lot

Rams defensive end Kobie Turner, a 294-pound man strong enough to carry a piano on his back, can also tap out a tune.

The country saw that Sunday night when, on two occasions, NBC aired video footage of Turner expertly playing a complex version of the “Sunday Night Football” theme song. He learned it by ear, then set up his phone to capture the clip.

The song was written by legendary composer John Williams and originally was called “Wide Receiver,” although NBC never adopted that name.

“He listened to it a couple of times and was able to play it and add his own flair,” NBC coordinating producer Rob Hyland said of Turner, who majored in music theory and composition at University of Richmond.

“I was completely blown away. Kobie has so much talent on the football field and just as much with musical instruments. His nickname, `The Conductor,’ is very fitting.”

Turner had two sacks in the 34-7 trouncing of Tampa Bay. He was instrumental in the Rams assembling their best defensive performance of the year, giving up 70 yards passing and 193 total.

The idea to show Turner’s musical talents was hatched earlier this year, and for “Thursday Night Football” on Amazon Prime. There’s a lot of crossover between those two production crews.

Reid Esocoff, whose father, Drew, directs the Sunday night show, pitched the idea to Prime to have Turner play that song for the Oct. 2 game against San Francisco. The segment got the green light, and Amazon sent the Rams star the sheet music.

“It was like five minutes long,” Turner recalled. “I was like, OK, I’m going to have to rearrange this. There’s like trumpets and strings, and I’m like, ‘I’m only doing piano.’”

Turner did his part, but the video wound up on the cutting-room floor.

Enter NBC, which made the same ask and ensured the Rams it would air the video. This time, Turner didn’t want the sheet music, just a recording of the familiar theme song.

“I picked it up by ear and I rearranged it too,” he said, “Because it was another three-minute-long song.’ I was like, how can I emulate this with just the keys and me in a solo take? It was a lot of fun.”

He nailed it, and the video ran twice, when NBC was going to a commercial and after Turner made a big play.

“Anytime I can learn something new, and anytime I can flex the music muscle it’s a lot of fun,” he said.

After playing the song — on his first take, mind you — Turner paused, then popped up and did a strongman flex in triumph.

Tackled it.

For as long as most of us can remember, the Dallas Cowboys and Detroit Lions have played games on Thanksgiving Day. But why?

Let’s start with the Lions. They have played every Thanksgiving since 1934, with the exception of 1939-44, despite the fact they haven’t been a good team most of those years. The Lions played their first season in Detroit in 1934 (before that, they were the Portsmouth Spartans). They struggled their first year in Detroit, as most sports fans there loved baseball’s Detroit Tigers and didn’t come out in droves to watch the Lions. So Lions owner George A. Richards had an idea: Why not play on Thanksgiving?

Richards also owned radio station WJR, which was one of the biggest stations in the country at that time. Richards had a lot of clout in the broadcasting world, and convinced NBC to air the game nationwide. The NFL champion Chicago Bears came to town, and the Lions sold out the 26,000-seat University of Detroit field for the first time. Richards kept the tradition going the next two years, and the NFL kept scheduling them on Thanksgiving when they resumed playing on that date after World War II ended. Richards sold the team in 1940 and died in 1951, but the tradition he started continues today when the Lions play the Green Bay Packers.

The Cowboys first played on Thanksgiving in 1966. They came into the league in 1960 and, as hard as it is to believe now, struggled to draw fans because they were pretty bad those first few years. General manager Tex Schramm basically begged the NFL to schedule them for a Thanksgiving game in 1966, thinking it might get them a popularity boost in Dallas and also nationwide since the game would be televised.

It worked. A Dallas-record 80,259 tickets were sold as the Cowboys defeated the Cleveland Browns 26-14. Some Cowboys fans point to that game as the beginning of Dallas becoming “America’s team.” They have missed playing on Thanksgiving only in 1975 and 1977, when NFL Commissioner Pete Rozelle opted for the St. Louis Cardinals instead.

The games with the Cardinals proved to be losers in the ratings, so Rozelle asked the Cowboys if they would play again in 1978.

“It was a dud in St. Louis,” Schramm told the Chicago Tribune in 1998. “Pete asked if we’d take it back. I said only if we get it permanently. It’s something you have to build as a tradition. He said, ‘It’s yours forever.’ ”

Dallas takes on the Kansas City Chiefs on Thursday.

Welcome back to the Times of Troy newsletter, where USC’s loss to Oregon on Saturday has left me grappling with what it means to have a successful season in this day and age of college football.

USC will not be going to the College Football Playoff. It’ll be the fourth straight year under Lincoln Riley that USC is left out of the field. In that time, Indiana — which last won a conference title in 1967 — will have twice been a Playoff team. Assuming Ohio State, Indiana and Oregon all make this year’s field as expected, the Big Ten’s current membership will have accounted for 19 bids to the Playoff since it began in 2014 … none from USC.

There’s no getting around these facts. USC expects to compete for national titles every year, but in four seasons with Riley as coach, it hasn’t even made it to the dance floor. That’s not what USC was promised when it handed Riley a massive $110-million contract.

If USC beats UCLA next week, as expected, it will finish this season 9-3. That’s better than most rational observers would have expected — myself included. Oddsmakers had USC’s win total set at 7 1/2. I wrote in this space that I thought USC would win eight regular season games, but the best case was 10 and a Playoff bid. USC was within striking distance of that scenario. It fell just short.

Riley would like for you to focus on how narrow that gap is.

“We’re right there,” the coach said again Saturday. But no matter how many plays away USC might be from a Playoff bid in 2025 or four straight national titles in his tenure, Riley’s repeated assurances that this is the case have ceased to mean much to those he thinks he’s assuring. At some point, USC needs to stop being close and actually break through.

It took a step closer to that this season. There’s no shame in losing to three teams ranked in the top 21 of the CFP rankings. USC beat all the teams it was supposed to beat. It won on the road at Nebraska, Riley’s first road win over a .500 team since 2022. And it blew just one fourth-quarter lead, not five like last season.

In the 16 years since Pete Carroll left USC, the Trojans have reached the nine-win mark in the regular season just five times. With a win next week, Riley will have reached that mark twice in four years.

But without a Playoff bid, does a nine-win season really mean anything anymore? Is it possible for USC — or any Power Four team, for that matter — to miss the field and still view its season as a success?

If you thought that USC was going to make the College Football Playoff, you are no doubt disappointed. Most people, though, didn’t. And perhaps the fact that no one is surprised at the way this went is why it’s hard for anyone to feel excited about a 9-3 finish and a second-rate bowl game.

USC took a step forward this season. It wasn’t the leap many fans were hoping for. But it was a step. The reality is this was never a team that was going to seriously compete for a national title. It didn’t have enough talent.

Riley didn’t necessarily do USC any favors in that regard. Progress aside, he simply hasn’t done enough to make anyone, his bosses included, feel good about where next season might go.

There are reasons for optimism. Riley will have the No. 1 recruiting class at his disposal, along with several young returners USC will be counting on to make a leap. But he’ll also have to contend with a schedule that includes Ohio State, Oregon, Washington, Indiana and Penn State.

The road to the Playoff will be as difficult as it has ever been. But that is the bar that Riley must now clear. And by this time next season, we should have a pretty good idea of whether Riley is capable of clearing it.

Going polling

I want to hear what you think about this season as a whole. Do you consider USC’s season to be a success, even without a Playoff bid?

Yes?
No?

Click here to vote in our survey.

Tanook Hines catches a pass thrown by third-string quarterback Sam Huard on a fake punt against Northwestern.

(Mark J. Terrill / Associated Press)

—The leaping penalty was a major turning point in the loss to Oregon. But should it have been a penalty? The flag on linebacker Desman Stephens negated what would’ve been a key missed field goal by Oregon, and afterward, Riley explained that Stephens “panicked” and did something they don’t teach. But NBC rules analyst Terry McAulay, who you may remember from his disdain for USC’s fake punt ploy, posited on social media that it was actually a totally legal play. McAulay wrote that Stephens “leaps into the gap” on the play and “the fact that part of his body is over part of an opponent does not violate the rule,” which states that a player cannot leap into the plane directly above the frame of an opponent. We should note USC lost this game by two touchdowns, so reversing that one wouldn’t have made the difference. That said, I will be curious to ask Riley for his take on Tuesday.

—The offensive line injuries finally caught up to USC. When center Kilian O’Connor went down with what appeared to be another knee injury Saturday and returned to the sideline on crutches, with his leg mobilized, it felt like a foreboding sign. A hobbled J’Onre Reed struggled in his place. Up against a stout Oregon front seven, the Trojans’ line was facing an uphill battle, and it never made much headway. USC ran for just 52 yards, its worst mark in two years. Oregon barely had to blitz — it rushed with four on 27 of 31 dropbacks. This was simply a better defensive line beating up on a more limited offensive line. But USC’s offensive line showed a lot of heart over the course of the last six weeks, and there are plenty of reasons to feel optimistic. USC returns everyone in the room except for Reed and has several freshmen whose progress has impressed the staff this season.

—Tanook Hines can be a star as soon as next season. You saw once again what Hines is capable of as he leaped into the air to reel in Makai Lemon’s pass and tapped his toes in the end zone on the way down. The raw ability is apparent, and his propensity for big plays has been terrific for a freshman. The question now is whether he can emerge as a more consistent threat that’s leaned on to do more than just make highlight catches in traffic. Lemon is leaving for the NFL after this season, and while USC will surely try to convince Ja’Kobi Lane to stay, my guess is he’ll be ready to go, too, depending on his draft grade. That leaves Hines and whichever star transfer wideout(s) general manager Chad Bowden unearths in the portal to lead the receiving corps. Hines should be a big part of those plans, no matter what, and if he makes the leap, he could be in for a huge sophomore season.

—USC won’t be going to the Playoff, but there will be a consolation bowl appearance. Assuming the Trojans can win next week against UCLA, they’re most likely headed to the Alamo Bowl in San Antonio on Dec. 30. The Holiday Bowl on Jan. 2 is also in play. USC has played in the Holiday Bowl four times in the last 12 years. It has never appeared in the Alamo Bowl.

—After a brutal loss to Notre Dame, USC women’s basketball faces a critical stretch ahead. The Trojans had a chance to win in South Bend with a layup after a frustrating fourth quarter, but missed it, and Hannah Hidalgo ended the game on the other end. They have four games between now and a Dec. 13 matchup with Connecticut at Galen Center, and they’ll need that time to iron things out. Kennedy Smith needs to be more consistent on offense, and the frontcourt remains a mystery. The next two weeks should help answer some pertinent questions.

Olympic sports spotlight

With two games left in its regular season slate, USC’s women’s volleyball team matched its season-high for wins under coach Brad Keller with its 24th victory on Saturday. It should surpass that mark this week.

It’s been a stellar season so far for the Trojans, who are tied for fourth in the Big Ten. The question now is just how far they can go in the postseason. Right now, according to ESPN’s college volleyball bracketology, USC is predicted to be a fourth seed.

