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In this week’s episode of The Envelope podcast, Chase Infiniti discusses her meteroic rise, her Emmy nomination for “The Testaments” and nurturing the ambition to become an actor since age 10.

Kelvin Washington: Hello, everyone, and welcome to this week’s episode of The Envelope. You have myself, Kelvin Washington, alongside my usual suspects, Yvonne Villarreal, Mark Olsen as well. It’s been a week, so I’m trusting everybody’s good. Yvonne, we’re coming to you here because you’re going to help us break this down. Don’t bug the eyes. Yes, we’re coming to you. The [TV] Academy, they’re making some changes when it comes to the live broadcast, and it can be a little bit confusing. That’s why we got you here. Tell us more.

Yvonne Villarreal: They announced that they will be moving five categories that are usually handed out during the ceremony, the Primetime [Emmys] ceremony, to a week prior and handing them out during the Creative Arts Emmys’ weekend. They say the decision is sort of to make space to innovate the live show and incorporate new things. You know, viewership is always something that they’re after. But it’s causing a stir in Hollywood because we’re losing some mainstays of the show, and that’s writing for a variety series, but also taking a big hit is the limited series or movie categories. We’re losing supporting actor, supporting actress, but also writing and directing. And people have a lot of thoughts. Mark, I want your thoughts. Kelvin, I want your thoughts.

Mark Olsen: I feel like there’s a disconnect between the people who watch award shows and the people who make and produce award shows, where I feel like those of us who watch them, we just want more sort of genuine moments from the talent, from the nominees. I want more speeches! And so taking away five categories, there’s going to be that much fewer speeches. I just can’t help but think of like Linda Cardellini, who’s one of the people nominated, she was on our roundtable earlier this year and just like a great presence, a stalwart TV actor, and to have to take away that chance for her to potentially get up onstage be really genuine, why would you not want that as part of your show instead having these kind of like canned comedy bits or, you know, hacky reunions plus canned comedy bits that nobody particularly wants.

Villarreal: It’s an awards show.

Washington: True, but maybe I’m Nobody in this case. We were talking about this a little bit earlier, you guys were making fun of the 1990s reunions there. I enjoyed it. I enjoyed seeing, I think it was maybe two years ago, when they had “Martin” up there and they had never been invited; they were kind of joking, “Oh, we never got invited” or “We never won an Emmy.” And so I think it’s been pretty cool. And I will say that this is the challenge for productions, when you’re trying to appease everyone. Is it about the awards? It is about the length of time — just speed this thing up? Is it about having the magical moments? And then you see the Grammys try to get these things right as well. You’re never gonna be able to please everyone. So I think it’s always a difficult balance. So we’ll see how it works out this year. But I’m looking at you, Mark, some people might enjoy those. And you too, those nerdy little reunion shows.

Villarreal: But in a time when it’s already hard to get a show visibility in this marketplace, and so many people don’t know what’s nominated anymore, when you’re taking away an access point for them to discover something or not tell them about a show, it’s a short-sighted change I think.

Washington: The only response I would add to that is that’s kind of where we are. Even if you keep up with television, movies and music, it seems to be a lot more word of mouth than historically where things are plastered everywhere. And even if you didn’t care about the particular thing, you saw it, you heard it. Now it’s like word of a mouth and just watercooler or just the algorithm telling you what to like.

With that being said, somebody who’s having a great run right now, Chase Infiniti. I know you had a chance to speak with her. Of course, “Handmaid’s Tale” did so well. Then there’s the spinoff, “The Testaments.” Tell me a little bit more about your chat with her.

Villarreal: Talk about, like, a breakout nomination this year. Chase has really been a star on the rise. She made her debut in Apple TV’s adaptation of the legal thriller, “Presumed Innocent” playing Jake Gyllenhaal’s daughter. And in recent projects, she’s played this young revolutionary, both in Paul Thomas Anderson’s “One Battle After Another” and now in “The Testaments,” which takes place after the events of “The Handmaid’s Tale.” She’s the daughter of a high-ranking commander, but she’s also the biological daughter of June, who’s Elisabeth Moss’ character. And this show is really about seeing the rebellion of young teenage girls and how they are sort of key to the inside resistance of toppling this regime. And so we talked a little bit about that.

Washington: All right, well, you got me a little nervous. You’re talking about the rebellion of teenage girls. You know, I’ve got a 9, a 7, and a 5-year-old, so that could be my future.

Villarreal: Let’s hope it is. They’re the future.

Washington: You’re right, you’re right. Yvonne and Chase, here they are now.

Chase Infiniti, photographed in late March ahead of “The Testaments” premiere.

(Jason Armond / Los Angeles Times)

Yvonne Villarreal: Chase, thanks so much for being here. Congratulations on your Emmy nomination. What do you want to remember about this moment, this feeling?

Chase Infiniti: Oh. I don’t know. I’m trying to take little pictures in my brain of everything and remember all of the influx of emotions that I felt that entire time, but also throughout the whole journey of making Season 1 of “The Testaments.” There’s so many things about it that I’m like — I just never want to lose that feeling. There’s a lot of [memorable] moments I had on set and also during the press tour and then even finding out about the Emmy nomination, which feels very crazy to say. But even finding out about that, there’s so many little things that I’m like, “I never want to lose that feeling. I want to keep it in my brain forever.”

