In the evening, Nike has flown in a custom-made outdoor volleyball court so Sherman Oaks Notre Dame can host Harvard-Westlake in a 7 p.m. girls’ volleyball match played on the Notre Dame baseball field. There will be food trucks, music and other surprises.
Girls Volleyball: Pools Are Set For “The Classic” 39th Annual Venice Invitational Tournament. 20 @CIFLACS Teams Will Compete Across 3-Sites… Venice, Le Lycée & University. Action Begins Friday At 3:00PM With Several Intriguing Opening-Day Matchups. #RepTheCitypic.twitter.com/2zgrqTKrmK
There’s also the Venice girls volleyball tournament taking place at Venice High and the Woodbridge Classic cross-country meet at the Great Park in Irvine.
This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.
It’s been a remarkable year for Bad Bunny, one of pop music’s biggest stars. After winning multiple trophies earlier this year at the Grammys, including album of the year for “Débi Tirar Más Fotos,” he can add another accolade: Emmy winner.
The Puerto Rican rapper and singer, also known as Benito Antonio Martínez Ocasio, won his first Emmy for variety special (live) on Saturday for his historic Super Bowl halftime show. It was the first Spanish-language halftime show, a 13-minute spectacle that transformed a football field into a variety of scenes including a sugar cane field, bodega, wedding party and casita, like the one in his 2025 San Juan residency. It also featured performances by Lady Gaga and Ricky Martin. Mikael Wood, The Times’ pop music critic, called it “a busy and colorful performance that drew lines between the traditional folk forms of his native island and the throbbing reggaeton beats that have made him an icon to young people around the globe.”
Bad Bunny served as a producer on the show. It won seven Emmys overall, including for directing for a variety special and music direction.
Also honored at Saturday’s ceremony was Mariska Hargitay for her documentary “My Mom Jayne,” about her mother Jayne Mansfield, a Hollywood actor who died in a car accident when Hargitay was 3 years old. Hargitay also received an Emmy for directing the film and Tony Hardmon won for cinematography. The movie, which premiered at the Cannes Film Festival last year, had a limited theatrical run before being released on HBO in June 2025. Hargitay won an Emmy in 2006 for lead actress in a drama for playing Det. Olivia Benson in “Law & Order: Special Victims Unit.”
In an interview with The Times last year, Hargitay said, “Making this film has been so extraordinary to me and totally reframed the narrative for me,” about Mansfield and the struggles she encountered over her brief but celebrated career. The film also revealed that Hargitay’s biological father was Nelson Sardelli, a former entertainer, and not Mickey Hargitay, the man who raised her and Mansfield’s second husband.
The first pair of Emmy ceremonies, formerly called the Creative Arts Emmys, are held over two nights, two weekends before the Primetime Emmy Awards, and honor many of the behind-the-scenes workers and craftspeople in television. An abridged version of the ceremonies will be broadcast Sept. 12 on FXX and stream on Hulu the following day.
Here is a list of winners from Saturday’s ceremony:
NEW YORK — Robin Morgan, a wholesome child star of the 1940s and ‘50s who grew up to become an all-American radical as a poet, essayist, editor and second-wave feminist, has died. She was 85.
Morgan, who was still working on new books and poems, died Saturday in New York after suffering a series of health problems in recent weeks, said her son, Blake Morgan. Her death came just days after that of her close friend and fellow activist Gloria Steinem.
During the 1960s and ’70s, Morgan embodied and inspired historic changes in how women lived and thought. As she was happy to point out, the onetime “Ideal American Girl” and adored “Little Robin Morgan” was a rule breaker and justice seeker with a notable list of achievements, along with a prison record and an FBI file.
Morgan was at the center of the some of the defining moments of what came to be called second-wave feminism, expanding upon the achievements of the suffragists a half-century earlier. In 1968, she was among the organizers of the first protest against the Miss America pageant, joining fellow activists in tossing their bras (soon mythologized as burning) into a “Freedom Trash Can.” The 1970 essay anthology she edited, “Sisterhood is Powerful,” is considered one of the essential texts of the modern women’s movement.
Yet she considered herself primarily a poet and artist, and that work fed into her activism, her son said.
“She was someone who was able to take very big ideas and distill them succinctly, like a poet, into a few words,” said Blake Morgan, pointing to such quotes of hers as “hate generalizes, love specifies.”
