lot

There’s no shortage of bands commemorating their glory days as decade anniversaries of albums fly by. Yet few landmark releases feel not only fresh but forward-thinking 20 years after they were recorded. My Morning Jacket stumbled onto this kind of brilliance in October 2004 when it released its fourth studio album “Z.” Across 10 tracks of lush, euphoria-driven rock ‘n’ roll, the band captured a notable tone shift in its sound that melded Southern rock, haunting folk, psychedelic soul laced with jam band energy. It’s a set of songs that still make up a huge chunk of the bands live show. In September the band performed the album in its entirety to a sold-out Hollywood Palladium for its 20th anniversary.

“We still play these songs all the time,” said frontman and principal songwriter Jim James in a recent conversation. “So it’s not like we broke up after we released ‘Z’ and then we got back together 20 years later to play these songs, and it’s such a trip. We’ve been playing them nonstop for 20 years.”

Shortly after the release of its 10th studio album “is,” the band put out a deluxe reissue of “Z” that includes four B-sides and a whole album’s worth of demo versions of songs like “Wordless Chorus,” “Off the Record” and Dodante. Recently James spoke to The Times about the enduring power of “Z” and the joy of going back to the beginning of the album’s origins to give himself and his fans a new appreciation for the groundbreaking sound the band created.

The rerelease of “Z” was prefaced earlier this year with a full-album show at the Palladium. What was it like revisiting the album on stage first before it came out (again) on vinyl and streaming?

This is our fourth album now to hit the 20-year mark. So we’ve got some experience now doing these album shows. And it’s funny because some of the earlier albums we don’t play all the songs from them so we had to go back and relearn a lot of songs. But the songs from “Z” we pretty much play all the songs all the time. So it’s pretty hilarious how it involved no effort. It just involved playing them in that order of the sequence of the album. But we kind of laughed about that. We’re like, man, we don’t really even have to do any research or anything. We were all kind of reflecting just on how grateful we are that we like playing all the songs still. It’s such a great feeling to play songs for 20 years and never really get tired of them. People still want to hear them and there’s still excitement there, and they still feel fresh. It’s really a beautiful thing.

This was your first album using an outside producer. What was that like for you as the songwriter to step in the studio with John Leckie to help you realize your vision with “Z”?

It was so great, because I really needed somebody who could work with me and not let our egos clash too much. John was just really great about coming in and respecting what I wanted to do, but also voicing his opinion and what he liked and what he didn’t like and when he thought we could do better. And it was just really so refreshing and so good for us to have him there. I mean, his track record speaks for itself, he’s somebody who you can trust right off the bat, just because of all the things they’ve done in the past. He’s such a soft-spoken gentleman but he also has this hilarious, brutal honesty about him, which was always really great.

Your lineup had also changed between the previous album “It Still Moves” and “Z” — adding keyboard player Bo Koster and guitarist Carl Broemel who are still in the band today. So was that like stepping in the studio with the “new guys” for the first time?

It was really nerve-racking and really exciting all at once. We had some touring experience under our belt with Bo and Carl, so we kind of knew that it was working out on that level, but we’d never really recorded before, so it was a real test for all of us. And I think we all knew that. So everybody brought their A game to the session and we took it really seriously, but we also had a lot of fun and just really kind of got to know each other. That was good to do that out in the middle of nowhere, out there in the Catskills, up at the studio. It gave us some time to really bond without a lot of the real-world stuff coming in or other people coming in. So I think that was really important, that we did it that way.

Do you remember what song came out of the sessions first?

“It Beats 4 U” was the first one, because that was one we had already played live before we started recording. So I think that was the first song that we started messing with. But I think they all were kind of coming to life around the same time. So by the time we got in there to start unpacking them, I had already written them and kind of made the demos of them and stuff.

It’s great that you included so many demo versions of your songs on this rerelease. What was the process like of locating these, sifting through and sequencing which ones you wanted to put on the album?

Well, I love demos for a lot of my favorite bands — I love it when I get to hear the demos from the albums. So I’m always saving all that stuff; with my own stuff I’m always compiling all the demos, because that’s half the fun to me. Because sometimes you get this just like a beautiful glimpse into the song. Quite often, I end up liking the demo more than I like the actual album, song because you get a whole, whole new view of it. It’s also interesting when you’re sequencing for vinyl, because you don’t have unlimited time so you kind of got to pick and choose, and that kind of forces you to just choose the best. There’s a whole other round of band demos and then there were my demos, so there were a lot of things to choose from. But it kind of helps me to look at it in vinyl format. There’s still something about the vinyl time limit that helps with quality control. Just kind of pick the ones that I feel are most effective and then try and make a fun sequence so that hopefully, if somebody’s into them, it’s kind of like you get a bonus album that you can listen to.

We had four true songs, B-sides, that we really love too, that weren’t demos. So that was really nice to finally get those out, because those had been on different soundtracks. And then one wasn’t even released. So I don’t think that those weren’t even on streaming or anything for years and years. So it’s really cool to have those out kind of everywhere now, because I’ve always liked all those songs and been proud of those songs too. And I think most bands know the feeling of you know when you make a record. Sometimes songs just don’t fit the record, even if you still love the songs.

MMJ during the “Z” era.

(Sam Erickson)

Were you playing any of those live at the point where you released the album the first round, or did you shelve them for later?

We’ve always played “Where to Begin” live — off and on. We’ve also tried “Chills” a couple times, and I think we did “How Could I Know” a couple times. We’ve never played “The Devil’s Peanut Butter,” we kinda forgot that one existed until this whole [album rerelease] process started, and I found that song again. So we’ll probably play that one somewhere out on the next leg.

Was this process something that you enjoy doing, like, in terms of your how to, sort of like, reexamine an album?

I really love it because I just feel so grateful that anybody even gives a s–, you know? I mean, so there’s that part of me that’s just so grateful to even still be in the game, talking about this. But beyond that, it’s really cool for me because it’s like jumping in a time machine and going back and looking at that point in my life and getting perspective on where I am now, and seeing how I’ve grown and asking “where have I changed? Where have I not changed?” I look back and with all of these albums as they come up to this 20-year mark, and I see I’ve always been really mean and hard on myself, on Jim, but I know that Jim was doing the best he could at each time. That’s the one thing I’ve always kind of been able to see, to get myself through, to not be too hard on myself. I know I was giving it everything I had, so whether I would change things about it as I am today or not — we all look back on the past, and maybe there’s things we’d do differently, but it gives me a lot of comfort to know that I was trying as hard as I could, and all the guys in the band were trying as hard as they could. It really makes me feel proud of us for just putting in the time and effort.

Welcome back to the Times of Troy newsletter, where we’re still struggling with how to view USC’s 21-17 win at Nebraska. On one hand, USC gutted out a hard-earned road victory, just its second true road win outside of L.A. since 2023, with a stingy defensive stand in the second half. On the other, USC’s offense was out of sorts, its quarterback had the worst start of his tenure and its defense was run over for the third time in four games.

No matter your perspective, this much is indisputable: USC is 6-2, bowl eligible and in prime position to be 8-2 heading to Eugene in late November. Remember, the Trojans were 4-5 at this time last year.

But after flying back west for the final time this regular season, we’re going to take a brief break from football to alert you that college basketball season, believe it or not, is about to begin. And both of USC’s teams enter the season on fascinating and uncertain terms.

Let’s start first with the men’s team and Eric Musselman, who thought he’d have a five-star freshman to help springboard his program to relevance in Year 2. But the injury to Alijah Arenas has undoubtedly altered that trajectory. What we don’t know now is how much and for how long.

That’s just the beginning of the questions facing USC. Here are three others …

1. Who’s going to play point guard?

You may remember this same query from this time last season, when USC entrusted the role to Desmond Claude, who was a good playmaker, but not a great floor general. He turned the ball over nearly four times per game.

Arenas was expected to be the primary ballhandler. But with him out, it’ll be some combination of Rodney Rice, Chad Baker-Mazara, Jordan Marsh and Jerry Easter sharing ballhandling duties. None have any extensive experience as a floor general. Marsh has been a pleasant surprise in practice, but was more of a pure scorer at North Carolina Asheville.

Rice will have a lot on his shoulders already. And that’s not considering his actual shoulder, which has held him out for much of the preseason. He’ll need someone else to step up to help.

2. How much better is USC’s frontcourt?

When USC played its two exhibition games last month, opposing coaches couldn’t believe how much 7-foot-5 center Gabe Dynes affected the game defensively. Dynes was arguably USC’s best player in the preseason, and he wasn’t even expected to start in the Trojans’ frontcourt.

He had six blocks in his debut and should help give USC improved rim protection this season. Which is to say any rim protection at all.

The staff has been high on Jacob Cofie since he arrived on campus. Don’t be surprised if he ascends to a major role. Ezra Ausar, at 253 pounds, should be a beast on the boards, and Jaden Brownell should give USC’s frontcourt range out to the arc. This group has a lot of varied skillsets, and that should put the defense especially in a much better position.

3. Can USC score enough?

When asked what he learned most from his team during the preseason, Musselman didn’t mince words.

“We’ve got to figure out a way to score better,” he said.

Arenas, again, was supposed to lead the way in that regard. Rice was more of a secondary scorer at Maryland, as was Baker-Mazara at Auburn. USC looks, as of now, like a whole team of complementary offensive players, with no alpha yet. That can change. Maybe Cofie steps into the spot before season’s end. But it’s definitely something to monitor through the non-conference season.

What about the women’s team?

Kennedy Smith controls the ball while pressured by UConn guard Paige Bueckers during last season’s NCAA women’s tournament.

(Young Kwak / Associated Press)

USC enters this season with far lower expectations than this time last year, on account of JuJu Watkins’ knee injury, which will keep her out until next season. So what can we expect from Lindsay Gottlieb’s Trojans?

Here are the three big questions facing the USC women this season …

1. How can USC fill the void without Watkins?

This is the only question that really matters. Problem is there’s no clear answer. Gottlieb has been clear that no one player will replace Watkins, as tempting as it may be to slot top prospect Jazzy Davidson into that spot.

It’s more reasonable to recreate Watkins’ production in the aggregate. But that won’t be easy when you consider how much other production the Trojans lost from last season, in addition to Watkins. USC must replace 88% of its scoring and 80% of their rebounding output, and while that’s not that unique in the era of the transfer portal, it does mean the team is likely to have a very different identity.

Gottlieb has said that USC is going to play with more pace this season. But who will it turn to when it needs a bucket? Davidson is perhaps the likeliest candidate, but I’m particularly curious to see the development of sophomore Kennedy Smith. Smith was inconsistent offensively as a freshman. But Gottlieb plans to put the ball in her hands more, and how that works out will say a lot about the direction of the season.

2. What’s going on in the frontcourt?

Last season, there was no question who USC could count on down low. Rayah Marshall was a three-year starter, while Kiki Iriafen is now one of the best young bigs in the WNBA.

But with both gone, USC doesn’t have any proven options to step into their place. Gottlieb has said that USC will use a by-committee approach with transfer Yakiya Milton, Lithuanian import Gerda Raulusaityte and returners Vivian Iwuchukwu and Laura Williams. Of those four, only Milton was part of a college basketball rotation last season, and she only averaged two points per game in 11 minutes at Auburn.

Raulusaityte is the big unknown. One of the youngest members of the Lithuanian national team, USC kind of needs her to be an immediate contributor. Especially with her ability to stretch the floor as a shooter, something the other three don’t do. If she struggles, USC could be in trouble with its lack of talent down low.

3. How good will Davidson be right away?

Watkins is a tough act to follow as a top-rated freshman. But Davidson has the potential to be a stat-stuffing star right away.

I don’t know if she’ll score quite like Watkins, who shot 42% and scored 24 points per night as a freshman. What she will do, perhaps even more than Watkins, is elevate the games of teammates around her. You can read more about that in an upcoming story on Davidson.

But can she get a bucket when USC needs one? And can she force her way through traffic with her spindly frame? There are still questions to be answered. But while Gottlieb is doing her best to temper expectations, I think USC is going to need its star freshman to be a star right away, if it has any hope of competing in the Big Ten like it did last season.

—Jayden Maiava didn’t have it as a passer. So he used his legs. And that worked wonders. Maiava was a meager nine of 23 through the air for 135 yards, but he reminded the world that he’s a capable runner, too, as he rushed for 62 yards in 11 carries. The highlight of his day came in the third quarter, when Maiava took off on consecutive plays for a pair of 16-yard gains, the second of which saw him stiff-arm his way to a score. Maiava hasn’t looked to run much this season. But maybe he should consider doing it more.

—USC’s three most influential players Saturday were all walk-ons. Running back King Miller was USC’s only consistent source of offense. Kaylon Miller, his brother, stepped in for an injured Alani Noa and was arguably USC’s best lineman in the ground game. And USC kicker Ryon Sayeri continued to shine by knocking through two more field goals. I’m not sure what that says about USC’s team. But it’s not something you see every day.

