thing

It’s decision-making time.

With a 53-man roster needing to be finalized by Sunday, the Chargers wrap up the preseason against the Rams at SoFi Stadium on Thursday night.

The Chargers looked sloppy in their 41-17 home loss to the San Francisco 49ers last week, following an inspiring 27-7 road win over the Houston Texans, and now aim for a better on-field product in their final tuneup.

“Just want it to be crisp [and] clean,” Chargers coach Jim Harbaugh said. “Want to see improvement. … Everybody doing what they’re supposed to do.”

Here are four things to watch for — from the Chargers’ perspective — during Thursday’s game at 7 p.m. PDT (CBS, KCAL).

Who rises or falls as roster cuts loom?

The pressure is on for players on the bubble of earning a roster spot.

“From a player standpoint, how you feel, it’s so important it’s like life or death,” Harbaugh said. “Your football life is at stake; your lifestyle’s at stake, your job. That’s how important it is to the individual player. And then, to the team — I use the analogy [of] a deck of cards [and] the shuffle — you’re trying to create your best hand.”

How many offensive linemen will the Chargers keep in the wake of starting center Tyler Biadasz’ season-ending left knee injury? Which linebacker will turn heads enough to earn a spot? Which wideout or defensive back will literally and figuratively drop the ball?

Left guard competition

Chargers guard Kayode Awosika speaks during a news conference on June 8.

(William Liang / Associated Press)

It appears the starting left guard spot is all but Kayode Awosika’s.

“Kayode has kind of taken the lead,” offensive coordinator Mike McDaniel said. “It’s almost his job to lose, just because of his growth in the last two weeks.”

Awosika wants to seal his top spot on the depth chart, so keep an eye on him. With Jake Slaughter becoming the Chargers’ starting center, their depth at left guard after Awosika is slim.

McDaniel mentioned that Trey Pipkins is still in the mix for the starting left guard spot. But Awosika probably would have to play terribly for that debate to pick up steam.

Trey Lance vs. DJ Uiagalelei

Chargers quarterback Trey Lance passes against the 49ers on Aug. 20.

(Mark J. Terrill / Associated Press)

The competition is fierce for the role of Justin Herbert’s backup.

Lance and Uiagalelei have each seen similar amounts of action throughout training camp, and neither seems to have an advantage so far.

Whoever looks better against the Rams could secure QB2 on the depth chart, while the other will likely receive a practice-squad opportunity, if not a shot elsewhere.

“I feel like I’ve made strides,” Uiagalelei said. “Each and every day I go out there, I try to get better [and] attack a certain thing.”

Although each signal-caller is still in the hunt for No. 2, Lance does have experience in McDaniel’s offense from their shared time with the 49ers. A decent showing from Lance could be enough to keep him in the same position he held last season.

“I’m talking to [McDaniel] more than I did when I was in San Francisco,” Lance said. “He hasn’t changed — same energy, same guy.”

Real glimpse of starters?

Most of the Chargers’ starters didn’t play against the Texans. And against the 49ers, they called it a game after one series.

Harbaugh said starters will be in for six to nine plays against the Rams.

“It’s been a good camp so far,” special teams coordinator Ryan Ficken said. “Ups and downs; some things we’ve been learning [and] going through; some good plays, some bad, obviously; coming off last week’s game, obviously wasn’t the expectations we were hoping for … but again, it’s a learning process.”

Choose your own adventure: would you rather travel vicariously with Sean Duffy or Conan O’Brien as your guide?

“Great American Road Trip,” the reality series from the Department of Transportation starring Secretary Duffy and his family, finally launched this week on YouTube after months of delays. Originally set to premiere in June, ahead of the nation’s 250th celebration, it follows Duffy and his wife, Rachel Campos-Duffy, a co-host of “Fox & Friends Weekend,” and their nine children as they travel through seven states. While the couple has roots on MTV’s “The Real World,” their new TV venture doesn’t seem destined to have the same cultural impact. The six episodes of the series — as of publication time — have just over 14,000 views combined.

Meanwhile, over on HBO Max, O’Brien is back for more unpredictable cross-cultural exchanges with the return of his travel series. Now in its third season, “Conan O’Brien Must Go” follows the comedian and podcast host around the world as he interacts with fans and provides glimpses of everyday life abroad with his blend of improvisational comedy and an affinity for situations that embrace the absurd. The season kicks off with a trip to India, a major feat considering the show has faced years of permit delays related to a remote segment for “Late Night With Conan O’Brien” that aired in 2004. I spoke with executive producer and director Mike Sweeney about the latest stops in the show’s world tour.

Plus, our writers recommend two TV dramas that feature formidable women — one is a former city slicker solving mysteries in the Montana wilderness, the other is a detective trying to untangle a missing woman’s case while her personal life is falling apart.

But before I set you on your streaming way, I want to also share our guide to some of Hayden Panettiere’s most notable work. When news broke this week about her sudden death at age 36, it came as an extraordinary shock. Panettiere had been working in front of the camera since she was in diapers, appearing in commercials and, by age 4, making the rounds in the soap opera circuit. Like many millennials, my first exposure to her talent was in Disney’s 2000 sports drama “Remember the Titans,” where she (at age 10) played the spunky, football-loving daughter of a high school assistant coach — and delivered the line that helped signal the prep sport was bigger than Christmas in Virginia. Though her career was cut far too short, she was part of some memorable projects, including “Heroes” and “Nashville,” that are worth revisiting.

Her influence, though, extends beyond her screen work. In her appreciation of Panettiere, culture critic Mary McNamara wrote of the Panettiere’s candidness about her mental health struggles, which included bringing awareness to the realities of postpartum depression: “Panettiere spoke up when she could have remained silent. She called out a truth that has been too long ignored and gave millions of women a chance to ask for help. She might not have saved the world, but she threw a big part of it a lifeline.” — Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Tracy Spiridakos as Anna Pigeon and Paulina Alexis as Zoey Bear Child in “Anna Pigeon.”

(Michelle Faye / USA Network)

“Anna Pigeon” (USA Network)

This highly watchable, lightly addictive, woodsy episodic procedural dishes up meat and potatoes entertainment, or perhaps one should say “poutine,” given that almost all the talent involved is Canadian, as is the impressive scenery. Tracy Spiridakos (“Chicago P.D.”), just the right number of hairs out of place, plays Anna, a New York City stage manager turned federal park ranger after a personal tragedy. In Nevada Barr’s series of novels, the heroine works at a new park from book to book; here, we’re in Montana’s Glacier Park (it does run right up to Canada), the setting of the 2001 “Blood Lure,” with Anna apparently ready to stay put as long as the TV series lasts. (The first Pigeon novel, “Track of the Cat,” from 1993, informs the pilot, directed by Leah Thompson, not Canadian.) Missing persons, bank robbers, litterbug campers and an aggressive grouse bring the trouble. And murderers, of course. Community is a theme; there’s a handsome bartender for romance, a rich villain to hiss. There’s a talent show. The cherry on this sundae is Paulina Alexis, Willie Jack from “Reservation Dogs,” as Anna’s sidekick, enlivening the ensemble with her centered, serious, quietly humorous energy. — Robert Lloyd

Eve Myles as Annie Cassidy and David Morrissey as Michael Polly in “Gone.”

(James Pardon / Britbox)

“Gone” (Britbox)

Like many British murder mysteries, “Gone” opens in a picturesque portion of that green and pleasant land, in this case the rugby pitch of a stately boys school outside Bristol. Overseeing the home team is headmaster/rugby coach Michael Polly (David Morrissey) who has the mien and manner of a perpetually disappointed tyrant. When Polly’s wife, Sarah, cannot be found at the home they share with their adult daughter, Alana (Emma Appleton), it’s difficult to tell how he’s feeling, if anything. He certainly will not allow a missing wife to interfere with his task of molding boys into men, not with exams and a Very Important rugby final coming up. When he finally reports her absence to the police, it is pretty clear to everyone, especially Det. Sgt. Annie Cassidy (Eve Myles), that he knows more than he’s telling. But is it British reticence, or something more sinister?

Those accustomed to the speedy lab results and instant deductions of a standard police procedural may find themselves, at least initially, shouting out instructions and demands — how can the forensics report be so scanty? why is [fill in the blank] not brought in for questioning? But the show is, essentially, a psychological drama wrapped in a murder mystery. Anchored by splendidly counterintuitive performances by Morrissey and Myles, “Gone” will wrap up its case over six tense and twisty episodes. But the questions it raises — about the insidious power of abusive relationships, the complexity of human emotions and the peril of considering secrecy as protection — linger long after immediate justice is served. — Mary McNamara

Guest spot

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

Conan O’Brien in a segment filmed in Morocco for Season 3 of “Conan O’Brien Must Go.”

(Team Coco / HBO)

As a member of the growing subgenre of celebrity travelogue, Conan O’Brien has cuddled with Javier Bardem in Spain, dressed up as Sigmund Freud in Vienna and faced off against a Muay Thai fighter in Thailand. The new season of “Conan O’Brien Must Go” has the frequent flier funnyman visiting India, the Netherlands, Morocco and the Philippines — meeting his international fans and testing how well his improvisational humor translates. I spoke with his longtime collaborator Mike Sweeney, co-writer and director on every episode, about this season’s locations and O’Brien’s SPF needs. — Y.V.

The series is a chance for Conan to interact with international fans, particularly those that have been on the podcast. Why do you think Conan’s style of humor travels so well?

He’s fearless. I think that helps. He genuinely loves people, and he has to make people laugh. He has to make people laugh all the time in the United States. And then if you put him in another country, he’s going to figure out how to get his laughs over there, even if no one speaks English. It’s literally like being thrown in a room where he’s got to find his oxygen, and he’s gonna find it by getting laughs everywhere he goes. I’m sure the fact we have a camera with us, people are curious. They tend to attract people who want to open up and play around. People can spot him from a mile away. That also helps. That’s another key to a good travel show — have a really tall orange-haired host.

The first episode is set in India. Things start with him trying to get on a crowded commuter train. What were some moments from that episode that stand out to you?

Yes, we wanted to go in the famous Mumbai commuter trains. Boy, the amount of red tape to get permission to even go down on the platform was crazy. We had to do it several months out. But we loved that [segment]. We loved playing street cricket. He had a young man teaching him, named Veer [Pandey], who was very funny and kind of dismissive of Conan, and that’s kind of Conan’s sweet spot.

Some countries have incredible restrictions — you might need permits to talk to people in the street, you’re dealing with curveballs. And a lot of what Conan does is improvised and you don’t want rules to get in the way. How how do you deal with that?

It varies from country to country. You get a feel for it early on and go, “Oh, we need figure things out far in advance here. You’re getting to a very important point, which is: How much red tape is there in each country? India — a ton. We knew that because we almost shot there in 2018 [for “Conan Without Borders”] and it fell through ultimately because of all this red tape. We knew we really had to have a running start with India. But the Philippines, they were pretty cool. Same with the Netherlands. You know what the big issue is nowadays? Drones, where they let you shoot with drones.

Conan O’Brien during a Bollywood segment in his travel series.

(Team Coco / HBO)

What’s it like doing a travel show as the current administration puts stress on international relations? Did you notice any shifts this season on how you were either received or what’s possible to get cleared because you’re an American show?

Not overtly. Nothing was represented as like, “Oh, you want to come shoot here? Well, we’ll teach you a lesson.” I’d say really surprisingly, it was business as usual in terms of getting permissions to shoot. What’s going on in the crazy United States really wouldn’t come up that much because the things we’re doing are apolitical, which is usually how we like to do it. It’s Conan connecting with people and, in a way, be a political statement because it comes down to respecting other cultures and wanting to learn about other cultures and bridging gaps that way.

There was that moment on the commuter train where a passenger rebuffs Conan by saying, “Fake a— liberal media.” And Conan just rolls with it.

Yes, it’s just like, “Oh, they they even have people calling stuff out like that over here.” It was almost like, “OK, I feel at home. Thank you.”

We all saw that Conan, famous for his red pompadour hairstyle, recently made headlines for a slick, oily hairdo, which was the result of a severe scalp sunburn. In the Morocco episode, there’s a sun-heavy segment. Were you worried about his scalp then? How much budget goes to Conan’s SPF needs?

He’s self-regulating because he has to be that way in California. He has to be that way on a cloudy day in Cape Cod. It’s just ingrained in him, his sun protection. I don’t even think about it. It was business as usual for him in Morocco.

What’s a show you’re currently obsessed with or recommending to people?

We loved “Widow’s Bay” [Apple TV], of course. I sound like everyone else, but also Katie Dippold is great. She was an intern at “Conan,” and I’ve seen her a few times over because we kind of lived near each other in Los Feliz. But she’s just delightful. We’re so happy for her, and plus that show was just amazing. And my wife and I dipped back into “Slow Horses.”

ICYMI

Must-read stories you might have missed

Dodgers president Stan Kasten wants to make it clear that majority owner Mark Walter will not sell the team.

Following Walter’s decision to sell his majority stake in the Lakers, questions about his majority ownership of the Dodgers were raised amid his company’s financial difficulties, which include a federal probe of his businesses. But Kasten said it will have no effect on Walter’s majority ownership of the Dodgers.

“The Dodgers are not being sold,” Kasten said. “They’re not going to be sold. They’re not for sale. There’s no process that has been started to sell [the franchise]. Period. … I just wanted this to be clear because this question keeps coming up. I understand the questions; I do. The Lakers thing was what we call sui generis, one of those one-of-a-kind things. Really has nothing to do with what’s happening with [the Dodgers] or the other teams.

“I wanted you to hear it definitively: We are not selling the Dodgers. We are continuing with our plans going forward, like we always have had them. This comes from Mark. He’s gung-ho about continuing to try to win, again, including next year, subject to whatever next year’s climate looks like.”