Villarreal: Is it as thrilling as what you remember feeling when you booked that first role in a local production of “Hairspray,” when you were 10?

Infiniti: It definitely does. I also feel very grateful that with my job and with everything I get to do, I really try to keep intact how much I love the work and how much I love creating. That’s what helps it keep that same energy as me finding out I’m playing Crystal in “Hairspray” versus me finding out that I have an Emmy nomination.

Villarreal: Were you on Cloud 9 getting the news of Crystal?

Infiniti: Oh, yeah. I was so happy because I was it was the first time I ever had a name in a musical. And I remember when I was a kid, I watched the movie version of it every night for six months. Not a lie. Me and my sister would turn it on religiously after school and we would start singing “Good Morning, Baltimore.” It got to the point where we knew almost every line in the movie.

Villarreal: I feel old asking which version of “Hairspray”… Zac Efron? What was it about it?

Infiniti: It’s just catchy — everything about it. It just makes me happy, When I hear “Run and Tell That,” I just want to do twirls in my room. I love musicals so much and they make me so happy. If I’m ever down or need a little pick-me-up, I’ll literally just blast that soundtrack. I blast the soundtrack to “Pippin” or … “Shrek: The Musical.” I remember being in the production and it kind of brings me back to those happy memories I had ,or productions that I saw that I was like, “Oh, my gosh, this really makes me want to work towards being in something like that.” I love musicals.

Villarreal: It was just two years ago where the general public was starting to learn your name with your debut in Apple TV’s “Presumed Innocent.” Since then, you’ve navigated the film award season with “One Battle After Another,” and now the TV awards season with “The Testaments.” How do you make sense of what this moment is? Are there still things you’re getting used to? What have you enjoyed about this part of the job?

Infiniti: There’s a lot of things I’m still getting used to. Especially with “One Battle,” I think the biggest adjustment I had was people knowing me before I walked up to them — people that I’m massive fans of. I met Angela Bassett at something, and she came up to me and said my name, and I was like, “You’re Angela Bassett, and you know who I am?” That was like an “Oh, my gosh” [moment]. I’m still really adjusting to that. I feel like there’s a disconnect in my brain between like what I think people know of me versus what reality actually is. And my friends bring it up all the time and they’re like, “Chase, these people know who you are.” But I can’t wrap my head around that. It’s very strange, especially going from like a 0 to 100 situation. That’s something that I’m still trying to find an adjustment on in my brain.

[What have I] enjoyed about it? I’ve gotten to meet all of my superheroes, in a way. All the people that I’ve grown up watching on the screen and on the stage, [I’ve encountered at] all of these different events and in passing, and everyone could not be kinder and just getting to meet them and just pour into them how much they’ve shaped my life and shaped the creative work I want to do. Another adjustment thing is hearing them pour back into me too. That’s something that I’ve been getting used to. But meeting the superheroes of it all in my brain has been something I’ve really loved. Also getting to meet people who’ve watched “The Testaments”; like younger girls who’ve watched it and then really found a connection point with it, and it’s had an impact on them and their friends. That’s something I really cherish about getting to do what I get to do. I had it with “One Battle.” It’s really cool to see it happening again with “The Testaments.” That’s a very wonderful gift.

VIllarreal: Before we delve further into “The Testaments,” I do want point out this moment onstage at the Academy Awards. When “One Battle After Another” won best picture, Paul Thomas Anderson singled you out, calling you “My American girl” and the “heart of this movie.” Place me in that moment as Chase.

Infiniti: Well, I didn’t hear him. I just heard him say my name. I remember he was going down the list and saying names of different people, and I thought that it was something like that. I was touched that he even mentioned me onstage. Obviously, that movie has quite literally changed my life and that entire cast. And I love Paul so much. So I didn’t hear him onstage, and it wasn’t until afterwards that my parents had sent me a screenshot of the [closed] captions from that night. They were like, “This is what Paul said about you.” I just remember feeling so honored that I got to be a part of something that changed my life, but [it was a film that] also really, I think, changed a lot of people’s lives as well; they connected with it. I can distinctively remember every single day on that job. I just remember feeling such a rush of emotions after reading [what he said] because I love that movie and I love Paul so much. I could not be more grateful for that opportunity and for the opportunity to play Willa, let alone get to be a part of the crazy world that is a Paul Thomas Anderson set. But I learned so much. There’s so much I could say about it.

Villarreal: How did playing Willa inform how you thought about Agnes, who’s also this young revolutionary in the making, as you were putting yourself on tape for “The Testaments”?

Infiniti: I signed on to it with one script in mind. Obviously, I had read the book beforehand, so I had an idea of what she was going to go through, but I didn’t necessarily know how it was going pan out onscreen. The biggest help Willa [provided] beforehand going into that is, I feel like I, by nature, have a little bit of a rebellious spirit, but I really had to turn it up with Willa. I think that being able to access that through Willa and then shape it differently for Agnes, given the circumstances of where she is, was the biggest key between the two. They do share the strong sense of rebellion. Granted, Agnes doesn’t know where it comes from. She doesn’t really know how to handle it, necessarily. But I think that that was a nice way into Agnes and creating her world mentally of where she is and also the inner turmoil of, “I know that there’s this thing happening inside me, but I don’t really understand it.” I think [that] was the biggest cheat code from Willa to Agnes.

