices spurred to new heights by the Iran war and the disruption in oil supplies.

So Trump, ever the pitchman, surprised White House reporters by bringing them to a platform overlooking the construction site on a hot and breezy morning as workers in hard hats and fluorescent yellow vests milled about below.

Easels were set up to display renderings of the ballroom building and at least one of them blew off in the wind. “Give that to me, I’ll hold it,” Trump told an assistant.

“There will never be another building like this built, that I can tell you,” Trump told reporters.

He highlighted the security aspects of the building, notably its “dead flat” roof made of “very strong steel” and said it is “drone-proof” because “if a drone hits it, it bounces off, it won’t have any impact — but it’s also meant as a drone port, so it protects all of Washington, the roof of the building.”

He said the military will “stay on it” to keep watch over the city.

There’s no air conditioning or other equipment on the roof for safety reasons, Trump said, explaining that all duct work and equipment like it was hidden within the walls of the complex, which will serve as a “shield” for a military hospital, research facilities, offices for the first lady and her staff, and a full-service kitchen — in addition to a ballroom big enough for 1,000 people.

He said the ballroom building goes down six stories underground and is really “complex” because “everything is intertwined.”

“The roof goes with the ground floor, the ground floor goes with the roof. The roof also goes down into the basement,” the president said. “This is one well-knit building. One thing doesn’t work without the other.”

Trump says the ballroom is a ‘gift’ to the country

He reiterated that the $400-million ballroom cost will be covered by donors, including him, and that the work is being done “in strict coordination” with the military and U.S. Secret Service.

“This is not going to be paid for by the taxpayer,” Trump said. “This is a gift to the United States of America.”

But it’s somewhat of an unwanted present as polling shows most Americans oppose the ballroom, which is embroiled in litigation in federal court. A Washington Post/ABC News/Ipsos poll conducted in April found that a majority, 56%, of U.S. adults oppose Trump’s decision to tear down the East Wing to make way for the ballroom, while only 28% are in support.

The National Trust for Historic Preservation sued to halt construction until Congress approves plans for the building.

Trump insisted he will have “very little” time to use the ballroom. He recently announced that it will be ready in September 2028, less than six months before his term ends.

“This is really for other presidents,” he said.

Trump sidestepped a question about whether he’ll kick in any more of his own money if Congress rejects the $1-billion funding request.

White House spokesperson Davis Ingle said Trump’s tour was not in response to the difficulties brewing in Congress. “President Trump is the most transparent president of all time and was excited to showcase to the press and American people the amazing gift he is giving to the White House and generations of future presidents to come,” Ingle said.

Trump also touched on some of the other beautification projects he’s undertaking across the city, such as restarting dormant park fountains. He claimed to be spending much less to clean up the Lincoln Memorial Reflecting Pool than did his immediate predecessors — both Democrats.

“I’m doing a job on the Reflecting Lake for a fraction of what they paid,” Trump said. He’s having the surface coated in a shade of blue and wants to reopen it by July 4. A separate nonprofit group, the Cultural Landscape Foundation, has sued to halt this project.

Superville writes for the Associated Press.

Long before Billie Jean King won dozens of Grand Slam tennis titles, founded the Women’s Tennis Assn., became part owner of the Dodgers and was awarded the Presidential Medal of Freedom, she enrolled in what was then called Los Angeles State College.

Three years later in 1964, King left without a degree to devote full attention to her burgeoning tennis career.

Failing to earn the degree bothered her, and King would correct anyone who said she had graduated.

“I said, ‘Don’t ever say ‘graduated.’ I haven’t earned it — yet,’” she said.

“Yet” became a reality Monday when King, 82, received her bachelor’s degree in history from the same school she attended more than 60 years ago — now called Cal State Los Angeles — walking across the Shrine Auditorium stage with the rest of the Class of 2026.

King also served as a commencement speaker, telling the roughly 6,000 fellow graduates, “It is a privilege for me to be here.

“Yeah, baby, only 61 years!”

King mentioned that “like many of you,” no one in her immediate family had graduated from college.

She noted that her lifelong fight against discrimination began when she realized at age 12 that nearly everyone at tennis clubs was white.

“I asked myself, ‘Where is everybody else?’” King said. “From that day forward, I committed my life to equality and inclusion for all. Tennis is a global sport and it became my platform, but equality was my dream — to make the world a better place.”

“We can never understand inclusion unless we’ve been excluded.”

Known then as Billie Jean Moffitt, she chose Los Angeles State because tennis coach Scotty Deeds trained men and women together. She soon became an international star, winning a Wimbledon doubles championship at 18 with Karen Hantze, who was only 17.

She married her college sweetheart Larry King in 1965 and they divorced in 1987. Afterward, King and Ilana Kloss, an accomplished tennis player in her own right, were a couple for decades before marrying in 2018 in a secret ceremony in the apartment of former New York City Mayor David Dinkins.

“You’re finding your truth, and it doesn’t have to stay the same,” King told People magazine at the time. “I only liked guys when I was young. I didn’t think about girls. And then all of a sudden I’m like, ‘Oh my God, what’s happening?’ My truth was changing over time. It took me forever.”

King became a trailblazer for LGBTQ+ and women’s civil rights and was awarded the Presidential Medal of Freedom in 2009 in part for her advocacy for equality. King and Kloss co-founded the Billie Jean King Leadership Initiative to promote inclusive workplaces and gender equality.

Shortly after they married, King and Kloss became part owners of the Dodgers and the Sparks, acquiring undisclosed minority stakes in the franchises through an invitation from controlling owner Mark Walter.

“We believe all professions, and professional sports, need to be more inclusive and equitable,’’ Walter said at the time. “It’s going to be wonderful to have a role model like her in both clubhouses from time to time.’’

King returned to Cal State L.A. in the 2025 spring semester. She also earned course credit for her interaction with fellow students enrolled through the university’s Prison Graduation Initiative.

“They have made a commitment to improving their lives through education,” she said, and “getting their degree will be life-changing for them.”

King now knows the feeling firsthand. At the graduation ceremony on Monday, she wore a gold stole embroidered with a multicolored tennis racket and the letters G.O.A.T — greatest of all time.

“It means a lot more to me than I thought,” she told reporters. “I am so glad I did it. My hope is that one other person will go back to school.

“It’s never too late, whatever age you are, whatever your abilities are, go for it if you want it.”

The Associated Press contributed to this report.

Gracie Cochrane won’t be enrolling in Hogwarts this fall.

HBO announced that Cochrane will depart the upcoming “Harry Potter” series ahead of Season 2. Cochrane played Ron Weasley’s (Alastair Stout) younger sister, Ginny, in “Harry Potter and the Philosopher’s Stone.” Cochrane and her family attributed the “challenging decision” to “unforeseen circumstances.”

“Her time as part of the ‘Harry Potter’ world has been truly wonderful, and she is deeply grateful to [casting director] Lucy Bevan and the entire production team for creating such an unforgettable experience,” the Cochrane family said in a statement. “Gracie is very excited about the opportunities her future holds.”

HBO said they “wish Gracie and her family the best.”

“We support Gracie Cochrane and her family’s decision not to return for the next season of HBO’s ‘Harry Potter’ series, and we are grateful for her work on season one of the show,” HBO wrote in a statement.

Tristan Harland, Gabriel Harland, Ruari Spooner, Gracie Cochrane and Alastair Stout.

(HBO)

The HBO series was greenlit for a second season in early May, months ahead of its Christmas Day premiere later this year. If the sophomore season follows J.K. Rowling’s second book, “Harry Potter and the Chamber of Secrets” (the first season is adapted from the first novel), Ginny will begin her first year at Hogwarts in Season 2.

Cochrane was cast following a massive undertaking by HBO to find young actors for the show. HBO reviewed more than 32,000 auditions before selecting Dominic McLaughlin to play the boy who lived. The cast was filled out with West End performers, like Arabella Stanton (Hermione Granger), first-time actors like Amos Kitson (Dudley Dursley) and longtime stars including John Lithgow, who will play Albus Dumbledore.

HBO Chairman Casey Bloys explained that they expected a lot of “interest” in the cast because of the cultural prominence of the “Harry Potter” franchise.

“Interest can tip over into more unpleasant and aggressive behavior,” Bloys told Deadline, alluding to racist backlash over the casting of Paapa Essiedu as Professor Snape. “We talked to them about what to expect … but any kind of security that’s needed is an unfortunate aspect of doing IP shows. We just try to be mindful and monitor it.”

In March, HBO released its first trailer for the show, which included a peek at the redheaded Weasley family saying goodbye to Ron at Platform 9¾ before he boarded the Hogwarts Express. The trailer also teased Harry’s acceptance letter from Hogwarts and his wand and Nimbus broom.

SAN DIEGO — Andrew Friedman got the last laugh last year, and another ring. At the trade deadline, you screamed he had to do SOMETHING BIG to get a left fielder and a closer. He did neither. The Dodgers rode a parade of starters to win Game 7 in Toronto, before they rode in a parade in L.A.

There are few things Friedman despises more than a deadline trade. The price in prospects is too high, the guarantees are too few.

Friedman might well face that same dilemma this year. We are two months from the trade deadline, and he just might need to trade for a starting pitcher by then.

Blake Snell undergoes elbow surgery Tuesday. Tyler Glasnow is back to square one in his recovery from back spasms. The Dodgers believe both will be back by the trade deadline, but you never really know for sure when an injured pitcher will return, and whether he will need some time thereafter to regain his sharpness.

There is something else Friedman despises: finishing second. It is not just about getting into the playoffs. It is about winning the National League West, with one of the two best records in the league, thus ensuring a first-round bye.

However, in a division race that was projected to be a runaway, the Dodgers find themselves in second place. With a 1-0 loss in San Diego Monday, the Padres leapfrogged the Dodgers for the lead in the NL West.

