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Global streaming revenue surged to $150 billion last year, driven largely by an increase in prices by Netflix and other streamers, according to a new report.

In 2025, global streaming subscription revenue grew by 14%, reaching a total of over $157 billion, the report from Ampere Analysis found. In the last five years, revenue has tripled from the $50 billion seen in 2020.

Streamers continue to dominate the digital distribution market with rising monthly subscription fees , more consumers choosing subscriptions with ads, and platforms expanding their global reach.

“As the streaming market matures, the emphasis is no longer on pure subscriber growth but on extracting greater value from existing audiences,” said Lauren Liversedge, a senior analyst at Ampere Analysis. She noted that the growth is happening “particularly in the most competitive markets.”

Over the next five years, Ampere Analysis estimates subscription revenue will grow by another 29%, potentially reaching over $200 billion worldwide by 2030.

The U.S. is the largest driver of this revenue growth, as the country accounts for 50% of 2025’s global streaming subscription revenue, per Ampere Analysis. Netflix accounted for the largest revenue share in the U.S. at 14%. Last week, the company also announced a price hike, where its premium tier costs $27 a month. This marks the second time in a little over a year that the streaming service raised its fees.

“Our approach remains the same: We continue offering a range of prices and plans to meet a variety of needs, and as we deliver more value to our members we are updating our prices to enable us to reinvest in quality entertainment and improve their experience by updating our prices,” said a Netflix spokesperson in a statement.

It’s not the only streaming service to increase its prices, as Disney+, HBO Max and Apple TV made similar moves last year.

Recent data from Deloitte highlights some of the price sensitivity U.S. streaming audiences are experiencing. More than two-thirds of streaming subscribers are now opting for ads, marking a 20% increase from 2024.

That cost-conscious sentimentexpands beyond North America, reaching Western Europe, according to Ampere Analysis. The total revenue from ad tiers has risen rapidly across these markets over the past five years, up from less than 5% in 2020 to 28% in 2025.

But even as consumers demonstrate their willingness to pay less and watch ads, streaming platforms still benefit, making money from both subscription fees and advertising. When accounting for that ad revenue, streaming services generated closer to $177 billion in global revenue last year. Advertising is expected to become an even more important revenue stream for these companies, as ads alone could add $42 billion in annual revenue by 2030, per Ampere Analysis.

Kenyan distance runner Albert Korir has admitted to doping, prompting officials on Monday to ban him for five years.

Long a fixture at the New York Marathon, Korir tested positive for a blood-boosting substance in three separate samples taken in October while he was training to run in the New York Marathon on Nov. 2. He finished third in the race.

A verdict issued by the Athletics Integrity Unit said that Korir’s results since October will be disqualified, including that third-place finish in New York.

The three positive results provide “clear evidence of the athlete’s use of a prohibited substance on multiple occasions which is expressly identified in the definition of aggravating circumstances,” the verdict stated.

The punishment was reduced by one year because Korir, 32, admitted to taking a banned substance without requesting a hearing. He is banned until January 2031.

Korir will keep his 2021 New York Marathon title. He also was runner-up in 2019 and 2023, and finished third in 2024 in addition to 2025. His other first-place finishes came in the 2019 Houston Marathon, the 2017 Vienna Street Race and the 2019 and 2025 Ottawa Race Weekend.

Korir tested positive for Continuous Erythropoietin Receptor Activator (CERA), a long-acting agent that stimulates red blood cell production much like the banned substance EPO. It is used legally to treat anemia associated with chronic kidney disease and typically is administered once every two to three weeks.

The World Anti-Doping Agency said in October that Kenya had made “significant” progress in tackling doping but the country remains on probation while it seeks to improve its monitoring.

The action by WADA occurred after Kenyan runner Ruth Chepngetich, the world marathon record holder, was banned for three years after admitting the use of Hydrochlorothiazide (HCTZ), a banned diuretic used as a masking agent.

“Everyone is at least a dormant ballet nerd,” declares 22-year-old Eden Lim, while sitting for an interview in the suburban Dallas studio where she and her sister, Jordan, 24, film and edit their popular YouTube channel “Ballet Reign.”

Judging from the near-universal backlash to Timothée Chalamet’s recent bad-mouthing of ballet, Eden’s summation of the central tenet of their show may be true. With 67,000 subscribers in 166 countries and growing, the Lim sisters are mixing Gen Z humor and exuberance with astounding erudition to bring ballet to a new generation and fire up older, longtime fans.

With episode titles such as “Addictive Ballet Moments to Alter your Brain Chemistry” and promises like “This will increase your lifespan and double your morale,” they are on a mission to ensure that ballet not only survives but thrives.

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Mirthfulness is the Lim sisters’ medium, but their message is serious. During each show, they parse video clips of great performances, often by explaining the history of the piece and giving detailed behind-the-scenes stories. They dissect the most famous pas de deux with trenchant insight and introduce their audience to the greatest dancers, including Natalia Osipova and Roberto Bolle. With signature, irrepressible enthusiasm, the sisters help viewers see precisely what makes the shows and dancers so extraordinary.

Eden, left, and Jordan Lim of YouTube channel “Ballet Reign” trained as professional dancers before deciding to focus on their show full time.

(Larsen & Talbert / For The Times)

A video clip featured in the “Addictive Ballet” episode shows New York City Ballet principal dancer Ashley Bouder launching herself into a jeté so high she seems to leave Earth’s gravity. In midair she manages to turn herself 180 degrees before being caught by her partner, despite her momentum seeming to drift into his arms like a feather blown by a breeze.

While watching the singular feat, Eden exclaims, “Call the news channels! We found a person who can actually levitate!”

Jordan says the goal is to make viewers feel equipped to say, “I understand what’s going on, and I can appreciate it, and I can appreciate that this was done well.”

“Ballet Reign” launched three years ago with modest hopes. The sisters sought a mere toehold in the YouTube universe, aiming for a narrow niche audience of fellow ballet fanatics (“ballet nerds”) ages 16 to 25. To their initial astonishment, they have attracted a far wider viewership spanning all ages, even followers who hitherto had only scant interest in ballet. They have drawn in many young children and older adults, with those 65 and up now their third-largest subscriber group.

The show has rapidly won acclaim from within and outside of the ballet world — perhaps because the depth and breadth of their knowledge makes it hard to shake the suspicion that they secretly are Ivy League professors.

The Lim sisters speak with sophistication about classic ballets and dancers they love — delivering their message through a whimsical show that has attracted fans of all ages.

(Larsen & Talbert / For The Times)

They comment with equal sophistication on ballet steps, choreography, history, musicology and the minute details of costume design. Eclectic references pop out of nowhere — a metaphor from quantum physics, an aside that the flute is the instrument whose sound is closest to a sine wave, that a serinette is an 18th century music box used to teach caged canaries to sing.

Even actual professors laud the show.

Nicolas Krusek routinely shows “Ballet Reign” episodes in his classes for adults on ballet history at Simon Fraser University in Vancouver. Krusek says what makes the show compelling “is the spirit of the videos, just the sense of joyousness and benevolence that they communicate, and a real sense of reverence for the art and the artists.”

John Meehan, a Vassar College professor of ballet and former principal dancer with American Ballet Theatre, calls their episode on Igor Stravinsky’s “The Firebird” ballet “amazing,” adding that it conveys at least as much information in much more palatable form than a “dry” university lecture.

Julie Cronshaw, director of the Highgate Ballet School in London, says even for learned, longtime balletomanes the show opens up a whole new realm of understanding and appreciation. For those weighed down by adult concerns, watching an episode leaves them feeling uplifted.

This is why Jordan believes “Ballet Reign” has attracted a significant older audience — and also because the sisters honor tradition.

“They’re looking at the content and saying, ‘These are pieces that I grew up watching. And these are the dancers that I adored when I was younger,’” Jordan says.

Eden says she hopes “it’s because our content, and the way we deliver it, is able to touch hearts.”

The Lim sisters keep a disciplined schedule, turning out polished, deftly produced episodes 52 weeks a year.

(Larsen & Talbert / For The Times)

The show also benefits from its high production values, with expertly edited clips from performances, clever blurbs of text and quirky cutaways to, say, a pole vaulter as an allusion to how high a dancer jumps.

Episodes generally begin the same way, with the sisters sitting behind a table with an old-fashioned radio-days microphone nicknamed “Mike-elangelo” between them. Eden kicks things off by announcing, “Ladies and gentlemen, this is Ballet Reign.”

A flash of superimposed text identifies them as “*Very certified*, extremely serious ballet experts.”

Jordan and Eden revel in each other’s company, finish each other’s sentences and play off each other with insightful or witty interjections.

“We grew up best friends from the beginning, and that’s never changed,” Jordan says.

They keep a disciplined, grueling schedule, turning out polished, deftly produced episodes 52 weeks a year.

Comments validating their efforts come in frequently. “You really helped me through a dark time,” reads one. Another notes, “I was going through a really difficult life transition and having your videos helped me get through.”

Jordan says, “That’s a sort of impact that I genuinely did not see coming.”

The sisters are openhearted and enjoy revealing ballet’s best-kept secrets, but they have kept a remarkably mysterious online profile. Until now, they have never even disclosed their last names, let alone anything about their background, education or experience.

There is also nearly nothing on the internet, and fans have long wondered about their credentials, including whether they are professional dancers themselves.

On the show the sisters certainly come across as if they were. Surprisingly, the answer is no — with an “almost” caveat.

The oldest of four siblings, Jordan and Eden spent nearly all of their childhood in Ottawa. From the time they were small the sisters beelined toward becoming professional ballet dancers. Jordan says when she was 4 she got up at the crack of dawn every day and put in a VHS tape of a ballet class that her mother, Mary Lim, had bought. With fierce determination, she performed tendus and relevés along with the older students on the tape.

Eden’s ballet fascination quickly followed. Mary says she soon realized she had no choice but to send them to ballet school.

“Obviously, if you look at a 4-year-old doing ballet at 7 a.m. every single day, you’re like, OK, let’s try lessons,” Jordan says.

Eden, left, and Jordan Lim of “Ballet Reign” are the oldest of four siblings and spent nearly all of their childhood in Ottawa before relocating to Texas to pursue their careers.

(Larsen & Talbert / For The Times)

By 2015, the girls needed a better ballet school than was available in Ottawa. Their parents packed up the family and moved to Dallas, where the pair enrolled in the Ballet Academy of Texas. Aside from ballet classes they were entirely homeschooled, but they had plenty of experience dancing in school performances, ballet competitions and with real companies.

Mary says the intent was “to give them an opportunity to move and carve their own path … We wanted them to find their passions.”

The moment the sisters had worked for all their lives arrived in 2020, when the time came to set off around the country — and the world — to audition for ballet companies. But the COVID-19 pandemic hit just as they got started, and almost everything in the ballet world shut down.

Jordan says the hiatus led them to reflect for the first time on whether their lifelong ambition was truly what they wanted. At the same time they groped for a way to put their passion for ballet to temporary use.

For years the sisters had fantasized, half-seriously, about having their own YouTube channel. Eden convinced an initially reluctant Jordan it was time to make the daydream real, and “Ballet Reign” premiered on Dec. 21, 2022.

The sisters say they convinced themselves they were using the show to take “a gap year” while waiting out the pandemic. As the first months passed, and their audience widened and sent glowing feedback, they began to realize they were having a big impact and touching lives. It dawned on them that this wasn’t just an interlude but their calling.

In an agonizing twist, just as the show had gotten underway, Jordan received word she had been accepted by a professional ballet company. She turned down the offer.

“It was one of the hardest decisions I’ve ever had to make,” Jordan says, but in retrospect the right one.

SACRAMENTO — While the UCLA women’s basketball team has a veteran roster that was in this exact position a season ago, the Bruins have an entirely different vibe during their current postseason run.

The No. 1-seed Bruins (34-1) will face No. 3-seed Duke (27-8) in the Elite Eight on Sunday for the chance to go back to the Final Four a year after UCLA beat Louisiana State to reach the Final Four before immediately suffering a blowout loss to eventual national champion UConn.

This year, they expect something different, in large part because of an upgraded starting lineup.

A tangible difference is the addition of Charlisse Leger-Walker and Gianna Kneepkens. Each was the top scorer on their former squads — Washington State and Utah, respectively — and have taken on drastically different roles as arguably the fourth and fifth pieces of this Bruins team.

Charlisse Leger-Walker hits a reverse layup in front of Minnesota’s Grace Grocholski during the tournament on Friday in Sacramento.

