first time

At the recent glitzy PEN America Literary Gala at the Natural History Museum in New York City the evening’s MC, B.J. Novak, declared that the crowd was there to celebrate more than just freedom of speech — they were there for “literary glamour.”

“Writing is glamorous,” he declared. “Reading is glamorous.”

For Novak, bestselling novelist Ann Patchett — who has also worked tirelessly on behalf of independent booksellers and in support of her fellow writers, and was one of the event’s honored guests — epitomizes that allure. “I think it’s great that Ann Patchett is a smoke show. She doesn’t have to be,” he quipped. “It’s just cool that she is.”

With “Whistler,” Patchett’s 10th novel, she definitively proves that the “smoke show” moniker, if at all relevant, is icing on the cake. This exquisite writer has once again delivered an incandescent work of fiction — sweet, but never sentimental, infinitely wise and suffused with love. It’s also an ode to New York City itself.

“Whistler” is narrated by protagonist Daphne Fuller, a 54-year-old English teacher married to Jonathan, a restlessly retired doctor and hospital administrator who dotes on his wife and whom he regards as “extraordinary.” When we first encounter the couple, they’re roaming the Metropolitan Museum of Art — which, one gets the sense, they know by heart. As Daphne ponders the sculpture “Two Horses,” by Charles Ray, Jonathan spots an elderly stranger eyeing his wife, casting glances in her direction. The stranger follows them from room to room fixated on Daphne. Jonathan’s curiosity is piqued, and he slips away from his wife’s side to get to the bottom of why they’re being followed — which is revealed to be the novel’s inciting incident.

Turns out that stranger is no stranger at all. He is Eddie Triplett, a long-lost stepfather whose divorce from Daphne’s mother, Abigail, remains an unhealed wound. Running into Eddie now for the first time in more than four decades, Daphne is startled by the rush of emotion she feels: “I hadn’t known there was something in me to break,” she reflects, “but there it was and break it did. I stepped into an open crack in time and fell backwards.”

Eddie, as it happens, is but one of Daphne and her sister, Leda’s, three dads. By the time Abigail marries her third husband, mild-mannered Lucas, and the couple go on to have three sons, Daphne has grown a protective shell. These facts are narrated with detachment by the protagonist herself. As she and Eddie gently unspool their memories and together fill in the blanks, their bond deepens. The “falling backwards” Daphne experiences in Eddie’s company — traversing time — soothes, softens and delights her.

As the novel unfolds, what becomes ever clearer is that Daphne and her author are undeniably similar, though Patchett has observed: “I am normally careful to make sure there is a big wall between my life and my fiction.” In “Whistler,” she throws that caution to the wind. Easter eggs are scattered throughout. Like Daphne, Patchett is married to an older man — also a doctor — whom she adores. She too had three dads, as she chronicled in a 2020 New Yorker piece aptly titled “My Three Fathers.” Patchett and her heroine also appear to share this enviable trait: They navigate life with grace, generosity and utter competence. IRL, Patchett returns emails on the day she receives them, is an outspoken advocate for free expression, is generally renowned for her good deeds. She’s also widely known for her many devoted friendships, though she doesn’t suffer fools. You’d want to be her ride or die. As you would … Daphne’s.

In an interview 10 years ago, Patchett observed that it wasn’t until she read a piece by Jonathan Franzen, “in which he insisted that the novelist had to do what scares him most, and for him, that had been writing about his family,” that she considered following that path in her fiction. “I thought ‘oh nothing would scare me more. I would happily ride down the Amazon in a canoe and deal with snakes’ ” (as she did for “State of Wonder”) “ ‘than face my family.’ ” In 2016 she wrote “Commonwealth,” which drew on her personal experience of divorce and dysfunction, themes she revisits in “Whistler.” But in “Whistler,” it’s as if Patchett herself is in the reader’s ear. (And, by the way, should you pick up the audio version of the book, she narrates and is literally in your ear.)

Patchett has said she had an ulterior motive for writing “Whistler.” She’d been in the midst of writing a different book, a novel about a Wyoming rancher and her horse, Whistler, but it wasn’t clicking. As she pressed on over the better part of a year, a second idea came to her “like a fever dream.” She immediately filed away the messy work-in-progress and began writing a fictional ode to a cherished friend, former publishing executive Jim Fox, to whom “Whistler” is dedicated. Fox had died two years before, on his 85th birthday, and Patchett was still grieving. Her aim, with “Whistler,” she has said, is to put down on paper how much they loved each other. Fox is reborn as Eddie Triplett in the book, a charming and erudite book editor who radiates joie de vivre and is among the loves of his stepdaughter Daphne’s life.

Patchett’s literary style isn’t of the show-offy variety packed with dazzling sentences and edge-of-your-seat cliffhangers. The drama is quiet. Her words accrue and gain power through their spareness and clarity, and a level of character development that forges an easy intimacy with the reader. There’s also a sly wit and sagacity that have become Patchett signatures, honed to perfection in “Whistler,” whether wrestling with the legacy of family trauma, or the human struggle to accept the transitory nature of it all. Or, as Patchett’s mother once admonished after the failure of her daughter’s first marriage: “Stop trying to make everything permanent. It doesn’t work.”

While Patchett has clearly drawn on actual events and individuals to produce this luminous work, she exhibits the expert novelist’s knack for following a plot where the imagination takes it. I don’t recommend consuming “Whistler” in one enormous gulp. I dipped in and out, savoring scenes, reflecting on them, occasionally shedding a tear. In other words, I didn’t want it to end.

Haber is a writer, editor and publishing strategist and co-founder of the Ink Book Club on Substack. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.

Sorry to rain on your all-analog parade.

It’s no secret that vinyl records’ resurgence has hit a new plateau, outselling CDs for the first time since 1987 as of 2022, according to a report from the Recording Industry Assn. of America. Three years later, its year-end report flaunts another statistic: Vinyl record sales surpassed $1 billion in 2025 — the first time since 1983.

But there’s an inevitable downside to anything that’s partially made of liquid dinosaur bones. Modern vinyl records are crafted with PVC resin, which makes up more than 75% of an average disk The synthetic polymer itself is made of chlorine and fossil fuel-derived feed stock.

To put its harm in perspective, a first-of-its-kind report from Vinyl Alliance, published in June 2024, found that 50% of a record’s carbon emissions come from this resin. The carbon footprint of a single LP was estimated to be roughly equal to the pollution a gas-powered vehicle emits over a three-mile trip. It adds up quick, considering that 46.8 million new records were sold last year.

Thankfully, it’s not all grim.

Organizations like Music Declares Emergency and the Music Climate Pact initiative are coming together to address the issue. A campaign by the groups — in collaboration with record labels and distribution teams at Secretly Group, Exceleration Music, Warp Records, Ninja Tune and Beggars Group — features titles pressed on 100% reclaimed material.

The release, set in tandem with World Environment Day on Friday, boasts marquee titles such as Elliott Smith’s “Roman Candle,” Bon Iver’s “For Emma, Forever Ago” and Dinosaur Jr.’s “You’re Living All Over Me.”

“What we found talking to a lot of our artists and to customers is that … they are concerned about the environment, and they want to find ways to reduce their footprint,” says Ben Swanson, co-founder of both Secretly Group and the Independent Record Pressing plant in Bordentown, N.J., where the LPs are made. “It’s about 16% less footprint than the traditional piece of vinyl.”

Soren Smith working at Independent Record Pressing in Bordentown, N.J., on May 26, 2026.

(Dutch Doscher / For The Times)

Largely, it’s been people like Swanson who have fully committed to the cause. He says that during the height of the COVID-19 pandemic, in an “activist moment,” several labels signed onto the Music Climate Pact, declaring their intention to reduce their emissions and be better stewards of Earth.

“It had almost no teeth to it,” Swanson explains. “A lot of people signed it, posted something on Instagram, and it sat there for a few years. For us, it was pretty frustrating … it felt very perfunctory.”

His work continued, along with a few others, thanks to support from Murmur, an organization designed to support labels and industry names, effectuating the commitments made when the Music Climate Pact was signed.

“We’re more doers than sayers,” Swanson says. “We’ve really been experimenting with what we’re calling ‘Revinyl’ — post-industrial, pre-consumer, recycled vinyl as a means to reduce our footprint at IRP.”

This is what some of Friday’s release is made of — all the trimmings, tidbits and overstock that would otherwise end up in landfills or on the factory floor. For the time being, it certainly won’t solve the climate cost of vinyl records, but it helps to mitigate it.

Between 2024 and 2025, total units produced at Independent Record Pressing increased by 41% while emissions — which also benefited from lower-carbon transportation — decreased by 34%.

“The idea is, if you can make those records 16% more efficient and also show fans of those records … that it is viable, maybe it makes it a little bit easier next year when we go out to ask other artists to jump on board,” Swanson explains. “We’re not making records that are just going to go sit on the shelf — these are records we’re continually repressing all the time anyway.”

Similarly, Ian Stanton, head of sustainability at Beggars Group, was among the first to sign the pact in 2021. His role was created five years ago to give indie labels a voice in light of minimal resources and capabilities. Though these roles do exist at larger labels, he says they have “slightly different drivers.”

When it comes to records, the pure plastic pollution that comes from them is also a concern. When old records make it to a landfill, they’re not only likely to outlive the site, but can also leach plasticizers, a Keele University report found.

“Vinyl is not like a single-use plastic; we don’t throw it away after one listen. We treasure it, we pass it on through generations, and people have a real connection with it,” he says. “But like any other product, there are ways of making it more sustainable.”

He refers to certain plastics, such as shrink wrap, as the most “visible” aspect of vinyl record pollution to consumers. From a collector’s point of view, shrink wrap can actually increase the value of a record. Though there has been discourse over the years around whether this can actually damage the sleeve, many sellers champion an “in the shrink” label as they mark up prices.

Splatter-patterned records arrive at the trim station at Independent Record Pressing in Bordentown, N.J., on May 26, 2026.

(Dutch Doscher / For The Times)

Other visible aspects, such as the paper sleeves in which the records are housed, are also harmful. However, Swanson says that swapping those for recycled materials outputs a relatively negligible difference in emissions impact, largely due to the process behind producing them.

For the time being, vinyl records made from reclaimed materials are the best that companies like Swanson’s can do, though they’re are always on the lookout for other, viable options for improving their footprint. As an example, they’re actively experimenting with how existing record material can help them.

What can the beat-up, worn-out records at your local thrift store do to dodge a landfill and keep the Earth spinning? As it stands, not much.

Stanton lists an array of challenges, including outdated materials, modern production regulations and contaminants.