The Dodgers also figure to have a short time frame to determine whether they might need bullpen help at the trade deadline. The Dodgers have said closer Edwin Díaz is expected to return from elbow surgery sometime after the All-Star break, which would confine that time frame to two weeks, if that.

On Monday, Friedman said he was confident that the three key pitching injuries would not push him toward the July trade market.

“It’s more that the timing of the injuries would be way easier if they were spaced out,” Friedman said in a text message. “Obviously, injuries are part of the game and we can’t be shocked when it happens.

“It’s the overlapping nature that is tough in the moment, but that doesn’t really change July thoughts (at this point) or October outlook.”

In the third week of May, nothing is urgent.

The Dodgers are supplementing where they can, picking up three pitchers cut by their former clubs. The only one with name recognition: Eric Lauer, who posted a 6.69 earned-run average for the Toronto Blue Jays and complained about the team using an opener ahead of him.

The Dodgers can mix and match for awhile, but a team that prides itself on positioning its starters best for October success finds itself in an awkward position.

With Snell and Glasnow out, the Dodgers have little choice but to ask Shohei Ohtani, Justin Wrobleski, Emmet Sheehan and Roki Sasaki to take regular turns. No one but Yoshinobu Yamamoto has done that recently.

“You have to deal with the circumstances that are presented to you,” Dodgers manager Dave Roberts said. “We’re not pushing any of these guys right now. It could be a different conversation in September.

“Right now, they’ve got to take the baseball. In May, I don’t think it’s much cause for concern.”

Before the season, Fangraphs projected the Dodgers to win the NL West by 15 games, and to finish 17 games ahead of the fourth-place Padres. However, if what we see in the NL West right now is close to what we get all summer, that “different conversation in September” could involve not how to put a starter on a glide path toward October but whether that starter has exhausted himself to the point where he could not be counted on in an unexpected pennant race.

Ohtani is on pace to pitch 149 innings, a figure he last reached in 2022. He pitched 47 last year, none the year before.

Wrobleski is on pace to pitch 171 innings, 39 more than the professional high he set last season. He pitched 117 innings last year.

Sheehan is on pace to pitch 141 innings, 18 more than his professional high. He pitched 93 innings last season, none the year before.

Sasaki is on pace to pitch 137 innings, eight more than his professional high. He pitched 57 innings last season.

Maybe Lauer turns from a Dodger killer into a Dodger asset. Perhaps prospect River Ryan gets promoted into the starting rotation next month and sticks.

But July trades for starting pitchers need not be such a scary proposition. Friedman acquired Yu Darvish at the trade deadline in 2017 and Jack Flaherty at the trade deadline in 2024, and no one in Dodger Land is bemoaning the loss of Willie Calhoun, Trey Sweeney and Thayron Liranzo.

Hi, and welcome to another edition of Dodgers Dugout. My name is Houston Mitchell and I’m wondering whatever happened to good old rotator cuff injuries?

So, you might want to sit down for this shocking news, but Blake Snell is on the injured list. He has what must be the trending injury this season: “loose bodies” in his pitching elbow. Loose bodies are cartilage or bone fragments that float around in the fluid of the elbow joint. Reliever Edwin Díaz is also on the IL because of “loose bodies.”

Some pitchers have loose bodies and it’s not a problem. Díaz said he has had loose bodies since 2014. It’s when they move into a position that cause the elbow to lock up that causes a problem.

Snell will have surgery Tuesday, and his return depends on what type of surgery he needs. There is a version of the surgery that is less invasive, and basically entails a small incision in the elbow, and there’s a version that is more invasive. Doctors won’t know until they get a look inside his elbow.

“He said he was just excited to have a date on the calendar to get it taken care of, get back to playing catch and getting back to joining us,” Dave Roberts said.

The question has been asked frequently since he went on the IL: Why do the Dodgers sign or trade for so many injured pitchers?

Well, for one, almost every pitcher in the majors now has some sort of injury history. In the olden days, pitchers didn’t throw as hard as they could on every pitch. Now they do. That puts tremendous strain on the elbow and shoulder. Also, spin rate (how fast the ball spins after being released) is king, and that also puts tremendous strain on the elbow and shoulder.

Finding a pitcher without an injury history of some sort is difficult.

And the Dodgers would much rather this happen now than in September. The Dodgers built this team (and teams in years past) to withstand this sort of injury. So, if Snell and Tyler Glasnow have to spend some time on the IL now, it’s OK as long as they come back by September and are ready for the postseason.

Last season, Glasnow made only 18 starts, pitching 90 1/3 innings. Snell made only 11 starts, pitching 61 1/3 innings. They pitched well when they were healthy, and they were in the postseason, where Glasnow pitched 21 1/3 innings with a 1.69 ERA and Snell pitched 34 innings with a 3.18 ERA. If they can do that again this season, the Dodgers will be pleased.

The Dodgers have won two straight World Series. so we should probably give them the benefit of the doubt that they know what they are doing.

Starting pitchers for the Dodgers last season:

Yoshinobu Yamamoto, 30 starts
Clayton Kershaw, 22
Dustin May, 18
Glasnow, 18
Shohei Ohtani, 14
Emmet Sheehan, 12
Snell, 11
Roki Sasaki, 8
Landon Knack, 7
Tony Gonsolin, 7
Jack Dreyer, 5
Ben Casparius, 3
Lou Trivino, 2
Justin Wrobleski, 2
Anthony Banda, 1
Matt Sauer, 1
Bobby Miller, 1

And in 2024:

Gavin Stone, 25
Tyler Glasnow, 22
Yoshinobu Yamamoto, 18
James Paxton, 18
Walker Buehler, 16
Bobby Miller, 13
Landon Knack, 12
Jack Flaherty, 10
Clayton Kershaw, 7
Justin Wrobleski, 6
Ryan Brasier, 4
River Ryan, 4
Anthony Banda, 2
Michael Grove, 2
Brent Honeywell Jr., 1
Elieser Hernandez, 1
Kyle Hurt, 1

That’s 17 starting pitchers each season. So this is nothing new. This season is looking amazingly like last season. And that one turned out pretty well.

Here come the Padres

Nothing cures a team’s woes this season better than playing three games against the Angels.

But starting tonight, the Dodgers begin a three-game series with the San Diego Padres. The Dodgers and Padres have been battling for the NL West lead almost the entire season. This will be a good test for both teams to see exactly how they stack up. It’s in San Diego, and Padres fans always gear up for games against the Dodgers. The Dodgers view the season as just getting ready for the postseason, but the Padres treat these games as if they were the World Series. How will the teams respond? It will be interesting to see.

Roster moves

The Dodgers used a bullpen game on Friday after Snell went on the IL. So, they reshuffled the bullpen on Sunday to get some fresh arms in preparation for the Padres series.

They acquired left-hander Eric Lauer from the Toronto Blue Jays for cash considerations. Lauer pitched 5 2/3 scoreless innings against the Dodgers in the World Series last season, but has not been good this season, giving up a league-leading 11 home runs in 36 1/3 innings.

To make room on the 40-man roster, they put Brusdar Graterol on the 60-day IL. Also, they put Jack Dreyer on the 15-day IL with a sore shoulder and recalled Paul Gervase and Chayce McDermott from the minors while sending Charlie Barnes back to the minors.

Greatest moment in Dodgers history

Coming soon, we will count down the greatest moments in Dodgers history. But first, let’s make sure every great moment is considered. So email me your more obscure pick for a greatest moment candidate. You don’t have to send in World Series victories, or Kirk Gibson‘s homer, or obvious ones like that. But if there is a moment you think might be overlooked, email it to me. I’ll compile a list and we will vote on it.

These names seem familiar

How notable players who were with the Dodgers the last couple of seasons are doing with their new teams. Click on the player’s name to be taken to their full stats page:

Anthony Banda, Twins: 1-0, 6.98 ERA, 19.1 IP, 19 hits, 8 walks, 18 K’s, 63 ERA+

Austin Barnes: out of baseball (released by Mets in spring training)

Cody Bellinger, Yankees: .267/.375/.458, 200 PA’s, 11 doubles, 3 triples, 5 homers, 30 RBIs, 133 OPS+

Walker Buehler, Padres: 3-2, 5.01 ERA, 41.1 IP, 42 hits, 14 walks, 37 K’s, 82 ERA+

Mike Busch, Cubs: .232/.355/.369, 203 PA’s, 9 doubles, 1 triple, 4 homers, 26 RBIs, 112 OPS+

Michael Conforto, Cubs: .345/.456/.655, 68 PA’s, 8 doubles, 3 homers, 11 RBIs, 220 OPS+

Caleb Ferguson, Reds: on the IL

Jack Flaherty, Tigers: 0-5, 5.77 ERA, 43.2 IP, 41 hits, 29 walks, 48 K’s, 73 ERA+

Justin Dean, Cubs: in the minors

Tony Gonsolin: out of baseball

Kenley Jansen, Tigers: 1-2, 3.65 ERA, 7 saves, 12.1 IP, eight hits, five walks, 18 K’s, 118 ERA+

Craig Kimbrel, Mets: 0-2, 6.35 ERA, 11 1/3 IP, 12 hits, six walks, 13 K’s, 64 ERA+

Michael Kopech: out of baseball

Gavin Lux, Rays: on the IL

Dustin May, Cardinals: 3-4, 4.81 ERA, 48 2/3 IP, 54 hits, 15 walks, 35 K’s, 81 ERA+

Zach McKinstry, Tigers: .182/.250/.260, 84 PA’s, 3 doubles, 1 homer, 5 RBIs, 44 OPS+

James Outman, Twins: .190/.244/.310, 45 PA’s, three doubles, one triple, 3 RBIs, 54 OPS+

Ben Rortvedt, Mets: in the minors

Corey Seager, Rangers: .179/.286/.353, 182 PA’s, 6 doubles, 7 homers, 20 RBIs, 91 OPS+

Chris Taylor, Angels: in the minors

Justin Turner, Tijuana (Mexican League): .318/.432/.561, 81 PA’s, seven doubles, three homers, 12 RBIs

