end

In “Am I Roxie?,” a world premiere one-woman-show at the Geffen Playhouse, Roxana Ortega, a working actress and alum of the Groundlings Theatre’s Sunday Company, revisits the period in her life when she was the caregiver for her mother, whose memory was unraveling.

When Ortega’s father died of a sudden heart attack outside the post office, she was unprepared for the consequences. He had been protecting the family from her mother’s decline.

An immigrant from Peru who had relinquished her dreams of acting to raise a family, Carmen had a special bond with Ortega. When little Roxana was growing up in Fullerton, her mother would improvise operas while fixing breakfast. Together, they dreamed theatrical dreams.

Carmen has many sisters — “Picture the Housewives of Beverly Hills, but in Canoga Park” — but none were able to take her in. Ortega’s siblings, married with children, were similarly unable.

Not having kids of her own deprived Ortega of the one excuse her family would have recognized. Yet she still wanted to have kids, though not before she found the right husband and made some headway in a career marked by small triumphs, such as booking commercials and webisodes. Was she really going to put her life on hold for a few years?

Finding a painful compromise, she decides to move her mother to an assisted-living facility near her in L.A. Taking this step requires her to go to war with her “inner Latina critic,” who reminds her of the code of her blood: “We take care of our own.” She adds an expletive to the end of this pronouncement, but no emphasis is needed for a daughter who has already indicted herself for selfishness, the one unpardonable sin for a Latina.

“Am I Roxie?,” performed by Ortega with unflagging ebullience in an athletic-wear jumpsuit designed for comfort rather than style, brings to the exhausting, guilt-inducing grind of eldercare her own cultural spin. The subject is relatable, as lifespans have extended while health insurance only seems to contract. Ortega is an agreeable guide through the thicket of problems, such as choosing between senior facilities that resemble “sad Marriotts” or “sad La Quinta Inns.”

The show is more of a personal essay composed for the stage than a deeply imagined performance work. Ortega’s approach is friendly and wryly conversational. She’s bearing witness to a human dilemma our culture would prefer to keep under wraps, but Ortega might just as easily be doing an audio essay or podcast. The one character who comes vividly to life is her own.

There’s a rich tradition of performance artists bringing difficult personal stories to public light. “Am I Roxie?” seems disconnected from the work of Lisa Kron, Deb Margolin and Marga Gomez. Soloists who can populate the stage with uncurtailed ambition.

Thematically, “Am I Roxie?” is structured around the “Circle of Life” song from “The Lion King.” Ortega knows this reference is corny, but it’s also inescapably apt. The person who gave her life now needs her help as she nears the end.

Roxana Ortega in “Am I Roxie?” at Geffen Playhouse.

(Jeff Lorch)

Birth and death weigh heavy on Ortega’s mind, as she ponders her own lifespan, the diminishing window for motherhood and the confused and sometimes angry helplessness of Carmen, who comes to believe that her daughter is her sister. Eventually, Carmen will wonder if she herself is Roxie, an existential dilemma that Ortega refuses to understand as a mere symptom of Alzheimer’s disease.

She’s reluctant at the start to name her mother’s condition. How can she reduce a loved one to a medical diagnosis? Even at Carmen’s most exasperating, she could still surprise Ortega with a simple, poignant question: “How are you doing in your life, Roxie?”

Ortega begins to understand that, though her mother has been transformed, she can still connect with her if she accepts her as she is. By speaking to her mother in the nonsense language she falls into and by playing games of pretend as if they were back in her childhood home, Ortega reaches her mother, if only for fleeting moments.

The production, directed by Bernardo Cubría, seems to have adopted a medical oath of first doing no harm. A set piece is every now and again mechanically (and somewhat quizzically) moved in or out, and there are projections offering illustrations of Fullerton and Ortega’s mental health adventure scaling the peak of Mt. Kilimanjaro.

But “Am I Roxie?” doesn’t depend on scenic frills. Ortega is the show — not just her story but her rapport with the theatergoers, with whom she confides as if to old friends. She shares her fears that she might have occasionally failed her mother, but this confession is just another example of her generous humanity.

’

The cultural legacy of the 1984 rock-mock-doc “This Is Spinal Tap” is of sufficient amplitude that, to give the band’s guitarist Nigel Tufnel (Christopher Guest) his knob-twiddling due, it’s gone way past 11.

Perennially quotable, ad-libbed to Brit-accented perfection by co-creators Guest, Michael McKean and Harry Shearer and finessed into an iconic spoof by director Rob Reiner, “Spinal Tap” was born. The movie both ridiculed (and, slyly, furthered the cause for) the metal world’s idiotic excesses, but also an industry’s love of a satisfying comeback saga.

When your fake movie becomes gospel truth to admiring music legends and a pretend forgotten band goes on to play Wembley in real life, the fine line between clever and stupid (again, so quotable) suddenly looks like a rarefied space for a sequel to exploit.

Yet when the key comic minds behind that singular sendup of past-prime glory-seekers aim to rekindle their magic, “Spinal Tap II: The End Continues” leaves one thinking some classics are better left in their original, endlessly re-playable states.

Not that the sight, 40 years on, of the sweetly clueless Tufnel, McKean’s prickly frontman David St. Hubbins and Shearer’s man-of-few-blurts Derek Smalls reuniting for one last concert won’t trigger a low-wattage 83-minute-long smile. But the concept of Tap being revered (by legend cameos Paul McCartney and Elton John, no less) saps the comedy of outsider tension, making for something closer to a feature-length outtake reel than a fresh take on clownish notoriety.

There’s agreeable silliness early on in seeing where the trio has landed in their solo lives, from acknowledged retail dreamer Nigel’s cheese-and-guitar shop to the fringes of the recording world, where California-transplanted David finds himself composing phone-hold music. In these moments, you get a glimpse of the special sauce of personality delusion that Guest, as a director, turned into a mini-genre (“Waiting for Guffman,” “Best in Show,” “A Mighty Wind”). But when dead Tap manager Ian Faith’s daughter, Hope (Kerry Godliman), having inherited daddy’s contract, forces the members to gather in New Orleans for an arena show, the whole thing loses an essential oddball energy, trying to coast on a masterpiece’s fumes.

Gag encores are pitfalls. The famous drummer mortality problem is a case in point, wearing out its understandable reviving with star cameos (Questlove, Lars Ulrich) and a lackluster tryout montage. Then, after the hiring of an energetic young replacement (Valerie Franco), a humor opportunity is missed when we wonder why she isn’t pushing back on having to play songs like “Bitch School.” Even the band’s second chance at a Stonehenge showstopper is more like a joke in name only.

The three leads can still, when given room, generate an anything-can-happen vibe, even if the improvisatory pearls are in short supply. But there are quite a few instances when the promise of comedic friction is undercooked or ignored and the new strains of hinted lunacy (as when Guest regulars John Michael Higgins and Don Lake show up) never quite soar.

The funniest addition, because it feels genuinely pointed about the milieu, is Chris Addison as the band’s aggressive promoter Simon, who prides himself on being impervious to enjoying music, and tells our septuagenarian rockers that for posterity’s sake, ideally, two of them should die during the show. Thankfully, nothing in “Spinal Tap II” will kill off the original’s legacy. It’s just a nostalgia lap you wish had more 11.

WASHINGTON — Senate Democratic Leader Charles E. Schumer weathered backlash from Democrats earlier this year when he voted with Republicans to keep the government open. But he’s now willing to risk a shutdown at the end of the month if Republicans don’t accede to Democratic demands.

Schumer says he and House Democratic Leader Hakeem Jeffries are united in opposing any legislation that doesn’t include key healthcare provisions and a commitment not to roll them back. He argues that the country is in a different place than it was in March, when he vigorously argued against a shutdown, and he says he believes Republicans and President Trump will be held responsible if they don’t negotiate a bipartisan deal.

“Things have changed” since the March vote, Schumer said in an interview with the Associated Press on Thursday. He said Republicans have since passed Trump’s massive tax breaks and spending cuts legislation, which trimmed Medicaid and other government programs, and Democrats are now unified — unlike in March, when he voted with Republicans and Jeffries voted against the legislation to fund the government.

A shutdown, Schumer said, wouldn’t necessarily worsen an environment in which Trump is already challenging the authority of Congress. “It will get worse with or without it, because Trump is lawless,” Schumer said.

Democrats’ consequential decision

Schumer’s threat comes as Republicans are considering a short-term stopgap spending measure to avoid a Sept. 30 shutdown and as Democrats face what most see as two tough choices if the parties can’t negotiate a deal — vote with Republicans to keep the government open or let it close indefinitely with no clear exit plan.