In case you missed it

Plaschke: Lincoln Riley should be on hot seat after USC flops again in big game

No. 15 USC’s College Football Playoff hopes shattered in loss to No. 7 Oregon

No. 11 USC can’t protect double-digit lead in road loss to No. 24 Notre Dame

USC vs. Oregon: Lincoln Riley embraces pressure of playing for a playoff bid

How USC’s transfer portal approach has fueled its push to edge of playoff berth

Hot coaching commodity Lane Kiffin has a tough decision 12 years after USC fired him

What I’m watching this week

Will (Noah Schnapp) and Vecna (Jamie Campbell Bower) come face to face in Season 5 of “Stranger Things.”

(Netflix)

We’ve waited over three years, if you can believe it, for a new season of “Stranger Things.” So long that none of the kids in the show are even kids anymore. (Two of them have actually become rock stars in the meantime.)

But I’m one of those who have been eagerly awaiting the series conclusion, and finally, that day has come. We still only get Volume 1 from Netflix on Wednesday. But that should be enough to hold us off until late December, when the remaining episodes drop.

Until next time …

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

Those who want to stay at the Rose Bowl describe the place as iconic, an ode to everything that’s great about college football. They say it oozes history and tradition. Just the sight of the glowing neon sign is enough to give them goosebumps.

Those who want to go call the place a dump. They say it’s old and decaying by the day, a shell of its former greatness. Why hold on so hard when a futuristic stadium in Inglewood could provide not only a home closer to campus but also an infusion of cash as part of a more favorable lease?

Going into what could be UCLA’s last home game ever at its century-old stadium Saturday night, some with deep ties to the school say they understand each of the dueling perspectives in the debate over a possible move to SoFi Stadium.

“The concern is, are you gonna lose part of your identity, which has been in peril lately already?” said Kris Farris, a former All-America offensive tackle with the Bruins who was among the more than half-dozen former greats and current recruits who spoke with The Times about the situation. “So it’s like you’re taking away another special part of UCLA, but of course everyone understands the upside financially and what the program needs to do in the arms race of college football right now.”

Officially, nothing has been decided. School officials have released two statements in recent weeks, both acknowledging the uncertainty of the situation. It’s believed that if UCLA decided to make a move to SoFi Stadium, the Bruins would want to do so before the 2026 season.

But the courts could have the final say. The Rose Bowl Operating Co. and the City of Pasadena have commenced a legal battle with hopes of forcing the team to stay. Having called the stadium home since moving in before the 1982 season under legendary coach Terry Donahue, UCLA committed to a lease that doesn’t expire until the summer of 2044.

“I just really feel if Terry was here, I think he’d say, ‘What’s the hurry?’ ” said Pat Donahue, one of the late coach’s brothers. “You have a lease, why don’t you underwrite what the issues are and if you feel you made a bad deal, go renegotiate. You know, I just don’t know what the hurry is and it seems to me that UCLA has a lot bigger football problems than the Rose Bowl, right? I mean, the building’s on fire and you wanna remodel the garden.”

Only one thing seems certain: UCLA will not play home games on campus, as so many have proposed over the years. A movement to build a football stadium on the spot now occupied by Drake Stadium died in 1965 amid opposition from students, political leaders and local homeowners. Not only did the University of California regents rebuff the stadium bid, they also decreed that no structure built on the Drake Stadium footprint could later be enlarged into a football stadium.

Thus the current dilemma. Does UCLA keep its word and fulfill a Rose Bowl lease in which it loses millions of dollars annually in opportunity costs because it does not take in suite or sponsorship revenue? Or do the Bruins head to SoFi Stadium for a new beginning flush with cash, if not tradition?

“In the long term, if you look at the UCLA program, SoFi makes a whole lot more sense whether you like it or not,” said former Bruins quarterback Gary Beban, who led the team to an upset of top-ranked Michigan State in the 1966 Rose Bowl and won the school’s only Heisman Trophy in 1967.

Beban played for UCLA teams that called the Coliseum home, long before the Bruins moved to the Rose Bowl. He said initially wasn’t a supporter of UCLA playing in Pasadena because of a 26.2-mile commute from campus, acknowledging the issue seemed to be largely offset by wild early success the team enjoyed while appearing in five Rose Bowl games between 1983 and 1999.

With the Bruins stuck in a decadelong funk, making that long commute has become more burdensome, leading to dwindling attendance at a stadium that’s roughly twice the distance from UCLA than SoFi Stadium.

“It’s a convenience issue for the people at the campus and over a longer period of time,” Beban said, “I think eventually SoFi just makes more sense than the Rose Bowl. … Right now, this is being looked at at a time when the program needs a lot of fresh air. Regardless of how big of a supporter you are, there are a list of things that need to be advanced and this is just one of them. Maybe it’s time to start all over in all directions and try to get going in the right direction.”

One of Beban’s teammates favors holding on more tightly to the past. Jim Colletto, co-captain of the 1966 Rose Bowl champions, said standing on that field makes one feel like he’s playing or coaching with the ghosts of legends.

Before his return to the Rose Bowl as UCLA’s offensive line coach in 2006, Colletto walked to the two-yard line, where former teammate Bob Stiles had made a goal-line stand 40 years earlier by stopping Michigan State fullback Bob Apisa on a potential game-tying two-point conversion.

“I closed my eyes,” Colletto said, “and it all came alive again.”

Which stadium do possible future UCLA players want to call home?

Kenneth Moore III, a wide receiver from St. Mary’s High in Stockton who has verbally committed to the Bruins, said he’d prefer to play at SoFi Stadium. As far as he’s concerned, the stadium that opened in 2020 is closer to campus and would create a better environment than the team has experienced at the Rose Bowl, where it’s averaging only 37,099 fans this season.

“I feel it’ll be more involvement from the fans after going to SoFi,” Moore said, “to have more packed-out stands.”

Cooper Javorsky has remained a constant presence at the Rose Bowl even after decommitting from UCLA in the wake of coach DeShaun Foster’s dismissal. The offensive lineman from San Juan Hills High who is still considering the Bruins has developed an affinity for the place based on his many weekends spent on the sideline watching games.

“I don’t think I’m really in a position to have an opinion,” Javorsky said, “but who wouldn’t think it’s cool to run out at the Rose Bowl on a Saturday?”

One widespread lament is the possible loss of unfettered tailgating on a sprawling golf course and surrounding parking lots. Farris said throwing a football on the grass and cooking food in an open space was the part of the gameday experience that his kids looked forward to most when they were younger.

“At SoFi, just having attended some professional games there, they just don’t have the tailgating experience,” Farris said. “The tailgating at the Rose Bowl is special, it’s unique. You know, it’s not a paved parking lot with a small little stall.”

Hearing that UCLA’s game against Washington on Saturday could be the team’s last one inside the stadium he once called home has motivated Farris to make the drive from Orange County. It could represent one final memory for someone who was part of the last Bruins team to play in a Rose Bowl game.

“There’s nothing like it,” Farris said of the place. “I’ve played in a lot of different stadiums and obviously the backdrop and the size and scale of the Rose Bowl, the history of the Rose Bowl, the energy coming from the fans and just the history in that building and to be able to call it your home as a program and that’s your home field and being able to dominate in that time like we were able to do as a team, I wouldn’t trade that for the world.”

Nearly everyone who weighed in the stadium debate agreed that winning would solve many of UCLA’s problems regardless of where it played, drawing more fans and revenue. But Dave Ball, a former Bruins All-America defensive end, said there was a caveat that should be attached to that sentiment.

“Yes, winning solves everything,” Ball said, “but it’s like to me, the resources are the thing, especially now, that are going to promote winning. It’s like, man, you need to have the players and to have the players you need big budgets and an environment that is like swooning over the kids and Ohio State has that, Alabama has that, a lot of the SEC schools have that, and so a great coach who starts to get the program going will instill more excitement and more money, but you do need a lot of the budget and the resources to get that top-tier coach and those top-tier athletes.

“This thing is a game of moving onto the next and what matters to everybody is, do you win football games, championships, bowl games or not?”

There was a time when KevOnStage was a very literal description of comedian Kevin Fredericks as a hungry comedian looking for stage time. These days, he might as well be called KevOnEverything. You can find him cracking jokes on live comedy tours, TV sketch shows, books, podcasts and just about every social media platform you care about. From books like his 2025 New York Times bestseller “Successful Failure” to his latest podcast, “Not My Best Moment,” the idea has always been about forward momentum to breed a funny brand that, just like his name, continues to stick with a sense of humor that ultimately succeeds at being relatable.

Moving from Washington state to L.A. with his wife and kids to fulfill his comedy dreams, he focused his comedy on the Black church and family life in a way that hadn’t been done before. The result was his breakout success with the show “Churchy” that started as a self-funded series that was picked up by BET and recently ran through its second season. It created a lane for him to expand his content universe with sketch shows like “The Hospital” and “Safe Space” on Tubi that allows him to retain creative control and put on more comedians working with veteran stand-ups like Tahir Moore and Tony Baker. The latter is his podcasting partner in crime whom he’s been touring with on the Bald Brothers comedy tour which wraps up in L.A. at the Wiltern on Sunday. Recently we spoke to KevOnStage about the secret to building his comedy brand — by being everywhere.

This interview was edited for length and clarity.

I love that this is a year where so much is happening for you from so many angles.

It’s wild.

You’re KevOnStage, KevOnPodcasts, KevOnBooks, KevOnTV …

[Laughs] Literally KevOnEverything.

When did you decide to go from being Kevin Fredericks — working a regular job and doing comedy on the side — to becoming “KevOnStage”?

I was working at the Spanaway [Washington] branch of Key Bank and I was on Twitter. This must have been 2009 — very early on Twitter. And people were just making jokes and people were getting fired [from their jobs over their jokes on Twitter]. People would not like a joke you said, search your name, Google you, find out where you worked and email like your boss, and people were getting fired. And I was like, “I can’t afford to lose my job over some ports take.” So I’m gonna take my full actual government name out of my handle, which was just Kevin Fredericks at the time. And I was like, “I’m Kev and I be on stage.” And that was literally as much thought as I put into it. I was just not trying to be easily found and fired. So I switched my handle to KevOnStage because I was doing stand-up all the time at that time and it stuck. Hindsight being 20/20, I would have just kept Kevin Fredericks, which was my Facebook name, but I think KevOnStage is cool as a moniker. I’m trying to be like Beyoncé, Bono, Sting, Oprah, KevOnStage — one name. People think my actual name is Kevon because of that. If they think that, then I know they found me because of the internet. Which is also fine. As long as people know me, it doesn’t bother me.

KevOnStage with Tony Baker on the Bald Brothers comedy tour.

(Joshua Gonzales )

When did you really find your tribe of comedians in Washington state that you still hang out with today?

