Sure, it’s a quarterback’s league, but a major focus of the upcoming NFL draft will be about getting to the quarterback. This class is loaded with talented pass rushers, and teams figure to take advantage of that early and often. This mock draft has edge rushers off the board with the second, third and fourth selections.
How appropriate that the April 23-25 draft will be held for the first time in Pittsburgh, birthplace of the Steel Curtain.
The Steelers, incidentally, take a receiver in this mock — and there are lots of talented prospects at that spot, too. This contemplates the Rams selecting USC receiver Makai Lemon, although it’s entirely possible that the sure-handed Trojans star will already be gone by the time the 13th pick rolls around.
The Chargers, meanwhile, take an offensive lineman to address the need that haunted them all last season after they were ravaged by injuries up front.
One look at how the draft could unfold:
1. Las Vegas Raiders: QB Fernando Mendoza (Indiana) — Tom Brady loves him. The Raiders are trying to build something, and this Heisman winner figures to be a cornerstone.
2. New York Jets: Edge Arvell Reese (Ohio State) — Jets had zero interceptions and four takeaways last season, both NFL records, and think Reese has some Micah Parsons qualities.
3. Arizona Cardinals: Edge David Bailey (Texas Tech) — As pass rushers go, the Cardinals have Josh Sweat, who isn’t particularly happy, and a bunch of young guys who have struggled to stay healthy.
4. Tennessee Titans: Edge Rueben Bain Jr. (Miami) — Although they have been collecting defensive linemen, the Titans still need help at the edge. Also could use a supporting cast for Cam Ward.
Notre Dame running back Jeremiyah Love carries the ball against Pittsburgh in November.
(Gene J. Puskar / Associated Press)
5. New York Giants: RB Jeremiyah Love (Notre Dame) — John Harbaugh doesn’t always draft for need, and he loves to pound defenses with a running game. Love is the best in this class.
6. Cleveland Browns: OT Monroe Freeling (Georgia) — The Browns are completely rebooting their offensive line and had hoped to sign Packers free agent tackle Rasheed Walker, instead nabbed by Carolina.
7. Washington Commanders: S Caleb Downs (Ohio State) — The Commanders could use help at virtually every position — everything but QB — and a game-changing defensive back would get a warm welcome.
8. New Orleans Saints: LB Sonny Styles (Ohio State) — Saints might go receiver here, but Saints need a defensive stalwart too. If Love and Downs are gone — as they are in this mock — Styles would be a fit.
9. Kansas City Chiefs: WR Carnell Tate (Ohio State) — The cupboard is bare at receiver with just Xavier Worthy and Jalen Royals, so the Chiefs are desperate for some help there. Not the first time.
10. Cincinnati Bengals: CB Mansoor Delane (Louisiana State) — The Bengals are bringing back virtually their entire offense and have spent the offseason coming up with ways to improve their historically bad defense.
11. Miami Dolphins: WR Jordyn Tyson (Arizona State) — The Dolphins are trading Jaylen Waddle to Denver for another pick, so they immediately address their need for another playmaking receiver.
12. Dallas Cowboys: CB Jermod McCoy (Tennessee) — The Cowboys traded for Rashan Gary, which addressed their need at edge. Here’s a chance to upgrade at corner.
Wide receiver Makai Lemon runs with the ball during USC’s pro day on March 12.
(Kyusung Gong / Associated Press)
13. Rams: WR Makai Lemon (USC) — Having raided Kansas City’s defensive backfield, the Rams can stay put and take a receiver, or maybe trade up for a long-term bookend to Puka Nacua.
14. Baltimore Ravens: G Olaivavega Ioane (Penn State) — The Ravens have an opening at both guard and center, so they turn their attention to the interior of their offensive line.
15. Tampa Bay: Edge Keldric Faulk (Auburn) — The Buccaneers are sorely lacking when it comes to generating pressure off the edge, and Haason Reddick hasn’t been the answer.
16. New York Jets: WR Omar Cooper Jr. (Indiana) — The Jets need a No. 2 receiver to line up opposite Garrett Wilson and command some attention on the outside.
17. Detroit Lions: Edge Akheem Mesidor (Miami) — The Lions need someone they can pair with Aidan Hutchinson to put pressure on opposing quarterbacks, and Mesidor has a lot of potential.
18. Minnesota Vikings: S Dillon Thieneman (Oregon) — Harrison Smith is 37 and the Vikings need to start planning for the future at that position; they need another defensive back.
19. Carolina Panthers: OL Spencer Fano (Utah) — Fano can play all five positions on the offensive line, and that’s awfully enticing for a franchise with an injured left tackle and in need of a center.
20. Dallas Cowboys: LB Jacob Rodriguez (Texas Tech) — Micah Parsons is gone, and the Cowboys allowed 6.1 yards per play last season, second worst in the league. They need help all over.
21. Pittsburgh Steelers: CB Avieon Terrell (Clemson) — A receiver would be nice, but the Steelers can get one later. Terrell gives the Steelers depth and potentially a long-term bookend to Joey Porter Jr.
Miami offensive lineman Francis Mauigoa prepares for a snap against Louisville in October.
(Doug Murray / Associated Press)
22. Chargers: OL Francis Mauigoa (Miami) — With all the problems the Chargers have had cobbling together an offensive line, they need to focus on protecting Justin Herbert.
23. Philadelphia Eagles: S Emmanuel McNeil-Warren (Toledo) — Reed Blankenship, a fixture in Philadelphia’s defense and a QB in the secondary, signed with Houston as a free agent.
24. Cleveland Browns: CB Colton Hood (Tennessee) — The Browns addressed their offense with the sixth pick and now can focus on a defensive position of need. Corner is key.
25. Chicago Bears: CB Chris Johnson (San Diego State) — Tyrique Stevenson is the fourth-most-targeted corner in the league. The Bears need to upgrade at that spot opposite Jaylon Johnson.
26. Buffalo Bills OL Kadyn Proctor (Alabama) — Buffalo wants to run the ball, and Proctor is an outstanding downhill run blocker. He can also move inside and benefit a team that needs interior help.
27. San Francisco 49ers: OT Blake Miller (Clemson) — The 49ers have to plan for their future at both tackle spots. Miller is durable and a particularly adept pass blocker.
28. Houston Texans: OT Caleb Lomu (Utah) — Houston’s offensive line has been a problem for years and that’s not going away. Lomu is young but terrific in pass protection. Good news for C.J. Stroud.
29. Kansas City Chiefs: Edge Cashius Howell (Texas A&M) — Kansas City’s pass rush has declined two years in a row. The Chiefs need help in a lot of areas, but getting to passer is vital.
30. Miami Dolphins: Edge T.J. Parker (Clemson) — The Dolphins have an underwhelming cluster of pass rushers, led by Chop Robinson. They need help pressuring the quarterback so they will be looking for an edge rusher.
31. New England Patriots: TE Kenyon Sadiq (Oregon) — Mike Vrabel has already tipped his hand about his interest in this class of tight ends. Give Drake Maye another weapon at the position.
32. Seattle Seahawks: RB Jadarian Price (Notre Dame) — Two ball carriers from the same college backfield in the opening round? The defending Super Bowl champions need to start reconstructing a backfield.
Harry Styles is no stranger to “Saturday Night Live,” having performed multiple times with his former boy band One Direction and more recently as a solo artist. But this isn’t his first time as host either.
Styles has a knack for radiating charm, honed after years in the spotlight as a musician, and now with some notable acting roles under his belt, he’s more than primed for the stage. And the timing is perfect, considering many actors are in Hollywood this weekend for the Oscars.
He also excelled in parts where he could show off his vocals and dancing, like in “Sparkle of the Sea,” an infomercial about a German cruise line, and another pretaped sketch, “She’s an Irish Dancer,” where guys find out just how Irish their dates are in a nod to St. Patrick’s Day on Tuesday. Flatter, though, were sketches about a pair of Best Buy workers, and one where Styles played a drive-thru worker at a White Castle, but that’s because Jane Wickline and Veronika Slowikowska stole the skit as a pair of nerdy girls trying to ask him out to the school dance.
Styles performed his new single, “Dance No More,” after last week’s host Ryan Gosling introduced him, a fitting appearance since Styles crashed his monologue. And Paul Simon also stopped by to introduce Styles before his second song, “Coming Up Roses.”
This week’s cold open touched on the ongoing war in Iran. The patriarch (Mikey Day) of a family at a gas station says he needs to fill up their car. As a piano begins to play, his wife (Ashley Padilla) says, “Fill up? Not all the way, right?” “We have to,” Day replies emphatically. “But it’s $5 dollars,” she says before turning to her two children (Marcello Hernández and Sarah Sherman) to say they have to leave one of them behind because gas is too expensive. Why? “The Epstein files,” exclaims President Trump (James Austin Johnson), who jumps into the scene. “It’s called butterfly effect. Epstein was the first domino,” he says, miming dominoes falling. Trump goes on to introduce himself by saying we might remember him from campaign promises such as “lower gas prices” and “no more wars” (“Psych!”). “We love to make promises because a promise is a lie that just hasn’t happened yet.” As for the stock market, he puts it in a way that Harry Styles fans might understand — it’s going in one direction, garnering loud cheers and applause. He jokes about Iran’s age, saying it is old and nobody likes them, “Iran is like ballet and opera and weird Timothée Chalamet,” referring to the actor’s comments that have caused an uproar.
But Trump says he has everything under control, meeting with top minds including influencer and boxer Jake Paul, who he says was booed “very badly” at his fight against Mike Tyson. “Did someone say booze?” Department of Defense Secretary Pete Hegseth (Colin Jost) says as he emerges from the family’s car and dozens of cans fall to the ground. (“It was just a couple of road sodas, chill.”) He then thanks Trump for the “beautiful, size 16 Florsheim shoes,” a reference to the Wall Street Journal report that they are the president’s gift of choice to close friends and advisors. Hegseth goes on to say that they are “hashtag winning” the war with Iran, and as for the Strait of Hormuz, he advises that the tankers moving oil should just do what he does at a DUI checkpoint: “Close your eyes and gun it.”
In his monologue, Styles, dressed in a grey pinstripe suit and bright blue tie, said he couldn’t resist hosting when he heard they booked his favorite-ever musical guest. After his tour ended in 2023, he took a lot of time off, realizing he’d spent much of his life on the road and “making songs about fruit that people think were about sex.” He just really likes fruit — and sex. He also said a lot of people pay attention to the clothes he wears (true, see above), with some people accusing him of “queerbaiting,” to which he responded, “Maybe you don’t know everything about me, dad.” But as far as what he did in his time off, he took up boring things, like jogging (his sub-three hour marathon in Berlin was the buzz of the running world). It’s better than the alternative, he says, as the screen flashed to an image of the former Prince Andrew. But now he’s promoting his new album, “Kiss All the Time. Disco, Occasionally.”, because what’s better than kissing? He actually doesn’t want to kiss all the time, leading to a brief appearance and disappearance of cast members Chloe Fineman and Sherman, unless its Ben Marshall. He complimented Marshall’s backside, and gave him a smooch on the lips: “Now that’s queerbaiting.”
Best sketch of the night: I don’t know if your dad did this, but my dad used to pop it twice
The first sketch of the night took us into a courtroom, where a New Jersey prosecutor (Styles) rose to present his case against the defendant, Mr. Donovan (Tommy Brennan), who didn’t have an attorney. So the judge (Kenan Thompson) appointed one: comedian Sebastian Maniscalco (Hernández). It’s the second time Hernández has played the comedian, whose caricature of Maniscalco in a red blazer and black turtleneck is at turns spot on, exaggerated and completely hilarious. He chimed with retorts as the prosecutor explained the charges of stealing $5,000 in merchandise, including a belt. “Let me tell you something about a belt. When I was a kid, the belt wasn’t to keep the pants up, it was to keep the volume down,” Maniscalco says, motioning to his waist and explaining how his dad would use it. Maniscalco’s manic energy was too much for the courtroom sketch artist, though, who complains to the judge about having to draw him, showing a sketch of a blurred, multi-limbed man. Kudos to Styles who managed to mostly keep his composure as Hernández glided around him. But Styles had the last laugh with his own impression of Maniscalco, before a final sketch of him was revealed. Put it in the Lourve!
Also good: Why get real healthcare when you’ve got ‘Mahaspital’
“The Pitt,” one of the buzziest TV shows in America, has been lauded for its realistic portrayal of emergency rooms and the stresses that medical workers endure on a regular basis. So when the opening scenes of this pretape began playing, the crowd went wild. But this isn’t “The Pitt,” it’s “Mahaspital,” brought to you by producer Robert F. Kennedy Jr. and the team behind Make America Healthy Again. Styles channels Noah Wyle’s Dr. Robby, marching toward an incoming patient on a gurney as she’s pushed through the ER hallway. “What she needs is a steak,” he says. “Give me beef tallow and six raw eggs, too.” The sketch touches on many of the hallmarks of the MAHA movement: healing crystals, vaccine skepticism, raw milk and lots and lots of protein. And we can’t forget that Central Park bear.
‘Weekend Update’ winner: Battle of the heart (emojis)
“Update” anchors Michael Che and Jost focused most of their attention on the Iran war this week, but they also touched on another event happening this weekend: the Oscars. They brought in Tucker Carlson (Jeremy Culhane) to talk about the best picture nominees. Culhane’s impression of the conservative pundit was pretty impressive, capturing his cadence and habit of using rhetorical questions — I hope we see it again.
But it was Day and Hernández who stole the segment as emojis aerial tramway and heart, respectively, who joined to comment on Apple’s addition of eight new emojis. Heart emoji on the new additions: “All I know is they’re all going to be more popular than this loser,” pointing to Day. “I’m No. 1 because I’m useful. People use me for everything.” But you can’t put an aerial tramway down, who tried to explain other ways to use the emoji somewhat unsuccessfully. At least he has a solid crew of bangers: orange square, division sign, snorkel and “my boy, the goat” building with a horn on it. Day was dedicated to the bit, making Hernandez crack with muffled laughter. Don’t be surprised if you see a lot more of aerial tramway (and his girlfriend, on with two arrows) in your texts.
