series

The stunning victory by the New York Knickerbockers over the San Antonio Spurs on Wednesday gave ABC the most-watched NBA Finals Game 4 since 1998, the year of Michael Jordan’s last championship with the Chicago Bulls.

Nielsen data showed an average of 20.9 million viewers watched the Knicks overcome a 29-point halftime deficit to top Victor Wembanyama and the Spurs 107-106 at Madison Square Garden, the greatest comeback in NBA Finals history. The Knicks have a 3-1 lead in the series and will play Game 5 on Saturday in San Antonio, attempting to win their first NBA championship in 53 years.

Through the first four games, the NBA Finals are averaging 19.6 million viewers, also the highest since the Bulls-Utah Jazz faced off on NBC in 1998. The series is on track to become the most-watched since the NBA Finals moved to ABC and ESPN in 2002.

“The match-up is ideal from a media business standpoint, featuring the nation’s largest media market with New York, teams with robust followings and multiple all-stars, especially Wemby, the compelling new face of the NBA,” said Lee Berke, president of LHB Sports Entertainment & Media, Inc.

The Knicks-Spurs series is up 116% over the first four games of last year’s match-up between the Oklahoma City Thunder and the Indiana Pacers. But the most encouraging numbers for ABC and ESPN is the growth among younger viewers, who have become harder to reach in the age of social media and streaming. Ratings among teens aged 12 to 17 are up 138% while the 18 to 24 age group is up 147%.

ABC is also seeing spikes in viewing among women, up 121%, and the Latino audience due to its large populations in the markets of New York and San Antonio, according to Flora Kelly, ESPN’s senior vice president for audience research.

Viewing in the New York market alone is accounting for 18% of the national audience.

Este Haim, Taylor Swift, and Mariska Hargitay react during the 2026 NBA Finals at Madison Square Garden on June 10, 2026.

(Al Bello / Getty Images)

In addition to delivering highly competitive games, the NBA Finals also had President Trump and pop superstar Taylor Swift in attendance at Madison Square Garden. Both are capable of turning a live TV event into a full-blown spectacle.

“What we’re seeing is that this Spurs-Knicks series is a tremendous cultural moment,” Kelly said.

Trump attended Game 3, making him the first sitting president to attend an NBA Finals. While Trump was a fixture at Knicks games before he entered the national political scene, some commentators, such as ESPN’s Stephen A. Smith, believed the president’s insistence on attending Monday’s contest became a distraction that disrupted the home team’s momentum. (The Knicks lost the game 115-111, ending the team’s streak of 13 consecutive wins).

Swift showed up for Game 4, joining “Law & Order: SVU” star Mariska Hargitay and the other celebrities that regularly show up court side at Madison Square Garden.

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.

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

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@AlexanderCampbellOfficial (YouTube)

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?

Maybe the Troubadour.

What about the Greek? That would be nice.

ICYMI

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RALEIGH, N.C. — Andrei Svechnikov scored twice and Sebastian Aho added a second-period goal in a breakout game for Carolina’s top-line performers, helping the Hurricanes beat the Vegas Golden Knights 4-2 on Thursday night to move one victory away from the Stanley Cup.

Captain Jordan Staal added his fifth goal in the series on a night when Carolina overcame multiple hiccups from these playoffs, from a shaky power play to being outplayed in the second period of this series.

And there had been the waiting game for Aho and Svechnikov — two roster mainstays in an eight-year postseason run — to find a better offensive groove.

It all came together in Game 5, with Svechnikov’s short putaway at the post on the power play giving Carolina a 4-1 lead midway through the third period. And unlike most multi-goal leads in what has been a wild and thrilling series, this one held up, with Brandon Bussi finishing with 22 saves in his second career postseason start.

That gave the Hurricanes a 3-2 lead in the best-of-seven series. Game 6 is Sunday night in Las Vegas, with the Hurricanes playing for the chance to hoist the Stanley Cup for the first time since coach Rod Brind’Amour captained them to the title in 2006.

It has been a tough series for Vegas goaltender Carter Hart.

(Karl B DeBlaker / AP)

Pavel Dorofeyev scored twice for Vegas, finding the net for the first time since Game 1 of the Western Conference Final sweep of Presidents’ Trophy winner Colorado. Carter Hart entered this one as the first goaltender in Stanley Cup Final history to give up at least four goals in each of the first four games, then did it again to continue a difficult series while finishing with 20 saves.

Vegas had twice before been in a 2-2 series in these playoffs, in the first round against Utah and the second round against the Ducks. Both times, the Golden Knights won Game 5 and then closed out the series in Game 6.

This time, they’ll have to win on home ice to force the series back to Carolina for a Game 7 on Wednesday night. And they’ll have to take two in a row against a Hurricanes team that hasn’t suffered consecutive losses since mid-January.

Vegas played much of the night without center William Karlsson, who was being checked out on the bench for an apparent upper-body injury. Karlsson skated to the tunnel midway through the second period and didn’t return.

How does a football penalty become a story about survival? As Bosnia and Herzegovina prepare to face Canada in their 2026 World Cup opener, many eyes will be on Esmir Bajraktarevic. Born in the US, to a family affected by the Srebrenica genocide, his journey is about far more than just football.

It’s not often that I remark on a casting announcement, much less one about “Scooby-Doo,” but the second I opened an email from Netflix, my jaw dropped.

A chocolate brown Great Dane puppy with blue eyes and a teal collar sitting on a tile floor gazed at me from my computer screen — I squealed. I mean, look at him. His floppy ears, grumpy little face and paws you just want to shake hands with. He’s perfect.

“Scooby-Doo: Origins” is the streamer’s upcoming live-action series, slated for release in 2027, featuring this mystery-solving pup. It marks the first time a real dog has played Scooby-Doo. For many viewers, their first exposure to Scooby and his gang was via the ‘70s Hanna-Barbera animated version, which aired on Cartoon Network in reruns in the ‘90s and early aughts, or the reboots on ABC and the WB, now the CW, more recently. Several live-action theatrical and TV films have been made over the years, but they’ve always featured a computer-generated dog. Yes, that means it took nearly six decades to have a real-life Scooby.

The previously announced cast includes key players in the Scooby gang: Mckenna Grace as Daphne Blake, Tanner Hagen as Shaggy Rogers, Abby Ryder Fortson as Velma Dinkley and Maxwell Jenkins as Fred Jones. Paul Walter Hauser is also slated to appear as a series regular in an unnamed role. Showrunners Josh Appelbaum and Scott Rosenberg helm the series.

According to the show’s logline, it’s a “modern reimagining of the iconic mystery-solving group of teens and their very special dog” that takes place at summer camp. Said dog may have been witness to a supernatural murder, leading the group of teens to set out to solve the case. It’s an origin story for Scooby and his gang.

While I wouldn’t consider myself a “Scooby-Doo” superfan, I am a fan of very cute dogs. I’ll have my Scooby snacks ready in case we ever cross paths.

USC loses in heartbreaking fashion

From Alan Cole: USC’s 2026 baseball season will be defined by two words — progress and pain.

Just two outs away from reaching the College World Series for the first time since 2001, USC suffered a devastating 4-3 loss in game three of the Chapel Hill Super Regional, as North Carolina rallied for two runs in the bottom of the ninth and snatched the trip to Omaha away from the Trojans on Owen Hull’s walk-off RBI double into the left-center gap.

“I’m proud of our boys,” USC coach Andy Stankiewicz said. “I’m disappointed in the results, but I’m never disappointed in our guys. They did something pretty special this year.”

Andrew Johnson did everything possible and then some to get USC (48-18) across the finish line. After already throwing 3 ⅔ innings of shutout baseball to close Game 1, Johnson went a season-high 7 ⅔ innings with two earned runs surrendered to get the Trojans to the doorstep of victory. He glided through North Carolina’s lineup for most of the day, at one point retiring 15 out of 17 batters.

He ended the super regional with 133 pitches thrown in a little over 48 hours, on top of the 145 pitches he threw across two appearances in the College Station Regional for a total of 278 tosses in 22 ⅓ innings with five earned runs given up in a heroic postseason stretch.

“The goal from the beginning of the season is Omaha,” Johnson said. “We’re definitely not just happy that we made it to supers and moved past the regional, but for it was a great season and we can be proud of what we accomplished.”

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Big win for Nelly Korda

From Sam Farmer: Nelly Korda watched someone else lift the trophy at last year’s U.S. Women’s Open.

This time, it was Korda — the 2025 runner-up — who did the heavy lifting.

The world’s No. 1 women’s golfer won for the fourth time in 2026 on Sunday and checked off the biggest item on her to-do list.

“To be hoisting this trophy, to hold it high and at such an iconic venue, is just a dream come true,” said Korda, the first American to win back-to-back majors since Juli Inkster in 1999.

Korda claimed her first U.S. Open title, pulling ahead on the back nine at Riviera Country Club, which was playing host to the major championship for the first time.

It was anything but a wire-to-wire win for Korda, who struggled on the tee and limped through the opening round at two over par. But she shot a pair of 67s on Friday and Saturday, then closed out the victory Sunday with a 69 on a postcard afternoon.

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U.S. Women’s Open leaderboard

Angels rout the Dodgers

From Liana Handler: The Angels flipped the script on the Dodgers, preventing a Freeway Series season sweep with a 13-5 win Sunday afternoon at Dodger Stadium.

Emmet Sheehan’s start only lasted 1 ⅓ innings, as he struggled to keep his pitch count low. He threw 35 of his 49 pitches in the second inning alone. Many of those went to Nick Madrigal, who battled Sheehan in a 14-pitch at-bat in which Madrigal won two ABS challenges.

“I thought the stuff was good coming in,” said manager Dave Roberts about Sheehan. “After the first inning, I just didn’t feel comfortable getting him past the 40-pitch mark in one inning. I’m not going to put this guy in harm’s way.”

The Angels third baseman drew a walk, marking the beginning of the end for Sheehan, who already allowed a single. The 26-year-old pitcher loaded the bases with another walk. Angels catcher Sebastián Rivero drove in two runs with a center-field single.

“Frustrating,” Sheehan called his outing. “Couldn’t put guys away, not efficient.”

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Swanson: Dodgers show courage by permanently honoring LGBTQ+ pioneers Glenn Burke and Billy Bean

Dodgers-Angels box score

MLB standings

Caitlin Clark complains too much

From Bill Plaschke: As a diehard WNBA fan and season ticket-holder, it is with great reluctance that I have come to the following painful conclusion.

I’m sick of Caitlin Clark.

As the purchaser of an Iowa jersey and consumer of all things Indiana Fever — covered their games, witnessed them as a fan, caught them on television — it is with great angst that I make the following brutal admission.

I wish Caitlin Clark would just stop whining and play.

The logo-shooting, circus-passing, shape-shifting revelation who was once arguably the most famous basketball player in the world has become rude, entitled and, frankly, not all that fun.

In her third season in the WNBA, the once-shining superstar is acting like a spoiled brat. The league’s most popular player has become its biggest lout. Her stats are decent, but her attitude stinks.

I once openly cheered as Clark raced down the court, dribbled behind her back, skated past a helpless defender, and drained a three-pointer.

Now I cringe as she bricks the trey and immediately complains to the officials, spreading her arms, shaking her head, screaming in their face.

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Christian Pulisic carries U.S. World Cup hopes

From Kevin Baxter: Christian Pulisic looked exhausted as he stepped from a yellow cab on the edge of Manhattan’s financial district for a promotional event arranged by his shoe sponsor.

