defy

PHILADELPHIA — It’s rarely sunny in Philadelphia for Sean McVay and the Rams.

Before Sunday’s game against the Eagles, McVay was 1-6 against them, 1-4 at Lincoln Financial Field and 0-4 against Eagles coach Nick Sirianni.

The last time the Rams visited here, the Eagles blocked a field-goal attempt and returned it for a touchdown on the final play.

And for much of the game Sunday, gloom once again engulfed McVay and a team that opened the season as a heavy Super Bowl favorite.

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Gary Klein breaks down what went right for the Rams in their 24-20 comeback win over the Philadelphia Eagles.

But it finally lifted midway through the fourth quarter, with quarterback Matthew Stafford leading two touchdown drives that gave the Rams a come-from-behind, 24-20 victory.

“A lot of gutsy efforts,” McVay said, “and I have a headache from hell right now.”

No doubt stress-induced.

While McVay enjoyed watching Kyren Williams rush for two touchdowns and receiver Puka Nacua rush for another, the Rams had to overcome turnovers, penalties and special teams miscues to improve to 2-2.

After sitting out two games because of a hip injury, Nacua caught nine passes for 125 yards, several during the final two scoring drives.

“I’m excited to get on this plane and get up out of here,” Nacua said. “Hopefully, they have some Philly cheesesteaks for us.”

The Rams had mostly had their fill of Philadelphia after losing an NFC divisional game here in 2024 and last year’s debacle that ended with the blocked field goal and touchdown.

“We obviously haven’t found a way to get it done here,” McVay said, “and our guys found a way today.”

Rams players celebrate with Kyren Williams following one of his two fourth-quarter touchdowns against the Eagles on Sunday.

(Chris Szagola / Associated Press)

The Rams can thank their defense.

The Eagles were without receiver DeVonta Smith and left tackle Lane Johnson, and star running back Saquon Barkley left the game in the first quarter after suffering a hamstring injury.

The Eagles were 0 for 12 on third downs. They converted only one of four fourth downs and managed just 172 yards.

“When it was the time for us to make a play, the defense stepped up,” said edge rusher Byron Young, who had 2½ of the Rams’ four sacks, “and we had to do what we do.”

Despite their elation over Sunday’s victory, the Rams have plenty to fix.

Stafford was great down the stretch but otherwise did not look like the reigning NFL most valuable player. He completed 32 of 51 passes for 317 yards with two interceptions.

The Rams, historically one of the league’s least-penalized teams under McVay, had 13 penalties for 91 yards in last Sunday’s 30-26 defeat by the Denver Broncos. On Sunday, they were flagged eight times for 100 yards.

“Any way you could shoot yourself in the foot — we were doing it on the offensive side of the ball,” Stafford said.

Special teams also continued to be an issue. The Rams gave up a long punt return that set up a touchdown, and usually reliable kicker Harrison Mevis missed a 48-yard field-goal attempt.

But the defense kept the Rams within striking distance.

“You’d like to see [us] play as a team where you go and score, and then hold ‘em, score and hold ‘em and score,” receiver Davante Adams said. “But sometimes that’s not how it plays out.

“[The defense] did their thing to put us in a position to win it, and we went down there and finished the job.”

The Rams trailed, 20-10, at halftime, as the Eagles turned two interceptions into 10 points, and Jalen Hurts tossed two touchdown passes to receiver Darius Cooper.

After Mevis missed, it got uglier.

Near the end of the third quarter, it finally looked like the Rams’ defense would be rewarded for a good play: It stopped Hurts on a fourth-down tush push, giving the offense a first down at the Eagles’ 38-yard line.

But Nacua’s penalty for an illegal block stymied the possession, and Stafford’s fourth-down pass for tight end Tyler Higbee fell incomplete.

McVay rallied the offense on the sideline.

“He said, ‘Make things go. Wipe it. Get to the next play,’” Higbee said.

Stafford said McVay was “trying to put some belief” in the team.

“I think we had it,” Stafford said, “but it was great to hear from him.”

The defense came up big again, stopping the Eagles on downs at the Rams’ two-yard line.

On came Stafford, who ranks fourth all time in fourth-quarter comebacks.

“We call it the Mamba period,” said Williams, who rushed for 80 yards in 15 carries and had 10 receptions for 67 yards. “We knew we had to get things done. … Matthew, man, he got us all together. He said ‘Let’s freakin’ do it’ and we did the dang thing.”