—The offensive line just can’t stay healthy. Left tackle Elijah Paige returned after missing the previous three games, only for Noa to go down. Noa never returned, and we won’t know more about his status until at least Monday. USC is getting especially thin on the interior, with guard Micah Banuelos having also missed Saturday’s game. Center Kilian O’Connor should be back soon, but it’s a wonder that USC has held it together up front while being ravaged by injuries.

Olympic sports spotlight

After losing three of four to start their Big Ten slate, the women’s volleyball team’s tough start to the Big Ten slate is now firmly in the rearview. The Trojans have won six in a row. Among Big Ten teams, only Nebraska, which is 21-0 and No. 1 in the nation, has an active win streak that’s longer.

USC should win its next two before welcoming the Huskers to Galen Center for an epic match on Nov. 16.

In case you missed it

No. 23 USC uses late surge to win at Nebraska and keep playoff hopes alive

‘We still control our destiny.’ USC focused on rebounding after ugly Notre Dame loss

What I’m watching this week

IT: Welcome to Derry

(HBO)

I’ve written in this space before about my love of all things Stephen King. I’m also well aware of the less-than-stellar track record of adapting his books into television and movies.

I’m not sure just yet where “IT: Welcome to Derry” falls on that spectrum. Only the first two episodes of the spinoff prequel to “It” are currently available on HBO Max, and while Derry remains as creepy and tense as ever, I worry a bit about where the story is headed. All that said, my favorite part of the original book was the character building with the town’s kids. So far, that part remains intact.

Until next time …

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at [email protected], and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.

A mutant killer baby. Lampshades and pickle jars that come alive. Sinister sewers. A demonic clown that preys on children.

HBO Max’s “It: Welcome to Derry,” the latest adaptation of Stephen King’s epic 1986 novel about a deadly clown named Pennywise, has already scared up a lot of buzz since its Oct. 26 premiere with its mix of evil events and nightmarish images.

The first episode featuring Robert Preston warning “Ya Got Trouble” via the classic musical “The Music Man” is an ominous introduction to the subsequent terrors. Gruesome sequences revolving around birth in the first two episodes will likely make several viewers cover their eyes. (The second episode drops Friday on HBO Max in time for Halloween, and it will air in its usual 9 p.m. PT Sunday slot on HBO.)

A prequel to 2017’s “It” and 2019’s “It: Chapter Two” — both directed by Andy Muschietti — the new drama is set in 1962 in the fictional small town of Derry, Maine. Bill Skarsgård, who played Pennywise in the films, will reprise his role during the season.

The large ensemble of child actors and adults features several Black characters, including Air Force Maj. Leroy Hanlon (Jovan Adepo); his wife Charlotte (Taylour Paige), a civil rights activist in a Jackie Kennedy pillbox hat; and son Will (Blake Cameron James). Also featured is Hank Grogan (Stephen Rider), the town’s theater projectionist, and his teen daughter Ronnie (Amanda Christine).

Developed by Muschietti, his sister Barbara Muschietti and Jason Fuchs, the creators have prioritized increasing the intensity of the films. But the Muschietti siblings add that they are also incorporating certain messages into the mayhem. Many of the Black characters face bigotry and resistance in the predominantly white town that echo challenges that people of color currently face.

“Stephen is a master of weaving these issues into his stories, and it’s impossible to think of doing one of his stories without having that texture front and center,” Barbara Muschietti said.

The Muschiettis, in a video call, discussed diving deeper into the story of Pennywise, getting their young cast to act like kids from the 1960s, and what gives them nightmares. This interview has been edited for length and clarity.

Siblings Barbara Muschietti and Andy Muschietti on the set of HBO’s “It: Welcome to Derry.”

(Brooke Palmer / HBO)

How soon after the two “It” movies did the idea of a deeper dive into the world of Pennywise come about?

Andy Muschietti: The novel was the inspiration. There are all these enigmas still lingering, enigmas intentionally left unresolved in the book. Part of the greatness of the novel is that you finish 1,200 pages and at the end, you still have no idea what “It” is and what it wants. It’s all speculation. We had conversations with Bill about how great it would be to do an origin story of Bob Gray, this cryptic character, and give him the opportunity to play the human side, the man behind the clown. It’s about completing the puzzle and uniting the stories that lead one to another, creating a story with the final purpose of getting to this conclusive event, which is the creation of Pennywise, the incarnation of evil.

Barbara Muschietti: Once the idea start percolating, we got in touch with Mr. King and he loved the idea. At the beginning of the pandemic we went to (then-Warner Bros. TV chief) Peter Roth. He bought it in the room and we’ve been on it ever since. Not a day of rest.

“The Music Man” plays a prominent role in the first episode, and it gets dark pretty quickly. I’m a huge fan of that movie, and I don’t know if I’ll ever be able to look at that joyful musical the same way again.

Andy Muschietti: I actually wanted us to create a musical ourselves that would pretend to be a movie from 1962. But we would have spent so much money and energy. So we started a quest for the right musical. “The Music Man” was made by Warner Bros. in 1962, and it’s about someone coming to a small town not unlike Derry, talking about trouble, trouble. And it just seemed to fit.

Barbara Muschietti: We also hope a lot of younger people will be curious and go see “The Music Man.”

What is the superpower of “It” that makes it a story that keeps giving and giving?

Andy Muschietti: There are a lot of things people connect to. One of them is childhood. Most of us cherish those years as being full of magic and imagination. We’ve all been children and we’ve all been afraid of something. The novel is a testament to the virtues of childhood, and those virtues normally disappear when you become an adult. Arguably the adults are always the enemy in the world of ‘It.’”

Apart from the clown, there’s a whole mythology that has yet to be connected. My purpose in this series is to reveal the iceberg under the water.

Black characters, including Hank (Stephen Rider), Ronnie (Amanda Christine), Leroy (Jovan Adepo) and Charlotte (Taylour Paige) play central roles in HBO’s “It: Welcome to Derry.” (Brooke Palmer / HBO)

You could not have planned the timing of the show coming on, but it seems like the topical issues addressed in this show, like bigotry, have a relevance to what’s going on in the country today.

Andy Muschietti: What’s going on is not new. It’s just found a new expression. It has been going on and on in cycles. We have this illusion that things are good, but around the corner is another dictator trying to come. We came from Argentina, and we don’t have the kind of racial tension that America has had for hundreds of years. Most of Stephen’s books are a song to empathy in general, and denouncing injustice everywhere. It is important to show, especially in an era where some people in the country are trying to delete history.

Barbara Muschietti: Sadly, these horrors keep haunting us, and racism, antisemitism, Islamophobia is still sadly a human condition, needing to find someone below you that you can punch. Yes, our history makes us a little more sensitive. We live in the United States, it’s a country we love, but it is surprising …

Andy Muschietti: Alarming.

Barbara Muschietti: … that more people are not more concerned.

Andy Muschietti: It’s the fog that Stephen King was talking about. People, basically out of fear, look the other way, trying to suppress things they see, and forget. It’s all part of the same reflection.

It’s immediately obvious that some horrific things will be happening in this show, even more so than the films. The imagery is really nightmarish.

Andy Muschietti: Being a shape-shifter is the thing which keeps giving and giving, and there was a clear intention for us to raise the volume of intensity. You need to meet the expectations of the audience — they don’t want to see more of the same. And we are also dealing with a different time when the collective fears were different because of the social and political situation of that era — the Cold War, the Cuban Missile Crisis — was just around the corner. Then there’s social unrest and segregation.

Barbara Muschietti: I’d like to say it’s all very cathartic. We’re very nice people. I swear.

A demon baby birthed in Episode 1 is among the monsters seen in “Welcome to Derry.”

(HBO)

The show also has a great feel and look to it when it comes to depicting the 1960s.

Andy Muschietti: There was a lot of instinctive respect and attention to accuracy, aesthetically and spiritually. It was the true work of a team in every department, the same folks who had worked on the movies. There was also the research from the writers.

Most of the cast members are kids who did not live in that era. How do you communicate that era and feel to a young cast?

Andy Muschietti: There is a lot of talking. Stephen King knows a lot about this because he was a kid in the 1950s. The book is so rich in detail. We have Ben Perkins, who is a child actor coach. And there is imagination. These kids like to play and at this age, they thrive when you don’t put a lot of restrictions on them. The only thing that went overboard was the cursing.

Barbara Muschietti: That’s one thing that Stephen came back to us with. “There’s too many f—.” We also send the kids with Ben who basically sets up a camp — a bicycle riding camp, a swimming camp, stuff like that which kids in 2024 did not have access to. We’ve been doing that since 2016 very successfully. Because of all of this, all these kids have an incredible bond. They’re friends for life. They get to say goodbye to adolescence on our sets in the most beautiful way.

How long will you keep expanding the ”It” universe?

Andy Muschietti: It’s Derry, Derry, Derry all day. “Welcome” is an arc that expands over three seasons. Why is “It’” Derry, and why is Derry “It”? We will eventually reveal a bigger story revolving around the existence of Pennywise.

I have to ask — what gives you two nightmares? What is scary to you?

Barbara Muschietti: Fascism. Guns.

Andy Muschietti: Violence in general. We’ve come so far as a civilization, and it seems like we haven’t learned anything. What happened to empathy, and seeing what makes us similar, instead of things that divide us?

Barbara Muschietti: And love and respect.

With the second bye behind them and USC’s season at a crossroads, Lincoln Riley has spent the better part of two weeks focusing his team on what’s in front of them — a stretch of three winnable games — and not behind them — a demoralizing defeat at Notre Dame.

In doing so, the Trojans coach borrowed a well-worn rallying cry, one that traces back 2,000 years. Riley told his team, they had to “burn the boats.”

“We’ve put ourselves in great position, and we’ve got to be a really forward-focused team right now,” Riley said. “Things can get pretty fun from here if you really get on a run. This team is capable of that. They know it. We know it.”

Considering the stakes, it’s an apt enough metaphor. Any hope of USC staying alive in the College Football Playoff conversation hinges on leaving Lincoln, Neb., with a win. And that will, at the very least, require presenting a much better product than before the bye, when USC’s defense gave up over 300 yards on the ground to Notre Dame.

That loss has left a notably bitter taste with the Trojans — especially on defense. This week, sophomore linebacker Jadyn Walker said he felt the group “didn’t come out ready to play” and wasn’t “hungry” enough against Notre Dame. Defensive tackle Jide Abasiri said fixing USC’s issues on defense meant “having our minds right.” For the second time in three weeks, USC returned to the basics on defense during the bye in an effort to iron out those issues.

“You study for a test, you’re not gonna be nervous,” Abasiri said. “Just keep studying, I guess.”

The time for studying is over. The final exam for USC and its defense is a five-game gauntlet, starting on the road in one of the Big Ten’s more hostile environments. It’s just as much a critical test for the team as its coach, who has won just two true road games — at Purdue and at UCLA — during the last two calendar years.

“We continue to put ourselves in position to win these, and I feel like we’re doing the things on a daily basis that ultimately lead to winning,” Riley said. “We’re here and we’re pushing that notion, and I just see us getting closer and closer to that as we go on. That’s where my confidence is.”

Here’s what you should watch for when No. 23 USC (5-2 overall, 3-1 Big Ten) faces Nebraska (6-2, 3-2) on Saturday at 4:30 p.m. PDT (NBC, Peacock).

A heavy dose of Emmett Johnson

Nebraska running back Emmett Johnson carries the ball against Northwestern on Oct. 25.

(Bonnie Ryan / Associated Press)

After watching Notre Dame’s duo of Jeremiyah Love and Jadarian Price steamroll USC’s defensive front, Nebraska offensive coordinator Dana Holgorsen surely smells blood in the water. In Emmett Johnson, he has one of the Big Ten’s best backs, a bruising tackle-breaker who has become a bigger part of the Husker offense as the season has worn on.

He’ll no doubt be a huge part of the plans for Holgorsen, who knows Riley better than most any other coach in college football, save maybe his brother, Garrett, at Clemson. Presumably, Holgorsen will hope to keep the ball out of USC’s hands, grinding out long drives with Johnson.

“We set ourselves up the rest of the season to see a lot of run game,” safety Bishop Fitzgerald said. “This week, making sure we can stop that will be huge for us.”

Johnson isn’t easy to bring down. His 44 missed tackles forced, per PFF, ranks third in the Power Four among running backs.

“He runs really hard,” Fitzgerald said. “He’s usually always going to break the first tackle. He just plays with an edge. He’s not necessarily a blazer, but once he hits that edge, he can make a guy miss and he can get a lot of yards. So I think it’s about stopping him and surrounding the ball.”

It’s just that easy. Or maybe not.

Pick up the pressure

USC defensive coordinator D’Anton Lynn stands on the sideline during the third quarter of a win over Michigan State on Sept. 20.

