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CHP to protect ex-VP Kamala Harris

Former Vice President Kamala Harris will receive protection from the California Highway Patrol after President Donald Trump revoked her Secret Service protection, law enforcement sources said Friday.

California officials put in place a plan to provide Harris with dignitary protection after President Trump ended an arrangement that gave his opponent in last year’s election extended Secret Service security coverage.

Trump signed a memorandum on Thursday ending Harris’s protection as of Monday, according to sources not authorized to discuss the security matter.

Former vice presidents usually get Secret Service protection for six months after leaving office, while ex-presidents get protection for life. But before his term ended, then-President Joe Biden signed an order to extend Harris’s protection beyond six months to July 2026. Aides to Harris had asked Biden for the extension. Without it, her security detail would have ended last month, according to sources.

Gov. Gavin Newsom, who would need to sign off on such CHP protection, would not confirm the arrangement. “Our office does not comment on security arrangements,” said Izzy Gordon, a spokeswoman for Newsom. “The safety of our public officials should never be subject to erratic, vindictive political impulses.”

The decision came after Newsom’s office and Los Angeles Mayor Karen Bass were in discussions Thursday evening on how best to address the situation. Harris resides in the western portion of Los Angeles.

Bass in a statement, said “This is another act of revenge following a long list of political retaliation in the form of firings, the revoking of security clearances and more. This puts the former Vice President in danger and I look forward to working with the governor to make sure Vice President Harris is safe in Los Angeles.”

The Secret Service, CHP and LAPD don’t discuss details of dignity protection in terms of deployment, numbers, and travel teams. CNN first reported the removal of Harris’s protection detail. Sources familiar with Harris’ security arrangements would not say how long the CHP would provide protection.

The curtailing of Secret Service protection comes as Harris is about to begin a book tour for her memoir, titled “107 Days.” The tour has 15 stops, which include visits to London and Toronto. The book, title references the short length of her presidential campaign. The tour begins next month.

Harris, the first Black woman to serve as vice president was the subject of an elevated threat level — particularly when she became the Democratic presidential contender last year. The Associated Press reports, however, a recent threat intelligence assessment by the Secret Service conducted on those it protects, such as Harris, found no red flags or credible evidence of a threat to the former vice president.

During his second term, President Trump stripped Secret Service protection from several one-time allies turned critics, including his former national security adviser John Bolton, former Secretary of State Mike Pompeo, both of whom have been targeted by Iran. In March, he ended Secret Service protection for former President Biden’s children — Hunter and Ashley Biden — who both had been granted extended protection by their father.

Harris’ predecessor, Vice President Mike Pence, did not have extended Secret Service protection beyond the standard six months.

Harris, a former senator, state attorney general and San Francisco district attorney, announced earlier this year she won’t seek to run for California governor in 2026.

During last year’s campaign, Trump faced two assassination attempts, including the July 2024 rally in Butler, Pennsylvania, where a Secret Service counter sniper shot a gunman dead after he fired eight shots, killing an attendee, wounding two others and grazing Trump’s right ear.

Times Staff Writer Melody Gutierrez and the Associated Press contributed to this story

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Telluride Film Festival spotlights Springsteen biopic, Oscar hopefuls

In recent years, film festivals haven’t felt all that festive. Audiences have dwindled, streaming has upended viewing habits and the pandemic and Hollywood strikes have rattled the industry, leaving even the most glamorous events to fight for their place on the cultural calendar.

Then there’s Telluride. For more than a half-century, the tiny mountain gathering has thrived as a kind of anti-festival: no red carpets, no prizes, no tuxedos, just movies. Perched 8,750 feet up in a box canyon in the Colorado Rockies, it’s reachable only by twisting roads or a white-knuckle drop into one of the nation’s highest airports. Festival passes are pricey and limited in number, which makes Telluride feel at once intimate and exclusive. With its mix of industry insiders and devoted film lovers, that isolation and tight-knit atmosphere have become part of Telluride’s mystique, and the promise of early Oscar buzz keeps filmmakers, stars and cinephiles making the pilgrimage. Since 2009, only five best picture winners have skipped Telluride on their way to the top prize.

“It’s so hard to get to Telluride — you don’t end up here by accident,” festival director Julie Huntsinger says by phone. “We’ve always felt it’s incumbent on us to show either brand-new things or extraordinary things that make your time worth it. You know how cats will bring you a mouse? I always feel like I’m bringing you a mouse or a bird, and I just hope you’ll like it.”

Rolling out over Labor Day weekend, the 52nd Telluride Film Festival will supply a slate of fresh offerings, including a handful of world premieres. Scott Cooper’s “Springsteen: Deliver Me From Nowhere” drops Jeremy Allen White into the boots of the Boss, tracing the creation of his stark 1982 album, “Nebraska.” Chloé Zhao’s “Hamnet” unites Jessie Buckley and Paul Mescal in a haunting portrait of grief. Edward Berger’s “Ballad of a Small Player” finds Colin Farrell wandering Macau as a gambler chasing luck and redemption. And Daniel Roher’s “Tuner” gives Dustin Hoffman a rare return to the screen in a crime thriller about a piano tuner who discovers his ear is just as effective on safes as on Steinways.

Also in the mix are a number of films coming from Cannes and Venice: Yorgos Lanthimos’ “Bugonia,” Noah Baumbach’s “Jay Kelly,” Kelly Reichardt’s “The Mastermind” and Richard Linklater with a double bill, “Blue Moon” and “Nouvelle Vague,” proof that Telluride remains a haven for auteurs.

At last year’s Telluride, politics dominated the conversation on- and off-screen. Hot-button issues, from abortion access to climate change to the Israeli-Palestinian conflict, ran through the program, while guests such as Hillary Clinton, James Carville and special prosecutor Jack Smith joined the usual roster of actors and filmmakers. Ali Abbasi’s “The Apprentice,” a searing portrait of Donald Trump’s early years, was one of the buzziest titles.

This year the lineup is broader, though politics still runs through it. Ivy Meeropol’s “Ask E. Jean” follows writer E. Jean Carroll through her legal battles with Trump, while Kleber Mendonça Filho’s “The Secret Agent” uses a 1970s-set thriller to revisit Brazil’s military dictatorship, with Wagner Moura (“Narcos”) as a professor on the run. “This year is pretty political too,” Huntsinger insists. “There are a couple of films that, if you’re paying attention, have important things to say. I just hope everybody feels a little braver after a lot of the things we show.”

German-born director Edward Berger, who brought his papal thriller “Conclave” to last year’s edition, returns with a strikingly different film in “Ballad of a Small Player.”

“I would defy anyone to stack up his films and say they’re by the same filmmaker,” Huntsinger says. “This is a beautiful, very dreamlike, nonlinear exercise in spirituality and introspection. ‘Conclave’ felt disciplined — not that this film is undisciplined but it exists on a totally different plane.”

Zhao, who won the directing Oscar for 2020’s “Nomadland,” has adapted “Hamnet” from Maggie O’Farrell’s acclaimed novel about the death of Shakespeare’s only son in what Huntsinger describes as one of the festival’s most emotionally powerful selections.

“Chloé is a person of immense depth,” Huntsinger says. “She has such a deep feel for human beings. This is a sad, mournful but beautiful meditation on loss. People should be prepared to cathartically cry. There isn’t a false note in it.”

Another festival favorite, Lanthimos makes his third trip to Telluride with “Bugonia,” a darkly comic sci-fi satire that reunites him with Emma Stone following their earlier collaborations on “The Favourite” and “Poor Things.” A remake of the 2003 Korean cult film “Save the Green Planet!,” it follows a conspiracy-minded beekeeper (Jesse Plemons) who kidnaps a powerful pharma executive (Stone) he believes is an alien bent on destroying Earth.

“Be prepared to get your a— kicked,” Huntsinger says. “Emma is outstanding, and we should never take her for granted, but Jesse Plemons steals the show. He next-levels it in this one.”

Baumbach also marks his return to Telluride with the dramedy “Jay Kelly,” which centers on an actor (George Clooney) and his longtime manager (Adam Sandler) as they journey across Europe, looking back on the choices and relationships that have shaped their lives. Huntsinger likens the film to a cinematic negroni: “It’s substantial but also fun, with an almost summery feel. It’s about where you’re headed after a certain stage in life, told without heavy-handedness.”

The filmmaker and screenwriter, who previously brought “Margot at the Wedding,” “Frances Ha” and “Marriage Story” to the festival, will be honored this year with a Silver Medallion. He shares the award with Iranian director Jafar Panahi, whose drama “It Was Just an Accident” won the Palme d’Or at Cannes, and Ethan Hawke, represented in the lineup with Linklater’s “Blue Moon” and his own documentary about country singer Merle Haggard, “Highway 99: A Double Album.”

Few films in the lineup will be more closely watched than Cooper’s Springsteen biopic, with Emmy-winning “The Bear” star White channeling the Boss during the making of one of his most uncompromising albums. “Jeremy delivers in the same way that Timothée Chalamet did in [the Bob Dylan biopic] ‘A Complete Unknown,’ where you just think, Jesus, what can’t this kid do?” Huntsinger says. “Scott’s a great filmmaker, and the movie delivers on its promise.”

The music thread continues with Morgan Neville’s documentary “Man on the Run,” drawn from never-before-seen home movies Paul McCartney shot in the early 1970s, not long after the Beatles’ split. The footage shows McCartney retreating to Scotland with his family and offers what Huntsinger describes as a revelatory glimpse at a less-mythologized moment. “You also understand there wasn’t a villain in the Beatles breakup,” Huntsinger says. “It’s an expansion on history that’s really needed.”

Elsewhere in the documentary lineup, Oscar-winning filmmaker Laura Poitras returns with “Cover-Up” (co-directed by Mark Obenhaus), an exploration of investigative journalist Seymour Hersh’s career that builds on her politically charged films like “Citizenfour” and “All the Beauty and the Bloodshed.”

For all its flannel-and-jeans ethos, Telluride isn’t immune to the economics of 2025. Lodging and travel costs have soared, amplifying concerns that the showcase has become a festival largely for the well-off. Huntsinger concedes the expense but points out pass prices haven’t budged in more than 15 years as she works to keep it accessible.

“I was concerned for a while because our audience was aging, but we’ve really worked on making sure that younger people and people on fixed incomes can come,” she says. “I can see the difference — it’s not just people of means. And I promise you, I’ll keep fighting for that. I hope the lodging people will realize they got a little out of hand and start lowering prices too.”

For all the turbulence and doomsaying that has rattled Hollywood in recent years, Telluride has managed to hold fast to its identity.

