Covered marquees. Downed statues. Painted-over murals. A canceled holiday.
California has effectively exorcised César Chávez from the public sphere just weeks after a New York Times investigation found two women who said the legendary labor leader sexually assaulted them when they were teenage girls in the 1970s. Just as explosive was the revelation by his longtime lieutenant, Dolores Huerta, that he raped her in the 1960s.
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My prediction for the next place we’ll see a Chávez purge: books about him, which number into the dozens and span from academic treatises to children’s tales. But before critics relegate those texts to the banned section, folks should read some of them to see how writers helped establish the Chávez myth and propagated it for decades.
The books that created the Chávez legend
The tendency to elevate him above other activists was there from the start. In 1967, John Gregory Dunne published “Delano: The Story of the California Grape Strike,” which saw the author (and husband to Joan Didion) capture the essence of el movimiento in its earliest days through on-the-ground reporting and interviews with Chávez, whom Dunne described in the introduction as “the right man at the right place at what was, sadly, both the right and the wrong time.”
Famed writer Peter Matthiessen cemented Chávez’s image as a humble hero fighting a lone, brave battle against philistine farmers with a two-part New Yorker profile that became the basis for 1969s “Sal Si Puedes: Cesar Chavez and the New American Revolution.” That narrative continued with Jacques Levy’s 1975 release “Cesar Chavez: Autobiography of La Causa.” Talk about getting too close to the subject: The author’s archived papers disclosed he served as Chávez’s literal notetaker during the 1970 negotiations that ended the grape strike and led to the UFW’s first union contracts.
Chávez came under strong scrutiny
Rose-tinted biographies tellingly stopped around the time Chávez created a commune in what’s now currently the César E. Chávez National Monument in Keene and began to target perceived enemies within the UFW. Critics instead appeared in the media — one of the first was a 1979 Reason article that alleged he was misusing federal funds and contained the prescient line, “Many people will be reluctant to believe anything that could cast a shadow over this man.”
Other critical dispatches included pieces in the L.A. Times, Village Voice and one in the Sacramento Bee so damning in its indictment of how Chávez had, on his own, sabotaged the movement so many associated with him that its author, Marcos Breton, recently wrote how Chávez was left “hostile and angry” by his simple questions.
In the wake of Chávez’s decline and eventual death in 1993, authors created a new genre: Saint César. Titles like “Cesar Chavez and the Common Sense of Nonviolence,” “Conquering Goliath: Cesar Chavez at the Beginning” (by his mentor, Fred Ross Sr., the most important California organizer you’ve never heard of) and “The Rhetorical Career of César Chávez” pushed forth the gospel of their subject as a plainspoken prophet out of the Good Book.
Chávez inspired millions — but those books will now forever read as hollow and sadly myopic.
Rethinking the Chávez myth
True reappraisals of Chávez and his work wouldn’t start until after former Times editor and reporter Miriam Pawel published a 2006 series for this paper that showed the ugly, domineering side of Chávez and the UFW’s decline. Six years later, longtime activist Frank Bardacke simultaneously praised and damned Chávez in his “Trampling Out the Vintage: Cesar Chavez and the Two Souls of the United Farm Workers.” Though a good read, it pales in importance and poignant lyricism to two double whammies that dropped in 2014: “From the Jaws of Victory The Triumph and Tragedy of Cesar Chavez and the Farm Worker Movement” by Dartmouth College professor (and my distant cousin!) Matthew Garcia and Pawel’s own “The Crusades of Cesar Chavez: A Biography.”
Garcia and Pawel are now making media appearances and writing essays to opine on where they think Chávez went wrong. Expect updates to all of these books and so many others in the months and years to come — if they’re ever published again.
Today’s top stories
Red diamond rattlesnakes are among species in the Golden State. One reptile expert who relocates snakes says her phone has been “ringing off the hook.”
(Christina House/Los Angeles Times)
Weird rattlesnake season
Unseasonably warm March weather triggered an unusually active rattlesnake season in California, with experts fielding record calls about sightings statewide.
Two fatal bites in Southern California in March and 77 Poison Control calls in three months far exceed typical annual patterns.
Those former Californians said the move saved them almost $700 in monthly housing costs, and they became 48% more likely to own a home in their new state.