(Luke Hales / Getty Images)

USC led the nation in sacks through the first month of the season. But in both of the Trojans’ losses, the pass rush — or lack thereof — was part of the problem. After producing 24 pressures in a win over Michigan State, USC tallied just 25 in its next three games combined.

Nebraska offers a golden opportunity to get that right. The Huskers have allowed 26 sacks, second-most in the Big Ten.

“I do think we’ve shown growth and we’ve gotten better,” defensive coordinator D’Anton Lynn said of the pass rush. “But we’re not satisfied.”

Nebraska quarterback Dylan Raiola has been sharper this season than when he came to the Coliseum in 2024. His completion rate is up almost 6%, and he already has 17 passing touchdowns, compared to just 13 last season.

But Raiola has a tendency to hold the ball too long. At times, that has paid off with big plays. Other times, it has derailed drives.

“It puts a lot of pressure on us,” Lynn said. “When he’s holding onto the ball, he’s not looking to scramble. He’s keeping his eyes downfield.”

The key to counteracting that for USC? Putting as much pressure on him as possible.

Something has gotta give

USC has the top passing offense in the nation, averaging 10 yards per attempt and 326 yards per game. Nebraska boasts one of the nation’s best pass defenses, with just one opposing quarterback even reaching the 160-yard mark against them.

The Huskers have yet to face a quarterback quite like Jayden Maiava. Maiava’s first start at USC came last season against Nebraska, and he has improved leaps and bounds since — notably in his ability to avoid crippling mistakes.

That’ll be at a premium against a Nebraska defense that has swallowed up quarterbacks this season.

“He’s making a lot of right decisions right now,” Riley said this week of Maiava. “If he keeps doing that, we’re going to have a chance to win every game.”

Dodgers fans Aiden Mashaka and his dad, Akida Mashaka.

(Juliana Yamada / Los Angeles Times)

How long have you been a Dodgers fan?

Akida: What are you talking about? Kirk Gibson! I’m Tommy Lasorda, baby!

How much did you pay for your ticket?

Akida: $900. We bought our tickets from a third party. I’ve been asking my brother-in-law how much I owe him, but he’s such an amazing human being. He’s like “Don’t worry. I got this!”

Was it worth it?

Akida: Of course it’s worth it. We’re seeing the Dodgers World Series. The flight costs more than $900. If you have it, it’s worth it. If you don’t have it, it’s not worth it — you can watch it on TV. If I was still in school, I would be watching on TV. But I am a 53-year-old man, after many years of life, so I can spend $900 to watch the Dodgers.

Aiden: This is maybe my second or third game that I’ve been to for the Dodgers. Being at the World Series, like the grand finale, I feel like it’s a great time to be here. I’m really proud of my dad, my auntie and my uncle for bringing me here. I want to thank them.

Akida: Can we get a crying emoji?

NEW YORK — When Lindsey Vonn retired from Alpine skiing in 2019, she walked away from the sport as one of the most successful skiers in history. Six years later she’s coming back, with her sights set on competing in a fifth Winter Olympics in February in Cortina d’Ampezzo, Italy.

But regardless of how that comeback ends, Vonn isn’t worried about it detracting from what she’s already accomplished.

“This is different because I had nothing to prove,” said Vonn, 41, who climbed a World Cup podium for the first time since 2019 when she finished second at the super-G season finals in Sun Valley, Idaho, last March.

“I don’t think anyone remembers Michael Jordan’s comeback. I don’t think that’s part of his legacy at all,” she continued. “I’ve already succeeded. I’ve already won. I was on the podium. I have the record for the oldest medalist in World Cup by seven years [she set the previous record in 2019]. I feel like this journey has been incredible.”

American Lindsey Vonn poses in 2019 with medals she has won throughout her career in the finish area at the alpine ski world championships in Are, Sweden.

(Marco Trovati / Associated Press)

Vonn has three Olympic medals, but she won her only gold 15 years ago. She’s won eight World Championship medals, but just one since 2017; her last gold came in 2009. But the comeback isn’t so much about rekindling that past as it is about shoring up the present.

“I closed my career, and I definitely would like to close that chapter in maybe a better way than I did in 2019,” said Vonn, who was speaking Tuesday at the U.S. Olympic Committee’s Media Summit in Manhattan. “I feel like I am happy, free. I’m doing it because I love it. I’m not doing to prove anything to anyone.”

Vonn missed the 2014 Winter Games with a right knee injury, an injury that led to her retirement in 2019. But after partial knee-replacement surgery last year, she decided she wasn’t done with skiing yet.

“After the replacement, I knew things were really different,” she said. “My body felt so good, and I just kind of kept pushing myself further and further to see what I was capable of. Skiing and racing seemed like the logical next step.”

American Lindsey Vonn skis during a women’s super-G run at the World Cup finals on March 23 in Sun Valley, Idaho.

(Robert F. Bukaty / Associated Press)

She’s a different skiier than she was when first started competing internationally two decades ago, she said.

“I have a lot more perspective now, having been away from the sport for six years,” she said. “That just allows me to compete in a different way and I think that gives me an advantage actually.

“Downhill skiing has a lot to do with with accumulated knowledge. And I’ve obviously accumulated a lot of knowledge, because I’ve raced for a very long time.”

Vonn, whose comeback landed her on the cover of this week’s Time magazine, said she’s in the best shape of her career. But she still must earn enough points on this winter’s World Cup circuit to qualify for the Olympics.

She said she probably wouldn’t have considered racing at a top level again if next February’s Games weren’t schedule for Cortina, where’s won a record 12 career World Cup races. She also recorded her first of 138 World Cup podiums in Cortina in 2004.

“My goal has always been Cortina again. It’s such a special place for me,” she said.

American Lindsey Vonn speeds down the course during an alpine ski women’s World Cup downhill race in Kvitfjell, Norway, on Feb. 28.

(Gabriele Facciotti / Associated Press)

“I didn’t want to set that as a goal, because I didn’t know if I would even be able to compete, let alone qualify or finish the season. Once I trained more and I got in better shape, I said to myself that this is an attainable goal. I can do this.”

And if she can’t, that won’t detract from the fact that she tried. Or from what she’s already accomplished.

“I’m at peace with where I am in my life,” she said. “I don’t need to be ski racing, but I definitely love to ski race and have nothing to prove. So I don’t feel like I have a lot of pressure, even though my dad says it’s the most pressure I’ve ever had in my whole life.”

If you crossed “see the Dodgers in the World Series” off your bucket list last year, here’s a bucket list update for you: See the Dodgers in the World Series, from the comfort of a hotel room with a full view of the field.

Not at Dodger Stadium, of course. In Toronto, however, where a hotel is built into the ballpark and 55 rooms allow you to open the curtains and catch the game without a ticket.

During the World Series, the nightly rate for these rooms starts at $3,999 (in Canadian dollars, or about $2,850 in U.S. dollars).

A view of the field from one of the rooms at the Toronto Marriott City Centre.

(Toronto Marriott City Centre.)

That is a lot of money. Then again, the rooms sleep up to five people, and good luck getting five World Series game tickets for that price.

You have to get to Toronto, and that costs a lot of money too. But you don’t need to pay separately for game tickets and a hotel, and you can get room service instead of standing in line at concession stands.

The rooms include chairs that face the field, so you don’t have to stand on your bed to catch the action. And you never know: a player could toss you a ball during batting practice, right through your window. Take a look:

Information and reservations: Toronto Marriott City Centre Hotel.

Welcome back to the Times of Troy newsletter, where after one last rain-soaked showdown in South Bend, we pour one out for one of the great rivalries in the history of college football. After a century of meeting on the football field, USC and Notre Dame are not currently scheduled to meet again. This, by all accounts, is a terrible shame.

Outside of L.A., the college football world has placed the blame for the rivalry’s demise squarely on USC’s shoulders. Notre Dame made sure that was the case when its athletic director, Pete Bevacqua, ran to Sports Illustrated last spring, immediately after USC made an offer to renew the series for one year.

As PR moves go, it was a smart one: By firing the first missive, Bevacqua knew that Notre Dame could shape the narrative around negotiations. And ever since, as Bevacqua hoped, Notre Dame has been cast by much of the national media as valiantly attempting to save the rivalry at any cost, while USC looks like its running scared away from it.

Which is really quite ironic, if you know the recent history of how Notre Dame has handled its rivalries.

Thirteen years ago, minutes before the two schools were set to face off in South Bend, former Notre Dame athletic director Jack Swarbrick famously handed then-Michigan athletic director Dave Brandon a letter as notice that Notre Dame intended to cancel the remainder of their rivalry series. It was as passive aggressive as scheduling changes get. Brandon didn’t even read the letter until after the game.

These two teams went way back, before USC even first fielded a football team. The two Midwest rivals first faced off back in 1887, when Michigan literally taught Notre Dame how to play football. (Not kidding.) Not to mention it was actually a Detroit Free Press columnist who first called Notre Dame the “Fighting Irish.” (Imagine the royalties!)

But in 2012, Notre Dame declared without any further conversation that it was backing out of the game. The reason? As part of its move to the Atlantic Coast Conference in every other sport, the Irish football program agreed to play five games against ACC schools every year.

No one at Notre Dame seemed all that concerned about history and tradition then. Swarbrick, at the time, called canceling the series “a necessary precaution,” given the future uncertainty surrounding its schedule.

Sound familiar?

Except, in this case, Notre Dame kept Purdue on its future schedule. And Michigan State. It chose to maintain its series with Navy, which had beaten the Irish just three times in the previous half-century, as well as Stanford. I wonder why.

Months later, then-Michigan coach Brady Hoke told a crowd at a booster luncheon that Notre Dame was “chickening out” of the rivalry. And he was right.

A dozen years later, Notre Dame is floating the same accusations about USC.

Except, in this case, USC has made efforts to maintain the series after moving to a much less flexible and more difficult schedule in the Big Ten. It has tried to keep the game going despite being locked into nine conference games — and with far less incentive to add strong non-conference opponents than there was in 2012. USC even amended its initial offer to extend the rivalry for multiple years, instead of just one, as a compromise.

Look, USC isn’t blameless in all of this. But no one seems to have acknowledged yet that Notre Dame hasn’t exactly helped negotiations along. It doesn’t want to move the game from October or November to September, as USC has asked — not because of tradition, as has been suggested, but purely because it’s much more convenient to Notre Dame to keep USC later in the season, when no other top programs want a team such as Notre Dame smack dab in the middle of its conference slate.

Who cares about the tradition of when the game is played, if the other option is it’s not played at all? If the Irish are so concerned about maintaining the USC rivalry, why didn’t they insist that Clemson — a team it has much less history with — play their newly signed 12-season series in mid-October?

Because Notre Dame is used to dictating the terms of engagement and getting its way. It has the flexibility of being without a conference. And it also knows it has the narrative firmly on its side. So why bother budging when the pitchforks are already pointed toward USC?

I don’t expect that to change any time soon, even as both athletic directors say they’re “optimistic” an agreement can be reached. Not unless USC is ready to capitulate. Until then, the public pressure will remain on the Trojans alone, while Notre Dame points across the bargaining table and cries chicken. Irony, be damned.

Yes … technically.

If USC wins each of its next five games to finish 10-2, you can count on the Trojans being in the 12-team field. But anything less than that, and they’re going to have a tough time making a case.

Let’s say USC only loses on the road to No. 6 Oregon from this point on. That would put the Trojans at 9-3, with just two Big Ten losses — and three overall. That’s a good season! But no team with three losses has ever made it into the Playoff, and while there’s a legitimate argument that this year will be the first, USC presumably wouldn’t have enough marquee wins to move the needle with the committee.

Michigan is currently USC’s only win over a team above .500. Nebraska, Iowa and Northwestern are all 5-2, but only one of the three has a top 25 win this season — the Huskers won their opener against No. 21 Cincinnati. The toughest test left aside from Oregon could very well be UCLA, which has won three in a row after starting 0-4.

Perhaps there’s a world where USC, with one conference loss, could end up in the Big Ten title game. But in addition to beating the Ducks, that would also require moving past either Ohio State or Indiana, neither of which have looked particularly vulnerable of late.

However you try to spin it, getting USC into the Playoff requires serious finesse. By losing to Notre Dame, the Trojans closed off the easiest path to a postseason run.

More than likely, USC’s hopes now hinge on running the table. But nothing I’ve seen recently suggests that’s a likely option. Instead, with each passing week, my 8-4 prediction is feeling just about right.

Jayden Maiava throws a pass under pressure in the second quarter against Notre Dame.

