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Who knows if Kendrick Lamar will sit for a formal deposition in Drake’s ongoing defamation lawsuit against Universal Music Group, after Lamar flambéed him on “Not Like Us.” But at SoFi Stadium on Wednesday, Lamar and his co-headliner SZA had a great recurring bit imagining what might happen.

In a fake video montage played between set changeovers, Lamar responded to mock-questioning like, “When you said you want the party to die, was that a metaphor or are you serious?” and “Don’t you think disappearing is a form of attention-seeking?” by blowing him off and phoning in a big order of takeout. SZA then lighted up an enormous joint in the lawyer’s office.

The pair’s Grand National Tour is a triumph of the unbothered. Wednesday’s set — the first of a three-night SoFi stand — was a bountiful, meticulous three-hour show that centered on the camaraderie between two of the most important acts in contemporary music. They had a wicked sense of humor about the performance too. At one point, SZA seduced a giant, slicked-up praying mantis dancer. If only we all had the same leeway when deposed.

Lamar, coming off a pair of Grammy wins for “Not Like Us” and a gleefully petty Super Bowl halftime show, is at perhaps the peak of his career. So it’s worth noting how inspiringly egalitarian this hometown show was — a hierarchy-free split with former TDE labelmate SZA, often fully meshing their sets together for their on-record collaborations. The format brought new energy and understanding into their catalogs, all while the pair gassed each other up as virtuoso live performers.

Kendrick Lamar and SZA at the 2016 Grammys.

(Lester Cohen / WireImage)

On Wednesday, SZA arguably made the most of the stadium-sized opportunity. SZA is a powerhouse vocalist and musical omnivore with a stoner’s comic timing (most recently seen in the charming comedy film “One of Them Days”). But she’s now honed her stagecraft to be on par with any pop royalty. Between “Snooze” and “Crybaby,” she was lifted on wires, revealing a gauze train in the shape of a chrysalis, to spellbinding effect. It took some real mettle to then perform her ballad “Nobody Gets Me” midair.

A surprise cameo from Lizzo paid alms to their long friendship, and a bawdy slice of her verse from Drake’s “Rich Baby Daddy” proved she can own even a nemesis’ material with her charisma. When she spun “Garden (Say It Like Dat)” into “Kitchen,” the dancers’ delightfully goopy, insectoid costumes and monolithic ant sculpture felt like H.R. Giger taking mushrooms on a warm afternoon in Kenneth Hahn State Recreation Area.

When she and Lamar shared the stage, as on the Oscar-nominated “All the Stars,” “30 for 30” and their respective solo cuts “Doves in the Wind” and “LOVE.,” there was an alchemy between two superfans, their physical presence across the diamond-shaped catwalks reinvigorating this long-beloved music.

At this point, Lamar’s case for being the best rapper alive is fully closed. Of course he is. Even if you thought the title was a little wobbly after the knotty, skeptical “Mr. Morale & the Big Steppers,” the acid-bath of “Not Like Us” and the L.A-embodying surprise release “GNX” slammed the debate shut as it spun off hit after hit. Who else could make a pitch-perfect indictment of the current American political climate onstage at the Super Bowl halftime show, while needling his most loathed enemy and spinning off memes with just a quick grin in bootcut jeans?

At SoFi, a few miles from his old Compton backyard, he drew from that monumental catalog and recontextualized it for this club-ready, venom-streaked era. The show’s format covered more than 50 songs between the two artists, so even when he only got to a verse or two, there was always something new or bracing. Here, “m.A.A.d. city,” one of his hardest and cruelest street cuts, became a meta-R&B number that made the song even more eerie. On “Humble.,” he was flanked by female dancers posing in vicious geometric forms, physically embodying the ego-check of the song’s chorus.

The Drake flame-war material was delicious fun, from the shots-fired kickoff verse on “Like That” to the relentless, merciless taunts on “Euphoria.” But the “GNX” segments, like the Tupac-conjuring “reincarnated” and the ice-cold “peekaboo” (and, obviously, the great Mustard-y howl of “tv off”) made the case for how this album will continue to reveal new textures and resonate in L.A. lore. There wasn’t room for a five-times-reprised “Not Like Us” like at his history-making 2024 “The Pop Out: Ken & Friends” set. But when he did play it, it was less about his archenemy than about L.A., a city with a new song in the canon, a definitive “Us” who were all alike in screaming it.

It felt poignant that Lamar and SZA reunited again for the set’s closers, the unexpectedly relentless Hot 100 fixture “luther” (now at 13 weeks at No. 1) and “gloria,” Lamar’s bait-and-switch about his complicated relationship to his own writing process. With SZA as his Greek chorus, he ended the night on a note about how all this relentless work was worth it to arrive at real self-understanding. An ally that will never fail, no matter who out there is deposing you.

WASHINGTON — President Trump used a White House meeting to forcefully confront South African President Cyril Ramaphosa, accusing the country of failing to address Trump’s baseless claim of the systematic killing of white farmers.

Trump even dimmed the lights of the Oval Office to play a video of a far-left politician chanting a song that includes the lyrics “kill the farmer.” He also leafed through news articles to underscore his point, saying the country’s white farmers have faced “death, death, death, horrible death.”