Kasten added that he doesn’t expect the Dodgers’ operations to be interrupted, describing the franchise as “very stable, well-managed, and [with] very solid ownership.”

“I know nothing involving the Dodgers is part of the investigation,” Kasten said. “I’m promising you, when it’s over, you’re going to realize [things] are being mischaracterized. You don’t have to trust me, but I’m telling you.”

When Kasten was asked about reports Walter is trying to sell his stake in English Premier League team Chelsea FC and tried to cash out of lucrative TV deals with Charter Communications, he said they were mischaracterized.

“Those things don’t go together for a bunch of reasons I’m not going to get into today,” Kasten said.

Kasten took a similar tone when asked about reports of Walter having to repay insurance companies.

“I’m not in that part of the investigation,” Kasten said. “Things are going on behind the scenes, obviously, in connection with that. I’m not privy to all of them, don’t need to know, don’t want to know. But one thing we are all certain about: the sports portfolio is going to remain intact.”

Walter has additional ownership stakes in the Sparks, the Cadillac Formula One team, the Professional Women’s Hockey League and the Billie Jean King Cup tennis event.

“I can tell you from the guy running the team, knowing how the business runs and what it can support in terms of revenues and expenses — the Dodgers aren’t going anywhere,” Kasten said. “I feel that very strongly, and Mark feels even stronger than I do. I’m 74. I don’t know how long I’m going to be running it, but Mark, I think, is going to be running it a lot longer.

“I think Mark has done an extraordinary job as an owner, and all he’s ever cared about is providing the best experience in order to make us more money, to make this project successful,” Kasten added. “I think so far it has been; I expect that to continue far into the future.”

Grammy-winning singer Jill Scott brought her “To Whom This May Concern” album — her first in more than a decade — to life at Inglewood’s YouTube Theater last week. Backed by a razor-sharp 11-piece all-male band (including background singers fittingly dubbed “Freeman”), Scott moved effortlessly through a two-hour set filled with songs from the genre-expansive album along with several fan favorites like “He Loves Me (Lyzel in E Flat)” and “Gettin’ in the Way.”

Enforcing a phone-free policy at her personal request, the North Philadelphia native kept the audience intensely locked in — hanging onto her every word and every seemingly impossible note she struck with ease. Before long, it was easy to forget that we didn’t have our devices. Smiles filled the intimate room. Couples danced together. Strangers sang to each other in joyful unison, while others closed their eyes or held their hands on their chest in complete awe of witnessing a veteran artist in her element.

Jill Scott is on tour for “To Whom This May Concern,” her first album in over a decade.

(Jada Imani M)

In her only interview during the tour thus far, we caught up with Scott backstage to talk why she never performs a song the same way twice, how removing devices makes concerts better and why she thinks “To Whom This May Concern” deserves several accolades.

I’m still coming down from all of the energy from the show. How are you feeling post-show?

I am hot from the inside, and it’s gonna take me hours to calm down. [Laughs]

You’ve always described music as an intimate, two-way conversation between you and the audience. For this tour, you created a strictly phone-free space. Why did you decide to do that and how did this shift the experience for you as a performer?

In a couple of ways. One part is that it’s terrifying because there’s no buffer between me and them, so that’s actually scary, but I embrace it. The other part of it is that it’s wonderful because people initially come in kind of nervous about not having a buffer between myself and the space or themselves and space. Then I watch them gradually release, and I get a kick out of that every night. That’s my favorite part.

I’m surprised to hear that it’s scary for someone like you who’s been performing at such a high level for so many years.

Because I care. It matters to me. I really want them to have a good time. I really want them to release some things, allow themselves to be. If you want to make out, if you want to dance, if you want to cry, if you want to shout, or put up your hands in the air, or sit still, I want them to be able to do that. I think it’s important. That’s the relationship. That’s the real relationship between artist and fans of the music. It’s the connection between the music. I’m here to [be of] service. I’m here to push the ship along, but it’s really their relationship with the music and I’m a conduit. That part is probably one of my other favorites. You have to relinquish your id and allow the thing to be the thing. I think sometimes you can practice the joy and the life out of a thing. We practice a lot, but then we forget everything we practice so that it’s alive. My musicians’ freedom is mandatory. It’s a part of the job. So if they show up and play the exact same thing in the exact same way every night, they’re probably not going to be around very long. I need them to be wide open and to rediscover the music every night from their perspective. It’s their 11 perspectives on stage, and then of course there’s the lighting designer. I need him to be free. Don’t give me the same light at the same time every night. Even front-of-the-house sound engineer as well as our in-ear monitors, everybody is playing a part. “What does she need? Let’s read her. Let’s, you know, pay attention. What does she want?” It’s a lot of fun.

You could see really feel that from you and your entire band.

Tonight was a different audience. They were very attentive. Last night they danced all night long from the very beginning. I couldn’t even see the floor. Tonight they were listening. I know it’s a Wednesday night. Everybody’s got to go to work [the next morning], but they were beautiful. The listening audience is probably my favorite. They get quiet and I’m like “Oh, it’s so scary. Am I doing the right thing?” [Laughs] But that means they’re listening. Who doesn’t want to be heard?

Your son came out with you tonight. How was that experience for you?

It’s beautiful to see. He told me Tierra Whack is not traveling with us because she has a new album out, “Whack’s Museum,” so she’s a little busy. He was like, “Mom, how do you feel about me doing the second verse?” and I was like “Be at sound check tomorrow with a mic in your hand.”

He looked so comfortable on stage.

He does. It’s kind of scary. Super exciting. I don’t know what he’ll want to do, but he’s working our set, so he’s a part of the crew. So after he does his performance, he puts back on his blacks and he does his job, and I love that for him, to have that sense of responsibility. He’s exceeding anybody’s and everybody’s expectations. He’s so good at this. All the clothes you see, he steamed up.

He’s really working his way up.

Yes, you must earn your way.

Your album “To Whom This May Concern” released in February, and it feels like a love letter from your favorite auntie. There’s lessons about learning from your mistakes, honoring your ancestors and loving yourself. Now that your fans have been living with these songs for several months, I’m curious if performing them live has shifted your relationship with them at all?

No. On a great night, I like telling the stories that I’ve read. I like embodying them in front of other people. I like watching them experience them in a new way. I’m a fan of that. It just makes it more and more true. Then I see how many people are singing along and how many people are looking at me, and I’m like “Yesss.” It’s reaching the people and I know it’s going to be different because there’s a different audience every night. So I’m thrilled about the project and how it’s touching people. You hope you don’t work this hard at a thing for it to fall on deaf ears, and I know how microwavable music has been, but I believe the cream rises to the top. It’s been a beautiful 26 years. I look forward to 26 more — in my way.

Your album has been receiving a lot of praise from fans and critics. There’s still a few months before the Grammy nominations are announced, but at this point in your career, how important is that recognition to you? Is it as important as it was when you first started your career?

I think I deserve it. That’s all. [Flashes a smile]

I mean everything about this project from beginning to end is blood, sweat and tears. I stayed up many nights just to write, a hunger in my belly and a savage appetite. And I mean it. Everything is true and I love that for me. That’s the kind of thing that takes time and I think musically, it’s incredible. I think the stories are awesome and intentional, and everything about it, from the planning of it to the marketing, has been from my soul, and I think it deserves several.

The first time that artist and filmmaker James Spooner heard Patti Smith’s song “Rock n Roll N—,” he cringed and reflected on the years of racism, microaggressions and abuse he dealt with as a young Black punk rocker in California’s high desert and later, New York.

According to Spooner’s new book, “It Starts With Anger,” this moment of reflection is a catalyst that prompts him to pursue a closer examination of the experiences and challenges Black people face in punk rock and alternative music scenes that are predominantly white.

“If there was such a thing as a ‘Rock n Roll N—’ Patti Smith wasn’t going to be the one to define it. Right then, I decided I was going to make a movie,” Spooner writes in his book.

In 2003, Spooner started working on a documentary called “Afro-Punk,” which took him across the country as he interviewed Black artists, musicians and fans to talk about their experiences in punk rock. “Afro-Punk” starts by calling out Smith’s controversial song before diving into what it means to be Black in a music scene intended to welcome outsiders, but which nonetheless alienates and projects harmful values toward people who are not white.

“I don’t think she’s a bad person, I think she’s a white person who was trying to be edgy and then just like doubled down her whole career,” Spooner told The Times. “I’m all for and have always been understanding of people who make mistakes, people should have an opportunity to correct themselves.”

The punk rock documentary is being rereleased this month after Spooner launched a successful Kickstarter campaign to remaster the film. The rerelease coincides with the publication of Spooner’s new book, “It Starts With Anger,” which covers the author’s personal history, the creation of the documentary, the larger Afropunk brand (it does not use a hyphen like the film), and the eventual demise of his brainchild at the hands of corporate ventures. “Afro-Punk” will premiere in Los Angeles and New York, with a special screening and book talk on Sunday at the Skirball Cultural Center with former S.O.A. and Black Flag vocalist Henry Rollins.

“Young people at the time needed it,” Spooner says about his documentary “Afropunk.” They needed that connection to see that there were other young Black punk rockers, they needed to hear from them and know that they had common experiences.”

(Lisa Nola )

“Before there was anything negative attached to it and before there was any corporate interest attached to it, people saw the movie and were like, ‘Oh, that’s my story, I guess I’m an Afropunk and didn’t even know it,’ and then they started calling themselves that,” Spooner said. “I helped define an experience for a group of people in the underground, I inadvertently helped to define an experience for a lot of people who feel othered and ostracized.”

Spooner, who upheld punk’s DIY ethos by shooting, producing, directing and editing the entire project himself, recently regained the rights to his film after a contentious years-long legal battle against his former business partner, Matthew Morgan, and Essence Ventures, the current owners of the Afropunk brand.

“The way that it all turned out in the end, it’s like, not everybody gets to see the long arc of justice in their lifetime, but to be so hurt and slighted and then watch karma do its thing is like, why waste time with being pissed off anymore? There are still things that I wished wouldn’t have happened, but I’m lucky in the end,” the Afropunk founder said.

After Spooner made his documentary, he realized how much the film resonated with Black punks who yearned for community and acceptance. Damon Locks, a visual artist and musician who was featured in the documentary and later worked as a publicist for the Afropunk festival, said he was “really impressed” with the film when it first came out, and that “James’ instincts were correct” when it came to the vision and execution.

“Young people at the time needed it, they needed that connection to see that there were other young Black punk rockers, they needed to hear from them and know that they had common experiences,” he said.

Eager to extend the reach of “Afro-Punk” beyond the documentary, Spooner began organizing a series of DIY underground punk shows known as “The Liberation Sessions,” with the goal of developing this concept into a major festival. He also decided to enter a business relationship with Morgan, who offered to manage Spooner’s creative affairs and help him take “Afro-Punk” to the next level.

According to Spooner, Morgan wanted to bring in corporate sponsors and feature music genres outside of punk to generate more interest and maximize profits. Spooner said he reluctantly compromised, yet after several years of working with Morgan, Spooner grew disillusioned with what Afropunk the festival became.

Maurice “Moe” Mitchell, vocalist for hardcore band Cipher and national director of the Working Families Party, was featured in the documentary and performed at several Afropunk shows and festivals. He said what happened with Afropunk is “a tale as old as time” and Morgan being outside of the movement led to “moneyed interests” altering what Spooner had created.

“At some point, those interests figure out how to co-opt, how to monetize, how to profit, how to take over this thing and it becomes a shell of itself, no longer owned or operated by the original originators, just a product or a marketing scheme for some company,” Mitchell said. “And that is rinse and repeat what happens to really good art and really good movements, and it’s what happened with Afropunk.”

By 2008, Spooner decided he wanted to walk away. He moved to Los Angeles and signed over the Afropunk rights and trademark to Morgan.

“My priority was to the kids … and I didn’t want for them to not have Afropunk just because I was over it, just because I moved on to the other side of the country, I could have just been like, ‘F— you, everything’s in my name, if you want it, sue me,’ I could have done that and I probably would have won because everything is in my name,” the punk filmmaker said. “I also was incredibly broke, I was not only broke when I moved to L.A., I was like $20,000 in debt on credit cards, so it was not like I was in a good place to continue this thing.”

As “Afro-Punk” returns to screens in Los Angeles and New York, Spooner leans into punk’s rebellious ethos, reclaiming his work and spotlighting Black liberation in loud, uncompromising ways.

(Lisa Nola )

In 2020, Spooner sued Morgan for failing to make contractual annual payments and failing to observe a clause in their 2010 agreement that mandated that if more than 50% of the company was sold, Spooner was entitled to a share of the profit. In 2020, Essence Ventures acquired the Afropunk LLC, but Spooner was not made aware of the sale. After a complicated legal battle against both Morgan and Essence Ventures, Spooner settled, successfully recovering the rights to the film in 2025, which he says was more important to him than financial compensation.

Representatives for Essence Ventures did not immediately return requests for comment.

“I didn’t start ‘Afro-Punk’ with money in mind, I wanted people to see my film,” Spooner said. “I wanted people to see my film, and then people saw the film, and then I wanted those people to stay in the room together and become friends, and all of that happened.”

Mitchell, who ended up becoming friends with Spooner after participating in the documentary, said he is “very happy” that Spooner “came out vindicated” in the legal struggle. The Cipher frontman believes “Afro-Punk” is an important documentary that shows “what it means to be a person of color in America,” and which makes visible the identity issues Black people experience beyond the punk rock community.

“That’s also the story of Black people when we lean into our liberation, right?” Mitchell said. “Like we are expressing ourselves in very loud and uncompromising ways that challenge the status quo and so I’m really happy that this film is coming out because this is a moment where we need as many people, as many Black people, to lean into who we are in loud and uncompromising ways, because we have a whole political structure that is demanding our compromise.”

