thing

As we sit in Gerald Cyrus’ upstairs office, we snack greedily from a box of sugar-free oatmeal raisin cookies, our favorite treat when printing at the house that holds the bulk of his sprawling archive and taut darkroom in North Philadelphia. For the last two years I’ve been visiting this house, poring over box after massive box of shimmering silver gelatin prints, learning printing techniques, and editing Gerald’s debut monograph, “Uptown Odyssey,” published in October by TBW Books.

I first met Gerald at the end of 2024, after coming across a Cafe Royal booklet of some of his photographs at the Photographers’ Gallery in London. I posted about the pleasure I took in the work — the inky, jazzy perfection of these bombastic photographs — and Gerald and I struck up a conversation. He told me that he was based in Philadelphia and I was surprised because at the time I was living there too. He invited me around for a studio visit and from there an unexpected friendship blossomed.

In the photography world today — especially as it pertains to the photo book — there is a stunning lack of representation for Black photographers. Honestly, if you browse the shelves of any art book store today you would think that Black people only existed as subject matter, never as storytellers. This kind of excision, this near total erasure of the Black voice, can turn one toward madness, certainly toward bitterness. Gerald, miraculously, is a total delight. He’s funny, charming, excitable and curious and his love of this medium remains largely unblemished.

Gioncarlo Valentine, “Sifting through the archive,” Philadelphia, 2024.

Whether it be his joyful photographs of families in Ghana and Brazil, his pictures of sleepy passengers on his cross-country trips on the Greyhound bus, his images of his extended family down in New Orleans, or his remarkably tender portraits of his hometown of L.A. in the 1980s, Gerald’s archive is a lush, captivating look at life wherever he finds it, rendered with curiosity, patience and care.

After our printing and our munching, I was excited to sit down for a conversation with him about Los Angeles, mentorship, cultural preservation and to think on what it means to champion the work of one’s elders and help steward it to a new, eager generation.

Gioncarlo Valentine: What was your photographic community like coming up in L.A.?

Gerald Cyrus: I was very fortunate in that I was able to discover a group of photographers based out of Leimert Park at a gallery called the Black Gallery. It was started by Roland Charles, Calvin Hicks, Donald Bernard and Gil Garner, and also the photographer Willie Middlebrook was an important person who I met there. They gave me the opportunity to exhibit for the very first time and gave me a chance to meet working photographers. I got to learn various techniques and I got to assist Roland Charles on a few of his commercial shoots and learn a little bit about lighting, so it was an extremely important place for me to develop my instincts about photography and to decide what I wanted to do, and to have other African American photographers show me that it could be done.

GV: Your photographs in L.A. feel much more spacious than the ones you would go on to make in New York. How did you start to develop your photographic sensibilities there?

GC: This is where I developed my initial instincts and ideas about the medium. L.A. is a place that’s very spread out. It’s very much dominated by the car. I found myself drawn to a type of photography where proximity was important, and so it’s difficult to create those kinds of images in L.A., particularly on the street. In terms of photographing jazz, there were jazz clubs in L.A. that I would go to, so I was definitely able to explore that part of my interest. But as far as photographing on the street, [those images] are marked by a certain distance from people or solitary figures in a vast landscape, that sort of thing. Moving to New York gave me the opportunity to figure out how to photograph within close proximity to people.

Gerald Cyrus, “Horace Tapscott and Bassist,” Los Angeles, 1992.

GV: Was the impulse to create the work you made in New York during the 1990s a conscious act of cultural preservation? I’m wondering if you were drawn to these spaces because this was your area of interest, or if you had a sense that change was coming?

GC: I had no idea the culture was going to change so fast or almost disappear. It was more about exploring something that interested me, and trying to do it in a way that could exploit my artistic sensibilities. Looking at these things, whether it be jazz, Black culture, street culture or just the history of Harlem, I wanted to explore them and to see if I could do it in my own way.

GV: OK, so you didn’t start off making work with the intention of thinking through cultural preservation, but that is a huge aspect to your work.

GC: I think that’s a byproduct of photography, that things that you photograph at some point are no longer going to be there. Looking at those images now, I can see things in L.A. that aren’t the same. Things in Harlem that are not the same. I don’t think any of those bars and lounges in Harlem that I photographed in are still around. Things you see in advertisements, the way people dress, fashion, all those things are changing. And so, even if it’s not your intent to document a changing culture, it ends up being that way. If you’re out there in the streets photographing life as it happens, that’s going to be part of it.

Gerald Cyrus, “We Can Get Along,” Los Angeles, 1992.

GV: Mentorship is something that I’ve written about before. It’s a hot topic for many of us, and it’s so loaded and tricky. When I first started, I was desperate for mentorship — you know, somebody who got there before you did that could guide and advise. They see that you have the talent and hunger and they’re receptive to your ask for support.

I think I told you the story of a photojournalist that I met when I first got to New York, and he was very kind. He invited me into his home and gave me such great advice. After we met, I sent him an email, and I was like, “Hey, would you consider being my mentor?” I wrote a thorough list of what I believed mentorship entailed. I didn’t want somebody to be like, “Yeah, I’ll mentor you,” and it’s just them telling me how to do things in their way. I was interested in mentorship as stewardship. Mentorship as critique, yes, but also as education and support. I wrote this really lovely email, and he received it and never responded. But when I started shooting cover stories for the New York Times, he would send me random emails congratulating me. It was odd and painful, and years later it became evident that he felt some guilt around that.

While hunting for mentorship, I became friends with folks like Ming Smith, Renee Cox and Eric Johnson. But those relationships weren’t mentorship. They were friendships or some kind of imbalanced peership. It was mostly me, eagerly listening to the stories of people who’ve had really fascinating careers and lives. I never did find the thing that I was seeking.

Do you feel you have adequate mentorship?

GC: As I mentioned before, very early on I was able to connect with Black Gallery, and I definitely consider those individuals to be mentors. They helped me to exhibit my work and get a little experience as an assistant. There would be monthly gatherings, in the late ’80s, and they would have slideshows, and you’d get to meet so many other photographers. That was absolutely a space where I felt that I was getting some mentorship. As well as with one of my early teachers, Sheila Pinkel, who’s a fabulous artist. I took a course from her at UCLA, and she was the first person to tell me where to buy a Roy DeCarava book. I mentioned to her that I was interested in his work. I had seen a documentary film about him, and she told me to go to Hennessey + Ingalls in Santa Monica to buy his book. And even when the course ended, I continued to go by to show her my work. So she absolutely was a mentor.

Then, when I moved to New York, I found it to be much more difficult.

GV: Why do you think that mentorship was such a struggle in New York?

GC: I think New York is just a much more competitive place and people are very wary of having ideas stolen from them. Also, I think people are more pressed for time. Maybe they just don’t have the time to give. I would get the names of photographers and call them up and I would rarely get a returned phone call. Later on, I would meet these photographers and become friends with them — you know, when I was more on their level. But when I was starting out and trying to get some advice or someone to show me the ropes, I couldn’t find that in New York.

GV: As you’ve aged, how has your relationship to mentorship changed and maybe your understanding of what mentorship is?

GC: Well, now people ask me to be a mentor. Sometimes it’s surprising because I feel like I’m still kind of struggling to find my way. So the fact that other people are asking me for advice …

GV: But don’t you think that that’s a lot of what the problem was when you were looking for mentorship? That the elders thought the exact same way?

GC: Possibly, but I mean, I always respond to people.

GV: [Laughs.] OK, so that’s an issue of bedside manner.

GC: I might not have much, but I’m willing to talk to you. If you have any questions, I’m willing to answer. I do try to be helpful, as much as I can.

Gioncarlo Valentine, “Gerald laughing in his studio,” Philadelphia, 2025.

Gerald Cyrus, “Gioncarlo,” Los Angeles, June 6, 2026.

GV: Why would you feel like you wouldn’t be the person for those folks seeking your guidance?