Trump had already cut all U.S. assistance to South Africa and welcomed several dozen white South African farmers to the U.S. as refugees as he pressed the case that a “genocide” is underway in the country.

The U.S. president has launched a series of accusations at South Africa’s Black-led government, claiming it is seizing land from white farmers, enforcing anti-white policies and pursuing an anti-American foreign policy.

Experts in South Africa say there is no evidence of white people being targeted for their race, although farmers of all races are victims of violent home invasions in a country that suffers from a very high crime rate.

“People are fleeing South Africa for their own safety,” Trump said. “Their land is being confiscated and in many cases they’re being killed.”

Ramaphosa pushed back against Trump’s accusation. The South African leader had sought to use the meeting to set the record straight and salvage his country’s relationship with the United States. The bilateral relationship is at its lowest point since South Africa enforced its apartheid system of racial segregation, which ended in 1994.

“We are completely opposed to that,” Ramaphosa said of the behavior alleged by Trump in their exchange. He added, “that is not government policy” and “our government policy is completely, completely against what he was saying.”

Trump was unmoved.

“When they take the land, they kill the white farmer,” he said.

At the start of the Oval Office meeting, Trump described the South African president as a “truly respected man in many, many circles.” He added: “And in some circles he’s considered a little controversial.”

Ramaphosa chimed in, playfully jabbing back at a U.S. president who is no stranger to controversy. “We’re all like that,” Ramaphosa said.

Trump issued an executive order in February cutting all funding to South Africa over some of its domestic and foreign policies. The order criticized the South African government on multiple fronts, saying it is pursuing anti-white policies at home and supporting “bad actors” in the world like the Palestinian militant group Hamas and Iran.

Trump has falsely accused the South African government of a rights violation against white Afrikaner farmers by seizing their land through a new expropriation law. No land has been seized, and the South African government has pushed back, saying U.S. criticism is driven by misinformation.

The Trump administration’s references to the Afrikaner people — who are descendants of Dutch and other European settlers — have also elevated previous claims made by Trump’s South African-born advisor Elon Musk and some conservative U.S. commentators that the South African government is allowing attacks on white farmers in what amounts to a genocide.

That has been disputed by experts in South Africa, who say there is no evidence of white people being targeted, although farmers of all races are victims of violent home invasions in a country that suffers from a very high crime rate.

Secretary of State Marco Rubio on Tuesday said Trump remains ready to “reset” relations with South Africa, but noted that the administration’s concerns about South African policies cut even deeper then the concerns about white farmers.

South Africa has also angered the Trump White House over its move to bring charges at the International Court of Justice accusing Israel of committing genocide against Palestinians in Gaza. Ramaphosa has also faced scrutiny in Washington for his past connections to MTN Group, Iran’s second-largest telecom provider. It owns nearly half of Irancell, a joint venture linked with the Islamic Revolutionary Guard Corps. Ramaphosa served as board chair of MTN from 2002 to 2013.

“When one country is consistently unaligned with the United States on issue after issue after issue after issue, now you become — you have to make conclusions about it,” Rubio told Senate Foreign Relation Committee members at a Tuesday hearing.

With the deep differences, Ramaphosa tried mightily to avoid the sort of contentious engagement that Ukraine President Volodymyr Zelensky experienced during his late February Oval Office visit, when the Ukrainian leader found himself being berated by Trump and Vice President JD Vance. That disastrous meeting ended with White House officials asking Zelensky and his delegation to leave the White House grounds.

The South African president’s delegation included golfers Ernie Els and Retief Goosen in his delegation, a gesture to the golf-obsessed U.S. president. Ramaphosa brought Trump a massive book about South Africa’s golf courses. He even told Trump that he’s been working on his golf game, seeming to angle for an invitation to the links with the president.

Luxury goods tycoon and Afrikaner Johann Rupert was also in the delegation to help ease Trump’s concerns that land was being seized from white farmers.

Ramaphosa turned to the golfers, Rupert and others to try to push back gently on Trump and make the case that the issue of crime in South Africa is multidimensional problem.

At one point, Ramaphosa called on Zingiswa Losi, the president of a group of South African trade unions, who told Trump it is true that South Africa is a “violent nation for a number of reasons.” But she told him it was important to understand that Black men and women in rural areas were also being targeted in heinous crimes.

“The problem in South Africa, it is not necessarily about race, but it’s about crime,” Losi said. “We are here to say how do we, both nations, work together to reset, to really talk about investment but also help … to really address the levels of crime we have in our country.”

Musk also attended Wednesday’s talks. He has been at the forefront of the criticism of his homeland, casting its affirmative action laws as racist against white people.

Musk has said on social media that his Starlink satellite internet service isn’t able to get a license to operate in South Africa because he is not Black.

South African authorities say Starlink hasn’t formally applied. It can, but it would be bound by affirmative action laws in the communications sector that require foreign companies to allow 30% of their South African subsidiaries to be owned by shareholders who are Black or from other racial groups disadvantaged under apartheid.

The South African government says its long-standing affirmative action laws are a cornerstone of its efforts to right the injustices of the white minority rule of apartheid, which denied opportunities to Black people and other racial groups.

Imray and Madhani write for the Associated Press. Imray reported from Johannesburg. AP writers Seung Min Kim, Chris Megerian and Darlene Superville contributed to this report.

