season

Matthew Stafford is a master at reading defenses.

The Rams star quarterback manipulates opposing players with his eyes. He knows what he sees.

So the reigning NFL most valuable player can easily anticipate, recognize and digest why moves — on or off the field — are made.

Which brings us to the Rams’ decision to select former Alabama quarterback Ty Simpson with the 13th pick in the NFL draft.

“I understand where the team’s coming from,” Stafford, 38, told reporters last week in his first public comments about a move that stunned many. “Listen, I’m not 25 years old and I get that, so we’re doing everything we can to be as good a football team as we can for now, for the future, for all of it.”

That doesn’t mean Stafford was thrilled about general manager Les Snead and coach Sean McVay spending a first-round pick on his heir apparent.

This, however, is not the San Francisco 49ers trading for Steve Young with Joe Montana on the roster.

But the Rams bypassed an opportunity to give Stafford and an already loaded roster another weapon such as former USC receiver Makai Lemon, who might have provided immediate impact to help them reach and win Super Bowl LXI in February at SoFi Stadium.

Because the Rams showed five years ago that going all in and winning a Super Bowl was worth it, regardless of the perceived and real costs down the road.

Regardless, the Rams are considered among the favorites to return to the Super Bowl for the first time since Stafford led them to victory in Super Bowl LVI at SoFi Stadium.

Like they did before and during that 2021 season, the Rams have done almost everything possible to ensure that owner Stan Kroenke can once again bask in the glory of winning a Super Bowl in the stadium he built.

After losing last season’s NFC championship game, the team quickly signed McVay and Snead — who were entering the final years of their contracts — to long-term extensions.

Then they improved their roster’s main weak spot by trading for All-Pro cornerback Trent McDuffie, and signing cornerback Jaylen Watson — both of whom played on two Super Bowl championship teams with the Kansas City Chiefs.

On May 21, they signed Stafford to a one-year, $55-million extension that could keep him with the team through 2027.

Rams quarterback Matthew Stafford and coach Sean McVay talk during practice on Thursday.

(Jayne Kamin-Oncea / Associated Press)

Whether the 17-year veteran and reigning NFL most valuable player plays beyond 2026 remains to be seen.

But McVay is happy that the future hall of famer will be leading the offense.

“It’s great to be able to have that taken care of,” McVay said in his first news conference with local reporters since April 24, the day after the Rams drafted Simpson.

McVay had spent the previous availability explaining the reason for his somber and dour countenance during an awkward news conference the night before. McVay said he was trying to be respectful of Stafford’s status as the team leader, and that a personal situation also had affected his demeanor.

On the night the Rams drafted Simpson, McVay said he had spoken with Stafford beforehand. When asked what he told Stafford, McVay said, “I’ll keep that between us.”

Last week, when asked about his discussion with McVay, Stafford said, “I’m not going to get in too much to what our conversation was. I appreciate him talking with me about those kinds of things. We have constant dialogue and a great relationship so I appreciate that.”

Stafford said his job as the starting quarterback was to help all players, including Simpson, prepare for the season.

“He’s a guy that asks questions,” Stafford said. “I’ve been trying to answer those as honestly and as thoroughly as I possibly can.

“He’s a smart kid. He’s got talent, obviously. He’s a high draft pick so happy to add good players to our team.”

It is too early to quantify what Simpson has brought to the team, McVay said. The offseason workout program is about “setting foundations” that will help once players are participating in full-speed settings during training camp.

Simpson is on track for a lot of reps when camp begins in late July at Loyola Marymount.

Last year, Stafford was sidelined all of training camp because of a back issue. But he returned before the opener and won his first MVP award.

So the Rams are expected to modify Stafford’s traditional training camp workload — and aim for similar results.

Offseason workouts are going well, Stafford said.

“Throwing it like I know how to throw it and for somebody my age,” he quipped. “I feel pretty good.”

Even with the extension, the Rams and Stafford will continue to talk contract on a year-to-year basis, a practice they have followed since 2024, when Stafford delayed his arrival to training camp because of an impasse.

“I can’t sit there and tell you what it’s going to look like 365 days from now,” he said. “But it’s just one of those deals where I’m doing the best I can to make sure that I can play as long as I can and make sure that my family and I are all on the same page before we embark on whatever season it may be.”

If this season plays out as expected, the Rams could give Stafford another weapon at the trade deadline.

Until then, they’ve guaranteed him plenty of cash.

And motivation.

This article contains spoilers for the series finale of “Hacks.”

After five seasons and (thus far) 12 Emmys, “Hacks” has come to an end. The story of how Deborah Vance (Jean Smart), a 70-something comedian of the Joan Rivers type, and Ava Daniels (Hannah Einbinder), a prickly 20-something comedy writer, came together to resurrect both their careers was a roller coaster ride of intergenerational judgment, wins, setbacks, ruthless behavior, personal growth, power reclamation and much general hilarity.

Deborah sees Ava as entitled and self-righteous, Ava sees Deborah as washed-up and boring. Eventually, of course, they realize they are kindred spirits who do their best work together.

In Season 5, Deborah attempts yet another comeback. Having walked off her late-night show rather than fire Ava in Season 4, she is determined to rewrite her premature obituary by playing Madison Square Garden. When that too is snatched away, she pivots (with much difficulty and hilarity, including a show-stopping monologue by Laurie Metcalf’s tour manager Weed) to Central Park, where she is finally allowed a moment of glory, basking in the adulation of applauding thousands.

But that is not the end of “Hacks.” In the final episode, Deborah reveals she has cancer and rather than undergo treatment, she is choosing to “go out on top” with the aid of a Zurich clinic. She asks Ava to accompany her, after they take a girls trip to Paris. After an emotional meltdown, Ava agrees, hoping to persuade Deborah to change her mind. She does, but only after Deborah realizes that she cannot bear to walk away from the jokes she could write about dying. And so the show ends, with the two women walking arm in arm, first in Paris and then in Las Vegas, working on Deborah Vance’s final show.

Here, Times TV and culture critics Robert Lloyd and Mary McNamara discuss the ending, and legacy, of “Hacks.”

Deborah, left, decides she doesn’t want to get treatment for cancer despite Ava’s protests. Deborah changes her mind when she realizes she could write jokes about dying.

(HBO Max)

Mary McNamara: Hey there, Robert; are you as devastated as I am that we have no more “Hacks” to look forward to? The only solace I can find is the news that creators Lucia Aniello, Paul W. Downs and Jen Statsky are planning to release a DVD box set of the series. And the possibility that there could be a movie sequel — I for one want to see Deborah Vance’s death tour, especially since you know she’ll beat the odds and survive.

Seriously, though, sad as I am to contemplate life without “Hacks,” I am equally thrilled that the show so thoroughly stuck its landing. Finales are always a crap shoot and I appreciated how this season managed to show growth and cosmic justice while never tipping into treacle. I love that everyone ended on a win — including Marty! (Christopher McDonald) — and I didn’t even mind that suddenly Deborah had cancer (what?), was choosing assisted suicide (double what?) or that we were whisked to Paris (sure, I guess, why not?) because it made just enough narrative sense to set up Deborah’s decision to live because she just couldn’t leave good material on the table. “I may not have 30 years, but I do have one more hour,” may be the best line from a TV finale ever.

It is too easy to think of people like Deborah as clawing back their careers for fame, validation or money rather than a deep and essential love of their art. Having Deborah decide to prolong her life with chemo because she could not resist mining this final seam of comedic gold was a coup de grace.

What did you think?

Robert Lloyd: Hail, Mary. Reviewing the first-season finale, I wrote that the series was at heart a romantic comedy. And though many timely points were made along the way about artificial intelligence, the fate of late-night television and the awfulness of rich jerks who control media companies — Deborah’s Madison Square Garden show was undermined by the network head she named on national television in her resignation speech — the show asserted itself as a love story once again in the end. Where earlier seasons had depended on creating friction between Deborah and Ava, this one was mostly of concord, their only real clash being Deborah’s decision, introduced late in the season, to end her life (in a clean, posh way); her climactic change of heart spared us a medical tearjerker, but, believe me, I shed plenty of tears along the way. Unlike most seasons of “Hacks,” the fifth and final was orchestrated very much as a feel-good experience — “Ted Lasso” has nothing on it. A fairy tale, almost, as you point out, full of fairy-tale endings and plot points that were as good as magic. It could be contrived and improbable and old-fashioned in its triumphs snatched from the jaws of defeat, and I completely loved it.

Deborah Vance (Jean Smart) didn’t get the Madison Square Garden show she imagined, but she did get one at Central Park.

(HBO Max)

McNamara: The series had a lot to say about a lot of things (including vengeful power brokers/network executives) that feel particularly pointed now. But I deeply appreciated that while underlining the real obstacles Deborah and Ava faced, the writers showcased and explored how the bad choices each women had made, and defended, also contributed to their situations. Obviously having the great Jean Smart in the driver’s seat helped a lot — she revealed the woman beneath the diva even in Deborah’s most outrageous actions. The writers did not shy away from calling attention to the blatant sexism female comedians faced (and continue to face) or how the “woke” women of Ava’s generation are often able to see that kind of injustice more clearly.

It was, as you say, more rom-com than morality play, and rom-coms are often based on discovering that the differences that initially divide are too often based on, well, to put it in its original form, pride and prejudice. So while there was some hilarious and spot-on commentary about intergenerational miscommunication, there was also a clear message of how important it is for people with vastly different experiences to listen to, and learn from each other, which also feels incredibly important at this moment in time, especially given the show’s essential, and deeply human, respect for creative work. What motivated Deborah and Ava, and virtually every character in “Hacks” — agent Jimmy (Downs), his assistant Kayla (Megan Stalter) and later Randi (Robby Hoffman); Deborah’s staff, including Marcus (Carl Clemons Hopkins), Damien (Mark Indelicato) and Josefina (Rose Abdoo) — was a belief in the importance, and difficulty, of the creative process. It’s something that is rarely, if ever, the work of a single individual — as Deborah finally acknowledges at the opening of the Diva casino. Or as Laurie Metcalf’s Weed makes clear in her hilarious monologue before the Central Park gig.

1

2

1. Creativity isn’t the work of a single individual: Damien (Mark Indelicato), Marcus (Carl Clemons-Hopkins) and Deborah (Jean Smart) at work on the casino. (HBO Max) 2. Deborah’s crew at her Central Park show. (HBO Max)

Lloyd: In a way Deborah’s speech summed up what we’d already been seeing through an especially generous season that served as “Hacks’” tribute to itself and its people. It was a party to which most every significant and many minor characters were invited, including Metcalf and McDonald; Luenell as comedian Miss Loretta; Poppy Liu as Deborah’s personal blackjack dealer, Kiki; Jane Adams as Ava’s mother, Nina; J. Smith-Cameron as Deborah’s estranged sister, Kathy; and Kaitlin Olson as Deborah’s daughter, DJ, who finally got her mom to partner with her on “The Amazing Race” and was allowed to sell her detachable earrings on QVC.

Gifts were distributed widely, including a previously unseen interview with Deborah’s late husband and co-star, Frank (Peter Strauss), giving her credit for their success — credit he had previously accepted for himself — and thus removing a giant thorn that drove the early plot. These kind-hearted acts of closure were performed both for the benefit of these very real, made-up people, and for We the Viewers, who have made them our family. Declarations, or at least demonstrations of love, were abundant, not merely between Deborah and Ava, with the characters acting as our proxies, feeling what we want them to feel, and what we feel for them ourselves. (There are moments this year when Einbinder — whose brilliance Smart could seem to outshine, but who was never less than an equal partner — absolutely killed me, just in the tender way she gazed upon Deborah.) That’s why it’s so hard to let go of a show like this, even when we know it’s time to say goodbye. You can only stretch an arc so far before it breaks.

McNamara: You’re right, of course. But I still want to see the “Hacks” movie.

Cardiff lost head coach Matt Sherratt to Steve Tandy’s backroom staff just a few days before the season started, with forwards boss Corniel van Zyl making the step up to replace him.

“We’re proud of the boys from where we started the season into how we finished,” said van Zyl.

“To end up sixth, with 16 quality teams, I say would make us proud. Unfortunately we couldn’t push on to the next step and that’s the disappointing part.”

