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When Jared Snow goes to the hospital, he’s usually in serious pain, which he hopes will be assuaged soon. But living with sickle cell disease as a Black man in America often tests this hope.

The Compton born stand-up comedian and actor has been living with sickle cell disease since he was a child. Hospital visits and pain have always been part of his life. But now he’s using his latest project, a documentary film called “You Look Fine,” to show the world how he copes as an entertainer with living with sickle cell disease in an industry steeped in image and perception.

Alongside actor-comedian Marlon Wayans, Snow wanted to make the film to raise awareness about the realities of sickle cell disease and how it impacts Black communities.

In the United States, sickle cell disease affects about 100,000 people, with more than 90% of cases being among Black people, according to the U.S. Centers for Disease Control and Prevention. Sickle cell disease occurs in about one out of every 365 Black or African American births. People living with sickle cell disease have red blood cells that are crescent shaped due to a gene mutation. Because of this, the red blood cells can block blood flow to the rest of the body and can cause chronic pain, strokes, lung problems, infections and kidney disease.

The nearly 90-minute documentary has Snow filming himself inside small hospital rooms, nurses trying to find a vein in which to stick needles, and even him trying to work on material as he lies in hospital beds. The film also includes interviews with his friends.

Snow was adamant about showing the blood and needles in the film as well as footage of himself writhing in pain on hospital beds and the frustration of waiting hours for doctors to provide adequate dosages of pain medication that can help him. He cracks jokes during his hospital stays, but in between you get a front-row look at how tiring, tearful and emotionally devastating his illness can be. Interspersed within such footage are clips from his stand-up shows and him trying to live his best life by traveling, skydiving and even experiencing New York City snowfall.

The Times caught up with Snow and Wayans to talk about the film, vulnerability, Black men’s health, and finding levity through the pain.

J. Snow in the hospital in “You Look Fine”

(J. SnowPro)

I was struck by the handwritten notes with title ideas. Tell me where “You Look Fine” comes from?

J. Snow: It’s just something I hear a lot. It’s something I’ve heard a lot during my life. It’s cultural Black gaslighting is what it is. When you’re in pain, sometimes you look fine. When you are telling people, “I’m not fine,” they’re like, “Your hair is nice.” I can’t go to the hospital with gold. I had gold beads. Sometimes you go there looking too nice. Sometimes I got to dress down just to try to get the help. But if I dress too far down, I look homeless, and they really won’t be open to helping me. So you got to find the balance. But that’s kind of where it comes from. … I wanted to throw it back into people’s face. This is something that a lot of sickle cell warriors, and people with chronic illnesses in general hear, people with mental illness hear, and so I think it’s important to highlight how that literally is gaslighting.

What was your motivation to do this documentary now?

J.S.: I wanted to show that humor lives within this and that a lot of resilience and strength are also within this, and that was really the motivator. Also, just growing up with it, not having a lot of information, not seeing a lot of men talk about it. I wanted to be different, you know.

Marlon Wayans: For me it fits on brand for several reasons. One is because I love taking the dark things in life and finding some humor in it. And I think I try to do that with my comedy. I try to do it with my specials. I try to do it because I think we need to all find smiles no matter what your situation is; laughter is always healing and always necessary. Being African American, I grew up when sickle cell was like a prominent disease, and in our culture I know even when it came to dating, my mother would ask “Who you dating? You know, because if she got the trait, and you got the trait, you know, what could happen.” So I’ve always been aware of it, and I’ve lost now four friends to sickle cell. I just lost two in the last year. It’s a long fight, and so I’m here to support them and our culture and the awareness. And you know, Jay is a friend, and you know, I want him to see fame.

For Jared, in the film, you say, “I just want to see what my body can do.” I thought that was just so deeply profound. What is your relationship like with your body now, compared with the moment you were filming that?

J.S.: When somebody sees me eating a salad, and they’re like, “Oh, you eating salad?” I’m like, “This could save my life.” When I’m stretching and doing yoga, it’s not because I want to be a yogi. It’s because it literally gets oxygen into the joints that are suffering without oxygen. It stretches my hips and I want the longevity. I see what happens in sickle cell warriors and people without sickle cell who just age without moving frequently.

J. Snow walks through the halls of a hospital while dealing with issues from sickle cell.

(Courtesy of J. SnowPro)

Black people, especially for Black men, don’t have their pain taken seriously — be it their physical pain or their emotional pain. What has it been like for you to publicly show that pain?

J.S.: It’s been challenging. It took awhile for me to get to the point where I could even talk about this publicly, especially being in entertainment and trying to maintain a certain persona and image in entertainment where like your ego clashes against your vulnerability and you feeling like you’re weak. That’s the stigma that comes with people who admit that they have illnesses and stuff like that, especially in entertainment. It makes people not want to work with you. I’ve suffered through that. I’ve lost jobs while in the hospital because of this. And so it got to a place where it just was unavoidable. The pressure built so much and the frequency of the hospital visits became so crazy that it was like, you’re either going to be viewed as this very lazy, sometime-y person, or you’re going to come clean about what you’re actually dealing with and just face it.

M.W.: I live in the pain. I live in the vulnerability. I think that’s why I create my best work. You know, my parents died. I thought it was only appropriate to talk about that thing that hurts me so much. I think part of it takes courage, but at the same time, I know it’s necessary.

What was going through your mind when you first saw that footage of [Snow] in the hospital?

M.W.: “This [man] is crazy. Why you filming?” He made sure he had a GoPro on his foot and set cameras up — dude really wants to make it. Forget this disease. He may be faking it just to make it bigger. I was proud, right? That’s because I love the resilience, I love that you still have a passion, that you still have a thing that you want to do, and you have this art and this vessel and this expression, and I know that even though he’s hurting, that he’s healing at the same time, at least, you know, emotionally and spiritually. Because to put art out there at the time that it’s happening, that you’re in pain, that takes a lot of courage from the artist, and so I was proud. That’s why I stand behind it, because I think it’s something I’ve never seen, and I think it’s something that’s necessary for the culture.

How has this film changed your relationship to your understanding of masculinity and strength?

M.W.: For me, it’s just on theme. It hasn’t changed, it just enforced how I feel. You know, I’ve never been one to hide my feelings. I go to therapy. I have two therapists, I go on my walks. I talk to God. I’m reading my Bible. I understand that life is a long journey of suffering, and you need these outlets, and this movie and art are part of that. I have the stage. I always have this thing that I’m expressing because it helps me reconcile all that’s going on with me, especially when I take this pain and make other people laugh or are entertained by it, then I go, all right, I did something good with that thing that was bad. And so this enforces what I want people to feel. I want people to watch this. That’s why I stand behind this, because it’s on theme spiritually for me.

J.S.: I think when you stand outside of that vulnerability and you’re afraid to really go into it, I don’t know, I feel like that’s orbiting your true power. The most masculine thing you can do is face your highs and lows head on and own them. And that’s where you find out who you really are. This is where you find out what you can really bring to the table for yourself, for others, and where you become fearless. And that’s exactly what this showed me, was that I can do anything, I can conquer a lot of things. I walk around with a new energy because I’ve done this. I literally had a film on hard drives, and I sat for 11 months and edited it relentlessly, and now I have my first feature film because I was fearless enough to at least try to do it and not feel, what are people going to think, or what are people going to say? That didn’t matter to me. Also with this clock over my head, you don’t got time to think about stuff like that. It’s like, what do you want to do while you’re here? And what I wanted to do was make movies, make people laugh and inspire others to do things that they want to do too. And that took letting go of whatever this masculine image was that was blocking me.

J. Snow on stage at the Hollywood Laugh Factory

(Brianna Joseph)

The whole film is endearing, but I found those moments of levity so well- timed and so thoughtful and funny. How do Black people find those moments of levity, oftentimes, during these moments of pain?

M.W.: Because Black people have been through so much trauma before we get into family trauma, just as a people. We have suffered the most trauma from being separated from our family, slavery — we’ve been through it — and yet, and still, we find that funny. And that has been, I think, our saving grace is our sense of humor. It’s been a lifesaver. It’s been a raft in a really rough ocean for us. And I think it’s beautiful that we can. I will always promote laughing when you’re in your most pain to find the funny, because that takes a little pressure off. You’re laughing and crying at the same time. It’s like the best feeling.

J.S.: It’s like oxygen, like when the air is being sucked out of the room by your circumstances, your trauma, your pain or whatever. That little laugh is like a little breath of oxygen. It gives you something to keep going forward, to continue to think, “OK, like, where’s another solution from here? What else can I do here?” It gives you that breath that you need.

Welcome back to the Times of Troy newsletter, where we’ve got a jam-packed edition for you this week. USC beat reporters were given the chance to talk to assistants we don’t often get access to during the season. So this week, we’re going to empty the notebook, with 15 notes, quotes and other things you should know ahead of USC’s spring football session.

1. Jayden Maiava has taken “a huge leadership jump” from last season. That’s according to offensive coordinator Luke Huard, who said the quarterback has been meeting with young wideouts, setting up group chats, watching film and working with them at walk-throughs. There will be a lot on his shoulders with such a young receiving corps.

2. Freshman quarterback Jonas Williams is “pretty developed” from a physical standpoint. The athleticism also is obvious when you watch him on tape. The question is how quickly can he get up to speed mentally? Huard said Williams ran a “very multiple” offense that asked a lot of its quarterbacks. So that’s a good sign. But with Husan Longstreet gone, USC is starting from square one again at backup quarterback. Sam Huard is still an option, but this wasn’t necessarily what USC planned.

3. Huard addressed Longstreet’s exit and how plans at quarterback change on a whim nowadays. Huard’s tone, which can’t really be detected in the quote, suggested he wasn’t exactly thrilled about the situation. (Huard, after all, spent a lot of time and energy getting Longstreet to USC.) This is part of what he said: “We are going to recruit guys that are going to represent USC at an elite level and give us an opportunity to win and compete for national championships. So for us, it’s identifying those guys that USC is important to ‘em. They want to truly be here. They want to stay and develop.”

4. Don’t be shocked if a freshman running back makes an impression, even with a clear top two in the backfield. Deshonne Redeaux and Shahn Alston earned raves from running backs coach Anthony Jones — and are very different. Alston is the bigger power back, while Jones called Redeaux “a jack of all trades.” Jones said Redeaux is already a solid blocker and even can line up in the slot as a receiver if need be.

5. What’s the next step look like for King Miller? “Hopefully, King 2.0,” Jones said, with a laugh. Miller’s main goal in the offseason has been “transforming his body,” Jones added. And if Miller can maintain his breakaway speed while adding strength, the sophomore running back could be bound for an even bigger year than he had in 2025.

6. Sophomore receiver Tanook Hines is working on his route running. Hines’ athleticism was clearly off the charts in his debut season. But there’s still plenty to polish in his game. Receivers coach Dennis Simmons said that’s the next step for him as he takes the reins as the Trojans’ No. 1 wideout. This offseason is a crucial one for Hines.

7. Zach Williams will move to slot receiver. Could that mean more opportunity? Williams didn’t make much of a splash last season, largely because of injury, but when he left Utah, then-coach Kyle Whittingham said he would’ve been the Utes’ top receiver the next season. Williams has talent. And with the move inside, he finally could get the opportunity too.

8. The rest of USC’s receiving corps is very young. I expect that means we’ll see a lot of sets with Hines, Williams and N.C. State transfer Terrell Anderson at first. But freshmen Boobie Feaster and Kayden Dixon-Wyatt no doubt will get their chances to change that. Redshirt freshman Corey Simms turned heads in camp last fall and could be primed for a step forward too.

9. The competition at tight end is wide open. Lake McRee is off to the NFL. Walker Lyons transferred. “Who’s going to fill all those snaps?” tight ends coach Chad Savage asked. “Those are a lot of snaps that have gotta be replaced.” Savage mentioned that Wisconsin transfer Hunter Ashcraft would be a part of that equation. Redshirt freshman Taniela Tupou had begun to impress by the end of last season as well.

10. That said, freshman Mark Bowman might make a serious push to start. When I asked Savage about where Bowman was most developed, he said Bowman was “pretty complete” already. Remember, he still should be in high school at this point. Of course, it’ll take time for him to adjust to the physicality and blocking of college football. But I suspect that won’t take long. “In terms of being a natural pass-catcher, route runner, being explosive,” Savage said, “he can do all that.”

11. Savage had a chance to leave for another opportunity. He chose to stay and was promoted accordingly. The Trojans’ new pass game coordinator called working at USC “a dream come true.” He added, “There’s so much growth for me to happen here at USC. … I’m a West Coast guy.” That’s good news, considering he might be one of the best recruiters in college football.

12. Offensive line coach Zach Hanson said USC’s front was “nowhere near where we need to be” last season. The unit actually overachieved, considering its circumstances, but he feels there’s “a lot of room for growth.” I agree. This group will look a lot different in the fall than it did last season, with some linemen starting at new positions. Hanson believes the added competition will lead to a big leap for the line. I tend to agree.

13. Tobias Raymond will take reps at center in the spring. It has been the plan for a while that eventually Raymond would try his hand at center, as coaches see that as his best chance to stick in the NFL. It’s not out of the question that he could play there full time, assuming another linemen steps in.

14. Five-star freshman Keenyi Pepe will start off working at right tackle. Can he win the job in Year 1? He’ll have Justin Taunauu, last year’s starter, as well as young returners like Elijah Vaikona and Aaron Dunn to compete with, but Pepe is further developed than the usual freshman. “A lot is just God-given talent,” Hanson said. “The Lord blessed him with unbelievable gifts.”

15. New coordinator Gary Patterson famously split his 4-2-5 defense into two calls. One for the front seven, one for the defensive backs. But that could play out differently at USC, he said. Patterson’s plan is to use pieces of USC’s old scheme under D’Anton Lynn and “add another scheme to it.” Sometimes that’ll mean just one call for the whole defense, other times he’ll plan to deploy a double call. With slower offenses in the Big Ten, that approach could work quite well.

USC’s Laura Williams looks to pass after getting a rebound.

(Gina Ferazzi/Los Angeles Times)

—The USC men are in serious danger of missing March. It’s not just that the Trojans lost to No. 10 Illinois. They were blown out by the Illini, who then lost to UCLA three nights later. It’s not just that USC lost to Oregon, either. It’s how they lost to Oregon, a team that had lost 11 of 12, by letting the Ducks go on a stunning 7-0 run in the final minute. This version of USC doesn’t deserve to be in the tournament. But I do believe this team has the talent to be a tournament team and it’s not out of the question that it could win two of the next four, win a couple of games in the Big Ten tournament and sneak in. That climb is just a really steep one after Saturday.

—Laura Williams’ emergence as a reliable rebounder and rim protector is a big deal. All season long, Lindsay Gottlieb has been content to rely on a rotating group at the five. USC has been able to get by for most of the season, but come March, it’ll help to have someone who can do what Williams did against Wisconsin, when the redshirt freshman reeled in 14 rebounds and blocked four shots.