A day earlier, he had been booed off the field after going scoreless in his final 17 games with AC Milan. And as Pulisic’s private jet made its way from Italy to New York, the club’s coach, sporting director and two other top executives were sacked.

A day later Pulisic walked across a stage overlooking the East River to cheers during a sparsely attended rally in which the U.S. roster for this summer’s World Cup was announced.

The 24 hours between those two events — some of which were spent signing autographs for hundreds of school children as a dog in a red-and-white No. 10 Pulisic jersey looked on — would be the only respite from a hugely disappointing club season and the heavy expectations of the second World Cup played on U.S. soil.

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Iran’s soccer team arrives in Mexico for training ahead of World Cup matches in L.A.

World Cup poses an unprecedented security challenge at a fraught moment

Memo Ochoa is driven to play his best for Mexico win during his sixth World Cup

‘Enjoy the moment.’ Americans who played in 1994 World Cup on home soil offer advice

World Cup roundtable: Who will win, who will surprise and how far will U.S. advance?

Sparks get much-needed win

From Marisa Ingemi: The quarter mark of a season isn’t necessarily a make-or-break point, but for the Sparks, it was starting to feel like it was close to it.

An 89-72 win over the expansion Portland Fire on Sunday to close a 1-2 homestand felt more necessary than the Sparks might have wanted to admit. But after struggling on the road before losing consecutive games at home against Las Vegas and Dallas amid a three-game losing streak, the Sparks needed something to go right.

Especially defensively, where the Sparks had seemingly been getting worse. They had their best defensive game of the season Sunday, holding Portland to 36% shooting — the second-lowest mark against them this season.

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More fouls, less flow: Sparks struggling to adjust to WNBA crackdown on physical play

Sparks box score

WNBA standings

This day in sports history

1935 — Omaha, ridden by Willis Saunders, becomes the third horse to win the Triple Crown by capturing the Belmont Stakes with a 1½-length victory over Firethron.

1958 — Mickey Wright beats Fay Crocker by six strokes to win the LPGA Championship.

1980 — Sally Little wins the LPGA Championship by three strokes over Jane Blalock.

1982 — 36th NBA Championship: Lakers beat Philadelphia 76ers, 4 games to 2.

1985 — Creme Fraiche, ridden by Eddie Maple, becomes the first gelding to win the Belmont Stakes, beating Stephan’s Odyssey by a half-length.

1986 — Larry Bird scores 29 points to lead the Boston Celtics to a 114-97 victory over the Houston Rockets and their 16th NBA title.

1990 — The “Indomitable Lions” of Cameroon pull off one of the greatest upsets in soccer history, 1-0 over defending champion Argentina in the first game of the World Cup.

1991 — Warren Schutte, a UNLV sophomore from South Africa, shoots a 5-under 67 to become the first foreign-born player to win the NCAA Division I golf championship.

2000 — Mike Modano deflects Brett Hull’s shot at 6:21 of the third overtime, ending the longest scoreless overtime game in Stanley Cup finals history and helping the Dallas Stars beat the New Jersey Devils 1-0 in Game 5.

2002 — British-Canadian Lennox Lewis retains boxing’s WBC Heavyweight title with eighth-round knockout of American Mike Tyson.

2005 — Freshman Samantha Findlay hits a three-run homer in the 10th inning to lead Michigan to a 4-1 win over UCLA for its first NCAA softball title. Michigan is the first team from east of the Mississippi River to win the national championship.

2008 — Rafael Nadal wins his fourth consecutive French Open title in a rout, again spoiling Roger Federer’s bid to complete a career Grand Slam. Dominating the world’s No. 1 player with astounding ease, Nadal wins in three sets, 6-1, 6-3, 6-0.

2008 — Yani Tseng of Taiwan becomes the first rookie in 10 years to win a major, beating Maria Hjorth on the fourth hole of a playoff with a 5-foot birdie on the 18th hole to win the LPGA Championship.

2012 — I’ll Have Another’s bid for the first Triple Crown in 34 years ends shockingly in the barn and not on the racetrack when the colt is scratched the day before the Belmont Stakes and retires from racing with a swollen tendon.

2013 — Serena Williams wins her 16th Grand Slam title and her first French Open championship since 2002, beating Maria Sharapova 6-4, 6-4.

2014 — Rafael Nadal wins the French Open title for the ninth time, and the fifth time in a row, by beating Novak Djokovic 3-6, 7-5, 6-2, 6-4. Nadal improves his record at Roland Garros to 66-1.

2015 — The NCAA approves multiple rule changes to men’s basketball for the 2015-16 season, including a 30-second shot clock and fewer timeouts for each team. The shot clock was last reduced, from 45 to 35 seconds, in 1993-94.

2018 — Golden State romps to its second straight NBA championship, beating Cleveland 108-85 to finish a four-game sweep. Stephen Curry scores 37 points and Kevin Durant, who is named MVP for the second straight finals, has 20 for the Warriors. It’s the first sweep in the NBA Finals since 2007.

2019 — Ashleigh Barty, Australia, wins the French Open by defeating Marketa Vondrousoca. The win is Barty’s first Grand Slam singles title.

Compiled by the Associated Press

This day in baseball history

1914 — New York’s Iron Joe McGinnity posted his 14th straight win beating Pittsburgh 2-0. With the win moved the Giants into first place over Chicago.

1933 — Philadelphia’s Jimmie Foxx homered in his first three at bats all off Lefty Gomez as the A’s beat the New York Yankees 14-10. Foxx had homered his last time up the previous day to tie a major league record of hitting four consecutive home runs. Bobby Lowe did it in 1894.

1940 — Harry Craft of Cincinnati connected for a home run, a triple, a double and two singles in seven at-bats to lead a 27-hit attack as the Reds pounded the Dodgers 23-2 at Brooklyn.

1950 — The Boston Red Sox beat the St. Louis Browns 29-4 at Fenway Park and set major league records for runs scored; most long hits, 17 (nine doubles, one triple and seven homers); most total bases, 60; most extra bases on long hits, 32; most runs over two games, 49; most hits in two games, 51, including 28 this game. Bobby Doerr had three homers and 8 RBIs, Walt Dropo hit two homers and drove in seven runs and Ted Williams added two homers and five RBIs.

1968 — Howie Bedell’s sacrifice fly in the fifth inning ended Don Drysdale’s record streak of 58 2/3 consecutive scoreless innings. The Dodgers beat the Philadelphia Phillies 5-3.

1969 — The New York Yankees’ No. 7 was retired on Mickey Mantle Day. A crowd of 60,096 came to Yankee Stadium to honor Mantle and watched the Yankees sweep the Chicago White Sox 3-1 and 11-2.

1975 — Detroit’s Tom Veryzer doubled with two out in the ninth to end Oakland’s Ken Holtzman’s no-hitter. Outfielder Bill North misjudged Veryzer’s hit but was not charged with an error. Holtzman retired the last hitter for a 4-0 victory.

1986 — In the longest 9-inning game by time in AL history Baltimore’s Lee Lacy went 4-for-6 with three home runs and six RBIs as the Orioles beat the New York Yankees 18-9. The game took 4:16 to complete.

1996 — Warren Morris hit a two-run homer with two out in the bottom of the ninth inning to give Louisiana State a 9-8 victory over Miami in the championship game of the College World Series.

2001 — Damion Easley became the ninth Detroit player to hit for the cycle as the Tigers beat Milwaukee 9-4.

2010 — Stephen Strasburg exceeded expectations in his much-hyped major league debut, striking out 14 in seven innings to lead the Washington Nationals to a 5-2 win over the Pittsburgh Pirates. Last year’s No. 1 overall draft pick gave up four hits, two earned runs and didn’t walk a batter, piling up the most strikeouts in a debut since J.R. Richard fanned 15 for Houston in 1971.

2012 — Kevin Millwood and five Seattle relievers combined on a no-hitter, the third in franchise history, and the Mariners beat the Dodgers 1-0. Millwood was cruising through six innings, giving up just one walk. But while warming up for the seventh he felt a twinge in his groin and was pulled from the game. Five relievers combined to finish the no-hitter, capped by Tom Wilhelmsen retiring Andre Ethier on a routine grounder to end it.

2013 — In the longest major league game in more than three years, Adeiny Hechavarria hit an RBI single in the 20th inning and the Miami Marlins outlasted the New York Mets 2-1.

2020 — MLB owners present their counter-proposal to get the season started. They propose playing 76 games, with a postseason involving 16 teams, drop the proposed sliding scale for reducing salaries — although they still seek further cuts — and also propose dropping all forms of compensation for signing free agents. The ball is now back in the MLBPA’s court.

2021 — Pirates rookie 3B Ke’Bryan Hayes, swinging a red hot bat after coming back from a two-month stay on the injured list, makes a very embarrassing mistake when he has a home run taken away for missing first base. His apparent solo shot off Walker Buehler is nullified when the Dodgers successfully appeal that he did not touch the bag while rounding the bases.

Compiled by the Associated Press

Until next time…

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.

CHAPEL HILL, N.C. — USC’s 2026 baseball season will be defined by two words — progress and pain.

Just two outs away from reaching the College World Series for the first time since 2001, USC suffered a devastating 4-3 loss in game three of the Chapel Hill Super Regional, as North Carolina rallied for two runs in the bottom of the ninth and snatched the trip to Omaha away from the Trojans on Owen Hull’s walk-off RBI double into the left-center gap.

“I’m proud of our boys,” USC coach Andy Stankiewicz said. “I’m disappointed in the results, but I’m never disappointed in our guys. They did something pretty special this year.”

Andrew Johnson did everything possible and then some to get USC (48-18) across the finish line. After already throwing 3 ⅔ innings of shutout baseball to close Game 1, Johnson went a season-high 7 ⅔ innings with two earned runs surrendered to get the Trojans to the doorstep of victory. He glided through North Carolina’s lineup for most of the day, at one point retiring 15 out of 17 batters.

North Carolina’s Cooper Nicholson celebrates during his team’s ninth-inning rally to beat USC in their super regional finale Sunday in Chapel Hill, N.C.

(Laura Wolff/For The Times)

He ended the super regional with 133 pitches thrown in a little over 48 hours, on top of the 145 pitches he threw across two appearances in the College Station Regional for a total of 278 tosses in 22 ⅓ innings with five earned runs given up in a heroic postseason stretch.

“The goal from the beginning of the season is Omaha,” Johnson said. “We’re definitely not just happy that we made it to supers and moved past the regional, but for it was a great season and we can be proud of what we accomplished.”

A first inning run off a Caden Glauber balk, plus Kevin Takeuchi and Andrew Lamb’s solo home runs accounted for all the offense on a day when the Tar Heels (50-12-1) had their own star pitcher going. Atlantic Coast Conference freshman of the year Caden Glauber held the Trojans at bay for most of the game, striking out a career high 11 batters in 7 ⅓ innings.

USC coach Andy Stankiewicz talks to his players after their season-ending loss to North Carolina.

(Laura Wolff / For The Times)

Glauber’s work was enough to hold his team in the game, but USC still had a 3-2 lead heading to the fateful bottom of the ninth. After closer Adam Troy retired the first batter, a long, loud foul ball seemed to spark North Carolina.

Third baseman Cooper Nicholson crushed a ball more than far enough for a home run, but just foul into the left field corner. But the near-miss seemed to rattle Troy, who walked Nicholson after getting ahead 0-2 in the count and fell behind 3-0 to nine-hole hitter Carter French.