Trea Turner, Phillies: .236/.286/.340, 206 PA’s, 8 doubles, 4 homers, 15 RBIs, 73 OPS+

Miguel Vargas, White Sox: .247/.374/.506, 198 PA’s, 7 doubles, 1 triple, 11 homers, 29 RBIs, 146 OPS+

Alex Verdugo: Out of baseball, had season-ending shoulder surgery

Kirby Yates, Angels: 0-0, 4.91 ERA, 3.2 IP, 3 hits, 1 walk, 6 K’s, 94 ERA+

Up next

Monday: Dodgers (Yoshinobu Yamamoto, 3-3, 3.60 ERA) at San Diego (Michael King, 3-2, 2.63 ERA), 6:40 p.m., Sportsnet LA, AM 570, KTNQ 1020

Tuesday: Dodgers (Shohei Ohtani, 3-2, 0.82 ERA) at San Diego (Griffin Canning, 0-2, 10.64 ERA), 6:40 p.m., Sportsnet LA, AM 570, KTNQ 1020

Wednesday: Dodgers (Emmet Sheehan, 3-1, 4.54 ERA) at San Diego (Randy Vásquez, 5-1, 2.68 ERA), 5:40 p.m., Sportsnet LA, AM 570, KTNQ 1020

All times Pacific

*-left-handed

In case you missed it

Dodgers acquire left-hander Eric Lauer from Blue Jays, adjust roster after injuries

Shaikin: Hey, young athletes: Would you trust this former Dodgers pitcher to manage your money?

How Shohei Ohtani scored a Little League home run during Dodgers’ rout of Angels

Dodgers pitcher Blake Snell scheduled for arm surgery, timeline for return is unclear

Dodgers’ Blake Snell returns to injured list with loose bodies in his left elbow

And finally

Eric Karros hits a walk-off homer. Watch and listen here.

Until next time…

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

VIENNA — Vienna’s famed coffeehouses have embraced the Eurovision Song Contest. They have also been touched by tensions over Israel’s inclusion in the sequin-drenched pop music competition.

When officials announced a list of “Eurofan Cafes” — Vienna coffee shops offering food and music from competing countries — Israel was initially left out.

MQ Kantine, a modern café in the city’s arty museums quarter, offered to step in. Now it has falafel, bagels with lox and kosher wine on the menu, a string of small Israeli flags hanging from the ceiling — and a police officer outside the door.

Security is tight across Vienna during the international music contest, whose “United by Music” slogan rings sightly hollow this year. Five countries are boycotting because Israel is taking part. Pro-Palestinian activists are planning a protest concert — one of several Eurovision alternatives across Europe — and an anti-Israel march before Saturday’s grand final.

At MQ Kantine, volunteers take turns to monitor for potential trouble. But so far the mood has been supportive, said Daniel Kapp, a PR consultant and pro-Israel campaigner.

“It’s beautiful,” he said, as people drank coffee and beer on the café terrace in the spring sunshine, though he noted that the police officer on duty showed that all is “not entirely normal.”

“My feeling is that Austria to a certain degree has learned from its history,” Kapp said, referring to the deadly antisemitism under the Nazis before and during World War II. “Which is why the support for Israel is a lot more normal than it is in other countries.”

Israel has competed in Eurovision for more than 50 years, and won four times. But its participation has been contested since it launched a war in Gaza after 1,200 people were killed in a Hamas-led cross-border attack on Oct. 7, 2023. More than 73,000 Palestinians have been killed since the war began, according to the territory’s Health Ministry, which operates under the Hamas-run government and whose detailed records are viewed as generally reliable by the international community.

Israel’s government has repeatedly defended its campaign as a response to the Oct. 7 attack. But a number of experts, including those commissioned by a United Nations body, have said that Israel’s offensive in Gaza amounts to genocide. Israel, home to many Holocaust survivors and their relatives, has vigorously denied the claim.

The latest Israel-Hezbollah war in Lebanon and the U.S.-Israeli war on Iran have driven tensions still higher.

The 2024 Eurovision contest in Malmo, Sweden, and last year’s event in Basel, Switzerland, saw pro-Palestinian protests that called for Israel to be expelled. Five countries — Iceland, Ireland, the Netherlands, Slovenia and Spain — pulled out of the 2026 contest after organizers allowed Israel to compete.

Partying amid tight security

The tensions have produced a Eurovision of two halves. An upbeat party atmosphere prevails inside the Wiener Stadthalle arena and in the separate Eurovision Village fan zone. But getting in means passing through a ring of steel, with searches, scanners and a ban on all bags inside the arena. Armed police are a very visible presence on the streets.

Awareness of risk from terror plots is high in the city after a 21-year-old Austrian man accused of pledging allegiance to the Islamic State group pleaded guilty to plotting to attack a Taylor Swift concert in Vienna in 2024.

Israeli singer Noam Bettan told Israeli media that, like last year’s Israeli competitor Yuval Raphael, he practiced performing while being booed. There were scattered shouts amid the cheers when he performed in the first Eurovision semifinal on Tuesday. He secured a spot in Saturday’s final by being one of the top 10 finishers in voting by viewers and national juries.

Organizers said four people were removed from the 10,000-strong audience for disruptive behavior.

Austrian Eurovision fan Ivo Herzl, who attended the semifinal, said “the vibe was incredibly positive.” He is showing support for Israel by making and selling Mazel Lov T-shirts — a play on “mazel tov,” a Hebrew and Yiddish phrase of congratulations.

“Vienna has always been a city of tolerance,” Herzl said. “It’s the city of music and we’ll always do everything possible for everyone to enjoy a musical event.”

Some Israeli fans said they were reassured by the tight security. Oz Yona, attending his first Eurovision, said he had experienced “no hate” and felt Austria took antisemitism seriously.

He came with friends to cheer for Israel, though he was not optimistic about Bettan’s chances — for musical rather than political reasons.

“I don’t think he will win,” Yona said. “Finland is better this year. Greece is better this year. We have a good song, but not a winning song.”

Birgitta Peterson and Kristina Nilsson, who wear matching pink bomber jackets and call themselves the Swedish Ladies, love to explore new cities and meet up each year with their “Eurovision family” of fellow fans. They plan to wave Israeli flags at Saturday’s final, after Swedish contestant Felicia said earlier this year that she didn’t think Israel should be in the contest.

They say tensions over Israel have divided a fan community long known for its friendliness and embrace of diversity.

“The wounds are very deep at the moment,” Nilsson said.

“This event should really be about ‘united by music’ and happiness,” she added. “That’s what Eurovision is all about.”

Lawless writes for the Associated Press.

CANNES, France — The movies of Na Hong-jin aren’t hard to love — they’re as obsession-worthy as the stylish rigor with which they are made. His 2008 debut, “The Chaser,” found new febrility in the post-Fincher serial killer thriller. “The Wailing” somehow added ghosts, demon-possessed children and inky black crows to the mix with a near-crazed sense of showmanship.

That was 10 years ago. Na, 51, now sits on the other side of a project that has consumed him for years, a sci-fi action film called “Hope” that arrives with expensive CGI, a pair of A-list stars (Michael Fassbender and Oscar-winner Alicia Vikander) and James Cameron-sized franchise ambitions. It will undoubtedly make Na’s gallows-humor-inflected brand more global, even if it lifts him out of the cult niche that’s nourished him to date.

Cannes is an unlikely place to launch “Hope.” That could be seen as a sign that the festival’s increasing accommodation of blockbuster bigness doesn’t need Hollywood. Na sits in the corner of a Côte d’Azur waterfront lounge on a glorious midday, the sky an almost abstract blue. He tugs at his goatee distractedly. His world premiere is tonight.

Neon, the distributor currently enjoying a six-year Palme d’Or winning streak, will release “Hope” in America sometime after its summer bow in Na’s native South Korea. The following conversation has been edited for length and clarity. It also contains significant spoilers.

A scene from the movie “Hope,” directed by Na Hong-jin.

(Neon)

When did you realize that you had a big sci-fi alien monster movie in you?

The idea came to me in 2017 in Seoul. The premise started off with somebody watching news in a diner or a small restaurant. It was that image that I had in my head. So I started developing that initial image in more detail. By 2018, I was able to write my first draft.

“Hope” brings to mind several genre classics, from “Jaws” and John Carpenter movies like “The Thing,” to something more homegrown such as Bong Joon Ho’s “The Host.” Were those inspiring to you?

I must have looked all the genre films that I could find, including the ones you mention, before I went into filming. And, as I hope you noticed, I was looking more at films from before 2000 and I tried to reflect that look.

It seems like you’re using Cannes as a moment to pivot or reinvent yourself. Is that intentional?

I didn’t intend for this to be a turning point in terms of style or direction going forward. I never thought of it that way. What I really dwelled on was thinking about how to tell this story in a way that was approachable and entertaining for people.

Why did you set the story in the demilitarized zone?

If you look at it from a universal perspective, what happens in this very shabby, humble, small, insignificant space potentially creates an impact that can go on infinitely. I think none of the characters in the film do anything with any malice. I guess the underlying story I want to tell is that there is no reason for evil intention behind anything, but innocent acts can build up to something tragic.

Michael Fassbender and Alicia Vikander are wonderful surprises in the movie as some rather dignified aliens. What led you to them?

When I was casting the alien roles, I had a bigger story in mind. I don’t know whether there’ll be a sequel after this one, but if so, that sequel is going to be centered around them. So picking the right actors was very important for me. We asked them to learn this invented alien language, which they prepared and came onto set knowing.

How important to you is comedy and releasing tension with laughs?

Very. I try to really think it through and if it comes out the way I intended, that gives me such a thrill. I tried to incorporate it in many places.

A lot of the movie feels like a virtuoso chase sequence, people barreling down the road, guns blazing. But it took me a minute to realize that the more interesting question is: Who’s doing the chasing? Is “Hope” meant to make us examine our own violence?

