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In early spring, the California mountain town of Julian sits suspended between seasons. At more than 4,000 feet, up in the Cuyamaca Mountains, it rests among coastal live oak woodlands and Coulter pine forests. Snow sometimes dusts the surrounding slopes, melting by afternoon into damp earth as manzanita and mountain lilac begin to flower. Along Main Street, the mingled scents of woodsmoke and apple pie drift from storefronts.

It is here that my journey along State Route 78 begins, following its long eastward descent from the mountain forest into the stark badlands of Anza-Borrego Desert State Park, then skirting the southern edge of the Salton Sea, crossing the Algodones Dunes and continuing toward the Colorado River — a 140-mile corridor spanning one of the most dramatic ecological transitions across public lands in the American Southwest.

This road trip continues a series exploring California’s overlooked scenic highways, inspired in part by artist Earl Thollander’s “Back Roads of California,” whose sketches and travel notes celebrated a slower way of seeing. After tracing Highway 127 along the edge of Death Valley, the journey now shifts south.

Julian Cafe and Bakery, the start of the trip off Route 78.

(Josh Jackson)

Within minutes of leaving town, the pavement twists downward through tight turns and steep grades as the mountain air begins to warm, the vegetation giving way to chaparral and scattered juniper, then to the stark silhouettes of ocotillo and Mojave yucca. By the time it reaches the Pacific Crest Trail crossing 12 miles east of Julian, travelers have already descended nearly 2,000 feet.

Here, the highway passes quietly into Anza-Borrego, homeland of the Kumeyaay, Cahuilla and Cupeño peoples. At nearly 650,000 acres — just smaller than Yosemite — the park unfolds as a vast mosaic of mountains, badlands and open desert valleys extending far beyond the reach of the pavement.

Wildflowers along the route.

(Josh Jackson)

Bri Fordem, executive director of the Anza-Borrego Foundation, said the landscape reveals itself slowly to first-time visitors. “I think a lot of people drive right by it and go, ‘Oh yeah, there’s a desert there,’” she said. “But when you stop and you go a little slower and take a closer look, a whole world opens up.”

That invitation begins at mile 18, where the Yaqui Pass Road turnoff leads northeast toward the desert basin and the gateway community of Borrego Springs. The 2.8-mile Borrego Palm Canyon Trail offers one of the park’s most accessible routes into the desert’s interior. Cholla gardens and brittlebush rise from pale alluvial slopes, and a seasonal stream leads to one of California’s few native fan palm oases.

In wet winters, the valleys beyond town awaken in color as sand verbena, desert sunflower, evening primrose and pincushion gather in brief, luminous blooms across the desert floor. The Anza-Borrego Foundation tracks these seasonal displays and offers guidance on how to witness them responsibly.

The short detour returns to Highway 78 along Borrego Springs Road, where the pavement drops abruptly through the Texas Dip near mile 27 — a stark, cinematic wash where scenes from the closing sequence of “One Battle After Another” were filmed. Wandering through the wash, the mind drifts not to the film but to the flash floods that move through this channel after heavy rains, sudden torrents cutting and reshaping the valley floor in a matter of hours.

Ocotillo plants rise up from the desert floor in Anza-Borrego Desert State Park.

(Josh Jackson)

The sun hangs in the middle of the sky as I drive toward one of the most rapidly changing shorelines in California. From almost any vantage point, the Salton Sea appears lifeless — a gray expanse rimmed with salt and windblown dust. But at its southern terminus, that impression begins to shift. The basin gathers into shallow wetlands where movement returns to the landscape.

Sixty miles from Julian, I turn onto Bannister Road and bump north along a gravel track for three miles into the basin, to a parking lot 164 feet below sea level. The lot sits within Unit 1 of the Sonny Bono Salton Sea National Wildlife Refuge. A short walk along an irrigation canal leads to a weathered observation deck rising two stories above a patchwork of saturated flats where saltgrass, iodine bush and cattail take root. Here, the Pacific Flyway compresses into a living mosaic of wings, water and soil. Each spring, hundreds of thousands of birds gather here to feed and rest before lifting north again, following migratory paths far older than the farms and highways that now define the valley.

The wetlands near the Salton Sea provide a vital habitat for birds.

(Josh Jackson)

The place overwhelms the senses: a wash of emerald against open sky, thousands of snow geese honking in chorus, orange-crowned warblers and Abert’s towhees singing in the trees, and the persistent tang of salt in the air.

I meet three birders standing quietly on the platform, scanning the horizon through binoculars and recounting the 73 avian species they had tallied over the last two days — burrowing owls, American avocets, sandhill cranes and black-necked stilts among them. For 30 minutes we watch a northern harrier on the hunt, dive-bombing blue-winged and cinnamon teal, though he always comes up empty. Between scans of the horizon, we bond over “Listers,” the 2025 documentary that turns obsessive birdwatching into both comedy and a tale of devotion.

A burrowing owl stands in the Sonny Bono Salton Sea National Wildlife Refuge.

(Josh Jackson)

Leaving the refuge, the vibrant color palette and moisture give way to muted browns and the returning austerity of desert air. By mile 97, the road rises to the Hugh T. Osborne Overlook, where the landscape shifts once again, opening into a vast ocean of sand.

The Algodones Dunes stretch toward the horizon in pale, wind-sculpted ridges, a narrow ribbon of shifting terrain running south into Mexico. The highway passes directly through their center.

From the overlook, the road reads as a line dividing two expressions of the same dune system. To the south lie the Bureau of Land Management’s Imperial Sand Dunes, where dune buggies and motorcycles trace arcs across bare slopes. North of the pavement, the North Algodones Dunes Wilderness holds a quieter terrain, where sunflower, ephedra and honey mesquite anchor the sand in subtle defiance of the wind.

A person walks along the Algodones Dunes.

(Josh Jackson)

Here the road becomes a boundary between different ways of moving through — and loving — the same landscape: speed and stillness, noise and silence, crowds and solitude.

By late afternoon, the final miles carry me east toward the Colorado River, where it meanders past willow and cottonwood. The light softened toward sunset, an evening echo of the same violet sky that hovered over Julian at the start of the day. After 140 miles, my road trip had come to an end. Yet as I pitched my tent that night, the motion of the landscapes lingered in mind.

The Colorado continued its long course south. Snow geese lifted north from refuge marshes. Wind reshaped the dunes, erasing the day’s tracks. Wildflowers that had briefly lit the desert floor would soon fade as heat gathered strength. The road ended, but the living systems it crossed moved steadily onward, already turning toward the next season.

Road trip planner: State Route 78

Highway 78 illustrated map.

(Illustrated map by Noah Smith)

The route: Julian to Palo Verde.

Distance: 140 miles (one way).

Drive time: 3 hours straight through; allow a full day for stops.

Best time to go: October through April. Summer temperatures frequently exceed 110 degrees.

Fuel and essentials:

• Julian (Mile 0): Gas station, Julian Market and Deli, lots of restaurants.
• Borrego Springs (Mile 18): Gas station, groceries, cafes.
• Brawley (Mile 74): Gas station, restaurants.

Eat and drink:

Camping:

Lodging:

Hike and explore:

Safety notes:

• Water: Carry at least 1 gallon per person per day.
• Connectivity: Cell service is dependable along the route.
• Wildlife: Watch for bighorn sheep and coyotes on the road, especially at dawn and dusk.

  

  Wildflowers along Highway 78.

  (Josh Jackson)

UCLA football coach Bob Chesney wasn’t looking for star performances during the Bruins’ first spring practice on Thursday — instead, he wanted his players to focus on holding themselves accountable for putting in their best effort.

“We talk about the mirror test. Don’t worry about what your coach says, don’t worry about what your other teammates say,” Chesney said. “Go look at yourself in the mirror. That’s really the only guy that’s gonna know, right?”

There was excitement and intensity but perfection wasn’t expected. For the new head coach, it was about whether the fundamentals UCLA worked on throughout the winter carried over, he said.

“While I watch it out here, the things that don’t take skill, the things that don’t take great genetics, were the things I wanted to focus on today more than anything — the effort,” Chesney said.

UCLA quarterback Nico Iamaleava stretches with teammates at Spaulding Field on Thursday.

(Robert Gauthier/Los Angeles Times)

“We’ll go and watch the film and figure the rest of it out, but I didn’t think it was a bad day.”

Chesney said he plans to build on each practice, and his coaching staff will set a standard that trickles down to the players. He said there will always be something to improve and something to build toward.

Ta’Shawn James, a defensive back who transferred from Iowa to UCLA, showed strength during drills — an encouraging sign early in his progression.

“It’s Day 1, it’s the first time we’re running at full speed, it’s the first time we’re out here seeing people redirecting, what his makeup speed looks like,” Chesney said. “When he makes a mistake, how quickly can he recover? What’s his range in the open field? What’s the speed differential? All those things are things we’re looking through on just about everybody out there.”

Running back Wayne Knight followed Chesney from James Madison and adds to an already gritty running back group that could become one of the team’s deepest units.

“Not to name names, but they are all physical, they’re all downhill players. They protect the football well. What their bodies look like is phenomenal,” Chesney said. “ … There’s some stuff in that room that’s just a little bit different right now, so we got to keep them healthy, keep them playing downhill and doing what they do.”

At right tackle, the competition is wide open.

“A lot of guys, we’re not really at a spot to just nail that down just yet. Give me a couple more days on it. But, right now, there’s a lot of guys rotating through a lot of different places,” Chesney said.

As spring practice gets started, it is not about individuality, Chesney said, but about identifying and correcting mistakes.

“Dwelling on the past, if it was bad, is not gonna get you anywhere. Getting too high in the successful moments isn’t gonna get you anywhere,” he said.

Chesney wants his squad to play without any limitations or hesitations.

“You set these standards, you live by these standards, you hold them accountable to these standards, not only the coaches and the players, but everybody that’s part of this program.

UCLA coach Bob Chesney leads the Bruins through their first spring football workouts on Thursday.

(Robert Gauthier/Los Angeles Times)

“That starts to build trust within the team,” he added.

UCLA’s social media accounts highlighted Chesney’s efforts all offseason to preach personal accountability and serving others, doling out a mix of John Wooden and Ted Lasso life lessons.

Chesney reiterated at the start of the next chapter — spring football workouts — that he wants his players to keep pushing to be great people. If they expect to be successful on the field, Chesney argues, they must first be successful off it.

“You can only be one degree of separation from how you’re living your life,” he said. “… We don’t have any bad guys that are bad students, that are bad teammates, we don’t have any of that, we have really good guys so they have a chance to be great at football.”

Alum donates $10 million

UCLA alumnus Angelo Mazzone III committed $10 million to the football program to help maintain the infrastructure needed to compete at the highest levels.

“For him to be as generous as he is and willing to help us with that, I think that’s a big deal,” Chesney said. “It talks about just the investment and the belief people have in this program at this current moment and rightfully so.”

The Suppan name is well known in West Hills. Jeff Suppan was a superstar at Westhills Pony Baseball before moving on to Crespi and having a 17-year career in MLB. His sister, Karen, was once the girls’ volleyball coach at Chaminade. Brother Mike has been a longtime teacher at Chaminade. Jeff still helps at Westhills Pony Baseball.

Now there’s a new Suppan making a name for herself. Jeff’s daughter, Finley, is the star pitcher as a sophomore for Chaminade (10-2-1).

Asked about her father’s contributions, Finley said, “He’s helped me a lot. We’ve had many car rides together. He told me a lot about the mental side of softball. Also how important it is to just focus one pitch at a time as a pitcher and to control the controllable.”

Dad is learning it’s much harder to watch his daughter pitch than pitch himself.

“I have to admit I don’t know how my parents and my family watched me pitch for all those years,” Jeff said. “I guess that’s why my mom always kept score and now I do to.”

Finley’s complete interview will be on Thursday’s edition of Friday Night Live at 5 p.m. via X at LATSondheimer.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.

Judy Reyes is making every moment count.

Earlier this year, the Bronx-born Dominican actor reprised her breakthrough TV role as Carla Espinosa on the reboot of the beloved ABC medical sitcom, “Scrubs.” For just four episodes, she returned to Sacred Heart Hospital as head nurse and an exhausted mother of four daughters, whom she parents alongside her onscreen hubby, chief of surgery Dr. Christopher Turk (played by Donald Faison).

While fans only caught a quick glimpse of Carla — who is said to be picking up extra shifts elsewhere — her name lingers in the script.

“I’m like the Lord,” said Reyes on a recent video call with The Times. “Just when you think you’re getting away with something, there’s Carla!”

In reality, Reyes has been splitting her time on set with another ABC workplace drama. Now in its second season, “High Potential” sees Reyes leading a top-notch team of crime solvers as Lieutenant Selena Soto, opposite Kaitlin Olson and Daniel Sunjata. “I don’t know any other way to be!” she said of the role. “Latinos are lieutenants and nurses and doctors, et cetera!”

When The Times connected with Reyes, she was crouched down backstage at the Lovinger Theatre at Lehman College in the Bronx. We spoke merely hours before the debut of “Freestyle: A Love Story,” a stage production that follows two lovers who meet at a freestyle show — then reconnect at a concert 20 years later.

Created and directed by George Valencia, with Reyes as one of the executive producers, the story interlaces the history of freestyle music: a Latin hip-hop and pop hybrid genre popularized in the 1980s by acts like Lisa Lisa & Cult Jam, George Lamond and Judy Torres.

“Our very existence is political no matter what. Our joy is a problem for a lot of people,” said Reyes. “It’s really important for us to tell our stories.”

Between the passion project and two highly-rated Hulu shows, which continue to stream on the platform despite eventual plans to merge into the Disney+ app, Reyes is not taking her spotlight for granted — especially amid a sinking Hollywood industry model that’s made it difficult for some to find work — “I’m milking it for all it’s about,” she said.

This interview has been edited and condensed for clarity.

