As a 12th-year pro, Davante Adams knows the value of rest during a bye week. So before the Rams played the Jacksonville Jaguars in London on Oct. 19, Adams looked forward to days off that awaited.
Then Adams, flashing his three-time All-Pro form, caught three touchdown passes.
Was there any part of him that did not want a break?
“Oh, hell yeah,” Adams said this week, noting that he told coach Sean McVay, “‘I wish we could keep rolling at this point.’”
Share via
Gary Klein breaks down what to expect from the Rams on Sunday when they face the New Orleans Saints at SoFi Stadium.
So did McVay.
“He’s like, ‘Man, I don’t want to have a week off,’” McVay recalled. “I said, ‘Hey, just enjoy it.’”
Adams, rested and ready after spending part of last week in Mexico with family, intends to pick up where he left off two weeks ago when the Rams play host to the New Orleans Saints at SoFi Stadium.
But the Rams will be without speedy receiver Tutu Atwell, who will be sidelined for at least four games on injured reserve because of a hamstring injury.
McVay and quarterback Matthew Stafford showed against the Jaguars that the Rams’ weapons go beyond Nacua and Adams. Four tight ends — Tyler Higbee, Colby Parkinson, Davis Allen and rookie Terrance Ferguson — were among the 10 players who caught passes in the 35-7 victory that improved the Rams record to 5-2.
“The more people we can get involved in the game, the better we are,” said Stafford, who has passed for 17 touchdowns, with only two interceptions. “We have a couple of extremely talented players, quite a few that are difference-makers in this league. When we can spread the ball around and make everybody defend all the guys, all the eligibles, every blade of grass, that’s when we’re at our best.”
The Rams signed Adams aiming to capitalize on his experience and playmaking, his elite separation skills and the threat he poses near the goal line.
Stafford, 37, and Adams, 32, combined for a few highlight-reel plays in the first six games. But they acknowledged in the week leading up to the game against the Jaguars that they were still working to get completely in sync.
They found their rhythm against the Jaguars.
Adams made dynamic catches from inside the two-yard line for all of his touchdowns.
Offensive coordinator Mike LaFleur said the Rams “absolutely” envisioned those kinds of plays when they pursued Adams, who has 109 career touchdown catches, the most among active players.
“There’s a reason he has over a hundred touchdowns,” LaFleur said, adding, “It’s not shocking.”
Did the Rams find something they can build on?
“Yeah, we’ll see what the red-zone targets look like this week and then we’ll be able to fully tell you,” Adams said, chuckling. “But definitely it’s not a secret that I’ve been able to make plays in the red zone.
“I think a lot of it was just getting on the same page, us feeling each other out and coming up with a good plan. The coaches did that and we were able to connect.
“I think the more you make plays, the more you build that confidence and then you stop straining and pressing to make plays and you just be yourself and go out there and be natural.”
Adams has 31 catches for 431 yards and six touchdowns.
With Stafford and Adams continuing to solidify their connection, the offense is poised to remain productive as the Rams drive toward a playoff spot.
“Me being who I am and Matthew being who he is and just having the team that we do, my expectations are really high and standards are really high for what I should bring and what this team should be able to do,” Adams said. “I’m definitely not satisfied with what we’ve done, but happy with where we are.”
The question, typically posed with New York condescension, fails to recognize the obvious reality that L.A. is a city of actors. True, most of them are here to make their names on-screen, but the talent pool rivals those of more established theater capitals. Don’t bother, however, trying to convince those denizens of New York and London who cling to old stereotypes of L.A., perhaps to compensate for their own inferior weather.
Southern California, of course, boasts some of the most prestigious playhouses in the country. The Mark Taper Forum, Pasadena Playhouse, South Coast Repertory, La Jolla Playhouse and the Old Globe are all recipients of the Regional Theatre Tony Award. The Geffen Playhouse, once considered the entertainment industry’s local theater, has entered a new era of bold vision and integrity under the leadership of playwright Tarell Alvin McCraney. It would surprise no one if the Geffen Playhouse is similarly honored in the next few years.
East West Players, the Latino Theater Company, Ebony Repertory Theatre and Native Voices at the Autry reflect the cultural, ethnic and racial diversity of a majority-minority city. The avant-garde is admittedly not L.A.’s strong suit, but REDCAT and CAP UCLA have filled the breach hosting interdisciplinary performance work from all over the world.
The Getty Villa’s annual outdoor classical theater production treats the canonical treasures of ancient Greece and Rome not with kid gloves but with an exploratory 21st century spirit. And A Noise Within has cultivated in its loyal audience an understanding that the classical repertory exists in the present tense and can speak directly to us today.
The stage is still the basis for acting training, and there comes a time when even the most successful film and TV actors want to return to their roots. Those with civic consciences are happy to tread the boards close to home. When Tom Hanks chose to play Falstaff in Shakespeare Center of Los Angeles’ production “Henry IV,” he did so at an outdoor venue, the Japanese Garden on the West Los Angeles VA campus, that was only a short commute from his own backyard. Annette Bening, a stalwart champion of L.A. theater, has notably performed at the Mark Taper Forum, the Geffen Playhouse and UCLA’s Freud Playhouse.
Beyond the A-listers, there’s a vast population of working actors hungry for opportunities to hone their craft. It’s to satisfy this need that L.A. has built up an extensive array of small, shoestring companies. This scene is decentralized, dispersed within an uncoordinated sprawl of regional fiefdoms, but the independent spirit has endowed many of these companies with astonishing capacities for survival.
Indeed, it’s this network of 99-seat theaters — those houses with 99 seats or fewer — that are the lifeblood of the local theater scene. The cultural landscape would be unimaginable without Rogue Machine Theatre, the Fountain Theatre, Echo Theater Company and Boston Court Pasadena. The resilience, imagination and integrity of these small companies have demonstrated that heart matters more than size.
L.A. is indisputably a theater town, but a theater town that operates by its own rules and urban logic, neither of which is easy for an outsider to crack. What follows is a curated list of some of the most essential venues in the city and surrounding region. Not meant to be comprehensive, this compilation tilts toward companies that have been active in recent seasons and have a dedicated home. Nomadic ensembles and those that have been dormant or less prominent in the post-pandemic recovery phase have been excluded from this selection. But the ecology of L.A. theater is ever-changing and ever-adapting, calling for updates and new classifications. Stay tuned for future lists and supplemental guides.
“I’m in a huge, massive town I don’t really know,” he says, “and I’m looking for the movie district. And inevitably all the theaters are closed down. They’re all closed down. That’s what the dream is.”
I’m visiting Carpenter at his longtime production house in Hollywood on one of L.A.’s unjustly sunny October afternoons. A vintage “Halloween” pinball machine and a life-size Nosferatu hover near his easy chair. I tell him I don’t think Freud would have too much trouble interpreting that particular dream.
“No, I know,” he says, laughing. “I don’t have too much trouble with that either.”
Nonetheless, it truly haunts him — “and it has haunted me over the years for many dreams in a row,” he continues. “I’m either with family or a group, and I go off to do something and I get completely lost. [Freud] wouldn’t have too much trouble figuring that out either. I mean, none of this is very mysterious.”
Carpenter is a gruff but approachable 77 these days, his career as a film director receding in the rearview. The last feature he made was 2010’s “The Ward.” His unofficial retirement was partly chosen, partly imposed by a capricious industry. The great movie poster artist Drew Struzan died two days before I visited — Carpenter says he never met Struzan but loved his work, especially his striking painting for the director’s icy 1982 creature movie “The Thing” — and I note how that whole enterprise of selling a movie with a piece of handmade art is a lost one.
“The whole movie business that I knew, that I grew up with, is gone,” he replies. “All gone.”
John Carpenter with John Mulaney, appearing as a part of “Everybody’s in L.A.” at the Sunset Gower Studios in May 2024.