Stankiewicz made a pitching change mid at-bat, going to Chase Herrell. French lined a 3-2 single through the right side, leadoff hitter Jake Schaffner tied the score on a sacrifice fly and Gavin Gallaher drew a walk, bringing Hull to the plate with the series’ winning run at second.

USC appeared to survive at least with extra innings when a Hull foul ball looked ticketed for the third out, but it dropped with three fielders in the area to give him an extra life. Hull pounded his fourth double of the game, prompting mass hysteria from the 3,913 Tar Heel fans and ultimate heartbreak in the other dugout.

Stankiewicz has built his program in stages, finally making the NCAA tournament last year and then going a step further this year.

But he also knows these opportunities are never guaranteed, and it will take a lot of work to return to the super regional stage.

“It’s a step,” he said. “Things take a moment. Sometimes we want things to happen overnight as humans I guess, but sometimes it takes a moment. We’ve been at this thing for awhile now, and we feel like we’re certainly building it and folks are taking notice. Now we just can’t go backwards. This thing’s got to continue moving forward.”

A positive season, but a nightmare ending sure to haunt the Trojans until they finally return to Omaha.

The Angels flipped the script on the Dodgers, preventing a Freeway Series season sweep with a 13-5 win Sunday afternoon at Dodger Stadium.

Emmet Sheehan’s start only lasted 1 ⅓ innings, as he struggled to keep his pitch count low. He threw 35 of his 49 pitches in the second inning alone. Many of those went to Nick Madrigal, who battled Sheehan in a 14-pitch at-bat in which Madrigal won two ABS challenges.

“I thought the stuff was good coming in,” said manager Dave Roberts about Sheehan. “After the first inning, I just didn’t feel comfortable getting him past the 40-pitch mark in one inning. I’m not going to put this guy in harm’s way.”

The Angels third baseman drew a walk, marking the beginning of the end for Sheehan, who already allowed a single. The 26-year-old pitcher loaded the bases with another walk. Angels catcher Sebastián Rivero drove in two runs with a center-field single.

“Frustrating,” Sheehan called his outing. “Couldn’t put guys away, not efficient.”

The game shifted into an unexpected bullpen game, and the Dodgers shuffled through seven pitchers. Edgardo Henriquez retired five consecutive batters. But the Dodgers’ spiral continued. Jo Adell reached first after a ball deflected off the glove of Miguel Rojas. Adell then moved to second on a passed ball by catcher Dalton Rushing. Reliever Blake Treinen then gave up a walk and before Rivero hit another two-run single.

Madrigal beat the Dodgers (42-24) in another double-digit pitch plate appearance in the fifth. Home plate umpire Dan Iassogna called a third strike, but Madrigal argued with the umpire, emphatically slapping his head. After an ABS review, the pitch was determined to be a ball. Rushing, seemingly not pleased with a borderline check-swing call, argued with Iassogna. In the end, a 12-pitch at-bat resulted in another walk.

Coupled with a missed call for a walk on a foul-tip earlier in the game, the check-swing call added to a frustrating afternoon for the Dodgers.

“It should be reviewable,” Roberts said of the foul tip. “That changed the game, and obviously the Madrigal check-swing. I felt that he went. That did impact the game.”

Dodgers manager Dave Roberts walks on the field during the seventh inning Sunday against the Angels.

(Eric Thayer / Los Angeles Times)

Roberts replaced Alex Vesia with Jonathan Hernández, who gave up a two-run single to Jose Siri. Miguel Rojas threw out Madrigal at home on the hit to limit the damage.

In the third inning, Kyle Tucker drove in a run on a groundout that landed a foot away from home plate, but it gave Shohei Ohtani just enough time to sprint home after Rivero threw to first.

Still, the Dodgers, who had outscored the Angels 41-5 in games this season before Sunday, struggled. Twice, Rushing hit singles. Twice, Ryan Ward, the next batter, grounded into a double play, dashing any momentum. Rushing and Ward hit back-to-back home runs to right field in the sixth, but the Dodgers couldn’t capitalize on the momentum.

Rushing received more playing time than predicted this series, but he said he embraced the opportunity. He matched his career-high with four hits on Sunday. His home run was his first since April 20.

“This year, my whole goal was make sure if there’s an opportunity that I can pick a day that Will [Smith] needs rest, make sure that I can provide just as much as he does with the bat as well as behind the plate,” Rushing said Saturday. “He knows I’ll catch every game if he can’t go back there.”

Catcher Will Smith did not play Sunday because of neck stiffness, despite Roberts predicting the catcher would return for the series finale. Imaging on Smith’s neck came back negative, though it’s unclear if he’ll play Tuesday against Pittsburgh.

“It’s not anything serious, but it’s something that is preventing him from playing,” Roberts said. “It’s kind of a day-to-day thing.”

Rushing’s and Ward’s home runs were quickly negated when Adell hit a two-run homer to left-center field. Zach Neto also hammered a seventh-inning, three-run home run. By the time the game concluded, the bottom of the Angels lineup batted 13 for 15, walking four times. The Angels (25-41) could’ve scored more if not for Neto and Mike Trout, who hit a combined one for 12.

“The bottom half of the order, they were fouling off a lot of balls, we couldn’t put those guys out,” Roberts said. “But, yeah, the Madrigal at-bat really was a difference today.”

Glasnow talks about his injury

Dodgers starting pitcher Tyler Glasnow (back spasms), who was put on the 60-day injured list Saturday, attributed his slow recovery to trying to come back too soon. He plans to rest a few days before building back up.

“It’s uncomfortable,” Glasnow said. “When I get into my load, something feels weird. The more I go, the more it starts to aggravate it. Generally, before I start to throw, as long as it’s completely gone, it gets over the hump, it’s gone, and then I can get back to full speed. I just feel like I haven’t gotten there yet.”

Claire Danes’ performance in Netflix’s “The Beast in Me” appears like a lock for an Emmy nomination for lead actress in a limited series or TV movie. In typical fashion, Danes left it on all the floor in portraying a reclusive author who suspects her developer neighbor (Matthew Rhys) of misdeeds.

1995

The Golden Globes rarely get it as right as they did in awarding Danes the drama series best actress award, at 15, for ABC’s “My So-Called Life.”

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The lifespan of the authentic teen drama that introduced viewers to Danes’ unique emotional translucence, counted in episodes.

1st

Danes also received an Emmy nomination for the series — the first of eight for acting so far.

16

She is the second-youngest Emmy nominee ever for lead actress in a drama series, between Melissa Sue Anderson (15, for “Little House on the Prairie”) and Kristy McNichol (17, for “Family”).

3

Danes won an Emmy for playing the real-life animal science professor in the HBO movie “Temple Grandin,” and two for playing complex CIA officer Carrie Mathison on Showtime’s “Homeland.”

31

Span of years between Danes’ first and 2026 nominations, if she receives one.

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Danes’ Emmy longevity may not equal the likes of Carol Burnett, nominated in 2024 for “Palm Royale” 62 years after her first, but it’s mighty impressive for someone Danes’ age.

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There’s even a contender in her category this year whose span between nominations would be longer than Danes’ lifetime: Sally Field, who appears in Netflix’s TV movie “Remarkably Bright Creatures.”

Callum Woodhouse, who plays Tristan Farnon, has warned that things may be “coming to change” for his character’s relationship in the upcoming series

A star from All Creatures Great and Small has hinted at potential turbulence ahead for a blossoming romance between two characters.

Callum Woodhouse is set to reprise his role in the cherished period drama for its seventh series later this year.

Taking place during the 1930s and 40s, the much-loved programme chronicles Yorkshire veterinary surgeon James Herriot as he tackles the demands of his countryside practice.

With Nicholas Ralph portraying James Herriot and Rachel Shenton as his on-screen partner Helen, Callum takes on the role of Tristan Farnon, sibling to Siegfried Farnon, portrayed by Samuel West.

The last series and festive special witnessed Tristan confronting his own difficulties following his return from combat, before developing feelings for Charlotte Beauvoir. However, Callum has now cautioned that “things may be coming to change”, reports the Express.

Speaking to RadioTimes, he revealed: “It’s not really a massive spoiler to say I’m still with Charlotte Beauvoir, who is really good for him and helps him with his mental health.

“She keeps him happy and… I think he’s a little bit more content. But there’s only so long that that can last. So, things may be coming to change, but we don’t know.”

Following his character’s arc which depicted him battling PTSD after serving on the front line, Callum previously shared with the publication: “I think she’s come into his life at a time when he just really, really needs her.”

He added: “I think they’ve got a great chemistry and they get on really well.”

He continued: “Tristan, right now, needs someone who is sympathetic and understanding to what he’s been through, and is very much still going through.”

While fans eagerly await the new series of All Creatures Great and Small, the programme has already been confirmed to return for both series 7 and 8, each featuring six hour-long episodes, alongside Christmas specials.

Greg Barnett, Commissioning Editor at 5, had hinted that there remain “many new stories still to tell and more unforgettable adventures ahead”.

Barnett said: “All Creatures Great and Small is a jewel in 5’s drama crown and continues to delight viewers year after year. Its warmth, humour and heart, set against the beauty of Yorkshire, have made it a firm audience favourite.

“We’re thrilled to extend its future with two more series, with many new stories still to tell and more unforgettable adventures ahead for our Skeldale family.”

All Creatures Great and Small is available to watch on My5

A crime drama on BBC iPlayer has been branded a “masterpiece” and a “must-watch” by fans

Fans of crime dramas have been devouring a “masterpiece” series that’s currently available on BBC iPlayer.

Television viewers are being encouraged to tune into a gripping drama centred on a respectable businessman, who attempts to outrun his family’s sinister past.

McMafia is a series created by Hossein Amini and James Watkins, who also took on directorial duties. It draws inspiration from the non-fiction book McMafia: A Journey Through the Global Criminal Underworld by journalist Misha Glenny – which has been hailed as “riveting” and “chilling”.

The drama features James Norton as Alex Godman, the British-raised son of a Russian mafia boss residing in London, whose father is desperately attempting to break free from the world of organised crime.

The official synopsis reads: “Alex Godman, the English-raised son of Russian mafia exiles, has spent his life trying to escape the shadow of their past, building his own legitimate business and forging a life with his girlfriend, Rebecca,” reports Wales Online.

“But when a murder unearths his family’s past, Alex is drawn into the criminal underworld where he must confront his values to protect those he loves.”

Alongside James Norton, the ensemble cast also includes David Strathairn, Juliet Rylance, Merab Ninidze, Aleksey Serebryakov, Maria Shukshina, David Dencik, Oshri Cohen, Sofia Lebedeva, Caio Blat, Kirill Pirogov, Nawazuddin Siddiqui, and Karel Roden.

McMafia was shot across numerous international locations, with key scenes unfolding in London, Zagreb, Split, Opatija, Mumbai, Prague, Cairo, Belgrade, Istanbul, Moscow, and Tel Aviv.

The drama debuted on BBC One in 2018, running for a single series. Crime drama enthusiasts can now delve into Alex’s perilous world, as all eight compelling episodes are available to stream free on BBC iPlayer.

McMafia currently maintains a 71% critic score on review aggregator Rotten Tomatoes, based on 38 reviews. Audiences have likewise expressed widespread acclaim for the programme on social media, with numerous viewers declaring it superior to James Norton’s other popular crime series Happy Valley.

One IMDb user penned: “One of the best series I have ever seen. Binged in one night. 100 stars.”