GC: Because, I mean, I’m not widely published or widely exhibited. I’m surprised sometimes when people actually know my work. [Laughs.] Like, where did you see it?

GV: What does that feel like to you? That rationale that you just presented? I find it very heartbreaking, albeit familiar. That’s one of the strongest tools of white supremacy. It will disenfranchise you to the extremes, no matter how brilliant you are, and you’ll be so dispossessed that you actually lose sight of your own significance, your own talent and impact. Meanwhile, when we, your audience, see your work we are completely knocked over by it.

GC: Well, that takes me back to the ’80s when I learned about DeCarava and I bought his “Friends of Photography” monograph. I learned that he had this other widely acclaimed book from the ’50s called “The Sweet Flypaper of Life” [co-authored with Langston Hughes]. And I thought, “Oh man, this guy is fantastic!” And I would mention him to white photographers, and they had no idea who he was. So it kind of goes back to that, you can be a person who achieves this level of accomplishment and still be unknown, which was shocking to me.

GV: This brings me back to a question I’m always thinking through, but that feels top of mind for me these days: What does it mean to be successful? How do you define success as an artist beyond visibility, beyond being known? It can’t just be about being known because each one of our areas of art is niche. Broadway is niche. Theater is niche. Writing, photography, painting, ultimately these things are all niche spaces. We think this photographer or that photographer is big s—, but they are rarely household names if your household is not filled with like-minded artists. I think about this all the time with Ta-Nehisi Coates because, to me, he’s such a hero. But ask a random person on the streets about Ta-Nehisi Coates, baby, they don’t know who the f— that man is.

[Laughs.]

GC: You have to define it for yourself in terms of setting goals for yourself, and then try to achieve those goals. In terms of having a close group of colleagues who you respect that you can show your work to and get strong feedback. But in order to make it as an artist, you have to have some strong self-determination to keep going, which can be difficult.

GV: How have you kept going?

GC: I’m hardheaded, so I was gonna do it one way or the other, even it was just me looking at my own work. But, again, having colleagues that I could go to, and they say, “Yeah, your work is strong. Keep going!” It’s important to have those people that can really push you.

GV: There are many similarities in our work, both in the kinds of subjects that we’re drawn to, and our preference for black-and-white images. What do you think accounts for that, a.k.a. are you my dad?

Gerald Cyrus, “Mom,” Los Angeles, 1991.

Gioncarlo Valentine, “A picture of Gerald as a little boy,” Los Angeles, 2026.

Gioncarlo Valentine, “Gerald’s mother,” Los Angeles, 2026.

GC: You know, I think there’s like a lineage, right? When you’re looking at the work of African American photographers throughout history, I think most of it passes through black-and-white imagery. So most of that medium, most of that legacy is going to be in black and white, and in terms of the subject matter, I don’t know. Maybe there’s something in our work that shows a reverence for the culture that maybe you don’t see in everyday media. A certain deepness and insight into the culture. I also think we’re both very attuned to gestures and how it reflects cultural attitudes.

GV: Do you ever think about your photographic family tree? Who’s up in there? Who’s your photo papa?

GC: [Laughs.] It’s probably DeCarava. Definitely. I really didn’t know anything about serious photography, or consider that I would be someone interested in serious photography, until I saw a documentary film on him, and that sent me down this road. And other people like Josef Koudelka and Danny Lyon. Lee Friedlander in the sense of how the camera sees things, not so much in terms of his humanistic sensibility. Andre Kertész was an early influence. Henri Cartier-Bresson and Beuford Smith. Street photographers like Helen Levitt, a lot of Magnum and Kamoinge photographers.

GV: When somebody picks up your book, “Uptown Odyssey,” what do you want them to walk away with?

GC: I want them to have a little journey through a time period and a place, and get a sense, a feeling, and maybe get a heightened awareness of what those streets were like, what that subway was like, what these nightclubs and bars were like, and come away feeling like they were nourished in some way by looking at the photographs.

Gioncarlo Valentine, “Gerald and me next to the Meteor Man suit,” Los Angeles, 2026.

Gioncarlo Valentine is an award–winning photographer and writer from Baltimore, whose work focuses on Black life and legacy.

SEATTLE — Albert Rusnak scored in the first minute, then notched an assist and the Seattle Sounders clinched a postseason spot with a 2-1 victory over LAFC on Saturday.

Seattle (12-12-10) began the day on the outside looking in, but finished eighth in the Western Conference and will host Real Salt Lake in the wild-card match with the top-seeded Vancouver Whitecaps awaiting the winner in the best-of-three first round.

LAFC (12-11-11) finished sixth in the West and will not have the home-field advantage in a first-round matchup with No. 3-seed St. Louis City.

Seattle grabbed the lead 51 seconds into the match when Rusnak took a pass from Cristian Roldan and scored the Sounders’ earliest goal this season. It was the fifth netter for Rusnak and the sixth assist for Roldan.

It was the fourth fastest goal in “Decision Day” history. Former Sounders midfielder Nico Lodeiro holds the record for a regular-season finale, scoring in 24 seconds for Seattle in 2022.

Rusnak added an assist when he set up rookie forward Sebastian Gomez in the 31st minute for his third netter and a two-goal lead. It was the seventh start and 20th appearance for the 20-year-old Gomez.

LAFC made things interesting when defender Eddie Segura used his head to score in the 82nd minute. Segura’s first goal of the season came with assists from defender Ryan Porteous — the second of his career — and Leo Walta — his first in his fifth league appearance.

Andrew Thomas turned away seven shots for Seattle — none better than one on a point-blank shot by Son Heung-min to keep it 2-0 in the 54th minute.

Rookie Cabral Carter had one save for LAFC in his second start and third appearance of the season..

Seattle’s Jordan Morris left in the 24th minute with a quadriceps injury.

The Sounders have missed the postseason just once since joining the league in 2009. It was only the second time the club had to wait until “Decision Day” to decide its playoff fate.

The margin for error is thin.

Despite sitting atop the Big Ten with an undefeated record, the College Football Playoff selection committee slotted UCLA at No. 8 in its first rankings of the year, sitting behind a pair of two-loss Southeastern Conference teams and setting the stage for the Bruins to slip outside the 12-team playoff with one or two losses.

The Bruins, ranked No. 5 in the Associated Press Top 25 poll, are on the road for the first time in almost a month to face Minnesota at Huntington Bank Stadium, their toughest test since UCLA defeated Wisconsin on Oct. 17. The Golden Gophers — who defeated then-No. 13 Iowa on Oct. 24 and took then-No. 4 Indiana to overtime in Bloomington last week — give the Bruins an opportunity to silence critics questioning their strength of schedule. Kickoff is set for 11 a.m. local time and 9 a.m. PST, the Bruins’ earliest start this season.

Coach Bob Chesney said he wants his team remain focused on the matchup and not outside noise, arguing that
the two most meaningless statistics in football are the score at halftime and a team’s record going into November.

UCLA coach Bob Chesney directs his team during a win over Nevada at the Rose Bowl on Oct. 31.

(Allen J. Schaben/Los Angeles Times)

“This is as tough a team as we’ve faced and probably will face — playing at their place with an early start, all the things that come with it,” Chesney said. “… We have to make sure that we understand that practicing mental toughness, physical toughness, emotional toughness are all things that have to be worked on now and logged now. But again, it’s November. Things are heightened just a little bit more.”

If the Bruins want to leave Minnesota 9-0, they need strong play from senior quarterback Ty Dieffenbach, who has led an offense that strained to score wins the past two weeks.

UCLA’s offense has combined for 48 points against Michigan State and Nevada, but the Bruins suffered from slow starts during both homestands.

And while Dieffenbach has not turned the ball over across the past two weeks, Chesney said the quarterback failed to pull the trigger on throws that could have opened up the offense and allowed the running game to hit another gear.