(Eric Thayer/Los Angeles Times)

“It’s huge we have them,” said senior Gabriela Jaquez, who has spent her entire NCAA career with the Bruins. “They’re perfect fits here. Charlisse as a point guard has been great, and then just being a guard out there, a ready shooter, doing whatever we need, and obviously them being able to defend is really great for our team.”

With the Cougars, Leger-Walker averaged double-digit scoring and more than 10 shots per game in every season. With the Bruins, her production has dropped to 8.7 points per game on 7.1 shots.

Where she has improved, though, is a career-high 5.7 assists per contest.

“I look at the talent we have, especially on the offensive end, there are a lot of times where I don’t have to shoot and force some of the shots that I would have to back at Washington State,” she said. “I’ve always been able to facilitate and be that connector, but this is the role I am needed in the most here.”

Kneepkens was the Utes’ top shooting option and Pac-12 freshman of the year. There, she was relied on as the team’s top three-point shooter, and after Alissa Pili left, their top scorer overall.

During her graduate season, she has taken a significant reduction in shots per game, going from 12.3 field goals per game to 9.4.

“I think it tells you what their ‘why’ is, what their purpose is, why they came here,” UCLA coach Cori Close said. “It wasn’t to get their own stats. It was to be a part of something bigger than themselves.”

On a night where neither of them did much shooting against Minnesota, though, it was their defensive length that made a significant difference against a physical Golden Gophers team. It was the kind of defense they could not have played a year ago with Londynn Jones, who transferred to USC, in the spot Leger-Walker now occupies and Angela Dugalic starting rather than providing invaluable depth coming off the bench.

UCLA guard Gianna Kneepkens dribbles under pressure from Oklahoma State forward Achol Akot during an NCAA tournament game at Pauley Pavilion on March 23.

(Ronaldo Bolanos/Los Angeles Times)

Offensively, Leger-Walker’s presence has given the Bruins more options to score from throughout the floor. Known as a three-point threat at Washington State, she needs to be guarded on the perimeter but also not be left to connect to other open players.

“But I think Charlisse, specifically, is one of the best processing point guards I’ve ever been around,” Close said. “Her ability to understand how rotations are happening in the second line, what’s the next play and if she makes one mistake, boy, she’s not making it a second time. … Having Charlisse on our team has freed Kiki [Rice] up in some ways and vice versa. So that’s been really fun to see.”

Rice has played more of a shooting guard role this season with Leger-Walker taking over at point guard, which has opened her up to shoot more and drive to the hoop without facilitating as often.

That freedom has given Rice her best offense season yet.

“[Leger-Walker’s] basketball IQ is insane,” Rice said. “She gets buckets, she defends super well, she does it all for us. She’s selfless, and she kind of knows when to take over. I’m grateful we’ve had her this year.”

Close said that Kneepkens played one of her best defensive games in the win over Minnesota, but that her length playing as a wing has opened up the UCLA defense to guard the perimeter all season.

“It’s just learning to play with great players,” Kneepkens said. “If that’s finding them when they’re open, then I’ll do that. Or if I need to take my shot, I’ll do that too.”

UCLA’s biggest wins have featured dominant performances from Lauren Betts and generally, its other bigs — Sienna Betts and Dugalic — playing at their best.

But the true depth of the Bruins has come from having long guards who can defend and change up what they need to do in any given matchup. They might be the difference going into the toughest parts of the tournament.

“Coming to a program also where you are surrounded by elite players, and at the end of the day we want to win and be a part of a program that can do that,” Leger-Walker said. “Whatever that role is that we have to adjust to throughout the season, I think, we really bought into that.”

Kicking off the upcoming season at the Mark Taper Forum — which recently celebrated its top-grossing musical ever with “Here Lies Love” — is the world premiere of Zack Zadek’s original musical “The Turning,” a folk thriller set in California’s Sequoia groves.

The show, said Center Theatre Group’s artistic director Snehal Desai as the company announces its 2026-27 slate of performances, has a “very L.A. vibe.”

Next up is a batch of shows meant to provide audiences some comedic relief amid a midterm season that’s sure to sow anxiety: Karen Zacarías’ “Destiny of Desire,” Cole Escola’s “Oh, Mary!” and the family-favorite “Dog Man: The Musical.” Then in the spirit of springtime renewal, thought-provoking plays like “John Proctor Is the Villain” and “Fences” will leave audiences in contemplation before festive summer item “Boop! The Musical” swoops in to lift spirits.

When Desai plans the company’s season lineup, he always surveys the year ahead — literally.

“I look at the calendar a lot as to, where do we think we’re gonna be a year from now? Six to eight months from now?” Desai said in a recent interview at his office in downtown L.A.

Some entries in Center Theatre Group’s upcoming season are scheduled intuitively, like the Mischief Comedy team’s “Christmas Carol Goes Wrong,” running in the thick of the holiday season. But with others, Desai said he orchestrated the lineup to tell a programmatic story, like an artist might order tracks on an album.

As an artistic director, Desai said, he always encourages visitors: “Join us all season, versus just coming for the things you like,” and maybe you’ll be pleasantly surprised.

This year as Desai consulted his calendar, he looked even farther ahead than usual, toward Center Theatre Group’s 60th anniversary season (2027-28) and the L.A. Olympics in 2028.

“We were having conversations of, what are the plays that we want to do or we want to bring back,” Desai said, when the theater company’s associate artistic director Lindsay Allbaugh suggested “Fences,” the final play of August Wilson’s acclaimed Century Cycle to be staged at Center Theatre Group.

“I said, ‘Oh, that’s what we want,’” Desai said, “both to end this season and kick off our 60th.”

The artistic director could not yet confirm who would direct the Pulitzer Prize-winning drama about a former Negro League baseball player and his family navigating life in 1950s segregated Pittsburgh.

Desai, who has not shied away from politically charged material during his tenure at the theater company, said Wilson’s play aligned with his intent this season to platform work “asking who we are as a country and as a community and society.”

“I wanted voices that felt bold and fearless, that were both outspoken and unafraid in a world where, right now, it feels like there’s a lot of things that are trying to stifle us from speaking out or coming together,” he said. To him, presenting “Fiddler on the Roof” in Yiddish is revolutionary, as is “John Proctor Is the Villain’s” dissection of a classic through a feminist lens.

Desai added that he planned to balance that rabble-rousing spirit with productions that leaned more “celebratory and communal” and provided “different ways of having catharsis.”

“Oh, Mary!” offers riotous fun, and “Destiny of Desire” is an homage to an oft-dismissed yet widely consumed medium, the telenovela.

“With ‘Destiny,’ you’re able to take that format of something that people often watch in isolation at home, and enjoy it together,” Desai said.

Regional theater faces a slew of challenges: rising production and personnel costs, post-pandemic audience declines and competition from digital media. The situation has felt particularly bleak in L.A., Desai said, as seeming moments of recovery in the past year or so were squashed by the L.A. wildfires, then last summer’s immigration crackdown and associated civil unrest.

“We just constantly live in this time period that feels like we’re on shifting sands,” Desai said. Nonetheless, the company is finding paths through the desert, including with alternative programming through CTG: FWD.

The CTG: FWD initiative this season will bring “Riverdance 30 – The New Generation,” “Clue” and “The Music Man” to the Ahmanson Theatre, and “Dog Man” to the Kirk Douglas Theatre.

Another strategy Desai said the theater company has employed is heavy investment in new works development, particularly new musical development. New works are time-and resource-intensive, Desai said, but they’re also good investments, offering the best chances at longevity and commercial prospects.

With “The Turning,” Center Theatre Group spotlights an emerging voice that Desai said represents “the future of American theater.”

After Desai was introduced to Zadek’s folksy musical “The Turning,” he said, “I just kept listening to it over and over again. I was like, ‘I can’t wait for the cast recording of this to be on Spotify.’”

The artistic director was also thrilled to find an ultra-rare gem in Zadek’s piece: a truly original story.

“A lot of things are adaptations these days: adaptations of films, of TV shows,” Desai said. “So to get a world premiere musical that is based on its own original concept — that, I found, was really compelling.”

Following back-to-back seasons of directing his own productions, Desai is taking a breather this go-around to focus on broader administrative duties. But he still hopes to be a resource for visiting directors learning how to navigate the “special space” that is the Mark Taper Forum — and its neighbors the Ahmanson Theatre and the Kirk Douglas Theatre, which will get its own season announcement in the spring or early summer.

See the full season, here.

Within the first 72 hours of a 26-day game, “Survivor 50,” featuring 24 veteran players, had already delivered feuding, anguish and heartbreak. Legendary rivals Ozzy Lusth and Benjamin “Coach” Wade appeared to bury the hatchet, only for their conflict to reignite soon after. Kyle Fraser was forced out due to injury, and Jenna Lewis-Dougherty, who competed in both the show’s inaugural season and “All-Stars,” was the first person voted out after more than two decades away from the game.

Yet there were also moments of nostalgia, connection and excitement as returning players arrived on the beach, grateful to be part of the show’s landmark 50th season.

This raw display of humanity has kept the show’s torch burning for over 25 years. “‘Survivor’ is built on a timeless idea because human nature doesn’t change,” says Jeff Probst, the host, executive producer and showrunner of the reality competition series. “It’s essentially behavioral psychology in the wild.”

Back in Fiji’s Mamanuca Islands for “Survivor 50: In the Hands of Fans,” the show has added a novel element. Fans were given a say in key decisions, voting online to shape production and game mechanics, from choosing tribe colors to requiring castaways to earn rice and supplies instead of receiving them at the start.

“What a great twist,” says Wade in an interview over Zoom. “‘In the Hands of Fans’ transforms the game. Instead of it being, ‘They are playing,’ it’s ‘We are playing.’”

Though he was disappointed to be deprived of staples upon his arrival, he smiles and says that if he were watching at home rather than competing, he also would have wanted players to start with nothing.

Singer-songwriter and “Survivor” superfan Zac Brown coooked and performed for contestants on the show. (Robert Voets/CBS)

“Survivor” has also leaned into its famous fan base this season, bringing in self-proclaimed superfans, including Grammy-winning singer-songwriter Zac Brown — who appeared in Episode 4 as a reward for a winning tribe for whom he spearfishes, cooks and performs. The show also nods to Billie Eilish via the Billie Eilish Boomerang Idol featured in the season premiere. The game piece was handpicked by the Oscar- and Grammy-winning pop star — whose 2022 song “TV” references “Survivor” — and accompanied by a letter in which she outlined its instructions.

But Mike White, creator of “The White Lotus,” represents the show’s most intertwined cultural crossover. He drew inspiration for his hit HBO series from “Survivor” and cast several former tribemates in cameos. “Survivor 50” also features “The White Lotus” Easter eggs.

Returning to the franchise for the first time since he finished as runner-up in 2018, in the Season 50 premiere he says, tearfully, “There are times in ‘White Lotus’ where I’m so fried … it’s a 129-day shoot, but I look back on my ‘Survivor’ experience, and I’m like, ‘Dude, I did that and I can do this.’” Yet White’s hard-won resilience couldn’t protect him from being voted out in a blindside in Episode 4, proving that fame offers no immunity.

And that is the point. At its core, “Survivor” is about watching people from all walks of life dropped into a remote, unforgiving landscape where they must outwit, outplay and outlast one another for a $1 million prize — hungry, exhausted and sore, roasting in the blazing sun or shivering through rainstorms, and enduring grueling physical competitions. They must cooperate with the very people they’re competing against. And as alliances form and fracture, each day grows more fraught.

Former “Survivor” contestants Mike White, left, and Quintavius “Q” Burdette in Season 50.

(Robert Voets/CBS)

“It’s very simple but very deep,” Probst says. “The goal is not to get voted out, but the strategy in achieving that goal is infinite, so the game’s easy to understand, but it’s impossible to master. That’s why it’s so much fun to watch. You’re constantly asking yourself, ‘What would I do?’”

It’s one thing to ask from the comfort of home, but another to live it out, and on national television to boot, says Wade. Coach “When you step on that beach, the stakes are so much higher,” he explains. “Nobody really thinks about the million dollars. They’re thinking about surviving, not getting voted off.”

“Most people would be able to do it,” he continues. “But what you’d realize is what happens to your character and your facade when you’re deprived of everything — food, comfort, reaching out to your friends and having a support system that you know and trust. When you strip all of that away, this stops being a game, and your character will be forged, revealed or shattered.”

A four-time player, Season 23 runner-up and 2015 Survivor Hall of Fame inductee, Coach is one of the show’s most legendary figures. Known as the Dragon Slayer, he’s often shown meditating, praying, waxing philosophical, and pontificating on nobility, integrity and honor. His grandiose persona rubbed many the wrong way early on, earning him a villain label.

