SACRAMENTO — Walbert Ureña and three relievers combined on a five-hitter and the Angels beat the Athletics 7-0 on Saturday night.
Denzer Guzman hit his second home run of the season, Zach Neto and Nolan Schanuel each drove in two runs and the Angels (31-47) improved to 2-4 on their trip.
Samy Matera Jr. retired four batters, Ryan Zeferjahn got five outs and Kirby Yates worked the ninth to complete the Angels’ seventh shutout of the season.
Jo Adell and Donovan Walton each had three hits as the Angels bounced back after blowing a late seven-run lead in the series opener Friday.
Ureña (5-5) yielded four hits in five scoreless innings with six strikeouts and no walks. The 22-year-old rookie has gone five innings and given up three earned runs or fewer in 10 consecutive starts, the longest stretch by an Angels rookie pitcher since Ron Romanick accomplished the feat in 10 games in 1984.
The Angels scored twice in the first inning off A’s starter J.T. Ginn to take an early lead.
After failing to score with the bases loaded in the third, the Angels pulled away with four runs in the sixth. Neto hit a two-run double down the left-field line and Schanuel doubled in two runs with a line drive down the right field line
Guzman hit a solo home run off Geoff Hartlieb in the seventh.
Ginn (5-4), who took a no-hitter into the ninth inning in his previous start against the Angels on May 18, gave up four runs and seven hits in 5⅓ innings. Ginn had five strikeouts and three walks.
PHILADELPHIA — Kyle Schwarber launched two long home runs in Philadelphia’s eight-run third inning and Bryce Harper became the 11th player in franchise history to hit for the cycle, leading the Phillies to a 15-3 victory over the New York Mets on Saturday night.
Schwarber led off the Phillies’ huge inning with a solo homer off Mets starter Freddy Peralta, sending the ball 456 feet into the second deck in right field.
Later in the inning, Schwarber hit a three-run shot off Cionel Perez into nearly the same spot, 457 feet away.
Schwarber is the 67th player in major league history to hit two home runs in an inning and the second this season, joining Houston’s Yordan Alvarez, who accomplished the feat on June 12. He’s the fourth Phillies player to do so, along with Trea Turner (Aug. 19, 2023), Von Hayes (June 11, 1985) and Andy Seminick (June 2, 1949).
Schwarber hit his third homer of the game — giving him a major league-leading 28 — in the seventh, a two-run shot off Tobias Myers. He finished four for five with six RBIs and scored four runs.
Harper completed his first career cycle by the fifth inning. He hit a solo home run in the first, his 16th of the season. He doubled and scored on an error in the third, then singled after Schwarber’s second home run.
In the fifth, Harper lined a ball into the gap in left-center field and motored around to third base for a two-run triple. He’s the first Phillies player to hit for the cycle since Weston Wilson on Aug. 15, 2024. Harper finished four for five with three RBIs and two runs.
Harper is the second player this season — and this week — to hit for the cycle, joining the Chicago Cubs’ Pete Crow-Armstrong, who accomplished the feat Monday night in a 5-4 win over Colorado.
Unless they are in Maui, as they were last year, Rams coach Sean McVay annually opts to cancel mandatory minicamps after the initial report day.
This year, McVay avoided any pretense of suspense.
On Thursday, he announced to his players that after fulfilling some broadcast media responsibilities on Monday, they would not have a minicamp and break until they report to training camp at Loyola Marymount in late July, a Rams official said.
McVay’s announcement came about a week after San Francisco 49ers coach Kyle Shanahan canceled minicamp, and Seattle Seahawks coach Mike Macdonald did the same.
The Rams play the 49ers in their Sept. 10 season opener in Melbourne, Australia.
So Thursday’s final practice of organized team activities — the offseason program is voluntary — wrapped up the offseason for a team that advanced to the NFC championship game before losing to the eventual Super Bowl champion Seahawks.
“We’re not naïve to the things that are said,” McVay said this week, “but that doesn’t affect us and we have to be humble. … You acknowledge it, but you also understand that that means absolutely nothing.”
The Rams made news on several fronts while building what is arguably the NFL most star-studded roster.
In March, star receiver Puka Nacua checked into a rehab facility after several incidents during and after the season. One incident led to a civil lawsuit by a woman who alleges that Nacua made an antisemetic remark during a group dinner and later bit her during a ride in a vehicle.
The Rams sent the No. 29 pick in the 2026 draft and three other picks to the Kansas City Chiefs for McDuffie, and then gave him an extension that makes him the highest-paid cornerback in NFL history. The Rams also signed free agent cornerback Jaylen Watson, McDuffie’s former teammate on two Super Bowl championship teams.
The Rams then stunned many by selecting Alabama quarterback Ty Simspon with the 13th pick in the draft, leading to an awkward news conference that featured a dour McVay, who later explained that he was attempting to be respectful of quarterback Matthew Stafford’s status as the team leader.
A few weeks later, the Rams signed Stafford — the reigning NFL MVP — to a one-year, $55-million extension through the 2027 season.
And then came the trade for Garrett.
The Rams sent edge rusher Jared Verse, a 2027 first-round draft pick and future second- and third-round picks to the Cleveland Browns for Garrett, who last season amassed an NFL record 23 sacks.
“The biggest thing is that this organization really trusts and is buying into this year,” safety Quentin Lake said this week. “You look at how close we were last year, and it gives you the confidence to say what will take us the extra step.”
The Rams plans for a smooth transition to training camp, however, were roiled this week when veteran left tackle Alaric Jackson was arrested on suspicion of felony domestic violence.
In August 2024, the NFL suspended Jackson for two games for an unspecified violation of the league’s personal conduct policy.
Three months later, a woman filed a lawsuit against Jackson alleging that in May of that year he recorded her without her consent during sex. The woman alleged that Jackson repeatedly refused to delete the video and then taunted her with it. The woman reported the incident to the NFL, but the civil case was dismissed.
If the NFL were to determine that Jackson violated its personal conduct policy, he could be subject to a six-game suspension or banishment from the league, with an opportunity to appeal.
Jackson, who joined the Rams as an undrafted free agent in 2021, signed a three-year deal with the team in February 2025 that included $35 million in guarantees. He is scheduled to earn $18.4 million this season.
Warren McClendon Jr., a fourth-year pro who started in place of Jackson in the past, has mostly played right tackle, and he is expected to start at that spot now that Rob Havenstein has retired.
David Quessenberry is a nine-year veteran, but he played as a full-time starter only once — in 2021 — and has not started a game in the last two seasons. The Rams selected offensive lineman Keagen Trost in the third round
So the Rams have plenty to ponder before regrouping for training camp, the start of a process they aim to complete with another Super Bowl title.
In early June, hundreds of fans dressed to the nines were in attendance at a rock star’s sold-out show at New York’s Beacon Theatre. There was lace everywhere and leather too. Chains dangled from belt loops and wrists. Some attendees arrived with dyed crimson hair, others with orange or pink.
Sheer black outfits that looked pulled from the pages of a gothic romance novel were draped on bodies. If “The Rocky Horror Picture Show” had collided with a modern concert, it might have looked something like this.
Then a man took the stage. Was it Lestat de Lioncourt, the immortal vampire-cum-rock star, or was it actor Sam Reid?
Moments earlier, attendees had watched the first episode of AMC’s “The Vampire Lestat,” the rebranded third season of “Interview With the Vampire” that premiered earlier this month. This season adapts Anne Rice’s novel of the same name, which is told from the perspective of Lestat, played by Reid, and transforms him into a touring musician.
Now Reid, dressed in black with his chest partially exposed beneath an open jacket revealing a scar, stepped on stage and into the role of Lestat in front of the audience. As he moved across the stage, phones shot into the air. Fans screamed. People sang along to a slew of songs, and for a moment, the line between actor and character seemed to disappear.
At first glance, the assignment to turn Lestat into a rock star seemed straightforward. The vampire at the center of Rice’s beloved novels has flirted with music before. In 2002’s “Queen of the Damned,” he emerged as a leather-clad nu-metal frontman capable of commanding massive crowds. But bringing Lestat into the present introduced a different challenge. Rock music no longer occupies the same place in popular culture. Fame is fragmented. Audiences are skeptical of celebrity. Social media can build a star overnight and tear them down just as quickly.
Yet “The Vampire Lestat” asks viewers to believe something as audacious as a centuries-old vampire still being able to captivate people, launch a music career and inspire a movement. Reid thinks part of what drives the character is something surprisingly modern.
“Nobody cares that I exist, nobody cares that I’m not relevant,” Reid said of Lestat’s mindset entering the season. “It’s really fun to see him struggle with that and see him try to find his place in the world and not immediately get world domination.”
Making that fantasy feel believable required far more than putting Lestat in leather and handing him a microphone. To pull it off, the show’s creative team had to build a rock star from the ground up, crafting a visual identity, creating music that could stand on its own outside the series, and transforming Reid into a performer capable of owning a crowd rather than simply acting in front of one.
Sam Reid’s Lestat de Lioncourt crowd-surfs in “The Vampire Lestat.”
(Sophie Giraud / AMC)
“Dropping Lestat down into 2025 and making the decision for him to play rock ‘n’ roll was a really great dramatic switch because while there are many great rock bands that are alive and kicking right now, their hold of the cultural landscape is quite small,” showrunner Rolin Jones said. “You couldn’t think of a worse way to get your message out than going to be a rock star right now.”
That challenge became the foundation of the season.
Step 1: Making the music
A polished aesthetic, marketing and, in Lestat’s case, book buzz can only take a musician so far. It’s the music that had to make diehard fans believe he’s an artistic genius, or at least a star in the making.
That challenge landed with composer Daniel Hart long before a single script was finished. In an unusual twist, many of the songs that would eventually appear throughout the season were written before the writers’ room fully mapped out the story.
“There were so many unknowns when we started,” Hart said. To find a way in, Hart and Jones started with their familiar reference point: David Bowie.
“We settled, I think sort of obviously, on David Bowie as the launch pad for our Lestat,” Hart said. “The way that Bowie was so mercurial, and he was a chameleon. He reinvented himself throughout his career.”
Hart also looked to artists as varied as Kurt Cobain and Chappell Roan, while drawing inspiration from classical music, blues and the old-world sound Lestat would have absorbed over his long life. One early writers’ room exercise even involved breaking down the influences embedded within “Long Face,” the Bowie-coded first single released from Lestat’s fictional album.
“‘Long Face’ feels like a Bowie rip-off to Daniel Molloy [played by Eric Bogosian], and so then Lestat breaks the song down for him and goes into all the other influences that are in there,” Hart said. “ ‘Long Face,’ you could say, was in some way influenced by Bach, and then [he] talked about Willie Dixon, and how the blues had influenced Lestat when he was around the … 1920s and ‘30s.”
“He’s been alive for 250 years,” Hart continued. “He’s seen and heard a lot of music.”
The creative team never set out to replicate the hard-rock sound that defined “Queen of the Damned.” If anything, Jones felt trying to outdo that soundtrack would have been a losing battle.
In “The Vampire Lestat,” Sam Reid sings every song himself, including “Long Face,” “Butterscotch Bitch,” “Your Biggest Fan,” “All Fall Down” and “Black Licorice.”
(Sophie Giraud / AMC)
“I mean, that soundtrack is deservedly very famous,” Jones said. “And I think if we decided to out-Korn Korn, we were going to be in trouble.”
Instead, their Lestat was a musician still searching for his voice. Jones says the season begins in a more performative glam-rock space before gradually evolving into something more personal.
“We thought ‘70s Bowie is where we would start, and that we would musically make a journey with him as we went deeper and deeper,” he said. “He would put his band on one tour, what a normal band would do, over four albums. The music just keeps changing. And as he gets more and more vulnerable, the songs begin to change. They get more raw. They get more exposure, and the music style evolves.”
Reid sang every song himself, including “Long Face,” “Butterscotch Bitch,” “Your Biggest Fan,” “All Fall Down” and “Black Licorice.”
“The more bombastic, the more over-the-top songs — he doesn’t seem to like them by the end of this season,” Hart said. “The more introspective songs that come later on are more in his new wheelhouse.”
That journey also shaped how Reid approached the material. While audiences will ultimately see the songs unfold within the context of the show, Reid encountered many of them before he fully understood where Lestat’s story was heading.
“I think in the beginning, he’s coming from an artificial kind of construct,” Reid says. “As the show goes on, the music becomes more personal, and he becomes less interested in actually finding love through his audience and more about finding who he is as an individual and as an artist.”
When Jones first began adapting “The Vampire Lestat,” he briefly considered making the character the sort of arena-filling superstar audiences might expect, like a Beyoncé or Taylor Swift. But the more the writers discussed it, the less interesting that version felt.
“If we were gonna start chipping away at all the armor that Lestat had, one of the great repetitive ways of a tour is you just can’t seem to break a ceiling,” Jones said. “He’s a niche star. And I think that is part of the gas that fuels this little journey.”
Hart also had the impression that Lestat would be a massive star.
“But it became more apparent that [he might] not exactly have the kind of success that he wanted and desperately felt like he needed — that was a more interesting story to tell,” he said.
Step 2: Getting the rock star look
While the audience has to believe Lestat is a rock star, they also have to believe he’s someone with the look — and worth staring at.
Lex Wood, the show’s costume designer, said that the challenge began long before cameras rolled on Season 3. Jones first floated the idea of rock star Lestat while the team filmed Season 2 in Prague in 2023, giving Wood time to begin imagining what a nearly 300-year-old vampire might wear while reinventing himself as a singer. During a production trip to Paris, she started sourcing pieces and collecting references that would eventually make their way into this season years later.
“The main aim of building costumes for Lestat was to maintain an element of the unachievable,” says show costumer designer Lex Wood. “To emphasize that Lestat is untouchable.”
(Sophie Giraud / AMC)
Being fashionable wasn’t the only goal.
“The main aim of building costumes for Lestat was to maintain an element of the unachievable,” Wood said. “To emphasize that Lestat is untouchable. Hence, building specific costume build shapes and patterns that we adapted throughout the season.”
That idea guided nearly every aspect of the wardrobe. While the first two seasons often presented Lestat through structured tailoring and muted palettes, Season 3 arrives in a much louder world.
“A big thing really was that we wanted to push more color into the season in general,” Wood said.
Wood said the choice reflected where Lestat finds himself emotionally. No longer confined to drawing rooms and period silhouettes, he’s navigating celebrity, performance and self-reinvention. Leather remains. Black remains. But so do bursts of color, softer fabrics and strange patterns.
“We wanted to break Lestat free of the suiting,” Wood said. “Though we wanted to remain true to his roots in the 18th century, we also wanted Lestat’s pieces to feel slightly otherworldly at times.”
That meant weaving in elements of garments from the 18th century and making them feel contemporary. This could look like a very specific cut of a sleeve of a shirt that nods to that time.
