Was Edgardo Henriquez the best option to pitch to Vladimir Guerrero Jr. in the seventh inning with two outs and runners on the corners?
Maybe, maybe not.
And that was the problem.
The problem was that Dodgers manager Dave Roberts didn’t have a choice that was clearly better than to place the game in the hands of a hard-throwing but unreliable 23-year-old rookie.
Henriquez walked Guerrero on a 99.9-mph fastball that sailed into the opposite batter’s box, evading the grasp of catcher Will Smith and allowing Addison Barger to score.
A manageable two-run deficit was now three and about to become four.
The Dodgers were on their way to a 6-1 loss to the Toronto Blue Jays on Wednesday night, the Game 5 result placing them at a three-games-to-two deficit in this World Series.
For Roberts, that seventh inning didn’t represent a manager’s nightmare. That was a manager’s night terror.
What else could Roberts do?
Stick with starting pitcher Blake Snell? Snell had already pitched to Guerrero three times and his pitch count was at 116.
Use closer Roki Sasaki as a fireman? He’s their only dependable reliever and Roberts wasn’t about to use him in a non-elimination game in which his team was down.
Turn to last year’s postseason hero Blake …? Never mind, that question isn’t even worth being asked in its entirety.
“It’s hard because you can only push a starter so much,” Roberts said. “I thought Blake emptied the tank.”
The Dodgers somehow concealed their piñata of a bullpen in the three previous rounds of the postseason, but that bullpen is now catching up with them.
Reversing their series deficit will almost certainly require some of their starters to pitch in unfamiliar roles over the next two games, including Shohei Ohtani as an opener on three days’ rest in a potential Game 7.
Snell figures to be a candidate to also pitch in Game 7, perhaps as a middle reliever. Tyler Glasnow is expected to be available out of the bullpen in at least one of the two remaining games.
Besides Sasaki, the relievers can’t be trusted.
In each of the team’s three losses in this series, the games turned when the starting pitcher was removed with men on base. In all three instances, the bullpen made a mess of the game, allowing the inherited runners to score.
“You look at the three games that we lost, it spiraled on us with guys on base,” Roberts said. “Guys got to be better.”
They can’t.
This reality makes the bullpen’s heroic performance in the 18-inning victory in Game 3 all the more miraculous. The Dodgers are fortunate this series isn’t already over.
The construction of this particular bullpen has to be one of the greatest front-office blunders in franchise history, as it could cost the team a World Series in a season in which it has Ohtani, Freddie Freeman and a billion-dollar rotation.
How did this happen?
Start with Tanner Scott and Kirby Yates. The Dodgers committed a combined $85 million to the two relievers and neither of them is even on the roster.
Look at the injured list. Brusdar Graterol missed the entire season with shoulder problems. Evan Phillips underwent Tommy John surgery.
Finally, examine what the Dodgers didn’t do at the trade deadline. Everyone — and by everyone, I mean everyone except Andrew Friedman’s front office — knew they were in desperate need of bullpen help. Counting on some internal solutions working out, the only reliever they acquired was Brock Stewart. The notoriously brittle Stewart went down with a shoulder injury and didn’t pitch in the postseason.
What the Dodgers did was the baseball equivalent of building a breathtaking mansion but forgetting to install any toilets.
Now, the entire residence stinks, the Dodgers one loss away from losing a World Series that should be theirs.
ATLANTA — In a week where so much of the focus was on players who weren’t playing in the All-Star Game, and those who were selected that weren’t seen as deserving, it was the player who had been in more Midsummer Classics than anyone else who delivered the most profound reminder.
Before the start of Major League Baseball’s 95th All-Star Game at Truist Park in Atlanta, National League manager Dave Roberts called upon longtime Dodgers pitcher Clayton Kershaw to speak in the clubhouse.
And in an impromptu pregame speech as the team’s elder statesman, Kershaw imparted the most important lesson he’s learned from his 11 All-Star Games.
“The All-Star Game, it can be hard at times for the players,” Kershaw recounted when asked about his message to the team. “It’s a lot of travel, it’s a lot of stress, chaos, family, all this stuff.”
“But,” the 37-year-old future Hall of Famer added, “it’s meaningful, it’s impactful for the game, it’s important for the game. We have the best All-Star Game of any sport. We do have the best product. So to be here, to realize your responsibility to the sport is important … And I just said I was super honored to be part of it.”