How were you able to film both the “Scrubs” reboot and Season 2 of “High Potential”?
ABC was willing to make it work. “Scrubs” had been in the works for a long time. From Zach Braff and Donald Faison doing their podcast [during the pandemic], to the T-Mobile commercials … A whole new generation became interested in and got hitched to “Scrubs.”] It just so happened at the same time that “High Potential” was happening. My manager was wonderful about making sure [filming] was accommodating.

“I’m so honored and so thrilled to be part of what I consider a television history,” said Judy Reyes of her role as Carla Espinosa on the ABC medical sitcom “Scrubs.”

(Jeff Weddell / Disney)

 Did it feel natural to return as your character Carla on “Scrubs”?
 It did. They did right by making all these characters older. We were all older with each other. We’re all friends that don’t necessarily talk to each other every day [except] Zach and Donald — they’re pretty much married — but it was like we never left.

 What has changed in Carla — and what hasn’t changed?
What’s changed in Carla is that she’s got four kids and she’s tired and she’s older. The consuming passion of her work is not what it used to be because it’s physical. Life is catching up. Her kids are older, so everything changes and she’s not able to work her ass off the way she used to and she has to confront that.

In season 2 of “High Potential,” your character Lieutenant Soto faces a moment of defeat when she’s not chosen to be captain. What thoughts popped into your head as you rehearsed the scene?
It’s extremely well-written. Defeat is very relatable as a woman — [and] as a woman of color, as a woman of a certain age and as a woman of a certain position. I think we can all, as actors, relate to not getting something you are sure you deserved. But there’s also the surrendering. It’s opening up to all the [possibilities] because if you don’t do that, then you get paralyzed. It stops you in your tracks. “Well, what if I feel this defeat again?” You might, you know, but what’s your alternative?  You gotta eat s— to move ahead.

Judy Reyes portrays Lieutenant Selena Soto in “High Potential,” leading a top-notch team of crime solvers opposite Kaitlin Olson and Daniel Sunjata.

(Jessica Perez / Disney)

There are some moments in “High Potential” when your character is holding up a mug with the Dominican Republic flag. How do you find other ways to incorporate your Latinidad in the story?
When we did the “High Potential” pilot, the props department said I got a mug in the scene and if I wanted anything on it. I was like, “Hmm, no one ever asked me before. Can you do a Dominican flag?” That was in Vancouver and I’ve had it since. The Dominicans lose their f— minds on social media and I love it. It fills my heart.

The other stuff is just being me, which is the purpose of being an artist. I don’t know how much sense it makes to throw in the Spanish word, unless you have other Latino people with you.

Latinos haven’t historically been represented as leaders in Hollywood. Has it evolved?
Things progressed before DEI collapsed. There was an active attempt and pursuit of putting people of color in leadership roles. I’m grateful it’s happened. I’m sad it’s retreated a little bit, but I think it has to start behind the camera. We need to champion writers, directors, producers and the stories or get risky and daring with casting.

 What has changed in Hollywood and what has not changed in your perspective?
Many things have changed from the way we view television. Everything is streamed. Now everything is a limited series. There’s such a political impact in what gets seen and what doesn’t. It’s very hard for people right now and I feel challenged to say how it is better, because I’m working. I see how hard it is. The best thing I can do is seize the platform and connect with other creatives who want to go ahead and take a chance and make investments in stories.

Now with the growing monopolies in the entertainment industry, I’m sure that’ll likely change Hollywood too.
It continues to affect the workforce. The workforce is gonna be severely impacted. The more you merge, the more people you fire and the more machines you put in their place. It’s a frightening moment.

I’m grateful I saw Noah Wyle represent against the [Paramount-Warner Bros.] merger. I’m motivated, because I think we ultimately have to protect each other and protect the art for as long as we can.

What grounds you and your art in an era that is often trying to strip you away from your creative liberties?
My company GoodTalk Films, myself and my partner and husband George Valencia are working with the Watford F.C. Women’s League to launch a Latina Women’s Football Club here in L.A.. We [want to] train Latinas to be coaches. That’s another way to reach out to the community and help people see themselves. That keeps you grounded in the creative process.

I see a lot of theater. I make a lot of trips to New York. I just saw [the Broadway adaptation of] “Dog Day Afternoon,” produced by Stephen Adly Guirgis. My kid is in the arts and I hang out a lot with him and help him sing and perform.  The process is what brings joy in working with other people interested in the same thing.

Is there room in corridos tumbados for a little bit of R&B soul? Linea Personal is betting on it.

For three years, the música Mexicana band Linea from Stockton has been perfecting its sophomore album, “Todo ø Nada,” a 13-track project that incorporates elements of melodic trap, R&B, blues and corridos tumbados.

“It’s slow music, the lyrics transmit good feeling and it’s moody,” said frontman Gustavo Raya Garcia following the album’s release on March 26. “Our R&B style is a lot different from these [corrido] artists.”

At its core “Todo ø Nada” is a sad sierreño escapade that heavily has boisterous elements of corrido tumbados — often through wailing high-pitch strumming from a requinto and thunderous tololoche plucks, most notable in tracks like “Motorola” and “Tarot.”

But most distinct from the LP is the blues-infused “Caperuzita,” which kicks off the album with an ethereal, pitch-shifting cry that wades through the backdrop as an omniscient spirit — an interpolation inspired by Future’s “Wait for U” (featuring Drake and Tems) — while sounds of a banjo speckle about. The band also isn’t afraid to tap into other genres by infusing a drunken, jazzy trumpet into the sex positive “Ülala” — whose infatuating lyrics were partially inspired by the chorus line in Luther Vandross’ ”Never Too Much.”

“R&B is our original sound and we wanted to bring that back to this album but a little different,” said Raya Garcia “We wanted it to have a little bit more feeling to it. That’s why we added new instruments.”

For the group — which includes frontman Raya Garcia, his brother and secondary voice Aidan Raya Garcia, requinto player Jorge Ontiveros Zúñiga and guitarist Edgar Lozoya Verduzco — bringing “Todo ø Nada” to fruition was a total slow burn.

The band — who gained traction through their 2024 hustler melodies “Holanda” and the melancholic “Hennessy” — was often stuck in lengthy creative meetings at Street Mob Records, the record label founded by Fuerza Regida’s Jesús “JOP” Ortiz Paz, who signed the band in 2021.

“It taught us a lot of patience and a lot of faith in God’s timing,” said Raya Garcia. “We really wanted this album to come out a year ago, but things happened for a reason.”

To help fuel their creative flow, the group went down to a beach retreat in San Carlos, Sonora, right Mexico’s Gulf of California. They compiled a total of 50 songs, then narrowed it down to the 13-track list.

“What we look at is the lyrics,” said Edgar Lozoya Verduzco, the group’s producer. “The one we were not too sure about was ‘P— Alcohol’ because it was too explicit.”

But at the end of the day, Lozoya Verduzco wanted to push against the grain with the obscenity-laced track whose lyrics’ double meaning are reminiscent of those in Lil Wayne’s 2008 “Lollipop.”

“We’re not scared to try something new,” said Lozoya Verduzco.

(Cat Cardenas / For De Los)

With the release of “Todo ø Nada,” Linea Personal hopes it can continue to build on the momentum achieved by many of its Mexican American contemporaries — including corrido tumbado forefather Natanael Cano and its mentor, Fuerza Regida. According to Spotify, corridos accounted for 77% of all música Mexicana streaming in 2023.

“We are inspired a lot [by these acts], we see their mentality,” said Lozoya Verduzco. “We need need to be exactly like that or work 10 times harder.”

The bass genius Thundercat has, to his regret, been spending way too much time absorbing bad news on his phone.

“We are cellphones at this point, basically,” he said. “That’s what life feels like. It’s a weird one we’re living through right now, to say the least. You have to try to stay inspired, to keep moving forward. But like, you’re processing absolute hell and war in the background, and you’re still supposed to look cute.”

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

That whipsaw feeling — processing grief and destruction, while doing your song-and-dance to survive, all via the same rectangle — is the backdrop of Thundercat’s new album, “Distracted,” his fifth LP and first in six years. The album is a typically dense and playful showcase for his extravagant musicality, and packed with guests like ASAP Rocky, Tame Impala and Lil Yachty.

But it’s poignantly introspective on tracks like “What Is Left to Say” and “I Wish I Didn’t Waste Your Time.” “She Knows Too Much” has a touching cameo from his late friend and frequent collaborator Mac Miller.

“After [Miller’s] death, there were a lot of questions, a lot of stones left unturned,” Thundercat said. “But this song came to be from the simplicity of making music between friends. It’s a language, a snapshot. It was a beautiful moment between us.”

Thundercat, born Stephen Bruner, grew up in L.A. immersed in the city’s progressive jazz scene, playing with everyone from Kendrick Lamar to Suicidal Tendencies. These are some of the places around Los Angeles that still keep his inner comics-nerd satiated and musical curiosity fed — no matter what bleak news is blowing up his phone.

9 a.m. Find some coffee that slaps

If I notice that I’m doomscrolling, if stuff is getting a little bit too dark and weird and twisted, I’ll put my phone down and go drink some coffee and get way too much energy. I’ll go to the good old boys at Commissary. That’s good coffee.

My day doesn’t always consist of me picking my instrument up, but it’s more like as it feels right. If I’m not intentionally writing or working on somebody’s music, a lot of the time it’s just me. The time between is just as important as the time spent with music, so it’s learning to be OK without my bass in my hands for a second.

But there’s still so much to learn about harmony and melody from that instrument, you know? Nothing makes up for spending time with an instrument and learning it in a different manner. That’s how Larry Graham came up with slap bass. It has no bounds for what you want to create. It’s just about how far your mind can go with it.

Noon. Pick up a comic book

I find myself to be very much like a Lebowski-like character. The things that I enjoy bring me peace, like fashion and comics. The family at Golden Apple on Melrose have been my family since I was a child. The family there has always looked out for me and been avid supporters of my career. They remember my dad bringing me in — I remember the day that Image Comics premiered at Golden Apple. It’s nothing but love and artistry and great people to meet in Golden Apple — they’ve been one of the through lines in my life that has just been consistent. L.A.’s landscape keeps changing, but Golden Apple has been a beacon of nerdisms.

5 p.m. Fun at the movies

I have always been a fan of Universal CityWalk’s AMC theaters, even though they charge ridiculous prices. Everybody’s trying to keep their industry alive in this moment; it’s of one of those grit-and-bear kind of things. But at the same time, the experience that you have there is absolutely golden.

I love seeing movies there, because there’s so much to do around there. There’s a comic store, Halloween Horror Nights, Nintendo Land. There’s a Hot Topic, because I am a goth hoochie daddy. I’ve been going my whole life. I just enjoy going to the movies there by myself or with friends. Sometimes they get bored, because I will keep choosing to do this, but I don’t care, because it is a movie theater that I love. It’s always a joy to have AMC at Universal City Walk.

8 p.m. Sushi that’s a cut above

One of my favorite restaurants in L.A. is a restaurant by the name of Asanebo. It’s a sushi restaurant that is of very high prestige. The chefs there are very loving and caring. They make the most amazing food on the planet. It’s a beautiful environment — one of the best sushi restaurants, I would say, in the world. But it’s about the history for me, and the family that is built there, from the waitresses to the hosts. They treat you like royalty there.

10 p.m. Fun with friends and all that L.A. jazz

Most of the time, I don’t know what the hell is going on. A lot of the time, I would rather just sit on the couch and watch “Star Trek.” I’m not always wanting to immediately get up and just go sacrifice myself to the nightlife.

I really enjoyed growing up playing gigs all over L.A., but a lot of those places don’t even exist anymore. We could play outside the Hollywood Bowl. We’d play at a dive bar or play at a wedding, but my childhood friendships were linked to to the functionality of music in my life. If we were playing at a musty bar or some weird coffee house, it was like, “I get to play with Kamasi [Washington], and they’re going to pay us in sandwiches.”

I enjoyed The World Stage in Leimert Park. Low End Theory at the Airliner — I’d be hanging out with Flying Lotus or Tyler would drop an album and come up to perform. It was about my friends and hanging with the people that I love.

I think as time progresses, I enjoy spending time with my friends — whatever that entails. If it’s going out to a club and all that, seeing a friend perform, my friend Anderson has a beautiful club called Andy’s. There’s a restaurant called Verse, that’s owned by my friend Manny, that serves absolutely amazing food and has live music. It’s just fantastic. They just erected a Blue Note here in Los Angeles, which is awesome.

Where would you go to listen to a song by me and Channel Tres where you can dance on somebody’s butt? I’m still gonna say Andy’s, but I can finish off the night at Living Room. That’s a good place to listen and enjoy the nightlife, just a great club.

The “Harry Potter” team did not need a divination expert to know its cast would encounter some “unpleasant and aggressive behavior.”

HBO boss Casey Bloys told multiple outlets this week that the network had taken precautions anticipating the vitriol the “Harry Potter and the Philosopher’s Stone” actors would face. Ghanian-English actor Paapa Essiedu recently spoke out about the racist abuse and death threats he has received since the announcement that he had been cast as potions professor Severus Snape.

“With all actors on any kind of big IP shows — and this is obviously one of those where you’ve got, you know, passionate fans, people with a lot of opinions — it can get scary in places,” Bloys told Variety in an interview published Tuesday. “So for any show like that, we anticipated it and tried to have training, you know, best practices in terms of social media and how to handle it. And obviously we’ve got a serious security team.”

Essiedu, who is portraying the enigmatic but ultimately heroic Hogwarts professor first brought to life by Alan Rickman in the original “Harry Potter” films, has opened up about the racist abuse he has received from those who believe a Black man should not be playing the fictional wizard.

“I’ve been told, ‘Quit or I’ll murder you,’” he said in an interview with the Times of London. “The reality is that if I look at Instagram, I will see somebody saying, ‘I’m going to come to your house and kill you.’”

“[N]obody should have to encounter this for doing their job … And I’d be lying if I said it doesn’t affect me emotionally,” Essiedu added.