As Spooner celebrates the release of his new book and the premiere of his remastered film — which he says still needs distribution — he hopes that he can continue shedding light on the Black experience and sharing the legacy of what he created as a young Black punk rocker.

“It’s wild to me that I made something when I was 25 that people still care about, and I hope that it keeps reaching another generation and proves itself to be valuable in some kind of way,” he said.

WASHINGTON — President Trump played White House tour guide on Wednesday, showing off the helipad he is building on the lawn before leaning over to autograph a piece of it and bragging about the ballroom he’s rushing to complete despite legal challenges.

Trump gushed for several uninterrupted minutes about granite being laid and said the chopper landing area would leave visiting foreign leaders “very impressed” — including Chinese President Xi Jinping, who is coming next month.

At times, he sounded almost like a construction manager, singing the praises of granite over asphalt in painstaking detail and noting for reporters he brought out for the show that the stone could withstand 35,000 pounds per square inch of pressure.

“That’s stone that, if you took a hammer and you started hammering right now — all day long — you wouldn’t see a mark on it, literally, that’s the kind of power it is,” Trump said, at times straining to be heard over the thrum of ongoing work behind him.

The president also revealed for the first time that he has replaced the walkway from the White House’s diplomatic entrance along with a portion of the asphalt driveway around the South Lawn with white granite.

“One thing I know how to do is build,” he said, asserting that asphalt is “not appropriate for a great house, or a great place like the White House.” He said that, had he instead merely used “really powerful concrete,” it would have supported ”just a tiny fraction of that in terms of strength.”

Trump relishes being the builder-in-chief

The president is called upon to fill many roles as president, but embraces none with as much zeal as managing various building projects to mold the White House and large swatches of Washington in his own image, seeming happiest recalling his days as a real estate developer.

Trump also likes to show off his handiwork and having the White House press pool on hand at all times gives him a readymade audience. Last year, he made an appearance on the roof of the briefing room to survey a future work site, and earlier this summer, he took reporters for a closer look at the ballroom construction site.

It suggests Trump remains focused on such projects, even as his war in Iran nears the six-month mark, his approval ratings sink with just 2 1/2 months to go before critical midterm elections, and as voters are increasingly worried about a weakening economy.

Trump drove home just how important the construction projects are to him, calling the work “very exciting.”

“This will be here long after we’re gone,” Trump said of the projects. “No matter what happens with the world.”

But whether it will endure after he leaves office remains to be seen. Trump once suggested that his refurbishing of the Lincoln Memorial’s Reflecting Pool would last a century, only for the paint to fade and its liner to peel away in chunks just days after it was laid.

Trump again says his ballroom will have security value

The president has increasingly insisted that the $400 million ballroom will add security to the White House and include things like anti-drone technology. His administration even unsuccessfully sought $1 billion in congressional funding to make military improvements to the structure.

“This will be the greatest military complex slash ballroom anywhere in the world,” he said.

Trump also scoffed at court orders seeking to block its construction without congressional approval, saying work is continuing regardless and predicting that the Supreme Court will eventually side with him and allow the project to be completed.

The president found time to talk again about one of his favorite subjects of late — grass — and praised at length Scotts-Miracle Gro. The company’s former CEO is a Trump supporter, and it donated $1 million to repair the grass on the White House lawn after it was damaged by Trump’s UFC fight marking his 80th birthday in June and by the helipad construction.

At one point on Wednesday, Trump signed the back of one of the granite stones that was marked “Donald Trump 45-47 president” for the occasion. Its front is shaped like an eagle and will be laid into the helipad’s presidential seal once work is completed.

“I thought this would be a little different kind of a news conference,” the president said. “We were going to sign this privately and just put it in. I said, ‘This is something I think the press should see,’ and I hope you liked it.”

Trump had some of the construction workers sign the granite, too, and joked about leaving it upside-down so that his signature would be visible for future generations.

“Nice job, fellas,” he told the workers. “Does anybody know the word media?”

Trump also confirmed Wednesday that he’d delayed ongoing work on the helipad to ensure the project could be regraded to lay flatter.

He said that the granite used “has a million-year life” and predicted that it “will never break. It will never leak. It will never do anything” — which would mark a departure from the problem-plagued Reflecting Pool project.

“Nature is stronger than what the human can produce,” Trump said of the granite. “It’s really pretty amazing.”

Weissert and Binkley write for the Associated Press. AP writer Darlene Superville contributed to this report.

Brace yourselves, BookTok: Bestselling romantasy author Sarah J. Maas just dropped the titles and covers for the sixth and seventh “A Court of Thorns and Roses” books.

Maas scrubbed her Instagram of all previous posts for the big reveal, and digital billboards in Los Angeles, Denver and New York City also broadcast the book news. In March, Maas announced on Alex Cooper’s “Call Her Daddy” podcast that the two new books were on their way, ending a five-year drought since the fifth installment, “A Court of Silver Flames.”

The sixth book, “A Court of Splintered Harmony,” will hit bookshop shelves Oct. 27. According to news media materials, in the sixth installment of the romantasy phenomenon, “what was broken will be remade.” As Koschei the Deathless stirs from millennia-long captivity, powerful allies close in to reclaim the human lands. To counter the growing threat across Fae territories, Prythian’s fractured Night Court must overcome internal rifts and recent betrayals to restore former alliances.

And in the seventh book, “A Court of Forgotten Melody,” which is slated for publication Jan. 12, diplomacy is failing and traditional alliances are falling apart as the threat of Koschei the Deathless reaches a critical point. Desperate for any advantage, the Night Court’s Inner Circle must scatter far and wide to face emerging past enemies and salvage Prythian’s fragile peace.

The first installment of the “A Court of Thorns and Roses” series was released in 2015, but the series garnered widespread popularity on BookTok during the COVID-19 pandemic lockdowns. The books follow Feyre Archeron in the faerie lands of Prythian and her steamy love story with the High Lord of the Night Court, Rhysand.

Maas is one of the pioneers of the modern romantasy boom and widely credited with taking “fairy porn” or “faerie smut” into the mainstream. But Maas told Cooper in May that although she loves writing hot sex scenes, she has a bone to pick with people dismissing her work as “smut.”

“I find that there is a tendency for people to roll their eyes at things that bring women joy,” she told Cooper. “Anytime a woman writes something and there’s even a little hint of sex that’s not fade to black or very artistically mentioned, it’s like suddenly it devalues the work, and it doesn’t matter what else is in that book. … I don’t understand because you’re writing a thing that is so accurate to life, and sex is a part of life.”

Times staff writer Katie Simons contributed to this report.

WASHINGTON — It is among the most famous phrases in presidential history: “The buck stops here.” Except with President Trump, it almost never does.

Concerns about a weak economy and still-high inflation? His predecessor, President Biden, saddled him with that, he says, even though the Democrat has been out of office for 18-plus months and despite Trump once promising an immediate turnaround.

The problem-plagued revamp of the Lincoln Memorial Reflecting Pool? That was marred by vandalism, the president insists, even though the office of a prosecutor he put in the job has said the damage was due to shoddy workmanship.

The increasingly unpopular war in Iran that has kept oil prices high, Trump’s approval rating low and sent shock waves through the global economy? Actually, this was Trump making up for timid earlier presidents who, he argues, squandered nearly 50 years of opportunities to curb Iran’s nuclear ambitions.

Pithy slogans aside, all modern presidents shift responsibility onto others to some degree, frequently blaming the White House occupant who preceded them or Congress — or both. But Trump has taken it to a new level, essentially embracing a de facto political strategy of being in charge of everything but responsible for nothing when things go badly.

“Taking responsibility being a characteristic of presidential leadership — or any kind of leadership — is absolutely true,” said Nicole Anslover, a history professor at Florida Atlantic University and author of “Harry S. Truman: The Coming of the Cold War.”

Trump’s tendency to point fingers at others is increasingly in the spotlight in the run-up to November’s midterm elections, when Republicans are trying to retain control of Congress. His unwillingness to accept blame sometimes leads him to deny that there are problems at all, and could leave GOP leaders in tight races with little reassurance for voters that their concerns are being addressed.

The White House counters that Trump is working to correct long-festering challenges, not simply throwing up his hands and ignoring them.

The president is “rightfully addressing the failures of his predecessors while taking action to deliver big wins for the American people,” spokesperson Taylor Rogers said, pointing to a series of policies that she said Republicans can run on, including tax cuts, efforts to lower prescription drug prices, cracking down on immigration and the U.S.-Mexico border, increasing domestic energy production and a strong stock market.

A pattern dating to Trump’s first term

Truman famously kept a “the buck stops here” sign on his desk as president. That came from “pass the buck,” which, according to Truman’s presidential library, dates to frontier times, when poker players would pass a buckhorn handle knife to the person whose turn it was to deal the cards.

“The president, whoever he is, has to decide,” Truman said during his farewell address in 1953. “He can’t pass the buck to anybody. No one else can do the deciding for him. That’s his job.”

The understanding of the phrase has broadened over the years to include taking responsibility for the outcome of tough decisions. Trump used to espouse similar beliefs, saying back in 2013 that in running a business, “Whatever happens, you’re responsible. If it doesn’t happen, you’re responsible.”

Accepting the 2016 presidential nomination, Trump said, “Nobody knows the system better than me, which is why I alone can fix it.” But as president, he has often suggested that the solution and blame rest elsewhere.

“The buck stops with everybody,” Trump said in 2019, during a lengthy government shutdown. In 2020, on the same day he declared the COVID-19 pandemic a national emergency, he said, “I don’t take responsibility at all” for a lack of coronavirus testing.

Anslover said Truman took full responsibility for dropping atomic bombs on Japan even though he was not informed that the U.S. was developing such weapons until his predecessor, President Franklin Delano Roosevelt, died.

President Kennedy saw his approval ratings rise after he acknowledged he was to blame for the failed Bay of Pigs invasion in Cuba. President Reagan said he was sorry for any involvement he may have had in the Iran-Contra scandal even while saying he wasn’t sure he was to blame. “The buck stops here with me,” he said then.

At his final news conference in early 2009, President George W. Bush listed a series of mistakes he had made, including failing to find weapons of mass destruction in Iraq. His successor, President Obama, said, “I screwed up,” after his nominee for health chief, Tom Daschle, withdrew because of unpaid back taxes.

Presidents before Trump “really usually take accountability,” Anslover said.

‘We inherited a total catastrophe,’ Trump says

The president acknowledged in a recent Punchbowl interview that voters are angry, but he said they are not mad at him but at congressional Republicans.

Trump believes his party can hold its congressional majorities after November, but he was clear that if Republicans lose, it won’t be his fault — echoing his comments before the 2018 midterms that he would not accept blame if his party lost control of the House, which it did.

Trump’s approval rating on the economy, once seen as among his strongest issues, has fallen throughout his time in office, from 40% in March 2025 to 32% in July, according to Associated Press-NORC Center for Public Affairs Research polling. About 6 in 10 U.S. adults say Trump’s economic policies have made economic conditions worse, according to Pew Research Center polling.

“The public certainly expects the president to be concerned about, and focused on, making life more affordable,” Republican pollster Frank Luntz said.

Trump instead points to Biden, under whom inflation hit a four-decade peak of 9.1% in 2022 as the pandemic was still roiling the world economy, before declining to 2.7% by November 2024. Last month, pressured by the Iran war, it was 3.4%.

“When we took office, we inherited a total catastrophe,” Trump said at a recent rally, later adding, “I inherited those high prices, just so you understand.”

Andrew Bates, a Democratic strategist and former Biden White House spokesperson, noted that Trump no longer mentions his campaign promise to “immediately end inflation” on Day One.

“He may not remember having made those promises, but swing voters sure as hell do,” Bates said.

Iran and the Reflecting Pool

The president has characterized the Iran war as “a little excursion” or “detour.” To play down how long it has lasted, he frequently notes that U.S. wars in Vietnam and Afghanistan dragged on for years, though the Iran conflict — which he initially said would be over in four or five weeks — is now in its sixth month with no clear end in sight.

Trump has sought to shift blame to the past on the Lincoln Memorial Reflecting Pool, falsely suggesting that Biden and Obama spent “hundreds of millions of dollars” trying unsuccessfully to fix it.

But Trump’s main defense claim has been vandalism. And so far at least four cases alleging that, including the most prominent case against an Olympic canoeist, have been dropped due to a lack of evidence.

Anslover said that, after more than a decade in politics, Trump has proved he is not afraid to violate norms of presidential comportment. Lots of his core supporters do not seem bothered.

“For many Americans, it has either been a shift in how they view the presidency, or, like with so many things, they just feel empowered to say, ‘These are my priorities. My priority is not the facts,’” she said.

Weissert writes for the Associated Press. AP writer Amelia Thomson DeVeaux contributed to this report.

When the doors to the emergency room in “The Pitt” swing open and a new patient arrives, we, like the doctors, are on high alert, wondering what the acclaimed medical drama is about to throw at us.

We know two things: The actors will be superb. And it’s best not to become too attached to the characters they’re playing.

Five of those actors earned Emmy nominations for Season 2 guest turns on “The Pitt” last month, a long-overdue return to the time when the guest categories regularly rewarded working actors doing exemplary work.

Even better: Two of the five “Pitt” nominees self-submitted their performances after HBO Max, looking to streamline its submissions in the guest categories, did not put them forward.

If you watched the second season of the show, you could probably name the actors who made the Emmys’ guest list: Tina Ivlev, heartbreaking as the sexual assault survivor; Brittany Allen, poignant as the dying mom; Tal Anderson, combative and funny as Dr. King’s neurodivergent sister, who craves independence from her protective sibling; Ernest Harden Jr., devastating as the doomed Louie; and Jeff Kober, who, playing Dr. Robby’s motorcycle mechanic, has some of the most affecting scenes in the season.