Villarreal: What was it about “The Testaments” that spoke to you and made you want to tackle the material?

Infiniti: Just from that one script alone that I read before I signed on, it was hidden that it was “The Handmaid’s Tale,” but you can get a sense of what the world is based off of that initial script. I just fell in love with how detailed it was. It didn’t feel like there were any question marks in the world, and I think that diving into something [like] that felt very interesting because it’s not otherworldly but it feels otherworldy in the sense of the way that they speak and the way Gilead itself looks on paper versus on the screen. That was something that I found to be very interesting. But I think with Agnes specifically, I really love the amount of love that she has for her friends, because that’s something that I feel very strongly about. My friends and my family, but especially my friends, are the people I cherish most in my life. My loved ones are near and dear to my heart, and I will do anything for them. That’s something that I really loved about Agnes. That makes me very happy to see, that even in a world that’s so dark and so dim — even if she doesn’t view it as that, it is dark and it is dim for a young girl in Gilead —she still has so much love and so much hope for her friends. And I found that to be very inspiring.

Villarreal: Did you have any hesitation about the heaviness of this fictional world?

Infiniti: I don’t think that that necessarily terrified me, because I think that I have this very privileged ability to step into this world that seems like it’s so far outside of what we are, I guess, used to — but it’s really not. Nothing that Margaret Atwood writes is fiction. It is all based off of history or things that are happening at the time that she’s written it. I knew that it was going to be very relevant. I’m in this very privileged position where this isn’t my reality, but this is the reality of so many women around the world. And I thought when I read this script that this was a way for people to not, I guess, become desensitized to seeing these things, because I think that we’re in a world where it’s so easy to just turn off your phone, scroll past something, and just ignore what’s actually really happening. With “The Testaments” and with the things that these girls go through, I truly feel heartbroken. But if this in any way can wake people up, can help people continue to ask questions and really question their own environments, that was something that I wasn’t scared of. And I really felt empowered to join something that was doing that. And I am also grateful that on that set, it never felt like the material was too heavy for a day because our entire cast and our entire crew kept the energy on set very light. And if there was ever a point where a day was extra heavy, I knew that I could turn to Lucy [Halliday, who plays Daisy] and she would always be there for me. I know that I can turn to one of the directors and they would always be there, or even one of the [production assistants]. Everybody on set was very forthcoming with kindness and always very open. That was something that helped to keep the heaviness of the subject matter [from] going home with us.

Villarreal: Agnes has only known obedience and repression. She’s very controlled with her emotions. As somebody with roots in musical theater, did you have to curtail some of those instincts that you might’ve had to be a little more expressive? How was it settling into Agnes?

Infiniti: It was honestly pretty easy because you get into the space, you get into the world, and you instantly are transported and you get little context clues based off of the things that you see in Agnes’ room versus the things that you’ve seen in the school — or the absence of things. The absence of things really helped to start to put me in a box in a way — not the negative connotation of that — like putting the costume on. It really helped for me to feel the restriction of the world to understand what Agnes’ mind is, and getting to see that from the outside and then getting to step into it. It wasn’t that hard to shut off that part of my musical theater brain, but I think part of that is also I’ve learned how to maneuver through that just based off of “Presumed Innocent” and “One Battle,” because both of those parts are also very, very much so not musical theater-y at all. So I think that was also something that I had the privilege of learning on both of those sets.

Villarreal: Something that stands out with Agnes is we’re witnessing her awakening. Gilead is all she’s ever known. And she’s very dutiful to the practices of that society. But she’s grappling with coming into her identity and feeling this gap of her internal thoughts and feelings and what society tells her to be. What was important to you in having those two realities live side by side?

Inifiniti: The one thing I never wanted her to lose was her sense of love. She is a character who that is at the root of most of her decisions, especially when it comes to the final episodes with Becka [played by Mattea Conforti]. I think the love that Agnes has in this world is something baseline I never want to lose. I really tried to maintain that throughout.

There’s so much that you keep to yourself — your inner thoughts, your inner personality in a way — versus what you outwardly show the world. I just had to turn up the extremes when it came to Agnes, and really make sure to keep those things that she keeps close to her heart guarded. And put on this almost armor in a sense of what she views to be the most perfect version of herself for the outside world. And then watching that kind of crumble, those layers are peeled apart based off of what happens to her and what she sees happen to her friends. But also, there’s a point in everyone’s life where they realize, “Oh, what I had been raised under the belief of is actually not the reality. Whether it be something like that or whether it be an idea or an ideal that you have about the world or about yourself or your morals, just based off of what you’ve been raised with. I think that everybody has a point in their life where they have to face a version of reality that they’ve been told versus what actually is reality. There’s things that I’m still learning, and there’s still things that I’m questioning just based off of what I see in my personal life, and then also with my friends or what my family goes through.