Reflecting on his legacy, Wade partly blames the edit but acknowledges he often took himself too seriously, was arrogant, and tried too hard to be larger than life, yet he stresses his authenticity. “The way I look, dress and talk — I’m polarizing,” he says. “That’s who I am in my real life, so that’s who I am out there.”

Probst affirms that what you see is what you get. “Coach shows up authentically every day,” he says. “He wears his mythology on his sleeve and has it tattooed on his body. When he pulls back his hair into a ponytail and quotes Magellan, that’s Coach: ‘I’m the guy with quotes about war and victory and fearlessness and courage. That’s actually who I am.’”

This season, Wade calls himself “Coach 4.0,” but Probst remains skeptical. “Every time he plays, Coach refers to himself as the new version of Coach,” Probst says. “But the minute he starts talking, everybody thinks the same thing: ‘Coach, you may have some more maturity and life experiences now that you’re married and have kids, but you’re exactly the same.’”

That’s not a critique of Coach. After observing more than 750 players over 25 years, Probst believes, “We are capable of much more than we think we are, and simultaneously, at our core, we generally are who we are. It doesn’t mean you can’t change or become a better version of yourself, but you’re going to have some core instincts.”

Benjamin “Coach” Wade in “Survivor 50.” (Robert Voets/CBS)

Coach in 2011’s “Survivor: South Pacific,” the show’s 23rd season. (Monty Brinton/CBS)

The show’s unflinching exploration of human nature traces back to visionary British television producer Charlie Parsons. He conceived the social experiment based on a combination of his curiosity about people, the influence of “Lord of the Flies” and “Robinson Crusoe,” and his boarding school experience.

“It was an all-boys school and quite a competitive place, so there was an element of survival in that,” Parsons says over Zoom. “It wasn’t a bad experience, but if you’re 13 and you’ve never lived away from home before, it can be quite a wrench to live for a month at a time away from your parents. On one occasion I called my parents and said, ‘Will you rescue me?’ And they didn’t.”

In 1988, Parsons turned his concept into “The Castaways,” a three-part documentary for a magazine-style television program he was showrunning.

Several years later, he was approached by Disney’s Buena Vista Productions to make an American version of a successful British morning show he created. When that didn’t pan out, he pitched what would eventually become “Survivor,” developing it with Buena Vista in hopes of selling it to ABC.

But, he says, the radical concept didn’t fit neatly into existing TV genres, and the network balked. “It’s difficult to imagine, but back in the ‘90s this idea of reality TV basically didn’t exist,” Parsons says. “Television was reasonably siloed … ABC took a long time deciding because they could see that there was something about it, but in the end they passed.”

In 1997, however, the concept found immediate success in Sweden with “Expedition Robinson,” leading to expansion in more Scandinavian countries.

The leap to America required a new alliance. During Parsons’ development process with Buena Vista, he’d met fellow British TV producer Mark Burnett at a party in Los Angeles where he’d told him about the reality competition format he was building. Burnett then called every six months pressing to produce it until Parsons finally agreed to grant him the American licensing rights.

“Mark had an incredible energy and presence, which meant that he could go and sell the s— out of it,” Parsons says. “He could persuade the networks to take a risk on something risky.”

Even so, as Burnett relayed in a comprehensive 2010 Television Academy interview, he faced a difficult pitching process. But after every major network passed, he re-approached CBS, where then-CEO and President Les Moonves was game to try original programming during summertime when reruns caused dwindling viewership. But when Moonves commissioned a pilot, Burnett said a stand-alone episode was too costly and couldn’t capture the show’s slow-burn endgame.

Instead, he proposed a sponsorship model built on integrating products into the game, pitching the value of a castaway using a branded cellphone to call home, or the desperation for a slice of pizza and a beer. After Burnett secured corporate sponsors, Moonves greenlighted “Survivor.”

Though firmly embedded in the culture today, “Survivor” was revolutionary when it debuted May 31, 2000, quickly becoming a cultural phenomenon. The Season 1 finale averaged 51.7 million viewers, surpassing both the Academy Awards and Grammys that year. Time magazine featured Lewis-Dougherty on its late June 2000 cover, and “The Late Show With David Letterman” featured a “Survivor”-themed Top 10 list presented by the show’s 16 castaways.

From its exotic location to the now-iconic buffs, “Survivor” established a world all its own, complete with a unique lexicon of immunity challenges, tribal council and Probst’s signature catchphrase, “The tribe has spoken.” As the enduring face of the show, Probst is central to its legacy, earning four Emmys for his role as host.

But even Probst’s survival wasn’t guaranteed. About 15 years ago, the relentless travel and schedule left him so depleted that he briefly quit the show. A few months of rest, however, allowed him to reevaluate. “It really was, ‘I don’t know if I have anything left in my tank to bring to the game.’ That might be what partly influenced Mark to make me showrunner even faster,” Probst says. “I needed to be more of a storyteller on this show.”

The cast of “Survivor” Season 1, standing from left: Ramona Gray, Dirk Been, Gretchen Cordy, Richard Hatch, Sonja Christopher, Susan Hawk, Kelly Wiglesworth, Sean Kenniff, B.B. Andersen and Rudy Boesch. Seated from left: Gervase Peterson, Jenna Lewis, Joel Klug, Stacey Stillman, Greg Buis and Colleen Haskell.

(Monty Brinton/CBS)

He’s quick to note the show’s collaborative ethos, however. “The term ‘showrunner’ is pretty misleading at this point. We make this as a team,” Probst says. Under his stewardship, “Survivor” is more cinematic, reimagined through the lens of Joseph Campbell’s “The Hero’s Journey,” and family friendly. Probst also notes the necessity of continually evolving game design, creating unexpected twists and advantages to keep players on edge and never knowing whom to trust.

The pandemic brought changes as well. With production shut down amid a world in turmoil, Probst felt “Survivor” needed more levity. When filming resumed, due to the 14-day quarantine requirement, back-to-back seasons were shot and the format was shortened from 39 days to 26. The faster-paced “New Era” that began with Season 41 also coincided with CBS’s 2020 diversity mandate requiring at least 50% of the cast to be nonwhite, and Probst dropped his longtime catchphrase “Come on in, guys” in favor of more inclusive language.

By Season 45, in keeping with Probst’s narrative-driven vision, the previously hourlong episodes expanded to 90 minutes.

Television habits have also changed since viewers once dissected tribal council proceedings at the office the next morning. Streaming breathed new life into “Survivor,” with younger viewers discovering it during the pandemic, while its cross-generational appeal keeps it a broadcast powerhouse. The Season 50 premiere drew 9.1 million viewers across live broadcast and delayed streaming, and in the weeks leading up to the launch, viewers revisited older seasons, boosting streaming numbers ahead of the anniversary.

According to Mitch Graham, CBS executive vice president of alternative programming, “Survivor” ranks No. 1 in the coveted 18 to 49 demographic, and the Season 50 launch generated the biggest social media engagement in the franchise’s history.

Even as the reality TV landscape has grown crowded, Probst remains unfazed. “It’s a show like no other,” he says. “It’s adventure, survival, strategy, interpersonal relationships, social politics. … This multi-layered storytelling gives it durability because any given week you have no idea what you’re going to watch.”

Meanwhile, as Season 50 continues to unfold, no one knows who will be crowned “Sole Survivor” on May 20 in Los Angeles, the show’s first live finale since 2019. But rest assured, by then they’ll have revealed exactly who they are.

Braylon Mullins sank a desperation three-pointer with 0.4 seconds left to give Connecticut an astonishing 73-72 victory over top-seeded Duke on Sunday, earning the Huskies a spot in the Final Four after they rallied from a 19-point first-half deficit.

The Blue Devils led by three before UConn’s Silas Demary Jr. made one of two free throws with 10 seconds left. With Duke playing keep-away to prevent the Huskies from fouling, Cayden Boozer’s pass near midcourt was deflected, and after UConn came up with the ball, Demary made a shot from well behind the three-point line.

It’s the second straight season to end in a huge collapse for Duke, which was the top overall seed in this year’s tournament. The Blue Devils led by six with 1:14 remaining before falling to Houston in last year’s national semifinals.

UConn missed 18 of its first 19 attempts from three-point range and finished five for 23. The fifth will be remembered in Connecticut for generations.

llinois will face UConn and Michigan will take on Arizona next Saturday, with the winners squaring off two nights later for the national title.

The Arizona-Michigan game is a matchup of top seeds. UConn is seeded second and will play No. 3 seed Illinois.

Arizona is the early favorite to take the title next Monday night in Indianapolis, listed at 19-10 odds by BetMGM Sportsbook, followed closely by the Wolverines — coming off a 95-62 drubbing of Tennessee on Sunday — at 2-1.

Michigan is a 1½-point favorite in its semifinal.

On March 29, Taix as we know it closes forever. The iconic French restaurant originally opened downtown in 1927 and relocated to its current chalet on Sunset Boulevard in 1962. It’s a grim reminder of L.A.’s insatiable appetite to destroy its own heritage and especially devastating to a certain milieu of writers and artists, myself very much included. Since it announced its closure, I’ve been visiting as often as I can to say farewell, not only to the charmingly shabby faux-1920s interiors, but to the many lives I’ve lived at its tables. First as a young guitarist when a bandmate worked the bar’s soundboard, next with the Chinatown artist scene, then with Semiotext(e)’s avant-garde lit circle, later through firecracker romances and heartbreaks during the art party Social Club, recently floating through the louche carnival of Gay Guy Night and now with the circus of beatniks from my reading series Casual Encountersz.

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It’s difficult to explain why this cavernous and windowless restaurant means so much, so I’ve tried to list everything I love about Taix.

I love that they don’t play music. I love the 1960s bathrooms. I love the bottomless tureens of soup. I love the complimentary crudité from the pre-pandemic era. I love the cold pats of butter. I love that you can always get a table, no matter how many people roll in. I love the free refills on Diet Cokes. I love the 80-year-old couples on dates. I love how the dim lighting makes everyone seem chic. I love the frayed carpeting. I love the fake votive candles. I love the icy martinis. I love the corner booth beside the fireplace. I love the smoked mirrors and tin-plate ceilings in the elegant back dining rooms. I love the small fortune I’ve spent there picking up the check for many strippers, poets and bohemians. I love its rundown glamour, which miraculously evokes Old Hollywood, Belle Époque and trashy Americana all at once. I unironically love the food, which isn’t spectacular, but is very comforting. I love how a waitress once ran off with a friend of mine and slept on my couch for a week. I love how my wife generally hates eating at restaurants but loves eating at Taix. I love how every L.A. artist I know has their own singular version of this list.

The only thing I don’t love about Taix is that its owners are tearing it down to erect soulless condos. I know the city needs housing, but not like this. I hope we’ll all find a new place to call home again soon.

Taix shaped me as a writer and artist, along with so many others, which is why before the new owners demolish this cultural institution, I asked other creatives what the Echo Park landmark means to them.

Chris Kraus.

(Ariana Drehsler / For The Times)

Chris Kraus, writer, artist and co-editor of the independent press Semiotext(e): When I moved to L.A. in 1995, Taix was the go-to place, with its deep banquettes, cuisine bonne-femme and its nightly prix-fixe specials. Mostly it was police officers and their wives who went there. Sylvère Lotringer and I went often, for him it was a little reprieve from the non-Frenchness of L.A. He could order in French and exchange pleasantries with an elderly French waiter who seemed to live there. Years later, when Sylvère moved to Ensenada and was less active with Semiotext(e), Taix was the site of our “Annual General Meetings” — Hedi El Kholti, Sylvère and I would have dinner together and Hedi would catch Sylvère up on all the forthcoming publications and projects. Taix was a place to run into people unexpectedly. About a decade ago, when the bar was refreshed, it changed again and I kind of lost track of it.

Rachel Kushner, novelist: I dined at Taix probably once per week for 23 years. It hurts so much that it is closing. I simply stopped going, so that I could begin to grieve, and also to avoid every last random tourist standing by the host station, on their phone, and the glum possibility of being seated in the second dining room, a.k.a “the Morgue” as my friend Benjamin Weissman put it. I want to protect my memories of the special occasions I enjoyed in this perennial special occasion establishment … I want to remember Bernard, a cheerful Basque from Biarritz who worked there 60 years, got progressively trashed over the course of his shift, went to Bakersfield on Sundays to party with his sheep-herding countrymen, came back Wednesdays sunburned and happy. The old valets who were let go during the pandemic. I used to give them a Christmas bonus every year, as a thanks for letting me park my classic out front. Look, I was born in Taix. I mean, in a way. I nursed my newborn in Taix. He grew up there. People who criticize the food are losers, and will never understand. The steak frites are great. The panna cotta, discontinued after the pandemic, was my favorite. The Louis Martini Cabernet was reliable. (Bernard told me the wine cellar downstairs took up the entire footprint of the main restaurant. Don’t know if that’s true.) Meanwhile, I can’t put my arm around a memory. All the smart girls know why. It doesn’t mean I didn’t try.