You only get one shot at a first impression — and for the Sparks, led by a first-year coach and a new superstar, Sunday marked the home crowd’s first glimpse of the new-look squad inside Crypto.com Arena.

With high aspirations, including a return to the playoffs, the Sparks faced an early litmus test in the Minnesota Lynx — a perennial contender and last year’s WNBA runner-up, led by one of the league’s elite talents in Napheesa Collier.

The Sparks showed they are clearly capable of competing for a playoff spot with their energetic and cohesive play, but their 89-75 loss to Minnesota also demonstrated they’re still behind the league’s elite teams.

In the first half, the Sparks (1-1) went toe-to-toe with the Lynx. They trailed 46-45 at halftime, an encouraging start for a team learning to gel under new leadership while facing a battle-tested opponent returning five starters from last year’s Finals run.

Dearica Hamby led the charge on the offensive glass, relentlessly converting at the free-throw line. She led the Sparks with 20 points and 10 rebounds for her second straight double-double.

Azurá Stevens was unshaken on catch-and-shoot looks, confidently letting it fly on her way to a team-high 21 points. Rickea Jackson added a physical presence, attacking defenders and establishing herself in the lane.

But by the start of the fourth quarter, the Sparks trailed by eight. They mounted a brief comeback, sparked by a Kelsey Plum steal that led to a transition layup, cutting the deficit to 80-75. A gritty defensive stand followed, with rookie Sarah Ashlee Barker and Collier hitting the deck for a loose ball, setting up another Sparks possession.

But missed opportunities on the offensive end allowed the Lynx (2-0) to regain momentum and push the lead to double digits — a margin that proved too much to overcome.

Already shorthanded, the Sparks suffered another blow when Jackson went down after a hard collision late in the third quarter. She remained on the floor for a few minutes before walking off with the help of trainers. Jackson watched the rest of the game from the bench.

Stevens was a much-needed contributor, showcasing the skills she worked on during the offseason, notably her improved three-point shooting. She scored 12 of the team’s first 17 points, making her first trio of three-point attempts to give the Sparks an early lead.

Defensively, Stevens drew the tough assignment of containing Collier, a matchup nightmare for the entire Sparks unit. Coming off a 34-point outing Friday that tied her career high, Collier scored 23 points.

The Sparks leaned heavily on Plum in their season-opening win Friday against Golden State, logging 40 minutes — a workload coach Lynne Roberts called “unsustainable.” To lighten the load, Roberts turned to Barker for critical minutes at the point.

While Barker wasn’t stellar offensively, she played 24 minutes and brought a much-needed jolt of defensive energy. Plum finished with 18 points and five assists.

It marked Barker’s first game at Crypto.com Arena — a milestone for the self-proclaimed “Mamba Mentality” disciple, stepping up for a depleted backcourt. With just four healthy guards available, the team continues to navigate Rae Burrell’s absence as she recovers from a knee injury that is expected to keep her out six to eight weeks.

Last November, gathered along the concourse of Crypto.com Arena, newly appointed Sparks head coach Lynne Roberts issued a clear directive on her first day for the 2025 season: to win. A tall order coming off the worst season in franchise history.

Seated beside her, general manager Raegan Pebley, certain she had chosen the right leader to revive a franchise that had tumbled far from its championship standard, echoed Roberts’ belief.

Five months later, back on that very concourse, Roberts’ message remained unmistakable: “We’re not just happy to be here. … We want to compete, and every time we put on that jersey, we want to win.”

The message, trickling down from the Sparks’ front office to the coaching staff to the players, is unified — it’s not a rebuild, nor a restart, but a reclamation.

After years of decline, an offseason injection of capital followed by a franchise-altering trade and the signing (and re-signing) of championship-experienced veterans, signaled a push to restore the reputation of a flagship WNBA team in one of the league’s marquee markets.

While desire alone won’t guarantee victories, especially for a team with just eight last season, this season has already started on a promising note with a dominant 84-67 victory that spoiled the expansion Golden State Valkyries’ first regular-season game on Friday.

With last year behind them, the focus is on ending a four-year playoff drought.

“I haven’t been shy about saying I want to make the playoffs,” Roberts said on what first-year success looks like. “With the roster we have, we can. Is it going to be hard? Yeah, climbing is hard. Changing things is hard.”

For a reclamation to take hold and a climb back into playoff relevance to become a reality, the Sparks will rely on the dogged leadership of their newest star, Kelsey Plum, acquired in a three-team trade in January. The fiery floor general is not just here to run the point. She’s here to lead.

A fresh voice on the team, Plum brings a superstar stature to complement fellow All-Star Dearica Hamby. Their reunion is a full-circle moment. After six seasons and a championship together in Las Vegas, they’re back on the same side, this time with something to prove in L.A.

“It’s no mystery that they’re our best players, and when your best players are also your hardest workers, they lead by trying to empower,” Roberts said. “The most impactful part is that they do it without ego. They’re very confident. … It’s impossible as a young player not to be affected by that. … But it’s in a way that’s never threatening or intimidating.”

This season, the team will lean on the duo’s championship pedigree, counting on them to instill the mindset and habits of a winning culture. So far, the two have led in different but equally impactful ways.