Villarreal: A key character in the show is menarche and the menstrual cycle. We see how it’s weaponized, but we also see how it gives these young girls their power. What was it like to explore that?

Infinti: The thing I honestly really enjoyed about it is the openness of it. Like, you know when you go to the bathroom — and this is perfect podcast talk — and you’re taking your pad or your tampon to go change, but you’re hiding it because you’re like, “I don’t know if I want anybody to see it” [or hear] the crinkling of everything. But I think that the openness of everything in the show — granted, circumstances are completely different — but the openness that they have with it, I found to be very freeing and refreshing in a way. That was something, especially when we started shooting, that we all talked about, because we were like, “We’ve never been in a place where it didn’t feel like there was a stigma against it.” It felt like we were almost encouraged to talk about it. Getting to put this show out into the world and letting girls see that there isn’t something that they should be afraid of, but also letting them see that this is normal. This is not something that we should be scared of, let alone try to hide, because it’s a part of womanhood. It’s also a part of girlhood and a point of connection between younger girls. Getting to see it on the screen and see the way that these girls talk about it, ignoring the society of Gilead and the amount of pressure that the men put on them in this society, that connection that they have with those few things that span across culture, that is something that we were all very happy to kind of have that openness with something that we’ve felt so scared to talk about, especially at like 14 and 15.

Villarreal: Scared to experience too.

Infiniti: I remember when I got my period for the first time I was like, “What is happening? I don’t know what is going on.” The first person that you call, if it’s not your mom or another maternal figure in your life, is your friends. Because they’re normally the person closest to you in proximity if you’re at school or if you were at an after-school activity or something like that. Getting to have that openness felt very refreshing to have on set.

Villarreal: There was so much openness that there was a menarche playlist curated by director Mike Barker. Tell me the backstory on this.

Infiniti: We did. I’m trying to remember how we found out about this playlist. We were doing a camera test for the costumes, and I remember Mike just putting on this playlist and he’s like, “I like putting up these songs for everyone to listen to” because there was no dialogue in this little camera test between me, Mattea, Rowan [Blanchard], Lucy, Brad [Alexander], Amy [Seimetz] and Mabel [Li] — I can’t remember if I might be forgetting somebody else, and I’m so sorry if I am. But it was a bunch of the cast and then there was also some pinks in there just to see how everything looks on camera. And we were hearing all these different songs playing. We’re like, “Wow, this is great. Thanks for putting together a playlist, Mike.” At some point, Lucy went to grab his phone to look at what the song was and his playlist was open, and she’s like, “Why is the playlist called ‘The Menarche Playlist’? And after that, it just became us trying to get him to approve a song that we would suggest.

Villarreal: I remember you telling me Britney Spears’ ”… Baby One More Time” was on it. But I had wondered who else made the cut.

Infinti: “… Baby One More Time” was on it. I think that was the first song on it, but there would be points in lunch — we’d all eat lunch together — and we’d be like “OK, Mike, what about this one for the menarche playlist, or what about about this one?” We would all secretly hope that they would get added to the show.

Villarreal: Did one of your suggestions get added?

Infiniti: There are songs on there that I don’t even remember. So one of them probably did get added. I just don’t remember what it was.

Villarreal: Agnes is somebody that doesn’t really experience culture. We don’t know what kind of music she likes, what kind of TV or film she likes. And you’re someone that’s very much into culture, at least from what I’ve seen. Were you thinking about what she might like? How did you think about her backstory with that kind of absence?

Infiniti: I was really just relying on what you saw of her in “The Handmaid’s Tale,” and that was the extent of what I would let a part of her backstory be because she doesn’t remember much about her childhood. Once she becomes conscious, in a way, in Gilead, all I did was rely on the things that I knew that she liked and really try to remind myself, “She doesn’t know what a movie is. She knows what ‘Jaws’ is, but she doesn’t really have an understanding of what watching a movie is like. She doesn’t know what YouTube is, she doesn’t know what a phone is.” I had to keep reminding myself, especially at the beginning, to not put those things in the forefront of our minds, unless, of course, like you’re a Pearl girl who has prior knowledge of everything. A lot of it was just reminding myself, “You don’t know what this is, she doesn’t know what this is.” If I were to meet Agnes right now, she would probably think I was crazy because she just doesn’t understand a lot the things I’ve seen, and the things that we use in our day-to-day life, and I really tried to make sure to keep that intact, but also relying on the bits of information that I had from “The Handmaid’s Tale” going back to the show. And also, of course, we had Bruce Miller, so I could ask him anything.

Villarreal: What would you, Chase, expose her to? If she were to come to you, what she should be listening to or watching, what’s the guide you’d give her?

Infiniti: The crash course to being 14? I would show her One Direction. I’m sorry. That is something that is so quintessential to being a 14-year-old, especially me being 14. I would be like, “Agnes, I see the things that you love and you’re obsessed with. I’m going to show you the thing that I was in love and obsessed with when I was your age.” I would be very curious to see how she would react to hearing One Direction for the first time; hearing “What Makes You Beautiful,” that would be interesting to see. I would show her something that is representative of me being her age. I still am a fan. I’ve always been a fan my whole life, but especially One Direction, that’s probably something I would show her.