HBO Max entered Ivlev, Harden and Anderson, leaving Allen and Kober to pony up the $225 to submit themselves, joining the ranks of 84 entrants for guest actor and 51 for guest actress. (To be eligible to compete in guest, actors must appear in less than 50% of a show’s eligible episodes.) Eight other actors appearing on “The Pitt” also self-submitted.

“The three actors that HBO put forward delivered beautiful, human work that resonated deeply with audiences, and they were in a tough position having so many actors who had all delivered great performances,” Allen told me over a call from her Pasadena home.

“Though at first there was a moment of disappointment, I quickly moved on from that,” Allen continues. “I didn’t take it personally because as an actor, you get good at not taking things personally.”

Kober, calling from the Valley, signs off on that sentiment. He won a daytime Emmy in 2022 for “General Hospital” after he submitted himself.

“I guess that’s how the Emmys work for me,” he says, laughing. “I don’t know any other way.”

There is precedent for self-submission success at the Emmys. Three “Game of Thrones” cast members — Gwendoline Christie, Alfie Allen and Carice van Houten — entered themselves in 2019 and were nominated. Kelly Jenrette did the same in 2018 for “The Handmaid’s Tale” and earned a nod.

For Allen, it came down to believing in herself and the work she did on “The Pitt.” As her seven-episode arc aired, strangers often stopped her at her local Trader Joe’s and at the park with her 3-year-old son to tell her how moved they were by her performance and her character Roxie’s decision to accept that her life was coming to an end and say goodbye.

But, good as it was and seen as it was, that work didn’t translate into landing an agent. Having recently turned 40, Allen figured she had nothing to lose, having reached an age where she wasn’t “as worried about being perceived as the quiet little girl who doesn’t ruffle any feathers.”

In a challenging industry, that approach has resonated deeply with her peers.

“I’ve had similar moments in the past where I’ve had a memorable role on a high-profile show and I’ve thought, ‘Maybe this will make it a little easier moving forward’ and it hasn’t,” Allen says. “So if ever there was a time to go, ‘I’m going to try to put my name out there in a way that might make me a little more bankable,’ this is it.”

Kober, 72, has had ups and downs over the course of his 40-year acting career and like Duke, the grounded mentor he played on “The Pitt,” he possesses a calm acuity when talking about the profession.

“Acting is the most profoundly spiritual career a person could have because you don’t get into it unless you need approval, and then when you get that approval, you find it doesn’t do a thing for you,” Kober says. “Then you’ve got to find a way to do something with this thing you love that isn’t about getting approval. It’s only when you’re not working for that when you know the work matters.”

With his shoulder-length hair, goatee and go-with-the-flow manner, Kober gives off distinct vibes of another Jeff — Jeff “The Dude” Lebowski.

“I have heard that comparison made,” Kober says, smiling.

Both Kober and Allen express deep appreciation for “The Pitt” as a workplace where actors can come in and do the kind of work that they aspire to do, work that resonates with audiences and reminds them why they entered the profession in the first place.

“I love being on set,” Allen says, “so going to Warner Bros. every morning as the sun rose and watching that miniature city come to life and having the privilege of working in an environment that is so ripe for accessing truth and play and shared humanity was a gift. When Roxie came along, I saw it as the epitome of what I want to offer as an actor and as a person in this life.”

Because of her character’s fate, Allen will not be returning to “The Pitt.” The fate of Duke, diagnosed with a life-threatening ascending aortic aneurysm, is ambiguous. Dr. Robby encourages him to follow up with further tests, which Duke agrees to do if Robby promises to return from his sabbatical and let him take his Triumph Bonneville for a ride.

So … Duke’s coming back, right?

“One would think,” Kober says, hopeful. But then, he jokes that maybe there will be a line next season where someone in the ER says, “Did you hear about Duke? What a shame.”

“Or he could come back in Season 4, who knows,” Kober adds, noting he has heard nothing from the show’s producers. “One thing I’ve learned over the years as an actor is the importance of letting go. That’s the life of an actor.”

A new young adult series has entered the chat.

“Sterling Point” has all the hallmarks of your usual YA obsession — yearning, an awkward love triangle, a lack of adult supervision, an enviable waterfront setting and complicated friendships. Unlike most other YA series of the moment, it’s an original story that isn’t based on a book. Created by Megan Park, the writer-director behind Sundance hit “My Old Ass” and an actor with roots in the coming-of-age circuit in shows like “The Secret Life of the American Teenager,” the heartfelt drama centers heavily on the complex relationship between two teens who discover they’re half sisters after a death exposes a deep family secret.

It’s the latest series helping Prime Video step further into its WB/The CW era as a go-to destination for younger audiences, joining hits that include “The Summer I Turned Pretty,” “Every Year After,” “We Were Liars” and “Off Campus.” Not to show my millennial wrinkles, but unless the streamer invests in a campaign that evokes the spirit of late ‘90s marketing push known as “The Faces of WB,” what’s even the point of it all? Until then, in this week’s Guest Spot, we spoke with Park about the series that has teen drama enthusiasts hooked.

Also in this week’s Screen Gab, our writers recommend a six-part British television drama that recounts the tragic 1988 bombing of Pan Am Flight 103 and a 2007 stoner comedy directed by Gregg Araki that will help you mellow out and pregame this weekend’s latest addition to the genre. — Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Phyllis Logan, left, Molly Geddes and Cora Bissett in “The Bombing of Pan Am 103.”

(Netflix)

“The Bombing of Pan Am 103” (Netflix)

Admittedly, I didn’t know a lot about the Pan Am flight disaster that this miniseries depicts, but I’m glad that’s no longer the case. This BBC production (it debuted in the U.K. last year) depicts the stories of American and Scottish investigators who spent more than a decade combing through evidence, clues and tips to bring justice to the families affected by the bombing of Pan Am Flight 103. In 1988, the commercial jetliner was transporting 259 people, including 190 Americans, when it exploded over the skies of Lockerbie, Scotland, killing everyone on board and 11 Scots on the ground. Until the events of Sept. 11, 2001, it was one of the most lethal acts of air terrorism, according to the FBI. In the series, we see the gravity of the disaster, but also a deep layer of humanity, showing how Lockerbie and its citizens were irrevocably changed, yet their compassion never wavered, whether for each other or the victims’ families, who formed a lasting bond in an unlikely place. The main characters in the show are based on real-life people: Connor Swindells is DS Ed McCusker, who helped lead the investigation in Scotland; Patrick J. Adams is FBI Agent Dick Marquise, who led the American investigation; and the brilliant Merritt Wever is Kathryn Turman, a tireless advocate whose work led to reforms and services for families of victims. Be prepared to watch with a box of tissues. — Maira Garcia

Anna Faris, John Krasinski, center, Michael Shamus Wiles in 2007’s “Smiley Face.”

(Lacey Terrell / First Look Pictures)

“Smiley Face” (Prime Video)

This has been a stand-out summer for highbrow discourse about Homeric adaptations. As a reward, let’s get stupid with Gregg Araki’s 2007 stoner flick “Smiley Face,” a giddy, silly romp about a slacker (Anna Faris) whose troubles start when she snarfs a plate of pot cupcakes for breakfast. Her misadventures treat us to a tour of L.A. — from a Hollywood casting office to the Venice Beach boardwalk, with a pit stop at a meat-packing plant in El Monte. Even better, it’s a tour de force performance from Faris, who plays an impulsive mess with the fearlessness of a clown leaping into a kiddie pool of pudding. She deserved to make a dozen more movies just like it. (The “Scary Movie” franchise only halfway counts.) If “Smiley Face” gives you the munchies for a great new comedy, check out “The Wrong Girls” with Kristen Stewart and Alia Shawkat and Araki’s latest farce, “I Want Your Sex,” which stars a ferociously funny Olivia Wilde. — Amy Nicholson

Guest spot

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

Ella Rubin and Amélie Hoeferle in “Sterling Point.”

(Prime Video)

The enemies-to-lovers romance trope in a teen drama? It’s been done. “Sterling Point” anchors its premise on an enemies(ish)-to-sisters storyline. The coming-of-age drama opens with 17-year-old twins, Annie Jacobson (Ella Rubin) and her twin brother Connor (Keen Ruffalo), who were raised in New York City and inherit a Canadian island following the death of their estranged grandfather. The series follows Annie as she sets out to the island and encounters Ramona (Amélie Hoeferle), the half sister she didn’t know existed until she arrived there. Their initial friction gives way to a tight bond as they piece together emotionally heavy family secrets.

The series hails from Megan Park, who has become known for her nuanced stories about young people with films like “The Fallout,” a drama starring Jenna Ortega about the aftermath of a school shooting, and the Aubrey Plaza-led “My Old Ass,” about a teenager who meets her older self while on a mushroom trip. Over video call, Park discussed the “Sterling Point’s” origins, her hopes for Season 2 and the coming-of-age stories that she admired growing up. — Y.V.

Many series about and catering to young adults right now, some of which are part of Prime Video’s lineup, are based on books that have built-in fan bases. Did that make “Sterling Point” a harder sell? What was your experience of pitching it?

Yes, I think people are always more nervous to take a risk on something brand new when you’re like, “This is just a weird idea I had in my brain, but trust me I think it’ll work.” But I was really lucky with Amazon being so supportive because they had just acquired “My Old Ass” and I think they understood the voice and the stories that I was wanting to tell with the show. I was shocked that people were willing to take the risk of being like, we’re going to go in a writers room and we’re going to figure out the show in an old-school way; we’re not going to rely on any kind of built-in audience or IP. I’m very thankful for Amazon for taking that chance on us. It’s not that I’m against adapting IP. I’m sure I would do that at some point, but I had an idea and somebody still wanted to listen to it, so I feel very grateful for that.

What inspired this story ?

I wanted to try [writing for] TV because I was like, “Well, eight hours is a lot more content than just making a movie.” That was a fun challenge to me. When I was acting, I spent so many years doing TV, so it felt like home. For me, it was the sisterhood story and sort of the the idea of these two young women who are connected by this woman that they don’t know and don’t feel like her death has necessarily affected either one of them, and it has very much affected both of them. I thought it was an interesting idea to explore, nature versus nurture. I come from a family where there’s a lot of adoption, and I had also never really seen a character like Annie where they were adopted and they didn’t have the desire to seek out their biological family, and that was just something they were fine with. That’s been an experience of a lot of people in my family. Oftentimes, [we see] stories about you know people wanting to find their biological family. Both of them exist, but I hadn’t seen the latter in a lot of things. I was excited to explore that.

Daniel Quinn-Toye, Bo Bragason and Jacob Whiteduck-Lavoie in “Sterling Point.”

(Prime Video)

Identity, and how that’s shaped by our parents, drives so much of the story. What interested you in that parent-child or just familial dynamic?

I’ve always just loved stories that are about that; family dynamics are the most interesting to me because they’re so full of triggers, and everybody has some kind of crazy story within their family, or a mystery. At that age, you’re finally realizing your parents are just people too, and they maybe don’t know everything. And maybe you have different ideas or thoughts about how the world works than your parents, and that can sometimes not go over very well. It is an interesting time. And as a mom now with children — I have a 2- and 6-year-old — you think a lot about like, “Wow, how are my kids going to feel about A, B, and C when they’re this age? What’s my relationship going to be with them as teenagers and adults?” It’s so wild to think about. I was also writing it, thinking about a lot about the mom and the parents POV as well.

The show has romance or feelings of infatuation that are a hallmark of young adult dramas, but it’s not the focus of the show. It’s the relationship between the sisters. There’ve been studies saying that teens want less sex in TV and movies, that they prefer watching stories about deep friendships or platonic relationships. Was that top of mind for you at all?

You’re the first person who’s asked me that, and I feel like yes. We love a love triangle, we love a love story — it’s so fun and such an escape; it’s almost like an essential part of a show in a way. But especially this generation, their friendships are deeply important and they live at home longer, statistically. Their relationships, their parents, are a lot different than maybe millennials’. When I was in high school, I was never involved in romantic relationships. That was a later part of life, and I feel like I’ve talked to a lot of people, they were like, I wasn’t dating really in high school. I was not ready and not there yet. You don’t often see that. And so it was fun to have this this North Star that the real love story and the real heart of the show is the sisterhood, and I hope that sets the show apart in an exciting way, because it felt that way when we were writing it.

The season ends with Annie and Ramona essentially swapping locations. What are you interested in exploring in a Season 2 with these characters?

I have a whole bunch of ideas left, so we shall see. There’s a lot between these two young women having now experienced each other’s lives fully that is going to be really interesting to explore and pick up, hopefully, if we get the chance to. Listen, eight hours seem like a lot, but once you get into it, you’re like, “Wait, man, there’s eight hours more that I think I could get deeper into A, B, and C.” And there’s so many great supporting characters in the show, and we had stuff [for them] that we wanted to fit in for them in Season 1 that we just couldn’t fit in. Season 2 could be fun in that way, where you know these people and know the world, and now you can go more into [who they are.] Who is Oona’s mom? There’s all these other characters who we can get more into their world as well.

The YA genre is thriving right now. And it’s not even just young people tuning in — I feel like I see so many TikToks from millennials and Gen X talking about their obsession with them. Why do you think we’re still turning to these types of stories later in adulthood?

Because it’s nostalgic. It’s such a defining time in every single person’s life. It’s why young people are finding shows that we grew up on, like “One Tree Hill” or “Dawson’s Creek.” And why women in their 50s or 60s are still relating to the newer shows like “Off Campus” and and “Elle.” It doesn’t matter the era; it’s just the unique sort of idea that it’s the first this, the first that; the defining moments of our lives in so many ways.

In the spirit of this series, what were some of the coming-of-age films, TV series or books that shaped you?