—What a start to the season for USC baseball. After leading a combined no-hitter the previous week, Grant Govel threw six scoreless innings, gave up just one hit and struck out 11 in a win over Rice. That was after No. 1 pitcher Mason Edwards pitched a shutout the night before. The Trojans are surging to start Andy Stankiewicz’s third season as coach, and if the pitching continues to be this good, USC could be on the brink of a breakthrough campaign.

Olympic sports spotlight

USC beach volleyball opened its season on a hot streak in Honolulu with four straight wins, including a victory over No. 2 Stanford, only to trip up twice on the final day of the Outrigger Duke Kahanamoku Beach Classic. That one of those losses came to No. 1 UCLA, which USC won’t face again until April 4, made it an especially tough way to end the weekend.

But the season is young, and there’s no reason to doubt that Dain Blanton will have USC in the mix to win a national title when the rivals meet again.

What I’m Watching This Week

Jason Segel in “Shrinking.”

(Apple TV+)

It’s shocking that it took until this show’s third season for it to get a mention in this space, but “Shrinking” is back, and there is no show on TV that I find more life-affirming.

Jason Segel stars as Jimmy, a therapist working through grief after the sudden death of his wife. That might sound heavy — and, sure, it is sometimes — but it’s also hilarious, optimistic and heartwarming. Few shows these days can make you both laugh out loud and tear up in the same episode. This is one of them.

The second season was a revelation. And so far, I’m hopeful that Season 3 will be a worthy follow-up.

In case you missed it

Fourth-quarter drought dooms USC vs. No. 10 Ohio State despite Jazzy Davidson’s 32 points

USC men’s basketball team fumbles late lead, suffers devastating loss to Oregon

Star freshman Jazzy Davidson gives USC a scare as it wins sixth straight

USC men come unraveled in blowout loss to Illinois

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 ryan.kartje@latimes.com, and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.

Inside its sci-fi trappings — space travel, crazy technology, oodles of extraterrestrials — Pixar’s “Elio” is the story of an outsider kid who finds a new family. That’s true of the protagonist, a lonely boy who longs to leave Earth, and of the film itself.

“Elio’s” original mission was launched by Adrian Molina, co-writer of “Coco,” who worked on writing and directing the project for a couple of years before departing, officially to devote himself to “Coco 2.” Molina was replaced in “Elio’s” director’s chair(s) by Domee Shi, who helmed “Turning Red” and won an Oscar for her short “Bao,” and Madeline Sharafian, a story artist on “Coco” and story lead on “Turning Red.”

“The basic premise from Adrian’s beginning, five years ago, has stayed the same,” says Sharafian: “A lonely, weird little boy gets abducted by aliens and is mistaken for the leader of Earth. The biggest change we made, and everything rippled from there, was that Elio always wanted to be abducted by aliens, to find a place where he belongs.”

Shi says, “Both of us were weirdo kids in our respective hometowns who dreamed of not being the only one. I was one of the only kids in my school that liked anime. When I finally got into animation school, I was like, ‘I found my people, and I didn’t realize how much I wanted this.’ ”

One tectonic shift under Shi and Sharafian came from screenwriter Julia Cho, who co-wrote “Turning Red” with Shi: Instead of Olga (voiced by Zoe Saldaña) being Elio’s mom, she would be his aunt. Elio (voiced by Yonas Kibreab) would lose both parents before the film. That reconfigured his alienation, so to speak. A harsh confrontation between mother and child usually rests on the foundation that they already know and love each other. For an orphaned boy and his guardian aunt, that closeness must be earned.

“That love isn’t a given,” says Sharafian. “There was no assumption it would be there. So when it is, it’s all the more moving.”

“Elio” directors Domee Shi and Madeline Sharafian’s shared “visual language” reshaped the film after they took on the project from its initial director, Adrian Molina.

(Pixar Animation Studios)

Amid the changes, Shi and Sharafian say the working relationship they established on “Turning Red” was invaluable.

Shi says, “Though we have different backgrounds, we grew up watching a lot of the same movies. Both of us love Miyazaki films, we love ‘Sailor Moon,’ we love Disney, Pixar.”

Sharafian adds, “We speak the same visual language. There would be many moments when it was time to come up with a new shot and we both drew the same thing.”

In its 28 previous features, Pixar had dabbled in sci-fi, but “Elio” is immersed in it, with just a soupçon of … horror?

“We’re huge fans of sci-fi horror,” says Shi, “and we wanted to use those moments with Elio’s clone and Olga to have fun, to playfully scare some kids — and some adults too.”

That “clone” is a dead ringer for the protagonist, but it emerged from space goo and formed into an eerily cheerful version of the boy, like something from “Invasion of the Body Snatchers” or “The Stepford Wives,” but nice.

“The movies that impacted me the most as a kid, a lot of them did scare me, but they rewarded me as well,” says Shi. “Our film has this Spielberg-y, comfortable, nostalgic, family sci-fi vibe. So when the audience is at their most comfortable, that’s the perfect opportunity to give ’em a little spook.” Both directors cackle.

Sharafian adds, “ ‘Close Encounters’ is so scary, but in an amazing, tense way, and the musical [phrase] the aliens sent, I was so haunted by that. When we had the universe reach out to Elio, we were like, ‘How do we capture that same feeling — we want to know more, but we’re unsure of their intentions?’ ”

Beyond Steven Spielberg’s “Close Encounters of the Third Kind” and “E.T.,” the shared influences of the sci-fi horror of “The Thing” and “Alien” influenced their choice of a virtual anamorphic lens for their cinematography and aping the visual noise and atmospheric mist in those films.

Among the changes Shi and Sharafian made to “Elio” is its “epic” widescreen aspect ratio.

(Pixar Animation Studios)

Shi adds that they also changed the aspect ratio from 1.85 (standard widescreen) to 2.39:1 (anamorphic widescreen, an ultrawide look): “It helped shots of Elio on Earth feel more lonely, but also made space feel more epic.”

“To lay that on top of” Molina’s existing work, says Sharafian, “completely changed what the movie looked like.”

The directors agree that most of the film seamlessly blends their input, though Shi specialized in the horror and action sequences, while Sharafian leaned into the emotional scenes.

“A lot of Act 1 was you, Maddie,” says Shi, “where he’s feeling soulful and lonely. I love that. Yearning, watching the stars. I feel like that’s probably from your own childhood.”

Sharafian chuckles and says, “Yes, I was very lonely! My sister and I say we had ‘rich inner lives’ because we didn’t have a lot going on outside.”

It’s not “Up”-level gut-wrenching, but the scenes establishing the heartbroken boy’s lingering trauma hit pretty hard.

“I feel like it’s good to be sad,” says Sharafian. “At Pixar, we’re lucky; we get to stay in a childlike headspace for a really long time. I think we forget how deep children’s emotions are and how, when you’re young, you’re already thinking about very sad things and dark things. So I don’t think it’s too much.”

Known for producing first-round draft picks as pitchers, Harvard-Westlake has assembled a group of hitters this season that look capable of producing lots of offense after a 15-1 season-opening five-inning win over Southlake (Texas) Carroll on Thursday at O’Malley Family Field.

Just look at the first five hitters in the lineup: Shortstop James Tronstein is headed to Vanderbilt; outfielder Ethan Price is committed to Santa Clara; center fielder Ira Rootman is a Texas commit; freshman third baseman Louis Lappe is the Little League star from El Segundo; designated hitter Jake Kim is a UCLA commit.

Freshman Louis Lappe of Harvard-Westlake got an RBI double in his first high school at-bat on a 3-and-2 count.

(Craig Weston)

Kim led the Mission League in home runs as a sophomore with seven and hit his first home run of 2026 to right field with a little help from the wind on Thursday. Rootman hit a ball so far over the left-field fence for a three-run home that it might have gone out of a big-league stadium. Lappe, in his first high school at-bat, delivered an RBI double.

“It was cool,” Lappe said. “A lot of pressure came off. I got that weight off my shoulders.”

The Wolverines have been focused on getting stronger in the weight room and no one has benefited more than Rootman, a junior who added 10 pounds and can’t wait to see how his improved strength is going make him a better hitter.

As for first impressions of Lappe, Rootman said, “I think he’s a very special kid and has so much talent it’s unbelievable.”

Justin Kirchner struck out nine in four innings. He’s a junior committed to Yale.

Boys soccer

El Camino Real 1, Palisades 0: Defending champion El Camino Real advanced to the City Section Open Division championship game with a victory in overtime. Jayden de la Cruz scored the overtime goal. El Camino Real will face the winner of Friday’s semifinal between South East and Marquez.

This article contains spoilers from the Season 3 finale of “Tell Me Lies.”

“Tell Me Lies” ended with the hard truth.

Based on the book by Carola Lovering, the Hulu series centers on the toxic and manipulative on-again, off-again relationship between college students Lucy Albright and Stephen DeMarco — portrayed by real-life couple Grace Van Patten and Jackson White — whose distressing bond causes a ripple effect of chaos and turmoil for their friend group that stretches across eight years.

It all culminated in Tuesday’s Season 3 finale, which brought explosive revelations, the return of old habits and final fractures to the friend group. But what about its central pair?

Across the show’s two timelines, Stephen’s admission to Yale Law School was revoked and his engagement blew up — but is that enough retribution for the most-hated fictional millennial man with a buzz cut after all the emotional and mental abuse he inflicted? Meanwhile, Lucy’s life is upended when she is expelled from school; but years later, and not without making another questionable choice, she is finally free from his torment. For good. Hours before the finale dropped, creator Meaghan Oppenheimer announced the series would not return for another season.

Over two separate video interviews from New York — Oppenheimer from her home; Van Patten and White, later in the day, from a hotel room — The Times caught up with the trio to discuss bringing the dark and twisted saga to an end, why Stephen wasn’t dealt more severe punishment and the love story between Bree and Wrigley. The conversations have been combined and edited for clarity and length.

Lucy (Grace Van Patten) and Stephen (Jackson White) in the series finale of “Tell Me Lies.”

(Ian Watson / Disney)

Before we dive into the finale, the other big news is the announcement that the show will not return for another season. Would you have wanted more or are three seasons enough?

Oppenheimer: This was definitely a very thoughtful, mutual decision that I came to with Hulu and 20th [Television,” which produces the show]. I went into this season wanting to write it with a sense of finality. I always felt like three seasons was sort of a perfect number for a smaller show like this. I always envisioned Lucy and Stephen’s worst, biggest breakup in college, and her public downfall culminating with the wedding weekend. But we went into this season not knowing for sure if there would be another one — and after seeing the amazing fan response and the numbers being so great, we definitely discussed “is there an organic way to keep it going?” I was definitely trying to make a very specific point with the way that Lucy and Stephen ended, which is that it was inevitable that he was going to hurt her, and that if she chooses him over her friends, she’s going to lose them. To keep going after that and force them back in each other’s lives, it would have felt like it was undermining the stakes of everything we set up.

Does it feel like the right time to be done with these characters?

Van Patten: It does. Of course, it’s bittersweet. But in terms of the story, it feels really right that it’s ending here, and we’ve had a beginning, a middle and an end.

White: I like the way that goes out.

Will you be glad to not be the most hated fictional man on TV?

White: I’m stoked. I’m stoked. I really am. I’m really excited to not trigger people like that. It’s a strange burden, like an odd social burden.

Van Patten: Because it’s out of love, but what they’re saying is so negative.

White: Yeah, it’s a compliment, but it’s mean. It’s kind of like how Stephen talks to the other characters.

Grace Van Patten as Lucy Albright in the final moments of the “Tell Me Lies” series finale. (Ian Watson/Disney) (Ian Watson/Disney)

Finales are challenging because they come with a lot of expectations from fans. Since you weren’t sure if the series might return, how did that shape how you wrapped this third season?

Oppenheimer: I had to go into it not worrying too much about what would happen in the future. When we found the [Season 3] ending in the writers room, we all were like, “Oh s—, that’s the ending to the story, not the ending of the season.”

Sometimes, when I see certain [fan] theories, I’m like, “What show are you watching?” I think people that were expecting a resolution to the Macy story, for instance, for him [Stephen] to get arrested — that’s so surprising to me … because I’m like, “I don’t feel like you’re watching the same show that I’m watching.” It’s one of the few things that we kept from the book. He doesn’t get justice for that. In reality, people get away with really bad things and that’s one of the scary truths of the show.

How did you and the writers decide on the moment that ends the series? Lucy choosing to ride off with Stephen after the wedding goes off the rails, only for him to leave her stranded at a gas station.

Oppenheimer: The show was going to end in one of three ways: Does she reject him? Does he reject her? Or do they end up together? I felt for a very long time that they should not end up together because this is a story about abuse. I don’t think this is a love story. It felt like staying true to what the show meant not having this overly positive, optimistic ending where she wins.

At the same time, the one thing we’ve learned about Stephen is that he will never let you go unless he’s the one making that decision. For Lucy to actually be free of him, he needed to be the one to walk away. It actually is the only way for her to really wake up and see it.

I will get images for scenes before I know what the actual scene is, and it’ll be almost more of like a symbolic image, or it’ll be a fable that I’ve heard before. But I said to the writers room, “I just want it to be her finally having the decision — Bree or him, friends or him — and her choosing him and then, it’s not this, but it’s as if he just drives away and leaves her by the side of the road.” And they were all like, “He could literally just drive away and leave her by the side of the road.” The idea of her being on this island alone, and the inevitability of it. And that’s why we have the whole —

Grace Van Patten on ending the series: “Of course, it’s bittersweet. But in terms of the story, it feels really right that it’s ending here, and we’ve had a beginning, a middle and an end.”

(Dutch Doscher / For The Times)

Allusion in the previous episode to the scorpion and frog fable?

Oppenheimer: Yes. The answer is, of course, he was going to hurt you because he’s Stephen. It’s in his nature. Also he’s not driving away, thrilled and happy. When he says, I’ve just blown up my entire life. If I hurt you, I’m hurting myself. It’s true. He would have more fun if he just learned to be nice and be with Lucy. But he can’t help it. His nature is to win and to wound and to get the last laugh.

White: That character is all about himself, and this is one final way to leave on the last laugh.

Van Patten: I find the ending to actually be a little bit helpful. I think there’s a lot of freedom and relief in that last moment when she realizes he left her.

There’s that almost wistful look that she has at the gas station, getting the coffees. Then there’s the one when she realizes she’s been stranded and all she can do is laugh. It’s quite the trajectory.

