only thing

Rebounding was not a strength of the Lakers over the course of the regular season. Rebounding was a strength of the Houston Rockets during the 2025-26 campaign.

So, on their first day of practice Tuesday for Game 1 of the first round Saturday at Crypto.com Arena, the Lakers worked diligently on rebounding drills, knowing full well that will be one of the keys against the Rockets.

The Lakers were the fourth-worst rebounding team in the NBA, averaging 41.0 per game. The Rockets were the top rebounding team in the league, getting 48.1 overall and 15.0 on the offensive end.

And one of the Lakers’ better rebounders, Luka Doncic, won’t be available because he’s dealing with a Grade 2 left hamstring strain that he went to Spain for treatment. Doncic is second on the Lakers in rebounding at 7.7 per game. His starting backcourt mate, Austin Reaves, also is a good rebounder but he also won’t play because of a Grade 2 left oblique strain. Reaves is averaging 4.7 rebounds per game.

“They’re out indefinitely,” Lakers coach JJ Redick said about Doncic and Reaves.

Redick then gave a simple answer for how the Lakers have to deal with the Rockets in the best-of-seven series.

“Again, taking care of the basketball and boxing out. That’s the series,” Redick said. “Scheme, personnel, obviously important, but if we don’t take care of the ball and we don’t box out, we’re not gonna win the series.

“They were No. 4 in scoring opportunities. We were No. 23, so we don’t have the luxury with Luka and AR out of getting drilled in scoring opportunities every single game. We gotta box out. We’re going to place an emphasis on every drill in practice. We started practice with boxing out today. You gotta put it in their minds. That’s literally the only thing we said about Houston today. Today was about us having a practice, getting sharp with our stuff. Tomorrow, we’ll introduce [Rockets] personnel. Thursday we’ll do our scout, as we would. Friday will be a reinforcement of that scout. Saturday we’ll be good to go. Only thing we did today was box out.”

Lakers 7-foot backup center Jaxson Hayes will be counted to get rebounds. He’ll also spend time dealing with Rockets All-Star center Alperen Sengun, who averages 20.4 points and 8.9 rebounds (3.0 on offense) per game.

Hayes missed the last four games because of left foot soreness, but he was back at practice Tuesday.

“Feeling a lot better,” Hayes said. “It’s nice getting a few days off. Especially with my job, I jump a lot and I run a lot, so it’s hard for me to rest something like that. Getting those days off was very much needed. Very helpful.”

When asked about the box-out drills the Lakers did at practice, Hayes recalled the last time he did such a thing.

“Definitely college, for sure,” Hayes said. “College days with those Texas bigs. Coaches start off the practice where you got to smack somebody. Obviously, we weren’t trying to murder each other out on the boards, but definitely practicing that stuff. Houston is, I think, one of the best offensive rebounding teams in the past 20 years. So, just making sure we’re ready for that.”

The Rockets are a physical team that also plays smothering defense.

Houston allowed 110.0 points per game during the regular season, the fourth-best defensive mark in the league, and held teams to 46.0% shooting, the sixth-best mark in the league.

For Lakers guard Marcus Smart, there is one way to compete with the Rockets on the backboards.

“Will. Willpower,” Smart said. “We’re competitors. We’ve been doing this for a while. We’re doing that at the highest level, right? And they’re going to try to come in and punk us. And if you will allow that, you will be punked. And I don’t think we have any guys that are going to be punked on this team. So, we might not be the most athletic and strongest, but we got to have the most heart.”

Everyone’s getting into podcasts — even demons.

“undertone,” a muted, personal and static microbudget horror debut by Ian Tuason, takes place in the writer-director’s actual childhood home where he tended to both of his parents before they died. Both hospice and inspiration, it’s a stifling place decorated with floral wallpaper and crucifixes. The pain and exhaustion and grief are so real and oppressive, the camera never dares set a foot outside.

Upstairs, Evy (Nina Kiri), watches over her own terminally ill mother (Michèle Duquet). Tuason funneled his emotional gloom into this movie; Evy co-hosts a horror podcast with her overseas best friend Justin (voiced by Adam DiMarco). “This is the only thing keeping me sane right now,” she says. They’re words she’ll regret within the week.

Kiri and DiMarco have the comfortable, convincing chemistry of two old pals who have done a show for a while. One snippet seems to be an episode on Elisa Lam, the real-life tourist found dead in the rooftop water tank of Los Angeles’ Cecil Hotel. There’s also a reference to a website with a red-faced ghoul who hypnotizes victims into cutting off their ears. The latter may be Tuason seeding his idea for a sequel.

