pirates

Somali authorities say 14 pirates were killed in the 10-day operation to free a Cameroon-flagged cargo vessel.

Turkish and Somali forces have freed a cargo ship held captive by pirates off the coast of Somalia’s semi-autonomous Puntland state, according to authorities.

In a statement on X on Saturday, the Somali Ministry of Defence said that “14 pirates” died in the operation to free the Cameroon-flagged MV Latuf.

Four of their boats were also destroyed, it said.

The Defence Ministry said that “sustained pressure from the forces ultimately compelled the remaining pirates to abandon the vessel”, allowing the forces to take control of the ship.

The rescue operation was conducted under a defence cooperation agreement between Somalia and Turkiye, aimed at strengthening maritime security, protecting Somalia’s coastline and combating piracy, it said.

The Somali Defence Ministry did not provide details about any casualties or the wellbeing of the ship’s crew.

A local elder, Abdullahi Warsame, from the Jiifle community in the Godob Jiraan district of Puntland’s Nugal region, told The Associated Press news agency that the vessel and its crew had been freed.

The MV Latuf left the Turkish Port of Tekirdag in late July. It was hijacked on August 17 in waters off the coast of the Nugal region of Puntland, a semi-autonomous federal state in northeastern Somalia.

According to the Marine Traffic website, the cargo ship has continued its voyage to its reported destination in Dar-es-Salaam in Tanzania.

Piracy was rampant off the coast of Somalia in the 2000s, peaking in 2011, before being curbed by international naval deployments and new protection measures for commercial shipping.

But attacks have surged since April, with at least 15 attacks off the coast of Somalia this year, the highest since 2013, according to figures from the International Maritime Organization. At least five cargo ships have been held hostage, the last of which was seized on August 20 off the coast of Yemen.

British actor Tim Curry, who famously commanded attention as the seductive mad scientist Dr. Frank-N-Furter in cult classic oddball musical “The Rocky Horror Picture Show,” has died. He was 80.

The Daytime Emmy-winning actor’s longtime manager and friend Marcia Hurwitz confirmed that Curry died Wednesday at his home in Toluca Lake, in a statement shared with The Times. A cause of death was not revealed. The Cheshire native suffered a stroke in 2013, impairing his ability to walk. Though he remained in a wheelchair until his death, the actor continued working through his final years.

“Though widely known for his inimitable, flamboyant characters and colorful stage performances,” the statement said of Curry, “his greatest legacies to those who knew him were his curious, expansive mind and generous, gentle heart, both of which remained open and filled with anticipation until his final breath.”

Curry is best known for originating the role of Dr. Frank-N-Furter, the self-proclaimed “Sweet Transvestite” and purveyor of pleasure who guides a stranded young couple — and audiences — through an unpredictable evening of sexual exploration and liberation. He debuted the offbeat experimental musical in fishnets and pearls in 1973 on the tiny stage upstairs at the Royal Court Theater in London, where it first became an underground sensation.

“The Rocky Horror Picture Show” hit the big screen in 1975, with Susan Sarandon as Janet and Barry Bostwick as Brad. A rock ‘n’ roll take on sci-fi and horror B-movies, “The Rocky Horror Picture Show” became the original midnight movie that endeared generations of audiences with its flamboyant characters, spawned interactive screenings across the country and secured its spot in the pop culture lexicon.

“It was part of the sexual revolution, really,” Curry told The Times in 2025 upon the film’s 50th anniversary. “Experiment was in the air and it was palpable. I gave them permission to be who they discovered they wanted to be. I’m proud of that.”

Curry flexed his versatile acting through more than Frank-N-Furter’s showy elevator debut and his vulnerable “I’m Going Home” finale. He was also a sinister Pennywise in the miniseries adaptation of Stephen King’s “It,” a secretive butler named Wadsworth in “Clue,” and the evil Lord of Darkness in “Legend.” A screen chameleon capable of morphing from the supernatural to the pedestrian, Curry was also known for his work as fabled pirate Long John Silver in “Muppet Treasure Island” and as a skeptical hotel concierge in “Home Alone 2: Lost in New York.”

He was a prolific voice actor known for the environmental classic “FernGully: The Last Rainforest” and TV series “The Wild Thornberries,” “Star Wars: The Clone Wars,” “Over the Garden Wall” and “Aaahh!!! Real Monsters.”

Timothy James Curry was born April 19, 1946, to father Jim Curry, a Navy chaplain, and mother Maura Curry. After losing his father at age 12, Curry earned a scholarship to the Kingswood School in Bath. Curry’s grandfather took him to music halls, fostering his love for the art.

“I was really taken with the great Technicolor musicals; it’s the form that’s closest to my heart in a way,” Curry told The Times in 1992. “It’s the most comfortable synthesis of all the things I do.”

School productions eventually led Curry to the University of Birmingham, where he studied drama and English from 1965 to 1968, according to his website.