It also comes amid worsening partisan tensions in the Senate, where negotiations between the two parties over the confirmation process broke down for a second time on Thursday and Republicans are changing Senate rules to get around Democratic objections to almost all of Trump’s nominees. Democrats are also fuming over the Trump administration’s decision to unilaterally claw back $4.9 billion in congressionally approved foreign aid just as negotiations over the spending deadline were getting underway in late August.

Republicans move ahead

Republicans say that Democrats clearly will be to blame if they don’t vote to keep the government open.

Trump said Friday to not “even bother” negotiating with Democrats. He said Republicans will likely put together a continuing resolution to keep funding the federal government.

“If you gave them every dream, they would not vote for it,” Trump said, adding “we will get it through because the Republicans are sticking together.”

Senate Majority Leader John Thune (R-S.D.), said in an interview with Punchbowl News on Thursday that he believes Democrats see it as “politically advantageous” to have a shutdown.

“But they don’t have a good reason to do it,” Thune said in the interview. “And I don’t intend to give them a good reason to do it.”

Thune has repeatedly said that Schumer needs to approach Republicans with a specific proposal on healthcare, including an extension of expanded government tax credits for many Americans who get their health insurance through the Affordable Care Act. Some Republicans are open to extending those credits before they expire at the end of the year, but Thune has indicated that he is unlikely to add an extension to a short-term spending bill, instead favoring a “clean” stopgap for several weeks without any divisive issues while Congress finishes its budget legislation.

Schumer said he believes his caucus is ready to oppose the stopgap measure if Republicans don’t negotiate it with Democrats. “I think the overwhelming majority of our caucus, with a few exceptions, and same with the House, would vote against that,” he said.

Less realistic is Democrats’ demand that Republicans roll back Medicaid cuts enacted in their tax breaks and spending cuts legislation this summer, what Trump called his “big, beautiful bill.”

Escalating partisan tensions over spending

Schumer said Democrats also want Republicans to commit that the White House won’t take back money they have negotiated and Congress has approved after Republicans pushed through a $9-billion cut requested by the White House in July and Trump blocked the additional foreign aid money in August. “How do you pass an appropriations bill and let them undo it down the road?” Schumer said.

Congress is facing the funding deadline Sept. 30 because Republicans and Democrats are still working out their differences on several annual budget bills. Intractable partisan differences on an increasing number of issues have stalled those individual bills in recent years, forcing lawmakers to pass one large omnibus package at the end of the year or simply vote to continue current spending.

A shutdown means federal agencies will stop all actions deemed nonessential, and millions of federal employees, including members of the military, won’t receive paychecks. The most recent shutdown — and the longest ever — was during Trump’s first term in 2018 and into 2019, when he demanded money for his U.S.-Mexico border wall. It lasted 35 days.

Schumer’s March vote

Schumer’s move to support the spending legislation in March put him in the rare position of bucking his party’s base. He said then that of two bad options, a partial government shutdown was worse because it would give Trump even more control to lay off workers and there would be “no offramp” to get out of it. “I think people realize it’s a tough choice,” he said.

He faced massive backlash from within the party after the vote, with some activists calling on him to resign. Jeffries temporarily distanced himself from his New York colleague, saying in a statement immediately after Schumer’s vote that House Democrats “will not be complicit.” The majority of Senate Democrats also voted against the GOP spending legislation.

This time, though, Schumer is in lockstep with Jeffries and in messaging within his caucus. In Democrats’ closed-door lunch Wednesday, he shared polling that he said suggested most Americans would blame Trump, not Democrats, for a shutdown.

“I did what I thought was right” in March, Schumer said. “It’s a different situation now than then.”

Jalonick writes for the Associated Press. AP writer Christopher Megerian contributed to this report.

TORONTO — Welcome to a special daily edition of the Envelope at TIFF, a newsletter collecting the latest developments out of Canada’s annual film showcase. Sign up here to get it in your inbox.

Have you seen the images from our photo gallery? Staff photographer Christina House and her crew are truly capturing the best of the fest.

There are wonderful shots up now, including Elle Fanning, Ethan Hawke, Channing Tatum and more, but this link will be updated periodically with others.

Expect Cillian Murphy, the cast of Rian Johnson’s ‘Wake Up Dead Man,’ Jessie Buckley, Paul Mescal, Cillian Murphy and more surprises!

The day’s buzziest premieres

‘Good Fortune’

Aziz Ansari, left, and Keanu Reeves in the movie “Good Fortune.”

(Eddy Chen/Lionsgate/Eddy Chen / Lionsgate)

A low-level guardian angel righting a wrong feels like the set-up to a classic comedy. But amid a premise motivated by income inequality, there’s a distinctly current edge to “Good Fortune,” the debut feature of writer-director-star Aziz Ansari.

A struggling film editor who makes ends meet as a food delivery driver, Arj (Ansari) is at the end of his rope when said angel Gabriel (Keanu Reeves) switches his life with Jeff (Seth Rogen), a wealthy, self-important tech investor.

Except, instead of realizing things are tough all over, Arj decides he likes Jeff’s life better and doesn’t want to switch back. Which is only the beginning of the complications for these three lost souls.

Looking for hope in an out-of-balance world while laced with a righteously indignant anger (and set against distinctly L.A. locations), “Good Fortune” is social satire with a big heart. — Mark Olsen

‘Canceled: The Paula Deen Story’

Paula Deen in the documentary “Canceled: The Paula Deen Story.”

(TIFF)

Hungry for a brisk, witty documentary that’s as easy to enjoy as a plate of hot biscuits? Filmmaker Billy Corben analyzes the tabloid feeding frenzy that chewed up celebrity TV chef Paula Deen when she admitted to using a racial slur.

Going in, I only knew two things about Deen: the 2013 scandal and her staunch devotion to butter. Her full story is fascinating, especially buttressed by contemporary interviews with Deen and her two sons, Bobby and Jamie, who all specialize in Southern-fried zingers: “It came on like a snowball full of chainsaws,” says Jamie of the media blitz.

A complex schematic of the cancelation machine, “Canceled” argues that Deen was punished double that summer because Trayvon Martin’s killer wasn’t punished at all. The great archival footage makes you get why audiences once loved Deen — and it’s evident how much her family and friends still do, even if Corben greases her mea culpa to the point that you feel a little queasy. — Amy Nicholson

‘Wake Up Dead Man: A Knives Out Mystery’

Josh O’Connor, left, and Daniel Craig in Rian Johnson’s movie “Wake Up Dead Man: A Knives Out Mystery,” having its world premiere as part of the 2025 Toronto International Film Festival.

(Netflix)

One of the real pleasures of the witty, surprising films made by writer-director Rian Johnson starring Daniel Craig as Southern gentleman detective Benoit Blanc is that, within the confines of the murder mystery, they could take place just about anywhere: a patriarch’s creaky mansion, a billionaire’s private island and now a small town’s historic church.

Or at least that’s the best we know from the scant details made public about the new “Wake Up Dead Man: A Knives Out Mystery” ahead of its TIFF world premiere tonight. Craig returns as Blanc but joining the cast this time are Josh O’Connor, Josh Brolin, Mila Kunis, Kerry Washington, Jeremy Renner, Daryl McCormack, Cailee Spaeny, Thomas Haden Church, Andrew Scott and Glenn Close.

The festival has been a good luck charm so far, with the previous two “Knives Out” movies premiering at TIFF in the same theater, day and time slot and both going on to Oscar nominations for their screenplays. — Mark Olsen

They couldn’t stop talking, even before the cameras for ‘Poetic License’ were rolling

Andrew Barth Feldman, left, Cooper Hoffman and Leslie Mann in “Poetic License,” having its world premiere as part of the 2025 Toronto International Film Festival.

(TIFF)

Mark Olsen has a fun interview with the banter-ific Andrew Barth Feldman and Cooper Hoffman, costars of Maude Apatow’s new movie “Poetic Licence.” They were friends before they shot the film and their verbal mutual affection — honed to a crazy degree of anticipation — is something to behold. They’ve raised bromance to an art form.

His apocalyptic art film ‘Sirât’ dances in the face of oblivion. That’s why people love it

Director Oliver Laxe, photographed in the Los Angeles Times Studios at RBC House during the Toronto International Film Festival.

