record

It seems like a simple equation: $338 million produces 100.

That’s the Dodgers’ season-ending payroll and victory total. But to assume a franchise can merely buy a playoff berth is a stretch.

The New York Mets sit at home — or more likely at lavish vacation destinations, given their perch at the top of baseball’s payrolls at $345.8 million. They finished last in the National League East with a 74-88 record.

The Cleveland Guardians also sit at home, but are quite pleased about it. They earned a first-round bye and berth in the American League Division Series this weekend despite a payroll of only $74.2 million — baseball’s lowest and barely one-fifth that of the Mets.

Twelve of the 30 MLB teams qualified for the postseason, with four best-of-three Wild Card Series beginning Tuesday. Eight of the dozen have payrolls in the top 10, with the defending AL-champion Toronto Blue Jays joining the Mets as supreme underachievers given their No. 5-ranked payroll of $275.4 million.

Yet three playoff teams — the Tampa Bay Rays ($98.3 million) and Chicago White Sox ($98 million), in addition to the Guardians — rank among the six lowest payrolls, according to present-day salary calculations from the MLB Labor Relations Department, or LRD, obtained by USA Today.

The combined LRD payrolls of those three overachievers don’t come close to the Mets or Dodgers, highlighting the enormous disparity between the haves and have-nots that team owners point to while demanding a salary cap during ongoing collective bargaining negotiations.

Oddly, only one playoff qualifier is among the 14 mid-range payrolls of roughly $100 million to $200 million — the Milwaukee Brewers, who achieved baseball’s best record at 103-59 while paying its roster $143.5 million. The Angels are also among that group, ranking No. 15 at $179.8, not enough to keep them from losing 100 games for the first time in franchise history.

The LRD payroll tracks a team’s real-time salary commitments for the current season, accounting for the 26-man MLB roster’s base salaries plus a prorated portion of signing bonuses. LRD differs from luxury tax payrolls, which are based on the average annual value of every player contract on the 40-man roster.

Luxury tax payrolls determine whether a team exceeds the league’s luxury tax threshold and owes financial penalties. MLB is using luxury tax payrolls in the CBA negotiations over a hard salary cap and floor, proposing a $245.3-million ceiling and $171.2-million floor for 2027.

Luxury tax penalties from clubs that exceed the thresholds funnel back to low-revenue clubs through revenue sharing. A record $402,637,907 was paid in luxury tax penalties last season, with the Dodgers paying the most at a record $169.4 million. This year, the Dodgers’ luxury tax is projected at $180 million — higher than the LRD payroll of 16 teams.

The Dodgers also have the highest luxury tax payroll at $430 million, dwarfing the Mets’ $363-million number. Reasons? The Dodgers pay more in penalties because they have exceeded the luxury tax six years in a row, they have more players with massive average annual values and they took on additional penalties by acquiring starter Tarik Skubal at the trade deadline.

MLB 2026 payrolls (playoff teams in bold)

1. New York Mets: $346.8 million

2. Dodgers: $338.0 million

3. New York Yankees: $304.6 million

4. Philadelphia Phillies: $291.7 million

5. Toronto Blue Jays: $275.4 million

6. Atlanta Braves: $263.9 million

7. Houston Astros: $249.5 million

8. Chicago Cubs: $248.8 million

9. San Diego Padres: $223.9 million

10. Boston Red Sox: $210.2 million

11. Detroit Tigers: $202.1 million

12. San Francisco Giants: $197.6 million

13. Arizona Diamondbacks: $192.8 million

14. Texas Rangers: $192.5 million

15. Angels: $179.8 million

16. Seattle Mariners: $170.5 million

17. Baltimore Orioles: $169.2 million

18. Kansas City Royals: $149.8 million

19. Milwaukee Brewers: $143.5 million

20. Cincinnati Reds: $128.3 million

21. Colorado Rockies: $117.0 million

22. Minnesota Twins: $109.5 million

23. Pittsburgh Pirates: $107.6 million

24. Athletics: $98.7 million

25. Tampa Bay Rays: $98.3 million

26. Chicago White Sox: $98.0 million

27. St. Louis Cardinals: $94.7 million

28. Washington Nationals: $90.3 million

29. Miami Marlins: $83.0 million

30. Cleveland Guardians: $74.2 million

CRUZ Beckham has achieved what the Spice Girls failed to do — get mum Victoria back into a recording studio.