(Justin Casterline / Getty Images)

—Stop asking if Lincoln Riley is going to give up playcalling. It ain’t happening. It wasn’t that long ago that Riley’s playcalling was the main reason for his historic rise through the coaching ranks. That felt like ancient history on Saturday night, as Riley dialed up a failed trick play to star wideout Makai Lemon that ended in a game-altering fumble. Riley admitted after the game that it was “a stupid call,” which is the closest he’s come to accountability in that department. He added later that his two failed fourth-and-short calls weren’t very good either. “I’ve gotta be way better for our guys,” he said after. It’s good that he recognizes his shortcomings in this situation, but how we’ve gotten to this point, with Riley’s playcalling having a clear negative affect, I can’t quite explain. Riley has had impressive moments calling plays this season, which are easy to forget after such a bad performance. But the fact that he seems to be at his worst in the biggest moments is not the best sign for turning things around in the future. All that said, it would presumably take an intervention from one of his bosses to hand off those duties to Luke Huard. The ego hit would simply be too significant for Riley to initiate that change otherwise.

—USC struggled to protect Jayden Maiava, and it paid the price. The Trojans’ front allowed a season-high 17 pressures to Notre Dame, and Maiava completed a meager 31% of his passes and threw both of his interceptions when under pressure Saturday. The good news is that reinforcements are on the way. Starting left tackle Elijah Paige dressed for Saturday’s game, but was only available in case of emergency. Center Kilian O’Connor, meanwhile, was surprisingly listed as questionable against Notre Dame. Both should be good to go when USC takes on Nebraska in two weeks.

—USC has lost 11 straight on the road to top 25 teams, six of which came under Riley. The last win USC had against a ranked opponent on the road came in November … of 2016! And USC’s last chance this season to rectify this terrible streak will likely be in Eugene next month — a game the Trojans are, as of now, unlikely to win. That means we’re staring down the barrel of an entire decade without a win over a ranked team on the road, which is totally unacceptable for a team that sees itself as a blue blood of college football.

—After having zero rim protection a year ago, USC might have one of the best rim protectors in the Big Ten this season. Just take a look at the statline for new 7-foot-5 center Gabe Dynes from USC’s exhibition against Loyola Marymount. Dynes had six blocks, three of which came in his first 10 minutes of the game. Dynes also had nine points, eight rebounds and even three assists, as the USC took care of business in a 60-51 win. The Trojans shot just 33%, but showed that their defense can be a strength by holding Loyola Marymount to just 28% from the field. Dynes will be an important part of that equation and if he can contribute on offense, well … the sky could be the limit for the 7-footer.

Olympic sports spotlight

After losing four of six to start its Big Ten slate, USC’s women’s volleyball team bounced back in a big way over the past weekend, winning two critical matches on the road. The highlight of the weekend was a 3-1 win over No. 9 Wisconsin, USC’s best win yet of this season.

Redshirt freshman outside hitter London Wijay had a career performance in the win over Wisconsin, tying a career-high with 24 kills, while freshman libero Taylor Deckert tallied back-to-back 20-dig performances over the weekend. USC also handled Iowa in four sets, to bring its Big Ten record to 4-4 on the season.

In case you missed it

USC’s College Football Playoff hopes take a big hit in rain-soaked loss to Notre Dame

King and Kaylon Miller always believed they could rise from USC walk-ons to key roles

Depleted USC fined by Big Ten for playing running back listed ‘out’ on injury report

What I’m watching this week

Jason Bateman as Vince, Jude Law as Jake in “Black Rabbit.”

(Courtesy of Netflix)

The last time Jason Bateman got in with the wrong crowd on a Netflix show, one of the best shows of the last decade was born. I didn’t want to place “Ozark”-level expectations on “Black Rabbit,” Bateman’s new show on Netflix with Jude Law, but after watching the first two episodes, I can say with confidence that it’s off to just as strong of a start.

Law stars as a New York restaurateur whose life is upended when his estranged brother, played by Bateman, suddenly comes back into his life and drags him unwillingly into New York’s criminal underworld. The show’s tone is about as tense as it gets — think “The Bear” meets “Uncut Gems” — but if you’re in the mood for a thrill ride, then this show is worth your time.

Until next time …

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at [email protected], and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.

MILWAUKEE — Blake Treinen’s first save of the postseason was hardly a memorable performance.

He threw more balls than strikes. He walked the first batter he faced and nearly hit the second. And he got the final out on a pitch that was well out of the strike zone.

But he did get the final out, preserving the Dodgers’ 2-1 win over the Milwaukee Brewers in the opening game of the National League Championship Series on Monday.

And for Treinen and the bullpen he’s supposed to be anchoring, that counts as major progress.

“We’ve been putting in a lot of work to try to get some things in a better place with myself,” Treinen said. “Today, I thought I executed almost every pitch.”

The fixes, he said, were simple mechanical tweaks that helped set up his pitches.

“Sometimes through catch-play and touching the mound a little bit, things start to click. And you’re kind of shocked at how a subtle tweak can change everything,” he said.

In the Dodgers’ World Series run last season, Treinen was as vicious as an ill-tempered Doberman, going 2-0 with three saves, a 2.19 ERA and 18 strikeouts in 12 1/3 innings.

This year, not so much. In his first four playoff appearances more batters got a hit than struck out and five of the 12 men he faced reached base. That followed a disastrous September in which he went 1-5 with a 9.64 ERA.

He wasn’t so much putting out fires as he was starting them. The poor performances began to build on one another.

“At times this year, when it hasn’t gone well, th[ings] can speed up a little bit in your mind,” he said. “That’s the hard part, to carry the thoughts and focus on what you’re good at.”

But manager Dave Roberts, who has had Treinen for the last five seasons, kept giving him chances to turn things around.

“I think the best way to for me to kind of view it is whether you’re a position player slumping or a pitcher maybe not getting the outs at the clip that you want, we all know what our abilities are,” Treinen said. “Dave’s seen me at my best and at my worst, and so when he calls my name, I’m grateful that he has confidence in me.

“And I have confidence that he’s putting me in situations for the team to win. So there’s a lot of peace in that.”

Treinen may have been at peace but he didn’t have much wiggle room when he replaced Roki Sasaki on the mound Monday with two out in the ninth and the Dodgers clinging to a one-run lead.

Sasaki, the team’s surprise playoff closer, had been lights out in the postseason, with just one of the 17 hitters he faced reaching base. Against the Brewers, he gave up two walks, a ground-rule double and a run-scoring sacrifice fly in the span of two outs. When Treinen entered, Milwaukee had the tying run on first and the winning run on third — and the right-hander immediately made things worse by walking William Contreras on six pitches to load the bases.

Treinen quickly got ahead of Brice Turang, the Brewers’ left-handed cleanup hitter, but courted disaster again when he sailed a 1-2 sweeper that nearly hit Turang. That would have forced in the tying run had Turang not instinctively danced out of the way, eliciting a groan from the sold-out crowd.

“It’s a natural reaction,” Milwaukee manager Pat Murphy said. “When the ball is coming towards you, it’s a breaking ball, your natural reaction is to do that.

Dodgers pitcher Roki Sasaki delivers in the ninth inning against the Brewers in NLCS Game 1 on Monday.

(Gina Ferazzi / Los Angeles Times)

“It happens. He’ll learn from that situation. But it’s hard.”

For Treinen, whose only luck lately has been bad luck, the break was one he quickly cashed by getting Turang to chase the next pitch, which was head high, to end the game.

That swing brought equal measures of joy and relief for Treinen, who has supplied little of either for the Dodgers this postseason. This time, he said it felt good to finally be able to contribute.

“Our guys have been playing great baseball,” he said. “Our bats are doing a great job. Our starters have been amazing. So [I’m] just doing my job to finish the game.”

He also did his job in picking up Sasaki, the hero of the NL Division Series win over the Phillies, who stood to be the goat if the Dodgers lost Monday.

“Any time as a professional, when you have the ability to pick up your teammates, there’s a lot of pride in it,” Treinen said. “You just want to do your part because it’s a team game.

“I’ve certainly had guys pick me up this year. To have the opportunity to pick someone else up, it feels good.”

And it’s been a long time since Treinen has felt that.

To live in Los Angeles is to be a seeker. There are those who come to the city in search of the limelight and affluence. There are others who crave temperate weather and long for accessible beaches. The list goes on. Some of these desires are easily satisfied, while others are left unfulfilled or forgotten. But for those born and raised in this atypical metropolis, like Shirley Kurata, the search is never-ending.

The costume designer tells me the key to loving this city is to never stop venturing around. We sit in the shaded back patio of Virgil Normal, a 21st century lifestyle shop she owns with her husband, Charlie Staunton. She wears a vibrant pink getup — a vintage top and Issey Miyake pants — complete with small pleats and optimal for the unavoidable August heat wave. Her signature pair of black circular glasses sits perfectly on the bridge of her nose. It’s a style of eyewear she owns in several colors.

“I always tell people, L.A. is like going to a flea market. There’s some digging to do, but you’ll definitely find some gems,” says the stylist and costume designer, as she’s regularly on the lookout for up-and-coming creative hubs and eye-catching storefronts. “It won’t be handed to you. You have to dig.”

In one way or another, “digging” has marked Kurata’s creative livelihood. Whether she’s conjuring wardrobes for the big screen, like in the Oscar-winning “Everything Everywhere All at Once,” or styling musicians like Billie Eilish, Florence and the Machine and ASAP Rocky for photo shoots and music videos, the hunt for the perfect look keeps her on her toes.

Over the summer, Kurata spent a lot of time inside the Costco-size Western Costume Co., pulling looks for Vogue World, the magazine’s annual traveling runway extravaganza. This year, the fashion spectacle is centered around Hollywood and will take place at Paramount Pictures Studios in late October. She is one of the eight costume designers asked to present at the event — others include Colleen Atwood of “Edward Scissorhands,” Ruth E. Carter of “Black Panther” and Arianne Phillips of “Once Upon a Time in Hollywood.” Kurata will be styling background performers and taking inspiration from the invited costume designers.

Shirley wears vintage hat, Meals Clothing top, shirt and dress, We Love Colors tights, Opening Ceremony x Robert Clergerie shoes and l.a. Eyeworks sunglasses.

“[Vogue] wanted someone that is a stylist and costume designer who has worked both in fashion and film. Because a lot of costume designers work primarily in TV and film, they don’t do the fashion styling for editorial shoots,” says Kurata. “I’m coming on and working with what other costume designers have done.”

Since her start in the business, Kurata has gained acclaim for her ability to infuse daring prints and vibrant color into the narrative worlds she deals with. Her maximalist sense of experimentation took center stage in “Everything Everywhere All at Once” and earned her an Academy Award nomination for costume design. From a bejeweled Elvis jumpsuit to a look made entirely of neon green tassels meant to resemble an amoeba, her vision was avant-garde, playful and undeniably multidimensional.

When Kurata isn’t on set or in the troves of a costume house, she’s likely tending to Virgil Normal. Housed in a former moped shop, the Virgil Village store offers a selection of novelty items and streetwear treasures, curated by both Kurata and Staunton. Though Staunton jokes that he’s constantly seeking her approval when sourcing inventory: “If it’s not cool enough for her, it doesn’t come in.”

The couple first met at the Rose Bowl Flea Market through mutual friends. At first sight, Staunton recalls being enthralled by her perpetually “cool” demeanor. Early in their relationship, he even floated the idea of starting a clothing line together, just to “knock off her closet.”

Shirley wears Leeann Huang t-shirt, skirt and shoes, We Love Colors tights and l.a. Eyeworks glasses here and in photos below.

“She’s like a peacock. It’s not like she’s trying to get attention. But she has her own vision and doesn’t really care what’s going on. She knows what’s cool,” says Staunton, who cites Kurata as the biggest “inspiration” for the store.

Inside the quaint red brick building, blue L.A. hats are embroidered to read “Larry David,” acrylic shelves are packed with Snoopy figurines (for display only), trays of l.a. Eyeworks frames fill the tables and each clothing tag is a different elaborate doodle illustrated by Staunton. He adds that everything in the store is meant to have a “rabbit hole” effect, where shoppers can give in to their curiosities.

“We wanted a place where like-minded people could come here and have it be a space to hang out. They don’t have to buy anything,” says Kurata. The attached patio is complete with a mural of a man floating in space, pipe in hand, and the coolers are still filled with chilled beers and sparkling waters from their most recent get-together. She tells me about how many times they’ve allowed musicians and artists to transform this peaceful outdoor space into a lively venue.

“Having that connection with a community of creatives in the city is essential. Having that sort of human interaction is really good for your soul, and for your creativity,” she shares. “Having this store has been one of the most fulfilling things that I’ve done, and it’s not like we’re not making a ton of money off it.”

From the cactus out front, which Kurata and Staunton planted themselves, to grabbing lunch at the taqueria down the street, she explains cultivating a space like this and being an active part of the neighborhood has made her into a more “enriched person.” Kurata, who is of Japanese descent, brings up the lesser known history of East Hollywood. In the early 1900s, the neighborhood, then called J-Flats, was where a sizable group of Japanese immigrants settled. It was once a bustling community with Japanese boarding houses that offered affordable rent and home-cooked meals. Today, only one of these properties is operating.