Villarreal: Who was Chase at 14? You talked earlier about having a little bit of that rebellion in you. And after playing these two characters back to back, what have you sort of learned yourself, about your power or finding your voice, especially in an industry like Hollywood?

Infiniti: Something that I realized when I was probably about 13 or 14 is, I used to be very upset when people would underestimate me. I found a way to, I guess, not make it my superpower … but use it as opposed to [letting it be] something that would defeat me. [I would] use it as something to continue to motivate me to work towards the goal that I already had because there’s always gonna be people that underestimate you. There’s always going to be people in the world that want to pour negativity into you when you’re truly just living your life, working towards the things that you want. That was something that I realized pretty young because I knew at 10 that I wanted to be an actor. And so at that point, I kind of made a shift in my mind where I was like, “OK, I need to start working towards the thing that I want to do.” At 13, people were like, “Why are you so motivated to do this? It’s a bit embarrassing that you want to be an actor. What makes you think you can do that?” And I was like, “Because I want to do it.” I never had a doubt in my mind that this would be the thing that I would get to do because that was something that my parents always told me. They were like, “Dream big because the dreams that you’re imagining can be your reality, especially if you work hard enough towards it.” And I feel very lucky that I get to do the thing I’ve always dreamed of doing.

Villarreal: How does that live side by side with also learning how to deal with rejection so young?

Infiniti: It’s a lot of tears, a lot of sad days, sad weeks, conversations with my friends, conversations with parents. But from being underestimated, I remember my dad being like, “You have to get comfortable with ‘no.’ And it’s not going to be fun. It’s not gonna be something that you’re excited to hear, because no one’s excited to hear that they didn’t get something that they really wanted.” Now I’m at a point where I’ve really learned how to process it and not let a no or a rejection affect my view of myself or affect my view of a performance or my abilities to do anything. It took a long time to learn, and I’m still nowhere near perfect, but I’m definitely at a place that’s better than when I was 13 because it is hard for somebody that young to get that amount of rejection. It’s also hard for somebody at my age to handle that level of rejection, especially when you get so close to something. I have to give that credit to processing those things to my parents because that is all them. I had many tear-filled nights when I was a kid because I was so sad that I didn’t get a solo in something, and they’re like, this doesn’t mean that you’re not talented. I’m also somebody who believes the right things will find you. And they’re [my parents] also the people that kind of instilled that in me too.

Villarreal: Does that reframing of no also give you the confidence to approach Leonardo DiCaprio and Benicio del Toro and say, “Will you make a TikTok with me?”

Infiniti: It honestly was like a lot easier than I thought it was going to be. I was very specific. I did lots of research because I also was like, “I want it to be something that they can look at and also laugh at.” They can enjoy it.

Villarreal: Do you think you’ll get there with Ann Dowd? A TikTok?

Infiniti: I would love to. I don’t know what it would be, but I would love to make a TikTok with Ann Dowd one day. If it could be like all the girls on set making a TikTok, I would be very happy. I do have some planned. So, we’ll see.

Villarreal: Margaret Atwood makes a cameo in the finale of Season 1. How do you even talk to Margaret Atwood when you meet her? What was that experience like for you?

Infiniti: The person who was probably the most shocked was Lucy because Lucy Halliday is the biggest Margaret Atwood fan I think I’ve ever met. I had the gift of getting to witness Lucy meeting Margaret for the first time. But meeting her — she’s so kind. [Producer] Warren Littlefield says this all the time where he’s like, “You can’t talk to Margaret Atwood and not learn something with every conversation.” I just remember being very quiet and listening to her talk and listening to her ask questions of me, ask questions of Lucy, but we would just pour into her and be like, “Thank you so much for your work because you truly have touched millions.” She’s also so funny and so witty and very charismatic. I remember being very nervous beforehand, but she made it very easy for our nerves to go away. The highlight was getting to see Lucy meet Margaret.

Villarreal: You’re about to head out to Canada to start production on Season 2. You’ve seen two scripts. What do you hope to see for Agnes in Season 2?

Infiniti: I hope Agnes is happy, and I hope that she can continue to push and find her happiness. I hope that she doesn’t lose her spark, and I hope that’s something that she continues to explore and understand why she is the way that she is. Those are two hopes that I have.

WASHINGTON — The narrow victory of progressive doctor Abdul El-Sayed in Michigan’s bitterly fought Democratic Senate primary sets up a defining test of the party’s progressive wing in one of the highest-stakes U.S. Senate contests of the midterms.

Whether El-Sayed, a former public health official, can carry swing voters in a battleground state could both determine the outcome of a Senate seat viewed as crucial to determining control of Congress and have broader ramifications on the Democratic Party’s struggle for its identity.

El-Sayed, a 41-year-old epidemiologist, defeated U.S. Rep. Haley Stevens, a moderate Democrat, by a narrow margin Wednesday after a long and intense campaign that was seen as a proxy for the party’s fissures.

The race was far closer than some polls had indicated. El-Sayed was leading Stevens by 15,000 votes, about 1 percentage point, with 99% of votes counted Wednesday, according to the Associated Press.

