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.
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.”
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.
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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”
—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.
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.
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.
“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.”
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.
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.
Sure, it’s a quarterback’s league, but a major focus of the upcoming NFL draft will be about getting to the quarterback. This class is loaded with talented pass rushers, and teams figure to take advantage of that early and often. This mock draft has edge rushers off the board with the second, third and fourth selections.
How appropriate that the April 23-25 draft will be held for the first time in Pittsburgh, birthplace of the Steel Curtain.
The Steelers, incidentally, take a receiver in this mock — and there are lots of talented prospects at that spot, too. This contemplates the Rams selecting USC receiver Makai Lemon, although it’s entirely possible that the sure-handed Trojans star will already be gone by the time the 13th pick rolls around.
The Chargers, meanwhile, take an offensive lineman to address the need that haunted them all last season after they were ravaged by injuries up front.
One look at how the draft could unfold:
1. Las Vegas Raiders: QB Fernando Mendoza (Indiana) — Tom Brady loves him. The Raiders are trying to build something, and this Heisman winner figures to be a cornerstone.
2. New York Jets: Edge Arvell Reese (Ohio State) — Jets had zero interceptions and four takeaways last season, both NFL records, and think Reese has some Micah Parsons qualities.
3. Arizona Cardinals: Edge David Bailey (Texas Tech) — As pass rushers go, the Cardinals have Josh Sweat, who isn’t particularly happy, and a bunch of young guys who have struggled to stay healthy.
4. Tennessee Titans: Edge Rueben Bain Jr. (Miami) — Although they have been collecting defensive linemen, the Titans still need help at the edge. Also could use a supporting cast for Cam Ward.
Notre Dame running back Jeremiyah Love carries the ball against Pittsburgh in November.
(Gene J. Puskar / Associated Press)
5. New York Giants: RB Jeremiyah Love (Notre Dame) — John Harbaugh doesn’t always draft for need, and he loves to pound defenses with a running game. Love is the best in this class.
6. Cleveland Browns: OT Monroe Freeling (Georgia) — The Browns are completely rebooting their offensive line and had hoped to sign Packers free agent tackle Rasheed Walker, instead nabbed by Carolina.
7. Washington Commanders: S Caleb Downs (Ohio State) — The Commanders could use help at virtually every position — everything but QB — and a game-changing defensive back would get a warm welcome.
8. New Orleans Saints: LB Sonny Styles (Ohio State) — Saints might go receiver here, but Saints need a defensive stalwart too. If Love and Downs are gone — as they are in this mock — Styles would be a fit.
9. Kansas City Chiefs: WR Carnell Tate (Ohio State) — The cupboard is bare at receiver with just Xavier Worthy and Jalen Royals, so the Chiefs are desperate for some help there. Not the first time.
10. Cincinnati Bengals: CB Mansoor Delane (Louisiana State) — The Bengals are bringing back virtually their entire offense and have spent the offseason coming up with ways to improve their historically bad defense.
11. Miami Dolphins: WR Jordyn Tyson (Arizona State) — The Dolphins are trading Jaylen Waddle to Denver for another pick, so they immediately address their need for another playmaking receiver.
12. Dallas Cowboys: CB Jermod McCoy (Tennessee) — The Cowboys traded for Rashan Gary, which addressed their need at edge. Here’s a chance to upgrade at corner.
Wide receiver Makai Lemon runs with the ball during USC’s pro day on March 12.
(Kyusung Gong / Associated Press)
13. Rams: WR Makai Lemon (USC) — Having raided Kansas City’s defensive backfield, the Rams can stay put and take a receiver, or maybe trade up for a long-term bookend to Puka Nacua.
14. Baltimore Ravens: G Olaivavega Ioane (Penn State) — The Ravens have an opening at both guard and center, so they turn their attention to the interior of their offensive line.
15. Tampa Bay: Edge Keldric Faulk (Auburn) — The Buccaneers are sorely lacking when it comes to generating pressure off the edge, and Haason Reddick hasn’t been the answer.
16. New York Jets: WR Omar Cooper Jr. (Indiana) — The Jets need a No. 2 receiver to line up opposite Garrett Wilson and command some attention on the outside.
17. Detroit Lions: Edge Akheem Mesidor (Miami) — The Lions need someone they can pair with Aidan Hutchinson to put pressure on opposing quarterbacks, and Mesidor has a lot of potential.
18. Minnesota Vikings: S Dillon Thieneman (Oregon) — Harrison Smith is 37 and the Vikings need to start planning for the future at that position; they need another defensive back.
19. Carolina Panthers: OL Spencer Fano (Utah) — Fano can play all five positions on the offensive line, and that’s awfully enticing for a franchise with an injured left tackle and in need of a center.
20. Dallas Cowboys: LB Jacob Rodriguez (Texas Tech) — Micah Parsons is gone, and the Cowboys allowed 6.1 yards per play last season, second worst in the league. They need help all over.
21. Pittsburgh Steelers: CB Avieon Terrell (Clemson) — A receiver would be nice, but the Steelers can get one later. Terrell gives the Steelers depth and potentially a long-term bookend to Joey Porter Jr.
Miami offensive lineman Francis Mauigoa prepares for a snap against Louisville in October.
(Doug Murray / Associated Press)
22. Chargers: OL Francis Mauigoa (Miami) — With all the problems the Chargers have had cobbling together an offensive line, they need to focus on protecting Justin Herbert.
23. Philadelphia Eagles: S Emmanuel McNeil-Warren (Toledo) — Reed Blankenship, a fixture in Philadelphia’s defense and a QB in the secondary, signed with Houston as a free agent.
24. Cleveland Browns: CB Colton Hood (Tennessee) — The Browns addressed their offense with the sixth pick and now can focus on a defensive position of need. Corner is key.
25. Chicago Bears: CB Chris Johnson (San Diego State) — Tyrique Stevenson is the fourth-most-targeted corner in the league. The Bears need to upgrade at that spot opposite Jaylon Johnson.
26. Buffalo Bills OL Kadyn Proctor (Alabama) — Buffalo wants to run the ball, and Proctor is an outstanding downhill run blocker. He can also move inside and benefit a team that needs interior help.
27. San Francisco 49ers: OT Blake Miller (Clemson) — The 49ers have to plan for their future at both tackle spots. Miller is durable and a particularly adept pass blocker.
28. Houston Texans: OT Caleb Lomu (Utah) — Houston’s offensive line has been a problem for years and that’s not going away. Lomu is young but terrific in pass protection. Good news for C.J. Stroud.
29. Kansas City Chiefs: Edge Cashius Howell (Texas A&M) — Kansas City’s pass rush has declined two years in a row. The Chiefs need help in a lot of areas, but getting to passer is vital.
30. Miami Dolphins: Edge T.J. Parker (Clemson) — The Dolphins have an underwhelming cluster of pass rushers, led by Chop Robinson. They need help pressuring the quarterback so they will be looking for an edge rusher.
31. New England Patriots: TE Kenyon Sadiq (Oregon) — Mike Vrabel has already tipped his hand about his interest in this class of tight ends. Give Drake Maye another weapon at the position.
32. Seattle Seahawks: RB Jadarian Price (Notre Dame) — Two ball carriers from the same college backfield in the opening round? The defending Super Bowl champions need to start reconstructing a backfield.
Harry Styles is no stranger to “Saturday Night Live,” having performed multiple times with his former boy band One Direction and more recently as a solo artist. But this isn’t his first time as host either.
Styles has a knack for radiating charm, honed after years in the spotlight as a musician, and now with some notable acting roles under his belt, he’s more than primed for the stage. And the timing is perfect, considering many actors are in Hollywood this weekend for the Oscars.
He also excelled in parts where he could show off his vocals and dancing, like in “Sparkle of the Sea,” an infomercial about a German cruise line, and another pretaped sketch, “She’s an Irish Dancer,” where guys find out just how Irish their dates are in a nod to St. Patrick’s Day on Tuesday. Flatter, though, were sketches about a pair of Best Buy workers, and one where Styles played a drive-thru worker at a White Castle, but that’s because Jane Wickline and Veronika Slowikowska stole the skit as a pair of nerdy girls trying to ask him out to the school dance.
Styles performed his new single, “Dance No More,” after last week’s host Ryan Gosling introduced him, a fitting appearance since Styles crashed his monologue. And Paul Simon also stopped by to introduce Styles before his second song, “Coming Up Roses.”