“Having that connection with a community of creatives in the city is essential. Having that sort of human interaction is really good for your soul, and for your creativity,”

For Kurata, being a part of this legacy means trimming the nearby overgrown vegetation to keep the sidewalks clear and running over to the locally owned convenience store when Virgil Normal needs supplies, instead of immediately turning to Amazon. She pours everything she learned from being raised in this city back into the store, and in turn, its surroundings.

Kurata was born and raised in Monterey Park, a region in the San Gabriel Valley with a primarily Asian population. The neighborhood is a small, homey stretch of land, known for its dining culture, hilly roads and suburban feeling (but not-so-suburban location). These days, she’ll often find herself in the area, as her mother and sister still live there. Together, they enjoy many of the surrounding dim sum-style restaurants.

Even from a young age, she was encouraged to treat the entire city as her stomping grounds. She attended elementary school in the Arts District, which she describes as quieter and “more industrial than it is today.” She also spent a lot of her childhood in Little Tokyo, shopping for Japanese magazines (where she found a lot of her early inspiration), playing in the arcade and grocery shopping with her family.

Shirley wears Leeann Huang lenticular dress and shoes, Mary Quant tights and l.a. Eyeworks sunglasses.

For high school, she decided to branch out even further, making the trek to an all-girls Catholic school in La Cañada Flintridge. “It was the first time where I felt like an outsider,” Kurata says, as she had only previously attended predominantly Asian schools. She laughs a little about being one of the rare “Japanese Catholics.”

“When you’re raised in something, you go along with it because your parents tell you, and it’s part of your education,” Kurata says. Her religious upbringing began to reach a point where she wasn’t connecting with it anymore. “Having that sort of awakening is good for you. I was able to look at myself, early in life, and realize that I don’t think this is for me.”

Her senior year, she discovered vintage stores. (She always knew that she had an affinity for clothing of the past, as she gravitated toward hand-me-down Barbies from the ’60s.) Her coming-of-age style consisted of layering skirts with other oversize pieces — and everything was baggy, “because it was the ’80s.” With this ignited passion for vintage and thrifting, Kurata began to mix items spanning across decades into one look.

“All the colors, the prints, the variety. It just seemed more fun. I would mix a ’60s dress with a jacket from the ’70s and maybe something from the ’40s,” says Kurata. It’s a practice that has remained a major part of her creative Rolodex.

Her lifelong interest in fashion led her to get a summer job at American Rag Cie on La Brea Avenue. At the time, the high-end store primarily sold a mix of well-curated timeless pieces, sourced from all over the world. It was the first time she encountered the full range of L.A.’s fashion scene. She worked alongside Christophe Loiron of Mister Freedom and other “rockabilly and edgier, slightly goth” kinds of people.

“Living abroad is such an important way of broadening your mind, being exposed to other cultures and even learning another language. It helps you grow as a person. It’s the best thing I ever did.”

“Time moved really slowly in that place. But just the creativity that I was around, from both the people who worked there and shopped there, was great exposure,” says Kurata, who recalls seeing faces like Winona Ryder and Johnny Depp browsing the selection and Naomi Campbell and Christy Turlington trying on jeans.

Kurata continued her L.A. expedition to Cal State Long Beach, where she began her art degree. It wasn’t long before Studio Berçot, a now-closed fashion school in Paris known for its avant-garde curriculum, started calling her name.

“Living abroad is such an important way of broadening your mind, being exposed to other cultures and even learning another language. It helps you grow as a person,” says Kurata. “It’s the best thing I ever did.”

Her Parisian studies lasted around three years and it was the closest she had ever gotten to high fashion. Sometimes, she would be able to see runway shows by selling magazines inside the venue or volunteering to work backstage. Other times, she relied on well-intentioned shenanigans. She used to pass around and reuse an invitation within her group of friends. She once snuck in through a large, unattended hole in a fence. In one instance, she simply charged at the entrance when it began to rain. All things she did in the name of fashion.

“I would just do what I could to see as many shows as possible. All of the excitement is hard to explain. When I worked backstage, there’s this labor of love that’s put towards the show. It’s this contagious energy that you could feel when the models start coming,” says Kurata, who saw everything from Jean Paul Gaultier to John Galliano and Yves Saint Laurent. When she was backstage for a Vivienne Westwood show, she recollects seeing this “shorter model, and thinking, ‘Oh, she’s so tiny,’ and then realizing that it was Kate Moss who was still fairly new at that point.”

“We wanted a place where like-minded people could come here and have it be a space to hang out. Having this store has been one of the most fulfilling things that I’ve done.”

Staying in France was intriguing to a young Kurata, but the struggles of visas and paperwork deterred her. She instead returned to L.A., freshly inspired, and completed her bachelor’s degree in art (to her parents’ satisfaction). She didn’t plan to get into costume design, Kurata explains. But when it became clear that designing her own line would require moving to somewhere like New York or back to Europe, she realized, “Maybe fashion is not the world I want to get into; maybe it’s costumes.”

“I felt comfortable with that decision,” shares Kurata. “I do love film, so it was just a transition I made. It was still connected [to everything that I wanted to do].”

Without the aid of social media, she sent letters to costume designers, hoping to get mentored, and started working on low-budget jobs. She quickly fell in love with how much the job changed day-to-day. On occasion, there are 12-hour days that can be “miserable,” but her next job might be entirely different. One day she’s styling the seasonal campaigns for her longtime friends Kate and Laura Mulleavy, owners of Rodarte, and the next she could be styling for the cover of W Magazine, where a larger-than-life Jennifer Coolidge stomps through a miniature city in a neon polka-dot coat.

Whenever Kurata takes on a project, Staunton says she “just doesn’t stop.” Sometimes, he’ll wake up at 3 in the morning and she’s emailing people in Europe, attempting to hunt down a rare vintage piece. Her passion is the kind that simultaneously consumes and fuels her.

“There’s a lot of times [with her work] where I’m like, ‘That’s just straight out of Shirley’s closet.’ It’s not like she has to compromise. It’s something she would wear herself. She doesn’t have to follow trends,” explains Staunton. “People seek her out, because she has such a unique vision.”

“I always tell people, L.A. is like going to a flea market. There’s some digging to do, but you’ll definitely find some gems.”

Kurata thinks of herself as “someone who gets bored easily.” It’s a quality that’s reflected in her eclectic style, busy travel schedule, Virgil Normal’s constantly changing selection and even the common feeling she gets when she’s sick of all of her clothes. It’s a good thing being bored and being in Los Angeles don’t go hand in hand.

I ask Kurata a somewhat daunting question for a born-and-bred Angeleno.

“Do you think you could ever see yourself calling another place home?”

She lets out a deep sigh and tells me it’s not something she’s closed off to. Though, she takes a moment to reflect on how everyone came together to provide support during the Palisades and Eaton fires earlier this year. Or how good it feels when they have events at Virgil Normal, to be surrounded by a diverse group of creative minds “who don’t judge.” She even thinks about how she currently lives in a Franklin Hills house, a neighborhood she never thought she would be able to afford.

Time and time again, Kurata and this sprawling city-state have looked out for each other. From the way she speaks of different areas with such an intrinsic care, to showcasing her unique creative eye in Tinseltown, L.A. has made her into a permanent seeker. Whether she chooses to stay in Franklin Hills for the rest of her life or packs up everything tomorrow, she’ll always keep an eye out for hidden gems — just like at the flea market.

Ubiquitous and almost uniformly dull, the year of dispiriting political advertising seems like it just won’t end. It’s not just voters who get tired of what’s turning up on TV.

A firm that tracks campaign ads finds “a painful proportion of them are all the same” — but plucks out five ads that is says are exceptions to the dull norm. That’s five offbeat, attention-grabbing ads that Kantar Media CMAG selected out of more than 6,000 that have aired this year — from local races all the way up to the scrum for the White House.

“These ads stand out because they’re unusually creative, personal or authentic,” said an article by Kantar Vice President Elizabeth Wilner for Ad Age.

That doesn’t mean they are particularly uplifting or nice. Just memorable. Among the ads singled out by Wilner:

–Rep. Allen West’s spot, comparing his preparations to deploy to Iraq in 2003 to the activities about that time of his Democratic opponent, who got arrested in a bar brawl. Even Democratic activists who loathed the content of the ad said it helped the Florida GOP lawmaker open up a lead over his opponent, Patrick Murphy.

–South Dakota U.S. Rep. Kristi Noem let her grandmother do the talking to describe the congresswoman’s position on Medicare and President Obama’s healthcare law. The result was a lot more engaging than it might sound.

–Alaska state Sen. Bettye Davis described her recipe for politics by mixing up a pot of gumbo like they do in her native Louisiana.

–U.S. Sen. Claire McCaskill, the Missouri Democrat, doesn’t want voters in that state to forget how her opponent, Rep. Todd Akin, talked about women’s bodies being able to somehow ward off pregnancy after “legitimate rape.” Her ad features an antiabortion Republican “and rape survivor” saying that Akin’s backward views and the possible “criminalizing” of abortion had her turning to McCaskill.

–An ad from conservative advocacy group Crossroads GPS went after Democratic U.S. Sen. Sherrod Brown of Ohio by mimicking the DirecTV ads—the ones that show consumers falling into dire straits because of their allegiance to cable TV. (“Don’t reenact scenes from ‘Platoon’ with Charlie Sheen.”) The spot captures some of the glow of the amusing DirectTV campaign.

[email protected]

Twitter: @latimesrainey

Sitting in a chair on Thursday night as fans came into SoFi Stadium to watch high school football games between Loyola and Gardena Serra and Leuzinger against Palos Verdes, you can hear the different reactions of first-time visitors as they climbed escalators and stairs to reach their seats.

Many were in awe.

“This is nice.”

“Wow. This stadium is so different.”

“I can’t believe I paid $80 for a high school game.”

The games have been put together by Playbook Events. Teams have to give up revenue they would make from hosting their own games. Parking costs $10 while student and adult tickets range from $29 to $71. Usual student tickets are $10 at home sites.

It’s clear players enjoy the once-in-a-lifetime experience to play in a prestigious NFL stadium that will host the swimming competition at the 2028 Olympic Games. And first-time visitors who’ve never been able attend a concert or NFL game at SoFi because of cost are truly impressed with the seating and experience.

But there’s also some issues that could enhance the experience. One fan suggested better directions on where to park and how to pay for parking, since only credit cards are accepted, and lots of grandparents are not tech savvy on how to purchase tickets online or which entrance to take to find the parking lot. Schools need to provide more specific instructions. Organizers are also requiring fans to sign a waiver when entering, leading to long lines if you don’t arrive early.

The cost for fans can be prohibitive, which means schools need to take that into account when agreeing to play a game at SoFi. The organizers certainly know what they are doing. Games start on time and security is plentiful and helpful for first-time visitors.

Loyola athletic director Chris O’Donnell said, “For this kind of experience, for both teams, it’s really great. I’d do this again in a second.”

The next big game at SoFi Stadium happens Thursday at 5 p.m. when unbeaten Los Alamitos plays Huntington Beach Edison.

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].

Watching comedians perform under the thumb of a government that is actively attacking swaths of its population is nothing new for Angelo Colina.

The 31-year-old joke teller was born and raised in the Venezuelan city of Maracaibo as the South American country faced continuous political turmoil under the prolonged presidencies of Hugo Chavez and Nicolás Maduro, among other economic, humanitarian and democratic challenges — such as hyperinflation, increased rates of starvation and decreased access to adequate healthcare services.

Colina — who carved a lane in the Americas as a Spanish-language comedian and has garnered millions of views across social media due to his whip-smart jokes and playful crowd work — left his home country at 21 and began pursuing a comedy career after moving to the neighboring Colombia.

It was the audacity of Venezuelan acts — like Nacho Redondo, Led Varela, Erika de la Vega and Luis Chataing, who spoke out against oppressive government rule — that inspired Colina and informed his worldview.

“As someone who grew up watching [them] perform and doing jokes about the government in Venezuela while they still could, that was my example,” Colina told The Times. “They really fought censorship as long as they could.”

As a self-described “double immigrant,” first to Colombia and subsequently Salt Lake City, the New York-based comedian said he felt as though he’s already lived four lives — all of which have helped shape his comic eye and sharpened his observational skills.

The current political climate, the continued artistic acceptance of Latino art in the U.S. and the ongoing Immigration and Customs Enforcement raids throughout the country were at the top of mind as Colina spoke with The Times ahead of his Oct. 11 performance at the Hollywood Improv.

This interview has been edited and shortened for clarity.

What has it been like doing comedy shows for a Spanish-speaking crowd in the time of ICE raids?

I start my shows by saying, “We’re doing comedy. You guys are not noticing, but we’re doing comedy in Spanish. In the United States in 2025. This is the closest to punk that we’ve ever been.” And people start laughing about it, because [federal officials] backed up by the law to say that if you speak Spanish, then they can ask about your current immigration status. And it’s like, all right, let’s speak Spanish. We’re not doing anything wrong. We’re just celebrating our culture in every show we do.