Yes, very much so. And two of the major chase scenes were designed so that what starts off as righteous somehow tilts toward being unjust. I wanted the action to bring up that transition in perspective.

You’ve premiered at Cannes before but, in a way, it feels like the wrong festival for a movie like this. You’re laughing because I think you agree with me.

It goes without saying. I’m incredibly nervous. And I feel so grateful that you’re treating me so nicely and gently.

A scene from the movie “Hope,” directed by Na Hong-jin.

(Neon)

Why did it take you 10 years to make this film?

There was a pandemic in the middle of that. But except for the pandemic where everything stopped, I was working my ass off before and after. It still took this long. I’m a little concerned myself, like: How did this happen?

With “Hope,” are you saying goodbye to the filmmaker you once were?

Not at all. Throughout the entire process of making this film, I was bloodthirsty. I was thirsting for blood. I have another script written already.

And maybe now it’ll go faster because there won’t be a pandemic. Are you hoping that this movie is going to have an impact on the Korean film industry?

It’s not my place to say that. I’m not sure. I want things to be freer.

Would it be a mistake to read this film as an allegory for what’s happening now in the world? Is it a plea for understanding?

I don’t regard it as a plea for understanding. Rather, let’s hope people will be able to relate to it and be empathetic about the story and realize for themselves, understand for themselves. Maybe there’s something more to it, but you take away what you will from that.

Your dark humor flares on occasion. Did you make it a point to try to preserve that?

Well, you can’t just do something like this without having that. It’s not fun.

This doesn’t feel like an “Avatar”-style film. There’s an openness to it, a sense of exploration. Do you believe in heroes?

I do believe in heroes, but, as I tell in the story, anyone can be a hero.

MEXICO CITY — The highway from the Guadalajara city airport to downtown is newly paved and the city’s famous roundabout has gotten a $4-million facelift. The city is abuzz with renovation projects as Guadalajara prepares to host four World Cup soccer matches in June.

But there’s one thing the 3 million fans expected to flock to the city won’t see — the sites where hundreds of bodies have been found in clandestine graves dug by Mexico’s notorious New Generation Jalisco Cartel. Scores were discovered on the main route leading to Akron Stadium, where the games will be played.

One set of remains was that of a 17-year-old high school student who had gone out to sell his motorcycle to help his unemployed uncle. He disappeared. When his uncle began searching, he disappeared as well. At another site, the bones of a 34-year-old cellphone repairman were found. He was a father of two who’d simply ventured out to shop for used tennis shoes.

According to statistics compiled by the state of Jalisco, between 2018 and March of this year, 1,907 bodies were found in Guadalajara and surrounding cities.

The arrival of the World Cup is an opportunity for Mexico’s second-largest city to shine on the international stage, and the Jalisco state government launched an upbeat campaign highlighting the municipality where games will be played: “Zapopan, the heart of soccer,” the slogan goes.

Families searching for their loved ones sarcastically responded with, “Zapopan, the heart of clandestine graves.”

An aerial view of La Minerva roundabout fountain in Guadalajara, Mexico, taken on June 27, 2025.

(Ulises Ruiz / AFP via Getty Images)

Since January of 2025 alone, search groups and authorities have discovered 58 graves with 226 sets of remains inside city limits. Five graves were located within three miles of Akron Stadium.

Three graves with 15 bodies were found within a mile of the city’s iconic La Minerva roundabout, a huge traffic circle featuring fountains, greenery and a towering statue of the Roman goddess Minerva. Others were found not far from Chapultepec Street, a popular tourist destination.

Liliana Meza, mother of Carlos Maximiliano Romero Meza, who disappeared on Oct. 22, 2020, poses with a search card at the Glorieta de las Personas Desaparecidas in Guadalajara, Mexico, on Friday, May 15, 2026. Founders of the Luz de Esperanza Desaparecidos Jalisco collective created the cards, inspired by World Cup soccer stickers, to draw attention to missing persons cases ahead of the 2026 FIFA World Cup in Jalisco.

(Alejandra Leyva/For The Times)

Though tourists and tourist sites are rarely touched by cartel violence in Mexico, critics say the graves are an embarrassment for state and city administrators.

Amid all the cleanup, little official attention has gone to the growing number of clandestine graves that groups of persistent, family-funded search teams have found in recent months.

Large machinery and backhoes are working nonstop across the city ahead of the games, said Jaime Aguilar, a spokesperson for the group Warrior Searchers of Jalisco, which finds an average of two graves a month. “But when we ask for a backhoe to help in our searches, there is never one available,” he said.

Over the years, secret graves have been discovered in rural areas, at industrial sites, alongside roads, inside buildings and even in the heart of Guadalajara. The Jalisco state government tracks grave discoveries, but an analysis by The Times and Puente News Collaborative shows many have been concentrated in the Guadalajara area.

Flyers with photographs and identifying information about missing persons, posted by search collectives, have become a common sight along the main streets of the city’s historic center, as seen here on Friday, May 15, 2026.

(Alejandra Leyva/For The Times)

Earlier this year, authorities found a blood-soaked safe house a mile from Akron Stadium where cartel enemies were tortured. One person was found buried there. Within a 10-mile radius, nearly 100 sets of remains were found in 500 trash bags buried in shallow graves.

The graves, and the potential discovery of more, worried Mexican President Claudia Sheinbaum. She feared that FIFA, the international soccer association in charge of the games, might move the Mexico games to the United States or Canada, the other countries co-hosting the games, because of the violence, said one Mexican official familiar with planning for the tournament.

That fear burst into the open in February, when Mexican special forces killed Nemesio “El Mencho” Oseguera Cervantes, leader of the hyper-violent New Generation Jalisco Cartel. Law enforcement officials said Guadalajara is a stronghold for the criminal group.

Cartel members responded to El Mencho’s death by setting fire to cars and buses and blocking major exits from Guadalajara. The city was briefly paralyzed. Gunmen burned 80 convenience stores and a host of pharmacies, flexing their power in the city.

In the days after the violence, FIFA officials met with the Mexican government to review security for the Guadalajara matches. Sheinbaum laid out a plan to send 100,000 security personnel, including Army soldiers and police officers, to stadiums in Guadalajara and the country’s two other host cities, Mexico City and Monterrey. FIFA determined it would not change the World Cup venues.

U.S. law enforcement has been advising Mexico on counter-terrorism methods, including training in repelling drone bombs, a weapon increasingly used by cartels to terrorize communities, attack adversaries and target military convoys. U.S. special forces have been training Mexican military teams to repel attacks at stadiums.

Fliers with photographs and identifying information about missing persons are displayed throughout Guadalajara’s historic center alongside traditional city scenes and World Cup-related imagery.

(Alejandra Leyva / For The Times)

The Mexican government had already witnessed the Jalisco cartel’s proclivity for brazen killing. In December, some four miles from Akron Stadium, gunmen fired more than 3,000 bullets in broad daylight into the car of a director of a produce distribution center. The gun battle between his security guards and the cartel took place just a few blocks from a police station. It took officers nearly a half hour to arrive at the scene.

In recent years, Jalisco state has become a cartel killing ground, security experts say. Some graves discovered in the Guadalajara area contained a single body, some more than 40. A few had 95 or more.

In 2023, the remains of nine teenagers, chopped up and stuffed in trash bags, were found in a canyon in Zapopan. They had worked for a Jalisco cartel call center where telemarketers scammed Americans of millions of dollars in a time-share scheme. The teenagers are believed to have upset their employer.

Traffickers recruit young people, including minors, to serve as foot soldiers in their bloody quest to control drug-trafficking routes across Mexico. Some of those teenagers were lured by ads promising good-paying jobs, only to discover they were being funneled to a Jalisco cartel training camp an hour outside Guadalajara. There, as a test, Mexican security officials said, recruits were forced to kill fellow recruits.

Plaza Liberacion, the city’s main public square, with flyers with photographs and identifying information about missing persons, on Friday.

(Alejandra Leyva/For The Times)

The cartel has recruited more than 45,000 minors across Mexico in recent years, said one Jalisco state representative.

While some of Guadalajara’s upscale neighborhoods have escaped the violence, families across the metropolitan area have seen hundreds of children disappear, some to reappear, dead, on cartel battlefields across Jalisco and in the states of Sinaloa and Michoacán, searchers said.

The Jalisco state government lists more than 16,000 reports of missing people — the most of any Mexican state. Nationwide more than 130,000 people are reported missing.

Despite the preparations and the buzz among the nation’s vast population of soccer fans, World Cup fever has not caught on among families of the disappeared and the search teams that each week fan out across Guadalajara, looking for new graves.

Natalia Leticia García’s son disappeared in 2017. She began her own search and launched a group to help find other victims. Eight years later, García’s group has located 26 graves. Some finds have been bags full of severed heads, others holding just arms. It is a cartel tactic, she said, to make it harder to piece together remains.

“It is cruel,” García said. Her son, César Ulises Quintero García, remains missing.

Fisher is a special correspondent. This article was co-published with Puente News Collaborative, a bilingual nonprofit newsroom that covers stories from Mexico and the U.S.-Mexico border.

Kiki Rice dribbled to the hoop, deked and then put up a shot over the Toronto Tempo practice squad, crisp ombre blue-and-burgundy nails releasing the ball into the basket.

Just over a month ago and just about 10 miles away, Rice‘s blue-and-yellow nails grasped the NCAA championship trophy in celebration at Pauley Pavilion. That’s when she was starring for UCLA and leading the Bruins to their first NCAA national title during her fourth college season.

She was one of six Bruins to be selected in the WNBA draft on April 14, with all of them sticking to notoriously difficult-to-crack WNBA rosters. Rice was the expansion Toronto Tempo’s first college pick.

“We got really lucky getting her in the draft,” Tempo coach Sandy Brondello said. “She hasn’t disappointed.”

