matters

PHOENIX — For the first time since he grounded out to end the 11th inning in Game 7 of the World Series, Freddie Freeman stepped into the batter’s box in the first inning Tuesday against the Cleveland Guardians at Camelback Ranch. Freeman was met with cheers by the thousands of Dodgers fans in attendance.

After popping out to third in his first at-bat, Freeman laced a double to left-center to drive in two runs in the third inning before he was lifted from the Dodgers’ 11-3 victory.

Freeman, who last season battled the lingering effects of a right ankle injury he suffered late in the 2024 season, said having a more typical offseason was crucial to regaining his fitness.

“It’s been in a good spot since I started hitting this offseason,” Freeman said of his swing. “Nice to be able to hit a ball to left-center already, that’s a good sign. … I hadn’t swung a bat till a day before FanFest last year. A normal offseason definitely helps.”

While still an All-Star and a recipient of MVP votes, Freeman has had a slight decline in production over the last two seasons compared to his first two with the Dodgers. Freeman posted on-base percentages of .407 and .410, while raking a league-leading 47 and 59 doubles, respectively, in 2022 and 2023. His OBP dropped to .378 in 2024 and .367 in 2025.

But for Freeman, it is his contact numbers that have been a thorn in his side all offseason.

His .295 batting average was the third-best in the National League last season but still was not good enough for Freeman, a career .300 hitter.

“There wasn’t a 3 at the start of my batting average last year, and that irks me,” Freeman said last week. “That’s my goal always, to hit .300. I like hits. I’m a hitter. Three at the front of a batting average means a lot to me. I know batting average and those kinds of things don’t mean a lot to a lot of people these days, but it does to me. If you hit .300, it means you’re on base a lot, and you’re scoring runs for your team, so that’s the goal, .300 again.”

Freeman landed on the injured list at the start of last April after he aggravated his surgically repaired right ankle, causing him to miss nine games and setting the tone for a season in which he never felt quite right.

“I was taping my ankle till about August,” Freeman said. “It was never really in a good spot last year. There was a lot of treatment, and I think I played all right for that, and we won again, so I’m really looking forward this year.”

One area Freeman thinks he can improve is his defense. A former Gold Glover, Freeman rated as a below-average fielder in both the defensive runs saved (minus-7) and outs above average (minus-6) metrics.

“I didn’t like the way I played defense last year and I thought it was just because I wasn’t mobile enough,” Freeman said. “So, that’s a big, big goal of mine, to play better at first this year, get to more balls, be able to cover more things. So, that’s going to be a key for me.”

Manager Dave Roberts is optimistic about what his veteran first baseman can do, even at age 36.

“I think he takes such good care of himself,” Roberts said. “I think that age is an easy one to point to, but I really believe that he’s been dinged up for two years.

“Right now, today, it’s as good as I’ve seen his swing over the course of a week sample, [better] than I have [seen] in two years. So, he’s in a good spot physically, mechanically. So, if we can keep him healthy, I just don’t see why he can’t have the year that he expects, and with that, with everything that he went through the last couple years, he was still very productive.”

Freeman said last week he hopes to play four more years, through his 20th season as a big leaguer.

“In that fourth year, I turn 40,” Freeman said. “Four is just a number that’s floated. Is it less? Is it more? I don’t know, but that’s kind of just where I’m at. I feel good right now, so that was just floated because that would be an even 20 years, I’ll be 40. I got a family that I would like to go home to. I do love this game; I love playing it, but for me, if I can do four, that would be 20 years. I think that’s enough.”

Etc.

After major shoulder surgery in 2024 that forced him to miss all of last season, right-hander Gavin Stone made his return to the mound a smooth one, pitching a scoreless first inning and striking out two against the Guardians.

“It was awesome,” said Stone, who last pitched for the Dodgers on Aug. 31, 2024. “Definitely a lot of hard work over the previous year. Rehab was a grind, but it’s good to be back out there.”

A few months back, a discussion broke out in the De Los chat about whether or not Bad Bunny would win album of the year at the 68th Grammy Awards for his LP “Debí Tirar Más Fotos.”

I was firmly in the “yes” camp from the day the nominations were announced and I was right!

But if I’m being honest, I had my doubts that it would happen until the second that presenter Harry Styles called out the Puerto Rican singer’s name Sunday night.

Those in the “no” camp — who were still rooting for him to win — had history in their favor. It’s so rare for any major awards show, but especially the Grammys, to recognize artists at the peak of their powers. It’s almost as if these voting bodies feel that some (usually Black) artists must go through a weird humiliation ritual before being deemed worthy.