El-Sayed will face former Rep. Mike Rogers, a Republican, in the general election. The winner will succeed retiring Democratic Sen. Gary Peters, whose seat Democrats see as critical to retain for the party to have a chance at flipping the Senate.

“We’ve got an opportunity to bring ourselves back together, to come together around a movement, to take our democracy back,” El-Sayed said Wednesday on MS NOW’s “Morning Joe.”

El-Sayed’s victory will put to the test in a swing state the broader strength of the progressive movement, which has found success in deep-blue places like New York City, where Zohran Mamdani was elected mayor last year, and Los Angeles, where City Councilmember Nithya Raman is locked in a tight race mayoral contest with incumbent Karen Bass. Both Mamdani and Raman are democratic socialists.

As Democrats struggle over the party’s post-2024 identity and grapple with how to win back voters, the divide between the party’s progressive and centrist wings has been on display in primary fights. Both camps have notched victories: Many of the leftist wins have come in intensely blue districts, such as in New York, while more moderate districts have chosen centrists, as in Iowa.

On Tuesday, two progressive congressional candidates in Michigan beat out establishment Democrats in House races — in one case, ousting an incumbent. But in Missouri, democratic socialist and former Rep. Cori Bush lost to incumbent Rep. Wesley Bell, a moderate, for a key House seat.

In California, a handful of progressive candidates are on the November ballot, including the challengers to Rep. Doris Matsui (D-Sacramento) and Rep. David Valadao (R-Hanford). In the Aug. 18 runoff to fill the vacant seat of former Democratic Rep. Eric Swalwell, progressive state Sen. Aisha Wahab is battling it out with fellow Democrat and BART board president Melissa Hernandez.

Progressive leaders celebrated El-Sayed’s win on Wednesday. Sen. Bernie Sanders (I-Vt.), who backed El-Sayed, argue that his working-class-centered politics are more likely to have mass appeal.

“If you’re a working-class Republican in Michigan, I think you’re going to listen to what El-Sayed says,” Sanders told NBC’s “Meet the Press” on Sunday. “I think many of them will end up voting for him, independents as well, of course.”

Throughout the campaign, Stevens argued that El-Sayed would not be able to defeat Rogers, a refrain some moderates repeated Wednesday. El-Sayed vowed to unite Democrats around defeating Rogers, who previously served seven terms in Congress, saying that he and Stevens would be focused on “bringing the party back together.”

Rogers on Wednesday portrayed El-Sayed as an “extremist,” saying in a statement that the election is “about deciding whether Michigan has a future built on common sense — or whether we hand the keys to the most fringe extremists in the nation.”

El-Sayed, a former city and county health official, focused on opposing money in politics and pushing for Medicare for All, among other issues. His opposition to Israel’s war in Gaza and Stevens’ support for Israel became a major issue in the campaign. AIPAC, the pro-Israel lobbying group, spent millions in support of Stevens.

Early in the primary race, El-Sayed sought to temper some of the concerns around his progressive agenda by presenting himself as a Michigan-first, working-class-focused candidate, said John Barry Ryan, a University of Michigan professor of political science.

But as excitement over his campaign began to mount among progressives on a national level, Ryan said, El-Sayed’s public posture swung to a middle ground.

“The signal he’s trying to send is, I’m not a moderate, but I’m also not an extremist,” Ryan said.

Whether El-Sayed can effectively sell his message to undecided voters against Rogers now becomes a key question of the general election, said Corwin Smidt, a politics professor at Michigan State University.

“[Rogers] has experience. He has credentials,” Smidt said. “El-Sayed doesn’t have that. But I do think he’s got the skill and the right language to get him over.”

At least two key Michigan Democrats signaled a desire to move past the primary’s fights. Late Tuesday, Mallory McMorrow, a Michigan state senator who launched her own bid for the seat but suspended her campaign in early July, released an endorsement of El-Sayed.

“Whatever differences there were between the candidates in this race, those differences are nothing compared to the contrast in November,” McMorrow wrote on X. “The only way we get there is together.”

After conceding, Stevens sent a similar signal in a statement:

“We need to win this Senate race,” she said.

After the South Africa game, Rassie Erasmus said Scotland were a top-three nation in the world, presumably behind his own side and France.

With Rassie you never know what sort of agenda might lie behind his public comments – there’s usually something – but it was an eyebrow-raiser nonetheless.

In the wake of Fiji, Schoeman – two tries this summer – went down a similar road when asked if he felt Scotland were closing the gap on the world’s best sides.

“No, I don’t feel we’re closing the gap,” he added. “I feel we are a top-three, top-five team in the world. We’ve proven that – Argentina away, France, England, we play [and beat] the top dogs.

“South Africa, Ireland, All Blacks, we haven’t had too much love there. That’s maybe the games we want to target, to go against the best. Just to go full toe-to-toe with them for a full 80-minute performance.”

Top three is a big stretch, but there are moments in games when you think Scotland have it within them to lay the ghosts of Ireland and New Zealand to rest.

They’ll get a crack at the Kiwis in the autumn and will play Ireland in the spring, both at Murrayfield.

As much as the Nations Championship has been a try-laden fun-fest, the real battle and barometer of progress remains the Six Nations.