Morgan was credited for coining ‘herstory’
Her legacy was one of deeds, words and images. Morgan is widely credited with coining the term “herstory,” the feminist reworking of “history,” and popularizing the clenched fist/female symbol icon of the liberation movement. Her poem “Monster,” with such lines as “I want a women’s revolution like a lover/I lust for it,” was quoted at feminist rallies and beyond. Her poem “Arraignment” helped capture the movement’s embrace of the late Sylvia Plath and condemnation of her husband, poet Ted Hughes, whom Morgan and others blamed for Plath’s suicide in 1963. Morgan’s rhyming couplet “I accuse/Ted Hughes” inspired the title for Sonic Youth’s song “J’Accuse Ted Hughes.”
Labeled an “anarchist housewife” in one government report, Morgan confronted the establishment, left and right. In 1970, she and fellow protesters were arrested and jailed after occupying the offices of the counterculture Grove Press, whose owner, Barney Rosset, was fighting employees’ efforts to unionize. In the widely reprinted 1970 essay “Goodbye to All That,” she called out activists and libertines from Abbie Hoffman and Hugh Hefner to Dave Dellinger and the music group the Fugs.
“Goodbye to the male-dominated peace movement, where sweet old Uncle Dave can say with impunity to a woman on the staff of Liberation magazine, The trouble with you is you’re an aggressive woman,” she wrote.
“Goodbye to the idea that Hugh Hefner is groovy ’cause he lets Conspirators come to parties at the Playboy Mansion — goodbye to Hefner’s dream of a ripe old age. Goodbye to Tuli and the Fugs and all the boys in the front room — who always knew they hated the women they loved. Goodbye to the notion that good ol’ Abbie is any different from any other up-and-coming movie star who ditches the first wife and kids, good enough for the old days but awkward once you’re Making It.”
She led an unconventional personal life
In her personal life, Morgan had male and female lovers and was married for more than 20 years to the gay poet Kenneth Pitchford, with whom she had her son, a musician, producer and record company founder. She once described her marriage as a “two member commune” and was so resistant to labels that she remembered being “straight-baited” by feminists who thought she should be a lesbian and chastised by conservatives who assumed she was a lesbian.
In her 2001 memoir “Saturday’s Child,” she expressed joy and amazement at how her life turned out and how she was able to retain “a threadbare, somewhat surreal sense of humor.”
“Put that in your apple pie and smoke it,” she wrote.
She wrote more than 20 books, including a memoir
Besides “Saturday’s Child,” she completed more than 20 books, including “The Word of a Woman: Feminists Dispatches,” and the poetry collections “Monster” and “Dark Matter.” She followed “Sisterhood is Powerful” with “Sisterhood is Global” (in 1984), and “Sisterhood is Forever” (2002), featuring such contributors as Steinem, Simone de Beauvoir and Eve Ensler. For several years, she was editor in chief of Ms. Magazine, which Steinem co-founded.
Steinem would call her an ideal “utility player,” gifted in almost every way a protest movement might require. As an organizer, she helped found such 1960s feminist groups as New York Radical Women and Women’s International Terrorist Conspiracy from Hell (W.I.T.C.H.). She was part of the Youth International Party, the left-wing Yippies led by Hoffman and Jerry Rubin among others, but soon became disgusted with how the group treated women and left.
In 1984, she was a founder of an early feminist think tank, the Sisterhood Is Global Institute. In 2005, she, Steinem and Jane Fonda launched the Women’s Media Center, which has a mission to support “the visibility, viability and decision-making power of women and girls in media.”
More recently, she hosted a syndicated radio show and remained active despite being diagnosed 16 years ago with Parkinson’s disease, which inspired several poems and a TEDWomen talk in 2015.
A child star in the ‘40s
In a different era, Morgan might have been just another forgotten child star. Born in 1941 in Lake Worth, Fla., and raised in New York, she never saw her father while growing up and was told — falsely — by her mother that he was dead. Her mother also shaved a year off her age, claiming she was born in 1942, to make her early public career seem even more impressive.
The blond, talented Robin was modeling by age 3, hosted her own “Little Robin Morgan” radio show at age 5 and around the same time was featured on the radio (later television) game show, “Juvenile Jury.” From 1949-57, she appeared on the hit TV domestic comedy series “Mama” and made appearances on “Robert Montgomery Presents,” “Kraft Television Theatre” and other shows.