Van Patten: Every time Lucy has gone back to Stephen, she’s completely in denial. There’s a sense of hope, maybe it’s going to be different this time — also, he had just blown up every relationship she had at the wedding. We’re completely on an island together. There’s this hope of like, maybe we can be OK now, there are no more secrets left. The friend group isn’t together. There’s nothing being held over one another’s head. Then she’s hit with, “Oh, my God he did it again. Shame on me.” She totally could have cried, but she just decided to laugh instead because it is predictable. She actually saw it for the first time as definitive.

Jackson White on playing the hated character Stephen: “It’s a strange burden, like an odd social burden.”

(Dutch Doscher / For The Times)

How did you and the writers grapple with why Evan and Bree would invite Stephen to the wedding after everything that happened in college?

Oppenheimer: It’s one of the things that struck me in the book and scares me about a lot of young men in general (especially operating within groups) — the way guys tend to forgive other guys for what they do to girls. When Evan and Stephen leave things in senior year, they’re actually at a relatively good place with each other. Even though Evan knows that Bree knows the truth (about Lucy‘s one-night stand), he knows that Stephen still recognizes the worst parts of him, so he’s made a decision to keep him close in order to keep himself safe. Bree has a line where she says, “I begged Evan not to invite him.” So it’s not up to Bree, and like a lot of people do, she’s decided to accept that her fiancé has this friend she hates.

On social media, there are fans who say they won’t be satisfied if this show doesn’t end with Stephen dying. And there was the theory that characters were plotting their revenge on him to take place at the wedding. What do you make of that? Why not go that route?

Oppenheimer: When you’re writing anything based on fan expectations or giving them the happy ending all tied in a bow, I think you’re doing a disservice to the story. Different writers would do different things. I have to stay true to my taste. Hoping for all that, I get it. But I think that the way that we do it is with a laugh.

But why not go that route? It just didn’t feel realistic. Maybe I’m just very jaded, but as I look around the world — everyone after #MeToo was like, “Oh, did we cancel all the men?” It’s like, “No, we didn’t.” That is the reality of the world that we live in, especially now, with everything coming out about the Epstein files — it’s appalling. To me, it feels almost belittling to people who’ve been abused and been in these kind of things to say, “Oh, it all works out in the end.” But also, I will say, Stephen is not going to be happy. He’s miserable.

White: He was hardwired to hate. I think the character was designed to start hating. He’s started as a confusing character, and by the end, I think it’s pretty clear that he is one-sided and complicated, sure, but also unquestionably immoral. And there’s a lot of satisfaction in wanting to take that person out, especially if you’re projecting your own whatever onto this character. I totally understand the impulse to want to ice him. But that’s not the way the world works, and I think that’s why the ending is well done because [that’s] not always the case. You don’t get that satisfaction. You actually have to live with it for a long time. And I think the message is that it’ll keep happening over and over and over unless you fix it yourself. No one’s gonna save you. You have to heal yourself.

What about the outcome of the college timeline — in the end, Yale revokes its law school admission offer to Stephen after receiving a tip about behavior that goes against its code of conduct, namely the distribution of pornographic material, which we come to learn was Wrigley’s doing. And that’s one big loss for Stephen. What intrigued you about that? And was it always going to be Wrigley who did that?

Oppenheimer: We didn’t think, initially, that it was going to get reported. That was something that someone — I can’t remember who it was — said, “It really doesn’t feel fair for Diana not to get to go to Yale after everything she’s done to get past every obstacle to better her life.” Then when we were deciding who reports him, it was just very obvious that it needed to be Wrigley because it’s the last person Stephen expects. I thought it was really important to have a guy … it really devastates me the way that men choose other men over their female friends and turn a blind eye. I just wanted one boy to stand up against the other mean boys.

White: I think [having Yale revoke his admission] really messed him [Stephen] up. He is a survivor, though, he’s a shark. A lot of these people don’t face consequences. I think eventually they do. Everything does come around. I think the people who wish ill upon other people will get what’s coming to them. We’re just not going to see when. But in his lifetime, he will get his ass kicked in that way.

Grace Van Patten, left, on the set of “Tell Me Lies” with showrunner Meaghan Oppenheimer.

(Ian Watson / Disney)

To move on to Lucy, we learn what happened in the college timeline that led to her being largely estranged from the friend group. Grace, what stands out to you about playing her in that state of numbness to her life crashing down?

Van Patten: It’s been set up the past two seasons, in the present day, that the worst thing happened to Lucy in college, and we haven’t known what that thing was until this last episode. It’s the last piece of the puzzle for the audience to see what really ruined Lucy’s life. It was so tragic and heartbreaking because she is not computing anything. She’s completely reverting back to being a little girl and doesn’t know how to deal with getting in trouble, and she’s not taking in what’s what’s going on; she’s completely disassociating. I think if she allows herself to feel, then she would not be able to pick herself up off the floor. It’s self-protection and complete denial.

“It’s the last piece of the puzzle for the audience to see what really ruined Lucy’s life,” says Grace Van Patten of “Tell Me Lies.”

(Dutch Doscher / For The Times)

At what point did you both learn that it was Bree who released the tape with Lucy confessing to lying about being sexually assaulted by Chris — a lie she told to protect Pippa, his actual victim?

Van Patten: I forget if it was through reading or Meaghan just telling us before we got the scripts. I was definitely surprised by that because the first few episodes, they’re really emphasizing the closeness between Lucy and Bree and how they’ve developed this really tight-knit relationship, which made sense; they were bumping it up to make that feel like real betrayal. But I just see it as Bree getting even.

White: I really did like that. I liked playing that I genuinely didn’t do it.

Tell me more.

Van Patten: His first time!

White: Just because every single person will obviously think he did. We’ve just established him for three years as the guy who would do that. And to actually have it not be him is confusing, and it was very fun to play. I did not do this horrible thing — I’ve done a lot of other horrible things, but I didn’t do this.

I love the way you deliver the line, when it clicks for you that it was Bree — “Oh, my God, you released the tape, didn’t you?”

White: If the character’s putting pieces together, I like to try and put pieces together. It was just easy to act in that moment. That entire wedding sequence was very easy for everybody because it was well-crafted. We were all bringing it. We knew it was one of the big, important moments.

The cake got demolished.

White: Branden Cook [Evan] is amazing in that sequence.

Van Patten: He insisted that he do that stunt. He was like stretching beforehand.

White: He was chomping at the bit. Oh, he was ready.

Was the end goal to find a way to use ‘Toxic” by Britney Spears to score the climax?

Oppenheimer: I love it so much. It’s really funny because since Season 1, I was, “When are we gonna use ‘Toxic’?” It’s just so perfect for the show. We were editing that scene and we were throwing different songs in, and we’d actually tried this other song that worked really well — “I Gotta Feeling” [by the Black Eyed Peas]. But then I was like, “Should we just try ‘Toxic’?” And my editor, Jen, was like, “It’s literally now or never.” The way that the music lines up with Evan crashing into the cake. It timed out perfectly.

Wrigley (Spencer House) and Bree (Catherine Missal), during a break from the engagement party, have a conversation about their relationship that leads to sex. (Ian Watson / Disney)

The night of his wedding to Bree, Evan (Branden Cook) learns about her affair with Wrigley. (Danielle Blancher / Disney)

How did you arrive at some of the other big moments, like Bree and Wrigley. She goes through with the wedding, but their secret is out. What happens next for them? It’s also like, is this trauma bonding or … ?

Oppenheimer: I don’t think it’s trauma bonding. I think they’re soul mates, personally. Trauma bonding is a thing, but there’s also something very real about meeting someone in a moment of grief and it has just taken all of your outer layer off, and it has exposed the real you. I think that’s what they’re seeing when they connect at the beginning of Season 3; they’re the truest version of themselves. I knew that I wanted it to come out because Evan could not get away with this. Evan could not have the happy marriage to Bree. Lucy had a choice that she was making with the full knowledge of the choice, but Bree doesn’t know all the things that Evan did to her to completely destroy her relationship with her mom. It would have felt so unfair for that to work out. I always saw that exploding and coming to light. That smile at the end of the wedding, that tells you they’re going to make this work. I literally wrote it into the action line of the script. I said, “Their eyes meet across the room, and they smile. And you get the sense that in spite of it all” — I think I wrote “carnage” — “they’re gonna find a way to make it work.” And I think they do.

White: I like happy endings, just as a viewer. I like when things work out for characters that didn’t really do anything bad. I love Wrigley and Bree. It’s a great relationship.

Van Patten: I love that relationship. I feel like they deserve each other and like they’re the two with the most well-rounded moral compass. They feel right together. And so do Pippa and Diana. They’re the only ones who are leaving happy, in the end. They’re like, “Let’s get out of here. We do not belong here.” And they just walk off. They kind of leave unscathed when everyone else is in the fire?

Grace Van Patten and Jackson White of “Tell Me Lies.”

(Dutch Doscher / For The Times)

Do you wish, especially as a real-life couple, that’s what you could have played?

Van Patten: I thought it was the perfect ending for these characters. If they ended up together and figured things out, it would just be so unrealistic. Look what these people have done to each other for the past three seasons. They’re not going to be OK together.

I guess I mean the whole trajectory, having to play the fictional couple that’s so toxic as you’re starting a relationship.

White: Yeah, not a lot of blending between work and real life.

Van Patten: Thank God. It’s only a nice, warm feeling to know we’re nothing like them. But it’s just fun acting together. We have to do crazy things and say crazy things. It’s very, very separated for us.

What do you hope for your characters?

White: I don’t hope much for him. I’m trying to think if I know anybody like that or with those tendencies — I do. I do know people who have a lot of similarities, and I pray for them, and I hope they do well. I also hope they get what’s coming to them. Actually let me take it to back because if somebody has wronged me, then I wish them the best. But for somebody like him, he’s sort of beyond that, isn’t he? I don’t know how to answer that question. I don’t know what I would want for him.

Van Patten: I hope that final instance that we see in the last episode pushes her into a journey of self-analysis and her really trying to figure out why she looks for that type of thing in a relationship, and why she has been so drawn to that. Hopefully she does the work to change that and focus on the relationships that matter, that she should be paying more attention to. I hope it’s the beginning for her.

On a final note, I will say, I was relieved to see Stephen at least left behind Lucy’s purse.

White: That’s pretty funny.

Van Patten: I wish there was footage of him placing it there. Like, him hopping out of the car and carefully placing it. I always wondered if he parked in a place where he can see Lucy, just to see her reaction.

Welcome back to the Times of Troy newsletter, where I have emerged from my Hawaiian vacation and probably should be stopped before I buy a Maui timeshare. Please send help.

All jokes (and future debt) aside, we’re ready to roll after a weeklong break on the beach, just in time for the home stretch of the college basketball regular season. Both USC teams are still on the bubble midway through February, albeit one much more comfortably than the other.

The Trojan men’s March hopes are the more tenuous of the two. The sudden ascent to stardom of freshman Alijah Arenas has injected new hope into a hard-luck season. There’s still a ways to go: USC must face Illinois and Nebraska, not to mention UCLA twice, and could still use a couple more Quad 1 wins to bolster its resume. But the talent is there for USC to do some damage in the tournament … if it can make it to March.

The Trojan women are on much steadier ground, slotted at 22nd in the NCAA’s NET rankings. They’ve yet to lose a non-Quad 1 game this season and haven’t lost a game at all since Jan. 25. If the tournament started today, they’d be firmly in the field.

Lindsay Gottlieb has found a means to make it work over the last month, in spite of some shortcomings in a lineup that lost not just JuJu Watkins, but also all the other stars who might’ve lined up to play with her this season. Still, USC has weathered 25 games with a Watkins-sized hole in its lineup, a limited frontcourt and inconsistent play at point guard.

Gottlieb, as coach, deserves a lot of credit for that. As does Kara Dunn, the Trojans’ sharp-shooting grad transfer, who is shooting 51% and averaging 21 points, six rebounds and three assists over her past 11 games.

But USC could not have come this far this season if not for the best freshman in college basketball.

Jazzy Davidson has been every bit the difference-maker in her debut season that she was advertised to be as the top recruit in the 2025 class. She has been an elite defender, a dynamic and varied scorer, a poised and determined leader. She’s delivered in the clutch. She’s dragged USC out of deficits. She leads the Trojans in every statistical category: points (17.2), rebounds (6.3), assists (4.4), steals (1.9) and blocks (2.2).

The numbers only really tell part of the story. When Davidson signed with USC, she expected to play her first season with Watkins. Instead, Watkins injured her knee. The rest of USC’s Elite Eight lineup left. And Davidson suddenly found herself the centerpiece of the team’s hopes. As a freshman.

Those expectations would have weighed heavily on most first-year players, even before considering Watkins’ shadow looming over all the proceedings. But in this case, they haven’t seemed to faze the star freshman in the slightest. She’s been a picture of poise through a season that asked her to be just that. It’s an impossible thing to ask of most 18-year-olds.

And yet, in Davidson’s case, it’s working.

“You talk about overdelivering, to be a freshman and carry the load for us,” Gottlieb said, “she’s just capable of doing almost anything on a basketball court. She’s unique. I know there are several good freshmen in the country. We know how good she is. We see it every day, and we think there’s no one better.”

Someone in SEC country will surely make the case that Vanderbilt point guard Aubrey Galvan has been the nation’s top freshman. Advanced metrics, for one, will tell you that Galvan is worth 3.3 win shares compared to 3.1 for Davidson. She’s certainly been special on the offensive end, pairing up with national player of the year candidate Mikayla Blakes to make the most lethal 1-2 punch in women’s college basketball.

But Galvan is the No. 2 in that attack. That’s the role Davidson was supposed to play as a freshman. Instead, Davidson has been the focal point of opposing team’s game plans from the start, and yet still managed to adjust to the college game on the fly. Her usage rate (28.8%), which measures how often a possession ends with the ball in one’s hands, is higher than any freshman in the country. And she’s only getting better with the ball in her hands.

USC’s hopes this March hinge on Davidson continuing that ascent. It wasn’t supposed to be that way. But here we are. And in some strange, roundabout way, the experience might wind up making USC and its star freshman much better in the long run.

Because next year, USC will welcome not only Watkins back from injury, but also the No. 1 recruit in the nation, Saniyah Hall, as well as 6-foot-4 Aussie forward Sitaya Fagan, who’s redshirting this season. That lineup might be the most talented in USC history.

How it fits together will be the story of next season. But in this one, Davidson has proven she can be whatever USC needs her to be.

Not only the best freshman in college basketball, but the glue that’s kept this Trojans season together.

Mater Dei wide receiver Kayden Dixon-Wyatt pulls in a long reception to score against St John Bosco.

(Gina Ferazzi / Los Angeles Times)

—One last thing about Jazzy. She could stand to be more efficient from the three-point line, where she has made just nine of her last 52 attempts (17%). USC, as a team, has really struggled from behind the arc, which is not something you want in March.