Kershaw, admittedly, was picked for this year’s game for more sentimental reasons than anything.
After making only 10 starts in the first half of the year following offseason foot and knee surgeries, the future Hall of Famer was shoehorned in as a “Legend Pick” by commissioner Rob Manfred, getting the nod a week after becoming the 20th pitcher in MLB with 3,000 strikeouts.
The honor made Kershaw feel awkward, with the three-time Cy Young Award winner repeatedly joking that he hadn’t really deserved to return to the All-Star Game for the first time since 2023, despite his 4-1 record and 3.38 ERA so far this season.
At first, he acknowledged, he even had a little hesitancy about participating in this week’s festivities in Atlanta.
“My initial response was just, you don’t ever want to take somebody’s spot,” he said. “You don’t ever want to be a side show.”
A side show, however, Kershaw was not.
Instead, as the man with the most All-Star selections of anyone in this year’s game (and the fourth-most by a pitcher), Kershaw was at the center of one of the most memorable moments from the National League’s win on a tiebreaking home run derby after a 6-6 tie.
Upon entering the game at the start of the second inning, he retired the first two batters he faced; the latter, a strikeout looking of Toronto Blue Jays slugger Vladimir Guerrero Jr. He then turned to the dugout to see Roberts coming to get him, ending what could very well be his final appearance in the Midsummer Classic (even though, he has made a point of noting, he has not made any decision on retirement after the season).
And as he exited the mound, he was serenaded with one of the night’s loudest ovations, waving a hand in appreciation before blowing a kiss to his family in the stands.
“I didn’t anticipate to be here. I definitely didn’t anticipate to pitch,” Kershaw said. “So it was awesome. So thankful for it now.”
Many others in Atlanta felt the same way about sharing the week with Kershaw.
Shohei Ohtani watches his base hit during the first inning.
(Brynn Anderson / Associated Press)
NL starter Paul Skenes of the Pittsburgh Pirates had the locker next to Kershaw in the Truist Park clubhouse, and joked his only hope was that veteran left-hander wouldn’t get sick of him by the end of the event.
“He’s such a class act, it’s just so impressive,” Skenes said. “We were in the waiting room before the red carpet today, and he had all his kids, and watching him as dad too, it was a cool experience.”
San Francisco Giants ace Logan Webb recalled his memories of watching Kershaw while growing up in Northern California.
“I just respect him so much, watching him pitch,” Webb said. “You could’ve asked me five years ago, and you could’ve said Clayton Kershaw was a legend already. He is a legend. I’m just happy I’m able to share a clubhouse with him.”
Kershaw’s lighter side was on display Tuesday, as well, with the pitcher mic’d up with the Fox broadcast team for his brief outing.
“I’m gonna try to throw some cheese real quick, hold on,” he joked while unleashing an 89-mph fastball to Mariners catcher Cal Raleigh, which turned into a lineout in left thanks to a diving effort from Kyle Tucker of the Chicago Cubs.
“Hey!” Kershaw exclaimed. “That was sick.”
On his first pitch to Guerrero, Kershaw threw another fastball that the Blue Jays’ star took for a strike.
“Right down the middle,” Kershaw said. “I’m so glad he didn’t swing.”
When Guerrero got to a 1-and-1 count after a curveball in the dirt, Kershaw contemplated his next pitch.
“I think I probably gotta go slider,” he said. “Let’s see what Will thinks.”
Behind the plate, teammate Will Smith instead called for a curveball.
“Nope, he wants curveball again,” Kershaw laughed. “All right, fine.”
Guerrero swung through it — “Oh, got him,” he said — before freezing on a slider two pitches later for a called third strike.
“I’m getting blown up by former teammates saying, ‘Wow, you’ve changed so much,’ and they’re right,” Kershaw joked afterward, acknowledging his once-fiery demeanor never would have allowed him to embrace an in-game interview like that. “I don’t think I would’ve ever done that [in the past]. But it was actually kind of fun.”
Really, that was the theme of Kershaw’s whole week.
Reluctantly accepting his stature as one of the game’s most decorated players. Accepting an invitation designed to honor his career accomplishments. And providing a reminder of the All-Star Game’s meaning, in what will perhaps be his last time on such a stage.