This week’s cold open touched on the ongoing war in Iran. The patriarch (Mikey Day) of a family at a gas station says he needs to fill up their car. As a piano begins to play, his wife (Ashley Padilla) says, “Fill up? Not all the way, right?” “We have to,” Day replies emphatically. “But it’s $5 dollars,” she says before turning to her two children (Marcello Hernández and Sarah Sherman) to say they have to leave one of them behind because gas is too expensive. Why? “The Epstein files,” exclaims President Trump (James Austin Johnson), who jumps into the scene. “It’s called butterfly effect. Epstein was the first domino,” he says, miming dominoes falling. Trump goes on to introduce himself by saying we might remember him from campaign promises such as “lower gas prices” and “no more wars” (“Psych!”). “We love to make promises because a promise is a lie that just hasn’t happened yet.” As for the stock market, he puts it in a way that Harry Styles fans might understand — it’s going in one direction, garnering loud cheers and applause. He jokes about Iran’s age, saying it is old and nobody likes them, “Iran is like ballet and opera and weird Timothée Chalamet,” referring to the actor’s comments that have caused an uproar.
But Trump says he has everything under control, meeting with top minds including influencer and boxer Jake Paul, who he says was booed “very badly” at his fight against Mike Tyson. “Did someone say booze?” Department of Defense Secretary Pete Hegseth (Colin Jost) says as he emerges from the family’s car and dozens of cans fall to the ground. (“It was just a couple of road sodas, chill.”) He then thanks Trump for the “beautiful, size 16 Florsheim shoes,” a reference to the Wall Street Journal report that they are the president’s gift of choice to close friends and advisors. Hegseth goes on to say that they are “hashtag winning” the war with Iran, and as for the Strait of Hormuz, he advises that the tankers moving oil should just do what he does at a DUI checkpoint: “Close your eyes and gun it.”
In his monologue, Styles, dressed in a grey pinstripe suit and bright blue tie, said he couldn’t resist hosting when he heard they booked his favorite-ever musical guest. After his tour ended in 2023, he took a lot of time off, realizing he’d spent much of his life on the road and “making songs about fruit that people think were about sex.” He just really likes fruit — and sex. He also said a lot of people pay attention to the clothes he wears (true, see above), with some people accusing him of “queerbaiting,” to which he responded, “Maybe you don’t know everything about me, dad.” But as far as what he did in his time off, he took up boring things, like jogging (his sub-three hour marathon in Berlin was the buzz of the running world). It’s better than the alternative, he says, as the screen flashed to an image of the former Prince Andrew. But now he’s promoting his new album, “Kiss All the Time. Disco, Occasionally.”, because what’s better than kissing? He actually doesn’t want to kiss all the time, leading to a brief appearance and disappearance of cast members Chloe Fineman and Sherman, unless its Ben Marshall. He complimented Marshall’s backside, and gave him a smooch on the lips: “Now that’s queerbaiting.”
Best sketch of the night: I don’t know if your dad did this, but my dad used to pop it twice
The first sketch of the night took us into a courtroom, where a New Jersey prosecutor (Styles) rose to present his case against the defendant, Mr. Donovan (Tommy Brennan), who didn’t have an attorney. So the judge (Kenan Thompson) appointed one: comedian Sebastian Maniscalco (Hernández). It’s the second time Hernández has played the comedian, whose caricature of Maniscalco in a red blazer and black turtleneck is at turns spot on, exaggerated and completely hilarious. He chimed with retorts as the prosecutor explained the charges of stealing $5,000 in merchandise, including a belt. “Let me tell you something about a belt. When I was a kid, the belt wasn’t to keep the pants up, it was to keep the volume down,” Maniscalco says, motioning to his waist and explaining how his dad would use it. Maniscalco’s manic energy was too much for the courtroom sketch artist, though, who complains to the judge about having to draw him, showing a sketch of a blurred, multi-limbed man. Kudos to Styles who managed to mostly keep his composure as Hernández glided around him. But Styles had the last laugh with his own impression of Maniscalco, before a final sketch of him was revealed. Put it in the Lourve!
Also good: Why get real healthcare when you’ve got ‘Mahaspital’
“The Pitt,” one of the buzziest TV shows in America, has been lauded for its realistic portrayal of emergency rooms and the stresses that medical workers endure on a regular basis. So when the opening scenes of this pretape began playing, the crowd went wild. But this isn’t “The Pitt,” it’s “Mahaspital,” brought to you by producer Robert F. Kennedy Jr. and the team behind Make America Healthy Again. Styles channels Noah Wyle’s Dr. Robby, marching toward an incoming patient on a gurney as she’s pushed through the ER hallway. “What she needs is a steak,” he says. “Give me beef tallow and six raw eggs, too.” The sketch touches on many of the hallmarks of the MAHA movement: healing crystals, vaccine skepticism, raw milk and lots and lots of protein. And we can’t forget that Central Park bear.
‘Weekend Update’ winner: Battle of the heart (emojis)
“Update” anchors Michael Che and Jost focused most of their attention on the Iran war this week, but they also touched on another event happening this weekend: the Oscars. They brought in Tucker Carlson (Jeremy Culhane) to talk about the best picture nominees. Culhane’s impression of the conservative pundit was pretty impressive, capturing his cadence and habit of using rhetorical questions — I hope we see it again.
But it was Day and Hernández who stole the segment as emojis aerial tramway and heart, respectively, who joined to comment on Apple’s addition of eight new emojis. Heart emoji on the new additions: “All I know is they’re all going to be more popular than this loser,” pointing to Day. “I’m No. 1 because I’m useful. People use me for everything.” But you can’t put an aerial tramway down, who tried to explain other ways to use the emoji somewhat unsuccessfully. At least he has a solid crew of bangers: orange square, division sign, snorkel and “my boy, the goat” building with a horn on it. Day was dedicated to the bit, making Hernandez crack with muffled laughter. Don’t be surprised if you see a lot more of aerial tramway (and his girlfriend, on with two arrows) in your texts.
“Beast Mode” started as a phrase people used to describe the running style of former NFL running back Marshawn Lynch.
“I think it was just my relentlessness and my no-back-down type of demeanor when it came to running the ball, like, ‘Boy, that boy a beast,’” Lynch said. “And it’s like, yeah, when I get the ball, that’s what type of mode I’m in — I’m in beast mode.”
Lynch played 12 seasons for the Buffalo Bills, Seattle Seahawks and Oakland Raiders, amassing 10,413 in 2,453 carries with 85 touchdowns. Somewhere along the way, he said, the phrase “Beast Mode” evolved into “this persona bigger than myself.”
“The way that I get approached by kids and fans, like the way that they approach me is almost as if I am like a character so to speak, and I don’t think that I was doing it justice because I’m like, ‘Well s—, I’m just only a man,” the Super Bowl XLVIII champion said.
“But I believe in their mind what they had made up as Beast Mode is this larger-than-life, kind of surreal individual.”
An early look at a page from the upcoming “Beast Mode 510” graphic novel, starring Marshawn Lynch as the title character. Text will be added closer to the Oct. 6 publishing date.
(Art by Denys Cowan / Courtesy of AWA)
Lynch is embracing that perception of himself … and Beast Mode is about to become a literal comic book hero.
On Friday, Arists Writers and Artisans announced the graphic novel “Beast Mode 510,” which is scheduled to be released Oct. 6. Written by NAACP Image Award-nominated author Sheldon Allen and illustrated by Eisner Hall of Fame artist Denys Cowan, the book was “inspired and guided by” Lynch and is a “deeply personal love letter” to his hometown Oakland, according to a news release from AWA.
“At its center is Beast Mode: the 510’s legendary fixer and freelance sleuth whose rough exterior hides a code of loyalty and willingness to deal with problems others won’t touch,” the release reads. “If you’ve got a problem the authorities won’t handle, Beast Mode will. No invoices. No contracts. Just results.”
AWA chief creative officer Axel Alonso said when he was approached by Lynch and his team about possibly working on a project together, the idea of turning Beast Mode into an almost superhuman crime fighter quickly came to mind.
“To use a football analogy, when Marshawn and his people came to me and said, ‘Can you do anything with this, Beast Mode?’ it was like they gave me the ball on the one-yard line and I had to just walk it in — and Pete Carroll wasn’t the coach, so I could just go right in,” Alonso said, referring to an infamous play at the end of Seattle’s loss to New England in Super Bowl XLIX.