Scotland are trending in the right direction but summer and autumn have always been an unreliable guide to their true worth.

Enjoy the quality of some of their rugby over the last three weeks, but put it in context, too. The Six Nations and World Cup remain where it’s at.

Britain’s governing Labour Party confirmed Andy Burnham as its new leader, clearing the way for him to become prime minister next week. In his first speech, he pledged to chart a new political and economic course, saying Britain needed a break from four decades of failed policies.

The Sparks’ ownership made a major shift in direction on Sunday, firing general manager Raegan Pebley amid a lackluster season that has the team just below the WNBA playoff cutoff line and far from the title-contending form Pebley promised.

Assistant general managers Zach Knowlton and Nate Nielsen will split interim GM duties, the team announced.

“We are grateful to Raegan for her leadership and commitment to the Los Angeles Sparks and women’s basketball,” Sparks managing partner and governor Eric Holoman said in a statement. “Her work on the Sparks roster and player experience will have a lasting positive impact on our organization. We sincerely thank her for all she has invested in the Sparks and wish her success in her next chapter.”

The Sparks (10-11) sit in ninth place in the WNBA standings, one removed from the last playoff spot. The team is coming off back-to-back wins over the Chicago Sky and Indiana Fever, which followed a three-game losing streak.

“There is a united vision from ownership to leadership, and then I think it’s discipline,” Pebley told The Times in an interview before Friday’s game. “I think you can make a lot of mistakes if you use recency bias, and if you become really reactionary. We want to respond to the things that we’re seeing that we want to grow in, but we don’t want to just demonstrate a lack of discipline and quickly react that way.”

The Sparks have won three WNBA titles, the most recent in 2016, but the franchise has not made the playoffs since 2020.

Leading scorer Kelsey Plum has missed two long stretches because of injuries, but the biggest headache for the team for much of the season has been its poor defense.

Under Pebley’s direction, the Sparks hired coach Lynne Roberts and acquired Plum and Nneka Ogwumike, a former most valuable player with the team. Roberts, however, had been the coach at the University of Utah and had no WNBA experience. Despite the team’s struggles, Pebley gave Roberts a vote of confidence on Friday.

Sparks general manager Raegan Pebley, left, speaks during a news conference introducing new guard Kelsey Plum, center. They are joined by Sparks coach Lynne Roberts.

(Ringo Chiu/For The Los Angeles Times)

“She has been all we were looking for and more,” Pebley said. “We wanted someone who had that emotional regulation; she stays neutral. I think the days of a tyrant head coach are over.”

The Sparks’ offseason personnel moves included trading popular first-round draft pick Rickea Jackson to make the roster older, one that Pebley said could better position the team for a title run.

“Loved having her here … she’ll be successful wherever she goes,” Pebley said of Jackson shortly after the trade. “But we’re focused on winning a championship and finding that fit and balance and getting all those pieces locked in with each other.”

Pebley’s other moves included trading the No. 2 pick in the 2025 draft, which became Seattle center Dominique Malonga, for Plum, and trading the Sparks’ first-round pick this year, which became third overall selection Awa Fam, for Kia Nurse and the No. 4 pick in 2024, which the Sparks used to select Jackson.

Instead of demonstrating marked improvement, the Sparks have struggled with consistency, at times showing their potential, as in a win at Las Vegas, a dramatic come-from-behind win against New York on the league’s 30th anniversary and a defensive shutdown of Fever guard Caitlin Clark last week.

With the trade deadline less than a month away, Pebley had expressed excitement about the return of Plum and Cameron Brink.

“Knowing those two are going to be added into a group that’s continued to be able to get better in their absence,” she said, “I think we have a right to be optimistic.”

The franchise found itself in the middle of some controversy with reports that the Sparks were among more than half the players in the league who did not complete their All-Star starter ballots. The ballots were emailed to players, but they reportedly did not see them in time to vote. Plum was not named a starter despite leading the WNBA in scoring at the time votes were cast, although it’s unclear whether full player participation would have altered a decision calculated by combining player, fan and media votes.

“That’s something we take responsibility for as an organization, and we’ll have a more robust process going forward,” the Sparks said in a statement.

Soon afterward, the Sparks’ director of communications left the team.

The Sparks hired Pebley in January 2024 to help the former WNBA champions break out of their playoff drought.

A third-round pick by the Utah Starzz in the WNBA’s inaugural 1997 draft, Pebley was the coach at Utah State (2005 to 2012) and Fresno State (2012 to 2014) before a nine-year stint at Texas Christian, where she led the Horned Frogs to four WNIT appearances in her first five years before stepping down in 2023 as TCU finished 8-23. She was a TV analyst for the Dallas Wings from 2016 to 2023.

A VERY emotional Harry Styles paid tribute to his late One Direction bandmate Liam Payne last night at his final Wembley gig.

Harry has just completed a record-breaking 12-night stint at the iconic London stadium, with him getting emotional towards the end.

As he reflected on his career, Harry touched on being in the group One Direction, and name checked each of the boys – including Liam who sadly died in October 2024.

Harry thanked all four band members before singing Carla’s Song.

According to concert goers and various videos circulating online, Harry said: “I wanna thank Niall, Zayn, Louis and my dear friend Liam.