She would meet some of the era’s biggest stars, from Abbott and Costello to Sal Mineo, and was popular enough to inspire such commercial tie-ins as Robin Morgan dolls. Magazines described her as “unspoiled” and “courteous” and “the ideal girl-next-door,” immune from “violent outbursts of antagonism against established society.”
But off camera, and sometimes on, she was so apart from her image that her first “serious” childhood poem began: “Go, rage, winter the world with despair.” During one broadcast of “Juvenile Jury,” the question was whether a boy deserved to be spanked. Morgan was supposed to joke that he should wear padding under his pants, but instead declared that all physical punishment was wrong.
As she recalled in “Saturday’s Child,” producer Dan Ehrenreich squeezed her shoulder so hard that Morgan could feel his fingernails. He turned her microphone away and eventually placed his hand over her mouth.
“I realized that I loved and respected that child who fought back in what was the first political act I recall ever daring to make,” Morgan wrote.
Her political activity began in her late teens
Once in her late teens, she began taking classes at Columbia University, attended poetry workshops and became politically active. She marched for civil rights and against the Vietnam War and met protesters, artists and such poets as W.H. Auden and Anthony Hecht, who she said gave her a man’s-eye view of the creative process: “But, my dear, women should be poems, not write them.”
In 1962, she met Pitchford at a Manhattan party. Once the other guests (“boozy bikers” and “stoned, hallucinating Joffrey dancers”) had left and the host urged others to go with them, Pitchford lighted candles, put Dvorak’s “New World” symphony on the record player and became her “first.” They later walked for hours and ended up on a downtown park bench.
“You have such an air of possibility about you, Robin,” he told her. “It makes me believe anything can happen.”
Italie writes for the Associated Press. AP writer Jennifer Peltz contributed to this report.
“I think that comes from a lot of people who don’t follow our program, most of those who have never stepped foot in the Coliseum,” Riley said. “The reality is, during my years here, attendance has gone up every single year. As has our play in the Coliseum, including running the table last year in front of a lot of epic atmospheres. And I expect that to happen again this year.”
Average attendance for USC football games at the Coliseum actually dropped from the 2024 to the 2025 season, from an average of 71,571 to 67,783. But the 2025 season also featured fewer marquee home matchups, plus one game soaked by heavy rain (Iowa), and it was still the second-best average attendance of Riley’s four seasons as coach.
Saturday, though, marked the smallest home crowd at USC since late in the 2018 season, when the Trojans had their worst finish for the program in a quarter century, under former coach Clay Helton.
Much of that was due to the scorching heat throughout the Southland, which reached a heat index about 100 at the Coliseum on Saturday. It was so hot and humid that Lee Feaster, a native Texas and the father of freshman wideout Boobie Feaster, said on Tuesday that his wife passed out during the game and still had blisters.
But the attendance announced by USC — 51,144 — admittedly felt generous.
Attendance was that low just once under Helton, for a 38-35 loss to Arizona State, the weekend before Halloween in 2018. But average attendance plummeted after the 2017 season as fan sentiment turned on Helton. For the rest of Helton’s tenure, from 2018 to the start of 2021, USC reached the 60,000-fan mark just four times.
Empty swaths of Coliseum bleachers hadn’t been as much of a concern for Riley, who had never fallen below the 60,000-fan mark at home until Saturday. But as photos of the poor attendance circulated on social media during the weekend, USC chose to release a statement responding to the online derision.
“We understand the factors that impacted Saturday’s attendance,” the statement read. “We have high expectations and a premier home schedule this season, and we know the competitive advantage an electric Coliseum atmosphere can provide our program. We thank our fans who showed up Saturday and look forward to seeing increased attendance the rest of the season.”
The response, though, only poured gasoline on a viral fire.
By Monday, the conversation had crossed over from critical posts on social media to Riley’s coaching peers roasting USC, starting with his alma mater.
“Not to take any shots because I have a lot of respect for USC and Lincoln Riley, but man it’s really awesome to be playing Lubbock, Texas, in front of 60,000,” Texas Tech coach Joey McGuire said. “And it’s going to be warm. It’s going to be every bit as warm as it was Saturday. The great thing is we’ve got some really tough people in West Texas that love their football. They’re gonna show up no matter what the weather’s like. There’s not going to be any excuses of why they’re not here for us.”
A fan covers takes cover under a poster during USC’s season opener against San José State Saturday at the Coliseum.