This is not the first time that fans of J.K. Rowling’s Wizarding World novels expressed outrage over the casting of a Black actor in an adaptation. There was a similar outcry in 2016 when Noma Dumezweni was cast to play Hermione Granger in the original London production of “Harry Potter and the Cursed Child.”

It’s also not a situation unique to “Harry Potter.” Racist vitriol has been hurled toward actors in other genre franchises, including fantasy shows such as “House of the Dragon” and “The Lord of the Rings: The Rings of Power,” as well as those involved in “Star Wars” and the Marvel Cinematic Universe.

Bloys also told Deadline in an interview published Wednesday that they had “anticipated there would be a lot of interest in all of [the actors], and interest can tip over into more unpleasant and aggressive behavior.”

“We talked to them about what to expect, what to expect on social media and how we handle it, but any kind of security that’s needed is an unfortunate aspect of doing IP shows,” he said. “We just try to be mindful and monitor it.”

Essiedu also told the Times of London that “the [racist] abuse fuels” him.

“[It] makes me more passionate about making this character my own, because I think of how I felt as a kid,” he said. “I would imagine myself at Hogwarts on broomsticks, and the idea that a kid like me can see themselves represented in that world? That’s motivation to not be intimidated by someone saying they’d rather I died instead of doing work I’m going to be really proud of.”

It was Dodger Stadium on Wednesday, when the grass outside the baseline and the bright red sign high above center field read “UNIQLO FIELD.” It will be Dodger Stadium on Thursday, when the defending World Series champions open their new season, and forevermore.

The official name of our summer home is now Uniqlo Field at Dodger Stadium. The team announcers will say that, and so will some of the signs. The fans won’t, and the founder of the company that just spent nine figures on the name you won’t use said he completely understands.

“That’s a very natural reaction,” Uniqlo founder Tadashi Yanai told me through an interpreter. “We respect that.”

Yanai said his company’s deal with the Dodgers covers five years. He would say only that the total value was “more” than $125 million. That provides the Dodgers with an annual naming rights payment in line with the ones at Crypto.com Arena, Intuit Dome and Sofi Stadium, without the Dodgers having to sell naming rights to the actual venue.

Are the Dodgers baseball’s version of a gold mine? Yes. Do they spend big and win big? Also yes. Do you mind if Uniqlo essentially covers Freddie Freeman’s salary this season?

“We need a lot of revenue to put out the product that we do,” Dodgers president Stan Kasten said. “That’s not a secret. And we’re proud of everyone who helps us do it: all of our fans, all of our media partners, and all of our sponsor partners. They are all important. It is how this all comes together.”

While Uniqlo would be delighted if you used its name, whatever local fans choose to call the stadium is not critical to the success of the partnership.

For a Japanese company in pursuit of brand awareness and expansion in the United States and elsewhere, there might be nothing better than getting your name in front of millions of fans around the world watching Shohei Ohtani play on television.

Ohtani made an estimated $125 million in endorsements and sponsorships last year, Sportico reported, a larger annual haul “than any other athlete in the history of sports.”

“The Dodgers are such a popular team,” Yanai said. “I usually ask my wife, after I come back from the office, whether Shohei hit a home run. I think all the Japanese people do that.”

Uniqlo Field signs were unveiled Wednesday at Dodger Stadium in the wake of the team’s naming rights deal.

(Beth Harris / Associated Press)

According to Forbes, Yanai is the richest man in Japan, where baseball teams carry corporate names. Why not buy a team and call it, say, the Uniqlo Bears?

“I always keep saying that could be very interesting,” he said, “but my wife turned it down. She keeps telling me, ‘Tadashi, you are not cut out to manage sports teams.’”

Instead, he is managing Uniqlo, an apparel company that pitches itself as blending comfort with quality. “We do not make disposable clothing,” Yanai said in the company’s last annual report.

Uniqlo has 794 stores in Japan but only 77 in the United States, including 14 in the Southland. Koji Yanai, a senior executive officer and Tadashi’s son, said the company aspires to grow annual U.S. revenues from $6 billion to $30 billion.

He shared what might be a more challenging aspiration.

“The Uniqlo Field at Dodger Stadium name may be very new for everyone,” he said, “but I hope in the near future the fans will like it and will love it.”

United Airlines Field at the Coliseum? Yeah, no.

Jeff Marks, the chief executive of Los Angeles-based Innovative Partnerships Group, once brokered a naming rights deal in which the Cal football team would play on Kabam Field at California Memorial Stadium. He tried to find a receptive audience for the name.

“We educated a lot of freshmen, sophomores, and newcomers,” Marks said. “Are you going to go after alumni who have been calling it Memorial Stadium? No. So you didn’t focus on that. You focused on people that could be more impressionable, and it worked.”

With Dodger Stadium, we’ll see. For the 2026 season, it is now time for Dodgers baseball, but not before one reporter at a press conference Wednesday asked company officials whether Uniqlo would provide the Dodgers players with free clothing.

Kasten could not pass up the chance to interject.

“We pay them enough,” he said with a grin, “to shop at Uniqlo stores.”

Three weeks into spring practice, USC football coaches are making one thing clear: 95% of their best will not be accepted or tolerated. Wednesday’s practice started with some of the players doing up-downs after forgetting equipment.

“It was a good message from some of our staff and leaders in terms of the approach that we need to have every day that we come out here,” Trojans coach Lincoln Riley said.

A sentiment that was shared by junior defensive tackle Jide Abasiri: “We just have to be better prepared.”

After the hiccup, Riley said the team responded well and it was back to business.

USC defensive tackle Jide Abasiri (97) is pushing himself to be a more vocal leader as a the Trojans help young players get acclimated to the program.

(Gina Ferazzi/Los Angeles Times)

After a spirited day on the field on Tuesday following a one-week spring break, Wednesday’s practice was scripted with the intent to cause stress and create discomfort — stacking multiple two-minute drills after a 6 a.m. team meeting. The goal is to build a no-excuses program.

“It’s invaluable time, invaluable reps,” Riley said. “Coming out and working plays and the techniques, great. When you start putting those guys in real-life situations and you make it really difficult on them, you really start to see who rises up and they’re great teaching moments for these guys and for the team in terms of what we want to be and what we want them to be.”

Regardless of the mental challenges Riley applied, the Trojans’ morale remains positive as players compete for spots in the lineup. The energy of the team comes from within, Riley said.

“It allows us as a staff to really hone in on pushing these guys, and coaching and critiquing and correcting,” Riley said. “And they’re taking it well.”

Attention to detail has always been important at USC, but Abasiri said this year there is an extra emphasis being placed on play-specific details. The staff has implemented drills that focus on a player’s specific movement or job during various plays.

Entering his third season with the Trojans, Abasiri said he felt like he needed to be a team leader. USC landed the No. 1 class in the nation for the first time since 2006. With so many new young players joining spring practice and a limited number of Trojans with three years of experience, Abasiri felt it was his job to lead.

“Just being an older guy, I feel like it’s important for me to … help them just come along,” Abasiri said.

So far, his advice has been to “just have fun with it.”

“I mean, obviously, stay on top of everything and all your stuff, but I feel like people get so stressed and so caught up in what they’re doing that they forget that this is supposed to be enjoyable,” Abasiri said.

The coaching staff, meanwhile, is balancing teaching schemes and the playbook.

“You have to be able to do both at this level,” Riley said. “The new guys that came in did have a pretty good foundation. A lot of them came from really good programs. A lot of them had a pretty good working football knowledge to where when we got started with them, it wasn’t like you felt like you were starting from literal square one.”

Return game is still unsettled

USC is still working to identify its top kickoff and punt return options.

“We haven’t done a lot of live returns yet,” Riley said. “We’re just trying to figure out who really fields the ball well, who understands it, who makes decisions and honestly, the returners, they’re showing us a lot of what they can do just in the offensive and defensive periods.”

The coaching staff has a pretty good idea who some of the best players in that position are, but at the moment, they just want to develop the skills, from a return standpoint.

Like millions of pop-culture-obsessed Americans, Howard Stern is bingeing FX’s “Love Story” and soaking up the nostalgia of ’90s-era New York, but unlike most of America, the radio host was buddies with the series’ real-life stars, and even graced the cover of JFK Jr.’s George magazine.

“I had done the cover for George magazine,” Stern said on his eponymous SiriusXM radio show Monday. “So I knew John Kennedy Jr., and he actually showed up to the shoot. It’s one of the worst covers I ever did. And I’ve done a lot of bad ones.”

John F. Kennedy Jr. launched George magazine alongside his partner, Michael J. Berman, in September 1995. With the tagline “Not Just Politics as Usual,” the magazine married pop culture and politics in an unprecedented way and aimed to flip the script on mainstream political discourse. The covers were legendary in their own right and featured supermodels, rock stars, Oscar winners and action film stars dressed up as the nation’s first president.

And, of course, radio jokester and provocateur Stern.

“They convinced me to be chopping down a cherry tree with a chainsaw, dressed up in colonial garb, dressed up, like, I guess I was supposed to be George Washington, but George Washington didn’t wear the s— I was wearing,” he continued.

“It was 100 years ago, and I remember I wasn’t doing a lot of magazine covers by choice,” Stern said.

When John Kennedy Jr., whom Stern described as “literally American royalty and the nicest guy in the world,” asked him to pose for the cover of the April/May 1996 issue, themed “The Virtue Issue,” Stern told his agent, “Of course I’ll do it.”

“I went down there, and they were like, ‘It’s George magazine. We have a theme cover. You can’t be in your regular clothes. We want you to be, like, George Washington,” he continued. “They must have caught me on the right day, because I was incredibly amenable. Normally, I would have gone, ‘I’m not wearing this s—.’”

Stern said he got the full supermodel treatment. “You know what John and the photographer did, that thing that they do to supermodels, ‘Gorgeous! You look great! Oh, man, this is the greatest cover. This is our best cover!’ They’re yelling while the guy’s clicking away, and I’m posing like I’m Cindy Crawford, like I’m one of the Hadid sisters,” he continues. “I’m standing there thinking I look handsome with my chainsaw and Louis the 14th [outfit.]”

After Stern went on dragging everything from the “pilgrim shoes” to the “poofy shirt” he wore for the shoot, he revealed that he actually knew Carolyn Bessette Kennedy as well, although he was a bit cagey about how exactly he knew her.

“She was very lovely,” he said. “She was a really nice woman. I don’t want to go into how I knew her, but I knew her.”

When Stern’s co-host, Robin Quivers, pushed him on why he couldn’t divulge how he knew the former Calvin Klein publicist, he said, “I just know enough to keep my mouth shut about that. Some stuff you do have to keep private. But anyway, I knew her. “

According to Disney, “Love Story: John F. Kennedy Jr. & Carolyn Bessette” is FX’s most-watched limited series ever on Hulu and Disney+, with reports that the first five episodes have been streamed more than 25 million hours since the Ryan Murphy series premiered in February.

The show, starring newcomer Paul Anthony Kelly as Kennedy and Sarah Pidgeon as Bessette, will air its finale Thursday.

Robert Vargas is in a bit of a time crunch.

The Los Angeles-based artist has embarked on one of his most ambitious murals. Titled “Samurai of the Diamond,” it features the Dodgers’ trio of Japanese stars — two-way player Shohei Ohtani and pitchers Roki Sasaki and Yoshinobu Yamamoto — in larger-than-life fashion on a 12-story wall of the DoubleTree Hotel in Torrance.

Artist Robert Vargas takes a break from painting Saturday to show his progress on his newest mural.

(Genaro Molina / Los Angeles Times)

As of early Saturday afternoon, Vargas still had a lot of painting to do in order to have the mural finished by the official unveiling at 10 a.m. Tuesday. Anyone familiar with Vargas and how he works, however, knows he will get it done.

“It may be finished at 9:59, but at 10 o’clock we will unveil this,” Vargas said

Koreatown resident Diego Guerrero is one of those who knows Vargas’ style. After witnessing the artist working on his massive Fernando Valenzuela mural in Boyle Heights during the fall of 2024, Guerrero said he had “full faith” Vargas would meet his deadline this time around.

“I know he’s got this,” Guerrero said while visiting the DoubleTree site Saturday. “Last time he was doing this, it was raining and even that time he pulled it off. So I have no doubt he’ll finish it.”

Vargas said the new piece was conceived as a follow-up to the massive mural of Ohtani he painted on the side of the Miyako Hotel in Little Tokyo soon after the former Angels pitcher signed with the Dodgers prior to the 2024 season. In two seasons with L.A., Ohtani has won two National League MVP awards and helped the Dodgers win two World Series championships.

The Dodgers signed Yamamoto during the same offseason and Sasaki a year later. Both pitchers played key roles in the team’s 2025 postseason run. Yamamoto went 7-1 with two complete games and pitched for the final out in Game 7 of the World Series against the Toronto Blue Jays. Sasaki moved to the bullpen for the playoffs and recorded three saves and two holds.

“If [the Ohtani] mural was about ushering in a new era and a new face here in Los Angeles, this mural is about building a cultural bridge from Los Angeles to Japan and really emphasizing the greatness that these foreign-born Japanese players are contributing not only to the team, but to this community’s identity,” Vargas said. “And also inspiring to kids who can look up and see heroes that look like them from this community.”

Robert Vargas paints an image of Shohei Ohtani as part of the local artist’s ‘Samurai of the Diamond’ mural Saturday at the DoubleTree Hotel in Torrance.

(Genaro Molina / Los Angeles Times)

Known for its large Japanese American population and concentration of Japanese businesses, Torrance signed friendship city agreements with Bizen (Yamamoto’s hometown) in August 2024 and Oshu (Ohtani’s hometown) in October 2024.

Vargas, who has a home in Japan because of the frequent mural work he does there, came up with the idea of a Torrance mural honoring the Dodgers’ Japanese stars around that time.

“I feel that they are examples of how to do things right on and off the field,” Vargas said of the three players. “Their work ethic is really reflected in the culture. That’s why Ohtani is so respected out there on the field, not just for what he’s doing with the bat or with the baseball but just how he conducts himself. It’s refreshing.”