In stepping into a new leadership role, Plum sets the tone with fierce competitiveness, pushing younger teammates through example and empowerment. Hamby counters with understanding and steadiness, serving as a calming presence and mentor. This dichotomy of leadership styles could prove instrumental in a locker room filled with rookies and rising stars.

Sparks guard Kelsey Plum, bringing the ball up the court while defended by Valkyries guard Kate Martin, had 37 points, six assists and five steals in a season-opening win Friday.

(Jeff Chiu / Associated Press)

Plum arrives with an impressive list of accolades — two-time champion, three-time All-Star, Sixth Woman of the Year, Olympic gold medalist. Those credentials could easily stoke ego or entitlement, but by all accounts, her demeanor in the locker room is anything but that. Teammates describe her as grounded and approachable. They’ve quickly rallied behind her.

“I enjoy coming to work every day,” said forward Rickea Jackson, entering her second season. “To be part of something like this, it’s a breath of fresh air. Some people try to overstep or be a stickler, but she [Plum] does just enough. She says just enough. Her energy speaks for itself — she doesn’t have to feel like she has to go out and get respect.”

For Plum, this season is about fulfilling the blueprint Pebley and Roberts outlined in their first conversation. Their shared commitment to restoring the Sparks’ championship standard — something the franchise hasn’t lived up to in nearly a decade — convinced Plum to approve the trade months ago.

“Everything starts and ends with vision — you operate out of a vision,” Plum said. “In life, you’ve got to adapt and continue to grow and get better. And I understand there’s been a lull here, and everyone’s aware of that. … I’m here to not only build culture, but affect winning, and I think they’re on the same trajectory.”

After years of contributing to championship-caliber teams, Plum is champing at the bit to lead her own squad. She believes that focusing on executing the game plan and driving team success will naturally lead to individual accolades.

“There are a lot of players who can put up empty stats, but for me, it’s about how I can help this team win,” Plum said. “I understand where we were last year, and my goal is to significantly change that.”

Statistically, Hamby and Plum rank among the WNBA’s elite duos. Last season, Hamby led the team, averaging 17.3 points, 9.2 rebounds and 1.7 steals per game. Plum brings added offensive depth with a top-10 scoring average (17.8 points) and precision shooting from beyond the arc — she was third in the league with 110 made three-pointers.

After one game, the two are already thriving under Roberts’ new system, which stresses freedom — freedom to stretch the floor, create more open three-point opportunities and boost offensive output through a “positionless” approach. Plum scored 37 points — the most ever in a WNBA season opener — while Hamby recorded a double-double with 14 points and 10 rebounds against the Valkyries.

“It’s clear they have on-court chemistry,” Roberts said. “They’re not afraid to use their voice. … I can call something, and then those two are kind of whispering about how they’re going to run an audible, and it almost always works.”

As a team, everyone from decade-long veterans such as Plum and Hamby to rookies Sarah Ashlee Barker and Sania Feagin, is learning the system together, fostering a shared urgency to get on the same page and reap the benefits of a reset.

“I feel like we are ahead of the curve in terms of our newness,” said Jackson of the reimagined Sparks. “Everyone’s a hooper, everybody’s a dog. You can tell we just want to win at the end of the day… We hold each other accountable, and no one takes it personally.”

At their core, the Sparks are a youthful roster. Jackson, Cameron Brink and Rae Burrell — all under 25 — were starters last season and represent the foundation of the team’s future.

For now, Jackson appears poised to take a step forward from the start. She spent the offseason sharpening her skills in Unrivaled, the women’s professional three-on-three basketball league.

Jackson’s play has many picking her as the WNBA’s next breakout star — a high bar that comes with even higher pressure for last year’s No. 4 overall draft pick. A standout from one of the deeper draft classes in recent memory, Jackson is expected to ascend from rookie starter to potential All-Star.

Sparks forward Dearica Hamby, right, gets past Valkyries forward Monique Billings for a layup during a season-opening win on Friday.

(Jeff Chiu / Associated Press)

Burrell also benefited from Unrivaled, but she suffered an apparent knee injury in Friday’s opener against the Valkyries and had to be carried off the court by teammates. It’s unclear how much time she could miss, but it might be significant.

Brink, Jackson’s rookie classmate, is still rehabbing from aknee injury. On media day, she offered a positive update, saying she feels confident about her recovery.

Barring setbacks, Brink is expected back around the All-Star break in mid-July. She participated in parts of training camp, building chemistry with Plum, but was occasionally absent and seen in a walking boot due to “foot discomfort,” per the team. The organization remains cautious in its approach and says Brink “continues to move in a positive direction.”

Azurá Stevens is stepping up to fill the frontcourt gap in Brink’s absence. A former champion with the Chicago Sky, now in her second stint in L.A., Stevens also competed in Unrivaled this offseason. She helped lead Rose BC to the inaugural championship.

Pebley and Roberts shaped the roster through close collaboration. While they aligned on many decisions and diverged on others, Pebley says every move stemmed from open dialogue and thoughtful debate.

Now in her second year as GM, Pebley is intrinsically linked to Roberts, with their roster-building synergy central to the team’s foundation. A unified approach is believed to give Roberts, an accomplished leader with 27 years of college coaching experience but new to the pros, the best chance to succeed in her first WNBA season and years to come.