In Washington state there was only really like Nate Jackson, he was the only working comedian who was working nationally. In Washington it was me, Nate, Big Irish Jay, a comedian named Terrence — those are the only people that were kind of doing comedy consistently. And then we had the Bay Area Black Comedy Competition, I don’t remember what year it was, and I met Lance Woods, who I’m still cool with. But then when I moved [to L.A.], that’s when I met Tony Baker and Tahir Moore through All Def Comedy. Because I didn’t really do stand-up on stage that much when I first moved to L.A. My wife was like, “we’re not gonna move to L.A. and then you’re on stage four or five nights a week.” And it was hard to get on stage … you have to go and hang out, go to Denny’s and like hang out all night. And [my wife] was not going for it and I had small children who had to go to school. So the majority of the people that I know I met through All Def.

You brought up an interesting point about the lifestyle of comics because it is a lifestyle that doesn’t really agree with everything else for most of the 9-to-5 working world — especially being married and having kids. So how did you then decide to focus more on content creation as a means to perform?

Well, interestingly enough, it started before I moved to L.A. There’s hardly any entertainment opportunities in Washington. There’s very rarely a TV show, even shooting there, much less a show you can actually audition and be on. So what happened was we were doing plays. We’re trying to be like Tyler Perry, David E. Talbert or Je’Caryous Johnson. And we were on our way, but there weren’t enough people in Washington to mount a successful black play — or “urban plays” as people called them. So we did our best, but even if we got 3,000 people, that was only for one night. And we weren’t doing that, by the way. We’re getting like 68 people. So I was watching a lot of YouTube at the time and I was realizing these people have fans everywhere. So I was like, we can do internet comedy and make people laugh on the internet and hopefully we get fans all across the United States. And from the first two videos we did, I was like, forget the play thing, I think the internet is the thing. Just like focus on that. I think we do that, we will build our own audience, and everything will be easier for us.

As far as the ability to own your content and guide however you want, how has that been important for your comedy career?

For me it’s been like, “He who pays says.” Like if you pay for it, you get the final say. So for a long time, it was by default because nobody’s getting paid. I’m just making it and posting it. The first big thing we did that was like really expensive was “Churchy” [on BET]. And there was a lot of [money from previous brand deals] that I saved, a lot of [money from doing] Spectrum commercials that I saved. I made eight episodes of “Churchy.” And shout-out to Jamal Henderson, he helped us meet executives at BET and they bought it. And they couldn’t have any creative control because it was already done.

So that’s kind of a process that we’ve repeated with [my sketch shows] “The Hospital” and “Safe Space.” We pay for it and then license it or partner with a company and make it now. And with Tubi, they’re a little bit different. They let you have creative control, even if they pay for it. They’re like “hey, we trust that you built your audience, you know your audience.” They’re the only platform that I’ve worked with that’s completely like, “we don’t have any say-so, no notes, you don’t have to send us a script, you don’t have to send an edit for approval, we trust you.” And that’s fantastic for me because you get to make it as close to [the original vision] without any impurities as possible.

Now I gotta be honest, when I work with BET, we had amazing executives and they’ve given us a lot of great notes, but they also give you some notes that you don’t agree with that you have to take. And that’s also part of just making things. It’s not a full negative. They also made [the show] better in a lot of different ways. And the one thing that I’m very grateful for with our partners at BET is every note they gave was to make the overall project better and for more people to enjoy it. I am a comedian at heart, so sometimes I’m loyal to the joke to a fault. The executive is like, we gotta tell the best story — so it’s not all bad. A lot of times we hear people bemoan partnering with people, and it has its negatives, but also my TV exec was more experienced than I was at making good TV, so some of their notes were really helpful, and I can carry those with me when I’m making other projects.

“The Hospital” and “Safe Space” are both like sketch shows. What was important about the formats for both shows — one at a hospital, the other on a therapist’s couch — that allow you to find the funny?

Richard Washington, who is a creative exec at KevOn Stage Studios, head of T V and film, and I built the systems and then we allow the people to work within the systems to the best of their personality. So I think the great part about “Safe Space” is the talent. Like you give them a premise, you find the right people, and then they take it and make it funny. “Safe Space” was really the same with “The Hospital.” Like, you know, we hired more sketch writers for the hospital, but Safe Space was more improv than even “The Hospital.” We had some fully written sketches for “The Hospital,” but we didn’t stick to everything exactly. Some are almost all improv. Like comedian CP’s episodes, he’s just riffing. So it’s as close to a stand-up version of content as you can get. And what I mean by stand-up is the audience is sitting there not knowing what the person’s gonna say. And that’s why I think it works.

KevOnStage recording a podcast.

(Mike Folabi)

As a creator of these shows, you often hold the door open for new talent to shine. How does that help your own vision of allowing there to be space for new actors and comedians to come up?

I grew up playing sports and then I went into plays. And with both of those elements, it’s it’s a team environment. You need other people to be successful and you gotta rely on other people to do their thing. With plays, you wanna have the best show possible. And then you put it all together and it’s the best product. And I think that’s the same approach that I take to creation. A lot of comedians, I’ve been told, they won’t take the best comedians. They’ll take people who are OK, but nowhere near as good as them.

Considering you post three to five videos a day, how do you find the time to produce as much content as you do?

So the thing is like this is my job. And I work really hard. I think people compare themselves to me, but they also have a job. Like you’re thinking of “how does he do this?” because you’re thinking of your actual day job. For the most part, I get up and think of funny things to say all day. And the other thing is I don’t spend a lot of time thinking about what I’m gonna do or editing it at all. If something funny happens right now, if I walk out of here and I trip and fall, I’ll probably make a video immediately and within five minutes that video’s gonna be on seven different platforms. So I’m not really precious about what I make. And I feel like people think it’s hard, but this is not hard for me. It’s something I love to do, I create freely out of joy. The guy who runs my doughnut shop who hasn’t taken a day off in 20 years, literally I was talking to him about this. He never takes a day off. Twenty years he’s at that doughnut shop, every night at 8 p.m., he makes doughnut, preparing for the day. Every day at 4 a.m., he comes and bakes them. That is hard. Not to say what I’m making is not hard. It is, but it’s not hard like that. People have hard jobs. I just be silly for two minutes and post it within five minutes. That’s not really hard for me.

“For the most part, I get up and think of funny things to say all day,” says KevOnStage.

(Joshua Gonzales )

I guess you’re not getting cellphone calluses.

Not at all [laughs] … I kind of designed my content to be able to make it easily because I feel like my approach is just inundating you with Kev. Like I want to be unavoidable. Yeah. I want to make content on so many different topics. It’s not even always comedic. I want people to just share you and or have a thought or make you have a thought. Right now I’ve been doing a lot of podcasts. So if you don’t follow me, but you follow for example “The Pivot,” which I did last week and they collab with me, now you’re seeing me on “The Pivot” or Funny Marco or I interviewed Issa Rae for the first episode of [my new podcast] called “Not My Best Moment.” And Issa Rae doesn’t do a whole whole bunch of interviews if she’s not promoting something. So if you’re interested in what Issa has to say, you got to hear me because I asked the question. So people rip my stuff, I’m like, “this is great!” They rip it and post it on threads. This is like as close to getting bootlegged as possible.

That’s what you want.

Yeah, bootleg me! Obviously I’d love to make the money, but it’s like the exposure will become capital or currency later. I just want to be out here so much that you’re eventually like, “All right, what is he talking about?” Because think about how many videos do you see in a day now. Back in the day, we used to have to be like, OK, I want to watch the videos. I’m gonna go to my computer and go to like, I remember before YouTube, I used to go to Break.com and watch videos. It was a thing I did for some time and then I went on about my day. Think about how many videos you consume on a daily basis. … So you gotta really hit ‘em over and over before they make a decision. So that’s why I just wanna flood you. I want you to be like, “Oh, my God, enough!”

Well, add one more to the pile right here.

Yeah, absolutely. Once I saw cameras here [at the L.A. Times studio], I was like, “Yeah, baby, I thought this was just an interview, we got video content, baby. Let’s go!” So yeah, it’s like that’s my approach. Just keep going — a lot.

“Thoughts & Prayers,” premiering Tuesday on HBO, is a documentary film about the $3-billion “active shooter preparedness industry,” that space where American failure meets American entrepreneurism. Though it approaches its subject with a certain formal neutrality, the title, a phrase now synonymous with political emptiness, does suggest a point of view. (Its subtitle is “How to Survive an Active Shooter in America.”)

That industry includes various forms of training involving teachers, students and first responders and products theoretically created to increase security — locks, alarms, robot dogs, bulletproof backpacks, bulletproof glass and bulletproof shelters that sit in the corner of a classroom. One company will put an image of your choice on a bulletproof wall hanging and sells a “skateboard [that] will outperform any other skateboard on the market, but it’s also a self defense shield.” “Every time there’s a tragedy, it economically benefits my family,” its founder admits. “We could be a $300-million company by the time this documentary airs.”

One company makes tourniquets “easy to apply in case of a mass casualty incident”; another specializes in latex bullet wounds for use in mass shooter drills: “the gunshot through and through to the neck … the multiple gunshot wound to the abdomen.” One senses in these endeavors a not insincere overreaction that substitutes for political action, shifting responsibility onto potential victims and accepting the problem as intractable. (Or as the Onion headline, published 38 times since 2014, has it, “No Way to Prevent This, Says Only Nation Where This Regularly Happens.”)

Directed by Zackary Canepari and Jessica Dimmock, it’s a sad black comedy, an Errol Morris sort of subject, shot in an Errol Morris sort of way — formal, neutral. The cinematography, by Jarred Alterman, is quite handsome and composed, amplifying the seriousness and eeriness, but also the banality and absurdity of the matter. Subjects face the camera head on, sometimes to speak, sometimes to sit silently for a portrait that might find them covered in fake blood and wounds from a role-playing exercise. The film gets a lot of mileage just settling on faces, tracking reactions, or lack of reaction. The camera is static, steady; action moves in and through the frame, sometimes in slow motion, like movie violence. This observational approach is regularly undercut, unfortunately, by a heavy-handed soundtrack that makes the film feel less trustworthy. It’s an aesthetic and rhetorical failure, but not a fatal one.

The documentary states that 95% of American school children practice lockdown drills.

(HBO)

More than 20 million adults have had active shooter training, learning how to keep doors shut or disarm a shooter, participating in multiplayer video simulations. In Provo, Utah, teachers learn to shoot. (“Breathe in through our nose, out through your mouth — let all that tension come out of you.”) But “Thoughts & Prayers” is most powerful when looking at or listening to the kids: 95% of American schools, we’re told, practice lockdown drills, which can begin as early as Pre-K (with “dinosaurs” substituted for gunmen, to, I don’t know, reduce trauma).

The film’s last act follows a massive reenactment at a Medford, Ore., high school, where a “mass casualty drill” was scheduled after a janitor turned himself into police before acting on homicidal thoughts. (They discovered many weapons in his home, and a written plan of attack.) Kids, made up as victims, litter the halls and gym field. Masked “shooters” go room to room. The police chief gives, as a sign on the podium reads, a “fake press conference.”

“This is the reality, this is where we are in this country, where we are in this valley,” says the school superintendent afterward. “But I do not want to lose the fact that it is still a sad thing that we have to do this. Still, you may wonder what good it will actually do, and hope not to find out.”