His idea received support from local leaders, such as Mayor George Chen and city council member Jon Kaji.

“Ever since the Dodgers signed Shohei Ohtani in December, 2023, the community has rallied around Ohtani, Yoshinobu Yamamoto and Roki Sasaki giving us all a sense of pride,” Kaji said in an email to The Times. “…’Samurai of the Diamond’ exemplifies the unifying power of sports that transcends borders and nationalities.”

Chen wrote in a separate email: “There are many Dodgers fans in the City of Torrance and the greatness of these 3 players have been great role models to young and old. They are performing at the highest levels in MLB, yet they have shown us that even great athletes and celebrities can maintain a certain level of maturity, respectful to others, picking up trash, not retaliating when attacked, and always showing great sportsmanship.”

The wall will include an interactive feature: When visitors scan a QR code, they will see each player come to life and throw a strike, with animation provided by the AR Firm. Also, lights are being installed in the parking lot to illuminate the mural at night.

“It’s going to be a destination,” Vargas said.

DoubleTree general manager Linda Amato, who is also the executive chairperson of the Discover Torrance visitors bureau, said the hotel plans to create “opportunities for guests to gather outdoors, enjoying [Dodgers] games under the stars alongside the interactive mural.”

“The response from the community has been incredible,” Amato said in an email. “There’s a real sense of excitement — people are stopping by daily to watch the progress and engage with the project. It’s brought a new energy to the city. Robert Vargas has been amazing throughout the process, often speaking with visitors about his vision and techniques, which adds to the overall experience.”

Vargas hand-picked the DoubleTree Hotel in Torrance as the location for his latest mural, despite the wall’s deep ridges, which make it difficult to paint.

(Genaro Molina / Los Angeles Times)

Vargas hand-picked the DoubleTree as the site, even though he said the hotel’s exterior “presents the most difficult surface challenge” he has faced. The wall is lined with thick, vertical grooves, described by Vargas as “almost like a lattice surface because the corrugation is so deep.”

Because of that, Vargas — who always works freehand and does not use spray paints — has to carefully paint each section with a brush, as even a roller will not work on that surface. He calls the process “very exciting.”

Actor Edward James Olmos, who was visiting Vargas at the site Thursday morning, thinks his longtime friend is nuts.

“That’s the worst f— texture I’ve seen in my life,” the 79-year-old “Stand and Deliver” actor said of the wall’s surface. “Not one artist I’ve ever known would even want to try to do this. He chose it. I told him he’s off his a—. Have you ever seen that texture before? Never.”

Vargas he said he’s not thinking about that or any other challenges when he’s several stories in the air working on a project he knows will mean a lot to many people.

“When I’m up there and I think about the community that’s down here and how excited they are to see an image like this — not only because of what the content is, but that it’s happening here in Torrance and not just in Little Tokyo — they feel very, very proud,” Vargas said. “So the wind conditions, the heat conditions, the scaling, all of that becomes secondary when you think about why you’re creating it.”

On Saturday afternoon, East Los Angeles resident Edgar Reyes came out to see the super-sized artwork being created in real time.

“It’s just amazing to be able to witness it and see how people are coming together,” said Reyes, who described himself as a “big Robert Vargas fan.” “I think for Torrance this is a good thing because you see a lot of murals in the east side of L.A. because there’s a lot of graffiti artists and all that, compared to over here. So it’s something really huge for Torrance, I believe.”

Koreatown resident Diego Guerrero, who also visited the site on Saturday, said it is “mesmerizing” to watch Vargas work and called the mural “mind-blowing.”

“It’s so huge,” Guerrero said. “You could see it from miles away. And it’s like, hey, I know them — they’re part of the Dodgers. But not just that. They’re part of the minority. They’re Japanese players, we’re Hispanics, but we’re the same. We want to feel like we’re represented and we’re here. The world will see us, you know?”

Robert Vargas plans to finish his ‘Samurai of the Diamond’ mural in time for its official unveiling Tuesday at 10 a.m.

(Genaro Molina / Los Angeles Times)

Around midday Saturday, Vargas faced another delay when high winds caused him to temporarily come down from the wall. He had already made arrangements to be able to work through the night on Saturday and said he was prepared to work nonstop, if necessary, to be finished in time for the unveiling two days before the Dodgers’ season opener Thursday against the Arizona Diamondbacks.

“I’m going to get it done,” he said.

“My time frames are pretty ambitious, but I also know what I’m capable of when it comes to my speed,” Vargas added. “And also I think that my process is really charged by my intention of why I’m creating these pieces, and that is what fuels me to completion.”

Welcome back to the Times of Troy newsletter, where, as colleague Chaunte’l Powell pointed out after Saturday’s thrilling win, you’d be forgiven for having already looked ahead to the next women’s college basketball season.

After all, as the USC women stumbled into this NCAA tournament on a four-game losing streak, they hadn’t offered much reason for optimism. When coach Lindsay Gottlieb added another five-star prospect — 6-4 forward Sara Okeke — to the mix for ‘26 last week, it only made it more enticing to close the book on this season and start dreaming of where USC might end up in the next one.

But this team, the one set to face No. 1 South Carolina on Monday night for a spot in the Sweet 16, has been limited from the start without an injured JuJu Watkins.

Through most of three quarters of Saturday’s first-round matchup with Clemson, the same issues that bothered USC through much of the season were bothersome once again. The Trojans had hit just three of 17 from three-point range heading into the fourth quarter. They made six free throws. They were outrebounded. And the bench had contributed all of two points. Gottlieb was frustrated.

But Saturday’s final quarter, plus overtime, would prove to be the defining stretch of this USC women’s basketball season. During those 15 minutes, we saw exactly what Gottlieb meant when she insisted her team had another level to unlock in the tournament.

This was the team Gottlieb had envisioned when building for a JuJu-less roster.

“We’d play with a lot of grit,” Davidson told reporters after the game, “and a lot of heart.”

That came through on the defensive end most, as USC forced six turnovers and scored eight points off of them in the fourth quarter alone. Clemson didn’t manage a single second-chance point in the second half. Kara Dunn, who’d barely been a factor, found herself in the final minutes and blew up for 11 points in a seven-minute stretch. And freshman Jazzy Davidson turned things up another notch as well, scoring 13 over fourth quarter and overtime.

There were others, too. Kennedy Smith hit a tying jumper late, in addition to her relentless defense. Malia Samuels drained a late free throw to put Clemson away. Laura Williams had a late block with the game tied. That sort of alchemy had been rare through this season.

“We were playing for each other,” Dunn said. “We made the changes we needed to make, and we didn’t repeat the same mistakes we had probably in the past. I really felt like we came together.”

Even still, it might have all been for naught, had Clemson’s Mia Moore lifted off a couple milliseconds later for her final buzzer beater. Her successful last-second heave — as well as the whistle on USC — were both called off after a lengthy review so close it required a stop watch.

Those few milliseconds turned out to be the break USC hadn’t gotten all season. They told each other in the sideline huddle that they would take advantage.

“When we heard it was overtime,” Dunn said, “we said we don’t get second chances in life.”

So the Trojans defense turned up yet another notch, while its star freshman went nuclear in overtime. A pair of clutch 3-pointers from Davidson would be the dagger. She would finish with 31 points, six rebounds and five assists in a performance that seemed to announce that this was just the start of her star turn.

She — and everyone else — will have to be special Monday to even have a shot against South Carolina, a team that beat USC by 17 in November. The Gamecocks are the more talented team. Their opponents shot 34.5% on average against them this season, the fifth-best mark in the nation, while they shoot better from 3-point range (36.5%) than all but three teams left in the tournament.

Chances are that’ll prove too much for the Trojans, who enter this game as 22-point underdogs. But even if it does end here, USC found something on the court Friday, something that should in the very least help next season, when its ceiling will be higher than ever before.

Times of Troy poll

Eric Musselman

(Ronaldo Bolanos / Los Angeles Times)

Two years into Eric Musselman’s tenure with the Trojans, the USC men have yet to return to the NCAA tournament. This season, they totally unraveled, losing their last eight games to finish 18-14.

I’ve heard varying feelings from fans about the nascent Musselman era. So let’s make the conversation a bit more scientific with a poll:

What’s your confidence level in Eric Musselman as USC’s men’s basketball coach after two seasons? (with 1 being “Let me off the Muss Bus” to 5 being “I’m still riding shotgun on the Muss Bus”

1 — let me off the Muss Bus

2

3

4

5 — Riding shotgun on the Muss Bus

Click here to vote in our survey

Matt Leinart with USC in 2004.

(Los Angeles Times)

—Five-star St. John Bosco forward Christian Collins committed to USC. The No. 9 overall forward, per 247 Sports, Collins is the highest-rated player to join USC under Musselman and the highest-rated player Musselman has signed since 2022. Collins has all the tools to be a force on both ends, if he can put it all together. But he’s not necessarily the type right now to be the center of a team’s offensive attack. Expect him to get off to a slow start when he does arrive this summer.

—USC hoops assistant Todd Lee is finalizing a deal to become Cal State Bakersfield’s coach, a source says. Lee has been one of Musselman’s most trusted assistants since they first worked together with the Rapid City Thrillers of the CBA back in the early 90’s. Musselman hired Lee to join his Arkansas staff, then brought him along to USC. Now he heads to Bakersfield, where he inherits a program that’s been through a lot this last year.

—Matt Leinart won’t unretire his jersey. Good for him. Leinart’s podcast went viral last week, when he noted that USC asked him on multiple occasions if an incoming transfer or freshman could wear his No. 11 jersey. It’s his prerogative if he wants to allow that. But I completely understand why he wouldn’t. Why bother retiring jerseys at all if it doesn’t actually mean anything?

—Mason Edwards’ dominance on the mound continues. The Trojan ace struck out 12 in his most recent start against Washington and gave up just one hit. Through 36 innings, Edwards now has given up just one run and seven hits. His fellow starter, Grant Govel, has been no slouch either. Govel leads the nation in wins (6) and, after a two-run outing, now has an ERA of 0.69 and he hasn’t been the best starting pitcher on his team. Wild.

Olympic sports spotlight

It has been a tough few weeks for USC women’s lacrosse. Through their most difficult stretch of the season, the Trojans have lost four straight, all to ranked teams, by a margin of 67-31. That’s the first time in program history that USC has had a losing streak that long.

That’s a concern when you consider that USC lost five out of seven to finish out last season, too. The Trojans gave up 20 goals in a game for just the first ever against Johns Hopkins last week and were trounced by Maryland in the follow-up.

With one more loss, USC would match its loss total from 2025 … with five games still remaining.

What I’m watching this week

PJ and Anthony in “Jury Duty.”

(Courtesy of Prime)

When it premiered in 2023, “Jury Duty” was one of the most surprising and unique shows I could remember airing on TV. The first season followed Ronald, an unsuspecting, totally normal guy who was called to jury duty. What he didn’t know is that everyone else involved was an actor. Hilarity ensued.

The second follows Anthony, another unsuspecting normal guy on a company retreat for his new temp job.

I figured it was impossible to make a second season, what with everyone’s familiarity with the first go-round. But somehow Amazon has managed to make this work for another season. And that’s a hell of an accomplishment in itself.

In case you missed it

Jazzy Davidson’s huge game delivers USC to thrilling overtime win in NCAA tournament

USC reaches settlement in Mike Bohn racial harassment and discrimination lawsuit

How far will USC’s women’s basketball team make it in the tournament?

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.

SACRAMENTO — Every two years, elite athletes compete in the Olympics, biennial plants — like carrots and onions — produce seeds and people across America look on with consternation and mounting impatience as California counts its election ballots.

The prolonged tally has become as much a part of electioneering in the Golden State as wall-to-wall advertising, high-flown promises and overstuffed mailboxes groaning beneath the weight of endless campaign fliers.

The tabulation — which can last weeks past election day — is the product, in large part, of a commendable objective: Encouraging as many people as possible to vote.

California, which mails a ballot to every eligible voter, ranks near the top of states in the ease of its elections. That’s something to be celebrated. Voting is a way to help steer the direction of our state and nation and invest, as an active participant, in its future.

Yay, participatory democracy!

Unfortunately, the lag time between election day and the final results has led to all sorts of wild, unfounded claims, peddled mainly by Republicans seeking to curry favor with the sore-losing President Trump by parroting his conspiratorial gabbling.

“They hold the elections open for weeks after election day,” House Speaker Mike Johnson said recently, falsely suggesting that chicanery cost the GOP three House seats in California in 2024. “It looks on its face to be fraudulent.”

That’s a lot of, um, hooey.

There is no rampant cheating or election fraud in California. Period. Full stop.

Still, those sorts of phony statements have deeply diminished faith in our elections and our increasingly rickety democracy.

So — what if it were possible to preserve California’s friendly voting system while, at the same time, speeding up the tabulation of its many millions of ballots?

Kim Alexander believes it’s possible to do both.

“We need to stop explaining why it’s taking so long and start figuring out how to [produce election results] in a more satisfying way,” she said. “There are a lot of things that we could do better and do differently. It just takes some creative thinking and some will.”

Simply put, “The longer it takes to count ballots, the more voter confidence erodes.”

Alexander, head of the nonpartisan California Voter Foundation, has spent more than three decades working to make the state’s elections more efficient, more transparent and more accountable.

Her interest in politics and election mechanics came about while growing up in Culver City, where her father served as a councilman and mayor.

As a 7-year-old, stationed in the garage, it was Alexander’s job to track the returns in her dad’s first campaign, toting up the numbers at an election night party while her mom, posted in the kitchen, called the city clerk for updates. Even at that young age, Alexander learned the importance of a fair and efficient tabulation process.

Over the years, she watched as her father’s political career was stymied by a Democratic gerrymander, which blocked any hopes he had of being elected to Congress or the Legislature as a moderate Republican. She saw firsthand the influence of money in politics. (Her father told her of turning away donations that came with strings attached.) That helped turn her into a political reformer.