“I suppose what we need with PVC for records is a really high-quality, contamination-free material to get that sound reproduction,” he explains. “When you bring in stuff from that post-consumer environment, you’ve got to make sure there’s no contamination in there, because you’re going to end up with sound quality issues.

“It’s all in process,” he adds.

For now, they look to fix the most immediate problems first, such as freight emissions, where Beggars Group has converted the vast majority of its shipping operations to sea freight, a far less harmful alternative compared with air freight.

“We want to look at the full life cycle … not only thinking from the cradle to the grave, but from the point where the raw materials are extracted at the beginning,” Stanton says. “This life cycle analysis now looks at all different environmental indicators on this — the chemical usage, the water usage, and the end-of-life impacts on that side of things.”

Nelly Korda’s bid for a U.S. Women’s Open title began Thursday with a foot fault.

The No. 1-ranked player opened her round at Riviera wearing a pair of golf shoes provided to her by LeBron James, Nike Victory Pro 4s with white uppers, gold swooshes, red-and-navy details and an American flag pin on the laces.

Snazzy as they looked, the shoes were a little loose fitting for Korda, who swapped them for a more familiar pair after she played the first six holes at one over par. She never really found her groove and finished the opening round with a two-over-par 73.

“Just hit it really poorly off the tee,” said Korda, who immediately headed to the practice range after meeting with the media following her round. “Found myself in a lot of trouble on the wrong side of a lot of these pins. I just felt like I was kind of just grinding to make safe pars. It wasn’t a great day. I hit it really good Monday through Wednesday, so I have honestly no idea where this came from.”

For others, Riviera — playing host to the major championship for the first time — was as comfortable as an old shoe.

Korea’s Sei Young Kim worked her way to the top of the leaderboard with a 67, making back-to-back birdies on the 10th and 11th holes, then three in a row on Nos. 6, 7 and 8.

Sei Young Kim eyes her putting line on the ninth green during the first round of the U.S. Women’s Open at Riviera Country Club on Thursday.

(Gina Ferazzi / Los Angeles Times)

According to Elias Sports Bureau, Kim ended a personal streak of 43 consecutive major championship rounds shooting 70 or higher. It was the longest active streak of its kind entering this week.

“The U.S. Open is not regular — not the same as a regular tournament,” Kim said. “So you need to be really patient instead of attacking the pin. So I really try to follow what my caddie says.”

Some caddies have an even closer relationship with their players. On the bag for Michelle Wie West is her husband, Jonnie West, son of late NBA legend Jerry West. Wie West retired three years ago after the Open at Pebble Beach, but came out of retirement to use her last year of exemption to play on this iconic course, celebrating its centennial.

Wie West opened her round with a flourish, crushing her tee shot 293 yards down the left side. Although she missed the green on her approach, chipped up for a short birdie putt but missed it.

Wie West, once one of the biggest stars in the game, qualified for the USGA amateur championship at age 10, the youngest player to do so. She turned professional shortly before her 16th birthday and won five times on the LPGA Tour, with her only major victory coming at the U.S. Open in 2014.

Now a mother of two, Wie West said part of her motivation to return for this tournament was so her daughter, Makenna, who turned 6 this week, will have memories of her playing.

Michelle Wie West, right, and caddie Jonnie West, her husband, discuss an approach shot during a practic round Wednesday.

(Harry How / Getty Images)

“It’s everything,” Wie West said of that inspiration. “Being able to share this with her — even the last couple of months, just practicing. We talk a lot before she goes to bed, and I tell her what I do when she’s at school. ‘I had a tough day at practice. This is what I overcame.’”

Makenna is almost a sounding board.

“My daughter is like the best sports psychologist I’ve ever had, honestly. … I’m going to try to live by the words I tell my daughter. I always tell her before a game or tournament, ‘I don’t care about the results. All I care about is a good attitude and that you try your hardest.’ That’s my No. 1 goal this week.”

Still in search of her first major victory is Gaby López, whose 68 on Thursday put her just behind the leader. She grew up in Mexico City and said Riviera has a familiar and comfortable feel.

“It’s all high elevation [there] and flies way less here,” she said. “But the same kikuyu [grass] and the ball sits up, and you just have to be ready to hit some flier shots off the fairway.

“That rough, you can get lucky at times. … It’s so sticky it’s hard to get it out, especially when you’re going to have no spin. So you just have to be very specific where you’re going to miss it if you don’t hit the fairway.”

Lopez has started hot in the U.S. Open before, although she wasn’t pleased with those results. She was four under through her first nine holes in 2017 before going two over in her second nine. She shot a 70 that day and was tied for 13th after the opening round, but wound up missing the cut.

Her approach this year is simple and straightforward.

“Right now let’s be smart, let’s be focused on what you want to achieve,” she said, “and at the end of the day, let’s put yourself in a position that you can have a shot on the back nine on Sunday.”

L.A. Mayor Karen Bass made what sounded like a victory speech Tuesday night.

Councilmember Nithya Raman made what sounded almost like a concession speech.

And former reality TV star Spencer Pratt relayed a message from the heavens.

“Well, obviously God wanted five more months of me exposing all the failures of our mayor, so it’s gonna be a fun ride,” Pratt said. “I hope she’s ready.”

Assuming Pratt holds on to one of the two spots in the Nov. 3 general election as the final votes are tallied in the next few days, the smart money will be on Bass, for reasons I’ll get into in a moment.

But the supreme being and patron of all pontiffs has to be considered a wild card. This is the first time, to my knowledge, that an incumbent mayor in the City of Angels would be running against a challenger whose campaign manager is God Almighty.

So here we go. We could be in for one of the more remarkable electoral adventures in city history, with a complete novice and MAGA conservative going up against a liberal career politician in a deep-blue city and state full of people who are tired of hearing excuses from Democrats. (If Raman ends up ousting Pratt, my apologies for jumping to conclusions. But it’s not my fault. The devil made me do it.)

If you intend to follow closely, as of course you should, maybe you can help me count the number of times Pratt plays the faith card. I went to St. Peter Martyr School and attended the church by the same name, and I don’t recall ever hearing a nun or a priest drop God’s name as often as Pratt does.

In fact, I just watched a clip of Pratt talking to Fox News TV host and Donald Trump disciple Kayleigh McEnany, and over the course of 1 minute and 52 seconds, he mentioned God or Jesus 10 times.

“Thankfully, I married an angel who was very connected with Jesus and has brought me to the light,” Pratt said of his wife and former reality TV co-star Heidi Montag. “It’s been very empowering to just pray and just be on his path and just say, ‘God, if you want me to save these animals, save these humans and protect my city, just keep putting me in the place where I can do that.’”

Is he running for mayor or cardinal?

Look, I totally respect your average true believer. But I’m not entirely comfortable with a mayor who might be sitting around City Hall waiting for signs and smoke signals rather than knowing what to do on his own.

God has a lot on his plate. He might be busy multiplying fishes and loaves so people don’t go hungry thanks to the president’s tariffs and warmongering. Is he going to rush to answer a prayer for guidance about underfunded parks or broken sidewalks in Los Angeles?

How did we get here, you ask?

Well, Pratt is an AI creation, in a way. A composite of sorts. You combine the forces of social media, political rebellion, second-rate celebrity obsession and the Peter Principle, and here’s a little Trump puppet walking around L.A. like he’s the chosen one.

Add to that the very real essence of his appeal to some voters:

Los Angeles has problems. Big problems that don’t get fixed quickly enough or at all, and Pratt represents the angry voter who wants to know why City Hall can’t do better and where all the money went. He’s absolutely right when he says we shouldn’t have people living on the streets, using drugs on the streets and dying on the streets.

But if Pratt is in the general election rather than Raman, we’re in for a national media circus rather than a summit on solutions. Raman is well-versed on matters of relevance and could have pushed back against Bass in substantive, detailed ways. On the other hand, as Pratt has fairly argued, Raman headed City Council’s homelessness committee, so isn’t she partly to blame for the failures she tried to pin on Bass?

As for Pratt’s policy chops, he has not responded to my offers of a get-together. Absent that, and given his careful avoidance of local reporters who know their stuff, I read his platform on his campaign website and I can tell you that while he touches on many of the right issues — public safety, fiscal integrity, homelessness — attention to detail and depth of knowledge are not God-given strengths.

Maybe Pratt can actually deliver on his promise of a “treatment-led recovery model that addresses mental illness and addiction as the primary drivers of chronic homelessness.” But that would require an act of God (which I suppose is possible given their relationship), because those matters are primarily under the direction of the county, not the city.

This is the main problem here. Bass was beatable, and could have been pushed by a serious challenger to do better.

In the last election, Rick Caruso gave her a scare. That was partly because he had some depth on the issues, he was a successful businessman and philanthropist, he had served on the police commission and the water and power board, he had built relationships across the city and, along with his family, he had poured time and millions of dollars into underserved communities.

In this election, it looks as though Bass could get lucky and face off against a guy who lost his house in the Palisades fire, saw a few homeless encampments through his car window, and decided he wanted to be mayor. Some might have questioned his hubris, but only before learning that he was on a mission from God.

If you’re keeping count, that’s nine mentions of God so far in this column.

One more for the tie, with an eye toward five more months of campaign fodder.

Thank you, God.

steve.lopez@latimes.com

Brooke McCree, a 22-year-old recent UCLA graduate, is the first to admit she’s been going to the movies a lot less.

Back when Regency operated the local Village and Bruin theaters in Westwood Village, she would often take advantage of the student discount and see as many movies as possible. But in the two years since the theaters closed, she said moviegoing for many UCLA students has become inaccessible.

“At UCLA, it’s been rough because I’ll have to walk really far or take the bus [to the movies]. There’s nothing really nearby,” said McCree, who recalled fond memories of seeing movies like “Madame Web” and a “Hunger Games” prequel in a dense crowd of excited college students. “I was pretty devastated when it initially closed.”

There is still hope for the Village Theatre, which recently received a breath of new life thanks to some of Hollywood’s biggest names.

For the first time since 2024, the theater opened its doors early last month for the Los Angeles debut of Billie Eilish and James Cameron’s co-directed concert film, “Hit Me Hard and Soft: The Tour. ” Hundreds of fans filled the college town’s sidewalks, and streets were closed for the black SUVs that dropped off A-listers and executives on the bright blue carpet.

The event was reportedly the first of a limited number of premieres and screenings planned for this summer to support a 12-month renovation set to begin this fall.

The revival is being led by Village Directors Circle, a group of 35 filmmakers who purchased the theater in 2024. They include prominent directors Jason Reitman, who is leading the effort, and Christopher Nolan, J.J. Abrams, Guillermo del Toro, Judd Apatow, Steven Spielberg and Chloé Zhao.

