one

On the soccer pitch, Cobi Jones was defined by blinding speed, a tireless work rate and an exceptional soccer IQ. But that’s not what stood out most when you watched him play.

It was the shoulder-length dreadlocks that made him instantly recognizable whether he was playing for the Galaxy or the national team.

So those became the most important — and more difficult — things to replicate in the nine-foot-tall bronze sculpture of Jones that the Galaxy will unveil Sunday before the team’s MLS matinee with Real Salt Lake.

“Essentially you build it out of clay and then you take it to a foundry and you pour bronze over the clay. That turns it into a statue,” said Galaxy president Tom Braun, who oversaw the process. “But you can’t do that with the hair. You have to build them individually and then solder them in.”

That meant artists Oscar Leon and Omri Amrany had to painstakingly join approximately 100 separate dreadlocks into the sculpture. The result, said Braun, one of two people other than the artists to have seen the finished statue, is remarkable.

“This is a once-in-a-lifetime piece that is going to show him, and everything about him, in a really iconic way,” Braun said. “But I think when it comes to the hair specifically, they did a really nice job.”

The statue will join liked-sized tributes to David Beckham and Landon Donovan in Legends Plaza, which fronts the main entrance at Dignity Health Sports Park. Those sculptures, also done in Amrany’s studio, were unveiled in 2019 and 2021 respectively.

For Jones, the tribute is humbling.

“Just to be in the plaza itself and have a statue, that’s the incredible part for me,” he said. “When I’m long gone that statue will be there. My grandkids, hopefully, will still be able to see it.”

Yet having himself rendered in bronze was the furthest thing from Jones’ mind when he started playing soccer as a 5-year-old in Westlake Village.

“I don’t think that crossed anyone’s mind,” said Jones, 55. “It was all about just playing and having fun and trying to be the best player that I could possibly be. I was more focused on how do I beat the opponent in front of me than thinking about 20 years, 30 years down the road.”

”It makes me truly think about the past a bit more,” he continued. “All the various things that had to happen — that did happen — that came to this moment. It makes you kind of reminisce [on] the various histories and all the people that helped you.”

The statue is as much a monument to Jones’ self-confidence and refusal to quit as it is to his stellar playing career. Unable to land a scholarship coming out of high school, Jones used his academic success to enroll at UCLA, where he played as a walk-on for a strong Bruin team coached by Sigi Schmid. He wound up leading UCLA to its second NCAA championship while earning All-American honors — as well as a scholarship and a place in the school’s Hall of Fame.

Galaxy star Cobi Jones heads the ball above the Chicago Fire’s Carlos Bocanegra on Oct. 17, 2001.

(Fred Jewell / Associated Press)

He played the first of a U.S.-record 164 games with the national team in 1992 and played in the first of three World Cups in 1994 before starting a professional career that would take him to teams in three countries. He spent the majority of that time with the Galaxy, appearing in a franchise-record 306 games while making five All-Star teams and winning two MLS Cups, two Supporters’ Shields, two U.S. Open Cups and a CONCACAF title. He also served the team as an assistant coach and interim manager.

“It’s unequivocal that Cobi should have gotten a statue,” Braun said. “No one is doubting the contribution that Cobi Jones has had on the Galaxy and U.S. Soccer. So I think was an easy one for us to decide on and it’s probably long overdue.”

The plaza is nowhere near full, nor has the list of Galaxy players and coaches who deserve statues been exhausted, so Braun said there likely will be more sculptures added in the near future.

Jones had substantial input into the design of his statue, choosing the pose and offering other guidance. But it was important the statue show motion, as the Beckham and Donovan sculptures do. And the most obvious way to do that was to have Jones’ ample dreadlocks flowing behind him.

It might have been the most obvious way, but it certainly wasn’t the easiest one.

“We asked [Amrany] if he ever sculpted hair like this and he said no,” Braun said.

And he probably won’t do it again either — at least not for the Galaxy.