“It was as easy as that. I was like, come on, ‘Beast Mode’? So automatically I talked with Marshawn and said, ‘What’s important to you?’”
Lynch’s input has been key every step of the way, Alonso said, with the five-time Pro Bowl selection getting final say on every aspect. Lynch said he appreciates having his voice heard and being able to put his stamp on the project.
“From the start, we just sat down and had a conversation about where it was that we wanted to go, what is the kind of feel, the look that we want, the kind of tone that we want to tell the story,” Lynch said.
Seahawks running back Marshawn Lynch #24 of the Seattle Seahawks runs for a 67-yard touchdown against the New Orleans Saints during an NFC wild-card playoff game Jan. 8, 2011, at Qwest Field.
(Jonathan Ferrey / Getty Images)
An early look at pages from the upcoming “Beast Mode 510” graphic novel starring Super Bowl champion Marshawn Lynch as an underground crime fighter.
(Art by Denys Cowan / Courtesy of AWA)
“I can’t draw or nothing like that, but any type of update or anything Axel will get over to me and, you know what I mean, yea or nay. And then when it comes to like how certain characters would look, certain names, individuals — I would say I’m involved, but I’m not stepping on their toes.”
For Lynch, one of the top priorities was to bring attention to all the unique aspects of his beloved city.
“We kinda have Oakland being a character of its own,” he said. “The personality of what Oakland stands for is something that I would really like to highlight ‘cause I feel that my city gets overlooked. And then the amount of individuals that we have coming out of area, it’s also an opportunity to show a nod to a lot of the Bay Area cultures and icons that we have.”
Even though the book is fiction, Lynch insisted on authenticity in the depictions of the city and the people who live there, including the way they look, act and speak.
“I think the biggest thing will probably be just the way that I speak in general,” Lynch said. “Mother— from where I’m from, we talk with a certain type of a tone, a type of swag.”
An early look at a page from the upcoming “Beast Mode 510” graphic novel. Marshawn Lynch says his character was inspired by the larger-than-life persona fans sometimes associate with him.
(Art by Denys Cowan / Courtesy of AWA.)
And, judging from Lynch’s signature way of talking, a lot of profanity.
None of Lynch’s ideas has been toned down.
“This is an R-rated book,” Alonso said.
“I want this s— to be turned up to the max,” Lynch added, “so if a mother— do pick this up to read, it’s gonna be like, ‘Oh, this some real s—.’ As well as entertaining, as well as insightful and impactful.”
Lynch is used to keeping people entertained, including as the co-host of the “Get Got Pod” with former Seahawks teammate Mike Robinson and as an actor with numerous roles in TV and film (including a breakout performancein 2023’s “Bottoms”).
He said he’s proud of how the project is turning out.
“When you see work and be like, ‘Damn that s— was nice’ and you start thinking about the thought process and how they got to those points, how they got to those things that drew you in, those things that give you that warm feeling,” Lynch said, “I’m feeling like I’m living that as this s— is going.
“Which is crazy as f— because I played in Super Bowls, I walked the red carpet of f—in’ premieres, and this one feels like, out of a lot of s—, this one is capturing that feeling for me. I’m a [Black man] — you know we don’t feel too much. But when we do, we be like, ‘Oh yeah, you know this s— is special.’”
“I sometimes feel like the mayor of Larchmont,” Rosenthal says over the phone as he greets diners who notice him at the counter. “When people come in and realize I’m involved, they’re always surprised to see me. It’s a bit like being at Disneyland and running into Goofy.”
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
Rosenthal is probably best known for creating the popular TV show “Everybody Loves Raymond” and hosting Netflix’s “Somebody Feed Phil,” which is moving to YouTube in 2027, but he is more than just a famous foodie. He’s now touring the country for his live show, “An Evening With Phil Rosenthal,” and he recently published his second children’s book, “Just Try It! Someplace New!,” which he wrote with his daughter Lily. (They’ll sign books at Barnes & Noble at the Grove on March 14.)
“The book series started when my daughter called and said, ‘Kids love your show. Why don’t you do a kids’ book?’ “ he says, before adding with a laugh: “I told her, ‘Yes, if you’ll do it with me.’ That’s a dad trick to get more time with your daughter.”
Rosenthal believes stories about kids feeling nervous or afraid to try new things connect with both children and adults. “When you write a kids’ book, you realize that it is not just a kids’ book,” he says. “It’s really a book for everyone.”
Although he travels a lot, Rosenthal likes to spend Sundays close to home. He enjoys walking his dog Murray to Larchmont Village and hosting movie night with friends at his place in Hancock Park.
Here’s what his perfect Sunday in L.A. looks like, with lots of good food along the way, of course.
This interview has been lightly edited for length and clarity.
7:45 a.m.: Coffee with Murray and neighborhood friends
Every Sunday morning, I walk my dog Murray to Larchmont Village and stop at Go Get Em Tiger. It’s our daily ritual. Over time, we’ve built a great community there, and I always invite others to join us. We sit outside, talk and have become close friends. I usually post a photo of Murray on Instagram each day. He’s a rescue mutt, and I like to joke he’s part Pyrenees, part psychopath.
9 a.m.: Shop for produce at the Larchmont Village Farmers’ Market
After about an hour, I head across the street to the Larchmont Village Farmers’ Market, which is held on Wednesdays and Sundays. I usually pick up some fruit for the house. It’s a great community spot.
9:30 a.m.: Breakfast at Max and Helen’s
Next I walk down the street to Max and Helen’s, the diner my family opened. I’m about to order the L.E.O., which is Gingrass Smoked salmon lox, three eggs and onions. So if I sound like my mouth is full, you’ll know why.
One of my favorite things on the menu is the sourdough waffle Nancy [Silverton] created, topped with butter mixed with maple syrup. I also love the hot chocolate, and the tuna melt is a special, more romanticized version of the classic. If you eat there every day, it’s smart to pick something healthy, like I’m having today — high protein and no carbs.
11 am: Browse titles at a neighborhood bookstore
I love visiting Chevalier’s Books, the oldest independent bookstore in Los Angeles. I’ve been going there since I moved to Los Angeles from New York in 1989. It’s just two doors down from the diner and feels like our community bookstore.
Noon: Hit the gym
Afterwards, I walk home and fit in a workout. I have to exercise every day because I eat a lot. If I didn’t walk everywhere, I’d probably weigh 300 pounds. My gym is simple — just some weights and a bench — but it works for me. Since I travel often, I stick to a routine I can do anywhere.
1 p.m.: Enjoy a surprising meal at a Michelin-noted restaurant
If I weren’t hosting movie night, I’d love to stop by République. It’s an amazing place, maybe the best restaurant in L.A. Every menu is great. I usually eat just about anything there, and sometimes I ask them to surprise me. It’s an all-day restaurant and I’ve gone for breakfast, lunch and dinner. Their egg dishes are excellent, the burger is top-notch and the roasted chicken, which is cooked over an open fire in the kitchen, is superb. I often let the chef decide what to bring me, especially when I’m with a group. It’s fun to be surprised and try shareable dishes.
I also really enjoy Connie and Ted’s in West Hollywood, Michael Cimarusti’s casual spot. The seafood is just as good as it is at Providence, his fine dining place. Their fresh Maine lobster roll is excellent, and they have the best oysters in L.A. It’s pretty awesome. Check before you head over there, though, as I’ve heard it’s for lease.
3 p.m.: Go for a hike
I used to hike more before I started traveling so much, but I still enjoy it. After all, this is L.A. While other places deal with bad weather, we get to be outside. I love hiking in Runyon Canyon and Griffith Park. It’s great to make the most of the outdoors here.
6 p.m.: Movie night and Pizzeria Mozza at home
On Sundays, we host movie nights at home. We have a dedicated screening room, a wood-burning pizza oven in the kitchen and a chef from Pizzeria Mozza, who comes over to make pizza. The best part is that someone connected to the film often joins us. Sometimes we watch new movies, other times old favorites. Aaron Sorkin came for “The Social Network,” and when we screened “Tootsie,” Elaine May, Dustin Hoffman and Bill Murray joined us. We usually have about 25 to 30 people.
I really love my neighborhood and the people in it. One of the best things about traveling so much is that it makes you appreciate home even more.
PHOENIX — When he was selected with the 13th pick of the 2024 MLB draft, outfielder James Tibbs III envisioned himself roaming the outfield of Oracle Park in a San Francisco Giants uniform for many years.
