proves

The Son, as they say, will come out tomorrow.

Bet your bottom dollar that Son Heung-min, LAFC’s $26 million man — the record MLS fee for an incoming player — would peel himself off the mat and clear away the cobwebs and sorrows of the past few weeks and months.

He did it with a sizzling, right-footed goal in the 57th minute of LAFC’s 3-0 victory Friday over the Galaxy in the 27th rendition of El Tráfico and the first this year. Also, the first crosstown showdown of Son’s so-far, so-so tenure in L.A.

His arrival last August from Tottenham Hotspur in England’s Premier League was met with uncommon fanfare. Here came another global soccer icon to Major League Soccer — and to L.A., where the South Korean sensation was welcomed enthusiastically by a Korean diaspora that’s about 250,000 strong.

LAFC forward Son Heung-Min celebrates after scoring a goal against the Galaxy at Dignity Health Sports Park in Carson on Friday.

(Ronaldo Bolanos/Los Angeles Times)

The first Asian player to win the Premier League Golden Boot, Mayor Karen Bass spoke at Son’s introductory news conference. The Dodgers invited him to throw out the first pitch on Shohei Ohtani’s bobblehead night (and turned around this season and produced a bobblehead of Son throwing that pitch).

His first LAFC goal — a free kick over the wall in a 1-1 draw with FC Dallas — was named the MLS’s goal of the year. After notching 173 goals across all competitions with Tottenham Hotspur, he finished with nine goals in his first 10 regular-season appearances for LAFC.

Then the scoring stopped. As if someone turned off the spigot.

Before Friday, Son recorded nine assists but no goals over 13 unlucky matches this season. He went 44 shots without striking a goal. And 237 days between goals, according to The Chosun Daily’s tally.

Yeah, just a bit of what his LAFC teammate Mark Delgado described as “a drought.”

Most painfully, Son also was shut out in South Korea’s disastrously short World Cup stay.

South Korea entered the tournament with the expectation that its “golden generation” – led by Son – would reach the knockout stage. But after it opened Group A with a 2-1 win over Czechia, the Koreans lost 1-0 to Mexico and 1-0 to South Africa and failed to qualify for the round of 32 as one of the eight best third-placed teams.

The uproar in South Korea that followed included the country’s president demanding an investigation.

Mexico’s Julián Quiñones and South Korea’s Son Heung-min vie for the ball during a World Cup match on June 18 in Guadalajara, Mexico.

(Ricardo Mazalan / Ap Photo/ricardo Mazalan)

For his part, a heartbroken Son shared a statement on Instagram: “I don’t dare to convey the disappointment and hurt of the fans with a single word ‘sorry.’ So even saying those words feels insufficient.”

It was impossible not to wonder: What the heck?

Where was the version of Son that everyone was celebrating a year ago?

How did the 34-year-old’s game decline so suddenly?

Was this a classic case of overpromising and underdelivering?

It still might be. LAFC — now 8-5-3 and third in MLS’s Western Conference — is going to face tougher competition in the days ahead than the work-in-progress Galaxy.

But on Friday, the center-forward was aggressive and in control. He took two shots in the first seven minutes, both blocked by defenders. He toyed with the Galaxy just before halftime, lining up to take a penalty before turning it over to Denis Bouanga, who scored to make it 2-0.

Then he and Delgado exchanged passes in the second half to set up Son’s first goal in darn near forever.

LAFC coach Marc Dos Santos gave Son 10 days off after the World Cup, but Son said he was eager to return to L.A., because he so enjoys the camaraderie of this club.

Those good vibes were on display when Son’s shot whizzed between two defenders and the outstretched arms of Galaxy goalkeeper Novak Micovic.

Son put his finger to his lips in the universal “shhh” sign and then did his patented camera celebration — click! — miming a snapshot. Because every goal is precious, and let’s be real, you never know when another will come.

LAFC’s Son Heung-Min celebrates after scoring what could be a breakthough goal against the rival Galaxy at Dignity Health Sports Park in Carson on Friday.

(Ronaldo Bolanos/Los Angeles Times)

Around him, the crowd and his colleagues went wild.