“They got to a point where they started to do it and we wanted some adjustments,” Braun recalled. “We wanted the hair to flow a different way and we thought maybe the hair was too long so we had them shorten it and move the hair a certain way that makes it look like it’s in motion.”

Although Jones said he wasn’t allowed to see the finished product so he has little idea how he has been rendered for history. He’ll find out Sunday.

“They took me out of the statue process as they started getting to the face and the head and hair and all that so that I could still have some element of surprise when it’s unveiled,” he said.

It figures to be a hair-raising moment.

⚽ You have read the latest installment of On Soccer with Kevin Baxter. The weekly column takes you behind the scenes and shines a spotlight on unique stories. Listen to Baxter on this week’s episode of the “Corner of the Galaxy” podcast.

How’s Lee Cronin doing? Fine. You know, still making movies. This one’s his third feature. Somebody — perhaps it was Lee Cronin himself, probably not — wanted us to know that his latest project, “Lee Cronin’s The Mummy,” was no mere mummy movie. Certainly not the one you have in mind: bandaged dead guy, ominous hieroglyphics, maybe Brendan Fraser. This is not that mummy movie. This is “Lee Cronin’s The Mummy.”

As for what that possessive credit means, we’re still in a haze. Cronin’s previous outing was “Evil Dead Rise,” a sequel heavily devoted to the gooey game plan mapped out by Fede Alvarez’s 2013 rethink of Sam Raimi’s gross-out comedies. In our current moment, when horror seems to be mining an especially rich vein (we’ve even seen an Oscar go to an unforgettable witch in “Weapons”), Lee Cronin represents the safe old ways of dutiful stewardship, getting the job done for a generic night out.

There are worse sins in the world. And sometimes the best way to introduce an ancient Egyptian curse is via a prologue that’s tonally very much like the one in “The Exorcist.” Who is the spooky, smiling woman beckoning to a young girl at the edge of her garden? No matter. The kid goes missing and, eight years later, her American family, since relocated to suburban New Mexico, is still feeling the loss: TV reporter Charlie (Jack Reynor), his haunted wife Larissa (Laia Costa) and their two semi-surly children, Maud (Billie Roy) and Sebastián (Shylo Molina).

When their precious Katie (a game Natalie Grace) is somehow returned to them, though, nearly catatonic with wrinkled, desiccated skin and gnarly toenails that would make a pedi technician shriek, it’s hard to blame them for feeling euphoric. Working from his own screenplay, Cronin barrels over the gaping plot holes — a doctor might have some thoughts here — and gets to the good stuff with the family at home in squirm-inducing close quarters, a live-in demon resting in her bedroom.

“Lee Cronin’s The Mummy” works best as a variation on Ari Aster’s career-making “Hereditary,” slicker and less guilt-ridden, with Grace’s Katie prone to jaw-snapping clicks and faraway looks, a spin on Milly Shapiro’s hypnotic turn as a doomed host. Eventually, things get more obvious: a levitating wheelchair, some skittering around on the ceiling. If Cronin does have a signature — more of a penchant, really — it’s for juicy gore, Katie’s skin peeling off in sheets. She goes to town on her own teeth.

All these moments are good for audience groans and there’s an enjoyable bad movie here for the seizing — that is when Cronin isn’t steering the action back to Egypt for an underpowered mystery thread involving a one-dimensional Cairo detective (May Calamawy) pursuing the root of the trouble. Why deploy a plummy archaeology professor (Mark Mitchinson) if you’re only going to give him a single scene to cut loose? He’s the kind of character who usually makes it to the big finale.

The film is tangled in its mess of references: a possession thriller that also wants to dish out some grainy video footage à la “The Ring” or “Bring Her Back” along with the expected mouth-to-mouth vomiting. Ironically, an honest-to-goodness mummy movie consumed with exotica (the first one from 1932 was released in the wake of the global mania over King Tut’s tomb) makes a lot of sense right now, with America straying into foreign deserts.

Was that in mind at any point? You’d have to ask Lee Cronin. It’s his movie and these are his mummy issues.