Minimal snow in California mountains
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(Stella Kalinina / For The Times; Bill Addison / Los Angeles Times; Stephanie Breijo / Los Angeles Times; Kayla Bartkowski / Los Angeles Times)
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A question for you: How are you celebrating Easter this year?
Dodgers pitcher Shohei Ohtani delivers during the second inning of a 4-1 win over the Cleveland Guardians at Dodger Stadium on Tuesday night.
(Ronaldo Bolaños/Los Angeles Times)
Today’s great photo is from Times photographer Ronaldo Bolaños at Tuesday night’s Dodgers’ game. Shohei Ohtani battled through the rain to throw a one-hit gem in the Dodgers’ 4-1 win over the Cleveland Guardians.
Have a great day, from the Essential California team
Jim Rainey, staff reporter Hugo Martín, assistant editor Kevinisha Walker, multiplatform editor Andrew Campa, weekend reporter Karim Doumar, head of newsletters
There’s a lot of chatter around reality TV right now and the hazards of leaning into mess for the sake of potential viewership. Before Utah-based reality star and social media influencer Taylor Frankie Paul was making national headlines over domestic violence allegations brought against her by former boyfriend Dakota Mortensen — putting “The Bachelorette” and “The Secret Lives of Mormon Wives” series under interrogation — The Times was working on a group of stories that captured the longevity and cultural impact of the unscripted format.
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Speaking of reality TV — Valerie Cherish and “The Comeback” have returned for another round of the showbiz satire. The HBO comedy, which blends scripted comedy with a mockumentary format, originally premiered a year before the “Real Housewives of Orange County” and lampooned the effects of the early-2000s reality TV boom. It followed Valerie (Lisa Kudrow), a former sitcom star from the ’90s, as she attempts to revive her career by starring in a new sitcom while allowing a reality TV crew to document her journey. When the short-lived series was revived in 2014, it poked fun at the rise of prestige TV and the evolution of celebrity culture in the social media era. Now, its third and final season finds our favorite leading lady navigating Hollywood’s AI revolution. Michael Patrick King, who developed the series with Kudrow, stopped by Guest Spot to discuss the show’s latest timely exploration.
Also in this week’s Screen Gab, we take a breather from current programming and dust off two bygone titles. One is an animated sitcom that revolves around a mild-mannered therapist and his sessions with a notable clientele of real-life comedians playing exaggerated versions of themselves; the other is a mid-aughts thriller (of the Lifetime TV variety) that follows a heroic doctor who moonlights as a dangerous predator — its Letterboxd rating spread is something to behold. And it’ll make you wonder what Valerie Cherish might have brought to camp like that.
Let it all be incentive to spend some extra time on the couch this weekend — it’ll cut down on trips to the gas pump! Until next week.
— Yvonne Villarreal
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Dr. Katz, played by creator Jonathan Katz, invites his ex-wife, Roz, played by actor/author Carrie Fisher, to indulge in a dysfunctional family Thanksgiving on “Dr. Katz, Professional Therapist.”
(Comedy Central)
“Dr. Katz, Professional Therapist” (YouTube)
Once in a while the algorithms that rule our lives do us an actual favor, and so it was that YouTube alerted me that the entirety of this great turn-of-the-century cartoon lives there, hosted unofficially on a variety of channels. (Just type in the title.) Created by star Jonathan Katz with Tom Snyder, the inventor of an animation workaround called Squigglevision — in which vibrating outlines give a crude effect of action — and co-produced by Loren Bouchard, who would go on to co-create “Bob’s Burgers,” this six-season, semi-improvised, Peabody Award-winning Comedy Central series is founded on the notion that a comedian’s patter can resemble the neurotic unloading one might encounter in a psychotherapist’s office. And so onto Katz’s couch comes a parade of future comedy elder statespersons, naively but recognizably rendered, including Ray Romano, Lisa Kudrow, Dave Chappelle, Garry Shandling, Marc Maron, Catherine O’Hara, Margaret Cho, Wanda Sykes, Patton Oswalt, Sandra Bernhard, Paul F. Tompkins, David Cross, Jim Gaffigan, Steven Wright and Conan O’Brien. Rodney Dangerfield, already an elder comedy statesperson, has some things to say about his wife. Framing the therapy sessions are the domestic misadventures of Katz and his adult child son, Ben (H. Jon Benjamin, the Mel Blanc of adult animation, if Mel Blanc only used his own voice). Can’t-be-bothered secretary Laura (Laura Silverman, recently seen as Jane the documentarian on the new season of “The Comeback”), fills out the regular cast. — Robert Lloyd