Curry made his professional debut in 1968 in the original London production of “Hair.” He had fibbed about having previous professional experience and an Equity card, but the production team thought Curry’s talents were reason enough to sponsor him. After he starred in several productions including “Titus Andronicus,” “Cinderella” and “Midsummer Night’s Dream,” co-star Richard O’Brien in 1973 invited the actor to audition for a new work — one that would later solidify Curry as a generational screen and stage icon.

With Curry anchoring as Frank-N-Furter, O’Brien’s “Rocky Horror Picture Show” first came to life at the Royal Court’s Theatre Upstairs. Then larger venues overseas included L.A.’s Roxy Theatre. Eventually, with the support of producer Lou Adler, the show made it to the screen. The same year “Rocky Horror Picture Show” hit cinemas in 1975, its Broadway run at the Belasco Theatre shuttered after 45 showings and negative reviews. Over the years, harsh criticism proved no match for “Rocky Horror Picture Show’s” unexpected staying power.

The musical had been revived numerous times in New York and London, including in 2001 with the Broadway revival earning multiple Tony Award nominations including a nomination for revival of a musical.

The “Rocky Horror Picture Show” film and Curry’s melodramatic Frank-N-Furter have remained cultural touchstones, spawning the popular “anticipation” online meme and inspiring spoofs on “Glee,” “The Simpsons” and a beloved character (with hormone-manipulating abilities) in the popular Japanese manga and anime “One Piece.”

To Curry, Frank-N-Furter was more than just that “sweet transvestite” obsessed with manufacturing the perfect man.

“He’s a fairly complex guy,” he told The Times in 1974. “He just takes anything he can get. He’s not fussy, really. Though I think he’s something of a wham-bam-thank-you-ma’am.”

Through the late 70s to early aughts, Curry balanced stage commitments with screen projects and musical endeavors. His stage resumé includes productions of Tom Stoppard’s “Travesties” for the Royal Shakespeare Company, the title role in playwright Peter Shaffer’s “Amadeus” (that would earn him a Tony nomination) and Joseph Papp’s take on “Pirates of Penzance.” All the while, he gained fame for roles in “Annie,” “Clue,” “Home Alone 2” and “Addams Family Reunion.” As a recording artist, Curry released three albums between 1978 and 1981: “Read My Lips,” “Fearless” and “Simplicity.”

In 1988 Curry returned stateside for a U.S. tour of “Me & My Girl,” which he followed with a residency at the Pantages. It was then the actor decided to permanently return to Los Angeles as a resident. His move to Southern California coincided with the beginning of his Emmy-winning voice acting career, which started with a role for Hanna Barbera’s animated adaptation of “The Creation.”

Curry won his Daytime Emmy Award in 1991 for voicing Captain Hook in “Peter Pan and the Pirates” and earned a Grammy nomination in 2002 for the audiobook of “Lemony Snicket’s A Series of Unfortunate Events.” He performed voice roles for video games including television and film tie-ins “Brutal Legend” and “Dragon Age: Origins.”

The British star primarily worked in voice roles after he suffered a major stroke in 2013. Since then, Curry had been in a wheelchair, with on-screen cameos including as the criminologist in the 2016 TV remake of “Rocky Horror.” Still, the image of Curry’s fierce Frank-N-Furter continues to pervade pop culture — even if that wasn’t his original intention.

“None of it was planned, really. I just knew I had to take risks,” he told The Times in 1974. “Life is like acting in that way. You’ve got to take risks. If you take big risks, it’s then up to you whether or not you pull it off.”

More than 50 years after that interview, Curry told The Times that he had no doubt in what he was doing. Revisiting his home away from home, the Roxy Theatre, in the fall of 2025, Curry said it had become “my stomping ground.”

“I had to appear as though I owned it — and I kind of did.”

The heroes for the Dodgers on Sunday needed no introduction.

Fans have known them in blue for entire days.

Alek Thomas. Hunter Feduccia. And a refreshingly rebooted Kyle Tucker, the $60-million-per-year outfielder who for weeks was colder than dry ice.

On a sweltering afternoon when everyone in the seats was using programs to fan themselves, Blake Snell was fanning Pittsburgh Pirates — six strikeouts in six innings of work — and the bottom of the order played like the top of the lineup, providing ample offensive spark for a 4-0 victory that stretched the Dodgers’ winning streak to six games.

Thomas and Feduccia, both understudies to All-Stars, had back-to-back singles to right in the fourth inning to drive in a pair of runs — one of which was Tucker, who earlier reached base with his own single to right. That turned a familiar one-run game into a Sunday stroll and a consecutive sweep, first of Colorado then of Pittsburgh.

In consecutive days, the Dodgers (80-51) got strong performances from starters Yoshinobu Yamamoto, Tarik Skubal and Snell, who combined for 26 strikeouts, five walks and five earned runs in 19 innings.

That was a welcome breeze for the Dodgers, who earlier this month saw a losing streak grow to seven and eight of nine.