I grew up in like the era of such great coming-of-age comedies — “Clueless” was a big one for me — and really epic rom-coms like “How to Lose a Guy in 10 Days.” Those movies really stuck with me. I would say that Chris Columbus, as a filmmaker, makes movies like “Mrs. Doubtfire,” “Step Mom” — those movies that are such wild ideas or really sad things, but you’re also unexpectedly crying. In “Mrs. Doubtfire,” you’re like, oh, this is a story about a dad who misses his kids, but it’s so heartfelt but also funny at the same time.” I want to make things that are heartfelt, which isn’t necessarily a cool word to some people. I think it’s cool because I want to make things that are meaningful but also lead with their heart, and you’re surprised when the emotion comes. It’s not just super, super dark or super, super light and fluffy; it hopefully falls perfectly right in the middle.

ICYMI

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Two outcomes that scream failure on a baseball diamond are striking out and making an error. Jacob Wilson avoids both.

The third-year Athletics shortstop played his 111th consecutive game without an error Sunday, setting a major league record at his position.

Wilson, 24, also ranks among the top 5% of MLB players most difficult to strike out, making contact in more than 90% of his at-bats during his three-year career. The shortstop was a first-round draft pick out of Grand Canyon University in 2023 and played for Thousand Oaks High.

Failure is even more infrequent when he puts on his glove. Wilson surpassed Mike Bordick’s 2002 mark with the Baltimore Orioles for consecutive games played at shortstop without an error.

No wonder the A’s signed him to a seven-year, $70 million contract before the season.

Wilson, whose last error occurred July 6, 2025, credits his dad with prioritizing defense. Jack Wilson was a shortstop with elite range and a powerful arm during a 12-year MLB career from 2001-12, yet he never played a full season with fewer than 10 errors.

“He’s a very defensive-first guy for me growing up by teaching me defense first before the hitting side of things and making sure you’re always prepared to play defense every day,” Wilson told reporters after the Athletics beat the Boston Red Sox 4-3 on Sunday at Fenway Park.

Based on advanced metrics, Jacob doesn’t have the range of his father, but so far he has been more consistent. He made only eight errors in 124 games last season and none in 27 games after being called up from the minors in 2024. That’s a total of eight errors in 216 career games and 1,899 innings at shortstop.

“He definitely has the consistency side of things down pat,” fellow A’s infielder Tommy White told reporters. “The stats don’t lie. He really takes in the second half of the play. Everyone sees the glove, but it’s the accuracy of the arm.”

Putting the bat on the ball is also a Wilson trademark. He was the toughest player to strike out in NCAA Division I, whiffing just 12 times in 438 at-bats as a Grand Canyon sophomore and junior. At Thousand Oaks High, where his dad was head coach, Jacob struck out a mere five times in 343 plate appearances.

Likely out of reach is the MLB record for consecutive games without an error at any position, held by outfielder Robbie Grossman at 440 games, a streak that ended in 2022.

Meanwhile, Wilson plans to focus on staying healthy: He missed a month earlier this season with a dislocated left shoulder after diving for a ball, and missed a few more games when the shoulder flared up again in late June.

Making plays and putting the bat on the ball should continue as long as he’s on the field. Wilson was an American League All-Star last season and finished second in voting for Rookie of the Year to teammate Nick Kurtz after batting .311 and striking out only 39 times in 523 plate appearances.

Before this season, Wilson told Foul Territory that his focus was on improving areas he considered deficient — a quicker first step toward the ball on defense and putting on 10 pounds of muscle to increase his power at the plate.

As for avoiding errors and strikeouts, that should continue to come naturally.

“I know how to stay in my lane, do what I do and help this team win,” he said.

Jessica Williams always goes to bed laughing.

“Everything’s so sad,” the actor explains. “Not taking yourself seriously is the only way, because otherwise I would just be upset, especially as a Black woman in the year 2026. I hate when people are on ‘The Bachelor’ and they’re like, ‘I love laughing,’ but it’s true. I really love it.”

Williams, 37, knows a thing or two about making others laugh. A three-time Emmy nominee for supporting actress in a comedy series for her work on “Shrinking,” she’s made an art of it. On a show about grief and mental health, Williams is often on hand to bring the funny.

Curled up in a chair on the top floor of The Times’ offices in El Segundo, looking down on the runways of LAX boiling in the late July sun, Williams gives runway fierceness against the beige office walls. She is just like the pop of bubblegum pink polish on her toenails as she strikes a pose in a chic all-black linen ensemble — a delightful burst of cheer in a subdued environment, something effervescent amid so much inoffensive sameness. She’s always been that way.

I would know; I’ve known her since we were 12 years old, awkward adolescents in Marcia Barryte’s Dodson Middle School drama class. As we catch up, I remind her of a PG-13 scene she caused in eighth grade science class during an earthquake drill. (To be fair, the drama students were asked to play standardized patients, and she was assigned “hysteria.”) While the class collected our backpacks, she broke into an award-worthy performance, wailing about not wanting to die a virgin.

“No!” she gasps, covering her mouth but unable to hide the mischievous grin that’s broken across her face at the memory. “That’s very inappropriate. I love that.”

Under slightly different circumstances, it’s a storyline that could belong to her “Shrinking” character, Gaby Evans, a therapist who brings her sunny demeanor, audacious sense of humor and enviable stores of energy into every room. That’s partly because so much of who Gaby is has been carefully honed by the writers and Williams to align with the actor’s voice.

“We can write almost anything and Jessica can make it sound like it has stemmed from Gaby,” says series co-creator Bill Lawrence. “She’s in charge of Gaby’s voice — and it’s a tremendous safety net for us as a writing staff.”

Jessica Williams in “Shrinking.”

(Apple TV)

Williams agrees this has been her experience, one she’s grateful for in an industry often dead set on ignoring perspectives like hers. “At the end of the day, white guys are in charge of this business,” she says. “Progress in film and TV requires them to go to bat for us. I feel really lucky to be on a show where Bill pulled me aside and was like, ‘If I’m doing my job right, the first couple episodes, we write these stories, and then, there’s a moment where it switches to being your character and you are the shepherd of her.’ It made it really collaborative and a safe space for me to play.”

Three seasons in, the set has become the world’s best playground. For instance, the writers gave Williams ample runway in a scene where Gaby turns the tables and proposes to her boyfriend, Derek (Damon Wayans Jr.), after discovering an engagement ring in a desk drawer (and getting it stuck on her finger). “Look, if you’re a television writer and you have a proposal scene and you don’t let Jessica Williams run with it, you’re cheating yourself,” quips Lawrence.

That mutual trust doesn’t mean that Gaby and Williams are the same person — just that Williams’ lived experience has shaped who Gaby is. “The point of a scene is we don’t know what it’s going to be,” she says. “We learned our lines. We’re going to show up. The director’s here. They have an idea. We’re going to make this thing together. We’re going to ‘Yes, and?’ until we get the scene up.”

Her ability to take the ball and run with it is what caught Lawrence’s eye in the first place, discovering Williams as a correspondent on “The Daily Show.” “She works very hard at making it seem like it’s off the cuff,” he emphasizes. “She is quick to call the writing staff with questions and is always looking to improve things. That’s not always the truth with everybody. She works her ass off.”

Jessica Williams. (Ryan Pfluger / For The Times)

That work ethic was essential for her Season 3 arc, which found Williams facing some of the toughest acting challenges of her career. Gaby bonds with a new, albeit reluctant, patient, Maya (Sherry Cola), only to be devastated when Maya takes her own life. It’s the heaviest storyline of the season — and a heartbreaking look at the realities of suicide, loss and trauma in the lives of mental health professionals.

One of the show’s consultants had experienced a similar loss, and their insights helped the writing staff find dramatic resonance. For Williams, it was a chance to showcase what she always believed she was capable of. “For women, people of color, queer people, any minorities, we just want the opportunity to show what we can do,” Williams says. “I was rubbing my hands together. Like, ‘F— yeah. Let’s go.’ But I was also really nervous. Sometimes when I get scenes that are a bit more difficult, I wake up and I wonder if I can do it. Every single time it’s proving to myself that I can. It felt like I didn’t get to rest last season in a way that was really nice. Most times I feel like I’m just goofing, but that felt like, ‘Oh, I’m an actor.’”

That’s an inevitable side effect of appearing on a Bill Lawrence show. His blend of humor and pathos demands a high-wire act from his ensembles. “With Bill, you have to have the acting chops to be able to do the drama, but then be able to turn a joke very quickly,” says Christa Miller, who’s been married to Lawrence since 1999 and played major roles on “Scrubs” and “Cougar Town” before “Shrinking,” in which she stars as Liz. “You really have to be able to do it on a dime.”

Lawrence clocked early on that Williams had the chops to hold her own against heavyweights like Harrison Ford. “We knew comedically she would crush it. The only question mark was about who she was as an actress,” says Lawrence. “But she was great from the second she set foot onstage. It would’ve been a massive mistake not to let her showcase that stuff.”

The storyline also pushed Williams to reopen an old wound. In 2019, she lost her longtime boyfriend to a heroin overdose. “He had a therapist who had come recommended from my therapist,” she says. “I don’t remember that time that much because it was so intense and traumatic. I do remember my therapist was helping me work through it, but she was also like, ‘I’d like to check in with his therapist and see how he’s doing.’ That was the first place I went when they told me about that storyline. It was a good opportunity to work through that a little bit.”

Even though her grief was readily accessible, it also churned up emotions that Williams often tries to quiet. “There’s always something when someone dies, whether it’s suicide or an accident, where you feel guilt,” she reflects. “‘What could I have done?’ It was something that I’ve processed and am still processing, and it was easy to transfer that into Season 3. Grief is so ongoing. It’s a wound that I have forever, and I would give anything to not have it. But now I have it, and I live with it. It’s like an old friend.”

Williams describes the days filming those scenes as different for her, harder to shake. Driving home from the set in Burbank, she’d often take side streets back to her house in Eagle Rock, getting lost in music and her environment. “It felt like trying to shed it,” she explains. “I really felt it. But so many people responded to it in a way that was what I wanted. It’s such an intimate thing, this job, and to be able to portray something [that resonates], that’s the whole point.”

One emotion the work generated that she wasn’t expecting? Embarrassment. “I’m usually not embarrassed doing comedy,” she says. “I’m like, ‘There’s no rules. We can try anything.’ It doesn’t feel as vulnerable, whereas acting, there’s something fundamentally so indulgent about it.”

It’s a surprising admission; though I haven’t spent substantial time with Williams in years, she always seemed fearless to me. Willing to do whatever it took to get a laugh. It’s why our drama teacher invented an entirely new role for her in our spring musical, to showcase her generational comedic talent.

Williams agrees she was a cutup in class, but she never got the chance to do any capital-A acting in middle school. “I would get a part, and then I wouldn’t be able to do it,” she recounts. “Mrs. Barryte would have to call my parents and be like, ‘She did not do her homework. She has bad grades. She can’t do the play.’ I let people down. I remember feeling really sad about it.

“That taught me I’m a part of a team,” she reflects. “I have to be professional. I have to be ready. But I’m glad I don’t have to do my math homework to be able to perform. Public school’s tough — you had to be an awkward Black girl and get good grades to do the musical.”

That all changed when Williams found improv, joining the ComedySportz team at Harbor City’s Narbonne High (she continued on the college team while she was a student at Cal State Long Beach). “I cared about improv so much that I wasn’t not going to do my homework,” she says. “It just affected my life profoundly. I’m getting misty thinking about these programs that are underfunded, that s— really matters.”

Williams has also found reassurance in the response to her character. “She makes me more confident,” she admits. “Just seeing the response to Gaby. A lot of that is amazing writing, directing and an amazing crew, but it’s also my instincts.”

“The first time I was like, ‘Whoa, what the f—?’” she says of her three Emmy nominations for the role. “Second time, it was like, ‘OK, it wasn’t a fluke.’ And then the third time you’re like, ‘Oh s—!’ All the actresses that I admire are in this category, so I’m honored. But these are my peers too. So it’s like, ‘Oh, they see me.’ Gaby means something to people, it feels like — and that’s really nice. It encourages me to keep going.”

As for what that future will hold, besides at least one more season of “Shrinking,” Williams is hungry to do a play on Broadway, having not done theater since high school. Somewhere in there she’d like to capitalize on her tendency to play erudite characters and embody a detective in a thriller (preferably a paranormal one like her childhood faves “So Weird” and “The X-Files”).

Mostly, though, she just wants to keep doing what she’s been striving for since we were kids — “I want, when you watch me, for you to feel like you’ve seen something magic happen.”

Well, abracadabra.

As an aspiring young quarterback at Muleshoe High in the early 2000s, Lincoln Riley attended a football camp at Texas Christian University, run by a coach known even then as a mastermind of defense, a man whose ideas and 4-2-5 scheme would one day be disseminated across college football.

Gary Patterson had just been elevated from defensive coordinator to head coach at TCU, a job he would occupy for the next two decades. Around the same time, his staff saw something in Riley. They talked briefly about giving him a shot at safety on Patterson’s vaunted TCU defense.

“Needless to say,” Riley told The Oklahoman in 2018, “it didn’t turn out.”

But a quarter-century after first crossing paths at that camp, it’s now the young quarterback giving the old ball coach a chance to prove himself.

When USC announced it was hiring Patterson as Riley’s defensive coordinator in January, ears perked up across college football. On one hand, Patterson, 66, is a freshly minted College Football Hall of Famer and one of the great defensive minds of the modern era. On the other hand, he hasn’t led a college football team since 2021, when he was forced out at TCU, and a lot has changed in the sport since. Not to mention it’s been more than 25 years since Patterson last served as a coordinator.

Those were fair concerns, considering all that’s riding on Riley getting it right with Patterson, his third defensive coordinator in five seasons. But after seven months with him on the job, you won’t find anyone at USC — players, coaches or administrators alike — with an ounce of distress over Patterson’s stamina.

“I think I would have had more reservations had I not known him,” Riley said. “But that fire still burns very, very hot.”

That much was obvious in the spring when Patterson jumped into the middle of a tackling circuit to teach proper technique, and ended up running through the whole drill. He even delivered a blow at the end.

