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That the “The Napa Boys” won’t be everyone’s cup of tea — or in this case, goblet of wine — almost feels like this meta comedy’s raison d’être. And to say its fusillade of jokes is hit-and-miss would also be a charitable take. They’re mostly miss, even if that, too, can seem like kind of the point.

Co-writers and co-stars Nick Corirossi and Armen Weitzman (Corirossi also directed) have assembled a series of scenes in search of a story, sending up pivotal moments from a hodgepodge of movies, some real (“Sideways,” “American Pie,” “The Lord of the Rings”), some invented. I’ll admit, it took a minute to understand what the filmmakers were doing (their grandiose statement in the movie’s press kit is purposely unenlightening) and, thus, for this grab bag of nonsense to sink in.

Still, once you realize what the heck it is you’re watching, you might just settle in for a more diverting — or less terrible — time than first expected. But the lower your entertainment bar, the better.

The barely-there plot finds a group of pals and wine aficionados, a.k.a. the Napa Boys, gathering in the California valley (Malibu subbed) for a screwball adventure that, among much else, will involve a coveted wine competition at something called the Great Grape Festival.

The hapless group includes its leader, the crassly horny Jack Jr. (Corirossi), sad-sack widower Miles Jr. (Weitzman), conflicted family man Kevin (Nelson Franklin), underdog vintner Mitch (Mike Mitchell) and a kinder, newer member known only — in an all-caps nod to “American Pie” — as Stifler’s Brother (Jamar Neighbors). Meanwhile, a devotee and “investigative podcaster,” Puck (Sarah Ramos), also joins the guys on their wayward journey.

The film’s goofy conceit is that this is the fourth installment of a Napa Boys movie series (based on nonexistent graphic novels), with the official on-screen title of “The Napa Boys 4: The Sommelier’s Amulet” (Dig that “Indiana Jones”-style font.) As a result, it unfolds as if the viewer is already intimate with a franchise’s culture and lore, dropping us smack into the thick of things with little, if any, context. Confused yet?

This ploy hands Corirossi (a former head creative at Funny or Die) and Weitzman a license to be as slapdash and surface as possible, which, it would seem, is also part of the picture’s wobbly in-joke. Because this alt comedy makes no bones about its characters or situations being even remotely logical or realistic, anything goes — and does. You sometimes wish it didn’t.

Case in point: After a meds mix-up, unruly Jack Jr. (he and Miles Jr. are always addressed with the suffix) unleashes his explosive diarrhea into a barrel of contest-qualifying wine, after which he “spontaneously” ejaculates into it. And then, natch, the judges must sample the concoction. It’s an awful, protracted sequence that begs the question, satire or not, is this truly the funniest bit they could hatch? (To be fair, it’s likely some viewers will, uh, eat it up.)

That aside, the film’s barrage of scenes, sketches, shout-outs and absurdist scenarios leading up to the climactic wine-making championship are largely harmless flights of farce. These involve sex, love, death, near-death, maybe incest, lots of wine tasting (why is the vino here iced-tea brown?) and a moose on the loose.

There are also rides in Jack Jr.’s showy “Wine Wagon” SUV (license plate: IH8MERLOT), beatific montages backed by swelling strings celebrating the “joys” of Napa Boys life (“To be a Napa Boy is to be free!”) and a surprise — and rather pointless — cameo by those other movie “brainiacs,” Jay (Jason Mewes) and Silent Bob (Kevin Smith). There’s also an anxious visit to Jack Jr.’s onetime hookup, the now-elderly sexpert called the Milfonator (Eve Sigall). Oh, and is that really iconic filmmaker and vintner Francis Ford Coppola as the wine competition’s “super-secret celebrity guest judge”? (Two guesses.)

All this inanity takes place over the course of a handful of days, during which no one ever seems to change clothes. Couldn’t Jack Jr. have packed at least two Hawaiian shirts?

And what of the title’s elusive sommelier (DJ Qualls of “Road Trip” fame) and his mystical green amulet? He makes an almost tacked-on, Yoda-like appearance, but it’s too little, too late.