(Christina House / Los Angeles Times)

Director Oliver Laxe has made a truly unique art film about a restless group of ravers who drive out in the the desert on the eve of what could be the end of the world. Since its debut at Cannes, “Sirât” is acquiring superfans — critics and audiences alike — wherever it plays. On the occasion of his first TIFF screening, Laxe spoke to me about his commitment to risk.

After 52 episodes and three movies, the world of “Downton Abbey” is coming to a heartwarming conclusion — for now, at least. The series and the previous two films, 2019’s “Downton Abbey” and 2022’s “Downton Abbey: A New Era,” have followed several characters over an 18-year period, both from the upstairs and downstairs of the grand house. While viewers already said goodbye to the imperious Violet Crawley, Dowager Countess of Grantham (Maggie Smith), in the last film when she tragically died onscreen surrounded by her family, there are still many more farewells to come. Here is where we left some of the key characters as “Downton Abbey: The Grand Finale” arrives in theaters Sept. 12.

Mary Crawley (Michelle Dockery)

Michelle Dockery in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

Lady Mary wasn’t always in line to take over Downton Abbey, but her ill-fated marriage to Matthew Crawley and the birth of their son George ensured that she could be at the helm of the estate, at least until George came of age. Mary eventually remarried toward the end of the series, to race car driver Henry Talbot, but “The Grand Finale” sees the couple divorced and Mary on the outs from society. Still, she has clever ideas about how to keep Downton Abbey afloat and to push it into the modern age as she finally takes the reins from her father. “From the start, she always had a strong personality,” creator Julian Fellowes told The Times in 2022. “And I think what we’ve watched over the years is how she has come to harness her strength, master it and use it to achieve what she wants.”

Edith Pelham (Laura Carmichael)

Laura Carmichael, right, and Elizabeth McGovern in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

For many years Lady Edith was the passed-over second daughter, but by the end of the series she was firmly ensconced as the formidable Marchioness of Hexham. She and her husband Herbert “Bertie” Pelham are happily raising two children and she has become a voice of reason for Mary, offering counsel to the sister who once overshadowed her. “The Grand Finale” even gives Edith a satisfying moment of fortitude when she stands up for the family. “By the time we leave her, Edith is a strong woman and capable of big decisions,” Fellowes says.

Robert and Cora Crawley (Hugh Bonneville and Elizabeth McGovern)

Elizabeth McGovern and Hugh Bonneville in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

The Crawley clan’s patriarch and matriarch have gone through a lot since “Downton Abbey” premiered, including the loss of their daughter Sybil and multiple financial challenges. Cora dealt with a health scare in “A New Era” while both grieved the death of Violet, whose presence still looms in “The Grand Finale.” Although he technically left Mary in charge of Downton Abbey at the end of “A New Era,” Robert is struggling to settle into the next chapter of his life. It’s up to Cora, his always-steady companion, to help him move forward.

Tom Branson (Allen Leech)

Allen Leech in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

After heroically saving the day in the first “Downton Abbey” film, the widowed Tom married Lucy Smith (Tuppence Middleton) in “Downtown Abbey: A New Era,” giving his daughter Sybbie a mother once again. By the end of the second film, Tom and Lucy have a baby of their own and are living away from Downton. The character already got his much-deserved happily ever after and now shows up to dole out sage advice and support for the family. “I felt Tom Branson was the only one we hadn’t really settled in the series,” Leech told me in 2019. Now, he is.

Daisy Mason (Sophie McShera) and Andrew Parker (Michael Fox)

Sophie McShera, second from left, in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features )

Daisy began her journey at Downton Abbey as a belabored kitchen maid, but eventually the estate’s revered cook Mrs. Patmore took her under her wing. She married the dying William Mason during the series and later settled down with Andrew Parker, a footman in the house who has now taken over for Mr. Carson. In the spirit of the younger generation stepping forward, Daisy takes over the kitchen in “The Grand Finale,” an important moment of growth for the character.

Isobel Crawley (Penelope Wilton)

From left, Penelope Wilton, Allen Leech, Michelle Dockery and Paul Giamatti in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

It took some time for Isobel to establish herself at Downton Abbey, but her friendship with the Dowager Countess and her relationship to the family became invaluable throughout the series. She married Richard Grey after her son Matthew’s death and continued her good work with the community’s hospital throughout the episodes. Following Violet’s passing, Isobel has taken up the mantle to organize the county fair — a job that comes with some challenges.

Anna Bates (Joanne Froggatt) and John Bates (Brendan Coyle)

Joanne Froggatt in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

Anna Bates has always been one of Downton Abbey’s most loyal servants and a thoughtful friend to Lady Mary. She married valet John Bates at the beginning of Season 3 and the couple went through numerous ups and downs in the years that followed, including several miscarriages. They got a much-deserved happy end in the series finale when Anna gave birth to their first child. The films haven’t shaken their contentment and “The Grand Finale” brings another uplifting arrival for the pair.

Joseph Molesley (Kevin Doyle)

Kevin Doyle, left, and Michael Fox in “Downton Abbey: The Grand Finale.”

(Rory Mulvey / Focus Features)

Mr. Molesley endeared audiences with his hapless but well-meaning misadventures in the series, eventually transitioning from footman to local schoolteacher. He got his due in “A New Era” when he proved himself to be a skilled screenwriter and charmed Phyllis Baxter. In “The Grand Finale,” the couple are married and Mr. Molesley is endeavoring to boost his film career, although he hasn’t left his time at Downtown Abbey in the past.

The Trump administration must release billions of dollars in foreign aid approved by Congress, including money that President Trump said last week he would not spend, a federal judge has ordered.

U.S. District Judge Amir Ali in Washington ruled Wednesday that the Republican administration’s decision to withhold the funding was likely illegal. He issued a preliminary injunction ordering the release of $11.5 billion that is set to expire at the end of the month.

“To be clear, no one disputes that Defendants have significant discretion in how to spend the funds at issue, and the Court is not directing Defendants to make payments to any particular recipients,” wrote Ali, who was nominated by Democratic President Biden. “But Defendants do not have any discretion as to whether to spend the funds.”

The administration filed a notice of appeal Thursday.

“President Trump has the executive authority to ensure that all foreign aid is accountable to taxpayers and aligns with the America First priorities people voted for,” White House spokesperson Anna Kelly said in a statement.

Elisha Dunn-Georgiou, president and chief executive of Global Health Council, one of the groups in the case, said in a statement the decision was a victory for “the rule of law” and reaffirmed that “only Congress controls the power of the purse.”

Trump told House Speaker Mike Johnson (R-La.) in a letter on Aug. 28 that he would not spend $4.9 billion in congressionally approved foreign aid, effectively cutting the budget without going through the legislative branch.

He used what’s known as a pocket rescission, in which a president submits a request to Congress toward the end of the budget year to not spend the approved money. The late notice means Congress cannot act on the request in the required 45-day window and the money goes unspent. It’s the first time in nearly 50 years that a president has used the tactic. The fiscal year draws to a close at the end of September.

Ali said Congress would have to approve the rescission proposal for the administration to withhold the money.

The law is “explicit that it is congressional action — not the President’s transmission of a special message — that triggers rescission of the earlier appropriations,” he wrote.

The money at issue includes nearly $4 billion for the U.S. Agency for International Development, or USAID, to spend on global health programs and more than $6 billion for HIV and AIDS programs. Trump has portrayed the funding as wasteful spending that does not align with his foreign policy goals, and in January, he issued an executive order directing the State Department and USAID to freeze spending on foreign aid.

Nonprofit organizations that sued the government said the freeze shut down funding for urgent lifesaving programs abroad.

A divided panel of appeals court judges ruled last month that the administration could suspend the money. The judges later revised that opinion, reviving the lawsuit before Ali.

In his ruling, Ali said he understood that his decision would not be the last word in the case, adding that “definitive higher court guidance now will be instructive.”

“This case raises questions of immense legal and practical importance, including whether there is any avenue to test the executive branch’s decision not to spend congressionally appropriated funds,” he wrote.

Thanawala writes for the Associated Press. AP writer Thalia Beaty in New York contributed to this report.

WASHINGTON — President Trump has told House Speaker Mike Johnson that he won’t be spending $4.9 billion in congressionally approved foreign aid, effectively cutting the budget without going through the legislative branch.

Trump, who sent a letter to Johnson, R-La., on Thursday, is using what’s known as a pocket rescission — when a president submits a request to Congress to not spend approved funds toward the end of the fiscal year, so that Congress cannot act on the request in the 45-day timeframe and the money goes unspent as a result. It’s the first time in nearly 50 years a president has used one. The fiscal year draws to a close at the end of September.