“He knocked the guy back,” said safeties coach Paul Gonzales, who coached with Patterson for a decade at TCU. “For a 60-year old guy, he still got some pop.”

USC defensive coordinator Gary Patterson watches practice in March.

(Robert Gauthier / Los Angeles Times)

Riley is betting big on that translating to the Trojans’ defense this fall. Over his four seasons as USC’s coach, there’s no mistaking what’s held Riley back from reaching the same heights at USC as he had at Oklahoma. The Trojans finished 124th, 104th, 87th and 65th in yards allowed per play during those years.

At TCU, Patterson’s defenses finished No. 1 in yards allowed five times during a 10-year stretch. Yet in the second half of his tenure at TCU, there was a noticeable decline, as his defenses finished in the top 25 of that same category just twice.

It was during that time that Riley’s offense went toe-to-toe with Patterson’s defense on numerous occasions. Riley, who was in his first head coaching job at Oklahoma, got the better of Patterson in each of their four meetings, piling up at least 498 total yards each time out.

“There was never anyone who was more of a pain to gameplan for or try to move the ball against than this guy,” Riley said.

During his five years away from coaching, Patterson said he actually spent more time studying the game than he had at TCU, where he was often consumed with other responsibilities. After consulting briefly at Texas and Baylor, Patterson took a job with an Amazon college football show, he says, primarily for the subscription service that came with it. Every Sunday morning, he’d watch whatever college game he wanted, just to stay fresh.

When he did return to coaching, Patterson didn’t just want to install the same scheme he used at TCU. So he closely studied Ohio State and Indiana’s defenses, which gave up a combined 32 touchdowns last season — seven fewer than USC’s defense (39). He took cues on how both clamped down better than anyone else in the red zone, where they each allowed opponents to convert touchdowns just 37% of the time.

“All I did was do football,” Patterson said. “I mean, it’s like getting married. I mean, it’s like I got nothing else. I wasn’t doing anything else.”

Those habits haven’t changed at USC. When other assistants took time for vacation this summer, Patterson stayed in the facility. He wanted to hone in on how to install his defense for a second time this fall. So he came in every day before 7 a.m., in a mostly empty office — just to beat the traffic.

“You want to change things, it’s a full-time job,” Patterson said. “It’s not one of those things that you do 70 or 80% of your time.”

It also gave him time to get to know his new players, each of whom have been summarily stunned by their veteran coach’s vitality.

“I don’t know how old he is, but he‘s out there like he’s 30,” linebacker Desman Stephens said. “He‘s still being active with us. He’s showing us drills. Like, if he want it done right, he gonna show you the exact way how to do it.”

So far, at USC, Patterson has had his hands on just about every detail of the defense. Which is precisely what Riley envisioned after watching him coach at TCU — and why he wasn’t worried about the game passing Patterson by.

“He was such a hands-on head coach,” Riley said. “He wasn’t a head coach just kind of doing a practice schedule, doing the speech, getting out early. He didn’t just straight CEO this thing, right? He was still calling defense, still game planning. He was very involved in every aspect of that program through all those years.”

USC defensive coordinator Gary Patterson fist bumps linebacker Desman Stephens during practice on Aug. 5.

(Eric Thayer / Los Angeles Times)

He won’t have to do that at USC. And Patterson seems perfectly fine with that.

But while others still wonder if he can make a successful return to college football, with a scheme that hasn’t been tested since 2021, Patterson is pretty confident his decades of experience count for something, too.

“It’s an advantage for me compared to somebody that’s 30 years old and doesn’t have kids, never been married, doesn’t know what it’s like to grow somebody up and raise a family and do things,” Patterson said.

“This is, I think, my 45th season. … “There’s not a lot of guys in this profession of the age where you can go back to all the things that I’ve learned through all the years.”

Nick Offerman is more than just his facial hair. For one thing, the actor made viewers weep with his Emmy-winning turn as Bill, a man who found unexpected love in “The Last of Us.”

Then again, Bill did have a great beard.

Fans who celebrated Ron Swanson and his mustache on “Parks and Recreation” have had much to enjoy with the two roles that earned Offerman Emmy nominations this year. As Chester A. Arthur, corrupt politician-turned-surprise president in Netflix’s limited series “Death by Lightning,” and retired professional wrestler and recovering addict Jinx in the Apple TV series “Margo’s Got Money Troubles,” he had two powerful redemption arcs to navigate. As well as some mighty coifs.

“I pride myself on that,” he deadpans. “It’s not something you can learn. I literally come by it honestly because it’s what Mother Nature provided me. Benedict Cumberbatch got the cheekbones and the nimble, articulate language tools. I got whiskers, and shoveling, and slow talking. We all get our things.”

Nick Offerman as Chester A. Arthur in “Death By Lightning.”

(Larry Horricks/Netflix)

Speaking by video chat from the Goodman Theatre in Chicago, where he’s playing Eugene O’Neill opposite wife Megan Mullally’s Broadway diva in “Iceboy! The Musical,” Offerman is humble and erudite, poking fun at himself while praising colleagues. He is “sincerely gobsmacked” by the double nod. He is also fresh-faced, because he’s filming the Alex Garland film “Elden Ring” in London during his downtime. “Here is this meager little mustache that someone made me, and I glue it on every night,” he says, holding up two tiny hairy wings.

In contrast, Arthur’s mutton chops just won’t stop. “If a president is not thin and has facial hair, then it’s been suggested that I should play him,” Offerman says. “People send me all of them, you name it: McKinley, Harrison, Teddy Roosevelt.”

Of course, the actor goes beyond whiskers to create his roles. To play Arthur, he read “Destiny of the Republic” by historian Candice Millard, which the show is based on. He also read Scott Greenberger’s biography “The Unexpected President.”

But ultimately he found his character on the pages of creator Mike Makowsky’s scripts. “The incredible advantage of great writing is that they’ve answered a lot of the questions for you,” Offerman says, adding, “Makowsky told me that he had me in mind when he was writing it. Once you learn about Chester, you’re like, ‘That’s a mixed compliment.’”

Nick Offerman.

(Billy Delfs / For The Times)

He says working on “Death” was “exquisite,” likening the shoot to a camp for theater kids, delighting in the depth of talent in the cast, and recalling when he and star Michael Shannon, at the time performing plays together in Chicago, used to get up to youthful drunken shenanigans, “like climbing a building outside the L&L Tavern.”

Jinx would probably have enjoyed that in his early years. When we see him on “Margo,” he’s been brought low by pain, prescription drugs and a lost love (Michelle Pfeiffer), trying to make amends with his daughter Margo (Elle Fanning), who’s struggling with single parenthood.

“Jinx desperately wants to be a good guy, he wants to be a good dad, he wants to be a good lover,” says Offerman. “He wants to be the hero of any circumstance, but unfortunately he has these frailties that I know too well.”

Offerman trained for three months with bodybuilder Grant Roberts “to create the body of, thankfully, a former pro wrestler, so you don’t necessarily need terrific abs,” Offerman says. Then for three weeks during the shoot he worked with pro wrestler Chavo Guerrero Jr. “I’m a former fight choreographer for the stage, and I do my own stunts, so I’ve been waiting this whole time to play a swashbuckler. By the time we were done, I was flying off the top rope.”

The physical preparation helped him find his way into the role. “What I learned about pro wrestlers, who are incredibly generous and loving people, is that they are all hurt, all the time. They’re all performing through pain,” he notes. “So how can I summon everything I have to blow away this audience with superheroic energy, even though I’m just this dumb theater-school kid?”

Offerman with “Margo’s Got Money Troubles” co-stars Elle Fanning, center, and Michelle Pfeiffer.

(Apple TV)

Jinx’s look is also key to the portrayal. For present-day scenes, Offerman sports his own beard, with some color added. But for flashbacks, “they made my spray tan extra dark, gave me this gorgeous mane of hair and put some braids in my beard. I was just over the moon. People complain about three hours in the makeup chair. I don’t complain because someone is putting their masterpiece on my head. I have the tractor and the hay rack that they’re building their float on that’s going to win the Rose Bowl Parade. It’s such a privilege to get to drive their masterpiece around.”

He soon faced Fanning. “She’s such a badass professional. It was so fun because she inspires me to also be more flexible and creative.” He calls Pfeiffer “a cinematic Mt. Rushmore. That was very thrilling because I traditionally have not been cast as people who have heat with glamorous movie stars.” He giggles.

“I understand that I have value as a performer, but I still don’t get how I got this part,” he says, sounding a bit baffled. “This is the best part of my life. I’ve had some wonderful parts that I’m very grateful for, but I’ve never had scenes with such complicated emotional relationships.”

He adds a point that could apply to Chester Arthur as well. “It’s fun to be a protagonist who gets to indulge in human weakness, knowing that we hopefully will bring the audience back around to caring about you.”

Every now and then a rom-com comes along with an absolutely ludicrous premise that we just sort of accept because it creates the unique conditions for watching a pair of budding movie stars fall in love. This year’s entrant is “One Night Only,” written by Travis Braun, directed by Will Gluck and set in a pretty familiar if spit-shiny New York City. The catch is that America, for some reason, has outlawed premarital sex, with the exception of one night a year, when singles can get their freak on. It’s like “The Purge” but for sex, so the Sex Purge.

Braun’s script was on the Black List, a collection of the best unproduced screenplays in Hollywood, which tends to reward hooky, high-concept projects, often to mixed results. That is most definitely the case with “One Night Only,” a film that exists on the vapors of a bizarre plot and the appeal of hot actors.

You probably have a lot of questions, and “One Night Only” is only going to satisfy some of them. How does the government police the premarital sex? With bio-sensors, of course, as explained by a drunken tech bro (Nicholas Braun) in an exclusive lounge. Singles receive small tattoos that turn from red to green during the 12 hours that premarital sex is permitted, body modifications that measure things like oxytocin and dopamine and whether one sensor is in close proximity to another. Sexual acts that are solo, distanced or parallel are permitted, yet many questions still remain about the kinds of hookups that can be had during the mandated ban.

The why of it all is much less satisfactory. An upbeat news report explains that rates of teen pregnancy are down, which is a very 1980s justification. The whole gambit feels dated and underexplored, both conceptually and politically — so you’re saying single straight people are an oppressed sexual minority? Maybe that idea should have been unpacked a little bit more.

On the night of the Sex Purge, the streets are flooded with attractive, thin, largely heterosexual couples making out all over the place. Perish the thought of being single and vulnerable, as they say on “Love Island,” on such a night, which is how we find our two winsome protagonists, Owen (Callum Turner) and Allie (“A Complete Unknown’s” Monica Barbaro). Owen’s a pizza maker whose girlfriend (Maya Hawke) wants to explore someone else; advertising jingle singer Allie has been ditched by her best friend (King Princess) for a prince.

These two strangers are both despondent and desperate. When they bump into each other on the street, a meet-cute turns into a meet-puke, and so the story follows an enemies-to-friends-to-lovers track, as they spend one crazy night continually running into each other on their increasingly urgent sex quest. The script does a good job of throwing up plausible obstacles and sticky situations for these two to navigate: price-gouged condoms, police raids, catfishing, injuries, parental ambushes, etc.

Turner and Barbaro have charm up the wazoo, and Gluck does a fair amount of key-jangling to distract from the nagging issues of the premise itself. There are repeated gags about Allie’s job singing covers of popular songs reworked for pharmaceutical companies and almost too many celebrity cameos. Every time a celeb’s face pops up it’s essentially an “ooh, shiny thing!” moment so that we stop thinking about the intricacies of the world where Sex Purge happens. Allie’s hopeless romanticism isn’t well-established, and there’s a whole complicated climax (no pun intended) involving the Empire State Building that could have been a lot smoother and more intuitive.

Allie’s most impressive feat is making it 12 hours in New York City in spike heels and a sequined micro-mini, but rom-coms are the stuff of fantasy anyway. Yet “One Night Only” doesn’t present us with fun escapism but, rather, a misguided, underbaked and very straight-guy fantasy of what something like this might look like, which is essentially … lots of people kissing in public? It’s tame and weirdly conservative.

Turner and Barbaro give it their best, but not even their charisma can reliably bolster the inherent structural flaws of this concept and its execution. “One Night Only” feels purged of a brain.

Katie Walsh is a Tribune News Service film critic.

Some say it’s ridiculous.

Some say it’s refreshing.

Some say it’s unprofessional.

Some say it’s all in good fun.

One thing is certain — Mets relief pitcher Jefry Yan got everyone’s attention with his high-flying, post-strikeout celebration during his MLB debut on Wednesday in Cleveland against the Guardians.

Called up from triple-A Syracuse a day earlier, the 29-year-old Dominican left-hander took the mound to start the bottom of the sixth inning and faced Guardians pinch-hitter Ángel Martínez. Five pitches into the at-bat, Yan caught the hitter looking on an 88.7-mph slider for a called third strike.

Then came the celebration. Yan jumped up — way up — into the air, contorting his legs into somewhat of a split. He landed in a crouch position and slapped the ground before popping up, standing still with his hands up for a fraction of a second, then walking back up the mound with a bit of a leg slide to commemorate his first Major League strikeout.

“Once I had him with two strikes I said, you know what, I’m going to throw that slider,” Yan said through an interpreter after the Mets’ 6-5 victory in 10 innings. “And if I freeze him, which is exactly what I did, I celebrated accordingly.”

Several batters later, however, Yan commemorated his second major league strikeout similarly. Yan had given up two singles and a walk to load the bases before getting Cleveland designated hitter Chase DeLauter on a 90-mph slider for strike three and the second out of the inning.

Once again, Yan did the whole jumping, landing, ground-slapping thing (no slide this time though). Later in the game, Cleveland’s José Ramírez was seen in the dugout apparently imitating Yan’s airborne style of rejoicing.