Dos Santos did some vein-popping flexing on the sideline. Mathieu Choinière pumped his fists as though he were operating a handcrank. Jacob Shaffelburg and Ryan Hollingshead flanked him on either side as though posing for a family photo. Son’s hair got tousled and nobody wearing black and gold could stop smiling.

“He deserves it, coming back from an emotional World Cup, and joining us right away,” Dos Santos said.

“He’s a great guy,” Delgado said. “He’s been in a bit of a goal drought, and, you know, we all want him to score. We all, he’s always smiling, and in training, he’s always scoring.

“And we’re like, ‘yeah, we need that, we need that!’ Trying to give him confidence,” Delgado continued. “And in games, he finally is getting that confidence back. So to see him score and put the ball in the net and just see his face light up with a smile is awesome. We all want to see him succeed here. We all want him to lead this club like we know he can.”

Now the goal is to keep the goals coming.

“Scoring the first goal of this season, I think it [will] help me,” Son said. “I think, definitely, going forward through the second part of the season. So, let’s keep going, and hope Wednesday [against Salt Lake] I can score another goal.”

Bestselling author Jessica Knoll’s protagonists mostly follow a specific pattern: They are women who have learned Not. To. Flinch.

And, apparently, neither does Knoll. Talking over Zoom about her fourth novel, the erotic thriller “Helpless,” which is out this month, the author is blunt about the challenges it took to complete the book. “It takes a lot of skill to write good sex,” Knoll says. “I relied a lot on feedback from my editor and from my book agents saying ‘this is hot; this is not.’”

Knoll has written romantic scenes before, but “Helpless” needed to be enthralling and economic enough not to get her kicked off of Target’s bookshelves. In the end, the author says, “I went by what felt good and natural for these characters and maybe a little bit of the really unfiltered talk you have with your girlfriends after a couple martinis or are on a girls trip.”

Knoll’s successful career as a novelist rests on her knack for creating provocative page-turners that depict the absolute worst things one person could do to another — but in such a sensational, tongue-prickling-sour-candy kind of way that her books come off as devilishly evil beach reads. Since her debut bestseller, 2015’s “Luckiest Girl Alive,” — a master class in braided narration between a Machiavellian magazine editor and her younger self who endured so much emotional and physical trauma that it’s no wonder she grew up to be extremely calculating — to 2018’s reality TV-set “The Favorite Sister” and 2023’s “Bright Young Women,” a response to the public’s obsession with immortalizing serial killers while also not knowing the name of a single one of their victims. Knoll’s books are not only stories about women who do not care if you like them but also ones where disastrous results await the women who do follow our cultural conditioning to be agreeable to men.

Her “Helpless” heroine is not so different from a lot of her previous main characters: Type A overachievers with cutting inner monologues that let the reader know they’re always one step ahead in the social Darwinism that is female relationships. This time, she’s named Faye Heron, an Emmy-winning Hollywood multi-hyph who found cachet while working on one of those edgy premium dramedies that probably aired on HBO. Faye, and her husband/producing partner, have parlayed this notoriety into indie, cool-kid projects that are just commercial enough that some of the target audiences’ boomer parents may also watch.

When Faye’s beloved college professor dies suddenly and she’s asked to speak at a memorial ceremony, nostalgia and flattery make her drop everything and hightail it back to the leafy northeastern college town. The place is a time capsule with sketchy internet service, drunken frat boys, and — most crucially — Faye’s college boyfriend Henry, who is now married with two kids and still lives in the area. The clothing references and song choices are popcorn for those old enough to remember the aughts but young enough to party during them. The Elsa Peretti-designed Tiffany & Co. heart necklace that was the it-girl accessory of the time, and now is one that Gen Zers are fishing out of the bottoms of their parents’ jewelry boxes, factors significantly into the plot.

Although the story eventually spirals into other tropes of the Knoll-niverse — kidnappings, cover-ups, affairs, the laissez-faire security that only old money affords — Faye stands out because she wants to be told what to do. In a secure and mutually consenting relationship, of course. And preferably after she’s told her partner what she wants.

“Helpless” was influenced by the 1995 Susanna Moore thriller “In the Cut” as well as Sarah J. Maas’ currently uber-popular romantasy series “A Court of Thorns and Roses,” both of which discuss power imbalances and smart women who become enamored with dangerous lovers.