The letter was posted Friday morning on the X account of the White House Office of Management and Budget. It said the funding would be cut from the State Department and the U.S. Agency for International Development, or USAID, an early target of Trump’s efforts to cut foreign aid.

The last pocket rescission was in 1977 by then-President Jimmy Carter, and the Trump administration argues that it’s a legally permissible tool. But such a move, if standardized by the White House, could effectively bypass Congress on key spending choices and potentially wrest some control over spending from the House and the Senate.

The 1974 Impoundment Control Act gives the president the authority to propose canceling funds approved by Congress. Congress can vote on pulling back the funds or sustaining them, but by proposing the rescission so close to Sept. 30 the White House ensures that the money won’t be spent and the funding lapses.

Trump had previously sought to get congressional backing for rescissions and succeeded in doing so in July when the House and the Senate approved $9 billion worth of cuts. Those rescissions clawed back funding for public broadcasting and foreign aid.

The Trump administration has made deep reductions to foreign aid one of its hallmark policies, despite the relatively meager savings relative to the deficit and possible damage to America’s reputation abroad as foreign populations lose access to food supplies and development programs.

In February, the administration said it would eliminate almost all of USAID’s foreign aid contracts and $60 billion in overall assistance abroad. USAID has since been dismantled, and its few remaining programs have been placed under State Department control.

The Trump administration on Wednesday appealed to the Supreme Court to stop lower court decisions that have preserved foreign aid, including for global health and HIV and AIDS programs, that Trump has tried to freeze.

The New York Post first reported the pocket rescission.

Boak writes for the Associated Press.

On the corner of East 4th Street and South Evergreen Avenue on a recent Friday night in Boyle Heights, a large crowd gathered in front of Picaresca Barra de Café swaying to the syncopated beats of Los Chicos del Mambo. Near the band, Natalia Lara of Tortas Ahogadas El Águila filled birote salado rolls from Gusto Bread with carnitas. But the main event was underway inside the cafe: a latte art throwdown.

Throwdowns, special menus, omakases, pop-ups, speakeasies and out-of-the-box events are part of L.A.’s growing underground coffee scene. And they might be the best way to tap into what’s happening in the world of coffee. Cuppings, signature drink service and guest barista takeovers add to the diversity and creativity of these coffee experiences, which keep evolving.

“Each one is offering something special and has varying approaches with some very limited coffees or methods,” says Mikey Muench of Senses Café Projects, a pop-up that has made its way around Los Angeles from the Lasita window in Far East Plaza in Chinatown to restaurants, breweries and cafes such as Homage Brewing, Canary Test, Ondo, HIGTE and Woon.

Senses Café Projects allows Meunch to explore the coffees he enjoys drinking and to experiment with new tools and brew methods, he says. He focuses on pour-overs. “It’s my personal favorite way to enjoy coffee,” says Muench. “I am also experimenting with the nostalgic flavors of my childhood. I’m half Thai and half German. The majority of the beverage ideas and components are inspired by my Asian heritage.”

Yasuo Ishii, founder of leading-edge Tokyo roaster Leaves Coffee, was a guest brewer at Kumquat Coffee downtown last March. Other barista guest appearances at Kumquat have included brewers from Fritz Coffee in Seoul and Ditta Arigianale in Florence.

A few hard-to-get reservation-only coffee omakases also have popped up in L.A., such as Nobu Coffee at Courage Piano Lounge in Gardena, serving coffee hand-poured into a fabric Nel filter in a traditional Japanese kissaten style. Tangible Gratitude serves by reservation only a five-course sensory tasting experience in its Hermosa Beach design studio for $125 per person.

Strategic planning unlocks access. Follow coffee experts, specialty roasters and professional baristas from the high-profile competition circuit on social media; they often drop breadcrumbs to the next opportunity.

Keep up with the 2025 U.S. Coffee in Good Spirits Champion Jerry Truong, for example. He recently guest-bartended special shifts at Hollywood cocktail bar Night on Earth and Johnny’s Bar in Highland Park to serve his competition-winning coffee cocktails. Other key players include Frank La of Be Bright; Kay Cheon of Dune Coffee Roasters in Santa Barbara; World Barista Champion Michael Phillips of Blue Bottle; and consultant Jaymie Lao.

In addition to cafes, restaurants and farmers markets, coffee events are spilling into culinary festivals, art galleries and retail stores around the city. Automaker Rivian recently invited Cheon to make coffee with his Slayer espresso machine on the back of an R1T truck in its Venice showroom garden. The cafe kiosk at fashion brand Goodfight’s Historic Filipinotown shop has become a favorite destination for the coffee community.

“Coffee pop-ups are happening all the time in Los Angeles where your favorite baristas can express their ideas, and coffee folks, professionals and enthusiasts can celebrate coffee in ways you just don’t see in cafes every day,” says Lao.

Here are nine places where you can check out previews of yet-to-open cafes, guest baristas serving rare coffees, special pop-up menus or multicourse tastings.

The Chargers were blindsided in the truest sense.

Eleven days after signing a contract extension that made him the NFL’s highest-paid offensive lineman in history, Chargers left tackle Rashawn Slater went down in training camp with a knee injury that ended his 2025 season.

It was the latest crushing blow to a franchise with a withering track record of losing key players at the most inopportune times.

“It’s like a gut punch to the solar plexus,” coach Jim Harbaugh said in the aftermath of the July 27 injury. “Takes the wind out of you.”

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Sam Farmer talks about the impact Rashawn Slater’s season-ending injury will have on the Chargers.

This is where coaching and creativity kick in. It’s musical chairs along the offensive line as the Chargers scramble to protect the blind side of franchise quarterback Justin Herbert without handcuffing their offense by committing too many resources to doing so.

The challenge is profound but not unique. Teams have navigated these choppy waters before.

“The basis of your pass [protection] basically is, you pay a ton of money to somebody that’s just going to lock down that end, the blind side,” retired NFL quarterback Matt Hasselbeck said. “The blind side. They made a whole movie about it. That’s where you spend your money.”

When quarterback Rich Gannon was preparing for an opponent, the first offensive meeting of the week was about protections. How are we going to block these guys?

“We’d start by drawing five guys on the board, our offensive line,” Gannon said. “You’re just like, ‘OK, we’re going to build an offensive line.’ And we’d start with the left tackle, right? We’d just draw a big dollar sign. That’s the guy you have to pay. That’s the guy you have to have.”

In the case of the Chargers, erase that dollar sign from the board.

“When you lose a guy like that, there’s a trickle-down effect,” Gannon said. “You have to find someone to replace him. Now, what does that mean for our protection plan?

“Very few teams have a guy that can step in without a drop-off. And you’re talking about a Pro Bowl-caliber player at left tackle, there’s usually a significant difference when the backup goes in.”

Chargers quarterback Justin Herbert, left, and offensive tackle Rashawn Slater walk off the field after a win over the New Orleans Saints in October.

(Ronald Martinez / Getty Images)

Even in this abysmal situation, there are flickers of positivity for the Chargers. First, they are moving Joe Alt from right tackle to left, where he spent his illustrious college career at Notre Dame. The Chargers used the fifth overall pick in 2024 on the 6-foot-8, 322-pound Alt, who Harbaugh says has Hall of Fame potential. Having Alt in the mix is a huge bonus for the club.

Still, switching from right to left tackle is no small feat.

“People think it’s just easy to play on the offensive line, and if you’re a right tackle you should be able to play on the left, but it’s not the same,” Hall of Fame defensive end Dwight Freeney said. “Everything is different. You have muscle memory and different repetitions that you’ve done constantly. Doing something the same way all the time. One way.

“It’s not easy to pick up, switch your feet and go to the other side. The guard positions and center are more interchangeable, but when you start messing with your tackles, especially your left tackle, that’s a problem.”

More good news for the Chargers is that swing tackle Trey Pipkins is a blocker who can play on both ends of the offensive line. He too is returning to a familiar spot, as he was a right tackle at the University of Sioux Falls.

The Chargers will be tested right away. Their first three games are against division opponents, and their third is against Denver, which led the NFL last season with an average of 3.6 sacks per game.

“You’re going to have to start the season making sure you’ve got a back over there on the left side, or a tight end in passing situations just to make sure the quarterback doesn’t get whacked,” said Mike Tice, the onetime Minnesota Vikings head coach whose specialty is coaching offensive lines. “You’ve got to have a plan going into the season. If you don’t have a plan going in, you’re truly [doomed].”