In the weeks before Justin Bieber’s headlining performance at this month’s Coachella festival — the 32-year-old teen-pop survivor’s first major concert after a lengthy stretch in the celebrity wilderness — speculation began to mount that he planned to play only songs from his recent “Swag” and “Swag II” albums.

And indeed, for 45 minutes or so last Saturday, it seemed like that was what he’d come to do as he sang new song after new song on Coachella’s giant main stage. But then he pulled out a laptop, fired up YouTube and started singing along with some of his old hits — a thrilling subversion of our expectations for a big festival set and a poignant act of self-examination by an artist who’s lived more than half of his life on our screens.

For the singer, Bieberchella was clearly a trip down memory lane. But it also offered the audience a chance to look back on a career that’s encompassed virtually every major shift in pop music over the last two decades.

Ahead of Coachella’s second weekend, then, here’s a list, ranked from worst to best, of every hit that Bieber has put inside the Top 10 of Billboard’s flagship singles chart, the Hot 100. Pop, of course, is an art as much as a science, meaning statistics get you only so far: Some important Bieber songs aren’t here, not least among them “Lonely,” which may be his finest vocal performance but stalled out at No. 12 on the chart. Other throwaways made it on the list thanks to Bieber’s gamesmanship or Billboard’s methodological quirks.

Yet these 27 songs tell a fascinating story about a boy, about a man, about a talent possibly more vital today than ever before.

27. ‘Never Say Never’ (peaked at No. 8 in March 2011)

Co-written and co-produced by the guy who would later top the Hot 100 with “Rude” by the band Magic, this booming kiddie-rap track was introduced as the theme song for Jaden Smith’s 2010 remake of “The Karate Kid” before Bieber used it in a 2011 concert film of the same title. The voice is high; the beat is blah.

26. ‘Monster’ (peaked at No. 8 in Dec. 2020)

Just a month after he dropped “Lonely,” Bieber returned to his teen-idol woes — far less movingly, alas — in this dreary duet with Shawn Mendes.

25. ‘Stuck With U’ (peaked at No. 1 in May 2020)

The nicest thing you can say about the doo-woppy “Stuck With U” is that Bieber and Ariana Grande donated the song’s proceeds to first responders navigating the early months of the COVID pandemic. Do not rewatch the video unless you want to be reminded of the smiley horrors of Zoom life.

24. ‘No Brainer’ (peaked at No. 5 in Aug. 2018)

We’ll get to Bieber’s convivial 2017 hook-up with DJ Khaled and friends. As for this shameless sequel, Khaled’s “another one” tag has never been less necessary.

23. ‘Cold Water’ (peaked at No. 2 in Aug. 2016)

Sleek. Pretty. Forgettable.

22. ‘As Long as You Love Me’ (peaked at No. 6 in Sept. 2012)

How high was Bieber riding as he prepared to release 2012’s “Believe” LP? High enough to swipe the title of the Backstreet Boys’ classic teen-pop ballad for this junior-dubstep jam. Stick around (or don’t) for Big Sean’s guest verse about needing “you” to spell both “us” and “trust.”

21. ‘Holy’ (peaked at No. 3 in Oct. 2020)

In which Bieber and Chance the Rapper preach about marriage like two horny youth pastors.

20. ‘Anyone’ (peaked at No. 6 in Jan. 2021)

What if Phil Collins had recorded “In Your Eyes” instead of Peter Gabriel?

19. ‘10,000 Hours’ (peaked at No. 4 in Oct. 2019)

Timed to commemorate his and Hailey Baldwin’s wedding among the salt marshes of South Carolina, Bieber’s crack at high-gloss country music was warmly welcomed by the Nashville establishment; it even spent two weeks atop Billboard’s Country Airplay chart. No surprise, really: To listen to earlier stuff by Dan + Shay, Bieber’s collaborators on “10,000 Hours,” is to hear how extensively white-soul singing had reshaped country by the early 2010s.