What passes for a gun debate is relegated to some warring soundbites from the floor of Congress, and the opinion of one trainer (named Thrasher) that guns aren’t the problem, but “family structures” and “the lack of tribalism.” But here’s Quinn, a high school freshman from Long Island, N.Y., as close as anyone here gets to addressing the issue. It’s worth giving her the last word.

“I don’t think that a lot of adults care about our opinions. We go through this every single day. We go through, like, being afraid of going to school because we might get shot, or we might lose a friend, or we might lose a teacher. And a lot of people care about their … rights, I guess, more about, ‘Oh well, I want to have the ability to own a gun, and so I don’t care if you get shot in your class.’ It’s just kind of disheartening. ‘Cause it’s like, oh, you care more about yourself than all of the students in America.”

In a side that was already missing key players such as the Charles brothers, Shea and Pierce, and the suspended Daniel Ballard, youth got the opportunity to shine in the final qualifier, which was a dead rubber after Friday’s defeat by Slovakia.

Given they were at risk of suspension, Trai Hume and Justin Devenny were given the evening off, and the talismanic Conor Bradley was withdrawn at half-time.

Jamie Donley will get the headlines after his first international goal, but there was a strong first start for Jamie McDonnell, while Ruairi McConville was again commanding in defence and teenager Patrick Kelly made his senior debut.

“We obviously had to make a lot of changes to the team. If you look at the players we used tonight, five of the players are under 21, so I think that’s really positive for us,” O’Neill said.

“Luxembourg are a good team. The results in this campaign are probably a little bit harsh on them, and their performances have been good.

“They’ve not been beaten easily in any of the games, so we take a lot from the fact that we beat them 3–1 away and 1–0 at home. A clean sheet was a positive, and a lot of good performances as well.”

LeBron James said his lungs felt like those of a “newborn baby” and his voice was “already gone” after his first Lakers practice Monday as he moved a step closer toward making his season debut after being sidelined by sciatica.

The Lakers listed James as questionable for Tuesday night against the Utah Jazz at Crypto.com Arena, and he sounded as if he was close to playing in his NBA-record 23rd season.

“We got a long time,” said James as he wiped sweat from his face while speaking to reporters. “I mean, we’ve been taking literally one minute, one hour, one step at a time throughout this whole process. So, see how I feel this afternoon, see how I feel tonight. When I wake up in the morning. … We’ll probably have [a] shootaround [Tuesday]. So, just gotta see how the body responds over the next 24 hours-plus.”

James, who will turn 41 next month, was asked how long it took him to become pain-free.

“I wouldn’t take it that far,” James said. “Like I said, if you ever had it, you go about it and you wake up one day and you hope that when you step down from the bed that you don’t feel it. You go to bed at night, and you hope that when you’re in the bed that you don’t feel it. So I’ve been doing pretty good with it as of late. There’s a lot of exercises and a lot of mobility things and a lot of things you can do to help it. So I’m just keeping a positive mindset.”

Lakers coach JJ Redick said it was like having a new player in practice with James on the court.

James agreed, saying, “Definitely feels new, for sure.”

The Lakers have four days off after Tuesday’s game against Utah — including three practice days — before playing the Jazz in Salt Lake City on Sunday.

“One day back, barking out calls and assignments and stuff, getting my voice working again,” said James about his first day at practice. “Be a lot of tea and rest tonight.”

James, the NBA’s all-time leading scorer (42,184 points), admitted he had to mentally adjust to missing the start of a season for the first time in his career.

“It sucks. It definitely sucks,” James said. “Never in my life since I started playing the game of basketball have I ever not started the season — in my life. It’s been a mind test, but I’m built for it and it’s been putting in the work, both mentally and physically trying to get myself ready to rejoin the team.

“It’s just been kind of the same revolving door. Just repetition, repetition, repetition; rehabbing, rehabbing, rehabbing. Just trying to get back where I can feel like myself again. It’s great to be out here today.”

James said this wasn’t the first time in his career that he had sciatica.

“I had it two years ago,” he said. “You had it, then you know what the hell it’s about. If you ain’t never had it and people are making jokes about it, I pray you never get it. It’s not fun.”

James practiced with the Lakers’ G League team, the South Bay Lakers, twice last week, getting in some five-on-five work.

“It was great,” James said. “I got cleared to play some five-on-five for the first time since … hurting my MCL versus Minnesota. And that was the blessing.”

The Lakers have gone 10-4 without James. Luka Doncic and Austin Reaves have led the way as one of the most potent two-way tandems in the early part of the NBA season.

Doncic leads the NBA in scoring (34.4 points per game) and Reaves is ninth (28.3). Doncic is fifth in assists (8.9) and Reaves is seventh (8.2).

James, who is 50 games away from breaking Robert Parish’s all-time record of most games played in NBA history (1,611), knows he’ll have to adjust things when he returns.

“I have to work my way back into it,” James said. “The guys have been going on road trips, shootarounds, flights. So it’s kind of like a kid going to a new school again. Got to learn the guys and everything. So they got some great chemistry. Feeling my way back in and do it organically. It shouldn’t be hard. But it’s definitely a feel-out process.”

Etc.

Redick said all 14 players practiced for the first time this season and that Rui Hachimura (left call soreness) and Marcus Smart (viral illness) will be available to play against the Jazz after sitting out against Milwaukee on Saturday.

As a guitarist, Brian Baker has punk rock and hardcore credentials that are unparalleled. From effectively launching “hardcore” as a genre with Minor Threat when he was a teenager to bringing in the more melodic side of the scene with Dag Nasty and then joining Bad Religion in the mid ’90s, it’s hard to argue that any guitarist has been more influential to their scene than Baker.

“I think I just have a knack for being at the right place at the right time,” Baker says when asked about his contributions to the aforementioned legendary bands. “The key is to respect that legacy and not f— it up. I understand it’s a big deal to a lot of people — much more than it is to me. I’m just the guy who’s playing guitar, but I’ve been fortunate enough to be in bands that have been foundational for a lot of people. I think about that when I get on stage every day. I want to do a great job every time. As long as I’m able to still deliver a performance that I have respect for, hopefully other people will too.”

Standing at a high-top table under a white awning backstage at Riot Fest (Chicago’s massive punk rock festival where most of the acts are either friends of Baker or inspired by one or more of his bands) after nearly a half-century of allegedly just happening upon one iconic band after another, Baker recently released a new project — one that he’s worked on for almost 20 years during his ongoing run with Bad Religion.

A shot of Baker’s guitars on a wood pallet.

(Brian Baker)

Every time the legendary Los Angeles punk band goes on the road, Baker (like most touring musicians) finds himself with entirely too much time to kill before and after their nightly performances. To fill those long hours in strange cities, the 60-year-old D.C. native often turns to the piece of technology that so many use to occupy their free time, his smartphone. But rather than mindlessly scrolling social media or watching YouTube videos, Baker discovered a new passion for photography, constantly using each and every camera lens on the iPhones that have been in his pocket since the original released in the late 2000s.

Until recently, the fruits of Baker’s photography hobby had effectively only existed on his personal Instagram. That was until things started falling into place (“Like many things in my career,” Baker says, consistent in his refusal to take credit for the majority of his successes) for him to release some of his favorite photos as a book, appropriately titled “The Road” (released Nov. 4 via Akashic Books).

A mug shot of Baker’s first band, D.C. hardcore pioneers Minor Threat.

(Brian Baker)

“My wife suggested for a long time that people might want to look at my photographs, and I was like ‘OK, that’s great,’ but never really thought about it,” Baker says, his bandmates and other longtime friends circulating through Chicago’s Douglass Park. “Eventually, a good friend of ours named Jennifer Sakai — who’s a great photographer and has made books in the past — made a mock-up from my Instagram of what a book could look like. I wasn’t looking to make a book, but she basically presented a finished product to me, so I contacted a guy I went to elementary school with, Johnny Temple — who plays [bass] in Girls Against Boys and Soulside and has a publishing company. Much like my more successful rock bands, I walked in after everyone did all the work, and now I’m just going to coattail it.”

With or without the new book, Baker says his time-killing love of photography was born out of the veteran guitarist feeling as though he was forgetting too much and missing some of his key memories from his time on tour. Once he gave up drinking, Baker realized that he needed a way to embrace the 20+ hours each day he wasn’t spending on the stage or getting ready. He started filling his days with long walks and visits to his favorite locales — old churches, interesting buildings, graveyards (“That’s not the goth in me saying this,” Baker jokes) and anywhere else where he entertain himself away from people. And rather than trying to tell the story of the last 18 years through his iPhone camera, he’s happy just documenting those certain moments and “a lot of different ways to spend your time” in “The Road.”

“I used to take a film camera on tour, and I’d shoot a couple rolls and then forget about the camera and leave it at the hotel or something,” Baker says. “I didn’t really do a good job of being a photographer, because I’m not a photographer. I’m just a guy with a cellphone, but having the phone always on me, I just kept taking pictures of stuff for no real reason. It was like ‘Hey, look at this weird thing’ or “Look what we ate tonight” or “That church is f— up” with no intention of it being a collection or anyone really seeing it beyond my friends and family. Eventually, I got an Instagram account and some of the stuff would go there, but I’m not really a social media maven either.”

Bad Religion bassist Jay Bentley playing a bass.

(Brian Baker)

Aside from his photography skills, the release of “The Road” has also allowed Baker to flex his storytelling muscles at the various bookstores, record shops and more that he’s hitting this fall (including early October dates at West Hollywood’s Book Soup and Fullerton’s Programme Skate & Sound). Although it’s a more intimate setting than he’s used to and he’s lacking his signature guitar, Baker jokes that it’s not so different from performing music, because he’s still “on a stage with a microphone and wearing black pants.”

The book tour has also been an opportunity for Baker to connect with fans and reflect on Bad Religion and his prior bands (along with various side projects like supergroup Fake Names and Beach Rats). While he maintains that his involvement in punk history mostly comes down to happenstance, he believes that Bad Religion’s multi-generational staying power stems from always being “uniquely unfashionable” and having intelligent lyrics about topics that are still relevant. Add in the fact that they’re always improving as musicians and just enjoy getting together without looking at the bigger picture, and “not having a plan has proven to be effective” for the stalwarts.

Photo of Baker’s first amp and guitar

(Brian Baker)

But more than anything, Baker’s lack of planning or direction around his photography brings him back to the DIY nature of his early days creating albums that are now viewed as the very foundation of a four-decade-old global hardcore movement.

“Anybody can do this, so it does remind me of making records when I was very young,” Baker says. “We were just making our own records ourselves and selling them in high school, and that was Minor Threat. You think about how significant that is now, 45 years later, it’s the same thing with taking pictures. I just took a bunch of pictures, and now someone’s made a book out of them. It’s something you can do yourself, and I love that about it.”

Welcome back to the Times of Troy newsletter. Hopefully, by the time you read this, you will have finally dried off. Or maybe it’s still pouring rain where you are. But whatever the weather, things are looking pretty sunny for Lincoln Riley and USC right now.

The Trojans are now just two wins away from a trip to the College Football Playoff. But the bigger statement Saturday, while rallying in the rain to beat a team like Iowa, wasn’t so much about this season, but rather the program’s trajectory after next week’s marquee matchup at No. 8 Oregon.