After working as a legislative staffer and serving a stint at Common Cause, the good-government lobbying group, Alexander took over the California Voter Foundation in 1994.

As a political noncombatant, Alexander won’t say how it feels, and whether these days she’s more or less optimistic, watching as reckless attacks on our elections come from inside the White House. “I like to describe myself as a realist with high goals,” is all she’d allow.

There are good reasons why it takes California so long to count its ballots.

First off, there are a lot of them; more than 16 million residents voted in the last presidential election, more than the population of all but 10 states. Voting by mail has exploded in popularity and it takes longer to count those ballots, as many don’t arrive until after election day. Also, there are a number of safeguards to prevent fraud and ensure an accurate count. “We’re checking all the signatures,” Alexander said. “We’re making sure nobody votes twice.”

Simply explaining those facts can help build trust, she said. However, that won’t speed up the state’s vote counting. Here, Alexander suggested, are some things that can:

— Increase funding for California’s 58 counties to expand equipment, staff and the space needed to process ballots. In recent years, the state has been asking local election officials to do more and more without reimbursing their costs.

— Educate voters and encourage them to turn their ballots in earlier. Along those lines, a system called “sign, scan and go” allows voters to return their mail ballots in person at a designated polling place. A pilot program in Placer County found that that shaved three to four days off processing time. The system could be implemented statewide.

— Better manage California’s voter database, doing so from the top down in Sacramento, rather than having counties oversee their data and feed it into the system. That bottom-up approach creates delays and a lag time in processing ballots.

— Create “ballot swap” days to speed delivery of out-of-county ballots where they belong, also saving time. (Under California law, voters can return their ballot anywhere in the state, but it must be routed to their home county to be tabulated. That process can now take more than a week.)

The problem, apart from perennial budget pressures, is that interest in election mechanics — a technical and arcane subject if ever there was one — is episodic and fleeting. It’s like worrying about a leaky roof when the temperature is 95 degrees outside and the sun is blazing.

But even without voters clamoring to address California’s slow-poke vote count, lawmakers should act.

Gov. Gavin Newsom recently rose to defend the state’s “safe and secure elections” against one of Trump’s many unwarranted attacks. If he wants to burnish his credentials for a 2028 presidential run — which Newsom very much does — one way would be to speed up delivery of its election results.

That way the rest of the country won’t be asking again in November: What the heck’s with California?

Kountry Wayne likens the dream he’s currently living to an old sitcom that has made the world laugh for decades. “I feel like I’m the new version of ‘Beverly Hillbillies,’” he says. “I’m in Hollywood — I’m here, but I’m still not here, so I just think that’s the most country thing about me.” To his point, the comedian born DeWayne Colley has definitely hit the big time after getting his start in comedy in 2014 (trying his skills as a rapper before that) by working on his stage craft and cooking up Southern-fried viral skits inspired by his small-town Georgia roots. Fast-forward 12 years and his growing empire includes independent movies (including his upcoming film “That’s Her,” which he financed himself), a flood of both dramatic and comedy-driven short skits featuring a wide range of actors, a debut Netflix special (2023’s “A Woman’s Prayer”) and now his latest hour, “Nostalgia,” premiering Monday on Prime Video.

By spending a new hour looking back at a bygone period, specifically the ’90s, when Wayne grew up, the 38-year-old comedian is bringing a fresh approach to the Def Comedy Jam era that he hopes resonates with comedy fans of his generation and younger fans who found him through TikTok and had no idea he even did stand-up. As someone whose comedy career has skyrocketed over the last several years, Wayne’s sights continue to be set toward future opportunities to bring relatable humor to the masses who have that country cousin who walks, talks and jokes just like him.

This interview has been edited for length and clarity.

What does the word “Nostalgia” mean to you?

A good feeling. It means bringing people together through laughter like the good old shows back in the day — “Saved by the Bell,” “Family Matters.” It just is that feeling, whatever that feeling was that we couldn’t put in a jar, I wanted to bring that in my special to just make everybody laugh and forget about the stuff that’s always gonna be here — bills and drama and violence. Just take a break, have fun, and take the breaks we used to take when we used to watch those TV shows in the ’90s.

By the shows you mentioned, I know we’re about the same age. We grew up with the same TV sitcoms and yet still valued being outside, which feels like a foreign concept today.

Yeah, it’s that feeling of all those movies. Man, “Clueless,” when I see that movie, to this day, I still got crushes on all [those girls]. I always wanted to go to the high school in “Saved by the Bell.” So I just want to give that feeling that I felt, because a lot of the new generation didn’t get to experience those shows and those feelings. So even for the younger generation, I want them to be able to experience that through my special.

What was small–town life in Millen, Ga., like for you as a funny kid growing up?

I was so poor, it wasn’t nothing really funny. The town was so small — one [stop]light, the elementary school, high school, all in one school. You had to joke your way to make you think that you weren’t there. You kind of had to escape through jokes. So I just made people laugh wherever I was. No matter how serious the situation is, I can’t do anything about it. I might as well laugh. I remember the lights went off one time when we were eating cereal. I was like, “Mama, hey, come on. I can’t see — I can’t see the milk, the cereal, the bowl. And you’re telling me I need to do my work. I think you need to go to work.” In a small town, you had to laugh because there was nothing else, there was no opportunity.

“In a small town, you had to laugh because there was nothing else, there was no opportunity,” Kountry Wayne said about growing up in Millen, Ga.

(Christina House / Los Angeles Times)

You gravitated to music early in life, becoming a rapper before you did stand-up. What was it about performing that helped you forget about the troubles that were going on around you?

I always felt like I was onstage already, so by the time I actually got onstage, the lights never did nothing to me, or the fame and all of that. Because I’m just so thankful to be able to do stand-up and have people come and watch me do it. I never had time to really feel the fame and all of that. So I just think everything I went through in that small town helped me. Everything is a small town to me. Hollywood is still a small town to me, because whoever I know, that’s who I know; whoever I don’t know, I just don’t know ’em. Because in that small town, you were so far away from the big cities like Atlanta, New York, L.A. I was three hours from Atlanta [growing up], so I think that really helped me to get where I’m at today to do comedy the way I do it.

Just keep it “kountry.”

Yeah, keep it kountry. Man, oh, that’s the next [title of a new special].

What do you feel like is the most country aspect of you as someone who’s now a popular comedian?

My family — all my family around me. You come to my house. It’s an uncle, daddy, a sister, brother, kids everywhere. I feel like I’m the new version of “Beverly Hillbillies.” I’m in Hollywood, I’m here, but I’m still not here, so I just think that’s the most country thing about me. If you meet my family, you understand. They don’t say shrimp, we say “scrimps” or “o’er dere” [instead of] “over there.” With my accent, imagine it’s 10 times worse with my family. So I think I remind people that everybody in L.A., New York got a cousin somewhere in Mississippi, because a lot of us are from the South anyway. So I just think I remind people of simple, country people.

With the Southern flavor you bring to comedy, I kind of liken it to hip-hop, when it comes to the regional styles of different comics. How does that play into creating a special that brings the South to the world?

It’s crazy that you say that [you] think about hip-hop when I do that. I’m gonna be me so much that people who don’t know me are gonna be interested in me, because it’s different than everybody else. I feel like I’m a really country person with that Southern drawl or the way I talk. I talk like them uncles and all of that. So I just feel like it’s gonna make everybody feel at home. I didn’t try to switch it up. I’m gonna be me because I feel like, deep down, everybody knows [someone like] me somewhere. They’re gonna relate to me in some kind of way, and it feels safe because I’m being me. I’m not out there being fake, this how I talk. I’m a country boy. I’m not from the big city, and this is what I’m giving the world. And those who love it, I appreciate it. Those who don’t love it, I still love you.

“I think I remind people that everybody in L.A., New York got a cousin somewhere in Mississippi, because a lot of us are from the South anyway,” said Kountry Wayne.

(Christina House / Los Angeles Times)

Being a dad to 10 kids is something that’s been a part of your storyline in comedy and that people have gravitated to. How does your ability to survive and make it all work play into your comedy?

Child support would really make you very, very funny. It actually plays a lot into it, because if it wasn’t for those kids, I don’t think I’d stand out as much as I am. Because we’ve heard every joke, everybody’s been funny. Come on, man, we’ve seen Jim Carrey, we’ve seen Eddie Murphy, we’ve seen Dave Chappelle. Funny has already been done. So I think what helps me stand out is my story with my kids and my family. It’s funny, but it’s still OK. This is a different perspective than we see with all those kids, the mothers, you know, but he’s not with the mothers, but he’s there with the kids, and you take care of the mothers. It’s so much of a unique situation that I think that’s what makes it stand out.

Who’s your funniest kid?

[My daughter] Honest. Honest is the funniest person in my life. Her name’s Honest, but she lies — she makes up all these stories about what happened at school. [She’ll say,] “I got arrested today.” I’ll be like, “Honest, you did get arrested?” [She’ll say,] “Well, they was about to arrest me, but they didn’t.” She reminds me of me, but she is just a little bit more witty because she don’t got no trauma like I did. I come from poverty. She’s rich. She goes to this Christian school full of white people, and she thinks she’s a white baby now. The white girls have this clip they put on their hair. She bought her clip. Now her hair not floating like theirs. Her hair is definitely stiff. I’m like, “Honest, you don’t need that clip!” She’s in dancing. She don’t go to practice. When she goes to the dance recitals, it’s clear that she can’t dance and we always ask her, “Do you know the dance?” Every time she gets there, she says, “Yeah,” but she gets there and she’s always watching the other kids. She was the only one [who’s] off.

She is so funny. I put her in the skits. She says the wittiest things. She asked me one day — I got a lot of kids — and she said, “Daddy, which one of your kids you love the most?” She said, “Do you love all your kids?” I said, “Yeah, I love all of y’all.” She said, “Well, come here. Let me talk to you right quick.” She took me to a picture I had in my man cave, “She said, ‘Well, why all of us [not in the picture]?’”… She’s my comedian.

Speaking of the skit-producing pipeline/network you‘ve developed over the last several years, how has that been instrumental to your comedy career, and also your career as sort of a producer in developing content?

I think that content helped me more [with] being known as a producer and a filmmaker and an actor. So I think it helped my acting career, the first part of my life, and all the skits helped my comedy because it was just me being funny, but the skits I put out now help people look at me more as a businessman, an entrepreneur and an actor. And it’s crazy, some people now even know me from the skits. And when they come to the [stand-up] show, they’re going to be shocked. A lot of my fans who met me when I started writing the storylines, when they see this [“Nostalgia”] special they’re like, “He never showed us that!” Because that person I am onstage, I don’t be that on social media anymore, so you have to go watch me on stand-up to give that energy that I give. But my Day 1 fans met that guy. These fans I’ve made over the last four or five years were probably equivalent to my Day 1 fans. It’s a large fan base but they don’t even know that I could [do] stand-up like that.

Comedian Kountry Wayne holds up his gold neck chain with his mom’s face on it.

(Christina House / Los Angeles Times)

That’s nostalgic in a way. I’m thinking of a TV dad like Bob Saget, who was so different when you saw him do stand-up. You’re like, “Wow, Danny Tanner is filthy!” That’s great that you can kind of separate the two personas. What do you feel is next for you in comedy?

To bring that to the big screen, for sure. All my talents and gifts that I worked on, in a way, [have] gotten better. I put the work in, I’m ready to show it on the screen. I think it’s happening organically, like the special [on] Amazon, that’s organic. I had one on Netflix now they wanted me to do one at Amazon, and I just want to show the world what I’ve been working on, and the time, energy I put into a broader scale … So I’m just excited, and I feel like a kid again, because I got so many responsibilities and kids I take care of. It took a while for me to get back to this point where I could just be an artist. Because I wanted to be an artist, but then I had a lot of kids, so I had to be a provider. But now I’m in a position where all that is handled, so I feel like a kid again when it comes to the art.

PHOENIX — Dodgers president of baseball operations Andrew Friedman went into the offseason expecting outfielder Kyle Tucker to sign elsewhere.

Sure, Friedman was confident in what the Dodgers could provide on and off the field to the 29-year-old four-time All-Star. And Tucker was a rare hitter who could actually elevate an already star-powered Dodgers lineup. But with the team unwilling to offer a super long-term deal, their chances at landing the best free-agent hitter available this past offseason felt “incredibly low.”

“I can’t remember a time where a player has taken a shorter-term, higher-AAV deal when they’ve had an actual long-term contract on the table,” Friedman said Wednesday.

The Dodgers, however, had already pulled off a bigger surprise when closer Edwin Díaz chose them over returning to the Mets this past December.

The team’s pitch, which included a conversation with the Dodgers’ director of family programs Patricia Romero, discussions about preparation and player resources, and a championship track record, helped land both top-tier free agents.

Of course it didn’t hurt that though Tucker’s contract was only four years, it was worth $240 million. Taking deferrals into account, the net-present day value set an MLB record at about $57 million per year.

The Dodgers’ aggressive offseason, coming off consecutive World Series titles, once again makes them the favorite entering the 2026 season.

They wrap up their Cactus League schedule this week, as World Baseball Classic participants trickle back into camp, and baseball operations leadership make final opening day roster decisions.

Before Friedman headed back to Los Angeles, he spoke with The Times on a range of topics. Here’s part of that conversion, edited for length and clarity.

Q: When it comes to the WBC, there’s variance on how supportive teams are. You have Shohei Ohtani participating as a position player, Yoshinobu Yamamoto pitching after an extra-short offseason, Kiké Hernández supporting Puerto Rico in person while rehabbing. How have you landed in being highly flexible?

Friedman: Obviously everything is case by case. But in a vacuum, we are incredibly supportive of the World Baseball Classic and what it does for our game worldwide. We saw it in ‘23, we saw it this past year, with just how important this is to the players, the staff, the fans — and just how exciting it is for baseball.