18. ‘I Don’t Care’ (peaked at No. 2 in May 2019)

Has any would-be song of the summer ever song-of-the-summered harder? Bieber and Ed Sheeran’s breezy dancehall bro-down was clearly modeled on the sound — and the success — of Sheeran’s “Shape of You.” (Call it “Shape of II.”) Yet the duo’s chemistry feels real enough to believe that all of these hooks — hey, they just happened.

17. ‘I’m the One’ (peaked at No. 1 in May 2017)

Bieber’s first Khaled collab has a merry bounce that softens the braggadocio from him, Quavo, Chance the Rapper and Lil Wayne, whose verse opens pricelessly like so: “Looking for the one?/ Well, b—, you looking at the one.” Fun chart fact per Billboard: The week after “I’m the One” bowed atop the Hot 100, Bieber became the first artist ever to score new No. 1s back to back when his remix of “Despacito” replaced “I’m the One.”

16. ‘Boyfriend’ (peaked at No. 2 in April 2012)

A decade after Justin Timberlake stepped out from NSYNC, JB blatantly ripped JT’s “Like I Love You” for this heavy-breathing flirtation. “Baby, take a chance or you’ll never, ever know/ I got money in my hands that I’d really like to blow,” Bieber pants over a spacey, Neptunes-style beat. (Later, he suggests fondue.) In an ironic twist, given the song’s all-grown-up-at-18 energy, “Boyfriend” was blocked from No. 1 by “We Are Young” from Jack Antonoff’s old band, Fun.

15. ‘Ghost’ (peaked at No. 5 in April 2022)

A hurtling lost-love lament that doubles as a farewell to a departed grandparent (as in the song’s music video, which stars the late Diane Keaton).

14. ‘Let Me Love You’ (peaked at No. 4 in Oct. 2016)

In the final Top 10 hit of Bieber’s EDM era, a pleading tenderness in the singer’s vocals cuts appealingly against DJ Snake’s strobing Sahara Tent beat.

13. ‘Baby’ (peaked at No. 5 in Feb. 2010)

New puppy, old love.

12. ‘Yummy’ (peaked at No. 2 in Jan. 2020)

“Hop in the Lambo, I’m on my way/ Drew House slippers on with a smile on my face,” Bieber sings — not the last time he’d plug one of his or his wife’s brands in a lyric. A country remix with Florida Georgia Line adds shout-outs to Waffle House and Chick-fil-A.

11. ‘What Do You Mean?’ (peaked at No. 1 in Sept. 2015)

The path to Bieber’s first No. 1 on the Hot 100 was cleared by a better, more interesting song that reframed him as a dreamboat experimentalist. (More on that one in a minute.) But if “What Do You Mean?” deploys a more conventional tropical-house production, it’s still built around one of the singer’s loveliest vocals. And the fake pan flute still hits.

10. ‘Despacito’ (peaked at No. 1 in May 2017)

Luis Fonsi and Daddy Yankee’s pop-reggaeton seduction had already found an enormous audience among Latin music fans when Bieber jumped on a remix after hearing the song in a Colombian nightclub. Yet the star’s presence — in a Spanish-language chorus whose lyrics Bieber learned phonetically over the course of a four-hour recording session — turned “Despacito” into a global juggernaut. In the U.S., the song became the first Spanish-language chart-topper since “Macarena” two decades earlier; it also became something of a protest tune amid the anti-immigrant rhetoric of President Trump’s first term in office. Said Scooter Braun, Bieber’s then-manager, in a 2017 interview with The Times: “A song in Spanish is all over pop radio in an America where young Latino Americans should feel proud of themselves and their families’ native tongue.”

9. ‘Essence’ (peaked at No. 9 in Oct. 2021)

Like “Despacito,” this slinky Afrobeats track was a hit before Bieber got involved. (Among its fans: President Obama, who put it on his best of 2020 list.) What distinguishes the version with Bieber is how gently he slides between the Nigerian singers Wizkid and Tems, who both joined him for a rendition of “Essence” at Coachella.

8. ‘Stay’ (peaked at No. 1 in August 2021)

At a mere 2 minutes and 22 seconds, this breakneck electro-pop duet with Australia’s the Kid Laroi (who also put in a cameo at Coachella) is the shortest of Bieber’s 27 Top 10 singles. Yet with 63 weeks on the Hot 100, it’s also his longest-lived chart hit — and his most-streamed song on Spotify.