Gannon said the Chargers are especially fortunate to have Greg Roman as their offensive coordinator, because Roman showed exceptional creativity in Baltimore beefing up their front with extra linemen and fullback Patrick Ricard, nicknamed “Pancake Pat” for his ability to flatten people in his path.

“They dressed it up with the Ravens,” said Gannon, an analyst for Sirius/XM NFL Radio. “Seven offensive linemen on the field. You’d get the defense to go big, then throw it.”

Gannon sees the versatile Scott Matlock playing the Ricard role for the Chargers. Matlock, listed on the roster as a fullback, is 6-4 and 296.

“His role is going to expand,” the retired quarterback predicted. “That’s how you do it. That’s how you build in protection when you’re down a left tackle.”

And though Harbaugh described the setback as a gut punch, Hasselbeck noted there’s a thread of a silver lining.

“From the front-office part of it, this is actually not the worst timing,” he said. “Not that there are great left tackles on the street, but at least you can do something now in training camp.

“It’s not as dire as losing your star guy on Friday before Week 1, or losing him during Week 1. Also, when guys get hurt early in the year and you lose them for the season, they’re more ready to go earlier in the offseason the next year.”

Big blocker. Small consolation.

At the end of the 2019 minor-league season, Alex Call looked at his hitting numbers, then looked himself in the mirror.

A former third-round draft pick who had already changed organizations once, he knew he had just had the kind of year that typically portends a short professional career.

As a 24-year-old outfielder at the double-A level in the Cleveland Guardians organization, Call had taken 325 plate appearances that year with the Akron RubberDucks. In 93 of them — a rate of nearly 30% — he recorded a strikeout.

It wasn’t the only ugly stat in a season that saw Call bat just .205, reach base at a .266 clip and hit only five home runs. But it was the biggest sign of a fundamental flaw plaguing the right-handed hitter’s game.

“That,” he recalled recently, while reflecting on what became a turning point moment in his career, “just wasn’t gonna get it done.”

Six years later, Call joined the Dodgers as a trade deadline addition last week with a polar opposite reputation. Now, the defensively versatile outfielder is one of the harder outs in all the majors. Since the start of last season, his .297 batting average ranks eighth among MLB hitters with at least 350 plate appearances. More important, over that same span, he ranks top 60 in strikeout rate and walk rate (with a 55-to-39 ratio overall), and 22nd in chase rate; consistently putting together some of the better at-bats in all the sport.

“This guy’s just a straight grinder, works at-bats,” general manager Brandon Gomes said after the Dodgers acquired Call from the Washington Nationals in exchange for two pitching prospects. “Playing against him, he’s always incredibly frustrating to try to game plan for and get out.”

“I’ve faced Alex a few times,” added future Hall of Fame left-hander Clayton Kershaw. “He’s tough against lefties, a great defender. A good add, for sure.”

The Dodgers, of course, could have made splashier adds at the deadline. They were linked to All-Star caliber names, including Steven Kwan of the Guardians, but didn’t splurge to pay such inflated deadline prices.

Instead, they settled for Call, who was a smaller name but came with team control through 2029. They put their faith in his overhauled offensive skill set, hopeful a personal transformation more than half-a-decade in the making will make him a key piece in their pursuit of a second straight World Series title.

“That is my whole game,” Call said on the day he arrived with the club. “I am going to grind out at-bats, put the ball in play, take my walks, make it tough on the pitcher, lengthen out the lineup.”

The origins of that mindset date to that 2019 season, and the pandemic-altered year that followed.

Entering 2020, Call committed to a change at the plate. In what was a crowded pipeline of outfielders in the Guardians system — highlighted at that time by Kwan, who has since blossomed into one of the best left fielders in the game — he recognized he needed a new identity. If he was going to reach the majors, it was going to start with simply working better at-bats.

“It’s a bad feeling,” he said, “having a cloud hanging over your head after a season like that.”

The only problem: COVID-19 came, the 2020 minor league season was canceled, and Call (like so many other minor-league long shots clinging to big-league dreams) was left effectively on his own.

So, he found different ways to improve his bat.

As the baseball world shut down, Call bought a portable Junior Hack Attack hitting machine with a self-feeding ball dispenser. And everywhere he went that year — from spring training housing in Phoenix to his childhood home in Wisconsin to his family’s offseason residence in Indiana — he sought out any place “I could find a hitting cage and an outlet” to use it, he said laughing.

His focus was simple. Work on hitting fastballs up in the strike zone. Eliminate what had been one of the biggest holes in his swing.

“For me, it’s just about having that mentality to where, it doesn’t matter if I have two strikes or if it’s an 0-0 count,” he said. “Believe I’m comfortable in every situation. I’m going to put the ball in play.”

By that winter, Call sought out a more advanced piece of training technology as well.

Over the previous couple years, a company called Win Reality had begun manufacturing virtual reality hitting goggles — using data-driven models, actual video and computer-generated images to recreate virtual at-bats against real pitchers from a hitter’s point of view inside Oculus-style headsets.

A handful of MLB teams, including the Dodgers, had invested in the system for their teams. In the months leading up to the 2021 season, Call decided to do the same for himself, buying the $300 product (and paying for its annual $200 software program) to help couple his new swing with a more discerning approach.

“[I was] just really practicing the zone,” Call said. “Knowing what pitches are my strengths and what pitches I don’t want to swing at until two strikes. Developing that plan and developing that approach.”

The training paid off.

At the start of the 2021 season, Call was sent back to double-A Akron. When he arrived, he was informed by manager Rouglas Odor that he would only be slated to play 2-3 games per week — a quick reminder of how far down the organization depth chart he’d fallen.

“I remember him being very disappointed,” Odor, now the Guardians’ big-league third-base coach, recalled this week. “But he took ownership of his career, and didn’t let what I told him affect him.”

Call’s chance arrived that May, after Kwan went down with a hamstring injury. And almost immediately, his COVID-year changes took effect. Over 180 plate appearances, Call hit .310, drew 21 walks and — just as he’d hoped — cut his strikeout rate by half, punching out only 26 times.

“He was a totally different hitter,” said Odor, who had also been Call’s manager during his dismal 2019 campaign. “Defensively, he was already to play in the big leagues. He made some unbelievable plays … But offensively, he found his stroke. His plate discipline was more consistent. And he had an unbelievable season.”

By the end of the season, Call had been promoted to triple-A. The next July, he earned a promotion to the majors.

The ascent from there wasn’t linear. In August 2022, he was designated for assignment and claimed off waivers by the Nationals. In 2023, he played in 128 big-league games but hit only .200, sending him back to triple-A for most of last year.

Alex Call bats against the Houston Astros on July 28 as a member of the Washington Nationals.

(Karen Warren / Associated Press)

Still, his plate discipline didn’t waver (he struck out only 78 times in his 439 plate appearances in 2023, an 18% rate, while also drawing 53 walks). His VR routine only became more ingrained, seeing upward of 54,000 simulated pitches (or, essentially 25 seasons’ worth of throws) through his headset each year, as he told the Washington Post last month.

It all has clicked over the last calendar year, with Call following up a productive return to the majors at the end of 2024 with his best full-season performance this term.

“The type of player that I am, I can hit the ball over the fence, but it’s not really my full game,” Call said. “So for me, it was about trying to create as many opportunities to get on base as possible … I have to be able to hit the ball at good angles.”

Call is one of only four players with at least 200 plate appearances this season (along with Kyle Tucker, Gleyber Torres and Geraldo Perdomo) who strikes out less than 15% of the time, chases less than 20% of the time and whiffs less than 20% of the time. He has hit .236 with two strikes (better than everyone else on the Dodgers except Hyeseong Kim).

He had his first standout game with the Dodgers on Wednesday, when he singled, doubled and made a catch while crashing into the left-field wall to save an extra-base hit.

Eight at-bats into his Dodgers career entering Friday’s game, he has also yet to strike out once.

“I’m always proud of players like Alex, because he wasn’t this big prospect, but he became an everyday big-league player,” Odor said. “He had the urgency to make something happen in order to reach his goal, and his dream.”

And now, Call is aiming to take his career one step further — to be not just a productive big-league bat, but one capable of playing an impactful role on a title-contending club in Los Angeles.

“I always knew that I could do it and be an established major leaguer,” Call said. “It’s just, sometimes it takes a little bit of time. And I’m grateful that I was given that time, and just continued to get better.”

TAMPA, Fla. — First, the meme made Freddie Freeman laugh.