“Beast Mode” started as a phrase people used to describe the running style of former NFL running back Marshawn Lynch.
“I think it was just my relentlessness and my no-back-down type of demeanor when it came to running the ball, like, ‘Boy, that boy a beast,’” Lynch said. “And it’s like, yeah, when I get the ball, that’s what type of mode I’m in — I’m in beast mode.”
Lynch played 12 seasons for the Buffalo Bills, Seattle Seahawks and Oakland Raiders, amassing 10,413 in 2,453 carries with 85 touchdowns. Somewhere along the way, he said, the phrase “Beast Mode” evolved into “this persona bigger than myself.”
“The way that I get approached by kids and fans, like the way that they approach me is almost as if I am like a character so to speak, and I don’t think that I was doing it justice because I’m like, ‘Well s—, I’m just only a man,” the Super Bowl XLVIII champion said.
“But I believe in their mind what they had made up as Beast Mode is this larger-than-life, kind of surreal individual.”
An early look at a page from the upcoming “Beast Mode 510” graphic novel, starring Marshawn Lynch as the title character. Text will be added closer to the Oct. 6 publishing date.
(Art by Denys Cowan / Courtesy of AWA)
Lynch is embracing that perception of himself … and Beast Mode is about to become a literal comic book hero.
On Friday, Arists Writers and Artisans announced the graphic novel “Beast Mode 510,” which is scheduled to be released Oct. 6. Written by NAACP Image Award-nominated author Sheldon Allen and illustrated by Eisner Hall of Fame artist Denys Cowan, the book was “inspired and guided by” Lynch and is a “deeply personal love letter” to his hometown Oakland, according to a news release from AWA.
“At its center is Beast Mode: the 510’s legendary fixer and freelance sleuth whose rough exterior hides a code of loyalty and willingness to deal with problems others won’t touch,” the release reads. “If you’ve got a problem the authorities won’t handle, Beast Mode will. No invoices. No contracts. Just results.”
AWA chief creative officer Axel Alonso said when he was approached by Lynch and his team about possibly working on a project together, the idea of turning Beast Mode into an almost superhuman crime fighter quickly came to mind.
“To use a football analogy, when Marshawn and his people came to me and said, ‘Can you do anything with this, Beast Mode?’ it was like they gave me the ball on the one-yard line and I had to just walk it in — and Pete Carroll wasn’t the coach, so I could just go right in,” Alonso said, referring to an infamous play at the end of Seattle’s loss to New England in Super Bowl XLIX.
“It was as easy as that. I was like, come on, ‘Beast Mode’? So automatically I talked with Marshawn and said, ‘What’s important to you?’”
Lynch’s input has been key every step of the way, Alonso said, with the five-time Pro Bowl selection getting final say on every aspect. Lynch said he appreciates having his voice heard and being able to put his stamp on the project.
“From the start, we just sat down and had a conversation about where it was that we wanted to go, what is the kind of feel, the look that we want, the kind of tone that we want to tell the story,” Lynch said.
Seahawks running back Marshawn Lynch #24 of the Seattle Seahawks runs for a 67-yard touchdown against the New Orleans Saints during an NFC wild-card playoff game Jan. 8, 2011, at Qwest Field.
(Jonathan Ferrey / Getty Images)
An early look at pages from the upcoming “Beast Mode 510” graphic novel starring Super Bowl champion Marshawn Lynch as an underground crime fighter.
(Art by Denys Cowan / Courtesy of AWA)
“I can’t draw or nothing like that, but any type of update or anything Axel will get over to me and, you know what I mean, yea or nay. And then when it comes to like how certain characters would look, certain names, individuals — I would say I’m involved, but I’m not stepping on their toes.”
For Lynch, one of the top priorities was to bring attention to all the unique aspects of his beloved city.
“We kinda have Oakland being a character of its own,” he said. “The personality of what Oakland stands for is something that I would really like to highlight ‘cause I feel that my city gets overlooked. And then the amount of individuals that we have coming out of area, it’s also an opportunity to show a nod to a lot of the Bay Area cultures and icons that we have.”
Even though the book is fiction, Lynch insisted on authenticity in the depictions of the city and the people who live there, including the way they look, act and speak.
“I think the biggest thing will probably be just the way that I speak in general,” Lynch said. “Mother— from where I’m from, we talk with a certain type of a tone, a type of swag.”
An early look at a page from the upcoming “Beast Mode 510” graphic novel. Marshawn Lynch says his character was inspired by the larger-than-life persona fans sometimes associate with him.
(Art by Denys Cowan / Courtesy of AWA.)
And, judging from Lynch’s signature way of talking, a lot of profanity.
None of Lynch’s ideas has been toned down.
“This is an R-rated book,” Alonso said.
“I want this s— to be turned up to the max,” Lynch added, “so if a mother— do pick this up to read, it’s gonna be like, ‘Oh, this some real s—.’ As well as entertaining, as well as insightful and impactful.”
Lynch is used to keeping people entertained, including as the co-host of the “Get Got Pod” with former Seahawks teammate Mike Robinson and as an actor with numerous roles in TV and film (including a breakout performancein 2023’s “Bottoms”).
He said he’s proud of how the project is turning out.
“When you see work and be like, ‘Damn that s— was nice’ and you start thinking about the thought process and how they got to those points, how they got to those things that drew you in, those things that give you that warm feeling,” Lynch said, “I’m feeling like I’m living that as this s— is going.
“Which is crazy as f— because I played in Super Bowls, I walked the red carpet of f—in’ premieres, and this one feels like, out of a lot of s—, this one is capturing that feeling for me. I’m a [Black man] — you know we don’t feel too much. But when we do, we be like, ‘Oh yeah, you know this s— is special.’”
“I sometimes feel like the mayor of Larchmont,” Rosenthal says over the phone as he greets diners who notice him at the counter. “When people come in and realize I’m involved, they’re always surprised to see me. It’s a bit like being at Disneyland and running into Goofy.”
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
Rosenthal is probably best known for creating the popular TV show “Everybody Loves Raymond” and hosting Netflix’s “Somebody Feed Phil,” which is moving to YouTube in 2027, but he is more than just a famous foodie. He’s now touring the country for his live show, “An Evening With Phil Rosenthal,” and he recently published his second children’s book, “Just Try It! Someplace New!,” which he wrote with his daughter Lily. (They’ll sign books at Barnes & Noble at the Grove on March 14.)
“The book series started when my daughter called and said, ‘Kids love your show. Why don’t you do a kids’ book?’ “ he says, before adding with a laugh: “I told her, ‘Yes, if you’ll do it with me.’ That’s a dad trick to get more time with your daughter.”
Rosenthal believes stories about kids feeling nervous or afraid to try new things connect with both children and adults. “When you write a kids’ book, you realize that it is not just a kids’ book,” he says. “It’s really a book for everyone.”
Although he travels a lot, Rosenthal likes to spend Sundays close to home. He enjoys walking his dog Murray to Larchmont Village and hosting movie night with friends at his place in Hancock Park.
Here’s what his perfect Sunday in L.A. looks like, with lots of good food along the way, of course.
This interview has been lightly edited for length and clarity.
7:45 a.m.: Coffee with Murray and neighborhood friends
Every Sunday morning, I walk my dog Murray to Larchmont Village and stop at Go Get Em Tiger. It’s our daily ritual. Over time, we’ve built a great community there, and I always invite others to join us. We sit outside, talk and have become close friends. I usually post a photo of Murray on Instagram each day. He’s a rescue mutt, and I like to joke he’s part Pyrenees, part psychopath.
9 a.m.: Shop for produce at the Larchmont Village Farmers’ Market
After about an hour, I head across the street to the Larchmont Village Farmers’ Market, which is held on Wednesdays and Sundays. I usually pick up some fruit for the house. It’s a great community spot.
9:30 a.m.: Breakfast at Max and Helen’s
Next I walk down the street to Max and Helen’s, the diner my family opened. I’m about to order the L.E.O., which is Gingrass Smoked salmon lox, three eggs and onions. So if I sound like my mouth is full, you’ll know why.
One of my favorite things on the menu is the sourdough waffle Nancy [Silverton] created, topped with butter mixed with maple syrup. I also love the hot chocolate, and the tuna melt is a special, more romanticized version of the classic. If you eat there every day, it’s smart to pick something healthy, like I’m having today — high protein and no carbs.
11 am: Browse titles at a neighborhood bookstore
I love visiting Chevalier’s Books, the oldest independent bookstore in Los Angeles. I’ve been going there since I moved to Los Angeles from New York in 1989. It’s just two doors down from the diner and feels like our community bookstore.
Noon: Hit the gym
Afterwards, I walk home and fit in a workout. I have to exercise every day because I eat a lot. If I didn’t walk everywhere, I’d probably weigh 300 pounds. My gym is simple — just some weights and a bench — but it works for me. Since I travel often, I stick to a routine I can do anywhere.
1 p.m.: Enjoy a surprising meal at a Michelin-noted restaurant
If I weren’t hosting movie night, I’d love to stop by République. It’s an amazing place, maybe the best restaurant in L.A. Every menu is great. I usually eat just about anything there, and sometimes I ask them to surprise me. It’s an all-day restaurant and I’ve gone for breakfast, lunch and dinner. Their egg dishes are excellent, the burger is top-notch and the roasted chicken, which is cooked over an open fire in the kitchen, is superb. I often let the chef decide what to bring me, especially when I’m with a group. It’s fun to be surprised and try shareable dishes.
I also really enjoy Connie and Ted’s in West Hollywood, Michael Cimarusti’s casual spot. The seafood is just as good as it is at Providence, his fine dining place. Their fresh Maine lobster roll is excellent, and they have the best oysters in L.A. It’s pretty awesome. Check before you head over there, though, as I’ve heard it’s for lease.
3 p.m.: Go for a hike
I used to hike more before I started traveling so much, but I still enjoy it. After all, this is L.A. While other places deal with bad weather, we get to be outside. I love hiking in Runyon Canyon and Griffith Park. It’s great to make the most of the outdoors here.
6 p.m.: Movie night and Pizzeria Mozza at home
On Sundays, we host movie nights at home. We have a dedicated screening room, a wood-burning pizza oven in the kitchen and a chef from Pizzeria Mozza, who comes over to make pizza. The best part is that someone connected to the film often joins us. Sometimes we watch new movies, other times old favorites. Aaron Sorkin came for “The Social Network,” and when we screened “Tootsie,” Elaine May, Dustin Hoffman and Bill Murray joined us. We usually have about 25 to 30 people.
I really love my neighborhood and the people in it. One of the best things about traveling so much is that it makes you appreciate home even more.
PHOENIX — When he was selected with the 13th pick of the 2024 MLB draft, outfielder James Tibbs III envisioned himself roaming the outfield of Oracle Park in a San Francisco Giants uniform for many years.
He could never have foreseen that a year and a half later, he’d be playing for a longtime Giants rival, already at the third stop of his young career.
The Giants packaged Tibbs along with Kyle Harrison, Jordan Hicks and Jose Bello in a trade to the Boston Red Sox in exchange for three-time All-Star Rafael Devers last June.
A month and a half later, Tibbs’ life was uprooted yet again, as the Red Sox moved him and Zach Ehrhard to the Dodgers in a trade for Dustin May.
MLB Pipeline prospect analyst Jim Callis has covered the draft for over 30 years, and can’t recall a situation quite like it.
“Tibbs is the only player I can think of who was taken in the top half of the first round and then traded twice during his first full pro season,” Callis said. “He really took off after joining the Dodgers, and I bet we see more consistency out of him when he’s not bouncing between [organizations] in 2026.”
Tibbs seems to have found a comfortable landing spot with the Dodgers. He posted seven home runs, 32 RBI and a .269/.407/.900 slash line over his 36 games in the Dodgers organization, rounding out his season at double-A Tulsa. And during his first camp with the Dodgers, Tibbs has turned heads. Through 15 Cactus League games, he’s hit two home runs, batting .281, with a .351 on-base percentage and .914 OPS.
He likely won’t open the season on the Dodgers’ big-league roster, but manager Dave Roberts sees his potential.
“I like James Tibbs,” Roberts said. “I like him a lot. He loves baseball, he is obsessed with getting better at the game and he just fits who I am as a baseball coach, and the players that we want, so he’s going to play in the big leagues. He’s a championship-type player.”
Tibbs was thrown for a loop by both trades, and taught him a lesson about facing adversity.
“Honestly, I might be one of the first first-round draft picks to be traded twice in their first year,” Tibbs said. “For me it was hard. I’m not going to sugarcoat it; it was hard. And really, mentally draining. [I] felt like I got punched in the face a bunch of times, and really had to learn how to get back up, and keep competing, and figure out how to be true to myself, and true to what I do well.”
Tibbs said that joining the Dodgers helped him to rediscover himself and return to his form from his time at Florida State.
“[When I joined the Dodgers, they] were like, ‘Hey, you know, we just want you to be yourself,” Tibbs said. “We want you to do what you need to do to be successful. Like, we believe in you, we believe in what you did in college. We want you to get that back and be able to be successful with how you swing the bat and how you play defense, and like, we don’t want to take that away from you.’ So obviously, there was tweaks being made, and there was things we needed to change a little bit to get to that spot, but I think for the most part, they just allowed me to be me and work within those boundaries to help figure out how to continue to make that better and better and better.
“And with that being said, I just felt a lot of relief from that.”
Tibbs clubbed 28 home runs in his junior year at Florida State, powering the Seminoles to their first College World Series trip since 2019. He received ACC Player of the Year and consensus First-Team All-American honors.
“Tibbs was one of the best offensive prospects in a loaded 2024 college class,” Callis said. “He makes good swing decisions and hits balls hard, giving him the ingredients to hit for average and power. Most of his value will come from his bat, but it’s a potentially potent bat.”
For now, Tibbs is content to be fulfilling his potential with one organization.
“Props to the Dodgers, they did everything they could to help me transition to that smoothly and make that a better process,” Tibbs said. “And it’s been a lot easier for me to go out and play every night, with the way that they’ve encouraged me and believed in me. It’s just been a blessing to be here.”