A representative for Reitman declined to comment on the plans.

Nissan GT-R NISMO sports cars are seen outside the Fox Westwood Village Theatre, promoting the “Gran Turismo” movie in 2023.

(AaronP / Bauer-Griffin / GC Images )

The $25-million restoration, which organizers previously told The Times would be completed next year, includes plans for a restaurant, bar, gallery and a multipurpose space in the lobby for filmmakers and hosting premiere-related events.

Last year, the coalition of directors announced that American Cinematheque would operate the theater, hosting special screenings of new releases and repertory titles and conversations with filmmakers. The film non-profit already runs Santa Monica’s Aero Theatre and co-programs both the Egyptian Theatre in Hollywood and the Los Feliz 3.

Historically, the neighborhood has been a tricky market for businesses, said Jonathan Kuntz, a former lecturer at the UCLA School of Theater, Film and Television. He worked in the area for nearly 40 years and saw much turnover among local businesses due to high rents and inadequate parking.

“We’ve had some great things, like bookstores and eateries that have flourished sometimes for a decade or two, but it faded out,” Kuntz said. “[The theater] will certainly help Westwood if it is a success.”

For that to happen, Kuntz said, 1400-seat theater will need to screen a regular supply of films to a diverse customer base, including nearby students that have long been among its most frequent customers.

Many current UCLA students are already eagerly anticipating the theater’s reopening, said Ingrid Fan, a senior at the university majoring in public affairs.

“It’s been a bummer to have it closed for so long,” said Fan. “My friends and I always talk about how we just wish it opened sooner.”

While the theater’s renovation timeline won’t be complete before she graduates, she’s certain that other students will make good use of it when it reopens.

“Westwood is a college town, and we are always looking for a new source of community. It’s a space a lot of students would definitely flock to,” Fan said.

Broxton Avenue in Westwood Village during one of UCLA’s First Thursdays community events.

(Myung J. Chun / Los Angeles Times)

A historic movie hub

The university and its surrounding village, including the theater, were developed simultaneously throughout the 1920s and 1930s. Designed by Percy P. Lewis, the Westwood Village Theatre originally opened as a part of the Fox Theatres chain in 1931.

Despite launching during the Great Depression, the Westwood Village Theatre had a prime location working in its favor.

Westwood was imagined as a satellite town in West L.A. that would eventually support the growing UCLA campus. The neighborhood became known as the third major movie theater hub, behind downtown and Hollywood. In the 1920s, when the Chinese and the Egyptian theaters opened on Hollywood Boulevard, Westwood was next in line as a booming premiere destination.

“It was much more convenient to those folks than going to downtown Los Angeles, or even to Hollywood,” Kuntz said.

This was an era of moviegoing when premieres were essential to a movie’s box office success, drawing substantial marketing opportunities. The volume of films being produced at the time made it necessary to have multiple premiere-ready theaters around L.A., Kuntz said.

A “Terminator” poster is unveiled at the world premiere of “Terminator 3: Rise of the Machines” in 2003.

(Robert Mora / Getty Images)

Over its 95-year history, the venue has been remodeled a handful of times, including in the 1950s when television became a mainstream medium. Soon, multiplexes emerged, which put the Westwood Village location at a disadvantage. To this day, the theater can only show one film at a time.

In the 1970s, the venue joined the Mann Theatres chain, and in 1988, it was designated a historic cultural monument.

Regency Theatres took over the Village Theatre and its neighboring film venue, the Bruin, in 2010. Notably, in 2018, Quentin Tarantino used the Bruin during the filming of “Once Upon a Time … in Hollywood,” which is set in late-1960s Los Angeles.

The ticket booth at the Regency Bruin theater in Westwood Village all boarded up, as seen on the afternoon of Nov. 3, 2020.

(Carolina A. Miranda / Los Angeles Times)

Regency continued to operate the two locations until its lease ended in 2024. Although the group of Hollywood directors was quick to bid on the Village (the Bruin was not included in the deal), the theater has remained closed since then, with the exception of the recent Billie Eilish premiere.

As theaters continue to navigate rough waters amid hopes of a durable post-pandemic recovery, celebrity buyers have become a driving force in the effort to preserve some of L.A.’s historic venues. Tarantino operates both the New Beverly Cinema and the Vista, and most recently, Kristen Stewart purchased the Highland Park theater.

“A lot of people in Hollywood want to preserve at least some of what made classic Hollywood successful, like the big screen experience,” Kuntz said. “These folks are the ones who could afford to buy a movie house or two, program it and keep that tradition alive.”

L.A. Times staff writers Josh Rottenberg and Meg James contributed to this report.

COLLEGE STATION, Texas — As Augie Lopez trotted around the bases late Monday night, the small contingent of USC fans could finally be heard at Blue Bell Park. With one towering blast to right field, the Trojans’ designated hitter silenced Texas A&M’s rowdy 12th Man.

Lopez’s three-run home run helped push the Trojans over Texas A&M 7-1 to reach the NCAA super regional for the first time in 21 years.

Lopez silenced most of the sellout crowd of 7,042, making it easy to hear USC fans serenading him during the College Station Regional Final.

“Augie! Augie! Augie!” USC fans chanted after Lopez returned to the dugout. After the win, he was named the regional’s most outstanding player.

It took a while, but the offense showed up to propel USC (47-16) to the Chapel Hill Super Regional against North Carolina.

Until Lopez’s blast, Texas A&M right-hander Clayton Freshcorn had slowed down a USC offense that had scored 48 runs combined while winning three consecutive games out of the losers’ bracket, including 14 on Sunday night against Texas A&M (41-16), to force the winner-take-all final.

USC right-hander Grant Govel, who had thrown 89 pitches over 5⅔ innings on Friday, retired the first seven Aggies before Bear Harrison hit a solo home run to left-center field in the third.

The Aggies ran out a threat in the fourth. Chris Hacopian drew a leadoff walk. Ben Royo kept the inning alive with a two-out single to left. Jorian Wilson followed with a single to shallow right-center field. Second baseman Abbrie Covarrubias was positioned perfectly to field the ball in the outfield, but his throw to first wasn’t in time.

Fortunately for the Trojans, Adrian Lopez alertly threw home to easily nail Hacopian by several feet to end the inning.

Covarrubias tied the score 1-1 with an RBI single to left-center in the fifth. One out later, Covarrubias stole second. Augie Lopez broke the tie with a single to right-center.

Two innings later, Lopez crushed his three-run blast.

Serena Williams is returning to competitive tennis after all.

Months after insisting on social media, “Omg yall I’m NOT coming back,” the 23-time Grand Slam singles champion announced Monday that she’ll play professionally for the first time in almost four years at the HSBC Championships at the Queen’s Club in London.

Williams, 44, has been given a wild-card entry into the doubles draw of the WTA 500 event, which begins June 8.

“Queen’s Club feels like the perfect place to begin this next chapter,” Williams said in a statement released by the tournament. “Grass has given me some of the most meaningful moments of my career, and I’m excited to be back competing on one of the sport’s most iconic stages.”

Williams teased the announcement earlier Monday by posting a video on social media that featured her phone‘s notifications going off constantly while she seemingly was practicing on the court.

“Good news travels fast,” Williams wrote on the post.

Tournament director Laura Robson said during TNT Sports UK’s coverage of the French Open on Monday that Williams’ playing partner will be Canadian teenager Victoria Mboko, who is ranked No. 9 in WTA singles. Williams has won 14 Grand Slam titles and three Olympic gold medals in doubles with her sister Venus Williams as her partner.

It is not clear whether Williams will participate in any other events. Wimbledon, a Grand Slam event Williams won seven times in singles, begins June 29 in London.

Williams’ last professional match was a loss to Australian Ajla Tomljanovic in the third round of the U.S. Open on Sept. 2, 2002. She registered as retired with the International Tennis Integrity Agency the next day.

Last December, however, Williams reentered the agency’s drug-testing pool. According to the ITIA website, retired players “may not return to sanctioned events unless they have made themselves available for out-of-competition testing for at least six months prior to the event in question.”

The move led to much speculation about a possible Williams return, leading to her social media post denying any such intentions.

Martina Navratilova, the 18-time Grand Slam champion who is the oldest woman to win a tour-level singles match — she was 47 when she won a Wimbledon match in 2004 — expressed excitement for Williams’ return.

“Serena brought the game to another level and it is incredible for the sport that she’s pushing the boundaries and coming back,” Navratilova said in a statement released by the WTA. “To many of the younger players, they never had the opportunity to play her; some may have never watched her on television, so this will be a new and exciting experience.”

Saint Mary’s has achieved the seemingly unthinkable — the Gaels have eliminated UCLA, the nation’s top-ranked team, from the NCAA tournament.

With two outs in the 10th inning, Makoa Sniffen drove in Cody Kashimoto on a walk-off single off UCLA reliever Easton Hawk to lift Saint Mary’s to a 6-5 comeback win Sunday in a Los Angeles Regional elimination game at Jackie Robinson Stadium.

The Gaels (36-26), who also stunned the Bruins (52-8) in the regional opener on Friday, made the Big Ten champions just the second NCAA No. 1 overall seed — after Vanderbilt in 2025 — to be eliminated from the regional round since the current format was established in 1999.

“Obviously, this weekend, we just did not play up to our standards,” UCLA coach John Savage said. “I really felt it was a struggle, for whatever reason — all three games, really. But it’s nothing to take away from this team. You win 52 games [and are] preseason [No.1], and you never leave that spot; it’s really remarkable and a lot of credit to our captains, to our seniors, to the entire program … I just can’t say enough about the people that I’m around and that I’ve coached.”

Against all odds, Saint Mary’s is still alive and playing Cal Poly in the regional final on Sunday night.

“Felt like 12 rounds with the heavyweight champ,” Saint Mary’s coach Eric Valenzuela said of the Gaels’ wins over UCLA. “So proud of our group, the fight.”

Favored to win their first national title since 2013, the Bruins led the Gaels 5-4 entering the ninth and needed just three outs to continue what had been the program’s best season ever.

But Tanner Griffith led with a base hit off UCLA reliever Cal Randall and — after being moved to second following a sacrifice bunt from Diego Castellanos — catcher Ian Armstrong brought Griffith home with an RBI single to right field off Hawk.

Saint Mary’s reliever David Roberts retired the Bruins in order in the 10th. Hawk then struck out Brayden Gutierrez before Kashimoto hit an infield single. Griffith advanced Kashimoto to second on a groundout to first. Two batters later, Sniffen’s hit to left field gave Kashimoto just enough time to beat a throw to the plate, sealing the Gaels’ win.