Riley said later that he sensed this shift at halftime, just as the team’s Playoff hopes were hanging by a thread. His Trojans were trailing Iowa, 21-10, once again having succumbed to the same slow start that plagued them the last two games. They’d been outplayed, outworked, outsmarted. The run defense was awful. The offense was stuck in the mud.

Still, as Riley looked out over the locker room, he saw something he hadn’t last season or the season before that.

“You could tell from the look in their eye,” Riley said. “I felt very strongly we were going to come back out and make a run.”

We saw it for ourselves in the second half. USC’s defense shut out Iowa from that point on. It was the third game in a row in which the Trojans allowed three points or fewer after half. The offense came roaring back, scoring 16 unanswered points. The comeback felt almost run-of-the-mill in the moment. As if falling behind was just a part of the plan all along.

That it came in the pouring rain, against a team whose style is so quintessentially Big Ten, made it particularly meaningful.

“If there ever was one, that was a culture win,” Riley said. “Our team’s resilience, their response at halftime … we just keep coming, we have all year.”

Think of how different that feels from this time last season, when it was a foregone conclusion that USC would fold in the fourth quarter. Now, instead, there’s a sense of swagger and confidence that hasn’t been there since before Caleb Williams hurt his hamstring in the 2022 Pac-12 championship game.

Even that 2022 season, as magical as it may have been, was propped up by a Heisman winner at quarterback, one capable of willing his team to wins unlike anyone before him at USC. Riley has said on several occasions that that team, coming off a 4-8 campaign, overachieved relative to where the program actually stood.

Two frustrating seasons followed. There were times, during that stretch, where it seemed USC found something. But nothing felt quite as earned as Saturday’s breakthrough in the second half.

Eric Gentry was there for that first season under Riley. The senior linebacker has been an emotional leader ever since and a good barometer of where things stand in the locker room.

“It’s win or go home right now, and there’s no go home,” Gentry said after the game. “We’ve got to win. I think the whole team is understanding of what the culture is. Just fight to the last second, not feel like something bad is going to happen.

“Coach [Riley] said: ‘Don’t hope for [anything]. Make it happen.’”

Hope won’t be enough to win at Oregon, where it hasn’t won in 14 years. It will have to iron out its issues against the run to have any shot against the Ducks, who boast the best rushing attack in the Big Ten. It will need to start faster on both sides of the ball. And it will have to play up to its potential on the road against a very good team, which it hasn’t done … umm … ever during Riley’s tenure.

That’s not to say this can’t happen. (Which I may have suggested in this space three months ago.) If not for a game-winning field goal in the rain, Oregon would have lost to Iowa last week. But very few people will give USC a shot at Autzen, for reasons that are totally rational and understandable.

College football, though, is rarely ever rational or understandable. If USC is somehow able to upend Oregon, on the road, it would be the biggest win at the school not just since Riley started as coach, but well before that.

No matter what happens, we’ve seen enough this season to say that the team and the program are in a better place than they were a year ago. The question now is whether they’re ready to take that final step.

Makai Lemon

(Eric Thayer/Los Angeles Times)

—Waymond Jordan was listed as “questionable” against Iowa. Could that hint at a return vs. Oregon? When Jordan underwent surgery last month, the hope was that his injury would only keep him out for four to six weeks. We’re basically at five-week mark right now, and by next weekend, will be near the end of that original timeline. Getting Jordan back was for this game was always a priority, and while King Miller has done great in his stead, Jordan was one of the best backs in America when he went down. His potential return would be huge news for USC’s offense. Some of this disparity is a factor of playing better defenses, but since Jordan departed the win over Michigan, USC’s offense has averaged just over six yards per play in its last four games, down from 8.3 yards in the previous six games with him.

—Give Makai Lemon the Biletnikoff already. How much more does anyone need to see to be convinced that Lemon is the best receiver in college football? Saturday was the third time in six weeks that Lemon has had 10 or more catches. And the afternoon started with Iowa double-teaming him. His leaping grab over the middle, as an Iowa defender knocked his legs out from under him, was truly something to behold. “He’s a fearless player,” Riley said. “Always has been.” But his game has gone to another level as a junior. I expect he’ll be a primary focus of Oregon’s secondary next week, which should open up opportunities for the rest of USC’s receiving corps.

Jazzy Davidson controls the ball against DeAvion Wilson of New Mexico State earlier this month.

(Ronald Martinez / Getty Images)

—The USC women need time. Their schedule doesn’t exactly allow for it. Without JuJu Watkins, the Trojans are still trying to figure out their identity. They had no shot keeping up with No. 2 South Carolina on Saturday shooting 7% from deep. Jazzy Davidson is still getting the hang of things, just three games into her true freshman season, while USC’s frontcourt was pretty much non-existent against the Gamecocks. I agree with Lindsay Gottlieb that tests like this one, even when failed, help a team get better. But three of the Trojans’ next eight games come against top-25 teams, including a matchup with No. 1 Connecticut.

—Rodney Rice is better than advertised. When Eric Musselman put his roster together for Year 2 at USC, it wasn’t the plan for Rice to fully take on primary point guard duties. Freshman Alijah Arenas was presumed to be USC’s primary ballhandler. But his injury left Musselman with no choice but to trust Rice. And boy, has he delivered on that trust. Rice turned in a triple-double Friday in a win over Illinois State. But it’s his command of USC’s offense that was especially encouraging. He makes others better, which is going to be critical if the Trojans hope to be a tournament team this season.

—AD Jen Cohen laid out her perspective on non-conference scheduling in her State of Troy address. She never said the words “Notre Dame,” but the message might as well have been addressed to Irish athletic director Pete Bevacqua. Cohen wants to play the game in the first month of the season, as we’ve reported in this newsletter. In her letter to fans, she pointed out that no other Big Ten teams in the last two years have played a non-conference road game after Week 4. “Intentionally making our road to the CFP significantly more difficult than our Big Ten peers does not align with our goal to win championships,” Cohen wrote. That might make some fans bristle, but it’s the same sentiment that Riley has expressed for the last two years.

—Here’s what Cohen said on the Big Ten’s proposed private equity plans. In the same address, Cohen gave her first public comments on the private equity plan that USC and Michigan currently remain against. She didn’t reject the idea of a private equity deal outright, but noted that the school, in any deal, would need to consider USC’s “long-term value and flexibility” versus the benefit of a short-term payout. But the payout itself is part of the problem: USC is slated to get less than not just Michigan and Ohio State, but also Penn State. I still don’t see USC budging on its issue with that disparity, which could amount to something like a $10 million difference, per On3’s reporting. That’s led to some alarm bells about USC going independent. But there’s no reason to think we’re anywhere close to that. Let’s pump the brakes.

—You may have noticed that the Sams made another number change. Punter Sam Johnson and third-string quarterback Sam Huard were both listed as No. 0 this week, after both deceptively wore No. 80 a week ago. Watching USC line up for a punt this week, it dawned on me another brilliant layer to USC’s controversial fake punt ploy. From now on, every team the Trojans play will have to think to themselves, “Is that actually the punter?” Whether you thought USC’s ploy was bush league or not, Riley has only reaped benefits since. Though, maybe it’s no coincidence that Johnson’s first punt this week was a 24-yard shank. Karma? Perhaps.

In case you missed it

No. 8 USC can’t pull off a comeback this time in loss to No. 2 South Carolina

Plaschke: USC keeps its playoff hopes alive with downpour of toughness against Iowa

No. 17 USC shuts out No. 21 Iowa in second half of thrilling, rain-soaked comeback

Rodney Rice makes history with a triple-double in USC win over Illinois State

Lincoln Riley urges USC players to embrace pressure during high-stakes game against Iowa

‘She could do everything.’ Jazzy Davidson’s closest friends know she can be elite at USC

Can USC’s defense find its stride during a crucial, final stretch?

What I’m watching this week

Cynthia Erivo is Elphaba and Ariana Grande is Glinda in “Wicked: For Good.”

(Giles Keyte / Universal Pictures)

After waiting patiently for a year since the first installment, “Wicked: For Good” hits theaters this weekend, and I am counting down the days.

The first movie was tremendous, and the second has maybe the best song from the original musical (the name of which just happens to be in the title of the film). Early reviews suggest that Ariana Grande is given a lot more to do dramatically in this film, and I, for one, am here for it after her stellar performance the first time around.

With the early kickoff in Eugene, I may have no choice but to go see it that night — and thus, incur the wrath of my wife, who’s also waiting to see it, later.

Until next time …

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

CHARLOTTE, N.C. — Federal officials confirmed that a surge of immigration enforcement in North Carolina’s largest city had begun as agents were seen making arrests in multiple locations Saturday.

“We are surging DHS law enforcement to Charlotte to ensure Americans are safe and public safety threats are removed,” Homeland Security spokesperson Tricia McLaughlin said in a statement.

Local officials including Charlotte Mayor Vi Lyles criticized such actions, saying in a statement they “are causing unnecessary fear and uncertainty.”

“We want people in Charlotte and Mecklenburg County to know we stand with all residents who simply want to go about their lives,” said the statement, which was also signed by County Commissioner Mark Jerrell and Stephanie Sneed of the Charlotte-Mecklenburg education board.

The federal government hadn’t previously announced the push until Mecklenburg County Sheriff Garry McFadden confirmed this week that two federal officials had told him that Customs and Border Protection agents would be arriving soon.

Paola Garcia, a spokesperson with Camino, a bilingual nonprofit serving families in Charlotte, said she and her colleagues have observed an increase in Border Patrol and Immigration and Customs Enforcement agents pulling people over since Friday.

“Basically what we’re seeing is that there have been lots of people being pulled over,” Garcia said. “I even saw a few people being pulled over on the way to work yesterday, and then just from community members seeing an increase in ICE and Border Patrol agents in the city of Charlotte.”

Willy Aceituno, a Honduran-born U.S. citizen, was on his way to work when he saw Border Patrol agents chasing people.

“I saw a lot of Latinos running. I wondered why they were running. The thing is, there were a lot of Border Patrol agents chasing them,” he said.

Aceituno, a 46-year-old Charlotte resident, said he himself was stopped — twice — by Border Patrol agents. On the second encounter, he said, they forced him out of his vehicle after breaking the car window and threw him to the ground.

“I told them, ’I’m an American citizen,’ ” he told the Associated Press. “They wanted to know where I was born, or they didn’t believe I was an American citizen.”

After being forcibly taken into a Border Patrol vehicle, Aceituno said, he was allowed to go free after showing documents that proved his citizenship. He said he had to walk back some distance to his car. He later filed a police report over the broken glass.

In east Charlotte, two workers were hanging Christmas lights in Rheba Hamilton’s front yard Saturday morning when two Customs and Border Patrol agents walked up. One agent tried to speak to the workers in Spanish, she said. They didn’t respond, and the agents left in a gray minivan without making arrests.

“This is real disconcerting, but the main thing is we’ve got two human beings in my yard trying to make a living. They’ve broken no laws, and that’s what concerns me,” Hamilton, who recorded the encounter on her cellphone, told the Associated Press.