(Ronaldo Bolanos/Los Angeles Times)
New California coach Tosh Lupoi piled on some more Tuesday.
“To turn on the TV, to see that environment in Los Angeles, that’s disheartening to see,” Lupoi said in Berkeley. “I can guarantee you, that’s a completely different environment here.”
USC should have a much more temperate environment to play on Friday, when it kicks off against Fresno State at 6 p.m. at the Coliseum. And Riley knows the world will be watching closely, to see how many seats are filled for the Trojans’ second game.
“This is USC, right?” Riley said. “People are going to pay attention. People are going to have an opinion. It’s part of being a blueblood school.”
Daisy Chain Fields arrived on a sweltering summer Saturday, plopped in the middle of Irvine’s suede hills, inside Orange County lines. The festival, hosted by Olivia Rodrigo at the Great Park, was a spiritual successor to Sarah McLachlan’s Lilith Fair of the late ‘90s, born out of frustration with promoters and radio stations that refused to play two female artists in a row.
Like McLachlan’s event, Daisy Chain Fields boasted an all-female lineup, featuring some of the most coveted names in the contemporary music scene. The festival also gave a nod to some of the industry’s women pioneers, such as Bikini Kill and Garbage.
Anticipation for the festival was high after Rodrigo unveiled it in late June, with tickets selling out just 30 minutes after release. This translated directly onto the grounds, which were swarmed by 45,000 attendees, comprising teenage girls, moms, dads and everyone in between.
The event raised $10 million to benefit 10 girl- and women-focused nonprofit organizations, all of which made an appearance on stage before each artist’s set. Each musician on the lineup performed for free.
Festivalgoers walk past the Great Park Balloon.
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1.Festival goers pose for pictures in front of a daisy backdrop.2.Nara Brown from Costa Mesa ties together a flower headpiece.
As the sun went down and Rodrigo took the stage, she announced that proceeds had been 100% matched by billionaire and philanthropist Melinda French Gates, bringing total donations to $20 million.
The Times was on site to witness the festival in all its glory, amid astounding 94 degree heat and an unwavering, tangible electricity among fans. Here is our recap of the best moments from the festival. —Julius Miller
Livies get loud on the Metrolink The 2 p.m. Metrolink train from Union Station in L.A. to Orange County was absolutely mobbed with Livies (a.k.a. Olivia Rodrigo fans) on Saturday. For such a car-brained region, it was sweet to see public transit packed with young fans in festival regalia, making the grind to Irvine more sane and green. Let’s have this vibe for every major SoCal festival (including the car-free Ocean Way next month). Yet, for new train fans, a gentle reminder: one spirited round of singing “Get Him Back!” as you’re climbing onboard? Endearing, a delight for all. Keeping it up for an hour, next to civilian commuters who looked ready to climb onto the tracks themselves by Buena Park? Maybe save that for the pit. —August Brown
Festivalgoers sing as Olivia Rodrigo performs during Daisy Chain Fields.
Devon Again performs during Daisy Chain Fields.
Devon Again felt so lucky that she gets to know you
25-year-old alt-pop princess Devon Again was a last-minute addition to the Daisy Chain Fields bill, replacing global girl group Katseye, who pulled out of the festival on Thursday due to a member’s ankle injury. Luckily, Devon Again, a personal friend of Rodrigo who will open for her tour starting in November, was there to answer Rodrigo’s call with a resounding “Duh, b—! Obviously I want to do it!” as she relayed to the Saturday afternoon crowd. Though Katseye’s presence was felt — members Lara Raj, Megan Skiendiel and Yoonchae Jeong took the stage to introduce nonprofit partner Baby2Baby before the set, and Devon Again’s drummer wore a Katseye shirt in tribute — Devon Again’s self-confessed impostor syndrome was misplaced. With a rollicking mix of high-energy country twang, twisty ballads and production-heavy pop hits bolstered by her crisp belt, she made the stage her own. —Eloise Rollins-Fife
Die Spitz dives into a great early set
The set began with a five-minute delay due to technical issues, during which bassist Kate Halter — impressively — performed several handstands to pass the time. By 1:45 p.m., the band was ready to go, with frontwoman Ellie Livingston kicking off the performance. Draped in a torn white skirt and black fishnet gloves to complement, she wailed “I hate when girls die.”