“The devotion people have to this weekend makes me think there’s hope,” Huntsinger says. “They’re not coming here for anything but film-loving. To hear people say, ‘I would not miss this for the world’ makes me really proud and hopeful. After everything we’ve all been through, I think we still have reason to keep doing this crazy little picnic.”

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King’leon Sheard leading the way during another Narbonne rebuild

There was a large trash can obstructing the view of a Narbonne Gaucho sign on the gym wall, so King’leon Sheard simply picked up the container and moved it out of the way in an impressive display of strength like a WWE wrestler flicking away an annoying opponent.

At 6 feet 2 and 220 pounds, Sheard had two sacks in last year’s City Section Open Division championship football game against San Pedro. On Friday night, he had two sacks in Narbonne’s 42-6 loss to Los Osos. The fact he’s still walking around Narbonne’s campus in his senior year is a story itself.

After the program was placed on probation and banned from the playoffs for three years for rules violations, there was an exodus of players and coaches. This also happened after the 2019 season when Narbonne was punished for similar circumstances — an ineligible player.

“Now it’s been two rebuilds since I’ve been here,” he said, remembering a 2-9 season in 2022 when he arrived as a freshman.

Sheard is either a glutton for punishment or determined to prove his worth no matter how many times Narbonne has to start over.

“At the root of it, it’s not just about football,” the outside linebacker said. “I made a lot of connections here. I built a nice family here. At the end of the day, it was more about my story, not what everyone else was doing. I always knew I could prevail.”

Football is what Sheard wants to do in college if he gets a chance. Yet academics has been his focus, with a dream of becoming a lawyer.

“I want to go into law,” he said. “It’s always been one of those things I’ve been interested in since I can remember.”

Sheard clearly knows how to investigate facts and make a judgment call. That’s what he did in deciding to stay at Narbonne with four other holdovers.

“I kept my head down,” he said. “My parents stayed out of it. They knew if I stayed, I’d be able to make it. I started here and was going to finish here.”

Not that Sheard didn’t consider leaving. He said he discussed leaving with several coaches. Their big selling point was having a postseason. But Sherard is guaranteed more games this season without playoffs (10) than he had all last season (eight) because of a coaches’ boycott during league play.

“I will admit I had conversations with other coaches when I heard the news that our coaches wouldn’t be with us,” he said. said. “The main talking point was, ‘We have playoffs, we have playoffs.’ You lose one game in the playoffs, you’re out anyways. I was more concerned how as coaches would you be able to help me make it to the collegiate level. How would you be able to develop me as a player.”

Enter Narbonne’s new coach, Doug Bledsoe, who’s been head coach at North Hollywood, Dorsey, Pasadena and L.A. University. Sheard placed his trust in Bledsoe and his staff.

“I formed a good relationship with coach Bledsoe and the position coaches,” he said.

Said Bledsoe: “He’s got real tenacity to get to the quarterback and a quick first step.”

Bledsoe is using a 3-4 defensive front with Sheard scheduled to be his “mini-Lawrence Taylor,” the NFL Hall of Fame linebacker known for sacking quarterbacks.

There could be tough times for the Gauchos, a team with little varsity experience and some tough early-season games.

Since this is his second rebuild he’s experienced, Sheard was asked how is it supposed to go?

“It’s not up to me,” he said. “Most I can do as a player is keep my brothers close to me and tell them, ‘It will be fine. We can do this.’”

With a new coach and new principal, perhaps Narbonne can rebuild the right way — following City Section rules. Good behavior could lead to a reduction in sanctions.

Clearly, it’s a big change because at this time last season, the Gauchos had 27 transfers in the program. This season the number is zero.

Sheard is just glad he can play four Marine League games this season so he’ll have film to show college recruiters. Last year’s league games were forfeits because schools refused to play the Gauchos.

“I felt a little slighted,” he said. “Outside of everything happening, I didn’t care. It was still my season. It was my opportunity to get stuff on film. I feel it was taken away and I had no control. I kept working.”

When it comes to gaining maturity and learning hard lessons, Sheard and his small group of fellow seniors who stayed are in for a challenging season with no playoffs allowed.

It’s a reminder of the line, “When the going gets tough, the tough get going.”

“Ten games are guaranteed,” he said. “Compared to last year, it’s a blessing.”

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How U.S. Open tennis courts are helping to cut light pollution

When the court lights flicker on at the U.S. Open, tennis stars shine under illumination designed to cut light pollution.

The wedge-shaped lamps around the USTA Billie Jean King National Tennis Center in Flushing Meadows direct light onto the players without spewing it into the surrounding skies.

The stadium complex is the only professional sports venue certified by a group that’s trying to preserve the night sky around the world. Across North America and Canada, schools and local parks have also swapped out their lights on baseball fields, running tracks and other recreation grounds to preserve their view of the stars and protect local wildlife.

Night lights can disrupt bird migration and confuse nocturnal critters like frogs and fireflies. Lights on sports fields are especially bright and cool, and often cast their glare into neighborhoods.

In renovations over the last decade, the U.S. Tennis Assn. swapped metal halide bulbs for shielded LED lights. The complex’s 17 tournament courts — including Arthur Ashe Stadium — and five practice courts were approved as dark sky-friendly last year.

USTA officials wanted the best lighting possible on their courts, which also happened to be friendly to dark skies. Their lighting company suggested striking a balance that would satisfy crowds and TV crews while cutting down spillover into the surrounding environment.

“This is an international event that has an impact on the community,” said the USTA’s managing director of capital projects and engineering, Chuck Jettmar. “Let’s minimize that and make sure that everybody’s happy with it.”

Designing lights for dark skies

U.S. Open qualifying matches last week were punctuated by players grunting, crickets chirping and audiences cheering. Rows of lights stood like sentries above, adorned with flat visors that guided the glow onto the action.

The lights at Flushing Meadows glow at a quarter of their brightness when the courts are rented for play during the year. They’re approved by DarkSky International, a nonprofit that gives similar designations to cities and national parks. The group widened its focus to include sports arenas in recent years and has certified more than 30 venues since 2019 — including high school football fields and youth soccer fields.

“We live in a world where we need to engage with one another in the nighttime environment, and that’s OK,” said DarkSky spokesperson Drew Reagan. “That’s a beautiful thing and there’s a way to do that responsibly.”

The organization typically approves proposals at sports fields before any light fixtures are installed or replaced. Once construction is complete, a representative measures the glow and glare against a set of guidelines that benefit the night.

Renovating a field with dark skies in mind can cost about 5% to 10% more than traditional sports lighting, according to James Brigagliano, who runs DarkSky’s outdoor sports lighting program. Venues may require a few extra fixtures since the light shining from them is more targeted.

Most arenas make the change during scheduled maintenance and renovation, working with sports lighting company Musco. The company lights more than 3,000 venues a year, including college football stadiums, tennis courts and rail yards.

At Superstition Shadows Park in Apache Junction, Ariz., kids play T-ball and baseball in the evenings, when the darkness offers a brief respite from the summer heat. The city’s parks and recreation department replaced its already-aging lights with shielded, dark sky-friendly fixtures last year with federal and local government funding.

People venture to Apache Junction partly because “they can get out of the city and still see stars,” said the city’s parks and recreation director, Liz Langenbach. The city is at the edge of the Phoenix metro area, bordered by rolling mountains and sweeping deserts.

“The choices we make on lighting, I think, affect all of that,” Langenbach said.

At Université Sainte-Anne in Canada, students run on a new track and soccer field outfitted with lights that DarkSky approved last year. Researchers at the university study native, nocturnal animals like the northern saw-whet owl.

The lights are “good for everyone,” said university spokesperson Rachelle LeBlanc. “For tourism, for our students, for our neighbors, for the animals that we share our campus with.”

How to cut light pollution

Night lights harm the surrounding environment no matter how shielded they are. DarkSky-approved fields still allow a small fraction of their light to be pointed up because it’s necessary to keep track of flying balls.

“You can have the absolute best, most carefully designed stadium lighting in the world, and you’re still creating light pollution,” said Travis Longcore, an urban light pollution expert at UCLA.

The U.S. Open courts are side-by-side with bright lights from Manhattan and Queens — so they can only darken a slice of the sky. But DarkSky says every light fixture makes a difference, and one professional arena can influence others.

“I’m not saying we as humans have to turn all the lights off,” said Longcore. “I think you have to make improvements from where you are.”

Ramakrishnan writes for the Associated Press. The Associated Press Health and Science Department receives support from the Howard Hughes Medical Institute’s Department of Science Education and the Robert Wood Johnson Foundation. The AP is solely responsible for all content.

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Angels manager Ron Washington says he underwent heart bypass surgery

Angels manager Ron Washington said Monday he is recovering from quadruple bypass heart surgery, the first time he has publicly addressed the health issues that have sidelined him since late June.

He made the announcement while visiting the Angels for the first time since the operation eight weeks ago in California. He is not returning to manage this season but hopes to have that opportunity next year.

Washington, at 73 the oldest manager in the majors, was last in the dugout for a 7-3 loss to the New York Yankees on June 19. The following day, the team said Washington was out indefinitely because of health issues after experiencing shortness of breath and appearing fatigued toward the end of that four-game series in New York.

“This happened fast,” Washington said. “I wasn’t feeling very good on our last trip to New York … and I finally decided to go to the trainer and let him see what was going on. My ankles were swollen. And he called the doctors in from New York and they knew right away what was going on, why my fluid was going into my ankles.”

He was cleared by Yankees doctors to fly home with the team and underwent tests after getting back to Southern California. The Angels announced on June 27 that he was going on medical leave for the rest of the season. Washington had surgery three days later.

Washington said the Angels were on a road trip when he was released from the hospital on July 7, so he got clearance to fly home to Texas where his wife could assist him with his recovery.

The well-liked Washington revealed the details of his medical issues before the Angels opened a three-game series in Texas. He plans to continue on to Houston before skipping the final stop on the road trip in Kansas City. Washington hopes to be with the team the rest of the season after the Angels return home.

Washington is the Rangers’ winningest manager with a 664-611 record from 2007 to 2014. He led them to their first two World Series appearances in 2010 and 2011.

After initially returning to Oakland’s organization for two seasons, Washington then was on the Atlanta Braves’ staff from 2017 to 2023 and part of their 2021 World Series championship.

With a young roster after Shohei Ohtani’s departure in free agency and with three-time AL MVP Mike Trout limited to 29 games because of injuries, the Angels went 63-99 last year in Washington’s first season as manager, a franchise record for losses. They were 36-38 before Washington left the dugout this year, and entered Monday night’s game 25-31 with Ray Montgomery filling in for him.