When a freshman is wondering whether to play sports or focus on academics because of the immense time commitment, it’s usually the parents who have to give a nudge toward one or the other. Except this time, the decision was left to 15-year-old Javier Zarate, and he chose to give up club soccer to try for straight A’s last year at Garfield High.
Last spring, Garfield soccer coach Pablo Serrano, knowing he had a highly regarded goalie on his campus, began a lobbying campaign with emails and text messages inviting him to try out for the Bulldogs’ soccer team.
“He told me if I wanted to give it a shot, I could try out,” Zarate said. “They were very welcoming and nice.”
The rest is going to be part of Garfield sports lore, because Zarate saved three penalty kicks when Garfield won the City Section Division II championship game against Canoga Park and delivered more saves last week in helping the Bulldogs beat Bakersfield Taft 1-0 in the Southern California Division V regional final.
Incredibly, Garfield is headed to Sacramento this week to play in the first CIF state soccer championships, against Branford on Saturday at 10 a.m. at Natomas High.
“I’m super pumped up,” Zarate said.
Who knows how many alumni from Garfield are living in Sacramento or nearby, but they have been known to travel around the country to support their Bulldogs, especially if rival Roosevelt is the opponent. Something tells me there’s going to be a caravan from Boyle Heights headed to Sacramento to provide support.
“I know some will make the drive,” Serrano said.
It’s been a strange season in City Section soccer, with six schools removed from the playoffs for using ineligible players, most of whom played for club teams while also playing tor their high school team, in violation of CIF bylaw 600.
Serrano said there’s always a reminder making sure his players know the rule.
“There’s a lot of soccer going on in this community,” he said. “It’s always a challenge because kids play outside with club. It’s something I do from the beginning of tryouts. We talk to the kids that if they play in a club outside of school, they are not allowed to play high school or vice versa. There’s no excuse,”
In the case of the 5-foot-6 Zarate, he didn’t play any soccer last year while focusing on academics and being part of the school’s ROTC program. His weighted grade-point average is at 4.4. He wants to study to become a firefighter.
“My family motivated me to be academically focused and I found a balance to do both,” he said of his return to soccer.
Goalies are usually much taller than Zarate, but he received lots of lessons on how to overcome the size disadvantage.
“I get that a lot that I’m very short for a goalie,” he said. “As a kid I, got training by a good trainer. He told me, ‘You’re pretty short for a goalie. As long as you can master being able to dive and jump high, you should be as good as them.’”
Garfield finished fourth in the Eastern League behind City Section soccer powers South East and Marquez, both of whom were eliminated after making the semifinals because of ineligible players.
Given the opportunity to get hot in the playoffs, the Bulldogs have done just that. Junior Noe Marmolejo has been the leading goal scorer.
The team is scheduled to take a bus to Sacramento on Friday, stay at a hotel Friday night, rise early for its game on Saturday, then immediately return home. Considering how loyal the Boyle Heights community is, look for lots of fans supporting the team in Sacramento and when that bus returns home.
“It’s an honor,” Serrano said of being the first City team to play for a state soccer title.
Author Diana Gabaldon knew readers had been mentally casting the timeless main couple at the center of her “Outlander” book saga since the first novel’s release in the early ‘90s — particularly its leading man, a tall and burly Scottish Highlander with striking red hair. She recalls a 50-year-old German actor who, she says, “always looked like he’d been dipped in cooking oil” among the imaginary candidates. Another was a 5-foot-4-inch race car driver. She quickly learned not to weigh in.
“They would keep asking me who I’d like to play Jamie — ‘Nobody,’ I kept saying because on the rare occasion when I mentioned some possibility, the immediate response would be shrieks of dismissive outrage and heapings of scorn that went on for days (online),” she says over email. Besides, she felt the whole notion of considering prospects was pointless because, as she puts it, it’s not like Hollywood would want to adapt a 300,000-word book anyway.
However, Ronald D. Moore and Maril Davis, longtime collaborators through their Tall Ship Productions banner under Sony Pictures Television, did. And Gabaldon was thrust back into the casting debacle, watching test videos and learning not to judge a book by its cover — or actors (in this case, Sam Heughan and Caitriona Balfe) by the photos that pop up in a Google search: “Sam doesn’t look like Jamie, and Caitriona doesn’t look like Claire, but both of them can be those people, and that’s all that matters,” she says. And they were those people.
In 2014, the duo brought to the screen the epic story of Claire Randall, a British combat nurse who is mysteriously transported back to 1743 Scotland and marries Scottish warrior Jamie Fraser to survive. Together, they ignite a passionate romance that traverses decades and endures brutal separations, wars and time travel. After spinning its own sweeping narrative for more than a decade, the Starz series is launching its eighth and final season on Friday.
In “Outlander,” Claire Randall (Caitriona Balfe) is a British combat nurse who is mysteriously transported back to 1743 Scotland and marries Scottish warrior Jamie Fraser (Sam Heughan) to survive.
(Ed Miller / Starz)
And it won’t exactly be a by-the-book ending. The final season pulls from the remaining material in Book 8, as well as Book 9 — Gabaldon is working on a 10th installment, “A Blessing for a Warrior Going Out” — leaving Matthew B. Roberts, the showrunner, and the writing team to craft an original ending for television. In a signal of how much pressure there was to do right by the beloved fictional couple, four endings were written and filmed.
“Diana’s been involved since Day 1 — she reads everything, she sees everything,” Roberts said by video conference. “I told all the endings that were going to be written. She briefed me a little bit of where she might be going, not the ending of the books, but just where the book might be going. I wanted to at least incorporate some of that in some of the endings that were written.”
Can it be anything other than a happy ending? Maybe the clue is in “I Love Lucy.” Lucy and Ricky Ricardo‘s love story was often a reference point for Roberts throughout his time on “Outlander.”
“No matter what trouble Lucy got in, no matter what she was doing, never did you think they were ever going to break up,” he says. “That’s Jamie and Claire, no matter what happens, no matter what he goes through or what she goes through, no matter what trouble or what they tell each other sometimes, we’ll never think they break up. And the audience knows that too, and we knew, if you just stayed true to that, then that love story would be successful.”
Ahead of the show’s final season premiere, The Times spoke with Balfe and Heughan to get their thoughts on bringing the historical romance to life and the journey to reach the final chapter.
In the spirit of the Season 8 premiere, which has a moment where Claire and Jamie reflect on the early days of their story, let’s travel back in time. Do you remember how this series was first presented to you and what went through your mind?
Balfe: I think the logline I saw was “nurse goes back to Scotland and then goes back 200 years in time and meets a Highlander.” I think I had two lines. That was all I had.
Heughan: It sounded like it was never gonna work. I found out it was a book series, and I think we both read it, didn’t we?
Balfe: Yeah, I read the book in four days before we tested. You’d already been cast at that point … I was living in L.A. I had tiny bit parts in a few films, and I was definitely struggling. I had booked to go on a trip to India, sent my passport into the Indian embassy. Of course, that’s exactly when I found out that maybe I had to travel to London for this test.
Heughan: At the time, I had failed attempts at pilot season, and I was back in London working in a bar and thinking, “I can’t afford to do this and I’m 34 years old. I should probably think about giving up.” Because there was no way I could support myself. I wasn’t loving it.
Balfe: You were 33, by the way.
Heughan: Oh, yes. I was younger. Then this thing came through. And actually, to be honest, the logline and perhaps the dialogue, when I read it, I just thought, “I know this guy.” There just was something very familiar.
“At the time, I had failed attempts at pilot season, and I was back in London working in a bar and thinking, ‘I can’t afford to do this and I’m 34 years old. I should probably think about giving up,’” says Heughan.(Sophia Spring / For The Times)
Tell me about the decision to say goodbye to this show and these characters. Does it feel like the right time?
Balfe: By the time we got to Season 7, that was our last season that we were contracted for, and there were conversations going around that they — the writers — felt that they had eight seasons [for this story]; that that was sort of an organic finish to it. But we were more than halfway through Season 7 before anyone came to talk to us. Actually, we had all scripts, bar the last two. And it wasn’t ending. Before they came to us, it was like, “How is this gonna happen? Are they going to wrap it up in two episodes or are they coming to us?” It was a lot of pressure in a very short amount of time to decide, “OK, do we just wrap this up in two episodes or do we try and give it a season to properly say goodbye?” There’s a lot of people’s jobs, and there’s a lot of people’s livelihoods, and there’s a whole ecosystem around it. We felt that it needed that kind of time.
Heughan: A lot of thought went into it. I think we were ready to move on or do something else. But also, there was this itch, like we hadn’t finished it and it didn’t feel satisfying for us and for the fans. We wanted to come back and really tie it up properly.
The final season focuses on Claire and Jamie’s struggles during the Revolutionary War, with the war having followed them home. What intrigued you about this final onscreen chapter of their story?
Heughan: Jamie’s concerned about himself in the foremost because he has this information that he’s going to die. But they’ve fought for eight seasons to stay together and to protect everyone they love and the greater community and I think that continues, but there’s so many more distractions or more challenges along the way in this season from the inside.
Balfe: And the Revolutionary War has been circling them for a very long time. It was time for the culmination —
Heughan: [Laughs] Instead of saying “War is coming,” it’s “War is here.’
“There’s a lot of people’s jobs, and there’s a lot of people’s livelihoods, and there’s a whole ecosystem around it. We felt that it needed that kind of time,” says Caitriona Balfe, right, with Sam Heughan, about finishing the “Outlander” story with an eighth season.
(Sophia Spring / For The Times)
The fandom around this property is active and devoted. There’s good that can come from that — the engagement, the creativity — but some bad too, like when things get toxic. What was the learning curve of playing this beloved fictional couple and navigating the fandom?
Balfe: It was a bit of a baptism of fire.
Heughan: We were both quite green when we were thrust into it and engaged wholeheartedly.
Balfe: The landscape is very different. Twitter was Twitter before it was death pit, Instagram was far more innocent as well. In the beginning, it was really nice. I wasn’t a mom. I had loads of time on my hands — well, not really, because we were shooting all the time — but anytime I did, it used to be nice and we would do these quick Q and As. That one-on-one connection with the fans was really, really lovely. I do think there was a moment where … the tide shifted, and this sort of shipper-dom got very intense. I was getting married, and that was having an impact on the people in my life and and I think I had to then step away because I was like, “OK, this doesn’t feel good for everyone in my life.”
Heughan: Look, I think it’s still there. It is a strange one to get your head around. People, in one way, are uber fans of the show, but in other ways, they’re overtly intrusive in your life. But it is a small minority. I think … perhaps we’ve done our job that well? It’s not just about Jamie and Claire, it’s about that person behind it and their life behind it, and their family behind it, that people want to get invested in. I don’t know if it’s a great thing for actors, to be honest, but in this current environment, we’re always asked to give more of ourselves to engage with fans, but it’s been something we’ve had to learn on the job.
Balfe: And I think there are times in your life when you have more capacity to be more open, and there’s times in your life where you need to shut off a little bit more. The overall reception from the fans have been so positive and so supportive of things that we’ve done in our lives, and that is the thing that I choose to focus on with it.
“Outlander” isn’t strictly a romance, but that’s what gives it power. You’ve spent more than a decade in this space. What have you learned about how that romance space functions and what the fans seek from these stories?
Balfe: I was sort of unaware of the need and the appetite that people have for it. Nowadays it’s served an awful lot better, but I think it was an underserved demographic. Or it was not given the due that people needed. It’s sometimes looked on as the second-class citizen of storytelling, in many ways, but I think it’s a genre that allows you to really look at the beauty of humanity and … the core things that we care about, which is love and family and connection.
Heughan: And comfort. It’s comforting. This show proves that there’s a real appetite.
Balfe: There’s many more shows now. Everybody’s talking about “Heated Rivalry.” There’s “Bridgerton.” Maybe it’s the emancipation of women in the last 50 years. It’s like they are finally like, “Well, we want our TV that speaks to us as sexual beings and as mothers and as matriarchs and as professionals and whole round of people.” Our show did that a lot.
“There’s many more shows now,” Balfe says of series that serve up romance. “Everybody’s talking about ‘Heated Rivalry.’ There’s ‘Bridgerton.’ It’s like they are finally like, ‘Well, we want our TV that speaks to us as sexual beings and as mothers and as matriarchs and as professionals and whole round of people.’ Our show did that a lot.”(Sophia Spring / For The Times)
Have you taken stock of just how much Claire and Jamie have gone through as a couple?
Balfe: How many near-death experiences?
Heughan: Yeah, how many times they’ve nearly died or been attacked or assaulted.
Balfe: How many people they’ve killed. Claire, she’s like a serial killer.
I was wondering, because it’s the last season, you can’t get in trouble now, where would Caitriona or Sam have called it quits in this relationship? Like, this is too much, I need to move on.
Balfe: I don’t know if Caitriona would have gone back 200 years in time.
Heughan: When she fixes his shoulder — that’s pretty painful. She gets him in a lot of trouble and he puts himself in a lot of trouble. I wouldn’t have gone past Episode 1 [he mumbles].
Balfe: See! I would have gone to Season 3.
Heughan: No, I think when he sends her through the stones and is like, “That’s it. She’s gone.” But she keeps coming back. I thought I got rid of her, finally!
Caitriona, you make your directorial debut on the show this season with Episode 2. Tell me about that experience.
Balfe: It was so fun. They gave me Episode 2, which allowed me to do my prep before we started. I was so lucky that Jan Matthys, who is the director of Episode 1, was an incredible mentor to me throughout the process. I just got to work with these guys in a totally new way, which was so amazing. I was buzzing. The whole first 10 weeks [of this season] felt like the very first 10 weeks again because you’re learning all these new skills and you’re just in such high operating point; you have to make decisions on the fly, I was also in scenes. It was just mad, but brilliant.
Heughan: You were also probably happy to take the corset off.
Balfe: To be able to walk around in proper wet weather gear and trousers and be able to go to the bathroom — not to be TMI, but it was so good.