Posh Spice, 52, recorded a track with her musician son.

And sharing this selfie online, Cruz, 21, wrote: “Yeah we got posh back in the studio.”

Posh lives up to her name even on a step machine, posting a clip of herself — in skirt and heels.

We revealed earlier this month how Cruz and girlfriend Jackie Apostel appear to be firmly in the honeymoon phase of their relationship, judging by a cheeky selfie shared online.

The 21-year-old couldn’t keep his hands to himself as the couple posed for a bathroom mirror selfie, with Jackie smiling for the camera.

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Cruz shared the snap to his Instagram as the pair got ready for a glam night out at London Fashion Week.

The son of David and Victoria Beckham has been dating German-Brazilian singer-songwriter and producer Jackie, 30, since 2024.

Jackie previously revealed they met when their managers put them in a studio to write songs together.

The model said their work turned into a friendship before it became anything romantic and that she was Cruz’s “biggest fan forever”.

The loved-up snap comes after Cruz released his debut EP, Wear & Tear, last month.

He also performed with his band The Breakers at Reading Festival, with parents David and Victoria watching from the side of the stage.

SEATTLE — Logan Gilbert struck out eight in four no-hit innings and five Seattle pitchers combined for 12 strikeouts as the Mariners beat the Angels 7-3 in the regular-season finale for both teams.

The Angels finish 2026 with a record of 62-100, the first 100 loss season in franchise history. It was a 10-game slide for the Angels, who had a 72-90 record in 2025.

Gilbert retired the first 12 batters he faced and, after walking Moisés Ballesteros at the start of the fifth inning, was lifted and left to a standing ovation from the Mariners fans.

The Mariners took a 1-0 lead in the second inning when Weston Wilson drove in Cole Young with a grounder to third base.

Seattle scored two more runs in the third on Cal Raleigh’s RBI single off Angels starter Yusei Kikuchi, and Dominic Canzone scored on a groundout by Josh Naylor to make it 3-0.

Kikuchi (1-7) gave up three runs and six hits over five innings, with one walk and seven strikeouts.

Bryce Teodosio scored for the Angels on a sacrifice fly in the top of the sixth inning, but the Mariners responded with three in the bottom half when Young scored on an Angels throwing error and Randy Arozarena drove in two with a double to make it 6-1.

Jose Siri hit a two-run homer for the Angels in the eighth, and Leo Rivas scored for the Mariners in the bottom half on a wild pitch.

Cooper Criswell pitched the ninth for the Mariners. Eduard Bazardo (4-4) got the win.

After finishing the 2025 season with a 90-72 record and advancing to the seventh game of the ALCS against Toronto, the Mariners missed the playoffs with a disappointing 76-86 record this season. Despite that mark, the Mariners drew 2,883,798 fans in 2026, the team’s highest total since 2004.

Forget about its comparison to Martha’s Vineyard. “Widow’s Bay” can now call itself the next Emmy-winning comedy series.

At Monday’s Emmys ceremony, the first-year series beat out former winners “The Bear” and “Hacks”; returning nominees “Abbott Elementary,” “Nobody Wants This,” “Only Murders in the Building” and “Shrinking”; and fellow newcomer “Margo’s Got Money Troubles.”

The show took home a record-breaking 14 Emmys, the most ever for a comedy series. The wins include lead and supporting actor, supporting actress, directing and writing. The total overcame the milestone set by “The Studio” with its 13 wins last year.

Apple TV’s horror-comedy series about a fictional cursed island off the coast of New England and its mayor, played by Matthew Rhys, who is trying to save it from economic depression, became a word-of-mouth hit that’s inspired memes and fan cosplay. Creator and showrunner Katie Dippold began writing the series more than 10 years ago, inspired by her trips as a youth to the Jersey Shore and quaint New England seaside towns.

“This was such a great collaboration of the best wonderful weirdos and artists,” Dippold said while accepting the award. “We’d also like to thank the evil entity on the island that trusted us with its story.”

“That is exciting and terrifying,” she added backstage. “One thing I meant to thank in the speech, there’s so many people that spread the word early on, all the people online talking about it with reviews, people tweeting about it … we’re so grateful for that.”