Rangers manager Bruce Bochy, who led them to their first World Series title two seasons ago, is the second-oldest manager in the majors. The four-time World Series champion turned 70 in April.

Hawkins writes for the Associated Press.

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Ryan Coogler, Mary Corse to be honored at LACMA’s 2025 Art+Film Gala

Director Ryan Coogler and artist Mary Corse will be honored at the Los Angeles County Museum of Art’s 14th annual Art+Film Gala, the museum announced Sunday.

The splashy, high-fashion dinner is co-chaired by LACMA trustee Eva Chow and Leonardo DiCaprio, and is scheduled to take place on Nov. 1. It will be the last such event to occur before the museum opens its new Peter Zumthor-designed building next spring.

Los Angeles is uniquely suited for the gala, which seeks to highlight and strengthen the connections between film and visual art by bringing the two communities together in grand style. Last year’s honorees were Baz Luhrmann and Simone Leigh, and per usual, a host of celebrity guests attended the party including Blake Lively, Kim Kardashian, Laura Dern, Viola Davis, Andrew Garfield and Sarah Paulson. Charli XCX closed out the night with a banger.

LACMA Director and Chief Executive Michael Govan called last year’s event, which raised $6.4 million, its most successful ever. Proceeds go toward LACMA’s mission of making film more central to its programming, as well as toward funding exhibitions, acquisitions and educational programming.

Mary Corse will be honored at LACMA's Art + Film gala.

Mary Corse will be honored at LACMA’s Art + Film gala.

(Indah Datou)

Other previous honorees include artists Helen Pashgian, Betye Saar, Catherine Opie, Mark Bradford, Robert Irwin, James Turrell, Barbara Kruger, David Hockney, Ed Ruscha and John Baldessari. On the film side there has been Park Chan-wook, Alfonso Cuarón, Guillermo del Toro, George Lucas, Kathryn Bigelow, Alejandro González Iñárritu, Quentin Tarantino, Martin Scorsese, Stanley Kubrick and Clint Eastwood.

Coogler — who directed “Black Panther,” “Creed” and “Fruitvale Station” — is having a stellar year. His gory Southern-vampire horror film “Sinners,” which was released in mid-April, has been a massive hit. The film, which had a budget of $90 million, grossed $48 million in ticket sales in the U.S. and Canada during its opening weekend, and has gone on to gross more than $365 million worldwide.

Topanga-based painter Mary Corse is known for her connection to Southern California’s Light and Space movement, but her career has been defined by her willingness to experiment with form and various materials, including ceramics and acrylic on canvas. Corse devoted much of her life to her “White Light” series, which involves layering tiny glass beads — called microspheres — over white acrylic paint for a constantly shifting, reflective effect.

“Mary Corse has continually expanded the possibilities of painting in her exquisite works, which invite us to think deeply about the nature of perception,” said Govan in a statement. “Ryan Coogler’s films do something equally transformative. Through masterful storytelling and visual innovation, he reframes history, redefines narratives and opens new worlds of possibility.”

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Angels reinstate right-hander Robert Stephenson from IL

The Angels reinstated reliever Robert Stephenson from the 60-day injured list on Friday.

Stephenson, 32, had been on the IL since May 31 because of right biceps inflammation. He has pitched one scoreless inning over two appearances with the Angels this season.

Stephenson agreed to a $33-million, three-year contract in January 2024. He missed all of last year after having Tommy John surgery.

Right-hander Chase Silseth was optioned to triple-A Salt Lake before the opener of a weekend series against the Chicago Cubs.

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Kelsey Plum sinks buzzer-beater as Sparks win despite Paige Bueckers’ historic night

It was a night when defenders draped over Kelsey Plum, her path to the rim often crowded. And when she turned to the officials for relief, the whistles were elusive.

But when it mattered most — that being with 3.3 seconds to play and the Sparks trailing by one — Plum lowered her shoulder and slipped between swiping arms and lunging bodies.

One defender stumbled, another bit on a fake and Plum glided almost untouched into the lane, kissing a floater off the glass as the horn sounded in an 81-80 Sparks escape over the Dallas Wings.

“Just a heck of a finish by her,” Sparks coach Lynne Roberts said.

Plum’s teammates mobbed her, embracing the veteran who appeared unsatisfied during her seven minutes on the bench and frustrated after Dallas defenders batted away her attempts at the rim. All of it faded, though, once she poured in 10 fourth-quarter points en route to 20 on the night.

“I feel like that’s what basketball is all about — putting on a show for [fans],” the Sparks’ Rickea Jackson said. “Both teams truly did that and everyone enjoyed themselves and got their money’s worth tonight.”

But before the buzzer, the night belonged to Plum, Crypto.com Arena belonged to Paige Bueckers of Dallas. In fact, at times Wednesday night, it seemed as though the Sparks had six players on the floor.

Bueckers drew ovations fit for a home star. With swaths of fans flaunting her face on a T-shirt and spilling over railings for autographs pregame, the Wings rookie rode that backing into a career-high 44 points — tying Cynthia Cooper for a most by a WNBA rookie.

“She’s a phenomenal player, point blank period,” the Sparks’ Cameron Brink said.

The Sparks (17-18) entered Wednesday’s affair with a blueprint for Bueckers, Roberts recognizing pregame that “we let Paige get to the middle which is what she wants to do,” in reference to Bueckers’ then-career-high 29-point performance last Friday against her Sparks.

But Bueckers solved every look the Sparks threw at her. Double-team her high, and she threaded the ball to cutters. Leave her one-on-one, and she buried mid-range jumpers with a composure that belied her rookie tag.

“Paige was unbelievable tonight,” Roberts said. “Did we make some mistakes defensively? Sure. Was she just unconscious and playing at another level? Yes. Just kind of have to tip your hat.”

Yet across the floor from the rookie, L.A. leaned on a pair who had worn that tag just last season.

They were a product of the 2024 draft, a haul that featured Brink at No. 2 and Jackson at No. 4. Their pairing never had the chance to fully bloom last year, Brink suffering a season-ending injury just a month in.

A year later, with Brink healthy and Jackson entrenched in the starting lineup, the Sparks finally cashed in on their draft night selections. On Tuesday, the sophomores saved their team from a five-minute scoring drought to open proceedings against the Wings, spurring a 15-5 spree that stifled the noise that followed Bueckers.

“On both ends, we just looked like we’ve been off for a couple of days,” Jackson said. “I said, ‘Why does it feel like we haven’t played in a minute?’ But we picked it up. The first five minutes was crazy, but we picked it up.”

Applause followed Bueckers all game, but the final word — and the final bucket — belonged to L.A.

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‘Superman’ star Isabela Merced is owning her power onscreen — and IRL

Last year, Isabela Merced was living a double life. By day, she was running around the set of “The Last of Us” in Vancouver — dodging Infected, WLF soldiers and Seraphites alongside co-star Bella Ramsey.

Then, after wrapping what was sometimes a 15-hour workday, she’d be on a flight 4,500 miles away to Atlanta — doing costume fittings and fight training to become Hawkgirl in James Gunn’s “Superman.”

“I didn’t know I could do that,” she tells De Los. “I proved to myself that I’m capable of more than I think.”

The Peruvian American actress has the kind of career that any young actor would aspire to: She made her Broadway debut at 10 years old in “Evita,” earned critical acclaim acting opposite Benicio del Toro in “Sicario: Day of the Soldado” at 17 and starred in the live-action film adaptation of the massively successful “Dora the Explorer” franchise when she was just 18.

In the last year alone, she’s grown into a certified action star, making waves in huge franchise entries like “Alien: Romulus,” “The Last of Us” Season 2 and “Superman.” At 24 years old, her filmography of formidable heroines, scrappy spitfires and multifaceted young women in major blockbusters has put her on a path that’s been largely inaccessible to so many of the Latino actors who came before her. It’s why she also has her sights set on producing, hoping to provide more opportunities for her community in front of and behind the camera.

Yet this month, she’s turning her focus away from the screen and toward her other creative calling: music.

In 2020 she released her debut EP, “The Better Half of Me,” which showcased her bilingual prowess through soulful Latin pop tracks, written and produced alongside her brother, Gyovanni Moner, during quarantine. Now, she’s revisiting the project in a collaboration with the Grammy Award-winning Peruvian artist Tony Succar. Their new single “Apocalipsis,” released Friday, transforms Merced’s 2020 song of the same name from a slow jam to a modernized salsa groove fit for a Miami nightclub.

With “Superman” now out on digital platforms, Merced spoke with De Los about donning Hawkgirl’s helmet, working with Succar on “Apocalipsis,” and what’s coming up next.

It seems like everything is kept pretty under wraps for these massive superhero movies. How much did you know going into your “Superman” audition?
Initially, I had no idea who I was auditioning for because everything had secret names. I think mine said “Cyclone” in the script. I didn’t actually find out who I was until the day of the camera test with the [Justice Gang].

Oh, wow. How did they tell you?
They didn’t want to make it obvious that they were about to tell me, so it was all really mysterious. I’d been doing all the fittings, and the fight training, and then I got pulled into James [Gunn’s] trailer with the producers and everyone, and they were like “Do you want to be Hawkgirl?” As soon as I found out, I was really, really excited because I was like “Oh thank God, it’s someone I know.”

What was your connection to Hawkgirl before this?
I grew up watching [the “Justice League” animated series] and the character is canonically Latina, so I loved that. Her history is really complicated, and it gets even crazier when you get into the comics, but I was a huge fan of her in the show, and I drew a lot on my memories of Maria [Canals-Barrera’s] version of her. I mean, they’re two different characters, but they’re still of the same spirit because they share memories of their past lives.

What made you most excited about this version of the character? Did you connect with her at all?
She’s the only young woman in this group of guys, in an industry that’s mostly headed up by men, and in a movie that’s mostly led by men. It was a really cool opportunity to exercise a different way of being in that kind of environment. She’s kind of the unfiltered and disconnected, doesn’t-care-how-she’s-perceived version of me, and that was really cathartic to play.

Isabela Merced dressed in black

Isabela listened to punk music to get in the mindset to play Hawkgirl.

(Jason Roman)

Because you also have a music background, I’m curious about whether you use music as a tool to get into character?
Oh, yeah, definitely. Every character I play, I make a playlist of songs that remind me of them, and I’ll play them before I go to film. With Hawkgirl it was a lot of punk music that I was discovering, with all these really strong singers. Then there were songs that Bella [Ramsey] and I really loved by Adrianne Lenker that informed our experience a lot as Dina and Ellie [in “The Last of Us”]. There was some ‘80s music in there too, maybe some early 2000s, but in general, just really soft, sweet, romantic songs.