Thomas is replacing center fielder Andy Pages, who suffered a fractured hand when he was hit by a pitch in Friday night’s win over Pittsburgh. The former Arizona Diamondback made a splash in his Dodgers debut Saturday, collecting a hit that drove in Tucker in what would become a 4-3 win over the Pirates (63-69).

Feduccia is one of a rotation of catchers filling in for Will Smith, who is working his way back from a neck injury.

Tucker has been one of the more compelling stories this season. He came into the weekend hitting .189 at Dodger Stadium, and he had gone 0 for 19 in his last homestand. That futility was starting to spill over to his defense, too, as he dropped a routine foul ball in front of a crowd whose patience had long since worn thin.

But on Friday night, there was a concerted effort by Dodgers fans to cheer him loudly every time he stepped to the plate, in hopes of lifting him out of the ditch. Three years ago, fans of the Philadelphia Phillies famously buoyed the spirits of underperforming shortstop Trea Turner by giving him the same kind of standing ovation.

Did it work for Tucker? He had the winning hit Saturday, a two-run single in the fifth inning.

“I haven’t had a hit in the last three homestands,” he said after the Saturday game. “I don’t keep up with stats like that. I just go out there and take the next [at-bat] and try to have a good quality AB.”

Díaz accepts Dodgers’ decision

Meanwhile, Edwin Díaz said before Sunday’s game that he understands the Dodgers’ decision to use him in lower-stake situations rather than immediately relying on him as a closer. The rationale is that strategy will help him rediscover his confidence.

“I know I haven’t done my job,” said Diaz, speaking to reporters at his locker before Sunday’s game. “If I had done my job, I would be in the ninth inning.”

He praised Tanner Scott, who has thrived in that role.

“He’s doing a great job,” Diaz said. “I’m really happy for him.”

Diaz, the team’s biggest offseason acquisition, had elbow surgery early in the season and was out from April to late July. His return wasn’t triumphant, as he had three blown saves and two more shaky outings in non-save situations.

After a game against the Colorado Rockies last week, he complained of a neck issue and was placed on the injured list. He has more than a week remaining before he returns.

Diaz said he underwent an MRI scan on his neck and nothing unusual was revealed. He’s working with coaches on making a small adjustment to his delivery.

“They showed me a couple videos from last year — my arm slot’s always a little low,” he said. “We’re working now to get it higher and more consistent in that position.”

The goal, naturally, is to make good on the expectations the Dodgers had for him when they signed him to a three-year, $69-million deal.

“That’s why they signed me here,” he said. “To be the closer.”

Pages update

The wait could be longer for Pages, who underwent a minor surgery to repair the fracture in his left hand and is expected to miss at least four weeks.

The team acquired Thomas, who’s strong defensively but has some big cleats to fill in replacing the offensive production of Pages.

“Andy’s shown he’s the complete player,” manager Dave Roberts said. “And so we kind of backfilled the defensive part of it. But to lose the bat, that’s a big loss.”

Thomas did his part at the plate in both weekend games, however.

Ohtani’s pitching timeline

Shohei Ohtani is on the mend from a left knee injury and could be ready to return to the pitching rotation soon.

Ohtani threw 30 pitches in a live batting-practice session Saturday at Dodger Stadium, marking his first time facing hitters since his last start on July 3. Roberts said that outing puts him in position to return to action soon.

The right-hander is scheduled to throw a bullpen session during the upcoming series at Atlanta, and the Dodgers will then decide whether he’s ready to rejoin the rotation or needs to throw more live batting practice. Roberts said there’s a possibility Ohtani could return as soon as the first week of September.

Last year, when Ohtani was returning from a second career Tommy John surgery, the Dodgers eased him into pitching slowly, starting with one inning and then adding an inning each appearance. Apparently, the team won’t be quite as cautious this time.

“I would say it’d be a little bit more aggressive,” Roberts said.

Asked if that could mean, theoretically, the Ohtani could build up to five innings by the end of the season, the manager said: “In theory, yes.”

Alek Thomas is used to playing center field at Dodger Stadium.

Over parts of five seasons with the Arizona Diamondbacks, the 26-year-old grew accustomed to being booed in L.A., all while watching baseball’s latest dynasty take shape.

“It’s funny, because they always hated me whenever I came out there in center field,” Thomas said before Saturday’s 4-3 win over the Pittsburgh Pirates. “I was, like, ‘Come on, guys, I’m Mexican too. You don’t have to yell at me; like, we’re on the same side here.’

“But, obviously … it doesn’t matter where you’re from. ‘If you’re not a Dodgers guy, you’re not my guy.’”

Thomas, whom Arizona designated for assignment 28 games into the season before trading him to the Dodgers in May, is, well, a Dodgers guy now.

He was called up from triple-A Oklahoma City on Saturday after center fielder Andy Pages sustained a hand fracture after being hit by a pitch Friday.

“Great buy-in [and] great teammate,” Dodgers manager Dave Roberts said of Thomas before the game. “Really good defender. Had a good chat with him earlier. … he’s happy to be back in the big leagues.”