“The biggest thing is starting fast, and staying with your true reads — being able to get back to the third read, fourth read — and then trust in the pocket too,” UCLA offensive coordinator Dean Kennedy said. “… At the end of the day, there’s going to be a little bit of pressure. The pocket’s going to break down. So sitting in there and then really trusting it to get back with your eyes.”

Kennedy said self-inflicted wounds have hampered the offense’s execution, forcing Dieffenbach into third-and-long situations rather than third and manageable.

With Minnesota’s defense ranked sixth nationally in third-down defense and UCLA going 11-for-29 on third down the past two games, the offense will have to make the most of early downs.

UCLA’s offensive arsenal also gave away two fumbles against Michigan State — from senior running back Jaivian Thomas and fifth-year Anthony Woods — both in Spartan territory. The Golden Gophers and the Bruins are tied for first in the Big Ten in forced fumbles with 10 and it could take just one loose ball to change the tide of Saturday’s game in the Twin Cities.

“You look at the amount of turnovers they create. … You see them punch a lot at the football too,” Kennedy said. “That’s all design, and that’s probably something they pride themselves on, of trying to turn the football over and give it back to their offense.

“That’s something that we’ve stressed nonstop — ball security.”

Creating turnovers on the other side of the ball will be equally imperative to dismantling Minnesota’s offense. The Bruins lead the nation in takeaways with 26, averaging 3.3 per game, but defensive coordinator Colin Hitschler noted that they also lead the country in dropped interceptions.

With Minnesota kicker Luke Drzewiecki hitting 51 and 60-yard field goals against Indiana, and maintaining a perfect 15-for-15 field-goal clip — including going eight for eight from 40-plus yards — the Golden Gophers have the ability to light up the scoreboard as soon as they hit midfield.

The key to keeping Minnesota coach P.J. Fleck’s offense in its own territory and punting will be winning the line of scrimmage battle. Edge rushers Aiden Gobaira and Sahir West dominated last week against Nevada, combining for 16 tackles, three sacks and five tackles-for-loss.

“We have to match that intensity that starts up front, and AG [Aiden Gobaira] always sets the tone from that standard and you love the kid to death,” Hitschler said. “He puts it all out there for his teammates and he’s taken Sahir under his wing over the years. … Sahir starts and he does the hard duty, but when they’re together and they’re dominating, that’s carried us for a long time.”

Setting the edge and winning the trench battle will also be vital for mitigating the influence of Minnesota running back tandem T.J. Thomas and Darius Taylor.

The former has operated as the backup this season, but has rushed for 379 yards in six yards per carry. And while Taylor has struggled so far this season, averaging 2.6 yards per attempt, he still displays flashes of the tailback who rushed for 986 yards and 10 scores two seasons ago.

“I saw Darius a few years ago, and he’s as good a back as there is in this league, and obviously their backups got a good chip on his shoulder and earned the opportunity to play at this level and have been extremely explosive,” Hitschler said. “They’ve done a good job of being tough and being physical and finding a way to win. And a lot of that goes to their mentality being similar to ours.”

While real-world tech mogul Elon Musk suffered a major setback this week after pouring more than $200 million into Texas Republican campaigns that lost to protect his business empire, over on HBO’s “The Gilded Age,” robber baron George Russell is fighting tooth and nail against looming federal regulations to save his.

The period drama returned Sunday with its fourth season. After leaving George (Morgan Spector) at a major turning point in Season 3 — seemingly done with his marriage following Bertha‘s (Carrie Coon) forced engineering of their daughter‘s marriage, as well as his own survival of a near-fatal shooting — the couple is still at odds. As the new season picks up, George unravels under the looming threat of anti-monopoly laws targeting his industrial empire. And that’s just part of all the drama and fun that made the episode the show’s most-watched premiere yet, averaging nearly 4 million viewers across platforms, according to the cabler/streamer. Season 4 promises more tension as the Russells try to maintain their wealth and status while Agnes van Rhijn (Christine Baranski) tries to regain her position, all while the show’s various relationships face challenges, ultimatums or bittersweet developments. Ahead of this week’s second episode, I spoke with Sonja Warfield, who is co-showrunner of the series alongside creator Julian Fellowes, about how Season 4 kicks off — including that unexpected cameo from David Letterman and Matt Damon.

Also in this week’s Screen Gab, our writers recommend a new stand-up special from everyone’s favorite sitcom principal and a sports drama chronicling the life of Muhammad Ali. — Yvonne Villarreal

Turn on

Recommendations from the film and TV experts at The Times

Janelle James at the Vic Theatre in Chicago, where her Netflix comedy special was filmed.

(Elizabeth Sisson / Netflix )

“Janelle James: How Romantic” (Netflix)

Among the many gifts “Abbott Elementary” showered upon the culture was bringing Janelle James to national prominence. As work-averse principal Ava Coleman — a selfish, insulting character one is always delighted to see — she is as attractive as she is difficult. And as the show has gone on, the actor has found layers to play, including hints of a kind of existential melancholy. James began in stand-up — her biggest brush with fame was touring with Chris Rock in 2017 — and now she’s headlining her own, first hourlong special, which debuts Tuesday on the streamer and was filmed at Chicago’s Vic Theatre. Hang on through an opening salvo of political jokes that elapsed time and Tuesday’s election results have rendered stale (Rudy Giuliani, anybody? Joe Biden?) as James, laughing and dancing, unwinds into her real material — spending 24 hours in labor, the problems and perks of being suddenly famous, men and how they are, having money with a poor person’s mind. Of the power of comedy (and being on a hit sitcom) to unite a diverse audience, she says, “There’s one of everything in here. … We can all be in here and share a laugh, then everyone goes back to their respective neighborhoods, never to speak again. But for a small moment in time we were all friends. Because of me. So that’s nice.” — Robert Lloyd

Jaalen Best as Muhammad Ali in Prime Video’s “The Greatest.”

(Brooke Palmer / Prime)

“The Greatest” (Prime Video)

The multitude of projects about Muhammad Ali just received a new entry with Prime Video’s limited series “The Greatest,” starring newcomer Jaalen Best as the legendary boxer. The project traces Ali’s breakthrough as a gold medal boxer through his brutal battle with Sonny Liston. Viewers looking for a companion piece to the drama can check out Ken Burns’ 2021 epic documentary “Muhammad Ali.” Burns called the four-part miniseries an extensive look at a “man who may be the most iconic figure of the 20th century.” The filmmaker added that Ali was also a “very complex, dynamic man” who had an immeasurable impact stretched into politics, culture and religion.” — Greg Braxton

Guest spot

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

Morgan Spector and Carrie Coon in Season 4 of “The Gilded Age.”

(Karolina Wojtasik / HBO)

Clocks have rolled back and “The Gilded Age” Sundays have returned — the perfect couch rotting combo for fall. Lingering crises and fresh new scandals collide in Season 4 as our favorite New York elite navigate a fracturing power marriage, perilous childbirth, a horse-carriage breakdown that ignites a night of forbidden passion, and a titan‘s struggle to maintain his empire. Even Jack’s new invention, the electric mixer, couldn’t whip up a more delicious start. Episode 2 airs Sunday on HBO and will stream on HBO Max. I spoke with Sonja Warfield, the co-showrunner of the drama, about the premiere, that David Letterman and Matt Damon cameo and what’s ahead this season. — Y.V.

You said you were looking at social media a bit after the premiere. What stood out to you about what fans were responding to?

Marian. Someone had a lot of thoughts about some of Marian’s costumes. But then I read something about Marian and Larry having sex, and they don’t want to hear about her complaining about him this season — something like, “She just needs to go over there to his house and get her ring back.”

It’s been interesting to see the conversation around Marian’s freak-out the morning after she had sex with Larry — and the ramifications of premarital sex at that time.