Do you like the idea of being a little punk?

I think it just became that; it was more organic. I wasn’t thinking that I’m part of a larger movement that started by other people of doing comedy in Spanish, which has always been and it’s certainly been a cool thing to me, but now it’s counterculture for sure. But I don’t need to invite people to my show because it’s counterculture, that’s not the reason why I want to sell. People have been freely celebrating being Latino for years already and I don’t think there’s any way to stop it, honestly.

Have you felt a change in your audience at all in recent months?

Unfortunately, I have. I do, however, have to give a shout-out to all the non-Latinos coming to the shows. They are coming because they want to see a form of Latinidad in its own rhythm and they are in love with our culture and they come and they support it.

I see the hesitance to come to shows a lot more with people that used to come with their parents. A lot of people born in the States, but with immigrants parents, used to come to my shows. My shows have always been a place where people finally can do something with their parents. Normally, they don’t find a lot of activities where they can share something like that. So their parents are now the ones that are faster on the joke and they are the ones that are catching up. It’s always been part of my whole demographic.

That’s the shift I’ve been seeing. A lot of people have reached out to me and said, “I would love to go to your show, but I don’t think it’s a good idea right now.” I got a lot of Venezuelans coming to my shows and saying, “This is the last show I’m going to in the States. I’m leaving next week. I got a deportation letter.” I got screenshots of it and they’re saying they’ll see me in Colombia or Argentina. It’s been pretty emotional. Honestly, this might be the first time I actually get emotional talking about it, but it’s hurt a bit.

It must be nice for the audience to have that time at your show to be who they are, but are you addressing the craziness of everything in your act?

I’m not pretending that’s not happening out there. Comedy gave me the opportunity to become a resident in the United States. I got my visa because of the people coming to my shows. It would be disgraceful for me not to talk about what’s happening or not to at least try to be of help, even if it’s by making people laugh.

Has it been difficult navigating the U.S. comedy scene as a fully Spanish act?

I would say dealing with the industry can be tougher sometimes because of the lack of awareness of how powerful Latino crowds can be. Luckily, it’s changing a bit because of musicians like Bad Bunny and Karol. Everything artists like them have done has made people organizing shows say, “Hmm, let’s see. Maybe I won’t give the Spanish act a Tuesday night slot. Let me try them on a Thursday or Friday night or a Sunday.” And then they see the room packed and people spending money, just having a great time.

I complained a lot about the industry last year and now I’m in a phase where I just want to do this for my people for as long as I can. I’m just enjoying being able to perform.

How has it been seeing Latinos in the U.S. further embrace Spanish-language content?

It’s not only Latinos; people from all backgrounds are interested in our culture. In L.A., a lot of Latinos that were born here didn’t have the chance to learn Spanish or practice it as much, but they love the culture. You also see a lot of people that are non-Latino at my show because they’re interested in Spanish.

It’s like music. There’s no merengue in English because there’s no need for merengue in English. If you are a non-Spanish speaker and you like the rhythm, you’re gonna come to the music. And that’s happening at my show and I’m learning how to navigate it. Sometimes I see people making faces and you don’t hear the laugh coming back at you. Then the show ends and everyone’s DMing me and then they’re signing at the very end of the DM because white people love doing that.

Philadelphia sports fans have a bit of a reputation for not always being the most upstanding of citizens.

If you’re wondering why, just ask the kid who had a home run ball snatched from his glove and given to the woman not-so-affectionately known as “Phillies Karen.”

You could also ask former Dallas Cowboys receiver Michael Irvin.

Or some Pennsylvania State Police horses.

Or Santa Claus.

All that said, though, it’s hard not to feel a teensy bit bad for Philly fans after what they endured Thursday night.

The Phillies suffered a season-ending playoff loss (pausing here for L.A. fans to respectfully compose themselves — you’ve had plenty of time to celebrate after the Dodgers won 2-1 in 11 innings on a shocking throwing error by Philadelphia relief pitcher Orion Kerkering).

Then over in the NFL, the reigning Super Bowl champion Eagles were dominated by NFC West rival New York Giants 34-17 on “Thursday Night Football.” And in the NHL, the Flyers lost their season opener 2-1 to the Florida Panthers.

For any other city’s fan base, that might be considered the worst day ever. But believe it or not, Philly fans had to endure a similarly disheartening day nearly 42 years ago, according to sports statistician Greg Harvey.

Harvey pointed out on X that Oct. 16, 1983, was the only other time in history that one city’s MLB team team suffered a season-ending loss in the postseason while its NFL and NHL teams lost as well. And that unlucky city was Philadelphia.

That was the day that the Phillies, nicknamed the “Wheeze Kids” that season for all the veteran players on the roster, fell 5-0 to the Baltimore Orioles to lose the World Series four games to one.

Meanwhile, the Eagles were off to a 4-2 start to their season before losing that day to the Dallas Cowboys 37-7. It was the start of a seven-game losing streak for the Eagles, who wound up finishing the season 5-11.

The Flyers suffered their first loss of that season — 5-4 to the New York Rangers — after starting the year with five straight wins. Months later, they ended up finishing third in the Patrick Division before being swept out of the first round of the Stanley Cup playoffs by the Washington Capitals.

So maybe, just maybe, you might want to take it easy on the Philadelphia sports fans in your life — at least until the next time one or more them does something that makes the rest of us cringe.

And hopefully those fans extend the same courtesy to Kerkering. Maybe he’ll end up being the one person who can tell Santa Claus and the others that Philly fans aren’t all that bad after all.

All Odafe Oweh had known was Baltimore. The 2021 first-round selection had made a home there as part of the perennial AFC title contender’s edge rush.

A year ago, Oweh posted career highs for sacks (10), tackles for loss (nine) and quarterback hits (23). But a contract extension didn’t come his way, raising uncertainties about his future with the Ravens.

“I was really trying to get an opportunity to be in a new system and prove what I can to people that are really trying to see that,” Oweh said Wednesday, “so I have a little animosity on my back.”

The 6-foot-5, 265-pound outside linebacker got his wish Tuesday when the Chargers acquired him and a 2027 draft pick in exchange for safety Alohi Gilman and 2026 draft selection.

Entering the season in prove-yourself territory after the Ravens picked up his fifth-year option, Oweh has 12 games to show the Chargers he deserves to stay. His season has been mixed so far — he has yet to record a sack despite ranking 42nd in the NFL with 12 pressures.

With Khalil Mack on injured reserve, the Chargers were boasting a one-man show on the edge — Tuli Tuipulotu leading the team in pressures with 27. Odeh likely will slot into the rotation against Miami on Sunday, coach Jim Harbaugh told reporters earlier this week.

“I expect him to be a really good player who gets the run and a really good player who gets the pass, and super excited about, you know, his pass rush ability,” defensive coordinator Jesse Minter said. “The ability to run people down, run quarterbacks down. It’s something that, you know, we’ve struggled with at times.”

Minter pointed to Oweh’s higher pressure rate — which ranks second on the Chargers behind Tuipulotu — as a reason to be excited, even comparing him to Tuipulout as a player who could “all of a sudden” strike for multiple sacks.

Oweh said he believes that the results will come, especially with increased playing opportunities in Los Angeles.

“I don’t attribute it to me not having the moves — [or] me not winning. I was winning,” Oweh said. “I know that the fact that I have a lot of pressures, that’s going to translate at some point. … Production is going to come.”

Oweh said the Chargers have a reputation for being the “L.A. Ravens,” and he’s not far off.

Harbaugh’s brother, John Harbaugh, leads the operation in Baltimore. Greg Roman, the Chargers’ offensive coordinator, held the same position with the Ravens from 2019 to 2022. Minter spent time in Charm City, holding numerous coaching roles from 2017 to 2020.

Chargers general manager Joe Hortiz was involved in the Ravens’ decision to draft Oweh during his time as Baltimore’s director of player personnel. Hortiz even attended Oweh’s pro day at Penn State.

Safety Derwin James Jr., who had the same agent as Oweh, got the chance to train with him during the offseason.

“A lot of speed,” James said when asked about what Oweh adds to the defense. “I know what he can bring to the table.”

His familiarity with multiple people in the Chargers’ organization, Oweh said, makes the “fresh start” easier to handle despite the “shocking” end to his tenure with the Ravens.

“This is a perfect place for me to have a different experience but at the same time have some similarities,” Oweh said.

No, he didn’t.

Yes, they did!

No, it’s inconceivable that Philadelphia Phillies’ reliever Orion Kerkering would botch a grounder and throw it away with the season on the line.

Yes, it happened with the bases loaded and the Dodgers scored to steal a National League Division Series clinching 2-1 victory in 11 taut innings Thursday at Dodger Stadium!

Clinched, just in time.

Clinched, when they could have clenched.

Clinched, like a champion.

With their backs quickly approaching the wall, faced with a loss that would return the series to Philadelphia for a deciding Game 5, the Dodgers dug in and lashed out and, at the last possible minute, shoved the talented and favored Philadelphia Phillies out of their path to take a three-games-to-one series win and clear the way toward their second consecutive World Series title.

And they did it with a mad, mindless throw from a frozen, frightened reliever.

Has any postseason series ended with such an error?

It happened in the 11th, after Tommy Edman hit a one-out single to left, then moved to third one out later on a single by Max Muncy. Kiké Hernández walked to load the bases, bringing up the struggling Andy Pages, who entered the day with an .053 playoff average and had gone hitless in four previous at-bats.

He proceeded to hit into his fifth out… except Kerkering muffed the grounder. When the pitcher finally picked up the ball, he still had plenty of time to throw out Pages at first. Instead, he panicked and threw it home, launching it far over catcher JT Realmuto’s head.

Pinch-runner Hyeseong Kim scored the winning run as Kerkering stood stunned on the mound and the Dodgers danced wildly across the field.

How the Dodgers defeated the Phillies in the 11th inning in Game 4 of the NLDS.

They now advance to the National League Championship Series, where they will be heavy favorites against either the Milwaukee Brewers or Chicago Cubs.

A victory in that seven-game set will land them back in the World Series, where they will be even heavier favorites against whatever inferior team the American League can muster.

Yeah, the rest of their journey should be the easy part, the Dodgers already conquering their Goliath equal in a Phillies series that was essentially the World Series.

Remember last fall when they defeated the San Diego Padres in a tense five-game fight before cruising to the title? This was that. This was the two best teams in baseball. This was the Dodgers once again swallowing all the pressure and refusing to relent.

After a breathtaking six-inning scoreless pitching duel between the Dodgers’ Tyler Glasnow and the Phillies’ Cristopher Sanchez, the Phillies struck first in the seventh with a single, an error by reliever Emmet Sheehan, and a double by Nick Castellanos.

The Dodgers countered in the bottom of the seventh with two walks and a single followed by a bases-loaded walk drawn by Mookie Betts against closer Jhoan Duran.

This set the stage for the Error Heard ‘Round The World. This set the stage for what should absolutely be a second consecutive World Series championship.

Before these playoffs there was a lot of talk about the Dodgers’ late-season struggles that were symbolized by that blown no-hitter in Baltimore. They had no bullpen depth. They had no offensive patience. They were headed for another early October exit.

At least, that’s what outsiders thought. That’s not what the veteran, pressure-proof Dodgers thought.

“I think it boils down to the guys we have in the clubhouse,” said Max Muncy earlier this week. “We have a lot of experience, a lot of really good players. We’ve been there before. We accomplished it.”

Turns out, nobody knew the Dodgers like the players wearing the uniform.

“We knew who we are as a team all year long,” said Muncy. “Even though we weren’t playing up to it at certain points, we trusted who we were. Like I said, we knew who we were in the clubhouse, not one person faulted in there, even in the rough times.”

They were impressive in the four games against the Phillies. Here’s predicting they’re going to get even better before the month ends.

“I still think there’s another gear in there,” said Muncy. “I don’t think we fully reached where we can be at. And that’s not saying we are, and that’s not saying we aren’t. But I still think there’s a whole other level in there we haven’t reached yet.”

The Times’ Bill Shaikin quickly asked, “What would tell you you’ve reached it?”

“I think you would know,” said Muncy.

The media laughed. The rest of baseball shivered.

If you want to watch every Dodgers game in 2026, you’ll likely need access to all of these outlets: SportsNet LA, Fox, ESPN, NBC, Peacock and Apple TV.

That is not, shall we say, fan-friendly.

Baseball’s holy grail is this: One place to watch your team, and every team, wherever you are. One price. No blackouts. No need to decide whether to pay up for a subscription to an outlet you may never watch after the game ends.

Rob Manfred, baseball’s commissioner, does not need to persuade fans about this. He does need to persuade the owners of all 30 teams about this.

Since Manfred would like to have this “All the Teams, All The Time” outlet up and running in 2029, he needs to start lining up votes among the owners. Manfred has talked about this goal for years, and I asked him if he can say this is really going to happen.