“They were predominately our parents,” Rhys joked.

“And some burner accounts,” Dippold added.

The series was a late entry into the Emmy race, premiering at the end of April. Hiro Murai, who directed five of the series’ 10 episodes and is an executive producer, told The Times he thought of it as a “spooky summer show.” Murai won for directing for a comedy.

“The show takes place during the summer, and so much of what makes it scary is that it doesn’t look like it should be scary. It’s all sunlight,” he said. “The atmosphere is very summery.”

The series stars Rhys as overcompensating mayor Tom Loftis, with a supporting cast that includes veteran actors Stephen Root, Dale Dickey and Kate O’Flynn.

“Widow’s Bay” earned 19 nominations, including lead actor for Rhys and acting nominations for Root and O’Flynn. All three won in their categories.

Rhys, who also won for lead actor in a limited or anthology series for “The Beast in Me,” told The Times he hopes the hit series demonstrates to studios that it’s worth taking a risk and challenging its audience.

“Everyone’s more than ready for it and thirsty for it in a real way,” he said. “I really hope this does something in the Hollywood psyche, where they go, ‘Let’s put away the remakes and let’s just get after new challenging, original material.’ ”

The win gives Apple TV its second consecutive comedy series victory after “The Studio” won last year, and its fourth (“Ted Lasso” in 2021 and 2022) in the category in the last six years.

YouTube is holding onto its exclusive livestream deal with Coachella.

The tech giant in San Bruno, Calif., has renewed its partnership with festival promoter Goldenvoice, keeping exclusive livestream rights to the three-day desert festival through 2030. The next edition, in April 2027, will mark 15 years of Coachella on YouTube.

“We’re excited to bring the energy of the desert to millions of music fans around the world,” Neal Mohan, YouTube’s chief executive officer, said at its Made On YouTube event in New York City on Wednesday morning.

This year’s Coachella, headlined by Sabrina Carpenter, Justin Bieber and Karol G, drew the most concurrent viewers in the history of Coachella on YouTube, according to the company. Bieber, who was discovered on YouTube, even included a nostalgic homage to the platform into his set.

Over the years, the livestream has become an essential part of the Coachella experience, especially for fans who can’t make it to the desert. What started as a single feed has evolved into live coverage of every stage across both weekends.

Beyond Coachella, YouTube doubled down on livestreaming during its presentation, unveiling a slew of new live and AI-powered tools. In August, more than 600 million logged-in viewers watched live content on the platform each day on average, according to YouTube. The new live features include a new co-hosting function in which two creators can appear on the same stream together, and a live auto-dubbing tool that automatically translates speech in real time. Several of the updates are slated to roll out in early 2027.

“Whether it’s a music festival or a creator’s livestream, fandom is no longer a spectator sport,” added Mohan. “Just look at the sheer scale of the live communities we’re seeing today.”

YouTube isn’t the only streamer leaning into live. Netflix has spent the last few years buliding out its own live business, which now includes NFL and MLB games.

The 13-year-old beat the previous 400m Asian Games record, set by China’s Ye Shiwen in 2014, by about 4.5 seconds.

China’s 13-year-old swimming sensation Yu Zidi has completed a hat-trick of Asian Games golds with a dominant victory in the 400m individual medley, two years before the Los Angeles Olympics.

The schoolgirl powered home in an Asian Games-record 4 minutes 28.56 seconds (04:28.56) on Wednesday to make it a clean sweep of her three individual events in Tokyo, following victories in the 200m butterfly and 200m individual medley, also in games-record times.

She beat the previous 400m games record set by China’s Ye Shiwen in 2014 by approximately 4.5 seconds.

It was the fourth-fastest time in the world this year, with world record-holder Summer McIntosh owning the top three.

With the next Olympics two years away, Yu is shaping up to be a major medal contender at the 2028 Los Angeles Games.

Last year, she became the youngest medallist at the World Aquatics Championships, where she won bronze for China’s relay team at the age of 12, and has since been earmarked for success in the swimming world.

At the same championship, Yu finished fourth by a small margin in three individual events.