Wood also studied the backstage photography of Mick Rock, pulling references of Bowie, Iggy Pop and Freddie Mercury. She blended that with punk-inspired designs from Vivienne Westwood and Jean Paul Gaultier. Goth icon Siouxsie Sioux also became an influence, particularly in the use of layering, texture and attitude.
Wood said the scattered references reflect a character actively trying to figure out who he wants to be.
“He’s investigating social media himself,” she said. “As he’s discovering his presence as a rock star. He’s investigating what it means to be a rock star.”
“He’s finding his persona,” she continued. “And trying on different personas.”
That idea extends all the way down to accessories, with Lestat’s jewelry blending old and new — a custom necklace created by a U.K. silversmith recalls one worn by Mercury during Queen’s early years, while rings featuring sculpted teeth serve as subtle reminders of his vampiric nature.
“We purposefully wanted some of his wardrobe to not be recognizable to any particular brand — at other times, we wanted to celebrate high-end fashion, to explore his playfulness and unpredictable character through his clothing,” Wood said.
Even the shoes became part of the transformation. One of Wood’s earliest conversations with Reid centered on abandoning the heeled footwear that helped define earlier versions of the character. This Lestat needed something heavier for a performer who could pace a stage.
“He wanted something that felt more grounded,” Wood said. “Something he could bounce around more in.”
Wood said the redesigned footwear altered Reid’s posture and movement, helping create a version of Lestat that she noted feels more volatile and more comfortable captivating a crowd than charming one.
Step 3: Becoming the rock star
For all the work that went into the costumes, music and scripts, none of it mattered unless the watchers believed the actor tying it all together.
Reid had already spent two seasons playing Lestat through other characters’ memories and perspectives. This time around required him to carry the character’s story through his own reflections. More importantly, he had to answer a deceptively difficult question: Why would anyone follow Lestat in the first place?
“It’s not fame that he’s after,” says Reid of his character in “The Vampire Lestat.” “Fame is totally temporary for a creature that lives forever.”
(Sophie Giraud / AMC)
The surface answer might be fame. The character launches a music career, records songs and steps into the spotlight. But Reid doesn’t think that’s what drives him.
“It’s not fame that he’s after,” Reid said. “Fame is totally temporary for a creature that lives forever.”
Reid sees Lestat as someone searching for validation.
“Not for the vampire that he is, but for the human being that he was,” he said. “He’s been pretty heavily rejected. From Louis through the book, and then his mother knows exactly how to string him along, when to give him love and when to take it away. So he’s really looking for validation and going into an audience space is where he first experienced that.”
While developing the season, Reid says he became increasingly interested in the gap between the public version of Lestat and the person underneath it.
“His whole life has been performance,” Reid said. “His whole life has been a lot of adversity, and the way that he kind of climbs out of that is to build a construct that he can perform and operate in. It makes a lot of sense for him to do this rock star persona. Through this season you start to see him realize that the music and the art can allow him to access himself as opposed to it just being a performance.”
“He’s trying to discover his sound as a musician,” Reid continued. “But he’s also trying to discover who he is.”
Throughout the season, viewers see a musician struggling to connect.
“Why can’t I sell out 5,000 seats?” Jones says, describing the character’s mindset. “I used to be able to walk into a room and everyone would love me.”
For Jones, that’s ultimately what makes Lestat feel like a contemporary artist. Sure, he may be an immortal vampire, but he’s navigating the same questions that confront plenty of artists: How much of yourself to reveal? How much should one perform? Can admiration ever substitute for genuine connection?
By the time the season reaches its conclusion, Lestat is still larger than life. But he’s also a more complicated performer forced to reckon with the distance between being seen and understood. Jones said none of this would be possible without Reid in the role.
“I think his performance in Season 3 is one of the 10 greatest American TV performances of all time,” Jones says. “I’d put him right next to Carroll O’Connor, Walter White [played by Bryan Cranston] and James Gandolfini.”
“And I’d look at all of them and say, ‘You guys didn’t sing.’ ”
SACRAMENTO — Pinch-hitter Jonah Heim launched a tying homer with two outs in the ninth and the Athletics surrendered 11 straight runs before rallying from seven down to defeat the Angels 12-11 in 10 innings Friday night.
Zack Gelof started the comeback with an RBI single in the sixth, and the A’s got two-run homers from Jacob Wilson in the seventh, Max Muncy in the eighth and Heim in the ninth to tie it 11-11.
Nick Kurtz walked with the bases loaded in the bottom of the 10th to force home the winning run. It was the largest comeback win for the A’s (38-38) this season.
Gelof extended his hitting streak to 23 games — the longest active run in the majors.
Tyler Soderstrom hit a one-out double in the ninth before Heim connected for his second career-tying pinch-hit homer. The first came earlier this month in a 15-14 loss to Milwaukee in Las Vegas.
Henry Bolte drew a leadoff walk from Kirby Yates (0-3) in the 10th. Following a double steal, Muncy flied out and Gelof was hit by a pitch to load the bases. Samy Natera Jr. entered and walked Kurtz on five pitches, scoring automatic runner Lawrence Butler.
A’s starter Jeffrey Springs gave up six runs on four hits and four walks in 3 2/3 innings. Elvis Alvarado (3-1) pitched two scoreless innings to earn the win.
José Soriano struck out six in five innings. He permitted six hits, four runs and four walks.
Up next: RHP J.T. Ginn (5-3, 2.91 ERA) pitches Saturday for the A’s in the third game of the four-game series. The Angels had not announced their starter.
For whatever reason, I never reviewed the first season of “Sugar,” which I’d stopped watching before its late-season big reveal — the detective (Colin Farrell as John Sugar) is an alien. Had that happened earlier in the story I might have hung on, but strictly as a production, I’d found its brand of neo-noir to be mannered, gimmicky, obvious, overdirected (by Fernando Meirelles, the Brazilian director of the fine “City of Men”) and, as you may have surmised, off-putting.
This is by way of announcing that the second season arrives Friday on Apple TV and that I like it very much. The stylistic eccentricities have been dialed back, including the use of old Hollywood film clips to reflect the action and possibly the thoughts of its main character, a cinephile from space, who is both practicing and enacting the work of a private detective. He reads American Cinematographer; he takes the Paramount studio tour, then takes it again.
One might navigate the new season without having watched the first, though at least reading an online synopsis. Sam Catlin (“Preacher”) has taken over as showrunner from series creator Mark Protosevich; the tone is lighter, the plot less perverse. Under new director of photography Marshall Adams, the camerawork, formerly too quirky by half — a mishmash of lenses and film stocks and canted angles — has settled down, as has the editing, enhancing the story by letting it breathe and staying out of the way of Farrell’s singular performance — the series’ distinguishing feature and warm heart.
For all his influences, Det. Sugar is the one character who can’t easily be traced back to an earlier model. As detectives go, he’s unusually sweet, optimistic, diplomatic, willing to give a villain a way out, closer to the Man Who Fell to Earth than to Sam Spade. He loves animals, and they love him.
Farrell, who also narrates in a soft voice, often wears a look of shy incomprehension, as if a beat behind in translating the world around him, a stranger in a strange land.
Using his mild telekinetic powers, Det. John Sugar (Colin Farrell) makes a tennis ball float in the air, to the delight of some dogs in “Sugar.”
(Apple TV)
As aliens go, he is also something of a lightweight, demonstrating some mild telekinetic abilities (making a tennis ball float to entertain a pack of dogs, stirring the ice cubes in his drink) and the ability to speak any language, which underscores his empathetic nature. He makes friends with cab drivers, tour guides and security guards; as an “immigrant,” he appreciates immigrants. He’ll do the dishes for a woman too grief-stricken to attend to them, explain to a man who hates his own name that it’s a reference to Bogart’s character in “Casablanca” and a sign of his mother’s love. He can drink as much alcohol as he likes — his metabolism keeps him from getting drunk — which makes him indefatigable company in a bar, but he is horribly allergic to cinnamon. Remember that, if you’re ever forced to defend yourself from an ET.
Where classic noir detectives tend to be middle-class sorts a job or two ahead of losing their office, Sugar has a lot of money, whether saved up from earlier high-priced cases — his Season 1 client is a rich old man ripped from “The Big Sleep” — or piped down from space. He wears expensive suits, lives in a bungalow in a high-end Los Angeles hotel but also buys a house in the Hollywood Hills because its view allows him to spy on a dodgy character from Season 1; and drives a Nassau Blue 1966 convertible Corvette that he blithely parks in bad neighborhoods with the top down. When the car actually is stolen in this season’s opening episode, it brings him into contact with Val (Sasha Calle, Supergirl in “The Flash” movie), a spunky, punky petty criminal who negotiates its return and whom Sugar makes his assistant; I wouldn’t say Calle is underused, but I would have liked to see more of her.
Sugar came to Earth as part of a group of “thousands,” mixing among humans incognito just to observe them, for benign alien reasons, like Starship Enterprise on its five-year mission. (We get a flashback to Sugar’s first days on Earth, before he acquired the suits and the car and settled on a profession.) At the end of Season 1, their cover being blown, and humans being famously weird when it comes to extraterrestrials — you’ve seen the movies — they return home en masse, except for Sugar. He’s still working a missing persons case of his own, looking for his sister, hopefully alive, somewhere on the planet. And he’s becoming more of an Earthman — the dangers of assimilation are a specific Season 1 plot point. On top of that, like a lot of people, he just loves L.A.
Laura Donnelly as flirtatious Charlotte in “Sugar.”
(Jason LaVeris / Apple TV)
And then there’s Charlotte (Laura Donnelly), whom he meets in the bar of his hotel; it doesn’t take a degree in postwar genre fiction to recognize that there may be something fishy, perhaps “fatale,” about her. But like Sugar, we’re content to put that question off as long as possible, in the hopes that maybe this relationship will be as uncomplicated as we’d like it to be, and a tonic for Sugar’s loneliness. (He no longer has his dog, even.) He regularly gets on the subspace shortwave looking for any others of his kind left on Earth.
The new season will get around to that question, though the alien and earthly plot lines are kept on separate tracks. Most of the time “Sugar” functions as a straightforward compelling detective story, as the protagonist hunts for Ji Moon (Raymond Lee), the missing junkie brother of Danny Moon (Jin Ha), a talented young Korean American prizefighter on the first rung of the ladder to success. (Sugar is working pro bono, not needing the money but very much needing something to do.) It brings him into the orbit of drug dealers and crooked police officers and through an array of Southland locations, including the Beverly Center — finally, a good use for that place — Koreatown, the Vista Theater and the Huntington Gardens.
While there’s nothing particularly novel about that plot, it pulls you along, and the series as a whole is orchestrated to make one care about the characters and worry over their fates. Vivid minor characters — there are pro turns from Shea Whigham, Laura San Giacomo and Mireille Enos — make the story live. All in all, a good meal that leaves no bitter aftertaste.
In this week’s episode of The Envelope podcast, Rachel Sennott discusses finding the voice of “I Love L.A.” — and finding her footing as series creator — during a tumultuous time in her life.
Kelvin Washington: Welcome to The Envelope, Kelvin Washington alongside you know who, Yvonne Villarreal, Mark Olsen. Always great to have you two here and spend some time with you. We talked about it earlier, we had Emmy season — a few weeks ago we discussed it. But now Emmy nominations are on the way. Yvonne, I’ll start with you, just maybe someone, a show, a couple of things you’re looking at saying, “Hey, I would love to see this or that person nominated.”
Yvonne Villarreal: I wanna give some shout-outs to the women right now. I was really frustrated when Rhea Seehorn didn’t get love until the final season of “Better Call Saul,” and I’m hoping — and I do have a lot of hope — that she will be recognized for “Pluribus.” [I] was a really big fan of “The Comeback” this season. I would like to [see] Lisa Kudrow get in there. Show-wise, I would like to see “The Testaments” in there. I don’t know how much of a dark horse that one is, but that’s my pick for show.
Washington: You’ve been riding “The Testaments.” What about you, Mark?
Olsen: I’m sort of leapfrogging over nominations, and I’m just thinking about what would be exciting on the show. And last year, I remember Stephen Colbert won for talk show kind of right after his show had been canceled, and that seemed like a very exciting moment. And so this year, with Jimmy Kimmel, where this is the first Emmy cycle since he had his suspension last year, and really has been in the news, I just think if he were to be nominated and then to win, that just would be such an exciting moment at the show. What’s he gonna say? I just would really love to see that.
Washington: Yeah, he seems like he would have some things to say, right? Because just kind of the nature of who he is. We’ll have to wait and see. And just for me, a couple of people. Just a fan of this particular person, Janelle James is hilarious to me. She plays in “Abbott Elementary.” She plays that role great. And then this one is no real surprise, probably 50-plus-year career, but Martin Short. Every time I see him, he’s amazing, steals the scene. So those are folks that just jump off on the radar for me.
All right, I’ll get to you, Mark. You had a chance to sit down with Rachel Sennott of “I Love L.A.,” creator and star of it. Tell me a little bit more about that.
Olsen: She’s been kind of a real, like, bright light on the comedy scene for the last few years in films like “Shiva Baby,” “Bodies Bodies Bodies” and “Bottoms,” and, you know, she also was like a writer as well as a performer. And so with “I Love L.A.,” which is a look at sort of like the young creative class in Los Angeles, she is the star of the show, she created the show, she writes on the show, she’s executive producer, she actually made her directing debut with one of the episodes. And so it’s just exciting to see her sort of really like come into her voice and come into her own with this new show.
Washington: Kind of reminds me a little bit of, you know, now maybe a decade ago Issa Rae’s surge in L.A. and comedy creating, and then Riz Ahmed, who you spoke with last week — same thing creating and starring and stuff. Seems like that’s the energy [we’re] getting from a lot of the young talent. Well, here is Mark and Rachel now.
Rachel Sennott, creator and star of HBO’s “I Love L.A.”
(Evan Mulling / For The Times)
Mark Olsen: We’re here with Rachel Sennott, creator, executive producer, writer, star, and for the first time, director on the show “I Love L.A.,” as well as co-creator and writer on “Big Mistakes.” That’s a lot.
Rachel Sennott: When you say it like that, I’m like, “Oh, my God.” And I’m also a friend, daughter, let’s not forget girlfriend. Yeah, those are all things that I am doing. And I am so grateful and having so much fun doing that.
Olsen: Hopefully this isn’t something that just I get a kick out of, but we’re here at the L.A. Times offices in El Segundo, and the Randy Newman song “I Love L.A.,” one of the first lines in the song is “Rolling down the Imperial Highway.” And we are in fact on Imperial Highway.
Sennott: We’re here right now. We’re living it.
Olsen: Tell me about the title of the show, its relationship to the song and what was it that you liked about having the show called “I Love L.A.”