“We are really working hard to make sure that we’re building to a win-now mentality, but also win in the future,” Pebley said. “And there’s a balance. … There’s a lot of thoughtfulness that has to go into all of these decisions to make that happen.”

Against the Valkyries, the starting lineup featured Plum — the lone newcomer — alongside 12-year veteran Odyssey Sims in the backcourt, Jackson and Hamby at forward with Stevens anchoring the frontcourt. The plan is to stick with this lineup until Brink returns.

Winning is at the forefront this season. The hope is that the organization has built a roster around Plum and Hamby, a pair of All-Stars capable leading the team on a postseason run. .

Plum is ready for the task.

“I was put in this position to be able to carry a heavier load,” Plum said. “And I have broad shoulders.”

In comic book terms, Servite’s group of talented sprinters would be described as “faster than a speeding bullet.”

There’s so many of them that a rival coach quipped, “They run so fast no one can see them.”

Under an overcast sky and with unusually cool temperatures for May, Saturday’s Southern Section track and field championships at Moorpark High was not conducive to record times, but that didn’t prevent the Friars from turning on the speed.

It started with winning the Division 3 4×100-meter relay in 40.43 seconds but really got going when sophomore Benjamin Harris ran a career-best time of 10.32 seconds to win the 100 meters, an event in which the Friars accumulated 20 points.

“I feel I have more in the tank,” Harris said. “It’s not my favorite weather. I like running in heat, but you have to adapt.”

Later in the 200 meters, he won in 20.96 seconds and Servite athletes also claimed third, fourth, fifth and sixth. Freshman Jalen Hunter won the 400 in 47.10.

Brandon Thomas, Servite’s coach, has used his many fast runners to push each other in practices.

“The next three weeks we’re going to be real hot,” he said.

Servite could be a state title contender, but despite its sprinter success, the Friars fell short to Sherman Oaks Notre Dame for the Division 3 team title. The Knights found enough depth in the field events to finish with 106.5 points to Servite’s 104. JJ Harel made major contributions with a win in the high jump, second place in the triple jump and fourth in the long jump. Aaron Uzan got a surprise win in the 110-meter hurdles.

The Masters Meet next Saturday at Moorpark, which features the 18 best qualifiers, will have a memorable 100. Rodney Sermons of Rancho Cucamoga, a USC commit, won the Division 1 100 in 10.36 seconds. He also took the 200 in 20.29. Sophomore Demare Dezeurn of Bishop Alemany set a Division 4 100 record in 10.42 seconds.

Keelan Wright of Chaparral defended her Division 1 100 meters title, winning in 11.50 seconds.

(Craig Weston)

In the girls Division 1 100, Georgia-bound Keelan Wright of Chaparral repeated as champion with a time of 11.50. Marley Scroggins of Calabasas set a Division 3 100 record at 11.59 and won the 200 in 23.84. Wright also won her 200 in 23.32.

Evan Noonan of Dana Hills, one of the top distance runners in the nation, broke his own record in the Division 1 1,600 meters, winning in 4:03.71. The Stanford commit is aiming for his best performance to come next month at the Nike Outdoor Nationals. He has limited his appearances this spring trying to peak at the right time.

Evan Noonan of Dana Hills set a Division 1 record in the 1,600.

(Craig Weston)

“I wasn’t planning on it today but it was fun,” he said of his record. “I don’t feel 100% fresh but am moving in the right direction.”

Junior Alden Morales of JSerra set a Division 3 record in the 800 meters at 1:50.79.

Sophomore Darren Haggerty of Viewpoint, the school’s top wide receiver, surprised himself with personal bests to win the Division 4 long jump at 22 feet, 8 inches and high jump at 6-6. “It just happened,” he said. Viewpoint tied Gardena Serra for the Division 4 team title.

Aja Johnson of Notre Dame, headed to Louisville, won the Division 4 girls shotput at 46-2. Kaylin Edwards, the Long Beach Wilson senior who won a state championship in the 300-meter girls hurdles as a sophomore, showed she has regained her form in the 100 hurdles, winning Division 1 in 13.90. Wilson won the team title.

Benjamin Harris of Servite (middle) holds off Jaxon Gates of Damien (right), winning the Division 3 100 meters in 10.32 seconds.

(Craig Weston)

Braelyn Combe of Corona Santiago won her second straight Division 1 girls title in the 1,600 with a time of 4:46.99. She finished second at last year’s state final to Ventura’s Sadie Engelhardt.

On the boys’ side, Long Beach Poly (Division 1) and Culver City (Division 2) were among the team title winners. Canyon Country Canyon (Division 2), JSerra (Division 3) won girls’ team titles, as did St. Mary’s and Rosary, which finished tied in Division 4.

Chad Smith remembers the night in 2003 when the Red Hot Chili Peppers played for an audience of 80,000 or so amid the rolling hills of the Irish countryside.

After a somewhat fallow period in the mid-’90s, the veteran Los Angeles alt-rock band resurged with 1999’s eight-times-platinum “Californication” and its 2002 follow-up, “By the Way,” which spawned the chart-topping single “Can’t Stop.” To mark the moment, the Chili Peppers brought a crew to document their performance at Slane Castle, where they headlined a full day of music that also included sets by Foo Fighters and Queens of the Stone Age, for an eventual concert movie.