One could imagine how nice it felt for Thomas to hit an RBI single in the fourth inning, in his first game with the Dodgers and the team’s 12th sellout of the season.

“It’s been a little while,” said Thomas, who has spent 55 games in Oklahoma City this year. “So, I’m super glad to be back, and happy to help the team in any way, shape or form.”

Thomas looked solid in his primary role as a defender.

Dodgers pitcher Tarik Skubal delivers against the Pirates at Dodger Stadium on Saturday.

(Gina Ferazzi / Los Angeles Times)

He also showed some hustle, turning a should-be groundout into a two-bagger in the eighth after an error by Pirates first baseman Rafael Flores Jr.

“Andy’s a great player, and speedy recovery for him,” Thomas said. “But I’m gonna try and play my brand of baseball; that’s why the Dodgers got me. So, yeah, I’m just gonna go out there and be myself.”

Tarik Skubal and the Dodgers were themselves, too, after a rough start.

The left-hander gave up three runs and three hits in the first. But Skubal recovered to earn his first win with the Dodgers (79-51), giving up five hits and striking out 11 over seven innings to earn a standing ovation upon his exit.

Teoscar Hernández, who entered with two RBIs over his past 16 games, put the Dodgers on the board with a run-scoring single in the fourth. Six pitches later, Thomas earned his RBI, shrinking the Pirates’ lead to 3-2.

Starter Jared Jones, a Whittier native, lasted four innings for the Pirates (63-68). He gave up two runs on three hits with five strikeouts. Pirates reliever Yohan Ramirez struggled in his place.

Kyle Tucker ended his 0-for-26 drought at home with a go-ahead, two-run single off Ramirez in the fifth.

Relievers Evan Phillips, Jack Dreyer and Tanner Scott combined for two shutout innings. Dreyer struck out Oneil Cruz looking to end the top of the eighth with a runner on third, fighting off the Pirates’ final gasp.

The Dodgers have now taken the three-game series against Pittsburgh and are victors of five straight games for the first time since late May.

Those who were at Dodger Stadium on a gorgeous Friday night seemed to be in for an all-nighter.

They have Tommy Edman to thank for getting home a bit earlier.

With two outs in the 10th, Kiké Hernández on third and Kyle Tucker on first, the second baseman hit a walk-off single against Pittsburgh Pirates reliever Gregory Soto, earning the Dodgers a 5-4 win.

“Yeah, it feels great,” Edman said. “We’ve kind of been struggling a little bit in those clutch situations, myself included, so it felt really good to come through.”

Edman entered the at-bat 0 for 3 and was seemingly on the verge of keeping the 200-minute game alive in an unfavorable way.

Soto, however, threw the same low-middle sweeper that Edman fouled off one pitch earlier, and the second baseman jumped on it the second time around, propelling the Dodgers (78-51) to four consecutive wins for the first time since late July.

“That’s something I really try to take pride in — leaving past at-bats behind me — and I think I’ve done a good job of that this year,” Edman said. “I think that’s something we do really well overall as a group, and that leads to coming through in big situations like that, putting past at-bats behind you.

“One of the best feelings after grinding for 10 innings,” he added. “We had a bunch of pitchers do a really good job today.”

However, the victory was tempered by the loss of center fielder Andy Pages, who was struck in the left hand with a Bubba Chandler pitch in the third inning. Manager Dave Roberts said X-rays showed a fracture and Pages is expected to be out at least four weeks.

Yoshinobu Yamamoto helped make sure the loss of Pages was not in vain.

The right-hander brought the urgency to the mound that the Dodgers were missing during an abysmal 5-11 stretch that ended with a sweep against the Colorado Rockies this week.

“I personally felt like today’s game is very important,” Yamamoto said. “We’re gonna have [Tarik] Skubal starting [Saturday], and I just wanted to maintain the momentum, which started in Colorado.”

Yamamoto surrendered two runs — both via singles from Pirates designated hitter Nick Gonzales — on five hits over 6⅓ innings, striking out nine and walking one.

“My stuff was pretty good today,” Yamamoto said. “I was feeling pretty good out there. So even after letting runners on the bases, I just tried to focus and then take it one hitter at a time.”

Chandler, meanwhile, exited after four innings. Max Muncy hit a two-run homer in the first, and Mookie Betts contributed a two-run single in the third.

The Dodgers, with a 4-2 lead, cruised into the eighth. But Kyle Hurt gave up a tying two-run homer to Oneil Cruz.

Dodgers pitcher Yoshinobu Yamamoto delivers against the Pittsburgh Pirates in the second inning Friday night.

(Gina Ferazzi / Los Angeles Times)

Matters looked grim for the Dodgers in the 10th when Evan Phillips found himself in a one-out, bases-loaded jam.

All was well, though, once Phillips got Henry Davis to ground into an inning-ending, 6-4-3 double play.