Sennott: We were between two titles for a while, “I Love L.A.” and “Climbers,” and the reason we went with “I Love L.A.” is because in the process of making the show, I moved here from New York and I had a hard time when I was first here. And in the process of filming the pilot, I really fell in love with L.A., and I think getting to make something here, I all of a sudden saw L.A. through this lens where everything was like a movie. I would go on my walks that I usually go on. I would walk through my neighborhood, I would go to my spots, and I just saw it through this different lens, and I was really falling in love with it in the process of making the show. And I think with “Climbers,” that title fell a little bit — it was a double meaning of like social climbers and then also, being the age that I am, where I feel like ever since I got to college, ever since I became an adult, there’s been this chaotic energy in the world and uncertain ground where things never felt expected. It was always unexpected events. Graduating into COVID and then there was a strike and everything. So I feel like Sisyphus, where you’re always pushing the rock up the hill and it’s never enough. But we were worried that “Climbers” would seem too negative … We didn’t want to set people up already judging the characters.
Olsen: And then what has it been like for you learning to be a showrunner in making “I Love L.A.”? It’s funny, your co-showrunner Emma Barrie, she mentioned how you were very organized, but she was struck that you had everything in a pink binder with horses on it. So it was you trying to learn this new thing while also holding on to your essence.
Sennott: I feel so grateful for everyone who works on the show with me. I learned a lot from Emma. I learned from Lorene [Scafaria], who inspired me so much as a director. Aida [Rodgers], our producer, Amy [Gravitt] and Allie [Wasserman] at HBO; Max [Silvestri], who’s one of our EPs and writers. Showrunning is a million different jobs, and some of the jobs I’d done before, some of them I hadn’t, and I felt like I got to see different people shine in certain things, people who are more talented or more skilled at structure than me, people who have directed before, people who understand shots and basically learn from everyone and see that everyone wants the show to be the best it can be. They’re bringing stuff to the table. And so I benefited from everyone else’s skills and talents and just being like, “If you know how to do this better than me, I’m gonna learn from you and watch you and hopefully take from that so I can do my job better.”
Olsen: In a lot of the press as you’ve been talking about the show, you’ve been talking a lot about the concept of the Saturn return and this sort of chaotic period people have in their late 20s. You yourself now are 30 —
Sennott: Yes, I made it. I literally just finished. I was relieved, but my Saturn return was the process, getting the show picked up and the first season of the show. That was my Saturn return.
Olsen: Can you already feel that something has settled or things are different somehow?
Sennott: Yes, a thousand percent. My Saturn return, the dates that it was the strongest were the month around when the show got picked up. Making the pilot was so amazing and I learned so much. And then I was in this moment where I had to pick — basically, I couldn’t take on acting jobs because I was gonna hopefully do the show, but I didn’t know if the show was picked up yet or not. And so I had to say no to certain things and kind of take this leap. At the same time I went through a breakup, and then I got arrested for having CBD in the Cayman Islands. And it was just a very chaotic month of my life where I was like in jail for six hours on a break with my boyfriend, so he, like, had no idea where I was, and I was like, I don’t even know if I have a show, I just said no to this other thing. I just felt like I didn’t know what was happening. I’m someone who it’s hard for me to take risks sometimes, and that was a big risk and leap into what I thought I should be doing. And then the rest of it was learning for the first season how to do a job I’d never done before. Obviously, I still have more to learn, but I think that was a big Saturn return for me, the roller coaster of it.
Olsen: It’s so interesting to hear you say that you think of yourself as a person who’s afraid of risk, because that’s not my impression of you.
Sennott: You’re like, “Stop taking risks. Chill on the risks, every second.” No, I think it’s more [that] I didn’t necessarily believe in myself as a creator on my own, and that was really scary for me. That was the risk, I think.
Olsen: Because especially in building up to making “I Love L.A.,” in your career, I feel like you’ve created this comedic persona for yourself. What is the biggest distinction between the Rachel I think I know and like the actual you?
Sennott: You mean the characters that I play? Or like the persona?
Olsen: These sort of hard-charging, very ambitious, but maybe not always understanding of themselves characters, and you. I’m just interested in how you see the distinction between that persona and the actual you.
Sennott: Well, I hope that the characters that I’ve played have been somewhat different from each other. I think “Shiva Baby,” that character, was a little bit more anxiety-inward. Alice in “Bodies” was way more outward and kind of no filter, said every inside thought. Maia on “I Love L.A.,” I think, is kind of bitter in the beginning of the first season and is pinning her failures, blaming them, on her friend. All of those characters, I always draw on some element of myself. I think all actors, you have to find some connection to the character. But I think I’m hopefully more grounded and balanced and mature than the character. I hope.
Olsen: You’ve talked about how “I Love L.A.” really explores the foibles and challenges that people have leading these very, like, online lives and the way that people nowadays are really sort of tethered to their phones all the time. Is that something that you feel like you grapple with yourself? Is it something you yourself have had to kind of get over?
Sennott: I would say I started my career on the internet, and I grew up on the internet, and basically, I created a different sort of persona on the internet that was based in truth of a time when I was in my early 20s in New York, and it was a lot more messy and a little chaotic, and I was just going through things in my life at that time [that inspired] — I say “writing,” but like the tweets, the jokes, the videos, whatever, that were coming out of me. And then I felt I changed, but I still wanted to kind of project that character. And so I actually ended up putting that character into Tallulah [played by Odessa A’zion]. And I think Maia was a little bit more the version of myself when I first moved to L.A. and I felt isolated and it was during COVID, and I felt I was kind of gripping onto my friends in a codependent way. And so I think the show is sort of dealing with, whether or not you’re an influencer or person online, anyone who’s grown up on the internet is projecting some sort of version of themselves. So I think it was that I was trying to explore.
Olsen: You mentioned that the character of Tallulah is this version of you that you used to be. So what was it like for you creating this character that was almost like your id unleashed?
Sennott: It felt like I was separating myself from her. At first, [it] maybe could have felt like a caricature. And then when we cast Odessa, who is so talented and just, as an actor, she has such depth and range, and I think she asked questions and brought so much to it. Then it actually made me sever myself from the character, and the character became its own thing that she brought to life.
Olsen: Your character, Maia, in some ways is the audience surrogate, she’s kind of the most “normal” character on the show. And considering that in “Bottoms” or “Bodies Bodies Bodies” you often were the outrageous character, what has it been like for you to play this character that’s a little more self-contained?
Sennott: It’s been fun. I think we sort of found her during the first season. I feel that Episodes 6 through 8 are really where the show finds its footing and where we find what’s the comedy of Maia. It takes a little for her to kind of crack open, what’s funny about her as a character, but also I think Tallulah is almost like an agent of change for her — Maia was set in her ways and sort of struggling and depressed, and I think Tallulah puts her on track, and she’s going through her Saturn return and all that stuff. And so I think we get to see at the end of the season and just having been writing Season 2, I think that we get see her do a lot more fun stuff.
Olsen: It’s funny, as viewers, a lot of times people say, “Oh, you know, there’s this show you should watch, it really gets going on like Episode 3” or whatever. And I don’t think I’ve ever heard a creator say before, like, “Oh, 6, 7, and 8, we figured it out.” Do you feel you knew that in the moment, or has that only come to you as you’ve been working on Season 2?
Sennott: I think as we were editing the first season. Tone is something that you can say, like, “We want it to be like, this needs this, and it’s that and that and the tone of that.” But tone is what you find in the edit. I think you shoot different versions of a line, of a scene, and then you piece it together. And I think for me, that’s when I felt like, “This is the tone of the show. This is the world of the show.” And in writing Season 2 as well, just living more in that world.
Olsen: You kind of touched on this, but the characters on the show, they kind of skirt this line between being endearing and annoying. What is it that you like about that?
Sennott: Because I think that’s how people are. I am not interested in seeing perfect people or people who are flawed in a way that’s not actually real. So I love all the characters. I think Alani [played by True Whitaker], for example, is someone where you could really easily be like, “Oh, a nepo baby, she’s so privileged, whatever.” I think she’s the character with the biggest heart. She’s the best friend out of the whole group. She cares for everyone. She’s so deeply sensitive. And she’s actually been through a lot of s— and she drops these little things, these clues where you’re like, “Gee, she went through something crazy but is choosing to look at life half-full,” and I think that’s fun. I like the characters who make you feel or expect something of them and then show you another side. Charlie [played by Jordan Firstman] I think does that as well, where you meet him and you think he’s a little acerbic, he’s a little judgmental, and then he goes through loss and grief when Lukas, spoilers, Lukas Landry dies, RIP Lukas. That’s really hard for him. I’ve been friends with Jordan for so long, and I love him so much. I think he’s so talented. But I think he showed a totally new side of himself with the character.
Olsen: I agree. I found those scenes very touching. There’s an emotion there that’s kind of unexpected. Another moment that I really like in the show is Odessa’s character, she wants to change a dinner reservation to five people at 8 o’clock. And then you have to spend hours trying to make that happen. And I really appreciated how it’s something that sounds like it should be simple, and for some people it’s no big deal. But then for other people, it’s the biggest hurdle imaginable. Did you like that the show explores this sort of proximity to ease? Sometimes you end up at this party in a big, big house, but it’s not your house. Was that something you wanted to explore about life in L.A.?
Sennott: Totally. There’s also something specific to L.A. and specific to the industry we’re exploring — which is the internet as opposed to Hollywood — that I would say is relatable to me, to anyone in their late 20s, early 30s. When you’re in your early 20s, everyone’s sort of grouped together or feels like they’re in the same bucket. It’s like, “Oh we’re all doing this same thing, we’re all roommates, we’re all in school together, we’re all whatever.” But people make decisions that you don’t even see. I feel like the first time I found out that one of my friends had a SEP IRA, I was like, “When did we all decide that we’re getting SEP IRAs?” And it was a friend who loves to party, and I was thrown. Now I’m panicking I didn’t do that. Or who’s getting in a serious relationship, whatever. People start making decisions in their late 20s, all of a sudden everyone’s off on different paths. It’s like, “Wait, you’re getting married, but you’re still partying the way that we did when we were in college.” This person is moving, this person is changing their career path. And so you all of a sudden feel a little bit betrayed or on your own, and it’s isolating, and that is something that, yes, we’re doing it through a specific lens of L.A. and this world and these characters, but I think it’s really relatable to people at that age.
Olsen: I’ve heard you describe yourself as a zillennial cusp.
Sennott: Yeah, I’m cusp, and I feel like I relate to a little bit of both.
Olsen: But do you feel a pressure for the show to feel like some sort of a generational statement, to capture these kind of big-picture things?
Sennott: No. Ayo [Edebiri] and I were texting each other because there’s always an article that’s like, “Turns out these b— are 30. Yeah. They’ve been lying the whole time. They said they’re Gen Z.” I’m like, “I didn’t say anything. I was born in ’95. I’m 30.” Call me what you want, but I was just writing to what I feel at the time. I think people who grew up on the internet in the way that I did will relate to it, but I think you can relate too if you’re older or you’re younger.
Olsen: As people are writing about the show, they very frequently are referencing “Girls,” “Insecure,” “Sex and the City.” But I’ve heard you reference “Entourage” quite a bit. Could you explain that?
Sennott: “Girls” and “Sex and the City” and “Insecure,” all of those shows, all HBO shows, are formative to me as an artist. I remember watching “Girls,” I was in high school and looking at colleges with my dad and we went and toured [New York University], and in the hotel room that night, he was like, “I heard so much about this new show, ‘Girls,’ we should watch it. And it was the episode with Patrick Wilson where they f— in his nice apartment the whole time, and we turned it on and my dad was like, “OK, you can watch this later on your own, this is for you.” And I remember going to bed being like, “I’ve gotta go to New York, like whoa, this is crazy.” I think naturally those were already gonna inspire me. “Entourage” and “Atlanta,” those were two references that I mentioned a lot when we were making the show. “Entourage” because I feel I got to come up in this industry with my friends, and when I’m with my friends I feel completely invincible, and so there was that aspect. It was like, “I wanna see ‘Entourage’ but from a different point of view and perspective and a slightly different industry.” And then “Atlanta,” there is already having a family relationship and friendship on top of managing. Like how [Earn] manages Paperboi. And then I think “Atlanta” did such a great job of capturing a city that has almost magical realism elements to it. And L.A., a lot of the time, there’s things that happen here that are crazy, that feel almost unreal, but they are real. So that was a big inspiration for the show as well. Like the opening of the show, sex during an earthquake. That’s happened to me, but it also feels a little ridiculous, but it happens in L.A.
Olsen: You mentioned earlier that in waiting for the show to come around, you felt you were having to turn things down or you were really having to sort of change your mindset in a way. Can you talk a little more about that? With the show “Big Mistakes” that you created with Dan Levy, is that one of the things that you had to step away from or readjust how you were gonna be involved because of the fact that you were going to have “I Love L.A.”?
Sennott: I was more talking about acting roles. When you step into a creator role, it’s a different mindset than acting jobs and you have to commit to a longer time period. When you’re just acting in things, you can pop in, pop out and you leave set and you’re like, “I love you guys so much. I’ll see you in a year at the premiere,” which is fabulous too — love doing that. But when you are creating something, you’re in it from beginning to end, and you really wanna give your all to it. So I think I was more talking about just, like, betting on myself as a creator, as opposed to just acting.
Olsen: And how has that felt now that you’re on the other side of it, with one season of “I Love L.A.” made? How do you feel about having made that decision, having bet on yourself like that?
Sennott: I think it’s changed me, in a way where I’m so happy I did it. And it’s sometimes harder and there’s more parts to it, but I feel more in myself creatively than I ever have before, I think.
Olsen: It changed you how?
Sennott: Just because you all of a sudden see all the different parts of the process of making something and all these different jobs that maybe I wasn’t as aware of before. And I think there’s also something beautiful about popping into something and acting and just being like, “I am present as my character. This is what I am thinking about. I’m thinking about what does the character want.” And that’s amazing too. But I feel so lucky to have been able to experience other parts of making something.
Olsen: What was it like learning how to switch hats, especially during production? I would imagine you have a producer brain, you have an actor brain, then for one episode you have a director brain.
Sennott: I had to like sort of take it day by day. There are days where it’s a lighter scene for me and I can be on the side approving locations, taking meetings during lunch. There was a day where I had two sex scenes, for Episodes 6 and 7. So we shot the end of 7, the fight scene with me and Josh [Hutcherson], and the sex scene where it’s Maia and Dylan but she’s fantasizing about Ben. It was a lot. And so I was like, to Emma and Max and Aida, “Let’s not do any other meetings today in the middle of the day,” and they were like, “Totally got you.” That day I was more focused. I really needed to be present in the scene and have this be my main focus. And then on a day where I’m shooting like, “you’re texting on your phone” and “you’re walking on your walking treadmill,” I can do other stuff. So I think it was just taking each day as it comes and having so much support from the rest of the team.
Olsen: It’s wild to think of just one day providing all this material for the show. Just a single day could be so pivotal.
Sennott: Yeah, totally. A lot can happen in a day and then other days you’re like, “I’m just opening doors.” You never know.
Olsen: How did you come to conceive of how you kind of wanted to depict the online world, how people text, whether they’re FaceTiming and things like that? The show obviously exists with that world, as part of it, but you didn’t spend a whole lot of time animating texts. How did you come to conceive of how to depict people’s online life?