“It’s a very awesome, special thing to get to come to All-Star Games,” he said. “I remember the first one, how special that was. And I don’t think a lot has changed for me over the years to get to come to these things. So I don’t take that for granted. I think it’s really awesome. I mean, I shouldn’t be here anyway, so it’s very possible this could be my last one. So it was just a very awesome night, special.”
Unlike generations of Mexican children before and after him, actor Pablo Cruz Guerrero didn’t grow up watching the hugely popular sitcoms created by Roberto Gómez Bolaños, the late writer, producer and performer better known as “Chespirito” or “Little Shakespeare.”
It’s a wonder, considering that at peak, Gómez Bolaños’ family-friendly programs were watched by over 300 million people worldwide, and they remain pop culture pillars across Latin America — even in Portuguese-speaking Brazil — 50 years after they first aired.
The programs’ influence also extends to the U.S. among diasporic communities, enduring through reruns that periodically introduce his characters to new viewers. The catchphrases Gómez Bolaños penned have also become ingrained in the vernacular of many countries.
His most popular creation, “El Chavo del Ocho,” centers on an orphan boy (which he played) living in a courtyard apartment complex filled with peculiar neighbors. Then there’s “El Chapulín Colorado,” a satirical take on tights-wearing superheroes, where Gómez Bolaños plays an inept though goodhearted paladin (chapulín means grasshopper in Mexico).
That Cruz Guerrero, 41, wasn’t familiar with these landmark shows or characters is all the more shocking because he’s now embodied Gómez Bolaños in the new bioseries “Chespirito: Not Really on Purpose” (“Chespirito: Sin querer queriendo”), streaming on Max starting Thursday with new episodes weekly.
Pablo Cruz Guerrero stars as Mexican comedic writer, producer and performer Roberto Gómez Bolaños in Max’s “Chespirito: Not Really on Purpose.”
(Max)
The actor’s lack of nostalgic attachment for the universe of physical comedy, wordplay and social commentary that Chespirito created gave him a leg up when auditioning, he believes.
“I want to convince myself that this was the one thing that allowed me to gain objectivity about the story,” he says in Spanish during a recent video call from Mexico City. “Had I been a fan, I would have been ridden with nerves when approaching the character.”
It was casting director Isabel Cortázar who first saw Cruz Guerrero’s potential, and in mid-2023, asked him to audition for the part. “Before receiving her call, I would have never seen myself as Chespirito,” he says. “No one had ever told me before that I looked like him.”
Cruz Guerrero has been consistently acting for over 20 years in films (“El Estudiante,” “From Prada to Nada”) and TV. More recently, he played a memorable antagonist in the second and third seasons of Netflix’s “Luis Miguel: The Series,” another bioseries about the famed Mexican singer played by Diego Boneta.
As to why he didn’t watch Chespirito’s work during his childhood, Cruz Guerrero hypothesizes that because his parents lived in Los Angeles for three years before he and his siblings were born, they were more interested in culture produced outside of Mexico. Instead, they took them to the cinema, to outdoor concerts and museum exhibits.
Ironically, Cruz Guerrero has appeared on several Televisa productions over the years, the same storied network that produced Chespirito’s work.
“In middle school, I had a social and comedic disadvantage because many of my friends knew all of Chespirito’s jokes and imitated the characters’ voices, and I couldn’t follow along,” Cruz Guerrero says.
When offered a chance to vie for the role, he consumed as much Chespirito content as he could find online, whether it was of Gómez Bolaños playing his characters or interviews he gave.
“In middle school, I had a social and comedic disadvantage because many of my friends knew all of Chespirito’s jokes and imitated the characters’ voices, and I couldn’t follow along,” Pablo Cruz Guerrero says.
(Carlos Alvarez-Montero / For The Times)
The arduous audition process required Cruz Guerrero to appear every Tuesday for about seven weeks for a variety of tests. Beyond doing scenes from the episodes of “Chespirito,” each meeting would add more elements that got him closer to Gómez Bolaños: He tried on the costumes, interacted with the actors who would play his children, he shaved his beard and tried on the prosthetic nose, contact lenses and receding hairline required for the role.
And even then, as the weeks dragged on, Cruz Guerrero wasn’t certain he’d be picked, especially after sharing with the family of Gómez Bolaños, who are involved in the production, his neophyte status on everything Chespirito.
“I could read on their faces they were thinking, ‘Are we making the right decision with someone who doesn’t genuinely love our father’s legacy already?’” the actor recalls.
