plenty

Justin Herbert is starting from the ground up in Mike McDaniel’s new-look Chargers offense.

The 28-year-old quarterback has dedicated much of the offseason to tweaking his footwork — putting his left foot in front of his right from the shotgun, against traditional NFL form — to fit Los Angeles’ new offensive coordinator’s scheme.

McDaniel prioritizes getting the ball to playmakers in space as efficiently as possible, as he did for four seasons as the Miami Dolphins head coach with speedy wideouts Tyreek Hill and Jaylen Waddle, and envisions Herbert’s flip in footing accelerating and syncing the timing of passes with receivers’ route breaks.

“If guys train it so that they don’t have to think about it and they can be comfortable, you can do a couple things that put the defense in a bind with how you do your footwork,” McDaniel said at Chargers minicamp in El Segundo. “I don’t mandate it. With Justin, I really just showed him where I thought it would be advantageous, and he didn’t blink for a second and was excited to attack it.”

“The patternization in Mike McDaniel’s system has required some footwork changes,” added head coach Jim Harbaugh. “[Herbert’s] been working very hard, very hard at those. And as you would expect, Justin has picked it up.”

McDaniel said he got the idea as an up-and-comer on staffs in Houston and Washington alongside current 49ers head coach Kyle Shanahan and pointed to Matt Ryan and Tua Tagovailoa as recent quarterbacks with whom he has implemented the stance change and reaped positive results.

Herbert, who has been one of those traditional right-handed quarterbacks to have their right foot forward from the shotgun, has embraced his new coordinator’s methodology.

“It’s about playing the way that [McDaniel] sees the quarterback position being played,” Herbert said, “and talking about how we can get the ball to the receivers in a position where they can run with it and allow them to do the things that they’re so good at: making plays.”

To accelerate his adaptation, Herbert has thrown less in practice sessions and done plenty of drills without a football — two markers that are simply unlike the seven-season veteran, who is known to sling the rock plenty at practice and in games.

McDaniel and Harbaugh added that, besides helping Herbert adjust his feet, keeping the ball out of their quarterback’s hands during the offseason will help him stay fresh later in the regular season.

Herbert is on board, but made it clear he does not require any maintenance.

“I’ve thrown a lot of footballs, and it’s May and June and I didn’t think it was as necessary to throw as much now,” Herbert said. “And do everything I can to get the footwork ready and get the offense down. The throws, they’ll be there. We’ve got plenty of time in camp and throughout [organized team activities] to get timing. I think it’s been smart by everyone, taking it easy.”

Herbert added that it’s better to focus on where his feet are now rather than in a live, meaningful game. However, Harbaugh and McDaniel said Herbert is ramping up his throwing in practice with training camp looming.

The Chargers expect big things out of McDaniel’s offense after they averaged a subpar 21.6 points per game in 2025.

Harbaugh and McDaniel are hopeful for career years from Quentin Johnston, Ladd McConkey and Tre’ Harris — exactly what the wideouts want to hear.

“As you all know … the timing, that’s a different aspect for us than we’re used to, but I think it’s great,” McConkey said. “It just gets the ball in the playmakers’ hands and lets us go to work.”

Before any dreams of the Chargers winning a Super Bowl on their home SoFi Stadium turf can come true next season, Herbert must simply get his footing, with his feet and new playbook.

“I’m sure you guys are eager to see him execute in a high regard in the stuff that we’re doing,” McDaniel said. “You got to be patient … that’s been part of the very calculated, very deliberate, intentional process that we take into the offseason.”

I was warned in the waiting room of Pasadena’s WeFly: “This is not an arcade,” said flight trainer Corry Joyce. No, what WeFly offers is a professional-grade simulator, one that is traditionally used to train pilots. I am not a pilot, or a pilot-to-be, but I wanted a sense of how planes work, and maybe a chance to fly over my hometown. Only once I strapped into my seat, I found myself to be incredibly nervous. There was no danger here. Joyce, thankfully, would intervene at any mistake, and would helpfully remind me that, unlike real planes, “This one has a pause button.”

And yet to set foot in a WeFly cockpit is to be alternately in awe and overwhelmed. I was in a near 1:1 replica of the insides of a Boeing 737 Max. Buttons, knobs, switches and flashing lights surrounded me. And to fly a plane, I would have to let go of everything I knew about driving a car. Turning in the air, for instance, is much different than turning on a runway. And do I watch the screen, or look out the windshield? Often the former, even though I enjoyed buzzing Long Beach’s Queen Mary, flying under the Golden Gate Bridge and circling Chicago’s Wrigley Field. When it came time to land however, my palms got a little sweaty. Navigating height, winds and the steadiness of my plane was a challenge, one akin to handing a grade-schooler a calculus book, summarized Joyce. Let’s just say I needed his co-piloting skills. And I’m not great at math.