Sennott: I wanted it to feel how it does in the real world, which is the internet is just a big part of everyone’s life, but people aren’t explaining it to each other all the time. So we wanted to have the internet feel like the real internet, but our own internet. We didn’t want to ever reference anything that would date us because the internet moves so fast. So, like, Coke Larry, for example, when Dylan gets made into a meme, whatever, that’s our own thing, but it moves the same way as the internet does. And we tried not to have too much phone screens, texting, whatever. Like for example you [just] see snippets of Tallulah making videos or posting or whatever. In “Entourage,” you don’t really see that much of Vince acting. You see all the stuff around it. So that was sort of our model for the show.
Olsen: You directed the final episode of the season. Do you expect to be directing more in Season 2?
Sennott: Yeah.
Olsen: And how did you find the experience? What did you like about it?
Sennott: I loved it. You’re just in every aspect of the process. You are thinking about everything, and it was so engaging and exciting, and afterwards I felt fried, and I like crawled onto the edit couch and I was like limp and it took a lot out of me. People describe it like giving birth. And then you’re like, “I gotta do it again.” So that’s kind of how I felt on the other end.
Olsen: Can you talk a little about that final episode? The show is called “I Love L.A.” You send the main characters to New York for the final episode, which has turned into kind of a controversial decision. A lot of people have talked about that. Can you talk just a little about deciding to end the season in New York?
Sennott: I think it was because it was sort of addressing the fact that these girls went to school in New York together. They lived in New York and they chose to move to L.A., and I think when you do that there’s always going to be the push and pull of the two cities, and going back to New York, it was almost like getting a chance to get back together with your ex and being like, “You know what, there’s a reason it didn’t work out.” And they end the episode with, “I miss L.A.” So I think that’s kind of what we were aiming to do.
Olsen: And then before we wrap up, I should be sure to ask, is there anything that you could tell us about Season 2? What can people look forward to?
Sennott: It’s sort of what we were talking about earlier, Episodes 6 through 8, I think, I just feel we’ve locked in to our tone, we get to see other sides of characters we haven’t before, we go deeper on certain characters. And I think there’s some fun stuff that we set up in the finale that we get to explore.
Jeremy Clarkson, the British television host best known for BBC’s “Top Gear,” revealed this week that he is battling prostate cancer.
The 66-year-old personality unveiled his diagnosis in the two most recent episodes of his farm-keeping series “Clarkson’s Farm,” which streams on Prime Video. He detailed his condition to co-hosts Kaleb Cooper and Charlie Ireland during a filmed discussion about the upcoming harvest at his Diddly Squat farm.
“I’ve got cancer,” he tells his co-stars, after informing them he will need to take some time away from his farm duties. “It’s aggressive but it’s really early.”
Clarkson also told Cooper and Ireland, who seemed visibly stunned about the health revelation, that he has known about his cancer diagnosis since May. The second part of the series’ two-part finale, released Wednesday, concludes with the “Clarkson’s Farm” crew recapping the ups and downs of their harvest year and with the show’s namesake back in a hospital bed. The season began with Clarkson discussing treatment he received for a coronary issue.
“Some of the treatment’s gone a bit awry … so I’m gonna be here for a little while,” he tells the camera crew.
He adds: “If this is all successful, I’ll see you for Season 6, and if it isn’t, I won’t. Take care everyone.”
Clarkson warned of the somber mood of the two episodes on Instagram, informing fans in a video post that they would be anything but “bucolic and charming, and cheerful.”
“They’re a difficult watch,” he says, “they’re really, really difficult.”
Before “Clarkson’s Farm” debuted in June 2021, Clarkson was best known for co-hosting BBC’s popular car show “Top Gear.” BBC fired the host after he was involved in a physical altercation with a producer. Clarkson went on to co-host “The Grand Tour” on Prime Video alongside Richard Hammond and James May, who departed “Top Gear” shortly after their co-host’s firing.
PHOENIX — Corbin Carroll hit a grand slam, Eduardo Rodriguez earned his 100th career win on the mound and the Arizona Diamondbacks beat the Angels 8-1 on Wednesday.
Carroll’s fifth career grand slam landed just over the right field wall, giving Arizona a 5-1 lead in the second inning. It was the two-time All-Star’s 13th homer of the season.
Rodriguez (6-2) scattered six hits and three walks, giving up just one run over his seven innings. The veteran left-hander struck out five, lowered his ERA to 2.45 for the season and became just the ninth Venezuelan-born pitcher to reach 100 wins in the big leagues.
Ketel Marte added a two-run double while rookie Tommy Troy had two hits — including a triple — and two RBIs. Gabriel Moreno contributed a three-hit day and reached base four times.
Angels left-hander Sam Aldegheri (2-2) lasted just three innings and gave up six runs. Shortstop Zach Neto led off the game with a solo homer. It was Neto’s 15th long ball of the season and second in two days.
If you want personal stories of survival, family trauma or just how to get over a breakup, look no further than adult animation. Even better: Sometimes these shows do all that and are still funny. We’ve rounded up some of this season’s best examples in the genre.
‘Genndy Tartakovsky’s Primal’ (Adult Swim)
Set in an anachronistic world where prehumans and dinosaurs fight for survival, “Primal” is told sans dialogue and focuses on a Neanderthal named Spear (whose vocal grunts are provided by actor Aaron LaPlante) and a female Tyrannosaurusrex known as Fang. It’s raw, bloody and, somehow, tear-jerking.
“There’s drama, there’s violence, certainly there’s a bit of lightheartedness … we’re not trying to do it like a live-action thing, but we’re trying to get cinematic,” says creator Genndy Tartakovsky. “And because it’s dramatic and there’s no dialogue, we’re leaning into the visual storytelling of it all. This makes it seem a little bit more sophisticated.”
Tartakovsky says he even tries to make “the blood spurts look beautiful and designed”: “We’re not doing it for shock value.” The show also added the escaped female slave Mira (voiced by Laëtitia Eïdo) at the end of Season 1 because the creator felt it worked for the story.
‘Kevin’ (Prime Video)
Talking cats are not new to animation. But this one is going through the very human roller coaster of a relationship rebound and self-discovery.
Joe Wengert co-created “Kevin” with ex-girlfriend/series voice actor Aubrey Plaza as a cathartic thought experiment about their actual pet cat, Kevin. (Jason Schwartzman voices him in the show.)
“It’s more fun to write for the animals,” says Wengert, whose credits include Netflix’s animated “Big Mouth” and Fox’s live-action “New Girl.” “They have another level of crazy.”
The show also doubles as therapy.
“I’ve always been too into my relationship and I sort of neglect my friends,” he says, adding that “I’ve always wanted to write something about that, but it’s kind of sad when it’s a human man. It’s less sad when it’s a cat.”
‘Long Story Short’ (Netflix)
Raphael Bob-Waksberg, who also created Netflix’s “BoJack Horseman,” knows his beat is animated shows that are both funny and thought-provoking. He says the difference with “Long Story Short,” in addition to it being about humans and not an anthropomorphic horse, is that it has “sadness we can relate to.”
“Here, we see characters sad in the way that we are sad and we go, ‘Oh, this is not a cartoon exaggeration of our sadness.’ This is exactly the same as our sadness,” Bob-Waksberg says.
In order to keep the show from being a total buzzkill, the writers will craft scenes like an intense conversation between adult siblings about fertility treatments in the midst of the chaos and the bizarre costuming of a child’s dance concert.
He says you can do this in live-action, but it would have to be something in the Tina Fey-Robert Carlock style like NBC’s “30 Rock” or Netflix’s “Unbreakable Kimmy Schmidt,” which are known for rapid-fire bits.
“Usually in live-action, when you think about dramedy, your head goes to like, well, not too funny and not too dramatic. And my shows are kind of the opposite,” he laughs.
‘Mating Season’ (Netflix)
Like another show Andrew Goldberg co-created, Netflix’s “Big Mouth,” “Mating Season” is about sex and relationships. But, because it’s not about kids, it can be less metaphoric. And, because it’s about a group of Gen Z-ish forest animals, it can almost seem … cute?
“It feels less voyeuristic than with people,” Goldberg explains of “Mating Season.”
Goldberg, who loves nature documentaries like Netflix’s “Life on Our Planet,” says they opened the second episode of “Mating Season” with a parody documentary because “we wanted to remind people as much as possible that, yes, these are cartoon characters. But these animals are real, and they’re out there, and they’re going about their lives.”
He says the writers were also inspired by dating shows about humans such as Netflix’s “Love Is Blind” and Peacock’s “Love Island,” because “we really discovered, as we were writing the first season, how much the show was a romantic comedy.”
‘Strip Law’ (Netflix)
“Strip Law,” about a Las Vegas lawyer attempting to live up to his late mother’s legacy, is a David and Goliath story, in which Adam Scott’s Lincoln Gumb and a ragtag crew attempt to defeat the powerful and nefarious attorney Steve Nichols (Keith David). It’s also a send-up of legal procedurals, with Lincoln’s cases including a fight over who’s the real Santa Claus and a custody battle that devolves into a theological debate. Even the season finale is a meta masterpiece that’s told from the points of view of Lincoln’s rival attorneys.
“It would be disingenuous to say we weren’t at least a little trying to weird people out,” creator Cullen Crawford laughs.
Crawford cut some of his teeth on CBS’ “The Late Show With Stephen Colbert,” but says he switched formats when he got burned out writing jokes about President Trump. He says that, at least in the comedy world, “a good animation writer will be a good live-action writer and the other way around, to an extent, as long as you understand the mediums.”
PHOENIX — Pavin Smith hit a tiebreaking, solo homer off the right-field foul pole, Ryne Nelson threw seven quality innings, and the Arizona Diamondbacks beat the Angels 4-3 on Monday night.
Smith broke a 2-2 tie in the seventh when he launched his first homer in nearly a calendar year. The veteran first baseman — who came into the game with a .103 batting average — has spent most of this season on the injured list after surgery to remove bone chips in his left elbow.
Geraldo Perdomo added an RBI double later in the seventh that made it 4-2. Paul Sewald gave up a solo homer to Donovan Walton with two outs in the ninth but struck out Oswald Peraza to earn his 18th save in 19 chances.
Nelson (3-5) gave up two runs, scattering nine hits and striking out five. The right-hander has thrown at least seven innings in five of his last seven starts.
Angels slugger Mike Trout hit his 16th homer, an opposite-field shot, to tie the score 2-2 in the fifth. It was the three-time MVP’s 420th career home run.
Walbert Ureña (4-5) threw seven innings for the Angels, giving up four runs (three earned).
The Angels (29-44) grabbed a 1-0 lead in the first on Jo Adell’s double down the right-field line that brought home Trout. The Diamondbacks (37-35) tied it in the bottom half on Gabriel Moreno’s single.
Lourdes Gurriel Jr. returned to Arizona’s lineup after missing roughly three weeks because of a strained left hamstring. He had an RBI single in the fourth.
Up next: The Diamondbacks throw RHP Merrill Kelly (5-5, 5.46 ERA), while the Angels counter with LHP Reid Detmers (2-5, 4.00) on Tuesday.
SAN FRANCISCO — The toughest decision of the Sparks’ season to date is fast approaching.
Within the next few games, the team will have to decide whether they are going to keep fan-favorite Kate Martin around.
She joined the roster on a developmental contract at the start of the season after being waived by the Golden State Valkyries the day of roster releases. Developmental contracts were introduced this year as part of the league’s new collective bargaining agreement.
Each team can carry up to two players on developmental deals. Those players are allowed to practice and travel with the team, but they can only be active for a maximum of 12 games during the season.
The Sparks’ Kate Martin shoots over the Fire’s Nyadiew Puoch at Crypto.com Arena on June 7.
(Luiza Moraes / Getty Images)
Typically, developmental players are used as emergency depth, stepping into the lineup only when injuries create a short-term need. That hasn’t been the case for Martin, who has been active for eight of the Sparks’ first 13 games, making her a regular part of the team’s plans.
“I’ve been activated for quite a few games and that is a blessing,” Martin said. “I feel very grateful to have been activated for so many games so far, but I think just like not knowing until like game day, trying to figure out, like, ‘Oh, am I going to be activated, am I not?’ I think that’s probably the biggest difference, but you know, they don’t treat me any differently.”
When given the opportunity, Martin has brought energy and impact off the bench. She is shooting 47.4% from the field and taking 1.6 shots from three-point range per game despite playing just 7.4 minutes. Martin often receives the loudest cheers from fans during home games.
She delivered her strongest offensive performance in a loss to the Tempo on May 17, scoring 11 points on 4-of-7 shooting, but since then she has been used as a first-half rotation player to rest the Sparks guards as a reliable shooter and defender.
Even with the Sparks at full strength against the Portland Fire last week, Martin still earned eight minutes of play. Then she played four minutes in Saturday’s overtime win against Phoenix.
“We’re figuring it out in real time,” Sparks coach Lynne Roberts said. “These are new positions, and so each player only gets 12 games, but Kate does have experience. She is a spark off the bench. Everyone out there trusts her. There’s value to that. It’s hard, though, as a [developmental] player, to play one game and not play the next, and like it’s just hard for the rest of the group. So that part’s been tricky, and we’re figuring it out as we go.”
With seven active appearances already used, Martin has just four games remaining under the terms of her developmental contract. The Sparks must either preserve those appearances for later in the season or make a long-term commitment by signing her to a standard contract or she will become a free agent again.
The challenge is that Los Angeles does not currently have an open roster spot, meaning the team would need to waive a player to make room.
The Sparks’ Dearica Hamby and Kate Martin chest bump to celebrate after scoring against the Dallas Wings at Crypto.com Arena on June 5.
(Luiza Moraes / Getty Images)
Rookies Jihyun Park and 2026 second-round draft pick Ta’Niya Latson have both appeared in fewer games than Martin, as have veteran Emma Cannon and second-year forward Sania Feagin, who was injured earlier this season but hasn’t claimed a rotation spot since her return.
Martin was a regular part of the rotation with the Valkyries in her one season with the franchise, playing in 42 games and averaging 6.2 points per game and 31% shooting from three-point range. She was inconsistent at times, but also provided a spark off the bench and it was a surprise when they cut her.
After an emotional few days after being waived, Martin joined the Sparks, where she was excited for the opportunity to develop. Now, she sees herself as a fit beyond the 12-game limit.
“The system that we want to run at a very fast pace,” Martin said. “Spread the floor and shoot a lot of threes, and I think that I am good at spacing the floor, and I think that what they want to run here offensively benefits my game in a lot of ways, and I think I fit kind of seamlessly in that way.”
Reese had established position in the paint nearly four minutes into the third quarter when she was passed the ball. Harrison reached over and tackled her to the floor. Reese’s teammates immediately jumped in to separate the two players.
The takedown occurred with around 6:05 left in the third quarter, while the Dream were leading 52-42. Officials reviewed the play and Harrison was assessed a Flagrant 2 foul for contact that was deemed “unnecessary and excessive” and ejected from the game.