“I think that there is a lot of acceptance within the industry that, given what’s happened within the media environment, we need to be more national,” Manfred told me before the Dodgers and Philadelphia Phillies met Monday at Citizens Bank Park.

“The idea of centralizing, and getting more games available on national platforms, is really appealing to people. Now, we’ve got some cards to play, still. But I remain optimistic that it can happen.”

So does Stan Kasten, the president of the Dodgers.

“We are supportive of the notion of all fans anywhere being able to watch any game, and doing away with blackouts,” Kasten said. “That takes a lot of steps, and every team has a different situation.

“We have a long way to go, but the goal is an admirable one, one I think all fans will benefit from, and that is what is most important.”

This all sounds lovely so far. But the Dodgers are not about to unconditionally surrender what fans outside Los Angeles consider their greatest competitive advantage: money, and lots of it.

The Dodgers and Milwaukee Brewers are on course to meet in the National League Championship Series. The Brewers make about $35 million in local television revenue this year, according to Sports Business Journal.

The Dodgers make about 10 times that much in rights fees this year from Charter Communications, the parent company of Spectrum — and that annual rights fee will top $500 million by the end of the Charter contract in 2038. And there’s more: the Dodgers also own SportsNet LA.

If the 30 teams pooled their broadcast rights, Manfred believes they could generate interest not only from traditional outlets but from streamers such as Apple, Peacock, Paramount and Netflix. League officials believe the exclusivity of one package would generate more collective revenue than the combination of 30 individual team deals.

In theory, then, the Brewers would get significantly more than $35 million per year if the teams split the pot evenly. The Dodgers would get less, and probably much less. So would Manfred just lean on the Dodgers to go along for the good of the game?

“I don’t think you can make a change like this based on people saying this is for the good of the game,” Manfred said. “I think you make a change like this by people realizing who the buyers are, what they want to buy, and by packaging up a set of changes that make it kind of closer to an economic wash.”

Meaning cash-neutral for teams like the Dodgers — and the New York teams, Boston Red Sox and Chicago Cubs — still reeling in big bucks amid the collapse of regional sports networks outside large markets?

“Yeah, and there are a whole lot of ways to get there,” Manfred said.

He did not lay out his menu of options, but the first one is clear. Collective bargaining negotiations are scheduled to start next year, with the growing likelihood of a lockout after the 2026 season.

If owners can push through a salary cap — a cap that the players’ union insists will remain — then small-market owners could be guaranteed players would receive a guaranteed but limited percentage of league revenue. That cost certainty, coupled with the potential of increased revenue from a 30-team broadcast package, probably would win over small-market owners.

And that could be critical, because those owners currently make a fair amount of money from revenue sharing, under which teams are assessed a percentage of such money as ticket sales, concession sales and local media revenue. That money is pooled and shared equally for now, but Manfred could offer the Dodgers and other financial behemoths a chance to keep more of — or all of — that money for themselves.

The league also could offer to buy out SportsNet LA and other such channels, meaning more money for the Dodgers. And, although the Dodgers under current ownership do not appear interested in a salary cap, a cap would decrease player spending and thus increase team profits.

A wild card: With Shohei Ohtani, Yoshinobu Yamamoto, Roki Sasaki and Hyeseong Kim on their roster, the Dodgers could ask for greater revenue from international broadcast rights, which are now shared equally among teams.

Those are a lot of balls for Manfred to juggle. Kasten adamantly declined to say what might work for the Dodgers.

“You’re delving into areas that are way too premature for me to discuss, other than for me to tell you we agree with the goal,” he said. “The goal is a good one, and we hope baseball can get there.”

Dodgers manager Dave Roberts was trying to play the long game Monday night.

Which is why, when his team entered the ninth inning with a three-run lead in Game 2 of the National League Division Series, he gave the save opportunity to Blake Treinen instead of Roki Sasaki.

If all things had been equal, it’s likely that Roberts would have turned to Sasaki to start the inning. In just two weeks since returning from a shoulder injury and being moved to the bullpen, the converted rookie starter has become the club’s most dominant relief option.

But, for as much of a revelation as the 23-year-old right-hander had been in that time — posting four scoreless outings with a 100-mph fastball and unhittable splitter — the team remained conscientious about managing Sasaki’s workload, which included one appearance in Game 2 of the wild card series, then another in Game 1 of the NLDS just days prior.

Thus, with Roberts feeling confident enough in Treinen (the veteran right-hander coming off a career-worst season but also some recently improved outings) to protect a three-run cushion that felt relatively comfortable, he left Sasaki sitting in the bullpen despite the save situation.

He tried to take advantage of an opportunity to give his ace reliever rest.

“He hasn’t gone two out of three [days] much at all,” Roberts said after the game. “So I didn’t want to just kind of preemptively put him in there. I felt good with who we had.”

That plan, of course, almost backfired in disastrous fashion. Treinen gave up two runs without retiring a batter. Alex Vesia needed his defense to turn a wheel play on a Bryson Stott bunt to limit the damage from there. And in the end, Sasaki entered the game anyway to record the final out.

Moving forward, Roberts confirmed on Tuesday, Sasaki is “definitely the primary option now” for any future save situations — the closest the team will come to calling him their outright closer, since they could also choose to use him in high-leverage spots before the ninth.

“Obviously what Roki has done, has continued to show, has been very encouraging on a lot of fronts,” Roberts said.

The question, however, remains exactly how hard the Dodgers can ride him the rest of these playoffs; and how delicately they’ll have to balance the burden they place on a young pitcher who has never before pitched in a relief role.

“He’s not going to close every game, it’s just not feasible,” Roberts said Tuesday. “This is something he’s never done. And you’re expecting to go a few more weeks [in the postseason]. So all that stuff has to play in, that a lot of people don’t have any appreciation for.”

The deeper the Dodgers go in the playoffs, the more tricky this calculus will get.

For now, the team’s preference would be for Sasaki to have at least one day of rest before each of his outings. And while Roberts didn’t rule out using him back-to-back days, he described it as “the next graduation point” for the offseason Japanese signing (who had made only eight MLB starts at the beginning of the season before initially getting hurt and missing the next four months).

“There’s no guarantee what the stuff’s going to be like [in a back-to-back sequence],” Roberts said, adding that any potential usage of Saskai on consecutive days would require conversations beforehand with pitching coaches about how Sasaki looked in pregame catch sessions.

“I would love to have Roki throw every single day if he could, but that’s just not feasible,” Roberts reiterated. “Again, we have a lot of conversations, and then I make my decision.”

In other words, Sasaki will get the majority of save opportunities moving forward. But he likely won’t be the only one to handle such spots.

Sheehan responds in set-up role

Emmet Sheehan reacts after closing out the eighth inning against the Phillies in Game 2.

(Robert Gauthier/Los Angeles Times)

After a promising regular season in which he posted a 2.82 ERA in 15 outings, the Dodgers looked to Emmet Sheehan to be a multi-inning set-up man for their beleaguered relief corps.

His first playoff outing was troublesome: Giving up two hits and two walks while recording only one out in Game 2 of the wild-card series against the Reds.

But on Monday night, he bounced back with two innings of one-run relief to keep the Dodgers’ lead intact entering the ninth.

The biggest moment of Sheehan’s outing (in which he retired the side in the seventh, before giving up a down-the-line triple to Max Kepler and RBI single to Trea Turner in the eighth) came after he’d yielded that lone run. The Phillies had left-handed sluggers Kyle Schwarber and Bryce Harper due up next. The Dodgers had Vesia, their top left-handed option, warming in the bullpen.

For a brief moment, as pitching coach Mark Prior came to the mound and Sheehan fidgeted with his PitchCom device during an extended pause, it appeared the Dodgers were just stalling for Vesia to get warm.

But Roberts ultimately stayed put and let Sheehan pitch to the Phillies’ star duo. His faith was rewarded with two outs that ended the inning. Sheehan struck out Schwarber with a 97.6-mph fastball on the inside corner, tied for his third-hardest pitch for a strikeout this season. Then he got Harper to fly out on a changeup, pumping a fist into his mitt as he skipped off the field.

“I think it just showed some adjustments that I made compared to that previous game [against the Reds],” Sheehan said.

The biggest one?

“Definitely controlling your emotions,” Sheehan acknowledged. “It’s a big piece of coming out of the bullpen. I’ve talked to a lot of guys about that, especially after Cincinnati where I wasn’t as comfortable out there.”

That Reds outing, of course, was a major red flag for the Dodgers’ bullpen plans. Given the struggles from the team’s traditional relievers entering the playoffs, Sheehan was supposed to essentially be a set-up man out of the bullpen capable of bridging the gap from the starting pitcher to the ninth.

Sheehan said, in that wild-card outing, he felt he was “trying to do a little too much, trying to be a little too fine with my pitches at the corners.”

“That’s not really my game,” he said in hindsight. “So I think just getting back to the approach and the game plan that’s been working for the past couple months was big. Trying to just go right at them and attack in the zone.”

Roberts gave Sheehan the leash to do that Monday, and will likely keep calling upon him in high-leverage spots moving forward, perhaps making Sheehan and Sasaki his preferred combination to close out the final innings of games.

“I just felt that his stuff was still real good [and that] he wasn’t going to run from those guys at the top,” Roberts said Tuesday of letting Sheehan face Schwarber and Harper (who are a combined one for 14 in the NLDS with two walks and eight strikeouts).

“I trusted him. I felt in that moment he was the best option. And it proved to be right.”

Treinen lacking ‘edge’

At the other end of the reliever trust spectrum is Treinen, who not only failed to retire any of the three batters he faced in Game 2 but also, at least in Roberts’ estimation, also didn’t look like someone confident in their stuff.

“I just didn’t see that edge last night,” Roberts said Tuesday, “that I know I’ve seen it many times over.”

Indeed, Treinen was the Dodgers’ most trusted reliever during their World Series run last year, when he was credited with three saves, two holds and two wins and punctuated his October with 2 ⅓ scoreless innings of relief in Game 5 of the World Series.

This season has been a different story, with Treinen stumbling to a career-worst 5.40 ERA after missing much of the first half with a forearm problem.

Despite that, Treinen had entered Monday on more of a high, after striking out three batters in his regular-season finale before making two scoreless appearances in the wild-card series.

The Phillies, however, took advantage of his inability this year to get as much swing-and-miss, fanning on just one of eight swings while stringing together a single and two doubles (the last one on a half-swing from Nick Castellanos against Treinen’s trademark sweeper).

“I felt that he was getting some momentum before that last one, so I’ll check in on him,” Roberts said. “But there’s ways of how you go about an outing, successful or not successful, and how a player carries himself matters to me.”

On Monday, Treinen didn’t check that box. And whether he will be thrown into such a high-leverage situation his next time out remains to be seen.

Welcome back to the Times of Troy newsletter, where we’re back from the bye, recharged and ready for the gauntlet ahead on USC’s schedule. Here’s hoping you had a nice relaxing weekend away that didn’t involve yelling at the television about your team’s struggling secondary.

Following that lead, we’re going to step away from the football field for this week to talk about something that every college football program could use more of these days, but never seems to get enough of:

Money.

First, let me take you back four years before the Pac-12 imploded, to when then-Pac-12 commissioner Larry Scott had a big idea to save his flailing conference.

His plan? Sell off a 15% stake of the Pac-12 to a private equity firm for a reported infusion of $1 billion, which Scott hoped would be enough to help stabilize the conference. At the time, the Pac-12’s media rights deal was only providing about $30 million per school annually. A private equity investment, Scott figured, would add tens of millions to that total, helping to hopefully keep the Pac-12 afloat until the conference’s next media rights negotiation.

But the plan never came to fruition, and the Pac-12 unraveled. The reason it didn’t work then was the presidents and chancellors of the Pac-12’s member schools had no stomach for selling off a stake in their conference to a private equity firm, no matter how desperate the conference was. USC, in particular, was one of the most vocal detractors. Viewing itself as the crown jewel of the conference, it already wasn’t happy with the equal distribution of media revenue. It saw no reason, at the time, to give away more valuable equity in its brand while locking into that arrangement for a longer period.

Had Scott managed to make that deal, who knows what might have happened with the Pac-12.

But almost seven years later, private equity firms are once again swirling like vultures overhead. As first reported last week by ESPN, USC’s new conference, the Big Ten, is now seriously considering a $2-billion private equity infusion. That deal would also reportedly lock in the conference’s members through 2046, injecting at least a little stability into an especially unstable landscape.

A decision is expected in the coming weeks, and the conference is looking for consensus among schools to move forward. But USC had no interest in such a deal before. Why would that be different now?

Well, for one, college sports have gotten a lot more expensive in the wake of the House settlement. Even before adding a $20.5 million line item to its budget, USC’s athletic expenses were among the highest in the nation at $242 million, according to the most recent Department of Education data. And that figure doesn’t consider the $200-million football facility currently being built or the millions of scholarship money that needs to be raised or the $200-million budget deficit the larger university finds itself in.