Then, in a serendipitous twist, it gave him a lightning-bulb epiphany about his recently ailing swing.

At the end of a long day during last week’s homestand — when Freeman was hit by a pitch on July 20, immediately removed from the game to get an X-ray, then informed he somehow hadn’t sustained serious injury — manager Dave Roberts shared with the first baseman a comical video edit he had received from a friend. A light reprieve at the end of a stressful day.

In it, the swing of Freeman’s walk-off grand slam in last year’s World Series was incorporated into a spin-off of the viral Coldplay kiss cam video (yes, that Coldplay kiss cam).

Freeman got a chuckle out of the clip.

But, while rewatching his Fall Classic moment, he also made an observation about his iconic swing.

On that night last October, Freeman noticed, “I’m more in my front ankle,” he later said — a subtle, but profound, contrast to how he had been swinging the bat amid a two-month cold spell he was mired in at the time.

So, for the rest of that night, Freeman thought about the difference. He went into the Dodgers’ batting cages the next afternoon focused on making a change.

“It’s a different thought of being in your legs when you’re hitting,” said Freeman, who had started the season batting .371 over his first 38 games, before slumping to a .232 mark over his next 49 contests. “It’s just more [about leaning] into my front ankle. It’s helping me be on time and on top [of the ball].”

“We’ll see,” he added with a chuckle, “how it goes in the game.”

Ten games later, it seems to be going pretty well.

Since making the tweak on July 21, Freeman is 14 for 39 (.359 average) with two home runs, four extra base hits, 10 RBIs and (most importantly) a renewed confidence at the plate.

After collecting his first three-hit game in a month Tuesday in Cincinnati, then his first home run in all of July the next evening, he stayed hot in the Dodgers’ series-opening 5-0 defeat of the Tampa Bay Rays on Friday, whacking a two-run double in the first inning and a solo home run in the fifth in front of a crowd of 10,046 at Steinbrenner Field (the New York Yankees’ spring training park serving as the Rays’ temporary home).

“That visual helped him kind of tap into something,” Roberts laughed recently of Freeman’s post-meme swing adjustment. “He is early, for a change. Versus being late, chasing.”

Freeman’s turnaround is something the Dodgers — who also got six scoreless innings out of Clayton Kershaw on Friday, lowering his season earned-run average to 3.29 in 13 starts — need out of several superstar sluggers over the final two months of the season.

Dodgers pitcher Clayton Kershaw delivers during a 5-0 win over the Tampa Bay Rays on Friday.

(Jason Behnken / Associated Press)

During Thursday’s trade deadline, the team didn’t splurge on big-name acquisitions. The only addition they made to their recently slumping lineup (which ranked 28th in the majors in scoring during July) was versatile outfielder Alex Call from the Washington Nationals.

Instead, both Roberts and club executives have preached of late, the team is banking on players like Mookie Betts (who is batting .237), Teoscar Hernández (who has hit .215 since returning from an adductor strain in May), Tommy Edman (who has hit .210 since returning from an ankle injury in May) and even Shohei Ohtani (who leads the National League in home runs, but is batting only .221 since resuming pitching duties in June) to play up to their typical, potent standards.

“I think if you look at it from the offensive side, as far as our guys, they’ll be the first to tell you they’ve got to perform better and more consistently,” Roberts said. “That’s something that we’re all counting on.”

For much of the summer, Freeman had been squarely in that group, as well.

His recent Coldplay-inspired rebound, the club hopes, will be one of many that spark an offensive surge down the stretch this year.

Myrto Uzuni scored a goal in the 40th minute and added an assist, Owen Wolff scored his first goal of the season and Austin FC beat the Galaxy 2-1 on Wednesday night to snap the Galaxy’s three-game home win streak.

Brad Stuver had three saves and his ninth shutout — second in MLS behind Vancouver’s Yohei Takaoka (10) — this season for Austin (8-8-6).

Diego Rubio, on the counter-attack, played a ball-ahead to Uzuni, who cut back to evade a defender at the edge of the box and then blasted a shot inside the left post to open the scoring.

Uzuni misplayed a cross that was deflected but then beat three Galaxy players, including goalkeeper Novak Micovic, to the loose ball near the right post and tapped it to Wolff for the finish from the center of the area that made it 2-0 in the 63rd.

The Galaxy (3-14-6), the defending MLS Cup champion which had won back-to-back games for the first time this season, had its three-game unbeaten streak snapped.

Joseph Paintsil converted from the penalty spot in the third minute of stoppage time for the Galaxy. Micovic stopped two shots.

The Galaxy had 57% possession and outshot Austin 15-7.

Austin beat the Galaxy 1-0 on April 19.

Dearica Hamby lined up for one of those last-second launches as the first-half clock dipped toward zero.

The ball clanged off the front rim, appearing short — until backspin carried it to the back iron for a second bounce.

With Julie Allemand holding her knees and Kelsey Plum already prancing away, the ball kissed the rim twice more. And, finally, after a two-second pause that held the whole arena hostage, the ball dropped. Hamby fell with it, her teammates swarming to lift her as Crypto.com Arena erupted for what was perhaps the Sparks’ finest half of basketball of the season in a 99-80 stomping of the Washington Mystics.

Hamby’s arena-triggering triple capped a solo 10-point scoring spree and a 20-minute performance where the ball zipped across the hardwood, the defense suffocated and every Spark had their fingerprints on a rout of the WNBA’s seventh-best team.

By the end of the first half alone, Hamby had piled up 18. Plum chipped in 14. Jackson poured in nine and Stevens poured in eight. Facilitating it all, Allemand dealt eight assists. And — in what didn’t reflect itself on the box score the way it did on the hardwood — the Energizer Bunny chimed in with four.

Energizer Bunny?

Coach Lynne Roberts awarded that label to Rae Burrell before Tuesday night’s showdown, adding that “she brings life and energy” to the squad.

When Burrell picked off her first pass of the night, she orchestrated a play that would lead to Julie Vanloo finding a wide-open Sania Feagin in the paint, capping off a clinic in ball movement.

When Burrell stole her second pass of the night, she took matters in her own hand, going coast to coast for an and-1 layup in the paint.

And each time, it seemed as though everyone profited off the Bunny. Her contagious energy seemed to leak on to each of her teammates, who sliced through gaps on offense and brought out the clamps on defense to limit the Mystics (11-11) to just 12 points in the second quarter.

In the process, Sonia Citron and Kiki Iriafen — the Mystics’ rookie duo who will compete in the All-Star game this Saturday — were held to a combined two points.

Meanwhile, Plum — the Sparks’ All-Star — seemed to have a dress rehearsal Thursday night, tuning up her shot ahead of Friday’s three-point contest and Saturday’s All-Star Game.

Plum opened the night on a tear — nine points on a perfect 4-for-4 start, including one from beyond the arc. With cutters carving up the defense and her bigs sealing space down low, she shifted gears into facilitator mode as well, racking up six assists by game’s end.

And this time, the Sparks (8-14) didn’t let their scoring avalanche slip through, cruising into the All-Star break with a wire-to-wire double-digit buffer.

LAS VEGAS — The Thomas & Mack Center public-address announcer called it the “main event” at the NBA Summer League, with Lakers’ second-year guard Bronny James and Dallas Mavericks rookie Cooper Flagg at the center of it all.

The fans didn’t have to wait long for the moment they all came to see when Flagg, the first overall pick in the draft out of Duke, defended against James from the start of the game.

The atmosphere was electric until the end, with Flagg’s Mavericks pulling out an 87-85 win after James missed a three-pointer seconds before the final buzzer.

“It’s Summer League and everyone is going to come out for the first game,” James said. “Like, it’s going to be a crazy atmosphere, no matter what. So I just try to embrace it.”

Neither put on a shooting exhibition, but the fans didn’t seem to care.

James had eight points, missing six of eight shots. He also had two rebounds and two assists in 20 minutes and 51 seconds.

Flagg had 10 points on five-of-21 shooting, missing all five of his three-point attempts. He had six rebounds, four assists and one block.

Still, James was impressed.

“He’s great,” James said. “I watched him all in college. He’s an amazing player. So I have a lot of respect for him. He’s going to be special.”

Early in the game, James came off a screen with Cooper trailing and arriving too late, giving James just enough time to launch a jumper that settled into the net.

Lakers guard Bronny James, left, controls the ball in front of Dallas Mavericks forward Cooper Flagg during the Lakers’ Summer League loss Thursday.

(Ryan Stetz / NBAE via Getty Images)

James struck again, drilling a three-pointer over Cooper, drawing cheers from the fans.