Randall and Hawk pitched in all three of UCLA’s regional games. Savage saluted the entire pitching staff — highlighting Angel Cervantes’ development as a freshman — but added that Logan Reddemann’s absence had a “major effect” on the staff. The ace right-hander hadn’t pitched since April 17 because of arm soreness.

“It had a ripple effect on the starters, had a ripple effect on the bullpen,” Savage said of Reddemann’s absence. “The effect it had on roles, the effect it had on usage [was a] major deal. No excuses, because [we] still won. But at the same time, it looked a little different and it felt a little different, and at the end, I think it really hurt losing a potential first-rounder the last six weeks.”

The Big Ten coach of the year took the time to acknowledge the Bruins’ junior class for sticking with the program throughout its ascent, admiring the “all kinds of players” he expects to be selected in July’s MLB draft.

Savage, though, was particularly emotional when discussing the eventual departure of shortstop and back-to-back Big Ten player of the year Roch Cholowsky, who is widely expected to be a first-round pick.

“Cholowsky just meant so much to the program,” Savage said. “He just had such an impact on the program. He had such an impact on people. Had impact on a fan base. Had impact on the community. Just such a winning, winning player. It’s hard to watch a guy like that leave … but it’s what he’s all about. He’s all about the right things.

“He’s a Bruin through and through. And at the end of the day, you couldn’t ask for a better player or a better person than Roch.”

Led by Cholowsky and eight other All-Big Ten selections, with the best team ERA (3.27) throughout the regular season, the Bruins had lost merely six times before the regional and had won every series.

But after losing two games to Saint Mary’s, as regional hosts for a second consecutive year, UCLA has no choice but to go back to the drawing board in preparation for 2027.

“I feel for them,” Savage said of his clubhouse. “It’s the college game … anything can happen. We didn’t play well enough this weekend.”

Philadelphia’s Edmundo Sosa sauntered out of the box, motioning with one hand in a pump-wave in front of 51,794 Dodgers fans. The left fielder, who had taken over for Brandon Marsh in the top of the sixth, connected on a four-seam fastball that Dodgers reliever Tanner Scott left too far over the plate for a two-run home run that put the Phillies ahead.

The Dodgers had been playing with fire all night, but they couldn’t regain momentum after Scott’s struggles, losing to the Phillies 4-3 to set up a Sunday series rubber match.

The Dodgers (37-21) started strong, with pitcher Roki Sasaki giving up just three hits and one earned run over 5⅓ innings.

Sasaki’s elevated velocity posed early concerns for the Dodgers as he struggled more with his command. The right-hander crossed the 100-mph threshold for the first time this season on two pitches: a 100.4mph four-seam to J.T. Realmuto and another fastball, this time 100.1mph, to Kyle Schwarber.

Three of his four pitches — the four-seam, slider and splitter — averaged at least 1.2 mph faster than his yearly average. As a result, he struggled with location. Neither his slider and splitter hit the zone more than 45% of the time. Even his fastball hit the strike zone a mere 55%.

Dodgers manager Dave Roberts warned about this scenario when Sasaki’s fastball had only reached an upper limit of 99.5 mph.

“I think now the velo is certainly in a good spot,” Roberts said before the game. “I do believe that if he wanted to throw 100 miles an hour, he could do that, but it wouldn’t be where he needed to throw it.”

Dodgers starting pitcher Roki Sasaki delivers during the first inning Saturday against the Phillies.

(Mark J. Terrill / Associated Press)

Still, the Phillies (30-28) struggled to generate consistent momentum despite Sasaki’s location problems. Phillies third baseman Alec Bohm hammered a four-seam fastball that skimmed the top of the strike zone over the center field wall. The rest of the Phillies lineup ended most of their at-bats with little luck, striking out seven times and walking only once.

Roberts pulled Sasaki with runners on first and second in the sixth. Left-hander Alex Vesia walked Bryce Harper but escaped a one-out, bases-loaded jam by striking out Sosa and forcing Alec Bohm into a ground out to third.

By then, the Dodgers had already established a lead. Alex Call put them on the board in the second on a poked single through the gap between second and short. In the fourth, Call reached third on a double and throwing error from Adolis García. Santiago Espinal hit a sacrifice fly to deep center field, driving in Call.

Mookie Betts also found his footing after he went 0 for 3 on Friday. The shortstop struggled in the first four games of the Dodgers’ homestand, batting .200 across 15 plate appearances. Against the Phillies on Saturday night, Betts laced two singles and a double.

Andy Pages scored on a close play at the plate after Betts singled to shallow right field in the seventh. Although catcher J.T. Realmuto missed tagging Pages’ foot, the Dodgers center fielder’s cleat didn’t appear to touch the plate. After a long review, the safe at home call stood.

But the Dodgers’ good fortune didn’t last. Scott gave up an RBI single to Bryce Harper, and it was like the Phillies could sense exactly when the reliever’s pitches crossed over the zone. Scott (1-2) then gave up the home run to Soto before going down in order on three groundouts in the ninth.

“Dress shabbily and they remember the dress; dress impeccably and they remember the woman.” ― Coco Chanel

Apropos of Paris. Apropos of the French Open.

That’s all the context necessary to appreciate Naomi Osaka removing a ceremonial black skirt and sleeveless beaded bodice ahead of her opening match at the Roland-Garros Complex this week, revealing a sequined gold playing dress.

Osaka was playing all right. With sensibilities. With tradition. With her opponents, who she summarily dispatched with victories in the first and second rounds.

Naomi Osaka arrives on Court Suzanne-Lenglen to play her singles match against Laura Siegemund.

(THOMAS SAMSON/AFP via Getty Images)

And it was clear the four-time Grand Slam champion was playing with all of us when she said of her dress, “It’s very couture. You know the Eiffel Tower at night when it’s sparkly? I kind of think I look like that a little bit.”

Countless LinkedIn pages spout something about residing at the intersection of sport and fashion. Osaka locates that intersection at tennis tournaments worldwide, looks both ways and boldly steps into the street.

Last year at the U.S. Open she adorned her ponytail with red roses and attached a Labubu to her tennis bag that she named Billie Jean Bling.

At the Australian Open in January, she entered the court in a tie-dye turquoise and green palette with flowing tendrils. Her face was concealed by a veil, a wide-brim hat and a white parasol that she said was inspired by an image of a jellyfish that excited her 2-year-old daughter.

Naomi Osaka walking onto the court in a jellyfish-inspired ensemble ahead of her first-round match at the 2026 Australian Open in Melbourne.

(Quinn Rooney/Getty Images)

It’s all great fun. Yet continued fashion statements depend on her performance on the court. Osaka wins, she earns another grand entrance. She loses, nobody cares what she wears on the ride home.

At the U.S. Open, Osaka shined, reaching the women’s singles semifinals. Seeded as an also-ran at No. 23, she upset Coco Gauff and Karolina Muchova before falling in a tight three-set match to Amanda Anisimova.

Seeded No. 16 in Australia, she won two matches before withdrawing because of an abdominal injury suffered during her three-set victory against Sorana Cîrstea.

Fast forward to the French Open. Osaka advanced to the third round for the first time in seven years Thursday with a 7-6 (7/1), 6-4 win against Croatia’s Donna Vekic and will take on teenager Iva Jovic on Saturday.

What she will wear walking in is anybody’s guess. An effortless chic aesthetic courses through Paris. Advancing to the French Open round of 16 for the first time would require the opposite, Osaka toiling through another step in her return to form after giving birth to her daughter.

And creating another opportunity to have fun with fashion.

Reid Detmers had a career-high 14 strikeouts and pinch runner Donovan Walton touched home on an errant throw in the ninth to give the Angels a walk-off 2-1 win at Angel Stadium and their first three-game sweep of the season.

With one out and runners on first and second in the ninth, third baseman Oswald Peraza grounded into a fielder’s choice at second. Rangers second baseman Justin Foscue bobbled the ball and first baseman Jake Burger couldn’t cleanly field his throw, allowing Walton to advance from second to score the game-winning run.

The Angels’ dugout erupted as Walton scored.

“That was amazing,” Peraza said. “I went up there and just put the ball in play, and not trying too much. I’m happy for the sweep. And yeah, amazing.”

The win sealed the Angels’ fourth series victory and second three-game winning streak of the year.

Detmers (1-5) entered on a three-game skid and finished dominantly after yielding a second-inning home run to Burger.

The left-handed pitcher ultimately gave up one hit and one run through eight innings — his first time pitching through eight innings in 2026 and first time since his no-hitter as a rookie in 2022 — while setting a new personal best with 14 strikeouts to zero walks.

“I mean, you realize it, but you don’t really think much of it,” Detmers said when asked if he was aware of his strikeout count. “It’s more just, ‘How can I get this next guy out?’ Like I said a little bit ago, just stick with the process, don’t overthink stuff. There’s not a whole lot that goes into it, to be honest with you …”

In front of an announced crowd of 36,903 on “Little League Day” in Anaheim, the 26-year-old used 96 pitches to lower his ERA from 5.07 to 4.57 in the win.

Rangers left-handed starter MacKenzie Gore (3-4) dueled, too, giving up one hit, two walks and one run through six innings.

“Gore was really good today,” Detmers said. “His stuff was really good today. He kept us off balance and got out of a couple of big situations.”

But the Angels’ offense, finishing with four hits, found a way to make do without solely relying on the long ball.

Mike Trout started the Angels’ scoring in the third with a two-out single to score Sebastián Rivero from second and tie the score at one.

The Angels’ run support behind Detmers was far from ideal. But Angels manager Kurt Suzuki is proud of his team’s effort in what was a pitcher’s duel.

“Like we talked about, you put the ball in play, things happen,” Suzuki said. “You never know what can happen when you put the ball in play. And you know, [Peraza] showed right there with the speed and putting it in play … forcing the issue a little bit.”

After Detmers and Gore sat down, Gavin Collyer (0-1) earned the loss, and Angels right-handed reliever Sam Bachman earned his first win of the year after striking out Rangers right fielder Brandon Nimmo to get out of a two-out, bases-loaded jam in the ninth.

Glad his team won, Detmers considers Sunday’s game his second-best career performance after his no-hitter. Suzuki, who was Angels teammates with Detmers during his no-hitter from four seasons ago, also chimed in.

“Yeah, I mean, never discredit a no-hitter, right?” Suzuki said. “A no-hitter is special. But for him, I think what made [Sunday] … he was better was the strikeouts, right? It was not many balls put in play, that’s for sure … He struck out 14 guys, [and] to do it under 100 pitches, that’s even more impressive. That means you’re getting in, getting out of there really quick. So, I think … just probably the best start he’s had.”