—Chad Baker-Mazara should be back this week. It’s not clear if he’ll be ready for Wednesday’s big matchup. When USC welcomes No. 8 Illinois to Galen Center, it will have been more than two weeks since Baker-Mazara sprained his medial collateral ligament against Indiana. A Grade I sprain usually requires sitting out a week or two, so the timeline is pretty normal. USC is going to need its full arsenal, Baker-Mazara included, to hold its own against the Illini. But if not Wednesday, the sixth-year senior will definitely be back by Saturday against Oregon.

—Chad Bowden wasn’t subtle about his expectations for next season. USC’s general manager told reporters that he was “on a warpath” heading into 2026. He made clear that success next season is “black and white. You’re either in the playoffs or you’re not,” he said. He added that fans “should be unhappy” with a nine-win season and that he was “sick to his stomach” about it. Strong words from someone whose opinion matters a lot within Heritage Hall. Chalk it up as more evidence that a Playoff appearance is the baseline of expectations for Lincoln Riley next season.

—Blue-chip pass-catching prospects Kayden Dixon-Wyatt and Mark Bowman both took less money to sign with USC. That’s a good sign. Bowden said USC hadn’t talked to Kayden Dixon-Wyatt in three or four months while the top-50 receiver recruit was committed to Ohio State. But Dixon-Wyatt decided out of the blue that he was coming to USC, to stay home and play in front of family, even if it meant taking less money than he would’ve gotten in Columbus. He wasn’t the only one. On signing day, Lane Kiffin and LSU swooped in to offer Dixon-Wyatt’s Mater Dei teammate, tight end Mark Bowman, “significantly more” than the deal he had with USC, Bowden said. Bowman made Bowden wait most of the day before reassuring he was always bound for USC. We might look back on that decision as a pretty consequential one, if Bowman lives up to his billing from Bowden as “one of the best players in the country.”

—USC is putting a lot of faith in its linebacker room for 2026. Bowden says he thinks the room will “take the biggest leap” of any position next season, but for the moment, that would require quite a bit of projection. Riley pointed to the progress from Desman Stephens down the stretch of last season, as well as the late emergence of Jadyn Walker, as reasons why USC didn’t feel the need to add more in the transfer portal. USC did add Deven Bryant, who the front office viewed as a quality run defender, and welcomes a freshman in Talanoa Ili who could be involved right away.

—The Big Ten is still pushing the 24-team Playoff – *shakes head* – but its plan isn’t all bad. I am not a fan in the slightest of doubling the size of the Playoff. That would significantly devalue the regular season, while lining the coffers of college football’s ruling class. The Big Ten has dominated the last three years of the 12-team Playoff, and yet it wants to open the field up more? It doesn’t make sense. What does sound logical to me, amid an otherwise insane plan, is the elimination of the conference championship games. Not only would that cut a full week out of the calendar, which needs to happen, it would do away with any questions about whether teams can hurt their resume just by playing another game. Go to 16 teams, do away with conference championship games and please — I beg you — stop tweaking the system.

—USC baseball’s season opened with a combined no-hitter. After beating Pepperdine in its season opener, the Trojans went one step further in their Saturday matchup, serving up the school’s first no-hitter in eight years. Sophomore right-hander Grant Govel went seven innings and struck out 10 batters while walking just one, and freshman Cameron Fausset closed the door with another hitless inning before Andrew Lamb hit a two-run homer to invoke the 10-run rule. Hard to imagine a better start to USC’s first season back on campus.

Olympic sports spotlight

After winning its first indoor NCAA title in 53 years last season, the future of USC men’s track has looked strong this indoor season.

Jack Stadlman, a Temecula native, set the indoor 400-meter freshman record at USC, finishing in second with a 45.51 on Day 1 of the Don Kirby Elite Invite on Friday. Stadlman actually didn’t start running track until his junior year at Temecula Valley High and didn’t start running the 400 until last spring. Now already he’s run the fastest indoor time ever for a freshman at USC and the fourth-fastest time in the NCAA in the event this season. That should set Stadlman up nicely for next month’s NCAA indoor championships.

Freshman Cordial Vann also made a strong impression, tying the indoor freshman record at USC with a 6.60 in the 60-meter sprint. The NCAA best so far this year is a 6.49.

In case you missed it

USC coach Lincoln Riley completes staff featuring new defensive blood, continuity

‘She’s unique.’ Jazzy Davidson helps USC climb out of early hole and win fifth in a row

USC men come up a bit short against Ohio State

What I’m watching this week

Timothée Chalamet in “Marty Supreme.”

I finally had the chance this past weekend to watch “Marty Supreme,” the best picture nominee starring Timothée Chalamet and directed by Josh Safdie. And boy was it worth the wait.

Let me start by saying that I generally dislike sports movies. There are exceptions to this rule, of course. But as someone who spends a lot of time thinking about the beauty and romance and drama inherent to sports, I am a documented hater of the genre.

“Marty Supreme,” though, was no ordinary sports movie. This was a propulsive, anxiety-inducing roller coaster ride as we follow Marty Mauser, played by Chalamet, as he tries to become the face of the emerging sport of table tennis in a post-World War II America. Those plans, as you might imagine, unravel along the way, and in the process, Chalamet gives one of the best performances of the year.

I’m still partial to “One Battle After Another” if we’re talking best picture in next month’s Academy Awards, but “Marty Supreme” is no doubt one of the best movies of the last year.

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 ryan.kartje@latimes.com, and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.

NORTH CHARLESTON, S.C. — This state was such a lost cause for Bernie Sanders the last time he ran for president that the candidate stopped coming here in the crucial stumping days before the 2016 primary election. He got crushed, losing by 47 percentage points.

So the Rev. Al Sharpton on Wednesday morning found himself doing a double take to be here, of all places, introducing the Vermont senator at his candidate breakfast as the nationwide Democratic front-runner.

“Many never thought ‘Bernie Sanders’ and ‘front-runner’ would be in the same sentence,” said Sharpton, the civil rights activist whose blessing is eagerly sought as Democratic candidates seek inroads with black voters.

At a time when Sanders’ rivals are in a full state of panic over his momentum and have shifted from ignoring the democratic socialist to putting all their energy into trying to stop him, they are particularly alarmed by the traction he has been getting in this state, where some 60% of Democratic primary voters are African American.

It reflects the depth and durability of the Sanders coalition, which has exploded in size with his success.

“The question black folks in the South were asking before was: ‘Who is Bernie Sanders?’” said Justin Bamberg, a South Carolina lawmaker and civil rights attorney supporting Sanders. “Now, it is not ‘Who is Bernie Sanders?’ It is ‘Why not Bernie Sanders?’”

Sanders may not win here in South Carolina; the latest polls continue to show Joe Biden winning and holding the largest share of African American voters. But there’s little question that Sanders has drawn substantially more support from black voters this time around than four years ago. His message hasn’t shifted at all. His appeal to nonwhite voters has.

“We have come a long, long way” in South Carolina, Sanders told a raucous crowd at a rally here Wednesday.

Hillary Clinton and Bernie Sanders debate in January 2016 in Charleston, S.C. Sanders lost the state by 47 percentage points that year.

(Timothy A. Clary / AFP-Getty Images)

Only 53% of black voters nationwide had a favorable view of Sanders at this point in the last presidential race, according to Gallup, nearly 30 percentage points lower than for opponent Hillary Clinton. But a recent NBC News/Wall Street Journal poll found black voters this cycle just as inclined to vote for Sanders as for any other candidate — a turnabout from months ago, when the same poll had Sanders far behind.

In South Carolina, the Sanders campaign absorbed the lessons of the senator’s flop here in 2016. In the intervening years, Sanders and surrogates have returned to the state again and again, visiting its small towns and urban centers, knocking on doors, networking with local officials, just listening. In this state, politics is as much about who you know as what you know. And the Sanders operation got to know a lot of communities.

“He has learned from his mistakes,” said Antjuan Seawright, a South Carolina political consultant not aligned with any candidate in the primary. “He’s learned how to engage, how to prioritize certain communities, where to make investments. His team on the ground has figured out where votes are and who they can activate.”

The success Sanders has had in the few states that have voted already also plays big, but that momentum only goes so far. Sanders learned that in 2016, after his shellacking of Clinton in New Hampshire did nothing for him here and in other Southern states. And Pete Buttigieg, the former mayor of South Bend, Ind., is learning that lesson anew as he struggles to translate strong showings in Iowa and New Hampshire into votes in the South.

The Sanders campaign and Our Revolution, the progressive organization launched by his backers, never stopped building infrastructure here after 2016. They doubled down on efforts to reach potential voters who weren’t politically engaged. The Sanders staff here is twice the size it was in 2016. At this point in that election cycle, Sanders had just five endorsements from state lawmakers here. Now he has racked up at least 36.

At his rally Wednesday, Sanders boasted that his campaign has knocked on 200,000 doors in South Carolina this cycle.

As rival campaigns pursue consultant-driven strategies centered on ads, news releases and press conferences designed to cast doubt on Sanders’ ability to go the distance, the senator’s grass-roots approach has been drawing in voters like Rebecca Bentley.

Bentley didn’t vote for Sanders in 2016; she didn’t vote for anyone. “I didn’t have any political views,” she said. “I was completely uninvolved.”

The 29-year-old who has been on Medicaid much of her life and has also lived in federally subsidized housing was inspired to register to vote by Sanders’ agenda on healthcare and other social programs.

“It really resonated with me that someone was actually listening,” said Bentley, who described herself as Hispanic and Native American.

It is a familiar story in this state, where the Republican leadership refused to participate in the expansion of Medicaid that was offered to states by the Affordable Care Act.

“The issues Sanders is talking about are resonating here,” said Bruce Ransom, a political science professor at Clemson University. “The Trump administration is talking about how well the economy is doing, and folks here are not doing that well. They are living in a state where the Medicaid expansion did not take place. Many of them would like to make $15 an hour,” as Sanders is proposing for the minimum wage.

As rivals focus intensely on branding Sanders as unelectable in November, many voters aligning with him for the first time are seeing just the opposite.

Among them is Dawn Pemberton, who supported Hillary Clinton in 2016 and is now all in for Sanders.

“That moderate, middle box just doesn’t seem to be working for our country,” said Pemberton, 48, who recently left a job in real estate.

Gerry Elliot also supported Clinton in 2016. “My more pragmatic head took over,” he said. “I thought Hillary could win. I didn’t think Sanders could win.”

Now, the 51-year-old pastry chef is not so sure. He is wavering between Sanders and Massachusetts Sen. Elizabeth Warren. “I’m looking for something different,” he said. “I just want change in the status quo.”

Biden’s poor showing in the states that have voted so far has some voters reconsidering their initial instinct to align with a pragmatist establishment candidate who had seemed best equipped to beat Trump.

“A former vice president, particularly one under Barack Obama, should not be getting crushed in any state,” Bamberg said. “You should not be getting blown out. People here have eyes and ears. They see it. They want someone they feel can win long term.”

So some voters in South Carolina are giving Sanders a fresh look.

The campaign officials and volunteers who in 2016 would encounter a voter already aligned with Hillary Clinton at nearly every door they knocked on tell a very different story now. Sanders is just as much a household name.

Actor Kendrick Sampson, an Angeleno and Texas native who was here campaigning for Sanders in 2016, said he understood the skepticism voters had at the time.

“You don’t come into Texas talking about nothing — I don’t care how much I agree — if we don’t know or trust you,” he said. “Especially if you are not from Texas. People [in South Carolina] just didn’t know who he was.”

Sampson is back again talking to voters at their houses, at barbershops, in restaurants, and the reception is different. “Now they know who he is, and they know his brand,” Sampson said. “And now they trust him.”

“A generation ago, midlife might have been a bit of a snore, right? You have your job you’re going to be in for your whole career. You have your house in the suburbs … I don’t think established adulthood is that established anymore,” author Emily Nemens told me from her home in Princeton, N.J., before heading out on a cross-country book tour. “It’s much more pressurized and uncertain.”

This is the foundation of the former Paris Review editor’s sweeping and exquisite sophomore novel, “Clutch,” which features an ensemble cast of five women — all 40, give or take, and longtime friends — who reunite in Palm Springs, each at their own trying crossroads.

Nemens is no stranger to writing group dynamics; her critically acclaimed debut novel, “The Cactus League,” is structured in interlinked stories. She wrote it while juggling a distinguished career at literary quarterlies and making a name for herself as an artist. In the 2010s, her watercolor portraits of U.S. congresswomen went viral for their commentary on political portraiture and the “power suit.” At the time, women made up only 17% of Congress. Her new work also draws on politics — “Clutch” is set in an era shaped by the Dobbs decision and the state of women’s health in America.

The Times talked to Nemens about favoring friendship on the page, bodily autonomy and her influences including California artist Wayne Thiebaud — whose painting “Supine Woman” is featured on the cover of her novel.

This Q&A was edited for length and clarity.

When did the idea for “Clutch” first come to you?

I went to Palm Springs with my girlfriends. The dynamics, the friction of getting people together who love each other a lot but haven’t seen each other for quite a long time was eventful and felt like something to write about.

On your inspiration for the novel: You’ve previously mentioned Mary McCarthy’s novel “The Group,” which has also been cited as a precursor to “Sex and the City.” How far have we come since “The Group” was published in 1963? How about “Sex and the City” in the late ‘90s? “

McCarthy was writing in the ‘50s and ‘60s about the ‘30s and “The Group” was meant to highlight all the progress women had (and hadn’t) made in this new society, new economy, new technologies, birth controls coming on. There’s a certain amount of new liberation that came purportedly in the ‘30s, purportedly in the ‘60s, purportedly in the ‘90s. I mean, progress is certainly being made. You and I can get birth control and have our own credit cards, but there’s also a lot of things that don’t feel great. A reigning plotline in “Clutch” is about reproductive freedom in Texas in the 2020s and just how devastating that was for so many people who care about bodily autonomy, and that doesn’t feel very different than it did in the 1930s.

“Clutch” puts a cast of millennial girlfriends front and center.

Yeah, I’ve read a lot of books I admire about singular protagonists. A woman rebelling from a marriage or striking out from the role of motherhood or otherwise trying to find meaning. These novels about a singular quest. And I just kept coming up against that and thought: What happens when you try to build the infrastructure of friendships on the page?

We get intimate access to each of these five women — a writer, litigator, ENT physician, an actor turned politician and a consultant turned caretaker. All of them live in various parts of the country, including California, Texas and New York. It must have been hard to balance so many perspectives, plotlines and an omniscient narrator on top of it all.

I broke a lot of rules with that third ping-ponging perspective. Sometimes perspectives shift within a page, within a scene, moving rapidly and gleefully between points of view, and using that omniscient voice to steer us around — that was fun. I was cognizant of balance and understanding the lazy-Susan of it. Making sure I was spinning all the way around the table and touching each piece in each storyline.

Why midlife?

I love a bildungsroman as a novel conceit and as a framing device. But, sometimes, moving beyond that realization of the adult you want to be and actually being that adult is harder and more complicated and maybe more interesting, at least as I am and perceive it right now.