Former UCLA star Kiki Rice holds up a Toronto Tempo jersey next to WNBA Commissioner Cathy Engelbert. Rice was the Tempo’s first draft pick and was selected No. 6.

(Angelina Katsanis / Getty Images)

In her first two WNBA games, Rice has averaged 7.7 points and 1.3 assists in 20 minutes per game. She has been coming off of the bench to back up starting point guard Julie Allemand, who the Tempo took from the Sparks in the expansion draft.

“There’s definitely a lot of adjustments and getting used to what it is like inside this level,” Rice said on Friday. “But I’m with great vets, really great coaches, and I’m really enjoying the play as a pro.”

The No. 6 pick in this year’s WNBA draft, Rice elevated her stock as a prospect by having her best UCLA season. She finished her senior season averaging 14.9 points per game with 5.9 rebounds and 4.3 assists, and was named the Big Ten tournament MVP.

Ahead of the NCAA tournament, WNBA scouts said that her defensive prowess and willingness to charge to the basket made her emerge as an early first-round candidate.

“She stays confident in who she is, and that’s what we just pour into her,” Brondello said. “She comes from a really successful, you know, college program in UCLA. Cori [Close] is a great coach, and you know, pushed her hard for greatness. So she’s very mature. She knows that there’s another level that she can go to. She’s going to work really hard to get there.”

Rice went through the WNBA rookie gauntlet, going from the NCAA championship game to the draft within a week and then straight to the Tempo’s training camp.

“It’s something we all go through, it’s the same for all the rookies,” Rice said. “I feel like I haven’t slept a ton the past few weeks. It’s definitely not easy, it happens very quickly, but I am very grateful to be in the position.”

Sparks coach Lynne Roberts coached against Rice during her first two UCLA seasons while the former was the head coach at Utah.

Tempo guard Kiki Rice drives past the Storm’s Zia Cooke during expansion franchise Toronto’s first win on Wednesday in Toronto.

(Michael Chisholm / Getty Images)

“I think she’s going to do well with Sandy in her system,” Roberts said on Friday. “I saw over the course of her four years … her decision making, you know, improve and get better, which is natural, and her outside shot get more comfortable. … She’s going to be a good player to watch.”

Rice faced her old teammates Lauren Betts and Angela Dugalic with the Washington Mystics in the franchise’s first game on May 8, and the trio hugged at center court in Toronto. Rice had one assist and no points in 18 minutes during the loss. She rebounded with 12 points and one assist in 21 minutes during the franchise’s first win over the Seattle Storm on Wednesday.

“Playing with five other pros, you got the advantage of really competitive practices,” Rice said of her time at UCLA. “[The draft] was an incredible moment, something that’s very special for all of us. We didn’t do it alone, and to be able to share it with some of my closest friends, and to hear everyone’s name, be called to see everyone walk across the stage, be able to celebrate together, enjoy the moment, was special.”

This weekend provided a different kind of reunion, with her UCLA coaches in attendance Friday night as Rice scored 11 points and added two assists in 21 minutes during a loss to the Sparks. The Tempo rallied to within one possession in the final minute and get a rematch on Sunday.

TECATE, Mexico — White sage burning, Norma Meza Calles gathers guests at a Mexican wellness resort into a semicircle facing Kuuchamaa Mountain and asks everyone to close their eyes and feel its presence.

“This is sacred to us like a church for you all. The mountain is our healer, our psychologist,” said Meza Calles, a Kumeyaay Nation tribal leader who explains that in its creation story a shaman transformed into the mountain. “Here is where we gather strength to live in this difficult world.”

Then she calls for a moment of reflection. But the silence is pierced by the crushing of rock. U.S. federal contractors have been blasting and bulldozing Kuuchamaa, which straddles the U.S.-Mexico frontier, to make way for new sections of border wall.

Indigenous leaders say that in the Trump administration’s rush to build border wall segments, contractors are desecrating Native American sacred places and cultural sites at an unprecedented pace, more than 170 years after the international boundary split the territories of dozens of tribes.

Blasts on sacred mountain

Wall construction has ramped up along the 1,954-mile border even as illegal crossings have plummeted to historic lows. Much of it began this year after the U.S. Department of Homeland Security waived cultural and environmental laws.

In California, explosions on Kuuchamaa, also known as Tecate Peak, send rocks hurtling down its Mexico side.

“We feel that in our DNA,” said Emily Burgueno, a California member of the Kumeyaay Nation, noting that “body” and “land” are the same word in the Kumeyaay language. Some tribal leaders met with Homeland Security officials to urge them to protect Kuuchamaa and are looking into legal action.

“No one ever consented or supported the use of dynamite on the mountain,” Burgueno said.

The nation consists of more than a dozen tribes in California and Mexico’s Baja California. The Kumeyaay have been working to block construction of the border wall since Trump’s first term.

In Arizona, Homeland Security contractors last month carved through a massive, 1,000-year-old fish-shaped geoglyph called Las Playas Intaglio. The rare drawing, etched into the desert floor much like Peru’s Nazca Lines, was created on a lava field in what is now the Cabeza Prieta National Wildlife Refuge.

Construction crews work April 24 on a new border wall segment near the end of a previously built section on Kuuchamaa Mountain, seen from Tecate, Mexico.

(Gregory Bull / Associated Press)

The Tohono O’odham Nation said it had pointed out the site on its ancestral land for contractors to avoid.

“This was a devastating and entirely avoidable loss,” Tohono O’odham Chairman Verlon Jose said in an April 30 statement. “There is nothing more important than our history, which is what makes us who we are as O’odham. The site was also an irreplaceable piece of the United States’ history, one none of us can ever get back.”

U.S. Customs and Border Protection said in a statement that a contractor “inadvertently disturbed” the site west of Ajo, Ariz., on April 23, but it vowed to protect the remaining portion. CBP Commissioner Rodney Scott is talking to tribal leaders to determine next steps.

Members of the Inter-Tribal Assn. of Arizona, which represents 21 tribes, traveled to Washington last month to lobby against a 20-foot secondary wall being built along that section of the border, as well as a primary 30-foot bollard wall planned on Tohono O’odham tribal lands.

They met with Homeland Security Secretary Markwayne Mullin, a Cherokee Nation member, who listened but made clear his intent is to build more border wall as fast as possible, the Tohono O’odham Nation said in a statement.

Hundreds of miles under contract

The Trump administration says the barriers are necessary to keep people and drugs from entering the U.S. illegally. It wants walls to cover at least 1,400 miles of the border.

Trump’s One Big Beautiful Bill Act last year devoted more than $46 billion to the effort.

CBP has awarded contracts or begun construction on over 600 miles of new border wall, with companion surveillance technology. A double wall is planned or under construction along an additional 370 miles.

In Arizona, where the Patagonia Mountains descend to the border, heavy machinery crawls along freshly graded roads to extend a double wall that could block a wildlife corridor for endangered ocelots and jaguars. Jaguars have long coexisted with the Tohono O’odham, who consider the species “spiritual guardians,” Austin Nunez, a tribal leader, said in a 2025 lawsuit that unsuccessfully challenged the Homeland Security waivers.

In Sunland Park, on New Mexico’s border with Mexico, crews this year set off blasts on Mt. Cristo Rey, a pilgrimage site topped with a limestone crucifix.

CBP is seeking to seize a strip of the mountain owned by the Roman Catholic Church for wall construction. The Diocese of Las Cruces asked a judge this month to deny the land transfer as an affront to religious liberties and the “faithful who seek to commune with God on Mount Cristo Rey.”

In western Texas, the federal government in February notified ranchers on the Rio Grande east of Big Bend National Park of its interest in their land that contains canyonland pictographs and petroglyphs, said Raymond Skiles, a retired Big Bend National Park ranger.

“There are pictographs, paintings of shaman figures and various things that we don’t know how to interpret,” said Skiles, describing the drawings on his family’s ranchlands.

After community backlash, CBP’s online planning map showed the 30-foot-wall plans were scrapped for surveillance technology, patrols and some vehicle barriers. A segment in the national park and neighboring Big Bend Ranch State Park would rely on technology alone.

CBP says it recognizes the importance of natural and cultural resources and is working to minimize the construction’s impact, including leaving drainage gates open in wildlife corridors for animal passage. Illegal border crossings have littered, polluted and trampled sensitive habitat, the agency says.

CBP also says 535 miles of remote, rugged border terrain will solely rely on detection technology.

Many tribes would prefer that to walls.

Norma Meza Calles, a Kumeyaay Nation leader, leads a guided tour of traditional Kumeyaay uses for local plants at a wellness center in Tecate, Mexico.

(Gregory Bull / Associated Press)

Desecrating Native American sites is a felony

Tribes along the border “are all experiencing the same tragic desecration of our cultural and sacred sites,” said Burgueno, chair of the Kumeyaay Diegueño Land Conservancy, a nonprofit organization in California that works to protect Kumeyaay lands. “This is a great example of the federal government not following federal laws.”

Desecrating a sacred Native American site on U.S. federal or tribal land is a felony, punishable by imprisonment and fines. In 1992, the National Park Service listed Kuuchamaa Mountain in the National Register of Historic Places, giving it limited protection. It noted that “discarding or disturbing the mountain’s natural state would be sacrilegious.”

Rising 3,885 feet above sea level, Kuuchamaa has also captivated non-Native people.

Sarah Livia Brightwood Szekely said her father, Edmond Szekely, felt the mountain’s healing energy when he arrived in Tecate, Mexico, as a Hungarian Jewish refugee during World War II, and started the renowned wellness resort, Rancho La Puerta, which she now runs.

“There are all of these people that have a deep relationship with the mountain,” she said.

Meza Calles leads walks at Rancho La Puerta to teach guests about Kuuchamaa.

Traditionally, young men would spend 40 days at its base in a coming-of-age ceremony before becoming warriors or shamans, she said. Today’s rituals are shorter. People suffering from a death, debt, divorce or other difficulty seek Kuuchamaa’s healing, she said.