Another contributed: “Best show since The Night Manager. A 10+ for intrigue and suspense,” while a third stated: “Thriller of the year! An outstanding and engrossing series that grabs your attention from the start and ramps up the suspense as each episode progresses.”

Someone else remarked: “I loved McMafia. The best TV series yet. Great acting. On par with Breaking Bad,” with another individual posting: “Chilling, thrilling and re-watchable.”

A sixth audience member reinforced the sentiment, declaring: “This series is a masterpiece, and a must-watch for thriller lovers. The plot is obviously complex, but absolutely intriguing and well developed, with a large number of themes connected to the most topical reality. For me, McMafia is one of the most interesting shows I have seen in the last few years.”

McMafia is available to stream on BBC iPlayer

Anyone who has been a new parent knows it’s not easy to do on your own — it really does take a village. And in the latest season of “The Four Seasons,” which returned to Netflix last week, Ginny, played by Erika Henningsen, finds her village as she navigates single parenthood after the sudden death of Nick, played by Steve Carell. While that may sound gloomy — no, terrifying — the comedy series created by Tina Fey, Lang Fisher and Tracey Wigfield keeps the laughs coming, whether they involve the central friend group spreading Nick’s ashes — morbid, I know, but I promise you’ll laugh — a malfunctioning breast pump or making friends with someone who loves to dig really big holes in the sand at the beach. Henningsen dropped by Guest Spot to talk about her character and what she hopes comes next if the show gets a third season.

And if you breeze through the second season’s eight episodes, there’s plenty else to watch this weekend. For more laughs, Mindy Kaling’s latest comedy series, “Not Suitable for Work,” premiered this week with three episodes. The TV creator spoke to Times TV writer Yvonne Villarreal about how the series touches on the heightened feelings Kaling experienced living in New York in her 20s, trying to break into comedy writing. But if you are looking for the complete opposite, the first two episodes of the newest iteration of “Cape Fear” are out today on Apple TV (you may remember the 1991 film version directed by Martin Scorsese and starring Robert De Niro, or even the 1962 version starring Robert Mitchum). The series, which inserts some modern elements and twists, stars Javier Bardem as the villainous Max Cady and Amy Adams as lawyer Anna Bowden, who our television critic says “is low-key forceful as his primary opponent.”

Also in this week’s Screen Gab, our critics recommend a web short that will give you some background on “Backrooms,” as well as a horror film with a similar vibe, and a new nature documentary series. — Maira Garcia

Turn on

Recommendations from the film and TV experts at The Times

Chiwetel Ejiofor in “Backrooms,” which was inspired by Kane Parson’s surrealist web videos.

(A24)

“Backrooms – Presentation” (YouTube), “Buffet Infinity” (VOD)

Last weekend, 20-year-old Kane Parsons became the youngest filmmaker to hit No. 1 at the box office with “Backrooms,” a surrealistic experiment about a furniture salesman (Chiwetel Ejiofor) drawn into a maze of humdrum office space. Peek into the movie’s lore on Parsons’ YouTube channel where his eight and a half minute short, “Presentation,” hints at why Mark Duplass was running around in a lab coat. Or let the feature stand as its own work and watch Simon Glassman’s “Buffet Infinity” instead. Told through snippets of local TV commercials, this morbidly hilarious horror tale is like plopping down on one of the backroom’s couches to channel surf. The bland muzak and cinematography are spot-on, as are the familiar breeds of low-budget pitchmen: the car salesman, the personal injury lawyer, the housewife. But once two neighboring restaurateurs duel over the rights to a special sauce — and one gets defamed and disappeared — these escalating, tense ads reveal a town under siege. Things have gotta be bad when the pawn broker starts rapping about his vast selection of knives. — Amy Nicholson

A pilosaurs in NBC’s “Surviving Earth.”

(NBC)

“Surviving Earth” (NBC, Peacock)

If computer animation is good for anything, it is its ability to bring prehistoric creatures to convincing conjectural life. From Willis O’Brien‘s stop-motion dinosaurs in “The Lost World,” to “Jurassic Park,” to the BBC’s “Walking With Dinosaurs,” we are ever glad to take that trip backward, in increasingly sharp detail. “Surviving Earth,” an eight-part nature documentary cum disaster movie cum action film, adds a thematic twist: extinction. With titles like “When the Earth Burned,” “When the Seas Died” and “When the Forests Collapsed,” it is, on the one hand, a dark tour through a long history of climate crises and population collapse; on the other, per its title, its relatively cheering theme is that life, generally speaking, can handle whatever the planet (or stray asteroid) throws at it. (Humans are not left off the hook; the two episodes out for review each conclude with a visit to our destructive modern world.) As in many nature films, the animals are framed in cute or suspenseful stories that largely involve family and community; territory and travel; and looking for food and not being food. (The more adorable the animal, the more likely it is to escape uneaten, and some of those baby dinos are precious.) It premieres Thursday at 8 p.m. on NBC, and new episodes air weekly, followed by a rebroadcast of “The Americas,” the network’s earlier present-day nature series, and stream on Peacock the next day. — Robert Lloyd

Guest spot

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

Kerri Kenney-Silver as Anne and Erika Henningsen as Ginny in Season 2 of “The Four Seasons.”

(Emily V. Aragones/Netflix)

What if you found out you were pregnant? And then your partner died suddenly. Oh, and he hadn’t divorced his wife yet, so there’s no money to support yourself and a new baby. For some people, it would be enough to cause a meltdown and an existential crisis. But in Season 2 of “The Four Seasons,” Ginny takes it all in stride. The character, played by actor Erika Henningsen, forges ahead, has the baby — fathered by the now-deceased Nick — and ends up getting help from the most unexpected person: Anne, her partner’s ex.

The comedy series once again follows the close-knit friend group consisting of Jack (Will Forte) and Kate (Tina Fey), Danny (Colman Domingo) and Claude (Marco Calvani), and the new odd couple, Anne (Kerri Kenney-Silver) and Ginny. This season, they take trips to the Catskills, the Jersey Shore and Italy as they try to navigate grief following Nick’s death, supporting Ginny despite the awkwardness of her situation with Anne, and an international move by Danny and Claude after they decide not to have a child.

Henningsen discussed Ginny’s arc this season and how she connects with Anne, who finds purpose in caring for baby Gino (or Eugene, depending on whom you ask), and what it was like juggling multiple projects along with filming “The Four Seasons.” — M.G.

At the end of the first season of “The Four Seasons,” viewers were hit with a big surprise: Ginny is pregnant. And in Season 2, we see her further along and eventually with a baby. What was it like to play Ginny at this stage in her life, navigating single motherhood? Did you look to anyone for inspiration?

I feel like Ginny’s character arc in this season was a tightrope walk that our writers executed flawlessly. Because, let’s be honest, the situation between Anne and Ginny is a bit bizarre. To quote our show, “there is no Beyoncé song” for what to do when your recently deceased ex-husband’s pregnant girlfriend shows up on the group hiking trip! What myself and the writers really tried to highlight, especially in those early spring episodes, is how scared Ginny feels to be entering motherhood without a partner by her side and how that fear and grief become the dominating force behind her actions. She’s just scrambling for some semblance of confidence and security, to feel like she’s going to be “ready” when the baby arrives. But, as any real mom can attest, there is no ‘“ready” when it comes to a baby. You just take it one day at a time and figure it out as you go. I love that Ginny has that realization toward the middle of the season. She may not be the perfect mom to Gino, but she’s his mom, and getting to play the beach scene where Ginny takes one tiny bold step, alone, into motherhood was super special. In terms of inspiration, I was constantly texting two friends of mine who had just had babies for ways to walk, ways to lay down, ways to stretch, etc. Also, our incredible hair department head, JT Franchuk (shoutout, JT!), was on set with me every day, and I was lucky to have her as a confidant and sounding board as she was seven months pregnant when we began shooting Season 2.

You share many great scenes with Kerri Kenney-Silver, who becomes a surrogate mother to Ginny and grandmother to her baby, despite the history between them. How did you two navigate this dynamic, and what was it like working together?

Kerri Kenney-Silver is truly the greatest scene partner an actor could have for a litany of reasons. Kerri comes from an improv background but is also a technical wordsmith. She’s constantly throwing out new line readings and physical comedy to bounce off of, but is also deeply respectful of the words Tina Fey and company have crafted, so she’s equal parts anchor to a scene as well as a playmate. Kerri and I never tried to nail down one exact “right” way to play a scene. We were constantly adjusting the levers with each take, digging into one another versus backing off, casually throwing away a sentimental line versus staring into one another’s eyes. What we did agree on was to never judge these two characters. Some people might look at our character’s choices as debilitating or selfish, but we both found that Anne and Ginny deeply needed and wanted to be there for one another. In their own little “odd couple” way, they were choosing one another to get through the next tenuous, unknown chapter of life. Oh, and working with Kerri? As I’ve said, “if you’re gonna lose a Steve Carrell, just wait til you gain a Kerri-Kenney Silver.” She is obviously so talented, but also one of the warmest and most welcoming humans I have worked with. And she makes me snort-laugh on a regular basis.

You came up in theater and originated the role of Cady Heron in the Broadway production of “Mean Girls,” based on the film by Fey. You were on Broadway in “Just in Time” last year, too. What has it been like to balance your stage work with your TV work lately?

Honestly? It’s been a lot! I say that with 98% gratitude and 2% “so tired when is vacation?” exhaustion. Last year, I was doing press for “The Four Seasons” while opening a brand-new original Broadway show, while also recording Season 3 of the hit animated series I currently star in, “Hazbin Hotel” [Prime Video]. My days were spent doing interviews in the morning, rushing to Circle in the Square theater for “Just in Time” preview rehearsals in the afternoon, recording episodes of “Hazbin Hotel” on my dinner break, all before heading back to the theater for an 8 p.m. curtain. I remember there was one night I did a SAG panel with Tina, Kerry and Marco on 55th and Broadway that ended at 7:45, and I was in pincurls and fake eyelashes, ready to go onstage opposite Jonathan Groff at 8:15. It is definitely a balancing act, and one I would not be able to navigate without my team and my husband. Nonetheless, I wouldn’t have it any other way. I love how each discipline has started to inform the other: I’ve taken my spontaneity in the voice-over booth onto set, I’ve taken my trust in stillness in front of the camera onto the stage, and I’ve taken my discipline doing eight shows a week into everything. Getting to dip a toe into multiple pools of the entertainment industry is, I think, the only way my brain wants to operate.

If “The Four Seasons” gets a third season, where would you like to see Ginny go?

In a perfect world? I’d love if Danny/Claude planned a fabulous trip to a gay destination like Mykonos that the rest of the group somehow gloms onto. I remember visiting Fire Island for the first time a few summers ago at Tina’s recommendation and loving it so much. I texted her that I never wanted to leave and she basically wrote back, “Yup. Always follow the gays.” So, maybe we will do exactly that in Season 3. Also, on a very specific Ginny note, I will hopefully have a toddler in Season 3 as opposed to a baby (our babies on set were under 6 months old so they definitely fell into the “handle with care” category!), and my dream is to be able to hold one the way Diane Keaton holds her toddler in “Baby Boom.” It’s a perfect moment of physical comedy, and I aspire to re-create it.