Cord Jefferson, writer and director: When I started going to Taix, in 2004, you could still gamble at the bar. They sold keno slips and lottery tickets, and whenever Powerball got over $100 million, I’d buy a ticket with my pint. Where else can you do all that while simultaneously watching a game and eating a tourte de volaille? Taix was where I watched the heroic Zinedine Zidane headbutt the gutless Marco Materazzi in the saddest World Cup final ever. When France lost that afternoon, my favorite server, Phillipe, cried. Phillipe’s teeth were often as wine-stained as his customers’. He’d bum me cigarettes in the parking lot and speak abusively about the ways the neighborhood was changing. I’m happy Phillipe is not around to see the digital renderings of what they plan to erect once they demolish the Taix chateau: another condo building with all the charm of a college dorm. It’s a damn shame what’s happening to Taix. I wish I had more money so I could buy it and keep it around, but I never won the Powerball.

John Tottenham, novelist and poet: It’s a shame that Taix is closing, not only because other plans will now have to be made for my funeral reception, but because it was the last civilized watering hole in the neighborhood. There isn’t anywhere else that one can walk into and immediately satisfy the social instinct among a convivial and refreshingly diverse clientele in what is becoming an increasingly homogenized locality. It has been the nexus of my social life for over 20 years, and is simply irreplaceable.

Jade Chang.

(Ariana Drehsler / For The Times)

Jade Chang, novelist: I’d only known Taix as a raucous bardo of a French restaurant, then there was a memorial service for Alex Maslansky, my beloved friend Max’s brother, owner of Echo Park’s best bookstore, Stories. Alex was a beautiful and beleaguered soul, born worried, born romantic, difficult and hopeful and apparently a shockingly good poker player. The room was packed with music people and book people, sober friends and poker friends, packed with the gorgeous girls who’d always loved him, our collective sorrow potent and sweet enough to pull the walls in around us tight as we said goodbye and goodbye.

Alexis Okeowo, New Yorker staff writer: I was a late discoverer of Taix, stumbling upon it when I moved to a bungalow just above Sunset during the pandemic from New York. I seemed to only see writer friends there. I met up with a journalist for drinks and then ran into a new writer friend at the bar. I later had a big, spontaneous dinner with TV writer friends and then a birthday celebration in the dining rooms that ended in two friends escorting me home, sick and happy off a mostly-martini meal and the selfies I took in the bathroom with the iconic pink and gold wallpaper. Every time, there was talk about ideas and gossip and so, so much laughter.

Alberto Cuadros, writer/curator and co-founder of the Social Club: About 10 years ago, Max Martin and I started Social Club as a weekly social salon at Taix. We thought of it as a kind of Beuysian social sculpture, it was a weekly ritual, and over time it became something of an institution in the L.A. art world. Everyone knew where to go in L.A. on a Wednesday if they wanted to meet interesting people or find friends. I even met my wife there who was visiting from Montreal.

Siena Foster-Soltis, playwright: Taix felt like one of the few remnants of the L.A. I grew up in and love so dearly.

Ruby Zuckerman.

(Ariana Drehsler/For The Times)

Ruby Zuckerman, writer and co-founder of the reading series This Friday: Taix is the only restaurant in L.A. that doesn’t lose its mind if new friends drop in halfway through dinner or if you stay at your table for hours after you stopped ordering. That kind of flexibility leads to spontaneous nights where what started off as an intimate hang expands into an all-out party. As a writer, that flexibility has allowed me to meet editors, collaborators and readers, drawn together by pure fun rather than networking. One of my favorite nights involved getting in a physical altercation with novelist John Tottenham after he stole my phone to send prank texts to my boyfriend. I’ll miss taking selfies in the bathroom.

Blaine O’Neill, DJ and events organizer: I always say Taix is the “People’s Country Club.” It is exceptional because of the staff who understand the importance of hospitality, and the scale of the space is humane. You’re able to evade feeling pinched by the noose of transactional cosmopolitanism.

Tif Sigfrids, gallerist and publisher Umm…: Taix was a cultural nexus. A space with broad range. It went from being the dark bar I read books and day-drank at in my 20s to the place where I rented a private room to host my son’s first birthday party. It’s where I watched Barack Obama get elected twice, the Lakers win back-to-back championships, and where I indulged in countless night caps and an unreasonable amount of all-you-can-eat split pea soup. You never knew what kind of hot jock, wasted poet or other type of intrigue you might run into there. You can’t make a place like Taix up. It’s a place that just miraculously happens.

Kate Wolf, writer and editor: Though I have been going to Taix for nearly 20 years, embarrassingly, it was only in the last year that I realized the building wasn’t from the 1920s. Those smoke-stained mirrors, that tin ceiling, the drapery and light fixtures are in fact set-dressed — ersatz! Which of course only makes me love the place more. Taix’s history, and its spot in the city’s cultural firmament, cannot be denied. But what really makes it so special are the people who work there and the clientele, not its past. This point is perhaps my only hope in losing what is my favorite restaurant in Los Angeles. That by some divine grace, we will all find each other again in another spot, designed to a different decade than the horror-filled present, and fill it with the same warmth, the same bottomless soup bowl, the same cheer.

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Hedi El Kholti, the co-editor of Semiotext(e).   (Ariana Drehsler/For The Times)

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Writers Lily Lady and Siena Soltis-Foster.  (Ariana Drehsler/For The Times)

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Poet Meat Stevens (Steven Lesser).   (Ariana Drehsler/For The Times)

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Sammy Loren, writer and curator of Casual Encountersz.  (Ariana Drehsler/For The Times)

Hedi El Kholti, artist and co-editor Semiotext(e): Taix is where we would end up after every reading since 2004 when I started working at Semiotext(e). I have memories of being there with Kevin Killian, Dodie Bellamy, Gary Indiana, Michael Silverblatt, Colm Tóibín, Rachel Kushner and Constance Debré among others … Taix has that particular anachronistic vibe that made L.A. so charming when I moved here in 1992, one of these places that time forgot. It was odd when it became really hip in the last 10 years. It made me think of what Warhol wrote about Schrafft’s restaurant when it had been redesigned to keep up with the fashion of the moment and had consequently lost its appeal. “If they could have kept their same look and style, and held on through the lean years when they weren’t in style, today they’d be the best thing around.”

Loren is the founding editor of the art and literary conceptual “tabloid” On the Rag and curator of the reading series Casual Encountersz.

A BITTERLY fought five-year dispute between an EastEnders star, his wife and their neighbours over a dog bite on a Lord’s estate has finally ended.

TV actor and film star John Blundell and his wife Mercina were locked in a bitter legal fight with neighbouring lodge owners Alison and Andrew Girdiefski after the row over their tiny pooch Ziggy.

The Sun can now confirm that Mercina and John have finally seen a closure in their favour, with an out of court payment after bringing a civil court case.

John – who also starred in Quadrophenia and Scum – and his wife are understood to be delighted by the result.

The long-running saga dates back to 2021 at the plush Fritton Lake estate in Norfolk, a 5,000-acre retreat owned by aristocrats Hugh and Lara Crossley, Lord and Lady Somerleyton.

Lord Somerleyton, at the height of tension, even attempted to mediate between the two warring couples, The Sun understands.

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The row all kicked off when Mercina had been visiting her neighbours’ lodge to admire renovation work when she says their small hairless Chinese crested dog, Ziggy, suddenly bit her on the wrist.

The attack, they claimed, left her with a half an in inch wound that later scarred, with the actor’s wife needing hospital treatment.

With the row spiralling out of control – John and Mercina then launched a civil case at Norwich County Court seeking damages.

The Sun has now confirmed the long-running dispute has been settled out of court.

It brings to an end to years of acrimony.

Court officials told The Sun the matter was settled out of court using a Part 36 offer – a formal settlement under the law.

A source close to the couple told us: “While the couple are selling their property at Fritton they are reluctant to talk.

“It has been a very difficult few years for the Blundell’s, who really have done nothing wrong at all.”

Back in 2021, what should have been a tranquil countryside getaway quickly spiralled into a toxic feud involving police, lawyers and estate bosses.

Relations between the couples then soured dramatically.

The dispute even drew in Norfolk Police, with officers speaking to both sides.

Ziggy was added to a register of dangerous dogs, but no further action was taken due to the time elapsed.

Complaints of harassment were also investigated by Norfolk Police – but no offences were ultimately found.

Mercina also accused the pair of taunting them by singing “who let the dogs out” and filming them nearby.

Frustrated, the Blundells launched civil action – setting them for a court showdown.

The pair even recruited James McNally – known as “The Dog Bite Solicitor” who specialises in getting civil damages on dog attacks.

The Blundells said at the time they had been quoted £1,500 for a plastic surgeon to fix Mercina’s wrist – and were believed to be seeking up to £30k in costs and damages.

And the Girdiefskis had said ahead of the looming case that they found the figures “ridiculous”.

“The sort of money you would expect to be paying somebody who has had their face ripped off by a dog, not this mere 1.2cm cut,” said Alison in July 2025.

Speaking at the time, she added: “From day one, we have accepted responsibility.

“Our Ziggy did bite Mercina and we have never denied this.”

But the dramatic court clash never happened after the Girdiefskis agreed to settle.

A court spokesperson said: “This case was settled out of court by way of accepting a Part 36 offer, therefore there is no final order or settlement details to provide.

“Both sides had solicitors so in the end the court was not involved.”

John said the retreat, meant to be a peaceful escape, had instead become “a living nightmare”.

Both couples are now trying to sell their lodges on the exclusive estate.

The Girdiefski’s and Blundells have been approached for comment.

The Sun have also contacted Lord Somerleyton.

Some employees called it the “dash for cash.”

Months after Kaiser Permanente doctors saw a patient, federal prosecutors said, administrators pushed the physicians to add new, false diagnoses to the medical record in a billion-dollar scheme to defraud the government. Kaiser in February paid $556 million to settle the allegations.

“Deliberately inflating diagnosis codes to boost profits is a serious violation of public trust,” said Scott Lambert, acting deputy inspector general for the U.S. Department of Health and Human Services.

Kaiser faced further scrutiny a month later when the nonprofit healthcare giant paid $30 million to settle another case brought by federal investigators, this one involving claims it had failed for years to provide patients with adequate access to mental health care.

Kaiser said it settled the fraud case without admitting wrongdoing. It said the mental health settlement did not involve its current practices.

Yet critics have pointed to the repeated legal payouts, saying they reflect how Kaiser has veered from its charitable mission in recent years and is now virtually indistinguishable from its for-profit competitors keenly focused on the bottom line.

That shift has also fueled recent tensions with its employees, who have complained about inadequate resources to address staffing shortages and patient delays.

“Their focus is on profit and in doing more with less,” said Kadi Gonzalez, a nurse who works in Kaiser’s obstetrics and gynecology clinic in Downey. Gonzalez was one of more than 30,000 nurses and other Kaiser professionals who walked out in a four-week strike that ended last month.

The unions said their strike was as much about staffing levels and patient safety as it was about wages.

“The more patients a nurse has, the higher the mortality rate,” Gonzalez said. “We don’t have enough providers.”

The Oakland-based giant insures almost 1 of every 4 Californians. It operates as both an insurer and a provider of care in a closed system that makes it difficult for patients to get treatment elsewhere.

Kaiser declined to make its executives available for comment, but issued a statement disputing the claims.

“Our charitable purpose guides every decision we make,” the statement said. “Driven by our mission, we offer better care and coverage to our members, invest billions of dollars in our communities every year, and work to advance high-quality, affordable, equitable, evidence-based care in communities across the country.”

The statement added that its hospitals are “among the best staffed in California” and that staffing levels always meet or exceed state requirements.

A surge in profits

Founded in 1945, Kaiser has long gained national attention for its managed care model and focus on preventative care.

The nonprofit says its mission is “to provide high-quality, affordable health care services and to improve the health of our members and the communities we serve.”

The Kaiser system — the largest healthcare nonprofit in the country — serves 9.5 million Californians. The Times offers Kaiser insurance to its employees.