They did not give me the easiest episode. Every day had its thing — obviously, the bear attack sequence. Three days before we were filming that, that was a cougar; we were going to have a live cougar. There was a whole thing planned. And a cougar attacks in a very different way than a bear does. So my whole shot list had to go out of the window and I had to rethink the whole thing. But that was kind of fun.
The final season of “Outlander” focuses on Claire (Balfe) and Jamie’s (Heughan) struggles during the Revolutionary War, with the war having followed them home.
(Robert Wilson / Starz)
Finales can be tough, given how viewers chime in on social media. You can’t please everyone. But what was your vision for the ending of “Outlander”?
Balfe: I didn’t really have one. I would not want to have had Matt’s job because that’s a really heavy load to bear, trying to finish this out. But I would say the season was unusual. Normally, we would get an overview of the season before we start. This season, we went into it blind so we weren’t getting sort of any info about what was going to happen. Through the whole season, it was like finding out as the scripts came what was happening. And to be honest, we still don’t really know the ending. We know bits that were filmed, but [not] how he’s going to edit it.
Heughan: I definitely had a firm belief about a certain element of it. I spoke to a few people — few other execs and producers — and there was a common consensus, and I think that might be one of the directions, but it’s going to be a surprise for us when we watch it. I don’t know when we are going to watch it.
Multiple endings were filmed.
Balfe: There was a few different things filmed.
Heughan: Hard to know what’s [going to make it] — it’s all in a same direction. But what direction that is …
Would you call it a happy ending?
Heughan: I don’t know. It was such a secret on the call sheets and stuff.
Balfe: There was different versions of scripts that went out.
Heughan: There were fake people put in. There was a reduced crew.
If any photo reveals the intensity of two All-Americans, it’s this one from late in the game, where Jerzy Robinson (left) of Sierra Canyon and Kaleena Smith of Ontario Christian battled in the Open Division final.
The tumult continues at the John F. Kennedy Center for the Performing Arts as the National Symphony Orchestra’s executive director, Jean Davidson, steps down from her role to become executive director and chief executive of the Wallis Annenberg Center for the Performing Arts. Davidson will assume her new position May 4, the Wallis announced Friday.
“I’ve learned a lot in the last three years, and I think it’s no secret that it’s been a hard year,” Davidson told The Times, adding that the politicization of the Kennedy Center was a factor in her decision-making. “I had intended to stay through the [orchestra’s] 100th anniversary in 2031, but found it more and more difficult to achieve the goals that we had set out to achieve given the external forces that are at work that are just so far beyond my control.”
It seemed like “I had reached a natural ending point,” she said.
With the imminent closure of the Kennedy Center, speculation has swirled around the NSO’s future, especially in light of the Washington National Opera’s decision in January to cut ties with the storied venue, which has been its home since 1971. The Kennedy Center’s Trump-appointed leadership, however, made it clear that it intended to support the NSO in the long term, and the orchestra’s board chair assured musicians that the orchestra and its staff would remain intact.
Davidson said the NSO is in the process of identifying venues for the next two years, and that the orchestra has been told by the Kennedy Center that its financial support is not in question.
“Many venue operators in the D.C. area have been very generously reaching out to us, asking how they can help,” she said. “Of course, we plan our seasons years in advance, and so next season was already planned. We already have conductors and soloists and all of that, and so it’s a bit of a jigsaw puzzle aligning our existing programming and obligations to those artists with venues that are appropriate for those programs.”
It will take several more weeks to come up with a cohesive plan and it will probably include several venues, “but we will have a season,” Davidson said. “And we hope that everybody will come.”
In many ways, Davidson said, the NSO is stronger than it has been in quite some time. During her tenure, Davidson helped reboot the orchestra’s international and domestic touring, which includes upcoming shows at New York’s Carnegie Hall in May and at the Hollywood Bowl in August. The orchestra also extended acclaimed music director Gianandrea Noseda’s contract through 2031.
“The orchestra is just playing at such a high level and they really have never sounded so good,” said Davidson, echoing what notable critics have also been saying. “We’re still welcoming many new players after our audition process, and I think that’s all very positive for the NSO.”
Davidson knows that leaving her role will be difficult for the orchestra, but she believes it will emerge stronger.
“I care deeply about the NSO and I am so proud of everything that we’ve accomplished together. I think the world of Gianandrea, of [principal conductor] Steven Reineke, our musicians, our staff and board — it’s a great community of people,” said Davidson.
Davidson also believes that the upcoming renovations to the Kennedy Center will ultimately result in a better experience for audiences and artists. She just wishes there had been much more advance notice.
“Usually orchestras will plan for being out of their hall years in advance, and we only have months to do that, so it is causing a bit of strain,” she said. “I think the most important thing is that our audiences and donors continue to support the NSO during this transition period.”
Davidson will now embark on her own transition as she moves from D.C. to L.A., rejoining her husband who has stayed in the area as a music professor at UC Irvine.
“This is an opportunity that’s been on my bucket list of things that I want to do in my life and it seems like the right time,” said Davidson of her new role at the Wallis in Beverly Hills.
Compared with the NSO, the Wallis is practically brand new, having opened in 2013.
Davidson is excited that there is lots of room for growth, and that the Wallis has evolved into one of the region’s most exciting multidisciplinary performing arts presenters and home base to a variety of local arts groups.
“I think anytime you’re starting a new role, there’s a lot of learning that needs to occur,” Davidson said. “And I’m not somebody that is prone to walking in with a big vision that’s going to suddenly change course. I think they’ve been doing a lot of great work and so I’m looking forward to collaborating with the team that’s there — to learn and to create a shared vision for the future.”
It’s an exciting time to be in Los Angeles, Davidson said.
“The last decade or so has seen a lot of growth in the art sector, and there are so many talented artists and organizations in L.A. that need a place to perform.”
Caitlin Clark is excited to make her U.S. national team debut next week when the Americans play in an FIBA World Cup qualifier in Puerto Rico.
It will be Clark’s first game in about eight months since a multitude of injuries derailed her WNBA season with the Indiana Fever in July.
“It’ll probably take me a second to knock a little bit of the rust off,” Clark said Saturday. “I’ll probably be a little bit nervous, which I usually don’t get nervous but that probably comes from I haven’t really played basketball in a while. I’m sure after the first minute of running around on the court, I’ll be just fine. But more than anything, just really excited. I know how much work and how much time I put in to make sure my body’s as healthy as it can be and to get back.”
It’s been quite a journey for Clark, who played in 13 games last season. She had groin injuries and then a bone bruise in her left ankle. She’s been in the gym getting ready, working with the Fever medical team and player developmental staff over the last few months.
“I’ve always been a person that’s going to just rely on my work. I feel like it’s certainly made me work harder,” Clark said of the injuries. “But that’s also probably the part that kind of stunk about it, is I felt like I put in so much time and so much energy going into last season, and then obviously, only appeared in about 13 games.”
Clark has fond memories of playing with younger USA Basketball teams. She recalled being in Colorado Springs in her teens and going into a room filled with jerseys of past American greats.
“My eyes were so wide, thought it was the coolest thing in the world of all,” she said. “[To see] the senior national jerseys of great men’s players and women’s players. It’s a 15- or 16-year-old’s dream of doing that one day.”
Clark knows this is just her first step with the national team. There was an uproar when she didn’t make the 2024 Paris Olympic team. She eyes playing on the World Cup team next fall and then in Los Angeles on the 2028 Olympic squad.
“There’s a lot to get to that point,” she said. “Obviously that’s my goal, the World Cup before that. There’s a lot for me to learn.”
Ramadan is in full swing in Los Angeles, where a community of hundreds of thousands of Muslims is observing a month dedicated to fasting, prayer, reflection and service. With the unfolding war in the Middle East, the holiday holds even more significance for locals with ties to the region.
The Islamic holiday began Feb. 17 and ends March 19, during which observers fast from dawn to sunset to foster discipline, self-control and gratitude. Observers break their daily fast with an iftar, a festive meal shared with loved ones after sunset. Many also rise before dawn for a suhoor meal.
Halal, which translates to “permissible” in Arabic, pertains to the type of meat and the way it’s prepared. Pork and its byproducts are not allowed, and a Muslim must slaughter the animal while invoking the name of Allah. The animal must also be healthy and blood should be completely drained after slaughter.
This Ramadan season, several L.A. restaurants are offering late-night hours, special iftar menus and discounts for the holiday.
“The demand for iftar and halal food is skyrocketing,” said Assad Shalhoub, a member of MENA Creator Club, a community group for Middle Eastern and North African content creators that organized an iftar gathering at West Adams’ Maydan Market. “I think a lot of people are becoming more proud of their culture and their heritage, and with that comes a lot of people seeking things like this.”
Here are eight halal restaurants to break fast and share a meal with loved ones during Ramadan.
PHOENIX — For 24-year-old Alex Freeland, the time is now.
After the switch-hitting middle infielder enjoyed a cup of coffee in the big leagues last season, he’s trying to break camp with the Dodgers and get increased playing time at second base with veteran Tommy Edman expected to be on the injured list as he works his way back from right ankle surgery.
Freeland, who played 29 games with the Dodgers last season, and second-year utility man Hyeseong Kim, who played 71 games and was on the postseason roster, are among those vying for playing time at the start of the season, with veteran Miguel Rojas and and nonroster invite Santiago Espinal also in the mix.
Kim, who started Cactus League games at second base and center field, recently departed for the World Baseball Classic as he competes for Team South Korea, opening a door for Freeland to get more reps in the heart of the Cactus League season.
“Opportunity is present, so I’m trying to make the most of it,” Freeland said. “It sucks that Tommy’s not ready and he won’t be ready for the beginning of the season. He’s a big part of this team, so I wish him a super speedy recovery and I hope that he gets out there as quickly as possible. But yeah, with Hyeseong being gone, I am getting more reps at second and short, so I’m just trying to make the most of them.”
Freeland entered last season as MLB Pipeline’s No. 45 overall prospect. Though he posted a .190/.292/.310 slash line at the big league level, prospect analyst Jim Callis still has high hopes for Freeland.
“Freeland doesn’t have a wow tool but he does a lot of things well,” Callis said. “His best attribute is probably his defense at shortstop and versatility to play other positions. He’s a switch-hitter who draws a lot of walks and has some sneaky pop. He’s just an average runner, but his instincts allow him to play quicker than that.”
As a switch-hitter, Freeland has had more success from the left side than the right. He worked on his swing from both sides of the plate over the offseason and feels he’s in a good place.
“My right-handed hitting could be better,” Freeland said. “I mean, part of my game is walking, so I felt like I wasn’t patient at the right times last year. Sometimes I was too patient, just taking pitches down the middle. Walking is a big part of my game, so I’m looking to walk, and I feel like I’ve done that this spring training.”
Freeland has drawn eight walks in 24 plate appearances in Cactus League play, and Dodgers manager Dave Roberts has been impressed with what he has seen this spring.
“Maturity,” Roberts said. “Playing both sides of the baseball really well. The bat, right-handed looks really good. Lefty is typically his strong side, but I like the right-handed at-bats. Just playing with a lot of real confidence.”
If it weren’t for the Dodgers’ star-studded roster, Callis believes Freeland’s chances at playing time would be better.
“On a lot of teams, Freeland would be getting a chance to compete for the starting shortstop job, but he’s blocked on the Dodgers,” Callis said. “He’s probably looking at more of a utility role than starting in Los Angeles, and he could be attractive to other clubs in trade talks too.”
Freeland, however, is embracing his role and hopes to earn his stripes. He’s tried to soak up as much as he can from the veteran stars he’s been able to spend time with.
“Miggy Ro has always got something good to say. Muncy, Freddie, I mean they’ve been around so long, they’ve seen so many different things, so it’s like whatever I have a question about, like I can easily go and talk to one of them, and they’ve got an answer for me,” Freeland said of Rojas, Max Muncy and Freddie Freeman. “And it’s great to have guys like that in the clubhouse.”
Freeland grew up an Atlanta Braves fan and admired Freeman for years. Freeland never imagined he one day would share a locker room with the nine-time All-Star first baseman, who spent the first 12 years of his career in Atlanta.
“I watched Freddie growing up and Mookie,” Freeland said of Freeman and Betts. “So, I mean, it’s kind of like a full-circle moment, like I watched Freddie a lot when he was with the Braves, coming up, because I lived in Georgia, so like I’d go and watch minor league games and see him in Gwinett.”
By day, you’d be forgiven for walking past the newest theater in downtown L.A.
It isn’t hidden in an alley or obscured via a nameless door. No, this performance space is essentially a theater in disguise, as it’s designed to look like an electrical box — a fabrication so real that when artist S.C. Mero was installing it in the Arts District, police stopped her, concerned she was ripping out its copper wire. (There is no copper wire inside this wooden nook.)
Open the door to the theater, and discover a place of urban enchantment, where a red velvet door and crimson wallpaper beckon guests to come closer and sit inside. That is, if they can fit.
With a mirror on its side and a clock in its back, Mero’s creation, about 6 feet tall and 3 feet deep yet smaller on its interior, looks something akin to an intimate, private boudoir — the sort of dressing room that wouldn’t be out of place in one of Broadway’s historic downtown theaters. That’s by design, says Mero, who cites the ornately romanticized vibe and color palette of the Los Angeles Theatre as prime inspiration. Mero, a longtime street artist whose guerrilla art regularly dots the downtown landscape, likes to inject whimsy into her work: a drainage pipe that gives birth, a ball pit for rats or the transformation of a dilapidated building into a “castle.” But there’s just as often some hidden social commentary.
With her Electrical Box Theatre, situated across from the historic American Hotel and sausage restaurant and bar Wurstküche, Mero set out to create an impromptu performance space for the sort of experimental artists who no longer have an outlet in downtown’s galleries or more refined stages. The American Hotel, for instance, subject of 2018 documentary “Tales of the American” and once home to the anything-goes punk rock ethos of Al’s Bar, still stands, but it isn’t lost on Mero that most of the neighborhood’s artist platforms today are softer around the edges.
Ethan Marks inside S.C. Mero’s theater inside a fake electrical box. The guerrilla art piece is near the American Hotel.