He could never have foreseen that a year and a half later, he’d be playing for a longtime Giants rival, already at the third stop of his young career.
The Giants packaged Tibbs along with Kyle Harrison, Jordan Hicks and Jose Bello in a trade to the Boston Red Sox in exchange for three-time All-Star Rafael Devers last June.
A month and a half later, Tibbs’ life was uprooted yet again, as the Red Sox moved him and Zach Ehrhard to the Dodgers in a trade for Dustin May.
MLB Pipeline prospect analyst Jim Callis has covered the draft for over 30 years, and can’t recall a situation quite like it.
“Tibbs is the only player I can think of who was taken in the top half of the first round and then traded twice during his first full pro season,” Callis said. “He really took off after joining the Dodgers, and I bet we see more consistency out of him when he’s not bouncing between [organizations] in 2026.”
Tibbs seems to have found a comfortable landing spot with the Dodgers. He posted seven home runs, 32 RBI and a .269/.407/.900 slash line over his 36 games in the Dodgers organization, rounding out his season at double-A Tulsa. And during his first camp with the Dodgers, Tibbs has turned heads. Through 15 Cactus League games, he’s hit two home runs, batting .281, with a .351 on-base percentage and .914 OPS.
He likely won’t open the season on the Dodgers’ big-league roster, but manager Dave Roberts sees his potential.
“I like James Tibbs,” Roberts said. “I like him a lot. He loves baseball, he is obsessed with getting better at the game and he just fits who I am as a baseball coach, and the players that we want, so he’s going to play in the big leagues. He’s a championship-type player.”
Tibbs was thrown for a loop by both trades, and taught him a lesson about facing adversity.
“Honestly, I might be one of the first first-round draft picks to be traded twice in their first year,” Tibbs said. “For me it was hard. I’m not going to sugarcoat it; it was hard. And really, mentally draining. [I] felt like I got punched in the face a bunch of times, and really had to learn how to get back up, and keep competing, and figure out how to be true to myself, and true to what I do well.”
Tibbs said that joining the Dodgers helped him to rediscover himself and return to his form from his time at Florida State.
“[When I joined the Dodgers, they] were like, ‘Hey, you know, we just want you to be yourself,” Tibbs said. “We want you to do what you need to do to be successful. Like, we believe in you, we believe in what you did in college. We want you to get that back and be able to be successful with how you swing the bat and how you play defense, and like, we don’t want to take that away from you.’ So obviously, there was tweaks being made, and there was things we needed to change a little bit to get to that spot, but I think for the most part, they just allowed me to be me and work within those boundaries to help figure out how to continue to make that better and better and better.
“And with that being said, I just felt a lot of relief from that.”
Tibbs clubbed 28 home runs in his junior year at Florida State, powering the Seminoles to their first College World Series trip since 2019. He received ACC Player of the Year and consensus First-Team All-American honors.
“Tibbs was one of the best offensive prospects in a loaded 2024 college class,” Callis said. “He makes good swing decisions and hits balls hard, giving him the ingredients to hit for average and power. Most of his value will come from his bat, but it’s a potentially potent bat.”
For now, Tibbs is content to be fulfilling his potential with one organization.
“Props to the Dodgers, they did everything they could to help me transition to that smoothly and make that a better process,” Tibbs said. “And it’s been a lot easier for me to go out and play every night, with the way that they’ve encouraged me and believed in me. It’s just been a blessing to be here.”
When a freshman is wondering whether to play sports or focus on academics because of the immense time commitment, it’s usually the parents who have to give a nudge toward one or the other. Except this time, the decision was left to 15-year-old Javier Zarate, and he chose to give up club soccer to try for straight A’s last year at Garfield High.
Last spring, Garfield soccer coach Pablo Serrano, knowing he had a highly regarded goalie on his campus, began a lobbying campaign with emails and text messages inviting him to try out for the Bulldogs’ soccer team.
“He told me if I wanted to give it a shot, I could try out,” Zarate said. “They were very welcoming and nice.”
The rest is going to be part of Garfield sports lore, because Zarate saved three penalty kicks when Garfield won the City Section Division II championship game against Canoga Park and delivered more saves last week in helping the Bulldogs beat Bakersfield Taft 1-0 in the Southern California Division V regional final.
Incredibly, Garfield is headed to Sacramento this week to play in the first CIF state soccer championships, against Branford on Saturday at 10 a.m. at Natomas High.
“I’m super pumped up,” Zarate said.
Who knows how many alumni from Garfield are living in Sacramento or nearby, but they have been known to travel around the country to support their Bulldogs, especially if rival Roosevelt is the opponent. Something tells me there’s going to be a caravan from Boyle Heights headed to Sacramento to provide support.
“I know some will make the drive,” Serrano said.
It’s been a strange season in City Section soccer, with six schools removed from the playoffs for using ineligible players, most of whom played for club teams while also playing tor their high school team, in violation of CIF bylaw 600.
Serrano said there’s always a reminder making sure his players know the rule.
“There’s a lot of soccer going on in this community,” he said. “It’s always a challenge because kids play outside with club. It’s something I do from the beginning of tryouts. We talk to the kids that if they play in a club outside of school, they are not allowed to play high school or vice versa. There’s no excuse,”
In the case of the 5-foot-6 Zarate, he didn’t play any soccer last year while focusing on academics and being part of the school’s ROTC program. His weighted grade-point average is at 4.4. He wants to study to become a firefighter.
“My family motivated me to be academically focused and I found a balance to do both,” he said of his return to soccer.
Goalies are usually much taller than Zarate, but he received lots of lessons on how to overcome the size disadvantage.
“I get that a lot that I’m very short for a goalie,” he said. “As a kid I, got training by a good trainer. He told me, ‘You’re pretty short for a goalie. As long as you can master being able to dive and jump high, you should be as good as them.’”
Garfield finished fourth in the Eastern League behind City Section soccer powers South East and Marquez, both of whom were eliminated after making the semifinals because of ineligible players.
Given the opportunity to get hot in the playoffs, the Bulldogs have done just that. Junior Noe Marmolejo has been the leading goal scorer.
The team is scheduled to take a bus to Sacramento on Friday, stay at a hotel Friday night, rise early for its game on Saturday, then immediately return home. Considering how loyal the Boyle Heights community is, look for lots of fans supporting the team in Sacramento and when that bus returns home.
“It’s an honor,” Serrano said of being the first City team to play for a state soccer title.
Author Diana Gabaldon knew readers had been mentally casting the timeless main couple at the center of her “Outlander” book saga since the first novel’s release in the early ‘90s — particularly its leading man, a tall and burly Scottish Highlander with striking red hair. She recalls a 50-year-old German actor who, she says, “always looked like he’d been dipped in cooking oil” among the imaginary candidates. Another was a 5-foot-4-inch race car driver. She quickly learned not to weigh in.
“They would keep asking me who I’d like to play Jamie — ‘Nobody,’ I kept saying because on the rare occasion when I mentioned some possibility, the immediate response would be shrieks of dismissive outrage and heapings of scorn that went on for days (online),” she says over email. Besides, she felt the whole notion of considering prospects was pointless because, as she puts it, it’s not like Hollywood would want to adapt a 300,000-word book anyway.
However, Ronald D. Moore and Maril Davis, longtime collaborators through their Tall Ship Productions banner under Sony Pictures Television, did. And Gabaldon was thrust back into the casting debacle, watching test videos and learning not to judge a book by its cover — or actors (in this case, Sam Heughan and Caitriona Balfe) by the photos that pop up in a Google search: “Sam doesn’t look like Jamie, and Caitriona doesn’t look like Claire, but both of them can be those people, and that’s all that matters,” she says. And they were those people.
In 2014, the duo brought to the screen the epic story of Claire Randall, a British combat nurse who is mysteriously transported back to 1743 Scotland and marries Scottish warrior Jamie Fraser to survive. Together, they ignite a passionate romance that traverses decades and endures brutal separations, wars and time travel. After spinning its own sweeping narrative for more than a decade, the Starz series is launching its eighth and final season on Friday.
In “Outlander,” Claire Randall (Caitriona Balfe) is a British combat nurse who is mysteriously transported back to 1743 Scotland and marries Scottish warrior Jamie Fraser (Sam Heughan) to survive.