Die Spitz’s set felt like the epitome of what Daisy Chain was all about. The band members took turns strutting around stage and acknowledging, “I know it’s f— hot!” But that didn’t stop the crowd from forming mosh pits on the left and right side of the yellow Marigold stage. At one point, Livingston even jumped in herself, to the despair of security and the delight of fans. —JM
Eleanor “Ellie” Livingston of Die Spitz performs during Daisy Chain Fields.
Santigold’s set was worth fighting for
Santigold’s eclectic, genre-defying sound may be a hallmark of the “indie sleaze” era, but her standout midday Daisy Chain set proved she has plenty of staying power in 2026. Dressed in all white and flanked by a pair of straight-faced dancers in futuristic sunglasses, the 49-year-old artist performed back-to-back hits like “Run the Road” and “L.E.S. Artistes” to a crowd ready to dance the pain away. She even brought a handful of fans onstage — mostly, adorably, children — for a follow-along dance contest during “Unstoppable,” with a winner determined by cheers. Wrapping up the set with “Disparate Youth,” Santigold reminded the audience to keep believing in “a life worth fighting for.” –ERF
Santigold transports the crowd to the early aughts era of indie sleaze during Daisy Chain Fields.
Bikini Kill double dares Daisy Chain crowd to keep fighting the power
“This government hates us and wants us dead,” proclaimed punk icon and Bikini Kill frontwoman Kathleen Hanna: a critical guiding light for Olivia Rodrigo’s feminist consciousness, as well as that of thousands of Daisy Chain attendees on Saturday. Since the band’s inception in 1990, the OG riot grrrls of Bikini Kill made social justice the centripetal force of their furor — long before Daisy Chain Fields, and even its late ‘90s predecessor Lilith Fair. Powered by Tobi Vail on drums (and occasional vocals), Kathy Wilcox on bass and Sara Landeau on guitar, the electric Hanna buffered classic songs like “Double Dare Ya” and “Feels Blind” with parables from her own revolutionary life — much of which she spent fighting back against objectification from men. Dudes in Saturday’s crowd got a special directive: “You guys gotta talk to your friends [about misogyny],” said Hanna. “[Women] are not gonna stop this on our own!” Sealed with a kiss and delivered with a snarl, the band closed its rip-roaring set with the anthemic battle cry of “Rebel Girl,” and were flanked onstage by a few lucky young fans. —Suzy Exposito
Bikini Kill’s Kathleen Hanna preaches a message of anti-misogyny to the crowd during Daisy Chain Fields.
Mitski brought melodrama and musical magic
Whether you’ve been rocking with Mitski since the “Lush” days or discovered her music via pandemic-era Tik Tok, when industrial ballads like “Washing Machine Heart” unexpectedly popped off, there’s no denying her captivating stage presence — not to mention her stunning vocals. Longtime fans may have wished for a few more of the hits (no “Your Best American Girl” after the recent “Puberty 2” 10th anniversary re-release was a surprise), but indie music’s favorite sad-woman still brought her A-game to the Dandelion Stage, incorporating her signature “Butoh” performance style — a form of avant-garde Japanese dance-theatre — underscored by a backdrop of 1940s melodramas. During her set she implored Rodrigo to make the festival an annual tradition. “When do you get to be the first anything anymore?” she said. “For the rest of our lives, we could be like, ‘I’m OG DCF.” – ERF
Mitski performs during Daisy Chain Fields.
The Breeders deliver ‘Last Splash’ classics
Hand it to Kim Deal: As one of the OGs on the bill at Daisy Chain Fields, the Breeders frontwoman used her band’s performance to shout out an even earlier pathbreaker by wearing an old Shirley Chisholm campaign T-shirt featuring the first Black congresswoman’s slogan of “Unbought and unbossed.” Deal and her bandmates (including her twin sister Kelley) drew deeply from their classic 1993 “Last Splash” LP, loping through the country-ish “Drivin’ on 9,” chugging on a fuzzed-out “Saints” and pricking up Gen Z ears with the perennially TikTok’d “Cannonball.” — Mikael Wood
The Breeders play songs from their 1993 classic album “Last Splash” during Daisy Chain Fields.