(Adam Rose / Netflix)
It hasn’t, thankfully, made him want to escape from L.A. He still lives here with his wife, Sandy King, who runs the graphic novel imprint Storm King Comics, which Carpenter contributes to. He gamely appeared on John Mulaney’s “Everybody’s in L.A.” series on Netflix and, earlier this year, the Los Angeles Film Critics Assn. gave him a Career Achievement Award — a belated lovefest for a veteran who was sidelined after “The Thing” flopped, cast out into indie darkness and was never personally nominated for an Oscar.
The thing that does keep Carpenter busy these days (other than watching Warriors basketball and playing videogames) is the thing that might have an even bigger cultural footprint than his movies: his music. With his adult son Cody and godson, Daniel Davies, Carpenter is once again performing live concerts of his film scores and instrumental albums in a run at downtown’s Belasco this weekend and next.
The synthy, hypnotic scores that became his signature in films like “Halloween” and “Escape from New York” not only outnumber his output as a director — he’s scored movies for several other filmmakers and recently made a handshake deal in public to score Bong Joon Ho’s next feature — but their influence and popularity are much more evident in 2025 than the style of his image-making.
From “Stranger Things” to “F1,” Carpenter’s minimalist palette of retro electronica combined with the groove-based, trancelike ethos of his music (which now includes four “Lost Themes” records) is the coin of the realm so many modern artists are chasing.
Very few composers today are trying to sound like John Williams; many of them want to sound like John Carpenter. The Kentucky-raised skeptic with the long white hair doesn’t believe me when I express this.
“Well, see, I must be stupid,” he says, “because I don’t get it.”
“The true evil in the world comes from people,” says Carpenter. “I know that nature’s pretty rough, but not like men.
(Jason Armond / Los Angeles Times)
Carpenter is quick to put himself down. He always says that he scored his own films because he was the only composer he could afford, and that he only used synths because they were cheap and he couldn’t properly write music for an orchestra. When I tell him that Daniel Wyman, the instrumentalist who helped program and execute the “Halloween” score in 1978, praised Carpenter’s innate knowledge of the “circle of fifths” and secondary dominants — bedrocks of Western musical theory that allowed Carpenter’s scores to keep the tension cooking — he huffs.
“I have no idea what he’s talking about,” Carpenter says, halfway between self-deprecation and something more rascally. “It all comes, probably, from the years I spent in our front room with my father and listening to classical music. I’m sure I’m just digging this s— out.”
Whether by osmosis or genetics or possibly black magic, Carpenter clearly absorbed his powers from his father, Dr. Howard Carpenter, a classically trained violinist and composer. Classical music filled the childhood home in Bowling Green and for young John it was all about “Bach, Bach and Bach. He’s my favorite. I just can’t get enough of Johann there.”
It makes sense. Bach’s music has a circular spell quality and the pipe organ, resounding with reverb in gargantuan cathedrals, was the original synthesizer.
“He’s the Rock of Ages of music,” says Carpenter, who particularly loves the fugue nicknamed “St. Anne” and the Toccata and Fugue in D Minor. “Everybody would go back to Mozart or Beethoven. They are astonishing — Beethoven is especially astonishing — but they’re not my style. I don’t feel it like I do with Bach. I immediately got him.”
Carpenter was also a film score freak since Day 1. He cites the early electronic music in 1956’s “Forbidden Planet” and claims Bernard Herrmann and Dimitri Tiomkin as his two all-time favorites. Just listen, he says, to the way Tiomkin’s music transitions from the westerny fanfare under the Winchester Pictures logo to the swirling, menacing orchestral storm that accompanies “The Thing From Another World” title card in that 1951 sci-fi picture that Carpenter remixed as “The Thing.”
“The music is so weird, I cannot follow it,” he says. “But I love it.”
Yet Carpenter feels more personally indebted to rock ‘n’ roll: the Beatles, the Stones, the Doors. He wanted to be a rock star ever since he grew his hair long and bought a guitar in high school. He sang and performed R&B and psychedelic rock for sororities on the Western Kentucky campus as well as on a tour of the U.S. Army bases in Germany. He formed the rock trio Coupe de Villes with his buddies at USC and they made an album and played wrap parties.
He also kept soaking up contemporary influences, listening to Warren Zevon’s “Werewolves of London” while location scouting for “Halloween.” Peter Fonda later introduced Carpenter to Zevon and he wanted the director to adapt the song into a film that never happened (starring Fonda as the werewolf, but “this time he gets the girl,” Carpenter recalls). In the ’80s he blasted Metallica with his two boys and he still loves Devo.
It’s incredibly rare for a film director to score their own films, rarer still for one to spend decades on stage as a performing musician. The requisite personalities would seem diametrical.
“My dad was a performing musician, so it was just part of the family,” Carpenter says. However, until 2016, when Carpenter first toured with his music, he was consumed with stage fright. “I had an incident when I was in a play in high school,” he says. “I went up and I forgot my lines. Shame descended upon me and I had a tough time. I was scared all the time.”
The director credits his touring drummer, Scott Seiver, for helping him beat it.
“Your adrenaline carries you to another planet when that thing starts,” he sighs with pleasure. “You hear a wall of screaming people. It’s a big time.”
He pushes back against the idea that directors “hide behind the camera.”
“The pressure, that’s the biggest thing,” Carpenter says. “You put yourself under pressure from the studio, you’re carrying all this money, crew, you want to be on time.”
He remembers seeing some haggard making-of footage of himself in post-production on “Ghost of Mars” in 2001 and thinking: Oh my God, this guy is in trouble. “I had to stop,” he says. “I can’t do this to myself anymore. I can’t take this kind of stress — it’ll kill you, as it has so many other directors. The music came along and it’s from God. It’s a blessing.”
John Carpenter is grateful but he doesn’t believe in God. He believes that, when we die, “we just disperse — our energy disperses, and we return to what we were. We’re all stardust up there and the darkness created us, in a sense. So that’s what we have to make peace with. I point up to the infinite, the space between stars. But things stop when you die. Your heart stops, brain — everything stops. You get cold. Your energy dissipates and it just… ends. The End.”
This is not exactly a peaceful thought for him.
“I mean, I don’t want to die,” he adds. “I’m not looking forward to that. But what can you do? I can’t control it. But that’s what I believe and I’m alone in it. I can’t put that on anybody else. Everybody has their own beliefs, their own gods, their own afterlife.”
He describes himself as a “long-term optimist but a short-term pessimist.”
“I have hope,” he says, “put it that way.” Yet he looks around and sees a lot of evil.
“The true evil in the world comes from people,” says Carpenter, who has long used cinematic allegories to skewer capitalist pigs and bloodthirsty governments. “I know that nature’s pretty rough, but not like men. You see pictures of lions taking down their prey and you see the face of the prey and you say: ‘Oh, man.’ Humans do things like that and enjoy it. Or they do things like that for power or pleasure. Humans are evil but they’re capable of massive good — and they’re capable of the greatest art form we have: music.”
The greatest?
“You don’t have to talk about it. You just sit and listen to it. It’s not my favorite,” he clarifies, alluding to his first love, cinema — “but it’s the one that transcends centuries.”
Music has always been kinder to him than the movie business. That business recently reared its ugly head when A24 tossed his completed score for “Death of a Unicorn.” (At least he owns the rights and will be putting it out sometime soon.) In addition to the high he gets from playing live, he is currently working on a heavy metal concept album complete with dialogue. It’s called “Cathedral” and he’ll be playing some of it at the Belasco.
It’s essentially a movie in music form, based on a dream Carpenter had. Though not one he finds scary. What scares Carpenter, it seems, is not being in control.
That happened to him in the movie world, it’s happening more and more as what he calls the “frailties of age” mount and it happens in that nightmare about getting lost in a big city and not finding any theaters.
“But I can’t do anything about it,” he says. “What can I do? See, the only thing I can do is what I can control: music. And watching basketball.”
Robertson’s absence has been a big talking point for Cardiff fans, who have been perplexed as to why a player who cost the club a seven-figure fee when he joined from Manchester City in the summer of 2024 has not been used.