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

“Beef” Season 2 and the recent Rafael Nadal documentary, “Rafa.” Both Netflix. What can I say? I’m loyal. The entire cast in “Beef” is spectacular, and I love the genre-bending the showrunner weaves throughout. You never quite know where you stand, but the twists feel earned and character-driven as opposed to gimmicky. There’s one quasi-bottle episode set in an ER that felt perfectly surreal, claustrophobic and exactly what it feels like to be in the ER on bad health insurance (speaking from 21-year-old experience). “Rafa” is just … no words. I love a sports doc (“The Last Dance” [Netflix], “Prefontaine” [VOD], “The Endless Summer” [Tubi] — you name it), probably because, in my heart of hearts, I just want to be an athlete.

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

I will never tire of watching “The Parent Trap” [Disney+]. It’s perfect. Chessy is a queer icon, Meredith Blake is the “villain” but also get that vineyard honey, one of Lindsay Lohan’s best performances, and what I wouldn’t give to have an ounce of the class that was Natasha Richardson. Every scene is perfect, there’s not a single “skip” on the soundtrack. Also a flawless Maggie Wheeler cameo! Nancy Jane Meyers: You outdid yourself.

ICYMI

Must-read stories you might have missed

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

It seems odd that the biggest news of the week was the fact that tickets for a movie went on sale, but apparently Christopher Nolan’s upcoming “The Odyssey” is no typical movie. Having already made tickets available for some shows a full year in advance, Universal put more of them on sale for the July 17 opening weekend of the Oscar-winning filmmaker’s ancient epic. There were reports of long online wait times, crashing ticketing systems and the kind of problems more often associated with pop stars than movie nerds.

“The Odyssey” will be playing in a variety of formats, with the Imax 70mm screenings among the most coveted. More venues than usual have also been announced as playing the film in 70mm, including the Village Theatre in Westwood. (A handy visual guide to the different fomats is on the film’s website.) While there is a hint of the ridiculous to some of this mania — popcorn buckets in the shape of Imax cameras and movie tickets going on the resale market for hundreds of dollars — there is no denying how exciting it is to see this kind of anticipation building around any movie.

Back to a ’90s phenomenon

Ewen Bremner, left, Ewan McGregor, Johnny Lee Miller and Robert Carlyle in the movie “Trainspotting.”

(Liam Longman / Sony Pictures Classics)

When it first came out in 1996, “Trainspotting” was an instant cultural phenomenon, capturing the vibes of the “Cool Britannia” moment with its sparkling soundtrack, inventive, high-energy style and cast that included up-and-coming talents such as Ewan McGregor and Kelly Macdonald. It was only the second feature directed by Danny Boyle, who would go on to be an Oscar winner, mount an Olympics opening ceremony and remain a reliably exciting filmmaker all the way to his recent “28 Years Later.”

“Trainspotting” is now back in theaters in a 4K restoration for its 30th anniversary, having lost none of its brash vigor. In his original review, Kenneth Turan said of the film, “Exuberant and pitiless, profane yet eloquent, flush with the ability to create laughter out of unspeakable situations, ‘Trainspotting’ is a drop-dead look at a dead-end lifestyle that has all the strength of its considerable contradictions.”

Appearing like magic

Kathy Najimy, left, Bette Midler and Sarah Jessica Parker in the 1993 comedy “Hocus Pocus.”

(Disney)

Directed by Kenny Ortega, “Hocus Pocus” is one of those movies that has seen its fanbase grow steadily over the years — it is now much more beloved than it ever was on initial release. (It even inspired a 2022 sequel.) Bette Midler, Sarah Jessica Parker and Kathy Najimi play the Sanderson sisters, 17th century witches who find themselves inadvertently brought to modern day by a group of teenagers messing around with casting spells.

The film will play Saturday at the Gardena Cinema, featuring a live commentary from cast members Omri Katz, Thora Birch, Larry Bagby, Tobias Jelinek and Vinessa Shaw followed by a Q&A. This is a rare appearance by Katz in particular, who has retired from acting. Fans of the movie should make the effort to attend.

The Gardena, the last family-owned single-screen theater in Los Angeles, suffered a blow last weekend when a burst pipe flooded the venue. Though they are operational, a campaign has been started to help them recoup repair costs.

Examining the life of the mind

John Turturro in the 1991 movie “Barton Fink.”

(20th Century Fox)

Ranking the films of Joel and Ethan Coen has become a cottage industry of its own. Personally, I go back-and-forth on where to place 1991’s “Barton Fink,” which won the Palme d’Or at Cannes, as well as prizes for director and actor. The movie is by turns funny, disturbing and inscrutable (all good things), with John Turturro in the title role as an intellectual New York playwright who goes to Hollywood to write screenplays — and slowly goes insane.

The movie will play Friday in 35mm at Vidiots with an introduction from Noah Segan, who directed Turturro in one of the breakout titles from this year’s Sundance, “The Only Living Pickpocket in New York.” Hopefully, this will turn into a year in which Turturro gets some long-deserved accolades.

Christmas in June

Elliott Gould on the set of 1978’s “The Silent Partner.”

(Anwar Hussein / Getty Images)

There is something particularly charged about watching a Christmas movie at other times of year — an odd sense of dislocation and maybe even something a little naughty, a circuit-scrambling frisson. So it is particularly notable that as part of their salute to the independent studio Carolco Pictures (behind such films as “Basic Instinct,” “Terminator 2: Judgment Day” and “Reservoir Dogs”), the Vista will be showing 1978’s “The Silent Partner.”

Just the kind of tight and gripping thriller that people pine for all year round, “The Silent Partner” has a screenplay by Curtis Hanson, who would go on to make “L.A. Confidential.” Elliott Gould plays a Toronto bank teller who tries to rip off the thief (Christopher Plummer) who robs his branch wearing a Santa costume as a disguise. Soon they are both scheming against each other.

In his original review of the film, Kevin Thomas called it “tense and ingenious.” In a reconsideration of the film some months later, Charles Champlin called it “a stylish crime-suspense story, a cat-and-mouse game between Christopher Plummer as a clever, sadistic bank robber and Elliott Gould as a bored bank teller who sees a way out of his boredom and into riches.”

So much beauty

Brooke Adams and Sam Shepard in the 1978 movie “Days of Heaven.”

(Criterion Collection)

Terrence Malick’s 1978 “Days of Heaven” is still strikingly singular: a love story told with a stirring visual style. The film’s beauty — aside from its impossibly good-looking lead actors, Richard Gere and Brooke Adams — in part comes from gifted Spanish cinematographer Néstor Almendros, who made his American debut after a career in Europe that saw him working with filmmakers such as Eric Rohmer and François Truffaut. Almendros would win an Academy Award for the film.

The New Beverly will show “Days of Heaven” in 35mm Tuesday through Thursday as a double bill with Truffaut’s 1970 “The Wild Child,” shot by Almendros in black-and-white. Writing about “Days” in 1978, The Times’ Charles Champlin called it “an extraordinary and original visual experience and a movie which is thrilling in its uncompromised purity.”

Perverse fun

Ha Jung-woo, left, and Kim Min-hee in the 2016 movie “The Handmaiden.”

(TIFF)

Korean filmmaker Park Chan-wook was just president of the Cannes jury and has become a much-beloved figure on the international circuit for his wicked sense of humor and sharp sense of style. Nowhere is that on better display than his 2016 film “The Handmaiden,” which is somehow at once a period drama, a con-man thriller and an erotic lesbian romance. Vidiots will be showing the movie Sunday.

As Justin Chang wrote when the film was released, “Without sacrificing his taste for psychosexual perversity or his flair for violent grace notes, Park has given us a teasingly witty and elegant puzzle-box of a thriller whose pleasures are rooted not in visceral shock but in narrative surprise, and which wisely opts to seduce rather than pulverize its audience.”

In an interview at the time, Park said the film’s unpredictability was part of the project’s appeal. “That’s the exact kind of fun to be had with this film and the reason why I chose to make this film. Everything becomes a game of perception. Rather than to say it’s a difficult thing to navigate, it is fun to deal with. Not only for me as a filmmaker but for the audience to see that and engage in that game.”

New this week

• Amy Nicholson reviews the latest attempt to make a movie out of a popular Mattel toy with the lightly-tongue-in-cheek “Masters of the Universe.”
• Amy also reviewed the revival of the satirical “Scary Movie” franchise, with original stars Anna Faris and Regina Hall returning to make fun of such recent hits as “Sinners,” “Weapons” and “The Substance.”
• The documentary “Time and Water” looks at climate change through the life and work of Icelandic writer Andri Snaer Magnason as directed by Sara Dosa, who had a hit with her last film “Fire of Love.” Robert Abele reviews.

One last thing…

This week, our colleagues at De Los launched a podcast hosted by Fidel Martínez and Suzy Exposito. The interview-style video podcast will feature conversations with the people shaping Latino culture in the United States.

The first episode features singer and actor Leslie Grace, who talks about her experiences working on the film “In the Heights” as well as being the star of the canceled “Batgirl.”

Cape Fear,” premiering Friday on Apple TV, is a 10-episode limited series remake of a 1991 Martin Scorsese remake of a 1962 film adapted from John D. MacDonald’s 1957 novel “The Executioners,” and as in a game of telephone each subsequent version adds new material and moves a little farther from the original. (The credits to the series, created by Nick Antosca, note all previous sources and screenwriters.) Thirty-four years having passed since the last go-round, we are treated to such modern advances as catfishing, drones, deep fakes, social media and pushy true-crime podcasters.

In each iteration, a family is menaced by a recently released ex-con who blames one or more of them for his incarceration. Antosca fills his extra-long take on the material with complications and inventions; though the series is also chock full of borrowings from and allusions to its predecessors — you can hardly call them Easter eggs, lying there as they do in plain sight. (And sound: Bernard Herrmann and Elmer Bernstein‘s earlier scores share space with Jeff Russo’s new one.)

In every version, the antagonist is a now-charming, now-menacing psychopath named Max Cady (Javier Bardem), memorably played by Robert Mitchum in 1962 and Robert De Niro in 1991. In the novel and movies, Cady was serving time for rape; here it’s for the murder of his wife and unborn child, when new evidence suddenly springs him from prison after 17 years. We are invited to suspect this evidence from the very beginning, though this suspicion will itself become suspect. “Or is it?” is a question you’ll be prompted to ask through the series.

The objects of Cady’s slow-boiling vengeance — seemingly — are married lawyers Tom (Patrick Wilson) and Anna Bowden (Amy Adams), sharing the position previously represented solely by Gregory Peck and Nick Nolte in turn. Anna, who had unsuccessfully represented Cady, ironically works for an Innocence Project-type nonprofit, whose chief, Noa Toussaint (CCH Pounder), is only too delighted to fundraise on the back of Cady’s celebrity. Cady, claiming no hard feelings, insinuates himself into their world, apparently friendly, apparently helpful, so that it’s not always clear what’s sincere and what’s strategy. Is he a wolf in sheep’s clothing, or just a creepy, sometimes violent sheep? (“Killed his wife, didn’t kill his wife,” a minor character will volunteer, “he’s an arrogant bastard either way.”)

There are now two Bowden children in the picture, doubling earlier versions. Natalie (Lily Collias), Anna’s daughter from a previous relationship, is a good girl looking to go just a little bad, who feels unseen by her busy parents. Sad, sullen younger half-brother Zach (Joe Anders), unrecovered from a social media misstep, is acting more strangely than teenage boys usually do.

This is a cat and mouse — or cats and mice — melodrama, with customized stock characters given dark secrets and backstory traumas less as explanation than complication. (Good, bad, whatever, everyone’s got issues.) Cady, who has a prison-acquired brain injury — cue flashback, in black and white, naturally — suffers from headaches and hallucinations, reacting painfully to flashbulbs (a Chekov gun, I wondered?), seeing visions of his dead wife and son, whom he pictures grown. (He is sad about it, whether or not it’s his fault.) And is that masked woman in green he keeps seeing real or imagined?