While most MLB fans might be seeing Yan’s post-strikeout air show for the first time, the celebrations have actually become a signature move for the player during his long, unconventional journey to the majors.

After initially signing with the Angels organization as a teenage international free agent in 2013, Yan eventually spent several years out of affiliated baseball, playing for semipro and amateur teams while also working odd jobs.

He was signed by the Miami Marlins organization in 2021, followed by the Saitama Seibu Lions of Nippon Professional Baseball and the Colorado Rockies organization before the Mets last August.

Yan has other methods of celebrating during games as well. On Wednesday, after Guardians right fielder Jo Adell — playing his second game for Cleveland after being traded by the Angels earlier in the week — grounded into a fielder’s choice at shortstop to end the inning, Yan did a low slide move and slapped his chest, then smacked his glove emphatically several times and blew a kiss toward the sky while leaving the field.

Cleveland fans expressed their displeasure, but Yan wasn’t bothered.

“If they want to yell at me, if they want to boo me, they can do whatever they want,” Yan said. “I’m in my zone. And yeah, I’m going to enjoy my game any way that I want to.”

Yan gave up two hits and no runs with two strikeouts and one walk in one inning pitched. Five of his pitches, all sliders, reached triple digits on the speed gun.

“It’s real stuff. It’s really impressive,” Mets interim manager Andy Green said. “To get out of a bases-loaded jam, get your first punchout, just excited for him. He deserves that.”

The Associated Press contributed to this report.

Rhea Seehorn possesses what Vince Gilligan calls “Jumbotron face.” As the creator of “Pluribus” and (with Peter Gould) “Better Call Saul,” Gilligan has relied on Seehorn’s ability to broadcast what her characters are thinking and feeling without saying much of anything. Gilligan loves silences and uses them in long stretches, allowing — or, perhaps more accurately, demanding — his audience to figure out what’s happening on their own.

And in Seehorn he found someone who, with a mere sidelong glance or knitted brow, can let you in on Gilligan’s secrets.

But Seehorn carries this ability wherever she goes, she tells me. People take a look at her and make assumptions. She’s 5 foot 4, lean and seems athletic, though she says she’s “the least athletic person that anybody knows.” That hasn’t stopped her from being cast as a golf instructor in the upcoming second season of the Owen Wilson comedy series “Stick” and a track and field coach in a movie she’s shooting right now called “Running.”

“I do not run,” she told the movie’s director, Gavin O’Connor. “I can tell people to run, but you don’t want to see me running.”

It’s not just work, though, where these deductions are made. Up until a few years ago, when people started recognizing her for playing poker-faced attorney Kim Wexler on “Better Call Saul,” Seehorn would be standing in a store and customers figured she worked there. Shopping at the Gap, she’d be asked if a T-shirt comes in medium. In Target, she’d be queried about where to find the Christmas decorations. Even on set, a background person would approach her, wondering if there’s any more plain bagels at craft service.

Why do you think this happens? I ask her. Because, even with her fame and her Golden Globe win for playing Carol, a sad woman forced to save the world from happiness and the hive mind in “Pluribus,” Seehorn, 54, says this still takes place on a regular basis.

“I’ve asked my friends, and apparently my daydreaming or thinking face looks focused,” she says. “I guess my interior monologue is highly interpretable to people, and if you’re standing in a store and you see somebody really thinking and thinking, they’re like, ‘She must be restocking the shelves.’ When in reality, I’m probably thinking about what I said wrong to somebody at a party in the ’80s.”

Rhea Seehorn as Carol Sturka in “Pluribus.”

(Apple TV)

Seehorn bursts out laughing, which she does often and with great gusto throughout our conversation. We’re at The Times, nine years after her last visit to our offices, which I know because she shows me a photo on her camera roll of her youngest stepson, McLain, taken when we were downtown and he was 9, young enough to still be thrilled about being in a “newspaper building.”

This prompts another take-your-kids-to-work memory.

“I brought him and Gray [the other stepson she shares with her partner of 12 years, real estate agent Graham Larson] to the set of ‘Better Call Saul’ when they were 7 and 9, and the thing they were most excited about was signing an NDA,” Seehorn says. “Everybody in the production office made a huge deal of it, pretending like they were spies, because I knew they’d think that was cool.”

Seehorn played Kim opposite Bob Odenkirk on “Better Call Saul” for six seasons, creating a character that evolved from a minor role to what Gilligan calls the “backbone of the series.” Dazzled by her versatility, Gilligan wrote “Pluribus” for Seehorn. But he didn’t want to tell her about it until he had a script and not just an outline. He asked “Saul” executive producer Melissa Bernstein to act as a spy and tell him if Seehorn was close to taking another job. One day, during the show’s final season, Bernstein told him he’d better pounce.

“I didn’t want to miss my opportunity,” Gilligan says over the phone. “That would have been a bummer. Rhea is the manager that makes the show work.”

(Ian Spanier / For The Times)

Where Kim Wexler was a composed and poised overachiever, suppressing her emotions when things (as they often did) spiraled out of control, “Pluribus’” Carol Sturka lets it all hang out. She’s volatile and angry, drinking heavily to obliterate her regret and rage. The characters share a fierce drive to fight for what they believe is right, which, for Carol, means maintaining her autonomy and resisting the good-vibes group contentment of the Others. A hero has never been more reluctant than this curmudgeon.

Seehorn is the ultimate professional: pleasant, quick to credit her colleagues, a team player. So Carol’s bitter fury feels distinct from her friendly personality as well as anything we’ve ever seen her do onscreen. But it’s not entirely foreign. Talking about the “Pluribus” season finale, she said that while she’s never murdered anyone, she has felt out-of-control rage.

When did this happen?

“I’m not going to tell you that!” she answers, laughing.

I’m just trying to picture it, I tell her.

“I know, because a lot of people are like, ‘I’ve never seen you mad,’” Seehorn says. “I suppress. I suppress too much. That’s something I work on with my therapist. I used to scream and yell as a teenager. That’s how I fought. And I just decided in college one day — I think I had an out-of-body experience — that I don’t want to be this person. And it probably moved the needle too far the other way. Now, when I’m angry, often I withdraw and get very quiet. I say everything is fine and then I’m never speaking to you again.”

That could have made playing a highly reactive character like Carol therapeutic. Instead, it did a number on Seehorn’s body.

(Ian Spanier / For The Times)

“Unlike Carol, I cry often when I’m extremely angry and in the middle of trying to tell someone how upset I am,” Seehorn says. “Like the anger disturbs my body so much that it makes me cry. No matter how much I tried to unplug from Carol, my body didn’t understand that I was pretending.”

We start talking about relationships and unhealthy withdrawal and letting things fester to the point that when the emotions come out, it feels abrupt and the other person has no idea what’s going on. And out of nowhere, Seehorn gives me a taste of Carol, growling the words, “Can you just get it?” with such ferocity that I’m almost physically blown back in my chair.

“God, you scared me with that,” I tell her.

“Thank you,” Seehorn says, beaming.

Because she’s a (generally) well-adjusted human being, Seehorn has developed ways of dealing with the terror and flop sweat that comes with playing the lead on an expensive, highly touted TV series, one that earned 18 Emmy nominations, including one for her lead turn. She converted the garage at her home into what sounds like a veritable wonderland. In one corner, there’s a tiny gym. There’s a place to record voice-over work, not a proper booth, which she’d like someday, but close. There’s a space to be quiet and read scripts. There’s an area where she can paint, sculpt, do jigsaw puzzles, Lego sets, embroider — all the things that ease her anxiety but also help her work through creative blocks.

“If I have too much of a vice grip on a scene and I can’t figure it out, I’ll do a jigsaw puzzle or draw while running the lines,” Seehorn says.

She loves creating things, but she also loves projects that involve following instructions. That soothes her. In the middle of enthusing about a cross-stitch embroidery project, she says, “Don’t roll your eyes at me!” Which I most definitely was not doing. That was my daydreaming, thinking face.

(Ian Spanier / For The Times)

Sometimes these projects make their way inside the house, where Seehorn might turn on the television and watch what she calls “murder TV,” sitting under a big, curved metal dome lamp that feels like an interrogation spotlight. There, her brain still working on what she was doing in her office, she’ll lose herself on multiple fronts as she wrestles with a scene.

Seehorn loves watching shows like “Dateline” because they provide a sense of order in a chaotic world. Bad guy. Bad guy gets caught. Bad guy goes to jail. All is well. But it goes beyond that. As an actor, she loves watching people trying to lie — and failing. She can’t believe how bad people are at not telling the truth.

“Every single time, I’m like, ‘Dude’s lying,’” Seehorn says. “Women too, where I’m watching an interrogation scene and thinking, ‘There’s a zero percent chance you did not know someone was going to break in and shoot your husband.’ It’s funny because as actors, whenever we’re playing criminals that are lying to the police, we’re really good at it.”

Does that mean Seehorn is an adept liar? Yes and no. You’ve seen her act. She can make you believe anything. But when she does lie, she is compelled to confess, even when the fib is innocuous.

“I’ll be in a conversation where there’s a bunch of cool people talking about a movie they saw, and I’ll be like, ‘Oh yeah, that was great!’” Seehorn says. “And then I’ll leave and then I’ll come back and say, ‘I didn’t actually see it. I’m sorry.’ And they’re like, ‘Who’s that weird girl?’ I’m good at lying, but bad at holding the guilt.”

So when you’re telling me you don’t know any details about the second season of “Pluribus,” are you misleading me? I ask.

“I know nothing!” Seehorn says. The atomic bomb in the crate that a helicopter carefully deposits in Carol’s driveway in the last scene? “As soon as they said, ‘Cut,’ I went up to Vince and asked, ‘Now can you tell me what we’re doing?’ And he said, ‘I have no idea.’”

“And all these months later, I know no more than that,” she continues.

But if you did…

“You’d be getting a phone call from me about an hour after we say goodbye, confessing all,” Seehorn answers, smiling.

The phone still hasn’t rung.

(Ian Spanier / For The Times)

Comedian and podcaster Christina Pazsitzky just dropped the “divorce episode” of “Your Mom’s House” and addressed her split from Tom Segura after 20 years as a couple: “Mom’s drinkin’ and smokin’ on this episode.”

Pazsitzky told guest host Duncan Trussell that she wanted to formally address the news after word got out that the comedy power couple had separated this year. “Yes, Tom and I are divorcing, and it is extremely sad,” she said, beginning to cry.

“Sorry, I didn’t want to cry this soon. It is very sad. That being said, we have tried to work it out for several years for the sake of our children and our family, and we gave it all we could, but we just couldn’t work things out. We are no longer a couple.”

Pazsitzky said the former couple were trying to make their two children a priority as they navigated the split.

“Look, we had 20 amazing years together, and that’s a really good run, I think, in a marriage,” she said, noting that the two had built their comedy careers, podcasting empire and a family over the course of their relationship.

“I wanted to address the audience specifically because we’ve been through a lot together — for those of you that have listened to us since the very beginning — we’ve been through Tom and I getting married and living in Silver Lake and being two broke comics. We’ve been through births and deaths, tragic accidents, cancer, COVID, all the things, and I want you to know that I’m still your mom, and I’m still here, and we will survive.”

The comedian reassured listeners that she and Segura were amicable and that there was no need to take sides. “This is not an ugly divorce,” she continued. “Like, we’re cool, dude.”

The two became a couple in their 20s while working as stand-ups on the Los Angeles comedy scene. Pazsitzky said the two were “kids” and that people change over the course of multiple decades. She looked back on the “wild ride” of being poor together, living in Silver Lake and getting married with $200 between the two of them.

“Cancer couldn’t kill me, you think a dude’s gonna f— take me out?”

George R.R. Martin says he fears “the worst may be yet to come” as he opened up about the personal challenges that ran parallel to a year of professional highs.

The fantasy author, who created the world of HBO series “Game of Thrones,” said in a post published to his website on Monday that he has “battled sadness and depression” amid a “stressful” and “overwhelming” year of some exciting endeavors, “dreams coming true” and “nightmares.” In his blog post, his first since February, Martin wrote that he has lost friends — he did not provide names — and briefly mused on aging: “I turned seventy-seven last September, and I tell you, getting old is no fun.”

“But there have been amazing times as well,” he continued, “I suppose that’s just life. Of course, I knew that.”

Martin, who is writing his long-awaited book “The Winds of Winter,” said he has fallen behind on blog entries and intends to get readers up to speed, “but my posts are likely to [be] short and rushed.” The author also highlighted the recent critical success of HBO’s “Knight of the Seven Kingdoms,” also adapted from his work. While he acknowledged the drama’s nine Emmy nominations, “including the big one, Best Drama,” Martin also noted that his attendance at the upcoming Emmy Awards in September “depends…on, well a lot of things.”

His latest post rings similar to another entry he shared in March 2018, when he reveled in “lots of exciting things going on” but also shared with followers that he is “buried in work, so much that it is starting to overwhelm me.” He announced at the time he would be taking a break from writing his posts.

“I’ll return eventually,” he said in 2018, “Just don’t know when.”

Martin has faced seemingly endless questions about the status of “The Winds of Winter” and his ability to complete the planned sixth novel in his “A Song of Ice and Fire” series that inspired the hit HBO drama “Game of Thrones,” for more than a decade. He tried to shut down those concerns in 2014.

“I find that question pretty offensive, frankly, when people start speculating about my death and my health,” he told a Swiss newspaper at the time.

Since then he has assured fans that progress is ongoing, previously voicing hopes for completion dates that have since passed. What we do know is “it’s going to be a huge book,” Martin teased in 2020.

You can’t keep a beloved news team down, even after more than a decade since being yanked off the air in a move that stunned fans and local TV newsrooms.

For almost 20 years, KTTV Fox 11’s “Good Day L.A.” was hosted by Steve Edwards, Dorothy Lucey and Jillian Barberie, becoming a dominant fixture in the fiercely competitive morning show arena. The show’s popularity for a time outdistanced network morning shows and crosstown rivals “The KTLA Morning News.”