He was in Australia’s squad for their friendly matches in the United States and Canada earlier this month, but did not feature in either game.
“I think it’s fine for the supporters to talk about him in whatever way they want,” said Barry-Murphy.
“Alex is somebody who I know really well from long before he was at this club [when Barry-Murphy coached Manchester City Under-21s], so all I want for all the players is to be at their best.
“My duty is then to get them into that condition where they can compete against each other. But I have to be very fair and consistent in the way that I judge all the squad once they reach that level.
“That’s the same for Alex as it is for everybody else. If he was in the shoes of the other players, he’d want the exact same thing.”
Meanwhile, centre-back Dylan Lawlor could be back for Saturday’s League One trip to Bolton Wanderers having missed last Saturday’s 2-1 win over Reading with a groin injury.
Fellow centre-back Will Fish is also managing a knee issue, which limited him to 45 minutes against the Royals last weekend.
“Will Fish has an ongoing knee issue which is getting better, particularly when he hits longer passes,” said Barry-Murphy.
“He’s had some discomfort in his knee. But the amount of discomfort is getting less and less, so he’s making good progress.
“Dylan has had a good week of training so far. I think it’s important that he can do certain things that we want from later on this afternoon [Thursday] when we train, and then hopefully he can be available for Saturday.”
TORONTO — George Springer put Toronto ahead with a three-run homer in the seventh inning and the Toronto Blue Jays advanced to the World Series for the first time since 1993 by beating the Seattle Mariners 4-3 in Game 7 of the American League Championship Series on Monday night.
It was the first go-ahead homer in Game 7 history when a team trailed by multiple runs in the seventh inning or later.
The Blue Jays were playing in a Game 7 for the first time since losing at home to Kansas City in the 1985 ALCS.
Cal Raleigh and Julio Rodríguez each hit a solo home run for the Mariners in the team’s first Game 7 but Seattle failed to reach its first World Series, leaving the heartbroken Mariners as the only major league team without a pennant.
Addison Barger walked to begin the seventh and Isiah Kiner-Falefa followed with a single. Seattle right-hander Bryan Woo was removed after Andrés Giménez advanced the runners with a sacrifice bunt, and Springer greeted Eduard Bazardo with his fourth homer of this postseason, a 381-foot drive to left field that got the sellout crowd of 44,770 roaring.
Toronto went 54-27 at home in the regular season and 4-2 at home in the AL playoffs.
Making his first bullpen appearance since Game 5 of the 2021 Division Series, Kevin Gausman pitched one inning of scoreless relief, working around three walks, to earn the win for Toronto.
Fellow starter Chris Bassitt pitched a perfect eighth and Jeff Hoffman finished for his second save this postseason.
Rodríguez opened the game with a double and scored on a one-out single by Josh Naylor. Daulton Varsho tied it with an RBI single off George Kirby in the bottom half before Rodríguez restored the lead for Seattle with a leadoff homer in the third.
Raleigh, who led the majors with 60 homers in the regular season, made it 3-1 with a leadoff homer against Louis Varland in the fifth.
Raleigh has 10 home runs in 15 career games at Rogers Centre, three of them in the postseason. He also homered at Toronto in Game 1 of a 2022 wild-card series and Game 1 of this year’s ALCS.
Naylor was called out to end the first after umpires ruled he interfered with Ernie Clement’s relay to first base on a double play by jumping into the throw and deflecting it.
Kirby yielded one run and four hits in four innings. He walked one and struck out three.
Blue Jays starter Shane Bieber permitted two runs and seven hits in 3⅔ innings. He walked one and struck out five.
Toronto slugger Vladimir Guerrero Jr. arrived at the stadium wearing a Maple Leafs hockey jersey with Auston Matthews’ name and number. The star forward is 0-6 in Game 7s with Toronto during his 10 seasons in the NHL.
Banned from playing football at home, they’re now back on the world stage. For the first time since the Taliban regained power in 2021, Afghanistan’s women’s football team will compete in an official tournament, albeit under a different name. Samantha Johnson looks at the remarkable journey of a team seeking recognition
IT’S hard to believe, but at the age of 68, Gloria Estefan, one of the biggest-selling and most-celebrated artists of all time, is marking her 50th year in music.
She has had a stellar career, racking up everything from a slew of Grammy awards to the Presidential Medal of Freedom.
Sign up for the Showbiz newsletter
Thank you!
Gloria has recently released her album RaicesCredit: SuppliedThe star with The Sun’s HowellCredit: Supplied
But after her musician daughter Emily performed with Cyndi Lauper at Glastonbury last year, she now has one more thing she wants to strike off her bucket list – a major slot on the prestigious Pyramid Stage.
In an exclusive chat, she told Bizarre’s Howell: “It’s very exciting, big and complex from what I hear from Emily. Like, it was crazy. But that would be super exciting.
“If I’m still around, I would love to do that. Now, Glastonbury likes all kinds of artists.”
With hits like Rhythm Is Gonna Get You, Dr Beat and, of course, Conga, she would have plenty of songs to entertain Worthy Farm.
And she may soon be wowing even more viewers, with a big-budget biopic on the cards.
For the first time, she has confirmed Rachel Zegler, who shot to fame in Steven Spielberg’s West Side Story, Disney’s Snow White and recently in Evita on the West End, is set to play her.
She said: “I think she’s awesome. I think she’s incredible. I know she’s killed it in Evita.
“We’re still working on the green light because we’re figuring out where to do it, how to do it.
“This has been in the works for quite a few years now. And that’s how it is. You work, you work, you work, and then all of a sudden, boom, the trigger’s pulled and you’ve got to do it right away. But she’s lovely.”
But asked if she thinks Rachel will take the part, she continued: “I think she would. I just need to offer her an actual part. So we need to be greenlit completely and we’re almost there.
“I met her by Zoom. She’s got a beautiful singing voice and she’s a great actor. So absolutely.”
It was originally claimed the film will be an adaptation of her 2015 jukebox musical On Your Feet! although that idea has changed.
The star explained: “The movie’s not going to be the show. There’s a lot in there.”
Gloria was born in Cuba but her family fled to the US during the Cuban Revolution and she has now become one of Miami’s most famous residents.
And as one of the city’s stars, she has become pals with David and Victoria Beckham, who have a home there and have become key to the area with Becks’ football team Inter Miami CF.
But it’s clear they all move in the upper echelons when Stateside.
In a major name drop when quizzed on hanging out with them, she said: “I’ve been at their home. It’s lovely. David is such a lovely man – and Victoria.
“We actually went to a dinner at their home and President Obama was there, and the head of Reddit, and Jeff Bezos. It was really cool.
“It was small, but only the most powerful people in that room. It was great.
“They’re very kind people. And he’s done amazing things for soccer or football, as you call it here.”
Gloria pictured in 1989Credit: Alamy
And there have been more Brits in Miami, with Dua Lipa performing there last month, when she covered Gloria’s 1985 hit Conga.
“I was so sad that I wasn’t in town,” Gloria said.
“She had invited me to go and do that with her. And I love her. I’m a big fan of Dua Lipa. And that’s the sexiest conga you’re ever going to see, hands down.”
After such an illustrious career, she recently released her 30th album Raíces, which is largely Spanish-language escapism and the perfect soundtrack for a soiree or relaxing evening in.
And it was her husband of 47 years, producer Emilio, who made it happen.
Gloria, who was writing another musical at the time, explained how the salsa record poured out of him.
She added: “It’s got beautiful, romantic ballads. Emilio said, ‘I wrote you a love song’. I go, ‘Babe, you’re going to sing it?’.
He goes, ‘No, you’re going to sing it for me’.”
Charming.
And as for retirement after five decades in the game? Don’t count on it.
She giggled: “In ten years time, I hope to still be alive. That’s my first plan. Who knows?
“I only choose what I really, really want to give my time to. It’s just that. I had all these amazing opportunities. And they just converged this year.”