“A lot of galleries are for what can sell,” Mero says. “Usually that’s paintings and wall art.”
She dreamed, however, of an anti-establishment place that could feel inviting and erase boundaries between audience and perfomer. “People may be intimidated to get up on a stage or at a coffee shop, but here it’s right on street level.”
It’s already working as intended, says Mero. I visited the box early last week when Mero invited a pair of experimental musicians to perform. Shortly after trumpeter Ethan Marks took to the sidewalk, one of the American Hotel’s current residents leaned out his window and began vocally and jovially mimicking the fragmented and angular notes coming from the instrument. In this moment, “the box,” as Mero casually refers to it, became a true communal stage, a participatory call-and-response pulpit for the neighborhood.
Clown Lars Adams, 38, peers out of S.C. Mero’s theater inside a fake electrical box. Mero modeled the space off of Broadway’s historic theaters.
A few days prior, a rideshare driver noticed a crowd and pulled over to read his poetry. He told Mero it was his first time. The unscripted occurrence, she says, was “one of the best moments I’ve ever experienced in making art.”
“That’s literally what this space is,” Mero says. “It’s for people to try something new or to experiment.”
Marks jumped at the chance to perform for free inside the theater, his brassy freewheeling equally complementing and contrasting the sounds of the intersection. “I was delighted,” he says, when Mero told him about the stage. “There’s so much unexpectedness to it that as an improviser, it really keeps you in the moment.”
A downtown resident for more than a decade, Mero has become something of an advocate for the neighborhood. The area arguably hasn’t returned to its pre-pandemic heights, as many office floors sit empty and a string of high-profile restaurant closures struck the community. Mero’s own gallery at the corner of Spring and Seventh streets shuttered in 2024. Downtown also saw its perception take a hit last year when ICE descended on the city center and national media incorrectly portrayed the hood as a hub of chaos.
Artist S.C. Mero looks into her latest project, a fake electrical box in the Arts District. Mero has long been associated with street art in the neighborhood.
“A lot has changed in the 13 years when I first got down here,” Mero says. “Everybody felt like it was magic, like we were going to be part of this renaissance and L.A. was going to have this epicenter again. Then it descended. A lot of my friends left. But I still see the same beauty in it. The architecture. The history. Downtown is the most populous neighborhood in all of L.A. because it belongs to everybody. It’s everybody’s downtown, whether they love it or not. And I feel we are part of history.”
Art today in downtown ranges from high-end galleries such as Hauser & Wirth to the graffiti-covered towers of Oceanwide Plaza. Gritty spaces, such as Superchief Gallery, have been vocal about struggles to stay afloat. Mero’s art, meanwhile, remains a source of optimism throughout downtown’s streets.
At Pershing Square, for instance, sits her “Spike Cafe,” a mini tropical hideaway atop a parking garage sign where umbrellas and finger food props have become a prettier nesting spot for pigeons. Seen potentially as a vision for beautification, a contrast, for instance, from the nature intrusive barbs that aim to deter wildlife, “Spike Cafe” has become a statement of harmony.
Elsewhere, on the corner of Broadway and Fourth streets, Mero has commandeered a once historic building that’s been burned and left to rot. Mero, in collaboration with fellow street artist Wild Life, has turned the blighted space into a fantastical haven with a knight, a dragon and more — a decaying castle from a bygone era.
“A lot of times people are like, ‘I can’t believe you get away with that!’ But most people haven’t tried to do it, you know?” Mero says. “It can be moved easily. It’s not impeding on anyone. I don’t feel I do anything bad. Not having a permit is just a technicality. I believe what I’m doing is right.”
Musician Jeonghyeon Joo, 31, plays the haegeum outside of S.C. Mero’s latest art project, a theater in a faux electrical box.
After initially posting her electrical box on her social media, Mero says she almost instantly received more than 20 requests to perform at the venue. Two combination locks keep it closed, and Mero will give out the code to those she trusts. “Some people want to come and play their accordion. Another is a tour guide,” Mero says.
Ultimately, it’s an idea, she says, that she’s had for about a decade. “Everything has to come together, right? You have to have enough funds to buy the supplies, and then the skills to to have it come together.”
And while it isn’t designed to be forever, it is bolted to the sidewalk. As for why now was the right time to unleash it, Mero is direct: “I needed the space,” she says.
There are concerns. Perhaps, Mero speculates, someone will change the lock combination, knocking her out of her own creation. And the more attention brought to the box via media interviews means more scrutiny may be placed on it, risking its confiscation by city authorities.
As a street artist, however, Mero has had to embrace impermanence, although she acknowledges it can be a bummer when a piece disappears in a day or two. And unlike a gallerist, she feels an obligation to tweak her work once it’s out in the world. Though her “Spike Cafe” is about a year old, she says she has to “continue to babysit it,” as pigeons aren’t exactly known for their tidiness.
But Mero hopes the box has a life of its own, and considers it a conversation between her, local artists and downtown itself. “I still think we’re part of something special,” Mero says of living and working downtown.
And, at least for now, it’s the neighborhood with arguably the city’s most unique performance venue.
When 32 freshman football players filed excitedly into the meeting room at John McKay Center in January for their first official meeting at USC, each new Trojan from the nation’s No. 1 recruiting class in 2026 was asked to stand up, share their name, number, position and an interesting fact about them.
This was pretty standard fare, as far as ice-breakers go. Albeit with one notable difference from past years.
“It was abnormally long [this year,] for sure,” senior offensive lineman Tobias Raymond said, with a laugh.
As USC opened spring practice on Tuesday, a cursory glance through its spring roster would tell you just how much the Trojans will need those freshmen to find their footing — and fast — in a season likely to be defined by their development. Nearly half of the players in attendance for Tuesday’s first day (46 of 103) were either freshmen or redshirt freshmen. That’s almost triple the current size of USC’s junior or senior classes (16).
If the Trojans have any hope of making the College Football Playoff for the first time in five tries under Lincoln Riley, an influx of 18- and 19-year-olds will play a major part.
“There’s a lot of new guys,” Riley said Tuesday. “Getting a look at these people, seeing where they’re at in terms of their development and where they’ve gotta go, I think the evaluation process is going to be really important.”
At no position will that be more critical than pass catcher, where USC must replace its top two wide receivers, Makai Lemon and Ja’Kobi Lane, and top two tight ends, Lake McRee and Walker Lyons. In their place steps a deep crop of young talented options, all hoping to emerge this spring.
There will certainly be no shortage of opportunity for USC’s four incoming freshmen receivers (Kayden Dixon-Wyatt, Trent Mosley, Luc Weaver and Tron Baker) and two incoming tight ends (freshman Mark Bowman and junior college transfer Josiah Jefferson) to make that impression. In addition to the void left by Lemon and Lane’s departures, the Trojans will also be without their top returning wideout this spring, as Tanook Hines will sit out the entire session following an offseason procedure.
Hines, who’s only a sophomore, could probably use the next five weeks of spring to develop, considering how much of the Trojans passing attack is likely to rest on his shoulders this fall. But Riley said he thought Hines’ absence could actually be “a blessing in disguise” for the rest of the room.
“All these guys, they’re going to get a ton of reps and they all need them,” Riley said. “What a phenomenal opportunity for all those other guys to develop and to take advantage of those reps. We’re going to need that.”
That directive has been clear enough to USC starting quarterback Jayden Maiava since the Trojans’ fleet of freshmen arrived on campus. Maiava has spent much of the past two months trying to build a connection with young players on both sides of the ball, taking them out to dinners, watching film with them, walking through the playbook and even conducting players-only sessions on the practice field.
“It’s a big impact for the guys I’m going out there with,” Maiava said Tuesday. “Just letting them know I care about them and I care about their success. I want the best for them, and I want them to know that.”
In his third season as starter, Maiava won’t have the benefit of one of college football’s best pass-catching pairs at his disposal. He’ll also enter 2026 on the shortlist for the Heisman Trophy — and all the pressure that comes with that.
Offensive coordinator Luke Huard said last month that Maiava has had “a tremendous sense of urgency” since the end of last season.
Raymond, who will snap to Maiava as a center this spring, said the quarterback’s communication has improved “exponentially.”
“Seeing when someone is down or seeing when someone has a good play and picking them up or congratulating them, but also getting on people when they do something wrong,” Raymond said. “If he sees something, he calls it out. If he sees something good, he calls it out.”
Receiver isn’t the only spot where freshmen will get a serious chance to compete next season. On the offensive line, five-star offensive tackle Keenyi Pepe — at 6-foot-7, 330 pounds — already looks quite capable of contributing on a Big Ten front. The same could be said of edge rusher Luke Wafle — 6-foot-6, 265 pounds — and defensive tackles Jameion Winfield — 6-foot-3, 325 pounds — all of whom were five-star prospects.
Still, it may take some time for that young talent to show through, with USC also breaking in both a new defense and special teams concepts. But for what the Trojans will likely lack in experience this spring, they’ll make up for, in some part, with depth.
“We’ve never had a spring practice, none of us in all of our years, that we’ve had this high of a percentage of your full roster already here for spring,” Riley said. “Which is a huge advantage.”
There’s still the small matter of getting all those newcomers to gel. But on that note, Riley thinks talk of USC’s youth movement overlooks how many talented players are returning.
“We’ve kind of gotten painted on the outside as just this crazy young team,” Riley said. “Like, we do have some really good youth, and I know that class has gotten some attention in terms of how that recruiting process played out, but we’ve got a lot of guys that have played a lot of ball here. … You like the talent that we have, you like the returners. I love the guys we brought in. But like one of the best sports franchises of all time said, ‘You’re not collecting talent, you’re building a team.’
“We’ve got talent. Now we’ve got to build a team.”
Injury report
In addition to being down its No. 1 receiver, USC will be without two of its returning starters on the offensive line this spring. Center Kilian O’Connor and right tackle Justin Tauanuu will sit out while recovering from surgical procedures. Left tackle Elijah Paige didn’t practice on Day 1 of spring ball, either.
Cornerbacks Jontez Williams and Chasen Johnson and safety Christian Pierce won’t participate this spring, either, Riley said Tuesday.
Running back Waymond Jordan was limited to start spring ball, as was defensive tackle Jahkeem Stewart.
Here’s another quintessential L.A. walk through the Hollywood Hills’ High Tower neighborhood, the Hollywood Bowl and Whitley Terrace inspired by “Walking Los Angeles” Walk 15.
The roughly three-mile route winds through historic neighborhoods with excellent views, incredible century-old homes and (literally) breathtaking climbs along with an intriguing collection of gates and doors. The walk also gives you a chance to admire the Hollywood Bowl without jillions of people milling around (and, if necessary, visit its lovely restrooms without waiting forever in line), but be sure to check the Bowl’s schedule ahead of time. The route won’t be possible when it’s having a concert.
Traffic and parking are always a challenge in this part of L.A. and nearly impossible in the High Tower area. I recommend finding a place to park across Highland Avenue on Milner Road because it’s less traveled (and very lovely). One final note: This route has few sidewalks, and those that exist are uneven, so keep an eye open for traffic and trip hazards, which is tougher than it sounds, because there are plenty of lovely sights to distract.
Here’s how to get there:
1. Start your walk at the corner of Camrose Drive and Highland Avenue, next to the Highland-Camrose Bungalow Village (which we’ll visit later.) Walk straight up Camrosepast Woodland Way to Rockledge Road, where you’ll turn right and continue your climb.
This Hollywood Heights neighborhood has a real Mediterranean feel, with brilliant white villas clinging to the hills. The narrow winding street offers charming views of balconies and towers and the soothing tinkle of running water, so it’s easy to forget the cacophonous traffic and looming billboards nearby. The views get better as you climb until you reach the top of the hill and the end of Rockledge — at least for vehicles.
2. Continue walking to the end of the cul-de-sac, where you’ll find Los Altos Place, a pedestrian-only street. At the start of the walkway is a beautiful mosaic bench, where you can stop to catch your breath and then descend the first set of stairs, just 12 steps down.
3. This narrow walk takes you past many impressive doors and gates until you reach High Tower Drive. You’ll cross this road to stay on Los Altos Place, but as you cross, take a moment to wonder at the tiny garages built into the bottom of the hill and the High Tower elevator built like a freestanding Italian bell tower (a.k.a. campanile) rising 100 feet above. The elevator tower was designed by architect Carl Kay in the 1920s to provide the neighborhood’s tony residents elevator access to their hilltop homes, which are inaccessible by car.
4. Alas, only residents have a key to the elevator, so you must admire from afar and continue your walk along Los Altos Place, which includes a short set of 23 steps, to another pedestrian walkway called Broadview Terrace, where you will turn right and climb 37 steps toward the tower. At the top you’ll see more mostly white houses, bristling with balconies and to your right, a clearing with some gorgeous views of Hollywood.
5. Keep walking on Broadway Terrace, past the back side of the tower, to the next pedestrian walkway, Alta Loma Terrace, where you will turn right. It’s easy to get confused here, because the narrow walkway seems to have many passages that lead to front doors. After you pass the tower and a large, white Streamline Moderne home on your right, look for the street sign to Alta Loma Terrace on your left, partially hidden by shrubs and turn right.
6. This is another narrow, shaded walkway where you will see more interesting gates and fences than actual homes, but at No. 6881, you’ll pass a boarded-up 1921 Craftsman-style home with Japanese influences peppered with graffiti and “keep out” notices. The home once belonged to pioneering Asian American actor Philip Ahn, but it’s mostly famous now for being the home where Kurt Cobain and Courtney Love lived from 1992 to 1993. It’s sometimes known as the “In Utero” house, because Cobain wrote most of Nirvana’s third and final studio album, “In Utero,” there. Now the most notable thing, beyond the warnings, are the squirrels and bees buzzing around the property’s lovely overgrown landscape.
7. Follow Alta Loma Terrace as it slopes downhill and turns to the right. It’s mostly walkway along here, with intermittent series of short steps, but the descent is steep enough that you’ll feel it in your legs. After a short four steps down to No. 6836, where a beautiful pink bougainvillea drapes near a blue gate, the walkway turns left, and the descent feels faster over a series of four 14-step stairs separated by segments of straight walkways until you finally take 10 steps down into a parking lot and turn left.