The game if uneven cast includes Paul Rust (channeling Paul Reubens, with whom he co-wrote 2016’s “Pee-wee’s Big Holiday”) as Squirm, Mitch’s insufferably cruel wine-making rival; David Wain (who directed and co-wrote “Wet Hot American Summer,” another spoofy touchstone here) as the wine contest’s even-handed host; and playing the guys’ various love interests: Chloe Cherry, Vanessa Chester, Riki Lindhome and Beth Dover.

Reportedly shot in under 10 days, the film features such fun needle drops as the Supremes’ “You Can’t Hurry Love,” Gerry Rafferty’s “Family Tree” and, of all things to accompany a seduction scene, “The Girls of Rock ‘n’ Roll” sung by Alvin and the Chipmunks and the Chipettes. How this proudly low-budget effort managed to license those tunes is as curious as so much else in this ragtag oddity.

PHOENIX — There are expectations surrounding new Dodgers right fielder Kyle Tucker — not surprising for someone with a four-year, $240-million contract.

But first things first.

“Last year I got one hit in spring [training], so hopefully I get more than that,” Tucker said, sharing a laugh with reporters after grounding out and walking in two plate appearances in his Cactus League debut on Sunday. “So, that’s the goal. But I mean, [I’m] just feeling comfortable.”

In a clubhouse full of superstar players, the feeling seems mutual with his teammates.

“I’m glad he’s with us,” Dodgers catcher Will Smith said, adding: “Yeah, There might be other superstars on this team, but it’s not really anyone’s focus here. It’s all about getting in every day, working hard, helping us win a ballgame that day and working toward the ultimate goal of winning the World Series.”

It was a tale of two seasons for the 29-year-old Tucker in 2025.

Through the first three months of the year, Tucker had the Chicago Cubs’ offense humming, powering the club to a 53-35 start. Entering July, Tucker was batting .291 with a .395 on-base percentage, .931 OPS, 17 home runs, 52 RBIs and 20 stolen bases. Tucker found himself in the middle of the National League MVP discussion as the Cubs sat in first place in the NL Central.

But from July 1 through the end of the season, he batted just .225, posting a .690 OPS, five home runs and 21 RBI, a far cry from his first half that earned him a start in right field in the All-Star Game.

It was later revealed that Tucker sustained a hairline fracture in June, which he played through. In September, he suffered a calf strain, landing him on the injured list.

He finished the season with a .266 batting average and 22 home runs, career lows for him. That did not deter the Dodgers, and it was an easy sell for Tucker as well.

“Every organization is unique in its own sense,” Tucker said. “But this organization obviously the last couple of years has done pretty well, so I think that’s a huge part of the front office and them doing their part and trying to get a great group together. Just great people and great athletes, and then trying to just put the best product out on the field for the city of Los Angeles and the fans. I think they’ve done a pretty good job of that so far. Hopefully, we can keep winning for them.”

Despite what happened last season with Tucker, Dodgers manager Dave Roberts is confident in the newly-signed star.

“For me and the people that I talked to and how he goes about it, there’s nothing negative for me,” Roberts said last week. “I love guys that just come to work and love playing and competing. So, he just wants to win. He’s not a self-promoter; he’s not going to give [the media] a bunch of great soundbites. He wants to play to win, and I love guys like that. So, I’m excited to have him and get to know him even more.”

Tucker missed just under three weeks in the season’s final month. He would not return to the outfield in 2025, manning the designated-hitter spot for the Cubs, whose season ended at the hands of the Brewers in five games in the NL Division Series. Tucker says he felt good all offseason and is feeling even better in the early days of camp with his new team.

“It was a pretty healthy [offseason],” Tucker said. “At the beginning, I might have still been kind of nursing the calf a little bit. But it was kind of feeling pretty good right at the end. I think if we had moved onto the next series, I probably would have gone to the outfield, so I wish I could have gotten out there for that. Overall, in the offseason, I felt pretty healthy, and [feel pretty healthy] going into camp so far.”

Alex Vesia returns to the mound

Dodgers left-hander Alex Vesia made his Cactus League debut in Monday’s 3-0 win over the Seattle Mariners — the first time he’s pitched in a game of any kind since his newborn daughter died last fall.

Entering Monday’s game in the fifth inning to a loud ovation, Vesia struck out one and retired the side in order. He then received a warm greeting by his teammates in the dugout.