Louisa [Jacobson, who plays Marian] did an amazing job conveying the gravity of the transgression; it just was all over her face. And Harry’s reaction, because he’s kind of surprised. They just had this roll in the hay, but it transmits to him as well. So really, kudos to Louisa for selling that. Wonderful actors like Louisa Jacobson help the viewer along in their understanding that this is about the worst thing that you can do, and then we have the scene afterwards. That walk of shame back and the aunts even say, “Oh, it was better that you took a cab because the impropriety of that.”

We also see Gladys survive this traumatic, life-threatening breach birth, ultimately welcoming a baby boy. Some of us have PTSD from Lady Sybil’s death in “Downton Abbey” and were very nervous about where it was going.

One of the first things I said to Julian when we first started working together was, “I might never forgive you for what you did to Lady Sybil.” I remember every frame of what Lady Sybil went through. … We wanted to make sure that [“The Gilded Age”] was different, so we worked closely with a doctor who specializes in Victorian medicine to figure out how we can make it traumatic, her life is salvaged, but she’s forever changed. It’s women’s health. There’s still more questions than answers, and especially back then when they had not even surfaced. Maternal mortality rate has been lowered in recent years in America. It’s real jeopardy, and it happens all the time and every day.

Women’s health and decisions surrounding it are not the only timely modern parallel. Something that looms large is wealthy business titans trying to exert profound, direct influence over American politics and policies. How was it to dig into that history this season, given the current real-world backdrop?

As we got the research in, and we started having conversations with Dr. Dunbar [Erica Armstong Dunbar is a co-executive producer and lead historical consultant on the series], it became abundantly clear that the reason why there have been so many regulations in business is because of the Gilded Age. We’re just right back where we started. I love this argument that is being used today that was being used back then, which is “let us regulate our ourselves.” That’s ridiculous. They changed America, and brought in wealth and industry and the railroad and all of that; at the same time, it has to be regulated. They cannot regulate themselves. Greed is one of the seven deadly sins.

Audra McDonald, left, and Denée Benton in “The Gilded Age.”

(Karolina Wojtasik / HBO)

Were you nervous about having this plot about anti-monopoly legislation or how it would be received by studio brass, given the Paramount and Warner Bros. merger?

It was not in my mind because it is the real history. We are being historically accurate.

There is a moment eight minutes into the premiere episode that, if you blinked, you missed it: David Letterman and Matt Damon made cameos as background actors. Apparently, David has long wanted to be a background actor, and this stunt was filmed as a field segment for the new season of his Netflix interview show; Damon got his start as a background actor. Were you in disbelief when you heard about this request?

I am a huge David Letterman fan. When I heard that there was a possibility that I could meet David Letterman, I was ecstatic and really kind of selfish. We shoot tandem sets, so there are two sets going at a time. My mandate was, “I’m on the David Letterman set that day. Take me there.” All the way in Long Island. I had an event that night. I didn’t care. I waited for David.

Forget Matt Damon.

What was so funny was that my dad is a huge Matt Damon fan, and whilst I was awaiting David Letterman, I had an audience with Matt Damon, who is the most lovely, kind person ever. So empathetic and gracious and wonderful, and game whatever they had cooking on Letterman’s show. Then I met David Letterman. It was an absolute blast. I was like, “This is a the best day at work in a long time.” It all started because someone on our staff was friends with someone on David Letterman’s show.

We see them casually crossing the street. Was it hard to decide what scene to plop them into?

It was really about scheduling. And what would be the least conspicuous because David Letterman does have that long beard. We held on to it for so long. We shot that back in May.

I want all good things for Peggy, in life, love and career. Her wedding to William is on the horizon. What did you want out of that moment for her?

Well, once I knew we had a bigger budget, I wanted all of it too. I really do think we deliver. I want to be mindful here. The location of where she gets married is exquisitely beautiful. We enter the wedding and the marriage with trepidation because there is real conflict, inherent conflict with this family in the form of Elizabeth Kirkland, played by the incredible Felicia Rashad. I think all weddings are fraught because you’re bringing together these different factions, and people want different things and have ideas and dreams. I think Peggy’s wedding delivers on all fronts. I think it delivers in terms of dramatic tension. I think it delivers in terms of set decoration. It delivers in terms of costume and, of course, performances and direction. I can’t wait for the audience to watch it and then watch it again. Accompanying the wedding will be some beautiful photography done by the Tyler Twins. Their work is really just exquisite, and I’m excited for the world to see all this. We’ve been holding all of this in.

Peggy and William are at the dawn of their relationship, just as Bertha and George are navigating a major stress point in their union.

Marriage is a journey. I’ve been married and divorced, and I just remember my dad’s advice early on was that there are always going to be these trials, and if you can make your way through them and end up together, you will be stronger for it. For Bertha and George, who’ve been married for many years now — he didn’t make a lot of money when they were first together, and now they they’re in this place of extreme wealth, and their lives have changed. And now he is going through something that couldn’t have been predicted. And Bertha rides for her husband. There are times when couples can go their separate ways, and, like my dad said, if you can find your way back together through the storm, and you’ve weathered it together, you’re stronger. I want that for Peggy and William. They want a Bertha-George marriage — if Bertha and George make it through.

I really worry about Agnes’ stress levels this season. I don’t think it’s a spoiler to say that. Later in the season, she delivers one line — “That article was poppycock!” — in a way that will live in my head as a GIF forever.

I even said something to Christine during the season — “We’re really putting you through it this season.” I love it, and she loved it too. She had a ball, and especially in Episode 3, which I got to write with Julian. I loved writing some of that dialogue because she just has so many highs and lows throughout the season, and it was like a masterclass for me to watch Christine go from the highest high to the lowest low. She wants revenge; she is out for blood because someone is attempting to take away her opportunities. It was delicious, and I’m glad that you liked it, and I hope the greater audience enjoyed it.

Is there a moment coming up from Episode 2 that you’re excited for people to see?

I’m excited for people to see more of the Black elite in Newport.

What’s the film or TV show that you’re recommending to everyone right now?

Well, I’m behind, but I love “Nobody Wants This” [Netflix]. I have not been able to watch all of it; we had a premiere for “The Gilded Age” and lots of things going on. But I love that show. I got to meet the whole cast at the Emmys. I’m a free advertisement for that show.

ICYMI

Must-read stories you might have missed

Angel City and “Ted Lasso” both came to life in the summer of 2020 when the rest of the world was preoccupied with something far more serious, the global COVID-19 pandemic.

In those dark times, the series about kindness, grace, optimism — and soccer — became the show we didn’t know we needed, but suddenly couldn’t do without.

Angel City, meanwhile, would play its first NWSL game two years later, by which time “Lasso” and Jason Sudeikis, the title character of the Apple TV series about a fictional Premier League team and its manager, had already won multiple Emmys.

Hollywood is a small town, so it wasn’t long before Sudeikis reached out to Kara Nortman, a venture capitalist who co-founded Angel City in 2020, and asked to talk about women’s soccer.

Angel City co-founders Natalie Portman, left, Kara Nortman and Julie Uhrman speak during the team’s equity summit in Australia during the 2023 Women’s World Cup.

(Hanna Lassen / Getty Images)

“And I was like, ‘You had me at hello,’” Nortman said.

What was supposed to be an hour-long phone call turned into four-hour meeting in person, Nortman said.

“The most fun conversation I’ve had in a long time,” she remembered last month. “It really started as a shared passion and interest in women’s sports and building communities and new leadership models and all the things that ‘Ted Lasso’ is about that are far beyond football.”

What the conversation led to was the foundation for the just-completed fourth season of “Ted Lasso,” which focused on the unique challenges faced by women’s soccer teams and players — challenges Nortman knows only too well as the co-owner of a team. That’s why she was credited as a consultant on the series.

And the collaboration comes at a time when the soccer team and the soccer TV series are both at the top of their game, with “Lasso” drawing record audience numbers this summer and Angel City advancing to this weekend’s NWSL playoff quarterfinals after the most successful season in its history.