You’ve worked as an editor in some of the literary world’s most prestigious posts, notably at the Paris Review. Do you miss it since pivoting toward your own writing and teaching?

Making magazines was a thrill and a gift and exhausting. In that order. Not every editor is quite as catholic with a little c, as ecumenical, as excited about such a range of writing as I am. I wanted to see not one style of writing, but a broad range of writing that I felt had both ambition and execution.

One of the things that’s hard about being an editor, particularly an acquiring editor, is how often you have to say no. As a teacher now, I never say no. I say “yes.” Instead, I ask: What else can this be doing? That attitude adjustment is glorious.

Back to “Clutch,” what does female friendship mean to you? Do you see your friends’ qualities in these five women?

Female friendship has been such a gift. I don’t have children, I have a really supportive partner and I have this wonderful, creative professional life, but I can’t imagine it without my friends. There are certainly flints of autobiography and different friends in different characters — they’ve read it and liked it, and if they saw themselves, they were pleasant about it.

Tell me about the painting on the cover of the book. It really speaks to what these women are going through.

Getting the rights to the painting was a real coup! It’s called “Supine Woman” by Wayne Thiebaud. It was painted in 1963 — its own little Easter egg is that it came out the same year as “The Group.”

It depicts a woman dressed all in white who is lying on the floor. You’d assume from the pose that she’s sleeping, except her eyes are wide open, and in this frightened or startled expression. To me, it’s indicative of what the women in “Clutch” are going through. This is that moment right after you get knocked down, right before you get up again and that emotional tenor proceeds for a lot of the novel.

Lancaster is a London-based writer of fiction, fashion editorial and screenplays.

When “Dawson’s Creek” premiered on Jan. 20, 1998, I was 11 years old. I had never been in a love triangle or gotten drunk at a house party. Yet, like so many other millennials, I religiously set the VHS player to record “Dawson’s Creek” every week on the WB.

My parents didn’t approve of their impressionable child devouring the semi-debaucherous teen melodrama, so I labeled the VHS tapes “The Brady Bunch,” then routinely snuck out of bed late at night to quietly watch Dawson, Joey, Pacey and Jen navigate their hormonal angst via unbelievably erudite dialogue.

On Wednesday, “Dawson’s Creek” star James Van Der Beek died at 48 after being diagnosed with colorectal cancer. He left behind six kids, a wife and decades of work across film and television.

But for many millennials, he will always be Dawson Leery.

Van Der Beek’s health was already in decline when I profiled “Dawson’s Creek” creator Kevin Williamson for The Times last year. Still, the actor kindly agreed to answer questions for the piece via email. His commentary went beyond what was expected, graciously detailing his time on the show and praising his co-stars and collaborators.

In the “Dawson’s” audition room, for example, Van Der Beek said his soon-to-be co-star Joshua Jackson “stood out because while other actors nervously went over their sides (myself included), he had the energy of a guy who was ready for a prize fight. I remember thinking, ‘THAT GUY is really interesting. If they cast him as Pacey, this is going to be really good.’”

James Van Der Beek, left, and Joshua Jackson in “Dawson’s Creek,” which would launch them to stardom.

(Fred Norris/The WB)

Van Der Beek likewise effused that, as a showrunner, Williamson “felt like a friend who was excited to go make a movie in his backyard. Even the way he ‘pitched’ storylines — it was never a pitch. It was a campfire story about people he cared about that he’d unfold in such a simple, compelling way that you couldn’t help but care about them too.”

Millennial viewers did care. A lot.

“Dawson’s Creek,” a simple drama about four friends growing up in a small, coastal town, quickly became a defining touchstone of Y2K culture, a major hit for the WB network — the series finale drew more than 7 million viewers — and a star-making machine for its four leads: Van Der Beek, Jackson, Katie Holmes and Michelle Williams.

The floppy-haired, often flannel-clad Van Der Beek wasn’t the show’s breakout heartthrob. (That honorific belonged to Jackson, who played Pacey, Dawson’s charming best friend and Joey’s end-game paramour.)

But as the title character and a partial avatar for Williamson — who had similarly spent his own teen years dreamily pining and aspiring to be a filmmaker — Dawson was the boy-next-door pillar around which the show orbited.

Yes, Dawson was whiny and moody and extremely self-centered, but so are a lot of teenagers. Through Van Der Beek’s wistful performance, viewers were given a window through which to grapple with betrayal, death, heartbreak and a litany of bad decisions.

For better or worse, Dawson served as an emotional, often cautionary, proxy for millennials’ own coming-of-age messiness.

In the years since the series ended in 2003, Dawson has largely been reduced to the “Dawson crying” meme: a Season 3 screenshot of Van Der Beek, face contorted in pain and on the verge of crying messy, heaving tears as Dawson tells Joey she should choose Pacey over him.

The emotional relationship between Joey and Dawson was core to the series.

(Fred Norris/The WB)

Van Der Beek later revealed that the tears weren’t scripted. So attuned had he become to his character’s sensitivity by that point that the emotions flowed naturally.

“I think at the heart of [Williamson’s] projects are characters that he himself cares about deeply — flaws and all,” Van Der Beek said in his email last year. “They’re authentic to their background, sincere according to their world view… and vulnerable.”

Van Der Beek was vulnerable, too. As his cancer progressed, he was open with fans about his health struggles and the early warning signs. He appeared via video at a “Dawson’s Creek” reunion event in New York City last September, the proceeds of which raised money for cancer awareness.

In Van Der Beek’s death, there is no real-world instrumental score or innate montage of his best moments to soften the blow, as would have happened with a character on “Dawson’s Creek” (though the internet will surely be awash in such fan-made edits).

But through his work on “Dawson’s,” a generation can take comfort in a starry-eyed boy on a dock in Capeside who once invited us into his messy, emotional world.

The customer praised the under-seat travel bag after using the luggage for a trip

Holidaymakers looking for budget-friendly cabin bags might like a £4 option that has the backing of an easyJet passenger. The shopper recommended the ‘amazing’ luggage to fellow travel fans in a social media post – and it could be ideal for passengers who don’t want to pay extra for bags.

According to easyJet’s website, all customers can carry one small under-seat cabin bag on their flights for free, provided it’s no larger than 45 x 36 x 20 cm. As such, customers could choose B&M’s Womens Under the Seat Handheld Bag, which measures L45 x W20 x H35cm.

Available in three colours, the B&M bag is currently on sale for £4, marked down from its original price of £8. The product description for the travel bag states: “Travel with convenience using this Bordlite Women’s Under the Seat Handheld Bag. Suitable for most airlines.”

It also has the backing of a shopper who used the bag on a flight and then recommended it to other passengers. Replying to a Facebook post asking for easyJet bag suggestions, a shopper named Kimberley wrote: “This from B&M is amazing and only £4.

“Just took the pink one with me as a carry-on on my recent holiday and I stuffed a lot in it including laptop, heavy books etc and it’s still intact and looks new!”

For shoppers looking for something different, B&M also offers a Bordlite Womens Under the Seat Bag with Wheels, which has been reduced from £16 to £8 and comes in two different colours. It measures L45 x W20 x H36cm.

With the additional wheels, it could be better suited to passengers who prefer not to carry their bags. The product description states: “Travel with convenience using this Bordlite Women’s Under the Seat Bag with Wheels. Suitable for most airlines.”

Alternatively, shoppers might like some of the suggestions shared on the same Facebook post where the B&M shopper praised the store’s luggage. For instance, another shopper highlighted Amazon’s Underseat Cabin Bag, reduced from £24.95 to £17.78, which measures ‎20 x 36 x 45 cm. The customer said: “These are great, various colours.”

The product description claims: “With a capacity of 30L, our easyjet cabin backpack is perfect for packing clothes and travel essentials for 4-7 days.

“A separate wet pocket allowing you to store wet clothes, towels, and toiletries. A 15.6″ laptop compartment and many other small pockets to keep your items well-organised.”

Shoppers should check their luggage and the size requirements for any airlines they are travelling with in advance of travel.

Not long after Pacific Palisades and Altadena had burned, Gov. Gavin Newsom summoned reporters and television cameras to Dodger Stadium. Newsom stepped behind a podium dropped within a stadium parking lot, with a commanding view of Los Angeles as the backdrop.

He was there to unveil LA Rises, a signature initiative under which the private sector and philanthropists could unite to help Southern California rebuild and recover.

The most valuable player that day: Mark Walter, the Dodgers’ chairman and controlling owner. The big announcement: Walter and two of his associated charities — his family foundation and the Dodgers’ foundation — would contribute up to $100 million as “an initial commitment” to LA Rises.

“We should clap for that,” Dodgers co-owner Magic Johnson told the assembled media. “A hundred million dollars, that’s an outstanding thing.”

One year later, Newsom’s initiative has struggled to distinguish itself amid a panoply of wildfire relief efforts. LA Rises has delivered $20 million to date, including $7.8 million from Walter’s family foundation, according to Newsom’s office.

“If it’s a number of 20 million after one year, after such a severe occurrence, and with Los Angeles having the giving capacity to meet that goal, I would have expected to hear that there had been more commitments, at a minimum,” said Casey Rogers, founder of Santa Barbara-based Telea Insights, which advises philanthropists and leaders of nonprofit organizations.

“Maybe not all of those commitments would have been paid. Maybe they would have been commitments over a number of years. But it would have been closer to the goal.”

Walter stands by his pledge, Dodgers president Stan Kasten said. A representative of Newsom’s office said Walter’s pledge did not come with a timeline.

“I know we haven’t spent the full 100 yet,” Kasten said, “but this is a long-term commitment.”

Rather than solicit large donations up front and determine how to use the money later, LA Rises prefers to identify “impactful opportunities for investment” as they arise and then “coordinate financial support from a variety of private, public and philanthropic donors, including the Walter Family Foundation,” said Dee Dee Myers, director of Newsom’s office of business and economic development.

Of the Walter foundation contributions, $5 million went toward grants for impacted small business, workers and nonprofits, with $2.8 million to Pasadena City College for modernizing and expanding technical education programs to train workers that can help rebuild their own communities.

LA Rises also funded programs that include day camps and mental health intervention to children affected by the fires; streamlined architectural planning and permits for survivors wishing to rebuild; and support for Habitat for Humanity in building new homes and rebuilding damaged ones.

“The administration is incredibly grateful for any philanthropic dollars that have gone towards the rebuilding efforts in Los Angeles,” Myers said.

The competition for those dollars is fierce. The Milken Institute reported that private giving toward wildfire relief — from individuals, corporations and other entities — hit nearly $1 billion last year.

“I know there has been a lot of money that has been paid to various programs,” Kasten said, “and there has also been some rethinking about how LA Rises is deployed and what foundational money from the Dodgers is used for. We continue to work hard with a lot of groups on that tragedy.

“There are talks ongoing about a variety of programs and a variety of ways of funding things. We are still very involved with this, both with LA Rises and other entities.”

Kasten did not rule out Walter shifting some or all of his remaining funding commitment to an organization outside LA Rises.

“I don’t know exactly what entity we will be formally engaged with — or doing it separately — but we’re absolutely committed to helping out those programs that need that kind of help,” he said. “We’ve done a lot of it already, and we can do a lot more.”

Netflix Inc. Co-Chief Executive Ted Sarandos pledged to maintain a 45-day theatrical window for Warner Bros. films during a Senate subcommittee hearing Tuesday.

Sarandos also tried to dampen concerns about potential job losses and U.S. production declines related to the companies’ proposed multibillion-dollar deal.

During a two-hour hearing before the Senate Subcommittee on Antitrust, Competition Policy and Consumer Rights, Sarandos told lawmakers the proposed merger would not run afoul of antitrust concerns and would, instead, “strengthen the American entertainment industry.”

About 80% of HBO Max subscribers also have Netflix subscriptions, which he said showed the two services were “complementary.” Netflix also plans to increase its film and television production spending to $26 billion this year, with a majority of that happening in the U.S., he said.

“We are doubling down, even as much of the industry has pulled back,” Sarandos said, according to a written transcript of his opening remarks. “With this deal, we’re going to increase, not reduce, production investments going forward, supported by a stronger combined business and balance sheet.”

Sarandos was joined at the hearing by Warner Bros. Discovery Chief Revenue and Strategy Officer Bruce Campbell.

When asked by Sen. Adam Schiff (D-Calif.) whether senators should expect a “round of layoffs” or consumer price increases as a result of the deal, Campbell said no. He pointed to Netflix’s lack of comparable film and TV studios, or the distribution infrastructure that Warner Bros. has.

“We believe, based on our discussions with them in the negotiation process, that they’re not only going to keep those operations intact, in fact, they’re going to invest in those operations and invest in continued production, including on our lots in Burbank and elsewhere,” Campbell said.

Paramount Chief Executive David Ellison was also invited to appear as a witness, but declined because he did not believe it would be useful or helpful since the company’s bid for Warner had been rejected, Sen. Cory Booker (D-N.J.) said during the hearing. Ellison did, however, meet with him and other senators privately to answer questions, Booker said.

Sarandos also tried to assuage concerns about the deal’s potential effect on theatrical distribution.

“I know I’ve earned some skepticism over there over the years on this because I was talking a lot about Netflix’s business model, which was different from that,” he said. “We didn’t own a theatrical distributor before. We do now, and a great one.”

When asked if the 45-day window would be “self-enforced,” Sarandos agreed, saying that was an industry standard. He did, however, note the general caveat that “routinely, movies that underperform, the window moves a little bit” but is still referred to as a 45-day window.

And in a sign of the growing role politics has played in the perception of the deal, Sarandos tried to sidestep questions from Republican senators about perceived “woke” content on the streaming platform, as well as inquiries from Booker about President Trump’s involvement in the merger. Trump previously said he “would be involved” in his administration’s decision to approve any deal.

The hearing comes just two months after Netflix prevailed in a hotly contested bidding war for Warner Bros. The $72-billion deal would dramatically reshape the Hollywood landscape and give the streamer control over Warner Bros.’ storied Burbank film and TV studios, its lot, HBO and HBO Max.

Netflix also agreed to take on more than $10 billion in Warner Bros. debt, pushing the enterprise value of the transaction to $82.7 billion.

But Paramount has continued to pursue the company, fighting to acquire all of Warner Bros. Discovery, including its cable networks.

The company, led by Ellison, has made a direct appeal to Warner shareholders to tender their shares in support of a Paramount deal. A deadline for that offer was recently extended to Feb. 20.

Paramount has also filed proxy materials to ask Warner shareholders to reject the Netflix deal at an upcoming shareholders meeting.

Welcome back to the Times of Troy newsletter. When you read this, I will hopefully be lying on a beach somewhere on Maui. Which means the Times of Troy will be taking a brief break next week. A tanner — read: redder — version of me will be back and recharged the following Monday. With the whole family coming and three kids under three in the mix, though, hopes of reaching peak relaxation may be slim!