“It’s an abuse of all of our laws. It is unlike anything I have ever imagined I would see in my lifetime,” the 73-year-old said.

Amid reports that Charlotte could be the next city facing an immigration crackdown, she had suggested the work be postponed, but the contractor decided to go ahead.

“Half an hour later he’s in our yard, he’s working, and Border Patrol rolls up,” she said. “They’re here because they were looking for easy pickings. There was nobody here with TV cameras, nobody here protesting, there’s just two guys working in a yard and an old white lady with white hair sitting on her porch drinking her coffee.”

Local organizations sought to prepare for the push, trying to inform immigrants of their rights and considering peaceful protests. JD Mazuera Arias, who won election to the Charlotte City Council in September, was one of about a dozen people standing watch Saturday outside a Latin American bakery in his district in east Charlotte.

A nearby bakery was closed amid word of the possible immigration crackdown, he said. The government action was hurting people’s livelihoods and the city’s economy, he said.

“This is Customs and Border Patrol. We are not a border city, nor are we a border state. So why are they here?” he asked. “This is a gross violation of constitutional rights for not only immigrants, but for U.S. citizens.”

The Trump administration has defended its federal enforcement operations in Los Angeles, Chicago and other cities as necessary for fighting crime and enforcing immigration laws.

North Carolina Gov. Josh Stein, a Democrat in a state with a Republican-majority Legislature, said Friday that the “vast majority” of those detained in these operations have no criminal convictions, and some are American citizens.

He urged people to record any “inappropriate behavior” they see and notify local law enforcement.

The Charlotte-Mecklenburg Police Department had emphasized ahead of time that it isn’t involved in federal immigration enforcement.

Verduzco writes for the Associated Press. AP writers Maryclaire Dale in Chicago and Brian Witte in Annapolis, Md., contributed to this report.

Kai Trump, a high school senior playing in an LPGA Tour event for reasons beyond her ability to hit a golf ball, went from “definitely really nervous” in the first round Thursday to “very calm and peaceful” Friday in the second.

All in all, an impressive improvement.

Still, Trump, 18, didn’t make the cut, not after finishing last among 108 players with a two-round total of 18-over par, 27 shots behind leader Grace Kim and 17 away from the projected cut line. The granddaughter of President Trump improved eight strokes to a 75 in the second round of the tournament hosted by Hall of Famer Annika Sorenstam at Pelican Golf Club in Belleair, Fla.

How dramatic was the improvement? Trump had nine bogeys, two doubles and one birdie Thursday. A day later she was briefly under par when she birdied the par-three third hole, but she bogeyed the fourth and triple-bogeyed the par-four fifth hole.

Trump rebounded to birdie three of her next six holes. How relaxed was she? She literally laughed off her triple bogey.

“Things are going to happen,” she said. “Once it happens, you can’t go back in time and fix it. The best thing I could do is move on. Like, I told my caddie, Allan [Kournikova], kind of just started laughing, ‘it is what it is.’

“We got that out of the way, so let’s just move on. It was pretty easy to move on after that.”

Especially on the par-three 12th where she nearly made the first hole-in-one of her life.

“I hit like a tight little draw into it,” Trump said. “Tried not to get too high because of the wind. Yeah, it was a great shot.”

What would she tell her grandfather about the round? “That I hit a great shot on 12 two days in a row.”

“I did everything I could possibly have done for this tournament, so I think if you prepare right, the nerves can … they’re always going to be there, right?,” she said. “They can be a little softened. So I would just say that.”

Critics among and beyond her nearly 9 million social media followers were relentless in noting her obvious privilege for securing a sponsor invitation. Dan Doyle Jr., owner of Pelican Golf Club, cheerfully acknowledged that Trump’s inclusion had little to do with ability and a lot to do with public relations.

“The idea of the exemption, when you go into the history of exemptions, is to bring attention to an event,” Doyle told reporters this week. “You got to see her live, she’s lovely to speak to.

“And she’s brought a lot of viewers through Instagram, and things like that, who normally don’t watch women’s golf. That was the hope. And we’re seeing that now.”

Trump attends the Benjamin School in Palm Beach and will attend the University of Miami next year. She is ranked No. 461 by the American Junior Golf Assn.

Stepping up to the LPGA, complete with a deep gallery of onlookers and a phalanx of Secret Service agents surrounding her, could have been daunting. Trump, though, said the experience was “pretty cool.”

It was an eventful week for Trump. She played nine holes of a pro-am round Monday with tournament host Sorenstam, who empathized with the difficulty of handling an intense swirl of criticism and support.

“I just don’t know how she does it, honestly,” Sorenstam said. “To be 18 years old and hear all the comments, she must be super tough on the inside. I’m sure we can all relate what it’s like to get criticism here and there, but she gets it a thousand times.”

Sorenstam recalled her own exemption for the Bank of America Colonial in 2003 when she became the first woman to play in a men’s PGA Tour event in 58 years. She made a 14-foot putt at the 18th green to give her a 36-hole total of five-over 145. She hurled her golf ball into the grandstand, wiped away tears and was hugged by her husband, David Esch.

“That was, at the time, maybe a little bit of a controversial invite,” Sorenstam said. “In the end, I certainly appreciated it. It just brings attention to the tournament, to the sport and to women’s sports, which I think is what we want.”

It’s more than two hours before Sherman Oaks Notre Dame’s football team plays in a Southern Section playoff game, and there’s one big teenager lying on his back at the 50-yard line with headphones on. Samson Fatu, 6 feet 5 and 305 pounds, is using the all-weather turf as his “Sleep Number bed.”

“Here I Am,” a song by J Boog, is playing on his headphones. This is the way Fatu focuses before a game.

He’s a starting offensive tackle for Notre Dame, which hosts Chino Hills in a Division 3 playoff game on Friday. His father, Rikishi, is in the WWE Hall of Fame. Three brothers are pro wrestlers and don’t be surprised if Samson one day becomes the latest Samoan family member to start throwing people down. He’s that big and strong and anyone named Samson has star power.

He’s finally healthy after getting injured last season. Get your photos of the big kid with lots of hair. One day you might be watching him on TV in football or wrestling.

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

Destin Conrad didn’t expect to release a jazz project so early in his career — let alone just a few months after dropping his debut album, “Love on Digital.”

The 25-year-old singer-songwriter, who first made millions of people laugh on Vine when he was a preteen, entered the music industry as a fresh-faced R&B artist, following in the footsteps of the artists he grew up listening to such as Brandy, Musiq Soulchild and Usher. His first official EP “Colorway” (2021) and the slew of bite-size projects that followed were melodic and honest meditations on love, lust, queer identity and simply having a good time.

But during the summer, Conrad found himself gravitating to jazz, the genre he was introduced to in high school when he was enrolled in jazz choir. He was inspired by all of the greats and contemporary work by artists like Vanisha Gould, and decided that it was time for a slight departure in his own sound.

“I feel like it’s always kind of been in me,” Conrad says over Zoom during an off day from his second headlining tour in support of “Love on Digital.” “It’s always been a tool that I never really got to exercise that I knew I really wanted to.”

After a two-week whirlwind in L.A. filled with studio sessions with some of his bucket list collaborators like Gould, trumpeter Keyon Harrold and beloved L.A. saxophonist Terrace Martin, Conrad unveiled “Whimsy,” an 11-track alternative jazz detour. Rich with songwriting tinged with sensual winks, live instrumentation (piano, horn section and drums) and a spoken word interlude by Bay Davis (that is reminiscent of Meshell Ndegeocello), “Whimsy” is a masterclass in following your own intuition and creating freely — a testament to his Cancer sun.

“I think it’s some of my best work actually,” Conrad says, adding that it was the most fun to make, which is evident on tracks like “Whip,” a cheeky double entendre about trading places in the bedroom and “A Lonely Detective,” which explores the life of a man living a double life. “Things that I’ve spent more time on, I don’t feel as connected to, but I really love “Whimsy.”

Conrad, who performs at the Wiltern on Nov. 14, phoned in the day before Grammy nominations were announced to talk about why he was nervous to release “Whimsy,” why he thinks jazz deserves more attention and what he’s still learning about being an artist in the digital age. Little did he know that by the next morning, he’d receive his first solo Grammy nod for progressive R&B album.

Now that your debut album, “Love on Digital,” has been in the world for a few months and you’ve experienced fans singing it back to you at shows, how does it feel to look back on the journey of releasing it?

It’s been amazing. I think it’s made me look forward to putting more music out. I feel like this tour taught me a lot. While making this album, I had touring in the back of my mind, so I’m really excited that it’s being received well. Also, it’s kind of wild that I put out another project a [few] months later but I’m glad I have such cool fans that receive me in a good way.

Speaking of that, you turned around and released “Whimsy” in August. Can you talk about how that all came together and how your single “Wash U Away” inspired it?

I made the majority of it in a two-week span. “Wash U Away” and “Whip” I had, but they weren’t jazz songs. So I had “Wash U Away” in the tuck for years — I think I made it in like 2021 — but we had it replayed by actual musicians because before, it was just a very bare beat. Then the rest of it I made within those two weeks. I also had “The W” with James Fauntleroy and Joyce Wrice already, but same thing — it wasn’t a jazz song. I knew I wanted to make a jazz album. I didn’t know I was going to do it so soon after my debut album, but I was kind of on a wild one and was like “Why not?” But I’m really glad I did it because I feel like my fans really like that album and I really like that album as well. I think it’s some of my best work actually. Things that I spent more time on, I don’t feel as connected to but it’s something that I’m really proud of.

Take me back to those two weeks in L.A. when you starting working on this project. Was it summer time?

It was summertime, yeah. I live in Brooklyn now, so I was like “I’m going to fly to L.A. and stay there for two weeks to knock this project out.” I told my managers, “Get me in with everybody. Here’s my list of people I want to work with. Let’s figure it out.” We flew out Vanisha Gould, who’s one of my favorite jazz musicians. I was so ecstatic that she was down. She’s such a jazz head. She was kind of like “What the f— am I doing? Are they going to kidnap me? I’m just flying out here to work with this random ass R&B singer.” But I’m so glad she came and we low-key became besties. Same with Terrace Martin. I’ve been a fan forever. He’s the G.O.A.T. James [Fauntleroy]. All these people who I was very adamant about working with. And eventually I want to do another jazz [project]. Maybe a “Whimsy 2” and just keep that world alive because I feel like jazz is such a special genre that gets overlooked and it’s something that I really feel passionate about. Especially because I was in jazz choir in high school and it kind of taught me more about soul music and the origins and how there’s so many synchronicities within other genres like gospel, and how R&B and all of them just tie into each other. I think it’s just really cool.

What was going on in your world when you started making “Whimsy?” Were you listening to a lot of jazz at the time?

