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Corona High baseball coaches have been joking about seeking an NIL deal for sophomore pitcher Chris Woodson regarding his hair that moves in many directions while blowing in the wind as he tries to keep his hat on.

Think former NFL star Troy Polamalu, who has been featured in Head & Shoulders shampoo commercials showing off his hair.

When Woodson and Corona Santiago’s Striker Pence were facing each other on Wednesday, it was the battle for hair supremacy. Pence still has blond hair sticking out from the back of his hat after he recently got his hair cut.

“Me and his dad are both bald and both had hair when we were young,” Corona coach Andy Wise said of Woodson. “We’re both not letting him cut it. It’s flowing. He has a 4.0 GPA and is an awesome kid that everyone loves.”

During his days coaching at Granada Hills, starting in the 1970s, Darryl Stroh used to require players to cut their hair to a certain length. Think Army.

As long as Woodson isn’t distracted, Wise is fine with it.

“Be yourself kid,” he tells him.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.

I am blindfolded and seated in a vintage armchair set in the center of a darkened, red-lit room with Gothic accents. An actor is performing nearby. I hear their voice, but cannot, of course, see them. I suddenly spring upward in my seat, alarmed at the touch of some sort of cloth — or perhaps a feather? — across my ankles.

I’ll never be entirely sure. For wearing the small veil across my eyes was a requirement to participate in “Poe: Pulse & Pendulum,” the debut offering from new troupe Theatre Obscura L.A. The company’s initial performance contains two one-act plays, modern interpretations of Edgar Allan Poe’s “The Pit and the Pendulum” and “The Tell-Tale Heart.”

While the stories are familiar to many, Theatre Obscura increases the levels of discomfort. In this room, I am at times unsettled, at once tracking the movements of the actors while attempting to remain hyper aware of any sudden touch or scent. “The Pit and the Pendulum,” the first half of the program, translates especially well to this setting, its dark sense of demented confinement keeping my nerves on high alert.

Conjuring such a state of anxiety was the point.

“If you take the visual away, it’s going to make you feel uneasy,” says Paul Millet, who devised the concept.

There are jump scares. Downtown event space the Count’s Den has been outfitted with about 50 speakers for the Obscura shows, which run through April 12. Some are visible before one puts on the blindfold. Many, though, are hidden under seats or couches, as the audio will trail the actors around the room, or perhaps a sudden crash or door opening will have me jolting my attention elsewhere.

“The Pit and the Pendulum” is a story of torture, and as the narrator, here played by Melissa Lugo, desperately speaks of a blade swinging above, actors will fan us, timing their waves with each swoosh of the audio. I was prepared for that one, as a fellow theatergoer nearby let out a soft yelp when the unseen gestures first arrived above their head.

For many, sight is the most coveted sense. “If you take that away, you’re already naturally uncomfortable,” Millet says. “So we lean into that. We know you’re going to be uncomfortable. We know this is not the norm. But get on that ride with us. Be willing to be uncomfortable. Discomfort, I think, helps to heighten the experience, and ideally allow it to trigger the emotional reactions that the story does.”

“Poe: Pulse & Pendulum” is two one-act, audio-focused performances of Edgar Allan Poe stories.

(Joe Camareno / Theatre Obscura)

Still, touch is limited in the show. Occasionally a rattling of a chair, but little more. The fluttering I felt near my ankles was to mimic the sensation of a running critter. The troupe will ask for audience consent, and participants can opt out. While I went in wondering if “Poe: Pulse & Pendulum” would seek to recall more extreme haunt experiences with lengthy waivers, Millet wanted to keep it light — an audio play, primarily, with just a few in-the-flesh signals.

“We want people to feel unease, but I don’t want anyone taken out of the story because a boundary or line was crossed,” Millet says.

Scent, too, is used with restraint. There are moments when guests will get a whiff of a fragrance that pairs with the storyline. Millet considers the first run of Theatre Obscure to be an experiment in how much touch and scent audiences may want to endure. Smell, he says, is tricky, as the aroma may linger and become a distraction.

Millet has been honing the concept since 2023. Previously, he was part of the team behind Wicked Lit, which ended in 2019 after running for a number of years at unique locations such as Altadena’s Mountain View Mausoleum. Those immersive performances would feature casts and guests walking the venue. Theatre Obscura, however, is fully seated.

“Poe: Pulse & Pendulum” focuses on the fear that something may happen to us when stripped of sight.