On a nuts and bolts level, it’s all screwed together tight, even the pieces that stick out at weird angles. (Is there a reason to make Cady an apparently talented chef, other than to demonstrate his knife skills?) The actors fill their parts with feeling. Bardem gets the most, and most extreme attitudes, to play, whether cozying up individually to the Bowdens, threatening a groupie, undergoing a religious conversion, acting normal or being weird. Adams is low-key forceful as his primary opponent. (Tom’s comparatively weak character is underscored by his secret habit of microdosing LSD and a nothingburger flirtation with a colleague.) Collias is impressively real. The dialogue is well-crafted, the Southern atmosphere (Atlanta doubling Savannah, with Savannah here and there standing for itself) suitably oppressive.

Nevertheless, it’s fair to ask whether this story, even with its yards of extra material, could be told in under nine hours? The answer, most assuredly, is yes. And might it be better shorter? It might.

Not that I’ve ever been a fly on the walls of the executive conference or dining or washrooms where such deals are made, but I suspect the length has less to do with artistic necessity than A) the obscure economics of streaming and B) the not unrelated habits of viewers, who, to judge by questions I get asked, abhor a vacuum. A 10-episode series will put off the moment when they have “nothing to watch,” while the streamer gets to keep them in the ecosystem longer. “Cape Fear” is hardly the only series to which this applies. As I imagine the series will do well — mystery with a smattering of horror seems very much what the people want — more may be just the ticket for some people. Still, there’s a sense that the story has expanded to fill the space, with plotlines for all and crazy side trips (snakes! drugs!) in escalating levels of nuttiness.

That might be more feature than bug, but I can’t say I felt much of anything for the characters, or was concerned whether the Bowdens would emerge from their ordeals a stronger family. (Whatever the outcome, I’d say they have work to do.) Having been given only eight of 10 episodes to review, I’m interested, in a disinterested way, how this all will shake out, when the story finally moves to the Cape Fear River, and whatever final twists — that there will be twists, I am certain — an inevitably Action Packed Finale has in store.

Nonfiction films and series are among some of the most-watched (and most-discussed) programming on TV. As Emmy season heats up, the directors of six notable contenders share thoughts about their projects.

‘The Yogurt Shop Murders’ (HBO)

“It’s just a famous, famous story in Texas, but particularly Austin,” director Margaret Brown says of the bewilderingly complex case of four teenage girls slain at a yogurt shop in the state’s capital in 1991. “You heard about it all the time at parties. My best friend was like, ‘That story is rabbit hole upon rabbit hole upon rabbit hole — no one knows what really happened. It’s impossible to figure out.’ I liked the idea of something that was impossible to figure out. But when I started doing the interviews, I was like, ‘This is dark, this is deep trauma.’ I’d never watched or done true crime before. I didn’t realize what it would be like to sit with people who hadn’t known what happened to their siblings and children for over 30 years. I remember [thinking], ‘I’ve got to get this right. I can’t mess this up. There’s just too much pain here.’”

‘The American Revolution’ (PBS)

“Leading up to it, I said I just don’t want us drowning in fife-and-drum treacle,” director Ken Burns says of his expansive treatment of America’s origin story, which draws out the experiences of Native Americans and enslaved people as well as the era’s atmosphere of civic discord. “Clearly it’s not, because we’re so existentially challenged by the moment. But the revolution gives us a sense of perspective. Times were more challenging then. More division. More division in the Civil War. More division in Reconstruction. Yes, the threats are unprecedented, but they’re not totally unfamiliar. Mark Twain is supposed to have said history doesn’t repeat itself, but he’s [also] supposed to have said it rhymes. I love that. So like Odysseus, I tie myself to the mast and resist the temptation to put a little neon sign in the film saying, ‘Isn’t this so much like today?’”

‘Sean Combs: The Reckoning’ (Netflix)

“There was so much noise,” says director Alexandria Stapleton, who tracks hip-hop mogul Sean “Diddy” Combs’ rise and shocking fall in this series, executive produced by 50 Cent. “I’m scared for my safety, I’m scared for my career. Then there was every journalist, every giant corporation, trying to chase the same story. Because there was a feeding frenzy, there were a lot of people that were not truthful. It was making sure that we were going after the right people to speak with, and then … making sure that they felt safe emotionally. No one knew who I was interviewing while I was making it. In making a project about a man who’s very connected in media and very good at whatever he wants his narrative to be, there was a very deliberate decision to not drop this project until we literally were a week out.”

‘Ocean With David Attenborough’ (National Geographic)

(Keith Scholey / Silverback Films and Open Planet / National Geographic)

“It’s been weird, because I’ve got older, and he sort of stayed the same, like the Dorian Gray picture,” says Keith Scholey, one of the film’s directors, of the 100-year-old broadcasting legend and naturalist. “He’s still got that huge power and presence and commitment. It comes from the heart. He’s got a huge depth to him, in terms of knowledge, experience, personality … but he’s also very self-effacing. The most boring thing in the world for David Attenborough is David Attenborough. He’s interested in every aspect of the truth, and he loves uncovering that and passing that on to the world. He knows how to present in a way that it’s a performance, but it’s not a performance.”

‘Neighbors’ (HBO)

“Neighbor disputes are a great leveler,” says Harrison Fishman, who co-directs this gonzo excursion into neighborhood feuds with Dylan Redford. “If you think about class and race and politics, all that stuff gets thrown out the window when people are dealing with such small, concrete problems. You quickly start learning why people care so much about the things that they’re fighting for. It becomes a bit like a Trojan horse into learning about aspects of America and things about people that have nothing to do with the dispute. Those tangents are so valuable to us, because it gives context to the dispute. But it also helps people understand who everybody is in our country.”

‘Mr. Scorsese’ (Apple TV)

“We would get together and have these very long conversations,” says director Rebecca Miller, who interviewed American cinema’s great poet of tortured masculinity over five years. “But then in terms of the other voices, I thought, ‘Who knows him best?’ There was this wonderful movie called ‘Crumb,’ by Terry Zwigoff. He interviewed [cartoonist R. Crumb’s] ex-girlfriend at a certain point, and I felt like I got a view into the person, not in a gossipy way, but … trying to get a rounded view. If you only get the front-facing part, you’re not going to get a full sense of who they are. It was very important to me that we hear from the daughters or his wife, that there’s a sense of a person in there.”

An ITV series that fans keep rewatching is now streaming for free and boasts an impressive 97% Rotten Tomatoes score

Fans of Vera looking for their next bingeable detective series need look no further.

Back in 2011, ITV’s crime drama Scott & Bailey aired on screens, starring beloved actors Suranne Jones and Lesley Sharp as DC Rachel Bailey and DC Janet Scott.

Written by Happy Valley creator Sally Wainwright, the show followed the personal and professional lives of the two coppers, who are both members of the Syndicate Nine Major Incident Team (MIT) of the fictional Manchester Metropolitan Police.

An instant hit, Scott & Bailey, which attracted around seven million viewers per episode, aired for five series, before ending in 2016 – much to the heartbreak of the show’s loyal legion of fans.

The series also boasted a star-studded cast, made up of Suranne, Lesley, Amelia Bullmore, Nicholas Gleaves, Danny Miller and Pippa Haywood. And over the years, Scott & Bailey garnered several award nominations during its run, including a BAFTA TV Award nomination for Best Drama Series in both 2012 and 2013.

The programme also bagged rave reviews and boasts an impressive 97 percent Rotten Tomatoes score. “Finished Scott and Bailey. What a brilliant series!” declared one person on a Reddit thread.

Someone else said: “I thought it was phenomenal, same writer as Happy Valley, if you liked that you’ll like S&B.” A third chimed in: “Much better than other cop shops like Vera.”

Another wrote: “I’m watching it for a second time and I still don’t want it to end.” A fifth said: “One of my all-time favorites, I loved the friendship between them.”

In 2016, lead star Suranne spoke about the decision to end Scott & Bailey. She told Radio Times: “We said we weren’t going to do another one last series, and then when ITV said, ‘Would you like to do another one?

“We kind of thought [why not], because there’s been quite a break between the last one and this one. And then I said, ‘Oh I’d quite like to produce as well,’ so they said yes come along and do that. So the whole thing was a goodbye in a sense.”

“We were going to do a short thing, I was going to produce, and be properly on the team, because I’ve always put my nose in.”

Scott & Bailey is available to watch on ITVX

Alice Capsey hits 82 whilst Heather Knight finishes unbeaten on 70 as England chase down 181, the highest run-chase in women’s T20 history in England, to secure a six-wicket win against India, sealing an impressive 2-1 series win in Taunton.

READ MORE: Capsey & Knight star as England seal series win

Available to UK users only.

ST. PETERSBURG, Fla. — Shane McClanahan pitched one-run ball for five innings, Jonathan Aranda homered and the Tampa Bay Rays beat the Angels 5-2 on Sunday.

McClanahan (6-2) allowed four hits, struck out three and didn’t issue a walk. Bryan Baker pitched a scoreless ninth for his career-high 16th save this season in 19 chances.

Aranda hit a solo homer in the first inning before Jose Siri singled with two out in the second, advanced to third when Logan O’Hoppe doubled and scored on a wild pitch by McClanahan to make it 1-1.

Aranda and Richie Palacios drew consecutive walks leading off the third inning and Junior Camerino followed with a single to load the bases. Victor Mesa Jr. hit an RBI single and Cedric Mullins walked to drive in a run, giving the Rays a 3-1 lead.

O’Hoppe hit a solo homer in the seventh that pulled the Angels (23-37) within a run.

Pinch-hitter Ben Williamson singled to drive in a run in the bottom of the inning and stole second base. Taylor Walls walked to load the bases and Yandy Díaz drew an eight-pitch walk that scored Chandler Simpson and made it 5-2.

Camerino and Walls had two hits apiece for the Rays (36-20).

Jack Kochanowicz (2-4) allowed three runs and five hits and walked four in 2⅓ innings.

Up next for the Angels: RHP José Soriano (6-4, 2.65 ERA) is scheduled to pitch at home Monday against Rockies LHP Kyle Freeland (1-6, 8.08) in the opener of a three-game series.

An ‘outstanding’ and ‘clever’ detective series is now streaming for free and it boasts an 89% Rotten Tomatoes score

Death in Paradise fans looking for their next detective series need look no further.

New Zealand-set show, The Brokenwood Mysteries, has been likened to Midsomer Murders and it is currently on UK screens as the crime drama’s 12th season airs.

Viewers can catch up from series one on Channel 4 and U&DRAMA with new episodes airing on Mondays at 8pm on the latter channel.

The Brokenwood Mysteries sees the “seemingly quiet town of Brokenwood slowly being riddled with murders” and it is up to Detective Mike Shepherd, played by Neill Rea, to get to the bottom of the crimes.

Other characters include Detective Kristin Sims, played by Fern Sutherland, Detective Constable Sam Breen, played by Nic Sampson, Dr. Gina Kadinsky, played by Cristina Ionda, and Detective Constable Daniel Chalmers played by Jarod Rawiri.

The show was first released in 2014 and its currently airing its 12th season. The detective series has received rave reviews and boasts an impressive 89% Rotten Tomatoes score with many viewers claiming it is “better than Death in Paradise”.

One person said: “If you like a great mystery, well written with lots of twists and turns as well as colorful characters populating a simply stunning locale, I can confidently recommend you visit the quirky world of Brokenwood.”