7. ‘Intentions’ (peaked at No. 5 in June 2020)

“Stay in the kitchen cooking up, got your own bread/ Heart full of equity, you’re an asset.”

6. ‘Beauty and a Beat’ (peaked at No. 5 in Jan. 2013)

The most fondly remembered of Bieber’s teen-idol hits anticipates the EDM makeover to come even as it stays rooted in his squeaky-clean persona: “We’re gonna party like it’s 3012 tonight” is truly something only a kid would say. Seven months after “Beauty and a Beat” peaked on the Hot 100, Bieber was infamously caught on video urinating in a mop bucket in a New York City restaurant kitchen; this song would be his last Top 10 single for more than two years.

5. ‘Peaches’ (peaked at No. 1 in April 2021)

A sumptuous R&B jam about procuring one’s peaches from Georgia and one’s weed from California, this three-way joint with Daniel Caesar and Giveon was nominated for record and song of the year at the 2022 Grammys. (It lost both prizes to another sumptuous R&B jam in Silk Sonic’s “Leave the Door Open.”) Extra props here for the vivid contrast among the singers’ voices and for the Kool & the Gang-ish synth solo at the end.

4. ‘Love Yourself’ (peaked at No. 1 in Feb. 2016)

A sick burn delivered oh so sweetly.

3. ‘Where Are Ü Now’ (peaked at No. 8 in July 2015)

Behold the dreamboat experimentalist. In search of a fresh sound after Bucketgate, Bieber found it with Skrillex and Diplo, veteran dance-music producers who took a morose piano ballad that Bieber and his frequent accomplice Poo Bear had demoed and turned it into a glimmering boudoir-rave fantasia. “I was like, ‘Diplo, Skrillex — I don’t really know if that’s, like, where I wanna go,’” Bieber later told the New York Times. “They did it, I was like, ‘Oh my gosh, this is blowing my mind.’”

2. ‘Daisies’ (peaked at No. 2 in July 2025)

Is putting a nine-month-old song at No. 2 on this list an act of recency bias? Maybe. But what a song! Against a bracingly lo-fi guitar lick played by his pal Mk.gee, Bieber sings with beautifully understated soul about coming into an emotional maturity he admits he avoided for too long.

1. ‘Sorry’ (peaked at No. 1 in Jan. 2016)

A plea, a flex, a come-on — this delirious pop masterpiece contains multitudes. “Is it too late now to say sorry?” Bieber asks, and the trick of a song born from a branding problem is that it summons the sensation of endless ascent.

When Halle Bailey moved from Georgia to Los Angeles as a wide-eyed preteen nearly 15 years ago, the city felt like a wonderland of possibility.

“Being from the South, when you first come to L.A., you’re like, ‘Hollywood. Wow. This is where all the celebrities are,’” says the Grammy-nominated singer and actress. At any moment, she thought she might cross paths with Halle Berry — the similarly named actress she’s often mistaken for — on the Hollywood Walk of Fame.

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.

But after living in the city for a while, Bailey, now 26, says she realized L.A. is made up of all sorts of different pockets — ones “where people are really Hollywood, bougie” and others “where people are chill, like hippies,” she says. Her favorite neighborhoods are Silver Lake, Venice and “places where people are just like, yeah, one love,” she says, laughing.

These days, Bailey is one of the celebrities people would be thrilled to see strolling down Hollywood Boulevard. She’s built a career that bridges music, TV and film: By 13, she and her sister Chloe Bailey — together known as Chloe x Halle — had signed to Beyoncé’s label; she’s earned six Grammy nominations (including one for her debut solo album released last fall); and she played young Nettie in “The Color Purple” and starred as Ariel in Disney’s live-action “The Little Mermaid,” a blockbuster role she’s recently been reflecting on.