(Joe Camareno / Theatre Obscura)

And while the stories of Poe lend themselves to the Halloween season, spooky events increasingly occur year round. Long-running production “The Willows” is set to wrap in early April, and “Monster Party,” a period piece that takes guests to a devilishly extravagant cocktail party, is re-launching in mid-April. Millet, a longtime theater producer who has a day job in television editing, is hoping to stand out by avoiding “the glut” of horror events that occur each September and October.

Theatre Obscura may face challenges, namely persuading potential guests that “The Pit and the Pendulum” is more than simply a live reading with audio effects.

“You can feel the movement of the characters around you,” Millet says. “You’re in the environment with the story as it unfolds. You can experience it on a more visceral level.”

Blindfolded, I felt Theatre Obscura was mostly playing off our fears rather than giving in to them, largely keying in on our anticipation that something may happen to us when stripped of sight. Lugo in much of “The Pit and the Pendulum” circles guests, who are seated sporadically around the room, allowing each of us to imagine how close or far we may be from the hole we are told is at its center. Each show deals with claustrophobia in some way, either of a space, or of a mind.

“The Tell-Tale Heart” is louder, more crowded. The sounds of crashing glass and creaky floorboards had my head working overtime to draw a floorplan, only to then have it distorted when actors would unexpectedly whisper in both of my ears to bring forth the protagonist’s nightmares. While I expected Theatre Obscura to be slightly more aggressive in its uses of touch and scent, it’s a show that asks us to live in our heads, and to sit in our own feeling of trepidation.

“I was intrigued,” Millet says, “with really trying to engage the audience’s imagination.”

WASHINGTON — Since becoming defense secretary, Pete Hegseth has found no shortage of ways to bring his strand of conservative evangelicalism into the Pentagon.

He hosts monthly Christian worship services for employees. His department’s promotional videos have displayed Bible verses alongside military footage. In speeches and interviews, he often argues the U.S. was founded as a Christian nation and troops should embrace God, potentially risking the military’s secular mission and hard-won pluralism.

Now the defense secretary’s Christian rhetoric has taken on new meaning after the U.S. and Israel went to war with Iran, an Islamic theocracy.

“The mullahs are desperate and scrambling,” he said at a recent Pentagon press briefing, referring to Iran’s Shiite Muslim clerics. He later recited Psalm 144, a passage of Scripture that Jews and Christians share: “Blessed be the Lord, my rock, who trains my hands for war and my fingers for battle.”

Hegseth has a history of defending the Crusades, the brutal medieval wars that pitted Christians against Muslims. In his 2020 book “American Crusade,” he wrote that those who enjoy Western civilization should “thank a crusader.” Two of his tattoos draw from crusader imagery: the Jerusalem Cross and the phrase “Deus Vult,” or “God wills it,” which Hegseth has called “the rallying cry of Christian knights as they marched to Jerusalem.”

Matthew D. Taylor, a visiting scholar at Georgetown who studies religious extremism and has been a frequent Hegseth critic, said, “The U.S. voluntarily going to war against a Muslim country with the military under the leadership of Pete Hegseth is exactly the kind of scenario that people like me were warning about before the election and throughout his appointment process.”

Taylor said Hegseth’s rhetoric and leadership “can only inflame and reinforce the fears and deep animosity that the regime in Iran has towards the U.S.”

When asked whether Hegseth views the war in Iran in religious terms, a Defense Department spokesperson pointed to a recent CBS interview in which Hegseth seemed to confirm as much.

“We’re fighting religious fanatics who seek a nuclear capability in order for some religious Armageddon,” Hegseth said of Iranian leaders. “But from my perspective, I mean, obviously I’m a man of faith who encourages our troops to lean into their faith, rely on God.”

Allegations U.S. military commanders cited biblical prophecies remain unverified

Generations of evangelicals have been influenced by their own version of Armageddon and the end of the world, circulated by books like the “Left Behind” series and “The Late Great Planet Earth,” or the horror film “A Thief in the Night.” Some evangelicals espouse prophecies in which warfare involving Israel is key to bringing about the return of Jesus.

Christian Zionist pastor John Hagee, head of Christians United for Israel, said of the Iran war, “Prophetically, we’re right on cue.”

The co-founder of Hegseth’s denomination, however, does not teach this theology. Pastor Doug Wilson of the Communion of Reformed Evangelical Churches identifies as a postmillennialist, meaning he believes most of the apocalyptic events of the Bible have already happened, paving the way for the gradual Christianization of the world before Christ’s return.

Hegseth has not said the Iran war is part of Christian prophecy. Yet days after the conflict began, claims went viral that U.S. military commanders were telling troops the war fulfilled biblical prophecies around Armageddon and the return of Christ.