A different viewer put: “I really enjoy this series and agree with the positive reviews I’ve read” while another show watcher added: “I was pleasantly surprised, the lead actors were excellent and supporting cast very good in my opinion.”

Another fan commented: “I have given The Broken Wood Mysteries a 9 out of 10. For me this is extremely rare, it’s not often something catches my attention and keeps it, as well as Broken Wood does.”

They added: “BUT the Broken Wood Mysteries in my humble opinion, Is That Good!. To Conclude, Wonderful Trio of exceptionally good Actors!, Delightful Script Writing (quality writing), wonderful Scenery which shows delightfully the beauty of New Zealand. ALL IN ALL, A very deserved 9 out of 10.”

Elsewhere, a different viewer wrote: “I look forward to future episodes of this refreshing NZ ‘whodunnit’, which for me rates better than Midsomer, definitely better than Death in Paradise, but perhaps not quite as good as Lewis, Frost, or the Swedish version of Wallander. Well done NZ!”

Meanwhile, another fan added: “Came across this well done series from the “you may like ” section and was pleasantly entertained.

“The show built the characters quickly and the result was a wonderful mix of personalities with a nice mix of serious and humour ,especially from Fern and Neill. The Medical Examiner is like someone everyone knows, and the banter between all the cast is the strongest part of the show.”

While a different viewer wrote: “Outstanding Kiwi police series, reminiscent of some British country police dramas. The cast work well together and over the 11 seasons we see a development in the characters. If you like country music you’ll love the soundtrack.”

The Brokenwood Mysteries series one to 11 are available to watch on Channel 4 and U&DRAMA now. Season 12 airs on Mondays at 8pm on U&DRAMA with episodes also available to watch on Channel 4.

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

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

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

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Recommendations from the film and TV experts at The Times

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

(Sandy Morris / Disney)

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

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

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

(Melinda Sue Gordon / Universal Pictures)

Odysseys (Criterion Channel)

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

Guest spot

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

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

(Aaron Epstein / Prime)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ICYMI

Must-read stories you might have missed

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Both made by 20-something directors who emerged from the world of YouTube, the horror movies “Obsession” and “Backrooms” are dominating the conversation. They could come to represent a pivotal moment for how Hollywood engages with young talent and audiences alike.

I saw Curry Barker’s “Obsession” this week at a packed holiday matinee and Kane Parsons’ “Backrooms” is on track for a huge opening weekend — maybe the largest in A24’s history. The fact that audiences are responding to these films is exciting and one has to hope that Hollywood takes the right message from their successes: to give young filmmakers the space to create the projects they want to make, rather than shoehorn them into preconceived notions of what people want. Audiences right now seem to be proving themselves to be adventuresome when given the opportunity to try something new.

Marilyn at 100

Marilyn Monroe in the 1953 classic “Gentlemen Prefer Blondes.”

(Academy Museum)

When Marilyn Monroe’s death was first reported in The Times on Aug. 6, 1962, the news read, “Marilyn Monroe, a troubled beauty who failed to find happiness as Hollywood’s brightest star, was discovered dead in her Brentwood home of an apparent overdose of sleeping pills.”

That intertwining of the glamour and sex appeal of her public persona with an air of doomed tragedy would permanently attach itself to her image, making her one of the most unforgettable stars Hollywood has ever created.

Monday marks the 100th anniversary of Monroe’s birth in L.A.’s Boyle Heights, where she was born Norma Jeane Mortenson. In celebration of Monroe’s centennial, the Academy Museum will open a new exhibition on Sunday, “Marilyn Monroe: Hollywood Icon,” featuring hundreds of objects including personal materials never before displayed and a number of her most memorable costumes.

The museum will also launch a 17-film series spotlighting Monroe’s remarkable career, including her versatile talent as both a comedian and a more dramatic performer. Highlights include the 1953 thriller “Niagara,” 1950’s backstage drama “All About Eve” in a new 35mm print with an introduction from journalist Lorraine Nicholson and 1955’s “The Seven Year Itch” with writer Kim Morgan introducing. Elsewhere, “Some Like It Hot” from 1959 and Monroe’s final completed film, “The Misfits,” will both show in 4K.

On Sunday, “Gentlemen Prefer Blondes” will play in the Academy’s David Geffen Theater in 4K. There are also other Monroe screenings and events around the city, including multiple shows of “Gentlemen” at the Gardena Cinema on Saturday.

Marilyn Monroe and photographer Bruno Bernard backstage at the Hollywood Bowl in 1953.

(Bernard of Hollywood Foundation Archive)

Authors Mark A. Fortin and Joshua John Miller have collaborated on a new book, “The Marilyn Monroe Century: From Norma Jeane to Icon — A Story in Photographs.” The culmination of a seven-year-long research process, the book unearths original negatives of pictures of Monroe taken by Miller’s grandfather, acclaimed photographer Bruno Bernard. Bernard, who died in 1987, shot with her before she had even adopted the name Marilyn Monroe and took the best-known images of her, standing on a subway grate with her white dress billowing up while in production on “The Seven Year Itch.”

“One of the stories I’m trying to tell with a lot of these pictures is to counter the narrative that Marilyn didn’t have agency in the creation of her persona,” says Miller in a recent Zoom call from a room at the Chateau Marmont. “The truth is she was very much instrumental in constructing her image. And Bruno was a big part of that. Photographers at that time were not only the photographer — they were the best friend, the therapist, the agent, the stylist. I think it’s really important to have context for these pictures because this kind of history gets lost.”

The book does a remarkable job of providing additional atmosphere around images that might already be familiar, giving a fuller sense of what was going on both inside and outside of the frame. The notorious subway-grate scene was actually shot twice, first in New York and again in Los Angeles.

“I think what I’ve been trying to do is not rewrite the narrative, but thread [Bruno] correctly back into the stitching of Marilyn’s mythology,” Miller says. “He is one of the only photographers who deeply knew both Norma Jeane and Marilyn. I know everyone says they know the ‘real Marilyn,’ but he was part of the construction with her to create that.”

The joy of sadness with ‘Bleak Week’

Joseph Gordon-Levitt and Brady Corbet in the movie “Mysterious Skin.”

(Tartan Films)

“Bleak Week: Cinema of Despair” has become the signature program of the American Cinematheque, expanding beyond its L.A. footprint for editions at other theaters not just around the country but around the world. Turning sadness, depression and defeat into group activities to be enjoyed together has been an ingenious masterstroke of programming.

Now in its fifth edition, this year’s highlight will be a series with Isabelle Huppert, who will be present for screenings of such downbeat fare as “The Piano Teacher,” “Le Cérémonie,” Violètte Noziere,” “Elle,” “Time of the Wolf” and “Heaven’s Gate.”

Filmmaker Ari Aster will also be present for a complete retrospective of his four features. Other guests include Denis Villeneuve with “Incendies,” Allen Hughes with “Dead Presidents,” Al Pacino with “The Godfather Part II,” Gregg Araki with “Mysterious Skin,” Robert Englund with “Buster and Billie,” Werner Herzog with “Heart of Glass” and Theresa Russell with “Bad Timing.”

I will be introducing the U.S. theatrical premiere of a 4K restoration of Carlos Saura’s 1966 “The Hunt” and moderating Q&As with filmmaker Richard Kelly for the 20th anniversary of the Cannes cut of “Southland Tales” and actor Haley Joel Osment for a 25th anniversary 35mm screening of “A.I. Artificial Intelligence.” And The Times’ Joshua Rothkopf will moderate a Q&A with Aster for “Eddington,” while Amy Nicholson will talk to Aster for “Midsommar.”

UCLA’s Festival of Preservation

Leslie Uggams in 1972’s “Black Girl.”

(UCLA Film & Television Archive)

The UCLA Festival of Preservation is one of the city’s most-longstanding and venerated events for film lovers, celebrating revered classics and rediscovered obscurities alike. This year’s edition, the 22nd, opens with the West Coast premiere of a new restoration of Ossie Davis’ 1972 “Black Girl,” an adaptation of J.E. Franklin’s successful play about thee generations of Black women.

Jose Luis Ruiz’s groundbreaking 1975 documentary on Latino immigrants, “The Unwanted,” will have a restoration world premiere. The restoration of Budd Boetticher’s 1955 melodrama “The Magnificent Matador,” starring Anthony Quinn and Maureen O’Hara, brings back the film’s stunning look in Cinemascope and Eastmancolor.

Andre de Toth’s 1948 thriller “Pitfall,” starring Dick Powell and Lisbeth Scott, will have a world premiere restoration. The series concludes with De Toth’s stylish romantic drama “The Other Love” from 1947 starring Barbara Stanwyck. The restoration reinstitutes the original ending of the film unseen by audiences since the 1940s.

Former Times critic Keneth Turan has made his own picks for what not to miss.

A tender coming-of-age romance

Vincent Spano and Rosanna Arquette in the movie “Baby, It’s You.”

(Paramount Pictures)

Produced by Amy Robinson and Griffin Dunne between their work on Joan Micklin Silver’s “Chilly Scenes of Winter” and Martin Scorsese’s “After Hours,” the 1983 movie “Baby It’s You” captures a number of rising talents at just the right moment. Only the third feature written and directed by John Sayles (and still his only movie made at a Hollywood studio), the film is a particularly smart take on the coming-of-age romance, with a sharp sense of time and place. It’s even shot by cinematographer Michael Ballhaus, fresh off his collaborations with Rainer Werner Fassbinder but before his long collaboration with Scorsese.

Set in late-1960s New Jersey, the story involves a good-girl high schooler preparing for college (Rosanna Arquette, who lights up the screen) who falls for a bad boy with few future prospects (Vincent Spano). The film will show on Wednesday in a 4K restoration at the Academy Museum with Arquette and Spano both scheduled to attend.

In a 1983 Times review, Shelia Benson said the film “explores questions of class and unequal opportunity with humor and tender insight,” adding that Spano and Arquette “together conjure up every improbable, love-struck couple who ever dazzled us ordinary mortals in the halls or at the senior prom.”

New this week

• Kane Parson’s horror film “Backrooms” stars Renate Reinsve and Chiwetel Ejiofor in an adaptation of Parson’s own popular YouTube videos. As Amy Nicholson wrote, “Given that backdrop, ‘Backrooms’ would be one of the year’s most significant releases even if the movie itself was merely fine. But it’s better than fine — it’s a work of honest-to-goodness art.”
• Katie Walsh reviews the crime thriller “Tuner,” starring Leo Woodall as a piano tuner who gets in over his head with the wrong people. The film is the fiction feature debut from Oscar-winning documentary filmmaker Daniel Roher.
• The latest music-themed film from Irish writer-director John Carney, “Power Ballad” is about a failed-to-launch songwriter (Paul Rudd) trying to get credit for the tune he co-wrote with a boy band star (Nick Jonas). Amy Nicholson reviews.

UCLA loses to Alabama

Megan Grant hit her 41st home run of the season to tie a UCLA career record Thursday night, but top-seeded Alabama rallied behind a five-run surge to beat the eighth-seeded Bruins 6-3 on opening day at the Women’s College World Series.

UCLA starter Taylor Tinsley took a 3-1 lead into the fifth inning but walked leadoff batter Jena Young then surrendered a 249-foot home run to Alexis Pupillo two batters later to tie the score.

In the sixth, Alabama’s Kristen White beat out a grounder to third and Young dropped a bloop single to left, setting the stage for Brooke Wells, who drove a pitch from Tinsley 239 feet to center field to give the Crimson Tide the lead.