Knoll has always been open about creating work that’s commercial. She famously wrote a 2018 New York Times opinion piece, titled “I Want to Be Rich and I’m Not Sorry,” that discussed her need to rank in money with an almost Scrooge McDuck fervor: “Success, for me, is synonymous with making money,” she writes. “I want to write books, but I really want to sell books. I want advances that make my husband gasp and fat royalty checks twice a year. I want movie studios to pay me for option rights and I want the screenwriting comp to boot.”

(Evelyn Freja / For The Times)

During our Zoom, with the background carefully faded behind her wavy blond bob, she promises that she doesn’t just copy and paste her subjects and settings from what sells.

“I’m just always looking on what the spin is; like, what the timely take is on something that happens to capture my attention,” she continues, citing a habit she credits to her early career working in women’s magazines like Cosmopolitan and Self. She adds that “I just happen to be interested in, like, really dark s—.”

“Helpless,” Knoll stresses, is a work of fiction; even though fans may be looking to draw comparisons to her life since “Luckiest Girl” was heavily influenced by her own career and childhood. Like the book’s Faye, Knoll went to a private liberal arts college. She’s spent time in the Adirondacks with the wealthy families who vacation in bare-basics cabins on the land they own. And she has dealt with her share of studio executives. Unlike Faye, Knoll is happily married to her husband, financial technology executive Greg Cortese. They share a young daughter. Last year, the family moved back to New York after some time in Los Angeles.

She does relate to Faye’s wealth dynamics. Her “Helpless” heroine grew up middle class but now has reached the “made it” level of nervous cockiness that happens when you combine new money and fame; the dream of so many who move to L.A. Henry, Faye’s ex, and his family are so comfortable in their generational wealth that he was raised to wear the same, now-bleach-stained, chambray button-down he had in college than buy a new one because clothes aren’t sound investments.

Knoll says she doesn’t want “things to feel didactic,” but concedes that class divides offer a treasure trove of stories.

“I just find myself going back to, again and again, this idea of someone who is the outsider because they don’t have the pedigree of their peers, but however many years later they’ve accomplished something and they think that they’re on more equal footing with these people from their past,” Knoll says. “Then something happens that brings them back into this environment where maybe they felt less-than years ago. They think that they’re going to go back and be like, ‘well, I’ll show you now because I’ve made it’ and those feelings of inferiority are still there.”

As she’s grown older and her career has become more stable, Knoll says she doesn’t think about success and fame the same way she did when she wrote her viral opinion piece or gave interviews where she talked about money and her own financial security. She says now that her priority is “the longevity of the career.”

Like her heroines, no one tells Knoll what to do. Unless she gives the OK.

Friedlander is a pop culture and entertainment journalist based in Los Angeles who hates coffee but loves Coke Zero.

There was a time in the beginning of Sublime’s recent revival when Jakob Nowell, the son of the band’s late singer Bradley Nowell, saw himself simply as a good son trying to help his adoptive uncles — drummer Bud Gaugh and bassist Eric Wilson — restart his dad’s iconic Long Beach trio. The goal wasn’t to take the place of his frontman father who died of an overdose in 1996. “I’ll never look at it as my band. Sublime is my dad’s band, and I’m helping out, that’s all,” he told The Times in 2024. Luckily, he was wrong.

The journey of finding his own voice through his father’s sly, shambolic poetry and reggae rock anthems, along with his determination on the road with Gaugh and Wilson through a barrage of festivals and tour dates helped him eventually step into his own as a songwriter and Gen Z rock star. It’s all been done with the mission to preserving his dad’s legacy and having fun while doing it. Now it feels as natural as the trio sitting together on the waterfront in LBC’s shoreline marina within earshot of the bellowing horn of the Queen Mary earlier this year as they were finishing the recording of “Until the Sun Explodes,” the first album under the Sublime moniker in 30 years.

Just like the band’s original recipe of shoving punk, dub reggae, hip-hop and ska into a blender, the new songs dutifully stick to the formula along with Jakob’s soulful caterwauls that sound scarily similar to his dad. But what emerges from the 21-song tracklist is the evolution of a trademark sound that gives a nod to the past while standing strong on its own, just like Jakob, despite coming to the interview on crutches while healing from a performance-related knee injury. The band members chatted with The Times about recapturing the effortless essence of their immortal beach-ready sound and looking forward to a second chance to chase an endless summer.