So that part’s easy. Now you layer on our situation, us trying to win a World Series. For position players, it’s easier to justify. For pitchers, it’s way harder. Throwing at that intensity in March is really, really challenging. And so we feel like our role is to work with each of our players and have conversations and share our thoughts, listen to their thoughts, and then answers kind of fall out of that.

Q: It’s such a cliche to say you can never have too much pitching, but with this group, are you close?

Friedman: I’ve learned my lesson to never say that we have enough pitching. But I do feel like we are breaking camp with the most talented one through 20 arms — which gets at, obviously, who we’ll break with, and then depth behind it — that we’ve ever had.

Q: Between Díaz, who’s part of that equation, and Tucker, you signed two players this offseason who you didn’t necessarily expect to land. What does that say about this organization and what you’ve done the last few years?

Friedman: Our biggest, most overarching goal is to be a destination spot, where our own players don’t want to leave, where players on other teams are looking longingly, because we feel like championships fall out of that. By having the right environment, having the right culture, that helps your star players want to stay, it helps in the recruitment of others. So we’re way better at it today than we were five years ago. But it’s like a living organism that we have to continue to foster and nurture and develop. And we hope we’re way better at it five years from now.

Q: On that note, the Dodgers are very much caught in the middle of CBA posturing with the current agreement expiring this year. You hear a lot of players saying the Dodgers are doing it the right way and other teams could be doing something similar. On the other hand, the league appears to be floating a salary cap, and plenty of fans are accusing the Dodgers of “ruining baseball.” What’s it been like to see those conflicting narratives?

Friedman: Obviously see it, come across it, hear it quite a bit. But we’re just not that focused on it. We’re a really healthy organization, and the partnership we have with our fans is our guiding light. And we’re doing everything we can to put a team out there that our fans really connect with, and that they feel that partnership with all that they pour into us, and don’t really think about it in any other terms.

And so obviously, there’s a lot of narratives that get extrapolated from that. But our sole focus is on ourselves and the partnership we have with our fans and the rest of it to us, it’s kind of just noise.

Q: You guys raised the bar years ago to, “We’re going to be in the postseason every year.” But there were clear frustrations from the fan base when that wasn’t consistently leading to championships. Is it fair to say that this continued push is almost a response to that frustration?

Friedman: Each year we’ve poured everything we have into winning. And in October, you need a really talented roster, and you need some good fortune. And there’s years where we haven’t been as talented as we wanted to be, whether it’s injuries or lack of performance. There’s years we’ve had really bad fortune, there’s years we’ve had good fortune. And a lot of that is the game, and it’s what I both love and hate about it.

I wouldn’t say our mindset is all that different. But obviously, when you’re in a moment in time with an incredibly talented roster, I think the mindset is, ‘Don’t sit back on your heels, be aggressive, and don’t be nonchalant about the opportunity that we have in front of us.’ And so it’s more the idea of pressing an advantage and being aggressive on that front.

Q: I’m sure when you were pursuing Ohtani, you looked into the revenue ramifications of signing him. Has this been about what you expected? Has it exceeded your expectations?

Friedman: Oh, it’s far exceeded. I don’t think the human brain could have comprehended it correctly. It’s been a perfect storm on a lot of levels, and something that has definitely far exceeded our expectations.”

Q: A three-peat seems to be the goal. Is there such a thing as a successful season without winning a championship, or has this team gotten to a point where you really have to win a World Series in order to claim success?

Friedman: Everything for us, all of our energy and focus, is on doing everything we can to win a championship this year. And our first goal is to win the division and be in position to have a bye. Last year, we added to the degree of difficulty [by winning the division but having to play in the wild-card round] in a way that I’d like to avoid this year.

So that’s the first goal. And then obviously that puts you in the best position to accomplish our ultimate goal, which is winning a World Series. So that’s what all of our energy and focus is on.

And, obviously, if we win the World Series this year, it will be a three-peat. But it’s not how my brain processes it. We’ve won back-to-back, and those are in the bank. And now it’s, do everything we can to win this year, and it’s its own unique, disparate year.

There is no such thing as a day of rest for artist Kenny Scharf, not even Sunday. “I wake up super early. It’s still dark outside,” the Los Angeles native says.

Rising before the sun anchors his active day. “I always have to keep moving,” Scharf says. “Otherwise, I’ll get very depressed.”

An avid hiker and swimmer, Scharf, 67, also maintains a disciplined yoga practice and cycles daily from his Culver City home to his Inglewood studio. There almost everything serves as a canvas, including painted trash doubling as decor and the silkscreened couch on which he’s seated.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

“I don’t like to waste good paint and silkscreen ink. Why wash it? We apply it everywhere until we use it up,” Scharf says.

Scharf, who grew up in the Valley before making his way to New York City, first gained acclaim in the ‘80s East Village art scene alongside his friends and contemporaries Jean-Michel Basquiat and Keith Haring, his former roommate. The trio also befriended Andy Warhol, who predicted Scharf’s fame.

Renowned for his self-coined “pop surrealism,” Scharf often populates his bold, colorful work with grinning cartoon faces, elastic blobs, and sci-fi creatures floating through cosmic landscapes. Anxieties about overconsumption and environmental degradation lie beneath the playfulness.

Like their creator, Scharf’s works are always on the move, either rolling down the street on the cars he’s painted — featured in his recently published book “Karbombz!” — or traveling to forthcoming exhibitions in Wuhan, Tokyo and Paris.

This interview has been lightly edited and condensed for length and clarity.

5:30 a.m.: Wake up and feed the cats.

My cats, Cutie and Socks — one’s a tabby and the other is a tuxedo cat — wake me up by mewing and walking on me. They’re like, “Hey, I’m hungry.” So I get up and crack open the cans. They like that disgusting, smelly canned food. And then they go out into the yard.

I got the cats because I went to New York for a show. I was gone for five days and I live next to a park, so there are a lot of animals. I came back and my entire house was overrun by mice. I was like, “What the hell am I gonna do? I need cats.” The mice are gone and now I have these cats. They’re so cute and so much fun. They take over my life.

6 a.m.: Detox

I make lemon and hot water. It’s a good way to start the day and clear out the toxins. Right now, I have a lot of citrus because Ed Ruscha’s studio is across the street from my house, and in the back of the studio he has a citrus farm. I go there, especially during this time of year, and get bags of citrus. It’s like a farm community in the middle of L.A. I love L.A. because you can surround yourself with trees and gardens and kind of pretend that you’re not living in a giant metropolitan area.

8:30 a.m.: Iyengar yoga

An Iyengar yoga instructor comes to my house. I find Iyengar is great for aging. You use ropes and gravity to hang and do different things, using your body weight so you can relax into the positions. I also have a swing to go upside down on. When people walk into my living room, they go, “What’s going on here?” because of the ropes on the wall.

In the summer, I’ll go to the beach in Venice and swim in the ocean. It’s wonderful when I’m out in the water. It’s cathartic and cleansing, and sometimes I see dolphins. I’ll go early in the morning before the crowds come.

11:30 a.m.: Mar Vista Farmers’ Market

It’s fun to go there with my daughter Zena, who’s a chef, and my grandkids. We stroll around and get food. All the food stands are delicious. I grew up here in L.A., so I’m into Mexican food. I don’t really want to eat American food. I’m not into hamburgers. I want all the stuff with the culture. I like hot and spicy.

I also buy apples and berries, whatever I can’t grow, because I grow my own food at home.

And I buy stuff from an Indian man who sells Chyawanprash, which is kind of a jam. It’s really concentrated and like an elixir. He also sells Shilajit, which almost looks like tar. You put a little bit under your tongue and it dissolves, and it’s got like every single mineral in it.

2 p.m.: Painting at the studio

I’m painting seven days a week, but I really love coming here on Sundays because nobody’s here and the phone doesn’t ring. Sometimes, my granddaughter, Lua, will come. She paints. Upstairs at the studio I have a little painting area with easels for my grandkids, but my grandson, Jet, isn’t that into painting. I do my work, and Lua’s up there keeping herself busy painting, and it’s great.

Kenny Scharf in his paint-splattered studio he bikes to every day.

(Myung J. Chun / Los Angeles Times)

5 p.m.: Hike

The easiest one is right behind my house. It goes up to the top of the Baldwin Hills Scenic Overlook where the [Culver City] Stairs go. It’s one of the best views in all of L.A. You can see from the airport to the ocean, downtown, Mount Baldy. You can see almost all the way to Palm Springs, Mount San Gorgonio. The view is amazing.

We also hike a lot in Kenneth Hahn [State Recreation Area].

My grandkids often like to go on a waterfall hike, so there are a couple in Malibu. There are also a couple over in the San Gabriel [Mountains]. We’ll get into the car and drive an hour and hike.

6:30 p.m.: Dinner at a restaurant

Zena, Lua and Jet live close to me, so we have dinner together at least three or four times a week. Because Zena’s a chef, we don’t go out to eat that often, but sometimes we go to a restaurant called Madre that I love. It’s on National [Boulevard]. The food is so good. They often have squash blossoms. They fry them and put a little cheese in them.

I also love Gjelina in Venice. Sometimes I take people from Europe there because it is quintessential California. All the food they make is from the farmers market, so you get a tomato salad with incredible tomatoes.

8 p.m.: Read

I just finished Patti Smith’s latest book, “Bread of Angels.” It’s beautiful. I love her. I saw her perform at Disney Hall recently, and she was selling this book. I actually saw her perform at the Santa Monica Civic [Auditorium] when I was 19. I’d been wanting to move to New York for a lot of reasons, but when I saw her performance, it was, “I’m moving there.” There was so much energy in her.

9 p.m.: Bedtime

Usually I’m in bed by 9 and asleep by 10. When I was young, I was very involved in nightlife. I was working in nightclubs, all of my friends were in nightclubs, so I lived that big time. But now I’m jaded. I don’t want to sound above it all, but I don’t see anything going on that I’m getting excited about the way it was. And I’m not a nostalgic person, so I choose not to go out. I’m happier getting a good night’s sleep.

NFL teams are living on the edge.

Sure, it’s a quarterback’s league, but a major focus of the upcoming NFL draft will be about getting to the quarterback. This class is loaded with talented pass rushers, and teams figure to take advantage of that early and often. This mock draft has edge rushers off the board with the second, third and fourth selections.

How appropriate that the April 23-25 draft will be held for the first time in Pittsburgh, birthplace of the Steel Curtain.

The Steelers, incidentally, take a receiver in this mock — and there are lots of talented prospects at that spot, too. This contemplates the Rams selecting USC receiver Makai Lemon, although it’s entirely possible that the sure-handed Trojans star will already be gone by the time the 13th pick rolls around.

The Chargers, meanwhile, take an offensive lineman to address the need that haunted them all last season after they were ravaged by injuries up front.

One look at how the draft could unfold:

1. Las Vegas Raiders: QB Fernando Mendoza (Indiana) — Tom Brady loves him. The Raiders are trying to build something, and this Heisman winner figures to be a cornerstone.

2. New York Jets: Edge Arvell Reese (Ohio State) — Jets had zero interceptions and four takeaways last season, both NFL records, and think Reese has some Micah Parsons qualities.

3. Arizona Cardinals: Edge David Bailey (Texas Tech) — As pass rushers go, the Cardinals have Josh Sweat, who isn’t particularly happy, and a bunch of young guys who have struggled to stay healthy.

4. Tennessee Titans: Edge Rueben Bain Jr. (Miami) — Although they have been collecting defensive linemen, the Titans still need help at the edge. Also could use a supporting cast for Cam Ward.

Notre Dame running back Jeremiyah Love carries the ball against Pittsburgh in November.

(Gene J. Puskar / Associated Press)

5. New York Giants: RB Jeremiyah Love (Notre Dame) — John Harbaugh doesn’t always draft for need, and he loves to pound defenses with a running game. Love is the best in this class.

6. Cleveland Browns: OT Monroe Freeling (Georgia) — The Browns are completely rebooting their offensive line and had hoped to sign Packers free agent tackle Rasheed Walker, instead nabbed by Carolina.

7. Washington Commanders: S Caleb Downs (Ohio State) — The Commanders could use help at virtually every position — everything but QB — and a game-changing defensive back would get a warm welcome.

8. New Orleans Saints: LB Sonny Styles (Ohio State) — Saints might go receiver here, but Saints need a defensive stalwart too. If Love and Downs are gone — as they are in this mock — Styles would be a fit.

9. Kansas City Chiefs: WR Carnell Tate (Ohio State) — The cupboard is bare at receiver with just Xavier Worthy and Jalen Royals, so the Chiefs are desperate for some help there. Not the first time.

10. Cincinnati Bengals: CB Mansoor Delane (Louisiana State) — The Bengals are bringing back virtually their entire offense and have spent the offseason coming up with ways to improve their historically bad defense.

11. Miami Dolphins: WR Jordyn Tyson (Arizona State) — The Dolphins are trading Jaylen Waddle to Denver for another pick, so they immediately address their need for another playmaking receiver.

12. Dallas Cowboys: CB Jermod McCoy (Tennessee) — The Cowboys traded for Rashan Gary, which addressed their need at edge. Here’s a chance to upgrade at corner.

Wide receiver Makai Lemon runs with the ball during USC’s pro day on March 12.

(Kyusung Gong / Associated Press)

13. Rams: WR Makai Lemon (USC) — Having raided Kansas City’s defensive backfield, the Rams can stay put and take a receiver, or maybe trade up for a long-term bookend to Puka Nacua.

14. Baltimore Ravens: G Olaivavega Ioane (Penn State) — The Ravens have an opening at both guard and center, so they turn their attention to the interior of their offensive line.

15. Tampa Bay: Edge Keldric Faulk (Auburn) — The Buccaneers are sorely lacking when it comes to generating pressure off the edge, and Haason Reddick hasn’t been the answer.

16. New York Jets: WR Omar Cooper Jr. (Indiana) — The Jets need a No. 2 receiver to line up opposite Garrett Wilson and command some attention on the outside.