In 2015, Beyoncé’s self-titled LP lost album of the year in favor of Beck’s “Morning Phase.” She was overlooked again when Adele won album of the year for “25” over her seminal album “Lemonade” at the 59th Grammy Awards. Her club classic “Renaissance” also missed out on the top prize in 2023, with Styles’ “Harry’s House” taking home the award.

Rapper Macklemore won the rap album Grammy over Kendrick Lamar’s “good kid, m.A.A.d. City” at the 56th iteration of the award ceremony. At the 2016 Grammys, Lamar’s deeply layered LP “To Pimp a Butterfly” lost album of the year to Taylor Swift’s “1989.” Mumford & Sons’ “Babel” won album of the year in 2013 over Frank Ocean’s “Channel Orange.”

The anti-Blackness in the Recording Academy — the voting body that chooses Grammy winners — cannot be understated.

But in a rare move the voters, which included the Latin Grammy Awards’ voting body for the first time this year, chose the album that actually reflected the cultural zeitgeist.

Really it was less so that I believed Bad Bunny would win as much as I felt that he needed to win.

The past year has been exceedingly trying for the Latinx community as Immigration and Customs Enforcement raids have been conducted throughout the country. It has oftentimes felt as though being Latinx — looking a certain way, speaking Spanish, having certain names — is a crime. I don’t know how many times I’ve seen videos of or heard heartbreaking stories of Latinx people being separated from their families, harassed or even killed due to activities of federal agents.

So even if it was just a moment of recognition for Bad Bunny, I had a lot riding on one win for Latinx people. A win for an album that is unapologetically in Spanish, explored ideas of resistance toward colonization and dared to be joyful, would mean something to me.

When he won, I had the same reaction as him. I couldn’t believe it and I cried — genuine tears in my Latina eyes.

It felt like an acknowledgment that Latinx people exist and matter. I was also moved when he explicitly shouted out immigrant and Latinx communities. There was just something that felt radical, too, in him giving the majority of his acceptance speech in Spanish.

De Los writer Andrea Flores also had faith in Bad Bunny’s Grammys viability from the very beginning.

“I knew Bad Bunny was going to win big at the Grammy Awards the moment he released this album,” she told me. “Bad Bunny made music for Puerto Rico, and the world listened.”

“I cried when I saw that Bad Bunny won album of the year. For me, it felt like sweet vindication for Latinx artists — reggaetoneros, more specifically — who have long been ignored, and at times vilified, by mainstream media for so many years. But what made me even more emotional was seeing posts on X showing Bad Bunny in 2016 as a bag boy at a local Puerto Rican supermarket. He looks familiar in that picture, like a cousin, brother or childhood friend. That was only 10 years ago. It’s proof to me that so much can change if you believe in your art and in yourself.”

It’s weird that a Latinx artist from an American colony is the most powerful cultural figure in the country at the same time that Latinx people face the most tenuous situation in the U.S. that I’ve seen in my life.

When Bad Bunny takes the stage for the Super Bowl halftime show on Sunday, I wish he’d get up there and call out ICE again on an even-bigger stage or do some kind of spectacular act of protest against the vile political class that has always and continues to push through discriminatory policies against non-white communities.

It’d be awesome if that happens, but even if it doesn’t, there will still be something profoundly radical about him simply being there and performing exclusively in Spanish.

(Jackie Rivera / For The Times; Martina Ibáñez-Baldor / Los Angeles Times)

The latest on Trump’s immigration enforcement

(Joel Angel Juarez / Getty Images)

After killing two U.S. citizens, forcibly extracting immigrants and using force against protestors, some 700 federal agents are being pulled out of Minnesota. About 2,000 officers will remain in the state, White House border czar Tom Homan said early this week.

On Tuesday, immigration officers in Minneapolis pulled their guns on and arrested protestors who were trailing their vehicles, the AP reported.

Meanwhile, my colleague Gavin J. Quinton reported that the Senate isn’t “anywhere close” to reaching an agreement on ICE funding, as Democrats demand “nonnegotiable” ICE reforms.

In some good news, Liam Conejo Ramos — the 5-year-old from Minnesota who was famously photographed wearing a bunny hat and Spider-Man backpack while detained by ICE agents — and his father, Adrian Conejo Arias, were released from a detention facility in Dilley, Texas and are back home in Minnesota.

The duo was released thanks to a ruling from the U.S. District Judge Fred Biery.

“[T]he case has its genesis in the ill-conceived and incompetently-implemented government pursuit of daily deportation quotas, apparently even if it requires traumatizing children,” the judge wrote in his ruling.

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