CHICAGO — Edward Cabrera pitched six shutout innings, Ian Happ hit a solo homer and the Chicago Cubs beat the Angels 7-2 on Monday night.
Cabrera gave up one hit and walked one in his Chicago debut, delighting the crowd of 36,702 on a picturesque night at Wrigley Field. The 6-foot-5 right-hander was acquired in a January trade with Miami.
Carson Kelly and Moisés Ballesteros each drove in two runs for the Cubs (2-2) in the opener of a three-game series.
Yoán Moncada hit a two-run homer for the Angels (2-3) in their third consecutive loss. Ryan Johnson (0-1) yielded six runs and seven hits over 3⅓ innings in his first career start.
Angels star Mike Trout went 0 for 4 with two strikeouts after collecting six hits and walking seven times over the first four games of the season.
Johnson struggled with his control in the first, walking the bases loaded. Pete Crow-Armstrong reached on an 11-pitch walk ahead of Nico Hoerner’s sacrifice fly. Kelly made it 3-0 with a two-out fly ball that landed just out of the reach of a lunging Trout in shallow right-center for a two-run single.
The Cubs added three more in the third. Happ extended his homer streak to three games, and Ballesteros grounded a two-run single into right field.
Cabrera (1-0) struck out five while throwing 80 pitches, 49 for strikes. Colin Rea worked three innings for his first save of the season, striking out Moncada with two runners on for the final out.
WASHINGTON — President Trump took the United States to war without a vote of support from Congress, but lawmakers are increasingly questioning when, how and at what cost the war with Iran will come to an end.
Three weeks into the conflict, the toll is becoming apparent. At least 13 U.S. military personnel have died and more than 230 have been wounded. A $200-billion request from the Pentagon for war funds is pending from the White House. Allies are under attack, oil prices are skyrocketing, and thousands more U.S. troops are deploying to the Middle East with no endgame in sight.
“The real question is: What ultimately are we trying to accomplish?” Sen. Thom Tillis (R-N.C.) told the Associated Press.
“I generally support anything that takes out the mullahs,” he said. “But at the end of the day, there has to be a kind of strategic articulation of the strategy, what our objectives are.”
Trump said late Friday that he was considering “winding down” the military operations even as he outlined new objectives and goals and despite the continued buildup of forces in the region.
Congress stands still
The president’s decision to launch the U.S.-Israeli war on Iran is testing the resolve of Congress, which is controlled by his party. Republicans have largely stood by the commander in chief, but will soon be faced with more consequential wartime choices.
Under the War Powers Act, the president can conduct military operations for 60 days without approval from Congress. So far, Republicans have easily voted down several resolutions from Democrats designed to halt the war.
But the administration will need to show a more comprehensive strategy ahead or risk blowback from Congress, lawmakers said, especially as they are being asked to approve billions in new spending.
Trump’s casual comment that the war will end “when I … feel it in my bones” has drawn alarm.
“When he feels it in his bones? That’s crazy,” said Virginia Sen. Mark R. Warner, the top Democrat on the Senate Intelligence Committee.
House speaker says mission is ‘all but done’
The president’s party appears unlikely to directly challenge him, even as the conflict drags on. House Speaker Mike Johnson (R-La.) has said the military operation will be over quickly.
“I do think the original mission is virtually accomplished now,” Johnson told the AP and others at the Capitol this week.
“We were trying to take out the ballistic missiles, and their means of production, and neuter the navy, and those objectives have been met,” he said.
Johnson acknowledged that Iran’s ability to threaten ships in the Strait of Hormuz is “dragging it out a little bit,” especially as U.S. allies have largely rebuffed the president’s request for help.
“As soon as we bring some calm to the situation, I think it’s all but done,” Johnson said.
But the administration’s stated goals — of ending Iran’s ability to obtain a nuclear weapon and degrading its ballistic missile supplies, among others — have perplexed lawmakers as shifting and elusive.
″Regime change? Not likely. Get rid of the enriched uranium? Not without boots on the ground,” Warner said.
“If I’m advising the president, I would have said: Before you take on a war of choice, make the case clear to the American people what our goals are,” he said.
The power of the purse
The Pentagon has told the White House that it is seeking an additional $200 billion for the war effort, an extraordinary amount that is unlikely to win support. Senate Democratic leader Chuck Schumer of New York called the amount “preposterous.”
The Defense Department’s approved appropriations from Congress this year are more than $800 billion, and Trump’s tax breaks bill gave the Pentagon an additional $150 billion over the next several years for various upgrades and projects.