Stafford engineered a nine-play, 98-yard drive that Williams finished with a one-yard touchdown run to cut the deficit to 20-17 with less than four minutes left.

Stafford got the ball back with 2:55 left at the Rams’ 21-yard line. He connected with Nacua three times and Higbee once before Williams scored on a seven-yard run with 1:10 remaining.

Rams quarterback Matthew Stafford slides after running the ball against the Eagles on Sunday.

(Matt Slocum / Associated Press)

The play included Williams’ trademark second and third efforts.

“I wasn’t looking at any defender,” Williams said. “I wasn’t looking at any blocks. I was just having that smell, that nose for the end zone.”

Next up: Josh Allen and the 3-1 Buffalo Bills, a 29-26 loser Sunday against the New England Patriots.

The Rams will go into the game a .500 team riding the high of a comeback victory rather than trying to get out of a 1-3 hole.

At some point, the Rams will welcome back edge rusher Myles Garrett, defensive lineman Aaron Donald, who sat out because of a sore back, and tight end Terrance Ferguson, who like Garrett is on injured reserve. They are still more than capable of becoming the team that was hyped throughout the offseason.

So Sunday’s victory — rather than another loss in Philadelphia — could pay dividends.

“Hopefully,” Stafford said, “it was really important come later in the year.”

Growing up, Alejandra Villarreal was accustomed to the dry Mexican heat, trapped inside the small historic venues where she and her sisters would perform as kids. But as temperatures hit 103 degrees outside the Fonda Theatre in Hollywood, she couldn’t help but shout.

“¡Ay, qué calor!” she said, swinging her bass guitar.

Inside the nearly 100-year-old theater, Alejandra was onstage for a sound check. She ran through distorted, metal-influenced riffs as her sisters — drummer Paulina Villarreal and lead vocalist-guitarist Daniela Villarreal — prepared for the second of three sold-out shows at the Fonda, as the rapidly rising rock band the Warning.

The Warning has been shaking the walls of L.A. theaters since the group first landed in the city eight years ago — but this year feels especially monumental for the sisters.

Released in August, the band’s most recent album, “Everything’s Falling,” is a snarling, noisy and melodic rock joyride that rarely, if ever, slows down.

Written between L.A. and their hometown of Monterrey, the straight-to-the point lyricism documents the Villarreal sisters’ frustrations, anger and failures — most fiercely on “Kerosene,” which lambasts a jealous critic who “falls asleep with me on your screen,” so sings Daniela.

“Kerosene” recently shot up to the No.1 spot on the Billboard Mainstream Rock Airplay chart, which made the Warning the first Mexican and first all-female band to make the spot. Another single, their Spanish-language anthem “Ego,” was nominated for rock song at the 2026 Latin Grammys.

Members of the Warning hold up Billboard No. 1 awards after performing at the Fonda Theatre.

(Kayla Bartkowski / Los Angeles Times)

The legend of the Warning began in 2014, when Alejandra was just 9 years old and Paulina and Daniela were 12 and 14, respectively. The sisters came home from a Sunday carne asada with their family — and recorded a righteous cover of Metallica’s “Enter Sandman.”

Dressed in floral blouses and white capris, the girls thundered through the song with a focus and technical ability that sparked the interest of audiences worldwide — earning them a current total of 27 million views, not to mention praise from Metallica guitarist Kirk Hammett.

“We were wearing our sandalias, our church clothes,” Paulina said. “It’s just pretty crazy to think that one random Sunday afternoon we recorded that and it jump-started our whole career.”

The idea for the group came from playing the video game “Rock Band,” which led the sisters to performing at local “Battle of the Bands” competitions and posting cover songs to YouTube.

But the success of the “Enter Sandman” cover changed the course of their lives, taking them from local venues like Cafe Iguana — or, as Paulina calls it, “Monterrey’s Whisky a Go Go” — to appearing on the Ellen DeGeneres Show and various international music festivals.

“We started having adult responsibilities way early in our lives,” Paulina said. “We didn’t have that [average] teenage experience at all.”

“We didn’t go to normal school, we didn’t go and hang out with other teenagers,” she continued. “We were mostly hanging out with adults like our parents, [or] on tour and working. So there was this huge disparity between what our friends were living through and what we were going through.”