“Stalked by My Doctor” (Tubi)
Last weekend, the Museum of Home Video hosted an interactive game at Vidiots where the sold-out crowd watched the first five minutes of 10 films and then voted on which flick to finish. “Stalked by My Doctor” won in a landslide. This 2015 Lifetime TV movie is one of the most bizarrely watchable trash films of the 21st century. Eric Roberts stars as Dr. Beck, a lovelorn, egotistical California cardiologist who is convinced he’s a catch. This graying bachelor falls for his patient, a high schooler named Sophie (Brianna Joy Chomer) and, when rejected, threatens to clobber her disabled boyfriend (Carson Boatman) with the guy’s own crutch. Filmmaker Doug Campbell makes B-pictures like a plastic surgeon does liposuction: He hacks off all the fat. Subtle? Absolutely not. Yet, there’s not a single dull scene and the characters make smarter moves than you’d expect. By the end, I was hooting and clapping, and giddy to hear that this top-notch schlock launched a five-film franchise. Some night soon, you can bet I’ll put on “Stalked by My Doctor: Patient’s Revenge.” — Amy Nicholson
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Lisa Kudrow as Valerie Cherish in “The Comeback.”
(Erin Simkin / HBO)
Could ChatGPT deliver a script worthy of Valerie Cherish’s talents? More than 11 years after it was last revived, “The Comeback” returned this month with a third season that explores the fear of technology replacing artists, and the ethical compromises that arise, through its sharp and uncomfortable comedic touch. Valerie is offered the lead in a new sitcom, “How’s That?,” on a faltering streaming service called the New Net. But there’s a catch. It’s the first-ever TV series to be written by AI — a fact that network brass wants to keep secret to avoid industry backlash. Valerie is initially resistant to the idea, but a humiliating experience on an indie shoot has her reconsidering. Is she about to be part of the new future of TV? A new episode of “The Comeback” drops Sunday on HBO and HBO Max. Over email, King shared his worries over how AI may transform the entertainment business and the series he’d pick to join the comeback circuit. — Y.V.
This season has Valerie Cherish starring in the first sitcom written by artificial intelligence. The series has always hilariously explored industry shifts. What concerns or curiosities do you have regarding AI, and did those evolve as you worked on the season?
Concerns — yes, many. They range from young writers with nowhere to learn their craft to no writers, young or seasoned, anywhere but the Coffee Bean & Tea Leaf. And yes I’m curious — white-knuckle curious — to see how the threat of AI (Season 3) will change how we make TV compared to how way the threat of reality TV (Season 1) and the threat of prestige cable and streaming (Season 2) did. Spoiler alert …television and TV writers are still here. When is this being published?
Without spoiling anything, there’s a scene in this week’s second episode where Valerie takes a meeting with some Hollywood folks — and it’s an odd experience. Do those meetings feel any more confusing or bizarre to you, in terms of how network brass thinks about the landscape, than they did a decade or two ago?
That billion-participant Zoom scene in the episode is very reflective of the “pitch process” today — in fact more than reflective — it’s a documentary … minus the occasional “pop-up pet.” What’s missing from this current Zoom pitch process is the in-person connection, which also accounts, I think, for why you no longer hear the phrase: “I sold it in the room.” No room, more people — less sales?
What does your writing process with Lisa Kudrow look like? Place me in those weeks of writing the first episode of this season.
The first and every episode has the same process. We talk, we laugh, we eat, we improv, we take turns writing it down — you know, things human writers do.
In addition to this third go with “The Comeback,” you worked on multiple seasons of “… And Just Like That.” What have you found interesting about the process of revisiting characters at a different stage in your life? Has one felt easier to navigate than the other in the current entertainment landscape?
I’m fascinated by a character’s personal evolution — how they can grow over the years. Who they were, who they might be now, what they’ve let go of — how they’ve changed. I’m also fascinated by how some fans of these characters don’t want them to change. In the current TV landscape — the fans are very vocal.
What have you watched recently that you are recommending to everyone you know?