(Ed Miller / Starz)
And it won’t exactly be a by-the-book ending. The final season pulls from the remaining material in Book 8, as well as Book 9 — Gabaldon is working on a 10th installment, “A Blessing for a Warrior Going Out” — leaving Matthew B. Roberts, the showrunner, and the writing team to craft an original ending for television. In a signal of how much pressure there was to do right by the beloved fictional couple, four endings were written and filmed.
“Diana’s been involved since Day 1 — she reads everything, she sees everything,” Roberts said by video conference. “I told all the endings that were going to be written. She briefed me a little bit of where she might be going, not the ending of the books, but just where the book might be going. I wanted to at least incorporate some of that in some of the endings that were written.”
Can it be anything other than a happy ending? Maybe the clue is in “I Love Lucy.” Lucy and Ricky Ricardo‘s love story was often a reference point for Roberts throughout his time on “Outlander.”
“No matter what trouble Lucy got in, no matter what she was doing, never did you think they were ever going to break up,” he says. “That’s Jamie and Claire, no matter what happens, no matter what he goes through or what she goes through, no matter what trouble or what they tell each other sometimes, we’ll never think they break up. And the audience knows that too, and we knew, if you just stayed true to that, then that love story would be successful.”
Ahead of the show’s final season premiere, The Times spoke with Balfe and Heughan to get their thoughts on bringing the historical romance to life and the journey to reach the final chapter.
In the spirit of the Season 8 premiere, which has a moment where Claire and Jamie reflect on the early days of their story, let’s travel back in time. Do you remember how this series was first presented to you and what went through your mind?
Balfe: I think the logline I saw was “nurse goes back to Scotland and then goes back 200 years in time and meets a Highlander.” I think I had two lines. That was all I had.
Heughan: It sounded like it was never gonna work. I found out it was a book series, and I think we both read it, didn’t we?
Balfe: Yeah, I read the book in four days before we tested. You’d already been cast at that point … I was living in L.A. I had tiny bit parts in a few films, and I was definitely struggling. I had booked to go on a trip to India, sent my passport into the Indian embassy. Of course, that’s exactly when I found out that maybe I had to travel to London for this test.
Heughan: At the time, I had failed attempts at pilot season, and I was back in London working in a bar and thinking, “I can’t afford to do this and I’m 34 years old. I should probably think about giving up.” Because there was no way I could support myself. I wasn’t loving it.
Balfe: You were 33, by the way.
Heughan: Oh, yes. I was younger. Then this thing came through. And actually, to be honest, the logline and perhaps the dialogue, when I read it, I just thought, “I know this guy.” There just was something very familiar.
“At the time, I had failed attempts at pilot season, and I was back in London working in a bar and thinking, ‘I can’t afford to do this and I’m 34 years old. I should probably think about giving up,’” says Heughan.(Sophia Spring / For The Times)
Tell me about the decision to say goodbye to this show and these characters. Does it feel like the right time?
Balfe: By the time we got to Season 7, that was our last season that we were contracted for, and there were conversations going around that they — the writers — felt that they had eight seasons [for this story]; that that was sort of an organic finish to it. But we were more than halfway through Season 7 before anyone came to talk to us. Actually, we had all scripts, bar the last two. And it wasn’t ending. Before they came to us, it was like, “How is this gonna happen? Are they going to wrap it up in two episodes or are they coming to us?” It was a lot of pressure in a very short amount of time to decide, “OK, do we just wrap this up in two episodes or do we try and give it a season to properly say goodbye?” There’s a lot of people’s jobs, and there’s a lot of people’s livelihoods, and there’s a whole ecosystem around it. We felt that it needed that kind of time.
Heughan: A lot of thought went into it. I think we were ready to move on or do something else. But also, there was this itch, like we hadn’t finished it and it didn’t feel satisfying for us and for the fans. We wanted to come back and really tie it up properly.
The final season focuses on Claire and Jamie’s struggles during the Revolutionary War, with the war having followed them home. What intrigued you about this final onscreen chapter of their story?
Heughan: Jamie’s concerned about himself in the foremost because he has this information that he’s going to die. But they’ve fought for eight seasons to stay together and to protect everyone they love and the greater community and I think that continues, but there’s so many more distractions or more challenges along the way in this season from the inside.
Balfe: And the Revolutionary War has been circling them for a very long time. It was time for the culmination —
Heughan: [Laughs] Instead of saying “War is coming,” it’s “War is here.’
“There’s a lot of people’s jobs, and there’s a lot of people’s livelihoods, and there’s a whole ecosystem around it. We felt that it needed that kind of time,” says Caitriona Balfe, right, with Sam Heughan, about finishing the “Outlander” story with an eighth season.
(Sophia Spring / For The Times)
The fandom around this property is active and devoted. There’s good that can come from that — the engagement, the creativity — but some bad too, like when things get toxic. What was the learning curve of playing this beloved fictional couple and navigating the fandom?
Balfe: It was a bit of a baptism of fire.
Heughan: We were both quite green when we were thrust into it and engaged wholeheartedly.
Balfe: The landscape is very different. Twitter was Twitter before it was death pit, Instagram was far more innocent as well. In the beginning, it was really nice. I wasn’t a mom. I had loads of time on my hands — well, not really, because we were shooting all the time — but anytime I did, it used to be nice and we would do these quick Q and As. That one-on-one connection with the fans was really, really lovely. I do think there was a moment where … the tide shifted, and this sort of shipper-dom got very intense. I was getting married, and that was having an impact on the people in my life and and I think I had to then step away because I was like, “OK, this doesn’t feel good for everyone in my life.”
Heughan: Look, I think it’s still there. It is a strange one to get your head around. People, in one way, are uber fans of the show, but in other ways, they’re overtly intrusive in your life. But it is a small minority. I think … perhaps we’ve done our job that well? It’s not just about Jamie and Claire, it’s about that person behind it and their life behind it, and their family behind it, that people want to get invested in. I don’t know if it’s a great thing for actors, to be honest, but in this current environment, we’re always asked to give more of ourselves to engage with fans, but it’s been something we’ve had to learn on the job.
Balfe: And I think there are times in your life when you have more capacity to be more open, and there’s times in your life where you need to shut off a little bit more. The overall reception from the fans have been so positive and so supportive of things that we’ve done in our lives, and that is the thing that I choose to focus on with it.
“Outlander” isn’t strictly a romance, but that’s what gives it power. You’ve spent more than a decade in this space. What have you learned about how that romance space functions and what the fans seek from these stories?
Balfe: I was sort of unaware of the need and the appetite that people have for it. Nowadays it’s served an awful lot better, but I think it was an underserved demographic. Or it was not given the due that people needed. It’s sometimes looked on as the second-class citizen of storytelling, in many ways, but I think it’s a genre that allows you to really look at the beauty of humanity and … the core things that we care about, which is love and family and connection.
Heughan: And comfort. It’s comforting. This show proves that there’s a real appetite.
Balfe: There’s many more shows now. Everybody’s talking about “Heated Rivalry.” There’s “Bridgerton.” Maybe it’s the emancipation of women in the last 50 years. It’s like they are finally like, “Well, we want our TV that speaks to us as sexual beings and as mothers and as matriarchs and as professionals and whole round of people.” Our show did that a lot.
“There’s many more shows now,” Balfe says of series that serve up romance. “Everybody’s talking about ‘Heated Rivalry.’ There’s ‘Bridgerton.’ It’s like they are finally like, ‘Well, we want our TV that speaks to us as sexual beings and as mothers and as matriarchs and as professionals and whole round of people.’ Our show did that a lot.”(Sophia Spring / For The Times)
Have you taken stock of just how much Claire and Jamie have gone through as a couple?
Balfe: How many near-death experiences?
Heughan: Yeah, how many times they’ve nearly died or been attacked or assaulted.
Balfe: How many people they’ve killed. Claire, she’s like a serial killer.
I was wondering, because it’s the last season, you can’t get in trouble now, where would Caitriona or Sam have called it quits in this relationship? Like, this is too much, I need to move on.
Balfe: I don’t know if Caitriona would have gone back 200 years in time.
Heughan: When she fixes his shoulder — that’s pretty painful. She gets him in a lot of trouble and he puts himself in a lot of trouble. I wouldn’t have gone past Episode 1 [he mumbles].
Balfe: See! I would have gone to Season 3.
Heughan: No, I think when he sends her through the stones and is like, “That’s it. She’s gone.” But she keeps coming back. I thought I got rid of her, finally!
Caitriona, you make your directorial debut on the show this season with Episode 2. Tell me about that experience.