Bailey’s next venture? Starring in her first romantic comedy, Universal’s “You, Me & Tuscany,” which hits theaters April 10. She plays Anna, a young woman who impulsively crashes at a empty Italian villa by pretending to be the owner’s fiancée.

“It felt good to play a young woman who was grown, but still discovering herself,” she says. “I felt like I was playing the essence of the Halle who is finding herself now.”

On her perfect Sunday in L.A., Bailey would have a day of fun with her 2-year-old son, Halo. Here’s what they’d do.

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

7:30 a.m.: Wake up and jump into mommy duties

I love mornings. I leave my curtains open while I sleep because I like when the sun wakes me up. We all doomscroll, which is kind of bad to say, but the first thing I check is my phone. Then I have mommy duties right at 8 a.m. Sometimes before [Halo] wakes up, I get a chance to do some things for myself like go outside and sit in the sun for some meditation or stretching. I don’t get to do it every day, but I try. Or I’ll make some tea or a smoothie and just have a moment of gratitude for waking up that day.

8:30 a.m.: Crank up the music

Once Halo is up, we do breakfast right away. I don’t know why I’m super into boiled eggs right now [laughs]. But I love a boiled egg in the morning with either avocado or hash browns. My baby loves hash browns too. I try to make a balanced breakfast and then from there it’s kind of party time.

We’ve been blasting the new Jill Scott album and it’s really cool how the music you play in your house can just change the mood, the vibe and bring good energy into the space that you’re in. And on a Sunday, I don’t know if it’s just because of the way I was raised, but automatically I think, “OK, I need to straighten up for the week. I need to get the house reset.” So maybe I’m cleaning up the kitchen or organizing toys, or making sure the bathroom is straight, or washing clothes while the music is blasting and we’re dancing around, having fun.

12 p.m.: Solo time while the baby naps

I’ll take a lunch break. If I’m in the cooking mood, I love making comfort food like chicken and rice with cabbage and mac and cheese. Something that is just warm and comfy. If I’m not doing that, I’m ordering Wing Stop or Chipotle. I would chill outside for a while until my son’s nap time, which is around 12:30 p.m. He’ll sleep until like 3:30 p.m., so then I have two hours to myself and sometimes I do nothing. Sometimes I just need to sit down and I’ll be on my phone on TikTok or I’ll watch a show. I recently binged the new “Love is Blind” season. I also started watching “Real Housewives” again, but, like, the beginning seasons. I really love the show “My Strange Addiction.” It’s just so hilarious to me. Those are some guilt-free shows that I turn on and my brain can turn off.

I might even go into the studio if I’m hearing a melody in my head or pick up my guitar. Sometimes I might take a nap too, and that feels really good on a Sunday.

4 p.m.: Go on an easy sunset hike

If I feel up for leaving the house, we’ll go for a walk, to the park or maybe even a sunset hike. I’ve always been a nature girl and I feel like it just grounds me, and I’m able to center myself, especially for the start of a new week. There’s a lot of really beautiful hikes in California, but I’ve found ones that are easy and safe to take a baby on so I’m not stressing if he’s running ahead of me or behind me. On a Sunday, you just want to rest, so you’re not trying to do a full-blown workout. Sometimes we’ll get halfway through and then we’ll turn back and go home [laughs].

Near Studio City, there’s a really good one called Fryman [Canyon]. It’s hard in the beginning, but as you get higher it gets easier and you see the view, and you’re just like, “I can do this.” We recently went to Point Dume, which I had never been to, but I saw the view on TikTok. It’s a really beautiful beach hike in Malibu and I love it there. The hike up is super easy, but there’s a field of flowers that you walk through to get to the viewpoint where everyone takes pictures overlooking the beach.

6:30 p.m.: Bath time

I love a bubble bath. If my son is with me that night, we do a whole fun toys in the bath type of vibe. But if it’s a solo night, it’s like candles, lavender bubbles, lights are dim, jazz music is playing in the background, like Billie Holiday, and that is the ultimate reset.