You’re releasing a salsa remix of your 2020 single, “Apocalipsis,” with Tony Succar. How did that come about?
I mean, “remix” almost feels like an understatement because it feels like a completely different song. That’s thanks to Tony, who’s the first Peruvian to win a Grammy. He came to me with this opportunity four years ago, and we recorded the song, but I was signed to a label and we weren’t able to release it. Now that I’m free and independent, and he won his Grammy, he wanted to put it on his EP, and I was like, “Hell yeah, let’s do it.” He gave me the freedom to do the video for it, and I’m really happy with how it turned out. I got to dance for it, and I learned all the choreography in an hour and a half. It was crazy, but I’m really excited for people to see it.

How would you describe your music taste? And how does it connect to the type of music you want to make?
It’s hard to pin down. If I’m looking at my most recents, it’s Hermanos Gutiérrez. But it’s also Dick Gaughan, Big Thief, Los Mirlos, which is a Peruvian band, and the Andrew Oldham Orchestra. There’s no through line there other than good music. I already have a lot going on with acting, so if music could stay something fun and light for me, and not so disciplined, I think that would be nice.

Is there a musical or an idea for a musical that would get you excited about returning to Broadway?
Have they done a Selena musical? No, I think I would have remembered that. But that would be cool, getting to dance on stage. It would be like a concert-slash-musical theater experience, kind of like what they did with Gloria Estefan’s “On Your Feet!” If it was made by the right people with respect to her life and her legacy, I think that could be dope.

But honestly, if I were to do something on Broadway, I would love for it to be an original composition. I’m currently working on one right now. I’m producing it, and also going to be in it. Things are moving along really well, and it’s another project with friends. I think we have to take more bold chances when it comes to Broadway, because everyone’s trying to reach a younger audience — but I think the most efficient way of doing that is by allowing the younger audience to bring their stories forward and tell them.

You’ve mentioned that you’re getting into producing. What kind of projects do you have in the works right now?
I’m producing one movie that’s shooting in September called “Psyche.” I’m really excited about it. We have Latina director, and also the project I’m supposed to do next after that is going to be directed by a Peruvian woman. So there’s some really, really cool s— that I’ve been trying to do, where I’ll have more creative control and freedom — but also a lower budget, so, you know, roughing [it] compared to what I’ve been doing the last few years. But I’m excited to get to the root of why I love to do this and feel it fully.

Your career is so interesting because it’s just getting started, and yet, it’s not the kind of career that many Latino actors have historically been able to achieve so early on. How do you process that?
I’m in an interesting position because I think Hollywood is really comfortable picking Latino actors who are sort of white-forward or mixed before they’re willing to cast Indigenous people. And look, I’ll take anything I can get, because, girl, I’m just trying to work in this economy. [Laughs]

But I think being aware of that is really important because when I go off and do my own projects, and have the power, I can hire people that look more like the people that I grew up with, or that look like my family. But it doesn’t always happen that way. Financing is hard to get, and when you’re trying to bring people on, they want someone who’s already known, and Hollywood just hasn’t given many of those opportunities to people of certain skin colors.

Because you’ve grown up in this industry, I’m curious what your experience has been like learning to speak up for and advocate for yourself?
Something I’ve learned is that there’s always a power struggle going on, whether that’s on a personal level, or on a bigger level, or even socially. I think we’re constantly fighting for power. And because of that, we can become very defensive. So I think the biggest challenge for me wasn’t necessarily what I went through, but how I reacted to it: by choosing to keep an open heart and still love freely and trust in people because of how I was raised. I think we all have a choice to make when we’re harmed, and that’s to either close up and harm others, or to keep going. It sucks, but I won’t let that dictate the way I move through life.

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Black mayors of cities Trump decries as ‘lawless’ tout significant declines in violent crimes

As President Trump declared Washington, D.C., a crime-ridden wasteland in need of federal intervention last week and threatened similar actions in other Black-led cities, several mayors compared notes.

The president’s characterization of their cities contradicts what they began noticing last year: that they were seeing a drop in violent crime after a pandemic-era spike. In some cases the declines were monumental, due in large part to more youth engagement, gun buyback programs and community partnerships.

Now members of the African American Mayors Assn. are determined to stop Trump from burying accomplishments that they already believed were overlooked. And they’re using the administration’s unprecedented law enforcement takeover in the nation’s capital as an opportunity to disprove his narrative about some of the country’s greatest urban enclaves.

“It gives us an opportunity to say we need to amplify our voices to confront the rhetoric that crime is just running rampant around major U.S. cities. It’s just not true,” said Van Johnson, mayor of Savannah, Ga., and president of the African American Mayors Assn. “It’s not supported by any evidence or statistics whatsoever.”

Trump has deployed the first of 800 National Guard members to the nation’s capital, and at his request, the Republican governors of three states pledged hundreds more Saturday. West Virginia said it was sending 300 to 400 Guard troops, South Carolina pledged 200, and Ohio said it would send 150 in the coming days, marking a significant escalation of the federal intervention.

Beyond Washington, the Republican president is setting his sights on other cities including Baltimore, Chicago, Los Angeles and Oakland, calling them crime-ridden and “horribly run.” One thing they all have in common: They’re led by Black mayors.

“It was not lost on any member of our organization that the mayors either were Black or perceived to be Democrats,” Johnson said. “And that’s unfortunate. For mayors, we play with whoever’s on the field.”

The federal government’s actions have heightened some of the mayors’ desires to champion the strategies used to help make their cities safer.

Some places are seeing dramatic drops in crime rates

Trump argued that federal law enforcement had to step in after a prominent employee of his White House advisory team known as the Department of Government Efficiency was attacked in an attempted carjacking. He also pointed to homeless encampments, graffiti and potholes as evidence of Washington “getting worse.”

But statistics published by Washington’s Metropolitan Police contradict the president and show violent crime has dropped there since a post-pandemic-emergency peak in 2023.

Chicago Mayor Brandon Johnson scoffed at Trump’s remarks, hailing the city’s “historic progress driving down homicides by more than 30% and shootings by almost 40% in the last year alone.”

Mayor Karen Bass of Los Angeles, where homicides fell 14% from 2023 to 2024, called the federal takeover in District of Columbia a performative “power grab.”

In Baltimore, officials say they have seen historic decreases in homicides and nonfatal shootings this year, and those have been on the decline since 2022, according to the city’s public safety data dashboard. Carjackings were down 20% in 2023, and other major crimes fell in 2024. Only burglaries have climbed slightly.

The lower crime rates are attributed to tackling violence with a “public health” approach, city officials say. In 2021, under Mayor Brandon Scott, Baltimore created a Comprehensive Violence Prevention Plan that called for more investment in community violence intervention, more services for crime victims and other initiatives.

Scott accused Trump of exploiting crime as a “wedge issue and dog whistle” rather than caring about curbing violence.

“He has actively undermined efforts that are making a difference saving lives in cities across the country in favor of militarized policing of Black communities,” Scott said via email.

The Democratic mayor pointed out that the Justice Department has slashed more than $1 million in funding this year that would have gone toward community anti-violence measures. He vowed to keep on making headway regardless.

“We will continue to closely work with our regional federal law enforcement agencies, who have been great partners, and will do everything in our power to continue the progress despite the roadblocks this administration attempts to implement,” Scott said.

Oakland officials this month touted significant decreases in crime in the first half of this year compared with the same period in 2024, including a 21% drop in homicides and a 29% decrease in all violent crime, according to the midyear report by the Major Cities Chiefs Assn. Officials credited collaborations with community organizations and crisis response services through the city’s Department of Violence Prevention, established in 2017.

“These results show that we’re on the right track,” Mayor Barbara Lee said at a news conference. “We’re going to keep building on this progress with the same comprehensive approach that got us here.”

After the president gave his assessment of Oakland last week, Lee, a steadfast Trump antagonist during her years in Congress, rejected it as “fearmongering.”

Social justice advocates agree that crime has gone down and say Trump is perpetuating exaggerated perceptions that have long plagued Oakland.

Nicole Lee, executive director of Urban Peace Movement, an Oakland-based organization that focuses on empowering communities of color and young people through initiatives such as leadership training and assistance to victims of gun violence, said much credit for the gains on lower crime rates is due to community groups.

“We really want to acknowledge all of the hard work that our network of community partners and community organizations have been doing over the past couple of years coming out of the pandemic to really create real community safety,” Lee said. “The things we are doing are working.”

She worries that an intervention by military troops would undermine that progress.

“It creates kind of an environment of fear in our community,” she said.

Patrols and youth curfews

In Washington, agents from multiple federal agencies, National Guard members and even the United States Park Police have been seen performing law enforcement duties including patrolling the National Mall and questioning people parked illegally.

Pentagon Press Secretary Kingsley Wilson said the National Guard troops will not be armed, but he declined to elaborate on their assignments to safety patrols and beautification efforts.

Savannah’s Johnson said he is all for partnering with the federal government, but troops on city streets is not what he envisioned. Instead, he said, cities need federal assistance for things like multistate investigation and fighting problems such as gun trafficking and cybercrime.

“I’m a former law enforcement officer. There is a different skill set that is used for municipal law enforcement agencies than the military,” Johnson said.

There has also been speculation that federal intervention could entail curfews for young people.

But that would do more harm, Lee said, disproportionately affecting young people of color and wrongfully assuming that youths are the main instigators of violence.

“If you’re a young person, basically you can be cited, criminalized, simply for being outside after certain hours,” she said. “Not only does that not solve anything in regard to violence and crime, it puts young people in the crosshairs of the criminal justice system.”

A game of wait-and-see

For now, Johnson said, the mayors are closely watching their counterpart in Washington, Muriel Bowser, to see how she navigates the unprecedented federal intervention. She has been walking a fine line between critiquing and cooperating since Trump’s takeover, but things ramped up Friday when officials sued to block the administration’s naming its Drug Enforcement Administration chief as an “emergency” head of the police force. The administration soon backed away from that move.

Johnson praised Bowser for carrying on with dignity and grace.

“Black mayors are resilient. We are intrinsically children of struggle,” Johnson said. “We learn to adapt quickly, and I believe that we will and we are.”

Tang writes for the Associated Press.

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Bad Bunny fan who visited Puerto Rico for concert fatally shot

A Bad Bunny fan who was visiting Puerto Rico for the hip-hop star’s concert residency was fatally shot early Sunday in La Perla, a popular seaside shantytown in the capital, police said.