Sen. Mazie Hirono (D-Hawaii) said the country has other priorities.
“How about not taking away funding for Medicaid, which will impact millions of people? How about making sure SNAP is funded?” she said, referring to the healthcare and food assistance programs that were cut as part of last year’s Republican tax reductions.
“These are things that we should be doing for the American people,” she said.
Many lawmakers have recalled the decision by President George W. Bush in the aftermath of the Sept. 11, 2001, attacks to come to Congress to seek an authorization for the use of military force — a vote to support his proposed military actions in Afghanistan and later Iraq.
Tillis said Trump has latitude under the War Powers Act to conduct the military campaign, but that will soon shift.
“When you get into the 45-day mark, you’ve got to start articulating one of two things — an authorization for the use of military force to sustain it beyond that or a very clear path on exit,” he said.
“Those are really the options the administration needs to be thinking about.”
AUSTIN, Texas — “The Sun Never Sets” is filmmaker Joe Swanberg’s 10th indie to premiere at SXSW but his first to play the event since 2017. The astonishing pace with which he made his early work — loose, idiosyncratic stories that were progenitors of the emergent style known as mumblecore — has slowed significantly, but also given way to a newfound maturity as both a person and an artist.
Introducing “The Sun Never Sets” at its world premiere on Friday night to a sold-out crowd at the Zach Theater, Swanberg called his latest “my favorite film I’ve ever made.” Shot on 35mm in Anchorage, the movie follows a 30-ish woman, Wendy (Dakota Fanning in a vibrant turn), torn between pursuing a fresh romance with a reckless old flame (Cory Michael Smith) or continuing on with the settled-in-his-ways divorced father of two (Jake Johnson) she’s been seeing for a few years.
Dakota Fanning in Joe Swanberg’s “The Sun Never Sets,” filmed in Alaska.
(SXSW)
“I guess this is what they tell you about getting older and doing this job longer,” said a thoughtful Swanberg in a video interview from his home in Chicago shortly before the South by Southwest festival. “You get better at it and you sort of mature and all of this.”
The film marks Swanberg’s fourth collaboration with Johnson, a partnership that goes back to 2013’s “Drinking Buddies.” (The actor partly financed the new project along with his brother.) Following completion of the third season of the Netflix anthology series “Easy” in 2019, for which he wrote and directed all the episodes, Swanberg was planning to take a break. A divorce and the pandemic caused that pause to grow even longer.
In the intervening years Swanberg produced a number of projects for other filmmakers, did some acting and opened a small video store in Chicago. Swanberg knew Anchorage-based producer Ashleigh Snead, who encouraged him to consider shooting something there. The scenic location would give Swanberg the opportunity to expand his visual style from his usual couches, bars and apartments of much of his work. (There still are a surprising number of scenes on couches and in bars.)
“Joe’s a real filmmaker,” says Johnson in a separate interview. “And I think sometimes he doesn’t get that credit because he can make movies with nothing. This is a real adult movie. This is a film about how complicated breakups are and how messy they get. And it’s in beautiful Alaska.”
Swanberg, center, on the set of “The Sun Never Sets.”
(SXSW)
Swanberg has now gone from someone making talky, provocative and at times controversial films about the lives of post-collegiate 20-somethings to exploring the nuances and specifics of being a 44-year-old divorced father of two still trying to figure out his place in the world. His original cohort of SXSW-affiliated filmmakers, many of whom also fell under the rubric of mumblecore — nobody much liked the name, but no one ever came up with anything better, so it stuck — included Greta Gerwig, Lena Dunham, Barry Jenkins, Ti West and others who have gone on to more conventional mainstream success.
But Swanberg doesn’t seem to feel left behind. Rather, he only sees doors opening.
“It’s gone so much better than I thought it was going to go for me,” he says. “I mean, when I was making these really tiny, sexually explicit 71-minute movies, I was like, I’m just grateful to be here. I can’t even believe these festivals are showing this work and it’s so cool that there’s a space for me in this ecosystem.
“And so to watch my friends go off to do these giant movies, to see Greta doing ‘Barbie’ and stuff like that, to me it just opens up the possibilities,” he adds. “Each time a friend of mine sets some new record or moves into some new space, I’m kind of like: Oh, that just opened up for all of us now.”