Last year, Kaiser took in more than $127 billion in revenue, earning a profit of $9.3 billion. The net income was mainly from investments, with a smaller share ($1.4 billion) from its sprawling operations as well as insurance premiums.

Kaiser has continued to hike its insurance premiums faster than inflation.

In 2025, premiums increased an average of 5.1% in Southern California and 8.2% in Northern California, according to Beere & Purves, a general insurance agency. In January, it raised them by another 6.5% in Southern California and 7.1% in the northern part of the state.

Kaiser has been rapidly expanding nationwide. It now has hospitals and clinics in at least 10 states and the District of Columbia, some operating under a separate nonprofit that it created in 2023 called Risant Health.

Kaiser said in its statement that D.C.-based Risant “is a way for us to expand access to high-quality, affordable care to millions more people, in fulfillment of our mission.”

“As a nonprofit, any returns are reinvested back into patient care, infrastructure, workforce benefits, and community health programs—not distributed to shareholders,” it said.

Kaiser said that its annual premium increases were “generally lower” than its competitors.

The surge of money has increased Kaiser’s reserve of cash and investments, which reached $73 billion in 2025 — 68% higher than in 2019, according to its financial statements.

Because Kaiser is registered as a charity, it pays no taxes on its profits or its extensive real estate holdings. After a recent buying spree, the nonprofit system said it had 847 medical offices and 55 hospitals at the end of 2025.

The arm of Kaiser that operates its hospitals and clinics avoided $784 million in federal income tax, $372 million in state income tax and $204 million in property tax in 2024, according to an analysis by the Lown Institute, a healthcare think tank.

In all, Kaiser Foundation Hospitals received nearly $1.5 billion in tax and other benefits by registering as a charity, the institute calculated.

Laws exempt nonprofits from paying taxes with the assumption they will give back to the community.

In 2024, Kaiser Foundation Hospitals provided $963 million in patient financial assistance and contributions to community health programs, but that still fell short of its tax benefit by more than $500 million, according to the Lown Institute.

Dr. Vikas Saini, the institute’s president, said that amount of money could help solve a myriad of California’s social problems.

“If they closed that gap, what would that $500 million get you?” he asked.

In a 2024 study, the institute found that Kaiser had the largest gap between its tax benefits and charitable spending of any of the nation’s nonprofit hospital systems.

Kaiser said in its statement that its combined charitable spending was far more than the institute’s calculation for its hospital arm. It said it not only provided patients with financial assistance, but also spent money on affordable housing, food access, community health and disaster recovery — efforts that totaled $5.3 billion last year.

After the January 2025 wildfires, Kaiser said it provided 2,400 households with financial assistance, opened evacuation centers, deployed mobile health vehicles and provided mental health services to victims.

“We have never been prouder of how we are delivering on our mission for the public good,” the statement said.

As Kaiser has grown, so has compensation for its top executives, which is among the highest of all California nonprofits.

In 2024, Greg Adams, Kaiser’s chief executive, was paid nearly $13 million, according to its filings. At least 40 other executives received total compensation of more than $1 million that year.

The nonprofit has a board of directors of more than a dozen members, with all but a few receiving $250,000 or more a year, according to the filing.

The board helps to oversee Kaiser’s fast-growing operations as well as its $73-billion financial reserve, which healthcare advocates and experts have said is far higher than its competitors and the level the state requires.

“I’m flabbergasted,” Saini said when told of the reserve’s size. “Who decides how big of a reserve is enough?”

Kaiser said it maintained the large financial reserve “to ensure long-term stability, manage emergencies, support major capital investments, and support our people’s retirement benefits.”

And it said senior managers were paid less than most for-profit health plans.

Patients delays, staffing shortages

Some longtime Kaiser members have left for other insurers, citing a decline in care.

Mark Schubb, a Santa Monica resident, had been a Kaiser member since 1995. He said he left in 2022 after experiencing months-long delays to visit his primary care doctor and specialists.

When he complained, Schubb said, “the answer was, ‘Well, you can always go to urgent care.’ “

Gonzalez, the nurse in Downey, said patients often wait three months for an appointment. And when they finally get in, the 20-minute appointment may be double-booked, she said, leaving the physician assistant with 10 minutes to see them.

“They can wait months for an appointment and then they are rushed through,” she said. “Kaiser has the resources to fix these things.”

In one case, 53-year-old Francisco Delgadillo arrived at the Kaiser ER in Vallejo, Calif., in December 2023 with severe chest pain. After an initial assessment, he waited eight hours for care, according to state regulators.

He died in the lobby.

A state and federal investigation found multiple violations, including that Kaiser failed to have a licensed nurse monitoring the dozens of patients in the ER’s waiting room.

Kaiser didn’t respond to a request to comment on the death but has disputed claims of inadequate staffing at its hospitals.

Complaints about a lack of available mental health care go back more than a decade.

In 2023, Kaiser agreed to a $200-million settlement after the state found it had canceled tens of thousands of mental health appointments and failed to provide timely care. The settlement included a $50-million fine — the largest the state had ever levied against a health plan.

Garie Connell, a Kaiser therapist and licensed clinical social worker in Encino, said the system had been rationing mental health care for years, while earning big profits.

“They’ve really lost their way,” she said.

Kaiser said it had “made significant investments to expand choice and access to mental health care over the past several years.” The healthcare provider said it now has more than 35,000 employed and contracted clinicians delivering mental health and addiction care.

Unsupported diagnoses

Kaiser said that it settled the alleged $1-billion fraud case last month to avoid the “cost of prolonged litigation” and that the findings of federal investigators involved “a dispute regarding certain documentation practices.”

In their complaint, prosecutors alleged that Kaiser mined data to find possible diagnoses that could be added to patients’ records to make them look sicker than they were. The patients were in Kaiser’s Medicare Advantage plan, which received bigger government payments for patients with multiple ailments.

Doctors were praised and given gifts, including bottles of champagne, the complaint said, for agreeing to the administrators’ requests to add the diagnoses.

As one Kaiser slide in an internal training session explained, “Medicare Queries: Why Now?”

The slide then provided the answer: “Diagnoses = Revenue.”

Paul McCartney sauntered onto the stage of the Fonda Theatre, took in the 1,200 faces before him — “I can see the whites of your eyes,” he said — then offered up a brief history lesson about where we’d gathered Friday night.

The Fonda, he told us, opened 100 years ago; back then, he added, it was called the Music Box.

“Cool little place, innit?”

At 83, McCartney is well into his cool-little-place era.

Last year the rock legend played a string of concerts at New York’s tiny Bowery Ballroom while in town for “Saturday Night Live’s” 50th anniversary; a few months after that, he hit the Santa Barbara Bowl as a kind of warm-up for the latest leg of his Got Back world tour.

Paul McCartney and his band during sound check for Friday’s show.

(MJ Kim)

Friday’s underplay — the first of two instant sell-outs at the Fonda — came as McCartney is drumming up interest in a new studio album he’ll release in May. Outside the venue, a double-decker bus was parked with signage advertising the LP, which is called “The Boys of Dungeon Lane” after a road in his Liverpool hometown.

But that hardly seemed like the purpose of the show itself, which lasted about an hour and 40 minutes and didn’t even include a performance of the album’s lead single. The truth is that Sir Paul genuinely appears to get a kick out of these intimate gigs — out of standing right in front of a crowd and doing the magic trick that is a song like “Get Back” or “Jet” or “Got to Get You Into My Life.”

And why wouldn’t he?

If a Paul McCartney concert in an arena or a stadium is a finely honed spectacle of boomer nostalgia and industrial-strength charm, one of his shows in a club or a theater is a chance to play music, which after six and a half decades still clearly turns his wheels.

You wouldn’t say the shows remind McCartney that he’s a regular guy. (Those six and a half decades have made him anything but.) What they might do, though, is remind him why he became so widely adored — valuable self-knowledge for an artist whose great subject has always been the transformative power of love.

Here, as in Santa Barbara, he and his seven-piece band (which featured three horn players) did a pared-down version of the most recent Got Back set, opening with a killer one-two punch — “Help!” into “Coming Up” — that alone said plenty about McCartney’s range and endurance.

“Let Me Roll It” had a funky swagger, while “Getting Better” chugged with cheerful insistence; “I’ve Just Seen a Face” showed off the group’s crisp harmonies and “Lady Madonna” its tight rhythmic interplay. After “Let ’Em In,” McCartney asked his band member Brian Ray to show off the song’s all-important bass line: a single note plucked over and over and over again.

Friday’s show was the first of two at the Fonda.

(MJ Kim)

He did a few other comic bits, including a memory of Tony Bennett singing without a microphone as a way to demonstrate the excellent acoustics of a concert hall — the punch line was that he later saw Bennett do the same thing at the Beverly Hilton — and some gentle ribbing of the folks sitting up in the “posh seats” of the Fonda’s balcony. Among them, McCartney pointed out, was Morgan Neville, director of the recent “Man on the Run” documentary about McCartney’s life in the aftermath of the Beatles’ breakup.

He also noted that his wife, Nancy Shevell, was in the house and dedicated “My Valentine” to her; truth be told, that one was a bit dreary, as was “Now and Then,” the so-called last Beatles song released in 2023 using machine learning to complete a scratchy demo left behind by John Lennon.

“Thank you, John, for writing that lovely song,” McCartney said afterward, which made it a little harder not to like.

In any event, there were more classics to come, not least a buoyant “Ob-La-Di, Ob-La-Da” and a “Let It Be”/“Hey Jude” twofer that inspired such a lusty singalong that McCartney probably could’ve gotten away with lip-syncing if he’d wanted to.

But of course he didn’t want to — that was kind of the whole point.

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

Adam Miller is running for mayor.

You might not know that, and you might not even know who he is — and his campaign team wouldn’t blame you.

In fact, the Miller team’s own internal poll of 800 likely voters shows the tech entrepreneur with just 6% support, behind incumbent Mayor Karen Bass, City Councilmember Nithya Raman, conservative reality TV star Spencer Pratt and leftist Rae Huang. Only 13% of Angelenos even have an opinion of Miller, with 7% coming down on the positive side and 6% negative.

Miller’s pollster, Jefrey Pollock, admits it’s not often that a campaign brags about a humble 6% backing their candidate.

But during a video conference with reporters, Pollock argued that Miller’s support rises along with his name recognition. When likely voters were given more information about the candidates, he shot up to 20%, according to the poll. When provided with additional positive information about the candidates, Miller finished first, with 27%.

“Adam is the one who jumps up,” said Pollock, who runs Global Strategy Group.

After voters got the first dose of information, 22% supported Bass, down from 26%; 21% went with Pratt, up from 14%; 14% backed Raman, up from 12%; and 8% chose Huang, down from 9%.

In a poll earlier this month by the UC Berkeley Institute of Governmental Studies, co-sponsored by The Times, Miller also came out with 6% support. Bass was supported by 25% of voters, while Raman drew 17% and conservative reality TV star Spencer Pratt came in third at 14%. About a quarter of voters were undecided.

Paul Mitchell, vice president of the bipartisan voter data firm Political Data Inc., said the Miller campaign poll was compelling.

“What I see is a good argument that he can make the runoff,” Mitchell said. “This is a real deal.”

The question for Miller and his team then becomes, how can he introduce himself to more voters before the June 2 primary?

Miller is the former CEO of Cornerstone OnDemand, a global training and development company he built over the course of more than 20 years. The publicly traded company was eventually sold to a private equity firm for $5.2 billion. He is also a co-founder of Better Angels, a nonprofit focused on preventing homelessness and building affordable housing.

Among everyday Angelenos, he’s a no-name.

A television, social media and outdoor billboard advertising campaign launched this week should help change that, Miller’s team said. They said the “omnichannel” blitz cost seven figures but did not provide an exact amount.

The first billboard went up this week at Bundy Drive and Wilshire Boulevard, not far from Miller’s Brentwood home. More are expected next week in the San Fernando Valley.

Miller said he personally loaned his campaign a “majority” of the money for the ad blitz.

How much Miller is willing to spend on his mayoral ambitions?

In 2022, billionaire developer Rick Caruso threw more than $100 million of his own money into his campaign against Bass during the primary and runoff elections. He still lost by more than 10 percentage points.

“Obviously, we have the benefit of hindsight that that strategy did not work,” Miller said of the Caruso campaign. “There’s reasons my candidacy is different.”

For one thing, as opposed to Caruso, who was a Republican before registering as a Democrat to run for mayor, Miller is a lifelong Democrat. (That said, Miller voted for Caruso in 2022, said his spokesperson, Jaime Sarachit).