Van Zyl guided Cardiff to 11 league victories, with eight of those coming at their Arms Park home.

With only one URC win achieved outside of Wales this season, securing an unlikely play-off victory in South Africa against a former tournament winner was always going to be a tough ask.

The squad landing just a few days before the fixture after a 6,000-mile flight to Cape Town added to their task.

Cardiff flanker Dan Thomas has been one of the shining lights this season and again impressed against Stormers.

The open-side did not want to accept defeat but acknowledged the steps made in the 2025-26 campaign.

“Everyone was happy with how the season went, we made the play-offs which was important for the club, but no-one remembers who loses in quarter-finals,” Thomas told S4C.

“Making the play-offs is important for the club.

“It’s an odd one, we’re happy with how the season has gone, but you want silverware. It is back to the drawing board now and we need to start again.”

Cardiff have signed Australian veteran prop Scott Sio next season, which they will hope shores up a scrum taken apart by Stormers.

“It is obvious, our set-piece needs to improve,” said Thomas.

“The Stormers were dominant and we didn’t cope. We knew it was coming and still couldn’t stop it.

“We know the hard work will start in pre-season.”

A Good Girl’s Guide to Murder has come to an end on BBC and Netflix, but there are plenty of loose ends to tie up in a potential third season

Pip Fitz-Amobi has one final mystery left to unravel.

A Good Girl’s Guide to Murder made its eagerly anticipated return this week for a second thrilling season, adapted from the bestselling novels by Holly Jackson.

On this occasion, Pip Fitz-Amobi (played by Emma Myers) investigates the disturbing disappearance of Jamie Reynolds (Eden H Davies), the elder brother of her friend Connor (Jude Morgan-Collie).

Elsewhere, Max Hastings (Henry Ashton) stands trial for drugging and assaulting female classmates, yet proceedings are thrown into disarray when Jamie surfaces before crucial evidence can be presented.

Now that another compelling six-part series has concluded with a breathtaking cliffhanger, we examine all the loose ends that a potential third season would need to resolve, reports Bristol Live.

**Warning – this article contains major spoilers for A Good Girl’s Guide to Murder season 2 and minor spoilers from the third book, As Good As Dead.**

Will Charlie and Flora face justice?

By the conclusion of Pip’s second investigation, the truth behind Jamie’s disappearance is revealed to be her neighbour Charlie Green (Jack Rowan), who had been hunting for Child Brunswick — the son of a notorious child killer who had lured his sister to her death.

Child Brunswick had been assigned a fresh identity under a witness protection scheme, and is unmasked as security guard Stanley Forbes (Misia Butler). Stanley meets his end in the finale at Charlie’s hands, who subsequently flees alongside his wife Flora (Anna Brindle).

By the season’s conclusion, audiences might question whether police eventually apprehend them. The third instalment in Jackson’s series, As Good As Dead, offers some resolution to this, though the adaptation may potentially pursue an alternative direction.

When will Max Hastings get taking down?

Pip finds herself incensed at the close of the second series when predator Max evades punishment, despite testimony from his victim Becca Bell (Carla Woodcock), after he attributed his offences to murder victim Sal Singh (Rahul Pattni), who couldn’t refute the accusations.

In the final episode, Pip conducts a funeral for Stanley and endures harassment from Max, who appears to have acquired a new girlfriend. She’s additionally enraged by graffiti daubed on a neighbouring structure stating “Child killer burn in hell Child Brunswick”, presumably created by Max or his associates.

Max cannot face retrial, but has Pip devised a plan to bring about his downfall? Again, this matter is explored in As Good As Dead and will presumably feature in the third series.

Who is Pip’s stalker?

Season two featured Pip receiving threatening communications from an unidentified stalker, which could represent further provocations from her adversary Max or potentially sinister warnings from another danger concealed in the darkness.

In the finale, her bedroom suffers an intrusion and she discovers repeated instances of the message “Who will look for you when you’re the one who disappears?” on her laptop.

This enigma provides the foundation for Jackson’s third instalment in the series, so everything will be unveiled should A Good Girl’s Guide to Murder progress.

Will Lauren and Robin split up?

A significant departure from the novels in season two involves the arrival of Max’s cousin, Robin Hastings (Freddie England), who starts a relationship with Pip’s friend Lauren (Yali Topol Margalith).

In the penultimate episode of season two, Lauren is last spotted at a family meal with Robin, Max, and their relatives, suggesting they remain together by the finale.

Nevertheless, in Jackson’s books, Lauren actually starts seeing a character named Ant Lowe, who hasn’t featured in the television adaptation. Fans may consequently witness her romance with Robin take a somewhat different trajectory in the third season.

What’s season three’s storyline?

Fans eager to discover what unfolds next are urged to read the third and concluding book in the series, As Good As Dead.

For non-readers, here’s a brief synopsis, according to HarperCollins: “Pip Fitz-Amobi is haunted by the way her last investigation ended. Soon she’ll be leaving for Cambridge University but then another case finds her… and this time it’s all about Pip.

“Pip is used to online death threats, but there’s one that catches her eye, someone who keeps asking: who will look for you when you’re the one who disappears? And it’s not just online. Pip has a stalker who knows where she lives. The police refuse to act and then Pip finds connections between her stalker and a local serial killer.

“The killer has been in prison for six years, but Pip suspects that the wrong man is behind bars. As the deadly game plays out, Pip realises that everything in Little Kilton is finally coming full circle. If Pip doesn’t find the answers, this time she will be the one who disappears…”

A Good Girl’s Guide to Murder season 2 is available to stream on BBC iPlayer.

OLIVIA Attwood undergoes treatment whilst showing off risqué bum snap as she prepares for bikini season.

The stunning TV star, 35, is topping up her curves with a bum enhancing regimen amid her high-profile romance with Pete Wicks.

Taking to her Instagram Stories Olivia shared a body pic of herself hooked up to a machine at a clinic. 

The reality beauty was snapped face down as the daring bum pic revealed her covered in wires undergoing a treatment known as Truflex.

The non-invasive procedure acts as a muscle stimulant which aims to strengthen, tone, and firm the glutes.

Olivia added the caption: “We are not f****** around this season.”

READ MORE ON OLIVIA ATTWOOD

CRYPTIC LIV

Olivia Attwood hints at trouble in paradise with Pete Wicks in cryptic post

YACHT THE HELL

Olivia Attwood and Pete Wicks snubbed from KISS Ibiza trip

In additional text alongside the risque snap, she penned: “Truflex at @sadaf_jaffari I have had better results with this than emsculpt personally depends on your goal x”

In another one of her recent social media posts Olivia had appeared to have undergone an eye treatment with a mirror selfie showing noticeable swelling around her eyes. 

The photo dump which also showed Olivia appearing downcast in several snaps which had sparked worry with fans that there could be trouble in her relationship.

Looking downcast in one photo, Olivia pouted and didn’t look very impressed.

The images that followed were of her dogs, with a snap being of her taking a selfie in an elevator.

It also included a pic of Olivia beaming whilst getting her hair and makeup done. 

The photos had left people alarmed by the lack of Pete appearing in the post, despite the pair dating for a while now.

But it seemed all was to be good in paradise as eagle-eyed fans spotted a sign that all might be well between the pair.

One person seemed to spot Pete’s dog in one of the snaps.

“Yay to Rodney. Was hoping to spot some subtle Pete hints and also wondered if the dogs are mates with eachother! (So invested),” one person penned.

While another added: “Yes Rodney!!!!!!!”

And a third penned: “Hard launching Rodney!”

“Stitch, Lola & Rodney,” penned another, spelling out how Olivia’s pups Stitch and Lola, were now pally with Pete’s dog Rodney.

“House of the Dragon” Season 3 will see Rhaenyra Targaryen take back King’s Landing — but the war is far from over.

HBO on Friday released the final trailer for the upcoming season of its epic fantasy, which teases brutal battles, many dragons and the Targaryen queen returning to the capital of the Seven Kingdoms to claim the Iron Throne.

“I see you have been merciful,” Alicent Hightower (played by Olivia Cooke) says to her childhood friend (Emma D’Arcy) in the clip. “But the crown is a weight that crushes. You’ll do things that spell death for all involved.”

And if the trailer is any indication, there will be a lot of bloodshed in Season 3.

The second season of “House of the Dragon” left off with Rhaenyra and Alicent plotting for the former to take King’s Landing with minimal resistance in exchange for the latter’s freedom. Unfortunately, Alicent’s promised tribute — her son King Aegon II — has fled his castle so things won’t go exactly as planned.

After a slowburn of a second season, a higher octane Season 3 will kick off with the highly anticipated Battle of the Gullet, a fight at sea that is regarded as one of the bloodiest and most violent clashes in the history of Westeros. “House of the Dragon” showrunner Ryan Condal recently told Entertainment Weekly that the premiere is “arguably the craziest episode of television ever made.”

The new trailer shows that everyone will be reeling in the aftermath. According to the footage, what awaits Rhaenyra during her reign are fearful subjects, conniving enemies, sleepless nights and plenty of anguish.

“In a war, all suffer,” Daemon Targaryen (Matt Smith) says in the trailer.

“House of the Dragon” Season 3 will premiere June 21.

Designated hitter Jacob Johnson hit a go-ahead homer in the ninth inning off Easton Hawk to lift Saint Mary’s to a stunning 3-2 win over top-seeded UCLA in the Los Angeles Regional opener Friday afternoon at Jackie Robinson Stadium.

Johnson’s second solo home run of the game initially only appeared to be a pop-up near the warning track. But as the stadium fell silent, the ball kept sailing — and it eventually cleared the wall over leaping Bruins right fielder Jarrod Hocking.

Saint Mary’s reliever Cam Staton earned the win after getting UCLA shortstop Roch Cholowsky, the expected No. 1 pick in the 2026 MLB draft, to pop out with a runner on first. The right-handed Hawk took the loss.

It marked the first loss by a national No. 1 seed in an NCAA regional opener since the current format was established in 1999.

Hawk previously had given up just three homers on the season and hadn’t surrendered one since March 1 against Mississippi State. Johnson, who went deep to start the day’s scoring in the fourth, recorded his second two-homer game of the season.

UCLA’s Jarrod Hocking strikes out to end eighth inning during a 3-2 loss to Saint Mary’s in the NCAA regionals on Friday.

(Scott Strazzante / For The Times)

Saint Mary’s (35-25) will face the winner of Virginia Tech (2) vs. Cal Poly (3) — who play Friday night — in the winner’s bracket on Saturday at 6 p.m. PDT; UCLA (51-7) will face the loser in the elimination bracket Saturday at 1 p.m.

Friday’s starters, UCLA’s Wylan Moss and Saint Mary’s John Damozonio, dueled. Moss surrendered three hits and one run through five innings, and Damozonio gave up five hits and two runs through seven.

But it was Johnson and the Gaels who survived in the end.

Luka Doncic could be involved in two championship bids this upcoming season.

The Lakers superstar and former Dallas Mavericks general manager Donnie Nelson are leading an investor group that acquired a professional basketball team in Italy, it was announced Friday, with hopes that the franchise could become part of the NBA’s new European venture.

The group plans to move Vanoli Cremona, a team that plays in a northern Italian city about 60 miles southeast of Milan, to Rome, and submitted a bid for the club to join NBA Europe, making Doncic the first player to state his ambition to become part of the NBA’s expansion across the pond.

“I have dreamed about owning a team in Europe for a long time, to finally have this happen is amazing,” Doncic said in a statement. “Vanoli has a great history, and we are ready to take it to the next level in Rome. We have an amazing group of partners, and I really believe we can do something special for basketball in Italy and Europe.”

NBA commissioner Adam Silver said this year that the NBA is working with FIBA, the world governing body for basketball, to begin a stand-alone league in Europe. The league could begin as soon as October 2027 with up to 16 teams hosted in major cities in England, France, Spain, Italy, Germany, Greece and Turkey.

Rome and Milan are the top Italian targets to host NBA Europe teams. Rome, the Italian capital, has not had a Serie A team since 2020, when Virtus Roma ceased operations because of financial difficulties. Vanoli will begin playing in Rome for the 2026-27 season.