“They could have continued writing about the men’s team,” Nortman said. “They chose to write about women’s football.

“I’m super proud that we were part of what helped them really understand how to write a beautiful script that was really representative of a lot of challenges we went through.”

The challenges go beyond just salaries, media attention and funding to things as serious as child care and the rash of ACL injuries in the women’s game and as frustrating as hand-me-down uniforms and locker rooms. In “Ted Lasso,” the women’s team Sudeikis coaches — a man coaching women? That topic is addressed, too — uses a dressing room abandoned by a men’s team, one with urinals but without enough working showers.

Angel City captain Sarah Gorden dribbles the ball in front of Boston Legacy’s Sarah Schupansky at Dignity Health Sports Park on Sunday.

(Katelyn Mulcahy / Getty Images)

One player nearly misses a game because she can’t find a babysitter, something that really happened to Angel City captain Sarah Gorden. Another player is recognized by a fan while working for a food-delivery company to supplement her tiny soccer salary, something that really happened to English star Lucy Bronze in her early playing days.

For many viewers, the “Ted Lasso” plot lines were their introduction to those real-life issues.

“The vibe of authenticity,” Nortman calls it.

“They got right the ACLs, they got right the locker-room dynamic, they got right the training facility,” she said. “I think they got all those things right.”

Sudeikis and Brendan Hunt, the creative geniuses behind “Ted Lasso,” declined to be interviewed for this story, as did everyone involved with the series. But Sudeikis has long denied the show is about soccer.

“This show is as much about soccer as ‘Rocky’ is about boxing,” said Sudeikis, who described the eponymous title character as a cross between John Wooden and Mister Rogers.

Actors Jason Sudeikis, center, and Tanya Reynolds, right, lead a professional women’s soccer team through authentic challenges during the fourth season of “Ted Lasso.”

(Colin Hutton / Apple TV)

But the series has always had soccer in it. So it was natural that Sudeikis and Hunt, who both have long supported women’s sports, would turn their massive spotlight on women’s soccer and bring attention to the glaring inequalities that had slowed the development of the game.

And Nortman wasn’t the only one from NWSL to join that cause. The “Lasso” season opener, shot largely in Kansas City, Mo., was a paean to that city’s women’s soccer team, the Current, and its stadium, where the team has sold out every game over the last three seasons and is unbeaten in its last 32 matches there. (Angel City opens the playoffs in Kansas City on Saturday.)

The synergy helped both sides, with “Lasso” shattering viewership records, trailing only Amazon Prime Video’s “Reacher” as the most-streamed series overall in September, while NWSL’s viewership numbers through the first half of the season jumped 61% on ABC and ESPN. The average season attendance of 11,032 was the second-highest in history.

“Once we knew that Jason and the cast were going to feature a season about women’s soccer and start that season at one of our stadiums with one of our teams, the authenticity with that just lent itself to doing an integration,” said Jennifer Levine, the league’s vice president for public relations and communications.

Kansas City Current fans cheer during the team’s first match at CPKC Stadium in 2024. It is the first stadium built solely for a pro women’s soccer team and was featured in the latest season of “Ted Lasso.”

(Jamie Squire / Getty Images)

“There was a lot of crossover between what they were doing and what we’re doing. So it kind of created a perfect storm for us. Being a part of the cultural conversation as part of ‘Ted Lasso’ will only add to the excitement around the NWSL.”

But will it solve the problems and level the inequities that continue to plague women’s soccer?

“I like to hope it helps,” Levine said. “They have been honest. … I think the writing team and the cast did an incredible job portraying what it’s like to be a women’s footballer.

“Everything that we’re doing at the league with investing in infrastructure and building more purpose-built stadiums and building training facilities, it’s all to improve the experience that viewers are seeing in ‘Ted Lasso.’”

Or as Sudeikis’ character once put it, “doing the right thing is never the wrong thing.”

⚽ You have read the latest installment of On Soccer with Kevin Baxter. The weekly column takes you behind the scenes and shines a spotlight on unique stories. Listen to Baxter on this week’s episode of the “Corner of the Galaxy” podcast.

Zainab Johnson believes in optimism — to a somewhat alarming degree. Not just because she usually presents as smart and happy and sharply dressed on stage or because she’s doing incredibly well in her comedy career, or even just because she’s a millennial. She’s happy in spite of every aspect of life that conspires to bring her down because it’s the ultimate power move. From surviving a near deadly car crash that broke both her legs to fighting for every opportunity to become successful in stand-up only to realize there’s more work at the top of the mountain, Johnson’s attitude towards it all has been to keep smiling. It’s no wonder she named her newly-arrived second special “Toxically Optimistic” (the first stand-up special produced by the Obama’s Higher Ground Productions).

But the unbridled joy is also the byproduct of a weight she’s lifted off herself in this new hour on Netflix — the pressure of always having to keep it real in her comedy. As a Black female stand-up it’s the box she says she’s often put in when she goes on stage and audiences are expecting her to air out her true-life trauma and make it funny as if she’s got nothing else to offer. Those who know her know better. Johnson’s mode as a storyteller has always been to dig for the deeper meaning in things, and in this new special she uses an opossum — her unlikely spirit animal — to get the job done.

This conversation has been edited for length and clarity

Having optimism is tough these days, especially for people glued to their algorithms and, of course, watching too much news. Is it a challenge as a comedian to be able to get people out of that and get them into the positive mode of thinking?

It’s not difficult because it’s kind of what they want. People come to comedy shows because they want to feel good. Ultimately, they do want to come to hear you say the things that they can’t say. They want to hear your opinion on the things happening in the world that we’re all experiencing. They want to be affirmed by you. They want to be challenged by you, but ultimately they want to feel good. A comedy club is like a restaurant for the soul. Nobody likes to eat and then not feel good afterwards, right? And so I think that what I do in my comedy is I always like to put medicine in the candy. And “Toxically Optimistic,” is another medicine in the candy.

What were some things that you took from your first special “Hijabs Off” that helped you craft “Toxically Optimistic?”

My first special “Hijabs Off” was me laying the groundwork. I just wanted people to understand my foundation of who I am and know that whatever I give them after that, this is who it’s coming from. I think that “Hijabs Off” taught me to have fun, to really trust myself in the moment. There’s really spontaneous moments that I have in “Toxically Optimistic” and watching at home, you might not know that they’re spontaneous. You might think that I wrote that and I have been performing that all along. Some things in that special that night was the first night I said it… I don’t shy away from things. If anybody watched “Hijabs Off,” one of the most talked about moments was when my hair was like getting unruly because of the temperature in the room, and I can’t see myself, but I could I could feel it, and I called it out in that moment, like comedically. You see everybody on camera all the time, and so it liberated every woman in the room to “OK, good, she knows her hair is going crazy right now.” I was glad that I trusted myself at that moment, and so I just leaned more into that with “Toxically Optimistic.”

Johnson says Black women comedians often face pressure to deliver authenticity and personal meaning, while some white male peers can roam freely into the absurd; her bit nudges audiences to expect more.

(Christina House / Los Angeles Times)

The people that know you now through that special know your story of being one of 13 siblings. If that doesn’t make you funny. I don’t know what will.

A lot of people say “you must be so funny being one of 13.” But I don’t know if that can take responsibility for me being funny.

I think it helps at least when it comes to fighting to be heard. I know because I’m one of a bunch.

How many specifically?

Well, I’ve got four in my immediate group, but my dad had 14 total.

Oh wow, look at papa, a Rolling Stone.

[Laughs] So I understand what it is to like fight for space in the conversation or to do anything. So maybe for you it was something like that?

I definitely think that it is. I can attribute that to being one of 13, being on stage with stand-up. Because with comedy, you could choose improv, you could choose sketch, right? But I think I do like that I’m carving out time almost every night that I get to be the center of attention, whether it’s for 15 minutes at a time or an hour at a time. But yeah I think my family’s so funny. They just don’t have the guts to do it in front of people over and over again, which is why I try to bring them as characters to life on stage. I feel like I might be the messenger.