“Being around the guys, it’s really been comforting,” Vesia said. “These guys are my brothers, I truly love all of them. It’s meant a lot.”

Dodgers set starting pitchers for the week

Before Monday’s game, Roberts revealed starting pitchers for this week. Gavin Stone will take the mound Tuesday, Roki Sasaki will start Wednesday before Tyler Glasnow makes his first start of the Cactus League Thursday. Yoshinobu Yamamoto will start for the second time Friday, in what will likely be his final start before joining Team Japan for the World Baseball Classic.

Over the last two offseasons, the Dodgers spent a combined $141 million on relief pitchers Edwin Díaz and Tanner Scott, both of whom are expected to make their first spring training appearances later this week.

“I think Tanner and Edwin are going either Wednesday or Thursday in the Cactus League games,” Roberts said. “Those guys, we’ll start to see them this week.”

Paul Fischer showed “Jaws” to his daughter when she was 10. She wasn’t scared. In fact, she loved it so much that she dressed as Richard Dreyfuss’ Hooper for Halloween. To Fischer, who watched “Raiders of the Lost Ark” at age 4 (“I remember the melting heads but I don’t think I was traumatized”), it shows the staying power of some of the ’70s blockbusters.

“It’s the flip side of how these franchises became so massive and had such a long tail,” he said in a recent video call with The Times, discussing how each generation still finds “Star Wars,” “Raiders,” “E.T.,” “Jaws” and “The Godfather.” “They’ve created films that endured and that overshadow others.”

That is part of the impetus behind his new book, “The Last Kings of Hollywood: Coppola, Lucas, Spielberg—and the Battle for the Soul of American Cinema.” The book, Fischer’s third about film history, starts before the trio were “big mythical names” and instead were just a bunch of guys setting out to fulfill their dreams.

The narrative then follows their journeys from the late ’60s through the early ’80s, filling in the “ecosystem” the trio came up in and how they wanted to change the system to gain creative autonomy. Spielberg worked within the system, Coppola spent lavishly and even ostentatiously to build his own studio and Lucas found his independence through a quieter, more conservative and technology-driven route.

(Martin Scorsese, who was friends with the three and “the most interesting human being of that generation of filmmakers,” gets plenty of ink but was not a titular character, Fischer said, because he remained an outsider who just wanted to make movies, not change the system.)

“I’m not going to pretend I can tell you what was going on in their heads but I tried to make people feel like they were there when it happened,” Fischer said.

While none of the three men would be interviewed, Fischer had decades of quotes and conducted his own interviews with hundreds of people in the filmmakers’ orbits to get a fuller and more honest story. (He added that their representatives were uniformly helpful with fact-checking and providing photos. “There was never a door closed on me,” he said in an accidental reference to the final scene of “The Godfather.”)

Coppola, “who changed quite a bit, was the hardest one for me to pin down,” Fischer said. “There are layers of complexity to him and his willingness to treat the creative life as if it’s an experiment.” Blending that with his self-indulgent philandering and spending of money, he added, “you can change your mind about that guy every five minutes.”

During that era at least, Fischer said Lucas and Coppola seemed ”completely devoid of any self-awareness.” He chronicles how Coppola pressured Lucas to accept changes to his first feature, “THX 1138,” so the studio would release it while Lucas viewed that as Coppola pushing him to sell out. Meanwhile, Lucas was pushing Coppola to do a studio film for hire to keep his fledgling Zoetrope Studio afloat, making Coppola feel pressured to sell out. (That movie was “The Godfather,” so it worked out OK for Coppola.)

“They keep giving each other advice about how to do things and then betray that same advice when it applies themselves,” he said, although he added that he doesn’t “whip them for 300 pages for having giant egos,” and said it’s part of the recipe to be a visionary filmmaker, especially in the Hollywood studio system.

Ultimately, the book depicts Lucas as more of a sellout, acting like the studio suits he once detested as he pressures “The Empire Strikes Back” director Irvin Kershner to make changes, often based on budget and then focusing more on profitability as he conjured up characters like the Ewoks for “Return of the Jedi.” Fischer doesn’t believe Lucas would recognize that version of himself in the book. “He’s someone who lost his BS detector and has drunk his own Kool-Aid.”