“Rome deserves world-class basketball, and we are excited to be bringing it back,” Nelson said in a statement. “Vanoli Cremona has a proud history, and we are committed to honoring that legacy as we build toward an exciting future in Rome. This city has been without top-flight basketball for too long. That changes now. We are bringing the resources, the expertise, and the passion to make this club a source of pride for Rome and for all Italy.”

Nelson, who is the lead investor and managing partner, was the general manager when the Mavericks traded for Doncic on draft night in 2018 and was the architect of Dallas’ 2011 NBA championship team led by German star Dirk Nowitzki. The investor group also includes Valerio Bianchini, a celebrated coach in the Italian league, and Rimantas Kaukėnas, a 17-year pro across European leagues.

The 27-year-old Doncic, who was born in Slovenia and started his professional career with Real Madrid in Spain, is part of a recent wave of international stars taking over the NBA. The last eight most valuable players have been born outside of the United States. Doncic finished fourth in MVP voting this year behind two-time winner Shai Gilgeous-Alexander, who is from Canada, three-time MVP Nikola Jokic, who is from Serbia, and Victor Wembanyama, a 22-year-old Frenchman expected to dominate the league for years.

The NBA played two regular-season games in Europe this season, with the Memphis Grizzlies and Orlando Magic facing off in Berlin and London. Next season, Wembanyama and the San Antonio Spurs will play in his home country against the New Orleans Pelicans and in Manchester, England.

US-based investment firm Castlelake confirmed it is in the ‘early stages’ of weighing up a potential takeover offer for budget airline easyJet following recent speculation

A major investment firm has issued a statement and said it is considering a possible takeover bid for easyJet.

US-based Castlelake confirmed it is in the “early stages” of weighing up a potential offer for the budget airline following recent speculation.

The company stressed that “no approach has been made to the Board of easyJet” and warned there was “no certainty” that a bid would actually happen. Under takeover rules, Castlelake now has until June 26 to either announce a firm intention to make an offer or walk away.

The development comes just days after easyJet insisted it still plans to operate its full summer schedule despite fears over aviation fuel supplies linked to the Iran war.

EasyJet chief executive Kenton Jarvis said the airline had seen “absolutely no issues with fuel supply” at airports across the UK and Europe.

He told the BBC Today programme: “We’ve seen absolutely no issues with fuel supply at any of our airports in the UK, across Europe, or indeed beyond. We stay in very close contact with our fuel suppliers, airports, governments, and they are equally raising no issues looking forward.

“What is true is obviously there’s a lot less oil coming from the Gulf region, but fuel suppliers have successfully diversified with production increased in Norway, in West Africa, in the Americas. Refining capacity for jet fuel has also increased substantially outside of the Gulf region.”

The airline recently reported losses of £552 million for the first half of its financial year – a 40% increase compared with the previous year. Despite the losses, easyJet said demand for the summer holidays remains strong, with travellers continuing to book trips closer to departure dates.

Mr Jarvis said: “Demand seems to be very strong in what we call the late market. As we ran through April, demand was very strong for the month of April. We’re seeing it again in May.

“But as you look further out, people are more cautious. People are waiting and watching, but they are booking as as you approach, and I expect that strong late booking market to run through the summer.”

The airline has also faced disruption linked to the EU’s new biometric border checks. Mr Jarvis described delays caused by the entry-exit system as “completely unacceptable”.

“I’d encourage all the European countries is to use the flexibility that’s been given to them by the European Commission, that they can phase the introduction of this if they see queues in peak times,” he said.

“They can go back to normal border force control with stamping of passports, so they should use this.”

It’s hard to believe we’re approaching the end of May and the midpoint of the year, which means some of our favorite shows have come to a close, including “The Late Show With Stephen Colbert,” which aired its final episode on CBS last week. Our critics and columnists weighed in on Colbert’s tenure as host of “The Late Show” over the years, writing about why he was the risky but right choice to host, his faith and his next chapter. And “Hacks,” starring Jean Smart and Hannah Einbinder, dropped its series finale on HBO Max last night. Times culture columnist Mary McNamara and television critic Robert Lloyd took a moment to discuss the course of the show after five seasons, the characters and why they found the finale satisfying.

While those series have come to an end, a new television show, Prime Video’s “Spider-Noir,” arrived this week with a different take on a beloved superhero, Spider-Man. “Spider-Noir” stars Nicolas Cage as Ben Reilly and his alter ego the Spider. Writer Carlos Aguilar spoke to Cage and co-star Lamorne Morris about their spin on the comic book-based characters they portray, and this week, Karen Rodriguez, who plays Ben’s secretary Janet Ruiz on the show, stopped by Guest Spot to talk about her character, working with the ensemble cast and how she gets a nice prize at the end of the season (be warned, a few spoilers ahead).

Also in this week’s Screen Gab, our writers recommend a trio of newly arrived second seasons and a collection of films based on Homer’s “The Odyssey” that will get you in the mood for Christopher Nolan’s epic arriving later this summer. Vacation screen time can’t come soon enough. — Maira Garcia

Turn on

Recommendations from the film and TV experts at The Times

Asif Ali, Poorna Jagannathan and Saagar Shaikh in Season 2 of “Deli Boys.”

(Sandy Morris / Disney)

Season 2 of “The Four Seasons” (Netflix), “Patience” (PBS) and “Deli Boys” (Hulu)

There is a season, goes the song, and there is sometimes a second season. Here’s your chance to turn (turn, turn) on your TV to three fine, finally returning series. Tina Fey’s “The Four Seasons” demonstrates there’s still life in this bumpy midlife friend-com about couples (in flux) who vacation together four times a year because apparently there are people who can afford to do that. (On this year’s itinerary: the Catskills, the Jersey Shore and Italy.) It stars Fey, Colman Domingo, Will Forte and others, and even a little bit of Steve Carell, though his character died at the end of Season 1. (Flashbacks, baby.) “Patience,” a charming British mystery, airing here as part of PBS’ “Masterpiece,” stars charismatic autistic actor Ella Maisy Purvis as a neurodivergent amateur detective, assisting the police in York, England. This season replaces Laura Fraser’s finally understanding detective investigator Bea Metcalf with Frankie Monroe (Jessica Hynes), a less sympathetic successor, but Mark Benton (whom you may know from Britbox’s “Shakespeare & Hathaway: Private Investigators,” or should) as Calvin Baxter is happily still around as the boss. Abdullah Saeed’s hectic, hilarious “Deli Boys” retails the further misadventures of brothers Mir (Asif Ali) and Raj (Saagar Shaikh), who last season stumbled unaware into their late father’s drug business, fronted by a chain of convenience stores. New to the show this season are Fred Armisen as a casino owner, Andrew Rannells as a district attorney and Kumail Nanjiani as the lawyer for the brothers’ Lucky Auntie (Poorna Jagannathan, majestic). — Robert Lloyd

John Turturro, left, Tim Blake Nelson and George Clooney in “O Brother, Where Art Thou?”

(Melinda Sue Gordon / Universal Pictures)

Odysseys (Criterion Channel)

All hail original IP, which is great and all, but sometimes a 3,000-year-old story sticks around for a reason. Homer crystallized the impulse to return home after a long time away from all that is familiar. We’ll watch Matt Damon make that journey in Nolan’s “The Odyssey,” hitting theaters July 17, but until then, Criterion builds anticipation with some of the most notable homeward journeys. Martin Scorsese achieves a kind of cosmic misfortune with 1985’s “After Hours,” in which Griffin Dunne’s yuppie only wants to escape Soho and go back to his apartment after a late-night date gone sour. You can bop to the Coens’ tuneful “O Brother, Where Art Thou?,” a faithful Homeric translation, then check out the Preston Sturges satire “Sullivan’s Travels,” which inspired the Coens’ title. But don’t let David Lynch’s “The Straight Story” pass you by: It was the least name-checked of his films when the director died last year, but it’s one of his most gentle and improbable triumphs, about a road trip via lawn tractor to a dying brother. — Joshua Rothkopf

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Janet Ruiz (Karen Rodriguez) in “Spider-Noir.”

(Aaron Epstein / Prime)

Being exceptionally competent at your job is a superhero power — so says this editor. In “Spider-Noir,” Rodriguez plays Janet, a secretary to private investigator Ben Reilly, a.k.a. the Spider. But Janet is not just someone who sits behind the desk answering phones and filing paperwork. She’s as much a gumshoe as Reilly, walking into a police station with poise and ease to sweet-talk the officer into giving her crucial information on an investigation (all it takes is a good sandwich). Her ability to ask the right questions and find answers puts her on equal ground with Reilly and his best friend Robbie Robertson, the investigative journalist played by Morris, leading her to a rightful promotion at the end of series. Don’t you love it when good old-fashioned hard work gets you ahead?

While Rodriguez has been busy lately with her breakout role in “Spider-Noir,” she has also been at work on “The Hunting Wives,” Netflix’s hit drama in which she plays Deputy Wanda Salazar and is slated to return later this year. The actor spoke to us about going toe to toe with Cage, why she loved working with her various cast mates and what she’s watching now. — M.G.

“Spider-Noir” is a comic book adaption, but it’s also a take on classic noir films. How did you prepare for your role as Janet given the mix of genres?

I had a little more freedom because Janet is strictly based on the Girl Friday archetype from classic noir. So I first started with the scripts. Oren [Uziel]’s vision for Janet was very precise in the writing, and from that arc I wanted to figure out why this particular woman in this particular world and what does she offer the environment that no one else can. Then I delved into “The Maltese Falcon” (Janet was based off of Effie Perine), “Double Indemnity,” “His Girl Friday,” among others. And then I mixed it all in with Nick’s take on Ben Reilly because so much of who Janet is absolutely informed by who Ben is.

Janet is very no-nonsense, especially with Ben, even though he’s her boss. What was it like “managing up” and playing off of Nick’s acting? Have you ever dealt with a boss like that in real life?

Well, I think that what’s great about Janet is that she is no-nonsense but she also has a killer sense of humor and wit. I think it makes her someone who’s very skilled at getting what she wants, a little sugar with the medicine. Nick is the ultimate scene partner — so prepared, so playful and most importantly, unpredictable. For Janet, Ben’s antics are her obstacle in the scene and Nick always made sure Ben gave Janet plenty of obstacles. All I had to do was know Janet is the boss and the voice of reason, then listen and respond to him. We had a great time keeping each other on our toes and I’m so grateful to have had that experience with him. No, I haven’t had a boss like that!

Janet shares a lot of scenes with different characters, like Robbie (Morris), Lonnie (Abraham Popoola) or even Frankie (Cary Christopher), the little boy who’s friendly with Ben. She is very good at connecting with people. How was it creating a rapport with so many different cast mates and was there a scene or moment that stood out to you?

Thank you for saying that! Her ability to connect with people is one of my favorite parts about her. And oh, I loved it. The ensemble acting of it all thrills me. It allows me to explore different facets of the character and it’s just fun to collide with different actors. And this particular cast made it so joyful — they’re all mega-talented but also super-focused and hardworking. We just wanted to make the best show we could.

A moment that stood out to me … I loved seeing Janet’s superpower in the scene with Lonnie, how her kindness and ability to make people feel seen makes her a powerful player in this world. And Abraham Popoola is just magnificent so it was a really fun day on set with him and Lamorne.

In the end Janet and Ben become partners. Was that inevitable given her skills?

I would like to think so! And I think Janet would too! But it still made me cry when I read the episode and when I saw the office door sign with both their names. I think for Janet, too — despite knowing she’s worth it, it is still momentous to have Ben give her her due.

Along with “Spider-Noir,” you’ll be back on “The Hunting Wives” for Season 2 later this year. Anything you can tease about what Wanda Salazar might be up to?

You know Maple Brook is going to give her plenty to do! She’s definitely going to have her hands full this season. And I’m excited because I think fans are in for some shocking moments!

What have you watched recently that you are recommending to everyone you know?

“Ponies” [Peacock]. Oh, and I’ve been watching “The Comeback” [HBO Max], Season 1-3. Lisa Kudrow forever.

What’s your go-to comfort watch, the movie or TV show you go back to again and again?

“The Office” [Peacock]. “Bridget Jones’s Diary” [YouTube, Paramount+]. “Pride and Prejudice,” 2005 vibes [Britbox, Prime Video].