You talk specifically about one of your sisters in your new special and how close you are with her as well as her mental state.

I think she would be called neurodivergent but I don’t really like that term. Every time I see a movie with “divergent” in it, the divergent is bad. Anytime you see a sci-fi movie and they talking about a divergent, the divergent is like not a good thing.

“I’m not a person that gets on stage and just talks about something for the joke of it,” Johnson said. “I’m always looking not just on stage, but in my life, for the deeper meaning, or the ‘why’ in things.”

(Christina House / Los Angeles Times)

I think it’s worth noting that you don’t necessarily treat your sister any different.

Oh no, no. I talk about that on stage a lot. Like any time we have taboo topics or taboo-like scenarios different from the “norm” we get really precious about it. Even in comedy clubs, people get awkward and stuff. The only way to normalize it is we have to get comfortable talking about like it is not something different. My sister is getting roasted like everybody else. She’s having a say like everybody else. She has a voice like everybody else — and we wouldn’t have it any other way. However, that’s inside the house. Now, outside the house, protection is different. I’m not like, “Oh yeah, you could talk to her like you would talk to me.” No, no, no. Talk to her nicely or you’re gonna have 12 other people to deal with.

In comedy specials there’s a difference between storytelling for a cheap laugh and showing us an allegory or something with a deeper meaning within the story. I love that you take that route with kind of an unlikely character.

I love talking about comedy when you’re not trying to give away the punchline.

I’m trying.

You’re trying to save the bit. Like they gotta go watch the bit. Yeah. But you want to talk about the bit!

What was the key for you about going beyond the joke or the story in that particular part of your special?

I am aware of the point that I’m making. The point that I ultimately end up making, I’m hyper aware of that because I’m living in that every day. Eugene, the opossum [the main character of the bit in question], was something that was really happening to me, and so these were like these two simultaneous situations — what does it mean for me to now be on stage as a Black woman every night trying to deliver comedy, but also I got this wild animal in my backyard every night and like, how am I dealing with this? And at some point on stage, I found the connection. I found it because I’m not a person that gets on stage and just talks about something for the joke of it. I’m always looking not just on stage, but in my life, for the deeper meaning, or the “why” in things. And when I found [it], I know it’s a trip to just give the audience this [wild story] but I’m gonna use it to prove a point. I’m gonna use it to illustrate something that I think is really important for the audience to be aware of. And when I figured that out, I felt really good. Watching it, you’re like “Where is she going with this?” And then when you get there, you’re like “it’s a great destination, thank you so much for bringing me here.”

And I think that destination brings up a big issue about what Black women are and aren’t allowed to say or how they’re “allowed” to be comedic. Why was that topic important for you to put out there to the world?

A few reasons. One, I am an observer as much as I am a doer, and I would be doing these really fun shows with really big comedians…I remember Mark Maron put me on a show with him and Zach Galifianakis, who’s hilarious and can speak very deeply about things in the world. I remember he went out in front of this audience, and I mean the stuff he was saying was so wildly imaginative. I was kind of like, “Hold on a second, they’re not even requiring him to be based in reality.” Like they were eating it up, you know?

And I was like, “What would happen if I did that?” That’s just a question that I asked myself… I watch someone who’s fully capable of being accountable not have to be accountable at all and kill in front of this audience. But the moment I went out there [on stage], I felt the pressure. I don’t know if it’s from me or from [the audience]. I can’t tell. But the pressure is there. It’s pungent, for me, like to “Give us something real, give us something valuable. Tell us who you are.” And [Galifianakis] didn’t have to do that. And I was like, “What does it feel like to not have to do that?”

“I don’t know if I should say that, but sometimes I’m watching things, and sometimes I’m up there as a performer, and I want the audience to want more,” Johnson said. “I want the audience to be smarter.”

(Christina House / Los Angeles Times)

Does the freedom from “being real” as a Black female comedian feel like an unboxing for you?

I think this is an unboxing. I’m naturally so scared to be trapped. It’s crazy because I’m usually not a person that’s trapped, but it’s because I’m so scared to be trapped. But also, the thing that I love about the Eugene [opossum] bit is that I say, you know, that there’s this comedian talking about a horse. A horse is a majestic animal. It’s a respected animal, nobody’s afraid of a horse, people love horses, horses signify beauty. But the opossum? To make an audience love an opossum is very difficult because I would go out on a road, and the moment I would say, “Anybody know what an opossum [is]?” Immediately, the audience would be like, oh, like their reaction to an opossum is like, “Girl, don’t even. I’m not trying to think about that right now. I’m sitting here enjoying some chicken wings at a comedy and you about to make me think about a big a— rat!” So even just to get them to sort of endear an animal that usually gives people a sort of like a reaction of like “ugh,” just that alone is a win for me. But then to turn up the heat and say also, I want you guys to know that I walked you through something that you had no idea that I was walking you through, and here’s why, you know. And I hope that it trains the audience in a way.

I don’t know if I should say that, but sometimes I’m watching things, and sometimes I’m up there as a performer, and I want the audience to want more. I want the audience to be smarter. I want the audience to be more sophisticated. I don’t want them to have less fun. I don’t want them to be less silly. I knew every time I did that bit, I was challenging them without letting them know. Like I’m about to challenge you guys to do something, and when you leave here, I hope that you, you know, I hope that you don’t do it just for me, but every other person that you see that is not a straight cis white male.

I think wanting better for the audience, especially a comedy club audience, is the most toxically optimistic thing I’ve ever heard. But it’s a pursuit I think you’ve achieved. I also walked away with a greater respect and love for possums.

I love that. I think most people do. I was at an event last night, it was an event solely focused on beauty and makeup and that sort of stuff, right? And the amount of women that came up to me and were like, “How’s Eugene?” The special was not out yet at this point, but they saw me working out this bit, And it reminded me of the process. To get up on stage and just do that [bit], it’s not easy. It’s easier to do it once I’ve already given you a full, nice 40 minutes of comedy. Now I’m gonna go into the experiment. But [the women who saw the early version of the bit] reminded me “Yeah, Zainab, you’re bold. You, you’re not doing it the way most comedians do it.”

The stakes in Tuesday’s midterm elections are so high that Shane Dunn voted for the first time in his life, at age 65.

After a career as a cook up and down the East Coast, Dunn moved to the Philadelphia suburbs and voted last week in Levittown. “I was always a busy man,” he said outside his polling place. But now, “I’m learning what’s going on within our country, and this is actually what brought me out.”

Democrats got his vote. “It feels great, to put my word in,” he said, patting the “I Voted” sticker on his black hoodie.

Voters across the United States are getting their word in, too, as they determine which party controls the Senate and the House and takes charge of governors’ offices, legislatures and state leadership posts in the final two years of Republican Trump’s presidency.

What many of them see is that the America they’ve known is slipping away.

They see lawlessness coming from those who create the laws. They see hate stirred by politicians among neighbors, corruption at every turn, billionaires ruling the roost and a culture that doesn’t speak to how they live — in short, American bedrock at risk of crumbling. Not to mention those crazy gas prices.

In dozens of Associated Press interviews with people who cast ballots at advance polling places or drop boxes across the country, the angst was palpable, most sharply from those who oppose Trump but also from many who support him.

A vote is cast to stop the ‘madness’

“I saw my vote today as trying to put the brakes on just the madness,” said Arthur Horner, 59, who runs a food importing and marketing company that has been hurt by tariffs, after dropping his mail ballot at Dauphin County’s election bureau in Harrisburg, Pennsylvania. He voted for Democrats.

In Sioux City, Iowa, cattle rancher Elizabeth Marlett, 61, voted in Woodbury County’s historic Prairie-style courthouse and walked out stewing about a variety of things — the chemicals in processed food, her son’s struggles to get his veterans’ benefits and, perhaps most of all, what she sees as society’s leftward lurch. Things seem broken to her, too.