“It’s sad they are ruining the mountain,” she said. “We’ll see how far they go. Destiny is destiny. But the fight is not over.”

Watson and Lee write for the Associated Press and reported from Tecate and Santa Fe, N.M., respectively.

Russia has announced a successful test of its long-delayed Sarmat intercontinental ballistic missile (ICBM), which President Vladimir Putin now says will be operationally deployed later this year. The weapon, developed to deliver multiple nuclear warheads over great distances, has had a very mixed track record of testing so far, and was once planned to be fielded in 2020. All this makes today’s announcements more significant, although they have yet to be independently verified.

The test-launch from the Plesetsk Cosmodrome in the Arkhangelsk region took place at 11:15 a.m. Moscow time today, according to the Kremlin. Around half an hour later, Russian officials said that the missile hit its target at the Kura test range on the Kamchatka Peninsula in Russia’s Far East.

The commander of the Strategic Rocket Forces, Sergei Karakayev, informed Putin of the successful test. The Russian leader monitored the launch via video link from his office bunker.

Putin called the test a “major event and unconditional success.”

“The positive results of the Sarmat missile system launch will allow us to deploy the first missile regiment armed with this missile system to combat duty in the Uzhur formation of Krasnoyarsk Krai by the end of this year,” he added, referring to the 62nd Red Banner Rocket Division at Uzhur in Siberia.  

Putin says the missile’s range could exceed 35,000 kilometers (21,748 miles).

The RS-28 Sarmat, known to NATO by the codename SS-29 Satan II, is Russia’s new-generation heavy ICBM, intended to replace the Soviet-era R-36M2 system (SS-18 Satan).

A video shows the launch of the R-36M2 ICBM (SS-18 Satan):

Russian Intercontinental ballistic missile SS-18 Satan R36M2 Voevoda

The Sarmat is a silo-launched, liquid-fueled, nuclear-armed ICBM. The missile will reportedly have a host of capabilities intended to defeat ballistic missile defenses, ranging from decoys and other countermeasures to a fractional orbital bombardment capability, and independent post-boost vehicles (IPBV). There have even been suggestions that it could carry a payload of multiple hypersonic boost-glide vehicles.

While these features are all relatively novel, the fact that the Sarmat is liquid-fueled might seem like something of a throwback to the Cold War. However, as we have discussed in the past, it does bring certain benefits:

A liquid-fueled ICBM might seem somewhat dated, but it does offer the advantage of a more capable and dynamic propulsion arrangement. But unlike a solid fuel design, it has historically been difficult to keep these types of missiles in a fueled state indefinitely, often meaning that launch crews had to go through a lengthy process of fueling the weapon shortly before launch. However, a hydrazine-based liquid rocket fuel with nitrogen tetroxide (NTO) as the oxidizer provides a more stable, less corrosive option that allows for long-term storage of missiles in a fueled, ready state when combined with the right component materials and environmental controls.

Details of the missile were presented by Putin back in 2018, at the same time he unveiled several previously unknown strategic weapons systems.

An official video of the Sarmat released by the Russian Ministry of Defense in 2018:

Ракетный комплекс «Сармат»

The first successful test launch of the Sarmat took place in 2022, also from Plesetsk. However, it was followed by a failed test launch in February 2023. A further test in September 2024 was also unsuccessful, leading to the destruction of the Yubileynaya test silo at Plesetsk. 

The original plan was for the Sarmat to become operational in 2020, something that obviously did not come to pass.

Exactly what has caused the problems is unclear. The delays could be due to technical issues with the missile, Russia’s sluggish economy, or, very likely, a combination of factors. 

Indeed, there were delays in the development of the Sarmat even before Russia launched its all-out invasion of Ukraine in February 2022, which has led to international sanctions and other strains on the country’s defense industrial base.

On the other hand, the slow progress made by the Sarmat so far means that it will now enter service after the demise of the New START Treaty, which expired in 2021.

New START had placed hard limits on the number of deployed and non-deployed land-based ICBMs, total available launch tubes for submarine-launched ballistic missiles (SLBMs), and nuclear-capable heavy bombers that Russia and the United States could have in total. The agreement also set a firm limit on total deployed and non-deployed systems.

With those limits now gone, Russia will be able to replace the R-36M with Sarmat on a one-for-one basis, while still maintaining its other ICBMs if it desires, and moving ahead with other strategic weapons modernization programs, including the Avangard nuclear-armed hypersonic boost-glide vehicle.

A video released in conjunction with the fielding of the Avangard missile complex at the Dombarovsky Strategic Rocket Forces base:

Ракетный комплекс «Авангард»

Even under New START regulations, Russia had fewer than 520 deployed “launchers” as of September 2018, with the treaty allowing for a maximum of 700 such systems. These “launchers” in this context comprise land-based ICBMs, SLBM launch tubes, and heavy bombers.

Meanwhile, the lifting of New START limits on America’s nuclear arsenal means that, at this point, it is unclear whether or not the new LGM-35A Sentinel ICBMs will carry multiple warheads. Like the Sarmat, the Sentinel has faced issues, chief among them major delays and spiraling costs, driven heavily by complexities associated with building new infrastructure. Regardless, the ongoing development of the Sentinel in the United States is also spurring work on the Sarmat program.

At this stage, it remains to be seen whether the apparent success of the test today allows the Sarmat to enter service before the end of the year. So far, its test history has been distinctly patchy. If the missile can be perfected, however, it could pave the way for Russia to deploy even more strategic missiles in the future, with the potential for triggering a new arms race.

Contact the author: thomas@thewarzone.com

Los Angeles City Councilmember Nithya Raman, who serves the 4th District, makes her way across an empty, unnamed backlot, presenting her case to be the city’s next mayor.

“Studio lots like this one used to be filled with people, costumers, electricians, set medics, caterers, thousands of Angelenos making a living,” she says in the video posted on social media. “Now these lots are quiet. Since 2018, shooting days in the city have fallen by half.”

After telling voters this issue is “personal” (her husband is a TV writer and producer), criticizing Mayor Karen Bass’ leadership on the matter and outlining her own plans, Raman proclaims, “I’m running for mayor to make sure Los Angeles stays the film and TV capital of the world.”

Placing the concerns of the entertainment industry at the center of the city’s mayoral race would have been unthinkable even in the last election cycle. But the production crisis, which has rocked Hollywood and pummeled its workforce, has reached a critical juncture. The state of L.A.’s signature industry is now a political flashpoint alongside affordability, crime and homelessness in the upcoming election.

A person films an interaction between mayoral candidate Spencer Pratt and another person on his cellphone during a “Community Meet and Greet” event out of a house for sale on Long Ridge Avenue in a residential neighborhood of Sherman Oaks on Saturday.

(Etienne Laurent/For The Times)

In campaign ads, interviews and the recent televised debate, the top three contenders: incumbent Mayor Bass, former reality TV villain Spencer Pratt and Raman, have made the ongoing production slump a pivotal topic, highlighting their plans to revitalize the industry while deploying the issue to undercut one another.

For decades, elected officials have not had to focus on the film and TV business, let alone turn it into a campaign issue. It was simply a given that local production would continue to play a dominant role in the city’s economy as it has for more than a century.

But the cumulative effects of consolidation, runaway production to tax-friendly states and countries and the end of the streaming boom has caused Los Angeles to lose billions in economic activity, shed some 57,000 jobs over the last four years and led to the closing of more than 80 film and television production service businesses across the city since 2022.

“For us, ‘save Hollywood’ is more than a slogan and more than headline. It is what needs to be done,” said Pamala Buzick Kim, one of the co-founders of Stay in LA, a grassroots campaign aimed at increasing film and television production in Los Angeles.

To be sure, the biggest driver of where studios and producers film are state and federal tax credits, over which the city has no control.

But Buzick Kim and others argue that “there is lots the mayor can do, hand-in-hand with the City Council.”

Mayor Karen Bass, center, walks with Avance Democratic Club President Nilza Serrano, to the right of Bass, during Avance’s politics and tacos event at Ernest E. Debs Regional Park in Los Angeles on Saturday.

(Christina House/Los Angeles Times)

For starters, say filmmakers and advocates, much can be done to tackle the city’s sclerotic bureaucracy, onerous regulations and a slow and costly permitting process that has pushed filmmakers to flee to friendlier and cheaper locales.

While steps have been put in place recently, including a pilot program offering reduced-cost filming permits for shoots that demonstrate a “low impact” to the surrounding community, many complain such steps have come too little and too late.

Scott Niner, president and owner of Dangling Carrot Creative, checks on woodwork being produced at his shop in North Hollywood.

(Jason Armond/Los Angeles Times)

“The industry is in collapse and people have been talking about fixing things for years, but all we get are incremental little changes,” said Ed Lippman, a location manager of 34 years who lives in Sherman Oaks and has worked on such shows as “ER” and “The X-Files” and movies including “Galaxy Quest.” “And if the city is not being business-friendly, the business will go elsewhere.”

Compounding the problem, the Los Angeles area has more than 100 jurisdictions, many of which have their own set of rules and regulations regarding filming.

“There needs to be universal standards,” said Travis Beck, a location manager for commercials, small films and music videos. “Burbank is different from Glendale, which is different from Pasadena.”

The recent kerfuffle over filming “Baywatch,” the lifeguard reboot at Venice Beach, underscored both the efforts to bring production back to L.A. — enticed by a $21-million tax credit — and the complex, baffling red tape required to film here.

When shooting began in March, the production encountered a number of hiccups, including that it needed nearly double the parking space it had received a permit for, which was not part of the original approvals.

An anonymous crew member claimed on Facebook that government restrictions had forced production to relocate from Venice Beach. Production staff denied they had relocated. However, the incident prompted a backlash, becoming a rallying cry over L.A.’s burdensome filming bureaucracy.