“Everything’s filmed now, but back then it was a big shoot,” Smith, the band’s drummer, recently recalled. “You can get a little self-conscious. At the beginning, I f— something up — nothing nobody would know, but we would know — and Flea kind of looked at me,” he said of the Chili Peppers’ bassist. “We gave each other this ‘Oh s—’ look. We laughed it off, and I don’t think I thought about it after that because the crowd was so engaged. The energy was incredible.”

Twenty-two years later, the Chili Peppers are bringing that 2003 gig to screens again — only this time they’re string puppets.

“Can’t Stop” is director David Fincher’s re-creation of the band’s rendition of that tune at Slane Castle. Part of the just-released fourth season of the Emmy-winning Netflix anthology series “Love, Death + Robots,” the animated short film depicts the Chili Peppers — Smith, Flea, singer Anthony Kiedis and guitarist John Frusciante — as dangling marionettes onstage before a veritable sea of the same. As the band rides the song’s slinky punk-funk groove, we see Flea bust out some of his signature moves and Kiedis swipe a fan’s cellphone for a selfie; at one point, a group of women in the crowd even flash their breasts at the frontman.

The puppets aren’t real — the entire six-minute episode was computer-generated. But the way they move looks astoundingly lifelike, not least when one fan’s lighter accidentally sets another fan’s wires on fire.

So why did Fincher, the A-list filmmaker behind “Fight Club” and “The Social Network,” put his considerable resources to work to make “Can’t Stop”?

“A perfectly reasonable inquiry,” the director, who executive produces “Love, Death + Robots,” said with a laugh. “First and foremost, I’ll say I’ve always wanted a Flea bobblehead — it started with that. But really, you know, sometimes there’s just stuff you want to see.”

Why did David Fincher turn the Chili Peppers into puppets? “First and foremost, I’ll say I’ve always wanted a Flea bobblehead — it started with that. But really, you know, sometimes there’s just stuff you want to see.”

(Netflix)

Fincher, 62, grew up loving Gerry Anderson’s “Thunderbirds” series featuring his so-called Supermarionation style of puppetry enhanced by electronics. But the Chili Peppers project also represents a return to Fincher’s roots in music video: Before he made his feature debut with 1992’s “Alien 3,” he directed era-defining clips including Paula Abdul’s “Straight Up,” Madonna’s “Express Yourself” and “Vogue” and George Michael’s “Freedom! ’90.” (Fincher’s last big music video gig was Justin Timberlake’s “Suit & Tie” in 2013.) In addition to “Thunderbirds,” he wanted “Can’t Stop” to evoke the ’80s work of early MTV auteurs like Wayne Isham and Russell Mulcahy — “that throw 24 cameras at Duran Duran aesthetic,” as he put it.

Fincher said he knew his puppet concept would require “a band you can identify just from their movement,” which seems like a fair way to describe the Chili Peppers. He recalled first encountering the band around 1983 — “I think it was with Martha Davis at the Palladium?” he said — and was struck by a sense of mischief that reminded him of the “elfin villains” from the old Rankin/Bass TV specials.

“I feel like Finch got the spirit of me,” said Flea, 62, who’s known the director socially for years. The bassist remembered discussing “Can’t Stop” with Fincher at a mutual friend’s house before they shot it: “I was talking about how I still jump around onstage and my body still works really good. But I used to dive and do a somersault while I was playing bass — like dive onto my head. And now I’m scared to do it.” He laughed. “Some old man thing had happened where I’m scared to dive onto my face now. Finch went, ‘Well, Puppet Flea can do it.’”

Sketches of Red Hot Chili Peppers drummer Chad Smith and bassist Flea as puppets in Vol. 4 of Netflix’s “Love, Death + Robots.” (Netflix)

After doing a day of motion capture with the band at a studio in the Valley, Fincher and a crew of animators from Culver City’s Blur Studio spent about 13 months working on “Can’t Stop.” Fincher said the hard part was giving the marionettes a feeling of suspension.

“With the mo cap, you’re capturing the action of a character who has self-determination,” he said, referring to a human Chili Pepper, “then you’re applying that to an object that has no self-determination,” meaning a puppet controlled by an unseen handler. “It’s so much trickier than it looks. But that was kind of the fun, you know? I mean, not for me,” he added with a laugh.

Asked if the production involved any use of AI, Fincher said it didn’t. “It’s Blur — it’s a point of pride for them,” he said. But he also shrugged off the idea that that question has become a kind of purity test for filmmakers.

A digital rendering of the Chili Peppers as puppets.

(Netflix)

“For the next couple of months, maybe it’ll be an interesting sort of gotcha,” he said. “But I can’t imagine 10 years from now that people will have the same [view]. Nonlinear editing changed the world for about six weeks, and then we all took it for granted.

“I don’t look at it as necessarily cheating at this point,” he continued. “I think there are a lot of things that AI can do — matte edges and roto work and that kind of stuff. I don’t think that’s going to fundamentally ruin what is intimate and personal about filmmaking, which is that we’re playing dress-up and hoping not to be caught out.”