“Family values are going by the wayside, and they need to be brought back,” she said. “Our liberties have been stomped all over. Religion has been stomped all over. And I believe we in the majority need to step up and stop being silent.” She voted Republican.

Voters despair at the stoking of anger by Trump and allies

The anger in the air, stirred by a cursing president who abides no slights, is too much for some people.

“He’s just destroying us,” Democrat Linda Markle, 72, said of the president. She spoke outside the Warminster Township library in Bucks County, Pennsylvania.

“I am so afraid for this country,” she said. “People used to look out for each other. Not anymore.”

“All people do now is just hate each other,” she said, and Trump “seems to have given them the courage to go ahead and be like that. … The division is horrible, absolutely horrible, and I can’t wait to see the back of him.”

Republican Chris Smith, 27, a Harrisburg software engineer who voted for Trump in 2024, sympathizes with Markle’s sentiment, to a point.

“A lot of people hate him for various reasons, and I can understand why,” he said, noting that ”I think he’s kind of going a bit crazy on a lot of things.” But he likes Trump’s effort to return manufacturing to the U.S. along with the goals of his tariffs, and he voted Republican because he still thinks that party is more fiscally responsible than Democrats.

In Ohio, Lori Wilkinson, a retired home health worker from New Pittsburg, and her husband, David, a janitor, consider themselves independents. David recently wrote to their Republican governor, Mike DeWine, to tell him what a good job he’s doing, and they voted for Republican George W. Bush for president in the past.

Trump? “He’s the worst president in United States history,” David said from the Wayne County election center. “You get up every day, and you’re like, ‘What’s he going to do now?’” Said Lori: “He’s got the hate just so bad, it’s just out of hand. It’s just out of control.” She fears that if Democrats win widely Tuesday, Trump will “go fricking berserk.”

Trump supporter Therese Mennell gets it. “There’s that kind of arrogant vibe about him that people don’t like, and sometimes I shut him off because of the way he talks,” the retiree said from the Wayne County center. “But, I mean, he’s doing the right thing. He is saving our country.”

Some pretend Trump is on the ballot

Despite his striking unpopularity in polls, Trump repeatedly asked supporters to pretend he’s on the midterm ballot, betting that would motivate fans to vote who otherwise might not. But that cuts both ways.

Samontae Mwangi, 20, and his brother, Gathenya Mwangi, 19, voted for the first time, casting early ballots Tuesday at their election center in Topeka, Kansas. Both work at a plant that manufactures trackside buildings for railroads.

They went with their grandfather, Lynn Henderson, 68, a retired Goodyear Tire and Rubber Co. worker and a former Marine lance corporal who wore a Marine’s cap. Henderson said he took his grandsons to vote because his own mother died recently and he wanted them to have an event to remember him when he’s gone.

All three are hoping that the election produces Democratic victories and political change. Gathenya said the economy and discontent with Trump could motivate people who’ve voted in the past to show up, as well as those who never have. “It really could change, make a difference, I feel, if a lot of people vote,” he said.

Denise Wunder, a retired sandwich shop manager, pulled up to the center in a van featuring a decorative license plate with an American eagle. The strong Trump supporter is the daughter of Democrats. Illegal immigration is her top issue.

“I think Trump is kind of our last hope, because otherwise this world’s going to go to hell in a handbasket,” she said. “Yeah, he says stupid stuff, but, you know, so do we.”

In the Richmond, Virginia, suburb of Henrico County, voters arrived at a steady clip on a crisp fall afternoon a week from Election Day. The moment of decision found one conservative couple, Joan and Frank Bark, lamenting the country’s direction.

“I’m afraid Trump has gotten so egotistical, it’s affecting his ability to make intelligent or more favorable decisions,” Frank said. But, he said, “I don’t want the decisions that would be generated from that far left side, either.”

Joan, a retiree like her husband, said of Democrats: “I haven’t found very much that they want to change or work with. It’s just mostly, ‘I hate Trump.’” But Trump really isn’t on the ballot. They voted for Republican candidates.

In Nanuet, New York, people streamed into the small room of a community center to vote; some were in Halloween costumes. Primrose D. Sullivan, a nurse, is an independent. She scoffed at Trump’s wish that voters act as if he’s running.

“No, because he’s not,” she said. “When a patient comes into the hospital, you want me dealing in facts, not in, ‘Hmm, let me act like you might have cancer.’ No. Do you or do you not have cancer? We need to proceed based on facts.” She voted for Democrats.

Yet some see a cancer on politics, if not the presidency

Sullivan was among a number of voters who singled out the billionaires Trump has made common cause with and how that might feed into American decline.

“I don’t begrudge any of our wealthy people, Jeff Bezos or, you know, Elon Musk,” she said. “But I do have a certain problem with them wanting more and more and doing things that really don’t help humanity.”

“If we keep going the way these guys are going,” she went on, meaning both the political and CEO classes, “we’re not going to have anything like what we had in the past.” Theirs is a “self-destructive attitude,” she added, “because, honestly, if the whole planet destroys itself, the wealthy go with us.”

Outside the polling station at the YMCA in Fort Mill, South Carolina, Benjamin Updegraft offered a piercing denunciation of the elite as he traced his evolution from a “full-throated young Republican” who voted for Trump as a young man in 2016 to a “lifetime Democrat,” after casting his ballot in the Senate race.

He cited Musk’s throttling of his Starlink satellite internet service in Ukraine, which disrupted a key defense against Russian attacks, and Republican Vivek Ramaswamy’s ad in the Ohio governor’s race featuring the estranged mother of Democratic rival Amy Acton among the reasons powerful men must be brought to heel.

“That needs to be cut out from this country like a cancer,” Updegraft said. “We have an incredible responsibility to take back the stranglehold that the worst people in this country have on the reins of power and to inflict punishment on them for their actions.”

In Scottsdale, Arizona, David Lee described his conservative upbringing, his past voting for Republicans and now his decision to turn against that party and vote Democratic in the contested races for governors and the House. He considers Trump’s heavy-handed immigration enforcement to be lawless.

“Nobody wants open borders, but you’re treating these people without due process, sending people to countries they don’t even belong to,” said Lee, 63. “There’s no more rules.”

Then there are those prices. And that war

The Trump supporters interviewed by the AP at the polls signaled their tolerance of the surge of gas prices from the Iran war, in some cases blaming factors other than the actual cause. Nor did they break with him on the war itself.

Among them was David Stouffer, 59, branch manager for a mortgage bank and three-time Trump voter, who spoke outside the Harrisburg elections office. “Iran has been killing Americans for 50 freaking years,” he said. “Yeah, I’ll suffer with some higher gas prices in the interim until they get that nonsense figured out.”

Does that put a crunch on your household budget, Stouffer was asked. “Of course it does.” How to cope with that? “I just keep driving.”

“He’s made the tax cuts real,” Stouffer said. “He has secured the borders. That, to me, is a very, very big deal.”

By the dozens, Democrats, independents and Republicans outside the core of Trump’s support differed with that assessment, even as some of them granted the president his achievements on taxes and immigration.

Horner, the food importer, is going “bonkers” with the tariffs and all the other moves bouncing between the Trump administration and the courts while a “feckless” and now electorally endangered Republican Congress largely stands aside.

“You can’t do business when every month you have to readjust your pricing because the president gets a wild hair on something that he’s not even constitutionally allowed to do,” Horner said. He added, “He’s just playing out the clock on all of this stuff — where you just know he knows it’s wrong.

“And what do we have? Higher healthcare, higher food, higher gas, a business environment that is complete chaos.”

But Jerry Casner, 74, of Mechanicsburg, a suburb of Harrisburg, wants as much of Trump as he can get. Alas, “he can’t run again,” Casner noted.

“Well, technically,” Casner said, “he can’t run again.”