Harrison, who was drafted in 2015, was the leading scorer for the Tempo with 17 points at the time she was tossed. Reese ended the game with 15 points and 17 rebounds in Atlanta’s 102-77 victory. It marks the ninth double-double of the season for the two-time All Star.
WNBA officials have been cracking down on physical play this season after complaints about the level of physicality last year.
Things appeared to get heated between the two former teammates, who crossed paths during Reese’s rookie season with the Chicago Sky, starting in the first half of Sunday’s game at the Coca-Cola Coliseum in Toronto. The players could be seen exchanging words throughout their match-up and, at one point during the second quarter, Harrison swatted at the ball being held by Reese after play had already been stopped.
After the game, Tempo coach Sandy Brondello said Harrison’s ejection was “unfortunate” because Harrison was “playing so well.” When asked about what she was hoping to see from her team in their next stretch of games, Brondello mentioned consistency and her players “not getting too high [or] too low.”
“I think sometimes the emotions get the best of us and takes away from how we want to play,” Brondella said.
Dream guard Allisha Gray, who led all scorers with 26 points, praised her teammate after the game.
“Angel’s a beast on the boards,” Gray said. “She does everything that we need to help us win and accomplish our goals for the game. So, I think Angel did really well tonight, keeping her composure and really battling on the boards.”
The Dream (9-4) is currently fourth in league standings, while the Tempo (7-7) sit in ninth place.
Hi, and welcome to another edition of Dodgers Dugout. My name is Houston Mitchell. Maybe the Dodgers can lure Nuke LaLooshout of retirement.
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The Dodgers are struggling in June, going 7-6 this month after going 20-11 in March/April and 18-10 in May. Why? Let’s take a look.
Runs per game March/April: 5.39 May: 5.25 June: 5.54
Batting average March/April: .273 May: .252 June: .261
OB% March/April: .350 May: .339 June: .354
SLG% March/April: .452 May: .441 June: .413
Power is down a bit, but all the other numbers are normal, so offense does not appear to be a big problem. They are hitting about the same in all the clutch stats, so that’s not a big problem. Let’s look at the pitching:
ERA April: 3.19 May: 2.95 June: 4.73
ERA by starters April: 2.83 May: 3.31 June: 3.28
ERA by relievers April: 3.88 May: 2.35 June: 7.51
Ah, we begin to see the problem: The bullpen, which has been outstanding all season until this month.
That’s a lot of bad pitching in the bullpen this month. Of course, this is the same bullpen that set a team record for most consecutive scoreless innings. And, just like batters go into slumps, so do pitchers.
“Out of the bullpen specifically, I think maybe some strike throwing, a few more walks that we’re not used to over the last six weeks or so, because they’ve been really, really good,” bench coach Danny Lehmann told reporters after the Dodgers lost to the Chicago White Sox on Sunday. “We’ve gotten bit by the long ball, obviously in Pittsburgh, and here tonight. But overall, it’s more the strike throwing and just getting ahead of guys and doing what they’re supposed to do.”
Are fresh arms on the way?
Well, Brock Stewart is on a rehab assignment in Ontario, but he has been injured so often since the Dodgers traded for him, you can’t expect anything from him. You can just hope. Evan Phillips is on assignment in Oklahoma City, and is on track to return in early July.
“It’s really good to see,” Dave Roberts told reporters recently. “Evan’s a guy that’s very focused and determined, and he’s going to do everything he’s supposed to do to get back. And to potentially have him back is a big weapon that we’ve missed for quite some time, and I miss seeing him around. … I depended on him a lot when he was active, so to get him back is going to be a big boost to everyone.”
There are the usual suspects in the minors, such as Paul Gervase, whom they can turn to, but other than that, it’s just wait and see and hope Stewart and Phillips can come back healthy (especially Phillips, who was a key man in the bullpen for four seasons).
Congratulations!
Roberts missed Sunday’s game for a very good reason: His daughter, Emme, graduated from Stanford.
“I’m really proud,” Roberts told David Vassegh on AM 570 last week. “It is weird, though, because you never want to miss a game. But I think that this is a good reason.
“I think the one thing for me, is the world has evolved, and many can argue not in a good way. In some ways good, some ways bad. But I do think in a lot of ways from the workplace sense of things, it’s more open to people spending time with their families. Knowing that those moments are important, they’re fleeting. The job is going to get done with or without you.
“So I encourage my coaches to enjoy graduations and things like that. One of our coaches had to leave for a surgery for their daughter. I certainly welcome that, because there’s nothing more important than family. And also, I think when you get to do moments with your family and other things that are really important, I think you do your job better, and you feel better for the people you work with and for.”
These names seem familiar
How notable players who were with the Dodgers the last couple of seasons are doing with their new teams (through Sunday). Click on the player’s name to be taken to their full stats page:
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.
Few people do simmering panic as nimbly as Sarah Goldberg.
In her role as Dr. JoAnne Felder, a performance psychologist tending to the mercurial psyches of the billionaire man-children of Silicon Valley on the new AMC satire “The Audacity,” Goldberg careens from serene to slapstick as she tries to keep a lid on her increasingly unruly life.
It is the latest in a string of enviably layered characters for the Vancouver native, including her Emmy-nominated breakout turn as aspiring actor Sally Reed on the HBO contract killer dramedy “Barry” and the coolly calculating portfolio manager Petra Koenig on the network’s drama “Industry.”
“I’m definitely learning some large tech and finance words that I didn’t know,” she says with a laugh about her recent wealth-adjacent roles on a Zoom from London, where she makes her home. “I’m not sure if I’ll retain them.”
Given the accolades, it seems likely Goldberg only needs to memorize her lines and the rest will follow.
While she has given a distinctive performance in each of her roles, one of several threads tying the characters together is a moment when fear, rage, excitement, ambition or all of the above collide but must be contained. While that discipline sometimes devolves into delicious displays of apoplexy — witness Goldberg’s incredible, expletive-littered elevator meltdown in “Barry” — the 40-year-old actor is more often the face of diplomacy while telegraphing cortisol levels in the red beneath her placid exterior.
“As a blond Canadian, I really ran the risk of being the girl next door,” she says of her attempt to dodge typecasting onscreen after cutting her teeth onstage in London and New York in the mid-2010s. “I didn’t want to be the girl next door … maybe the girl next door with bodies in the basement.”
While the only bodies to be found in JoAnne’s basement on “The Audacity” are her eavesdropping son and his friends, the London Academy of Music & Dramatic Art (LAMDA) graduate has accomplished the mission of subverting what might have been a perky ingenue image with the role. (One she will continue, since the series has already gotten a Season 2 order.)
When the ethically challenged therapist starts dabbling in insider trading thanks to info gleaned from her patients — including bold tech names Duncan Park (Billy Magnussen) and Carl Bardolph (Zach Galifianakis) — the slippery slope awaits.
Goldberg with “The Audacity” co-star Billy Magnussen.
(Ed Araquel / AMC)
“I think that she started her career with a desire to help people and somewhere along the line she’s become incredibly jaded and she’s exhausted by being the most intelligent person in the room and yet having no material wealth to show for it,” says Goldberg of her character, whose struggles extend to motherhood of son Orson (Everett Blunck) and marriage to child psychologist Gary (Paul Adelstein).
It does not help that JoAnne is surrounded by people who have no trouble sliding headfirst down the slope as if it were an Aspen trail.
“She’s working with people who have so many houses that if one burns down, it doesn’t matter, and yet she’s struggling to keep the roof over her own head. So somewhere along the line she starts making these little contracts with herself thinking, ‘In this sea of moral bankruptcy, is my tiny little transgression really so bad? Or is it even justified?’ But these little small pacts start to snowball. You can see somebody torn between their better judgment, their core instinct, their humanity, and someone who is so frustrated that they’re stepping toward a kind of nihilism.”
That sense of inner conflict appeals to Goldberg, who says she knew instantly that she had to play JoAnne when she read the script by showrunner Jonathan Glatzer. “It’s rare for me to go out and be like, ‘I have to play this role!’” she says, adding with a laugh, “I can be quite passive. I can be quite Canadian in the American market. I felt like he’d found this incredible line of satire with pathos, which is my favorite kind of style.
“I’m always interested in playing characters on the precipice of losing their moral compass and which way they decide to go,” she continues. “And if JoAnne has anything in common with Sally from ‘Barry,’ because they’re such different characters, it’s that. … I love that Jonathan’s given JoAnne very mundane relatable problems in a world where the scale is so off and there’s a lot that the average person can’t relate to in that bubble.”
Goldberg has also been busy creating her own bubble, writing, producing and starring in the Canadian-Irish series “Sisters” — which just concluded its second season on AMC — with Irish actor Susan Stanley, her best friend since their LAMDA days. The odd couple sibling comedy finds Goldberg playing Sare, a buttoned-down Canadian who goes to Ireland to find her long-lost biological father (Donal Logue) and discovers shambolic half-sister Suze (Stanley).
“I was pretty shocked at how hard it is to get something made,” she says of the series’ six-year journey to screen. “And then to be in a leadership position where you’re inviting everyone to dinner and you’ve got to make sure there are three courses and being responsible for everybody’s well-being — it was wildly challenging, but absolutely thrilling.”
While she prepares to return to JoAnne’s world in Palo Alto — her hometown of Vancouver serving as a double — Goldberg feels very fortunate about where she’s landed.
“I’ve been so lucky at this stage in my career to work on scripts that I feel are really saying something and characters that I feel are morally complex and also to be in the business at a time where female characters are more complicated.”
Summer, and all the vacation days and potential travel that implies, is upon us. And whether flying internationally or taking time off at home, you can’t beat a good British crime drama as the ultimate self-soother (especially in summer when the U.K.’s inevitable drizzly city streets and windswept moors can provide at least visual relief from the heat). The genre is varied, the casts inevitably fine and justice almost always prevails. So here are 15 shows, new and old, to watch. (And if that’s not enough, you can find 15 more here.)
‘Young Sherlock’ (Prime Video)
Will we ever tire of reimagining Sherlock Holmes? Not anytime soon, apparently. Created by Matthew Parkhill and developed by Guy Ritchie (who directed two episodes), this version gives us a college-aged Sherlock (Hero Fiennes Tiffin) banished to the role of Oxford University porter by his fed-up older brother, Mycroft (Max Irons), who hopes to put the arrogant young rip on a steadier path. Alas, before you can say “Sir Bucephalus Hodge” (the Oxford bigwig played by Colin Firth), young Sherlock is up to his flat cap in murder and mystery, which he is determined to solve with the aid of his new best bud — wait for it — James Moriarty (Dónal Finn). An over-the-top romp that proves, if nothing else, the near-miraculous elasticity of Arthur Conan Doyle’s iconic creation.
Mark Gatiss stars as Gabriel Book in “Bookish.”
(PBS)
‘Bookish’ (PBS)
Speaking of Holmes, “Sherlock” co-creator and co-star Mark Gatiss is up to it again, this time in the leading role. In post-World War II London, Gabriel Book (Gatiss) runs a secondhand bookshop, above which he and his beloved wife, Trottie (Polly Walker), live. But all is not what it seems, as Jack (Connor Finch), the young orphan ex-con they take under their wing, soon discovers. Gabriel apparently did something so important during the war that he is now the neighborhood’s go-to crime solver (with a letter from Winston Churchill to ensure VIP access). He also has a personal stake in Jack’s reclamation, which gives the series a fascinating and pathos-filled LGBTQ-history subtext.
Rishi Nair as Alphy Kottaram, left, and Robson Green as Geordie Keating in the 11th and final season of “Grantchester.”
(PBS)
‘Grantchester’ (PBS)
The sacred meets the secular in this long-running pairing of a young vicar with a worldly police detective in the titular idyllic Cambridgeshire village during the 1950s and ‘60s. In Seasons 1-4, that vicar is Sidney Chambers (James Norton), a jazz enthusiast plagued by memories of WWII who offers unsolicited insights to gruff and initially ungrateful Det. Inspector Geordie Keating (Robson Green). Friendship inevitably blooms, and when Sidney leaves the scene (and Norton the series) at the end of Season 4, many hearts (including Geordie’s) are broken. But subsequent replacement vicars — Will Davenport (Tom Brittney) in Seasons 5-9 and Alphy Kotteram (Rishi Nair) in Seasons 9-11 — each find their way to Geordie’s side, bringing their own charms, detectival insights and personal woes. The final season premieres June 14.
‘Touching Evil’ (BritBox)
DI Dave Creegan (a young Robson Green) is brought in to help DI Susan Taylor (an even younger Nicola Walker) of the Organized and Serial Crime Unit solve a series of abductions that Creegan comes to believe have been committed by a serial killer. The relationship sticks and the pair goes on to track down all manner of nasty killers with a combination of unconventional techniques and good police work. Green’s Creegan gets top billing, and a deeply resonant personal story, but seeing Walker (who would go on to star in so many fine series, including the terrific crime dramas “River” and “Unforgotten”) play a finely tuned second fiddle is great fun too.
‘Karen Pirie’ (BritBox)
For fans of Scottish crime drama (see also “Case Histories,” “Shetland” and “Dept. Q”), Det. Inspector Karen Pirie (“Outlander’s” Lauren Lyle) is a refreshing historic cases hero. Smart, ambitious and dogged, she is not burdened by a dark past or traumatic pain or the generally dour outlook that plague so many of her peers. Based on the books of Val McDermid, the series is set on the Scottish peninsula of Fife (the first season involves the picturesque town of St. Andrews) and all the gloriously broody scenery that implies. Murder mystery plus vicarious international mini-break.
‘Sister Boniface Mysteries’ (BritBox)
This cheeky spinoff of the iconic “Father Brown” puts a sweet-faced Catholic nun (Lorna Watson) at the center of all manner of murder in the fictional 1960s Cotswolds town of Great Slaughter. Sister Boniface is, of course, not just any nun. Having served as a codebreaker at Bletchley Park during WWII before entering the convent, she holds a PhD in chemistry, which makes her the perfect, if most unlikely, forensic specialist. (She also rides a red Vespa and serves as the convent’s vintner.) Unflappably brilliant and sincere in her vocation, she proves that faith in action can be both serious and great fun to watch.
‘The Bletchley Circle’ (BritBox)
Like Sister Boniface, Susan Grey (Anna Maxwell Martin) served her country as a codebreaker, but she is finding post-WWII life a bit more, well, boring. Forced back into the traditional roles of wife and mother, Susan tries to make do until a series of murders suggests to her a pattern unnoticed by the police. Gathering her former and still formidable colleagues who are also languishing in a sexist world, she creates, for two marvelous seasons, her own private crime unit. (See also, the one-season spinoff, “The Bletchley Circle: San Francisco.”)