This interview was edited for length and clarity

It’s kind of a rare thing for all three of you guys to be in one place at the same time. What was it like working in the studio together to finish the new album?

Bud Gaugh: Magical. Things are just coming together. We showed up, Jake had an idea for another song, and he sent us a little demo and said “Hey, this is what I’ve been thinking about.” And then we get down to the studio [in San Pedro], and he’s like, “Oh yeah, so I had another idea,” and kind of changed it. We jumped in there [and by the end of our sessions, we had written] brand new songs to the list of songs that we already had.

The band’s revival has been a long time in the making. I remember when you guys had your first show together, a surprise gig a couple years ago as part of a benefit show for the Bad Brains frontman H.R. Do you feel you’ve come a long way since then?

Eric Wilson: I never thought the chemistry would be like it was with Bradley.

Jakob Nowell: Especially now that we’ve been playing together this long, the chemistry is very much there. We’re just comfortable and having fun. Jamming together is the best. We get in there to do a take for a song, and I’m always like “Let’s just do like three more!” It’s just that much fun, and that’s how it feels playing live too.

When did the idea for creating a new album come about?

Gaugh: It was pretty much just while we were playing shows, At first, the idea was that we were getting together to do this benefit for H.R. [at Teragram Ballroom in December 2023]. We went from “How’s this going to work?” and then [after the show] it was like, “Wow, this is something special. We should definitely go out and play some more shows, and get this music out there and get the opportunity to bring the music to the people in the purest form that we possibly could.” As we’re doing that, it’s like we’re seeing the reaction in the fans, and we were feeling it emotionally. We realized this is going to be bigger than we ever thought. That’s when we really decided where it was going to go.

Jakob Nowell, right, once thought Sublime was only his late father’s band; now, fronting the Long Beach trio, he’s leading a new chapter that still honors Bradley Nowell’s legacy.

(Allen J. Schaben / Los Angeles Times)

Were any of the songs on the new album mined from previously unreleased material or did you start fresh?

Nowell: There was that song we did with Stick Figure [“Feel Like That”], so I think that kind of inspired us. [We realized] “Oh s—, there really is some meat on the bone.” And then I had found some old recordings of stuff that were just like jams without even like vocals or whatever. Then it became just this thing during sound check or maybe in the middle of sets, we’d just start jamming these random progressions and stuff, and it kind of just evolved from there naturally.

The new songs that I’ve heard fit right in the vein of what people love about Sublime. What was it like putting some of those new songs in the setlist as you were building them?

Nowell: It was like magic. We were joking yesterday that sometimes we’ll play a new song for the first time just randomly and I’d see people try mouthing the lyrics and stuff and I’ll say “you’ve never even heard this before! I know you haven’t. We don’t even really know what the hell we’re saying.”

Gaugh: You frontin’! [Laughs]

Nowell: But [the new material] sounded like it was supposed to be there, so it was kind of a rad little test in a lot of ways. We almost don’t even have to think about it. That’s always going to be the guiding goal of any band trying to make fun music that’s relatable.

Wilson: What if you’re Slayer? That’s not true if you’re Slayer.

Jakob, it seems like you’ve gotten a lot more comfortable in the frontman role since joining the band. What’s it like just taking the lead, not just for the sake of your dad, but for the fans?

Nowell: Oh, dude, it’s the best. I don’t even have to think about it. We really feel like this is — we’re a band, you know?

Gaugh: It’s [Jakob’s] band too. Now it’s our band. It’s us.

Nowell: It feels like that whenever we’re hanging out, just doing stuff, or at the studio or at these shows. So, this upcoming year feels like a really rad adventure. We got all these different eras [of fans] — people who were in their 50s when [Sublime’s] first stuff dropped, who are still alive, and then their kids and their grandkids and great grandkids. Everybody finds a piece of the discography they can relate to. That’s what is most exciting. It’s not just one or two songs, people sing along to everything.