But before I’m off, let’s dive a little deeper into the defense that the Trojans’ new defensive coordinator, Gary Patterson, plans to bring with him to USC.

In the 1997 edition of the American Football Coaches Assn.’s annual Summer Manual, Patterson, then just 37 and in his second year as New Mexico’s defensive coordinator, laid out his vision for the scheme that later became his calling card.

The 4-2-5, at that time, was unique in college football. The spread offense was just starting to take root, and Patterson wanted a scheme built to stop it. What he designed, it turns out, would still stand up almost three decades later.

That’s primarily because Patterson’s defense was built specifically to be adaptable, year to year, week to week, even play to play.

“Defenses must have enough flexibility in their scheme to limit offenses in their play selection, but be simple enough to be good at what they do,” Patterson wrote in 1997. “During a game we must look like we do a lot, but only do enough to take away what offenses do best.”

Patterson’s scheme has evolved plenty since then. But the principles remain the same. At its most basic level, the scheme uses four down linemen, two linebackers and a “five-spoke secondary” that utilizes three safeties (strong, weak and free). The safeties, in Patterson’s defense, are the glue that binds the scheme together. At any point, two of the three can walk up — to defend the run, for instance — and the look becomes more of a 4-4 defense. Or one can move up for a 4-3 look. It all depends on the offense’s personnel and tendencies.

“He’s going to scout you until his eyeballs come out,” former Texas coach Tom Herman said back in 2018.

The ability of Patterson’s defense to adapt on the fly to fit the situation makes it difficult to exploit. The idea, as Patterson sees it, is to confuse the offense as much as possible, both at the line of scrimmage and in the defensive backfield.

That’s not a revolutionary concept. What makes his approach especially distinctive is that every play includes two separate calls on defense, one for the front six and another for the secondary. The secondary is actually split into two as well, allowing Patterson to have each side playing different coverages, if he so desired. Meaning on any given play, one cornerback might be in man coverage while the other is in zone.

Sounds complicated, right? Well, that’s the idea.

“At first, I thought, ‘Man, it’s gonna be hard,’” said David Bailiff, who was Patterson’s first defensive coordinator at Texas Christian. “But it’s like algebra. When you get it, it’s a piece of cake. And he’s a great teacher of it, too.”

How his defense might look at USC is still to be determined. As of last week, Patterson was still learning his new players’ names, let alone understanding how to use their skillsets. But he said last week that he expects to “add to what we do” at USC now that he can get bigger, faster and stronger athletes on the field than he had at TCU.

He’d initially conceived of the 4-2-5 to account for a talent disparity at New Mexico and TCU, where Patterson only cracked the top 20 in recruiting class rankings once in two decades as coach. At USC, though, that won’t be a problem. Which begs the question: What might Patterson’s defense look like with a host of four- and five-stars at his disposal?

“The better the athlete we have, the more an offense must contend with our individual ability, plus the multiplicity of the scheme,” Patterson wrote in 1997. “We want offenses to guess what they should spend most of their time working on. Our job is to find out what their answer is.”

Patterson hasn’t led a defense since 2021. But as he sets out to install his scheme in the coming months at USC, the hope is that it’s the answer to what’s been missing through four years of Lincoln Riley.

Way-too-early game-by-game prediction for 2026

The Big Ten rolled out its schedule for 2026, and USC’s slate is just as challenging as we expected. There are way too many questions still to be answered to have any real idea how the season might shake out for the Trojans. But as a thought exercise, why not give it a go, anyway?

Aug. 29 vs. TBD: USC hasn’t finalized who will fit into this slot (more on that below), but whoever it winds up being won’t stand a chance of upending the Trojans in their season opener.

Sept. 5 vs. Fresno State: The Bulldogs were no pushover in Year 1 under Matt Entz, who traded his post as USC’s linebackers coach for Fresno. But USC has too much firepower.

Sept. 12 vs. Louisiana: The Ragin’ Cajuns have one of the best nicknames in college football. And that’s where their advantages over USC stop.

Sept. 19 at Rutgers: Traveling as far east as possible for a Big Ten opener isn’t ideal, and I could see USC opening a bit rusty. The Trojans still roll.

Sept. 26 vs. Oregon: Here’s where things get interesting. It will have been almost a decade since USC last beat the Ducks when they meet this fall in the Trojans’ conference home opener. Dante Moore is back, but I think this game will be more evenly matched in 2026. My instinct says it’s a loss, but I reserve the right to change later.

Oct. 3 vs. Washington: This is a tricky one, especially right after the Oregon matchup. Husky quarterback Demond Williams is the real deal, even if he did try to bail for LSU in the offseason. That shouldn’t be an issue when he hits the field. Especially since the defense backing him up could be among the best in the nation. USC barely escapes with a win in this first simulation.

Oct. 10 at Penn State: Woof. USC travels to State College at the end of a three-game gauntlet that could decide its season. We don’t know much about the Nittany Lions yet, but I believe in Matt Campbell, and playing at Beaver Stadium — and probably in a White Out game — is no joke. Another toss-up, but if USC’s beat-up at all by this point, it could struggle.

Oct. 24 at Wisconsin: Camp Randall is one of college football’s best venues, but the Badgers won’t be able to keep up with USC.

Oct. 31 vs. Ohio State:Halloween at the Coliseum delivers USC’s most frightening matchup of 2026. My guess — and I’m going out on a limb here — the Buckeyes will be dominant again. If USC can score a win here, making the Playoff should be a foregone conclusion.

Nov. 14 at Indiana: The defending champs may look a lot different next season, but I still trust Curt Cignetti to get it done. Especially at home. USC starts 3-4 in the Big Ten.

Nov. 21 vs. Maryland: The loss to Maryland two years ago was one of the worst in my tenure on the USC beat. The Terps are better now, but I don’t see USC slipping up again.

Nov. 28 at UCLA: It’s impossible to say what UCLA will look like in the fall, but I wouldn’t be surprised if Bob Chesney has them competing right away. For now, I’ll stick with USC as my crosstown winner.

Final record: 8-4.

USC will need to reach 10 wins to make the College Football Playoff. But it might be an uphill climb just to reach nine. USC will need to win at least one of its matchups against Oregon, Indiana and Ohio State, then also survive toss-up games against Penn State and Washington.

Zachariah Branch helped USC defeat San Jose State 56-28 in 2023.

(Jae C. Hong / Associated Press)

—USC has just 11 games scheduled for 2026. What’s going on with that 12th game? With Notre Dame and USC unable to reach a deal to extend their rivalry, USC still has one slot left to fill in its 2026 non-conference slate. That open game will be played at the Coliseum, during Week Zero on Aug. 29 because by opting to play in Week Zero, USC will get the privilege of a second bye during the season, where other Big Ten schools only have one. The problem is playing that early requires an exemption from the NCAA. So if USC intends to play the game at home, that means its only path to playing in Week Zero is to find a team that’s also playing at Hawaii. Any team playing Hawaii is allowed an exemption to play a 13th game in its season. Very few teams fit that criteria and still have an opening in Week Zero. But one makes the most sense, and it’s an opponent that USC opened the season against not that long ago: San Jose State. Don’t be surprised to see the Spartans come to the Coliseum again for the season opener in August 2026.

—Gary Patterson is bringing at least one defensive assistant of his choice to USC. Paul Gonzales, who spent last season as Baylor’s defensive pass-game coordinator, will be the Trojans’ defensive backs coach, taking the place of Doug Belk. Gonzales worked closely with Patterson from 2013 through his 2021 exit at Texas Christian, where he worked with cornerbacks and safeties. USC already has a cornerbacks coach in Trovon Reed. So we can assume that Gonzales will work with the safeties, which are critical in Patterson’s scheme.

—Defensive line coach Shaun Nua and offensive line coach Zach Hanson are staying put. Both had opportunities to leave USC after the season and ultimately opted to stay. Keeping Hanson is especially significant. The Trojans’ standout offensive line coach was in the mix to become an offensive coordinator at his alma mater, Kansas State, where his close friend, Collin Klein, is now the head coach. Yet Hanson still opted to stay, which I think is telling.

—The USC women’s win over No. 8 Iowa might have saved the season. Hopes of a postseason run were looking a bit bleak for USC before last Thursday night’s impressive home upset of the Hawkeyes. But the Trojans are now up to 20th in the NET rankings, with three Quad 1 wins, while a softer part of the schedule approaches. USC still can’t afford to drop too many of its nine remaining games, but the Iowa win is a sigh of relief on that front.

—New Dedeaux Field is still under construction. And will be when USC’s baseball season opens against Pepperdine on Feb. 13. That shouldn’t be a problem when it comes to playing actual baseball games. But the baseball offices, press box and concession stands aren’t finished yet (though, there will be temporary options). As such, baseball games will be free to fans this season. But USC not being able to deliver on the amenities that were promised by the time the stadium opens is a big miss for a baseball program that deserves more respect and could’ve used a boost in fan support. USC chose to prioritize finishing the football facility. Most schools probably would have done the same. For what it’s worth, Andy Stankiewicz, who just led the Trojans to their first NCAA tournament in a decade, has been very understanding of the whole situation.

Olympic sports spotlight

Freshman Max Exsted has been with USC’s men’s tennis program for just a few weeks, but he’s already made quite an impression. The mid-year addition from Minnesota has already won Big Ten Freshman of the Week twice in the first three weeks of the season.

That’s a great sign for a men’s tennis program that must replace an ITA All-American and All-Big Ten player in Peter Makk. The Trojans are 4-3 to start this season under seventh-year coach Brett Masi, whose contract was extended through 2028 in October as part of USC’s wider efforts to lock up its reliable Olympic sports coaches long term.

USC has made the NCAA tournament in four of six seasons under Masi. The expectation should be that that continues this year.

Times of Troy survey results

We asked,”How do you feel about the Gary Patterson hire?”

The results, after 414 votes

Cautiously optimistic it could work, 69.6%
Thrilled! We got a Hall of Famer!, 16.8%
Mildly concerned it will fail, 8.9%
Convinced this will be a disaster, 4.7%

In case you missed it

Ezra Ausar helps USC hold on for a win over struggling Rutgers

Kennedy Smith and USC women stun No. 8 Iowa in a huge statement win

New USC defensive coordinator Gary Patterson outlines his vision for the Trojans’ defense

USC faces brutal Big Ten football slate in 2026

What I’m watching this week

Jon Bernthal and Tessa Thompson in “His & Hers.”

(Courtesy of Netflix)

The mystery thriller genre has really hit a stride recently, with shows like “All Her Fault,” “Beast in Me” and “Task” all getting mentions in this space over the last several months. I don’t think “His & Hers” belongs in that group of standouts, but I’m willing to see it through.

That’s mostly on account of the always-charming Tessa Thompson, who plays a former TV anchor drawn back into an investigation when a murder takes place in her small Georgia hometown. Her estranged husband, played by Jon Bernthal, just happens to be the detective assigned to the case. Both are under serious suspicion right from the jump.

There’s high off-the-rails potential here, as tends to be the case with Netflix thrillers. But it’s also an easy binge, and now that I’ve watched a few episodes, I need to know where this mystery goes.

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 ryan.kartje@latimes.com, and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.

Thousands of cheering fans surround the ice at the Honda Center. The arena is loud, packed with fans in Anaheim Ducks jerseys. As the puck drops and the action starts, players zoom back and forth until — boom! A shot, and the Ducks score. But when the music hits for the first goal of the game, it’s not the typical “We Will Rock You” by Queen. It’s “Come Out and Play” by local heroes, and one of Orange County’s most influential punk bands, the Offspring.

To celebrate the third annual Come Out and Play Night, the Ducks have once again collaborated with the band for an evening of hockey, music and special exclusive merchandise for fans. The event will take place Tuesday at the Honda Center against the Vancouver Canucks. The collaborative effort began in 2024, but at the time, no one knew if it would last, including the Offspring’s guitarist, Kevin “Noodles” Wasserman, who told The Times in a phone interview from Canada while on tour with Bad Religion that he and the band hoped it would be more than a one-time event. “This was the first time we’d ever teamed up with an organized sports team, and the fact that it’s an Orange County team, where we grew up, made it feel right,” Noodles said. “It’s been really fun, but we had no idea how long it would last. Now it’s three years later.”

Merrit Tully, senior vice president and chief marketing officer of the Ducks said that the concept for the collaboration between the club and the Offspring came organically as part of an evolution the organization was going through.

“We started putting a lot more emphasis on the in-arena experience a little over three years ago. That gave us the opportunity to rethink music, not just as something played between periods, but as something that could really elevate the experience for fans and players alike,” Tully said. “As this was happening, we approached our 30th season, and we were really leaning into our Orange County roots. We looked at collaborating with the Offspring, since they grew up just a few miles from here, and their rise happened at the same time our franchise was starting. This just felt authentically Orange County in a way that was hard to ignore.”

Ducks goalie Lukas Dostal and Noodles hold albums by the Offspring.

(Jordan Bathe)

For Ducks goalie Lukas Dostal, who was recently named NHL Third Star of the Week, having a collaboration with a band like the Offspring has special sentimental meaning. “I remember growing up hearing rock music a lot back in my home country, the Czech Republic,” Dostal said. “My parents would play punk rock and metal when they were driving me to the rink for practice, so hearing the Offspring now kind of brings me back to that.”

Dostal said that he loves many rock and alternative bands he remembers hearing back in his home country, such as Linkin Park. He also said that, as an athlete, music is part of his daily regimen, and it is the same with the Ducks. “We listen to music every day, before practice, before games. It’s a big part of how we get ready,” he said. “I grew up listening to this kind of music, so whenever I hear these songs, it just pumps me up.”

For fans who attended the two previous Come Out and Play Nights, people should expect lots of enthusiasm and high energy, mixing the intensity of a concert and a hockey game. “Those nights definitely had a different vibe. You can feel it from the ice,” Dostal said. “The fans are excited, the music is louder, and it just feels like something special for everyone in the building.”

Noodles said he agreed with Dostal and added that he thinks the collaboration makes sense because there are a lot of parallels between punk rock and sports like surfing, skating and ice hockey. “With surfing and skating, there’s always been that mix of flow and violence. You’re carving, you’re gliding, and then sometimes you take a wave on the head,” he said. “Hockey has that same thing. It can be really violent, but then there are moments where it’s all speed and movement.”

With a band having a successful career for over three decades, Noodles said there have been instances of being approached by professional athletes who are fans of the Offspring. “Over the years, we’ve had professional athletes come up to us as fans for sure. One time, Dennis Rodman came out onstage with us and did ‘Come Out and Play,’” he said. “Our producer, Bob Rock, is a huge hockey fan and really got us into going to the Ducks and Kings games.”