ICYMI

Must-read stories you might have missed

Will Smith crouched, his left knee on the ground and his mitt grazing the dirt as his Team USA teammate Mason Miller strode towards the plate.

From there, the only way for his glove to go was up and through the slider that fell out of the strike zone as the Dominican Republic’s Geraldo Perdomo stopped his swing. But, in a full count, home plate umpire Cory Blaser called it strike three.

Miller threw his hands above his head. Smith pumped his first. And the United States advanced to the World Baseball Classic final.

“That’s the work we do in the cage, and off the machine, and drills, and all that coming to fruition, and being applied to in-game,” Smith said in a recent conversation with The Times.

He has a slim chance of replicating that moment during the season, with the ABS challenge system implemented in MLB. If it had been in play during the WBC — as long as the Dominican Republic had challenges left — Perdomo surely would have used one on the final pitch of that 2-1 game.

And yet, as counterintuitive as it may sound, Smith dedicated time and effort during spring training to improving his framing.

“It’s important because you only get two challenges a game, offensively and defensively,” Smith said. “The whole team only gets those two. So the harder I can make it on the other team to challenge pitches, the better. The more strikes I can get and not have to challenge, the better. I think overall, it almost makes it more important, in a way.”

United States pitcher Mason Miller and catcher Will Smith celebrate a WBC semifinal win over the Dominican Republic.

(Rebecca Blackwell / Associated Press)

Framing had been a weakness in Smith’s game in recent seasons, according to Statcast’s catching metrics. His best season was 2023, when he recorded four runs saved via pitch framing. But he slipped to minus-eight and minus-10 the next two seasons. Entering the Dodgers’ series against the Phillies this weekend, he was at an even zero after 43 games at catcher this season, including 39 starts.

And now, when Smith doesn’t get a call, he has ABS to fall back on. Entering Friday, he’s challenged 41 calls through the ABS system from behind the plate, the 10th-most of any catcher. And he had a 71% success rate, the ninth-best mark among catchers with at least 20 challenges.

Because the catcher has the best vantage point, teams across the majors have made their catchers, not their pitchers, the point men for ABS challenges on defense.

ABS as a skill, however, isn’t just about getting the challenges right. Knowing the right times to take a risk is also key.

“There’s so many games within the game,” Smith said, “and that’s just another one of them.”

As Smith alluded to, under the challenge system — as opposed to fulltime ABS, which MLB also tested in the minors — it’s still possible to steal strikes.

“I like the challenge system because you still have the human error element to the game,” Smith said. “…Everyone always talks about how it’s a game of life, dealing with failure and dealing with ups and downs — the umpire screwing you or catching a break, that’s part of the game.”

Dodgers catcher Will Smith walks to the dugout after the fifth inning of a Dodgers-Marlins game at Dodger Stadium on April 27.

(Ronaldo Bolanos/Los Angeles Times)

Now, the players have recourse for the egregious calls and the biggest moments of the game.

The margins are so slim, however, that if a hitter isn’t convinced enough on a borderline strike call, and the situation dictates caution, he may not challenge.

The same goes for a catcher on a borderline ball call.

That’s where Smith’s work on framing comes in. He describes it as a change in philosophy.

“For me, it’s more just understanding the move,” Smith said. “I had to drill it in a little bit obviously, but more understanding the move of going farther out to get it, working through the ball, more like towards the pitcher, as opposed to letting the ball kind of come back to you. That was just not how I’d ever done it.”

That’s what he did on that last pitch of the WBC semifinals. Moving through the ball creates a more seamless motion, compared to pulling it into the strike zone, making the frame job more convincing. And catching it out in front also stops the ball’s own movement before it gets too far out of the zone.

That’s how Smith made a pitch that appeared to cross the plate below Perdomo’s knees look like a strike from Blaser’s vantage point.

The effect Smith’s spring training work behind the plate will have on the Dodgers’ season will be subtler. Instead of a singular game-defining moment, it’ll be an edge here and there.

But over the course of a long season, that adds up.

Hi, and welcome to another edition of Dodgers Dugout. My name is Houston Mitchell and I sort of wished Chris Taylor had signed a one-day contract to retire as a Dodgers.

Taylor is one of those guys who become a fan favorite because they seem to be wringing every ounce of athletic ability out of their body. We could identify with Taylor, because we could imagine us playing the way he did. Play like Shohei Ohtani? No. But play like Taylor? We could fool ourselves into believing that if we just stuck with it, we could have been Chris Taylor. He was us on the field.

This newsletter began a couple of weeks before the 2015 season. And I believe the first group of angry emails I got about something the Dodgers did was June 19, 2016, when the Dodgers traded pitcher Zach Lee to Seattle for some guy named Chris Taylor.

Lee had been touted as one of the best Dodgers pitching prospects in years. In the minors in 2015, he went 13-6 with a 2.63 ERA. Sure, he had a terrible outing in what turned out to be his only start with the Dodgers (4.2 IP, 11 hits, one walk, three strikeouts, 13.50 ERA), but that could happen to anyone. He was the pitcher of the future. Until he wasn’t. And to trade him for this Taylor guy, who in three seasons with the Mariners hit .240/.296/.296? Surely they could have gotten more for him than that! (They couldn’t and don’t call me Shirley.)

So, Taylor had a steep hill to climb. In 34 games with the Dodgers in 2016, he hit .207. And then, well, there’s a reason why Jerry DiPoto, who was GM of the Mariners for the trade, called it the worst deal he ever made.

Before the 2017 season, the Dodgers, or Taylor, or both, unlocked something offensively. He hit .288/.354/.496 with 34 doubles, 21 homers, 72 RBIs and 17 stolen bases in 2017 while playing five different positions and was a key player on the team that reached the World Series before losing to the Houston Astros*. Taylor hit two homers during the NLCS and one during the World Series. He was named co-MVP of the NLCS with Justin Turner. Little-known fact: He didn’t make the team out of spring training. He was brought up from the minors on April 19, 2017, when Logan Forsythe suffered a broken toe when hit by a pitch. How would Dodger, and Taylor’s, fortunes have changed if Forsythe wasn’t hit by that pitch?

In 2018 he hit .254/.331/.444, with 35 doubles and 17 homers, .262/.333/.462 with 29 doubles and 12 homers in 2019 and .270/.366/.476 during the COVID-shortened 2020 season. He made his first and only All-Star team in 2021. And then the wheels started falling off, as he struggled his last couple of seasons with the team.

Here’s a guy who was with the team from 2016-25, and what do we know about him? Not much. He never sought the spotlight, just did his job every day to the best of his abilities.

“He is the consummate pro, the way he did a trust fall when he got here,” Dodgers president of baseball operations Andrew Friedman said when the Dodgers released Taylor last season. “He came in hungry and wanting to get better, and dove in with our hitting guys, with our position coaches. … He was a huge part of so much success that we’ve enjoyed. Can’t say enough about the human, the worker, the teammate, the player.”

If you dig a little deeper into Taylor, you discover he quietly helped families who were hurt by the devastating wildfires in 2025. His CT3 Foundation raised millions of dollars for organizations in L.A. and his hometown Virginia Beach, including Children’s Hospital Los Angeles, Variety Boys and Girls Club, the Friendship Foundation, Los Angeles Fire Department Foundation, Children’s Hospital of the Kings Daughters, and Roc Solid Foundation.

Taylor’s first career home run was a grand slam with the Dodgers. His 100th career home run was a grand slam with the Dodgers, making him the only player in history whose first and 100th home runs were grand slams!

He appeared in 80 postseason games with L.A., hitting .247/.351/.441 with 13 doubles, nine homers and 26 RBIs. The most important homer may have been his walk-off in the 2021 wild-card game against St. Louis. You can watch that here.

He made an incredible catch in Game 7 of the 2018 NLCS against the Brewers. You can watch that here.

He hit three home runs in Game 5 of the 2021 NLCS against Atlanta. You can watch that here.

He always reminded me of that great quote from the movie “Rudy,” which I am going to alter a bit here:

“You’re 5 foot nothin’, 100 and nothin’, and you have barely a speck of athletic ability … And you’re gonna walk outta here with two World Series rings.”

Thank you, Chris Taylor, for the memories.

*-The Astros cheated during that season and postseason.

Injuries!

Wow, that’s like, three exclamation points in one newsletter. A record. I bought a bunch at the dollar store and need to get rid of them.

Injuries struck the Dodgers this week, and this time not to pitchers.

Kiké Hernández, fresh off the IL, had gone four for four in two games with two doubles and a homer when he came out of Tuesday’s game with what was diagnosed as a torn oblique. He will be out quite a while.

He initially got injured while taking batting practice before his first game back.

“I was pretty embarrassed about it,” Hernández told reporters Wednesday. “I thought it was just weird tightness. Never done an oblique before. So I didn’t really know what I was feeling. Came in today, wasn’t feeling great. I got treatment, but I thought I could play. … Compared to some of the things I’ve played through in the past, it was nothing. And, yeah, it was a little more than nothing.”

On Wednesday. Teoscar Hernández strained his left hamstring while trying to beat out a grounder.

“Don’t know how severe it is; he tested well,” Dave Roberts said after the game. “… There’s just no timeline, but something like that obviously is going to be a few weeks at the minimum. Disappointing. He’s been playing so well and he’s a big part of what we’re doing. So to lose him for any length of time is not great.”

Teoscar had been on a hot streak lately, so it’s doubly infuriating.

Alex Freeland and Ryan Ward were recalled from the minors to replace the injured duo.

Whoops! My bad

Remember that consecutive scoreless innings streak by the bullpen we talked about last time? It ended the night the newsletter came out. Sorry about that.

Up next

Friday: Philadelphia (Zack Wheeler, 4-0, 1.67 ERA) at Dodgers (*Justin Wrobleski, 6-2, 3.07 ERA), 7:15 p.m., Apple TV, AM 570, KTNQ 1020

Saturday: Philadelphia (Andrew Painter, 1-5, 5.40 ERA) at Dodgers (Roki Sasaki, 3-3, 4.93 ERA), 7:10 p.m., Sportsnet LA, AM 570, KTNQ 1020

Sunday: Philadelphia (*Jesús Luzardo, 4-4, 4.38 ERA) at Dodgers (Yoshinobu Yamamoto, 4-4, 3.09 ERA), 1:10 p.m., Sportsnet LA, AM 570, KTNQ 1020

All times Pacific

*-left-handed

In case you missed it

Shaikin: As MLB proposes salary cap, Sacramento pursues team it might not be able to afford

Shaikin: For Dodgers, getting to playoffs is not good enough for Mark Walter. For Lakers?

Kiké Hernández’s oblique shows ‘significant tear’ as utility man returns to IL

How Dodgers pitching coach Mark Prior influenced Eric Lauer at the beginning of his pro career

And finally

Chris Taylor career highlights. Watch and listen here.

Until next time …

Have a comment or something you’d like to see in a future Dodgers newsletter? Email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.

Logan Reddemann of UCLA tied a school record with 18 strikeouts against Rutgers in an eight-inning stint earlier this season.

(Craig Weston)

Bruins’ right-handed ace Logan Reddemann will be unavailable for the Los Angeles Regional with the same throwing-arm soreness that has kept him off the mound since improving his record to 8-0 in a win over Minnesota on April 17.

“Logan looks like he’s still a week away,” Savage said. “Looks like he’s got one more bullpen [session] and [one] more live session if we can get there, to the super regional. But he will not be available this weekend. … I think he’s missed six or seven starts now. We’ve held up the fort since he’s left. Our guys have done a really, really good job.”

Reddemann posted a 2.87 ERA with 89 strikeouts in the 59 2/3 innings he pitched in 2026.

Savage praised right-handed starters Wylan Moss, who will start Friday, and Angel Cervantes for stepping in for Reddemann throughout the year.

Moss, a sophomore, has a 5-1 record and the Bruins have won all but one of his six starts since Reddemann went down. Cervantes, meanwhile, has heated up as he grows comfortable as a freshman, making waves for his start against Oregon in UCLA’s Big Ten championship win on Sunday.

“Wylan’s kind of taking the ball on Fridays,” Savage said. “Clearly, he’s had some really good outings. … And then Angel, you know, clearly filled in for [right-handed pitcher Landon Stump]. Moved Landon to the bullpen, I think that was a really good move. Stump [has] done really, really good out of the bullpen, and Angel looks like a future star as a starter.”