The Bruins (52-9) will have to beat the winner of the game between Arkansas and Nebraska on Friday night to avoid elimination.

Continue reading here

Angels rout the Tigers

Grayson Rodriguez pitched five strong innings as the Angels beat the Detroit Tigers 7-1 on Thursday for their fifth victory in six games.

The Angels won back-to-back series for the first time this season, sweeping Texas at home before winning two of three in Detroit.

Detroit has gone 4-18 since May 4, losing seven straight series.

Rodriguez (2-1) allowed one run on two hits and two walks in five innings. He struck out five.

Continue reading here

Angels box score

MLB standings

MLB team owners propose a salary cap

From Bill Shaikin: They had balloons, baseball caps and a splashy video. They even had Dusty Baker, because any day with Dusty Baker is a good day.

And, as a campaign called “The Sacramento Pitch” unveiled its plan to lure a Major League Baseball expansion team to the state capital, the mayor made his pitch a blunt one.

“This region has earned its place in the majors,” Sacramento Mayor Kevin McCarty said Thursday. “And, frankly, MLB could use Sacramento.”

We’ll see. But, as McCarty and other dignitaries rallied in Sacramento, a more important gathering was happening in New York, at which MLB owners formally proposed the salary cap players have vowed to resist.

Whether owners can get a cap — either by persuasion through the fall and winter, or more likely by canceling games next spring so players go unpaid — remains to be seen. For Sacramento and the other American and Canadian cities pursuing two expansion teams, the outcome of collective bargaining could determine the fee MLB would charge for each one.

Continue reading here

Mason Edwards leads USC to College Baseball World Series

From Joaquin Ruiz: Mason Edwards has first-round hype ahead of July’s 2026 MLB draft for a reason.

USC’s ace takes the mound like a boxer enters the ring, eager to land blow after blow. And as the Trojans (43-15) open the NCAA tournament in College Station, Texas, at 6 p.m. PDT Friday (ESPNU), the southpaw packs a serious punch. He carries a nation-leading 160 strikeouts and the second-best 1.43 ERA.

“They’re getting a competitor,” Edwards said of what people can expect when he pitches. “There have been a lot of situations where I’ve had to battle and fight adversity. So, I think you’ll see a good fight when I toe the rubber. I’m not going to shy away from any type of competition.”

If anything, the competition probably shies away from Edwards.

Named the Big Ten 2026 Pitcher of the Year after stacking a record 113 strikeouts in conference play, Edwards is integral to what has been USC’s best team since the early 2000s.

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Can UCLA win the College Baseball World Series?

From Joaquin Ruiz: No. 1 UCLA’s quest for the second baseall national title in school history starts Friday.

The Bruins (51-6, 28-2 Big Ten) enter the NCAA tournament as the top overall seed and host against Saint Mary’s (34-25, 15-12 West Coast) to begin the Los Angeles Regional at Jackie Robinson Stadium.

After winning its first Big Ten tournament championship in program history on Sunday, UCLA is focused on continuing its dominance and embracing the target on its back as a College World Series favorite.

“We’ll see what happens, but I think just staying with us and not trying to do too much and just stay present,” UCLA junior outfielder Payton Brennan said. “That’s the main thing — and staying with each other.”

Their record and conference dominance aside, the Bruins sit atop several statistical categories and are intimidating across the diamond.

But UCLA coach John Savage said UCLA isn’t looking past its regional foes — Saint Mary’s, Cal Poly San Luis Obispo and Virginia Tech.

Continue reading here

This day in sports history

1946 — Two-year-old fillies Chakoora and Uleta become the first thoroughbreds to complete a transcontinental flight. They’re flown from New York to Inglewood by the American Air Express Corp., a 2,446-mile trip that lasts 20 hours due to bad weather.

1968 — European Cup Final, Wembley Stadium, London: Bobby Charlton scores twice as Manchester United beats Benfica, 4-1; first English club to win the trophy.

1971 — Al Unser wins his second straight Indianapolis 500 with a record mark of 157.735 mph and finishes 22 seconds ahead of Peter Revson. The pace car, ridden by Eldon Palmer, crashes into the portable bleachers and injures 20 people.

1977 — A.J. Foyt becomes the first driver to win four Indianapolis 500s and Janet Guthrie becomes the first woman in the race. Guthrie is forced to drop out after 27 laps with mechanical problems.

1977 — Australian Sue Prell first female golfer to hit consecutive holes-in one; 13th and 14th holes at Chatswood Golf Club, Sydney.

1980 — Larry Bird beats out Magic Johnson for NBA rookie of year.

1983 — After three second-place finishes, Tom Sneva wins the Indianapolis 500 by 11 seconds over three-time champion Al Unser.

1985 — 29th European Cup: Juventus beats Liverpool 1-0 at Brussels.

1988 — Rick Mears overcomes an early one-lap deficit, then overpowers the rest of the field on the way to his third Indianapolis 500 victory. Mears gives team-owner Roger Penske an unprecedented seventh victory and fourth in five years.

1990 — Stefan Edberg and Boris Becker, the top two seeds, are bounced in the first round of the French Open by two European teenagers, the first time the top two men’s seeds are eliminated in the first round of a Grand Slam tournament. Edberg is swept easily in straight sets by 19-year-old Sergi Bruguera of Spain, and Becker loses to 18-year-old Yugoslav Goran Ivanisevic.

1991 — 35th European Cup: Red Star Belgrade beats Marseille (0-0, 5-3 on penalties) at Bari.

1993 — Wayne Gretzky’s overtime goal gives the Kings a 5-4 win over the Toronto Maple Leafs in the Western Conference finals. The Kings become the first NHL team to play the full 21 games in the first three rounds.

1998 — Eighteen-year-old Marat Safin, ranked 116th in the world and playing in his first Grand Slam tournament, beats defending champion Gustavo Kuerten, 3-6, 7-6 (7-5), 3-6, 6-1, 6-4 in the second round of the French Open.

2005 — Dan Wheldon wins the Indianapolis 500 when Danica Patrick’s electrifying run falls short. Patrick is the first woman to lead at Indy, getting out front three separate times for a total of 19 laps. But Wheldon passes her with seven of the 200 laps to go and easily holds on.

2006 — Rafael Nadal passes Guillermo Vilas as the King of the clay courts and begins his pursuit of a second successive French Open trophy. Nadal earns his 54th consecutive win on clay, breaking the Open era record he shared with Vilas by beating Robin Soderling in straight sets in the first round at Roland Garros.

2011 — JR Hildebrand, one turn from winning the Indianapolis 500, skids high into the wall on the final turn and Dan Wheldon drives past to claim an improbable second Indy 500 win in his first race of the year.

2011 — Roger Federer sets another record by reaching the French Open quarterfinals, and Novak Djokovic closes in on a pair of his own. Federer extends his quarterfinal streak at major tournaments to 28 with a 6-3, 6-2, 7-5 victory over Stanislas Wawrinka. Djokovic maintains his perfect season to 41-0 and stretches his overall winning streak to 43 matches by beating Richard Gasquet of France 6-4, 6-4, 6-2.

2012 — Serena Williams loses in the first round of a major tournament for the first time, falling to Virginie Razzano of France 4-6, 7-6 (5), 6-3 at the French Open. Williams enters the day with a 46-0 record in first-round matches at Grand Slam tournaments.

2016 — Alexander Rossi wins the 100th running of the Indianapolis 500.

2017 — Tiger Woods is arrested and charged with driving under the influence in Jupiter, Fla.

2021 — UEFA Champions League Final, Porto: Kai Havertz scores just before halftime to give Chelsea a 1-0 win over Manchester City in an all-English final; Blues’ second CL title.

Compiled by the Associated Press

This day in baseball history

1916 — Christy Mathewson defeated the Boston Braves 3-0 for the New York Giants’ 17th consecutive road win.

1922 — The U.S. Supreme Court ruled organized baseball was primarily a sport and not a business, and therefore not subject to antitrust laws and interstate commerce regulations. The suit had been brought by the Federal League’s Baltimore franchise.

1928 — Bill Terry hit for the cycle to lead the New York Giants to a 12-5 win over Brooklyn at Ebbets Field. Terry became the first player in major league history to include a grand slam as part of the cycle.

1942 — New York’s Lefty Gomez, self-described as the worst-hitting pitcher in baseball, banged out four hits while pitching a 16-1 four-hitter against Washington.

1956 — Dale Long went hitless for the Pirates, ending his major league record streak of home runs in eight consecutive games. The Brooklyn Dodgers beat Pittsburgh, 10-1.

1965 — Philadelphia’s Richie Allen hit a 529-foot home run over the roof of Connie Mack Stadium off Chicago’s Larry Jackson in the Phillies’ 4-2 victory.

1976 — Houston’s Joe Niekro was the winning pitcher and hit a home run off his brother, Phil Niekro. The Astros beat the Atlanta Braves 4-1. It was the only home run hit by Joe in his 22-year major league career.

1990 — Oakland’s Rickey Henderson broke Ty Cobb’s 62-year-old American League stolen base record, but the Toronto Blue Jays still beat the Athletics 2-1. Henderson’s 893rd steal came in the sixth inning.

2000 — Oakland second baseman Randy Velarde turned the 10th unassisted triple play in regular-season history during a 4-1 loss to the New York Yankees. With runners on first and second in motion, Shane Spencer hit a line drive to Velarde who caught the ball, tagged out Jorge Posada (running from first) and stepped on second to beat Tino Martinez.

2002 — Roger Clemens recorded the 100th double-digit strikeout game of his career, fanning 11 in seven innings against Chicago. Nolan Ryan (215) and Randy Johnson (175) were the others to have 100 double-digit strikeout games.

2002 — In an article in Sports Illustrated former NL MVP Ken Caminiti stated that about 50% of current major league players used some form of steroids.

2003 — Colorado, behind Todd Helton’s three home runs and Ron Belliard’s five hits beat the visiting Dodgers 12-5. Helton added a single and drove in six runs.

2010 — Philadelphia’s Roy Halladay threw the 20th perfect game in major league history, beating the Florida Marlins 1-0. It was the first time in the modern era that there were a pair of perfect games in the same season. Halladay faced three Marlins pinch-hitters in the ninth. Mike Lamb led off with a long fly ball, Wes Helms struck out, and Ronny Paulino to hit a grounder to third for the 27th out. Halladay struck out 11 and went to either 3-1 or 3-2 counts seven times, twice in the game’s first three batters.

2013 — Chris Davis went 4 for 4 with two home runs, and the Baltimore Orioles overcame three homers by Ryan Zimmerman to beat the Washington Nationals 9-6.

2013 — Dioner Navarro had the first three-homer game of his career, connecting from both sides of the plate at Wrigley Field to lead the Chicago Cubs to a 9-3 win over the Chicago White Sox. Navarro drove in a career-high six runs and scored four times.

2014 — Diamondbacks pitcher Josh Collmenter faces the minimum 27 batters in spite of giving up three hits in a complete game shutout defeat of the Cincinnati Reds. The three Reds baserunners were erased on double plays.

2015 — Lewis-Clark State wins their 17th NAIA baseball title.

2021 — The Twins’ Josh Donaldson scored the two-millionth run in major league history.

2025 — Chris Sale becomes the fastest pitcher to reach 2,500 strikeouts, doing so in 2,026 innings, fewer than the 39 men who have preceded him to the mark.

Compiled by the Associated Press

Until next time…

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.