Despite the recent uproar among fans frustrated with the Angels, whose 20-34 record is tied for worst in MLB with the Rockies, the Angels aim to stay hot.

“Well, as you know, we need more wins,” Peraza said. “[We’re] working very hard every day for that result.”

MILWAUKEE — Teoscar Hernández backpedaled up the line as he watched the flight of his deep fly ball down the left-field line.

It clanged off the left-field foul pole to give the Dodgers the lead for the first time in a game they’d win 11-3.

“It was big,” Hernández said after going three for four with six RBIs, tying a career high. “We took the lead, and that was the best thing. We put less pressure on [starter Roki] Sasaki, so he could keep pitching the way he was pitching after the first inning. So it was a great [fourth] inning.”

The Dodgers’ offense, led by Hernández, came alive after a quiet first game of the series.

His heroics in the comeback victory — which also included a record-setting performance from the bullpen — were a high point in his offensive turnaround the last two weeks.

“I just think that he’s heightened his focus,” manager Dave Roberts said. “I think that his at-bat quality has been considerably better. I don’t think he’s wasting at-bats.

“For me personally, early on, I think that there was a couple of at-bats per night that he was just giving away. And now the last eight days, something like that, I don’t see him giving away any at-bats. And the production has reflected that.”

Hernández’ first hit of the game was made all the more dramatic by the rut the Dodgers started in.

Dodgers pitcher Roki Sasaki throws during the first inning of a win over the Brewers on Saturday in Milwaukee.

(Jeffrey Phelps / Ap Photo/jeffrey Phelps)

Sasaki, coming off his best start of his MLB career against the Angels last week, ran into trouble right away against the Brewers.

Six pitches in, he’d already given up back-to-back doubles en route to the first run. To make matters worse, his own error extended the inning. He got the Brewers’ Andrew Vaughn to chase a low splitter for a swinging bunt up the third-base line. Sasaki barehanded it cleanly but threw behind Vaughn. As the ball caromed off the retaining wall in foul territory, another run scored.

A fielder’s choice and a walk later, pitching coach Mark Prior strode out of the dugout for a mound visit. The Brewers played “Message in a Bottle” over the loudspeakers.

Sasaki answered his own SOS, with some help from his defense. He struck out Jake Bauers. And then in a 2-2 count to Sal Frelick, Sasaki threw a fastball up and out of the zone. Frelick got on top of it to line a single off the end of shortstop Mookie Betts’ glove as he leaped after it.

The single drove in a third run, but center fielder Andy Pages scooped up the ball and caught Gary Sánchez trying to go from first to third on the play, ending the inning.

Then Sasaki held the Brewers scoreless for the next four innings, retiring 10 straight as he bided time for the offense to make up the deficit.

The Dodgers’ Freddie Freeman slides safely past the Brewers’ Gary Sánchez to score a run during the eighth inning Saturday in Milwaukee.

(Patrick McDermott / Getty Images)

“It seemed a little like Groundhog Day that first inning, how it started,” Roberts said. “But for Roki to find a way to get out of it with three runs, and then settle in, settle down — his stuff got better in the third, fourth and fifth innings, and I told him that. Young pitchers, to understand that even if you get hit in the mouth early, you gotta find a way to keep going, so you don’t blow up your bullpen.”

Freddie Freeman got the Dodgers’ fourth-inning rally started with a leadoff double. Then Pages drove him in by roping his own double into the left-field corner, trimming the Brewers’ lead to two runs.

When Kyle Tucker drew a one-out walk, he gave Hernández the chance to put the Dodgers ahead with one swing. He took it.

“I’m just hitting the ball in the air, hitting it hard,” Hernández said. “That’s what you want as a hitter, and I think that’s what’s been the difference between the last two weeks [versus] the weeks before.”

He entered Saturday with a 1.001 OPS since the beginning of last homestand, compared to a .667 OPS up to that point.

Going into a three-city road trip last week, Hernández said refusing to dwell on poor results, especially in big situations, had been key.

“It was more like getting confidence and getting to trust myself again,” Hernández said. “And then just go out there and trust my swing, trust the work, and just trying to select better pitches to hit.”

In addition to coming up in the big situation, Hernández also contributed to the Dodgers’ late rallies, as they batting through the order in both the eighth and ninth innings to tack on seven runs.

The Dodgers’ bullpen shut down the Brewers for four innings. The performance from Alex Vesia, Kyle Hurt, Tanner Scott and Jonathan Hernández extended the bullpen’s scoreless streak to 36 consecutive innings, eclipsing the Dodgers’ previous record of 33 innings in 1998.

“The biggest thing is that they’re attacking in the hitters, they’re pounding in the strike zone, and when they need a pitch for a double play, they executed really well,” Teoscar Hernández said. “In ‘24 they helped us a lot, ‘25 too, and this year is not going to be different. They’re built for this, and they’re ready for it.”

Injury update

Dodgers third baseman Max Muncy’s right wrist was sore Saturday, as expected after he was hit by a 95.5-mph sinker the night before.

“We’re going to kind of give him a rest day to try to get that swelling out, and then see where he’s at [Sunday],” Roberts said. “And like I said, he’ll be down for the weekend, and then we’ll kind of see where we get to on Monday.”

Depending on how he’s recovering, the Dodgers could send Muncy to get a CT scan when they’re back in Los Angeles.

Dodgers utility player Kiké Hernández (left elbow surgery recovery) is expected to join the team Monday in Los Angeles. Roberts plans to write him into the starting lineup when Rockies left-hander Kyle Freeland starts against the Dodgers.

Taylor returns

A day after word spread former Dodger Chris Taylor had opted to retire, he reportedly changed his mind and joined the Minor League Baseball injury list with a left forearm fracture.

ST. LOUIS — Tomas Totland scored four minutes into the match and fellow defender Rafael Santos added a second-half goal to help St. Louis City beat LAFC for the first time, earning a 2-1 victory on Wednesday night.

Totland used assists from Eduard Löwen and Marcel Hartel to find the net for the first time this season and the third time in 55 career appearances. It was the first assist of the campaign for Löwen and the second for Hartel.

Santos added an unassisted goal in the 64th minute. It was his first score this season and his fourth in 92 career matches. Santos entered the match in the 10th minute for an injured Jaziel Orozco.

David Martínez entered the match in the 70th minute and scored in the 73rd to cut it to 2-1. Nkosi Tafari and defender Aaron Long set up Martínez’s fourth goal this season and his 11th in 58 appearances.

Roman Bürki finished with three saves for St. Louis City (3-6-3), which entered the match 0-5-2 all time against LAFC.

Hugo Lloris did not have a save for LAFC (6-4-3). He leads the league with eight clean sheets in 11 starts.

Mathieu Choinière scored his only two goals of the season — both from long range — to lead LAFC to a 2-0 victory over St. Louis City on March 14.

St. Louis City had scored just 10 goals in its first 11 matches under coach Yoann Damet, second fewest in the league.

Up next

St. Louis: Visits D.C. United on Saturday.

LAFC: Visits Nashville SC on Sunday.

Matthew Stafford, the reigning NFL most valuable player, was in a tower at the starting line.

Ty Simpson — the 13th pick in the draft — and the rest of the Rams rookie class were at the finish.

The Rams present and presumably heir-apparent quarterback bookended Saturday’s WalkUnitedLA fundraising event at Hollywood Park.

On Monday, they will be in the same meeting room and on the field together for the first time as the Rams continue their voluntary offseason workout program in Woodland Hills.

“So excited to be here, not only in a great city like Los Angeles, but a great organization like the Rams,” Simpson said in an interview after greeting and presenting medals to runners and walkers who completed a 5K. “There’s great people and great friends in the rookie class, just excited to get started.”

Rams quarterback Ty Simpson, right, poses with a fan during a WalkUnitedLA fundraising event on Saturday.

(Gary Klein / Los Angeles Times)

Simpson was back in Los Angeles for the first time since April 24, the day after the seemingly Super Bowl-ready Rams surprised many by passing up the opportunity to select a receiver to choose an Alabama quarterback with only 15 starts. Simpson said he was not aware of the initial reaction by some fans.

“I just know they called my name on the 13th pick — and, sign me up, I was going to Los Angeles,” he said. “I don’t really get into all that. … I just have to make sure I do whatever my process is, and make sure that I do whatever the team needs me to do.”

On the night the Rams drafted Simpson, general manager Les Snead and coach Sean McVay were uncharacteristically subdued during a news conference. McVay later explained he was attempting to be respectful of Stafford’s status as the team leader, and that a personal situation also had affected his demeanor on draft night.

Asked if he had watched the news conference, Simpson said, “I didn’t really see it.”

“I know one thing though,” he said. “I know coach McVay has been in contact and he’s super fired up. And I’m super excited.

“I know that I couldn’t have asked for a better situation, not only with the best player in the league in front of me but the best coach in the league at the helm.”

After he was drafted, Simpson, 23, received a message from Stafford’s wife, Kelly, welcoming him and offering assistance to him and his family. He said he also received a text from Stafford that he did not initially see.

“It was really cool too,” Simpson said, “because they didn’t have to do that.”

Stafford, 38, was the No. 1 overall pick out of Georgia in 2009. His message to Simpson?

“It was funny because, of course, he was like, ‘Welcome, man. I’m super pumped,’” Simpson said. “He was like, ‘Loved watching you play, but you played for the wrong jersey,’ because he’s pumping up Georgia.”

Simpson chuckled.

“So when I see him on Monday, I’m going to give him heck about that,” he said. “But it’s cool. I’m super excited, especially having him and [quarterback] Stetson [Bennett] in there, Georgia guys, and me, an Alabama guy, so I’ve got to stand up for myself.”

Simpson spent the last few weeks working out in Tennessee. He requested a Rams playbook immediately after he was drafted, but said that McVay, quarterbacks coach Dave Ragone and offensive coordinator Nate Scheelhaase counseled that all of the rookies would be onboarded together.

He is eager to get started with the first phase of his pro career.

His goal for offseason workouts?

“Just get my feet underneath me,” he said. “Be the best guy I can be. It’s going to be such a different vibe, whatever you want to call it, from college.

“I just want to go in there, soak up as much as I can from Matthew and the guys and be the best player I can be.”

Travis d’Arnaud hit a three-run homer, Walbert Ureña threw six innings of two-hit ball, and the Angels defeated the Chicago White Sox 8-2 on Wednesday.

The Angels won a series for the first time since April 10-12 at Cincinnati. The Angels (15-23) are 2-7-2 in series this season.