17. Detroit Lions: Edge Akheem Mesidor (Miami) — The Lions need someone they can pair with Aidan Hutchinson to put pressure on opposing quarterbacks, and Mesidor has a lot of potential.

18. Minnesota Vikings: S Dillon Thieneman (Oregon) — Harrison Smith is 37 and the Vikings need to start planning for the future at that position; they need another defensive back.

19. Carolina Panthers: OL Spencer Fano (Utah) — Fano can play all five positions on the offensive line, and that’s awfully enticing for a franchise with an injured left tackle and in need of a center.

20. Dallas Cowboys: LB Jacob Rodriguez (Texas Tech) — Micah Parsons is gone, and the Cowboys allowed 6.1 yards per play last season, second worst in the league. They need help all over.

21. Pittsburgh Steelers: CB Avieon Terrell (Clemson) — A receiver would be nice, but the Steelers can get one later. Terrell gives the Steelers depth and potentially a long-term bookend to Joey Porter Jr.

Miami offensive lineman Francis Mauigoa prepares for a snap against Louisville in October.

(Doug Murray / Associated Press)

22. Chargers: OL Francis Mauigoa (Miami) — With all the problems the Chargers have had cobbling together an offensive line, they need to focus on protecting Justin Herbert.

23. Philadelphia Eagles: S Emmanuel McNeil-Warren (Toledo) — Reed Blankenship, a fixture in Philadelphia’s defense and a QB in the secondary, signed with Houston as a free agent.

24. Cleveland Browns: CB Colton Hood (Tennessee) — The Browns addressed their offense with the sixth pick and now can focus on a defensive position of need. Corner is key.

25. Chicago Bears: CB Chris Johnson (San Diego State) — Tyrique Stevenson is the fourth-most-targeted corner in the league. The Bears need to upgrade at that spot opposite Jaylon Johnson.

26. Buffalo Bills OL Kadyn Proctor (Alabama) — Buffalo wants to run the ball, and Proctor is an outstanding downhill run blocker. He can also move inside and benefit a team that needs interior help.

27. San Francisco 49ers: OT Blake Miller (Clemson) — The 49ers have to plan for their future at both tackle spots. Miller is durable and a particularly adept pass blocker.

28. Houston Texans: OT Caleb Lomu (Utah) — Houston’s offensive line has been a problem for years and that’s not going away. Lomu is young but terrific in pass protection. Good news for C.J. Stroud.

29. Kansas City Chiefs: Edge Cashius Howell (Texas A&M) — Kansas City’s pass rush has declined two years in a row. The Chiefs need help in a lot of areas, but getting to passer is vital.

30. Miami Dolphins: Edge T.J. Parker (Clemson) — The Dolphins have an underwhelming cluster of pass rushers, led by Chop Robinson. They need help pressuring the quarterback so they will be looking for an edge rusher.

31. New England Patriots: TE Kenyon Sadiq (Oregon) — Mike Vrabel has already tipped his hand about his interest in this class of tight ends. Give Drake Maye another weapon at the position.

32. Seattle Seahawks: RB Jadarian Price (Notre Dame) — Two ball carriers from the same college backfield in the opening round? The defending Super Bowl champions need to start reconstructing a backfield.

Harry Styles is no stranger to “Saturday Night Live,” having performed multiple times with his former boy band One Direction and more recently as a solo artist. But this isn’t his first time as host either.

This week, the pop star returned to the Studio 8H to host for a second time, more than six years after his debut. That’s a long time in between, during which Styles has starred in a couple of films, “Don’t Worry Darling” and “My Policeman,” and released a trio of albums, including his latest, “Kiss All the Time. Disco, Occasionally.,” which he was there to promote.

Styles has a knack for radiating charm, honed after years in the spotlight as a musician, and now with some notable acting roles under his belt, he’s more than primed for the stage. And the timing is perfect, considering many actors are in Hollywood this weekend for the Oscars.

He delivered again with a variety sketches, including one about a prosecutor distracted by the famous comedian/lawyer appointed to defend an alleged thief, a pretaped sketch that riffed on HBO Max’s hit medical drama “The Pitt,” and a closing sketch where he played himself promoting a line of clothing modeled after some of his most famous outfits for Target.

He also excelled in parts where he could show off his vocals and dancing, like in “Sparkle of the Sea,” an infomercial about a German cruise line, and another pretaped sketch, “She’s an Irish Dancer,” where guys find out just how Irish their dates are in a nod to St. Patrick’s Day on Tuesday. Flatter, though, were sketches about a pair of Best Buy workers, and one where Styles played a drive-thru worker at a White Castle, but that’s because Jane Wickline and Veronika Slowikowska stole the skit as a pair of nerdy girls trying to ask him out to the school dance.

Styles performed his new single, “Dance No More,” after last week’s host Ryan Gosling introduced him, a fitting appearance since Styles crashed his monologue. And Paul Simon also stopped by to introduce Styles before his second song, “Coming Up Roses.”

This week’s cold open touched on the ongoing war in Iran. The patriarch (Mikey Day) of a family at a gas station says he needs to fill up their car. As a piano begins to play, his wife (Ashley Padilla) says, “Fill up? Not all the way, right?” “We have to,” Day replies emphatically. “But it’s $5 dollars,” she says before turning to her two children (Marcello Hernández and Sarah Sherman) to say they have to leave one of them behind because gas is too expensive. Why? “The Epstein files,” exclaims President Trump (James Austin Johnson), who jumps into the scene. “It’s called butterfly effect. Epstein was the first domino,” he says, miming dominoes falling. Trump goes on to introduce himself by saying we might remember him from campaign promises such as “lower gas prices” and “no more wars” (“Psych!”). “We love to make promises because a promise is a lie that just hasn’t happened yet.” As for the stock market, he puts it in a way that Harry Styles fans might understand — it’s going in one direction, garnering loud cheers and applause. He jokes about Iran’s age, saying it is old and nobody likes them, “Iran is like ballet and opera and weird Timothée Chalamet,” referring to the actor’s comments that have caused an uproar.

But Trump says he has everything under control, meeting with top minds including influencer and boxer Jake Paul, who he says was booed “very badly” at his fight against Mike Tyson. “Did someone say booze?” Department of Defense Secretary Pete Hegseth (Colin Jost) says as he emerges from the family’s car and dozens of cans fall to the ground. (“It was just a couple of road sodas, chill.”) He then thanks Trump for the “beautiful, size 16 Florsheim shoes,” a reference to the Wall Street Journal report that they are the president’s gift of choice to close friends and advisors. Hegseth goes on to say that they are “hashtag winning” the war with Iran, and as for the Strait of Hormuz, he advises that the tankers moving oil should just do what he does at a DUI checkpoint: “Close your eyes and gun it.”

In his monologue, Styles, dressed in a grey pinstripe suit and bright blue tie, said he couldn’t resist hosting when he heard they booked his favorite-ever musical guest. After his tour ended in 2023, he took a lot of time off, realizing he’d spent much of his life on the road and “making songs about fruit that people think were about sex.” He just really likes fruit — and sex. He also said a lot of people pay attention to the clothes he wears (true, see above), with some people accusing him of “queerbaiting,” to which he responded, “Maybe you don’t know everything about me, dad.” But as far as what he did in his time off, he took up boring things, like jogging (his sub-three hour marathon in Berlin was the buzz of the running world). It’s better than the alternative, he says, as the screen flashed to an image of the former Prince Andrew. But now he’s promoting his new album, “Kiss All the Time. Disco, Occasionally.”, because what’s better than kissing? He actually doesn’t want to kiss all the time, leading to a brief appearance and disappearance of cast members Chloe Fineman and Sherman, unless its Ben Marshall. He complimented Marshall’s backside, and gave him a smooch on the lips: “Now that’s queerbaiting.”

Best sketch of the night: I don’t know if your dad did this, but my dad used to pop it twice

The first sketch of the night took us into a courtroom, where a New Jersey prosecutor (Styles) rose to present his case against the defendant, Mr. Donovan (Tommy Brennan), who didn’t have an attorney. So the judge (Kenan Thompson) appointed one: comedian Sebastian Maniscalco (Hernández). It’s the second time Hernández has played the comedian, whose caricature of Maniscalco in a red blazer and black turtleneck is at turns spot on, exaggerated and completely hilarious. He chimed with retorts as the prosecutor explained the charges of stealing $5,000 in merchandise, including a belt. “Let me tell you something about a belt. When I was a kid, the belt wasn’t to keep the pants up, it was to keep the volume down,” Maniscalco says, motioning to his waist and explaining how his dad would use it. Maniscalco’s manic energy was too much for the courtroom sketch artist, though, who complains to the judge about having to draw him, showing a sketch of a blurred, multi-limbed man. Kudos to Styles who managed to mostly keep his composure as Hernández glided around him. But Styles had the last laugh with his own impression of Maniscalco, before a final sketch of him was revealed. Put it in the Lourve!

Also good: Why get real healthcare when you’ve got ‘Mahaspital’

“The Pitt,” one of the buzziest TV shows in America, has been lauded for its realistic portrayal of emergency rooms and the stresses that medical workers endure on a regular basis. So when the opening scenes of this pretape began playing, the crowd went wild. But this isn’t “The Pitt,” it’s “Mahaspital,” brought to you by producer Robert F. Kennedy Jr. and the team behind Make America Healthy Again. Styles channels Noah Wyle’s Dr. Robby, marching toward an incoming patient on a gurney as she’s pushed through the ER hallway. “What she needs is a steak,” he says. “Give me beef tallow and six raw eggs, too.” The sketch touches on many of the hallmarks of the MAHA movement: healing crystals, vaccine skepticism, raw milk and lots and lots of protein. And we can’t forget that Central Park bear.

‘Weekend Update’ winner: Battle of the heart (emojis)

“Update” anchors Michael Che and Jost focused most of their attention on the Iran war this week, but they also touched on another event happening this weekend: the Oscars. They brought in Tucker Carlson (Jeremy Culhane) to talk about the best picture nominees. Culhane’s impression of the conservative pundit was pretty impressive, capturing his cadence and habit of using rhetorical questions — I hope we see it again.

But it was Day and Hernández who stole the segment as emojis aerial tramway and heart, respectively, who joined to comment on Apple’s addition of eight new emojis. Heart emoji on the new additions: “All I know is they’re all going to be more popular than this loser,” pointing to Day. “I’m No. 1 because I’m useful. People use me for everything.” But you can’t put an aerial tramway down, who tried to explain other ways to use the emoji somewhat unsuccessfully. At least he has a solid crew of bangers: orange square, division sign, snorkel and “my boy, the goat” building with a horn on it. Day was dedicated to the bit, making Hernandez crack with muffled laughter. Don’t be surprised if you see a lot more of aerial tramway (and his girlfriend, on with two arrows) in your texts.

“Beast Mode” started as a phrase people used to describe the running style of former NFL running back Marshawn Lynch.

“I think it was just my relentlessness and my no-back-down type of demeanor when it came to running the ball, like, ‘Boy, that boy a beast,’” Lynch said. “And it’s like, yeah, when I get the ball, that’s what type of mode I’m in — I’m in beast mode.”

Lynch played 12 seasons for the Buffalo Bills, Seattle Seahawks and Oakland Raiders, amassing 10,413 in 2,453 carries with 85 touchdowns. Somewhere along the way, he said, the phrase “Beast Mode” evolved into “this persona bigger than myself.”

“The way that I get approached by kids and fans, like the way that they approach me is almost as if I am like a character so to speak, and I don’t think that I was doing it justice because I’m like, ‘Well s—, I’m just only a man,” the Super Bowl XLVIII champion said.

“But I believe in their mind what they had made up as Beast Mode is this larger-than-life, kind of surreal individual.”

An early look at a page from the upcoming “Beast Mode 510” graphic novel, starring Marshawn Lynch as the title character. Text will be added closer to the Oct. 6 publishing date.

(Art by Denys Cowan / Courtesy of AWA)

Lynch is embracing that perception of himself … and Beast Mode is about to become a literal comic book hero.

On Friday, Arists Writers and Artisans announced the graphic novel “Beast Mode 510,” which is scheduled to be released Oct. 6. Written by NAACP Image Award-nominated author Sheldon Allen and illustrated by Eisner Hall of Fame artist Denys Cowan, the book was “inspired and guided by” Lynch and is a “deeply personal love letter” to his hometown Oakland, according to a news release from AWA.

“At its center is Beast Mode: the 510’s legendary fixer and freelance sleuth whose rough exterior hides a code of loyalty and willingness to deal with problems others won’t touch,” the release reads. “If you’ve got a problem the authorities won’t handle, Beast Mode will. No invoices. No contracts. Just results.”

AWA chief creative officer Axel Alonso said when he was approached by Lynch and his team about possibly working on a project together, the idea of turning Beast Mode into an almost superhuman crime fighter quickly came to mind.

“To use a football analogy, when Marshawn and his people came to me and said, ‘Can you do anything with this, Beast Mode?’ it was like they gave me the ball on the one-yard line and I had to just walk it in — and Pete Carroll wasn’t the coach, so I could just go right in,” Alonso said, referring to an infamous play at the end of Seattle’s loss to New England in Super Bowl XLIX.

“It was as easy as that. I was like, come on, ‘Beast Mode’? So automatically I talked with Marshawn and said, ‘What’s important to you?’”

Lynch’s input has been key every step of the way, Alonso said, with the five-time Pro Bowl selection getting final say on every aspect. Lynch said he appreciates having his voice heard and being able to put his stamp on the project.

“From the start, we just sat down and had a conversation about where it was that we wanted to go, what is the kind of feel, the look that we want, the kind of tone that we want to tell the story,” Lynch said.

Seahawks running back Marshawn Lynch #24 of the Seattle Seahawks runs for a 67-yard touchdown against the New Orleans Saints during an NFC wild-card playoff game Jan. 8, 2011, at Qwest Field.

(Jonathan Ferrey / Getty Images)

An early look at pages from the upcoming “Beast Mode 510” graphic novel starring Super Bowl champion Marshawn Lynch as an underground crime fighter.