Doechii does it for the girls
Under the hot afternoon sun, Grammy award-winning rapper Doechii celebrated all things girls in her typical over-the-top fashion. She and her dancers arrived onstage painted in hot pink, the swamp princess’ hair fashioned into high pigtails. A dance breakdown to a hardcore take on Beyoncé’s “Run the World (Girls)” introduced the set, and though she fed fans by performing some of her most popular singles — a version of “Anxiety” that morphed into a cover of the original sample “Somebody I Used to Know” by Goyte, “Alter Ego” and tracks like “Nissan Altima” and “Boiled Peanuts” from her 2024 album “Alligator Bites Never Heal” — she also reminded festivalgoers of the influential Black women artists who came before her — Lauryn Hill, Queen Latifah, Beyoncé — by mixing their iconic songs into hers. Glowing magenta, she twirled above what looked to be a rising river, a physical representation of the swirling, engulfing thoughts that anxiety can provoke as she performed the song by the same name. And just to ensure there was zero confusion, the Florida rapper ended her set by simply stating: “We do this for the girls, we do this for the gays and we do this for trans women.” —Danielle Dorsey
Doechii performs during Daisy Chain Fields.
Doechii
Garbage gives grunge power to Gen Z
With its blend of serrated alt-rock guitars and sleek machine rhythms, Garbage always sounded a little ahead of its time when the band broke out in the post-grunge mid-’90s. But as frontwoman Shirley Manson evoked an age of digital surveillance and pharmacological dependence in “I Think I’m Paranoid” — one of the era’s great snarling pop singles — what you realized is that history had finally caught up with the band. — MW
Shirley Manson, lead singer of Garbage, performs during Daisy Chain Fields.
Chappell Roan reigns with a hit-heavy set
It’s funny to think that Chappell Roan has only really been in the American music scene for the past six years, with just one studio album to her name.
Roan appeared from the back of stage, revealing her leather, periwinkle stewardess outfit and red mod bob — an apparent nod to Luc Besson’s 1997 film “The Fifth Element.” Naturally, the crowd roared as she dove bob-first into “Super Graphic Ultra Modern Girl.” She’d occasionally crouch down to take a sip from her water bottle, which matched her ensemble.
Roan looked especially happy to be there, happily performing for free and her set did not disappoint.
“Only the hits today,” she said, smiling. “Only the hits.” —JM
Festivalgoers dance in the “MicroRave.”
Not for Radio crank up the volume
Just after sundown, the Marías’ enigmatic leading lady, María Zardoya, emerged to perform songs from her nocturne solo project, Not for Radio. Circled by a verdant reproduction of an enchanted forest, and dressed in a black swan-like two-piece by Ann Demeulemeester, Zardoya held the audience captive with her purring soprano and vampy stare. But make no mistake: by dialing up their otherwise elegant chamber pop with a little extra crunch and distortion, the players of Not for Radio came ready to rock out with the Daisy Chain crowd. It was during a performance of the new track “Comet,” which has only been recorded live thus far, that Zardoya bewitched fans into head-banging along with her. —SE
Olivia Rodrigo does duets with her idols
Sarah McLachlan, left, and Olivia Rodrigo perform during Daisy Chain Fields.
Rodrigo’s enduring virtue as a pop star is being a great fan first. The job requires commanding attention and devotion for yourself, but she’s never been shy about situating herself in the long arc of women who came before (and after) her, or just being moon-eyed to live inside her favorite songs with her heroes onstage. For her Daisy Chain Fields closing set, she dueted with generations of women that shaped her sense of what’s possible in music — Stevie Nicks for a gorgeous “Landslide,” and a surprise Alanis Morissette cameo for “Ironic” that felt like girl-gang karaoke night at its finest. She joined Lilith Fair founder Sarah McLachlan — a specific inspiration for this festival — for “Building a Mystery” and a deeply tender “Angel.” Even Rodrigo’s backing band, full of absolutely shredding women instrumentalists, played beside her on equal footing for exquisitely tasteful, post-punky revisions of songs across her three albums. The boys in the crowd got a brief chance to growl in the lead on “Expectations,” but here they were just allies — the headline act was Rodrigo’s talent framed as a gift received from other women, and given again to the young fans on the field. —AB
DETROIT — The same old story played out for the Dodgers on Saturday. They got a strong outing from their starting pitcher and an uninspiring performance by their offense, resulting in a close game.
This time the Dodgers lost, 2-1, despite left-hander Blake Snell’s five innings of one-run baseball.
The Dodgers’ last five games have been decided by one run. They’ve lost all but one of them.