“Nights like these couldn’t happen without every friendship, I wouldn’t be up here without my friends and family, some of who are here tonight.”

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Harry also put a video of the boys from the beginning of the band on the big screen as the fan reacted.

One fan also pointed out that Liam’s parents were at the final show, as was Liam’s sister Ruth and her son.

“The way I started sobbing,” said one fan.

“How nice to see Liam’s mum,” penned another.

While a third wrote: “LIAM’S FAMILY AT HARRY’S SHOW TONIGHT, DON’T TALK TO ME IM EMOTIONAL.”

Liam died on October 16, 2024, at the age of 31.

He fell from a third-floor balcony at the Casa Sur Hotel in Buenos Aires, Argentina.

One Direction were formed as a boyband on The X Factor in 2010 after each of the boys auditioned separately as solo artists.

The group amassed a huge following and fan base, with them coming third place in the competition.

They then went on to have a spectacular five-year run where they released five albums and headed on world tours, even breaking America.

In 2016 the group went on an indefinite hiatus.

Fans still hope that Harry, Niall, Louis and Zayn will reunite someday.

The top strategist for Los Angeles Mayor Karen Bass’ reelection bid has left her campaign, just as she is gearing up for a bruising showdown against City Councilmember Nithya Raman in the Nov. 3 runoff.

Douglas Herman, who has worked with Bass since 2021, told The Times on Wednesday that he stepped down from the campaign earlier in the day. He is being replaced by Julie Chávez Rodriguez, who was campaign manager for the Biden and Harris presidential campaigns in 2024, a Bass spokesperson said.

Chávez Rodriguez has spent the past few months running Unidos Con Karen Bass 2026, an independent expenditure campaign that focused on Latino voter turnout during the primary.

Herman, asked about his departure, said he left due to “strategic differences” regarding the direction of the reelection campaign. He did not provide details.

The Bass spokesperson, Alex Stack, declined to discuss Herman’s exit.

“Going into the general election, our campaign is proud to announce that Julie Chávez Rodriguez will be leading the team,” he said in a statement.

The granddaughter of César Chávez, co-founder of the United Farm Workers union, Chávez Rodriguez worked in both the Obama and the Biden administrations. She ran Joe Biden’s 2024 campaign until he dropped out and then ran Kamala Harris’ campaign, losing to President Trump. While working for Harris, she courted Latinos and working-class voters in battleground states.

Herman was a combative messenger for Bass, issuing broadsides against her rivals as she fought for a second four-year term. He had been advising her since her first run for mayor, when she defeated real estate developer Rick Caruso by about 10 percentage points. He also helped her fend off a recall attempt while in office.

Bass was the top vote getter in the June 2 primary election, securing 34% of the vote, compared to 29% for Raman and about 26% for reality TV personality Spencer Pratt. With a majority of voters registering disapproval of her performance, she faces a tough runoff campaign.

Raman, first elected in 2020, is expected to be a formidable opponent, drawing on her support from younger voters, entertainment industry workers and activists in the YIMBY movement, which seeks to tear down regulatory barriers to housing construction.

Gov. Gavin Newsom on Monday accused the Justice Department of launching — at President Trump’s request — a baseless and politically-motivated investigation into him and his wife, First Partner Jennifer Siebel Newsom.

“After calling for my arrest last year, Donald Trump directed his Department of Justice to investigate me,” Newsom said. “And just in the last week, I’ve learned his campaign has reached my own home: to get me, he’s coming after my wife, Jen.”

Newsom adamantly denied any wrongdoing by him or his wife. The White House referred questions to the Justice Department, which declined to comment.

A source familiar with the matter who requested anonymity because they were not authorized to discuss it publicly told The Times that there are two probes underway, one related to Newsom’s former chief of staff, Dana Williamson, and one related to Siebel Newsom’s taxes.

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The source said both investigations have been ongoing for about a year; were launched by prosecutors in Sacramento based on information provided by whistleblowers and other local sources in California; and were not the result of directives out of Washington or the White House.

Newsom said that in recent days, “federal agents have knocked on the doors of family friends and former employees,” and have been “demanding records,” “digging through years and years of random documents” and “abusing the grand jury process” in a quest to find any kind of wrongdoing by him or his wife.

“Not because they found a crime. Because they are simply trying to find one,” he said.

Newsom did not describe the specific nature of the alleged probe, the line of questioning faced by friends and employees or the types of records taken or reviewed by federal investigators. But he alleged that Trump instigated the probe because Newsom is considering running for president in 2028, and because Trump “hates that I’ve consistently called him out — over and over again — for his lies and deceit.”

“He has turned the levers of government into his own personal power ministries to reward cronies and to try to jail his opponents,” Newsom said.

Newsom cited Justice Department investigations of several other of the president’s political opponents, including Sen. Adam Schiff (D-Calif.), New York Atty. Gen. Letitia James, former FBI director James Comey, former Federal Reserve Chair Jerome Powell and former vice presidential candidate Minnesota Gov. Tim Walz.

“One by one, anyone who has challenged Donald Trump has ended up on his hit list,” he said. “And today, I proudly join that list.”

This article will be updated.