The “Baywatch” team quickly met with city and county officials and resolved the issue, securing an agreement for a 20% parking discount from the city, and the mayoral candidates used it as an opportunity to score political points.

Pratt slammed the city’s permitting problems.

“LA turned its back on Hollywood — now the golden goose needs CPR,” he wrote on his Substack.

Bass highlighted her administration’s leadership on the matter.

“The City of Los Angeles will always clear bureaucratic barriers, making it easier and more affordable to film in the entertainment capital of the world,” she wrote on X last month.

On April 21, the mayor unveiled programs to offer productions 20% discounts on city-owned parking lots and other equipment, reduced filming fees at places like the Griffith Observatory and reopened the Central Library for filming. Last August, she appointed Steve Kang, president of the Los Angeles Board of Public Works, as the city’s film liaison.

Raman has pledged her support for expanding the state’s $750-million tax incentive program, streamlining permitting and lowering fees and eliminating those for small productions. She has also said she will establish a dedicated city film office with a liaison who understands production.

Councilmember and mayoral candidate Nithya Raman speaks to a crowd at the “Families for Nithya” event at Vineyard Recreation Center in Los Angeles on Saturday.

(Myung J. Chun/Los Angeles Times)

“Los Angeles is losing Hollywood,” Raman said in a statement. “Not because productions want to leave, but because we’ve made it too hard for them to stay.”

On his Substack and various podcast interviews, Pratt has promised to slash location fees in half, speed up permit approvals, reduce on-set city staff for the majority of productions and waive all fees for shoots with budgets under $2 million.

All three candidates have attacked one another over their approach to Hollywood.

Pratt and Raman have said Bass moved too slowly to address spiraling production and retain film jobs, saying she enacted measures only recently as the mayoral race was heating up.

Speaking on the Monks & Merrill podcast, Pratt criticized Bass’ moves to cut costs to film at the Griffith Observatory, saying, “Who needs that shot right now with the homeless poop all around it?”

The incumbent mayor has defended her administration’s record with the entertainment industry.

Bass and Pratt have taken Raman to task, calling her out for what they say is her lack of advocacy during her time on the City Council.

“She feels very strongly about it. But never offered one motion on the industry, and when motions came up on the industry she either recused herself, or got up and walked out,” said Bass during a debate this month.

Citing a potential conflict of interest over her husband’s work in television, Raman refrained from voting on several motions related to Hollywood.

Many working in the industry would like to see full-throttled support coming from the mayor’s office that will get results. They note how New York City has successfully promoted itself as a leading film destination over the years. (Kang, the city’s chief film liaison, said the city is working on a similar marketing campaign to promote filming that will launch by early fall.)

“For all the talk about, ‘We need to support and bring back filming,’ if they just did basics like lowering the fees and simplifying the process … that would actually help people and get things produced,” said Chris Fuentes, 66, who worked for 30 years as a location manager until he retired last year.

“We’ve heard a lot of great things, but not all things are possible in the mayor’s remit,” said Buzick Kim, noting that tax incentives are a state and federal issue.

Still, she said, “the mayor must understand that Hollywood needs to be made a priority and to find and create inspired thinking to make things easier and cheaper.”

Kang agrees, but says there are limits to what the mayor can achieve.

“We definitely can do a lot to really open up the entertainment industry, but at the same time, we recognize the larger impact needs to come from Sacramento and Washington, D.C., because L.A. just does not have the resources to compete with other jurisdictions in providing millions of dollars in tax incentives,” he said.

For most working in the industry, they just want city leadership that will execute on more than just talking points.

“This is the birthplace of cinema,” Beck said. “It shouldn’t be so hard to film here.”

Eddie Martinez can’t stand Donald Trump. So when Eric Swalwell entered the race for California governor, Martinez had his candidate.

“I liked the way he took Trump on, the impeachment thing in Congress,” Martinez said of the former Bay Area congressman, a Trump nemesis who served as one of the House prosecutors in 2021 when Democrats held the wayward president to account for the second time.

Then, suddenly, Swalwell’s campaign collapsed under the weight of allegations of abuse, including charges he sexually assaulted a former aide. With Martinez’s choice out of the running, the Democrat turned to the candidate who’d been his second pick all along, Xavier Becerra.

Martinez has been familiar with Becerra for decades, going back to when the former congressman, state attorney general and Biden Cabinet member was in the state Assembly. To his credit, said the 65-year-old retired public relations strategist, Becerra has largely kept clear of controversy and there’s never been a whiff of personal scandal — an important consideration after Swalwell’s spectacular self-destruction.

On top of all that, Martinez said as he prepared to drop his mail ballot at a post office in Alhambra, it would be nice for California to elect its first Latino governor in modern times. It’s been, Martinez observed, more than 150 years.

With the gubernatorial primary entering its final two weeks, a contest that had been stubbornly formless has finally gained coherence. Becerra, who’d been widely given up for dead as he foundered near the bottom of polls, has unexpectedly emerged as the Democrat to beat.

“He has the most experience,” said Ruben Avita, a 57-year-old actor who leans Democratic and is tilting toward Becerra over hedge-fund billionaire Tom Steyer. “At this point,” Avita said as he waited to catch a double feature at a cineplex in Monterey Park, “I want someone with a proven track record.”

Among the Republicans running, Trump’s pick — conservative commentator Steve Hilton — seems firmly ensconced atop the GOP field.

“He’s got a lot more common-sense approach than any of these other idiots,” said Wayne The Flame — yes, he explained, that’s his legal name —which, while not exactly a ringing endorsement, still counts as a vote.

The Claremont independent, retired at 73 after a career selling motorcycles and hot rods, described Riverside County Sheriff Chad Bianco, the other major GOP contestant, as a racist and dismissed the entire Democratic field with a string of epithets. “Dumb—,” he said of the voters who keep putting the likes of them in power.

Peaches, a chihuahua/boxer rescue, stands alongside her owner, Wayne The Flame

If not terribly enthused, at least The Flame has made up his mind. Many voters remain undecided — or, at least, not entirely wed to a candidate.

Some are holding on to their ballots longer than usual, awaiting any last-minute developments and weighing the election odds as though wagering in a high-stakes game of poker.

Like many Democrats, Bryce Dwyer’s concern is that Hilton and Bianco will seize both spots in June’s top-two primary, advancing to a November runoff and giving California its first Republican governor in 16 years.

A 40-year-old project manager at the Getty Research Institute, Dwyer held his 2-year-old daughter as his son, 6, romped on a pleasant afternoon in Sierra Madre’s Memorial Park. Across the street, the bells of Christ Church chimed the hour.

“None of the Democrats are putting forth anything that is making me excited,” said Dwyer, who’s ruled out Becerra (he doesn’t see much there) and is deciding between Steyer and former Orange County Rep. Katie Porter. He’s trying to cast his ballot strategically, the East Pasadena resident said, and “it’s the first time in a while I haven’t really had a clue who I’m going to vote for so close to election day.”

Democrat Priscilla Vega of Monrovia has yet to settle on her candidate for governor

This is a deeply unsettled season in California, with precious little hope the next governor — whoever he or she turns out to be — will make things better anytime soon. That mix of discouragement and discontent surfaced repeatedly, like a dull ache, in conversations with dozens of voters across the San Gabriel Valley.

The region’s ethnic and economic diversity — from the working-class neighborhoods of Pomona through the Asian-majority suburbs to the mountainside mansions of San Dimas and Pasadena — make the valley a prime battleground in the race for governor.

Alana H., who asked not to use her last name, said she wasn’t even bothering to vote.

She ticked off some reasons: The soaring price of gas and rising cost of, essentially, everything else. The fear her college-age daughter will never be able to buy a home in California. Worse, is her loss of faith. She no longer believes in the promise, once taken for granted, that each generation will improve its lot over the last. And, Alana said, she’s not alone: “Anyone who’s an average person is in the same boat, we’re all just trying to stay afloat.” Standing in front of the post office in Alhambra, the 52-year-old paddled her arms as though to keep from sinking.

Jaunenito Pavon, in his Glendora wine and chocolate bar, would like California to elect a governor who could unify the state. He’s still deciding on a candidate

The politicians in both parties are “so out of touch,” she said, “all they’re doing is fighting over this and that, when everyone I know doesn’t care what party you’re in. They just want to put food on their table. They want their kids to have a better life.”

Shelby Moore has some of the same concerns. Forget about ever buying a home, said the 30-year-old California native, a Democratic-leaning independent. It’s no small feat scraping up money for rent. “I’ve lost almost every single friend that I went to high school or college with,” Moore said between waiting tables at a Mediterranean restaurant in Glendora. “They’ve all moved out of state.”

Shelby Moore, 30, a waitress in Glendora, said all her friends from high school and college have left California because it’s so expensive.

She’ll definitely vote, Moore said, though she doesn’t know for whom. One of the Democrats. Someone who’ll work to make California more affordable and keep people like her friends from being priced out.

In Claremont, Eric Hurley was another undecided Democrat. He attended last month’s gubernatorial debate at Pomona College, where the 56-year-old professor teaches psychological science and Africana studies. Otherwise, he’s been too busy to pay much attention to the race.

But it’s important, Hurley said, that whoever wins “keep fighting the good fight and standing by our liberal principles. I would hate to see someone in the governor’s office start capitulating to what the current administration is asking.”

Democrat Eric Hurley is undecided in the governor’s race. But he wants someone who’ll stand up to the Trump administration.

Others seconded that notion, that California needs to stand as a bulwark against Trump and his excesses, such as the draconian crackdown that has terrorized the state’s large immigrant population.

But there’s not a great appetite for the sort of performative pushback that’s won the current governor a wide audience on social media and boosted Gavin Newsom’s political stock as he positions himself ahead of the 2028 presidential campaign.

Jennifer Harris, 56, is a single mom in Monrovia who oversees payroll at a food manufacturing company. She has to stretch each of her dollars to make ends meet; soon she’ll be shelling out $30,000 a year for her daughter to go to college. Buying a home, Harris said, is out of the question.