8. You’ll be walking beside those adorable little garages on your left, barely big enough to hold a small modern sedan, and exit onto Highland Avenue through a black gate (that is locked from the parking lot side, so be sure you’re ready to leave).
9. Now turn left toward the Hollywood Bowl, and you can walk through the parking area, which is shaded by many beautiful trees and much more pleasant than walking alongside Highland Avenue’s unrelenting traffic. Walk up to the main entrance to admire the lovely Art Deco George Stanley fountain created in 1940, then walk over to the Peppertree Lane walkway — yes, lined by pepper trees — to the amphitheater. which is open to visitors who want to admire.
10. You won’t find much else open except for clean restrooms, which we were happy to visit. After gaping at the shell-shaped stage and the venues towering, arched rows capable of seating 18,000, retrace your steps back toward Highland. And near the place where you exited from the Alta Loma Terrace parking lots, step inside the gates to the Highland Camrose Park Pathway, around 2153 Highland Ave. On concert nights, this park is usually full of people eating their picnic dinners before entering the theater, but the park is usually empty and quiet when the Bowl is closed.
11. Follow the path heading east toward Camrose, and take a few minutes to wander through the cobble-stoned Highland-Camrose Bungalow Village of 14 Craftsman homes built between 1900 and 1924, according to an informational sign at the village. The cute houses were designed to be working-class housing for film-industry folks — what a concept! — and today mostly house offices for organizations affiliated with the Hollywood Bowl as well as the Los Angeles County Sheriff’s Department Parks Bureau.
12. Exit onto Camrose and turn left to Highland Avneue, where you’ll cross to the other side, where Camrose becomes Milner Road and start walking uphill into the Whitley Heights Historical Preservation Overlay Zone, created by developer H.W. Whitley and architect A.S. Barnes. The majority of the stately homes were designed between 1918 and 1928 to resemble a Mediterranean village and quickly became the home of Hollywood’s elite, including Rudolph Valentino, Tyrone Power, Gloria Swanson and Marlene Dietrich, according to the Los Angeles City Planning website.
13. Follow Milner Road as it winds and climbs up the lushly landscaped hill. After the road curves left, watch for La Scène Idéal, an adorable yellow 1923 cottage that hugs the next curve. At Watsonia Terrace, bear right to stay on Milner Road and continue walking uphill, past several grand Spanish Colonial Revival-style homes, the neighborhood’s favored design. It’s the details on these homes that really captured my eye — arched doorways and windows (some with stained glass), tile inlays, elaborate garage doors and wrought iron light fixtures.
14. At the end of Milner, turn right onto Whitley Terrace, with some breathtaking views on your right, along with many more lovely homes. The book mentions a short stair just past 6681 Whitley Terrace, before a stretch of low slung freestanding garages, but it’s apparently been removed. A small plaque marks the spot where the Mary Jackson Staircase was rebuilt in 2000, but it no longer exists, so keep walking a short distance more to Grace Avenue and turn left to continue climbing the hill.
15. The higher you go, the more houses seem to become more stately. At the top of the hill, you’ll see Kendra Court to your left, a gated street closed to the public. Follow Grace Avenue as it turns right and heads downhill.
16. Turn right at the next street, which is Whitley Terrace, and follow it down past Bonair Place, where the road starts curving to the right. Follow the curve to the Whitley Terrace Steps, between 6666 and 6670 Whitley Terrace, and your final stairs, a twisting, 159-step descent with various short landings under shady trees, wrought-iron fences and tiled roofs. At step 66, pause to admire a charming yellow gate and then carry on, through a charming wrought iron gate back to Milner Road and wherever you parked your car.
In a rare case of “Saturday Night Live” bringing on a guest host at the exact right moment, Connor Storrie of the hit Canadian hockey romance “Heated Rivalry” brought sexy charisma to the show, even if a lot of the sketch material didn’t rise to occasion.
“SNL” parodied the show last month by mixing it with “Harry Potter,” but with Storrie, and all the attention hockey got with Team USA’s gold medal wins at the Winter Olympics, this hosting appearance felt especially well-planned. And that was even before members of the men’s and women’s teams dropped by, as did Storrie’s co-star on “Heated Rivalry” Hudson Williams, who showed up to a raucous audience reaction for a sketch, showing that a lot of people have caught up with the series since it debuted on HBO Max in November.
As for Storrie’s performance, it was perhaps the best thing on the show, which had a lot of weak sketches, from a fairly obvious cold open to an early piece that seemed like an excuse for Marcello Hernández to play a goofy teacher with an exaggerated accent.
Things got a little better with a pre-taped period piece about gentlemen giving glove slaps and Williams’ appearance in a sketch about a man’s marriage proposal going sideways because he keeps getting distracted by a group of happy men ice skating at Rockefeller Center. Storrie also played a cool teen trying to extend kindness to his extremely dorky tutor (Ben Marshall) and his equally dorky parents (Ashley Padilla and James Austin Johnson), a man who helped his friend out with his absurd leg-lengthening surgery, and an office worker who proposes a romantic office dance. Best of the night for Storrie, perhaps, was one in which he played a very injured stripper at a Las Vegas bachelorette party.
What was clear was that across a pretty broad range of character types, Storrie held his own and brought some smoldering looks and playfulness that the show, for the most part, didn’t know what to do with.
Musical guests Mumford & Sons, along with Aaron Dessner from the National, performed “Rubber Band Man” with Hozier and “Here” with Sierra Ferrell.
This week’s cold open tackled the very recent attack on Iran with President Trump (Johnson) addressing why he acted at 2 a.m. on a Saturday: “It’s after the stock market closes for the weekend and it’s to cause immeasurable fear, rage and chaos in the ‘SNL’ writers’ room,” he explained. Trump sang, “War! What is it good for? Distracting from the Epstein Files!” before introducing Secretary of Defense Pete Hegseth (Colin Jost), who chugged a non-alcoholic Four Loco and showed off his knuckle tattoos for “EPIC FURY.” After a brief aside for Trump and Hegseth to complement the underappreciated Nintendo GameCube console (on which Hegseth said he played the game “Prince of Persia: Sands of Time”), Hegseth said, “We took out a horrendous, horrible leader who was opposing his own people.” Trump cut in: “But don’t get any ideas!”
In his monologue, Storrie joked about the cultural appeal of “Heated Rivalry,” which he said, “taught a lot of people about hockey… and taught a lot of straight women that their sexuality is actually gay guy.” Storrie discussed growing up in Texas, working as a waiter before he was cast in the series, and how little time he had to prepare to play a Russian hockey player for the show. He was then joined by Jack and Quinn Hughes of the men’s Olympic hockey team. But the reaction to the Hughes brothers was topped considerably in audience reaction by women’s team players Hilary Knight and Megan Keller, who came on stage. “It was just gonna be us, but we thought we’d invite the guys, too,” Knight said. “We thought we’d give them a little moment to shine,” Keller added.
Best sketch of the night: How dare they save the best jokes for a video sketch!
At a posh London gathering in 1892, things get out of hand (literally) when two men (Mikey Day and Storrie) engage in a war of words that escalates to cries of “How dare you!” followed by slaps with a glove. Others get involved, but it really gets out of hand when one man violates the so-called “gentleman’s code” by using a fist. Soon, a dog and a baby are involved in the increasingly silly slapping. Storrie’s comedic timing is particularly good in this one and the sketch resists the “SNL” trope of going straight to hardcore violence and bloodshed that it’s been doing in a lot of video sketches of late.
Also good: Tipping is appreciated for dancing while hurt
At this point, “SNL” has probably done 100 bachelorette party sketches, but none of them had Storrie showing off his abs or getting his tearaway pants pulled off. Apart from the eye candy for those seeking it, the sketch offered some solid physical comedy with Storrie playing a stripper who shows up at a hotel suite severely injured after getting hit by a car. He pushes on to fulfill his job duties, but can barely stand. Storrie does a nice job flailing and flopping, throwing his bloodied-up body around the stage and around the bachelorettes (Padilla, Sarah Sherman, Veronika Slowikowska and Jane Wickline), who don’t know whether to be repulsed or turned on.
‘Weekend Update’ winner: Advice to future maids of honor — avoid headlines
Unfortunately, both “Weekend Update” character segments felt underbaked this week. Sherman played another oversexualized pop-culture meme in an elaborate costume — the negligent mother of Punch, the baby monkey — hitting on Jost in hopes of getting pregnant. A little better, but still rough, was Slowikowska as Katie, the maid of honor at a wedding who makes jokes about the proceedings that play off of major news headlines, like cartel violence in Mexico, the Epstein files or the ongoing war in Ukraine. This one feels like it probably sounded really funny and smart at the table read, but it landed with a thud for the audience because the premise was so muddled.
The Chicago area native previously lived in New York — where he first found fame as Conan O’Brien’s sidekick on “Late Night” — before moving to Los Angeles in 2001. Three years ago, he moved to Pasadena. “Now that I live here, I would not live anywhere else,” he says.
There are some practical benefits to the city. “I am such a crabby old man now, but it’s like, there’s parking, you can park when we have to go out,” Richter says. “The notion of going to dinner in Santa Monica just feels like having nails shoved into my feet.”
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
But he mostly appreciates that Pasadena is “a very diverse town and just a beautiful town,” he says.
For Richter, most Sundays revolve around his family. In 2023, the comedian and actor married creative executive Jennifer Herrera and adopted her young daughter, Cornelia. (He also has two children in their 20s, William and Mercy, from his previous marriage.)
Additionally, he’s been giving his body time to recover. Richter spent last fall training and competing on the 34th season of “Dancing With the Stars.” And though he had no prior dancing experience, he won over the show’s fan base with his kindness and dedication, making it to the competition’s ninth week.
He hosts the weekly show “The Three Questions” on O’Brien’s Team Coco podcast network and still appears in films and TV shows. “I’m just taking meetings and auditioning like every other late 50s white comedy guy in L.A., sitting around waiting for the phone to ring.”
This interview has been lightly edited and condensed for length and clarity.
7:30 a.m.: Early rising
It’s hard for me at this advanced age to sleep much past 7:30. I have a 5 1/2-year-old, and hopefully she’ll sleep in a little bit longer so my wife and I can talk and snuggle and look at our phones at opposite ends of the bed, like everybody.
Then the dogs need to be walked. I have two dogs: a 120-pound Great Pyrenees-Border Collie-German Shepherd mix, and then at the other end of the spectrum, a seven-pound poodle mix. We were a blended dog family. When my wife and I met, I had the big dog and she had a little dog. Her first dog actually has passed, but we like that dynamic. You get kind of the best of both worlds.
8 a.m.: Breakfast at a classic diner
Then it would probably be breakfast at Shakers, which is in South Pasadena. It’s one of our favorite places. We’re kind of regulars there, and my daughter loves it. It’s easy with a 5-year-old, you’ve got to do what they want. They’re terrorists that way, especially when it comes to cuisine.
I’ve lived in Pasadena for about three years now, but I have been going to Shakers for a long time because I have a database of all the best diners in the Los Angeles metropolitan area committed to memory. There’s just something about the continuity of them that makes me feel like the world isn’t on fire. And because of L.A.’s moderate climate, the ones here stay the way they are; whereas if you get 18 feet of winter snow, you tend to wear down the diner floor, seats, everything.
So there’s a lot of really great old places that stay the same. And then there are tragic losses. There’s been some noise that Shakers is going to turn into some kind of condo development. I think that people would probably riot. They would be elderly people rioting, but they would still riot.
11 a.m.: Sandy paws
My in-laws live down in Long Beach, so after breakfast we might take the dogs down to Long Beach. There’s this dog beach there, Rosie’s Beach. I have never seen a fight there between dogs. They’re all just so happy to be out and off-leash, with an ocean and sand right there. You get a contact high from the canine joy.
1 p.m.: Lunch in Belmont Shore
That would take us to lunchtime and we’ll go somewhere down there. There’s this place, L’Antica Pizzeria Da Michele, in Belmont Shore. It’s fantastic for some pizza with grandma and grandpa. It’s originally from Naples. There’s also one in Hollywood where Cafe Des Artistes used to be on that weird little side street.
4 p.m.: Sunset at the gardens
We’d take grandma and grandpa home, drop the dogs off. We’d go to the Huntington and stay a couple of hours until sunset. The Japanese garden is pretty mind-blowing. You feel like you’re on the set of “Shogun.”
The main thing that I love about it is the changing of ecospheres as you walk through it. Living in the area, I drive by it a thousand times and then I remember, “Oh yeah, there’s a rainforest in here. There’s thick stands of bamboo forest that look like Vietnam.” It’s beautiful. With all three of my kids, I have spent a lot of time there.
6:30 p.m.: Mall of America
After sundown, we will go to what seems to be the only thriving mall in America — [the Shops at] Santa Anita. We are suckers for Din Tai Fung. My 24-year-old son, who’s kind of a food snob, is like, “There’s a hundred places that are better and cheaper within five minutes of there in the San Gabriel Valley.” And we’re like, “Yeah, but this is at the mall.” It’s really easy. Also, my wife is a vegetarian, and a lot of the more authentic places, there’s pork in the air. It’s really hard to find vegetarian stuff.
We have a whole system with Din Tai Fung now, which is logging in on the wait list while we’re still on the highway, or ordering takeout. There’s plenty of places in the mall with tables, you can just sit down and have your own little feast there.
There’s also a Dave & Buster’s. If you want sensory overload, you can go in there and get a big, big booze drink while you’re playing Skee-Ball with your kid.
9 p.m.: Head to bed ASAP
I am very lucky in that I’m a very good sleeper and the few times in my life when I do experience insomnia, it’s infuriating to me because I am spoiled, basically. When you’ve got a 5 1/2-year-old, there’s no real wind down. It’s just negotiations to get her into bed and to sleep as quickly as possible, so we can all pass out.
PHOENIX — For the first time since he grounded out to end the 11th inning in Game 7 of the World Series, Freddie Freeman stepped into the batter’s box in the first inning Tuesday against the Cleveland Guardians at Camelback Ranch. Freeman was met with cheers by the thousands of Dodgers fans in attendance.