D’Arnaud’s 396-foot shot off Noah Schultz (2-2), the backup catcher’s first homer of the season, kicked off a five-run second inning for the Halos. After Bryce Teodosio doubled on a ball that got past right fielder Jarred Kelenic, Zach Neto hit a stand-up RBI triple.

Mike Trout brought one more across with an infield popup that second baseman Chase Meidroth lost in the afternoon sun for a single.

Jorge Soler and Jo Adell were hit by back-to-back pitches from reliever Osvaldo Bido with the bases loaded to bring in two runs in the fourth.

Ureña (1-3) allowed one run, struck out five and walked three in his second quality start of the season. Brent Suter, Drew Pomeranz and Chase Silseth completed a four-hitter.

Meidroth had two hits for Chicago (17-20). Standout rookie Munetaka Murakami, who is tied for the major league lead with 14 home runs, struck out four times for the second time this season.

Schultz allowed seven hits and seven runs in 3⅔ innings. He had allowed a total of six earned runs in four previous starts this year.

Up next for the Angels: Open a three-game series at Toronto on Friday with LHP Reid Detmers (1-2, 4.28) facing Blue Jays RHP Dylan Cease (2-1, 3.05).

With the Lakers down 1-0 in the Western Conference semifinals, Luka Doncic has not yet ramped up to on-court contact drills while recovering from an injured left hamstring that had an inital eight-week timeline for his return.

Doncic, speaking to reporters for the first time since he hobbled off the court at Oklahoma City’s Paycom Center on April 2, said Wednesday he has improved enough to begin running but he has not progressed to on-court contact drills. After suffering a left hamstring injury earlier this season, Doncic said the latest Grade 2 strain to the same area is unlike any he’s experienced because of its severity.

But it has not stopped him from trying to come back as soon as possible.

“I’m just doing everything I can,” Doncic said. “Every day I’m doing stuff I’m supposed to do. Obviously recovery, now I’m working … just going day by day, and I feel better every day.”

Soon after his injury, Doncic went to Spain and received platelet-rich plasma (PRP) injections with hopes to help his recovery. He stayed for roughly two weeks because he needed to wait four days between each injection. He received four in total.

Without their leading scorer, the Lakers fought through a six-game, first-round series against the Houston Rockets, playing four of those games without Austin Reaves, who was also injured in the same game as Doncic. The fourth-seeded Lakers lost 108-90 to the defending champion Thunder in Game 1 of the conference semifinals on Tuesday.

Doncic had dutifully cheered from the bench during the playoff games, offering as much advice to his teammates as he can.

“It’s very frustrating,” Doncic said of the injury. “I don’t think people understand how frustrating it is. All I want to do is play basketball, especially at this time. It’s the best time to play basketball. It’s very frustrating seeing what my team is doing, I’m very proud of them. It’s been very tough just to see and watch them play.”

In June 2017, with President Trump newly installed in office for the first time, one of the biggest battles with the administration was about oil. He’d just named the chief executive of Exxon Mobil, Rex Tillerson, as his secretary of State, even though great reporting — in this newspaper among others — had recently shown that the company knew all about, and lied all about, climate change as far back as the 1980s.

Back east, the attorneys general of New York and Massachusetts were trying to take the oil giant on, initiating investigations of the company to try to hold it accountable. Environmental advocates and consumer groups were pressing hard for California Atty. Gen. Kamala Harris to join in, and she seemed to be considering it. Then she left the office to assume her new U.S. Senate seat, and the decision fell to her replacement, Xavier Becerra — now a leading candidate for California governor.

As I wrote in these pages at the time, it was a great test for him, and a great curiosity that he was staying silent, “since the rest of Sacramento is hard at work dealing with climate change.” I was not the only one who noticed. Seventy thousand Californians signed petitions demanding action. Eight California representatives in Congress — including Jared Huffman and Ted Lieu — sent him a letter demanding a “vigorous” inquiry and pointing out that it was particularly important because the newly elected Trump administration was clearly favoring the oil industry. “California has led the world in responding to the dangers of climate change, and we know that it will continue to do so,” they wrote. “You now have a leading role in that effort.” But ultimately Becerra did not have a leading role, or indeed any role at all: He punted, as this editorial page pointed out. What Sen. Ted Cruz (R-Texas) is now trying to do by statute — immunize the big oil companies from prosecution for climate liability — Becerra accomplished by sheer silence.

In the years since, of course, California has paid a huge price for our inaction on climate. Just looking at wildfire, there were of course the great blazes that Los Angeles County will never forget in 2025, but also the 2020 August Complex fire in Humboldt and Mendocino counties, the 2021 Dixie fire up north, the 2017 conflagration across Napa and Sonoma counties, the 2017 Thomas fire in Ventura and Santa Barbara counties, the 2018 Camp fire that devastated Paradise — the list goes sadly on and on and on.

Meanwhile, Big Oil and its friends at Big Utility have racked up huge profits, and Californians have faced ever higher bills. An unhobbled oil industry played a huge role in reelecting Trump in 2024 and in taking us to war with Iran.

And through it all, during his years as attorney general, Becerra did little or nothing to help. As I said all those years ago, it’s a mystery why, though I fear the mystery gets clearer with each campaign funding filing over his long career. As California’s top prosecutor, he took big donations from oil industry giants such as Chevron, and also from energy companies Sempra and Southern California Edison. As a member of Congress, he took larger checks from Pacific Gas and Electric and Edison International.

This time around, as he seeks the governor’s office, Chevron has maxed out its contributions to his campaign, the first time they’ve found a gubernatorial candidate to back in a decade. Meanwhile, across the country, leading progressives have signed a pledge refusing fossil fuel donations. Another gubernatorial contender, Katie Porter, is among them. Needless to say, Becerra is not.

The California chapters of Third Act — a group of Americans over 60 that I helped found — canvassed their members last month and issued an endorsement of Tom Steyer, on the grounds that he had worked hard over the years to address energy and climate issues. Instead of taking money from Big Oil, he’s given money, time and counsel to those of us volunteering in the fight against the industry. In fact, I think that whether one is most concerned about lowering utility bills with clean energy or protecting California’s forests, beaches and insurance rates from the global warming threat, he’d be the most climate-conscious elected official in America.

But Third Act was also founded to help protect our democracy. And that means disconnecting public policy from campaign donations. We need leaders who will do the right thing for us, not for their donors. Steyer has called on Becerra to return his donations from Big Oil. That would be a start, but it doesn’t really make up for the wasted decade we’ll never get back.

Bill McKibben is the founder of Third Act and the author, most recently, of “Here Comes the Sun: A Last Chance for the Climate, a Fresh Chance for Our Civilization.”

Mike Trout, Jorge Soler and Zach Neto hit home runs, Ryan Zeferjahn worked out of a bases-loaded jam in the ninth inning and the Angels held on for a 4-3 victory over the Chicago White Sox on Tuesday night.

Zeferjahn hit a batter and walked two in the ninth before retiring Edgar Quero on a groundout for his first save this season and his third in 10 career opportunities. The right-hander struck out rookie home run leader Munetaka Murakami — tied with the Yankees’ Aaron Judge at 14 — with a runner on first to get the final out in the eighth.

Trout hit his 11th homer of the season and the 415th of his career with one out in the first off Erick Fedde (0-4) after Chicago scored two runs off Sam Aldegheri in the top half.

Soler followed with his eighth homer one out later to tie it 2-2.

Neto homered for the first time since April 10, a tiebreaking two-out shot in the fifth for his sixth of the season. Trout walked for the second time before scoring from first on a double by Nolan Schanuel to make it 4-2 and chase Fedde. Trout reached base four times with a single in the eighth.

Neto ended an 0-for-23 slump with a third-inning single before getting picked off.

Chase Meidroth hit his second homer leading off the seventh against Sam Bachman to get Chicago within 4-3. Both Colson Montgomery and Miguel Vargas extended their on-base streaks to 18 games for the Sox.

José Fermin (1-1) pitched a scoreless fifth for the win. Aldegheri gave up two runs on four hits in four innings in his sixth career start.

Fedde yielded four runs on six hits in 4 2/3 innings.

The top four hitters in the Angels’ lineup drove in a run for the first time since June 18, 2021, against the Tigers.

For the third time in as many weeks, the leading candidates for California governor met on the debate stage Tuesday night.

The latest installment was a two-hour session, hosted and carried live from Monterey Park by CNN. The debate marked the first time the candidates appeared before a national audience and came as mail ballots have begun arriving in homes throughout the state.

Columnists Gustavo Arellano, Mark Z. Barabak and Anita Chabria took in all 120 minutes, absorbed every zinger — scripted and otherwise — and dutifully observed each parry and thrust. Here’s what they took away:

Arellano: Antonio Villaraigosa finally rises above his gubernatorial rivals. Is it too late?

I wrote my thoughts about this debate while writing my next columna on … something, stopping to pay attention only when issues in my bailiwick like immigration and the failure of the Democratic Party were the subject of discussion. The rest of the time, what the candidates said came off as one giant shout-fest straight out of the studios of the late, great Wally George, with everyone playing true to form.

Chad Bianco raged, Steve Hilton tried to mask his MAGA-ness with his British accent. Katie Porter scolded, Tom Steyer channeled Bernie. Xavier Becerra did his best impression of the old Bunsen character from “The Muppet Show.” Matt Mahan was just … there.

You know who sounded the best? Antonio Villaraigosa.

Anyone who really knows the former L.A. mayor has always seen him as Chicano Prince Hal, someone who doesn’t take himself as seriously as he should. His infidelities effectively killed his political career after his mayoral years; his consulting for the nutritional supplement company Herbalife made Villaraigosa a walking joke among too many Latinos I know.

He has spent the last decade effectively embodying Marlon Brando’s famous quote in “On the Waterfront”: He coulda been a contender. Even his gubernatorial run, announced way before many of his opponents, has mostly had the air of a has-been — that’s one of the reasons why Villaraigosa has polled so low through most of the race to the point he was excluded from many of the early debates.

But that hangdog Villaraigosa was nowhere to be seen tonight.

His wisecracks were kept to a minimum. He stayed mostly within his time limits and didn’t interrupt much. He hammered Hilton over his refusal to admit that President Trump lost the 2020 presidential election and his dismissal of undocumented immigrants.

Villaraigosa especially went hard on his forever frenemy Xavier Becerra on everything from his time as President Biden’s health secretary to how former staffers have been charged with stealing millions of dollars from his campaign funds. (Becerra has not been accused of any wrongdoing.)