His earlier work often featured raw sex scenes, sometimes featuring Swanberg himself. From practically the start of his career, well predating the #MeToo-era reckoning that began in 2017, Swanberg weathered accusations that he was exploitative and manipulative of his female performers. His stepback from productivity coincided with a moment when his explorations of sexual power dynamics fell out of favor. It would be easy to interpret that Swanberg preemptively soft-canceled himself to avoid a broader scandal. He doesn’t see it that way.
“Certainly in Chicago, where I’ve spent the last five years, I’m not unwelcome places,” he says, drawing a distinction between himself and “people who lose jobs or are capital-C canceled. But also my work has always pushed those boundaries and always attracted some amount of positive and negative attention.”
Though “The Sun Never Sets” has numerous kissing scenes, it doesn’t go too much further than that.
“I won’t do it,” Johnson says of more graphic scenes. “When I worked with Joe early on, I was like, ‘I love you, man — I’m not doing this.’”
For her part, Fanning had no reservations about working with Swanberg. He offered both Fanning and Smith the opportunity to work with an intimacy coordinator, but neither felt it was necessary.
“There was no planet where you’d ever be asked to do anything you were uncomfortable with,” Fanning says. “If there was ever a moment like, ‘I don’t want to do that,’ he’d be like, ‘Oh, then let’s not.’ There was a day where there was a scene and it was pouring rain outside. And we both looked at each other and he was like, ‘We’re not going to do it. The scene’s cut.’ He’s just open. And I just trusted him implicitly.”
Jake Johnson and Dakota Fanning in the movie “The Sun Never Sets.”
(SXSW)
Swanberg has long worked in an unusual style in which the script is essentially a detailed outline and the actors work to come up with their own dialogue during rehearsals. For “The Sun Never Sets,” Swanberg and Johnson developed the longest, most complete outline Swanberg has ever used, including some dialogue exchanges. Then the actors were allowed to make it their own.
Fanning recalled an early Zoom call with Swanberg and Johnson on which they explained the process.
“It’s still made like a real film,” Fanning says. “And Jake and Joe promised it’s not like we’re just flying by the seat of our pants: ‘You will know what to say, I promise.’ And then friends that know me asked, ‘Are you so nervous?’ And I was, but for some reason, I don’t know why, I just knew that it was going to be fine. And that just proved to be true.”
Even though it takes places in Anchorage, Swanberg calls “The Sun Never Sets” “extremely personal.”
“I was definitely writing a movie about a divorced mid-40s guy dating a younger person,” he says. “The questions of marriage and having children were sort of an amalgam of two real relationships that I merged into one onscreen.” He describes the material as “questions that I had and have about what my own relationships are going to look like post-divorce.”
That comes through in Fanning’s rich, layered performance, which might rank among the best of her already lengthy career. Swanberg’s style draws both an ease and an intensity from Fanning, who captures a woman at a pivotal moment of figuring out what she wants amid the emotional whirlwind she is going through. (At the film’s premiere, Fanning said, “I’ve never put so much of myself into a role before.”)
“I think the goal of Joe’s films, and I think at least my goal with this film, is trying to make everything feel real,” she says. “Things are just a mess some of the time.”
Dakota Fanning and Cory Michael Smith in “The Sun Never Sets.”
(SXSW)
Swanberg himself appears in a small role as the new husband of the ex-wife of Johnson’s character. And the characters of the two kids in the movie are named after the director’s own children. With a newfound maturity and emotional depth, Swanberg is continuing to make movies that are part diary, part generational markers.
“It’d be really cool in my 40s to make movies about characters in their 40s,” he says, “and in my 50s, 60s and 70s. It’d be neat to be making sexually explicit movies about 70-year-olds in their dating lives and sex lives and stuff. It’s really exciting to have movies about characters at this phase of their life, whether they’re finally settling down in their 40s or whether they’re getting out of relationships and reexamining their life. It’s where my head is at.” .
Hall of Fame high school football coach Bob Johnson, who turned El Toro and Mission Viejo into powerhouse high school football programs and became one of the winningest coaches in state history, has died. He was 80. He had been battling Alzheimer’s.
“I feel for the family,” Mission Viejo football coach Chad Johnson (no relation) said Wednesday.
Johnson passed early Wednesday morning,
Johnson won six Southern Section titles coaching at Mission Viejo and three at El Toro while winning 338 games, the second winningest in Orange County history and in the top five in state history, according to the Orange County Register.
His two sons, Rob and Bret, were standout high school quarterbacks before enrolling at USC and UCLA, respectively. Rob made it to the NFL. Both became coaches after their playing days were completed. Rob still coaches as an assistant at Mission Viejo.