“That was great,” Roberts said of Phillips. “I know that he’s trying to kind of build as we’re going through this, and [it] hasn’t been smooth sailing for him and the success that he’s used to. But this is a big one. Big confidence builder for him … to strand those two runners was a big outing for him.”

Edman took care of the rest.

And for maybe the first time in weeks, the Dodgers appear to be inching back to their champion ways.

“I think our guys are kind of reinterested, you know, collectively,” Roberts said before the game. “So, that’s a good thing.”

Andy Pages sustains hand fracture

Dodgers center fielder Andy Pages gets hit by a pitch during the third inning against the Pirates on Friday night.

(Gina Ferazzi / Los Angeles Times)

Roberts said Pages sustained a fracture on the back of his left hand when he was hit by the 100-mph pitch It’s unclear if he will need surgery.

“Well, it’s just really unfortunate, obviously,” Roberts said. “It’s not season-ending. … So, I would expect him back, knowing him, on the earlier side. … I feel for him because he’s having such a good year.”

Roberts said Edman is an option to fill in for Pages in center field.

In a more positive development, Will Smith faced live pitching for the first time since June, and Roberts said that the plan is to activate the catcher during the first week of September.

“Today was a good day for Will,” Roberts said. “Taking at-bats. He’ll catch a couple bullpens today. He’ll do a couple more lives. … He still needs to get his legs back under him before we feel confident that he can take down a major league game and feel good coming out of it.”

Roberts added that Smith is “gonna play in the postseason” and that there is enough time for him to reach 100% strength.

Tyler Glasnow will likely be activated during the Dodgers’ upcoming trip to Atlanta.

“I just saw him. He had a great outing — his last rehab outing,” Roberts said. “I’m not sure which day we’re gonna pencil him in against the Braves, but if all of the things check out, it’ll be that [series].”

Ohtani will return to the mound at some point this season.

“It’s gonna happen,” Roberts said. “[Ohtani] threw another bullpen. … I think that there’s going to be a live or two, and then he’ll be on the mound. I just don’t know when we’re going to do that with the scheduling.”

Dalton Rushing is “pain-free” and close to facing live pitching, according to Roberts, but the catcher is “unlikely” to return to catching this season.

“I hope I’m wrong,” Roberts said. “But he’s determined to go through the process, the progression, the build-up and get back. And we’ll see where we’re at.”

Roberts didn’t rule out the possibility of Rushing being activated as a designated hitter down the line.

The Dodgers just can’t have some peace and calm, can they? Now, an owner is getting in on the fun with some controversy.

JOHNNY Depp is in talks to return for a sixth Pirates of the Caribbean film – after launching his big-screen comeback.

The actor, 63, became a worldwide star with his role as swashbuckling pirate Captain Jack Sparrow in five films from 2003 to 2017.

Almost a decade on from the last instalment, new reports suggest Johnny will reprise the beloved character yet again.

Producer Jerry Bruckheimer told Deadline Hollywood at D23: “We’re talking with Johnny (Depp), we’re working on a screenplay, and hopefully we can get this done.”

Sources also told the publication that the next film would reportedly follow a protagonist played by Margot Robbie, with Jack in a supporting role.

Other key cast members throughout the films include Orlando Bloom, Kiera Knightley, Geoffrey Rush and Kevin R. McNally.

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It comes as Johnny is making his big screen comeback with the title role in upcoming film Ebenezer.

Inspired by Charles Dickens’ classic A Christmas Carol, it sees Johnny star as the infamous miser Ebenezer Scrooge.

The star-studded cast also includes Ian McKellen, Rupert Grint, Daisy Ridley, Andrea Riseborough and Sam Claflin.

Directed by Ti West, the film is set to be released in cinemas on November 13.

Depp sued his ex-wife for defamation over an opinion article she wrote for the Washington Post, alleging she was a domestic abuse victim, though it did not mention him by name.

His former spouse Amber Heard counter-sued.

Following this, jurors awarded Depp – who had denied abusing Heard – $15m (£12m) of compensatory and punitive damages.

Meanwhile, Heard was awarded £2m in compensatory damages, having won one of three counter-claims against Depp.

In Shohei Ohtani, who on Tuesday became the first Japanese player to hit 300 home runs in MLB, the Dodgers had the first National League All-Star voted in this year.

They still have a chance for a late addition.

Dodgers manager Dave Roberts has been lobbying for two members of his pitching staff to be named replacement players: left-handed starter Justin Wrobleski and left-handed reliever Tanner Scott.

“There’s going to be some changes and some talks here,” Roberts said before the Dodgers’ 4-3 loss against the Colorado Rockies at Dodger Stadium. “There’s continual talks about both guys.”

Earlier Tuesday, MLB announced replacements for three NL pitchers who won’t be eligible to appear in the All-Star Game. Pittsburgh’s Braxton Ashcraft, Philadelphia’s Jesús Luzardo and St. Louis’ Riley O’Brien claimed spots as Pittsburgh’s Paul Skenes, Milwaukee’s Jacob Misiorowski and Miami’s Max Meyer bowed out.