In March, the teen sensation built on her growing reputation with a 200m butterfly victory over seven-time American Olympic medallist Regan Smith at the China Swimming Open.

At the Asian Games, Yu has dominated the pool and showed another glimpse of her immense talent in the 400m individual medley, where she took the lead from the start and finished 3.95 seconds clear of silver medallist Ke Wenxi of China, with Japan’s Mio Narita finishing third.

In addition to grabbing international headlines, Yu has become a sensation at home following her Asian Games exploits.

The story of her introduction to competitive swimming after being spotted by a coach at a water park, and her struggle with interviews, has gone viral on local social media platforms.

At the games, Yu was asked by the media whether answering questions was the hardest part of competing. She replied, with a giggle: “Every time I just want to float off somewhere else.”

Ri Song-gum wins North Korea’s first gold at the games while Chanu finally clinches elusive Asian Games medal in Japan.

North Korean weightlifter Ri Song Gum has broken three world records en route to winning gold in the women’s 49kg (108lbs) competition, which saw India’s Mirabai Chanu win an elusive Asian Games medal by finishing second.

Ri gave North Korea its first gold of the games in Nagoya, Japan, on Wednesday, joining an elite club of four weightlifters who have won three Asian Games gold medals.

The 28-year-old hauled 94kg above her head in the opening snatch discipline – the first official segment of the competition where athletes lift a barbell from the floor to an overhead position in a single motion. The lift was 1kg heavier than the previous world record of 93kg.

Ri followed it up by breaking the world record twice in the 115kg clean and jerk – a two-part movement where a barbell is lifted from the floor to the shoulders and then pushed overhead. The 4ft-7in (139.7cm) weightlifter hoisted 116kg and 121kg above her head.

Ri’s total lift of 215kg obliterated the old world record total by 7kg.

She is the fourth lifter, and first woman, to win three Asian Games weightlifting golds and joined Iran’s Mohammad Nassiri (1966-74), South Korea’s Kim Tae-hyun (1990-98) and Iran’s Behdad Salimi (2010-18), who all won three gold medals. No athlete has won four weightlifting gold medals.

In the same category, India’s Chanu finally won an Asian Games medal at the third time of asking. She won a silver medal at the Tokyo Olympics in 2021.

The 32-year-old is India’s most decorated weightlifter, with three Commonwealth gold medals and a silver to her name, along with multiple global titles.

She lifted a total of 198kg after a snatch of 87kg and a clean and jerk of 111kg, while Indonesia’s Diana Tri Wijayana took bronze with a total of 191kg, comprising 88kg and 103kg.

Chanu’s silver also ended India’s 28-year wait for a weightlifting medal at the games since Karnam Malleswari won silver in 1998.

Nearly every summer, Tove Lo finds herself itching for a change.

Typically, the sweltering season will prompt the Swedish singer-songwriter to do something new, like dye her hair black or switch up her personal style. But even in the midst of this annual metamorphosis, she tends to find her way back to the same place: a small Swedish fishing village called Torekov.

Between recovering from her first heartbreak and overcoming burnout from her debut album “Queen of the Clouds,” the remote town has offered her a seaside refuge ever since childhood. Yet, with the making of her latest studio album “Estrus,” Torekov officially solidified itself as a mainstay in the singer’s artistic process.

“It’s kind of an emotionally triggering place for me, both good and bad,” Lo said, as she sank farther into the booth at Thai Angel on a humid August afternoon. “I needed a second to be in a place without distractions, where I’m more like a person than an artist … It almost offers a creative force field that I need to enter every process now.”

Torekov, as Lo describes it, is what the neighborhood in “‘The Truman Show’ is like before they hit record.” It’s somewhat of an idyllic place where the seashore is lined with wooden houses; sheep graze along the grassy cliffsides and residents wander around the shops in bathrobes and clogs, right after their morning swims.

However, when Lo visited during the off-season, its emptiness was “ominous” — unintentionally stirring her inner want to cause chaos. In true Tove Lo fashion, the surrounding serene village made her turn to the familiar sounds of heavy club electronica, further building on the contradictory ethos that comprises “Estrus.”

“Every song feels different. It’s like every feeling I’ve ever felt condensed into 13 songs,” Lo said, in between sips of her iced tea. “[Listeners] are getting this horny, rolly, aggressive bass line, and these super intimate, knife-to-the-heart kind of emotions in a very intimate way. I feel like they’re going to be emotionally exhausted.”