The singer has become pals with David and Victoria BeckhamCredit: Getty
Kristen chilled Water
Kristen Stewart showed off a stark fringe and bare legs as she left a screening of her new filmCredit: Splash
KRISTEN STEWART didn’t let the falling temperatures bother her as she headed out in this white mini-dress.
The Twilight actress showed off a stark fringe and bare legs as she left a screening of her new film The Chronology Of Water at the Curzon Mayfair on Thursday night.
It was part of the BFI London Film Festival and the movie, an adaptation of US writer Lidia Yuknavitch’s memoir, is her directorial debut.
Lily ‘cheat’ pain
Singing star Lily Allen is about to make a return with her fifth albumCredit: Getty
LILY ALLEN has confirmed my story that she is about to make a return with her fifth album.
And on it, she seemingly accuses ex-husband David Harbour of cheating on her.
But things crumbled last year, with the relationship inspiring the latest record which is expected to be released imminently.
A new interview with Lily came out in Vogue magazine yesterday.
It features lyrics from two tracks that suggest David romanced other women while they were together and the pair then decided to “open” their marriage.
On one song, Sleepwalking, Lily sings: “You let me think it was me in my head, and nothing to do with them girls in your bed.”
On another, called Dallas Major, she reveals: “You know I used to be quite famous, that was way back in the day.
“I probably should explain how my marriage has been open since my husband went astray.”
And Lily didn’t hold back in her interview, either.
She told the magazine: “I’ve had real problems with my food over the past few years.
She added that during their break-up “it got really, really, really bad”.
Lily, who is sober, said: “The feelings of despair that I was experiencing were so strong.
“The last time I felt anything like that, drugs and alcohol were my way out, so it was excruciating to sit with those [feelings] and not use them.”
KYLIE JENNER says being a pop star is her lifelong dream – despite being mocked this week when she sang on Terror JR’s new song Fourth Strike.
Having just started singing under the name King Kylie, she said: “You know this is my dream. I’ve been talking about this since I came out of the womb… that like I wanted to be a pop star.
“I just never had the confidence or… I think turning 28 just does something to you. Like I’m going to be 30 soon and I don’t want to look back on life and have any regrets.
“This is something I’ve always wanted to try.”
JENNIFER LOPEZ is up for returning to the Super Bowl stage in February – six years after her stellar half-time show with Shakira.
The singer, whose parents are from Puerto Rico, waved the country’s flag during her performance and next year will see rapper Bad Bunny, who is from there, playing the show.
Quizzed on US TV whether they could do something together there, she said there had been “no talk” of a collaboration but that she would be open to it.
She said: “There’s no talk. I have not gotten any calls. So I just want to put the expectation down. But of course if he wanted me to do something, I would definitely do it.”
Crouchy Enter the Dragon
Abbey Clancy and Peter Crouch have been filling their home with pets, pictured with their four childrenCredit: instagram
ABBEY CLANCY and Peter Crouch are slowly turning their home into a zoo – and the next animal they are adding is a bearded dragon.
The couple, who live in Surrey with their four children, already own two dogs, cats and a horse but now they are adding reptiles to the menagerie.
Crouchy says they are getting the reptile, which is native to Australia, because their son is desperate for one as a pet.
As well as the lizard, Abbey wants to also get lambs and chickens.
Peter said: “The more animals the better, apparently. Bearded dragons are next on the horizon. My little boy has wanted one for years. They’re actually all right. I thought it would be a nightmare, but I’ve been down the shop and held them.
“We’re actually going to get one. They grow to be quite big but they’re quite chilled.”
Michael makes big money
MICHAEL McINTYRE’s firm raked in more than £3.2million last year – making him one of the biggest earners on TV.
He had another stellar year presenting Saturday-night series Michael McIntyre’s Big Show and quiz The Wheel.
The comedian’s TV production firm Hungry McBear paid £805,000 in corporation tax in its last financial year up to December 31.
She has informed the WDF she will not be playing in the women’s championship, which starts on 28 November
A WDF statement said: “Although Beau will no longer be competing on the Lakeside stage, we wish her all the best in the next stage of her darting career.
“She has been a fantastic ambassador for our system since we returned from the pandemic in 2021, winning every major WDF title on the way.
“It’s been fantastic to see how her game has gone from strength to strength playing in WDF events and we know that she’ll continue to make even more history on the PDC circuit.”
A minimum of four women will compete at the PDC World Championship after a new qualifying structure was announced.
This year’s event will have an expanded field of 128 players, up from 96 in 2024-25, with the winner taking home £1m of a £5m prize pot.
Fallon Sherrock, the only woman to have won matches in the tournament – in 2019 – is the only other female player to have qualified so far.
With seeded players entering the tournament in the first round, rather than the second, Greaves and Sherrock could meet one of the top men.
One quarterback guru contacts the other, asking for help in creating a dynamic offense.
The answer is always yes. The results say as much about Jerry Neuheisel and Noel Mazzone’s devotion to one another as they do about their ability to mass-produce yards and points for UCLA.
“No matter what happens,” Neuheisel said in an interview with The Times, “as long as you’re around him you have a smile on your face.”
Noel Mazzone, then the offensive coordinator at UCLA, looks across the field during a game.
(Don Liebig / UCLA Athletics)
The latest call came from the longtime apprentice to his mentor.
With the Bruins sputtering toward an 0-4 start, Neuheisel spoke with Mazzone about possibly returning to Westwood to assist with the offense. Just like he routinely had when he was UCLA’s offensive coordinator a decade earlier, Mazzone cultivated the necessary intelligence, learning that Neuheisel would be promoted from tight ends coach to playcaller before Neuheisel did.
“He was in the car, I believe, the next morning and he was here that evening,” Neuheisel said, “and it was on to try to beat Penn State.”
Beat Penn State they did, reviving an offense and a team that have become the talk of college football. UCLA’s average of 40 points in its two victories has nearly tripled its previous output during that winless start, spawning reminders of the offense the Bruins ran under Mazzone with Neuheisel as a backup quarterback from 2012-15.
That was just the start of a winning combination.
Not long after they had parted ways at the end of their four seasons together in Westwood, Mazzone reached out to Neuheisel, convincing him to give up playing for the Obic Seagulls of Japan’s X League so that he could help Mazzone in 2017 during his second season as Texas A&M’s offensive coordinator.
“When he gave me the call and said, ‘We’re going to the SEC, we’re going to College Station, Texas,’ ” said Neuheisel, who had long known he wanted to become a coach, “I didn’t even ask questions. I got the next flight home.”
Quarterback Jerry Neuheisel looks to pass the ball during UCLA’s game against Texas Longhorns at AT&T Stadium on Sept. 13, 2014.
(Ronald Martinez / Getty Images)
After making the 22-hour drive from Los Angeles to College Station, Neuheisel stayed at a hotel for a week and a half while searching for a place to live — even though he hadn’t been formally hired.
All that mattered was that he was back with his mentor. Now they’re together again, only the roles have been reversed.
“It’s just the first time in my life he’s actually had to listen to all my ideas,” Neuheisel said with a chuckle, “so I have enjoyed the turning of the tables.”
It was only a few weeks ago that Mazzone reconnected with two other former UCLA quarterbacks.
Getting together with Brett Hundley and Mike Fafaul in the Phoenix area to watch some football the weekend that UCLA lost to Northwestern to fall to 0-4, Mazzone and his onetime players let Neuheisel know they were thinking about him.
“They sent a picture from the bar that they were watching us play,” Neuheisel said.
What they didn’t tell him was that they were already considering the possibilities for the 68-year-old Mazzone, who was then the offensive coordinator at Saguaro High in Scottsdale, Ariz.
“At the time, we weren’t doing so great,” Hundley said of the Bruins, “so we were joking that Mazzone would probably be back at UCLA.”
A coaching lifer, Mazzone had made more than 20 stops at the high school, college and NFL levels by the time he agreed to hop into his car and return for his second stint with the Bruins after the team replaced departed offensive coordinator Tino Sunseri with Neuheisel.