Yeah, I was listening to a lot of jazz music. I was listening to a lot of Vanisha Gould and I was like, “I need to do this jazz album.” I thought I was just going to start it and be like “I’m not done.” But I was like “No, I’m done. This is it. This is what I have to say.” But yeah, I always listen to jazz. As I said, I was in jazz choir in high school. My jazz instructor Mr. O put me onto hella jazz. He showed me Frank Sinatra and all these jazz standards. I have videos that I’ll eventually show the world of me performing at my jazz Christmas show. I feel like it’s always been within me. It’s always been a tool that I never really got to exercise but I knew I really wanted to. But like I said, I didn’t know I’d make it in two weeks and that it’d be such a quick thing. It was so fun to make. It’s probably one of the most fun projects I’ve made.

You can definitely hear how much fun you were having on tracks like “Boredom” and “Lonely Detective.” I feel like jazz was once viewed as a genre that older people listened to, but that’s been changing within the last few years. It feels like it’s becoming more popular with younger audiences. What do you think about this?

Personally, I don’t think it’s becoming more popular. I would love to be part of some sort of push of making it more of a thing and I feel like a lot of my fans are younger. I’d like to say in my head that I’m helping push the genre forward.

It’s just not super prominent. There’s not a lot of new jazz artists. If you look at the jazz charts, a lot of what’s still charting is like Frank Sinatra [and] Miles Davis. Laufey is one of the newer faces of jazz that I feel like is pushing it aside from like Robert Glasper. But I don’t know. I feel like a lot of the jazz even that I listen to is the older stuff. There’s a very select few of newer jazz artists that I’m like “Yes.” Like Vanisha Gould, a perfect example. I’m obsessed with her. I think she’s one of the most talented musicians that I know, period.

How did you feel about dropping “Whimsy”? Were you nervous about how people would receive it?

Umm I thought about it [but] what I really thought about were the jazz heads. I thought the real, super crazy into jazz people were gonna be like, “This s— ain’t f— jazz” because I do consider it an alternative jazz album. I remember talking to Terrace [Martin] about that because he’s a jazz head and he’s also older than me and he’s been in it for longer. I was telling him [that] I feel like people are going to have s— to say about it because it’s not traditional and I’m not a trained musician. I don’t know how to read music. I just go with my [gut], and he was like, “That’s why it’s so fire. That’s what makes people feel it.” He was like, “I can tell that you’re young and when I listen to this, I hear a 25-year-old,” and I’m like, “Tight.”

You’ve essentially grown up online and in the public eye. How has that evolution shaped the way you see yourself as an artist, and what have you learned about navigating visibility over the years?”

I feel like it’s an advantage. I always talk about that especially with my artist homies. I was an internet baby so I kind of have just a slight advantage because I knew really early how it worked. I feel like I’m still learning how to promote my music because I know how to get on the internet and be an idiot all day. I can do that literally in my sleep, but being an idiot who knows how to promote his music is different. [laughs] So yeah, I’m still learning that. I used to think it harmed me because I was so scared that people wouldn’t take my music seriously. But no, I use it to my advantage for sure.

We’re at a time in music where it’s common for artists to be open and proud about their identity and sexuality without feeling like they need to use coded language. I think of artists like Frank Ocean, Steve Lacy and Durand Bernarr. Can you talk about why talking about your queerness is important to you?

I feel like I’m a pretty honest person in general. I try not to lie and I feel like all I can do really is just keep it a bean. Most of the time, I try to write about my personal experiences and I deal with men, so that’s just my truth [laughs]. I do also write from other perspectives like things that my friends or my homegirls tell me. I don’t always write from my point of view, but when I do, it’s about a man and that’s all I can really do.

Welcome back to the Times of Troy newsletter, where we’ve spent the last 48 hours thinking far too much about a fake punt from the second quarter of Friday’s 38-17 win over Northwestern. The play was diabolical. The fallout since has made it all the more fascinating, transforming a random trick play into a sort of college football Rorschach test.

So let me take you back to Friday night, with USC facing fourth and six near midfield. Lincoln Riley sent out his punt team. Nothing seemed out of the ordinary.

Every soul in that stadium not on USC’s sideline assumed the player lined up to punt, wearing the USC punter’s usual No. 80 uniform, was Sam Johnson … the punter. In part because USC is one of the few schools still without names on the back of their jerseys. But then the purported punter cocked back to throw. Right away, as he completed the pass in the face of pressure, I clocked that this No. 80 was left-handed. And I could’ve sworn Johnson punts with his right foot.

So I consulted the game-day roster. And wouldn’t you know it — listed next to Johnson with the same No. 80 was Sam Huard, the Trojans’ third-string quarterback. Later, Riley confirmed Huard had been listed as No. 80 on the official roster for three weeks.

“You guys gotta pay attention,” he said. “I’m glad none of y’all put it on Twitter.”

He’s right. None of us in the press box noticed that one number on the roster amid the 100-plus printed in tiny type on our game-day card had changed. But changing a third-string quarterback’s number weeks ahead of time to pull off a first-half fake punt against a middling Northwestern team hadn’t been on my bingo card.

USC also didn’t put the change on its online roster. Nor did USC’s sports information department update the weekly game notes with Huard’s new number. Both of which probably would’ve made the stunt feel a little less bush league.

“It hadn’t shown up anywhere else,” Northwestern coach David Braun said of the number change after, “but they did legally submit that. It was on the game-day roster that was here present at the Coliseum. The lesson I’ve learned from that for the rest of my career is that we will go over that with a fine-tooth comb, and look for any of those potential issues.”

But while his fake punt probably didn’t make Riley any new friends in the conference, I don’t believe it broke any rules either.

The Big Ten and I don’t have the same interpretation. Though, the statement the conference issued Sunday morning was especially vague.

The Big Ten pointed to NCAA Football Playing Rule 9, Section 2, Article 2, labeled “Unfair Tactics,” which states that “two players playing the same position may not wear the same number during the game.”

It then notes that “if a foul was identified when [Johnson] entered the game as a punter, a Team Unsportsmanlike Conduct penalty would have been assessed resulting in a 15-yard penalty from the previous spot.”

So if the penalty had been called, it would have been on the ensuing drive, when Johnson would’ve punted from USC’s 41-yard line, as opposed to Northwestern’s 44. But that’s all the statement really says.

You can feel how badly the Big Ten wants to chastise USC for what it probably feels is a play unbecoming of the conference. Most people, I assume, feel that way. But what the conference very notably doesn’t say here is that a foul was committed. Or that a penalty should have been called.

That’s because, in this case, I’m sure Riley could argue about semantics until he turns blue in the face.

The number change was technically within the rules. And technically, there’s no rule that a quarterback can’t line up 13 yards behind the center. We’re only assuming, in this case, that the player is a punter. Players line up in different positions all the time.

College football coaches have been manipulating rules like this for the better part of a century. Remember last season when Oregon coach Dan Lanning purposefully put 12 men on the field to drain the clock on Ohio State’s comeback attempt?

That felt a little bush league at the time too. But you can’t tell me that Lanning’s and Riley’s ploys weren’t also kind of brilliant.

And really, if you think about it, that kind of captures Riley in a nutshell. Intermittently brilliant. Consistently brash. And definitely not here to make friends.

What’s happening with Notre Dame?

Since USC made an amended offer to Notre Dame in August to maintain the series for another two seasons, there hasn’t been much obvious movement in negotiations. It’s not hard to figure out why. USC has no interest in budging on its current offer, and Notre Dame has no incentive to cave to its rival’s demands … yet.

However, the Irish did recently make a notable change to their schedule that creates some flexibility in 2026. Notre Dame confirmed last week that its road game against Florida State was struck from next season’s schedule, which leaves a pretty gaping vacancy that USC would fit into quite nicely.

I still believe the rivals will come to an agreement. Right now there’s no official deadline for scheduling the game. But it’s safe to assume that USC would like to know its nonconference slate before rolling out its season-ticket plans for next season. That’s in January, less than two months away.

—Could the Big Ten really force through its $2-billion private equity deal without USC and Michigan’s support? Yahoo’s Ross Dellenger reported Sunday that the other 16 Big Ten schools are discussing a plan to move forward without USC and Michigan, both of whom made clear they’d vote against the proposed plan to sell a 10% stake of the conference to UC Investments. This, to put it nicely, is a pretty bold gambit from commissioner Tony Petitti. To put it less nicely, I find it patently insane. When the conversation started around a potential private equity deal, the Big Ten told its members it wanted consensus. And now, after that didn’t work out his way, Petitti is just going to move the goalposts? Big Ten sources who spoke to Dellenger had the gall to suggest that USC and Michigan could “risk their future within the conference beyond 2036.” L-O-L. As if the Big Ten’s media or corporate partners — or the private equity fund investing — would be cool with dropping two of the conference’s three biggest brands. USC’s stance hasn’t changed. And it shouldn’t, no matter what sort of toothless plan the conference concocts from here.

—USC’s defense is starting to make the right adjustments. Which was D’Anton Lynn’s strength last season. In one of my first newsletters last season, I wrote about how Lynn’s superpower as an inexperienced defensive coordinator was his ability to make adjustments. That wasn’t happening early this season, as USC’s defense looked lost in the second half in losses to Notre Dame and Illinois. But Lynn seems to have found his stride again. In each of the last two weeks, USC’s defense has given up just a field goal in the second half. Northwestern managed only 103 second-half yards, while Nebraska had 106. The ability to clamp down after halftime could come in handy over the next few weeks. We’ll see if it sticks.

—Riley shut down rumblings of him considering other jobs. The report in question was less an actual report than a juicy bit dropped in with no explanation at the end of a podcast. But when asked about it Friday, Riley suggested it had no merit. “You guys know what I sacrificed to come here,” he said. “I’m where I need to be.” Reassurances from coaches are historically unreliable. But let’s think about this logically: Riley hasn’t really done much at USC to warrant Louisiana State or Florida making him an even larger offer with a friendlier deal than the one he has. This feels more to me like the work of an agent seeking to get his client more money. Riley just happens to have recently gotten new representation with Wasserman.

—The Southeastern Conference is dominating the Big Ten when it comes to TV ratings. According to new data from Nielsen, eight of the 10 most-watched teams in college football this season are from the SEC, while Ohio State is the only Big Ten school on the list. That might seem surprising on its face. But the conference hasn’t had many big- games, and its piecemeal media setup, with games on different networks, doesn’t help. But ultimately, TV ratings don’t matter much. The Big Ten media rights deal pays out more money to its member schools, and that’s all that really matters.

—JuJu Watkins is now part-owner of a women’s soccer franchise. Watkins announced last week that she would join former USC quarterback Caleb Williams as an investor in the Boston Legacy Football Club. She’s the first college athlete to invest in a women’s pro franchise, another accomplishment you can add to her already stellar portfolio.

Olympic sports spotlight

USC announced late last week that Galen Center will be sold out for Sunday’s much-anticipated match against No. 1 Nebraska, which means more than 10,000 packing USC’s arena for a women’s volleyball game.

That says a lot about how far women’s college volleyball has come in recent years, and USC is on a hot streak, having won eight matches in a row. The Cornhuskers are the best team in the sport and haven’t lost all season. Women’s college volleyball is exploding in popularity, and Sunday should be one of the most anticipated matches of the Big Ten calendar.