The victim was identified as Kevin Mares, a 25-year-old who lived in New York, according to a police statement.

The shooting happened in the predawn hours at a nightspot called Shelter for Mistreated Men in La Perla, a coastal community of San Juan that has struggled to shed its dark reputation.

Homicide detective Sgt. Arnaldo Ruiz said in a phone interview that the shooting took place when several people near Mares began arguing and one pulled out a gun and shot at least three people, including Mares. Two other men, who live in La Perla, were injured and remain hospitalized.

Ruiz said Mares was an innocent bystander. He was with three other friends who told police they were in Puerto Rico for one of Bad Bunny’s 30 concerts, which have attracted tens of thousands of visitors to the U.S. territory, where the artist was born.

Mares was shot on the left side of his abdomen and was taken to Puerto Rico’s largest public hospital, where he died, authorities said.

Ruiz said police don’t yet know what the people were arguing about and don’t have a description of the shooter. “We have very little information,” he said.

Ruiz added that Mares’ three friends also were from New York. He didn’t know their hometowns.

La Perla is on the outskirts of a historic district popular with tourists known as Old San Juan. A couple hundred people live in the shantytown, which once served as Puerto Rico’s biggest distribution point for heroin and was known for its violence.

Police used to avoid the community, which used to have a sign proclaiming, “Not open to visitors. Do not enter.”

But violence eased when hundreds of federal agents raided the slum in 2011 and arrested dozens of people, including a well-known community leader who was later convicted.

The neighborhood became even safer and more welcoming after Puerto Rican singers Luis Fonsi and Daddy Yankee featured it in their hit “Despacito.”

But isolated violence persists.

In February 2023, three tourists were stabbed after police said a person told them to stop filming inside the community.

In April of last year, a 24-year-old tourist from Delaware was killed and his body set on fire after police said he and a friend were attacked after a drug purchase. Police said the victims were trying to take pictures of La Perla after being warned not to do so.

The island of 3.2 million people has reported 277 killings so far this year, compared with 325 killings in the same period last year.

Coto writes for the Associated Press.

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Rep. Nancy Mace kicks off South Carolina GOP gubernatorial bid. She says she’s ‘Trump in high heels’

Republican Rep. Nancy Mace of South Carolina is running for governor, entering a GOP primary in which competition for President Trump’s endorsement — and the backing of his base of supporters — is expected to be fierce.

Mace, who last year won her third term representing South Carolina’s 1st District, made her run official during a launch event Monday at The Citadel military college in Charleston. She plans to start a statewide series of town halls later this week with an event in Myrtle Beach.

“I’m running for governor because South Carolina doesn’t need another empty suit and needs a governor who will fight for you and your values,” Mace said. “South Carolina needs a governor who will drag the truth into sunlight and flip the tables if that’s what it takes.”

Mace told the Associated Press on Sunday she plans a multi-pronged platform aimed in part at shoring up the state’s criminal justice system, ending South Carolina’s income tax, protecting women and children, expanding school choice and vocational education and improving the state’s energy options.

Official filing for South Carolina’s 2026 elections doesn’t open until March, but several other Republicans have already entered the state’s first truly open governor’s race in 16 years, including Atty. General Alan Wilson, Lt. Gov. Pamela Evette and Rep. Ralph Norman.

Both Wilson and Evette have touted their own connections to the Republican president, but Mace — calling herself “Trump in high heels” — said she is best positioned to carry out his agenda in South Carolina, where he has remained popular since his 2016 state primary win helped cement his status as the GOP presidential nominee.

Saying she plans to seek his support, Mace pointed to her defense of Trump in an interview that resulted in ABC News agreeing to pay $15 million toward his presidential library to settle a defamation lawsuit. She also noted that she called Trump early this year as part of an effort to persuade GOP holdouts to support Rep. Mike Johnson to become House speaker.

“No one will work harder to get his attention and his endorsement,” she said. “No one else in this race can say they’ve been there for the president like I have, as much as I have, and worked as hard as I have to get the president his agenda delivered to him in the White House.”

Mace has largely supported Trump, working for his 2016 campaign but levying criticism against him following the Jan. 6, 2021, violence at the U.S. Capitol, which spurred Trump to back a GOP challenger in her 2022 race. Mace defeated that opponent, won reelection and was endorsed by Trump in her 2024 campaign.

A month after she told the AP in January that she was “seriously considering” a run, Mace went what she called “scorched earth,” using a nearly hourlong speech on the U.S. House floor in February to accuse her ex-fiancé of physically abusing her, recording sex acts with her and others without their consent, and conspiring with business associates in acts of rape and sexual misconduct.

Mace’s ex-fiancé said he “categorically” denied the accusations, and another man Mace mentioned has sued her for defamation, arguing the accusations were a “dangerous mix of falsehoods and baseless accusations.”

“I want every South Carolinian to watch me as I fight for my rights as a victim,” Mace said, when asked if she worried about litigation related to the speech. “I want them to know I will fight just as hard for them as I am fighting for myself.”

Mace, 47, was the first woman to graduate from The Citadel, the state’s military college, where her father then served as commandant of cadets. After briefly serving in the state House, in 2020 she became the first Republican woman elected to represent South Carolina in Congress, flipping the 1st District after one term with a Democratic representative.

“I’m going to draw the line, and I’m going to hold it for South Carolina, and I’m going to put her people first,” Mace said.

Kinnard writes for the Associated Press.

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Matthew Stafford won’t be part of Rams’ joint practice with Cowboys

Sean McVay won’t have to worry about Matthew Stafford catching a twice-tipped pass and stumbling over the goal line during a joint practice with the Dallas Cowboys.

That anxiety-inducing event occurred last year when the Rams practiced against the Cowboys.

On Tuesday, the Rams again travel to Oxnard to practice against the Cowboys before Saturday’s preseason game at SoFi Stadium.

But the back issue that sidelined Stafford throughout training camp will keep him off the field.

When the Rams go through a jogthrough on Monday, Stafford will continue to work out on his own, McVay said Sunday after the final public workout at Loyola Marymount.

“He is able to do a little bit more, which is good, and things are progressing well,” McVay said. “But he won’t take part in the jogthrough because he’ll be doing some other stuff during that time.”

McVay said Stafford’s workouts with trainers have included some static throwing exercises, running on a treadmill, light cardio and core work.

“It’s more just functional strength surrounding the area while making sure that you don’t do anything to set yourself back, based on the trajectory that he’s doing,” McVay said. “But we are looking forward to getting him and easing him back to football hopefully in the near future.”

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Federal authorities investigating former special counsel Jack Smith

Federal officials have opened an investigation into Jack Smith, the former special counsel who indicted then-candidate Donald Trump on felony charges before his election to a second term.

The current Office of Special Counsel, traditionally an independent federal agency, on Saturday confirmed the investigation after reporting by other news organizations. Smith was named special counsel by then-Atty. Gen. Merrick Garland to investigate Trump in November 2022 for his actions related to trying to overturn his 2020 election loss to Joe Biden and his hoarding of classified documents at his home in Florida.

Trump and his Republican allies, including Sen. Tom Cotton, have — without offering evidence of wrongdoing — accused Smith of violating the Hatch Act, a federal law that bans certain public officials from engaging in political activity.

Smith prosecuted two federal cases against Trump and indicted him on multiple felony charges in both. He dropped both cases after Trump won the election in November, as a sitting president is shielded from prosecution according to long-standing Justice Department practice. Smith then subsequently resigned as special counsel.

Cotton (R-Ark.) on Wednesday asked the Office of Special Counsel to investigate Smith, alleging that his conduct was designed to help then-President Biden and then-Vice Presiedent Kamala Harris, who became the Democratic nominee in last year’s race against Trump.

Trump is the only felon to ever occupy the White House, having been convicted in May 2024 on 34 criminal counts for fraud related to a hush-money payment to a porn star before the 2016 election, which he also won.

The White House had no immediate comment on the investigation.

The New York Post was first to report on the investigation into Smith.

Superville writes for the Associated Press.

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Freddie Freeman’s Coldplay meme-inspired rebound helping Dodgers win

First, the meme made Freddie Freeman laugh.

Then, in a serendipitous twist, it gave him a lightning-bulb epiphany about his recently ailing swing.

At the end of a long day during last week’s homestand — when Freeman was hit by a pitch on July 20, immediately removed from the game to get an X-ray, then informed he somehow hadn’t sustained serious injury — manager Dave Roberts shared with the first baseman a comical video edit he had received from a friend. A light reprieve at the end of a stressful day.

In it, the swing of Freeman’s walk-off grand slam in last year’s World Series was incorporated into a spin-off of the viral Coldplay kiss cam video (yes, that Coldplay kiss cam).

Freeman got a chuckle out of the clip.

But, while rewatching his Fall Classic moment, he also made an observation about his iconic swing.

On that night last October, Freeman noticed, “I’m more in my front ankle,” he later said — a subtle, but profound, contrast to how he had been swinging the bat amid a two-month cold spell he was mired in at the time.

So, for the rest of that night, Freeman thought about the difference. He went into the Dodgers’ batting cages the next afternoon focused on making a change.

“It’s a different thought of being in your legs when you’re hitting,” said Freeman, who had started the season batting .371 over his first 38 games, before slumping to a .232 mark over his next 49 contests. “It’s just more [about leaning] into my front ankle. It’s helping me be on time and on top [of the ball].”

“We’ll see,” he added with a chuckle, “how it goes in the game.”

Ten games later, it seems to be going pretty well.

Since making the tweak on July 21, Freeman is 14 for 39 (.359 average) with two home runs, four extra base hits, 10 RBIs and (most importantly) a renewed confidence at the plate.

After collecting his first three-hit game in a month Tuesday in Cincinnati, then his first home run in all of July the next evening, he stayed hot in the Dodgers’ series-opening 5-0 defeat of the Tampa Bay Rays on Friday, whacking a two-run double in the first inning and a solo home run in the fifth in front of a crowd of 10,046 at Steinbrenner Field (the New York Yankees’ spring training park serving as the Rays’ temporary home).

“That visual helped him kind of tap into something,” Roberts laughed recently of Freeman’s post-meme swing adjustment. “He is early, for a change. Versus being late, chasing.”

Freeman’s turnaround is something the Dodgers — who also got six scoreless innings out of Clayton Kershaw on Friday, lowering his season earned-run average to 3.29 in 13 starts — need out of several superstar sluggers over the final two months of the season.

Dodgers pitcher Clayton Kershaw delivers during a 5-0 win over the Tampa Bay Rays on Friday.

Dodgers pitcher Clayton Kershaw delivers during a 5-0 win over the Tampa Bay Rays on Friday.