Several days later, after hurried preparations and some playcalling debut blunders such as Neuheisel fumbling with the button on his headset that allowed him to talk to his quarterback, UCLA scored on each of its first five drives on the way to a 42-37 victory over then-No. 7 Penn State that qualified as the upset of the college football season.
Jubilant players hoisted Neuheisel onto their shoulders in a scene reminiscent of his greatest moment playing for Mazzone and coach Jim Mora, when he came off the bench to lead a comeback victory over Texas in 2014.
UCLA quarterback Jerry Neuheisel, top, is carried off the field after UCLA’s 20-17 win over Texas on Sept. 13, 2014, in Arlington, Texas.
(Tony Gutierrez / Associated Press)
About a half hour after beating the Nittany Lions, his hair still soaked from the water players had sprayed into the locker room air, Neuheisel revealed what it meant to share this new memory with one of his favorite mentors.
“To have coach Mazzone here has been honestly one of the coolest things ever,” Neuheisel said. “To have him helping with the quarterbacks, to have us to be able to bounce ideas off of him, awesome. Awesome.”
In some ways, the circumstances weren’t that much different when they met.
Neuheisel was the new guy, just trying to prove himself.
In the fall of 2012, he was a freshman quarterback, wanting to show he belonged on the same campus where only a few months earlier his father, Rick, had been fired as the head coach. Mazzone was also a recent arrival after having been hired as part of Mora’s first UCLA staff.
“Jerry’s coming in and you’ve got Kevin Prince, Brett Hundley, Richard Brehaut — I mean, he’s walking into a quarterback room with some studs,” remembered Johnathan Franklin, the running back who would become UCLA’s all-time leading rusher by the end of that season. “All three have played before, and Brett Hundley obviously was a rock star.”
UCLA quarterback Jerry Neuheisel sits on the field before a game against Virginia at the Rose Bowl on Sept. 5, 2015.
(Jae C. Hong / Associated Press)
It was a unique kind of pressure for a legacy who had been born at UCLA Medical Center at a time when his father was a Bruins assistant coach, after having starred for his alma mater as a Rose Bowl-winning quarterback.
“I was just there trying to make the team,” Neuheisel said.
What became quickly apparent given his intrinsic savvy and inquisitive nature was that his longterm future would likely be on the sideline.
“Jerry, for sure, you could always tell he was gonna be a coach from Day One,” Hundley said. “It was like his Pops 2.0.”
Equally impressive was the shrewd offensive coordinator who was quick with a quip and an answer for any challenge a defense might present. Mazzone ran an offense short on plays and long on possibilities. He would explain why certain plays worked in given situations and make sure even the quarterback understood blocking schemes so that everyone appreciated each other’s roles.
“It’s pretty much, you get your best players in space and you make a play,” Franklin said of the overriding philosophy. “I remember he used to call the plays, and he’s like, ‘Man, one guy shouldn’t tackle you, so we’re not going to work on blocking that guy — that’s between you and him, you’ve got to make it happen.’ ”
UCLA offensive coordinator Noel Mazzone leans over on the sideline and looks across the field during a game.
(Don Liebig / UCLA Athletics)
UCLA won 29 games in its first three seasons with Mazzone running the offense and Neuheisel playing a reserve role, except for the September day in 2014 when he earned a megawatt spotlight.
With Hundley sidelined by an elbow injury against nationally ranked Texas, Neuheisel came off the bench and threw a 33-yard touchdown pass to Jordan Payton with three minutes left, rallying the Bruins to a 20-17 victory. His teammates hoisted him into the air and carried him off the field.
“I mean, unbelievable,” Mazzone said after the game. “Jerry went out and handled the situation better than anyone could. I mean, he really did an awesome job. Really proud for him.”
When he called a reporter after 8 o’clock Wednesday night, Neuheisel wasn’t done for the day. It was just a momentary respite from reviewing game video, several hours left to go before he could finally head home.
His schedule has become so crazed since his promotion that tight end Hudson Habermehl recently fielded a call from Neuheisel’s wife, Nicole, asking him to take an Uber Eats delivery order upstairs to Neuheisel’s office inside the practice facility.
Habermehl was happy to do it, a small thank-you gesture for the 33-year-old coach who has done so much for him and an offense that doesn’t resemble the one from earlier this season even though the Bruins are essentially running the same plays.
If it looks more like a Mazzone offense, that’s not by coincidence.
UCLA offensive coordinator Jerry Neuheisel hugs Bruins quarterback Nico Iamaleava during the Bruins’ win over Penn State on Oct. 4.
(Gina Ferazzi/Los Angeles Times)
“What made Noel’s offense so great and why I loved it is there was a utilization of space on the field,” Neuheisel said, “and I would say that is what we’ve been trying to emulate is trying to create space on the field and trying to create matchups for our players to have success.”
No one has benefited more than quarterback Nico Iamaleava, who has thrown for five touchdowns with no interceptions over the last two weeks while adding three rushing touchdowns. A previously inert running game has picked up considerable speed, averaging 253.5 yards in the victories over Penn State and Michigan State.
“It seems like there’s a new energy on offense,” Hundley said. “You know, it’s not like they got a whole new starting 11 out there. I mean, it’s the same guys that we were talking about in the beginning of the season, but now they’re putting Nico in a position to make plays.”
Habermehl said everyone’s playing freely and instinctively because Neuheisel explained the reasoning for each play and involved all position groups in offensive meetings to provide a universal understanding of concepts.
“When you coach guys,” Neuheisel said, “you need to let them in on the ‘why.’ I think it’s what I always appreciated when I was a player here and any good team I’ve been a part of.”
Neuheisel’s latest success is likely to earn him a permanent offensive coordinator job, if not a head coaching opportunity, next season. His old friend can probably expect a call asking if he’d like to be part of that staff, the answer a given.
“Wherever there’s ball,” Neuheisel said, “he’ll always find his way there.”
Fort Lauderdale, Fla. — Some airports around the country are refusing to play a video with a message from Homeland Security Secretary Kristi Noem in which she blames Democrats for the federal government shutdown and its impacts on TSA operations because of its political content.
Airports in Las Vegas, Charlotte, Atlanta, Phoenix, Seattle and more say the video goes against their airport policy or regulations that prohibit political messaging in their facilities.
Various government agencies, in emails to workers and on websites, have adopted language that blames Democrats for the shutdown, with some experts arguing it could be in violation of the 1939 Hatch Act, which restricts certain political activities by federal employees.
The shutdown has halted routine operations and left airports scrambling with flight disruptions. Democrats say any deal to reopen the government has to address their healthcare demands, and Republicans say they won’t negotiate until they agree to fund the government. Insurance premiums would double if Congress fails to renew the subsidy payments that expire Dec. 31.
In the video, Noem says that TSA’s “top priority” is to help make travel pleasant and efficient while keeping passengers safe.
“However, Democrats in Congress refuse to fund the federal government, and because of this, many of our operations are impacted, and most of our TSA employees are working without pay,” she continues.
The Transportation Security Administration falls under the Department of Homeland Security. Roughly 61,000 of the agency’s 64,130 employees are required to continue working during the shutdown. The Department said Friday that the video is being rolled out to airports across the country.
A DHS spokeswoman responded to a request for comment restating some of the message from Noem’s video.
“It’s unfortunate our workforce has been put in this position due to political gamesmanship. Our hope is that Democrats will soon recognize the importance of opening the government,” spokeswoman Tricia McLaughlin said.
The Harry Reid International Airport, in Las Vegas, said it had to “remain mindful of the Hatch Act’s restrictions.”
“Per airport regulations, the terminals and surrounding areas are not designated public forums, and the airport’s intent is to avoid the use of the facility for political or religious advocacy,” the statement said.
Westchester County Executive Ken Jenkins said the county north of New York City won’t play the video at its local airport. In a statement, he called the video “inappropriate, unacceptable, and inconsistent with the values we expect from our nation’s top public officials,” and said its tone is “unnecessarily alarmist” as it relates to operations at Westchester County Airport.