Over the course of its 13-year career, the Warning has opened for acts ranging from the Foo Fighters to Yungblud, writing and recording tirelessly in between. Now that the bandmates are all in their 20s, they say they “wouldn’t change it for anything.”

“When I was 10, I was like, ‘This is what I’m going to do for the rest of my life,’” Alejandra said. “I guess I did miss out on high school and ‘the norm.’ But honestly, I’m very grateful that we did this.”

In “Everything’s Falling,” the Warning contends with self-imposed songwriting limits that boxed them in as children — and tear down old personas to reveal their continuous, however imperfect, process of growth.

“All of our lives, we felt like we needed to sound a certain way,” said Alejandra. “English is not our first language, so we always found ourselves using really complex words — so that people would say, ‘They know the language.’ The lyrics of this album are very straightforward. We don’t have anything to prove anymore. It was a very liberating album to make.”

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(Kayla Bartkowski / Los Angeles Times)

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(Kayla Bartkowski / Los Angeles Times)

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(Kayla Bartkowski / Los Angeles Times)

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(Kayla Bartkowski / Los Angeles Times)

The group’s highly technical progressive rock style, influenced early on by bands like Muse, Metallica and Paramore, brought it a legion of Gen X fans who admired the sisters’ dedication to shredding, mathematical guitar solos and classical training base.

On their latest album, the sisters introduce new levels of fuzz and overdrive that blur their usually crisp instrumentals, plus verses that “lean into femininity” and take inspiration from a source that may surprise some: K-pop.

The rising global genre, known for its catchy harmonies and bouncing performance style, inspired the sisters to bring pop elements to their recording sessions.

“We love getting inspired outside of our genre,” Paulina said. “I think what happens a lot in rock is that, it’s very purista [purist]. Especially as women, whatever you do is very scrutinized. So if you ever step out of those confines it’s like, ‘Well [if] you’re not rock, you shouldn’t even be participating.’”

The sisters’ desire to defy expectations is most apparent in their jam-packed touring schedule.

(Kayla Bartkowski / Los Angeles Times)

“I fainted onstage [in July], and it was very dramatic,” recalled Paulina. “More than it being scary, I think people for the first time realized how hard we work. People were like, ‘Oh, your team is pushing you too hard.’”

“Nobody’s forcing us to be here,” she added, resolutely. “We’re grown women. We know what we’re doing and we know how much we can take.”

Daniela, the lead vocalist, had come down with a cold during the group’s L.A. shows, which required her to step back from interviews to rest her voice. The first night, she sang through the entire setlist, screaming and all — but by the third, she could only perform a few songs. Rather than cancel the concert, the Warning insisted that the show go on.

A la Karen Carpenter, Paulina sang lead vocals from behind the drum kit, calling on the crowd to clap and sing along to the music. They also brought out fans and collaborators to help them perform, including songwriter Annie Schindel, as well as rock acts Holy Wars and Dead Poet Society.

“We push forward through a lot of bad experiences,” Alejandra said. “One time I felt like I was dying — and that was the one of the few times we canceled a show. We only do it in extreme measures, because we know how much planning a show takes.”

One could blame it on the “Mexican work ethic,” they said.

Before taking on Hollywood, the sisters joined regional Mexican artist Carín León on the first night of his sold-out weekend at the Sphere in Las Vegas: the first time a Latin artist had ever headlined the venue. The band released the bluesy rock single “Love to be Loved” earlier this year with the Sonora native, recalling the first time they played it together “a highlight of our lives.”

“[Even if] we do our own thing in a different genre, we still shared that pride because of where we come from,” Paulina said. “Everything about that show was so Mexican … The unity, the community that we have outside of our country. Hopefully the people that went there felt how special it was.”

“I cried,” Alejandra added. “[Watching Carín perform], it was emotional.”

(Kayla Bartkowski / Los Angeles Times)

A week later, at the Fonda, they smiled as fans launched into chants like “Olé, Olé, Olé” and “Viva Mexico.” The line had been forming since 3 p.m., and once the show had begun, the Warning transformed from jovial 20-somethings to well-seasoned professionals.

“I feel like there will be a very clear change in what we do, ‘Everything’s Falling’-forward,” Paulina said. “I feel like we really allowed ourselves to be more emotional in the music and these shows, and that feels really powerful.”

Said Alejandra: “We opened Pandora’s box.”