“Obviously it’s disappointing,” Wrobleski said after holding the Rockies to one run through seven innings. “You want to be an All-Star. It’s something that, regardless of the year, whenever, it’s always a big deal. It’s something I wanted to do. It’s frustrating to not get that nod. But like I said before, it’s just more reason to try and keep getting better. Hopefully I can gain the respect of players and everybody else and maybe be in there next year.”

There should continue to be movement on the All-Star roster, especially on the pitching side, with rotation schedules limiting which starters can participate. Dodgers right-hander Yoshinobu Yamamoto, for example, is lined up to start Saturday, which may take him off the table for the All-Star Game next Tuesday.

That could open the door for Wrobleski and Scott.

Asked to make his pitch for Wrobleski, Roberts pointed to his ERA (2.69, No. 8 among qualified NL pitchers), average of more than six innings per start and 10 wins.

“We run a six-man rotation, and I just don’t want him to get dinged for not making a couple more starts that he potentially could have had,” Roberts said. “I just think that he’s performed enough to earn that opportunity.

“And also, Tanner had a rough one [Monday], but I still think that … he’s one of the elite relievers in the National League.”

Scott, after notching just his second blown save Monday, compared to his 12 saves and 2.70 ERA, didn’t have an opening to improve on his All-Star campaign Tuesday.

Wrobleski, however, strengthened his.

He stayed true to his identity, pounding the strike zone and inducing weak contact to go with nine strikeouts. The only run he gave up came on a groundout in the sixth inning with runners on the corners.

In a nod to Wrobleski’s new nickname, “The Shark,” coined by Hall of Fame pitcher Pedro Martínez, Dodger Stadium organist Dieter Ruehle played a snippet of the “Jaws” theme to punctuate Wrobleski’s punchouts, and as he walked off the mound for the last time.

Justin Wrobleski was great for seven innings Tuesday.

(Eric Thayer / Los Angeles Times)

Once Wrobleski’s job was done, he paced in the dugout, interrupted once in a while by a hug or handshakes from a teammate. Catcher Dalton Rushing held his hand up to his forehead like a shark fin.

The name and attacking reputation had stuck. Would it be enough for an All-Star nod?

“If it happens, great,” Wrobleski said. “If it doesn’t happen, some time off and just chill for a couple days. Either way, I’m all good.”

On the offensive side, Ohtani’s leadoff homer made him the first player to notch 300 home runs and 100-plus stolen bases in his first nine MLB seasons, according to ESPN Insights. Tuesday was his 1,101st game with at least one plate appearance. By that measure, he was the fifth-fastest to 300 home runs, according to mlb.com and Elias Sports Bureau, behind only Aaron Judge (953), Ralph Kiner (1,086), Ryan Howard (1,091) and Juan González (1,093).

“It was quite the homer,” Roberts said. “I mean, it was [112 mph] off the bat, low launch angle. It was squared up, got out in a hurry. And 300 — he got there pretty quickly for us. I just marvel at him every day.”

Defense unravels late

The Dodgers widened their lead to two runs but gave it up in the eighth on a pair of errors, including one on a sacrifice bunt.

Shortstop Miguel Rojas, who botched a grounder to his left earlier in the inning that enabled a run to score, was late breaking to cover third, leaving the bag wide open. Second baseman Alex Freeland tried to hit Rojas in stride with his throw and was charged with an error when it got away and the go-ahead run scored.

“Physical errors happen, and I’m OK with that,” Rojas said. “I’m not perfect, and I’m going to make errors, and physical errors are OK. But mental errors are the ones that are disappointing. I should have been on third base, I shouldn’t be putting Alex Freeland in the situation of throwing the ball with me on the run there. That’s the one that I kick myself for.”

Said Roberts: “This guy’s as dependable as they come. So that it happens, we don’t like it, doesn’t feel good, but you know that player. I give him a lot of grace, because he is very dependable.”

Right-hander Evan Phillips made his first major-league appearance in 14 months, after undergoing Tommy John surgery last summer, and had two strikeouts in a scoreless ninth inning. But the Dodgers offense didn’t muster a comeback, as the top of the batting order went down in order with two runners on.

Ohtani on track

Ohtani is still in line to pitch Friday against the Arizona Diamondbacks, Roberts said.

The right biceps issue that flared in Ohtani’s final at-bat last Friday, and sidelined him Saturday, raised the question of whether he should skip his last start before the All-Star break. But Roberts said Ohtani’s catch play has been normal and he hasn’t reported any concerns with his biceps.

“As he goes through the next couple days, if he doesn’t feel great, we’ll pivot, and we’re prepared to pivot,” Roberts said. “But as we sit here, I don’t see that changing.”

Roberts said he doesn’t think Ohtani will pitch in the All-Star Game or participate in the home run derby. But he does expect him to take an at-bat or two as the NL’s starting designated hitter.