When CNN co-moderator Elex Michaelson asked Villaraigosa if he would cancel California’s much-maligned high-speed rail project, the candidate’s emphatic “No” thundered down like a Lebron James dunk. He called out the waste on the multibillion-dollar project, said he revived L.A.’s subway to the sea, and spoke with a passionate gravitas that Becerra could only dream of doing.

“When I make a mistake, I’m accountable,” Villaraigosa said at the end of the debate. This sounded like a candidate who can win — and now he has a month to make a comeback worthy of his political mentor, the late, great Gloria Molina.

Four weeks to prove them wrong, Antonio.

Barabak: It was a no-hitter.

No startling breakthrough. No game-changing moment. No candidate so irresistibly charming he or she knocked the race akimbo and stamped themselves as the far-and-away front-runner in the slowly consolidating contest.

By now, the candidates are plowing well-furrowed ground.

To anyone who has watched each of the debates — and there may not be a great many of those viewers out there — it was all quite familiar.

What is new, and what may have been the draw for those just tuning in, is a sense the race is finally taking a coherent shape, with Xavier Becerra unexpectedly emerging as the candidate to beat.

A month ago, Eric Swalwell was a leading contender in the dozy contest and Becerra was an afterthought, being urged to quit for the sake of his dignity and the good of the Democratic Party. (Fears of a Democratic shutout in the June 2 primary have greatly receded.)

When Swalwell left the race and vacated his congressional seat amid allegations of sexual assault and other potentially illegal misconduct, it was widely assumed much of his support would move to either Steyer or Porter, the two other leading Democratic contenders.

But Becerra has been the clear-cut beneficiary and his new status was evident Tuesday night as he faced repeated attacks. He didn’t particularly dazzle, but that’s not his appeal. It’s his steadiness and seeming unflappability in a time of great upheaval and stress, and that was again evident.

With less than four weeks to election day — and voting already underway — time is waning for another dramatic shake-up like the one that took place between Swalwell’s implosion in April and Becerra’s surge in May.

It seems, however, as though little to nothing will change, with Becerra steadily gaining ground, Hilton consolidating GOP support and the remainder of the field looking for something — or someone — to drastically shake up the race one more time.

Chabria: I don’t know about a winner, but the debate definitely had a biggest loser: Bianco. The Riverside County sheriff, to his credit I guess, didn’t try for a hot second to hide who he really is — a conspiracy-loving immigration hardliner with ties to an extremist group.

Bianco sort-of said he was a member of the Oath Keepers, a far-right organization best known for some of its members participating in the Jan. 6, 2021, storming of the Capitol. He threw out election fraud theories, even suggesting state Atty. Gen. Rob Bonta could be involved. He made it clear that undocumented folks are breaking the law by existing in the state.

Maybe some MAGA voters will stick by that shtick, but I’m guessing independents and more moderate Republicans will find Hilton, the Trump-endorsed Republican, even more appealing after Bianco’s ragey ramblings. Hilton may well be sending his opponent a thank-you note and a bottle of bubbly for that performance.

As for winners, a couple of the Democrats had their moments. Porter spoke with clarity and force on issues including single-payer healthcare (she supports it) and resisting Trump’s immigration policies in this state of immigrants.

But she also directly addressed the criticism of her having a bad temper in a way that I think may haunt her.

As her male opponents bickered back and forth, taking swipes at each other, Porter said that given all the “shouting” and “disrespect” onstage, she was shocked that “anyone wants to talk about my temperament.” It’s a pushback she tried out earlier in the week with a new advertisement that sought to make a punchline out of the criticism.

I get her point and I don’t think a male candidate would face the same scrutiny for yelling at a staffer as she has, but also — what’s more unappealing to voters than an angry woman? A complaining one. That moment of resistance against the narrative may not land the way she intends with voters.

I agree with Gustavo that Villaraigosa had a good night, and that Steyer had Bernie energy — which may be good.

Steyer was the most lively and direct he’s been in a debate, landing a few punches and making points with clarity (far less wonky than he’s been in the past). He’s owning his far-left politics, and labeling himself the “change-maker.”

Steyer has been trailing Becerra in the polls, but Becerra again had a steady if less-than-thrilling appearance. For fed-up Democrats, Steyer may be looking better all the time.

“Curly” Williams returned to his old high school campus last week for the first time in 76 years, but did so under his given name — the same name emblazoned on North Hollywood High’s newest attraction: the John Williams Performing Arts Center.

Williams, 94, attended the ribbon-cutting ceremony last Wednesday, which commenced with the composer’s rousing “Raiders March” played by the school’s marching band and accompanied by its blue-clad cheerleaders.

“I think you played that better than we could have,” Williams said, speaking from a wheelchair under the sign of his namesake venue in front of other accomplished alumni and friends, including producer Kathleen Kennedy. “That’s a hard piece.”

The ambitious construction project, initiated in 2015 and designed by CO Architects occupies 35,000 square feet and seats 800. Michael Stebbins, project manager for the BroadStage in Santa Monica, served as project manager. The center is equipped with state-of-the-art amenities to host student performances and school assemblies, but also to train the next generation of theater technicians. Besides an enormous stage, blue velvet curtains, a mixing console and safe catwalks, the building also features new classrooms and rehearsal spaces.

Students, faculty and guests stand for the national anthem before a concert inside the new John Williams Performing Arts Center, named for one of North Hollywood High’s most famous alumni.

(Genaro Molina / Los Angeles Times)

A 75-foot hand-painted mural in the lobby, still in the works by artist Ian Robertson-Salt, is inspired by Williams’ formidable filmography, which serves “as a daily reminder to every student who walks these halls that greatness can begin right here,” remarked Andrés Chait, acting superintendent of Los Angeles Unified School District.

Due to health complications, Williams has made few public appearances in the last two years. He last conducted a concert in February 2024 — and he has also consistently turned down requests to name buildings after him, including at his beloved Tanglewood in Massachusetts, although the Hollywood Bowl did recently name its stage for Williams. It’s a testament to his affection for his time at North Hollywood High, and his regard for the next generation of students, that he not only blessed this dedication but showed up and spoke to a gathered crowd of hundreds.

“I’m sort of silly happy to be here,” he said, calling the dedication “a singular honor in my life.”

Other showbiz alumni on hand included “Beauty and the Beast” producer Don Hahn (class of ’73), “Independence Day” writer-producer Dean Devlin (’80), and Rob Friedman (’81), CEO of Ascendant Entertainment. Partly due to its proximity to the entertainment industry, North Hollywood High has produced a host of famous artists over the decades, including the late Michael Tilson Thomas, who attended in the early 1960s.

John Williams smiles while applauding a performance by the North Hollywood High School band at the dedication ceremony of the John Williams Performing Arts Center on campus.

(Genaro Molina / Los Angeles Times)

“At some point you have to stop calling that a coincidence,” said Kennedy, a longtime collaborator of Williams who gave brief remarks before handing him the microphone. “Something happened here, and something can happen again.”

Williams moved to North Hollywood with his family in 1947, having grown up in Queens. He transferred to North Hollywood High as a 15-year-old sophomore, and joined the band and orchestra as a jazz-loving trombonist. His classmates included Susan Sontag (“I remember her teaching a class in civics, when the teacher would sit down and listen to her,” he told me in 2023) and many future actors, including Barbara Ruick, who played Carrie Pipperidge in “Carousel.” But his best friends were all music-inclined guys whose dads, like his, were famous musicians.

A poster board featured yearbook photos of John Williams, left, performing with the North Hollywood High School Band, class of 1950, in the lobby of the new John Williams Performing Arts Center on the North Hollywood High School campus.

(Genaro Molina / Los Angeles Times)

Williams embraced the nickname “Curly,” given to him by a fellow student in response to his curly red hair, and quickly created his own jazz band with classmates. Ruick sang with them at school events and dances, and they became the house band at a new teens-only venue in Van Nuys called the Dri-Nite Club. Broadcast on local radio, they caught the attention of Time magazine, which ran a story on “Curly’s” band in October 1949.

A newspaper story about John Williams’ high school band from the Los Angeles Unified School District’s archives.

(Los Angeles Unified School District)

Williams has said he fondly remembers his civics and French classes at North Hollywood High, but his time and passion were almost exclusively devoted to music. He rigorously practiced the piano at home, studying with a local concert pianist and MGM arranger named Robert Van Eps; on Wednesday nights he played in jam sessions with his father (Johnny Sr., a drummer) and the Columbia Pictures orchestra. He bopped around clubs in L.A. listening to jazz greats like Oscar Peterson (whose style influenced Williams’ recent piano concerto), and started making a name of his own as a wunderkind performer and arranger.

Long before he scored “Star Wars” or “Harry Potter,” Williams did his earliest arranging and orchestrating for theater productions at North Hollywood High. The impact of his time at North Hollywood High cannot be overstated.

John Williams featured with members of the class of 1950 in the North Hollywood High School Yearbook.

(Los Angeles Unified School District)

During his remarks about the performing arts center on Wednesday, Williams said he felt particularly overwhelmed because the school was “formative in my thinking and my professional work … This is a great, magical place, North Hollywood.”

Williams eventually married Ruick, his high school sweetheart and mother of his three children. Ruick was instrumental in making many of Williams’ earliest career connections. She died from a brain aneurysm in 1974, at the age of 41, just one year before Williams’ career catapulted with “Jaws.” The couple’s youngest son, Joseph, lead singer of Toto, stood proudly behind Williams during the theater’s dedication.

The John Williams Performing Arts Center (JWPAC) is the crescendo of a $319.5 million modernization project at North Hollywood High, which also includes modern classrooms and athletic facilities. It’s a reflection of the diverse public school’s commitment to the arts; students here can play in the orchestra, marching band or modern band, and study drama or modern dance.

“As I think about what else I might say to all of you younger people, students here,” Williams said at his homecoming Wednesday, “two words about this beautiful building: simply use it. Make sure you all use the place.”

Tim Greiving is the author of “John Williams: A Composer’s Life.”

“All the President’s Men” was released 50 years ago this month, an anniversary that’s been greeted with equal parts rue and reverence by the journalists, political junkies and discerning cinephiles who have worshiped the film for five decades.

As a member of all three of those constituencies, I’ve done my share of genuflecting, most recently as chief film critic at the Washington Post, whose city room was as vivid and fully realized in the movie as Robert Redford’s Bob Woodward and Dustin Hoffman’s Carl Bernstein.

Like so many Posties of my generation, I’ll never forget the so-real-it’s-surreal experience of walking into the fifth-floor newsroom for the first time in 2002. By then, standard-issue electric typewriters and six-ply carbon paper had been replaced by far less visually interesting computers. But the office’s pervading atmosphere of hard work and quiet focus felt uncannily similar to its big-screen analog.