(Jason Behnken / Associated Press)

During Thursday’s trade deadline, the team didn’t splurge on big-name acquisitions. The only addition they made to their recently slumping lineup (which ranked 28th in the majors in scoring during July) was versatile outfielder Alex Call from the Washington Nationals.

Instead, both Roberts and club executives have preached of late, the team is banking on players like Mookie Betts (who is batting .237), Teoscar Hernández (who has hit .215 since returning from an adductor strain in May), Tommy Edman (who has hit .210 since returning from an ankle injury in May) and even Shohei Ohtani (who leads the National League in home runs, but is batting only .221 since resuming pitching duties in June) to play up to their typical, potent standards.

“I think if you look at it from the offensive side, as far as our guys, they’ll be the first to tell you they’ve got to perform better and more consistently,” Roberts said. “That’s something that we’re all counting on.”

For much of the summer, Freeman had been squarely in that group, as well.

His recent Coldplay-inspired rebound, the club hopes, will be one of many that spark an offensive surge down the stretch this year.

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Andrew Friedman whiffs on the Dodgers’ urgent need for a closer

A funny thing blocked the path to another Andrew Friedman midsummer triumph.

An Andrew Friedman midsummer failure.

The Dodgers and their renowned baseball boss came to bat at baseball’s trade deadline Thursday poised to knock another fat midseason pitch out of the park en route to a second consecutive World Series championship.

They never took the bat off their shoulder.

Strike out, staring.

The Dodgers needed a proven closer. Six teams picked up proven closers. The Dodgers weren’t one of them.

Mason Miller went to the San Diego Padres, Camilo Doval to the New York Yankees, Griffin Jax to the Tampa Bay Rays, Ryan Helsley to the New York Mets, Jhoan Duran to the Philadelphia Phillies and David Bednar to the New York Yankees.

Some other reliever went to the Dodgers. I think his name was Brock Stewart or something.

How does this make sense? Are they watching what we’re watching?

So you’re telling me they must forge ahead through the rest of the season hoping that Tanner Scott gets healthy or Kirby Yates gets consistent or Blake Treinen gets younger or, heck, maybe the Boston Red Sox cut Walker Buehler and he comes back for one more ninth inning! That’s crazy, but this entire situation is crazy, a $400-million roster with nobody to pitch the last out.

The Dodger also entered Thursday needing a defensive-minded outfielder. Four teams found one. The Dodgers did not.

Harrison Bader went to the Phillies, Mike Yastrzemski and Randal Grichuk to the Kansas City Royals, Austin Slater to the Yankees and Cedric Mullins to the Mets.

The Dodgers picked up an outfielder named Alex…is it Call?

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So now Dodger fans are haunted with the fear that Michael Conforto will lose a fly ball down the left-field line on Halloween with the season on the line.

This is all so weird. This is all so, well, arrogant.

Granted, the Dodgers have baseball’s best team on paper, but they’ve had its best team for several years and that hasn’t stopped Friedman from dominating the last week in July.

One could argue that Friedman actually won last year’s championship by brilliantly acquiring Jack Flaherty and Tommy Edman and Michael Kopech at the deadline.

This has always been Friedman’s strength, humbly adding talent to a group already possessing riches of talent.

Remember, this is the time of year he also once traded for Rich Hill, Yu Darvish, Manny Machado, Max Scherzer, Trea Turner and Evan Phillips, all of whom led them deep into the playoffs.

The only two years during which Friedman has fumbled the deadline? He failed to acquire pitching in 2022 and they were beaten by the Padres. He brought in only Lance Lynn in 2023 and they were swept by the Arizona Diamondbacks.

This suddenly feels like one of those years.

“We felt like this is an incredibly talented group that, as we get healthy and these guys hit their stride, we feel like we’re in a great position for another deep run into October,” general manager Brandon Gomes said on a conference call with reporters.

In other words, they think they’re good enough that they don’t need to trade any top prospects for win-now talent.

But are they? And even if they are, why take a chance?

Mookie Betts reacts after striking out against the Milwaukee Brewers on July 20.

Mookie Betts reacts after striking out against the Milwaukee Brewers on July 20.

(Robert Gauthier / Los Angeles Times)

If there’s anything the first 109 games of this season has taught us is that the Dodgers’ greatness, like all greatness in a sport that hasn’t had consecutive champions in a quarter of a decade, can be fleeting.

The window suddenly seems to be slowly closing on the Hall of Fame careers of Mookie Betts and Freddie Freeman. Shohei Ohtani has been so physically stressed that he’s leaving games with cramps.

Teoscar Hernández doesn’t look like last year’s revelation. Max Muncy can’t stay on the field. And Edman is batting aches that may last all season.

The rotation is also shaky, with fragile Tyler Glasnow and aging Clayton Kershaw and underwhelming Roki Sasaki and injured Blake Snell and, really, just one sure-fire starter is Yoshinobu Yamamoto.

“Obviously there was a lot of action today throughout the game, and a lot of teams improved, but we feel really good about this group,” Gomes said. “Coming into the year, felt like this was as talented of a roster as we’ve ever had. We’re in a position where we’re in first place, and I don’t even think we’ve played our best baseball yet. So as we continue to get some of our starters back, and then adding these pieces, and our guys just kind of playing up to their potential, we feel like it’s still a really, really strong team, and we don’t feel any differently about our aspirations than we did at the beginning of the year.”

Through their stunning inaction Thursday, the Dodger clearly made the statement that they’re good enough to a championship without any more help.

All those teams that greatly improved don’t agree.

The baseball world is sensing a Dodger vulnerability, as if there’s blue blood in the water.

Given a chance to dissuade everyone of that notion the Dodgers sighed, shrugged and passed.

A strikeout of a day, a turning point of a season?

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Jessie Murph on ‘Sex Hysteria,’ TikTok and the controversy over ‘1965’

For about two months when she was a kid, Jessie Murph wanted to go to Harvard.

“I watched ‘Legally Blonde,’ and I was like, ‘This is lit,’” the 20-year-old singer and songwriter says of the Reese Witherspoon law-school comedy that came out three years before she was born. But wait: Growing up in small-town Alabama, Murph was a talented and dedicated cheerleader. Does Harvard even have cheerleaders?

“They probably do,” she says, tilting her head as she considers the question. “I don’t know if it’s like the main thing, though. It’s true you don’t really hear about it. They have all the expensive sports: lacrosse, polo, horse riding.” She laughs. “Horse riding would be lit too.”

Whatever the case, Murph soon cast aside her Ivy League aspirations — not to mention her devotion to cheer, though that’s come back more recently — and refocused on her first love of music. Now, instead of preparing for sophomore year, she’s just released her second major-label album, “Sex Hysteria,” which includes the top 20 pop hit “Blue Strips” and which — true to the LP’s title — has set off a minor internet controversy with the racy music video for her song “1965.”

An Amy Winehouse-ish retro-soul number with a ringing malt-shop piano lick, “1965” is about longing for romance the way they did it in the old days: “We’d go to diners and movies and such,” Murph sings in her scratchy Southern drawl, “We’d just hold hands and I’d love every touch.” Elsewhere in the song, the nostalgia darkens as Murph acknowledges that “I might get a little slap-slap” from her man and that “I would be 20, and it’d be acceptable for you to be 40.” (“That is f— up, I know,” she adds of the age gap.)

The song’s NSFW video goes even further, with traces of pornography and suggestions of domestic violence that have invited criticism that Murph is advocating (or at least aestheticizing) a kind of tradwife oppression at a precarious moment for women’s rights. Murph addressed the blowback in a video on TikTok, where she has 11 million followers, writing, “This entire song is satire r yall stupid” — proof, perhaps, that her point didn’t quite land as she’d hoped.

Yet this week, “Sex Hysteria” debuted on Billboard’s album chart at No. 8, not long after Lana Del Rey — a key influence on Murph with a long history of online outrage — posted a video of herself pole dancing to “Blue Strips,” whose title refers to the security marking on a $100 bill that might be tossed at an exotic dancer. All the attention has combined to put Murph in the conversation for a best new artist nod at February’s Grammy Awards.

“Writing this album, I was in the studio every day for like six months straight,” she says on a recent afternoon near Venice Beach. “Didn’t go out, didn’t do anything — was just grinding.” We’re talking at the end of a long day of promo for “Sex Hysteria”; she’s wearing jeans and a Hysteric Glamour T-shirt, her inky-black hair hanging loose around her face. “But it’s so cool because you go in there with nothing and you make something out of thin air,” she says. “Then you get to listen to it, and it’s therapeutic for what you’re feeling.”

Though it opens with a track in which she attributes her becoming a songwriter to “my father and the f— up s— he did,” “Sex Hysteria” is a more playful record than last year’s “That Ain’t No Man That’s the Devil,” which Murph says exorcised “a lot of anger and hurt that I needed to get out, even just for myself, before I could move on to the next phase.” (A representative lyric from “Dirty”: “I woke up this morning kind of mad / Flipped the switch, I had the urge to beat your ass.”)

Here, in contrast, she’s singing about her interest in “whips and chains” in the sock-hoppy “Touch Me Like a Gangster” and bragging about the Malibu mansion she just bought in “Blue Strips” — a mansion, she clarifies, she does not actually own.

“Not yet,” she adds. “That line was just the first thing that came out of my mouth when I was writing the song. It feels so glittery, the thought of living in Malibu. It’s always been something I’ve wanted to do.” What shaped her ideas about the storied coastal enclave as a child in the Deep South? “I’m a really big fan of ‘Property Brothers’ — I’m sure I saw it on there.”

Murph moved to L.A. about a year and a half ago from Nashville, where she established a foothold in the music industry with collaborations like “Wild Ones,” a duet with Jelly Roll that has more than 300 million streams on Spotify, and “High Road,” a No. 1 country-radio hit by her and Koe Wetzel that led to a nomination for new female artist of the year at May’s ACM Awards.

“Sex Hysteria” dials down the explicit country trappings in favor of thumping bass lines and woozy trap beats; her guests on the album are Gucci Mane and Lil Baby. Yet the album demonstrates a certain stylistic blurriness that’s comes to define country music no less than any other genre in the streaming era.

“Whether it’s country or pop or whatever, I think Jessie Murph is just Jessie Murph,” says Bailey Zimmerman, the Nashville up-and-comer who teamed with Murph last year for the rootsy “Someone in This Room” and whose own music shares a casually hybridized quality with Murph’s. “It may not sound country, but what she’s talking about usually is.”