Members of the band the Offspring pose for a photo during a pre-game puck ceremony of the game between the Anaheim Ducks and the Vancouver Canucks on Feb. 27, 2025, at Honda Center.

(Debora Robinson / NHLI via Getty Images)

Noodles said he appreciates that a band like the Offspring has generations of fans and values how much the OC music scene is still thriving. “We’ve always had late teens and early 20s kids in the front row, but now we’re seeing younger kids and their parents, too. There’s a really wide age range at our shows now, and that’s been pretty cool to see,” he said. “The Orange County scene is still really alive. You see a mix of people from the old bands, but there are also a lot of younger bands coming up. I actually love going to see younger bands because nobody cares who I am. I can just stand in the pit and watch the show.”

This idea of generations of fans is also seen in the NHL, and Dostal agrees it can be seen with fans of the Ducks. He said this is one of the reasons he loves working with an OC band. “The Offspring are local, the Ducks represent Orange County, and I’m really happy I can be part of something that connects the two,” he said. Dostal also said that a custom collaborative design on a mask will be revealed at the Come Out and Play Night against the Canucks. “I worked with the guys in the Offspring, we threw around ideas together, and I told them they could basically do whatever they wanted. I’m really excited for fans to see it,” Dostal said.

Fans of the Ducks and the Offspring can expect a night to remember. It’s all about connection, and giving fans of the music and the team a chance to bring the worlds of sports and punk together for one special night. “Beyond ticket sales, we look at how fans respond in the building,” Tully said. “When we score and the arena reacts together to an Offspring song, that tells us the connection is real.”

Dostal agreed with the sentiment and said he is humbled by the collaborative event, which he said is fan emphasized. “The Offspring is a huge band all over the world, so being able to work with them and represent that on the ice is something I really appreciate.”

MELBOURNE — Elena Rybakina finally won her second Grand Slam title with a victory over top-ranked Aryna Sabalenka at the Australian Open on Saturday, and it was something of a testament to quiet achievers.

After some tumult at the start of 2025, including the suspension of her coach, Rybakina finished off last year with a title at the WTA Finals in November. And now she has started the new year with a major championship.

Her low-key celebration was symbolic of her understated run through the tournament: a small fist pump, a quick embrace with Sabalenka, a handshake with the chair umpire, a smile, and a few hand claps on the strings of her racket and a wave to acknowledge the crowd.

It happened quickly after Rybakina closed with an ace to cap a third-set comeback and a 6-4, 4-6, 6-4 win over a regular rival who beat her in the final here in 2023.

“The heart rate was definitely beating too fast. Even maybe [my] face didn’t show, but inside it was a lot of emotions,” the 26-year-old Rybakina, who was born in Moscow but represents Kazakhstan, said of her calm and clinical finish.

She knew she had to capitalize quickly this time, after she acknowledged getting tight and needing almost a half-hour from her first match point to her match-winning point in a semifinal win over Jessica Pegula.

Elena Rybakina plays a backhand return during the women’s singles final at the Australian Open on Saturday.

(Dita Alangkara / Associated Press)

Three years ago, Rybakina won the first set of the Australian Open final but lost the match in three.

This time, after breaking in the first game and taking the first set, she rallied after losing the second set and going down 3-0 in the third. She won five straight games to regain control.

“It gives me a kind of relief,” she said, “also, a lot of confidence for sure for the rest of the season.”

It was a second major title for fifth-seeded Rybakina, who won Wimbledon in 2022 and entered that Australian final three years ago as the only major winner in the contest.

While Sabalenka went on to win another three majors, including back-to-back triumphs in Australia and the 2024 and ’25 victories at the U.S. Open, Rybakina’s results dipped and she didn’t reach another major final until this tournament.

Career change

A win over Sabalenka at the season-ending WTA Finals has changed her career trajectory. She has the most match wins on tour since Wimbledon, and is now on a roll of 20 wins in 21 matches.

“Last year I didn’t start so well,” she said. “I qualified for the [WTA] Finals late. I just hope I can carry this momentum. Do a good job with the team and continue this way.”

Rybakina is 10-0 in her last 10 matches against top-10 players, and she’ll return to No. 3 in the rankings.

Kazakhstan’s flag was unfurled on the court at Rod Laver Arena after Rybakina had paraded the trophy around and posed for photos with her team.

Coaching team

She paid tribute to her coach, Stefano Vukov, who spent time under suspension last year by the women’s tour. Vukov received a silver plate from the tournament organizers for being the champion’s coach.

“Of course I would like to thank my team,” she said. “Without you it wouldn’t have been possible. Really. We had a lot of things going on [last year]. Thank you to all of you, and hopefully we can keep on going strong this year.

“It’s a win for all the team, all the people who support me,” she said. “I just hope that I can carry this moment throughout the whole season and keep on improving.”

She said she’d been working with Vukov since 2019 and she finds it helpful to hear the constant stream of technical and tactical advice he conveys from his seat beside the court. The more, the better, she said, because eventually she listens.

“We won many titles together,” Rybakina said. “And even last year in Ningbo, WTA Finals, and now this trophy I felt just, again, proud and thankful to my team for the work.”

Win some, lose some

Aryna Sabalenka reacts after winning a point against Elena Rybakina in the women’s singles final at the Australian Open on Saturday.

(Dita Alangkara / Associated Press)

For Sabalenka, it’s back-to-back losses in the final in Australia after going down in an upset last year to Madison Keys.

“Of course, I have regrets. When you lead 3-love and then it felt like in few seconds it was 3-4, and I was down with a break — it was very fast,” she said. “Great tennis from her. Maybe not so smart for me.

“But as I say, today I’m a loser, maybe tomorrow I’m a winner. Hopefully I’ll be more of a winner this season than a loser. Hoping right now and praying.”

Rybakina went on the attack from the start and her serve was strong, with six aces and — apart from the two breaks at the end of the second set and the start of the third — she fended off six of the breakpoint chances she faced.

While Sabalenka’s emotions intensified, Rybakina maintained a determined quietness throughout.

In the end, she let her tennis do the talking.

Just like his famously inventive offenses, Mike McDaniel had many options.

He interviewed for several head coaching jobs after his four-year tenure in charge of the Miami Dolphins ended this month, and he could have been an offensive coordinator pretty much anywhere he pleased.

McDaniel still wants to be a head coach again someday, but he chose to join the Chargers alongside Jim Harbaugh and Justin Herbert because the combination of time, place and personnel seemed perfect for this idiosyncratic coach who also happens to be one of the top offensive minds in football.

“It didn’t take long for me to feel this is what I was looking for,” the Chargers’ new offensive coordinator said Tuesday. “You just want to be a part of a hungry organization with like-minded football people that are doing anything and everything to win. And for me, the opportunity to work with coach Harbaugh was too good to pass up. It felt like I was extremely fortunate to be afforded this opportunity.”

Harbaugh and the Chargers seem equally fortunate to land McDaniel, an ideal candidate for the crucial job of directing Herbert’s career into something worthy of his prodigious talent.

In his introductory news conference, McDaniel immediately went into great detail about what he wants to do for Herbert, who has thrown for 24,820 yards and 163 touchdowns while emerging as one of the NFL’s top passers in his six seasons with the Chargers.

“You have a competitive player that each and every year is trying to get better at his craft, (but) I think he hasn’t neared the ceiling to what he’s capable of,” McDaniel said.

Herbert has consistently shined despite playing with three permanent head coaches, four offensive coordinators and a changing collection of playmakers and linemen around him.

Chargers quarterback Justin Herbert scrambles against the New England Patriots in the AFC wild-card playoffs on Jan. 11.

(Robert Gauthier / Los Angeles Times)

Despite playing in some offensive schemes perceived to be relatively primitive by modern NFL standards, particularly in the past two years under Harbaugh and fired coordinator Greg Roman, Herbert has frequently carried the Chargers through his improvisation, arm strength and sheer competitive will.

Essentially, McDaniel doesn’t want Herbert to have to work so hard.

“There’s a lot of incredible plays Justin has made,” McDaniel said. “He’s firmly capable, and sometimes as a coach you can rely upon that a little too much. … It can be taxing over time for a player to necessitate an incredible play too often, so you try to take it off of him by creating some low-cost, high-reward offense that he’s firmly capable of doing, but maybe a player of lesser talent would be capable of doing as well.”

McDaniel said the Dolphins’ struggles when Tua Tagovailoa was out with injuries reinforced his determination to keep Herbert safer. The Chargers quarterback took 96 sacks in the past two seasons.

“He has an incredible ability to do off-schedule (throws),” McDaniel said. “I think I’ll be firmly coaching away from the off-schedule stuff at the front end, because he can always go back to that comfort zone as you work out other things. I think a primary focus on how to have offense without putting him in a vulnerable position will be a starting point, and we’ll extrapolate from there.”

McDaniel and Herbert spoke last week, and the quarterback is ready to work.

“He was in high spirits and just excited about attacking something,” McDaniel said. “You lose in the playoffs in the first round, it’s a lot of work that you feel kind of like (left you with) an empty stomach. So that hunger, I could hear in his voice.”

Chargers coach Jim Harbaugh attends Mike McDaniel’s introductory news conference on Tuesday.

(Marcio Jose Sanchez / Associated Press)

McDaniel is joining a good team that needed a spark after consecutive 11-6 seasons followed by two playoff losses under Harbaugh. The Chargers have needed that spark to join the NFL’s upper echelon ever since they moved north from San Diego, posting six winning records over nine years with just one postseason victory.

McDaniel could be the ingredient to put the Chargers into championship contention if this partnership with Harbaugh flourishes. The 42-year-old coordinator hit it off immediately with his famously square-looking new boss.

“I feel like we’re the same guy,” McDaniel said while Harbaugh laughed at the back of the room. “He’s just taller. No, I think one thing we share is that Jim has never patterned himself after somebody. He’s his own person, and I would say that hopefully I would be described in a similar fashion. Who knows? I might be a 100% Dockers coach now.”

The fashion-forward McDaniel’s line was even funnier because he delivered it while wearing what appeared to be a $12,000 Bottega Veneta woven leather jacket.

The chance to learn from Harbaugh was important in his decision, but McDaniel also paid his respect to past Chargers coaches Sid Gillman and Don Coryell, two offensive innovators who changed football forever.

“There was a lot that I found very attractive,” McDaniel said. “I was fortunate to have some opportunities, but it started with coach Harbaugh. To be a part of an organization that has the legacy of Sid and Air Coryell, I was super attracted to. Got a quarterback who I’ve always admired, and just a lot of young players. A great situation for my family and me to go to the next chapter.”

Beacham writes for the Associated Press.

Welcome back to the Times of Troy newsletter, where the college football season has finally, officially come to an end. Indiana is our national champion — a sentence I never thought, as a long-ago IU sports columnist, that I would write under any circumstances. Many have tried since last Monday to make sense of what Indiana’s title says about this new era of college football. But in truth, I don’t know that we learned much more than we already knew.

A great quarterback is, as always, a must. Winning at the line of scrimmage, on both sides of the ball, is essential. Older, more experienced players — like Indiana’s fleet of 24-year olds — are usually better than younger, inexperienced ones, especially in this age of the transfer portal. And a great coach, in the college game, can make up for pretty much anything.

None of those lessons are really all that revelatory. That doesn’t mean they’re easy to apply. But what Indiana has shown definitively this season is that more programs are capable of winning a national title now than ever before. USC has always been among those annual contenders. Only now, the waiting room is a bit more crowded than before.

But with the college football season firmly in the rearview mirror, let’s set aside football briefly to zoom in this week on USC’s basketball programs, both of which are facing a make-or-break stretch of their schedules.

The return of Alijah Arenas was supposed to be USC’s saving grace midway through the conference slate, as he swooped in just in time for the home stretch. But nothing came smoothly the five-star freshman last week. After Arenas left Galen Center gasping with an early, 360 lay-in, he hit just one of his remaining 10 shots from the field against Northwestern. Then on Sunday, he made three for 12.

He was understandably rusty. Coach Eric Musselman took the blame after the game for putting too much on the freshman’s plate in his debut. But I could understand why he played Arenas as much as he could. Because, in many ways, it feels like the rest of USC’s season hinges on the freshman finding his stride as fast as possible.

Sunday’s road win at Wisconsin, however, offered an alternative case. Arenas continued to struggle, but USC’s offense rolled on without him. Chad Baker-Mazara scored 29, and Ezra Ausar scored 17 as the Trojans charged back to beat the Badgers in front of a hostile crowd.

The win was USC’s first against a Quad 1 team and arguably its biggest statement of the season. Still, the Trojans rank 51st in the NCAA’s NET rankings and are firmly on the NCAA tournament bubble, according to ESPN’s bracketology.

Sunday offered a glimpse of what they’re capable of. But so did Wednesday’s loss to Northwestern.

The truth is that the Trojans, especially in this injury-ravaged form, have to play their best to beat teams like Wisconsin. They have to rely heavily on Baker-Mazara, who has been anything but reliable with his performance the past month, and hope that someone else, such as backup point guard Jordan Marsh, scores in bunches.

In the wake of Wednesday’s loss, it was clear there was frustration in the locker room.

“This is all about habits and consistency,” Ausar said. “That’s where we lack — all around as a team.”

The margin for error is similarly thin for Lindsay Gottlieb and the USC women, who sit at 11-9 and 12th in the Big Ten after a narrow loss to Michigan on Sunday. But the women of Troy are still 25th in the NET rankings, a point that Gottlieb was sure to reiterate to me when we spoke on Friday.

I asked her what silver linings she could see after losing five of six.

“None of [our losses] have been terrible relative to resume. Three of them, we didn’t have Kennedy [Smith]. We still had big leads in some. That doesn’t absolve us from not taking them to the finish line, but what you take from it, other than [the] UCLA [game], we’re not getting blown out.”

Kara Dunn has been on a roll for USC.

(Ronaldo Bolanos / Los Angeles Times)

Five of the Trojans’ last eight opponents are currently ranked in the top 20, so the recent losing streak doesn’t mean USC is a lost cause the rest of the way. What it does mean is that the ceiling of this year’s squad is looking lower than we might have thought it would be without JuJu Watkins.

That shouldn’t come as a huge surprise with its superstar sidelined. But USC has pieces that could have helped replace her in the aggregate. Freshman Jazzy Davidson continues to improve. Kara Dunn has been a revelation recently on offense, having scored 21 or more in each of her last six games. Smith is still the same lockdown defender as ever.

It’s elsewhere that USC’s roster is lacking this season. And like with the Trojan men, there aren’t many ways to rearrange the hand that Gottlieb has been dealt. The frontcourt has little in the way of firepower (USC’s four-big rotation has taken just 164 shots combined this season, eight fewer than Londynn Jones on her own), and the point guard position has been a problem at times, too.