For the last two years, I have been researching a book about the making of “All the President’s Men,” whose production involved almost as many contingencies and unresolved questions as Watergate itself. Among the film’s many mysteries, one I’ve found particularly intriguing has to do with Katharine Graham, publisher of the Washington Post and CEO of its parent company during the Watergate investigations. As the movie amply demonstrates, it took guts for Woodward and Bernstein to persevere with their reporting in the face of terrified sources and their own growing paranoia. But, unbeknownst to many observers at the time, Graham was enduring even more withering pressures, with determination that was all the more impressive for being almost entirely invisible.

I’m still in the process of discovering why she remained invisible in “All the President’s Men.” For now, it’s clear that the backstory is more nuanced than mere oversight or, as many are quick to assume, simple sexism.

In fact, William Goldman’s first script of the film featured a sequence with Graham and Woodward, a scene that appeared in every subsequent draft. Based on an actual meeting between the two, it’s a cagey game of cat-and-mouse, with the publisher taking the measure of a nervous, still-inexperienced journalist, looking for reassurance that his reporting will prove out.

Earlier this year, at a January staged reading of “All the President’s Men” at Harmony Gold Theater in Hollywood — a fundraiser for the Stella Adler Academy — it was possible for fans to conjure what might have been. Mark Ruffalo played Woodward and Ethan Hawke played Bernstein in a version of the movie assembled from different Goldman drafts.

A high point of the evening was when Ruffalo and actor Susan Traylor brought the Graham-Woodward scene to tentative, tense and teasingly playful life. After grilling Woodward about his sources and coyly asking him about Deep Throat’s identity, Traylor’s Graham asked him if the truth about Watergate would ever be revealed. “It may never come out,” Ruffalo’s Woodward replied. “Don’t tell me ‘never,’” Graham laments, before bringing the meeting to a close with a gently peremptory “Do better.”

In poring over director Alan J. Pakula and Goldman’s papers, I’ve probably read that scene dozens of times. But when I heard it play out in real time, I was ambushed by the emotions it stirred — a mixture of pride in Graham’s legacy and deep sadness at how that legacy has been so inexplicably ignored in recent years.

I was also sad that Redford, who died in September, wasn’t there. He often expressed regret that Graham wasn’t a featured character in “All the President’s Men.” Keenly aware of how her spine and steadfastness made Woodward and Bernstein’s work possible, he wanted to honor that crucial support. When I interviewed him for the first time in 2005, he insisted that fearless owners were every bit as important in preserving democracy as the reporters he and Hoffman helped glamorize.

Over the next two decades, every time I saw Redford, he bemoaned the “downward slide of this thing,” by which he meant the constellation of institutions “All the President’s Men” celebrates: not just journalism and a robust First Amendment but a Washington where investigators, prosecutors, judges, the Senate and Congress did their jobs regardless of partisan loyalties, and a Hollywood where a studio as mainstream as Warner Bros. would agree to finance a tough-minded film about a contentious and still-raw period in recent history.

Granted, that film was based on a bestselling book and anchored by two huge stars. But today, with political and corporate leaders — including media companies — falling over each other to curry favor with President Trump, “All the President’s Men” feels like an artifact from a vanished age.

Nowhere is this more distressingly true than at the Post itself, where the newsroom immortalized by the movie has been slashed by more than a third, and where Jeff Bezos, who bought the paper in 2013, seems intent on erasing Katharine Graham’s legacy until it vanishes completely. During the first Trump administration, Bezos stood up to threats against the Post and the press at large that would make Nixon blush, or at least pea-green with envy.

Now, Bezos has become a one-man meme of what author Timothy Snyder calls “obedience in advance,” quashing an endorsement of Kamala Harris, ostentatiously grinning his way through Trump’s second inauguration, vastly overpaying for a promotional film about First Lady Melania Trump and staying conspicuously mum (at least publicly) when a Post reporter’s home was raided by the FBI in January.

All of this has come at an enormous moral and material cost, with thousands of readers canceling their subscriptions and an alarming number of the Post’s finest reporters and writers leaving for other publications and platforms. As my former boss Marty Baron told my former colleague Ruth Marcus in the New Yorker in February, Bezos’ turnaround has been “sickening” to witness: “a case study in near-instant, self-inflicted brand destruction.”

Of course, that brand was built, in no small part, by “All the President’s Men,” which taught a generation how to walk, talk, dress and act like real reporters. (Hint: A good corduroy jacket and a pen in your mouth can’t hurt.)

In 1976, Pakula was interviewed about his dealings with Graham, whom he admired tremendously and with whom he would become close friends. “I could do a film about the Katharine Graham story,” he enthused. “It’s a superb story.”

Thirty years later, Steven Spielberg would bring Pakula’s idea to fruition with “The Post,” about Graham’s decision to publish the Pentagon Papers, a dress rehearsal for the even higher stakes of Watergate a year later.

“The Post,” which starred Meryl Streep in a shrewdly judged performance of aristocratic assurance and creeping insecurity, premiered in Washington less than a year into Trump’s first administration. Bezos attended that screening, which many of us saw as tacit acknowledgment that he was taking her lessons in character, comportment and competence to heart.

That was clearly wishful thinking. Graham may have finally assumed her rightful place in the newspaper-movie canon, but we’re still left to ponder her absence from the most iconic journalism movie of the 20th century.

It’s no longer the shoe-leather reporters who need a big-screen tutorial in how to do their jobs. It’s their bosses. A simple place to start would be to memorize the best two-word speech to never appear in a major motion picture: Do better.

Ann Hornaday was a film critic at the Washington Post from 2002 to 2025, when she retired. “All the President’s Men” plays at TCM Classic Film Festival Saturday at 2:45 p.m.

LOUISVILLE, Ky. — No trainer has won the Kentucky Derby more times than Bob Baffert. Among other living trainers, nobody has won the Derby more than Doug O’Neill.

Combined the two Southern Californians have eight Derby victories — Baffert (six) and O’Neill (two) — one more than the total for the other 15 trainers in the field.

And yet, O’Neill’s horse for Saturday’s race, Pavlovian, is a 30-1 long shot on the morning-line odds, and Baffert’s starters are 20-1 (Potente) and 30-1 (Litmus Test). Not the odds you’d expect to see if you were just looking at the trainers.

Both know it’s nothing personal.

“It’s a sign of how, really, the sport is all about the horse,” O’Neill said at his barn. “Whether you’re Bob or me or whoever, you’re only as good as your horse. Bob and I are bringing in some horses that don’t jump off the page number-wise. But I was very impressed with Potente’s work the other day.”

Potente’s trainer also understands the odds, noting this isn’t the first time he’s brought long shots to the Derby.

“I mean, I’d rather be here with a horse like American Pharoah or Justify,” Baffert said, referring to his Triple Crown winners from 2015 and 2018. “But then I’d be like Todd [Pletcher]. He’s getting sick. I said, ‘You’re sick because you’ve got the favorite [Renegade].’ When I had Pharoah and Justify, I got so sick. I was so stressed out.”

Baffert added he was thinking at the time, “It was a layup; I better win this.”

If those horses were layups, Potente is more like a three-pointer from Stephen Curry range, while Litmus Test is along the lines of Jerry West’s 60-foot shot in the 1970 NBA Finals.

Of Baffert’s 35 previous starters, three went off at odds of 55-1 or higher (they finished sixth, 10th and 17th), and three others were priced at 20-1 or higher. Two of those finished ninth (25-1) and 15th (27-1), but War Emblem won the 2002 race at 20-1.

O’Neill’s first victory, in 2012, was unexpected; I’ll Have Another was priced at 15-1. Four years later, Nyquist triumphed as the 2-1 favorite. Both horses were owned by J. Paul Reddam, as is Pavlovian. A win Saturday would make the duo just the fourth owner-trainer team to win the Derby at least three times.

“That’s very cool,” O’Neill said, noting that Pavlovian is in the same stall Nyquist occupied a decade ago. “A lot of great memories here.

“But you know, when you’re talking a 20-horse field, I like the way Paul puts it: When you’re one out of 20, you got a 95% chance of losing, right? So when you get lucky enough to win, and you’re part of that 5%, you pinch yourself to how lucky and how amazing that experience was and hopefully could be again.”

Pavlovian is an unlikely Derby horse, and not just because he’s trying to become only the fifth Cal-bred to win the race. It’s mainly because he raced exclusively against Cal-breds in seven of his first eight races and only won one.

The last of those races, though, was the Cal Cup Derby, and a strong finish encouraged O’Neill to try the Sunland Park Derby. With Edwin Maldonado riding for the first time, the son of Pavel won, and in the Louisiana Derby he led almost the entire race before Emerging Market passed him in the final strides.

“For him to put up a great fight with a top horse like Emerging Market, it was a huge effort,” O’Neill said. “And the nice thing there, too, we had extra timing between that race and the Kentucky Derby. Knock on wood, everything’s kind of coming together as we had hoped and prayed.”

While O’Neill never could have expected to be here with his Cal-bred, Baffert will start two of the myriad expensive colts his clients buy each year. Potente, the San Felipe winner and Santa Anita Derby runner-up, cost $2.4 million, more than double any other horse in the Derby. Litmus Test, the Los Alamitos Futurity winner who has disappointed in two starts this year, was purchased for $875,000.

“They’re going to have to improve a lot,” Baffert said. “Potente, we’re still trying to figure him out a little bit, what he wants to do, how he wants to run, but he’s a big strong horse. … He’ll get the mile and a quarter.

“And [Litmus Test] was running really well, and then he sort of took a step back on me, but I did ship him a lot, so that might have knocked him out a little bit. But now he looks good. He worked well here, so we’ll see what happens.”

Second scratch

Fulleffort was scratched Thursday because of a chipped bone in his left hind ankle. Trainer Brad Cox still has his two most accomplished horses running Saturday in Florida Derby winner Commandment and Blue Grass champion Further Ado.

The scratch puts the maiden Ocelli in the field in the No. 20 post position. Great White, who moved into the field Wednesday with the scratch of Silent Tactic, will now break from the No. 19 post.

Kentucky Oaks Day

The filly equivalent of the Derby, the Kentucky Oaks, will be run under the lights at 5:40 p.m. PDT Friday. Zany (4-1) is the morning-line favorite for trainer Todd Pletcher, but two Southern California horses should be strong contenders: Michael McCarthy’s Meaning (5-1), the Santa Anita Oaks winner, and Baffert’s Explora (6-1). McCarthy also will start Brooklyn Blonde (30-1).