After popping out to third in his first at-bat, Freeman laced a double to left-center to drive in two runs in the third inning before he was lifted from the Dodgers’ 11-3 victory.
Freeman, who last season battled the lingering effects of a right ankle injury he suffered late in the 2024 season, said having a more typical offseason was crucial to regaining his fitness.
“It’s been in a good spot since I started hitting this offseason,” Freeman said of his swing. “Nice to be able to hit a ball to left-center already, that’s a good sign. … I hadn’t swung a bat till a day before FanFest last year. A normal offseason definitely helps.”
While still an All-Star and a recipient of MVP votes, Freeman has had a slight decline in production over the last two seasons compared to his first two with the Dodgers. Freeman posted on-base percentages of .407 and .410, while raking a league-leading 47 and 59 doubles, respectively, in 2022 and 2023. His OBP dropped to .378 in 2024 and .367 in 2025.
But for Freeman, it is his contact numbers that have been a thorn in his side all offseason.
His .295 batting average was the third-best in the National League last season but still was not good enough for Freeman, a career .300 hitter.
“There wasn’t a 3 at the start of my batting average last year, and that irks me,” Freeman said last week. “That’s my goal always, to hit .300. I like hits. I’m a hitter. Three at the front of a batting average means a lot to me. I know batting average and those kinds of things don’t mean a lot to a lot of people these days, but it does to me. If you hit .300, it means you’re on base a lot, and you’re scoring runs for your team, so that’s the goal, .300 again.”
Freeman landed on the injured list at the start of last April after he aggravated his surgically repaired right ankle, causing him to miss nine games and setting the tone for a season in which he never felt quite right.
“I was taping my ankle till about August,” Freeman said. “It was never really in a good spot last year. There was a lot of treatment, and I think I played all right for that, and we won again, so I’m really looking forward this year.”
One area Freeman thinks he can improve is his defense. A former Gold Glover, Freeman rated as a below-average fielder in both the defensive runs saved (minus-7) and outs above average (minus-6) metrics.
“I didn’t like the way I played defense last year and I thought it was just because I wasn’t mobile enough,” Freeman said. “So, that’s a big, big goal of mine, to play better at first this year, get to more balls, be able to cover more things. So, that’s going to be a key for me.”
Manager Dave Roberts is optimistic about what his veteran first baseman can do, even at age 36.
“I think he takes such good care of himself,” Roberts said. “I think that age is an easy one to point to, but I really believe that he’s been dinged up for two years.
“Right now, today, it’s as good as I’ve seen his swing over the course of a week sample, [better] than I have [seen] in two years. So, he’s in a good spot physically, mechanically. So, if we can keep him healthy, I just don’t see why he can’t have the year that he expects, and with that, with everything that he went through the last couple years, he was still very productive.”
Freeman said last week he hopes to play four more years, through his 20th season as a big leaguer.
“In that fourth year, I turn 40,” Freeman said. “Four is just a number that’s floated. Is it less? Is it more? I don’t know, but that’s kind of just where I’m at. I feel good right now, so that was just floated because that would be an even 20 years, I’ll be 40. I got a family that I would like to go home to. I do love this game; I love playing it, but for me, if I can do four, that would be 20 years. I think that’s enough.”
Etc.
After major shoulder surgery in 2024 that forced him to miss all of last season, right-hander Gavin Stone made his return to the mound a smooth one, pitching a scoreless first inning and striking out two against the Guardians.
“It was awesome,” said Stone, who last pitched for the Dodgers on Aug. 31, 2024. “Definitely a lot of hard work over the previous year. Rehab was a grind, but it’s good to be back out there.”
What’s not to love about Pete Crow-Armstrong? The young, talented Chicago Cubs center fielder is somehow simultaneously super cool and fiery. Nicknamed simply PCA, he should be an entertaining and accomplished player to watch for many years.
And he’s Southern California born and bred, the product of esteemed diamond factory Harvard-Westlake High.
So why oh why did these words come out of his mouth during an interview for a 4,500-word article published Monday in Chicago Magazine?
“I love Chicago more and more,” he said. “It’s just an incredible city. The people are great. They give a [crap]. They aren’t just baseball fans who go to the game like Dodgers fans to take pictures and whatever. They are paying attention. They care.”
The love of Chicago and Cubs fans? Understood.
The dissing of all Dodgers fans as photo-obsessed, uncaring whatevers? Laughable.
The Dodgers became the first team to draw four million fans in 2025 and have exceeded 3.7 million paying customers every non-COVID season since 2013.
And it’s a false narrative to suggest the devotion is merely a byproduct of back-to-back World Series titles and a star-studded lineup. Remember, the Dodgers didn’t win a title from 1989 through 2019, a 31-year drought during which their attendance exceeded 3 million 25 times.
So, where did a baseball-loving future MLB star growing up in Sherman Oaks come to such a contorted conclusion?
Blame it on dad.
PCA penned a first-person article for the Player’s Tribune in September that spelled it out:
“Growing up in L.A., my dad gave me a couple of rules. 1) I couldn’t root for the Dodgers. 2) I couldn’t root for the Cardinals.
“He’s from Naperville, just outside Chicago. He didn’t force me to be a Cubs fan, but let’s just say it was heavily encouraged.”
The Cubs won the World Series for the first time in 108 years in 2016. PCA was 14, and he and his dad, actor Matthew John Armstrong, watched Game 7 together on television. Dad cried.
“I don’t think I fully got it in the moment, you know?” PCA wrote. “I was like, Dad, don’t be weird … stop crying. But I’m sure almost every Cub fan of a certain age had tears in their eyes that night. And now, a bit older, I get it.”
PCA signed with the New York Mets after being drafted 19th overall out of high school in 2020. He was traded to the Cubs a year later for Javier Báez, Trevor Williams and cash and swiftly rose through the minor leagues, making his Cubs debut in 2023.
Last season he broke out as a bona fide star, becoming the first MLB player to accumulate 25 home runs, 25 stolen bases and 70 runs batted in during the first half of a season. He also cemented himself as the top center fielder in the game.
PCA slumped during the second half and finished with 31 homers and 35 stolen bases to go with a .247 batting average. Although the fans might not have noticed with all the picture-taking and whatever, he has done well in six games at Dodger Stadium, batting .333 with a home run and five RBIs.
But according to his teammate and close friend Nico Hoerner, PCA feels at home in the friendly confines of Wrigley Field.
“That’s one thing that is very cool about him that not a lot of younger players get,” Hoerner said. “He couldn’t have more of an appreciation for the history of the game and playing in Wrigley Field. He’s excited to be a part of the city of Chicago in a way a lot of guys don’t really understand.”
When Jared Snow goes to the hospital, he’s usually in serious pain, which he hopes will be assuaged soon. But living with sickle cell disease as a Black man in America often tests this hope.
The Compton born stand-up comedian and actor has been living with sickle cell disease since he was a child. Hospital visits and pain have always been part of his life. But now he’s using his latest project, a documentary film called “You Look Fine,” to show the world how he copes as an entertainer with living with sickle cell disease in an industry steeped in image and perception.
Alongside actor-comedian Marlon Wayans, Snow wanted to make the film to raise awareness about the realities of sickle cell disease and how it impacts Black communities.
In the United States, sickle cell disease affects about 100,000 people, with more than 90% of cases being among Black people, according to the U.S. Centers for Disease Control and Prevention. Sickle cell disease occurs in about one out of every 365 Black or African American births. People living with sickle cell disease have red blood cells that are crescent shaped due to a gene mutation. Because of this, the red blood cells can block blood flow to the rest of the body and can cause chronic pain, strokes, lung problems, infections and kidney disease.
The nearly 90-minute documentary has Snow filming himself inside small hospital rooms, nurses trying to find a vein in which to stick needles, and even him trying to work on material as he lies in hospital beds. The film also includes interviews with his friends.
Snow was adamant about showing the blood and needles in the film as well as footage of himself writhing in pain on hospital beds and the frustration of waiting hours for doctors to provide adequate dosages of pain medication that can help him. He cracks jokes during his hospital stays, but in between you get a front-row look at how tiring, tearful and emotionally devastating his illness can be. Interspersed within such footage are clips from his stand-up shows and him trying to live his best life by traveling, skydiving and even experiencing New York City snowfall.
The Times caught up with Snow and Wayans to talk about the film, vulnerability, Black men’s health, and finding levity through the pain.
J. Snow in the hospital in “You Look Fine”
(J. SnowPro)
I was struck by the handwritten notes with title ideas. Tell me where “You Look Fine” comes from?
J. Snow: It’s just something I hear a lot. It’s something I’ve heard a lot during my life. It’s cultural Black gaslighting is what it is. When you’re in pain, sometimes you look fine. When you are telling people, “I’m not fine,” they’re like, “Your hair is nice.” I can’t go to the hospital with gold. I had gold beads. Sometimes you go there looking too nice. Sometimes I got to dress down just to try to get the help. But if I dress too far down, I look homeless, and they really won’t be open to helping me. So you got to find the balance. But that’s kind of where it comes from. … I wanted to throw it back into people’s face. This is something that a lot of sickle cell warriors, and people with chronic illnesses in general hear, people with mental illness hear, and so I think it’s important to highlight how that literally is gaslighting.
What was your motivation to do this documentary now?
J.S.: I wanted to show that humor lives within this and that a lot of resilience and strength are also within this, and that was really the motivator. Also, just growing up with it, not having a lot of information, not seeing a lot of men talk about it. I wanted to be different, you know.
Marlon Wayans: For me it fits on brand for several reasons. One is because I love taking the dark things in life and finding some humor in it. And I think I try to do that with my comedy. I try to do it with my specials. I try to do it because I think we need to all find smiles no matter what your situation is; laughter is always healing and always necessary. Being African American, I grew up when sickle cell was like a prominent disease, and in our culture I know even when it came to dating, my mother would ask “Who you dating? You know, because if she got the trait, and you got the trait, you know, what could happen.” So I’ve always been aware of it, and I’ve lost now four friends to sickle cell. I just lost two in the last year. It’s a long fight, and so I’m here to support them and our culture and the awareness. And you know, Jay is a friend, and you know, I want him to see fame.
For Jared, in the film, you say, “I just want to see what my body can do.” I thought that was just so deeply profound. What is your relationship like with your body now, compared with the moment you were filming that?
J.S.: When somebody sees me eating a salad, and they’re like, “Oh, you eating salad?” I’m like, “This could save my life.” When I’m stretching and doing yoga, it’s not because I want to be a yogi. It’s because it literally gets oxygen into the joints that are suffering without oxygen. It stretches my hips and I want the longevity. I see what happens in sickle cell warriors and people without sickle cell who just age without moving frequently.
J. Snow walks through the halls of a hospital while dealing with issues from sickle cell.
(Courtesy of J. SnowPro)
Black people, especially for Black men, don’t have their pain taken seriously — be it their physical pain or their emotional pain. What has it been like for you to publicly show that pain?
J.S.: It’s been challenging. It took awhile for me to get to the point where I could even talk about this publicly, especially being in entertainment and trying to maintain a certain persona and image in entertainment where like your ego clashes against your vulnerability and you feeling like you’re weak. That’s the stigma that comes with people who admit that they have illnesses and stuff like that, especially in entertainment. It makes people not want to work with you. I’ve suffered through that. I’ve lost jobs while in the hospital because of this. And so it got to a place where it just was unavoidable. The pressure built so much and the frequency of the hospital visits became so crazy that it was like, you’re either going to be viewed as this very lazy, sometime-y person, or you’re going to come clean about what you’re actually dealing with and just face it.
M.W.: I live in the pain. I live in the vulnerability. I think that’s why I create my best work. You know, my parents died. I thought it was only appropriate to talk about that thing that hurts me so much. I think part of it takes courage, but at the same time, I know it’s necessary.
What was going through your mind when you first saw that footage of [Snow] in the hospital?
M.W.: “This [man] is crazy. Why you filming?” He made sure he had a GoPro on his foot and set cameras up — dude really wants to make it. Forget this disease. He may be faking it just to make it bigger. I was proud, right? That’s because I love the resilience, I love that you still have a passion, that you still have a thing that you want to do, and you have this art and this vessel and this expression, and I know that even though he’s hurting, that he’s healing at the same time, at least, you know, emotionally and spiritually. Because to put art out there at the time that it’s happening, that you’re in pain, that takes a lot of courage from the artist, and so I was proud. That’s why I stand behind it, because I think it’s something I’ve never seen, and I think it’s something that’s necessary for the culture.
How has this film changed your relationship to your understanding of masculinity and strength?
M.W.: For me, it’s just on theme. It hasn’t changed, it just enforced how I feel. You know, I’ve never been one to hide my feelings. I go to therapy. I have two therapists, I go on my walks. I talk to God. I’m reading my Bible. I understand that life is a long journey of suffering, and you need these outlets, and this movie and art are part of that. I have the stage. I always have this thing that I’m expressing because it helps me reconcile all that’s going on with me, especially when I take this pain and make other people laugh or are entertained by it, then I go, all right, I did something good with that thing that was bad. And so this enforces what I want people to feel. I want people to watch this. That’s why I stand behind this, because it’s on theme spiritually for me.
J.S.: I think when you stand outside of that vulnerability and you’re afraid to really go into it, I don’t know, I feel like that’s orbiting your true power. The most masculine thing you can do is face your highs and lows head on and own them. And that’s where you find out who you really are. This is where you find out what you can really bring to the table for yourself, for others, and where you become fearless. And that’s exactly what this showed me, was that I can do anything, I can conquer a lot of things. I walk around with a new energy because I’ve done this. I literally had a film on hard drives, and I sat for 11 months and edited it relentlessly, and now I have my first feature film because I was fearless enough to at least try to do it and not feel, what are people going to think, or what are people going to say? That didn’t matter to me. Also with this clock over my head, you don’t got time to think about stuff like that. It’s like, what do you want to do while you’re here? And what I wanted to do was make movies, make people laugh and inspire others to do things that they want to do too. And that took letting go of whatever this masculine image was that was blocking me.