I was at Warped Tour in Long Beach last year when you guys played and —

Nowell: That was my favorite set!

To me that felt like it encapsulated what you were talking about with the multigenerational groups of fans that have enjoyed you guys and associate you with Long Beach.

Gaugh: It was like a homecoming for me. I remembered playing the Chili Cook off, you know, right over there in the same area [as Warped Tour], and it was just bringing me back 30 years. It’s so meaningful to be in our backyard playing our music again, right there. This is where it all started. It’s come full circle.

Nowell: It was like playing at a local bar in a cool way. I had this huge group of people up front, they were just talking and shouting and saying stuff, like f–ing with us and joking around. I was like “Damn this is great!”

How about you, Eric? How’d you feel playing Warped?

Wilson: [Mumbles] It was f–ing awesome.

Now that you’ve played all these festival shows, from Coachella to No Values, you’ve got your own festival going on. Can you talk a little bit about Sublime Fest and your Sublime Reef Madness Cruise and how you came up with it?

Nowell: We could put on a bunch of the bands we love, and some of our boys, like Vandals, and make it our own vibe.

Gaugh: You walk around Coachella and there’s so many different elements there. Wouldn’t it be neat if we could make like all this like a Long Beach element, a Sublime element. Looking at this thing, it’s like “Oh wow. So we can actually get some of our friends and set up like a tattoo booth, and have our idea of art and everything out there, and mix it all together — food, art, music — bringing all these different elements, and friends of ours that play music. We get to decide who’s going to share the stage with us, so it’s really neat. It’s like planning a high school party or something like that.

Nowell: The biggest backyard party ever seen.

You guys always had your own sound going on, what’s it like to see that the fans still want it?

Wilson: It took a lotta years to catch on, but it did.

Nowell: Yeah, the kids really want that, like ‘90s, Y2K kind of vibe. That was the last era of like cool authenticity and stuff. You can see it when young people make stuff to look retro … when things get so high fidelity, we’re almost losing a little element, so I think these festivals kind of seek to bring some of that back in a way that everybody can get into.

With “Until the Sun Explodes,” Sublime’s first album in three decades, Jakob Nowell, Bud Gaugh and Eric Wilson rediscover their studio chemistry, jamming new songs that feel instantly familiar onstage.

(Allen J. Schaben / Los Angeles Times)

You guys also have the timeless iconography of the Sublime sun logo. The title of the album is “Until the Sun Explodes.” Does that title have any particular meaning to you?

Nowell: It’s almost just another way of saying “forever,” like “Oh baby I’m gonna love you till the sun blows up.” That’s gonna happen in billions of years, if at all. The fact that [Sublime’s] lasted this long and has this many fans is evidence to me that we wanna be here forever. I think that’s what everybody wants for themselves.

Jake, you’ve taken steps to advance your own aspirations and music with your label, Sunburnt Records, how does that fit into where Sublime is right now?

I was inspired by the whole Skunk Records thing [Sublime’s first label], Evan Zinger with [his lifestyle brand] SRH, and just all the local brands I grew up with when I was a kid. So just trying to do a cool, chill local thing that has that vibe of putting on small shows and kind of getting to use this new notoriety to be like, man, I have so many friends in these small bands like Strange Case and Eight Ball, and other bands up and down Southern California. Let’s put on shows and sneak them on a Sunburnt Stage at [Sublime Fest] and if people really like that Sublime sound here’s a bunch of kids who are carrying the torch like Slightly Stoopid did when they started out. Mike Watt always said “start your own band!” So the more we can inspire people to do that and be some small part of that, it’s a dream come true.

Do you feel like this version of Sublime is something Brad would be proud of?

Gaugh: We all kind of brought our own element to the music orignally. So we just kind of followed that recipe. Jake’s his own person, he’s got his own influences, and we just kind of stick with that idea. Jake brings in his feelings, and Eric brings in his and we sat there and recorded this song, and then as we were recording it, we’re coming up with ideas. It’s like, “Oh wait, we should do this here, slow that down there, stop here,” it’s all a conglomeration of ideas, everyone does their part, brings in their own spices and we mix it in a pot like gumbo.

LEE Andrews’ lies, mistruths and mystery disappearance have captivated the nation following his flash wedding to Katie Price in January.