‘Sherwood’ (BritBox)
When truculent Gary Jackson (Alun Armstrong) is murdered by an arrow outside his home in Nottinghamshire, near Sherwood Forest, Det. Chief Supt. Ian St. Clair (David Morrissey) is quick to put down any Robin Hood references and look instead at the town’s 30-year-old but still roiling divisions over the U.K.’s 1984-85 miners’ strike. Based on real events, “Sherwood” is both a murder mystery and a contemplation of the damage done by class-based strife and longheld grudges, often based on misinformation. With an incredible cast, including Lesley Manville, Kevin Doyle and Lorraine Ashbourne, it is deeply moving drama that illuminates the personal price of social divisions. Season 3 premieres this year.
Lesley Manville as Susan Ryeland and Timothy McMullan as Atticus Pund in “Magpie Murders.”
(Nick Wall / Eleventh Hour Films / PBS)
‘Magpie Murders’ (PBS)
Season 3 of “Magpie Murders” — titled ”Marble Hall Murders” — is also set to bow this year, so now is a good time to catch up on the previous adaptations of Anthony Horowitz’s Susan Ryeland novels, which both satirize and honor the murder-mystery genre. Ryeland (Lesley Manville) is a book editor whose most famous — and tiresome — author, Alan Conway (Conleth Hill), has just turned in his final murder mystery called “Magpie Murders.” Only the last chapter is missing and Conway has just been found dead at his country home. So it’s up to Ryeland, working with Conway’s literary detective Atticus Pünd (Tim McMullan), to figure out what happened, both in real life and in the book. This mystery-within-a-mystery launches two vivid characters, Ryeland and Pünd, working separately and together to solve crimes, sometimes in two different timelines.
Bill Nighy as headmaster Alan Lockwood, from left, Sharon Small as Det.Sgt. Barbara Havers and Nathaniel Parker as Det. Inspector Thomas Lynley in “The Inspector Lynley Mysteries.”
(Alex Bailey / BBC)
‘The Inspector Lynley Mysteries’ (BritBox)
The many, and voluminous, novels of Elizabeth George are being adapted in “Lynley,” a new series that has its charms. Still, I’m sticking with the older version, which ran from 2001 to 2008. Over six seasons, the unlikely partnership of Det. Inspector Thomas Lynley, eighth earl of Asherton and generally natty guy played by Nathaniel Parker, and his distinctly working-class and perpetually disheveled sergeant, Barbara Havers (Sharon Small), creates a classic odd-couple mix that allows some actual insight into issues of class and gender. But mostly, they make a great detective team, often using their differences to their advantage. The mysteries range far and wide over the U.K., from gritty streets to posh country homes, and 24 90-minute episodes are enough to keep you going all summer long.
Derek Jacobi in the title role of “Cadfael” in 1995.
(ITV)
‘Cadfael’ (BritBox)
Though the oldest series on this list (1994-1998), “Cadfael,” based on the books of Ellis Peters, remains a classic and constant recommendation. The great Derek Jacobi plays the titular 12th century monk who was once a soldier of the Crusades. Now a botanist and apothecary, Cadfael aids the local sheriff in solving all manner of crimes committed in and near Shrewsbury Abbey during England’s 15-year civil war known now as the Anarchy. Though the series does not delve as deeply into the politics of the time as the novels do, it creates an uncertain world in which violence runs rampant. Mercifully, there is a monk who knows his stuff, and if Jacobi isn’t enough reason to watch, the costumes and landscape are pretty great too.
‘No Offence’ (BritBox)
Joanna Scanlan was punk rock long before her turn in “Riot Women,” especially as the wildly frank, slightly raunchy, take-no-prisoners DI Viv Deering in this blackly funny depiction of the wayward Friday Street division of the Manchester Police. They are not misfits exactly — Deering knows what she’s doing as does her team, including the ambitious Det. Constable Dinah Kowalski (Elaine Cassidy), the self-doubting Det. Sgt. Joy Freers (Alexandra Roach) and Paul Ritter’s wise-cracking Randolph Miller (OK, maybe he is a misfit) — but they are much more recognizably human than most TV coppers. We know they’ll get their man, but it will take some time, and more than a few hilarious and heartbreaking misfires.
‘Inspector George Gently’ (Acorn TV)
After the murder of his wife, Inspector George Gently (Martin Shaw) leaves London’s Metropolitan police force in search of a more peaceful life in 1960s Northumberland. But as anyone who has seen “Vera” could tell him, Newcastle Upon Tyne is far from peaceful. Still brokenhearted, Gently finds himself solving crimes, and trying to teach his sergeant John Bacchus (Lee Ingleby) to be an honorable man in a time of shifting social mores and political upset.
‘Whitechapel’ (Hulu)
Come for the Jack the Ripper overtones, stay for the always great character actor Phil Davis (“Trying,” “Vera Drake”). He plays old-school Det. Sgt. Ray Miles, a member of an East End squad that is less than thrilled by their new guy, opposite the smooth and ambitious Det. Inspector Joseph Chandler (Rupert Penry-Jones), who shows up to his first crime scene in a tux and doesn’t appear to understand that this is the East End. But with what seems like a Ripper copycat on the loose, everyone needs to put aside their preconceived notions and figure out what’s going on. The series is wildly atmospheric with plenty of gallows humor and more than a few truly loopy plotlines, but great fun with Davis managing, as ever, to sell even the most preposterous scene.
James Norton as Henry Alveston, from left, Matthew Rhys as Darcy and Matthew Goode as Wickham in “Death Comes to Pemberley.”
(Robert Viglasky / PBS)
Death Comes to Pemberley (PBS)
This adaptation of P.D. James’ sequel to “Pride and Prejudice” is a miniseries, and just three episodes long, so this might be a bit of a cheat. But if you haven’t seen it, you should. Elizabeth Darcy (nee Bennet) (Anna Maxwell Martin) and Fitzwilliam Darcy (Matthew Rhys) are happily married and planning a ball. Sure, a couple of servants see a ghost in the woods (where Elizabeth encounters a suspicious woman), and Col. Fitzwilliam (Tom Ward) clearly wants to marry Georgiana (Eleanor Tomlinson), who doesn’t seem too keen, but what of it? Then Elizabeth’s sister Lydia (Jenna Coleman) shows up uninvited and hysterical; her still-caddish husband, George Wickham (Matthew Goode), had an argument with his friend Capt. Denny (Tom Canton), and the two vanished into the woods where shots were subsequently heard. Once again, Mr. Darcy must do what he can to protect the dreaded Wickham, and in doing so all manner of secrets are revealed. Jane Austen meets Agatha Christie with a cast either writer would kill for.
SAN ANTONIO — Jalen Brunson and the Comeback Knicks did it again. And now they’re the Champion Knicks.
For the first time in 53 years, New York rules the NBA. Brunson scored 45 points, including 13 straight for New York in the fourth quarter, and the Knicks beat the San Antonio Spurs 94-90 in Game 5 of the NBA Finals on Saturday night.
The Knicks won the series 4-1, rallying from double-digit deficits in all four of those victories. The deficit was 16 on Saturday night. Brunson and the Knicks were never fazed.
“I have no words,” Brunson said during the on-court celebration. “It’s everything I ever dreamed of.”
New York guard Jalen Brunson drives in front of San Antonio center Luke Kornet during the second half of the Knicks’ 94-90 win Saturday.
(Darren Abate / Associated Press)
Brunson, fittingly, closed with a flourish. He set a Knicks record for points in a finals game; it had been 38 by Willis Reed against the Lakers in Game 3 of the 1970 series. It now belongs to the left-handed point guard who changed the franchise’s fortunes when he arrived four years ago.
Mikal Bridges and Josh Hart — the other two parts of the “Nova Knicks” trio that also includes Brunson, three players who were NCAA champions at Villanova and teamed up in New York to try to do the same — combined to score 27 points. Bridges had 14, Hart 13.
“I don’t know what I’m feeling,” Brunson said. “I’m in awe. Whenever someone counted us out, we found a way to come back and do something about it.”
New York Knicks center Karl-Anthony Towns, right, hugs forward Og Anunoby after defeating the San Antonio Spurs for the NBA title on Saturday.
(Darren Abate / Associated Press)
Dylan Harper scored 25 for the Spurs, who got 19 points, 14 rebounds and five blocked shots from Victor Wembanyama.
The Knicks improved to 4-0 in closeout opportunities this season, winning them all on the road. It didn’t feel like the road, though — not with thousands of New York faithful having made the trip to Texas to see a moment 53 years in the making.
New York got to the brink of this title by rallying from 29 points down in Game 4 to win 107-106 on OG Anunoby’s tip-in with 1.2 seconds left on Wednesday night. It was the largest comeback in NBA Finals history and the biggest comeback in any game this season, regular season or playoffs.
By comparison, then, a 16-point rally in this one seemed easy.
The game followed the same script in the opening minutes as all the others in the series, with the Spurs taking a double-digit lead in the first quarter and then frittering most of it away in the second quarter.
The Spurs became the first team in the play-by-play era, which started in the 1996-97 season, to lead five finals games by 10 points or more in first quarters.
The Knicks simply could not make a shot, missing on 16 of their first 18 tries and each of their first 11 two-point attempts. There even was a point in the second quarter when Wembanyama had more blocked shots (five) than the Knicks had made shots (four). San Antonio’s lead was as many as 10 in the first quarter, as many as 16 in the second.
Of course, none of it mattered much. As always, the Knicks came back.
New York Knicks fans react in New York after the team’s title-clinching win over the Spurs on Saturday night.
(Heather Khalifa / Associated Press)
A 22-9 run in the second quarter got New York within three, before Devin Vassell scored just before the halftime buzzer to give San Antonio a 42-37 edge at the break.
And that capped an opening 24 minutes of either offensive ineptitude or defensive prowess, depending on perspective. The 79 combined points in the first half were the lowest in a finals game since Game 7 of Lakers-Celtics in 2010, and the combined 31.8% field goals shooting by the Knicks and Spurs was the lowest in the first half of a finals game in the play-by-play era.
Brunson won NCAA crowns twice with Villanova — both in Texas, the 2016 one in Houston and the 2018 one in San Antonio, just a few miles away from the arena that the Spurs call home.
A Texas three-step of titles, and this one was surely the sweetest of all.
Cameron Brink said she’d appreciate some grace. She really would.
Sparks fans should give her some, because where else is she going to get it?
Certainly not from WNBA refs. Not from opponents with more to play for than ever. Certainly not from the game itself; basketball moves fast, and a bummer can become a bust in a blink.
But Brink, 24, is not on the brink of bust territory, no. Block that thought. Technically, it’s Year 3, but after a torn ACL derailed her as a rookie two summers ago, it’s practically like Year 2 for the former Stanford star. And by design, the WNBA is testing her confidence, her decision-making and her patience as she tries to reestablish herself as one of the WNBA’s best young players.
So, grace.
The recognizable 6-foot-4 forward — she’s the long-blond-haired hooper in the New Balance ads — was the No. 2 overall pick in 2024.
Now she’s her team’s No. 3 option in the post. She’s coming off the bench behind Nneka Ogwumike and Dearica Hamby for the Sparks, who are a modest 6-6 after wins this week over the expansion Portland Fire and the struggling Seattle Storm.
Against the Fire, Brink scored two points and picked up four fouls in nine minutes. Then she went to Seattle and had 15 points in 18 minutes but was pulled with more than five minutes left in the fourth quarter after getting her third, fourth and fifth fouls in 86 seconds. (WNBA players get six fouls before being disqualified.)
For the season, Brink has been called for 49 fouls in 208 minutes. A foul about every four minutes!
They’re silly fouls and they’re phantom calls. Egregious and ticky-tack. Costly and common. A real fouled-up buffet. She sets screens that get scrutinized as if by the most vigilant TSA agent. And sometimes, yes, she’s doing the accidental tripping. Other times, the officials are.
Her reputation precedes her, so everyone gets a superstar’s whistle when being defended by Brink. Opponents bake it into their game plans.
That can’t continue.
All that fouling is hindering Brink’s development because it’s robbing her of important in-game reps — which she needs, foremost, to figure out how to stop fouling.
Sparks forward Cameron Brink, left, blocks the shot of the Tempo’s Laura Juskaite during a game last month.
(Jeff Lewis / Associated Press)
“At the pro level,” said Tara VanDerveer, Brink’s coach at Stanford, “every young player always has a lot of work to do. And I saw her make a three. I see her block shots. She rebounds, she can handle the ball, she’s unselfish, she’s a terrific talent. But there’s always things players need to work on.”
We know what Brink’s thing is.
“She has to be disciplined,” VanDerveer said. “And if you want something so badly, if you want to be an All-Star someday or make the Olympic team, you’ve got to be dependable … and I think anyone can change, if it’s behavior they recognize is not in their best interests or not in their team’s best interests. It’s hard, but it’s something I think people can do.
“That’s what Cam is working on.”
And, VanDerveer added, “I’m really so excited that Nneka is there, because she will give her such great guidance and mentorship.”
And grace. Brink is getting that from Ogwumike — also a former Stanford star, the Sparks legend returned to L.A. this season after two seasons in Seattle — and her other teammates.
“I just do my best to lead by example,” Ogwumike, 35, said. “But then also let [Brink] know that she’s very capable, that she’s more than capable, which is exactly why she’s here with us and it’s exactly why we need her on this team.”
Sparks forward Cameron Brink, wearing a facemask, controls the ball while defended by Sun forward Raegan Beers.
(Joe Buglewicz / Getty Images)
But how long will Brink get grace from the Sparks in the what-have-you-done-for-me-lately business of basketball?
The foul trouble tells us why a win-now team wouldn’t trust her, why the Sparks would give meaningful minutes to two veteran post players ahead of her. Why they wouldn’t prioritize Brink’s development alongside winning as they strive to snap a previously unthinkable five-year playoff drought.
And what about fans? How patient will you all be with a player who was drafted immediately after Caitlin Clark and five spots in front of Angel Reese?
These days, that might depend on what the parlay calls for.
Or, preferably, whether you remember Brink’s first 15 WNBA games. All starts, all signs pointing to stardom. She showed up in 2024 throwing lavish block parties. Her 2.3 blocks per game were message-sending spikes, like what Lisa Leslie used to enthrall Sparks crowds with.
From the jump, she had guys coming to games at Crypto.com Arena wearing her No. 22 jersey and little girls arriving in groups with No. 22 painted on their cheeks and “I love Cam Brink” signs in hand.
And then the torn ACL cost her 25 games of her rookie season and another 25 last season, plus her spot on the United States’ Olympic 3×3 women’s basketball team in Paris in 2024.
She had to start over. Lost a lot of ground. But you see that masked woman stuck on the Sparks’ bench for all but 17 minutes per game?
You can’t miss her. She’s looking uncomfortable in protective facial gear that either hinders her breathing or her peripheral vision, her only options to protect the torn septum she suffered in a victory over the Las Vegas Aces last month.
She’s the one with the 6-8 wingspan who’s averaging 9.2 points, 4.3 rebounds and 1.5 blocks while shooting 52.1% from the field in her limited minutes.
She’s still Cameron Brink. Between fouls, she’s fluid and fast and covers more of the court than almost anyone in the WNBA, able to leap from defending guards to centers in a single bound.