It was Snell’s fourth game back from arthroscopic elbow surgery in May. He’s limited opponents to one run or none in every start. Saturday marked the first time he threw fewer than six innings since being activated this month.
He limited the Tigers to three hits and issued three walks. Four of those six baserunners reached before Snell briefly left the game in the third inning.
Snell had cruised through the first two innings, a Texas leaguer into shallow right field the only blemish on an otherwise perfect beginning.
The third inning, however, started to go haywire. Snell walked Javier Báez, traditionally a free swinger, to open the frame. Tigers rookie Max Clark laid down a sacrifice bunt, but Dodgers third baseman Max Muncy lost control of the ball as he tried to throw to first, enabling Clark to reach base as Báez advanced to second.
Against Gleyber Torres, Snell left a changeup too far over the plate for a ground-rule double. The high hop over the yellow line on the right-field fence saved a run, sending Clark back to third, but the Tigers pulled ahead 1-0.
Snell threw two pitches to Hao-Yu Lee and then, after a conversation with home plate umpire Chris Guccione, headed off the field and disappeared down the dugout tunnel.
There was no immediate explanation provided by the team or the umpires. Snell soon returned and resumed with a 1-and-1 count on Lee.
Snell got out of the inning without further damage, inducing Lee to pop out and, after walking Kevin McGonigle, striking out Dillon Dingler and Eduardo Valencia.
Snell made it six straight punch-outs by striking out the side in the fourth and kicking off a scoreless fifth with another. Snell’s outing ended with Dingler waving at an outside fastball for strike three.
The Dodgers’ offense, however, failed to give him run support. Through five innings, they mustered only two baserunners against Tigers starter Keider Montero.
In the sixth, they finally strung multiple hits together and got a run out of it. Alek Thomas led off with a double to left that ricocheted off the wall on a hop. Shohei Ohtani grounded out on a close play at first, moving Thomas to third. Then Freddie Freeman lined an RBI single to right.
The Dodgers went on to load the bases with one out. But, following a concerning pattern, they failed to squeeze any more runs out of the opportunity.
The Dodgers entered Saturday batting .211 with the bases loaded this month, putting them in the bottom third in the majors. When Tommy Edman grounded into a double play to end the sixth inning, it was their third with the bases loaded this month.
In the ninth, the Dodgers were a few feet from pulling ahead. With two outs and a runner on first, the Tigers brought in closer Kenley Jansen, the former Dodger, to face Teoscar Hernández.
In an 0-and-2 count, Hernández sent a cutter for a ride to deep left-center. But Báez made an over-the-shoulder catch a few steps from the wall.
Dodgers left-hander Jack Dreyer took the mound for the bottom half and, with runners on the corners, gave up a walk-off single to McGonigle.
DETROIT — Shohei Ohtani is not feeling “100%,” manager Dave Roberts revealed before the Dodgers game against the Tigers on Saturday. And that will be at the center of the team’s conversation about whether to start him Sunday.
It would be Ohtani’s first pitching start since July 3. He’s been just serving as the designated hitter in the meantime, while managing lingering inflammation and soreness in his left knee, primarily aggravated by pitching. But it’s not just his knee that’s ailing him, Roberts said after talking to the Dodgers training staff. His biceps issue from earlier in the year is part of the concern as well.
Ohtani threw a 20-pitch bullpen — shorter than his customary between-starts session — on Friday to tentatively set him up to throw the first inning Sunday.
“The knee, the body, just throwing, pitching, not 100%,” Roberts said. “What percent it is, I don’t know the answer.”
Roberts said he wanted to have clarity after the game Saturday, so he could notify Tigers manager A.J. Hinch and right-hander Tyler Glasnow, who is set to pitch Sunday either way. If Ohtani pitches Sunday, it would be opening for Glasnow.
“I’m not going to ambush those guys, and I’m not going to ambush Glas,” Roberts said. “So I think I would say that after the game, we’ll know definitively.”
If Ohtani doesn’t pitch Sunday, Tuesday, likely before left-hander Eric Lauer, could in theory be an option. But if Ohtani doesn’t feel good enough to start Sunday, two extra days of rest probably aren’t to resolve the issue, making a longer leadup more likely.
“We’re still thinking about potentially the buildup and what that would mean, which is fair,” Roberts said. “But at the end of the day, it’s what’s best for Shohei, what’s best for us, what makes the most sense. That’s kind of where we’re at.”