“He understands the responsibility he has,” Roberts said. “So I do think that there’s a middle for what’s best for him, what potentially could be downside, but also what’s best for the game.”

Since its opening in 1967, Pirates of the Caribbean has stood as an anchor at Disneyland, a statement piece that has defined the direction of the park.

And that remained true last week when Walt Disney Imagineering unveiled a new audio-animatronic pirate. It’s wow-inducing. It’s also narrative-wrecking. And it fundamentally shifts the vibe of the attraction’s early scenes.

The high-tech pirate, we can bet, is just a small preview of the park’s next-gen toys. Because when changes come to Disneyland, they often hit Pirates of the Caribbean first. Over a half-century ago, the robotic figures of Pirates were a symbol of Disneyland’s technological ambitions, dazzling audiences with characterized but lifelike movements. With the ride, Disneyland made it clear that as the world advances, so, too, would the park.

As culture shifted and the lecherous buccaneers of the ride began to look more like symbols of sexual harassment, they would be forced to undergo some welcome personality adjustments. A redheaded victim of sex trafficking would transform into one of the ride’s most striking characters, and a number of rides from the Jungle Cruise to Splash Mountain would eventually undergo similar reassessment.

For Pirates of the Caribbean, after all, is the attraction that defined the Disneyland template. Its mastery is that it is a series of larger-than-life dioramas constructed around an abstracted narrative where themes of greed, lust and intemperance take precedence over a plot with a firm beginning, middle and end. And thus it made sense for Imagineering, the outfit of the company responsible for theme park experiences, to unveil its latest tech-driven master work on the ride.

A new animated pirate on Disneyland’s Pirates of the Caribbean shifts from living to dead using projection technology.

(Todd Martens / Los Angeles Times)

Reaction, however, has been less than enthused. Disneyland’s own social media accounts are flooded with pointed critiques, but even if we consider that social media tends to lead with gripes, some of the park’s most ardent fan sites have referred to the reimagined scene as a gutting. Why so much hullabaloo over a single robot? If we allow that Disneyland is a place that generations make pilgrimages to, then Pirates of the Caribbean is its most sacred temple. Handle with care.

There is, of course, a series of stages most Disneyland fans go through with any major changes, and it’s usually one of shock or confusion followed by acceptance and eventually new nostalgia. And Disneyland’s recent attraction updates have by and large been winners, as evidenced by the lovely Tiana’s Bayou Adventure, the exploratory Adventureland Treehouse and the bewitching Snow White’s Enchanted Wish.

This one, however, is more complicated.

Where once was a foreboding skeleton frozen in time atop a treasure and swords, there is now an animated figurine built with the latest in projection technology. The latter transitions from living to dead, caught in a perpetual loop with each glimpse of the cavern’s “cursed treasure,” which it continually lifts and drops. The pirate is placed after the ride’s two dips in a gold-filled room among the winding, mysterious underground chambers that help set its tone.

Dead pirates fill the caverns of Disneyland’s Pirates of the Caribbean.

(Todd Martens / Los Angeles Times)

Since the attraction’s opening, the only living beings in this portion were a lone seagull and maybe a stray sea critter or two. It is here where the mystique of Pirates of the Caribbean is set, and guests are placed in the active role of piecing together the time-shifting narrative. Story is hinted at rather than fed to us. We hear tales of the hexed fortunes found in the caves via ghostly narration, but see only its after-effects — skeletons locked in a chess battle or standing behind the wheel of a crumbling ship.

The centerpiece treasure room, where our new pirate is found, has long been a breathtaking scene. Previously, a now decayed body sat atop a mountain of wealth, an empty, soulless figure done in by selfish pride. It was disquieting, and a bit ghoulish. Stray, soft musical notes underscored the tragedy. Further on, a trapped pirate quietly transitions from living to dead via an old theatrical mirror illusion, and the boats float into a city filled with battles and buffoonery.

Gone is the subtlety. A somber tableau is now relatively loud, as our eyes no longer take in the full set but zero in on a bright and at times lively figurine. I cannot deny that it is an impressive piece of technology. On the multiple rides that I took Monday morning, I overheard two teens describe it as “pretty cool” and watched as a young child excitedly shouted to his mom and dad that the figure’s face was changing.

The caverns of Pirates of the Caribbean set a foreboding tone.

(Todd Martens / Los Angeles Times)

Such reactions are no doubt what Imagineering is hoping for. Part of the job of stewarding a classic attraction, after all, is ensuring it maintains an appeal to future generations. But I believe two things can be true. The new pirate may captivate some audiences and it can also stylistically and tonally clash with the attraction. This is the right tech, perhaps, for a more animated experience, one such as the in-development “Coco” ride coming to Disney California Adventure. Unfortunately, in Pirates it’s misplaced. Worse, it’s distracting, as we’re immediately drawn to its movement, grunts and quick-transitioning face.