A Cervantes video has gone viral for bringing a mini dinosaur named Jerry with him to the mound every time he pitches. He said glancing at the the dinosaur next to him in the dirt helps keep him calm and focused.

UCLA also will be relying on other arms, such as right-handed starter Michael Barnett, to stay afloat in Reddemann’s absence.

The Southern Section will hold nine baseball championship games this weekend, led by the Division 1 final at 7 p.m. Friday at Cal State Fullerton between St. John Bosco and Norco.

Here’s a look at top matchups:

FRIDAY

Division 1: St. John Bosco vs. Norco at Cal State Fullerton, 7 p.m. Both schools will have their top pitchers ready to go, which means runs will be at a premium. Julian Garcia of St. John Bosco was in the dugout last season when the Braves won the title but couldn’t play as he was rehabbing from Tommy John surgery. He’s come back with a flourish, going 8-1 with a 0.88 ERA. All the Braves’ key pitchers are available, including closers Jack Champlin and Brayden Krakowski. Norco will start Jordan Ayala, who shut out Orange Lutheran in the quarterfinals. It’s going to come down to defense and someone getting a clutch hit against very good pitching.

SATURDAY

Division 2: Ganesha vs. Loyola at Rancho Cucamonga Quakes, 5:30 p.m.: Likely first-round draft pick Logan Schmidt will be on the mound for Ganesha, offering a huge challenge for the Cubs. He’s also the team’s top hitter. Loyola has faced top pitching all season in the Mission League and will have rising freshman Sheriff Hall on the mound. The Cubs also have players who can hit home runs, such as Jack Murray and Luca Marucci.

Division 3: Mira Costa vs. Agoura at Cal State Fullerton, 4 p.m.. Both schools have prom in the evening, so watch for players rushing to cars after the game. Mira Costa has somehow made it to the final despite losing its No. 1 and No. 2 pitchers to injury. Others have stepped forward, and the hitting attack has been good in the playoffs. Austin Olness hit a two-run home run in a 12-0 semifinal win over St. Francis. Agoura, under first-year coach Adam Goldstein, is another overachiever. Senior Tyler Starling hits and pitches with the best, but it’s been underclassmen pushing the Chargers toward a title.

Division 4: Glendora vs. Laguna Beach at Cal State Fullerton, 7:30 p.m. Senior Tanner Grable leads Glendora with 36 hits and four home runs and also can pitch. Junior Dylan Yencho is having a big season for Laguna Beach, batting .455 with 50 hits and an 0.94 ERA as a closer.

Division 5: Kaiser vs. Culver City at Rancho Cucamonga Quakes, 11 a.m. Senior Tino Cuellar is Kaiser’s leadoff hitter with 34 hits. Culver City finished second to Santa Monica in the Ocean League and has a productive freshman in Matthew Riesenberg, who has 36 hits, a .431 batting average and 29 RBIs.

Division 6: Brentwood vs. Covina at Cal State Fullerton, 1 p.m. The Eagles won’t have ace Jack Kaplan available after he threw a shutout in the semifinals, but there’s plenty of hot hitters, including junior Hudson Chase, who has 42 hits and seven home runs. Covina, which knocked out Lakewood and longtime coach Spud O’Neil in the semifinals, was second in the Valle Vista League to Charter Oak. Senior Lucas Thorpe has been providing key hits all season, including four in the semifinals.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.

In this week’s episode of The Envelope podcast, we kick off Emmy season with Carrie Preston, who plays an offbeat investigator in Robert and Michelle King’s “Columbo”-inspired comedy “Elsbeth.”

Kelvin Washington: Welcome back to The Envelope. I’m Kelvin Washington, alongside the usual suspects, Yvonne Villarreal, also Mark Olsen. It’s good to have you all here. Everybody doing well?

Mark Olsen: Yeah, I’m doing great.

Yvonne Villarreal: Good to see you.

Washington: Well, first of all, I didn’t get the green [wardrobe] memo. It’s OK. Leave me out.

Villarreal: I’m trying to blend in with the chair.

Olsen: That’s why you pop

Villarreal: You do pop.

Washington: Well, you took what I was going to say. You don’t blend in. You always stand out.

Villarreal: Thank you.

Washington: That’s true. All right, so we’re kicking off Emmy season in here. And there’s obviously a million different things to have seen. We’ll start it off with Yvonne — I’ll go to you. What have you seen? Give me a couple of things that stand out to you that you’re enjoying.

Villarreal: Look, I’m always gonna mention “The Pitt.” Season 2 really captivated me. Also, there’s “Pluribus.” Can never go wrong with Rhea Seehorn. Also, one that — surprisingly for me, just given the subject matter — I really enjoyed this season, is “The Testaments.” And I think it’s because of, you know, the young cast and feeling that sense of hope that these young teenage girls are gonna get us out of this. Those are my picks so far.

Washington: Did you say that we need that?

Villarreal: We do need that.

Washington: OK, I just wanted to make sure.

Villarreal: I won’t mention reality TV, because I know it makes Mark a little…

Washington: Let’s make him a little squirmy.

Olsen: Maybe one of these days, I’ll try!

Villarreal: “One of these days”?

Washington: Twenty-five years into it.

Villarreal: “Real Housewives of Rhode Island” is all I’m going to say. I’ll just leave it there.

Olsen: Rhode Island?

Villarreal: Rhode Island.

Washington: Mark, I’ll go to you next, but just to your point there, Yvonne, I haven’t seen much of it, but I did have some guests at the morning show that I anchor from “Love on the Spectrum.”

Villarreal: Oh yeah.

Washington: Folks love that show. I mean, when I tell you that we had a couple of the guests come in and they’re walking around, people were screaming, “Can I get their picture?” So you’re talking about reality TV, just that, that’s a big one there.

Villarreal: They’re stars. And hearing who’s broken up already. I won’t spoil it, because you should watch that one.

Olsen: Wait a minute, how do people on your morning show rate “The Morning Show”?

Washington: Oh, that’s a good question. Some of the [story] lines or the feel hits a little too real, too close to home at times, that’s for sure. But I think it’s run its course a little bit as far as the watercooler [chatter] around the job a little. You know, it’s had some seasons here. But there are some things that, you know, some us look at each other like, “Clearly someone in the business is on there writing that show because that was too close to home.”

Villarreal: Lots of conniving.

Washington: But that’s all sensationalized. We’re just an ordinary morning show. None of that going on.

Villarreal: There’s no Billy Crudups out there.

Washington: Watch how I turn over here to Mark and we switch subjects. What about you, Mark? What are you watching? What do you enjoy?

Olsen: You know, it’s funny, I find as we’re in sort of like post-peak TV, I definitely find that I’m liking my TV to just feel like TV. And so I definitely like the Bill Lawrence universe, [that] kind of comfort watch — the new show “Rooster” with Steve Carell and Danielle Deadwyler, who’s just like so charming, so good on that show. I have really grown to like that show. I really enjoy the week-to-week. Even as I’ve maybe fallen off with some of his other shows, it’s funny how he’s always giving you a new show, like, “Oh I like this one!” And again [with] the week-to-week, “Oh it’s my day to watch ‘Your Friends and Neighbors’! Let me see what my good friends Jon Hamm and Olivia Munn are all up to.”

Washington: Are your neighbors like that?

Olsen: I have not had any disputes over dogs with my neighbors, no.

Washington: By the way, have you been, you mentioned Steve Carell, like he’s in his ‘zaddy’ era. It’s amazing what a beard does for a lot of people. No one ever necessarily thought of him as a heartthrob and all of a sudden I’ve heard, I’ve seen some things on Threads or whatnot, and they’re like, “Oh girl, I didn’t know Steve Carell…”

Villarreal: Some of us have known all along, OK?

Washington: I digress.

You guys mentioned a couple for me. “The Pitt” is unexpected — I was going to say every episode, really every 10 minutes. So that’s always a wild ride. And in “Paradise,” the shift from the previous season for me, because, you know, it’s not that I’m spoiling it, but just the shift into the outside and prior to, that dynamic to me was interesting. Almost like two different shows between Season 1 and Season 2. That for me is interesting to see how folks do and Sterling K. Brown, where’s he in all of this? So those are the ones that I’m looking at there.

I swing to you, [Yvonne]. You had a chance to speak with Carrie Preston, of course, in “Elsbeth.” Kind of a “Columbo”-style of a show, if you will. Tell us a little bit more about that.

Villarreal: This is the thing. We should never discount what’s happening on broadcast TV.

Washington: Good point.

Villarreal: “Elsbeth” is one of those shows that is so compelling. It really expanded, Robert and Michelle King’s “Good Wife” universe. They’ve had the spin-off, “The Good Fight,” and “Elsbeth” is in that universe, but it feels totally different. It’s this comedy procedural that follows Elsbeth, who we were introduced to as this eccentric lawyer, and in “Elsbeth” she’s moved from Chicago to New York as this NYPD consultant and de facto detective. And she has these really unconventional, unorthodox, eccentric methods to solving cases. And it’s really fun to watch and it was really fun to have this conversation with her.

Washington: All right, well, let’s get into it. Here’s Yvonne and Carrie now.

Carrie Preston, star of CBS’ “Columbo”-esque hit “Elsbeth.”

(Christina House / Los Angeles Times)

Yvonne Villarreal: I’m always very eager to talk about this character that I’ve spent 15 years tracking. You made your debut as Elsbeth Tascioni in “The Good Wife,” and she leaves a memorable impression early on, with just three minutes [of screen time]. I did time it. What do you remember about the call about this character and what [creators Robert and Michelle King] told you about who she was?

Carrie Preston: They had offered me the role, and I was working on some other things and I had just dyed my hair red, but they didn’t know this yet. And so they all knew me as a blond and I thought, “Oh my gosh, I hope they’re going to be OK with this character being a redhead because in their minds I’m not that.”

But [Robert] called and he said, “We’re thinking about this character like a female Columbo.” I didn’t really watch a lot of “Columbo,” but I understood what he meant, which was, this is a person who is going to be coming at things in an unexpected and unorthodox way and people are going to underestimate her. I took that to heart. But nonetheless, I was going in as a guest. As a guest, you’re going into somebody else’s house, you wanna follow their rules, you don’t wanna jump in their pool and start swimming around without asking permission. So I was a little tentative with it, but I took myself to the set before we started shooting just to show them, “This is what I look like now, are we still good? Because I can’t change the hair right now ’cause I’m doing this other thing.” Luckily, they were like, “Oh I think that actually works really well for the character.” And little did I know, I was gonna then be the redheaded actor for a good 16 years now, or whatever it is. I look back at that time, I was just finding my way with this character and figuring out, “How can I make her something different but not too different that I don’t fit in with the world of the show and the landscape of that universe?” And so looking back, you can see how I was tiptoeing around and it took a little moment before they really let me just let what my instincts were telling me to do, fly.

Villarreal: Because you knew she would be coming back in some capacity.

Preston: I didn’t know. I did two episodes at the end of their first season. Did not get a call at all in Season 2. And I thought, “OK, well, I guess I was a little too weird or I wasn’t really what they were thinking.” You kind of start talking to yourself and then you go, “I can’t read their minds. I’m just gonna keep doing what I’m doing.” And that was a really fun time. Then they called in Season 3 and that was when they said, “OK, we’re gonna do a little arc; we want this to flesh this character out.”

Villarreal: She went on to appear in many episodes of “The Good Wife” and also [its spin-off] “The Good Fight.” Then they have the idea during the pandemic of, “We want to do a show centered around Elsbeth.” And I imagine that’s a thrilling call to get, just like that first call that you received. As an actor in this sort of fickle industry, where you’ve put in the time, when you get a call like that from these prolific TV producers that are really respected, and they say, “We see you as being able to lead a network series.” How do you wrap your brain around that?