In Fischer’s telling, the creative and business sides are interwoven and inseparable from each other and from the personal relationships — their friendships and rivalries with each other but also their relationships with those who worked for them or loved them.

“They were all able to do what they did because of wives or partners or friends or college classmates, who did a lot of the work without being household names,” he said. To fully tell the story, he devotes plenty of narrative space to Coppola’s wife Eleanor, and his most prominent mistress, Melissa Mathison, who later wrote “E.T.,” producer Kathleen Kennedy, who co-founded Amblin Entertainment with Spielberg, and Lucas’ wife, Marcia, who edited the first “Star Wars” trilogy (and Scorsese’s “Taxi Driver”).

“How did these guys break through? Well, they were middle-class white dudes and these women looked after some of this stuff they couldn’t,” Fischer said. “Those aren’t the only reasons these guys became who they did but without that, they probably [wouldn’t have].”

Fischer celebrates the three men’s vision and talents — he calls “The Godfather” “a perfect film” and says Spielberg “speaks the language of a camera better than anybody else”— but the book makes clear how often they got lucky or were saved from themselves.

If Coppola had spent his money more judiciously, he might not have done “The Godfather;” Lucas resisted hiring Harrison Ford to play Han Solo as well as Ford’s creative contributions; and if someone had bankrolled the first feature film Spielberg pitched before latching onto “Jaws” — “a sex comedy San Francisco Chinese laundry riff on Snow White” — it could have sunk his career.

Additionally, Lucas and Coppola’s friendship frayed when the latter snatched back the directing gig for a film he had long ago promised to his buddy. “But imagine George Lucas making some weird low-budget, ‘Battle of Algiers’ version of ‘Apocalypse Now’ in the back streets of Sacramento,” Fischer said. “That sounds pretty crappy. And we would have lost one of the great, novelistic experiential movies that we have.”

Lucas, meanwhile, dangled his idea for “Raiders of the Lost Ark” before Spielberg’s eyes, then told him that Philip Kaufman had dibs. “He’s a fine director but we would have lost something there too,” Fischer said. “There are these crossroads there but still there has got to be something special about these three or they couldn’t have had repeated successes like they did.”

Writing about their failures, foibles and frustrations did not lessen the hold that these three men and their movie magic have on Fischer. He recounts a story of his own connection to one film with undisguised delight and enthusiasm. After graduating film school at USC, he was producing a documentary (“Radioman”) in New York when he learned that “Indiana Jones and the Kingdom of the Crystal Skull” was doing some filming in Connecticut. “Obsessed,” he finagled his way onto the set and into a job. “All I did was turn off the air conditioning,” he said. “‘Roll camera,’ I flip it off. ‘Cut,’ I turn it on. I did that for four days. But when Harrison Ford walked by wearing that jacket, I was 5-years-old again. That was cool.”

Miller is a freelance writer in Brooklyn who frequently writes about movies.

Slowly, LeBron James put on a pair of ice bath toe booties and dipped his left foot and then his right foot into a bucket that had been prepared for him following a Lakers game at Crypto.com Arena. His longtime personal trainer and athletic performance coach, Mike Mancias, next wrapped both of James’ knees and his back in ice.

James closed his eyes for a few seconds and leaned back in his chair as the media gathered around him for his postgame interview.

This was just another step James has taken to care for his body, a step that shows the lengths he takes in the maintenance of his 6-foot-9 frame that has helped him have an illustrious 23-year career, longer than any player before him.

“Obviously I didn’t know it would be 23 years. I didn’t know that, but I know I didn’t want to have no six- or seven-year career. I can’t become legendary in six or seven years,” James told The Times. “I always had a mission. When I knew I could play this game at a high level, like, going to Chicago and playing with MJ [Michael Jordan] and all those guys when I was a sophomore [in high school]. And then when I went up to Cleveland and played against the Cavs when I was a junior and I was like, ‘Oh … I belong. I belong.’ I knew I still had to learn and I still had to continue to get my body right, continue to learn the game and nuances.