Miller is a moderate who sees himself as leader who gets things done. He believes the LAPD needs a minimum of 10,000 officers, up from about 8,700. He thinks the city should use anti-encampment laws to move homeless people away from sensitive areas like schools and day cares.

Miller would not directly answer a question about how much of his own money he will spend on his campaign. He has so far loaned it $2 million, “to get it up and running,” Sarachit said.

“That’s a significant sum, obviously,” said longtime L.A. political consultant Bill Carrick. “It’s a lot more efficient to write a check from your personal account than it is to go raise $2 million.”

But Miller said his campaign will largely be “traditionally financed,” meaning he plans to fundraise.

State of play

— AO-K’ed: Metro’s board on Thursday unanimously approved a new route for a rail line that would extend from South L.A. into West Hollywood — a milestone deal struck after last-minute negotiations between Bass and local leaders. The K Line northern extension would link with four major rail lines and increase the number of riders to 100,000 a day.

— SOCIALIST SNUB: The Los Angeles chapter of the Democratic Socialists of America will not endorse a candidate for mayor. Last weekend, the group voted on whether to reopen its endorsement process and consider backing Huang or Raman but ultimately decided to stay out of the fray for the June primary.

— GUNNING FOR COUNCIL: Leftist City Council candidate Estuardo Mazariegos was convicted of misdemeanor gun possession in 2009. He thinks the conviction is a strength, not a weakness.

— SMALLER BIGGER: On Tuesday, the City Council adopted a strategy that would delay the effects of SB 79 citywide by upzoning 55 single-family and low-density areas, allowing for buildings of four to 16 units that are up to four stories tall. Under SB 79, buildings adjacent to certain transit stops can be up to nine stories.

— NOT UP FOR DEBATE: USC canceled its Tuesday gubernatorial debate, a stunning about-face after days of fiery criticism that every prominent candidate of color was excluded. Although the university defended the methodology used to determine who was invited, it ended up calling off the event with less than 24 hours’ notice.

— PHANTOM SUIT: A man said he has no idea how he became a plaintiff in the county’s $4-billion payout for sex abuse in juvenile halls and foster homes. His lawsuit, which he says was filed without his consent by Downtown LA Law Group, deepens questions around possible fraud in the nation’s largest sex abuse settlement.

— TAX TAKEAWAY: The proposal from a group of business leaders to repeal the city’s business tax has qualified for the November ballot. Organizers said their success — gathering twice as many signatures as needed — shows that voters “want affordability and fairness to be addressed immediately.” Labor unions have vowed to fight the proposal, which would rip an $800-million hole in the city budget.

— HOUSING HUDDLE: Three of the mayoral candidates — Miller, Huang and Raman — took the stage Monday for a downtown forum. The trio went back and forth on housing, transportation and other issues, particularly the future of Measure ULA, the so-called mansion tax. Bass did not attend, citing a previous engagement in New Orleans, where she held a campaign fundraiser with U.S. Rep. Troy Carter (D-La.) and the city’s mayor, Helena Moreno. Pratt also did not show.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program visited Skid Row in Councilmember Ysabel Jurado‘s district, moving 25 people indoors.
• On the docket next week: The City Council is on recess next week.

Stay in touch

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

Congratulations to all the young athletes and their teams on The Times All-Area high school basketball teams. I do wonder about the choices the seniors are making in their commitments to colleges and I look to The Times to explain why UCLA is seemingly not on the radar for these young players.

It used to be known that the Bruins’ academic requirements were a significant barrier to many high school players. Is that still true? Are the local graduates not the cream of the crop that Southern California was known for in past years? Are NIL deals affecting the choices of these future freshmen? Is UCLA not making a strong outreach effort for the top local talent? Is L.A. so awful for these kids that it isn’t even on their radar to stay close to home?

I am sure I am not alone in seeking clarity around the issue of the exodus of local talent to Missouri, Oregon State, Texas, North Carolina, Nevada, and even more confounding, USC.

David Gerne Echt
Torrance

The Los Angeles Times welcomes expressions of all views. Letters should be brief and become the property of The Times. They may be edited and republished in any format. Each must include a valid mailing address and telephone number. Pseudonyms will not be used.

Email: sports@latimes.com

SARAH Beeny is revamping her failing dating app in a last-ditch attempt to turn around its fortunes.

She’s launching the “world’s first” video dating app – and is looking for singletons to find love in a bold new move.

Sarah might have the Midas touch when it comes to flogging houses, but didn’t have quite so much luck wielding Cupid’s bow and arrow.

The telly star and property guru runs a dating website called My Single Friend and it is heavily in debt.

Now she’s revealed that the site will be overhauled.

She said on Instagram: “I have to admit, I’m so excited because I’m going to relaunch My Single Friend as the world’s first video dating app and it’s coming next week and I can’t wait.

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“But as we are launching completely empty, I’m looking for the first 50 people who would like to be on the app when we launch, so if you have a single friend you’d like to pop on or are single yourself, send me a DM.”

The most recent figures show it didn’t make a penny in a year, plus singletons looking for love have been less than kind in online reviews of the firm.

Books posted on Companies House showed that for 2023 the firm had zero equity and it didn’t pay a penny in Corporation Tax, meaning it didn’t make enough cash on which to be taxed. It also owed £1.5m.

The firm was founded in 2004.

A review on Trustpilot read: “The matches they offer up have nothing to do with my search criteria, I suspect there aren’t many people signed up on my area. Customer service good though.”

Another person added: “Most profiles are inactive. Some profiles appear twice under different IDS The quality of the individuals is questionable… most guys over 50 look like bald spuds and send d**k pics.”

My Single Friend told would-be members: “Our clever two-way matching system can help you find your perfect match; our highly-rated and super-lovely customer service team is on-hand every day.

“Fall in love with love again. We can’t wait to help you take the first step.”

Household name Sarah — who beatbreast cancer in 2023 — shot to fame fronting Property Ladder in 2001 before going on to front a host of property shows on TV.

Last May, a strange thing happened on the U.S. album charts. Two metal bands (or at least metal-adjacent hard rock acts) scored No. 1 albums in the same month. The genre hadn’t seen multiple bestsellers in the same year since 2019 — and those were from veteran acts. So it was notable when the young U.K. group Sleep Token crushed on streaming and Ghost topped charts with a Taylor Swift-sized vinyl rollout. Meanwhile, avant-garde heavy rockers Deftones became unexpected TikTok darlings and arena stars.

Metal had not-so-quietly reemerged as a commercial force, and not just in the live sphere, where it’s always thrived and continues to grow. Pop culture seemed ready to welcome back a breed of hitmaker thought lost to time — the sleeve-tatted, throat-shredding hard rock star.

So the wider pop world should acquaint itself with the Virginia-born group Bad Omens, whose slam-packed Thursday night show at the Forum in Inglewood reaffirmed that they’re one of the most ambitious and skilled young bands in heavy rock, and have the star wattage and ravenous fan culture to get even bigger.

Bad Omens — with singer Noah Sebastian, bassist Nicholas Ruffilo, guitarist Joakim Karlsson and drummer Nick Folio — are not brand new. They’ve slugged it out on the metalcore and heavy rock circuit for a decade, signed to the small-ish but influential imprint Sumerian Records. But they hit their stride with 2022’s “The Death of Peace of Mind,” which melded a Weeknd-worthy R&B falsetto with rotted, churning guitars and tasteful electronics.

The band became festival headliners and racked up billions of streams, surely aided by Sebastian’s dreamboat-goth-BF good looks and striking range as a vocalist, where he veers from an ear-tickling whisper to an operatic howl and a shriek worthy of Norway in the ‘90s (sometimes on the same song, as he did on “Like a Villain”).

The band has tipped a new album for some time, though for this career-peak arena tour, it had only a handful of new singles in tow. No matter. At the Forum, the band cohered its catalog with an eye-popping stage production, one that made its case as an ultra-modern heavy rock act with the reach to be huge stars, even if they take genuine fame with some ambivalence.

That force-of-gravity was evident in the days leading up to the Forum show, where fans debated how many hours early they needed to be at the Forum to be on the barricades (the consensus — get there by breakfast). Mid-set, Sebastian pointed out one fan whom he recognized from years on the road. “You’ve been coming to see us since we sucked,” he said, laughing.

That commitment wouldn’t be possible if the music didn’t have a preternatural force to speak to current anxieties. From the first notes of its new single “Specter” — a brooding vocal workout for Sebastian that ended on pulverizing riffs — Bad Omens used cutting-edge tools and underground influence to elicit arena-rock catharsis.

One early peak of the set came when Jake Duzsik of the L.A. industrial-rock trio Health came out to duet on “The Drain,” a lurching, menacing collaborative single and a standout for both bands. Heavy-rock veterans see something compelling in Bad Omens, which helps situate the band’s pop-savvy tracks like “Left for Good” and “Just Pretend” (a platinum-selling single that wrapped up the main set) with earned feeling rather than calculation.

After the Forum show, I understood why it’s taking them so long to finish a new LP. Sebastian has been open about his mental health struggles. The band is pitched right at a difficult juncture at which their artistic ambitions abut real, life-altering attention.

They can make songs like “What It Cost” (a hooky, lecherous electro track that I’d totally believe was co-written with Max Martin if you told me) and the serrated metal that them earned them their fanbase and would cause a revolt without. It’s not easy to pair the two in a natural way. (Just ask Code Orange, once pitched as metal’s breakout stars who got bogged down in electronic experiments.) Having a K-pop-caliber devoted fanbase is great on the way up, but it’s a tense relationship.

But first and foremost, Bad Omens are gifted musicians, and whatever eldritch magic Sebastian wields onstage will always be bolstered by a serious band contorting metal, dark pop and electronic music. I saw nothing that would stop that one fan from coming back for 10 more years of Bad Omens shows, and plenty to suggest others are going to follow him.

SACRAMENTO — Cori Close’s candid remarks about the growing challenges of coaching in modern college athletics sparked a reaction nationwide among her peers.

On Thursday, the UCLA women’s basketball coach was asked about the rapid changes shaping college sports ahead of her Bruins’ Sweet 16 matchup against Minnesota on Friday night. The No. 1-seeded Bruins (33-1) entered the Sweet 16 round considered a strong Final Four contender, powered by one of the deepest starting lineups in the nation.

“I’ve never been as tired as I’ve been in the last two years, and it’s made me think how much longer I can do this,” Close said. “And I’m just being transparent with you about that. There are so many things that are harder, and we keep losing incredible people on the men’s and the women’s side.”

UCLA has dominated throughout the season, entering the Sweet 16 on a 27-game winning streak that dates to late November. Three starters — Lauren Betts, Charlisse Leger-Walker and Gianna Kneepkens — began their college careers elsewhere before transferring into the program.

“How do we now figure out this transfer portal? Let’s not complain about it,” Close said. “Let’s have solutions about what’s right and what adjustments need to be made. … I’m a huge advocate for NIL. It should have happened 20 years ago. And we need boundaries. We need infrastructure. We need competitive equity. We need transparency.”

In contrast, Louisville coach Jeff Walz offered a more critical perspective when addressing the same topic during a NCAA news conference in Fort Worth, Texas.

UCLA guard Kiki Rice points across the court while talking with Bruins coach Cori Close during an NCAA tournament win over California Baptist at Pauley Pavilion on March 21.

(Gina Ferazzi/Los Angeles Times)

“I’m friends with Cori,” Walz said. “My favorite line, I would tell her, if you don’t like your job, find a new job. I mean, I’m listening this morning at 4:20 as the workers outside my window at the hotel in the street are working. I mean, you choose your profession. If you don’t like it, find a new profession.”

No. 3-seeded Louisville will face No. 2 Michigan on Saturday after falling short against Duke in the ACC championship game.

Close, who has spent 33 years in coaching, including 15 at UCLA, has navigated an evolving landscape shaped by name, image and likeness compensation policies and the transfer portal, just like everyone else. Last season, she earned national coach of the year and led the Bruins to the program’s first Final Four. UCLA has now reached at least the Sweet 16 during four consecutive seasons and eight times during Close’s tenure in Westwood.

This year, the Bruins swept through Big Ten play undefeated and once again secured a No. 1 seed in the NCAA tournament.

“I mean, of course, it’s a lot of work, but we chose to do it and we get compensated for it,” Walz said. “I don’t think anybody is going to feel too sorry for us that you might be tired. I’m tired, too, but who is not?”