Here the central story is that Justin, who lives in London, has received an email with 10 audio files recorded by a couple named Mike and Jessa (Jeff Yung and Keana Lyn Bastidas) who are trying to understand what she’s saying in her sleep. The sender is unknown. (Possibly an evil spirit hoping for the exposure of a mattress ad?) Justin, the believer, is instantly alarmed by how these eerie tapes escalate from cute banter to ghostly crying babies and backward incantations. Evy is the skeptic who dismisses the noises as either an online hoax or bad plumbing.

Due to the time zone differential, Evy and Justin record their show just before he heads out to work in the morning, which for her is 3 a.m. Most of the movie takes place in that witching-hour window, an airlessly silent time where an at-home podcaster doesn’t worry about being interrupted by a leaf blower, an ice cream truck or a dog. Sound-designed by David Gertsman, “undertone” is so quiet that a tea kettle sounds like a fire alarm. Story-wise, it’s equally inert. One of the biggest action shots in the first hour comes when — eek! — a sink turns on.

I’d love to understand why horror films that I find excruciatingly dull give others the heebie-jeebies. My working theory is that they tap into audiences with a preexisting suspicion that the world is wicked — they prove paranoia to be well-founded. My mental default is that the world is neutral-good, and that may be why I prefer movies with active villains scaring me out of my complacency. I spent “Paranormal Activity” and “Skinamarink” restlessly admiring the production design; here, my main thrill came from the soundscape, like when a vibrating cellphone made my chair rattle like it was a tractor, or a noise that can only be described as death-rattle ASMR.

When Evy slips her on headphones, she’s so focused making sense of the latest scary tape, playing it forward, reversed and slowed-down, that she’s oblivious to the bumps in the night in her own house, upstairs near her comatose mother’s bedroom. I suspect Tuason deeply relates to Evy, to the disassociation of living with death every day, and uses her resistance to explore denial. She refuses to admit that the supernatural is real, even as she repeatedly takes a break to steady herself and, as she puts it, “get back into character.” Her stifled panic makes it obvious that fear is taking over.

The screenplay also has a passing reference to Evy’s useless, off-screen boyfriend Darren (voiced by Ryan Turner). Their miserable dynamic is compelling but overall comes off like a plot point Tuason stuffed in his pocket and never got around to using. Our one peek into it comes when Darren phones Evy to pressure her to ditch her mom and come to a party. He claims he’s throwing a kegger to cheer her up. (A frozen lasagna on the doorstep would be better, dude.)

Evy does reluctantly leave the house — we don’t follow her there — and that one moment says as much about crossed-signals communication as anything else in the movie. It’s bullseye-accurate about how isolating it is to lose a parent earlier than your peers.

The film is so committed to its rigors — the two-person cast, the glacial camera pivots, the moody lighting — that it teeters on the line of becoming monotonous. When Tuason eases up a bit, say in a scene in which Evy pops on a sleep podcast that begins by describing a babbling brook and rapidly becomes a nightmare tale of bobbing corpses, he finally shows you that he has the potential for range.

But “undertone” is rooted in that slow-and-still horror discipline that holds its breath waiting for something to happen. It requires the audience to bring their own bad vibes to shots of religious icons on the wall and long takes of Evy clacking on her laptop, unaware of a flickering light behind her. (Rumor is Tuason has already signed on to shoot the next “Paranormal Activity” sequel.)

Mostly it puts the audience in the position of watching a protagonist so passive that chunks of the running time are watching her sit at a table waiting for Justin to look up things for her on Wikipedia. Like amateur detectives, we learn alongside them as they click around pages about Sumerian devils, Catholic saints and the origin of the nursery rhymes “London Bridge” and “Baa, Baa, Black Sheep.”

As visuals go, “undertone” is so far removed from anything resembling the cinematic experience that I left with a fresh appreciation for campfire storytelling. At least then the listener gets to use their own imagination. But production designer Mercedes Coyle does dig up two satisfyingly creepy props: one, an antique speaking doll, the other, a small white statue that appears to be the Virgin Mary until we get a better look at her mouth, deformed by a hungry scream.

Despite my quibbles with how her character reacts when things really go awry, Kiri’s Evy has a clarity of purpose that holds our attention despite not having that much to do. In her strongest sequence, she and Justin take a few live callers on their podcast, some of whom bear bad news about Mike and Jessa, and another who phones up in the middle of a crisis that’s too big for these self-positioned experts to handle. Real violence is coming and these armchair ghosthunters are totally out of their depth. Yes, everyone is into podcasts. Maybe they shouldn’t be.