As he reportedly works on an English-language version of “Squid Game” and a sequel to Quentin Tarantino’s “Once Upon a Time … in Hollywood,” did making “Can’t Stop” lead Fincher to ponder the state of the music video now that MTV is no longer in the business of showcasing the form?

“Well, the audience that MTV aggregated — in retrospect, that was time and a place,” he said. “Remember, the Beatles were making music videos — they just called it ‘Help!’ There was no invention at all on MTV’s part.

“What I do miss about that — and I don’t think we’ll ever see it again — was that I was 22 years old and I would sketch on a napkin: This is kind of the idea of what we want to do. And four days later, $125,000 would be sent to the company that you were working with and you’d go off and make a video. You’d shoot the thing in a week, and then it would be on the air three weeks after that.

“You make a television commercial now and there’s quite literally 19 people in folding chairs, all with their own 100-inch monitor in the back. The world has changed.” He laughed.

“I started my professional career asking for forgiveness rather than permission, and it’s been very difficult to go the other direction.”

Last year could have been a storybook ending.

Had Clayton Kershaw been healthy, he likely would have been part of the Dodgers’ postseason rotation. He would have given them badly needed innings during their run to a World Series championship. And, in Year 17 of his future Hall of Fame career, he could have ridden off into the sunset, having little else to prove after playing an integral role on two championship teams.

“Yeah, if I was able to be a part of last year’s run and win a World Series and get to go out like that, that would have been really cool,” Kershaw said recently, contemplating what might have been if only he was available to pitch last October. “But I wasn’t. And it was still really fun to be part of. But it made it easier to want to come back, for sure.”

Back again, Kershaw is set to make his season debut for the Dodgers on Saturday after spending the first two months of the campaign recovering from offseason surgeries to address toe and knee injuries that sidelined him for the team’s title-winning trek through the playoffs last year.

Unlike previous offseasons, when the now 37-year-old Kershaw seemed to give retirement more serious thought, the three-time Cy Young Award winner made his mind up quickly last fall. Even before the Dodgers won their second championship in the last five years, he knew he wanted to pitch in 2025. After making just seven starts in 2024 with a 4.50 ERA, and missing the stretch run of the season when his long bothersome toe injury finally became too much, he didn’t want his career to end with him as a spectator, able only to cheer from the dugout as the Dodgers went on to win the World Series without him.

“For me, just getting back out on the mound is a big first step,” Kershaw said, ahead of what will be his first big-league outing since Aug. 30 of last year. “And then it’s the rest of the season, obviously. But just making it through Saturday and getting back out there is what I’ve thought about so far.”

To get to this point, the 18-year veteran had to endure a grueling offseason.

Days after the Dodgers’ World Series parade, Kershaw had two surgical operations: One on his left knee, where he had suffered a torn meniscus; and another on his left foot to address arthritis, a bone spur on his big toe and, most seriously, a ruptured plantar plate.

“If someone asked me, ‘What all did they do to your foot?’ I don’t know if I can answer all the way, but I know it’s not been fun,” Kershaw said, underscoring the complicated nature of a foot surgery, in particular, that he noted “only one or two baseball players” have had before.

“This one was painful,” he added, contrasting it to the relatively straightforward shoulder procedure he had the previous offseason. “It was like, ‘Oh, this is what people talk about when they talk about bad surgeries.’”

The worst part was the recovery, with Kershaw spending the better part of the next two months on crutches or in a walking boot.

“Trying to be on crutches and have four kids, it’s not easy,” he said. “Your offseason is supposed to be like, where you’re around and get to help more. And those first six weeks, I wasn’t much help. So it’s kind of a helpless feeling. And I don’t sit still well in general. So it was a hard process.”

Still, Kershaw’s commitment to come back never wavered. He was into a throwing program by the start of spring training. He began a minor-league rehab stint in the middle of April. And he posted a 2.57 ERA in five rehab starts, feeling he’d “turned the corner” with his foot over the last couple outings.

“Those last few rehab starts, I was more concerned about throwing well and getting guys out than I was [about] how my foot felt or anything like that,” he said. “So I think that was a good sign for me physically. And now, it’s just a process of figuring out how to get guys out consistently again and perform. That’s a much better place to be than seeing if you’re hurt.”

Exactly how Kershaw will fare back in the big leagues is an unknown. During his rehab stint, his fastball sat in the upper-80 mph range, a few ticks down from the already diminished velocity he’d had in recent seasons. He struck out only 16 batters in 21 innings, relying more on command and an ability to induce soft contact to navigate his way through starts.

On the other hand, Kershaw’s arm is as healthy as it’s been in years, now 17 months removed from his 2023 shoulder surgery. Even without eye-popping stuff last year, he proved to be competitive, owning a 3.72 ERA before leaving his Aug. 30 start early when his toe flared up. And simply having him back in the rotation will come as a boon for the Dodgers, who have been shorthanded recently with fellow starters Blake Snell, Tyler Glasnow and Roki Sasaki all nursing shoulder injuries.

“It’s a big shot in the arm,” manager Dave Roberts said. “Clayton has worked really hard to get healthy, and the bar is high for him, you know. He doesn’t want to just come back to be active. He wants to come back and help us win baseball games and be good. And so I know he’s excited to contribute.”