“At a time when we should be focused on ensuring stability, collaboration and preparedness, this type of messaging only distracts from the real issues, and undermines public trust,” he said.
Even in red states, airports weren’t showing the video for various reasons. Salt Lake City International Airport wasn’t playing the video because state law prohibits using city-owned property for political purposes, said airport spokesperson Nancy Volmer.
The airport in Billings, Mont., “politely declined” even though it has screens that could show the video with audio, assistant aviation director Paul Khera said Tuesday.
“We don’t want to get in the middle of partisan politics,” Khera said. “We like to stay middle of the road, we didn’t want to play that video.”
Gomez Licon writes for the Associated Press. AP writers Rio Yamat in Las Vegas and Mead Gruver in Fort Collins, Colo. contributed to this report.
When Luka Doncic plays in his first exhibition game of the season for the Lakers against the Phoenix Suns Tuesday night, Coach JJ Redick said the plan with his star is pretty simple.
“Give him the ball,” Redick said, laughing.
Redick paused for a second.
“You talking about minutes?” he asked.
Redick said they are “still working through what that looks like” with the Lakers’ staff and Doncic’s team.
“I think very likely it’ll be some form of a ramp-up from tomorrow to whenever the second game is that he plays in,” Redick said. “What that looks like in terms of the total minute, I don’t know.”
But one thing is for certain when Doncic steps on the court with his teammates.
“Yeah, he’ll touch the basketball,” Redick said.
The Lakers then play a back-to-back game Wednesday night in Las Vegas against the Dallas Mavericks, Doncic’s old team, but it’s highly unlikely he plays in that game.
The Lakers finish their preseason against the Sacramento Kings Friday night at Crypto.com Arena, which is when Doncic probably will play, especially since he said last week that he wanted to play in two preseason games.
The Lakers open the regular season Oct. 21 against the Golden State Warriors at home and that is the main thing Doncic is getting ready for.
He’s done more in practice, giving his teammates a view of what Doncic is like.
“Oh, he’s moving great,” Jarred Vanderbilt said. “Everything that I’ve seen from him, he’s being vocal. He’s leading the charge. He’s being everything we need him to be right now. So, we’re happy to have him out there right now during this week, him getting some good practices and running with us, and just starting to build that momentum towards the regular season.”
Etc.
Redick said Marcus Smart, who has been recovering from an Achilles tendinopathy injury, will play against the Suns. … Redick said Maxi Kleber (quad) participated in the Lakers’ stay-ready game Monday.
Longtime rivals Sylmar and San Fernando are set to meet on Saturday at the Coliseum in a tripleheader for high school football.
The junior varsity teams will play at 2:30 p.m., followed by a girls flag football game at 5 p.m. and the varsity 11-man game at 7:30 p.m. Tickets are $15 and available for purchase at each school this week, with $12 going back to the schools. Tickets also will be available at the Coliseum on Saturday.
San Fernando is an eight-time City Section champion with a rich history that includes its wishbone teams of the 1970s featuring the late Charles White, who won the Heisman Trophy at USC. Sylmar won City titles in 1992 and 1994 under coach Jeff Engilman.
“This is a once-in-a-lifetime opportunity for our student-athletes, families, alumni and the broader community to come together and celebrate the legacy and rivalry of two proud programs in a truly iconic venue,” Sylmar athletic director Wilquin Garcia said.
It will be a Valley Mission League game, with Sylmar 4-3 and 1-2 in league and San Fernando 5-2 and 2-1. In flag football, San Fernando is 7-6 and Sylmar is 4-5.
This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].
An immigrant drama by Rudi Goblen about two brothers born in Nicaragua, “littleboy/littleman,” now receiving its world premiere at the Geffen Playhouse, is an American story at its core.
Lest we forget our past, America is the great democratic experiment precisely because it’s a land of immigrants. Out of many, one — as our national motto, E pluribus unum, has it. How have we lost sight of this basic tenet of high school social studies?
Our tendency to ghettoize drama — along racial or immigrant lines — reflects the failure to understand our collective story.
Goblen, who (like a.k. payne, author of “Furlough’s Paradise”) was a playwriting student of Geffen Playhouse artistic director Tarell Alvin McCraney at Yale, has created not a conventionally worked out two-hander, but an intuitively structured performance piece. Infused by live music and inflected with hip-hop style poetry, “littleboy/littleman” crashes through the fourth wall to make direct contact with theatergoers, who are seated on three sides of the playing area and always just a high-five away.
Marlon Alexander Vargas, the dynamic, sweet-faced performer who plays Fito Palomino, the more creative and mercurial of the two brothers, is on stage interacting with the audience before the play begins. As the musicians — music director Dee Simone on drums and Tonya Sweets on bass — warm up the crowd from their platform at the back of the playing area, Vargas, ever-in-motion, greets theatergoers and counts down to the start of the show.
Rules are spelled out at the top that make clear that this isn’t one of those docile theatergoing experiences, in which the audience is expected to keep mum as the actors do all the work. Spectators are encouraged to make some noise — to show love when they want to show love and to show it even when they don’t.
These friendly instructions are impishly delivered by Vargas, whose performance outside the play has an effect on our experience of his character inside the play. The fate of Fito is the emotional crux of the drama, and what happens to him matters all the more to us because of our theatrical connection to Vargas, our de facto host and impromptu buddy.
Goblen sets up a drama of fraternal contrasts. Bastian Monteyero (Alex Hernandez), the older and more straitlaced of the two brothers, has a tough, no-nonsense demeanor that’s all about discipline and conformity. He’s a bit of a recluse, but he plays by the rules and demands the same from Fito.
A street performer, Fito dreams of opening a vegan restaurant that will offer his community access to affordable, healthful meals. This idea seems far-fetched to Bastian, and he tells Fito that if he wants to continue living with him, he’s going to have to get a real job.
Bastian hooks Fito up with a friend who’s employed at a cleaning service. But scrubbing public toilets isn’t Fito’s idea of an alternative course. Bastian wants his brother off the streets. There are dangers afoot in Sweetwater, Fla., far worse than unpleasant paid work.
A law officer in town, a sadist who demands complete subservience, has it in for Fito, who describes this menacing figure as “a gangster with a badge.” He also calls him “brown on the outside, white on the inside,” and bemoans to his brother the Latino infighting (“the worst thing they ever did was give us all flags”) that only divides people who have political reason to be in solidarity.
Bastian, who affects a white-sounding Midwestern voice when he hustles donations in his telemarketing job, can’t help taking the latter comment personally. He’s made no secret that he wants to change his name so his resume won’t be ignored when he applies for management jobs.
The two brothers have different fathers, and Fito doesn’t have the option of passing. In any case, he’s more embracing of his identity as a person of color than Bastian. What both of them have in common is that they survived both their harrowing childhoods in Nicaragua and their unrelentingly challenging journeys in America, having been raised by a single mother, whose death still haunts them.
Bastian and Fito love each other, but don’t always like each other. Hernandez’s Bastian is a formidable presence, angry, strict and domineering — the qualities he’s needed to navigate a bureaucratic system that has little concern for the feelings of immigrant outsiders. Vargas’ Fito, by contrast, has his head in the clouds and his heart on his sleeve. Goblen never loses sight of their affection even as their conflict grows louder and more bruising.
Bassist Tonya Sweets, from left, Marlon Alexander Vargas and drummer Dee Simone in “littleboy/littleman” at Geffen Playhouse.
(Jeff Lorch)
“littleboy/littleman” is tricky in its theatrical rhythms. It’s like a piece of music that keeps switching harmonic structures, not wanting to get stuck in the same groove. Goblen’s manner of writing is closer to free jazz or freestyle hip-hop than traditional drama.