Preston: It was kind of a slow buildup to that because even when I was doing “The Good Wife, “ at the end of that series they were talking about, “How can we spin off the show?” And some people like yourself and people who are in the industry, fans, et cetera, were saying, “Why don’t you spin it off with Elsbeth Tascioni?” And Robert King reached out and said, “Would you be interested in this?” And so I said, “Of course, I would do anything to be be doing that.” Then I heard they’re doing this spin-off and it’s starring Christine Baranski and Rose Leslie and Cush Jumbo — pretty much everybody but me. And I was like, “OK, well, I guess that’s what they’re gonna do.” But I did reach out again and said, “I’d love to be a part of this.” And they said, “Yes, we’re definitely gonna bring you on and have you continue as a guest.” I went and did other things. I did “Claws.” I had already been working on “True Blood.” So I was doing all these other shows and thinking, “OK, I guess this is their spin-off. I’ll just be a guest again, and that’ll be that.”

And again, people would keep calling and saying, “Hey, what if you did a spin-off of the spin-off?” And still I dared not dream. It really wasn’t until 2020 that it felt like it was more plausible, possible. They were coming to the end of “The Good Fight.” They had this idea. And it seemed like a good one, and it seemed like a good business model, frankly, to have Elsbeth Tascioni, maybe one or two other series regulars, and then bring in all these amazing guests. It still took another three years before we actually did a pilot that, then, got picked up. So it was just these many, many steps before we actually got to this. So each time, I tried not to hold on to that dream too much, but at the same time, treasure every moment, even treasuring just the thought that they pitched me as the center of a show to a network that hired them to write a script. Even that, I was like, “Wow, this is incredible.” When we finished the pilot, I looked at the crew and I said, “We need to really honor this moment because this might be it. This might be the last time [I’m] ever playing this character. And we came together, and we made something really special. Whether or not it’s going to go to series, we all know we did something really wonderful.” And I burst into tears. I was so grateful for that opportunity. So every moment is a moment of gratitude and humility, to be honest.

Villarreal: Was there any part of you that thought, “I don’t know if I can do this”? Or because you were reaching for it for that length of time, when it finally happened, you’re like, “I can do this.”

Preston: There is this sense of wanting to make sure that I am doing everything I can to make this situation collaborative, to lead in a way that is not overbearing, to be a part of an ensemble, not just with the cast but with the crew. All of these things that I’ve been meditating on for decades. And I direct as well, so I know what it’s like to lead, and I’ve learned from watching really great leads, and not-so-great ones that get caught up in certain things, that rob them of an opportunity of creating something in a collective way. So I was excited to take all of these things that I’ve learned along the way and funnel them and channel them into this opportunity. Every day is a blessing, every day is challenge, and every day I feel like I do something that I know I can do better the next day. I try to meditate on that, because I want this opportunity that I’m having to be as special for the 300 people that are around me who are doing this with me. That’s really my goal.

Villarreal: In the series, obviously, we’ve come to know Elsbeth as this Chicago lawyer; here she’s a New York City police consultant. I really want to know what Elsbeth would be like in Los Angeles. What do you think that looks like?

Preston: Elsbeth finds beauty wherever she goes. I think it would be tough for her because she so likes to be right in the middle of all of humanity and [in] L.A., you’re isolated a lot in your cars — having to kind of keep yourself sequestered from other people just because that’s how people get around. I bet she’d be on the subway, she’d be on transit, she’d be on buses, she‘d be out in the malls, she would be out on the beaches, meeting people, talking to people, learning about Venice Beach as compared to Sherman Oaks. She would be all about finding all the different vibes and how she fits in.

Villarreal: You’re known for being a scene-stealer supporting player. This role in particular sort of encapsulates that. Is playing a lead rather than a supporting player a particular kind of challenge? Do you have to learn how to have your character take up space differently?

Preston: I approach it the same way that I approach anything I do as a co-star, a supporting actor, a guest star, whatever. I’m there to serve the script and to work with the people who are around me to elevate a scene and make it work. And to make the the job of everyone around me easy. I really feel like when you come at it with that collaborative spirit, you don’t think about, “Oh, I’m the lead.” You don’t think about where you fall into that hierarchy. You’re just there to make the scene work. And I like that. Because then I don’t feel pressure to be something more than what that is. You’re building a house every day, and you’ve got to start with foundation and then move all the way up. You can’t just come in and the house is already built. That takes more than one person. And I like that, and I feel like Elsbeth is like that too. She’s very much about the other person. For me, if you’re ever stuck in an acting scene and you don’t know what you’re doing, you need to just focus on the other person, and then all of that other stuff starts taking care of itself. What does this person need? What am I giving this person? What am trying to get from this person? Just all the like the basic building blocks of acting and then you can get out of your own head and let the choices happen.

Villarreal: Something that’s so striking about the character is her physicality. She sort of darts into frame, or she’s crouching, even the movement of her hands as she’s reenacting what might have happened. What was that like, finding the movement of Elsbeth?

Preston: It started from the beginning. The scripts, at the beginning, would write in these pauses. They would just say “pause” in the middle of a sentence. And I was like, “Huh, what is that?” That became the most fascinating thing to me. “What’s happening there? What’s happening with this woman when she’s not speaking?” And, so, that’s where the physical stuff started coming. And in “The Good Wife” and “The Good Fight,” there was a little bit of an evolution of that. The tote bags were brought in very early on by Brooke Kennedy, who was the producing director and one of the main directors on “The Good Wife.” She said, “I want her to always have something going on.” And I was like, “Great, I love that.” That’s a gift for an actor. I’m someone who, if you give me a prop, I’m gonna do something with it. I just like that. It’s fun. I’ve trained for the theater. So I love that idea. There’s a term that sometimes we use — I don’t know if it’s OK to say it — but sometimes we call each other “props-titutes.” If you get a prop, you can’t help it; you’re gonna have to do a thing with a thing. And so the bags and all that stuff — I started thinking, “Oh, I guess [with] this woman, her mouth is saying one thing, her mind is thinking another and her body’s doing a third thing.” As soon as I came up with that little weird math equation, things started locking into place.

Robert King directed the pilot. He created the show with Michelle King. Robert loves any kind of physical comedy. Marx Brothers, Three Stooges, Lucille Ball, all of that stuff. He just loves it. He worships that stuff. We were doing a scene and he said, “I don’t want you to just walk up. Let’s have you like lean in like Charlie Chaplin or something.” And I was like, “Great!” So he had me lean into frame and wouldn’t you know, that just became then the signature thing for this new iteration of this character. And it became kind of a metaphor for the whole show. This woman is not ever gonna approach things straight. She’s always gonna approach things at an angle. That’s another fun, creative thing that you can run with. Then the writers and the directors and the other actors, we all just started playing with that. And I have to do these scenes where I sum up the entire crime. Sometimes it’s like a five-page monologue. Well, you don’t have that much time to memorize that stuff because you get the script and I’m learning 50 pages of dialogue every eight or 10 days. So the physicality helps me remember it. And I imagine it helps Elsbeth piece it together.

Villarreal: Are you like at home just [mimics exaggerated movements]?

Preston: Yes, I’m coming up with things.

Villarreal: Is Michael [Emerson, the actor], your husband, like, “What’s going on here?”

Preston: He lets me do my thing. What I’ll say to him is, “I’m gonna go close the door and talk to myself for a while.” And he’ll go, “OK.” I learn my lines by myself. I record my own cue lines. It all has to happen alone. Because I know I have to go back over and over and over again. And when somebody is running lines with me, I’m very concerned about how bored they must be. So I just have to do all that on my own. The funny thing is I learn my lines a lot when I’m on the train. I go back and forth between New York City and the Hudson Valley a lot. It’s like an hour and 20 minutes. So the people on those trains are seeing this crazy lady, because I’ve got my ear things in and I’m looking at my [script].

Villarreal: Do you have your own bags?

Preston: I’ve go my own bags, and I am sure if they don’t recognize me as Elsbeth, they just think I’m another insane person who lives in New York City and no one cares. The kooky redheaded lady on the train.

Villarreal: Let’s talk about that other element that’s so crucial to Elsbeth, which is the hair and the wardrobe. You talked earlier about how you dyed your hair for another role, and you didn’t know you’d be locked in for this long with it, but it’s such a feature of her. Obviously we’ve seen her wear wigs in the show.

Preston: Which was fun, to go back to my original blond look.

Villarreal: And you mentioned Lucy earlier, Elsbeth in the tutu this season was so, so good —

Preston: One of the best compliments that Jon Tolins, our showrunner, ever gave me was when he saw the dailies from that day of the tutu and dancing with the little 6-year-olds. Oh, my God, I was in heaven. He just wrote, “Lucy level.” And I was like [playfully belts a note], “This is a dream.” Because I decided this woman would really want to be trying to do her absolute best. She would really be wanting to try to dance the best way that she knew how, but her body doesn’t know how to do that. But her mind wants to. Plus, I like to entertain the crew. They often don’t laugh because the crew has seen everything and they’ve seen me do a million things. But if I can get them to laugh, that’s a win.

Villarreal: Her style is so intriguing — sometimes I’m like, this is what “And Just Like That” should have had, some of these wardrobe pieces.

Preston: Well, that’s Dan Lawson, our costume designer.

Villarreal: What does that do for you? And please tell me there is a bag closet. I’m obsessed with the bags.

Preston: Oh yes. If you were to walk into the costume shop and see my section, it’s like a circus had a party under a rainbow. There’s four or five racks of clothes, and they go on what seems like a mile. And then there’s [a] whole wall of the totes. And Dan finds special totes that he’ll shop for, but then he also has some of the totes made because he wants them — we decided early on it would be totes, of course, but like after the opera episode, she would then have an opera tote. We had to make very specific totes that would do callbacks to previous cases and things like that. Dan thinks about everything.

Villarreal: Do they put things in the totes?

Preston: They do, but early on there were a lot of things in the totes, and I was starting to have to go to physical therapy because people don’t understand when you’re working on a scene, it takes six hours to shoot a scene, and if I’m coming running in with totes on my shoulders a hundred times it’s gonna take a toll on my body.

Villarreal: But you also need things in them so they don’t fall down easily.

Preston: Carol [McLennan], who’s my on-set costumer, she’s constantly putting top sticks so that they’ll stay. She’s finding creative ways to safety-pin them on. The continuity of the bags, you have to make sure that they’re exactly the way they were for every take. It’s like I have a child — three children, my totes.

Villarreal: Such a feature of the show is obviously the sort of revolving door of guest stars. This season you’ve had Stephen Colbert, Griffin Dunne, Beanie Feldstein and Patti LuPone, who was in the finale. Are you ever just lost in the fact that you’re acting opposite these people? Is there a moment that stands out from that?

Preston: Dianne Wiest. I’m a huge, lifelong fan of Dianne Wiest, like top five. And when I found out she was gonna be in the episode where she plays a nun, a murderous nun, I just thought, “I’m not gonna be able to contain myself.” I usually reach out to everybody before to send them an email or a text or something and just tell them how thrilled I am that they’ve said yes. So I wrote her a thank-you for saying yes/stalker-level fan email. And she wrote back. And she’s like, “Oh, Carrie, I’m so happy to hear that.” It was just like, “Oh, my God, I could just hear her voice.” When she showed up — I mean, she’s Dianne Wiest. And she is wearing a nun’s habit, and I couldn’t stop staring at her face. She would catch me staring at her and then she would just smile, with that sweet gorgeous face of hers and I would say, “I’m sorry, I’m sorry. I know that it’s probably making you uncomfortable. I just am absolutely honored. I do not even understand how I got to be so lucky to have someone like you doing this.” And you could say that for every single person on the show. I fangirl on them in the way that the character fangirls on Diane Lockhart. You know what I mean? The same little spirit lives inside me that is Elsbeth. I have wonder and appreciation. And it’s become more infectious. She has become more infectious the more I play her.

Villarreal: There was the moment where, in the Griffin Dunne episode, where he’s threatening towards her. I’m trying to remember if there’s been a moment like that where I felt threatened for your character. What was that like filming with him?