Both teams still have a path to the NCAA tournament. Both offer some reason to believe. But as both enter a critical stretch of their season, there’s still plenty of time left to stumble as well.

Eric Gentry after last season’s win over Nebraska.

(Bonnie Ryan / Associated Press)

—The Gary Patterson hire could be a huge success. There’s also some risk baked in. Patterson’s credentials, among the coaches accessible to USC in its search, are unmatched. Ask anyone who has been around college football, and they will tell you that he’s one of the best evaluators of defensive talent this century. Few coaches have gotten more out of less on that end than Patterson. But if you’re searching for reasons to be skeptical, the fact that he hasn’t been a full-time coach since 2021 — or that he left his last consultant gig at Baylor right before the 2024 season — might give you some pause. A lot has changed about coaching college football since then. Even at the time, the perception at Texas Christian was that his tenure there had grown stale. Whether the game has passed him by or not, we’ll have to wait and see. But from 2017 through 2020, Patterson still had arguably the Big 12’s best defense, ranking in the top 30 nationally in yards allowed all four seasons. It sounds like he’s been itching to be back in an on-field role. Maybe, at USC, he’ll be reinvigorated. Because if he can get his Trojan defense to that level, USC will be in the Playoff.

—The College Football Playoff is sticking to 12 teams … for now at least. This was the expected outcome, given the ongoing disagreement between the Big Ten and Southeastern Conference over the format. The Big Ten wanted 24 (!!) teams. The SEC wanted 16. The Big Ten wanted more automatic qualifiers. The SEC wanted more at-large bids. The stalemate leaves us with the status quo, which is … really not that bad. A 24-team playoff would totally de-emphasize the regular season to a degree that I personally think would have a negative impact on the game. There’s already a calendar issue, as is, with 12 teams. Imagine how expansion might make that worse.

—Remember Abdul-Malik McClain, the former USC linebacker arrested for EDD fraud? I wrote pretty extensively five years ago on the strange saga that started with his brother, wideout Munir McClain, being suspended from USC’s football team suddenly and without any clear reason. As it turned out, according to the U.S. Department of Justice, it was his brother, Abdul-Malik, who was the target of federal scrutiny for a scheme that sought to defraud the government of over $1 million in COVID-related unemployment benefits. Abdul-Malik McClain, who the DOJ says was responsible for at least three dozen fraudulent applications, pleaded guilty in June 2024 to one count of felony mail fraud. He was finally sentenced last Tuesday to time served and ordered to pay $228,995. But he’ll pay a fraction of that. The Court, in its opinion, ordered McClain to pay just $50 per month.

—Eric Gentry’s measurables at the Shrine Bowl were even more insane than you’d expect. When I first wrote about Gentry, upon his transfer to USC a few years back, I wrote how there wasn’t a linebacker like him in the NFL. His most recent measurables bare that out. He ranks in the 99th percentile in height (6-6 ⅜) and in arm length (35 ¼”), and in the 96th percentile in hand size (10 ½”)

—2026 hoops signees Adonis and Darius Ratliff both shot up 247’s recruiting rankings this week. The twin sons of former NBA player Theo Ratliff moved up 34 spots and 20 spots, respectively, in the site’s latest re-rank. Musselman and his staff were high on both early on – seems like others are getting on board with their evaluation.

Times of Troy survey

After an anxious few weeks for Trojan fans, USC finally has its next defensive coordinator. So after all that anticipation, how do you feel about the Gary Patterson hire?

—Thrilled! We got a Hall of Famer!
—Cautiously optimistic it could work
—Mildly concerned it will fail
—Convinced this will be a disaster

Click here to vote in our survey.

Olympic sports spotlight

USC’s women’s golf team, which opens the spring season ranked No. 2 in the nation, kicked off the spring with a 3 ½ to 1 ½ match play victory over crosstown rival UCLA.

USC did so without its top-ranked player, Jasmine Koo, in the five-woman field. The sophomore ranks No. 9 in the nation at the start of spring. Instead, Elise Lee (No. 16), Sarah Hammett, and Kylie Chong (No. 44) won to edge out UCLA.

In case you missed it

Chad Baker-Mazara sparks USC to rally past Wisconsin

USC women rally from 16-point deficit but fall to No. 7 Michigan

USC’s Lindsay Gottlieb says struggling Trojans are ‘right there’ despite losing five of six

Alijah Arenas’ debut spoiled by USC’s loss to Northwestern

USC hires Gary Patterson to be the Trojans’ defensive coordinator

Secondary coach Doug Belk departs USC, Trojans hire Mike Ekeler to lead special teams

Trespassing charge against ex-USC star Jordan Addison dropped

What I’m watching this week

George R. R. Martin at the world premiere of “A Knight Of The Seven Kingdoms’ in Berlin.

(Ebrahim Noroozi / Associated Press)

When HBO decided to green-light a half-dozen ideas for “Game of Thrones” spinoffs, the executives in that conference room were probably imagining someone like yours truly in front of my TV, devouring whatever they put in front of me. So I was pretty much guaranteed to gravitate towards “A Knight of The Seven Kingdoms,” the latest Thrones spin-off to premiere on HBO.

But what I didn’t expect was how different the tone would be in this slice of the Thrones universe. The story follows Ser Dunk, a bumbling and abnormally large hedge knight, who resolves to enter a tournament that seems impossible for him to win. The show is much lighter and funnier than its predecessor, and Dunk might actually be a character you’d want to root for. It’s too early to know where this spinoff is headed. But the pilot gave me enough to get me invested.

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 ryan.kartje@latimes.com, and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.

In the roiling debate over California’s proposed billionaire tax, supporters and critics agree that such policies haven’t always worked in the past. But the lessons they’ve drawn from that history are wildly different.

The Billionaire Tax Act, which backers are pushing to get on the November ballot, would charge California’s 200-plus billionaires a one-time, 5% tax on their net worth in order to backfill billions of dollars in Republican-led cuts to federal healthcare funding for middle-class and low-income residents.

Critics of the proposal have argued that past failures of similar wealth taxes in Europe prove they don’t work and can cause more harm than good, including by driving the ultra-rich out. Among those critics is San José Mayor Matt Mahan, a tech-friendly Democrat who is contemplating a run for governor.

“Over the last 30 years, we’ve seen a dozen European countries pursue national-level wealth taxes,” Mahan said. “Nine of them have rolled them back. A majority have seen a decline in overall revenue. It’s actually shrunk the tax base, not increased it, and it’s because it creates a perverse incentive and drives capital flight.”

Backers of the measure acknowledge such failures but say that they learned from them and that California’s proposal is stronger as a result.

Brian Galle, a UC Berkeley tax law professor and one of four academic experts who drafted the measure, said if it gets on the ballot, every voter in the state will receive a copy of the full text, a one-page explainer on what it does, and nearly two dozen additional pages of “rules for preventing wealthy people and their army of lawyers from dodging” it.

Many of those rules, he said, are based on historical lessons from places where such taxes have failed, but also where they’ve succeeded.

“If you understand the actual lessons of history, you understand that this bill is more like the successful Swiss and Spanish wealth taxes,” Galle said. “Part of that is learning from history.”

Warnings from Europe

Since the 1990s, several European countries have repealed net wealth taxes, including Austria, Denmark, Finland, France and Germany.

A major example cited by critics of the California proposal is France, which implemented a much larger wealth tax on far more people, including many millionaires. The measure raised modest revenues, which fell as rich people moved out of the country to avoid paying, and the measure was repealed by the government of President Emmanuel Macron in 2017.

In a 2018 report on net wealth taxes, the Paris-based Organization for Economic Co-operation and Development found that European repeals were often driven by “efficiency and administrative concerns and by the observation that net wealth taxes have frequently failed to meet their redistributive goals.”

“The revenues collected from net wealth taxes have also, with a few exceptions, been very low,” it found.

Critics and skeptics of the California proposal say they expect California to run into all the same problems.

Mahan and others have pointed to a handful of prominent billionaires who already appear to be distancing themselves from the state, and said they expect more to follow — which Mahan said will reduce California’s “recurring revenue” beyond the amount raised by the one-time tax.

Kent Smetters, faculty director of the Penn Wharton Budget Model, which analyzes the fiscal effects of public policies, said net worth taxes in other countries have “always raised quite a bit less revenue than what was initially projected,” in large part because “wealth is easy, as it turns out, to try to reclassify or move around” and “there’s all these tricks that you can do to try to make the wealth look smaller for tax purposes.”

A bus in London promotes a campaign by British millionaires advocating for an end to extreme wealth and inequality.

(Carl Court / Getty Images)

Smetters said he expects that the California measure will raise less than the $100 billion estimated by its backers because billionaire wealth in California — much of it derived from the tech sector — is relatively “mobile,” as many tech barons can move without it affecting business.

“Policymakers have to understand that they’re not going to get nearly as much money as they often project from a purely static projection, where they’re not accounting for the different ways that people can move their wealth, reclassify their wealth, or even just move out of the state,” Smetters said. “So far, we only know of a few people — with a lot of money — who have moved out of the state, [but] that number could go up.”

Kevin Ghassomian, a private wealth lawyer at Venable who advises rich clients, said he expects the administrative costs of enforcing the tax to be massive for the state — and much greater than the drafters have anticipated.

On the front end, the state will face a wave of legal challenges to the tax’s constitutionality and its retroactive application to all billionaires living in the state as of the end of 2025.

Moving ahead, he said, there will be litigation from wealthy individuals whose departure from California is questioned or who dispute the state’s valuation of their net worth or individual assets — including private holdings, which the state doesn’t have extensive experience assessing.

Valuating such assets will be “a nightmare, just practically speaking, and it’s going to require a lot of administrators at the state level,” Ghassomian said, especially considering many California billionaires’ wealth is in the form of illiquid holdings in startups and other ventures with fluctuating market valuations.

“You could be a billionaire today, and then the market plummets, and now all of a sudden, you’re a pauper,” he said. “It could really lead to some unfair results.”

Lessons from Europe

Backers of California’s proposal said they have accounted for many of the historical pitfalls with wealth taxes and taken steps to avoid them — including by making it harder for wealthy Californians to simply shuffle money around to avoid the tax.

“There are a lot of provisions that are designed based on what has worked well in other countries with wealth taxes in the modern era, especially Switzerland, and there are also provisions meant to shut down some of the holes in some of the earlier wealth tax efforts, especially the France one, that were viewed as not successful,” said David Gamage, a University of Missouri tax law professor and another of the proposal’s drafters.

Galle said the Organization for Economic Co-operation and Development study found that many of Europe’s historical wealth taxes “hadn’t figured out how to solve the problem of what small businesses were worth,” so were more narrowly focused on publicly traded stock and real estate. “Over time, there was a lot of abuse where people shifted their assets to make them look privately held.”

The California proposal “tries to solve that problem” by including small businesses and other privately held wealth in their calculations of net worth, he said — and benefits from the fact that such wealth has gotten a lot easier to track and appraise in recent years.

Doing so would be a familiar exercise for many California billionaires already, he said, as it is hard to raise venture capital, for example, without audited financial statements.

Backers of the measure said it is harder for U.S. citizens to avoid taxes by moving abroad than it has been for Europeans, and that evidence from Switzerland and Spain suggests differing tax rates between a nation’s individual states do not cause massive interstate flight.

San José Mayor Matt Mahan, who might run for governor, opposes the proposed tax on California billionaires.

(Rich Pedroncelli / Associated Press)

For example, each state in Spain sets its own wealth tax rate, and Madrid’s is 0% — but that has not caused an exodus from other parts of Spain to Madrid, Galle said.

The risk of California billionaires avoiding the tax by simply moving to another U.S. state was further mitigated by the measure’s Jan. 1 deadline for avoiding the tax. Galle said the deadline “was intended to make it more difficult for individuals to concoct the kind of misleading, apparent moves that wealthy people have used in other places to try to avoid a wealth tax.”

Gamage said that “history shows if a tax on the wealthy can be avoided by moving paper around, claiming that you live in another location without actually moving your life there, moving assets to accounts or trusts nominally in foreign countries or other jurisdictions, you see large mobility responses.”

But when “those paper moves are shut down,” there’s much less moving — and “that’s the basis for the California model,” he added.

The outlook

Ghassomian, who said he has been “fielding a lot of inbound inquiries from clients who are just kind of worried,” said it is clear that the proposal’s authors “have done their homework” and tried to design the tax in a smart way.

Still, he said, he has concerns about the cost of administering the tax outpacing revenues, especially amid litigation. Residency battles alone with billionaires whose claims of departing the state are questioned could take “years and years and years” to resolve, he said.

“The revenue has to line up with expenditures, and if you can’t count on the revenue because it’s going to be tied up in courts, or it’s going to be delayed, then I think that creates some real logistical hurdles,” he said.

Smetters said predicting revenues from a tax on so many different types of assets is “really hard,” but one thing that has generally held true through history is that “most countries, even with less-mobile wealth, typically do not get the type of revenue that they were hoping for.”

David Sacks, a venture capitalist and President Trump’s AI czar who decamped from California to Texas, said on the sidelines of the World Economic Forum in Davos, Switzerland, last week that the measure was an “asset seizure” more than a tax, and that the state would be headed in a “scary direction” if voters approved it.

Darien Shanske, a tax law professor at UC Davis and another drafter of the proposal, said he and his colleagues did their best to “look at the lessons of the past, and apply them in a way that makes sense and is generally fair and administrable” — in a state where wealth inequality is rapidly growing and a wealth tax presents unique opportunities.

“Having a tax on billionaires does make particular sense in California because of the large number that live here and the large number who have made their fortune here,” he said.

Shanske said the proposed tax is designed to provide California a way to “triage” soaring healthcare premiums resulting from legislation enacted by the Trump administration and congressional Republicans. The proposal asks for contributions from people who will quickly recoup what they are taxed given the exponential growth of their assets, he said.

Emmanuel Saez, director of the Stone Center on Wealth and Income Inequality at UC Berkeley and another drafter of the measure, said many of the repealed European taxes targeted millionaires while providing loopholes for billionaires to avoid paying, whereas California’s measure is “exactly the reverse.”

He said the measure will raise substantial revenue in part because California billionaire wealth more than doubled from 2023 to 2025 alone, and is “the innovative and first-of-its-kind tax on the ultra-wealthy that the moment requires.”

Thomas Piketty, a French economist and author of “Capital in the Twenty-First Century,” called California’s proposed tax “very innovative” and “relatively modest” compared with massive wealth taxes after World War II — including in Germany and Japan — and said it would not only improve healthcare in the state but “have an enormous impact on the U.S. and international political scene.”

“In the current context, with a deeply entrenched billionaire class, wealth taxes meet even more political resistance than in the postwar context, and this is where California could make a huge difference,” he said. “The fact of targeting the revenue to health spending is also very innovative and can help convince the voters to support the initiative.”

Times staff writer Seema Mehta contributed to this report.