Director Nancy Medina’s staging, circumnavigating a theatrical circle, lifts the audience out of its proscenium passivity into something almost immersive and definitely interactive. Tanya Orellana’s scenic design and Scott Bolman’s moody lighting create a performance space that is well suited to a work composed as a series of riffs. The influence of McCraney’s “The Brothers Size” is palpable not only in the thematic architecture of the play, but also in how the piece moves on stage.
The staccato nature of the writing is helped enormously by the entrancing acting of both Vargas, who breezes through different theatrical realms as though he had wings, and Hernandez, who locks realistically into character. It’s a credit to the play and to the performers that, by the end of “littleboy/littleman,” the differences between the two brothers seem less important than what they have in common.
Not all the dramatic elements are smoothly integrated, but the production ultimately finds a coherence, not so much in the music (composed by Goblen himself), but in the emotional truth of the brothers’ pressure-cooker lives. Vulnerability unites not only Bastian and Fito, but all of us witnessing their story who hope against hope that compassion will somehow win the day.
‘littleboy/littleman’
Where: Audrey Skirball Kenis Theater at Geffen Playhouse, 10886 Le Conte Ave., Los Angeles
At some point during the Lakers’ preseason, Luka Doncic will play in a game.
The question is when.
Even after being a full participant in practice Saturday, Lakers coach JJ Redick said that Doncic was “TBD” (to be determined) when asked if his star guard would play in Sunday’s exhibition game against the Golden State Warriors at Crypto.com Arena.
Redick said Austin Reaves will play and that Marcus Smart will see action in his first preseason game of the season.
The Lakers will play six preseason games, three of them coming after the game against the Warriors.
After practice, Doncic was asked when he would play.
“I don’t know yet,” he said. “We got to talk about it — JJ and my team. So, I don’t know yet. But I’m probably going to end up playing two games of the preseason.”
When the regular season starts Oct. 21 at home against the Warriors, Doncic will not have running mate LeBron James beside him.
James was diagnosed with sciatica nerve issue on his right side, the Lakers announced to the media Thursday, saying that he’ll be re-evaluated in approximately three to four weeks.
James and Doncic formed a great partnership when they played together after the shocking blockbuster trade last February.
Not having James to start the season has to be unsettling for Doncic and the Lakers.
“It’s a big change,” Doncic said. “He’s a great player. He can help us a lot. But at the end of the day, our mentality needs to be next man up. We got a group of guys that have been practicing and hopefully LeBron can join us as soon as possible. We are going to obviously need him. But our mentality has got to be next man up. That’s it.”
Doncic will get plenty of help from Reaves, Smart, Deandre Ayton, Jared Vanderbilt and others with James out.
Still, the assumption is that Doncic will have to carry a heavy load with James sidelined.
“No. I don’t view it that way,” Doncic said. “I just want to play basketball. If I do less, if I do more, whatever it takes for me to get a win.”
James hasn’t practiced at all, but Doncic said that hasn’t stopped the two of them from figuring out the team can still function at a high level.
“It’s not everything about on the court. That’s what I’ve been saying,” Doncic said. “It’s about chemistry off the court, too. So, obviously, now it’s a little more off the court, but while we watched practices this week, we talked a lot about it.”
Lakers keep moving ahead without James
They had known over the summer that James had been dealing with “the nerve irritation,” Redick said, and so it wasn’t a total surprise James is going to be out with a sciatica issue.
Redick said James has been on the court “every day” doing individual work. He just hasn’t been able to practice with his teammates.
Redick was asked how James’ inability to participate in practice affected his game planning for practice and going into the season knowing that he won’t be available for a while.
” No, no effect on practice planning,” Redick said. “And we haven’t game-planned yet, so, no effect.”
Redick had not put too much emphasis on his starting lineup during training camp and during the preseason games.
But with James turning 41 in December, entering his 23rd season and being injured in training camp, Redick was asked if he could foresee having a lineup with James starting and another with him out.
“Potentially. Yeah,” he said. “Something that certainly has crossed my mind in the last couple days. Yeah…You hope that he’s back soon. That’s, those things are, those things can be tricky. So it, I don’t think it’s …
“We knew this going into camp, so it wasn’t like it’s changed anything for how we want to practice or what our philosophies are with the preseason games. It is unclear who’s gonna be, what the starting lineup is gonna be. That’s the reality until he is back. We’ll have to figure that out.”
With back-to-back wins over Palos Verdes and Inglewood, Leuzinger High’s football team has vaulted to the top of the Bay League hierarchy.
On Thursday night, despite losing quarterback Russell Sekona to a fractured hand in the second quarter, Leuzinger (5-0, 2-0) relied on its defense and the play of running back-turned-quarterback Journee Tonga to come away with a 40-14 victory over Palos Verdes at SoFi Stadium.
Tonga contributed touchdown runs of 14 and 21 yards on option plays. Then Leuzinger’s speed back, Kelton Strickland, ran 84 yards for a touchdown late in the third quarter. And Tonga added a 61-yard touchdown pass. All this came with Palos Verdes (4-3, 1-1) thinking the 5-foot-8 Tonga wasn’t going to be much of passing threat. Aided by his offensive line, Tonga found holes in the Sea Kings’ defense.
The Olympians’ defense frustrated Palos Verdes quarterback Ryan Rakowski, who was ejected with 11:41 left after getting into a squabble with Leuzinger linebacker Samu Moala. The game was delayed as the officials talked to both coaches trying to determine ejections. Moala was ejected along with two teammates.
“High emotion,” Moala said. “Lesson learned.”
Those ejected can be sidelined for one to three games depending on the officials’ report.
Rakowski had 12 yards passing at halftime and finished with 87 yards.
Palos Verdes made a brief rally in the fourth quarter, recovering an onside kick, recovering another fumble and closing to 27-14 on two touchdown passes by senior quarterback Giorgio Di Mascio. But Pakipole Moala clinched Leuzinger’s victory with a 100-yard interception return for a touchdown. Then Tonga added his third rushing touchdown of the night.
French President Emmanuel Macron urged full support for the US plan to end the Gaza war, calling for a permanent ceasefire, release of all captives, and humanitarian access. Macron, however, blasted expanding West Bank settlements, which he said threaten Palestinian statehood and regional peace.
PHILADELPHIA — Even Dodgers fans steeped in the lore of Kirk Gibson might not remember the name of Mel Didier.
Didier was the scout who had issued this warning to the 1988 Dodgers: If you’re facing Dennis Eckersley, the mighty closer for the Oakland Athletics, and the count runs full, he’s going to throw a backdoor slider.
Eckersley threw it, Gibson hit it for a home run, and the Dodgers went on to win the World Series.
If these Dodgers go on to win the World Series, no one will struggle to remember the name of Mookie Betts, of course. On Monday, however, Betts pushed the Dodgers to within one win of the National League Championship Series — not with his bat and not with his glove, but with memory and aptitude to rival Didier.
“His mind is so far advanced,” Dodgers coach Dino Ebel said of Betts. “That was the ballgame right there.”
With the tying run at second base and none out in the ninth inning, he was the calm in a screaming madhouse. As the Dodgers infielders gathered at the mound and Alex Vesia entered from the bullpen, Betts thought back to a play he had participated in once, in an August game against the Angels. Miguel Rojas had taught him the so-called “wheel play.”
“All he had to do was tell me once,” Betts said. “To me, that was like a do-or-die situation. Them tying the game up turns all the momentum there. If we can find a way to stop it, that would be great.
“I just made a decision and rolled with it.”
On the mound, amid the bedlam, Betts put on the wheel play. It’s a bunt coverage: with a runner on second base, the third baseman and first baseman charge home, with the idea that one would field the bunt and throw out the runner at third.
In any previous decade, the Dodgers would have practiced this play in spring training, repeatedly.
“We don’t really even practice the wheel play, with pitchers not hitting any more,” third baseman Max Muncy said. “There’s very few times where you’re 100% sure that a guy is going to bunt.”
This was the time. The Phillies had opened the ninth with three consecutive hits, including a two-run double from Nick Castellanos.