J. Snow on stage at the Hollywood Laugh Factory
(Brianna Joseph)
The whole film is endearing, but I found those moments of levity so well- timed and so thoughtful and funny. How do Black people find those moments of levity, oftentimes, during these moments of pain?
M.W.: Because Black people have been through so much trauma before we get into family trauma, just as a people. We have suffered the most trauma from being separated from our family, slavery — we’ve been through it — and yet, and still, we find that funny. And that has been, I think, our saving grace is our sense of humor. It’s been a lifesaver. It’s been a raft in a really rough ocean for us. And I think it’s beautiful that we can. I will always promote laughing when you’re in your most pain to find the funny, because that takes a little pressure off. You’re laughing and crying at the same time. It’s like the best feeling.
J.S.: It’s like oxygen, like when the air is being sucked out of the room by your circumstances, your trauma, your pain or whatever. That little laugh is like a little breath of oxygen. It gives you something to keep going forward, to continue to think, “OK, like, where’s another solution from here? What else can I do here?” It gives you that breath that you need.
Welcome back to the Times of Troy newsletter, where we’ve got a jam-packed edition for you this week. USC beat reporters were given the chance to talk to assistants we don’t often get access to during the season. So this week, we’re going to empty the notebook, with 15 notes, quotes and other things you should know ahead of USC’s spring football session.
Fight on! Are you a true Trojans fan?
1. Jayden Maiava has taken “a huge leadership jump” from last season. That’s according to offensive coordinator Luke Huard, who said the quarterback has been meeting with young wideouts, setting up group chats, watching film and working with them at walk-throughs. There will be a lot on his shoulders with such a young receiving corps.
2. Freshman quarterback Jonas Williams is “pretty developed” from a physical standpoint. The athleticism also is obvious when you watch him on tape. The question is how quickly can he get up to speed mentally? Huard said Williams ran a “very multiple” offense that asked a lot of its quarterbacks. So that’s a good sign. But with Husan Longstreet gone, USC is starting from square one again at backup quarterback. Sam Huard is still an option, but this wasn’t necessarily what USC planned.
3. Huard addressed Longstreet’s exit and how plans at quarterback change on a whim nowadays. Huard’s tone, which can’t really be detected in the quote, suggested he wasn’t exactly thrilled about the situation. (Huard, after all, spent a lot of time and energy getting Longstreet to USC.) This is part of what he said: “We are going to recruit guys that are going to represent USC at an elite level and give us an opportunity to win and compete for national championships. So for us, it’s identifying those guys that USC is important to ‘em. They want to truly be here. They want to stay and develop.”
4. Don’t be shocked if a freshman running back makes an impression, even with a clear top two in the backfield. Deshonne Redeaux and Shahn Alston earned raves from running backs coach Anthony Jones — and are very different. Alston is the bigger power back, while Jones called Redeaux “a jack of all trades.” Jones said Redeaux is already a solid blocker and even can line up in the slot as a receiver if need be.
5. What’s the next step look like for King Miller? “Hopefully, King 2.0,” Jones said, with a laugh. Miller’s main goal in the offseason has been “transforming his body,” Jones added. And if Miller can maintain his breakaway speed while adding strength, the sophomore running back could be bound for an even bigger year than he had in 2025.
6. Sophomore receiver Tanook Hines is working on his route running. Hines’ athleticism was clearly off the charts in his debut season. But there’s still plenty to polish in his game. Receivers coach Dennis Simmons said that’s the next step for him as he takes the reins as the Trojans’ No. 1 wideout. This offseason is a crucial one for Hines.
7. Zach Williams will move to slot receiver. Could that mean more opportunity? Williams didn’t make much of a splash last season, largely because of injury, but when he left Utah, then-coach Kyle Whittingham said he would’ve been the Utes’ top receiver the next season. Williams has talent. And with the move inside, he finally could get the opportunity too.
8. The rest of USC’s receiving corps is very young. I expect that means we’ll see a lot of sets with Hines, Williams and N.C. State transfer Terrell Anderson at first. But freshmen Boobie Feaster and Kayden Dixon-Wyatt no doubt will get their chances to change that. Redshirt freshman Corey Simms turned heads in camp last fall and could be primed for a step forward too.
9. The competition at tight end is wide open. Lake McRee is off to the NFL. Walker Lyons transferred. “Who’s going to fill all those snaps?” tight ends coach Chad Savage asked. “Those are a lot of snaps that have gotta be replaced.” Savage mentioned that Wisconsin transfer Hunter Ashcraft would be a part of that equation. Redshirt freshman Taniela Tupou had begun to impress by the end of last season as well.
10. That said, freshman Mark Bowman might make a serious push to start. When I asked Savage about where Bowman was most developed, he said Bowman was “pretty complete” already. Remember, he still should be in high school at this point. Of course, it’ll take time for him to adjust to the physicality and blocking of college football. But I suspect that won’t take long. “In terms of being a natural pass-catcher, route runner, being explosive,” Savage said, “he can do all that.”
11. Savage had a chance to leave for another opportunity. He chose to stay and was promoted accordingly. The Trojans’ new pass game coordinator called working at USC “a dream come true.” He added, “There’s so much growth for me to happen here at USC. … I’m a West Coast guy.” That’s good news, considering he might be one of the best recruiters in college football.
12. Offensive line coach Zach Hanson said USC’s front was “nowhere near where we need to be” last season. The unit actually overachieved, considering its circumstances, but he feels there’s “a lot of room for growth.” I agree. This group will look a lot different in the fall than it did last season, with some linemen starting at new positions. Hanson believes the added competition will lead to a big leap for the line. I tend to agree.
13. Tobias Raymond will take reps at center in the spring. It has been the plan for a while that eventually Raymond would try his hand at center, as coaches see that as his best chance to stick in the NFL. It’s not out of the question that he could play there full time, assuming another linemen steps in.
14. Five-star freshman Keenyi Pepe will start off working at right tackle. Can he win the job in Year 1? He’ll have Justin Taunauu, last year’s starter, as well as young returners like Elijah Vaikona and Aaron Dunn to compete with, but Pepe is further developed than the usual freshman. “A lot is just God-given talent,” Hanson said. “The Lord blessed him with unbelievable gifts.”
15. New coordinator Gary Patterson famously split his 4-2-5 defense into two calls. One for the front seven, one for the defensive backs. But that could play out differently at USC, he said. Patterson’s plan is to use pieces of USC’s old scheme under D’Anton Lynn and “add another scheme to it.” Sometimes that’ll mean just one call for the whole defense, other times he’ll plan to deploy a double call. With slower offenses in the Big Ten, that approach could work quite well.
USC’s Laura Williams looks to pass after getting a rebound.
(Gina Ferazzi/Los Angeles Times)
—The USC men are in serious danger of missing March. It’s not just that the Trojans lost to No. 10 Illinois. They were blown out by the Illini, who then lost to UCLA three nights later. It’s not just that USC lost to Oregon, either. It’s how they lost to Oregon, a team that had lost 11 of 12, by letting the Ducks go on a stunning 7-0 run in the final minute. This version of USC doesn’t deserve to be in the tournament. But I do believe this team has the talent to be a tournament team and it’s not out of the question that it could win two of the next four, win a couple of games in the Big Ten tournament and sneak in. That climb is just a really steep one after Saturday.
—Laura Williams’ emergence as a reliable rebounder and rim protector is a big deal. All season long, Lindsay Gottlieb has been content to rely on a rotating group at the five. USC has been able to get by for most of the season, but come March, it’ll help to have someone who can do what Williams did against Wisconsin, when the redshirt freshman reeled in 14 rebounds and blocked four shots.
—What a start to the season for USC baseball. After leading a combined no-hitter the previous week, Grant Govel threw six scoreless innings, gave up just one hit and struck out 11 in a win over Rice. That was after No. 1 pitcher Mason Edwards pitched a shutout the night before. The Trojans are surging to start Andy Stankiewicz’s third season as coach, and if the pitching continues to be this good, USC could be on the brink of a breakthrough campaign.
Olympic sports spotlight
USC beach volleyball opened its season on a hot streak in Honolulu with four straight wins, including a victory over No. 2 Stanford, only to trip up twice on the final day of the Outrigger Duke Kahanamoku Beach Classic. That one of those losses came to No. 1 UCLA, which USC won’t face again until April 4, made it an especially tough way to end the weekend.
But the season is young, and there’s no reason to doubt that Dain Blanton will have USC in the mix to win a national title when the rivals meet again.
What I’m Watching This Week
Jason Segel in “Shrinking.”
(Apple TV+)
It’s shocking that it took until this show’s third season for it to get a mention in this space, but “Shrinking” is back, and there is no show on TV that I find more life-affirming.
Jason Segel stars as Jimmy, a therapist working through grief after the sudden death of his wife. That might sound heavy — and, sure, it is sometimes — but it’s also hilarious, optimistic and heartwarming. Few shows these days can make you both laugh out loud and tear up in the same episode. This is one of them.
The second season was a revelation. And so far, I’m hopeful that Season 3 will be a worthy follow-up.
That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at ryan.kartje@latimes.com, and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.
Inside its sci-fi trappings — space travel, crazy technology, oodles of extraterrestrials — Pixar’s “Elio” is the story of an outsider kid who finds a new family. That’s true of the protagonist, a lonely boy who longs to leave Earth, and of the film itself.
“Elio’s” original mission was launched by Adrian Molina, co-writer of “Coco,” who worked on writing and directing the project for a couple of years before departing, officially to devote himself to “Coco 2.” Molina was replaced in “Elio’s” director’s chair(s) by Domee Shi, who helmed “Turning Red” and won an Oscar for her short “Bao,” and Madeline Sharafian, a story artist on “Coco” and story lead on “Turning Red.”
“The basic premise from Adrian’s beginning, five years ago, has stayed the same,” says Sharafian: “A lonely, weird little boy gets abducted by aliens and is mistaken for the leader of Earth. The biggest change we made, and everything rippled from there, was that Elio always wanted to be abducted by aliens, to find a place where he belongs.”
Shi says, “Both of us were weirdo kids in our respective hometowns who dreamed of not being the only one. I was one of the only kids in my school that liked anime. When I finally got into animation school, I was like, ‘I found my people, and I didn’t realize how much I wanted this.’ ”
One tectonic shift under Shi and Sharafian came from screenwriter Julia Cho, who co-wrote “Turning Red” with Shi: Instead of Olga (voiced by Zoe Saldaña) being Elio’s mom, she would be his aunt. Elio (voiced by Yonas Kibreab) would lose both parents before the film. That reconfigured his alienation, so to speak. A harsh confrontation between mother and child usually rests on the foundation that they already know and love each other. For an orphaned boy and his guardian aunt, that closeness must be earned.
“That love isn’t a given,” says Sharafian. “There was no assumption it would be there. So when it is, it’s all the more moving.”
“Elio” directors Domee Shi and Madeline Sharafian’s shared “visual language” reshaped the film after they took on the project from its initial director, Adrian Molina.
(Pixar Animation Studios)
Amid the changes, Shi and Sharafian say the working relationship they established on “Turning Red” was invaluable.
Shi says, “Though we have different backgrounds, we grew up watching a lot of the same movies. Both of us love Miyazaki films, we love ‘Sailor Moon,’ we love Disney, Pixar.”
Sharafian adds, “We speak the same visual language. There would be many moments when it was time to come up with a new shot and we both drew the same thing.”
In its 28 previous features, Pixar had dabbled in sci-fi, but “Elio” is immersed in it, with just a soupçon of … horror?
“We’re huge fans of sci-fi horror,” says Shi, “and we wanted to use those moments with Elio’s clone and Olga to have fun, to playfully scare some kids — and some adults too.”
That “clone” is a dead ringer for the protagonist, but it emerged from space goo and formed into an eerily cheerful version of the boy, like something from “Invasion of the Body Snatchers” or “The Stepford Wives,” but nice.
“The movies that impacted me the most as a kid, a lot of them did scare me, but they rewarded me as well,” says Shi. “Our film has this Spielberg-y, comfortable, nostalgic, family sci-fi vibe. So when the audience is at their most comfortable, that’s the perfect opportunity to give ’em a little spook.” Both directors cackle.
Sharafian adds, “ ‘Close Encounters’ is so scary, but in an amazing, tense way, and the musical [phrase] the aliens sent, I was so haunted by that. When we had the universe reach out to Elio, we were like, ‘How do we capture that same feeling — we want to know more, but we’re unsure of their intentions?’ ”
Beyond Steven Spielberg’s “Close Encounters of the Third Kind” and “E.T.,” the shared influences of the sci-fi horror of “The Thing” and “Alien” influenced their choice of a virtual anamorphic lens for their cinematography and aping the visual noise and atmospheric mist in those films.
Among the changes Shi and Sharafian made to “Elio” is its “epic” widescreen aspect ratio.
(Pixar Animation Studios)
Shi adds that they also changed the aspect ratio from 1.85 (standard widescreen) to 2.39:1 (anamorphic widescreen, an ultrawide look): “It helped shots of Elio on Earth feel more lonely, but also made space feel more epic.”
“To lay that on top of” Molina’s existing work, says Sharafian, “completely changed what the movie looked like.”
The directors agree that most of the film seamlessly blends their input, though Shi specialized in the horror and action sequences, while Sharafian leaned into the emotional scenes.
“A lot of Act 1 was you, Maddie,” says Shi, “where he’s feeling soulful and lonely. I love that. Yearning, watching the stars. I feel like that’s probably from your own childhood.”
Sharafian chuckles and says, “Yes, I was very lonely! My sister and I say we had ‘rich inner lives’ because we didn’t have a lot going on outside.”
It’s not “Up”-level gut-wrenching, but the scenes establishing the heartbroken boy’s lingering trauma hit pretty hard.
“I feel like it’s good to be sad,” says Sharafian. “At Pixar, we’re lucky; we get to stay in a childlike headspace for a really long time. I think we forget how deep children’s emotions are and how, when you’re young, you’re already thinking about very sad things and dark things. So I don’t think it’s too much.”