Balfe: It was so fun. They gave me Episode 2, which allowed me to do my prep before we started. I was so lucky that Jan Matthys, who is the director of Episode 1, was an incredible mentor to me throughout the process. I just got to work with these guys in a totally new way, which was so amazing. I was buzzing. The whole first 10 weeks [of this season] felt like the very first 10 weeks again because you’re learning all these new skills and you’re just in such high operating point; you have to make decisions on the fly, I was also in scenes. It was just mad, but brilliant.
Heughan: You were also probably happy to take the corset off.
Balfe: To be able to walk around in proper wet weather gear and trousers and be able to go to the bathroom — not to be TMI, but it was so good.
They did not give me the easiest episode. Every day had its thing — obviously, the bear attack sequence. Three days before we were filming that, that was a cougar; we were going to have a live cougar. There was a whole thing planned. And a cougar attacks in a very different way than a bear does. So my whole shot list had to go out of the window and I had to rethink the whole thing. But that was kind of fun.
The final season of “Outlander” focuses on Claire (Balfe) and Jamie’s (Heughan) struggles during the Revolutionary War, with the war having followed them home.
(Robert Wilson / Starz)
Finales can be tough, given how viewers chime in on social media. You can’t please everyone. But what was your vision for the ending of “Outlander”?
Balfe: I didn’t really have one. I would not want to have had Matt’s job because that’s a really heavy load to bear, trying to finish this out. But I would say the season was unusual. Normally, we would get an overview of the season before we start. This season, we went into it blind so we weren’t getting sort of any info about what was going to happen. Through the whole season, it was like finding out as the scripts came what was happening. And to be honest, we still don’t really know the ending. We know bits that were filmed, but [not] how he’s going to edit it.
Heughan: I definitely had a firm belief about a certain element of it. I spoke to a few people — few other execs and producers — and there was a common consensus, and I think that might be one of the directions, but it’s going to be a surprise for us when we watch it. I don’t know when we are going to watch it.
Multiple endings were filmed.
Balfe: There was a few different things filmed.
Heughan: Hard to know what’s [going to make it] — it’s all in a same direction. But what direction that is …
Would you call it a happy ending?
Heughan: I don’t know. It was such a secret on the call sheets and stuff.
Balfe: There was different versions of scripts that went out.
Heughan: There were fake people put in. There was a reduced crew.
If any photo reveals the intensity of two All-Americans, it’s this one from late in the game, where Jerzy Robinson (left) of Sierra Canyon and Kaleena Smith of Ontario Christian battled in the Open Division final.
The tumult continues at the John F. Kennedy Center for the Performing Arts as the National Symphony Orchestra’s executive director, Jean Davidson, steps down from her role to become executive director and chief executive of the Wallis Annenberg Center for the Performing Arts. Davidson will assume her new position May 4, the Wallis announced Friday.
“I’ve learned a lot in the last three years, and I think it’s no secret that it’s been a hard year,” Davidson told The Times, adding that the politicization of the Kennedy Center was a factor in her decision-making. “I had intended to stay through the [orchestra’s] 100th anniversary in 2031, but found it more and more difficult to achieve the goals that we had set out to achieve given the external forces that are at work that are just so far beyond my control.”
It seemed like “I had reached a natural ending point,” she said.
With the imminent closure of the Kennedy Center, speculation has swirled around the NSO’s future, especially in light of the Washington National Opera’s decision in January to cut ties with the storied venue, which has been its home since 1971. The Kennedy Center’s Trump-appointed leadership, however, made it clear that it intended to support the NSO in the long term, and the orchestra’s board chair assured musicians that the orchestra and its staff would remain intact.
Davidson said the NSO is in the process of identifying venues for the next two years, and that the orchestra has been told by the Kennedy Center that its financial support is not in question.
“Many venue operators in the D.C. area have been very generously reaching out to us, asking how they can help,” she said. “Of course, we plan our seasons years in advance, and so next season was already planned. We already have conductors and soloists and all of that, and so it’s a bit of a jigsaw puzzle aligning our existing programming and obligations to those artists with venues that are appropriate for those programs.”
It will take several more weeks to come up with a cohesive plan and it will probably include several venues, “but we will have a season,” Davidson said. “And we hope that everybody will come.”
In many ways, Davidson said, the NSO is stronger than it has been in quite some time. During her tenure, Davidson helped reboot the orchestra’s international and domestic touring, which includes upcoming shows at New York’s Carnegie Hall in May and at the Hollywood Bowl in August. The orchestra also extended acclaimed music director Gianandrea Noseda’s contract through 2031.
“The orchestra is just playing at such a high level and they really have never sounded so good,” said Davidson, echoing what notable critics have also been saying. “We’re still welcoming many new players after our audition process, and I think that’s all very positive for the NSO.”
Davidson knows that leaving her role will be difficult for the orchestra, but she believes it will emerge stronger.
“I care deeply about the NSO and I am so proud of everything that we’ve accomplished together. I think the world of Gianandrea, of [principal conductor] Steven Reineke, our musicians, our staff and board — it’s a great community of people,” said Davidson.
Davidson also believes that the upcoming renovations to the Kennedy Center will ultimately result in a better experience for audiences and artists. She just wishes there had been much more advance notice.
“Usually orchestras will plan for being out of their hall years in advance, and we only have months to do that, so it is causing a bit of strain,” she said. “I think the most important thing is that our audiences and donors continue to support the NSO during this transition period.”
Davidson will now embark on her own transition as she moves from D.C. to L.A., rejoining her husband who has stayed in the area as a music professor at UC Irvine.
“This is an opportunity that’s been on my bucket list of things that I want to do in my life and it seems like the right time,” said Davidson of her new role at the Wallis in Beverly Hills.
Compared with the NSO, the Wallis is practically brand new, having opened in 2013.
Davidson is excited that there is lots of room for growth, and that the Wallis has evolved into one of the region’s most exciting multidisciplinary performing arts presenters and home base to a variety of local arts groups.
“I think anytime you’re starting a new role, there’s a lot of learning that needs to occur,” Davidson said. “And I’m not somebody that is prone to walking in with a big vision that’s going to suddenly change course. I think they’ve been doing a lot of great work and so I’m looking forward to collaborating with the team that’s there — to learn and to create a shared vision for the future.”
It’s an exciting time to be in Los Angeles, Davidson said.
“The last decade or so has seen a lot of growth in the art sector, and there are so many talented artists and organizations in L.A. that need a place to perform.”
Caitlin Clark is excited to make her U.S. national team debut next week when the Americans play in an FIBA World Cup qualifier in Puerto Rico.
It will be Clark’s first game in about eight months since a multitude of injuries derailed her WNBA season with the Indiana Fever in July.
“It’ll probably take me a second to knock a little bit of the rust off,” Clark said Saturday. “I’ll probably be a little bit nervous, which I usually don’t get nervous but that probably comes from I haven’t really played basketball in a while. I’m sure after the first minute of running around on the court, I’ll be just fine. But more than anything, just really excited. I know how much work and how much time I put in to make sure my body’s as healthy as it can be and to get back.”
It’s been quite a journey for Clark, who played in 13 games last season. She had groin injuries and then a bone bruise in her left ankle. She’s been in the gym getting ready, working with the Fever medical team and player developmental staff over the last few months.
“I’ve always been a person that’s going to just rely on my work. I feel like it’s certainly made me work harder,” Clark said of the injuries. “But that’s also probably the part that kind of stunk about it, is I felt like I put in so much time and so much energy going into last season, and then obviously, only appeared in about 13 games.”
Clark has fond memories of playing with younger USA Basketball teams. She recalled being in Colorado Springs in her teens and going into a room filled with jerseys of past American greats.
“My eyes were so wide, thought it was the coolest thing in the world of all,” she said. “[To see] the senior national jerseys of great men’s players and women’s players. It’s a 15- or 16-year-old’s dream of doing that one day.”
Clark knows this is just her first step with the national team. There was an uproar when she didn’t make the 2024 Paris Olympic team. She eyes playing on the World Cup team next fall and then in Los Angeles on the 2028 Olympic squad.
“There’s a lot to get to that point,” she said. “Obviously that’s my goal, the World Cup before that. There’s a lot for me to learn.”
Ramadan is in full swing in Los Angeles, where a community of hundreds of thousands of Muslims is observing a month dedicated to fasting, prayer, reflection and service. With the unfolding war in the Middle East, the holiday holds even more significance for locals with ties to the region.