I lament losing what was there. Projected figures, even the best of them, such as this one, are still media and can still gleam with light. And while the original Pirates of the Caribbean designs by Marc Davis were exaggerated, they were brought back to reality by Blaine Gibson, who sculpted them with bold, hardened features that made them at once heightened but believable. They may have been cartoonish, but they weren’t actual cartoons, and this figure is too much of a contrast, its comic-like excess feeling less relatable, less human. And that says nothing of its snort-like laughs, which reminded me too much of the huffs and puffs of the ride’s donkeys.

It also raises more story questions than it answers. Why, for instance, aren’t the other skeletons caught in a loop? Sometimes more is said by saying less, and this feller leans silly in a portion of the ride that calls for spooky. Ultimately, it just feels unnecessary, a symptom of our often exhausting, tech-obsessed, digital-drenched age where new, needless tools are shoved in our faces daily.

Thankfully, the rest of the attraction serves as a reminder that no computer wizardry can out-class old-school theater. Theme parks should evolve with the times, but sometimes it takes artful restraint to not mess with what’s already timeless.

This week in SoCal theme parks

• Disney California Adventure turns Soarin’ Over California into Soarin’ Across America. The makeover will be unveiled July 2, just in time for the Fourth of July holiday and the celebration of America’s semiquincentennial. While Soarin’ Across America is already open at Florida’s Walt Disney World and I’ve written about the patriotic re-imagining, I’ve waited to see it in the flesh and will have impressions next week.
• Fireworks! If you’re looking for them this weekend, our theme parks have got you covered. Disneyland, of course, has an annual Fourth of July show with patriotic music, and the park will be running “Disney’s Celebrate America! — A Fourth of July Concert in the Sky” Friday through Sunday. If you’re heading to Knott’s, be sure to check out the park’s free-to-visit Independence Hall, a replica of the Philadelphia landmark that will be offering guided tours Friday and Saturday, while Six Flags will feature fireworks Friday through Sunday. Universal Studios Hollywood will on Friday and Saturday debut a new Fourth of July-themed fireworks show.
• Shattered glass on Fast & Furious: Hollywood Drift. Fans are eagerly awaiting the opening of Universal Studios Hollywood’s new “Fast & Furious”-inspired coaster, and word spread via social media recently that a panel of glass on one of the ride’s sound barriers had shattered. Universal declined to comment, but sources familiar with the ride characterized it as an “installation error” that shouldn’t delay the public launch of the ride, which is expected by mid-summer. I reached out to California’s Division of Occupational Safety and Health’s Amusement Ride & Tramway Unit (Cal/OSHA), which monitors the state’s theme park attractions. A spokesperson said the situation was looked into but did not warrant further evaluation.
• Plan your perfect theme park day. The L.A. Times has unveiled a new feature. Now you can save must-try spots from our local guides and build your own personalized list. Or perhaps you’d like to browse my mega-project “Every Southern California theme park ride, ranked” and create an itinerary for your next visit.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Visitors tie paper tags bearing wishes onto trees in the courtyard of the Broad as part of an exhibition dedicated to Yoko Ono.

(Kayla Bartkowski / Los Angeles Times)

Theme parks often are about the power of imagination, allowing us to play pretend in heightened, alternate worlds. And I had theme parks on my mind while I traversed the Broad’s excellent current exhibit dedicated to Yoko Ono.

What, perhaps you wonder, does Ono have to do with theme parks? “Yoko Ono: Music of the Mind” documents the entirety of the artist’s career, and much of her early work centers on play. Real, philosophical play, essentially the idea that through creativity, fantasy and a bit of silliness, we can all see the world differently.

Whether it was communicating with her audience while in a bag (1964’s “Bag Piece”), an antecedent to Meow Wolf’s “Experience Tube,” or offering instructions to count stars, tally our wrinkles, drop off peas on a morning walk, attach wishes to a tree or create fictional maps of our neighborhoods, much of Ono’s career was dedicated toward building community and connections through playfulness and imagination.

It’s freeing work, and a reminder that a little frivolity via participatory art — and that’s really what theme parks and so-called immersive entertainment provide — is a necessary ingredient for happiness.

CHICAGO — Dodgers superstar Shohei Ohtani was out of the lineup Friday against the White Sox after exiting the game before with discomfort in the back of his left knee.

Manager Dave Roberts had expressed optimism Thursday night, after the Dodgers’ 8-6 win against the Pirates at PNC Park, that Ohtani would not miss additional time for the ailment. But he added: “Obviously with the travel [to Chicago on Thursday night], we’ll just kind of see how he comes in.”

Especially at this point in the season, the Dodgers have incentive to play it safe with Ohtani’s recovery. Pushing him to return early and exacerbating the injury would be a larger blow to a team seeking its third straight World Series championship.

With Ohtani out, left fielder Alex Call was in the leadoff spot, and Santiago Espinal served as the designated hitter.

It was not immediately clear whether the injury would affect Ohtani’s next pitching start. He’s lined up to take the mound Wednesday against the Rays, before the Dodgers’ off day Thursday.