The Dodgers led 4-3 with none out and Castellanos on second base. Phillies manager Rob Thomson said he wanted to play for the tie and take his chances to match his team’s bullpen against the Dodgers bullpen in extra innings.
And for the “never bunt” crowd: the chance to score one run is slightly higher with a runner on third base with one out than with a runner on second base and none out. The Phillies had the bottom of the order coming up — starting with infielder Bryson Stott, whom the Dodgers had evaluated as a good bunter.
Betts remembered how he had asked Rojas when to run the wheel play.
“In a do-or-die situation,” Rojas had told him.
So Betts took charge and put on the play.
“I don’t know if it was very comfortable, but somebody’s got to do it,” Betts said.
“I figured, if there was ever a good time to make a decision and roll with it, that was the time.”
Dodgers third baseman Max Muncy throws to third after fielding a bunt from Phillies second baseman Bryson Stott in the ninth inning in Game 2 of the NLDS on Monday.
(Robert Gauthier / Los Angeles Times)
Muncy would charge and, if the ball was bunted to him, would throw to Betts covering third base. First baseman Freddie Freeman then said he would charge and, if the ball was not bunted to him, would cover second base so Stott could not advance there, since second baseman Tommy Edman would be covering first. Later, on his PItchCom, Vesia said he heard an order to cover second base.
“When Doc came out and made the pitching change, we talked to him about it and he was all on board,” Muncy said. “I am going to credit Mook. It was his idea.”
Said Betts: “That was one of times where Doc called on us and said, you guys figure it out — in a very positive way. And we did.”
Rojas called Betts “an extension of the manager on the field.”
Said Rojas: “I’m happy that he called it right there on the field. Because it was the right play with the right runner, knowing the guy was going to bunt.”
All of this speaks well of Betts’ intuition and intelligence, but the postseason is not the time for “trust the process” blather. The postseason is the time when the right call is the one that actually works.
For Stott or anyone else, Thomson said, a batter that sees the wheel play in motion should forget about the bunt and swing away, given the holes left by two infielders charging the plate and the other two rushing to cover a base.
Stott bunted.
The first problem for the Phillies was that they had no one available to pinch-run for Castellanos. Aside from a backup catcher, they had two position players left: Harrison Bader, playing with a sore groin, and Weston Wilson, whom the Phillies had to save to run for Bader.
The second problem for the Phillies was that the Dodgers had only run the wheel play once this season, so even the best advance scouts could not have been warning the Phillies to beware.
“It’s something we have under our sleeve,” Rojas said.
The third and most critical problem for the Phillies was that Betts had lingered close to second base, shadowing Castellanos. By the time Stott could have seen Betts take off for third, it was too late.
“Mookie did a great job of disguising the wheel play,” Thomson said.
Muncy fielded the ball cleanly, and Betts beat Castellanos to the bag by so much that Betts had time to drop his knee and block the bag before tagging out Castellanos, holding onto the ball even as Castellanos upended him.
“Those guys executed it to perfection,” Roberts said. “It was a lot tougher — they made it look a lot easier than it was. And for me, that was our only chance, really, to win that game in that moment.”
If Muncy did not field the ball cleanly or did not make a good throw, or if Betts did not beat Castellanos to the bag or tag him out, the Phillies would have had the tying run at third base and the winning run at first base with none out.
But they did not, which meant the ensuing single did not tie the score. Two batters later, the Dodgers had won.
The play would be difficult enough for a lifelong shortstop. Betts is in his first season as a full-time shortstop.
“It shows his intuition in the game,” Muncy said. “It’s second to none out there. It doesn’t matter what position you put that guy at — he knows what’s going on. It’s honestly really impressive.”
Said Ebel: “He’s obsessed with being a great player. And he’s still learning. He’s still going to get better. That’s the scary thing about it.”
As the Dodgers headed for a happy flight back to Los Angeles, Betts offered this game a five-star review.
“I’ll take off my Dodgers hat and just put on a fan hat,” he said. “I think that was a really dope baseball game.”
Lakers star Luka Doncic will not play in the team’s two preseason games this weekend, the team announced after its shoot-around Friday.
Doncic will sit out against the Phoenix Suns on Friday night at Acrisure Arena in Palm Desert and against the Golden State Warriors on Sunday night in San Francisco.
The Lakers said it was a collaborative decision made with L.A.’s performance team because of his time playing for the Slovenian national team in the EuroBasket tournament this summer.
The Lakers said the plan is to be smart with Doncic in the long term as he ramps up for the regular season that opens Oct. 21 against the Warriors at Crypto.com Arena.
LeBron James, Marcus Smart (achilles tendinopathy), Maxi Kleber (quad) and rookie Aduo Thiero (knee) also won’t play against the Suns.
Doncic played in his last game with Slovenia about a month ago, a game in which he scored 39 points but his squad was eliminated by Germany in the EuroBasket quarterfinals.
After practice Thursday, Doncic talked about easing his way into training camp while getting ready for the regular season after playing at peak level for Slovenia.
“Yeah, obviously probably take it a little bit slower than the usual,” Doncic said. “ I had a busy summer. I think month, month-and-a-half I was with national team. So, it was kind of a lot. But that got me ready for the preseason and obviously regular season. So, for me, I think it really helps.”
“That has been a killer for us,” McVay said Friday during a videoconference with reporters, “and it’s cost us two games.”
Share via
Gary Klein breaks down what went wrong for the Rams in their 26-23 overtime loss to the San Francisco 49ers at SoFi Stadium on Thursday.
The Rams are 3-2, with defeats by the defending Super Bowl-champion Philadelphia Eagles and the 49ers due in part to woeful execution on field-goal and extra-point attempts.
The Eagles beat the Rams by blocking two field-goal attempts in the fourth quarter, including a potential winning kick that they returned for a touchdown on the final play.
On Thursday night, Rams kicker Joshua Karty missed a long field-goal attempt, and the 49ers blocked an extra-point try. That’s four points lost in a 26-23 defeat. Karty, who has been masterful at dropping hard-to-handle knuckleball kickoffs into the landing zone, also misplaced a kick that gave the 49ers the ball at the 40-yard line.
Karty, however, does not appear to be McVay’s most pressing kick-related concern.
The kicking unit as a whole has played a major role in both defeats, which also featured poor execution by the Rams at times in other areas.
“I can’t remember feeling much more disgusted waking up after a tough loss, than I have after the two that we’ve had,” McVay said.
So how do the Rams fix their kicking problems?
“Oh man,” McVay said. “I wish it was just one thing but when you watch the protection — we’ve got to fix it. And it’s not one thing in particular.
“There’s different locations and spots and people that have not executed the way that we’re capable of.”
“Clearly, I was not right on that,” McVay said, “so we’ve got to fix it. We’ve got to go back to work.”
The Rams are off for the weekend, and they will return on Monday to begin preparations for a game against the Baltimore Ravens in Baltimore. After that game, the Rams will remain in Baltimore to prepare for their next game against the Jacksonville Jaguars in London.
“We’re a couple execution plays away from being a 5-0 team,” McVay said. “But the reality is we’re 3-2.”
McVay sounded confident that the Rams would rebound from the loss to the 49ers.
“This is going to galvanize us,” he said. “I promise you that.”
Etc.
McVay continued to lament his final play call against the 49ers, which did not give quarterback Matthew Stafford a chance to make a play. Stafford had moved the Rams into position to win the game, but on fourth and one at the 49ers’ 11-yard line, McVay called a running play. The 49ers stopped Kyren Williams for no gain, ending the game. “I know it wasn’t the best decision to take the ball out his hands in crunch time on that fourth down,” McVay said. … Rookie tight end Terrance Ferguson, a second-round draft pick, caught his first pass for a 21-yard gain. “We’ve got to be able to figure out a way to get him going,” McVay said, adding, “he’s going to be a really good player for us.” … McVay indicated the Rams might make moves to improve the cornerback group. “We’re going to look into those things,” he said.