“It’s just looking at every day as a new opportunity to learn and grow and not getting too bogged down when things don’t go exactly as you planned,” Brink told me. “Because more times than not, things are not going to go how you want them to. And that’s life. So I just want to be able to put my best effort out there every single night.
She knows what the Sparks need from her: “To perform, just come on the floor and compete.”
Some people are still processing “Euphoria’s” evolution away from its roots as a gritty drama that explored highly mature and dark teenage experiences to, in its final season, a fever dream-esque look at adulthood that played like a full-blown neo-noir crime thriller. But another show’s creative transformation has taken the stage now.
The third season of AMC’s adaptation of Anne Rice’s “Interview With the Vampire” brings a reset to the captivating world of bloodsuckers. While the first two seasons adapt the original 1976 novel, relying heavily on the recollection of Louis de Pointe du Lac (Jacob Anderson) as he recounts his centuries-long life and romance with Lestat de Lioncourt (Sam Reid) to a journalist, the new season shifts narrative focus and perspective over to Lestat, who transforms into a charismatic frontman of a glam-rock band to publicly set the record straight. As such, the series has been retitled “The Vampire Lestat,” which is the name of Rice’s second novel. For this week’s Guest Spot, I spoke with showrunner Rolin Jones about the show’s rebranding and Reid’s commitment to the musical challenge.
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Also in this week’s Screen Gab, TV critic Robert Lloyd steers us away from the usual streaming options to recommend a man’s video journal that documents his quest to travel the world by foot, while culture critic Mary McNamara suggests a new British comedy about codependent BFFs navigating the sort of tricky development that would end most friendships.
Speaking of endings to relationships, it was announced this week that “Doctor Who” showrunner Russell T Davies is exiting the series (again) seven months after Disney+ decided not to continue its partnership with the BBC to distribute the long-running sci-fi series. BBC also announced it will not air the show’s previously announced Christmas special this year. Lloyd, a longtime Whoverse follower, is a voice of calm through it all. He shares his thoughts on why the new questions swirling around the franchise don’t necessarily have to be cause for alarm — evolution is part of the show’s essence, he reminds us. Elsewhere in current events, if you’ve been curious (… sure, that’s the right word!) about the UFC Freedom 250 live event that will unfold in an oversize cage on the White House South Lawn in celebration of Trump’s 80th birthday and the country’s 250th anniversary — and will be streamed live on Paramount+ — check out our explainer about the controversy — and lawsuit — it has sparked.
Now if you’ll excuse me, I have another Matthew Rhys story to read so I can maintain my executive membership in the fan club. See you next week!
— Yvonne Villarreal
Turn on
Recommendations from the film and TV experts at The Times
In February 2023, Alexander Campbell, then 27, set out from Sydney to walk west around the world. Currently he is somewhere around Albania, having traversed, among other places, Bangladesh, Nepal, Pakistan, Kazakhstan, Turkey and Bulgaria. He’s been documenting his progress on camera all along the way, but it wasn’t until Day 938, in Georgia, that he began posting the longer, “uneventful” videos that make his channel such a singular, meditative, even hypnotic, form of vicarious travel. Walking alone to the sound of his own footsteps, through sun, rain, sleet, snow and dark of night, over mountains and deserts, through forests and fields, he becomes a character in a peripatetic, nearly one-man show. The occasionally encountered friendly local will warn him about wolves or bears or the hunters who might mistake him for one, though he meets more dogs than people. (He calls them all “Buddy,” warily.) Titles include “I Slept in a Barn Full of Stray Dogs,” “I Got Caught in a Snowstorm With Nowhere to Sleep” and “Something Was Out There in the Forest.”) — Robert Lloyd
Jemaine Clement, left, and Nicola Walker in “Alice and Steve.”
(Lara Cornell / Hulu)
“Alice and Steve” (Hulu, Disney+)
What would you do if your ex-turned-longtime bestie slept with your 26-year-old daughter? Well, Alice (“The Split’s” Nicola Walker) 100% loses her mind. Sure, during a drunken convo at a bar, she did tell Steve (“Flight of the Conchords’” Jemaine Clement) that he could have any woman he wanted, but she most certainly wasn’t talking about Izzy (Yali Topol Margalith). Having just returned home after breaking up with her boyfriend, Izzy decides that Steve, now bunking down on the sofa, is “strangely hot” enough for a little rebound sex and then a romantic relationship. And Steve, though initially regretful and more than a little shell-shocked, decides this is what he wants too. “I really like her,” he says by way of sheepish explanation. It leaves Alice no choice but to hilariously alternate between screaming and scheming as she tries to put a stop to the proceedings even at the expense of her marriage, her career, her friendship with Steve and her self-respect.
Clement’s sad-sack charm successfully boosts the leap of faith required to keep Steve from becoming an oblivious creep, but the show belongs to Walker. Her Alice becomes a blazing embodiment of the emotional maelstrom inside every woman who is expected to somehow put on a supportive, understanding face no matter how outrageous or impossible the situation. The laughs she elicits are exhalations of shock, recognition and relief. We can’t all ditch the high road for pure, luxurious fury, but it’s mighty fun to watch someone who does. — Mary McNamara
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Sam Reid as Lestat De Lioncourt in “The Vampire Lestat.”
(Sophie Giraud / AMC)
If you thought posting cryptic digs about an ex on your social media accounts as a way to cope with unresolved emotions was petty, this TV vampire may have you beat. The wild new, music-infused season of “The Vampire Lestat” (formerly “Interview With the Vampire”) revolves around Lestat de Lioncourt (Reid) on an elaborate mission to tell his side of the story after his ex-lover, Louis de Pointe du Lac (Anderson) published a scandalous memoir — with the help of journalist — that detailed their turbulent romance. In his bid to control the narrative, Lestat becomes an immortal glam rocker who launches a music tour and enlists the same journalist — newly turned into a vampire — to direct and film a music documentary about his life. The result is a flamboyant seven-episode season that blends rock-opera style performances (the season will feature 20 original songs) with personal reflections from its flashy frontman. As it enters its second week of release on AMC and AMC+, creator and showrunner Rolin Jones spoke over video call recently to discuss the show’s creative pivot and more. — Y.V.
To kick off the new season, there was an immersive premiere concert event at the historic Beacon Theatre in New York City earlier this month. Was that a surreal experience? Did you feel like a music manager?
I have a hard time talking about the work — the selling of the work, all that kind of stuff. I want to finish my edit, and then I want to like disappear at the Arctic. I knew we were doing this and I knew that there were like fans from all over the world flying in for it — some who didn’t have tickets. I knew there were people who had worked on the show from Seasons 1, 2, and 3 who got on a plane, asked for a ticket, and made a pilgrimage there. I was really moved by it. It was about as good as these things can ever be. It felt really beautiful. It felt like Vampire Church. It was pretty cool. And Sam — “surprising” is not the word because I’ve worked with him for a long time — was way better than he should have been. It’s incredible.
In this TV landscape, taking a show and giving it a new title as it enters its third season is a daring move. The series moves focus to the second book in Rice’s oeuvre. And while it continues the story of these characters, at the same time, it feels like a new show. What made you nervous about carrying out that kind of creative transformation? And what was thrilling about it?
We could start with a thrilling part because the idea to be able to go to the people who worked really hard and say, “Hey, let’s rebuild it” — that’s exciting. That part’s cool. The executing part about it is where the terror begins because most worthwhile art — you can call TV art — invariably has to have risk and danger involved in it, otherwise you’re probably performing a magic trick. No offense to magicians. But you want something that when you turn off the TV, you’re not immediately forgetting. The more risk you do, in terms of form, in terms of all that, you want to be able to feel like you can pull it off because, otherwise, they [the audience] have nothing to grasp onto. [And they say,] “You just destroyed this thing we love, how dare you!” But generally speaking, everybody — from the top of the network down to the actors who are doing it — was down for it. Mostly because, if you listen to our fandom, I think they demand it. They’re out there on a limb telling everybody “it’s the greatest TV show, and blah blah blah” and you have to deliver that for them so that they can continually confidently bombard all their friends and neighbors and say, “Watch the show.” There’s nobody who didn’t give everything [to this season]. It was a real collective leap together.
Sam undergoes quite the transformation to make this rock star vampire persona believable. What struck you about how he approached embodying Lestat this season?
I gained 20 pounds in Toronto, and that’s because I kept stuffing my face with bread, and about every three or four times I would have this big sloth of butter on bread, I’d go, “Poor Sam” because I know Sam had not touched a piece of bread. Let’s start there — 0% body fat, the dimensions on the waist. The level of dedication. He was living and breathing every second about the role and about the demands of it — sing songs, and not only sing songs, but go learn to be a musician, and go train with people who have been doing it their whole life so you can fake it. I feel very confident saying this: Anybody who watches this season and Sam’s performance will feel like, at the end, they saw one of the 10 greatest performances in the history of our medium. I think he absolutely disappeared. James Gandolfini did not sing songs, Swearengen [the “Deadwood” character played by Ian McShane] did not sing songs. Mr. White [the “Breaking Bad character played by Bryan Cranston] did not sing songs. I’ll put him [Sam] up against all of them. He’s incredible.
What if he wants to go off and be a rock star now?
He could do it.
Jacob Anderson as Louis De Pointe Du Lac in Season 3 of “The Vampire Lestat.”
(Sophie Giraud / AMC)
You have a rock band posing as vampires fronted by an actual vampire who is the focus of a documentary being directed by a vampire passing as a human. And for all this to work, the band has to be good. What was the challenge of making this fictional band’s stardom believable — the charisma, the presence on stage, the discography? It’s a tall order, in addition to making a compelling TV show.
Anytime you have seen these things, following a band, there’s so many ways it can fall flat. You can do three or four of the things you need to do, and if one of them falls apart, you’re still stuck there, going, “Eh.” We all, who are working on it, love music. We’ve all been in clubs. The first thing we did was remove the stardom for budget reasons, but also for singular storytelling — he decided to do rock ’n’ roll in the year 2025. Some basic building blocks, we need songs. So with [composer and songwriter] Daniel Hart, we bring him into the [writers’] room because it’s not only writing songs, but writing the context about when and where he’s [Reid] singing them. He has to be aware of what we’re doing in the room. We also have to be able to pivot when he has pure inspiration; he can come in with something we’ve never talked about, and go “Boom!” And it’s OK, now what do we do with this song? And quite often this year we restructured episodes because the song was beating our episode. [We had to] hire actors who can play or musicians that can act — and that’s not everybody, so that shrinks that down. Make sure when you’re in the club, or whether you’re singing the song in rehearsal, let us uglify it, embrace the mistake, make it a little dirty. We have a song this year that has some of the most beautiful orchestrations, but because of where it landed in the season and what it talked about, we ended up going with the most stripped down, bare version of it. Don’t worry, you’ll get to hear these beautiful orchestrations [at some point]. [It’s also thinking about] how do you carve out the time you need to shoot it and the playback elements of it, and what sacrifices you have to make on other set pieces that you would normally put in is a lot. But everything from the beginning was with one thing in mind: Do not suck. How can we suck less? Let’s not suck. And we just kept going over and over again with that.
At the end of the first episode we see Lestat reunited with his undead mom, Gabriella, who he has, I think it’s fair to say, an oddly intimate relationship with —
Multifaceted.
And obviously the Louis-Lestat romance is far from being over. What are you interested in exploring within those two dynamics, in particular, moving forward since they’re so central to Lestat?
It becomes immediately about him going, “Let me try to explain this … I might have just repelled 80% of you.” I’m really interested in the viewers who are really off-put by it. I want to see where they’re at by the end of Episode 7, if they trust us. And see what they’re feeling. I guess [some people feel], “Oh, you’re not allowed to do this in the TV world unless you got f— dragons and s—, but all the things that you would have thought [that the network might say], “Don’t do this,” we didn’t really have a lot of those obstacles. There was a lot of trust. The thing with the Lestat character is like it’s probably harder to cuddle up to him like you could Louis. Louis is a Faustian tale; here it’s like a Faustian tale but Elton John’s at the center of it. There’s a series of questions like “Why do you keep doing this to yourself? Why do you keep get trapped into these things?” It’s like going on odyssey, or as Jacob called it, an idiocy, with a character that is exotic and eccentric and contradictory. For us going forward, as we wrote it, every time we fell into the something that felt well-made or cool on a twist or turn level, we found we were very suspicious of it, and we were trying to make alien TV as best we could. So, what do I want? It’s less about exploring those two dynamics, although they’re richly part of this fabric. It was, how can you take them on a magic carpet ride, a very difficult one? The idea is to actually have, by the end, every single person recognize that part of themselves in him. And how can you normalize him over seven episodes? How can you deliver that to an audience?
I know you’ve been super–busy, but what’s the last thing you watched that you found yourself recommending to everyone or something that you were obsessed with right now?
A TV show I’m watching, one that I’m enjoying right now, is “Widow’s Bay” [Apple TV]— that has been very enjoyable. It’s so much fun.
Matthew Rhys’ facial expressions are so good.
Oh, he’s great, and that show just really knows what it is, and is joyfully silly, and has a great atmosphere. It’s one of the most beautifully shot things I’ve seen in a while. I’m not finished yet.
OK, before I let you go, I hope we get a concert out in L.A. at some point.
Wouldn’t that be nice? Where would you put it up? Echoplex?
Hi, and welcome to another edition of Dodgers Dugout. My name is Houston Mitchell and my second favorite announcer is the great Harry Doyle.
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Who is the best at ABS challenges?
A friend of mine, Tom Black, asked me the other day why Freddie Freeman never makes an ABS challenge. It made me wonder who makes a lot of challenges, who’s the best at it, etc., which led to this newsletter.
The majors instituted the Automated Ball-Strike challenge system this season, which allows a batter, pitcher or catcher to challenge an umpire’s ball or strike call.
First, some quick ABS rules:
1. Only the batter, pitcher or catcher can make a challenge. No one else.
2. Challenges must be made immediately after the umpire’s call, without assistance from the dugout or other players.
3. The player taps his cap or helmet to alert the umpire to his desire to challenge the call. Players are also encouraged to verbalize their challenge, to leave nothing to doubt, but the cap/helmet tap represents the official challenge.
4. A team gets two challenges per game. If a challenge is successful, they retain their challenge. Theoretically, you could challenge every pitch as long you were correct every time. Once you are wrong twice, you are out of challenges.
5. If a game goes into extra innings, any team that starts the extra inning out of challenges will get one challenge for the 10th inning. If they exhaust that challenge, they will then get another challenge for the 11th, and so on. If a team has challenges remaining at the start of the 10th inning, they will not get an additional challenge for that inning, though they will for any subsequent inning if they are out of challenges at the start of the inning.
There has been an average of 4.1 challenges per game.
From MLB.com:
How is the ABS strike zone measured?
Like the plate, it is 17 inches wide. The top end of the zone is at 53.5% of the player’s height, while the bottom is at 27% of the player’s height. The depth of the zone is 8.5 inches from both the front and back of the plate to its center.