Preston: It was wonderful. Robin Givens, who was our director, [and] who, as we know, is an actor as well, she was really directing us to reach a pretty scary place. I like it when our show gets scary like that because we have to remember that she’s hanging out one-on-one with murderers. She’s going into their space. And as unthreatening as she is, that in and of itself is threatening. And we need to remind the audience of that from time to time. She pushes buttons because she’s trying to get them to admit something, or she’s pinning the fly to the bulletin board and watching it squirm. And this one, I realized as I was playing it, I was like, “I’ve got to play up the flirtatious side because that’s what he gets really guarded about, the fact that he’s a womanizer. So if I play that up, it’s gonna infuriate him.” And so he backs me up, and then we realize there’s no way out. It’s great, but it’s scary. But she knows that he’s not gonna do anything to her because he still thinks he’s gonna get away with murder. But we added this one [look], and I wanted to make sure [it was kept]. I said, “Please, Robin, please don’t let them cut this.” I look back at him at the very end going, “Gotcha. I got you just where I wanted you. You fell into my trap.” And they kept that in the cut. I was very happy about that because we build these things together, and sometimes they just have to cut them for time. But they didn’t.

Villarreal: Because you’re also thinking with your director’s hat. And I know it must be hard to even think about whether you can direct an episode of “Elsbeth.” But is that something on your bucket list? Or would it just be too difficult to manage?

Preston: I love this job so much. This is the dream job, and I want to make sure that I am doing everything I can to do that in the best way that I can, every day. And I do feel like having directed myself before in the past, in things where I was just a part of the ensemble, the way I choose to direct, I found that I was shortchanging the acting a little bit. I don’t want to do that on this show. I do think it would cost the crew to have me do both things, and I care about them so much. I don’t have to prove that I can do both. The one thing I could do is direct the first episode of the season because I would be able to prep. Otherwise I wouldn’t be able to prepare. I feel like I trust our directors. I love our writers. I love our crew and I love how things are going.

Villarreal: We know Elsbeth as this person with a keen ability to read people, who can sniff out liars, murderers. What was so interesting this season was to see her vulnerable side in her personal life. And see that she has her blind spots too. Were you excited when you saw that they were going to explore this side of her? And what was that like to play?

Preston: I think it’s always a good thing to deepen the character as you go along because, you know, we’re a police procedural; we have to figure out how to put a crime each episode, just structurally. But we want texture to the character, and having that vulnerable side really gave us that. As an actor, if you can find the drama in the comedy, it makes the comedy stronger, and vice versa. It was a wonderful way to stretch myself as an actor. It’s important to always show the heart of a character that you’re playing. The more specific you are, the more universal it is. And I think people can relate to her in that way. Everybody has felt heartbreak or confusion or duped or confused or distrustful of their own intuition and all of that stuff. And so the complexity of that was, of course, great to play.

Villarreal: Are you, Carrie, as perceptive as Elsbeth?

Preston: I do have a little bit of an empath in me. I do feel like I can read a room really quickly and I can kind of tell what people are thinking or what people are feeling. A vibe. I don’t know what it is, but it’s an empathic kind of nature. I have way more boundaries than I think Elsbeth does, but I’m not nearly as brilliant as that woman. I don’t know how many people in the world are. That’s what makes her so special. But I key into that side of her and I can relate to it.

Villarreal: Final question for you. The show will return for a fourth season. What do you want to see from Elsbeth? Who’s your dream guest star? It must shift because you guys are getting everybody.

Preston: We’re getting wonderful people who are interested in the show and I’m so proud of that and I know Jon is too. Jon Tolins is our showrunner. We’ve really, both of us, made it our personal missions to create an environment — and he creates scripts — that people want to come and participate in, and a welcoming place where somebody gets to play a delicious character for eight or nine days and then go on with their busy careers. I never would have dreamed that, for example, Steve Buscemi would have wanted to be on a show like “Elsbeth,” but he did and he asked to be on it. That blew our minds and it still is blowing our minds. So I could not even dream of most of the people that have come on. That said, you know, I’ve said this before, I’m a huge Meryl Streep fan. I would love for her to come on. We think often about, maybe we should see a parent of Elsbeth, a mother maybe. So we play around with different ideas for that, and that would be nice to see because we’ve seen Elsbeth as a mother, but we haven’t seen her as a daughter. We’ve seen her as a friend but we haven’t seen deep into her her origin story. So I think that could be a fun thing to tap in Season 4. But I trust Jon and the writers.

Villarreal: I want Diane Lockhart to stop by.

Preston: I know, wouldn’t that be great? Or Alicia. But I don’t know. We got Sarah Steele who played Marissa [in “The Good Wife” and “The Good Fight.”] That was amazing. But like Michelle King was saying in an interview [for an L.A. Times’ Screen Gab event] yesterday, this show has kind of found its own place separate from that universe. It’s nice if we have people from that universe pop in, but it’s not required. And a lot of our fans never even watched those shows. So that speaks to what Jon and the writers are doing and what we’re, as a collective, bringing to the audience.

Villarreal: Thank you so much for being here. I, for one, can’t wait to see what the bag selection is like in Season 4.

Preston: Me too.

The Granada Hills and Carson softball programs know each other so well they might as well put on their MaxPreps schedule before the season a date for their annual game to decide the City Section Open Division championship.

It’s happening for a fourth consecutive season Friday at 6:30 p.m. at Legacy High in South Gate. Last season, Granada Hills ended a three-game losing streak to the Colts.

On Wednesday, both teams won their semifinal games. Granada Hills’ No. 1 and No. 2 batters in the lineup, Elysse Diaz and Zoe Justman, had big games in a 12-9 win over San Pedro. They combined to go five for eight with five RBIs. Justman had a home run. Gina Evangelista hit an inside-the-park grand slam.

San Pedro scored five runs in the seventh to give the Highlanders a little scare.

At Carson, the Colts came away with a 12-2 semifinal win over Birmingham. Sophomore Anaiyah Popoalii had a home run, double and three RBIs. Olivia Lomeli went three for four with three RBIs. Pitcher Isabella Campos threw a complete game.

The salary cap – a £6.4m limit on squad spending, albeit with ‘credits’ on offer for home-grown talent and other factors which stretch the restriction to £7.8m – will remain the same.

Fly-half remains the highest paid position in the Prem on £260,000, with back row second at £192,000.

The lowest paid position is wing on £132,000, with prop on slightly more on £144,000.

Like Russell, Sale’s George Ford, Marcus Smith at Harlequins and Saracens’ Maro Itoje are among the excluded players, with their average salary £533,000.

Bottom side Newcastle spent the least of all clubs and failed to reach £4m overall.

“The cap continues to be supported by all and it is central to driving the competitiveness of the Prem,” chief executive Simon Massie-Taylor said.

“With six different winners in as many years, we should all be proud of our system that ensures that any club, on any given day, can compete for the biggest prize in English rugby.”

Together with their first league title since 1996, Bath lifted the Premiership Rugby Cup and European Challenge Cup last year.

The BBC’s hit thriller filmed in Bristol and Somerset has finally returned for its second season, but where was it filmed?

Fans want to know if Little Kilton is a real place.

A Good Girl’s Guide to Murder is back today (Wednesday, 27th May) and sees Pip Fitz-Amobi (played by Emma Myers) delving into another chilling missing person case.

This time, she’s determined to put predator Max Hastings (Henry Ashton) behind bars, but the disappearance of a key witness, Connor’s older brother Jamie, pushes her investigative skills to the limit.

Based on the bestselling novels by Holly Black, the first series became a huge hit thanks to its addictive, edge-of-your-seat twists and a global release on Netflix.

It is also famously filmed in Bristol and other parts of the West Country, standing in for Pip’s fictional village of Little Kilton.

With six thrilling new episodes now streaming on iPlayer, let’s take a look a little closer at the locations used in the second season.

Where was A Good Girl’s Guide to Murder season 2 filmed?

The second series of the popular BBC and Netflix drama was once again filmed around Bristol and Somerset.

Much of the show’s interior scenes are shot at Bottle Yard Studios in Bristol, which reportedly includes the likes of school classrooms, investigation rooms, and darker interiors for the murder-mystery show’s more suspenseful scenes.

Bristol itself was also used for more urban areas of Little Kilton to highlight the second outing’s gritty tone. Clifton Village in central Bristol, including the Clifton Suspension Bridge, can also be seen briefly.

Standing in for the idyllic village of Little Kilton is Axbridge, a small town near Cheddar, Somerset.

The town square, the Old Station and Chestnut Avenue were all closed for filming in 2025, with a memorial, flags, and other decor put up for key scenes including the memorial service which kicks off season two. Axbridge’s St John the Baptist Church can also be seen.

Season two director Asim Abassi confirmed: “We filmed Little Kilton in the town of Axbridge, which is lovely but small, so you get the challenges of a tight-knit community curious about filming. But it is wonderfully quaint and perfect for Little Kilton.”

Watch Unchosen on Sky for free

This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more

from £15

Sky

Buy Now on Sky

Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.

This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows.

This includes the brand new UK drama Unchosen, starring Asa Butterfield and Christopher Eccleston.

Another key location this time around is an abandoned manor, which actor Zain Iqbal, who portrays Pip’s boyfriend Ravi, confirms is near Bristol.

And Abassi revealed it was his “favourite” location, adding: “It was originally meant to be something else, but I pushed for it to be a manor, so I am personally attached to it.

“It ended up being a phenomenal location and, to me, captures the essence of season 2.”

A Good Girl’s Guide to Murder season 2 is available on BBC iPlayer and internationally on Netflix.

As part of the audit, they are considering numerous factors to work out why it has become such a problem.

For example, Spurs are analysing the “bounce” on the club’s home pitch in comparison to that at rival grounds and their Enfield training centre.

At present, the club have found there is no major difference between the conditions of other pitches in comparison to their home ground, but testing is ongoing.

There is a view that certain knee injuries are unavoidable – Odobert for instance damaged his ACL following an awkward landing.

It is also understood Spurs are confident the on-field treatment of Simons’ injury did not result in additional damage to the Dutchman’s knee.

There has been criticism from supporters after footage showed medics allowing the attacker to put weight on his knee despite having suffered a serious injury.

One of the key improvements Lewindon has recommended is to make medical support more individually tailored – based on factors including strength, fatigue and robustness.

Medical staff will compile bespoke profiles for each player that will include personal insights as well as physical and psychological information to ensure they can deliver expert individual support to treat – but also prevent – injury.

There is also set to be greater leeway for injured players to conduct part of their rehabilitation away from the club’s training facility.

Players across the Premier League are increasingly relying on external medical practitioners to aid their fitness and recovery, while many overseas footballers even return to their homeland for treatment.

That dynamic often causes friction but moving forward Tottenham are open to letting players leave their direct care provided all parties involved agree to one shared recovery plan – though Spurs would ultimately take responsibility for any problems that arise during the process.

The medical team will work closely alongside head coach Roberto de Zerbi and his staff over the summer amid concerns changing managers three times in under 12 months has contributed to their injury problems.

Tottenham will look to introduce an integrated structure that will ensure De Zerbi, or a member of his staff, the medical department and the player are involved in deciding when a player can accelerate their rehabilitation plans.

Psychology is also a key component of the ongoing review with the club set to employ a full-time head of psychology to work with the players and staff.

It was far from a convincing performance against Thistle, hardly surprising given what was at stake, and the relief from fans and players alike was obvious after the game.

“We wanted to make sure the players were remembered as legends at this club after winning the League Cup,” McLeish said.

“We didn’t want that black mark against our name.

“First half was nervy, cagey and full of mistakes. It wasn’t really tactical, just us controlling our emotions. We did that better in the second half.”

McLeish won three of his nine league matches after Robinson left, but he was unable to keep St Mirren out of the play-off spot as Kilmarnock shone after the split.

A change of approach initially yielded an upturn in performances, but results started to slide and a run of four defeats without scoring cost them.

The 36-year-old stand-in boss was unable to completely solve the goalscoring issues that plagued their season.

Key defender Alex Gogic says McLeish could do more with greater time, though, and would be happy for him to stay on.

“Yeah, of course, whatever the club chooses,” Gogic said.

“If he has a pre-season, it will probably be better than what it is. If the club decide to go his way, we’ll all be behind that.”

Former Dundee United and Partick Thistle boss Ian McCall says McLeish has done his chances no harm by steering St Mirren to safety.

“I don’t think he had any chance of getting the job if St Mirren were relegated,” McCall said.

“What he has done is conducted himself really well and given himself a real chance of the job.

“The power-that-be here took a real chance appointing a young lad like that. But he has come through it really well. He has talked really well.

“He came through one dodgy moment when Kilmarnock won here 3-0. But he’s come back from that really strongly.