“The Pitt” [HBO Max]. In addition to the good characters, it’s the thrill of being introduced to new actors.
As a viewer, which show — excluding those in your catalog — do you think would be worthwhile to revisit in 2026?
“Freaks and Geeks” [Prime Video, Paramount+]. One season only. Sometimes … a special show that was canceled — deserves a comeback.
Peaky Blinders: The Immortal Man is Netflix’s number one film and writer Steven Knight has revealed a fan-favourite character nearly made a surprise comeback
Peaky Blinders film almost brought back Tom Hardy for massive twist(Image: BBC)
Peaky Blinders creator Steven Knight has revealed he scrapped a massive twist that would have brought back Tom Hardy’s iconic character Alfie Solomons.
The Venom star portrayed the Jewish cockney crime lord of Camden from the hit drama’s second season on and had a complex relationship with the Birmingham gangsters.
After being shot in the head by Tommy Shelby (played by Cillian Murphy) on Margate beach, Alfie makes brief appearances in the fifth and sixth seasons of the hit BBC series.
Some fans may have been disappointed that Hardy didn’t make an appearance in Netflix’s new film The Immortal Man, which sees Tommy returning to Small Heath to take on his estranged son, Erasmus ‘Duke’ Shelby (Barry Keoghan), who has taken over the gang.
However, Knight has since revealed he originally considered the possibility of Alfie making an appearance – and it would have been a massive twist on the fate of the character.
“I had an idea, which I haven’t really spoken about,” he shared with the Hollywood Reporter.
“Ever since he was shot on the beach at Margate [in season four], you’ve only ever seen Tommy and Alfie together alone.”
The fifth season reveals that Alfie had actually survived the gunshot wound to the face after Hardy lobbied Knight to bring him back.
But, as Tommy regularly glimpses the ghosts of his past, including the lingering image of his first wife Grace (Annabelle Wallis), Knight briefly considered revealing that Solomons was simply another apparition Tommy had been communing with.
“I thought, maybe [Alfie] appears, and we realise he’s been dead all that time,” Knight went on.
“Now, I nearly did that, and I didn’t do it, but that was a thought.”
Hardy’s demanding schedule may have also contributed to Knight’s decision not to bring him back, as the star has recently been filming the Paramount+ crime drama MobLand since the end of Peaky Blinders.
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‘Dearest gentle reader’, as the fourth season of Bridgerton follows second son Benedict love story, there’s a way to watch this fairytale-like season for less.
Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan. This lets customers watch live and on-demand TV content without a satellite dish or aerial and includes the new season of Bridgerton.
Thankfully, there is still a chance, albeit a slim one, that fans could see Alfie return alongside some other Peaky favourites as the series will be returning for at least two more series on Netflix and the BBC.
Knight confirmed that Duke will be appearing in the upcoming follow-up, which is set in post-WWII Birmingham, though it’s currently unknown if Keoghan will be reprising the role.
He also teased: “Some of the characters that are in [The Immortal Man] will appear in that. But I’m under strict instructions not to talk about it except to say that it’s happening.”
Peaky Blinders: The Immortal Man is available to stream on Netflix.
Almost exactly 10 years ago, Leonardo DiCaprio won a Best Actor Oscar (his first) for his performance in “The Revenant” as an early 19th century fur trapper who is injured in a bear attack, then by turns grudgingly kept alive, abandoned and left for dead by the avaricious hunting party he had been hired to lead.
In his acceptance speech at those 88th Academy Awards, DiCaprio first thanked the film’s cast and crew. He then pivoted quickly and forcefully to the environment. “The Revenant,” he said, was … “about man’s relationship to the natural world that we collectively felt in 2015, as the hottest year in recorded history.”
The rest of what he said is worth a big block quote; to read it today, the week after the 98th Academy, during which politics and policy both receded, is bracing.
“Our production needed to move to the southern tip of this planet just to find snow. Climate change is real, it is happening right now, it is the most urgent threat facing our entire species, and we need to work together and stop procrastinating. We need to support leaders around the world who do not speak for the big polluters, the big corporations, but who speak for all humanity, for the Indigenous people of the world, for the billions and billions of underprivileged people who will be most affected by this, for our children’s children, and for those people whose voices have been drowned out by the politics of greed. I thank you all for this award tonight. Let us not take this planet for granted. I do not take this award for granted.”