In case you missed it

Jazzy Davidson powers No. 18 USC to thrilling upset of No. 9 North Carolina State

With one big hit, Jayden Maiava gets on track and delivers No. 19 USC past Northwestern

Old soul Makai Lemon never takes his eye off the prize — helping USC reach the CFP

Keith Browner, former USC linebacker and member of a large NFL family, dies at 63

USC walk-on Kaylon Miller gets his moment at right guard: ‘You just have to be ready’

Without JuJu Watkins, USC basketball holds on to hopes of NCAA title contention

What I’m watching this week

Rachel Sennott and Odessa A’zion in HBO’s “I Love LA.”

(Kenny Laubbacher / HBO)

“I Love LA” might seem like standard HBO comedy fare on the surface. Because it mostly is. Rachel Sennott, who also wrote the show, plays Maia, a twentysomething reconnecting with friends in Los Angeles and finding her way after moving from New York.

A good group-hang comedy is great feel-good TV, and this show has some potential in that department. Plus, it’s willing to poke fun at L.A. and its Gen Z influencer culture, which I can appreciate. I’m not totally sold just yet. But I’m willing to keep watching.

Until next time …

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

NBC’s new primetime comedy “Stumble” is a love letter to cheer. Or should that be “Cheer,” the hit Netflix docuseries that catapulted a sport with high-flying stunts, squad drama, bedazzled uniforms and lots of makeup, into the cultural zeitgeist?

For “Stumble” showrunners Liz and Jeff Astrof, it’s both. Like much of America, the siblings say they became obsessed with the champion cheerleaders of Navarro College and their no-nonsense coach Monica Aldama, whose exploits were captured in Greg Whiteley’s two-season series that premiered in 2020. The show broke the notion that cheerleading was simply made up of pony-tailed girls waving pompoms on the sidelines, showcasing the athleticism of the sport, its competitiveness and its diversity — the cheerleaders, male and female, came from varying social, economic and racial backgrounds.

Jeff watched the documentary at the insistence of his sister and was quickly hooked.

“I said, ‘You know what we should do? We should do a show where Monica goes down to the worst college in America. We’ll call it ‘Stumble,’” he recalls during a recent video call with Liz.

The idea tumbled in their heads for a time, but it took a while for it to lift off the ground. Both siblings were busy working on different TV projects — Liz on her Fox sitcom “Pivoting,” and Jeff on his Starz horror comedy “Shining Vale” — when the 2023 Hollywood strikes hit. But the timing allowed them to think about “Stumble” again.

“That’s when I really dug in,” Liz says.

“And we got to call Monica,” Jeff adds. “She’s our best friend. We even put that in the pitch, that she’s our best friend now.”

When I relay the sentiment to Aldama over a separate video call from New York, where the show is being filmed, she smiles and laughs. “Oh my goodness, they are the absolute best,” she says in her soft Texan twang.

The former Navarro coach serves as an executive producer on “Stumble” and also as its cheer consultant, bringing her decades of experience as one of America’s top collegiate cheer coaches. And while the show, premiering Friday and streaming next day on Peacock, takes some elements from the docuseries — it’s a mockumentary — it’s important to note that “Stumble” isn’t a one-to-one adaptation of “Cheer.”

The series follows Courteney Potter, played by Jenn Lyon (“Justified,” “Dead Boy Detectives”), a champion cheer coach at the fictional Sammy Davis Sr. Junior College, who is fired after a problematic video surfaces. Tammy Istiny, played by Kristin Chenoweth, takes over as interim coach — though she’s not as heartbroken about Courteney’s departure as she initially lets on. Courteney isn’t deterred, however, and she finds another coaching job at Headltston State Junior College in Oklahoma (the team mascot is a candy button, the town’s main industry), where she works to build a squad from the ground up. The character is very loosely based on Aldama, sporting the same flowy blouses, skinny jeans, heeled boots and all-business attitude.

Courteney Potter, center, played by Jenn Lyon, is very loosely based on Monica Aldama.

(Matt Miller / NBC)

“She is incredible,” said Aldama about Lyon. “I can tell she has put so much time into studying me [and] cheerleading coaches. She asks very thoughtful questions when it comes to how to deliver a line, or if the wording is correct. We never actually sat down and spent a long time with questions. And it’s fascinating to me because it’s body language, it’s delivery, it’s everything — she really did a great job.”

Meanwhile, the squad is composed of misfits, hotheads, third-year “seniors” and even a narcoleptic tumbler with a solid split. Some of the characters feel familiar — they’re an amalgamation of personalities from “Cheer.” Krystal (Anissa Borrego) might remind you of Gabi Butler, the cheer influencer, and Dimarcus (Jarrett Austin Brown) has a fiery spirit similar to La’Darius Marshall, whose combative relationship with Aldama came to a head in Season 2 of “Cheer.” But otherwise, the similarities are fleeting.

For Aldama, working on the series marks yet another shift in her life and career, much of it spent in Corsicana, Texas, where Navarro is located and where she still calls home. After serving as head cheer coach for nearly three decades, she retired in 2023.

“You know, it’s scary to have change,” she said. “What I have learned about being in the spotlight is that there are going to be a lot of things said about you. … I view things a lot differently now.”

Her retirement came after a series of events: First, Jerry Harris, one of the breakout stars of “Cheer,” was charged with sex crimes involving minors in 2020. Season 2 showed how the team grappled with his arrest; Harris pleaded guilty in 2022 and is currently serving a 12-year sentence. Then in early 2023, a civil lawsuit was filed by a former Navarro cheerleader, who accused Aldama of attempting to keep a sexual assault claim quiet. Aldama steadfastly denied the accusations, and her name was later dropped from the suit.

The Astrofs’ goal was to lean into the good things that “Cheer” showcased, emphasizing how much “Stumble” is a loose adaptation. “There’s darkness in everything, and we don’t go there,” said Jeff in reference to Harris. “For me and for Liz, the music is fun, the underdog nature of these kids and … seeing these actors do cheer and some of them … hadn’t even been in TV shows before. It’s like that excitement — it’s contagious. That’s what we’re looking at.”

Ultimately, the events of the past haven’t deterred Aldama from trying new pursuits. After all, her path was already curving toward Hollywood. After “Cheer” became a hit in 2020, she was cast in Season 29 of ABC’s “Dancing With the Stars,” giving her a taste of the limelight outside of her world. She also released a memoir in 2022. Now, she’s trying her hand at scripted television with “Stumble.”

“It’s obviously very different because I am learning a lot. I ask a lot of questions,” she said. “They [Liz and Jeff] asked me many times, ‘How deep do you want to go?’ I want to be in every meeting. I want to learn. I want to hear every conversation … but I do a lot more listening than anything at this moment.”

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1. Showrunners Jeff and Liz Astrof on the set of “Stumble.” (Matt Miller / NBC) 2. The cast on set with Monica Aldama, who is the show’s cheer consultant. (Danielle Mathias / NBC) 3. Aldama on set. (Matt Miller / NBC)

The Astrofs have been in the industry as writers and producers for more than two decades, each creating their own projects for television. Though they’ve worked together before — Liz on Jeff’s series “Trial & Error” and on Season 2 of “Shining Vale” — it’s the first time the pair have joined forces as showrunners.

Working on “Stumble” and coming up with a pilot together was easy for the siblings (Jeff: “We wrote the whole thing on Post-it notes”). It’s evident they are close, often completing each other’s sentences in the course of the interview. And they agreed that having Aldama was essential to making the series, particularly when it came to depicting the cheer routines and getting the nomenclature right.

“We needed to have authenticity to cheer, because we didn’t know anything about [the] cheer world,” Jeff said.

“We had to have Monica,” Liz said. “I really just wanted to meet her. I wanted her to be involved in every single thing, just so I could see her every day.”

Her expertise was important to them as was getting the world of cheerleading right. To help with that, Aldama enlisted Dahlston Delgado, who was featured on “Cheer,” to work as a choreographer on the show. Together they recruited extras with cheer experience via social media and through their many contacts in the cheer world. The cast did many of the routines, but stunt doubles were used in some instances, and real cheerleaders were used as part of the Buttons, Headltston’s squad.

Aldama and Delgado were given freedom to decide what routines would look like, while the Astrofs would focus on writing the dialogue for the show. “In a script, we’ll just write, ‘The team does an incredible cheer,’” Jeff says. “We’ll be in a production meeting, and Monica and Dahlston will be like, can you explain what you mean by ‘incredible cheer’?”

They ran with the limited guidance, however, putting together routines quickly, rehearsing in a couple of hours and taping them. “I think everybody not in our world just could not believe how quickly they learned a routine, with most of them not knowing each other and not ever working together,” Aldama said of the cheer squad. “They were just talented.”

“She’s magical,” Liz said.

“Monica is, even from the pilot, she’s so good at what she does, I would let her do toe surgery on me,” Jeff said.

Kristin Chenoweth as Tammy Istiny, left, and Monica Aldama as herself in the “Stumble” pilot.

(Matt Miller / NBC)

Aldama even makes a cameo in the first episode, comforting Chenoweth’s Tammy when the Sammy Davis squad learns Courteney has been let go. While she may be used to being in front of the camera nowadays, Aldama considers what more she’d like to do behind the scenes.

“I think everybody has their strengths,” she said. “And writing … I like where I’m at right now, where I can read the script and say, ‘Well, maybe this,’ and add a little bit to it. I would definitely be open to producing other shows in the future.”

For the showrunners, the compressed timeline between when the show was picked up by NBC in July to production to air meant that they had to make some compromises, including where the show was filmed. The pilot was shot in Georgia, but they wanted to shoot the series in L.A., where the writers’ room is based, but it eventually landed in New York because of the financial incentives and it’s where much of the cast is located. (The Astrofs wouldn’t mind if it ended up in L.A. at some point.)

Nonetheless, they’re optimistic about how the show will be received and having Aldama on board to add credibility from a cheer perspective was the ultimate goal for them because they love the sport.

“We just want to be funny with heart and, like, just people root for it,” Jeff said.

Just like a cheerleader would.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MMJ during the “Z” era.

(Sam Erickson)

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

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

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

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

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

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

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

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

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

1. Who’s going to play point guard?

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

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

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

2. How much better is USC’s frontcourt?

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

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

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

3. Can USC score enough?

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

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

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

What about the women’s team?

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

(Young Kwak / Associated Press)

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

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

1. How can USC fill the void without Watkins?

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

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

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

2. What’s going on in the frontcourt?

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

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

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

3. How good will Davidson be right away?

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

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

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

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

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

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

Olympic sports spotlight

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

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

In case you missed it

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

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

What I’m watching this week

IT: Welcome to Derry

(HBO)

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

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

Until next time …

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

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

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

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

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

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

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

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

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

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

(Brooke Palmer / HBO)

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

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

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

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

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

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

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

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

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

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

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

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

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

Andy Muschietti: Alarming.

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

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

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

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

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

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

(HBO)

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

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

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

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

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

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

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

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

Barbara Muschietti: Fascism. Guns.

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

Barbara Muschietti: And love and respect.