“But I was playing against NBA guys for a long time and I was like, ‘If I get the opportunity to crack the league, if I get the opportunity to showcase what I’m able to do, the only thing that can stop me is if I don’t take care of my body. The only thing that can stop me from being the greatest or one of the greatest to ever play this game is if I do not take care of myself.’ I did take care of my body. That’s it.”

James’ dedication to self care has become legendary in the sporting world. He is known to invest moire than $1.5 million annually for a comprehensive approach to keeping his body fine-tuned.

James considers himself a biohacker: someone who uses science and technology to make their body function better and more efficiently.

He talked about using Normatec leg compression boots, hyperbaric chambers to restore oxygen, cryotherapy, red-light therapy and other cutting-edge technologies to maintain elite performances and longevity at the age of 41.

He talked about prioritizing sleep and nutrition, avoiding artificial sugars and fried foods.

When he missed the first 14 games this season because of sciatica, James cut back on drinking wine, one of his passions, in order to get his body back to full health.

“Obviously it’s gotten even more detailed as me and Mike have built a program,” James said. “It’s been 22 years of our program.”

LeBron James jokes with trainer Mike Mancias while sitting out a game with the Cavaliers in 2010 to rest for playoffs.

(Mark Duncan / Associated Press)

It has worked for James to the highest order, as he has become the leading scorer in NBA history with 42,975 points.

Though his streak of being voted as a starter to the All-Star team was snapped at 21 years in a row, James still extended his NBA record to 22 selections when the coaches voted him in as a reserve for the tournament that will be played Sunday at Intuit Dome.

Over his career, James said, he’s received plenty of offers to try new ways to do his physical therapy. For the most part, he has said no.

“It’s all type of … that is presented to you,” James said, smiling. “[People] are always trying to get you to do s—. But once we got the connection, it wasn’t really many people that we allowed to come and be in what we do. We had a couple of guys obviously throughout the process that helped along the way. But, nah, we knew what we wanted to do.”

When James was growing up in Akron, Ohio, and it became obvious he was athletic, he said his uncle, Curt, encouraged him to start taking care of his body immediately. His mother, Gloria, advised him to listen.

“I used to stretch before I went to bed and when I woke up, when I was like 10 or 11 years old,” James said. “My uncle Curt, my mom’s younger brother, used to make me do 100 calf raises a day and he used to make me do 50 pushups and 50 situps a day.”

James shook his head and laughed recalling those moments.

LeBron James glides past Kings forward DeMar DeRozan for a reverse dunk during a game in December.

(Eric Thayer / Los Angeles Times)

“He told me I had to get my calves stronger if I wanted to be great,” James said, smiling. “I never knew what that meant, whatever. But yeah, my uncle used to tell me to do that, and then a good friend of mine used to always tell me to stretch before I got in the bed and after I got out of the bed when I woke up the next morning. I don’t know, man. I’ve been doing this for a long time.”

At no time during all this did James know what that advice would mean for his future.

“No, but I had people that I trusted,” James said. “I was icing after every game my rookie year. I was 18 years old. I was icing after games when I was a high school senior, a high school junior. Like, I was lifting [weights] my senior year.”

James told a story about playing in an AAU tournament with Kendrick Perkins when he was 14 and how some players were sitting in the stands eating fast food.

“They were eating McDonald’s,” James said, smiling, “and I was eating fruits.”

Jason Kidd, the Hall of Fame point guard who’s now coach of the Dallas Mavericks, was an assistant with the Lakers when James led them to the 2020 championship, and the two were teammates on the 2008 USA Olympic team that won the gold medal in Beijing.

Kidd has watched how James is averaging 22 points on 50.2% shooting, 7.1 assists and 5.8 rebounds this season and can’t help but marvel at how he continues to be a highly effective player with so many miles on his body.

“He’s had some injuries, but he’s taken care of his body, he’s always prepared himself for the marathon,” Kidd said. “But I think it’s the mental side. I think that’s the hardest part is to wake up and say, ‘Do I need to go play against a 20-year-old or a 19-year-old?’ He’s won championships, he’s been MVP, he’s been the face of the league. He’s a billion-dollar company.

“So, it’s the mental side. Understanding that he loves competition and he loves the game of basketball. So I think for him to do it at 41 is incredible.”