That year was something of a heady time for environmentalists. Barack Obama was in the middle of his second term as president of the U.S and though his climate and environmental policies were not especially progressive, in 2015 he did enact the Clean Power Plan, which had the stated goal of reducing carbon emissions locally, and “leading global efforts to address climate change” outside U.S. borders.
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Further, just a couple of months after the 88th Academy Awards, the U.S. would become one the 196 parties to sign onto the Paris Agreement, an international treaty to reduce the rise of global temperatures, whose terms had been negotiated the previous fall.
Fast forward 10 years. Donald Trump withdrew from the Paris Agreement in 2020. Joe Biden rejoined in 2021. Trump withdrew again just a few months ago. And in this second go at the White House, the Trump Administration has done everything in its power to tighten the knots tethering the U.S. to fossil fuels. It has literally forced owners of coal plants in Colorado and Washington State that want to shut them down to keep them open. Trump has fought tooth and nail in court to suspend wind energy projects that are fully permitted, under contract and under construction across the eastern seaboard. And his administration has rolled backed numerous efforts to keep climate change in check, like the allowance of state-specific fuel economy standards and the landmark fossil-fuel endangerment finding of 2009.
Meanwhile, that global temperature record that DiCaprio mentioned in his acceptance speech in 2016 seems almost trifling compared to what has happened since. It’s been surpassed six times. According to data from the National Centers for Environmental Information, the three hottest years on record are 2024, 2023 and 2025.
At the 98th Academy Awards, DiCaprio was nominated again for Best Actor — his sixth in that category — this time for “One Battle After Another.” The film, directed by Paul Thomas Anderson, won Best Picture. DiCaprio lost in his category to Michael B. Jordan, the lead of Ryan Coogler’s “Sinners,” so he didn’t have a chance to say anything about climate change.
But not a single one of the Oscar winners this year mentioned it.
Both “One Battle After Another” and “Sinners” were produced by Warner Brothers, which is about to be acquired by Paramount Skydance, which in turn is owned by David Ellison, the son of Larry Ellison, one the world’s wealthiest individuals and noted Trump supporter. Ellison the younger has already made decisions that have significantly defanged the climate coverage at CBS News — Paramount’s flagship news network — and it would not be shocking if CNN — part of the WB — is next.
Indeed, one of the defining characteristics of this show was its dearth of any language at the awards that could be considered political.
Instead of the fire we got from, say, Michael Moore in 2003, what we got was a sort of mea culpa from P.T. Anderson — who might be the definitional American Gen X director — in his acceptance speech for Best Adapted Screenplay:
“I wrote this movie for my kids to say sorry for the housekeeping mess that we left in this world we’re handing off to them. But also, with the encouragement that they will be the generation that hopefully brings us some common sense and decency.”
I harbor the same hopes, but it might require at least acknowledging the problems first.
More culture & enviro news
One thing that does give me some optimism is that the feted films themselves did a pretty good job acknowledging climate change. According to Good Energy, a consultancy group, of the 16 scripted features that were nominated for an Oscar and met the eligibility criteria, five passed the “climate reality check.” That’s pretty good!
Relevant especially for those facing the heat wave right now in L.A. and the rest of the southwest: a study published earlier this week in Lancet attempted to quantify how rising global temperatures will impact physical inactivity in different parts of the world. Chloé Farand summed it up for the Guardian, noting the researchers’ projection of 500,000 additional annual deaths due to inactivity by 2050.
This isn’t brand new — in fact, it references the reporting of my former colleague Sammy Roth — but Alexandra Tey over at the Nation has a nice roundup of sports fans protesting their teams’ financial ties to fossil fuel companies. It focuses on one of the most visible of these partnerships: Citi Field, where the New York Mets play, is named for Citi group, the world’s biggest lender to oil and gas companies.
The related big question is will the turmoil in the middle east push countries around the world to double down on renewable energy. In the New Yorker, Bill McKibben makes the case that this could be the moment that small clean tech — think solar panels, heat pumps, induction cooktops, etc — really takes off.
This is the latest edition of Boiling Point, a newsletter about climate change and the environment in the American West. Sign up here to get it in your inbox. And listen to our Boiling Point podcast here.