Accusations of fraud, gaslighting and emotional abuse have been levelled at him by ex-partners in recent months, all of who fell under his smooth-talking spell and promises of a happy future and financial riches.

Back in March, I became the first newspaper journalist to interview Lee following his emergence as Katie’s new man.

I held out little hope of it taking place when my initial request via WhatsApp was met with weeks of silence.

But then, out of the blue, Lee replied that he was keen to chat and to quash the ‘lies’ that had been spread about him.

I believe he was either that confident in his powers of persuasion that he could brazenly talk himself out of the numerous question marks around his lavish lifestyle and career, or that he viewed me as a useful idiot who could be hoodwinked into washing his tarnished reputation — perhaps a combination of the two.

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We set a date to talk the following week, but when the time came Lee revealed he was struggling with illness and would need to reschedule.

The interview was then postponed twice more with Lee still under the weather and, at this stage, it felt like I was being strung along, destined for the same fate as the Good Morning Britain producers who tried to land him for a TV interview months later.

To my surprise, he eventually made it onto the Zoom call on Friday, March 26, speaking from inside a Dubai branch of Caffé Nero.

Tanned and with salt and pepper stubble, he wore a baseball cap and T-shirt and sounded like someone coping with the last remnants of a cold.

I found him to be amiable, relaxed and open to being grilled on subjects that I thought would make him uneasy.

Off the bat I asked if he was a fantasist and compulsive liar, which he dismissed with a chuckle, telling me the claims were “comical and spin”.

For over an hour we went through everything from his dodgy CV, which he claimed was the result of errors from an unnamed personal assistant, his desire to start a family with Katie and plans for a lavish second wedding, his ability to speak multiple languages (with some muddling examples) as well as serious allegations from his ex-partners, which Lee likened to “barking dogs”.

There was also lots of business talk, full of wordy jargon that I can only assume was designed to impress and baffle someone not au fait with the workings of a cutting edge tech firm.

At the end of it all, we thanked each other and said our goodbyes.

The following day, the story ran in the paper with the humorous tag line: “I don’t really like liars myself. I do everything with honesty (just don’t look too closely at his CV).”

It was perfectly befitting of the ridiculousness of the story at the time, before even more ludicrous claims came to light including Lee’s attempt to buy Chelsea Football Club and boasts about being an international arms dealer.

But I expected Lee might not see it the same way I did and the next day I was proved right when he messaged me to say: “I don’t appreciate the pictures your edit team have used or the way the article has been written.”

I politely explained that we had a duty to examine the various claims against him, that a light touch of light humour was to be expected and that there was no malice in the framing.

His follow up surprised me.

Rather than pushing back, or at least further pleading his innocence on the accusations about his wealth and past relationships, Lee reiterated that his biggest issue was with his looks.

He simply said: “I don’t like the photo at all.”

The photos in question were a selection of unedited grabs from the Zoom call, a fair reflection on Lee through the course of the interview.

What struck me at the time, and even more so now in light of his disappearance and ghosting of wife Katie, is how his visual portrayal seemingly mattered more than any harm caused to others by his actions.

It’s no secret, Lee is fixated on his appearance; his numerous photoshopped pics have gone viral time and again.

The pictures we used took that editing power away from him and the reality appeared to hurt.

In other videos on social media he can be heard referencing his looks, from his hair to his chiselled body, and commenting about filters — or the lack thereof — to ‘prove’ he’s not fake.

He also took great pains to portray himself as a wealthy businessman with links to Kim Kardashian and Elon Musk, years after his sustainable vehicle company was quietly dissolved, which he continues to insist isn’t the case.

Further interactions between us saw him insist others simply couldn’t understand the workings of his complex world.

Optics are king with Lee and it seems he’s willing to let real feelings fall by the wayside as long as he is presented as the handsome, wealthy success story he’s so desperate to be — a mindset that could have heartbreaking consequences for Katie.

The datacom market outlook was recently revised upwards by LightCounting, which J.P. Morgan analysts said proves positive for optical component suppliers, including Coherent (COHR), Fabrinet (FN), and Lumentum (LITE).

“The datacom growth outlook remains robust, with the total market forecast once again