Typically, WeFly’s clientele, says Joyce, are a mix of aviation aficionados or non-commercial pilots. The space also gets a fair share of those with a fear of flight, arriving at WeFly with the hopes to conquer it. “They want a sense of control,” Joyce tells me. But WeFly is also ideal for anyone who is amazed by air flight, or those who may someday dream of being a pilot. Though it uses “Microsoft Flight Simulator,” it is no game. Sessions for 30 minutes start at $129, and WeFly’s trainers will tailor it toward one’s experience. I made sure, for instance, that crashing was turned off. But I forgot, however, to turn with the brakes when it came time to land. Yet the plane was intact, and, as Joyce reminded me, “At least you’re on airport property.”

There are plenty of compelling storylines involving Southland teams and athletes heading into the CIF state track and field championships this weekend in Clovis, perhaps none more enticing than Long Beach Wilson’s bid for the national record in the girls’ 4×400 relay.

Having just smashed Long Beach Poly’s 22-year-old California standard of 3:35.49 with their 3:33.83 clocking at the Southern Section Masters Meet in Moorpark last Saturday, the foursome of Brooke Blue, Brooklyn Fowler, Saniah Varnado and Clara Adams will try to go even lower.

Adams also established herself as the favorite to win the 400 meters at Buchanan High in Clovis — prelims are Friday and finals Saturday — after a blistering 51.98-second effort at the Masters Meet that broke the Southern Section record. The Bruins are vying for a fourth consecutive team title.

Servite won the boys’ team title last year and is well positioned to defend it if the Friars pile up points as expected in the relays and sprints, paced by junior Benjamin Harris, who anchored their nation-leading 39.70 clocking at the Arcadia Invitational, which broke the Friars’ own 4×100 state record. Harris remains the front-runner in the 100. His wind-aided 10.17-second timing in the 100 last weekend equaled the fourth-fastest time in state history.

Harris is the clear favorite since the last two state champions — Brandon Arrington of Spring Valley Mount Miguel (who reclassified from the 2026 to the 2025 recruiting cycle) and Concord De La Salle’s Jaden Jefferson (who graduated early) — are not in the field. Harris’ wind-aided 20.51 in the 200 two weeks ago also sets him up for a duel with Nicolas Obimga of Torrance (the wind-legal state leader at 20.66) and Elk Grove’s Cy Lugo (20.67), the Sac-Joaquin Section record holder.

In the 400, Servite’s Jaelen Hunter (whose 46.32 last spring was a state freshman record) will try to avenge his loss to Loyola’s Ejam Yohannes by 11-hundredths of a second at the Masters Meet.

Defending state 300 hurdles champion Jayden Rendon of Carson faces stiff competition in that event from state leader Brady Tse of San Jose Harker, Palm Desert’s Kingston Penny and Etiwanda’s Brandon Andrade.

Venice senior Lawrence Kensinger threw himself into the front-runner role with a personal-best and City Section record mark of 65-11 on May 21 and Sherman Oaks Notre Dame’s JJ Harel will try to repeat as high jump champion after clearing a state-leading 7-01 in the section finals two weeks ago.

Braelyn Combe beat Santa Rosa Montgomery’s Hanne Thomsen by five-hundredths of a second in a personal-best 4:35.64 in last year’s state 1,600 final and the Corona Santiago senior is favored to win that event again while attempting to become the first girl in state history to pull off a 1,600, 800 and 4×800 relay trifecta.

Irvine’s Summer Wilson, who broke the Woodward Park course record at the state cross-country finals in the fall and breezed to victory in the 3,200 meters at last week’s Masters Meet in a personal-best 10:14.25, is the co-favorite to win the eight-lapper Saturday along with La Jolla’s Chiara Dailey, the San Diego Section 800, 1,600 and 3,200 champion.

Amid the bustle and glitz of last week’s CinemaCon in Las Vegas, one question loomed over the annual trade convention — how will the proposed Paramount Skydance-Warner Bros. Discovery deal affect the movie theater business?

That anxiety showed up in a state of the industry speech from Cinema United trade group President Michael O’Leary, who reiterated his organization’s opposition to further industry consolidation.