The trio’s freewheeling banter spiced with humorous mayhem and mischief enchanted legions of viewers while bringing freshness to the familiar formula of news, weather and sports. The distinct personalities meshed effortlessly — veteran newsman Edwards, relentlessly upbeat co-host Lucey and fiery weather reporter Barberie, who injected the proceedings with outrageous, at times crass comments along with declarations that “my breasts are real.”

An undercurrent of friction brought an edge to the breezy vibe, with Edwards often acting as the awkward buffer between Lucey and Barberie, who did little to disguise their dislike of each other. Barberie would go on to bash Lucey on Howard Stern’s radio show, calling her “very Christian and Bible-thumpy.” Lucey was frequently distraught by Barberie’s “mean.”

But that winning combination was broken up starting in May 2012, when Lucey was fired as part of a show revamp. Barberie was let go four months later after declining a demotion. And after continuing with other co-hosts, Edwards vanished from the show in December 2017 after allegations of sexual harassment, but there was never an official explanation from him or management about the reason for his departure. The exits sparked a wave of protests from viewers and celebrities, including Suzanne Somers, Piers Morgan and Simon Cowell of “American Idol.”

Dorothy Lucey, left, Steve Edwards and Jillian Barberie in 2001 on the set of Fox 11’s “Good Day L.A.”

(Genaro Molina / Los Angeles Times)

But good days have returned for the former “Good Day L.A.” hosts. More than a decade after being let go, Edwards, Lucey and Barberie are fired up about their new venture.

The trio has reunited for “So Unanchored,” a weekly podcast fueled by spontaneous riffs on their years together, pop culture and their deep friendship. As they did on “Good Day L.A.,” they consistently interrupt one another and the chatter careens from one topic to the next without a breath. Complete sentences are rare.

“We have not missed a beat,” Edwards said as he, Lucey and Barberie relaxed in an office lounge after a recent taping. “It’s the most effortless thing. It makes us very happy when we get together. There’s an endorphin thing going on.”

“And we like each other more,” added Lucey.

They will tape a special live episode Wednesday at 11 a.m.. New episodes usually appear on Fridays.

The shattering of the “Good Day L.A.” team was particularly traumatic for Barberie, the breakout star of the trio. In addition to getting divorced after the Fox 11 job, she was later sideswiped by financial woes and a devastating health scare.

“I lost my job, got divorced and got cancer all at the same time,” said Barberie, her voice cracking as she sat near Edwards and Lucey in the lounge. “The fact that these two were a constant in my life during those 12 years when I was going through all those things is everything. I’m so grateful.”

Of course, there are major differences from their previous collaboration. While “Good Day L.A.” was broadcast at Fox 11’s massive West Los Angeles studio, “So Unanchored” is a no-frills affair staged at a Canoga Park office park.

The hosts sit in a small office, backed by nondescript office furniture and a framed poster of the vintage “Please Stand By” image broadcast by stations when there were technical difficulties.

Lucey, left, Edwards and Barberie in the Canoga Park office where they tape their podcast, “So Unanchored.”

(Annie Noelker/For The Times)

On their initial podcast, Barberie made it clear that there is no love lost when it comes to her former employer.

“I don’t want anything associated with that show,” she said. “Let’s start fresh, man. They used us and they treated us like s— at the end. Who needs them? Goodbye!”

The other major shift is the relationship between Lucey and Barberie.

“Dorothy and I love each other now,” Barberie said on one episode.

Lucey: “We do. Because the last time you saw us, we really didn’t like each other.”

Barberie: “And Steve has never been happier.”

Edwards: “You two are like sisters. You used to be like brothers — Cain and Abel.”

Barberie: “And then something happened between the three of us that got her and I close, and then I got cancer. She took me to all of my surgeries and took care of me. I’m telling you, it’s a beautiful thing.”

Lucey: “We still hate Steve, though.”

Barberie: “We have that in common.”

The burying of the hatchet is a great relief for Edwards, who was troubled by the tension between his colleagues during their time on “Good Day L.A.”

Barberie pressed Edwards on their first podcast: “Be honest, Steve. Did you like it when we didn’t get along?”

Edwards: “Sometimes it would get ugly and my stomach would turn.”

On “So Unanchored,” Barberie has revived her loose cannon role in their dynamic, raw and unfiltered. She will tear up, and moments later throw her head back with an explosive laugh that bounces off the studio walls.

She detailed her wild lifestyle during her TV days: “From 34 to 40, I was single, had five TV jobs, partied like a rock star, dated anyone I wanted and made a s—load of money.”

Though she eventually landed a talk show on KABC-AM 790 after leaving Fox 11, hard times hit in 2019 as she tried to make ends meet while raising two children as a divorced mom battling cancer.

“When I lost everything, I literally collapsed on my money manager’s table. I was bald and I started crying,” she said.

She listed her ranch-style Tarzana home, which was featured in “MTV Cribs,” for $2.5 million in 2021. She currently rents “a beautiful little apartment way out in Thousand Oaks. I love it and my life is quieter.”

Barberie was more explicit on the podcast: “I haven’t dated in 10 years. I have no tinglies down there. I’m dead from the waist down. I don’t want to date. I don’t want a man, an ape beside me at night if I’m having a hot flash. I have no nipples. I have no desire to cook, sit and talk with you. I don’t care.”

Edwards: “So you’re saying there’s a chance.”

Since leaving “Good Day L.A.,” Barberie, left, and Lucey have developed a close friendship. Edwards, standing center, said, “You two are like sisters. You used to be like brothers — Cain and Abel.”

(Annie Noelker / For The Times)

Scott Sternberg, whose production company produces “So Unanchored,” said “Good Day L.A.” was a clear standout on the morning show spectrum.

“There was something different about ‘Good Day L.A.’ from the other shows,” Sternberg said in a phone interview. “Their personalities were all different, but they could finish each other’s sentences and were not afraid to say what they wanted to say. I felt if I could bring them back together, there would be a huge audience who remembered them fondly.”

Asked to define the magic of their chemistry, Edwards said it was not instantaneous.

“At the time, there were five morning shows, including the network,” he said. “It took years for our thing to happen, but when it did, it happened big. We could do no wrong for 10 years. The ratings were crazy good. There was a run for many years when we were No. 1. We made them a lot of money.”

He continued: “Success is based on the relationship between the people on the show and the audience. Once that is established, it doesn’t matter if the show is good or bad that day. I was going through a lot with these two [Lucey and Barberie], and the audience was doing it with us. But the suits don’t care about that.”

The first indication that the show was in trouble came in 2017, when a new management team initiated a revamp of the morning show.

Lucey wrote at the time in her blog “God and Gossip” that her new boss told her that her voice, which has a trace of raspiness, “made his eyes bleed. Not the crusty yucky pink eye. New guy was saying when I spoke I made his eyes bleed. I have read that can happen after you vomit. Now I could almost see my husband saying something like that to me … But from a new boss…”

But station executives did not express regrets about dismissing Lucey, saying in a statement after her ouster: “The revitalization of ‘Good Day L.A.’ has been refreshing.”

Months later, Barberie was approached about taking a reduced role as a field reporter. She turned it down. Edwards’ departure caused a bigger stir because it was so abrupt. KTTV would say only that he was no longer employed by the station.

“Fox never issued a statement, and I never issued a statement,” Edwards said. “Obviously there was not agreement on what happened.”

As they prepared to leave the lounge, the three hugged each other warmly and said they were looking forward to getting together the following week.

“There is one word for us being back together,” Barberie said. “Home.”

Ariana Grande delivered a four-minute speech to more than 20,000 of her fans in Chicago on Monday night amid reports that she’s stepping away from the public eye due to online scrutiny.

During the first of three sold-out shows at Chicago’s United Center, the “Break Free” singer stopped the concert to address the widespread speculation surrounding her weekend announcement that she’d be stepping away from the public eye when her Eternal Sunshine tour concludes on Sept. 1.

Grande read the prepared statement from her phone, telling the audience that she didn’t want to get nervous and forget.

“Sometimes when a story comes out that’s not directly from me, things can get a little blown out of proportion,” she said. “So I just wanted to speak to my fans directly tonight because I love you so much.

“So basically, the announcement that was made yesterday was not a reactive or impulsive thing. It is something that I had decided. It’s a plan that I had quietly made a long time ago, and it’s a decision that was made from a thoughtful and empowered place, and I want you to know that many, many things can be true at the same time. I want to share this because I heard that my fans were worried that negativity was ruining things for me, but I just have to say, that could not be more the f— opposite.

“This is not what that is and I just want to make that very, very clear. Nothing can be ruined. Multiple things can be true at the same time. Boundaries can need to be set. Human beings can need a break sometimes. And also, this can be and will continue to be the greatest experience of my professional and creative life.

“I have one more thing to say,” she continued. “No matter what noises exist out there, nothing will ever be able to distort my reality or be more real to me, or louder to to me, than this love that we share, or than how it feels to make art with the people that I love and respect. Absolutely nothing will change that or distort that for me. And I want you to know that. I love you, and this is what I will always take with me and carry with me because the rest of that s— is not mine to carry, so I don’t carry it. I needed to get up here and differentiate that from my truth for you all, because I love you, and this tour has been the most healing, beautiful, corrective, magnificent, special experience and so has putting out [the album] “Petal.” It’s been extraordinary.

“I wish that words were enough to articulate just how much I love you all.”

A representative for Grande on Sunday announced her upcoming hiatus in a statement shared with multiple outlets.

The announcement coincided with news that the Grammy-winning and Oscar-nominated star would be dropping out of Stephen Sondheim’s West End revival of “Sunday in the Park With George,” in which she was set to star next summer opposite Jonathan Bailey.

Grande “looks forward to finishing [her current] tour and ending it on a high note, both healthily and happily,” the statement said.

Grande will then take “a much-deserved break from public-facing work and appearances, which has led to endless, ongoing public scrutiny.”

The announcement followed the Friday release of Grande’s eighth studio album, “Petal,” and the accompanying music video for the title track in which the pop star takes out a panel of her critics with a chainsaw. In response to the video, fans and foes alike flooded the comments section with remarks about Grande’s appearance and apparent weight loss.

The Times’ pop music critic Mikael Wood wrote of the album, “[T]he pop superstar opens the spigot on what she’s described as an ‘unfiltered rage’ to blast any number of feckless exes, a prying public obsessed with her body and her personal life — and not least herself for allowing anyone the power to hurt her in the first place.”

CHICAGO — Just a few days ago, new Dodgers pitcher Tarik Skubal was on the other side, on a mid-market Detroit Tigers team that had hoped to unseat the Dodgers from the top of the league, before a disappointing season made them sellers at the trade deadline.

Still, with that perspective, he wasn’t going to entertain any talk about the Dodgers ruining baseball.

“I don’t really sympathize with people that blame the Dodgers for anything they’ve done,” Skubal said from the Barrel Room at Wrigley Field on Monday. “They’ve developed a really good organization. They draft well. They acquire talent really well. They retain talent. It’s a winning organization. Now the complaints seem to be [happening] because they’ve won the last two World Series. I don’t think it was like that three years ago. So I don’t really sympathize with people that are complaining. Because the Dodgers do all the right things.”

Skubal didn’t want to talk about his impending free agency. And he said he did not have any conversations with Tigers president of baseball operations Scott Harris about preferring to be traded to the Dodgers. Before the trade, he told Tigers reporters that he wanted to remain with the only team he’d known and compete for a championship there.

“Initial reaction, there was a lot of emotions,” Skubal said. “I spent eight years with the Detroit Tigers. That place will always be special to me no matter what. In the same breath, I’m excited to be here with these guys. When you watch them from across the way, see them do their thing on TV, you just have a lot of respect because they play the game the right way.

“The entire focus of this organization is on winning championships and that is my entire focus — playing baseball — so we’re very much aligned. I’m ready to go out there and compete and give this organization and city everything that I’ve got.”

The Dodgers put the final touches on their trade deadline, adding catching depth as Dalton Rushing went on the 10-day injured list with a sprained left elbow. The Dodgers added two backstops they’re already familiar with in Ben Rortvedt and Hunter Feduccia. They also added left-hander Kris Bubic, who is dealing with a shoulder injury.

It was clear all along, however, that Skubal was going to be the biggest splash of the deadline — for any team, really. And fuel for frustrated baseball fans upset about the Dodgers acquiring another star player.

“I think the Dodgers have done a fantastic job in player development,” said Cubs president of baseball operations Jed Hoyer, who also engaged in trade talks for Skubal. “They have a really good farm system, and Scott [Harris] did the best thing you could do for the Tigers and got a lot of talent back. And obviously they did the best thing for their team.

Dodgers pitcher Tarik Skubal throws in the outfield before the team’s game against the Chicago Cubs at Wrigley Field on Monday.

(David Banks / Associated Press)

“And he’s an incredible pitcher. I mean, there’s no question about that. And I guess we’ll see firsthand. But I know there’s been a reaction around baseball about it, but they put themselves in positions to do that deal, and they did, and that’s exactly what they should be doing.”

Skubal had accepted by the end of his last start that he was going to be moving on.

“Losing that game kind of felt like that was kind of it for me in Detroit,” he said. “So not surprised, but that didn’t make the news any easier because I love a lot of those people there. I’ve got a lot of respect about what they do and how they go about their business. A lot of those guys are like my best friends on and off the field. I wish those guys nothing but the best. I’ll be rooting for them, unless we’re playing.”

He officially starts a new chapter Tuesday, taking the mound for the Dodgers at Wrigley Field.

“They’ve been a pretty good baseball team without me,” he said. “So I’m going to show up and kind of be a chameleon in a sense and fit right in with these guys and just jell with them. They’ve got the winning recipe. They know what it takes to win.”