She confessed to chuckling at the governor’s memes — an over-the-top oeuvre that includes Newsom as super hero, Newsom as religious beacon, Newsom as romance-novel hunk — and his other cheeky jabs at the president. “But that’s not an adult way to handle it,” Harris said between errands in Monrovia’s quaint shopping district. “It’s not solving any problems.”

Better, she said, for the next governor — she hasn’t decided whom she’ll support — to focus on practicalities: improving the economy, making housing and healthcare more affordable, dealing with homelessness and the underlying mental health issues.

Jennifer Harris said Gov. Newsom’s over-the-top social media presence is amusing. But she wants the next governor to focus on more practical things.

Britnee Foreman echoed that sentiment.

The 41-year-old, who lives in Azusa and works in the music business, was meeting a friend, Priscilla Vega, 43, for lunch in Monrovia. Along with a meal, the two Democrats shared their concerns about inflation and income inequality.

“Memes are great for publicity,” said Foreman, who’s deciding between Becerra and Porter, based on their policy experience. (Vega, a lifestyle marketer, has yet to narrow down her choice.)

Britnee Foreman says the next governor needs policies “with teeth,” not an active social media presence.

“But I prefer policy,” Foreman went on. “I don’t want them just to be the popular person out there on social media. It’s great if they’re tweeting and have a cute little Insta-story. But I need their policies to have teeth and actively move us forward. And not just look like it’s moving forward.”

After nearly eight years, amid widespread unease, California seems ready to put the Newsom era in the past. It’s just not clear what path voters will choose, or which candidate they’ll prefer to steer the state toward, hopefully, a better place.

The holiday destination is hugely popular with UK tourists, and it’s brilliant – but one significant difference is hard not to notice

There’s nothing quite as exciting as discovering somewhere new on holiday. Trying out new restaurants, exploring the attractions and wandering for hours makes for the ideal short break, especially when the weather’s lovely and warm.

I love to travel and aim to visit a new city or country at least once a year. That said, I’m also a bit of a creature of habit, and there’s one destination I’ve returned to repeatedly that never loses its appeal. I first went to Playa Blanca in Lanzarote aged just nine, and it’s since become my family’s ultimate go-to retreat.

If you’ve visited before, you’ll know it feels very much like a second home. British and Irish tourists are everywhere, numerous seafront bars screen football while serving pints and full English breakfasts, and the streets are lined with familiar shops including Spar, Mango, Aldi and Lidl.

But the glorious sunshine, stunning beaches, distinctive landscape and lovely villas make it exceptional, so it’s hardly surprising that my family and I always look forward to our visits there.

We’ve been so often that all the typical tourist attractions have been crossed off our list. Timanfaya volcano, the cactus gardens and Mirador del Rio – a spectacular viewpoint nearly 500 metres above sea level – are all worthwhile visits, but nowadays when we go it’s purely for unwinding.

However, after our return earlier this month, I spotted a major difference, and unfortunately not a positive one.

Like most holidaymakers, there’s only one thing occupying my thoughts when I travel — and that’s the food. Playa Blanca has an abundance of outstanding restaurants catering to every possible taste, from traditional Spanish tapas and paella to sushi, curries, pasta and countless other options.

There are certain places we return to without fail, as well as exciting newcomers constantly appearing on the scene. It’s really unusual to have a disappointing meal anywhere across Playa Blanca.

However, this year many of the restaurants we went to were noticeably quieter than usual. The island itself appeared no less busy than normal, but even during peak periods, the dining spots we passed or visited had noticeably fewer customers.

Asia Playa Blanca, a personal favourite, was practically empty when we dropped in for lunch one afternoon. One family arrived, took their seats and promptly left — a disheartening sight, especially given the exceptional standard and presentation of the Japanese cuisine.

La Bodegon, a superb tapas spot along the waterfront, also seemed to be serving considerably fewer customers than I’ve seen before. While Lanzarote has pleasant weather throughout the year, visitor numbers typically drop during winter — but this was May, and the streets were as packed as ever.

The slump in restaurant footfall could be down to the construction of several large, all-inclusive hotels near the resort over the past few years.

For families in particular, opting for half-board at one of these properties is likely far more cost-effective and convenient than hunting down a different restaurant each evening.

If Playa Blanca is on your travel radar this year, a wander through the old town and a visit to a couple of local restaurants is highly recommended. Top picks would include Imagine India, La Casa Roja and Primari for curries, paella and Aperol Spritz respectively.

The staff are wonderfully friendly and attentive — you’ll often be treated to a complimentary Limoncello or honey rum at the end of your meal — and you might just stumble upon your new favourite dining destination.

MONTGOMERY, Ala. — Thousands of people rallied Saturday in the cradle of the modern civil rights movement to mobilize a new voting rights era as conservative states dismantle congressional districts that helped secure Black political representation.

U.S. Sen. Cory Booker of New Jersey called Montgomery “sacred soil” in the fight for civil rights.

“If we in our generation do not now do our duty, we will lose the gains and the rights and the liberties that our ancestors afforded us,” Booker said in the Alabama capital.

The crowd was led in chants of “we won’t go back” and “we fight.”

“We are not going down without a fight. We are not going down to Jim Crow maps,” Shalela Dowdy, a plaintiff in the Alabama redistricting case said, alluding to racial gerrymandering in several states that has followed the recent Supreme Court decision to roll back the Voting Rights Act.

A crowd of thousands gathered in front of the city’s historic Alabama Capitol, where the Confederacy was formed in 1861 and where the Rev. Martin Luther King Jr. spoke in 1965 at the end of the Selma-to-Montgomery voting rights march. The stage, set in front of the Capitol, was flanked from behind by statues of Confederate President Jefferson Davis and civil rights icon Rosa Parks — dueling tributes erected nearly 90 years apart.

Speakers said the spot was once the temple of the Confederacy and transformed into holy ground of the civil rights movement.

Some in the crowd said the effort to redraw lines has echoes of the past.

“We lived through the ’60s. It takes you back. When you think that Alabama’s moving forward, it takes two steps back,” said Camellia A. Hooks, a 70-year-old Montgomery resident.

The rally began in Selma, where a violent clash between law enforcement and voting rights activists in 1965 galvanized support for passage of the Voting Rights Act. It then moved to the state Capitol, where King gave his “How Long, Not Long” speech the same year.

The Supreme Court ruling involving Louisiana hollowed out a tenet of the Voting Rights Act that was already weakened by a separate high court decision in 2013 and then narrowed further over the years. That helped clear the way for stricter voter ID laws, registration restrictions and limits on early voting and polling place changes, including in states that once needed federal pre-clearance before they could change voting laws because of their historical discrimination against Black voters.

Veterans of the civil rights movement are alarmed by the speed of the rollbacks, noting that protections won through generations of sacrifice have been weakened in little more than a decade.

Kirk Carrington, 75, was a teen in 1965 when law enforcement officers attacked marchers in Selma on what became known as Bloody Sunday. A white man on a horse wielding a stick chased Carrington through the streets on that day, he said.

“It’s really just appalling to me and all the young people that marched during the ’60s, fought hard to get voting rights, equal rights and civil rights,” Carrington said. “It’s sad that it’s continuing after 60-plus-odd years that we are still fighting for the same thing we fought for back then.”

The effect in Montgomery

Montgomery is home to one of the congressional districts that is being altered in the wake of the Supreme Court ruling.

A federal court in 2023 redrew Alabama’s 2nd Congressional District after ruling that the state intentionally diluted the voting power of Black residents, who make up about 27% of its population. The court said there should be a district where Black people are a majority or near-majority and have an opportunity to elect their candidate of choice.

But the Supreme Court cleared the way for a different map that could let the GOP reclaim the seat. While the matter remains under litigation, the state plans special primaries Aug. 11 under the new map.

Democratic Rep. Shomari Figures, who won election in the district in 2024, said the dispute is not about him but rather people’s opportunity to have representation.

“When Republicans are literally turning back the clock on what representation, what the faces of representation look like, what the opportunities, legitimate opportunities for representation look like across this country, then I think it starts to resonate with people in a little bit of a different way,” Figures said.

Alabama House Speaker Nathaniel Ledbetter, a Republican, said the Louisiana ruling provided an opportunity to revisit a map that was forced on the state by the federal court.

“People tend to forget what happened. When this thing went to court, the Republican Party had that seat, congressional seat 2,” Ledbetter said last week. “There’s been a push through the courts to try to overtake some of these red state seats, and that’s certainly what happened in that one.”

Evan Milligan, the lead plaintiff in the Alabama redistricting case, said there is grief over the dismantling of the Voting Rights Act, but it is crucial that people recommit to the fight.

“We have to accept that this is the new reality, whether we like it or not,” Milligan said. “We don’t have to accept that this will be the reality for the next 10 years or two years or forever.”

Chandler writes for the Associated Press.

The Preakness Stakes at Laurel Park, Md., could feature a historic finish even if there is no chance to produce a Triple Crown winner this year.

The Preakness post time is 4:01 p.m. PDT. The race will air on NBC.

Kentucky Derby winner Golden Tempo isn’t running the Preakness. Cherie DeVaux, the first woman to train a Derby winner, said the schedule was too tight for Golden Tempo, with two weeks between races.

But trainer Brittany Russell has prepared Taj Mahal for the race and could follow up on DeVaux’s big win with one of her own. Russell would be the first female trainer to win the Preakness and could extend a potential female trainer Triple Crown bid in an industry long dominated by men.

“It would sort of feel like probably a fairy tale,” Russell said of a potential win. “ … It would mean an awful lot.”

Iron Honor in the ninth post position opened the day favored slightly at 9-2. Taj Mahal in post No. 1, Chip Honcho in post No. 6 and Incredibolt at post No. 12 were not far behind with 5-1 odds.

Taj Mahal has one other edge, winning three previous races at Laurel Park, home of the Preakness.