A nine-figure private equity check would go a long way in soothing those financial concerns. Especially at the Big Ten’s smaller schools. But it wouldn’t solve every revenue problem in USC’s future. And it would be foolish to think that money doesn’t come with strings attached, even if the discussed deal does at least attempt to mitigate that influence.

The deal would create a separate corporate structure that would handle all things related to revenue generation within the Big Ten. That revenue would then be distributed between 20 equity stakeholders — the 18 conference schools, the league office and this private equity firm.

So the private equity firm wouldn’t own a piece of USC athletics, so much as it would own a share of the Big Ten’s business interests. That setup would then theoretically limit the investor’s control and keep private equity out of other decisions pertaining to Big Ten athletics, which had been the fear of Pac-12 presidents when the conference previously turned up its nose to such an investment.

There are still many unknowns here, most notably how the revenue would be distributed. But there’s no reason to think the conference’s biggest brands, such as USC or Michigan or Ohio State, would sign on to any deal that didn’t include distribution of that revenue that significantly favored those schools.

That appears to be the plan. But as of now, neither Michigan nor Ohio State is on board yet.

“I believe selling off Michigan’s precious public university assets would betray our responsibility to students and taxpayers,” Jordan Acker, a member of Michigan’s Board of Regents, wrote on social media.

And in this case, the buyer has an entirely different mission than the other stakeholders involved. Private equity firms exist solely to provide up-front capital in order to eliminate risk, turn a profit and then exit the marketplace. There’s no reason to think it would be different in this case. Which doesn’t exactly jibe in the marketplace that is college athletics.

So is a $100-million check worth giving away that control? For Purdue or Rutgers, probably. For USC? I’m not so sure.

USC, like Michigan and Ohio State, has yet to sign off on plans for conference-wide private equity investment and still has questions about the potential deal, a person familiar with the decision not authorized to discuss it publicly told The Times. But the school wants to be good partners in the conference, and of course, it could always use an infusion of cash.

But does USC really need money that badly? The athletic department has already taken significant steps to raise revenue in light of the House settlement, including striking a massive, new 15-year multimedia rights deal with Learfield. USC doesn’t necessarily need the Big Ten or its new private equity partner to create conference-wide revenue streams where it could just strike deals on its own. Nor does it need assurances of the Big Ten’s long-term stability enough to sacrifice equity.

USC once made a mistake by accepting an equal share as its peers in the Pac-12. But it can’t make that mistake again. By virtue of its brand, USC is always going to have a seat at the table.

And if the Big Ten is getting into bed with private equity, it should be using every bit of that leverage to get the best possible deal. There’s no world in which USC should accept a smaller slice of that pie than Michigan or Ohio State, no matter the history of the other two.

Calling all questions!

Have any questions, comments or concerns about USC coming out of the bye week?

Send them along to [email protected] or shoot me a DM @RyanKartje on X or @rkartje on Instagram by Monday night, and I’ll include the best ones in a video mailbag I’m planning to put out early next week.

—Kilian O’Connor is out for at least two games with a knee injury, and maybe more. J’Onre Reed will start at center in his place. Most assumed that Reed would be the starter when he joined USC in the offseason. But O’Connor, a former walk-on, won the job in camp. Which, depending on your perspective, is either troubling for Reed or encouraging for O’Connor. Nonetheless, this is a guy who started 25 games at Syracuse. I’d hope, if USC made a point to pursue him in the portal, that Reed should be at least a passable replacement for a former walk-on. That said, the next two games — against Michigan and Notre Dame — wouldn’t have been a cake walk for USC’s offensive front even at full strength.

—Freshman All-American Caden Chittenden is getting healthier, but don’t expect him to be handed kicking duties when he returns. USC brought in Chittenden after a tremendous freshman season at Nevada Las Vegas to solve its field goal woes. But he’s been dealing with a hamstring injury since the preseason, and in his place, Ryon Sayeri has been as good as anyone could have hoped. Sayeri has hit eight of nine field goals, third-best in the Big Ten, and all 28 extra point attempts. On kickoffs, he’s been “a machine.” “If a guy is playing at a high level, no matter who it is, we wouldn’t make a change just because of that,” Riley said last week. Don’t be surprised if he keeps the job the rest of the way, regardless of Chittenden’s status.

—USC’s top guard, Rodney Rice, will miss the next few weeks with a shoulder injury. Not ideal, obviously. But Rice should be ready to go for the basketball season opener on Nov. 3, when the Trojans take on Cal Poly. Assuming he returns to full health, he’s primed for a big season as the engine of USC’s offense.

—Former Trojan quarterback Mark Sanchez was stabbed and later arrested after allegedly drunkenly assaulting a 69-year old man in Indianapolis on Friday night. When the story was first reported, it seemed like Sanchez was the victim of a violent attack. Turns out, the police believe it was the other way around. The other man involved, a 69-year-old grease disposal truck driver, told police that Sanchez tried to break into his truck and assaulted him when he refused to move his truck from an alleyway, according to police records. The man first pepper sprayed Sanchez, then, allegedly fearing for his life, stabbed Sanchez multiple times in the chest. Sanchez was eventually taken to the hospital in critical condition, and he later told police that he didn’t know who stabbed him. He’s now in stable condition.

—The NCAA tournament is “inching closer” to expanding to 76 teams. That’s according to Yahoo’s Ross Dellenger, who reported that the expansion would likely feature a 12-game opening round in multiple cities, as opposed to the four-team “First Four” matchups which traditionally took place in Dayton, Ohio. I suppose this was inevitable, with so much TV money to be made with the tournament. But I’m not sure if anyone outside of TV execs are really clamoring for this expansion.

Olympic sports spotlight

Many of you have asked and I have heard your pleas for more Olympics sports coverage in the newsletter! So from here on out, most Mondays, we’re going to zoom in on a standout team or athlete from one of USC’s non-revenue programs.

Maribel Flores was named Pac-12 freshman of the year two years ago, but she missed part of the next women’s soccer season to play for Mexico at the U20 World Cup and tallied just a single point as a sophomore.

Now, as a junior, Flores is back in peak form. She has 15 points across 11 games for USC, which ranks third in the Big Ten.

USC struggled without a win through the first three weeks of September, but has since gotten back on track with a three-game win streak. After a road swing through Minnesota and Iowa next week, the Trojans won’t have to leave L.A. for the rest of the regular season. For now, they’re just one game behind UCLA, in second place in the Big Ten.

In case you missed it

Former USC star Mark Sanchez accused of attacking truck driver before he was stabbed

Where does USC go from here with its struggling secondary?

What I’m watching this week

Phil Parma (Philip Seymour Hoffman), in ‘Magnolia.’

(Peter Sorel/New Line Cinema)

Inspired by last week’s pick in this space, “One Battle After Another,” which exceeded my sky-high expectations, I’ve decided to dive back into the Paul Thomas Anderson filmography and check off the boxes I’ve missed.

First up in that quest was “Magnolia,” a sprawling, three-hour epic that I’ve been meaning to watch for many years. Set in the San Fernando Valley, where many of Anderson’s films take place, it follows an ensemble of interconnected narratives that Anderson somehow manages to weave into one story. Incredible writing. Amazing acting. As if I needed any more evidence of Anderson’s genius, “Magnolia” only solidified my adoration of his work.

Until next time …

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at [email protected], and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.

More than four years after the family of deceased Angels pitcher Tyler Skaggs filed a wrongful death suit against the Angels, jury selection will begin Monday in Orange County Superior Court.

Skaggs’ widow Carli Skaggs and parents Debra Hetman and Darrell Skaggs stated in a court filing that they seek at least $210 million in lost earnings and damages. A lawyer for the Angels said in a pretrial hearing that the plaintiffs now seek a judgment of $1 billion, although the lead attorney representing the family said the number is an exaggeration.

The trial is expected to last several weeks. Pretrial discovery included more than 50 depositions and the witness list contains nearly 80 names.

Lawyers for the Skaggs family aim to establish that the Angels were responsible for the death of the 27-year-old left-handed pitcher on July 1, 2019, after he snorted crushed pills that contained fentanyl in a hotel room during a team road trip in Texas.

An autopsy concluded Skaggs accidentally died of asphyxia after aspirating his own vomit while under the influence of fentanyl, oxycodone and alcohol.

Angels communications director Eric Kay provided Skaggs with counterfeit oxycodone pills that turned out to be laced with fentanyl and is serving 22 years in federal prison for his role in the death. Skaggs’ lawyers will try to prove that other Angels employees knew Kay was providing opioids to Skaggs.

“The Angels owed Tyler Skaggs a duty to provide a safe place to work and play baseball,” the lawsuit said. “The Angels breached their duty when they allowed Kay, a drug addict, complete access to Tyler. The Angels also breached their duty when they allowed Kay to provide Tyler with dangerous illegal drugs. The Angels should have known Kay was dealing drugs to players. Tyler died as a result of the Angels’ breach of their duties.”

The Skaggs family planned to call numerous current and former Angels players as witnesses, including future Hall of Famers Mike Trout and Albert Pujols as well as pitcher Andrew Heaney — Skaggs’ best friend on the team — in an attempt to show that Skaggs was a fully functioning major league pitcher and not an addict.

Pretrial filings and hearings indicated that the Angels were attempting to show that Skaggs was a longtime drug user who acquired pills from sources other than Kay. Skaggs’ mother, Debbie Hetman, testified during Kay’s 2022 criminal trial that her son admitted he had an “issue” with oxycodone as far back as 2013.

Hetman said her son quit “cold turkey” but she testified the addiction remained enough of a concern that Skaggs wasn’t prescribed opioids after undergoing Tommy John surgery in August 2014.

Judge H. Shaina Colover dashed a key Angels defense strategy when she ruled that Kay’s criminal conviction could not be disputed during the civil trial. Angels attorney Todd Theodora contended that new evidence indicated Skaggs died of a “cardiac arrhythmia, second to the fact that Tyler had 10 to 15 drinks in him, coupled with the oxycodone, for which Angels baseball is not responsible.”

Theodora said that if the Angels could prove Kay was not guilty beyond a reasonable doubt, neither Kay nor the team would be culpable in Skaggs’ death. Colover, however, ruled that Kay’s “conviction, based on applicable law and facts, was final.” Kay’s appeal was denied in federal court in November 2023.

Pretrial depositions of Angels players and support personnel provided a rare glimpse into the rowdy, often profane culture of a major league clubhouse.

Angels clubhouse attendants testified that Kay participated in stunts such as purposely taking an 85-mph fastball off his knee in the batting cage, having a pitcher throw a football at his face from short range, eating a bug and eating pimples off the back of Trout.

Tim Mead, the Angels longtime vice president of communication and Kay’s supervisor, acknowledged as much in his deposition, saying, “If you try to describe a clubhouse or a locker room in professional sports, or even college, and probably even the military in terms, and try to equate it to how we see — how this law firm is run or a corporation is run, you know, unfortunately, there’s not lot of comparison…. There’s a lot of fun, there’s a lot of release.”

And a lot of painkillers. Former Angels players Matt Harvey, C.J. Cron, Mike Morin and Cam Bedrosian testified at Kay’s trial that he distributed blue 30 milligram oxycodone pills to them at Angel Stadium. Skaggs, testimony revealed, was a particularly frequent customer.

Testimony established that Kay was also a longtime user of oxycodone and that the Angels knew it. In a filing, the Skaggs family showed evidence that Angels team physician Craig Milhouse prescribed Kay Hydrocodone 15 times from 2009 to 2012. The Skaggs family also plans to call Trout, who according to the deposition of former Angels clubhouse attendant Kris Constanti, offered to pay for Kay’s drug rehabilitation in 2018.

Skaggs was a top prospect coming out of Santa Monica High in 2009, and the Angels made him their first-round draft pick. He was traded to the Arizona Diamondbacks a year later and made his major league debut with them in 2012.

Traded back to the Angels in 2014, Skaggs made the starting rotation, where he remained when not battling injuries until his death. His numbers were rather ordinary, a 28-38 win-loss record with a 4.41 earned-run average in 96 career starts, but his lawyers pointed to his youth and the escalating salaries given to starting pitchers in asking for a jury award of at least $210 million and as much as $785 million.

Skaggs earned $9.2 million — including $3.7 million in 2019 — and would have become a free agent after the 2020 season. Effective starting pitchers at a similar age and comparable performance can command multi-year contracts of $100 million or more.

Skaggs’ death prompted MLB to begin testing for opioids and cocaine in 2020, but only players who do not cooperate with their treatment plans are subject to discipline. Marijuana was removed from the list of drugs of abuse and is treated the same as alcohol.

MLB emergency medical procedures now require that naloxone be stored in clubhouses, weight rooms, dugouts and umpire dressing rooms at all ballparks. Naloxone, also known by the brand name Narcan, is an antidote for opioid poisoning.