James switched and took on the challenge of defending Cooper in the post, drawing more cheers.

Flagg missed his first two shots, and it was clear the fans wanted him to keep shooting. His first basket was off a breakaway dunk, leaving the fans shaking their heads and cheering.

James and Cooper continued their duel in the second quarter, with a couple of plays showcasing the intensity of their battle.

James, who is 6 feet 3, took on the 6-9 Flagg in the post, Flagg waving his teammates away as he tried to face the challenge alone. James stole the ball but was called for a foul, his look at the referees incredulous as the fans booed.

On the next possession, Flagg scored on a fadeaway over James, drawing more cheers as Flagg slapped hands with his teammates on the bench.

“I’m a pretty small guard,” James said. “So if I get switched down there I have to stand my ground somehow. That’s why I weigh like 215 [pounds] and I got to stand my ground down there and make sure I’m not getting bullied anywhere.”

Late in the game, the Lakers got a scare when Dalton Knecht buckled his knees while trying to score on a layup.

“Both of my legs cramped,” said Knecht, who had 15 points, “and I airballed the layup.”

Flagg shot a late airball, but he blocked a shot by DJ Stewart with 1:09 left.

The game came down to James to win it for the Lakers, but his missed three with 3.7 seconds left sealed the Lakers’ fate.

“Yes, I want him to fill that responsibility at the end of the game,” said Lindsay Harding, Lakers assistant coach and Summer League coach. “I want him to have the ball in his hands and I’m going to live and die with whatever shot he takes. It was the decision he made. It was a good shot. I’ve seen him make it before.”

James made another positive step in his efforts to improve his conditioning.

“I felt good,” James said. “I felt I could have knocked some more shots down, but it is what it is. You’re not going to make them all. I felt my effort on the defensive end was good and that’s what I’m focusing on this year.”

For fans, parents and sportswriters,Edison’s seven-on-seven passing tournament, known as the Battle at the Beach, on Saturday is a key moment in the summer passing season, leading to the start of official football practice at the end of the month.

It’s not about wins and losses on Saturday but seeing which teams and players have made progress in the offseason and getting a first look at transfer students to see how they might fit in. It’s also a sensitive time for coaches trying to keep players happy so they don’t transfer to another school just as the season is about to begin.

The opportunity to see top skill-position players performing for their teams before pads come on next month is always the attraction of the well-run Edison tournament. The 9 a.m. games offer perhaps the best matchups of the day: Edison vs. Santa Margarita, Cathedral vs. St. John Bosco and Servite vs. Mission Viejo. One of those teams almost certainly will be crowned champion by the end of the day.

Edison coach Jeff Grady understands players are fresh and focused at the start of a long day, so that’s the time you learn the most about a team.

Mission Viejo, having beaten Mater Dei to win its own tournament last month, gets the favorite’s role behind quarterback Luke Fahey, an Ohio State commit. Santa Margarita will receive lots of attention in its first appearance since Heisman Trophy winner Carson Palmer was named head coach. There will be lots of focus on quarterbacks, from St. John Bosco’s Koa Malau’ulu to Palos Verdes’ Ryan Rakowski.

Coaches invited to this event know their players are expected to act classy with no fights. The officials use the event to get into shape for the season ahead and try out new officials. Players get to high-five their friends after intense competitions knowing they’re still friends, win or lose.

No one wins an 11-man championship based on seven-on-seven success (linemen are important), but there are so many good receivers and defensive backs in this tournament that it‘s always entertaining to watch and check out if any new players are ready to make an impact.

No club in MLS history played more games during a two-year span than the 103 LAFC played the past two seasons. It was an exhausting and unrelenting slog that saw the team play a game every five days.

Yet it may prove to be just a warm-up for what the team could face during the remainder of this season. Wednesday’s 3-0 win over the short-handed Colorado Rapids, which snapped a four-game winless streak in all competition, was LAFC’s 28^th match in less than five months. If it makes long runs in both the Leagues Cup and MLS Cup playoffs, the team will play another 29 times this season, with seven of those matches coming in the next 26 days weeks.

It’s a tortuous schedule, especially in mid-summer. But it’s also an unavoidable one.

“This schedule is what it is. We cannot change that,” said coach Steve Cherundolo, who got goals Wednesday from Denis Bouanga, Nathan Ordaz and newcomer Javairo Dilrosun. “It’s important not to waste any moments; moments meaning games you can win, moments also meaning chances in each game. So it’s important to play as effective as possible.

“That is our objective.”

Another objective would be to call for help, or at least relief, which is something LAFC figures to do as well. Because while the schedule ahead looks daunting, the team appears to have ample resources to deal with it.

The departures of Olivier Giroud, who returned to France, and Cengiz Under, whose loan from Turkish club Fenerbahce expired, frees up two designated player spots and more than $2.6 million in salary heading into the summer transfer window, which opens in two weeks. And the $10 million LAFC will receive for making the FIFA Club World Cup gives general manager John Thorrington more money to fund a roster upgrade.

“I don’t think there’s been a transfer window that LAFC has not been active in,” Cherundolo said. “We are always trying to improve the team whenever possible. That is just part of who we are and how we do things.

“So I, of course, expect the exact same demeanor this window.”

Exactly what that would look like, Cherundolo said, was a question for Thorrington, who wasn’t taking any this week. But LAFC’s needs are as obvious as they are plentiful.

LAFC’s Nathan Ordaz (27) celebrates after scoring a goal against Colorado Rapids at BMO Stadium on Wednesday.

(Shaun Clark / Getty Images)

Bouanga and Ordaz, who scored the first two goals Wednesday, have combined for 13 of LAFC’s 33 goals this season and the departures of Giroud and Under make the offense even more top heavy. Keeping Dilrosun, a former Dutch international on a short-term loan from Mexico’s Club América, could help spread out the scoring but expect LAFC to look to add another attacker in the transfer window just the same

The loss of center back Marlon, whose contract expired nine days ago, has also created a hole, this one on the back line.

Time is critical because despite the win over Colorado, which went down a man in the sixth minute when left back Jackson Travis drew a red card for elbowing defender Sergi Palencia in the face, LAFC (8-5-5) is closer to the ninth and final playoff Western Conference playoff spot than it is to the top of the 15-team table. However the team’s congested schedule means it will play at least more two games than every other team in the conference the rest of the season, something that is both a blessing and a curse.

It’s a blessing because it gives the team two extra chances to make up ground against the teams ahead of them. But it’s a curse in that it means the team’s MLS schedule is the most challenging down the stretch.

“That’s what I like,” Bouanga, whose first-half penalty-kick goal was his ninth of the season 50^th in his MLS career, said through a translator. “I like play, play, play. When we train too much it becomes tiring for me.”

The crowded calendar is mainly a result of LAFC’s participation in the Club World Cup, which forced MLS four games, including Wednesday’s match with Colorado, to be rescheduled while adding four non-league games to the schedule. Then there’s the upcoming Leagues Cup, which will force LAFC to play as least three more games and perhaps as many as six.

Ordaz, whose goal early in the second half came off the rebound of a Dilrosun shot, said its important not too look too far ahead.

“You just have to go one day at a time,” he said. “I think we’re all going to be important, the whole team. Everybody’s ready and we’re going to trust in everyone.”

His coach agreed.

“We need to take it step by step, meaning game by game,” Cherundolo said.

“When you’re winning games that’s a great time to have a congested schedule because things are flowing and going in the right direction. So it’s important to get us going, get the ball rolling in the right direction.”

LAFC has been heading in the opposite direction the last month, earning just a draw in four games in all competition and getting shut out three times. Wednesday’s win, however, was the team’s most one-sided since a 4-0 victory over Seattle in mid May. The team also got a big effort from goalkeeper Hugo Lloris, who recorded his sixth clean sheet in 16 MLS games.

“There’s no replacement for wins, and more specifically three points in the position we’re in,” Cherundolo said. “So that was very important, regardless of how it happened.”

Following the U.S. attack on Iran’s primary nuclear facilities at Fordo, Natanz and Isfahan, Tehran faces nothing but bad options. Militarily, Iran can escalate the conflict by attacking U.S. forces and allies in the region, as it did on Monday with missile attacks on U.S. bases in Qatar and Iraq. Iran could also close the Strait of Hormuz, withdraw from the nuclear nonproliferation treaty or even attempt a rapid “breakout” run to a bomb with its residual capabilities. Each of these options virtually assures an American military response that goes far beyond Iran’s nuclear program, possibly leading to a targeted campaign to topple the regime, the Islamic Republic’s greatest nightmare.