(Art by Denys Cowan / Courtesy of AWA)

“I can’t draw or nothing like that, but any type of update or anything Axel will get over to me and, you know what I mean, yea or nay. And then when it comes to like how certain characters would look, certain names, individuals — I would say I’m involved, but I’m not stepping on their toes.”

For Lynch, one of the top priorities was to bring attention to all the unique aspects of his beloved city.

“We kinda have Oakland being a character of its own,” he said. “The personality of what Oakland stands for is something that I would really like to highlight ‘cause I feel that my city gets overlooked. And then the amount of individuals that we have coming out of area, it’s also an opportunity to show a nod to a lot of the Bay Area cultures and icons that we have.”

Even though the book is fiction, Lynch insisted on authenticity in the depictions of the city and the people who live there, including the way they look, act and speak.

“I think the biggest thing will probably be just the way that I speak in general,” Lynch said. “Mother— from where I’m from, we talk with a certain type of a tone, a type of swag.”

An early look at a page from the upcoming “Beast Mode 510” graphic novel. Marshawn Lynch says his character was inspired by the larger-than-life persona fans sometimes associate with him.

(Art by Denys Cowan / Courtesy of AWA.)

And, judging from Lynch’s signature way of talking, a lot of profanity.

None of Lynch’s ideas has been toned down.

“This is an R-rated book,” Alonso said.

“I want this s— to be turned up to the max,” Lynch added, “so if a mother— do pick this up to read, it’s gonna be like, ‘Oh, this some real s—.’ As well as entertaining, as well as insightful and impactful.”

Lynch is used to keeping people entertained, including as the co-host of the “Get Got Pod” with former Seahawks teammate Mike Robinson and as an actor with numerous roles in TV and film (including a breakout performancein 2023’s “Bottoms”).

He said he’s proud of how the project is turning out.

“When you see work and be like, ‘Damn that s— was nice’ and you start thinking about the thought process and how they got to those points, how they got to those things that drew you in, those things that give you that warm feeling,” Lynch said, “I’m feeling like I’m living that as this s— is going.

“Which is crazy as f— because I played in Super Bowls, I walked the red carpet of f—in’ premieres, and this one feels like, out of a lot of s—, this one is capturing that feeling for me. I’m a [Black man] — you know we don’t feel too much. But when we do, we be like, ‘Oh yeah, you know this s— is special.’”

Phil Rosenthal likes to sit at the counter of Max & Helen’s, the diner he recently opened with acclaimed chef Nancy Silverton, and chat with people while they eat.

“I sometimes feel like the mayor of Larchmont,” Rosenthal says over the phone as he greets diners who notice him at the counter. “When people come in and realize I’m involved, they’re always surprised to see me. It’s a bit like being at Disneyland and running into Goofy.”

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

Rosenthal is probably best known for creating the popular TV show “Everybody Loves Raymond” and hosting Netflix’s “Somebody Feed Phil,” which is moving to YouTube in 2027, but he is more than just a famous foodie. He’s now touring the country for his live show, “An Evening With Phil Rosenthal,” and he recently published his second children’s book, “Just Try It! Someplace New!,” which he wrote with his daughter Lily. (They’ll sign books at Barnes & Noble at the Grove on March 14.)

“The book series started when my daughter called and said, ‘Kids love your show. Why don’t you do a kids’ book?’ “ he says, before adding with a laugh: “I told her, ‘Yes, if you’ll do it with me.’ That’s a dad trick to get more time with your daughter.”

Rosenthal believes stories about kids feeling nervous or afraid to try new things connect with both children and adults. “When you write a kids’ book, you realize that it is not just a kids’ book,” he says. “It’s really a book for everyone.”

Although he travels a lot, Rosenthal likes to spend Sundays close to home. He enjoys walking his dog Murray to Larchmont Village and hosting movie night with friends at his place in Hancock Park.

Here’s what his perfect Sunday in L.A. looks like, with lots of good food along the way, of course.

This interview has been lightly edited for length and clarity.

7:45 a.m.: Coffee with Murray and neighborhood friends

Every Sunday morning, I walk my dog Murray to Larchmont Village and stop at Go Get Em Tiger. It’s our daily ritual. Over time, we’ve built a great community there, and I always invite others to join us. We sit outside, talk and have become close friends. I usually post a photo of Murray on Instagram each day. He’s a rescue mutt, and I like to joke he’s part Pyrenees, part psychopath.

9 a.m.: Shop for produce at the Larchmont Village Farmers’ Market

After about an hour, I head across the street to the Larchmont Village Farmers’ Market, which is held on Wednesdays and Sundays. I usually pick up some fruit for the house. It’s a great community spot.

9:30 a.m.: Breakfast at Max and Helen’s

Next I walk down the street to Max and Helen’s, the diner my family opened. I’m about to order the L.E.O., which is Gingrass Smoked salmon lox, three eggs and onions. So if I sound like my mouth is full, you’ll know why.

One of my favorite things on the menu is the sourdough waffle Nancy [Silverton] created, topped with butter mixed with maple syrup. I also love the hot chocolate, and the tuna melt is a special, more romanticized version of the classic. If you eat there every day, it’s smart to pick something healthy, like I’m having today — high protein and no carbs.

11 am: Browse titles at a neighborhood bookstore

I love visiting Chevalier’s Books, the oldest independent bookstore in Los Angeles. I’ve been going there since I moved to Los Angeles from New York in 1989. It’s just two doors down from the diner and feels like our community bookstore.

Noon: Hit the gym

Afterwards, I walk home and fit in a workout. I have to exercise every day because I eat a lot. If I didn’t walk everywhere, I’d probably weigh 300 pounds. My gym is simple — just some weights and a bench — but it works for me. Since I travel often, I stick to a routine I can do anywhere.

1 p.m.: Enjoy a surprising meal at a Michelin-noted restaurant

If I weren’t hosting movie night, I’d love to stop by République. It’s an amazing place, maybe the best restaurant in L.A. Every menu is great. I usually eat just about anything there, and sometimes I ask them to surprise me. It’s an all-day restaurant and I’ve gone for breakfast, lunch and dinner. Their egg dishes are excellent, the burger is top-notch and the roasted chicken, which is cooked over an open fire in the kitchen, is superb. I often let the chef decide what to bring me, especially when I’m with a group. It’s fun to be surprised and try shareable dishes.

I also really enjoy Connie and Ted’s in West Hollywood, Michael Cimarusti’s casual spot. The seafood is just as good as it is at Providence, his fine dining place. Their fresh Maine lobster roll is excellent, and they have the best oysters in L.A. It’s pretty awesome. Check before you head over there, though, as I’ve heard it’s for lease.

3 p.m.: Go for a hike

I used to hike more before I started traveling so much, but I still enjoy it. After all, this is L.A. While other places deal with bad weather, we get to be outside. I love hiking in Runyon Canyon and Griffith Park. It’s great to make the most of the outdoors here.

6 p.m.: Movie night and Pizzeria Mozza at home

On Sundays, we host movie nights at home. We have a dedicated screening room, a wood-burning pizza oven in the kitchen and a chef from Pizzeria Mozza, who comes over to make pizza. The best part is that someone connected to the film often joins us. Sometimes we watch new movies, other times old favorites. Aaron Sorkin came for “The Social Network,” and when we screened “Tootsie,” Elaine May, Dustin Hoffman and Bill Murray joined us. We usually have about 25 to 30 people.

I really love my neighborhood and the people in it. One of the best things about traveling so much is that it makes you appreciate home even more.

PHOENIX — When he was selected with the 13th pick of the 2024 MLB draft, outfielder James Tibbs III envisioned himself roaming the outfield of Oracle Park in a San Francisco Giants uniform for many years.

He could never have foreseen that a year and a half later, he’d be playing for a longtime Giants rival, already at the third stop of his young career.

The Giants packaged Tibbs along with Kyle Harrison, Jordan Hicks and Jose Bello in a trade to the Boston Red Sox in exchange for three-time All-Star Rafael Devers last June.

A month and a half later, Tibbs’ life was uprooted yet again, as the Red Sox moved him and Zach Ehrhard to the Dodgers in a trade for Dustin May.

MLB Pipeline prospect analyst Jim Callis has covered the draft for over 30 years, and can’t recall a situation quite like it.

“Tibbs is the only player I can think of who was taken in the top half of the first round and then traded twice during his first full pro season,” Callis said. “He really took off after joining the Dodgers, and I bet we see more consistency out of him when he’s not bouncing between [organizations] in 2026.”

Tibbs seems to have found a comfortable landing spot with the Dodgers. He posted seven home runs, 32 RBI and a .269/.407/.900 slash line over his 36 games in the Dodgers organization, rounding out his season at double-A Tulsa. And during his first camp with the Dodgers, Tibbs has turned heads. Through 15 Cactus League games, he’s hit two home runs, batting .281, with a .351 on-base percentage and .914 OPS.

He likely won’t open the season on the Dodgers’ big-league roster, but manager Dave Roberts sees his potential.

“I like James Tibbs,” Roberts said. “I like him a lot. He loves baseball, he is obsessed with getting better at the game and he just fits who I am as a baseball coach, and the players that we want, so he’s going to play in the big leagues. He’s a championship-type player.”

Tibbs was thrown for a loop by both trades, and taught him a lesson about facing adversity.

“Honestly, I might be one of the first first-round draft picks to be traded twice in their first year,” Tibbs said. “For me it was hard. I’m not going to sugarcoat it; it was hard. And really, mentally draining. [I] felt like I got punched in the face a bunch of times, and really had to learn how to get back up, and keep competing, and figure out how to be true to myself, and true to what I do well.”

Tibbs said that joining the Dodgers helped him to rediscover himself and return to his form from his time at Florida State.

“[When I joined the Dodgers, they] were like, ‘Hey, you know, we just want you to be yourself,” Tibbs said. “We want you to do what you need to do to be successful. Like, we believe in you, we believe in what you did in college. We want you to get that back and be able to be successful with how you swing the bat and how you play defense, and like, we don’t want to take that away from you.’ So obviously, there was tweaks being made, and there was things we needed to change a little bit to get to that spot, but I think for the most part, they just allowed me to be me and work within those boundaries to help figure out how to continue to make that better and better and better.

“And with that being said, I just felt a lot of relief from that.”

Tibbs clubbed 28 home runs in his junior year at Florida State, powering the Seminoles to their first College World Series trip since 2019. He received ACC Player of the Year and consensus First-Team All-American honors.

“Tibbs was one of the best offensive prospects in a loaded 2024 college class,” Callis said. “He makes good swing decisions and hits balls hard, giving him the ingredients to hit for average and power. Most of his value will come from his bat, but it’s a potentially potent bat.”

For now, Tibbs is content to be fulfilling his potential with one organization.

“Props to the Dodgers, they did everything they could to help me transition to that smoothly and make that a better process,” Tibbs said. “And it’s been a lot easier for me to go out and play every night, with the way that they’ve encouraged me and believed in me. It’s just been a blessing to be here.”

When a freshman is wondering whether to play sports or focus on academics because of the immense time commitment, it’s usually the parents who have to give a nudge toward one or the other. Except this time, the decision was left to 15-year-old Javier Zarate, and he chose to give up club soccer to try for straight A’s last year at Garfield High.

Last spring, Garfield soccer coach Pablo Serrano, knowing he had a highly regarded goalie on his campus, began a lobbying campaign with emails and text messages inviting him to try out for the Bulldogs’ soccer team.

“He told me if I wanted to give it a shot, I could try out,” Zarate said. “They were very welcoming and nice.”

The rest is going to be part of Garfield sports lore, because Zarate saved three penalty kicks when Garfield won the City Section Division II championship game against Canoga Park and delivered more saves last week in helping the Bulldogs beat Bakersfield Taft 1-0 in the Southern California Division V regional final.

Incredibly, Garfield is headed to Sacramento this week to play in the first CIF state soccer championships, against Branford on Saturday at 10 a.m. at Natomas High.

“I’m super pumped up,” Zarate said.

Who knows how many alumni from Garfield are living in Sacramento or nearby, but they have been known to travel around the country to support their Bulldogs, especially if rival Roosevelt is the opponent. Something tells me there’s going to be a caravan from Boyle Heights headed to Sacramento to provide support.

“I know some will make the drive,” Serrano said.

It’s been a strange season in City Section soccer, with six schools removed from the playoffs for using ineligible players, most of whom played for club teams while also playing tor their high school team, in violation of CIF bylaw 600.

Serrano said there’s always a reminder making sure his players know the rule.

“There’s a lot of soccer going on in this community,” he said. “It’s always a challenge because kids play outside with club. It’s something I do from the beginning of tryouts. We talk to the kids that if they play in a club outside of school, they are not allowed to play high school or vice versa. There’s no excuse,”

In the case of the 5-foot-6 Zarate, he didn’t play any soccer last year while focusing on academics and being part of the school’s ROTC program. His weighted grade-point average is at 4.4. He wants to study to become a firefighter.

“My family motivated me to be academically focused and I found a balance to do both,” he said of his return to soccer.

Goalies are usually much taller than Zarate, but he received lots of lessons on how to overcome the size disadvantage.

“I get that a lot that I’m very short for a goalie,” he said. “As a kid I, got training by a good trainer. He told me, ‘You’re pretty short for a goalie. As long as you can master being able to dive and jump high, you should be as good as them.’”

Garfield finished fourth in the Eastern League behind City Section soccer powers South East and Marquez, both of whom were eliminated after making the semifinals because of ineligible players.

Given the opportunity to get hot in the playoffs, the Bulldogs have done just that. Junior Noe Marmolejo has been the leading goal scorer.

The team is scheduled to take a bus to Sacramento on Friday, stay at a hotel Friday night, rise early for its game on Saturday, then immediately return home. Considering how loyal the Boyle Heights community is, look for lots of fans supporting the team in Sacramento and when that bus returns home.

“It’s an honor,” Serrano said of being the first City team to play for a state soccer title.