Ultimately, Cruz Guerrero won them over because he was able to closely replicate the mannerisms and voice of the real Chespirito. Gómez Bolaños’ physicality called to mind silent film era icons such as Charlie Chaplin and Buster Keaton.
“I felt like if I tried to play around with my feet and knees when I walked, not only did I lose a little bit of height to get closer to Roberto’s height, but it also put me in a position to feel a little more playful with my body,” says Cruz Guerrero while wiggling his arms.
Roberto Gómez Fernandez, Chespirito’s son, admits he initially had doubts about Cruz Guerrero. The show had been in the works for about four years at that point, two of which had been spent searching for the right actors to recreate Gómez Bolaños’ world.
Slowly, as Cruz Guerrero refined his performance and the makeup got him closer to Chespirito’s image, Gómez Fernandez became convinced they had found their man.
“I saw my father in him,” says Gómez Fernandez on a recent Zoom chat, “during complex situations in a scene and in a little wink or a glance that Pablo did.”
The family’s approval fueled him. “They would say to me, ‘I just heard my dad through you. I just had a conversation with my dad. I just shook his hand and gave him a hug,” says Cruz Guerrero, who recalls being deeply moved. “That empowered me to feel more in his skin and not feel self-doubt because of my previous distance.”
Once he officially landed the role, Cruz Guerrero immersed himself in Gómez Bolaños’ personal and professional life via his autobiography, “Sin querer queriendo,” which lends the series its title. It functioned as a link between the actor and the creator, who died in 2014.
“I was trying to establish a metaphysical dialogue through the words he had written and edited himself in the book,” Cruz Guerrero says. “I asked him questions, and I feel like we had very beautiful conversations thanks to the book.”
Many of the pointed questions that Cruz Guerrero sought answers to in the text revolved around fatherhood, namely the elusive notion of work-life balance.
“In our careers, there are moments of beautiful enlightenment where you’re creating and having a great time,” he says. “However, you’re also aware that you’re fulfilling a contract, and chasing financial compensation. This means that you’re investing time and energy and you often prioritize the professional instead of being at home and you miss your family.”
That struggle became rather personal for the actor during this process.
“I found out I was going to be a father for the first time the same week I found out I was going to play Roberto,” recalls Cruz Guerrero. “I wanted to absorb knowledge from him about his experience as a father and the experiences I was about to embark on playing him.”
While the series features moments where Cruz Guerrero dons the emblematic attire of Chavo del Ocho and Chapulín Colorado, the focus is on the real man behind them.
Andrea Noli, left, Miguel Islas, Paola Montes de Oca and Pablo Cruz Guerrero in a scene from “Chespirito.” The series is less about the characters Roberto Gómez Bolaños was famous for and more about the real man behind them.
(Max)
The book also served as the foundation for Gómez Fernandez and his sister Paulina to write the episodes’ screenplays. The two are also producers and were involved in every decision about the project.
For Roberto Gómez Fernandez, the challenge was for the series not to become a solemn, saintly tribute to the larger-than-life figure their father was.
“I had to remember that I wasn’t thinking about my dad, but about the character of Roberto Gómez Bolaños,” he says. “They weren’t real-life people because you have to transform them into characters, and sometimes you have to pull some strings to make the dramatic dynamics more effective.”
And yet, despite having fictionalized aspects, Gómez Fernandez believes that the series offers truthfulness about his father’s essence as a person.
“I think we achieved it, but along the way, we had to undress the character’s successes and failures, many of which had consequences in his life,” Gómez Fernandez says. “Some things turned out alright for him, but others went wrong, and he also hurt people.”
It’s not lost on Cruz Guerrero that someone like him, who didn’t previously revere Chespirito’s genius, wound up taking on the task of bringing his story to the screen.
“In moments of fear, insecurity and doubt, I would ask myself, ‘Oh, man, how did I end up here?’ And then it was all resolved with laughter because in front of me I would read the title of the show, ‘Not Really on Purpose,’” he says with a knowing smile.
After more than two decades mostly appearing in supporting roles, Cruz Guerrero is basking in what’s undoubtedly the most important credit of his career so far.
“I’m especially grateful to the family, who chose me to play this beloved character, who is obviously part of their personal story,” Cruz Guerrero says. “I live this moment with great gratitude, so thank you to Roberto Gómez Bolaños.”