Several longtime coaches have stepped away from the game in recent years, amid, though not always directly attributed to, the sport’s ongoing transformation. Hall of Fame Stanford coach Tara VanDerveer retired in 2025, while Georgia Tech’s Nell Fortner, Iowa’s Lisa Bluder and Harvard’s Kathy Delaney-Smith stepped down during the past three seasons.

“It’s ever-changing, and that’s the frustrating part, because you can never get a grasp on any of it,” Kentucky coach Kenny Brooks said. “You think that you have it. Then all of a sudden, it’s like somebody pulls a rug out and says, ‘No, we’re changing it,’ and now it’s going to be this way now. We want to get out ahead of everything, but we can’t. We always seem like we’re one step behind because there are so many changes.”

Ultimately, Close’s message centered on the need for structural support in a rapidly shifting environment.

“If there’s one thing I would ask of our governing bodies and the NCAA and our administrations is please develop infrastructure and boundaries that create an opportunity to have sustained excellence and sustainable pace,” she said. “Otherwise, we are going to continue to lose some of our best coaches, and I do not think our game can afford to do that.”

ATLANTA — Attorneys for Georgia’s Fulton County and President Trump’s administration squared off in court Friday over the county’s demand that the FBI return seized ballots and other materials from the 2020 election.

Abbe Lowell, an attorney representing Fulton County, noted that the January raid was “unusual” because it involved an old election and allegations that have already been investigated in the years since Trump, a Republican, lost the county and the state to Joe Biden, a Democrat.

Lowell contended that the Trump administration seized the materials because it grew impatient with litigation the Justice Department filed to obtain them last year. “There’s abundant law that the left hand of the department needs to know what the right hand is doing,” Lowell told U.S. District Judge J.P. Boulee.

Michael Weisbuch, representing the federal government, replied that the separate civil litigation wasn’t “relevant in any respect.” He said the administration has already provided Fulton County with digital copies of everything taken and needs to retain physical copies to carry out its own investigation.

Boulee wrote in a scheduling order that the hearing was needed after the two sides failed to reach an agreement in court-ordered mediation.

Trump’s actions alarm Democrats and election officials

The Jan. 28 seizure from a warehouse near Atlanta targeted the elections hub in Georgia’s most populous county, which is heavily Democratic and includes most of Atlanta. Fulton County has been at the center of unfounded claims by Trump and his allies that widespread election fraud cost him reelection.

The FBI’s move was among several actions by the Trump administration that have alarmed Democrats and many election officials who are concerned it’s using law enforcement to pursue the president’s personal grievances and is planning ways to interfere in this year’s midterm elections. The FBI also used a subpoena earlier this month to obtain records related to an audit of the 2020 presidential election in Maricopa County in Arizona, another battleground state Trump lost that year.

At the same time, the Justice Department is fighting numerous states in court for access to voter data that includes sensitive personal information. Election officials, including some Republicans, have said handing over the information would violate state and federal privacy laws.

Justice Department says it’s investigating 2020 ‘irregularities’

Lawyers for Fulton County argued in a court filing that the seizure of its documents was “improper and unjustified” and demonstrates “callous disregard” for the Fourth Amendment protection against unreasonable search and seizure. The Justice Department seeks to “set a precedent that would grant the federal government unchecked power to interfere with the local administration of elections,” it wrote.

Justice Department attorneys argued that preparing a detailed affidavit and presenting it to a judge “is the exact opposite of ‘callous disregard’” for those constitutional rights. “Their goal to disrupt an ongoing federal criminal investigation is clear,” they wrote of Fulton County officials.

The Justice Department said it is investigating “irregularities that occurred during the 2020 presidential election in the County” and identified two laws that might have been violated. One requires election records to be maintained for 22 months, while the other prohibits procuring, casting or tabulating false, fictitious or fraudulent ballots.

The filing said the FBI is looking into whether Fulton County properly retained ballot images; whether some ballots were scanned and counted multiple times; whether unfolded, unmailed ballots were counted as mail-in absentee ballots; and potential irregularities concerning tabulator tapes from the scanners used to count ballots.

Fulton County’s lawyers wrote that the “deficiencies” or “defects” in the county’s handling of the 2020 election cited in the affidavit are the kinds of human errors that commonly occur without any intentional wrongdoing and cannot establish probable cause.

Election tech expert cites problems in the affidavit

To support their claims, Fulton County officials submitted a sworn declaration from Ryan Macias, an election technology and security expert who advised the county during the 2020 election. He said the affidavit contains “a multitude of false or misleading statements and omissions” and offered explanations for the alleged “deficiencies.”

Investigations by the Georgia secretary of state and independent reviews contradict the core allegations of the affidavit, which is “rife with statements from witnesses lacking credibility, with extraordinary and undisclosed biases,” Fulton’s lawyers argued.

Georgia’s votes in the 2020 presidential race were counted three times, including once by hand, and each count affirmed Biden’s win.

Federal government lawyers rejected the idea that the FBI agent who wrote the affidavit “intentionally or recklessly misled” the judge, writing that “the supposed misrepresentations and omissions flagged by Petitioners are illusory and/or immaterial.” They also asserted that a lapse of the statute of limitations on the potential crimes does not negate probable cause.

The Justice Department also noted that a federal magistrate judge reviewed the FBI affidavit and signed off on the search warrant. Fulton County sought to have the FBI agent who wrote the affidavit testify at Friday’s hearing, but the Justice Department objected and the judge sided with the federal government.

Brumback writes for the Associated Press. AP writer Nicholas Riccardi in Denver contributed to this report.

How would you feel about getting a dream gig only to see it end in disgrace because of, well, you?

That’s what Gregory Bovino gets to think about for the rest of his life. Friday is the Border Patrol lifer’s last day on the job after 30 years — and he ain’t leaving because he wants to.

For the past year, the self-described “hillbilly” was the personification of the Trump administration’s xenophobic deportation deluge. Helicopter invasions of apartment complexes, tear gas canisters thrown into large crowds, defying court orders, glamorous photo shoots: There was no municipality too big, no tactic too crazy, no quote too incendiary for Bovino to take on while he treated immigrant neighborhoods like the shores of Normandy.

The North Carolina native’s caravan of cruelty quickly earned him a promotion from El Centro sector chief to Border Patrol commander at large, a new position crafted just for him. He embraced the role of migra bogeyman like a tween boy scarfing down a bowl of Warheads, always promising more deportations, more chaos, more more.

Not anymore.

In January, Border Patrol agents shot and killed ICU nurse Alex Pretti during a protest against them a few weeks after an Immigration and Customs Enforcement officer did the same to Renée Good, a mother of three. Bovino threw napalm on the matter by claiming Pretti wanted to “massacre law enforcement” without offering any evidence. The incidents so soured the public on immigration agents that a Public Religion Research Institute poll released this week showed only 35% of Americans surveyed approved of how Trump is handling immigration, compared to 48% a year ago.

Bovino was sent back down to El Centro and lost his social media privileges, where he had long posted cringe-inducing videos about what a swell guy he was. Even Trump turned on his migra man, telling Fox News that Bovino was “a pretty out-there kind of a guy … and in some cases that’s good. Maybe it wasn’t good [in Minneapolis].”

I should’ve warned Bovino the one time we met that failure was his fate.

The setting: the Fox 11 Los Angeles studios in July. Bovino and I were in to do separate interviews with the station’s former anchor Elex Michaelson. Bovino was in the middle of his Los Angeles invasion, which saw immigration agents lay siege to MacArthur Park, storm Home Depots and car washes and show up outside the Japanese American National Museum while politicians inside were decrying Trump.

Dressed in full Border Patrol uniform complete with a clipped-on walkie-talkie on his shoulder, the guy was billing himself as a modern-day Charles Martel defending the homeland from invading infidels. The nasal-voiced Bovino rambled to Michaelson about how “Ma and Pa America” deserved a country free from undocumented immigrants and vowed to remain in Los Angeles “until the operation is over.”

Then-U.S. Border Patrol commander at large Gregory Bovino, center, along with Border Patrol agents as they march to the Edward R. Roybal Federal Building after a show of force outside the Japanese American National Museum where Gov. Gavin Newsom was holding a redistricting press conference on Aug. 14, 2025, in Los Angeles.

(Carlin Stiehl / Los Angeles Times)

After his interview, Bovino and three Border Patrol agents strolled into the greenroom to grab some homemade cookies while I sat on a couch. He looked me in the eye while bending down to sign Michaelson’s guest book, as if he expected me to not only recognize him but say something.

It was like staring at someone doing an impersonation that was one part Lt. Col. Kilgore from “Apocalypse Now” and two parts Henery Hawk, the short, brash Looney Tunes character that was always trying to capture the much larger Foghorn Leghorn. He really thought that his scorched-earth assault on L.A. would defeat the city and convince other communities to offer no pushback once Bovino’s self-titled “Green Machine” trolled into town.

The opposite happened.

People who had never bothered with politics — even some who voted for Trump or at least agreed with deporting immigrants with criminal convictions — rose up to resist. Everywhere became a front — social media, the streets, courtrooms — and activists across Southern California began to share notes among themselves and with communities nationwide to prepare them for la migra. Bovino flailed back at every affront instead of focusing on his mission, not realizing his recklessness was eroding public support for his cause and threatening it altogether.

Really, Bovino lost the day he has long claimed as a victory: the Battle of MacArthur Park.

That’s when he convinced the Trump administration to send a skeptical National Guard alongside his men to surround the historic L.A. green space in the ludicrously named Operation Excalibur. Armed vehicles parked on Wilshire Boulevard. A grinning Bovino strutted around with media in tow. A wannabe cavalry unit, anchored in the center by an agent on a white horse, swept through a soccer field where children were attending day camp just minutes before.

No one was arrested or detained that day. Instead, Bovino left to a chorus of cuss words and boo birds. The exercise allowed Americans to see the folly of burning millions of taxpayer dollars just so someone could star in a TikTok reel. It also broke the spell Bovino had cast over many critics — myself included — who had feared he truly was an unstoppable Punisher.

Nah, he was just a spiky-haired pendejo.

If Bovino was as smart as he thinks he is, he would’ve followed the longtime strategy of another longtime immigration enforcer. Trump border czar Tom Homan executed a yearslong roundup under the Obama administration with numbers Trump has yet to reach and with nowhere near as much public rancor. Homan, who loves the camera almost as much as Bovino, knew then and now that an issue as explosive as deportations must be approached quietly if it’s to be done successfully.

Instead, not only does he have to clean up Bovino’s mess, there’s now a real chance that the Republicans will lose the midterms because of Latinos who voted for Trump in 2024 but are now furious at his administration. That’s why even Trump is now telling Republicans to tone down their anti-immigrant rhetoric, stat.

Gracias, Bovino!

You thought you would go down in U.S. history as a domestic Patton, a borderlands Sherman. Instead, your last week coincided with the publication of a New York Times profile of you railing at enemies while downing coffee at a burger bar in El Centro.

You called Customs and Border Protection commissioner Rodney Scott “weak-kneed,” mocked Homan and said you could’ve deported 100 million people — a radically racist number considering even the Center for Immigration Studies, which has long pushed for reduced immigration of all kinds, estimated a record 15.4 million illegal immigrants were in this country at the start of Trump’s second term.

Instead, you’re heading off to the Tar Heel State to spend your days hunting… coyotes.

“Maybe I get me some dogs and we go hard,” you told the New York Times. “I’ll take it in my own hands.”

Which reminds me of another hapless cartoon character who thought himself a genius but who kept screwing things up in ceaseless pursuit of his quarry: Wile E. Coyote.

March 27 (UPI) — All 32 NATO nations met or exceeded the alliance’s target for defense spending last year, Secretary-General Mark Rutte said, as Canada and several ally nations increased their investment in defense amid war in Europe and the Middle East.

“We see clearly that our world is constantly changing. And we are adapting to ensure we remain prepared,” he said during a press conference in Brussels, as he released the alliance’s 2025 Annual Report.

“The threat picture across 2025 made clear that we need to do more. And throughout the year, NATO continued to come together to ensure that we are ready and able to respond to any threat, across all domains, both now and in the future.”

The defensive military alliance has called on member states to invest at least 2% of their gross domestic product in defense since at least 2006, with allies in 2014 pledging that those below the guideline would move toward it within a decade — though few nations did so for years.

Amid what he described as a more dangerous security environment — including Russia’s war against Ukraine, the Kremlin’s support from China, Iran, North Korea and Belarus, as well as the broader instability centered on Iran — countries are stepping up, he said, calling 2025 “a landmark year for NATO.”

Amid the protracted war in Europe and uncertainty about the United States’ cooperation with the alliance, defense ministers last year made a commitment to investing 5% of GDP annually in core defense requirements by 2035.