Under the dim red light of the Koreatown bar, the singer exuded an air of comfort, as she’s somewhat of a Thai Angel regular. The Swede, who’s lived in L.A. for nearly a decade, hosts a secretive, recurring party at the bar called SOUP. Usually the bar is a rowdy reprieve filled with sweaty bodies and pounding bass lines, with Lo situated behind the DJ decks. But on that Monday afternoon, hours before the bar opens, she had the place almost entirely to herself.

Tove Lo outside Thai Angel, a Koreatown bar where she hosts a recurring party.

(Jason Armond / Los Angeles Times)

With only the swirling sounds of an overhead air conditioning vent to cloud her thoughts, she explained that, at the beginning, “Estrus” was bogged down by an unprecedented wave of writer’s block. The singer had initially tried to get a head start on her sixth studio album at home in Los Angeles, but she felt a new kind of pressure hanging over her head.

“I had this feeling that this is my sixth album and I had something to prove, like I needed to have a message or some kind of advice,” Lo said.

She credits the newfound tension to her career’s longevity. The 38-year-old, raised in the suburbs of Stockholm, got her start in music as a songwriter in the early 2010s, earning credits on tracks including Ellie Goulding’s “Love Me Like You Do” and Lorde’s “Homemade Dynamite.”

She gave in to her pop-star ambitions in 2014, with the release of her debut album, “Queen of the Clouds.” The record featured her breakout hit “Habits (Stay High),” which details her getting the munchies, throwing up in a tub and going to sex clubs to get over a heartbreak. Lo said she likes to think that, with the early success of the rebellious anthem, she was “very clear from the start.”

“I’m a hot mess,” Lo remarked, between laughs. “Here you go.”

Since then, she’s continued to develop her raw pop sound by collaborating with DJs like Flume and SG Lewis, while adding to her library of cult-classic tracks like “disco tits” and “Glad He’s Gone.” But at this point in her career, she said it also felt like she “should’ve had all the answers” by now.

“I had this idea that I had to prove that I had become a better, bigger person,” Lo said. “But I’m just the same f— messy girl.”

And the sound of “Estrus” follows suit. Immediately, the opening song, “a lot of feelings, no solutions,” hits listeners with a punchy bass line and blatant lyrics about having no advice to offer. Throughout the 13-track record, she flip-flops between being vulnerable and playful while also being hedonistic and making sacrifices. For example, on “the bad one,” she takes accountability for being a “problematic” partner over staccato percussion and a cinematic synth, while also being grateful she got out of the relationship. Similarly, on “F.A.M.T,” she leans into her avoidant tendencies on top of a choir of high-pitched cyber chimes and resorts to sexual endeavors instead of looking inward.

Tove Lo is set to perform at the Greek Theatre on September 27 as part of the Estrus tour.

(Jason Armond / Los Angeles Times)

“We suppress a lot to be respectful to other people, and there’s nothing bad in that,” Lo said. “But if you never let your vices drive you for a night or a day, I think you’ll go absolutely crazy. You just need to have moments where you don’t think about the consequences. Just be hedonistic for a second. Indulge.”

Like much of Lo’s music, the new project, named after a female mammal in heat, is centered around the age-old tension between the body and mind. On her previous album “Dirt Femme,” released in 2022, she opened up about being unsure if she wants children, while denouncing the societal expectations that come with being a married woman.

And it’s still something she’s trying to figure out on “Estrus.” The album’s final track, “source of life,” offers up a mantra of contradicting adjectives like “feral,” “euphoric” and “fragile,” while questioning if she ruined her chances of motherhood by “partying late.”

“My body [says] well, maybe we should just have like one baby, and my mind is like, absolutely not,” said Lo. “I don’t know who’s gonna win. But I do feel like I’m in the final boss of adventures.”

By the end of “Estrus,” it’s apparent that the tug-of-war between her body and mind isn’t over. And she’s not sure if there will be a resolution. It’s still an ongoing battle — and it’s precisely what Lo says she was aiming for.

“There’s no good advice on this album,” she playfully reiterated. “Just don’t ask me.”