The longer it takes for Ohtani to return to the mound, the fewer starts he’ll have to build up before the postseason.
“I wouldn’t bet against Shohei,” Roberts said. “But I still think that five innings to the end of the season is aggressive for anyone.”
Though Roberts said the question is more “when,” rather than “if,” Ohtani will return to the mound, the fact that Ohtani’s knee issue (and apparently biceps as well) has not yet resolved calls into question whether it makes sense for him to resume two-way duties this late in the year.
“To be quite frank, I just don’t see everything getting to 100% by the end of the season,” Roberts said. “But there’s a lot of pitchers that are not 100% and still viable. So again, it’s just not an exact science.”
If that holds true, the concern is twofold: both how Ohtani’s health could affect his performance on the mound and at the plate.
“Obviously, where we’re at right now with the pitching, the starting pitching certainly being a strength, his value offensively is hugely important, and so we can’t compromise that in any fashion,” Roberts said. “So, if throwing potentially cuts into that, that’s not worth the squeeze. So that’s something, for me, I’m very bullish on making sure we don’t compromise the hitting.”
Ohtani entered Saturday with a .218 batting average since Aug. 8, when he resumed playing catch. But Roberts pushed back on the impulse to draw a line between Ohtani’s recent offensive dip and his side work on the pitching side.
“It just hasn’t been a whole body of work on the throwing side,” Roberts said. “Honestly, for me, I think the pitch selection hasn’t been good.”
Regardless of Ohtani’s status for Sunday, the superstar’s feedback will continue to play a large role in the Dodgers’ decision-making.
“I think that as the competitor, he wants to do both, and I respect it,” Roberts said. “But nothing I’m saying changes his identity as a two-way player.
“I think in the moment, he still feels that there’s still an opportunity, and I’m not trying to say there isn’t. But I do think that at the end of the day, he’s very aware of our roster, strengths, weaknesses, and his value to the ball club, and whatever that means.”
Matt Tebbutt returned Saturday Kitchen on August 22 and he welcomed special guest Dermot O’Leary as well as chefs Ellott Grover, Jack Stein, Roberta d’Elia and wine expert Helen McGinn
Matt Tebbutt was back on Saturday Kitchen duty on August 22(Image: BBC)
The latest line-up of Saturday Kitchen guests has got fans talking.
Chef Matt Tebbutt has been hosting the BBC cookery show for over nine years, having initially joined as a stand-in presenter in April 2016 before officially taking over as the permanent host in March 2017.
The presenter welcomed This Morning’s Demot O’Leary into the kitchen on Saturday (August 22) to discuss his latest work project as well as chefs Ellott Grover, Jack Stein, Roberta d’Elia and wine expert Helen McGinn was in charge of the drinks.
Before Matt got the chance to speak to his guests, viewers rushed to their keyboards to share their thoughts on the star-studded line-up.
One fan penned on social media: “Great line up.” Another added: “Incredible line-up.” A third person said: “Great. Looking forward to seeing @chef_roberta & @knackeredmother back.” A fourth wrote: “What a great line up.” Someone else agreed: “Great chefs and an amazing guest.”
Dermot appeared on the programme to promote his children’s book series Toto the Ninja Cat, which has a stage adaption touring across the UK through late 2026.
The former X Factor host also said that he’s “excited” following the news that the novel is being turned into a 52-episode action-comedy show by Emmy-winning head writers Nick Ostler and Mark Huckerby (Danger Mouse).
It comes after Laura Whitmore revealed her controversial favourite snack on the show. The former Love Island’s host dream snack proved to be controversial as host Matt said: “So Laura, a little birdy tells me you love eating raw mushrooms with mayonnaise?”
Laughing, Laura replied: “I love raw mushrooms.” The star then picked up a raw mushroom and proceeded to eat it as those watching turned in horror.
Presented with her own plate or raw mushrooms and two bottles of her personalised mayonnaise “Whit-Mayo”, Laura admitted the dish is called canapes, with which she sprinkles some cheese on top, adding: “That’s what I used to do when I was younger.”
The episode was first aired in 2022 and fans at the time were unimpressed. One person penned on X: “Watching in horror as Laura Whitmore eats raw mushrooms with mayonnaise on TV.”
After being served her favourite food of seafood linguine, paired with a glass of rose wine, Laura was seen enjoying her dish, seemingly speechless.