Among nations Rutte highlighted for reaching the 2% benchmark was Canada, which, under the Liberal government of Prime Minister Mark Carney, has sharply increased its defense spending as its once iron-clad relationship with the United States has frayed under the weight of U.S. President Donald Trump‘s incendiary rhetoric, threats of annexation and tariffs.

In the last 10 months of the Carney government, Canada has spent more than $23.8 billion on defense and security, pushing it over the 2% threshold for the first time since the end of the Cold War — and well ahead of the 2032 pledge made by former Defense Minister Bill Blair in 2024.

“As a result of our efforts, this morning, NATO confirmed that Canada has achieved its 2% defense expenditure target — half a decade ahead of the original schedule,” Carney said during a press conference held Thursday aboard a Royal Canadian navy vessel in Halifax Harbor.

“Canadians are responding to our renewed commitment and call to serve.”

The Liberal leader described the 2% target as “the foundation” for further investment in the country’s defense expenditure, as he announced a further $2.1 billion defense package for Atlantic Canada.

“Over the past 11 months, one of our government’s key priorities has been to reinvest in rebuilding and rearming the [Canadian Armed Forces] to provide you with the support you need to achieve mission success,” he said.

“We will continue our efforts with the same speed and determination that we have shown from the very beginning.”

In a quiet moment before the pomp and circumstance of opening day, Dodgers second baseman Miguel Rojas learned he’d be starting in the final season opener of his long career.

He was on the bench for the Freeway Series finale at Dodger Stadium earlier this week, when manager Dave Roberts came over to check in and give Rojas the news.

“I didn’t know if, ‘Thank you’ was the right thing to say because it’s something I earned,” Rojas recounted before the Dodgers’ 8-2 win Thursday against the Diamondbacks. “It’s not something that I asked for as a favor. So I was just kind of speechless.”

Rojas embraced Roberts.

“It was a gift to myself because of all the hard work and the preparation I put in throughout my whole career,” Rojas said. “This way is the best way possible because I got up to the big leagues as a utility defensive replacement who can play shortstop but couldn’t really hit much.”

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Rojas, who intends to retire after this year, wrapped up his final opening day as a starter.

Opening day is a celebration across baseball. But the Dodgers made it a full production. The pregame program Thursday included roster-introduction pyrotechnics, along with a stage and blue carpet set up in center field.

It was also a time to commemorate the 2025 World Series, raising the banner and revealing the new sign marking the organization’s ninth title.

Rojas rode onto the field perched atop a metallic blue convertible, hoisting the 2025 World Series trophy over his head. To his left sat Freddie Freeman, holding the 2024 trophy. Will Ferrell sat in the driver’s seat.

“It’s here,” Rojas said Thursday afternoon. “This is my last chance to play baseball with an amazing group of guys.”

A spot in the starting lineup hadn’t been guaranteed for the 2025 World Series hero. The Diamondbacks started right-hander Zac Gallen. And throughout the year, Rojas will generally play second base against left-handers, platooning with Alex Freeland to begin the year and eventually Tommy Edman when he returns from the 10-day injured list.

“This means a lot to him, his family and to the Dodger fans,” Roberts said. “And also, most importantly, I think he’s a great option for today. All in, it was the right decision.”

Rojas’ final opening day — he’s lined up to transition into a player development role with the Dodgers next year — was a well-rounded game for the Dodgers.

A marquee pitching matchup between Yoshinobu Yamamoto and Gallen produced a scoreless first three innings. The Diamondbacks broke through first, with Geraldo Perdomo roping a two-run homer off Yamamoto in the fourth inning.

The Dodgers hadn’t recorded a hit since Shohei Ohtani’s leadoff single. But in the fifth, they finally got to Gallen, and batted through the order.

Max Muncy and Teoscar Hernández kicked off the rally with back-to-back groundball singles. Then Andy Pages launched a go-ahead home run into the left-field seats.

Rojas, dropping a single into shallow center field, and Ohtani, drawing a walk, held on the pressure. And the Diamondbacks pulled Gallen for right-hander Juan Morillo.

How the Dodgers celebrated their World Series title ahead of season opener.

The Dodgers tacked on one more run, as Rojas raced home on Will Smith’s single up the first-base line, before Morillo finally escaped a bases-loaded jam.

The next inning, Yamamoto slammed the door shut against the top of the order with a pair of groundouts to Rojas and a strikeout, Yamamoto’s sixth. He retired nine straight batters after Perdomo’s homer.

That would end Yamamoto’s night at six innings.

The Dodgers continued piling on against the Diamondbacks’ bullpen. A four-run rally in the seventh inning featured Kyle Tucker’s first hit as a Dodger, an RBI double and a two-run shot from Smith. The Dodgers’ bullpen held the D-backs scoreless the rest of the way.

After reliever Tanner Scott forced a fly out to shortstop Mookie Betts to end the game, Rojas pointed two fingers to the sky and then joined his teammates in the handshake line.

Rojas held his emotions at bay through spring training, immersing himself in the daily work. But opening day made it more real.

“Baseball is what I remember me doing my whole life,” Rojas said. “I don’t remember myself doing anything else. I know I was a good son, a good brother, a good student. I know that. But I don’t remember myself doing that. I remember myself playing baseball, preparing for a baseball game, working out to be a professional baseball player. Then when I was in the minors I remember myself working really hard to get to the big leagues and then working really hard to be an every-day player. It goes on and on.”

Until it doesn’t.

Future Hall of famer Clayton Kershaw knows what that’s like. Venturing into retirement a year ahead of Rojas, Kershaw was on NBC’s broadcast Thursday, sporting a suit on the field before the game.

He commented on Rojas’ tan, and Rojas told Kershaw he’d stolen his look and had been going sleeveless.

“My wife and my kids call him Uncle Kersh because of the joy he had throughout the year,” Rojas said. “He was really happy all year. He wasn’t really caught up in numbers or stats. He was just enjoying his time. I really wish I can do a little bit of what he did last year. I hope I can enjoy it as much as he did last year.

“So I’m going to be Uncle Miggy this year.”

Lindsey Vonn is less than two months removed from a skiing accident at the Milan-Cortina Olympics that almost resulted in the amputation of her left leg.

She has stopped taking painkillers but is still exhausted.

She is back home in Park City, Utah, but spends nearly all of her time in rehab.

She is 41 and has won four overall World Cup championships, with 84 World Cup wins and three Olympic medals, including gold in the downhill at the 2010 Vancouver Games.

Yet, Vonn would not definitively say that her competitive skiing career is over, during a recent interview with Vanity Fair’s Elise Taylor.

“I don’t like to close the door on anything, because you just never know what’s going to happen,” said Vonn, who appears on the magazine’s cover in a long, black dress with a split that shows her left leg — bandages and all.

“I have no idea what my life will be like in two years or three years or four years. I could have two kids by then. I could have no kids and want to race again. I could live in Europe. I could be doing anything.”

She added: “It’s hard to tell with this injury. It’s so [messed] up.”

Vonn, who returned to racing in late 2024 after nearly six years away from the sport, had two victories and three other podium finishes in her five World Cup races during the most recent season. In December, Vonn announced she would be competing in her “5th and final Olympics!”

“I wanted to win the Olympics, and I wanted to win the downhill title, and I was on track to do both of those things,” Vonn told Vanity Fair.

On Jan. 30, Vonn suffered a complete rupture of the anterior cruciate ligament in her left knee, with meniscus and bone damage, when she crashed during a downhill race in Crans-Montana, Switzerland.

She decided to compete at the Olympics anyway and had a couple of successful training runs leading up to the Feb. 8 downhill competition.

“I was in the exact mental state that I wanted to be in,” Vonn said. “I was ready to go.”

Unfortunately, her race didn’t last long. Vonn lost control on the first jump, spun sideways in the air, slammed to the ground and needed to be airlifted from the course. Vonn and other skiing experts have said that the ruptured ACL likely had nothing to do with her crash at the Olympics.

Vonn suffered a complex tibia fracture and other major damage. It contributed to a condition called compartment syndrome, which involves excessive pressure building up inside a muscle and possibly can lead to permanent injury or amputation.

Five surgeries later, Vonn is on the road to recovery. She has posted several photos and videos on Instagram as she amps up her fitness routine again. In a March 15 post on X, Vonn wrote that she’s not ready to discuss her skiing future.

“My focus has been on recovering from my injury and getting back to normal life,” she wrote, adding, “I’ll let you know when I decide.”

Vonn did tell Vanity Fair that she’s not crazy about the idea of the catastrophe at the Winter Games being the public’s last impression of her as a skier.

“I don’t want people to hang on this crash and be remembered for that. What I did before the Olympics has never been done before. I was number one in the standings. No one remembers that I was winning.”

On their way into the clubhouse Thursday, Dodgers players were greeted by the World Series championship trophies they won in 2024 and 2025. In center field, Dodgers fans were greeted by oversize replicas of those trophies, the better for taking a selfie.

On social media, the Dodgers unveiled their Opening Day hype video. These were the first words: “What’s wrong with being the bad guy?” At Dodger Stadium, the threepeat hype video was a movie trailer with this tag line: “Great sequels build legendary trilogies.”

To the rest of that country, all that winning and all that spending makes the Dodgers the bad guys. For more than a year, the owners of other major league teams have telegraphed their desire to restrain all that spending, preferably through a salary cap.

How does the owner of the Dodgers feel?

Does baseball truly have a problem?

Sit down, Dodgers fans. You might expect the owner of the Colorado Rockies to say that revenue disparity among teams is so great that competitive balance has been destroyed, and he did.

You might not expect Dodgers owner Mark Walter to say this:

”Here’s what the problem is: Money helps us win. We can’t win all the time. We’ve got to have some parity,” Walter told me.

“So we’ve got to come up with something that will give us some parity.”

Don’t take this the wrong way: Walter will always want to win. But the owners, Walter included, are increasingly united in the belief that revenue disparity is the primary explanation why a small-market team has not won the World Series in 11 years.

The Dodgers are making more money from Uniqlo in naming rights this season than some teams are making from local television rights and the Dodgers also are making 10 times as much on their SportsNet LA deal.

The Dodgers generated an estimated $850 million in revenue last season, according to Forbes. Their opening day opponent, the Arizona Diamondbacks, generated an estimated $324 million.

If Walter were to support the pursuit of a salary cap, the owners’ vote could be unanimous. For now, negotiations with the players’ union have not started. There is no formal owners’ proposal on the table, so there is nothing for Walter to approve or reject.

“We’ll have to see what it is,” Walter said.

The players’ union does not dispute the revenue disparity. The union believes the owners should solve that issue among themselves, by sharing more revenue and adding incentives for lower-revenue teams that win. The union also believes “competitive balance” is a fig leaf for “cost control that increases owner profits.”

In the NFL, which has a salary cap, either the Kansas City Chiefs or the New England Patriots has played in the AFC championship in each of the last 15 years.

And, even if the Dodgers are the bad guys, they are not bad for business. The Dodgers hold five of the top 12 spots on baseball’s list of best-selling jerseys: Shohei Ohtani at No. 1, Yoshinobu Yamamoto at No. 2, Mookie Betts at No. 5, Freddie Freeman at No. 7 and Kiké Hernandez at No. 12.

The last two World Series, in which the Dodgers beat the New York Yankees and Toronto Blue Jays, juiced television ratings across the country and around the world. The World Baseball Classic dominated headlines and social media content at what is usually a sleepy time for baseball.

All of that momentum would be at risk if owners shut down the sport in “salary cap or bust” collective bargaining, crossing their fingers that players would surrender as soon as they started missing paychecks next spring.

It is against that backdrop that Dodgers manager Dave Roberts encouraged fans to appreciate this season opener. With potential armageddon looming in negotiations for a new collective bargaining agreement, who knows when the next season might actually open?

“I understand that,” Roberts said Thursday, “in the sense of, this is where the CBA is at, as far as the expiration. And I do agree: Enjoy it, because nothing is guaranteed. It’s going to be a great year and I hope everyone pours their spirits and their joy into this season, because it’s going to be a great one. We’ll just figure out where it goes after that.”

And, if it goes haywire after that, the Dodgers inevitably will be blamed.

“That,” Roberts said with a laugh, “seems like it’s always been the case recently.”

What would Walter tell Dodgers fans concerned that what might be in the best interest of baseball might not be in the best interest of the Dodgers?

“I don’t want to hurt us,” Walter said. “We’ll be fine.”

With whatever happens?

“Yeah,” he said. “We’ll be good.”