7:30 p.m.: Dinner and a show

If I have a sitter, I might go out to dinner. I like Lucia, which is a Caribbean restaurant in Hollywood. I think the first time I went, they had a really good oxtail mac and cheese. When I went back the menu had changed and I ordered the jerk chicken, which was also good. Also, I’ve been loving the Blue Note recently. I saw Esperanza Spalding there last year.

10 p.m.: Watch something low–stakes before bed

Sometimes I try to force myself to turn off all screens, all phones and go to bed because I need the sleep. It’s either that or I’m up watching something. I just really like watching things that make me feel like I can laugh and I don’t have to think about it. I get really emotionally invested in shows. If I try to watch “The Pitt” at the end of the day, it feels so emotionally exhausting. During the day is OK, but at nighttime, I just need to laugh.

Like the mythical city of Brigadoon, Lisa Kudrow’s “The Comeback” has returned to television after many years away, with the difference that time has not stood still for its inhabitants, older in a changing world that values them less and which they navigate with less assurance.

Kudrow, who created and writes the series with Michael Patrick King, was in her youth a player in the twilight of network-dominated television, cast in a smart, influential show with wide, multigenerational appeal; in a quantitative sense, at least, everything would be downhill from there, as the medium transformed and transformed again. “The Comeback” premiered in 2005, just a year after the end of “Friends”; the first season addressed the rise of reality TV, and the next season, in 2014, riffed on dark, streaming “prestige” television.

The new (and final) season, which is both timely and speculative, addresses the impact of artificial intelligence on the medium and the industry, hinting at a dystopian future; this gives it a moral, even political component, not to say a sense of urgency. Not surprisingly, “The Comeback,” as a thing made by humans, comes down firmly on their side — it’s a manifesto at times — even as it acknowledges, uncomfortably, that computer-produced content might be “good enough.”

Once again, Kudrow plays Valerie Cherish, who, at 60 — the phrase “of a certain age” repeats throughout the series — still qualifies as a working actor. But she’s been pushed into the further reaches of the profession: Her two-season cozy mystery series, “Mrs. Hatt” (“part-time gardener, solves crime, husband is an ex-police chief”), is on no one’s radar but her own, having shown on Epix. A day’s work on a “no-budget” film is even less rewarding than she had imagined; she lasted all of two episodes on “The Traitors.” Paddling hard to stay current, to improve her brand, she bumbles through a podcast, “Cherish the Time,” without any idea what to do with that time; employs a social media person, Patience (Ella Stiller), with no discernible impact; and posts pictures of herself holding products in hopes of “future collabs.”

Still, she is not poor. Valerie and husband Mark (Damian Young), have moved from Brentwood to a condominium with a view in the (real life) Sierra Towers, overlooking the Sunset Strip, opening the latest “new chapter” in their lives, though just what that chapter for them is hard to say. Mark has lost his job in finance — “You told a joke at work at a time when jokes were illegal,” Valerie says, trying to cheer him, “no one cares now” — but left on a golden parachute; now he builds his day around pickleball. A potential role in a reality show, “Finance Dudes,” isn’t working out to anyone’s satisfaction. He’s on the verge of a three-quarter-life crisis.

When her self-promoting manager/publicist Billy (Dan Bucatinsky) comes to her waving an offer for a new series, for a new network, in which she’ll star, Valerie is more than intrigued, if taken aback when he tells her that it’s being written by AI. (He isn’t supposed to know.) Network head Brandon (Andrew Scott, as blandly discomfiting as his Moriarty on “Sherlock”) assures her that it is “within the Writers Guild agreement,” but that it is also a secret — which will account for a lot of comedy going forward, secrets and lies being the very stuff of the form. “AI is really extraordinary,” he tells Valerie. “After all, it picked you.”