In a break from his typically stoic facade, that excitement was evident from Kershaw all week. Except when reflecting upon the departure of teammate and close friend Austin Barnes, Kershaw was smiling almost everywhere he went around the ballpark in recent days. “Is that unusual?” he deadpanned when a reporter noted the observation Thursday. He also downplayed his pursuit of 3,000 career strikeouts — he is just 32 Ks away from becoming the 20th member of the illustrious statistical club — in favor of amplifying the gratitude he felt about simply pitching in the majors once again.

“I think when you haven’t done something for a long time, and you realize that you miss it — you miss competing, you miss being a part of the team and contributing — there’s a lot of gratitude and gratefulness to get back to that point,” Kershaw said. “I definitely feel that. Now, if I go out there and don’t pitch good, it’s gonna go away real fast. So there’s a performance aspect of it, too. But I think for now, sitting on the other side of it, just super excited and grateful to get to go back out there again.”

When asked if he ever planned on hanging it up, Kershaw then laughed.

“Somebody will tell me to retire at some point, I’m sure,” he said.

But, after finishing last season injured and grinding through a long rehab this winter, that point is not now, not yet.

Eighteen years later, Kershaw still feels he has more to give.

“At the end of the day, you just want to be a contributing factor to the Dodgers,” he said. “You don’t want to just be on the sidelines. So I’m excited to get back to that.”

Like pretty much every other time the Dodgers have found themselves in a self-made mess, the task of downplaying a major problem once again was made the responsibility of manager Dave Roberts.

So, in the aftermath of a deflating 11-1 defeat by the Oakland Athletics on Tuesday night, Roberts trudged into the interview room at Dodger Stadium and applied a good old Stan Kasten spin to Roki Sasaki’s move to the 15-day injured list.

The point relayed by Roberts was basically this: Sasaki underwhelmed in his eight major league starts because of a shoulder pain that he kept secret from the Dodgers “for the last weeks,” and not because the 23-year-old rookie right-hander wasn’t as good as they previously thought.

“He hasn’t been as productive as he would have liked because he was compromised,” said Roberts, who added that Sasaki revealed his condition to the team after his most recent start.

The explanation raised an equally alarming possibility, however.

If Roberts’ story was accurate, and Sasaki experienced a shoulder impingement to the one that slowed him down last year in Japan, wouldn’t that point to a chronic problem?

As it was, Sasaki was already viewed as a high injury risk. He never remained healthy for an entire season with the Chiba Lotte Marines.

At this point, what’s worse? That Sasaki’s lack of control and decline in fastball velocity were because of a chronic shoulder issue? Or because he just was too raw to compete in the major leagues?

Either scenario would be problematic.

So, what now?

As much as the Dodgers sold Sasaki on how they could one day guide him to a Cy Young Award, his future isn’t their only priority. They also have to consider what’s best for their team, which is positioned to become baseball’s first repeat champion in a quarter century.

Even if the Dodgers acknowledge that Sasaki is more of a long-term project than a short-term solution and want to send him to the minor leagues when he returns, they might not have the luxury of doing so. They have signed four potential frontline pitchers in the last two years, and three of them are currently on the injured list — Sasaki, Blake Snell and Tyler Glasnow. The other, two-way player Shohei Ohtani, isn’t expected to pitch until after the All-Star break.

Snell was examined by a team doctor on Tuesday but the team didn’t provide any details about his condition. Glasnow played catch but Roberts didn’t provide a timeline for his return.

The rotation is in such a state of ruin that not only were the Dodgers forced to start Landon Knack on Tuesday, they were desperately awaiting the return of 37-year-old Clayton Kershaw four days later.

Roberts described Sasaki’s injury as “benign” but didn’t say when he might resume throwing. The manager insisted there were no thoughts of sending him to the minors, despite Sasaki posting a 4.72 earned-run average and completing six innings in just one start.

“I think our goal is to get him healthy, get him strong, make sure his delivery is sound for him to pitch for us,” Roberts said.

In other words, Sasaki will return to the mound in the major leagues. He will have to gain familiarity with low-quality American baseballs in the major leagues. He will have to become more comfortable with the pitch clock in the major leagues. He will have to strengthen his body to prevent future injuries in the major leagues. He will have to learn to throw something other than a fastball, forkball and slider in the major leagues.

The Dodgers knew Sasaki would require an adjustment period but they couldn’t have imagined anything this drastic.

The introductory news conference they staged for Sasaki in January was matched in scale in recent years only by Ohtani’s and Yoshinobu Yamamoto’s. That was where president of baseball operations Andrew Friedman declared Sasaki would start the season in the Dodgers’ rotation and general manager Brandon Gomes compared him to Paul Skenes of the Pittsburgh Pirates.

Back then, the Dodgers’ plan for Sasaki was simple: Insert him into the rotation and watch him develop into one of the best pitchers in baseball.

Sasaki can still become everything the Dodgers envisioned, but his path to greatness has become infinitely more complicated. Roberts remained characteristically upbeat, saying Sasaki concealed his shoulder problems from the team not because he was selfish but because he didn’t want to let down an injury-ravaged team.

“He’s a great teammate,” Roberts said.

With his rotation crumbling, Roberts didn’t have the luxury of viewing the situation any other way.