The Islamic holiday began Feb. 17 and ends March 19, during which observers fast from dawn to sunset to foster discipline, self-control and gratitude. Observers break their daily fast with an iftar, a festive meal shared with loved ones after sunset. Many also rise before dawn for a suhoor meal.
Halal, which translates to “permissible” in Arabic, pertains to the type of meat and the way it’s prepared. Pork and its byproducts are not allowed, and a Muslim must slaughter the animal while invoking the name of Allah. The animal must also be healthy and blood should be completely drained after slaughter.
This Ramadan season, several L.A. restaurants are offering late-night hours, special iftar menus and discounts for the holiday.
“The demand for iftar and halal food is skyrocketing,” said Assad Shalhoub, a member of MENA Creator Club, a community group for Middle Eastern and North African content creators that organized an iftar gathering at West Adams’ Maydan Market. “I think a lot of people are becoming more proud of their culture and their heritage, and with that comes a lot of people seeking things like this.”
Here are eight halal restaurants to break fast and share a meal with loved ones during Ramadan.
PHOENIX — For 24-year-old Alex Freeland, the time is now.
After the switch-hitting middle infielder enjoyed a cup of coffee in the big leagues last season, he’s trying to break camp with the Dodgers and get increased playing time at second base with veteran Tommy Edman expected to be on the injured list as he works his way back from right ankle surgery.
Freeland, who played 29 games with the Dodgers last season, and second-year utility man Hyeseong Kim, who played 71 games and was on the postseason roster, are among those vying for playing time at the start of the season, with veteran Miguel Rojas and and nonroster invite Santiago Espinal also in the mix.
Kim, who started Cactus League games at second base and center field, recently departed for the World Baseball Classic as he competes for Team South Korea, opening a door for Freeland to get more reps in the heart of the Cactus League season.
“Opportunity is present, so I’m trying to make the most of it,” Freeland said. “It sucks that Tommy’s not ready and he won’t be ready for the beginning of the season. He’s a big part of this team, so I wish him a super speedy recovery and I hope that he gets out there as quickly as possible. But yeah, with Hyeseong being gone, I am getting more reps at second and short, so I’m just trying to make the most of them.”
Freeland entered last season as MLB Pipeline’s No. 45 overall prospect. Though he posted a .190/.292/.310 slash line at the big league level, prospect analyst Jim Callis still has high hopes for Freeland.
“Freeland doesn’t have a wow tool but he does a lot of things well,” Callis said. “His best attribute is probably his defense at shortstop and versatility to play other positions. He’s a switch-hitter who draws a lot of walks and has some sneaky pop. He’s just an average runner, but his instincts allow him to play quicker than that.”
As a switch-hitter, Freeland has had more success from the left side than the right. He worked on his swing from both sides of the plate over the offseason and feels he’s in a good place.
“My right-handed hitting could be better,” Freeland said. “I mean, part of my game is walking, so I felt like I wasn’t patient at the right times last year. Sometimes I was too patient, just taking pitches down the middle. Walking is a big part of my game, so I’m looking to walk, and I feel like I’ve done that this spring training.”
Freeland has drawn eight walks in 24 plate appearances in Cactus League play, and Dodgers manager Dave Roberts has been impressed with what he has seen this spring.
“Maturity,” Roberts said. “Playing both sides of the baseball really well. The bat, right-handed looks really good. Lefty is typically his strong side, but I like the right-handed at-bats. Just playing with a lot of real confidence.”
If it weren’t for the Dodgers’ star-studded roster, Callis believes Freeland’s chances at playing time would be better.
“On a lot of teams, Freeland would be getting a chance to compete for the starting shortstop job, but he’s blocked on the Dodgers,” Callis said. “He’s probably looking at more of a utility role than starting in Los Angeles, and he could be attractive to other clubs in trade talks too.”
Freeland, however, is embracing his role and hopes to earn his stripes. He’s tried to soak up as much as he can from the veteran stars he’s been able to spend time with.
“Miggy Ro has always got something good to say. Muncy, Freddie, I mean they’ve been around so long, they’ve seen so many different things, so it’s like whatever I have a question about, like I can easily go and talk to one of them, and they’ve got an answer for me,” Freeland said of Rojas, Max Muncy and Freddie Freeman. “And it’s great to have guys like that in the clubhouse.”
Freeland grew up an Atlanta Braves fan and admired Freeman for years. Freeland never imagined he one day would share a locker room with the nine-time All-Star first baseman, who spent the first 12 years of his career in Atlanta.
“I watched Freddie growing up and Mookie,” Freeland said of Freeman and Betts. “So, I mean, it’s kind of like a full-circle moment, like I watched Freddie a lot when he was with the Braves, coming up, because I lived in Georgia, so like I’d go and watch minor league games and see him in Gwinett.”
By day, you’d be forgiven for walking past the newest theater in downtown L.A.
It isn’t hidden in an alley or obscured via a nameless door. No, this performance space is essentially a theater in disguise, as it’s designed to look like an electrical box — a fabrication so real that when artist S.C. Mero was installing it in the Arts District, police stopped her, concerned she was ripping out its copper wire. (There is no copper wire inside this wooden nook.)
Open the door to the theater, and discover a place of urban enchantment, where a red velvet door and crimson wallpaper beckon guests to come closer and sit inside. That is, if they can fit.
With a mirror on its side and a clock in its back, Mero’s creation, about 6 feet tall and 3 feet deep yet smaller on its interior, looks something akin to an intimate, private boudoir — the sort of dressing room that wouldn’t be out of place in one of Broadway’s historic downtown theaters. That’s by design, says Mero, who cites the ornately romanticized vibe and color palette of the Los Angeles Theatre as prime inspiration. Mero, a longtime street artist whose guerrilla art regularly dots the downtown landscape, likes to inject whimsy into her work: a drainage pipe that gives birth, a ball pit for rats or the transformation of a dilapidated building into a “castle.” But there’s just as often some hidden social commentary.
With her Electrical Box Theatre, situated across from the historic American Hotel and sausage restaurant and bar Wurstküche, Mero set out to create an impromptu performance space for the sort of experimental artists who no longer have an outlet in downtown’s galleries or more refined stages. The American Hotel, for instance, subject of 2018 documentary “Tales of the American” and once home to the anything-goes punk rock ethos of Al’s Bar, still stands, but it isn’t lost on Mero that most of the neighborhood’s artist platforms today are softer around the edges.
Ethan Marks inside S.C. Mero’s theater inside a fake electrical box. The guerrilla art piece is near the American Hotel.
“A lot of galleries are for what can sell,” Mero says. “Usually that’s paintings and wall art.”
She dreamed, however, of an anti-establishment place that could feel inviting and erase boundaries between audience and perfomer. “People may be intimidated to get up on a stage or at a coffee shop, but here it’s right on street level.”
It’s already working as intended, says Mero. I visited the box early last week when Mero invited a pair of experimental musicians to perform. Shortly after trumpeter Ethan Marks took to the sidewalk, one of the American Hotel’s current residents leaned out his window and began vocally and jovially mimicking the fragmented and angular notes coming from the instrument. In this moment, “the box,” as Mero casually refers to it, became a true communal stage, a participatory call-and-response pulpit for the neighborhood.
Clown Lars Adams, 38, peers out of S.C. Mero’s theater inside a fake electrical box. Mero modeled the space off of Broadway’s historic theaters.
A few days prior, a rideshare driver noticed a crowd and pulled over to read his poetry. He told Mero it was his first time. The unscripted occurrence, she says, was “one of the best moments I’ve ever experienced in making art.”
“That’s literally what this space is,” Mero says. “It’s for people to try something new or to experiment.”
Marks jumped at the chance to perform for free inside the theater, his brassy freewheeling equally complementing and contrasting the sounds of the intersection. “I was delighted,” he says, when Mero told him about the stage. “There’s so much unexpectedness to it that as an improviser, it really keeps you in the moment.”
A downtown resident for more than a decade, Mero has become something of an advocate for the neighborhood. The area arguably hasn’t returned to its pre-pandemic heights, as many office floors sit empty and a string of high-profile restaurant closures struck the community. Mero’s own gallery at the corner of Spring and Seventh streets shuttered in 2024. Downtown also saw its perception take a hit last year when ICE descended on the city center and national media incorrectly portrayed the hood as a hub of chaos.