A more likely military response would therefore be for Iran to respond by continuing to attack Israel — as it did just hours after the U.S. strike — in an attempt to turn the conflict into a war of attrition that Israel can ill afford. Israel could escalate to try to end the war more swiftly and avoid prolonging losses.

Diplomatically, Iran can return to negotiations but rebuff President Trump’s demand for an “unconditional surrender,” whose terms he had not spelled out. In reality, these would likely include the complete dismantlement of Iran’s nuclear and missile programs and significant curbs to its regional role, along with long-term inspections and more. Should Tehran rebuff these demands, it would greatly increase the risk of further American military action, including against the regime itself — targeting military and civilian leaders and infrastructure, not just nuclear sites.

Alternatively, it can essentially accede to Trump’s demands, in which case it avoids direct American intervention and the war ends, but Iran loses its ultimate security guarantor — the nuclear capability — and virtually all of its leverage to seek any concessions in further international talks. The regime would also appear so weak that the probability of a domestic uprising would increase exponentially.

Whichever option Iran chooses, the very future of the Islamic Republic has never been in greater peril. Accordingly, the prospects for a dramatic positive transformation of the Middle Eastern strategic landscape have never been greater.

The decades-long American effort to establish a regional coalition of Arab states and Israel, to contain Iran, will be given a significant boost, as the former gains confidence to do so in the face of a greatly weakened Iran and resurgent U.S. in the region. The dangers of proliferation, at least in the Middle East, might be greatly reduced. Israel will have demonstrated — albeit this time only with critical American assistance — that the “Begin doctrine” (Israeli determination to take all means necessary to prevent a hostile regional state from developing nuclear weapons) still applies. Turkey, Egypt and Saudi Arabia, the three most likely proliferators in the region after Iran, will have little reason to pursue nuclear weapons.

Russia’s and China’s inability to provide their Iranian ally with any practical backing during the war stands in stark contrast to the U.S. and Israel and is particularly galling for Iran because of its strong support for the Kremlin during Russia’s war in Ukraine. Moscow and Beijing will suffer a significant reduction in their regional standing, accruing to Washington’s benefit. The Middle East will once again be considered a clearly American-dominated region, in which Russia and China will have to tread more carefully.

There are some in the U.S. who fear Mideast conflicts distract American attention from the competition with China — the only nation approaching the economic influence of the U.S. today — and Russia. But taking a direct role in this Iran-Israel conflict has not diverted American focus from Moscow and Beijing. On the contrary, it has significantly strengthened Washington’s global stature compared with both countries. China will be more hesitant to attack Taiwan now that the U.S. has demonstrated willingness to bomb aggressors against American allies.

An Israel whose enemies have been dramatically weakened, and which no longer faces an existential threat from Iran, would be in a far better position to make progress on the Palestinian issue, beginning with an end to the war in Gaza. Indeed, it would not be far-fetched to assume that Trump, always transactional, may have made this a precondition for his support for Israel in the war. Saudi-Israeli normalization will be back on the table.

Netanyahu has prepared for this moment for 30 years, for the opportunity to put an end to the only existential threat Israel continues to face. From the reviled leader whose administration allowed the Oct. 7 fiasco and various outrages in domestic affairs, he now stands to be remembered as one of Israel’s great heroes. Moreover, a favorable outcome to the war may very well save him from what otherwise appears to have been a looming electoral defeat — which could have been followed by jail time, given the corruption charges he faces.

The bigger question is whether Netanyahu — whose deep understanding of Israel’s overall strategic circumstances no one has ever doubted — will wish to use this opportunity to crown his legacy not just with saving Israel from an existential military threat, but also from an almost equally severe demographic challenge to its own future as a Jewish and democratic state. Fordo may be gone; the Palestinians remain. He would truly cement his standing in history if he ended the Gaza war and paved the way to a resolution of the Palestinian issue.

Both Netanyahu and Trump deserve credit for taking daring action, and they must be prepared to continue doing so. This is not the time to be fainthearted but to continue pressing the advantage. They have engaged in a classic case of coercive diplomacy, the use of military force for diplomatic ends, and must see it through to the desired end: a diplomatic agreement with Iran that ensures, with an inspections regime of unprecedented intrusiveness, that it can never again develop nuclear capabilities for military purposes, puts severe limits on its missile capabilities and curtails its malign regional role.

Even with a tentative cease-fire now in place, achieving an agreement of this sort will not be easy. The Iranians are unlikely to fully accede to American demands unless they truly feel that they have their backs to the wall, and even then, they are unusually effective negotiators. Persistence, focus and attention for detail, not known to be Trump’s forte, will now be called for. A historic opening has been made; it must not be squandered.

Chuck Freilich, a former Israeli deputy national security advisor, is a senior fellow at Israel’s Institute for National Security Studies. Colin P. Clarke is the director of research at the Soufan Group, a security and intelligence consulting firm based in New York City.

Angels manager Ron Washington will be out indefinitely because of health issues, and bench coach Ray Montgomery will manage Friday night’s series opener against the Houston Astros.

Washington, 73, experienced shortness of breath and appeared fatigued toward the end of a four-game series against the Yankees. He was cleared by Yankees doctors to fly home with the team Thursday night and underwent a series of medical tests on Friday.

General manager Perry Minasian announced Washington’s status before the game.

The Angels did not specify what symptoms Washington is experiencing, but said the manager was able to address the team in the clubhouse along with Minasian on Friday, and he was planning to watch the game from the GM’s Angel Stadium suite. Washington was not made available to the media.

“Wash has not felt great the last couple of days,” Minasian said. “We want to make sure he’s 100% before he’s back in the dugout and managing. How long it’s going to take, I don’t know. I don’t expect it to be too long.

“We all know how important this is for all of us, but health is more important than anything, and me personally, I’m not letting him back in the dugout until I know he’s 100% OK. I love the guy too much.”

Washington, who managed the Texas Rangers to back-to-back World Series in 2010 and 2011, was hired by Minasian before a 2024 season in which the Angels lost a franchise-record 99 games.

The Angels entered Friday night’s game at 36-38 — 6½ games behind the Astros in the AL West. The Angels are 15-6 in one-run games, a major league-best .714 winning percentage, and 5-0 in extra innings.

“He wants to manage — I don’t know if he’s ever missed a game–but at the end of the day, you have to make tough decisions,” Minasian said. “For me, I want to make sure the guy is absolutely healthy, and physically, he’s in the right place before we put him back in the dugout.

“We play some close games. They’re not the types of games you can sit back, kick your feet up and just watch. They’re pretty tight games, stressful games, and I want to make sure he’s good to go health-wise before he gets back in the dugout.”

Longtime NFL executive Brian Rolapp has been introduced as the PGA Tour’s first chief executive officer.

While news of that move had leaked last week, another tidbit emerged on Tuesday from the official announcement, as the tour revealed that Commissioner Jay Monahan will step down at the end of next year after transferring his day-to-day responsibilities to Rolapp.

“A year ago, I informed our Boards that upon completing a decade as Commissioner, I would step down from my role at the end of 2026,” Monahan said in a statement released by the PGA Tour. “Since then, we’ve worked together to identify a leader who can build on our momentum and develop a process that ensures a smooth transition. We’ve found exactly the right leader in Brian Rolapp, and I’m excited to support him as he transitions from the NFL into his new role leading the PGA TOUR.”

Monahan, who was named the organization’s fourth commissioner in January 2017, will shift his focus to his roles on the Tour’s policy and enterprises boards during the remainder of his time with the group.

“Commissioner Monahan is an incredible leader, and it has been a pleasure getting to know him throughout the interview process,” Rolapp said in the PGA Tour’s statement. “I greatly appreciate his commitment to making me successful in the role and look forward to working with him in partnership throughout this transition.”

Rolapp has been with the NFL since 2003, most recently serving as its chief media and business officer. Multiple media outlets reported last week that NFL Commissioner Roger Goodell had sent out a company memo regarding Rolapp’s upcoming departure.

“Brian’s appointment is a win for players and fans,” 15-time major championship winner Tiger Woods, a member of the Tour’s search committee that unanimously recommended Rolapp for the job, said in the same statement.“He has a clear respect for the game and our players and brings a fresh perspective from his experience in the NFL. I’m excited about what’s ahead — and confident that with Brian’s leadership, we’ll continue to grow the TOUR in ways that benefit everyone who loves this sport.”