Like many in her generation, Murph found her voice posting covers of popular songs online. The oldest video on her YouTube is titled “11 year old sings titanium” and, sure enough, shows a young Murph squinting into the camera as she performs Sia and David Guetta’s 2011 stadium-rave jam. At 16, having built a following on Instagram and TikTok while in high school in Athens, Ala., she signed to Columbia Records and started releasing singles; by 2023 she’d dropped a mixtape called “Drowning” and recorded songs with Diplo and Maren Morris.

Jessie Murph

Jessie Murph

(Annie Noelker / For The Times)

For “Sex Hysteria,” she drew inspiration from Patsy Cline, Wanda Jackson and both Presleys — Elvis and Priscilla. Murph says her mother told her that when Jessie was 3, she came into the kitchen and announced that she’d been Elvis in a past life. Has Jessie been to Graceland?

“No, but my mom went there when she was pregnant with me,” she says, widening her kohl-rimmed eyes.

She titled the album in reference to the dismissive way women were described as “hysterical” in the 1950s and ’60s — “women who were depressed or anxious or just feeling normal emotions,” she says. Does she think women are more free to express themselves half a century later?

“I definitely feel free if I’m feeling some type of way — obviously I’m saying it in songs and not holding anything back. But I think everyone’s experience is very different. I’m sitting in a different spot than somebody three doors down is, you know? And different countries and different political settings — I’m sure it’s something that’s a problem in places.”

To a degree, the backlash to Murph’s “1965” has overlapped with the criticism Sabrina Carpenter drew when she revealed the cover of her upcoming “Man’s Best Friend” album, which depicts Carpenter kneeling before a man who’s pulling her hair.

“The weirdest part about it is that it’s a lot of women who are hating,” Murph says. “But I think some people are weirded out by my age. A lot of people met me when I was 16 or 17 and a much different person — which, thank God I’m a different person.” She sighs. “I don’t know. When people find you at a certain age, it’s like you need to be frozen in time. Let me live.”

This week, Murph launched a world tour behind “Sex Hysteria” that she previewed with a buzzy performance at April’s Coachella festival in which she brought some of her old cheerleading moves into the choreography she’s emphasizing for the first time. (She’ll circle back to Southern California for a Sept. 27 stop at the Shrine Expo Hall.)

“Certain things come naturally to me and certain things don’t,” she says. “The dance stuff is one of the things I’m grilling myself on.”

Another of her goals this year: spending less time on social media. “That s— is terrible for your mental health,” she says even as she admits that YouTube and TikTok have been crucial to her ascent. “I’m on World War III TikTok right now, where they’re talking about World War III. And I just keep scrolling, because now I’m nervous about World War III.

“I think it’s scary how young kids are getting phones,” she adds. “That YouTube video you brought up — I could have posted something crazy at that age, right? Even being 16 and having TikTok — I look back at some of the things I posted, and I’m like, Why would you post that, bro?”



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‘No Other Land’ collaborator killed by Israeli settler

Awdah Hathaleen a Palestinian community leader who was a consultant on the Oscar-winning documentary “No Other Land,” died Monday after an Israeli settler allegedly shot him to death in the occupied West Bank.

“No Other Land” filmmaker and subject Yuval Abraham announced his colleague’s death Monday, writing on X (formerly Twitter), “[Hathaleen] just died. Murdered.” Two hours prior, Abraham shared video of the confrontation that led to Hathaleen’s death. In the video, the settler in a dark shirt can be seen shoving people in a group, pulling out and pointing his pistol in their direction. The video shows him firing at people off-screen.

In the caption of his video, Abraham writes that the settler “just shot” Hathaleen in the lungs and identified the shooter as Yinon Levi. Levi was among the 13 hard-line Israeli settlers targeted last year by international sanctions for their alleged attacks and harassment of Palestinians in the West Bank. President Trump lifted U.S. sanctions against the Israelis in January.

“This is him in the video firing like crazy,” Abraham tweeted.

The incident occurred in in the village of Umm al-Khair, in the Masafer Yatta region that was the focus of “No Other Land.” Hathaleen was rushed to a hospital in Israel, where he was pronounced dead, his family confirmed to the New York Times. He was 31.

According to multiple reports, Israeli police said they responded to the scene, detaining and arresting an Israeli citizen. Police did not identify the detainee they took in for questioning, and claimed “terrorists hurled rocks toward” the nearby Israeli settlement of Carmel, according to CNN. Additionally, the Israeli military detained five Palestinians and two foreign tourists for their alleged involvement in Monday’s incident, the BBC reported.

The IDF did not immediately respond to The Times’ request for confirmation on Tuesday.

“No Other Land” filmmaker and Palestinian journalist Basel Adra on Tuesday tweeted video showing the attack from another angle. In this video, Levi is seen with the pistol in his right hand, smacking a person in front of him. The clip also sees Levi raising his right arm and firing off-screen. Adra says Levi “fires the bullet that took” Hathaleen’s life, adding in his caption that “the apartheid court decided to release him to house arrest.”

On Monday, Adra tweeted he was in disbelief about his friend’s death: “My dear friend Adwah was slaughtered this evening. He was standing in front of the community center in his village where a settler fired a bullet that pierced his chest and took his life. This is how Israel erases us — one life at a time.”

On Instagram, the Center for Jewish Nonviolence described Hathaleen as a well-known community figure: “an activist, artist, and teacher in the West Bank community of Masafer Yatta.” The activist group reminded Instagram followers that last month Hathaleen and another Palestinian man were denied entry, detained overnight and deported back to the West Bank when they arrived at the San Francisco International Airport.

“So many in our community knew Awdah, and gained so much by learning from him, and being his friend,” the organization said, concluding its statement with a call to action. “May Awdah’s memory be a revolution. May we see justice for Awdah, and justice for all Palestinians, within our lifetime.”

Earlier this year, Israeli settlers brutalized another member of the Oscar-winning “No Other Land” team. In March, Palestinian filmmaker Hamdan Ballal was beat in his head and stomach by settlers in the village of Susiya in the Masafer Yatta area. Palestinian residents said the settlers, some wearing masks, some carrying guns and some wearing military uniforms, attacked as residents were breaking their fast during the Muslim holy month of Ramadan, according to the Associated Press. Israeli military and police forces detained the filmmaker on suspicion of hurling rocks at IDF and police.

He was released a day later, with bruises on his face and blood on his clothes. As he recalled hearing “the voice of soldiers laughing at me,” his wife said she felt the international attention surrounding “No Other Land’s” Oscar win prompted settlers to “attack us more.” The harrowing documentary , which became the subject of controversy in Miami Beach earlier this year, documents Israel’s demolition of Palestinian villages in Masafer Yatta and the displacement of their communities in favor of Israeli military training grounds.

Since Israel launched its war against Hamas nearly two years ago, more than 60,000 Palestinians have been killed, Gaza’s Health Ministry said Tuesday. At least 77 were killed over the past 24 hours, most while seeking food.

The Associated Press contributed to this report.



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From actor to NASCAR: Frankie Muniz out to prove his doubters wrong

Frankie Muniz may be the only actor who has been nominated for an Emmy award and driven in a NASCAR event at Daytona. But if Muniz had been old enough to get a driver’s license before he moved to Hollywood, there may never have been a “Malcolm in the Middle.”

“When I’m in that race car and I put my visor down and I drive out of that pit lane, I feel like I’m exactly where I’m supposed to be,” he said. “That’s what I’m supposed to do and that’s what I’m doing.”

And acting?

“I don’t feel like I’m a good actor,” he said. “I know I can act. But when I look at good acting, I go ‘dang, I could never do that’.”

That’s not true, of course. Muniz, who started acting when he was 12, has been credited in 26 films and 37 TV shows, including the title role in “Malcolm in the Middle,” which earned him two Golden Globe nominations and one Emmy nod during its seven-year run on Fox.

But acting was a profession. Racing is a passion.

“Excitement and all the emotions. That’s what I love about racing,” he said. “The highs are so high and the lows are unbelievably low. It’s awesome.”

Muniz placed 28th in the NASCAR Craftsman Truck Series race at Indianapolis Raceway Park on Friday. He is 23rd among the 64 drivers listed in the series points standings, with his one top-10 finish coming in the season opener at Daytona.

Muniz, 39, isn’t the first actor to try racing. Paul Newman was a four-time SCCA national champion who finished second in the 24 Hours of Le Mans in 1979 while Patrick Dempsey (“Grey’s Anatomy,” “Can’t Buy Me Love”) has driven sports cars at Le Mans and in the Rolex 24 at Daytona, in addition to other series.

Frankie Muniz qualifies at Daytona International Speedway in February.

Frankie Muniz qualifies at Daytona International Speedway in February.

(Phelan M. Ebenhack / Associated Press)

But driving isn’t a side hustle for Muniz, who last October signed with North Carolina-based Reaume Brothers Racing to be the full-time driver of the team’s No. 33 Ford in the truck series. Muniz also raced twice last year in the NASCAR Xfinity Series.

“When I originally started racing, I was kind of at the height of my [acting] career. I had tons of offers to do movies and shows and all that,” said Muniz, who made his stock-car debut in the fall of 2021 in Bakersfield, then accepted an offer to drive full time in the ARCA Menards Series in 2023. “Very easily could have stayed in that business. But I wanted to give racing a try. And to compete at the top level, you have to put in the time and effort that professional race car drivers are doing, right? You can’t do it halfway.”

Muniz was into racing before he even thought about acting. Growing up in North Carolina, he remembers waking early on the weekend to watch IndyCar and NASCAR races on TV. No one else in his family shared his interest in motorsports, so when his parents divorced shortly after Muniz was discovered acting in a talent show at age 8, his mother moved to Burbank, where he made his film debut alongside Louis Gossett Jr. in 1997’s “To Dance With Olivia.”

Two years later he was cast as the gifted middle child of a dysfunctional working-class family in the successful sitcom “Malcolm in the Middle.” Motorsports continued to tug at him so after running in a few celebrity events, Muniz twice put his acting career on hold to race, first in 2007 — shortly after “Malcolm” ended after seven seasons and 151 episodes — when he started a three-season run in the open-wheel Atlantic Championship series.

Still, Muniz, who lives with his wife Paige and 4-year-old son Mauz in Scottsdale, Ariz., is dogged by criticism he is little more than a weekend warrior who is using his substantial Hollywood reputation and earnings to live out his racing fantasies.

“I don’t spend any of my money going racing,” he said. “I made a promise to my wife that I would not do that. So I can kill that rumor right there.”