It showed up in a trailer for Amazon MGM Studios’ upcoming film “Spaceballs: The New One,” when a voiceover poked fun at Hollywood studios “merging willy-nilly” as images of the Paramount sign and Warner Bros. water tower flashed across the screen.

And the subject again took center stage — literally — when Paramount Chief Executive David Ellison himself gave a speech during his studio’s presentation at Caesars Palace. He sought to reassure the assembled movie theater operators and exhibition executives that the combined company would indeed release a minimum of 30 films a year.

“I wanted to look every single one of you in the eye and give you my word,” he said during an onstage speech, in which he also committed to a 45-day theatrical window and 90-day period before films go to streaming services. “People can speculate all they want, but I am standing here today telling you personally that you can count on our complete commitment. And we’ll show you we mean it.”

It’s true that Paramount has nearly doubled its theatrical releases since Ellison took over. As he noted in his speech, the storied studio is now planning 15 films this year, up from eight in 2025.

But as I’ve written previously, theater owners and other studio executives question how releasing 30 movies a year across the combined Paramount-Warner Bros. would work — not only in terms of giving each film the proper marketing campaign to succeed in theaters but also because of the massive cost cuts that will inevitably occur once the merger is final.

Still, Ellison’s commitment to 30 films a year got a round of enthusiastic applause — and at least one high-profile boost.

A day earlier, AMC Entertainment Holdings Inc. Chief Executive Adam Aron told me in an interview that he backed Ellison’s takeover of Warner, saying he and AMC believed in the tech scion’s talent as a filmmaker and a movie executive, as well as his pledge to release those 30 films a year.

“We’re enthusiastic that David will fulfill his promises,” Aron said. “And that in the end, this will prove to be a good thing for our company and our industry.”

Not everyone shares that enthusiasm.

More than 4,000 people have now signed an open letter opposing the Paramount-Warner deal, arguing that consolidating two studios will lessen consumer choice and job opportunities for creatives, particularly at a time when Hollywood is already struggling. (Notable signatories include “Dune” director Denis Villeneuve, actors Glenn Close and Emma Thompson, as well as director and producer JJ Abrams.)

O’Leary of Cinema United similarly wasn’t convinced.

“While recent pledges attempt to address the threats of consolidation to our industry, they are not yet sufficient in addressing our concerns,” he said in a statement released hours after Ellison’s speech. “We remain open to tangible commitments that will ensure a vibrant global theatrical exhibition industry for years to come.”

Elsewhere at CinemaCon, the mood was upbeat.

Warner Bros. film chiefs Mike De Luca and Pam Abdy struck a triumphant tone after an award-winning year for the studio, capped off by the best picture win for “One Battle After Another.”

They unveiled footage from new films like the upcoming “Digger” from director Alejandro G. Iñárritu and brought out lead actor Tom Cruise to a sustained standing ovation from the audience. And both De Luca and Abdy espoused optimism for the future of the theatrical business. The studio plans to release 14 films this year and as many as 18 for 2027.

“The film business has always required smart betting, and we have 4 billion reasons from last year to think we’re holding the right cards,” De Luca said during the presentation, referring to the studio’s worldwide box office revenue last year.

“We all know they’re not all going to work. That comes with taking swings,” Abdy said of the studios’ films. “There’s no version of this business that’s risk-free. But our job is to step up, make our bets and own it when it doesn’t work.”

But the end of the presentation felt more somber, with the executives asking the heads of Warner Bros.’ labels to come to the stage and be recognized. Shortly after, they asked Warner Bros. employees in the audience to stand for applause. It was hard to escape the feeling that this may be the end of an era.

Stuff We Wrote

Film shoots

Number of the week

1,000

Last week, Walt Disney Co. began a sweeping round of layoffs that’s expected to cull 1,000 jobs across multiple divisions.

As my colleague Meg James reported, the cuts hit Disney’s television and movie studios, sports giant ESPN, its product and technology unit, corporate functions and marketing. Even Marvel Studios’ visual development team was affected.

The layoffs are one of the first major moves under new Disney Chief Executive Josh D’Amaro, who took the reins of the company last month. In a message to employees, he said the company needed to “constantly assess how to foster a more agile and technologically-enabled workforce to meet tomorrow’s needs.”

What I’m watching

Some friends and I watched “Fukushima: A Nuclear Nightmare” this past weekend, a truly eye-opening documentary that explains what happened during the March 11, 2011, nuclear accident and whether the world has learned anything from it.