“It didn’t just plummet when Craig McLeish took over. It was a bad run of results when Stephen Robinson was there after the cup final which brought this on. He certainly has a chance.”

Hi, and welcome to another edition of Dodgers Dugout. My name is Houston Mitchell and my doctor told me to walk a mile every day. Now I’m 30 miles from home and don’t know what to do.

Time to hear from a different voice about the Dodgers, and colleague and columnist Mirjam Swanson was kind enough to answer a few questions about the team.

Q. We are almost a third of the way through the season. How would you assess the Dodgers so far?

Swanson: Exactly where I thought they’d be! And where they thought they’d be, too, I imagine.
Even without overexerting themselves (or Shohei Ohtani), forever keeping the main thing, the main thing, they’re one of baseball’s best teams.

As I write this, at 31-19, they have the third-best winning percentage in baseball and, even more tellingly, they have the second-best run differential: plus-98. Only the Atlanta Braves’ plus-104 is better.

They’re cruising along, weathering the expected injuries, deep enough to not have to rush anyone back, hopeful that all their most important pieces will be primed for postseason play.

In other words: Another year in the life of the Dodgers.

Q. The Dodgers are still the favorites to win the World Series. Which NL team would you say has the best chance to unseat them in the postseason, and which AL team would you say is best right now?

Swanson: Whomever the Dodgers face in the NLDS.

Because that club — be it the Padres, Cubs, Cardinals, Phillies or whoever — will have to beat the Dodgers only three times. There’s much more variance in a best-of-five series than in a traditional seven-game set.

But beating this team four times? Good luck.

As far as the American League? Does it matter? The AL is to MLB what the Eastern Conference is to the NBA: Meh.

The Tampa Bay Rays and the New York Yankees are the only teams that have consistently played good ball all season. The Cleveland Guardians have gotten hot, so now they’re in the same proverbial ballpark standings-wise, at 30-22.

But after that: The A’s and the Chicago White Sox, who are barely .500, won’t intimidate anyone come playoff time.

And those are the only five teams in the AL that are above .500. Woof.

Q. I get emails from readers who say the Padres are now the Dodgers’ biggest rival, not the Giants? Your thoughts?

Swanson: When I was schooling at the University of Oregon, fans there thought of UCLA as our rival (the football teams were both good or getting good at the time).

I’m pretty certain UCLA didn’t think much about Oregon. Because obviously … USC.

That’s kind of how it seems with the Padres-Dodgers situation.

The Padres and their people really might have it in for the Dodgers.

But the Dodgers have an already established historical rival that overshadows any tug-of-war of the moment. They have the Giants.

I posed this question to a Dodger fan in my life to see what he’d say, reminding him that the Giants have stunk lately.

His response: “Good.”

Q. At some point, the window will close on this team and they won’t make the postseason. I don’t think the window closes this season, but do you think that time is coming soon?

Swanson: What’s soon? Five seasons? Four? I think as long as this ownership group is involved and this front office is calling the shots, they can play the game — on the field and off, salary cap or no. The Dodgers are going to be able to keep that window propped open.

They spend big, but they also build smartly, so they’ve got prospects lined up, just waiting for a crack at the regular big league opportunity. (See: Dalton Rushing, River Ryan, Hyeseong Kim, who would be regulars by now on almost any other team.)

Especially with a dozen teams getting in every season, I’d be shocked if they didn’t put some distance on the Braves’ 14-consecutive-playoff-appearance record, which the Dodgers should tie this season.

But, no, I suppose they won’t go on winning at this clip for the next 50 years.

What about that bullpen!

The Dodger bullpen has pitched 38 consecutive scoreless innings. breaking the team mark of 33 set by the 1998 bullpen.

Dave Roberts: “They’re on a heater. It’s one of those things where when it doesn’t go well, they get the blame. And when it does go well, they don’t get a lot of credit. But they are getting the credit now, and it’s earned. Really happy for those guys. We spread those innings pretty well with a lot of different arms.”

The last time the bullpen gave up a run was in the seventh inning of a loss to the Giants on May 12. Blake Treinen gave up a run that inning. The Dodgers were 24-18 after that game. Since then:

Dodgers record: 9-2
Charlie Barnes, 2 IP, 1 hit, 1 walk, 1 K
Jack Dreyer, 2 IP, 1 hit, 1 walk, 4 K’s
Paul Gervase, 2 IP, 1 hit, 1 walk
Edgardo Henriquez, 1-0, 5 1/3 IP, 1 hit, 1 walk, 6 K’s
Jonathan Hernández, 2 IP, 1 K
Kyle Hurt, 5 IP, 4 hits, 3 walks, 4 K’s
Will Klein, 1 save, 3 IP, 4 K’s
Chayce McDermott, 1 IP, 1 hit, 1 K
Wyatt Mills, 2 IP, 3 walks, 2 K
Tanner Scott, 1-0, 1 save, 5 1/3 IP, 2 hits, 1 walk, 10 K’s
Blake Treinen, 3 2/3 IP, 1 hit, 2 walks, 3 K’s
Alex Vesia, 4 2/3 IP, 1 hit, 2 walks, 8 K’s
Total, 38 IP, 13 hits, 15 walks, 44 K’s

And that doesn’t include the two scoreless innings Klein threw as an opener the day Blake Snell was put on the IL.

Catcher Dalton Rushing: “They’re pretty relentless. “Everyone wants the ball, regardless of who you are, regardless of the situation. They want to go out there, they want to succeed, they want to show out of the team. I don’t think it’s really in their head, what they’re doing right now — I don’t think they’re aware of it. But that’s the good thing about it. They just go out there, throw the ball and good results come.”

This is the fifth-longest streak in history. The top four (according the baseball-reference.com):

45.2 innings: 1962 Detroit Tigers
44 innings: 1966 Kansas City Athletics
41 innings: 2016 Kansas City Royals
38.2 innings: 2017 Cleveland Indians

If you are having trouble remember the 1998 Dodgers bullpen, which had the previous team record, the main arms were: Jeff Shaw, Antonio Osuna, Scott Radinsky, Mark Guthrie and Jim Bruske.

And you know no one in the current bullpen wants to be the one to break the streak.

Best bullpen ERA in the majors:

Dodgers, 2.87
Boston, 3.00
Texas, 3.01
Seattle, 3.01
Atlanta, 3.08

Worst: Houston (no relation), 5.62

Chris Taylor retires

Former Dodger Chris Taylor broke his left forearm while playing for the Angels’ triple-A Salt Lake team last week. On Friday, his name appeared on the retirement list, prompting “Chris Taylor has retired” stories throughout baseball media. On Saturday, it was removed from the list, prompting, “Chris Taylor has unretired” stories throughout baseball media. On Sunday, he finally, officially, definitely retired, stating on his Instagram page,

“Clearing up any confusion. I’ve officially decided to retire from the game I’ve dedicated my entire life towards. I’m beyond grateful to all of my coaches and teammates, and the organizations who allowed me to live out my childhood dream. I’ll forever cherish the memories along the way and most of all, the friendships that will last a lifetime. Thank you to the loyal fans who have supported me through my success and stuck with me through the struggles. Thank you to my parents and family who have been with me from the very beginning. My baseball journey would have never begun if it weren’t for you guys. Most of all, thank you to my wife Mary who has been my number one. You stepped up for our family and allowed me to see my dream through all the way to the end and then some. I cant wait to start our next chapter in life together with our boys.”

We will have a newsletter dedicated to Taylor in the next week or two. In the meantime, we thank him for all the wonderful moments he provided and wish him the best in retirement.

These names seem familiar

How notable players who were with the Dodgers the last couple of seasons are doing with their new teams. Click on the player’s name to be taken to their full stats page:

Anthony Banda, Twins: 1-0, 5.96 ERA, 22.2 IP, 19 hits, 8 walks, 19 K’s, 72 ERA+

Austin Barnes, out of baseball (released by Mets in spring training)

Cody Bellinger, Yankees: .274/.381/.473, 223 PA’s, 13 doubles, 3 triples, 6 homers, 32 RBIs, 144 OPS+

Walker Buehler, Padres: 3-2, 5.05 ERA, 46.1 IP, 47 hits, 18 walks, 41 K’s, 80 ERA+

Mike Busch, Cubs: .230/.360/.380, 238 PA’s, 11 doubles, 1 triple, 5 homers, 29 RBIs, 118 OPS+

Michael Conforto, Cubs: .284/.388/.537, 80 PA’s, 8 doubles, 3 homers, 11 RBIs, 168 OPS+

Justin Dean, Cubs: in the minors

Caleb Ferguson, Reds: just off the IL, hasn’t pitched yet

Jack Flaherty, Tigers: 0-6, 5.94 ERA, 47 IP, 49 hits, 29 walks, 55 K’s, 70 ERA+

Tony Gonsolin: out of baseball

Kenley Jansen, Tigers: 1-3, 5.02 ERA, 7 saves, 14.1 IP, 9 hits, 5 walks, 19 K’s, 84 ERA+

Craig Kimbrel, Mets: designated for assignment

Michael Kopech: out of baseball

Gavin Lux, Rays: on the IL

Dustin May, Cardinals: 3-5, 5.00 ERA, 54 IP, 60 hits, 17 walks, 42 K’s, 77 ERA+

Zach McKinstry, Tigers: .177/.240/.240, 104 PA’s, 3 doubles, 1 homer, 7 RBIs, 36 OPS+

James Outman, Twins: .179/.258/.286, 62 PA’s, 4 doubles, 1 triple, 3 RBIs, 53 OPS+

Luke Raley, Mariners: .265/.326/.545, 140 PA’s, 5 doubles, 1 triple, 10 homers, 27 RBIs, 151 OPS+

Ben Rortvedt, Mets: in the minors

Corey Seager, Rangers: .179/.286/.353, 182 PA’s, 6 doubles, 7 homers, 20 RBIs, 91 OPS+, on the IL

Chris Taylor: retired

Justin Turner, Tijuana (Mexican League): .298/.412/.536, 81 PA’s, 8 doubles, 4 homers, 17 RBIs

Trea Turner, Phillies: .225/.281/.338, 231 PA’s, 9 doubles, 5 homers, 16 RBIs, 72 OPS+

Miguel Vargas, White Sox: .244/.376/.500, 221 PA’s, 8 doubles, 1 triple, 12 homers, 31 RBIs, 146 OPS+

Alex Verdugo: Out of baseball, had season-ending shoulder surgery

Kirby Yates, Angels: 0-0, 4.26 ERA, 6.1 IP, 4 hits, 3 walks, 9 K’s, 102 ERA+

Up next

Monday: Colorado (*Kyle Freeland, 1-5, 7.04 ERA) at Dodgers (Emmet Sheehan, 3-1, 4.93 ERA), 6:10 p.m., Sportsnet LA, AM 570, KTNQ 1020

Tuesday: Colorado (TBA) at Dodgers (*Eric Lauer, 1-5, 6.69 ERA, first start with Dodgers), 7:10 p.m., Sportsnet LA, AM 570, KTNQ 1020

Wednesday: Colorado (Tomoyuki Sugano, 4-3, 3.86 ERA) at Dodgers (Shohei Ohtani, 4-2, 0.73 ERA), 7:10 p.m., Sportsnet LA, AM 570, KTNQ 1020

All times Pacific

*-left-handed

In case you missed it

How Eric Lauer is trying to return to a better version of himself with the Dodgers

Shaikin: Do the Dodgers need a “Will he hit?” drama every time Shohei Ohtani pitches?

And finally

Chris Taylor makes an incredible catch against the Brewers in Game 7 of the 2018 NLCS. Watch and listen here.

Until next time…

Have a comment or something you’d like to see in a future Dodgers newsletter? Email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.

Prediction: 3rd

It was the perfect season for Manchester City as they claimed their first league title in a decade – and in manager Andree Jeglertz’s debut campaign.

With no Champions League football to distract them, City were able to throw everything at the WSL title and they swept up the opposition.

They went on a 13-game winning streak between September and February and, at one point, had a 12-point lead over Chelsea.

They also kept key players Khadija Shaw and Vivianne Miedema fit, with the two scoring a combined 31 goals – half of the club’s overall tally.

With a squad packed with talent and depth, City will hope to compete on several fronts in Europe next year, but must replace Shaw, who looks set to leave.