When the Lakers faced Kidd’s Mavericks on Thursday night, James was back in the lab early getting his body ready about six hours before tipoff.

LeBron James talks with assistant coach Jason Kidd during a 2020 playoff game.

(Associated Press)

It didn’t matter that it was the last game before the weeklong All-Star break. In James’ eyes, if you take care of your body, it will take care of you.

“I woke up this morning, went straight downstairs, got a stretch, did a little activation, like a little small lil’ lift” of weights, James said after the game. “Then I iced after that. Then I used the Normatec to pump my legs for an hour. Then I took a nap in the hyperbaric chamber for an hour and a half. Then I got in the cold tub, again, before I came here. So, I started my process here when I got here at 1:15 and prepared for a 7 o’clock game. It’s just around the clock.”

And as it turned out, all his work led to yet another record for James.

His triple-double of 28 points, 12 assists and 10 rebounds made him the oldest player to accomplish the feat, pushing him past Karl Malone, who was 40 when he did it in November 2003.

And now comes another record with the All-Star Game.

Lakers star LeBron James eased his way to the interview podium Sunday with a giant water jug in his hand and a do-rag covering his hair, the last of the NBA All-Stars to speak with the media.

James was selected as a reserve, breaking his NBA record of 21 consecutive starts but extending his record for most appearances to 22.

At 41 and playing in his record 23rd season, James was asked about his future, because his eventual retirement always seems to be a source of curiosity.

So, James was asked before he played in the “U.S. vs. “World” All-Star Game tournament at Intuit Dome whether he had any inkling about what he wants to do next season.

“I want to live,” James said. “When I know, you guys will know. I don’t know. I have no idea. I just want to live. That’s all.”

James played on Team Stripes, joining fellow veterans Kevin Durant and Stephen Curry, who didn’t play because of a right knee injury.

They are long-time combatants, friends and U.S. Olympic teammates. And they are All-Stars again, all older than 37 and still playing at a high level.

“It’s always an honor to see those guys,” James said. “We have had such an unbelievable journey throughout our individual careers and then intersecting at certain points in our careers, matchups in the regular season, Finals appearances, postseason appearances, then Olympics two summers ago. When it comes to me, Steph and KD, we’ll be interlocked for the rest of our careers, for sure. It’s been great to be able to have some moments with those guys, versus those guys, teaming up with those guys.”

The All-Star format has changed from East versus West to U.S. versus the World.

Team Stars forward Scottie Barnes, left, celebrates with Cade Cunningham after hitting a three to beat Team World in the first matchup of the All-Star Game tournament Sunday at Intuit Dome.

(Jae C. Hong / Associated Press)

There were three teams — Team Stars, Team Stripes and Team World, and they played 12-minute games in a round-robin tournament.

Game 1 was Team World vs. Team Stars, a game that went into overtime after Anthony Edwards tied the score 32-32 at the end of the first 12 minutes.

Team Stars, the first team to score five points in overtime, won 37-35 on a Scottie Barnes three-pointer,.

Victor Wembanyama led Team World with 14 points, six rebounds and three blocks.

Anthony Edwards had 13 points for Team Stars, which will play Team Stripes next.

James and Clippers star Kawhi Leonard are on the USA Stripes and Lakers superstar Luka Doncic, the leading all-star vote getter, is on Team World because he is from Slovenia.

James was asked whether he could have ever imagined a USA versus the World all-star format.

“No,” James said, laughing. “No. I mean, East-West is definitely, it’s a tradition. It’s been really good. Obviously, I like the East and West format. But they are trying something. But we’ll see what happens. I mean, it’s the US versus the World. The World is gigantic over the U.S. So, I’m just trying to figure out how that makes sense. But, I don’t want to dive too much into that. Yeah, East-West is great. We’ll see what happens with this.”

Just before the tipoff of the first game, former President Barack Obama and former First Lady Michelle Obama were introduced to a standing ovation.

CHARLOTTE, N.C. — A fight between the Detroit Pistons and Charlotte Hornets in the third quarter of Monday night’s game, resulted in four player ejections.

Charlotte’s Moussa Diabate and Miles Bridges were tossed, along with Detroit’s Jalen Duren and Isaiah Stewart. Hornets coach Charles Lee was ejected in the fourth quarter after he had to be restrained from going after an official while arguing a call.