But those whispers persist partly because Muniz hasn’t completely cut ties with acting. Because the truck series doesn’t run every weekend, racing 25 times between Valentine’s Day and Halloween, Muniz had time to tape a “Malcolm in the Middle” reunion miniseries that is scheduled to air on Disney+ in December.

He has also appeared in two other TV projects and two films since turning to racing full time. But his focus, he insists, is on driving.

“If I wanted to go racing for fun,” he said, “I would not be racing in the truck series. I’d be racing at my local track or I’d be racing some SCCA club events. I want to be one of the top drivers there are. I want to make it as high up in NASCAR as I can. And I’m doing everything I can to do that.”

Fame outside of racing can be a double-edged sword in the high-cost world of NASCAR. It can open doors to a ride and sponsorships others can’t get, but it can also cause jealousy in the garage, with drivers crediting that fame and not talent for a rival’s success. And Muniz isn’t the only rookie driver who has had to deal with that.

Toni Breidinger, who finished 27th in Friday’s race and is one place and eight points ahead of Muniz in the season standings with nine races left, is a model who has posed for Victoria’s Secret and been featured in the pages of Glamour, GQ and Sports Illustrated’s swimsuit edition. She’s also a good driver who has been going fast on a racetrack far longer than she’s been walking slowly down a catwalk.

Toni Breidinger prepares for NASCAR Craftsman Truck Series practice at Lucas Oil Indianapolis Raceway Park.

Toni Breidinger prepares for NASCAR Craftsman Truck Series practice at Lucas Oil Indianapolis Raceway Park on Friday.

(Justin Casterline / Getty Images)

“I was definitely a racer before anything. That was definitely my passion,” said Breidinger, who started driving go-karts in Northern California when she was 9. “I’ve been lucky enough to be able to do modeling to help support that passion. But at the end of the day, I definitely consider myself a racer. That’s what I grew up doing and that’s the career I’ve always wanted do to.”

Still, she sees the two pursuits as being complementary. When Breidinger appears on a red carpet, as she did before this month’s ESPY Awards in Los Angeles, it helps her modeling career while at the same time giving the sponsors of her racing team — which includes 818 Tequila, Dave & Buster’s and the fashion brand Coach — added value.

“It’s all part of the business. It all goes back into my racing,” said Breidinger, 26, who is of German and Lebanese descent. “The side hustles, I like to call them. I don’t think that takes away from me being a race car driver.”

Breidinger, who won the USAC western asphalt midget series title as a teenager, raced in the ARCA Menards Series for five years before stepping up to truck series in 2021, making NASCAR history in 2023 when she finished 15th in her first race, the best-ever debut by a female driver. That helped her land a full-time ride this season with Tricon Garage, Toyota’s flagship team in the truck series.

Like Muniz, Breidinger sees the truck series, the third tier of NASCAR’s national racing series, as a steppingstone to a seat in a Cup car.

“I want to climb the national ladder. That’s what I’m here to do,” she said. “I wouldn’t be doing this if I didn’t have long-term plans and long-term goals. I’m a very competitive person, especially with myself.”

Kyle Larson, who climbed to the top of that ladder, running his first NASCAR national series race in a truck in 2012, then winning the 2021 Cup championship nine years later, said the path he took — and the one Muniz and Breidinger are following — is a well-worn one.

“Anybody racing in any of the three series has talent and ability enough to be there,” he said.

Funding, Larson said, and not talent and ability, often determines how fast a driver can make that climb and that might be a problem for Muniz since Josh Reaume, the owner of the small three-truck team Muniz drives for, has complained about the price of racing. It can cost more than $3.5 million a year to field one competitive truck in the 25-race series — and that cost is rising, threatening to price many out of the sport.

But having drivers like Muniz and Breidinger in NASCAR will help everyone in the series, Larson said, because it will bring in fans and sponsors that might not have been attracted to the sport otherwise.

“I just hope that he can get into a situation someday where you can really see his talent from being in a car or a truck that is better equipped to go run towards the front,” Larson said of Muniz. “You want to see him succeed because if he does succeed, it’s only going to do good things for our sport.”

And if it works out the way Muniz hopes, perhaps he’ll someday be the answer to another trivia question: Name the NASCAR champion who once worked in Hollywood.

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Commentary: Trump’s order on homelessness gets it all wrong, and here’s why

President Trump has the answer to homelessness.

Forcibly clear the streets.

On Thursday, he signed an executive order to address “endemic vagrancy” and end “crime and disorder on our streets.” He called for the use of “civil commitments” to get those who suffer from mental illness or addiction into “humane treatment.”

Steve Lopez

Steve Lopez is a California native who has been a Los Angeles Times columnist since 2001. He has won more than a dozen national journalism awards and is a four-time Pulitzer finalist.

This comes after last year’s U.S. Supreme Court ruling making it legal for cities to punish people for being homeless, even if they have nowhere to go.

There’s some truth in what he says, and California’s record on housing and homelessness is ripe for criticism. I’ve watched too many people suffer from addiction and mental illness and asked why the help is so slow to arrive. But I also know there are no simple answers for either crisis, and bluster is no substitute for desperately needed resources.

Like a lot of what Trump does, this is another case of grandstanding. In the meantime, the Washington Post reported Thursday that the “Trump administration has slashed more than $1 billion in COVID-era grants administered by the Substance Abuse and Mental Health Services Administration and is proposing to slash hundreds of millions more in agency grants.”

A person sits behind a table and talks to a person standing on the other side of the table. Both are behind bars.

Wendell Blassingame sits at the entrance to San Julian Park in downtown Los Angeles in 2023.

(Wally Skalij/Los Angeles Times)

As it happens, I was in the middle of a column on the latest Los Angeles homeless count when news of Trump’s executive order broke. I had just spent time with two homeless women to hear about their predicaments, and none of what Trump is proposing comes close to addressing their needs, which are tragically commonplace.

Namely, they’re living in poverty and can’t afford a place to live.

In his executive order, Trump said that “nearly two-thirds of homeless individuals report having used hard drugs … in their lifetimes. An equally large share of homeless individuals reported suffering from mental health conditions.”

I don’t know where he got those numbers, but truth and accuracy are not hallmarks of this administration.

No doubt, addiction and mental illness are significant factors, and more intervention is needed.

But that’s more complicated than he thinks, especially given the practical and legal issues surrounding coercive treatment — and it’s not going to solve the problem.

When the latest homeless count in Los Angeles was released, a slight decline from a year ago was regarded by many as a positive sign. But when Eli Veitzer of Jewish Family Service L.A. dug into the numbers, he found something both unsurprising and deeply disturbing.

The number of homeless people 65 and older hadn’t gone down. It had surged, in both the city and county of Los Angeles.

“This isn’t new this year. It’s a trend over the last couple of years,” said Veitzer, whose nonprofit provides meals, housing assistance and various other services to clients. “It’s meaningful, and it’s real, and these people are at the highest risk of mortality while they’re on the streets.”

The numbers from the Los Angeles Homeless Services Authority showed a 3.4% decrease in the total homeless population in the city, but a 17.6% increase among those 65 and older. The county numbers showed a 3.99% decrease overall, but an 8.59% increase in the 65 and older group.

In the city, the increase over two years was from 3,427 in 2023 to 4,680 this year — up 37%.

Reliable research has shown that among older adults who become homeless, the primary reason is the combination of poverty and high housing costs, rather than mental illness or addiction.

An American flag hangs on the outside of a blue tent on a sidewalk.

A man smokes inside a tent on Los Angeles’ Skid Row in March 2020.

(Marcio Jose Sanchez / Associated Press)

“They or their spouse lost their job, they or their spouse got sick, their marriage broke up or their spouse or parent died,” Dr. Margot Kushel of UC San Francisco’s Homelessness and Housing Initiative was telling me several hours before Trump’s executive order was issued.

Her team’s landmark study, released two years ago (and covered by my colleague Anita Chabria), found that nearly half the state’s homeless residents were 50 and older, and that participants in the study reported a median monthly household income of $960.

“The results … confirm that far too many Californians experience homelessness because they cannot afford housing,” Kushel said at the time.

Among the older population, Veitzer said, the jump in homelessness comes against the backdrop of federal and local budget cuts that will make it harder to reverse the trend. And harder for nonprofits, which rely in part on public funding, to keep providing group meals, home-delivered meals, transportation, social services and housing support.

“Every provider I’ve talked to in the city of L.A. is cutting meal programs,” Veitzer said. “We’re going to have to close two of our 13 meal sites, and last year we closed three. We used to have 16, and now we’re down to 11.”

On Wednesday, I went to one of the sites that’s still up and running on Santa Monica Boulevard, just west of the 405, and met Jane Jefferies, 69. She told me she’s been camping in her vehicle since February when living with her brother became impossible for various reasons. She now pulls into a Safe Parking L.A. lot each night to bed down.

Jefferies said she collects about $1,400 a month in Social Security, which isn’t enough to get her into an apartment. At the senior center, she uses her own equipment to make buttons that she sells on the Venice boardwalk, where she can make up to $200 on a good weekend.

But that’s still not enough to cover the cost of housing, she told me, and she’s given up on government help.

“All the funding has been cut, and I don’t know if it’s because a lot of the city and state funding is subsidized by the federal government. We all know Trump hates California,” she said.

As Veitzer put it: “There’s nowhere near enough low-income senior housing in L.A. County. Wait lists open up periodically,” with far more applicants than housing units. “And then they close.”

His agency delivers a daily meal to Vancie Davis, 73, who lives in a van at Penmar Park in Venice. Her next-door neighbor is her son, Thomas Williamson, 51, who lives in his car.

Davis was in the front seat of the van when I arrived, hugging her dog, Heart. Her left leg was amputated below the knee two years ago because of an infection, she told me.

Davis said she and another son were living in a trailer in Oregon, but the owner shut off the utilities and changed the locks. She said she reached out to Williamson, who told her, “I’ve got a van for you, so you’ll have a place to live, but it’s going to be rough. And it is. It’s very, very rough.”

I’ve heard so many variations of stories like these over the years, I’ve lost count.

The magnitude that exists in the wealthiest nation in history is a disgrace, and a sad commentary on an economic system and public policy that have served to widen, rather than narrow, the inequity gap.

On Thursday, Trump’s executive order on homelessness grabbed headlines but will do nothing for Jane Jefferies or Vancie Davis and for thousands like them. We know the interventions that can work, Kushel said, but with deep cuts in the works, we’re moving in the wrong direction.

Davis’ son Thomas told Times photographer Genaro Molina about another person who lives in a vehicle and has been a neighbor of theirs in the parking lot.

She wasn’t there Wednesday, but we’ll check back.

It’s a 91-year-old woman.

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