The Associated Press has not been able to verify these claims, which stem from one source: Mikey Weinstein, the head of the Military Religious Freedom Foundation, a watchdog group. Based on allegations Weinstein said he received from hundreds of troops, 30 Democratic members of Congress asked the Pentagon inspector general to investigate.

In an interview with the AP, Weinstein declined to provide documentation or the original emails he received from service members. He said troops were afraid of retaliation, so they would not speak to the media, even if their identities remained protected.

Three major religion watchdog groups — the Freedom From Religion Foundation, the Anti-Defamation League and the Council on American-Islamic Relations — said they have not received similar complaints. The Pentagon declined to comment on the allegations.

Hegseth wants to reform the military chaplain corps

Hegseth’s church network, the CREC, preaches a patriarchal form of Christianity, where women cannot serve in leadership, and pastors argue that homosexuality should be criminalized. Hegseth last year reposted a video in which a CREC pastor opposed women’s right to vote. Wilson, its most prominent leader, identifies as a Christian nationalist and preached at the Pentagon in February at Hegseth’s invitation.

Both Wilson and Hegseth have questioned Muslim immigration to the United States. Wilson argues the country should restrict Muslim immigration in order to remain predominantly Christian. In “American Crusade,” Hegseth lamented growing Muslim birth rates and that Muhammad was a popular boys’ name in the U.S.

As head of the armed forces, Hegseth has overseen changes that are in line with his conservative Christian worldview, including banning transgender troops, curtailing diversity initiatives and reviewing women in combat roles.

Youssef Chouhoud, a political scientist at Christopher Newport University, said, “The intrusion of Christian nationalist policy, not just Christian nationalist rhetoric … that is what’s troubling.”

Hegseth has pledged to reform the military’s chaplain corps, which provides spiritual care to troops of any faith and no faith at all. He scrapped the 2025 U.S. Army Spiritual Fitness Guide and wants to renew chaplains’ religious focus, which he said in a December video message has been minimized “in an atmosphere of political correctness and secular humanism.”

Rabbi Laurence Bazer, a retired U.S. Army colonel and chaplain, said it risks making service members feel like outsiders when the language of military leadership draws exclusively from one faith tradition.

“The U.S. military reflects the full diversity of this country — people of every faith step forward to serve,” Bazer said in a statement. “That diversity is a strength worth protecting.”

Stanley writes for the Associated Press. AP reporter Peter Smith in Pittsburgh , and AP reporter Konstantin Toropin contributed to this report..

Disneyland Resort President Thomas Mazloum has been named chairman of Walt Disney Co.’s experiences division, the company said Tuesday.

Mazloum succeeds soon-to-be Disney Chief Executive Josh D’Amaro as the head of the Mouse House’s vital parks portfolio, which has become the economic engine for the Burbank media and entertainment giant. His purview includes Disney’s theme parks, famed Imagineering division, merchandise, cruise line, as well as the Aulani Resort and Spa in Hawaii.

Jill Estorino will become the head of Disneyland Resort in Anaheim. She previously served as president and managing director of Disney Parks International and oversaw the company’s theme parks and resorts in Europe and Asia.

Estorino and Mazloum will assume their new roles on March 18, the same day as D’Amaro and incoming Disney President and Chief Creative Officer Dana Walden.

“Thomas Mazloum is an exceptional leader with a genuine appreciation for our cast members and a proven track record of delivering growth,” D’Amaro said in a statement. “His focus on service excellence, broad international leadership and strong connection to the creativity that brings our stories to life make him the right leader to guide Disney Experiences into its next chapter.”

Mazloum had been about a year into his tenure at Disneyland. Prior to that, he was head of Disney Signature Experiences, which includes the cruise line. He was trained in hospitality in Europe.

In his time at Disneyland, Mazloum oversaw the park’s 70th anniversary celebration and recently pledged to eliminate time limitations for park-hopping, which are designed to manage foot traffic at Disneyland and California Adventure.

Mazloum will now oversee a 10-year, $60-billion investment plan for Disney’s overall experiences business, which includes new themed lands in Disneyland Resort and Walt Disney World. At Disneyland, that expansion could result in at least $1.9 billion of development.

The size of that investment indicates how important the parks are to Disney’s bottom line. Last year, the experiences business brought in nearly 57% of the company’s operating income. Maintaining that momentum, as well as fending off competitors such as Universal Studios, is key to Disney’s continued growth.

In his new role, Mazloum will have to keep an eye on “international visitation headwinds” at its U.S.-based parks, which the company has said will likely factor into its earnings for the fiscal second quarter. At Disneyland Resort, that dip was mitigated by the park’s high percentage of California-based visitors.

Times staff writer Todd Martens contributed to this report.