The Pistons won the game 110-104.

Duren had the ball and was driving toward the basket with just over seven minutes left in the third period when he was fouled by Diabate. Duren turned around to get face-to-face with Diabate and the two appeared to butt heads. Duren then hit Diabate in the face with his open right hand, starting a confrontation that lasted more than 30 seconds and ultimately ended with a brief police presence on the floor.

While Pistons forward Tobias Harris was holding Diabate back, Diabate threw a punch at Duren. Duren walked away and Bridges charged at him, throwing a left-handed punch. Duren retaliated with a punch. Diabate attempted to charge again at Duren and had to be held back.

Stewart left the bench to confront Bridges, who responded with a punch, and the players tussled. At one point, Stewart got Bridges in a headlock and delivered mutiple left-handed blows to his head.

Duren called it an “overly competitive game.”

“Emotions were flaring,” Duren said. “At the end of the day, we would love to keep it basketball, but things happen. Everybody was just playing hard.”

Duren said that opposing NBA teams have been trying to “get in our head” all season.

“This isn’t the first time that people have tried to be like extra aggressive with us and talk to us, whatever the case may be,” Duren said. “But as a group we have done an OK job of handling that energy and intensity. At the end of the day, emotions got high with everybody being competitive. Things happen.”

Duren did not say how the fight started, referring reporters instead to the video replays.

The Hornets did not make Bridges and Diabate available for interviews after the game.

However, Bridges took to Instagram late Monday night to say: “Sorry Hornets nation! Sorry Hornets Organization! Always gonna protect my teammates forever.”

“It looked like two guys got into a heated conversation and it just kind of spiraled from there,” Lee said.

Crew chief John Goble said in a pool report after the game that the players were ejected because they “engaged in fighting activity during the dead ball. After review, we assessed fighting fouls and by rule they were ejected from the game.”

Pistons coach J.B. Bickerstaff defended his players after the game.

“Our guys deal with a lot, but they’re not the ones that initiated, they’re not the ones who crossed the line tonight,” Bickerstaff said. “It was clear, through frustration, because of what J.D. (Duren) was doing, that they crossed the line. I hate that it got as ugly as it got.

“That’s not something that you ever want to see,” Bickerstaff added, “but if a guy throws a punch at you, you have a responsibility to protect yourself. That’s what happened tonight. If you go back and watch the film, they’re the ones who initiated crossing the line and our guy had to defend himself.”

Tensions continued to mount at the Spectrum Center after the fight.

Midway through the fourth quarter, Lee was ejected and had to be restrained by Hornets guard Brandon Miller while yelling at officials for a no-call after Charlotte’s Grant Williams collided with Detroit’s Paul Reed.

“Grant was walking down the paint and barely touched somebody and the guy fell over and that is what we are going to call a foul,” Lee said. “They have a hard job to make these calls, but I don’t think that was the consistency with which that had been called the rest of the game.”

As for being ejected, Lee said he has to have more control of emotions moving forward.

Reed writes for the Associated Press.

Were you ready for some non-football consumerism? Ready or not, the Super Bowl’s annual blitz of commercials landed before and during the Seattle Seahawks and New England Patriots defense-first matchup, with some ads served up in advance while others were unveiled for the first time during the game. As in previous years, there were serious clunkers (looking at you Bud Light rolling keg ad), but also a few that transcended their buy-more mission (may you live forever, Melissa McCarthy). Other trends we noticed: celebrities double dipping to appear in more than one Super Bowl commercial (three if you’re Sofía Vergara), lots of borderline-gross humor (exploding heads, singing clumps of shaved body hair, singing toilets and plenty of ads trying to convince America that artificial intelligence tools aren’t a waste of time and energy).

While many of this year’s ads promoted AI and the usual rah-rah-America nods to patriotism, one trend we noticed was that the longer versions for some of the best Super Bowl ads, found online, were even better than the condensed cuts that made it to broadcast. What if next year, we make the Super Bowl three quarters and the commercial breaks 15 minutes long? Any takers?

While we wait for that brilliant idea to make it to the NFL’s offices, here are the big game ads we loved the most and a few that fumbled the ball — big time.