Artist S.C. Mero looks into her latest project, a fake electrical box in the Arts District. Mero has long been associated with street art in the neighborhood.
“A lot has changed in the 13 years when I first got down here,” Mero says. “Everybody felt like it was magic, like we were going to be part of this renaissance and L.A. was going to have this epicenter again. Then it descended. A lot of my friends left. But I still see the same beauty in it. The architecture. The history. Downtown is the most populous neighborhood in all of L.A. because it belongs to everybody. It’s everybody’s downtown, whether they love it or not. And I feel we are part of history.”
Art today in downtown ranges from high-end galleries such as Hauser & Wirth to the graffiti-covered towers of Oceanwide Plaza. Gritty spaces, such as Superchief Gallery, have been vocal about struggles to stay afloat. Mero’s art, meanwhile, remains a source of optimism throughout downtown’s streets.
At Pershing Square, for instance, sits her “Spike Cafe,” a mini tropical hideaway atop a parking garage sign where umbrellas and finger food props have become a prettier nesting spot for pigeons. Seen potentially as a vision for beautification, a contrast, for instance, from the nature intrusive barbs that aim to deter wildlife, “Spike Cafe” has become a statement of harmony.
Elsewhere, on the corner of Broadway and Fourth streets, Mero has commandeered a once historic building that’s been burned and left to rot. Mero, in collaboration with fellow street artist Wild Life, has turned the blighted space into a fantastical haven with a knight, a dragon and more — a decaying castle from a bygone era.
“A lot of times people are like, ‘I can’t believe you get away with that!’ But most people haven’t tried to do it, you know?” Mero says. “It can be moved easily. It’s not impeding on anyone. I don’t feel I do anything bad. Not having a permit is just a technicality. I believe what I’m doing is right.”
Musician Jeonghyeon Joo, 31, plays the haegeum outside of S.C. Mero’s latest art project, a theater in a faux electrical box.
After initially posting her electrical box on her social media, Mero says she almost instantly received more than 20 requests to perform at the venue. Two combination locks keep it closed, and Mero will give out the code to those she trusts. “Some people want to come and play their accordion. Another is a tour guide,” Mero says.
Ultimately, it’s an idea, she says, that she’s had for about a decade. “Everything has to come together, right? You have to have enough funds to buy the supplies, and then the skills to to have it come together.”
And while it isn’t designed to be forever, it is bolted to the sidewalk. As for why now was the right time to unleash it, Mero is direct: “I needed the space,” she says.
There are concerns. Perhaps, Mero speculates, someone will change the lock combination, knocking her out of her own creation. And the more attention brought to the box via media interviews means more scrutiny may be placed on it, risking its confiscation by city authorities.
As a street artist, however, Mero has had to embrace impermanence, although she acknowledges it can be a bummer when a piece disappears in a day or two. And unlike a gallerist, she feels an obligation to tweak her work once it’s out in the world. Though her “Spike Cafe” is about a year old, she says she has to “continue to babysit it,” as pigeons aren’t exactly known for their tidiness.
But Mero hopes the box has a life of its own, and considers it a conversation between her, local artists and downtown itself. “I still think we’re part of something special,” Mero says of living and working downtown.
And, at least for now, it’s the neighborhood with arguably the city’s most unique performance venue.
When 32 freshman football players filed excitedly into the meeting room at John McKay Center in January for their first official meeting at USC, each new Trojan from the nation’s No. 1 recruiting class in 2026 was asked to stand up, share their name, number, position and an interesting fact about them.
This was pretty standard fare, as far as ice-breakers go. Albeit with one notable difference from past years.
“It was abnormally long [this year,] for sure,” senior offensive lineman Tobias Raymond said, with a laugh.
As USC opened spring practice on Tuesday, a cursory glance through its spring roster would tell you just how much the Trojans will need those freshmen to find their footing — and fast — in a season likely to be defined by their development. Nearly half of the players in attendance for Tuesday’s first day (46 of 103) were either freshmen or redshirt freshmen. That’s almost triple the current size of USC’s junior or senior classes (16).
If the Trojans have any hope of making the College Football Playoff for the first time in five tries under Lincoln Riley, an influx of 18- and 19-year-olds will play a major part.
“There’s a lot of new guys,” Riley said Tuesday. “Getting a look at these people, seeing where they’re at in terms of their development and where they’ve gotta go, I think the evaluation process is going to be really important.”
At no position will that be more critical than pass catcher, where USC must replace its top two wide receivers, Makai Lemon and Ja’Kobi Lane, and top two tight ends, Lake McRee and Walker Lyons. In their place steps a deep crop of young talented options, all hoping to emerge this spring.
There will certainly be no shortage of opportunity for USC’s four incoming freshmen receivers (Kayden Dixon-Wyatt, Trent Mosley, Luc Weaver and Tron Baker) and two incoming tight ends (freshman Mark Bowman and junior college transfer Josiah Jefferson) to make that impression. In addition to the void left by Lemon and Lane’s departures, the Trojans will also be without their top returning wideout this spring, as Tanook Hines will sit out the entire session following an offseason procedure.
Hines, who’s only a sophomore, could probably use the next five weeks of spring to develop, considering how much of the Trojans passing attack is likely to rest on his shoulders this fall. But Riley said he thought Hines’ absence could actually be “a blessing in disguise” for the rest of the room.
“All these guys, they’re going to get a ton of reps and they all need them,” Riley said. “What a phenomenal opportunity for all those other guys to develop and to take advantage of those reps. We’re going to need that.”
That directive has been clear enough to USC starting quarterback Jayden Maiava since the Trojans’ fleet of freshmen arrived on campus. Maiava has spent much of the past two months trying to build a connection with young players on both sides of the ball, taking them out to dinners, watching film with them, walking through the playbook and even conducting players-only sessions on the practice field.
“It’s a big impact for the guys I’m going out there with,” Maiava said Tuesday. “Just letting them know I care about them and I care about their success. I want the best for them, and I want them to know that.”
In his third season as starter, Maiava won’t have the benefit of one of college football’s best pass-catching pairs at his disposal. He’ll also enter 2026 on the shortlist for the Heisman Trophy — and all the pressure that comes with that.
Offensive coordinator Luke Huard said last month that Maiava has had “a tremendous sense of urgency” since the end of last season.
Raymond, who will snap to Maiava as a center this spring, said the quarterback’s communication has improved “exponentially.”
“Seeing when someone is down or seeing when someone has a good play and picking them up or congratulating them, but also getting on people when they do something wrong,” Raymond said. “If he sees something, he calls it out. If he sees something good, he calls it out.”
Receiver isn’t the only spot where freshmen will get a serious chance to compete next season. On the offensive line, five-star offensive tackle Keenyi Pepe — at 6-foot-7, 330 pounds — already looks quite capable of contributing on a Big Ten front. The same could be said of edge rusher Luke Wafle — 6-foot-6, 265 pounds — and defensive tackles Jameion Winfield — 6-foot-3, 325 pounds — all of whom were five-star prospects.
Still, it may take some time for that young talent to show through, with USC also breaking in both a new defense and special teams concepts. But for what the Trojans will likely lack in experience this spring, they’ll make up for, in some part, with depth.
“We’ve never had a spring practice, none of us in all of our years, that we’ve had this high of a percentage of your full roster already here for spring,” Riley said. “Which is a huge advantage.”
There’s still the small matter of getting all those newcomers to gel. But on that note, Riley thinks talk of USC’s youth movement overlooks how many talented players are returning.
“We’ve kind of gotten painted on the outside as just this crazy young team,” Riley said. “Like, we do have some really good youth, and I know that class has gotten some attention in terms of how that recruiting process played out, but we’ve got a lot of guys that have played a lot of ball here. … You like the talent that we have, you like the returners. I love the guys we brought in. But like one of the best sports franchises of all time said, ‘You’re not collecting talent, you’re building a team.’
“We’ve got talent. Now we’ve got to build a team.”
Injury report
In addition to being down its No. 1 receiver, USC will be without two of its returning starters on the offensive line this spring. Center Kilian O’Connor and right tackle Justin Tauanuu will sit out while recovering from surgical procedures. Left tackle Elijah Paige didn’t practice on Day 1 of spring ball, either.
Cornerbacks Jontez Williams and Chasen Johnson and safety Christian Pierce won’t participate this spring, either, Riley said Tuesday.
Running back Waymond Jordan was limited to start spring ball, as was defensive tackle Jahkeem Stewart.