All position players in Spring Training had their heights measured by a team of independent testers conducting manual measurements and by representatives from a research institute using biomechanical analysis to confirm the manual measurements and safeguard against potential manipulation. Players are measured standing straight up without cleats.
And now that the technical stuff is out of the way, let’s look at who is good and bad at challenges (all numbers through Tuesday and courtesy of baseball-reference.com):
Teams that are most successful at getting calls overturned:
1. Arizona, 60.2% (68 of 113) 2. Cincinnati, 59.9% (85 of 142) 3. Detroit, 59.5% (78 of 131) 4. Chicago Cubs, 59.4% (82 of 138) 5. Texas, 58.7% (64 of 109) 6. Dodgers, 58.4% (73 of 125)
The five worst: 1. Pittsburgh, 42.4% (53 of 125) 2. Cleveland, 44.7% (68 of 152) 3. Washington, 45.8%, (60 of 131) 4. Chicago White Sox, 47.2% (76 of 161) 5. San Francisco, 48.1% (65 of 135)
Minnesota has made the most challenges with 179, Boston the fewest with 105.
Best challenge overturned % by hitters (minimum seven challenges):
CJ Abrams, Washington, 100% (7 for 7) Nick Kurtz, Athletics, 85.7% (6 for 7) Xander Bogaerts, San Diego, 75% (9 for 12) Davis Schneider, Toronto, 75% (9 for 12) Aaron Judge, Yankees, 75% (6 for 8) Teoscar Hernández, Dodgers, 70% (7 for 10) Brent Rooker, Athletics, 70% (7 for 10) Jose Altuve, Houston, 69.2% (9 for 13)
The worst Trea Turner, Philadelphia, 12.5% (1 for 8) Spencer Horwitz, Pittsburgh, 14.3% (1 for 7) Andrés Giménez, Toronto, 14.3% (1 for 7) James Wood, Washington, 20% (3 for 15) Mauricio Dubón, Atlanta, 22.2% (2 for 9)
Most challenges by a batter Sal Stewart, Cincinnati, 29 (65.5%, 19 for 29) Gary Sánchez, Milwaukee, 19 (42.1%, 8 for 19) Cam Smith, Houston, 17 (41.2%, 7 for 17) José Caballero, Yankees, 16 (56.3%, 9 for 16) Ronald Acuña Jr., Atlanta, 16 (43.8%, 7 for 16)
Best challenge overturned % by catchers, minimum 10 challenges Carson Kelly, Chicago Cubs, 84.4% (27 for 32) Mitch Garver, Seattle, 81.8% (18 for 22) J.T. Realmuto, Philadelphia, 80.8% (21 for 26) Travis d’Arnaud, Angels, 80% (8 for 10) Sandy León, Atlanta, 77.8% (14 for 18) Salvador Perez, Kansas City, 75% (33 for 44)
Worst challenge overturned % by catchers, minimum 10 challenges Bo Naylor, Cleveland, 33.3% (4 for 12) Jhonny Pereda, Seattle, 35% (7 for 20) Samuel Basallo, Baltimore, 36.4% (8 for 22) Drew Millas, Washington, 38.9% (14 for 36) Elias Díaz, Texas, 40% (4 for 10)
Most challenges by a catcher William Contreras, Milwaukee, 81 (60.5%, 49 for 81) Edgar Quero, White Sox, 66 (48.5%, 32 for 66) Nick Fortes, Tampa Bay, 58 (58.6%, 34 for 58) Patrick Bailey, Cleveland, 55 (58.2%, 32 for 55) Shea Langeliers, Athletics, 53 (58.5%, 31 for 53)
Pitchers don’t make very many challenges. The most is five by Freddy Peralta of the Mets.
How Dodgers batters have done:
Freddie Freeman, 100% (1 for 1) Mookie Betts, 75% (3 for 4) Teoscar Hernández, 70% (7 for 10) Miguel Rojas, 62.5% (5 for 8) Alex Call, 60% (3 for 5) Alex Freeland, 50% (1 for 2) Max Muncy, 50% (2 for 4) Will Smith, 50% (1 for 2) Kyle Tucker, 40% (2 for 5) Andy Pages, 33.3% (3 for 9) Shohei Ohtani, 33.3% (1 for 3) Dalton Rushing, 33.3% (1 for 3) Hyeseong Kim, 0% (0 for 1)
Dodgers catchers Will Smith, 66% (31 for 47) Dalton Rushing, 61.1% (11 for 18)
Dodgers pitchers Tyler Glasnow, 100% (1 for 1) Edwin Diaz, 0% (0 for 1) Kyle Hurt, 0% (0 for 1)
Big milestone for Freeman
Freddie Freeman got his 2,500th hit during the rout of Pittsburgh on Tuesday.
“It means a lot,” Freeman told reporters after the game. “And then when your manager and teammates appreciate what you’ve done over the course of your career, it does mean a lot. Yeah, there’s always another goal to get to. But to step back and realize how long you have to play … to play at a high level over many, many years to get there, it does mean a lot.”
Freeman became only the 102nd player in history to get 2,500 hits. He is on pace to finish with 167 hits this season, which would give him 2,598 hits in his career, letting him pass the following players on the all-time hits list: Jimmy Ryan, Buddy Bell, Joe Morgan, Todd Helton, Heinie Manush, Garret Anderson, George Van Haltren, Steve Finley, Willie Davis, Manny Ramirez, Richie Ashburn, Ernie Banks, Reggie Jackson, Julio Franco, Vladimir Guerrero and Luis Gonzalez. He would be in 85th place, just one hit behind Steve Garvey.
Through Tuesday, Freeman had 796 of his hits with the Dodgers. Up next in his career is the magical 3,000-hit milestone.
“I would love to,” Freeman said. “I’m not going to deny that. But do I know if I’m going to get there? I don’t know.”
Will Smith to IL
The Dodgers put Will Smith on the injured list because of an inflamed disk in his neck and recalled catcher Chuckie Robinson from the minors. Smith will be eligible to come off the IL next Friday.
“Hopefully, the day I’m able to come off,” Smith told reporters, “I can come back and play, that’s the plan for now.”
Robinson had one at-bat with the Dodgers last season and in 52 games in the majors he is hitting .131.
Ohtani, Wrobleski hurt?
Thursday’s win over Pittsburgh could have proved costly. Shohei Ohtani left the game because of an inflamed left knee, and pitcher Justin Wrobleski left early after getting hit on the inside of his right leg by a liner. He left because of a sore hamstring.
The Dodgers were very optimistic that both would be fine, but we’ll see how they feel on Friday. Ohtani had surgery on that knee in 2019, but this is in a different part of the knee. Not sure if that’s a good thing or bad thing.
“[Friday], he’ll get there, do his routine, play catch, push off, land on it, see how it reacts,” Roberts said. “And then obviously take swings and see how it reacts too.”
Up next
Friday: Dodgers (Roki Sasaki, 3-3, 4.03 ERA) at Chicago White Sox (Sean Burke, 3-3, 3.88 ERA), 4:40 p.m., Sportsnet LA, AM 570, KTNQ 1020
Saturday: Dodgers (Yoshinobu Yamamoto, 6-4, 2.68 ERA) at Chicago White Sox (TBA), 1:10 p.m., Sportsnet LA, AM 570, KTNQ 1020
Sunday: Dodgers (Emmet Sheehan, 3-3, 4.70 ERA) at Chicago White Sox (Erick Fedde, 1-5, 4.69 ERA), 11:10 a.m., Sportsnet LA, AM 570, KTNQ 1020
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.
When Kings’ new head coach Peter Laviolette took a tour around the Los Angeles area, he thought he was only going to get a one-bedroom home with a view of the water. His children, though, piped in: “Make sure you get a four-bedroom,” Laviolette remembered his three children saying.
During Laviolette’s time away from the sport, the 61-year-old traveled to Scotland and watched his son play in the East Coast Hockey League. The time away has given Laviolette time to rethink his coaching, and after 30 years of coaching, including 23 as a head coach in the NHL, he’s bringing a trident approach to reshape culture and win games. Centering a hockey family is one part.
“For me, there’s three real important pieces,” Laviolette said. “First, build a family inside the locker room, inside the organization. Secondly, to really work to try and build the culture to get players and organizations to think about the choices they make and how that can affect the culture. And then the third part is the actual game on the ice, just making sure that every day from the start of training camp we work at the game.”
Los Angeles hired Laviolette to a three-year contract after he spent a year away from the sport. Laviolette’s coaching experience stretches 1,594 games, the ninth-highest career total, with six teams: the Capitals, Flyers, Islanders, Hurricanes and Predators. Most recently, he was fired by the Rangers in 2025 after two years with the team.
His postseason success might be the biggest draw for the Kings, who have seen middling success in the years since their second Stanley Cup title in 2014. Los Angeles made the playoffs each year since the 2021-22 season, but the team did not advance past the first round.
Meanwhile, Laviolette is only the fourth coach in hockey to lead three teams to the Stanley Cup Final. He last won with Carolina in 2006, but he earned two President’s Trophies in 2017-18 and 2023-24 with the Predators and the Rangers.
Kings general manager Ken Holland, left, and Peter Laviolette pose for a photo during the new coach’s introductory news conference Wednesday at the team’s training facility in El Segundo.
(Eric Thayer / Los Angeles Times)
Still, Laviolette, despite his track record of first-year turnarounds, is joining a team in flux. The Kings fired coach Jim Hiller after the Olympic break. Interim coach D.J Smith helped guide the team to an 11-6-6 finish, aided in part by a trade for Rangers winger Artemi Panarin, whom Laviolette has also coached.
“I had a really good relationship with Artemi in New York,” Laviolette said. “He’s one of the most talented players I’ve ever coached, and I’m really happy to get to work with him again. He’s an amazing talent.”
Using the winger to go on the prowl is one of the small changes Laviolette plans to bring. The Kings have historically prioritized defense in a league that has shifted to attacking. Los Angeles fell to 30th in goals per game last season (2.68), the first time the Kings averaged fewer than three goals since the 2021-22 season. The team was also 28th in power-play percentage at 17%. Laviolette acknowledged that Los Angeles needed to change, highlighting that an attack-forward mindset has been a keystone of his coaching.
“I don’t think it should be irresponsible to defense,” he said. “But through my experiences, and even just watching the playoffs right now, this is an attack-oriented game, and you have to be willing to move.”
Where does Panarin fit?
“He has the ability to be a game-breaker and a difference-maker,” Laviolette said. “He’s not just a goal scorer. He’s not just a playmaker. He’s elusive. He’s shifty.”
The goal for next season is to score 250 times, according to Kings’ vice president and general manager Ken Holland. The team scored 220 last season.
“We’ve got to get back to scoring more goals,” Holland said. “Part of that’s going to be personnel driven, part of that’s going to be probably style‑of‑play driven, mentality, and certainly the head coach has a lot to do with it.”
As Laviolette meets current staffers and decides whom to bring in, Holland is managing the phones to reach out to assistant coaches and players. Smith has definitively moved on. Phil Housley, whom Laviolette described as an “excellent coach,” could be another potential candidate. Housley worked with Laviolette as one of the Rangers’ assistant coaches between 2023 and 2025.
Still, it’s hard to say the Kings will be a Cup contender with Laviolette. His teams tend to dramatically decline two or three seasons after his hiring. He struggles to develop younger players, instead relying on veterans to carry the weight. Laviolette will have to amplify players like Quinton Byfield and Brandt Clarke, each a talented 23-year-old with high ceilings.
The Kings’ success will rest in how well Los Angeles adapts to Laviolette’s coaching trident. The veteran coach, to his credit, projected confidence.
“When you put those three things together,” he said. “You can really become an unstoppable force.”
Wade Meckler and Jo Adell keyed a five-run second inning with two-run doubles, and Walbert Ureña navigated heavy traffic through five shutout innings to lead the Angels to a 10-1 victory over the Houston Astros on Tuesday night.
Houston put two runners on in the first, second and fifth and loaded the bases in the third, but Ureña (4-4) pitched out of each jam to lower his ERA to 2.44 on the season and 1.84 in eight starts since early May.
The 22-year-old right-hander gave up three hits, struck out seven and walked five in his 107-pitch effort, which included a 97-mph fastball to whiff Joey Loperfido with the bases loaded to end the third.
The Angels scored two unearned runs off starter Kai-Wei Teng (3-5) in the first, one when Nolan Schanuel was hit by a pitch with the bases loaded and the other on Oswald Peraza’s RBI grounder.
Backup catcher Sebastián Rivero sparked the Angels’ second-inning rally with a one-out single. Zach Neto was hit by a pitch and Mike Trout ended an 0-for-22 slump with a single to load the bases.
Meckler doubled to left-center for two runs and a 4-0 lead. Adell doubled to left to make it 6-0, and Peraza’s RBI groundout extended it to 7-0.
The Angels added three insurance runs in the eighth on Trey Mancini’s sacrifice fly and RBI groundouts by Peraza and Denzer Guzman. Relievers Brent Suter, Drew Pomeranz and Kirby Yates covered the final four innings.
Schanuel, who has been slowed by a left ankle injury, exited after three innings because of left calf tightness.
Rivero, who also singled in the third and has seven hits in his last seven at-bats, was removed in the fifth because of a left wrist injury.
Jack Kochanowicz to have Tommy John surgery
Angels pitcher Jack Kochanowicz needs Tommy John surgery, the team said Tuesday, and the 25-year-old right-hander is expected to be sidelined through the 2027 season.
The Angels also said that third baseman Yoán Moncada will have surgery on his balky right-knee. But, the specifics of the procedure and a timetable for the switch-hitter’s return were not known.
Kochanowicz went 2-5 with a 6.19 ERA in 13 starts this season, striking out 47 and walking 36 in 64 innings.
The hard-throwing sinker-ball specialist went 2-1 with a 3.05 ERA in his first seven starts, but was ineffective during his next six starts, going 0-4 with an 11.91 ERA, striking out 17 and walking 15 in 22 2/3 innings.
Kochanowicz’s fastball averaged 97 mph and touched 99 mph against the Dodgers, but he said after the game that his arm bothered him when he threw his changeup.
“Honestly, I didn’t think this was in the cards,” Kochanowicz said before Tuesday’s game against Houston. “I really thought it was just a little angry.
“I mean, my velo was fine, the fastballs, everything was fine. It really was just the changeup.
“I thought it was just kind of general soreness. … I thought I was going to hear back today that it was all right, but man, it is what it is.”
Manager Kurt Suzuki said the Angels are “still evaluating” their options for Kochanowicz’s replacement in the rotation. Among the candidates are left-hander Sam Aldegheri and triple-A right-handers Caden Dana and George Klassen.
Moncada, 31, who signed a one-year, $4-million deal with the Angels in February, was placed on the injured list because of right-knee inflammation on May 22 and transferred to the 60-day injured list on Monday.
He hit .189 with a .605 OPS, three homers and 10 RBIs in 41 games.