It’s also created a wholly generic multicamera sitcom, “How’s That?,” in which Valerie’s character, Beth, as she describes it, “runs a cute, charming old New England B&B with the help of her hunk nephew, Bo — so Beth and Bo, B&B.” (“Viewers want a break from the complicated confusing storylines of all these dark streaming shows,” says a network exec.) Her eager supporting cast has no idea that the series is being written by anything other than its human faces, unhappily married couple Josh (John Early) and Mary (Abbi Jacobson). Josh, who thinks of himself as “the voice of women of a certain age,” is precious about the jokes he manages to get into the script; Mary couldn’t care less. Untalented writing assistant Marco (Tony Macht) only wants “to get, like, a really nice house.” The AI, meanwhile, is personified to the cast and crew, who know nothing about it, as someone named “Al,” who “works remotely.”

One by one, the old company is introduced into the new season, Valerie finds Jane (Laura Silverman), her former documentarian, working as a cashier at Trader Joe’s, having tired of scuffling as a filmmaker, “begging people to care about the things that I cared about.” When Valerie lets it slip that her new series is AI-generated — “but don’t tell anyone ‘cause that’s a secret” — Jane is inspired to pick up her camera again. Lance Barber will eventually rejoin as screenwriter Paulie G., Valerie’s old nemesis. Robert Michael Morris, who played Mickey, Valerie’s hairdresser and best friend, in earlier seasons, passed away in 2017; Jack O’Brien, as Tommy, occupies a version of that space here.

Valerie may be only moderately successful, but she isn’t a hack. She has an Emmy for “Seeing Red,” the drama at the center of Season 2. She pushes back against the costumer (Benito Skinner) who wants to put her in a caftan. She knows her craft and is nominally proud of belonging to a union. She’s not a diva, but she has her pride. And that she is loyal, even when it does her no good, makes her easy to like. Thrust half-wittingly onto this cutting edge — being the first in an AI comedy, Mark tells her, “is like saying, ‘I was the first one to eat an arm in the Donner Party’” — she is wholly sympathetic, and, eventually, as things bend toward horror in a last-act revelation, a hero.

Though the subject is serious, the approach this time is light and farcical. Partially abandoning the documentary aesthetic of its predecessors — the first season had the look of amateur video, and the second of guerrilla filmmaking — much of this season is shot as a conventional, non-meta television show, allowing us access to private conversations and meetings without having to account for Jane and her crew, or requiring the players to act as if they’re being watched. Paradoxically, without pretending to reality, it makes some things more real.

Playing himself, director James Burrows, whom Valerie convinces to helm her pilot, notes that the jokes AI writes might come fast but are never better than obvious. “Surprising only comes from a group of writers huddled in a corner beating themselves up to beat out a better show,” he says. And just as Valerie is not a character an algorithm could produce, Kudrow is not an actor a machine could ever imagine. She’s no Tilly Norwood, or Tilly Norwood at 60, or Tilly Norwood with quirks applied. There’s no one like her— other than her — for the learning machines to scrape.

You should never settle for “good enough” when better, or best, is available. But that choice is on you.

I’ve had my fair share of bad neighbors over the years. Ones who’d stomp their feet above my bedroom at odd hours of the night or who’d block my parking garage without warning every time they had guests over. Talking to friends in L.A., such experiences seem to be the norm rather than the exception — people either have gripes about their neighbors or no feelings at all. A Stanford study showed that the percentage of Americans who frequently interact with their neighbors declined among all age groups from 2017 to 2023.

As someone who doesn’t live near any family, I know that good neighbors can be a godsend. And though I’ve had some questionable ones, I’m lucky to have also had some of the best. Like Joseph, who let me borrow his portable air conditioner — and even installed it — when a heat wave hit Los Angeles. Or Mr. Art, who’d close my garage whenever I was in a hurry and forgot to do it. And my current neighbor, Ms. Cassandra, who always makes sure to save me a plate when she grills her mouthwatering barbecue ribs.

Neighbors can become your friends — or even your family. That’s why we’re looking for Los Angeles’ most neighborly neighbors. And we want you tell us about yours. What’s the most remarkable thing they’ve done for you, big or small? Did they lend you a cup of sugar when you were baking a five-layer cake? Did they offer you a ride to work? Did they babysit for you last minute? Or invite you over for a holiday dinner so you wouldn’t have to spend it alone?

Nominate your favorite neighbor below. We may feature them in a future story.