Levy, Catalini, Hanna and Woodward write for the Associated Press. Hanna reported from Topeka, Kan.; Levy from Harrisburg, Pa.; Catalini from Levittown, Pa.; and Woodward from Washington. AP journalists Julie Carr Smyth in Wooster, Ohio; Erik Verduzco in Fort Mill, S.C.; Thomas Beaumont in Sioux City, Iowa; Joseph Frederick in Nanuet, N.Y.; Tassanee Vejpongsa in Warminster, Pa.; Mikella Schuettler in Scottsdale, Ariz.; and Sarah Rankin in Henrico, Va., contributed to this report.

It’s Halloween weekend and that means it’s time to curl up on the couch to watch a blood-curdling scream erupt — from your television.

In the L.A. area, the forecast is looking pretty grim with showers expected this weekend (I am going to remain cautiously optimistic, however, because I do not want these bags of candy to remain in my house). If it does end up being a rainout, at least there are several very good new series and films to watch. Here are a few suggestions:

• One is Peacock’s “Crystal Lake,” the new “Friday the 13th” prequel series starring Linda Cardellini, who spoke to senior writer Greg Braxton earlier this month about taking on the role of Pamela Voorhees (you’ll see Voorhees in a new light). On the occasion of the show’s release, Greg also wrote this handy guide to all the “Friday the 13th” movies, grading each one on a hockey-mask scale to help you choose which to watch.
• If you prefer your horror to involve teen angst, I highly recommend Prime Video’s “Carrie,” a new adaption of Stephen King’s iconic novel by Mike Flanagan. We spoke to the horror auteur and stars of the series, Samantha Sloyan and Summer H. Howell, about how it modernizes the story’s terror.
• As far as films go, you can’t go wrong with this year’s top two horror hits: Kane Parsons’ ultra-creepy, internet inspired “Backrooms,” which is streaming on HBO Max, and “Obsession,” streaming on Peacock. Fittingly, Inde Navarrette, the star of “Obsession,” will host “Saturday Night Live” on Halloween. And if you want to keep the theme going, Curry Barker, the film’s director, made a surprise release on Thursday of a short called “Mama Bear” on YouTube (be advised, it’s NSFW; watch it in a dark room at night like I did).

Also in this week’s Screen Gab, Susan House, the showrunner of Hulu’s new reality competition series “The Mob,” stopped by Guest Spot to discuss the show, and our writers recommend a documentary about one of the finest comedy sketch series to emerge from Canada and a workplace comedy series that graduated from the web to streaming.

Before I go, I want to take a moment to remember the legendary actor Patrick Stewart, who died on Wednesday. From his stage work with the Royal Shakespeare Company to his iconic roles as Jean-Luc Picard in “Star Trek” and Charles Xavier in “X-Men,” few actors had Stewart’s range and depth, as television critic Robert Lloyd so adeptly writes in his appreciation of him. To use the words of another “Trek” great, may he live long and prosper in the afterlife. — Maira Garcia

Turn on

Recommendations from the film and TV experts at The Times

“SCTV: The Greatest Show You’ve Never Heard Of” takes a closer look at the Canadian sketch series. Andrea Martin, left, Catherine O’Hara, Joe Flaherty, John Candy, Dave Thomas, Eugene Levy and Harold Ramis.

(Netflix)

“SCTV: The Greatest Show You’ve Never Hard Of” (Netflix)

Speak for yourself, title. Some of us were there from the beginning. But the show is definitely having a moment, with Netflix streaming the entire series, and the documentary “You Had To Be There: How the Toronto Godspell Ignited the Comedy Revolution, Spread Love & Overalls, and Created a Community That Changed the World (In a Canadian Kind of Way),” currently in select theaters, featuring future “SCTV” cast members Eugene Levy, Andrea Martin, Dave Thomas and Martin Short (along with Gilda Radner). Jason Hehir’s “Greatest Show” film does a fine job of outlining the birth and death of what many consider the hipper cousin to “Saturday Night Live,” with lots of great photos and films of sketch comedians in their long-haired youth. The good times, the less than good times, the confusing times are all here, burnished with a warm glow of friendship. Gathered to reminisce are all surviving cast members (including the now-late Catherine O’Hara). Even the rarely seen Rick Moranis participates. (RIP John Candy and Joe Flaherty.) Creating comedy under less than glamorous circumstances, with no live audience or sense of whether anyone in the world was watching, they made the show for themselves and one another. Their instincts proved correct. — Robert Lloyd

Ryan Micho, left, Tommy Armstrong, Grace Reiter, Hyde Healy and Julia Dicesare play co-workers in “Minimum Wage.”

(Netflix)

“Minimum Wage” (Netflix)

The slip-slide from web series to streaming continues with American High’s workplace comedy that began on YouTube and is now appearing, in a slightly longer and moderately gussied-up adaptation, on Netflix. Shot in the now-standard mockumentary style, “Minimum Wage” chronicles life in a dumpy pizza place known as “The Slice Club,” where Grace (Grace Reiter, who recently joined the cast of “Saturday Night Live”) serves as the nominal manager of a wacky team of teenagers who occasionally make and serve pizza. More often, however, they engage in low-stakes antics: dealing with the local high school drama club, planning an ill-conceived birthday party, taking bets on a restaurant breakup or finding themselves stuck on the roof. Most of the cast, including Reiter, appeared in the original web series; this version adds Randall Park as CEO of the “The Slice Club” franchise, who is in mid-divorce and forced to sleep in the restaurant’s basement, and there is a more obvious attempt to underline various “chosen family” themes. They are an engaging, and occasionally hilarious group, and with episodes ranging from 15 to 22 minutes, “Minimum Wage” is an easy binge, or the perfect show to watch while waiting for that friend who’s always late, even when he’s the one who promised to bring the pizza. — Mary McNamara

Guest spot

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

The cast of “The Mob” in Episode 2, from left: Harry Jowsey, Aida Turturro, Shane Parton, Bruno Tonioli, Romeo Miller, Debi Mazar, Demi Engemann, Maria Georgas, Willam Belli and Chelsea Lazkani.

(Andrea Miconi / Disney)

Being in the mob is serious business, and for us normies, the idea of racketeering and plotting whackings is a no-go. But that doesn’t mean it isn’t entertaining to watch it unfold onscreen in iconic films like “The Godfather” or shows like “The Sopranos.” It’s that fandom that led to “The Mob,” the latest reality competition series from Hulu, co-produced by Primal Media and Studio Lambert, the production company behind “The Traitors.” It premiered earlier this week and drops new episodes on Mondays.

The series features 12 players who come from the reality TV world, including Demi Engemann from “The Secret Lives of Mormon Wives,” Joe Gorga from “The Real Housewives of New Jersey,” Bruno Tonioli from “Dancing With the Stars;” and the acting world like Debi Mazar (“Younger,” “Goodfellas”) and Aida Turturro (“The Sopranos”). Each week, they have to compete in games inspired by mob movies and avoid getting “whacked” or eliminated from the competition by the don, the head of the family who doles out cash in exchange for allegiance. It’s hosted by Parker Posey, who is living a very comfortable life in an Italian villa.

Showrunner Susan House, who has led reailty shows like Netflix’s “The Circle,” says “The Mob” is special because it isn’t just about money — though the participants are competing for thousands in cash. “It’s about the power, it’s about family, and it’s about all these human relationships and human dynamics,” she says over video call this week. “Plus, you’re in this beautiful Italian backdrop. You’ve got Parker Posey, there’s some comedy and there’s fun. This sounds cliche, but I do feel like there’s something for everyone.”

She shares what it was like to work with Posey and the rest of the cast and the drama she’s been watching lately. — M.G.

Tell me how the concept for this series came about, and why the mob theme.

The concept was developed by a U.K. company called Primal, and they developed [it] along with Hulu. And I think the mob theme came about because it’s such a lush kind of environment to do a show from, like it’s so cinematic. It has such an amazing place in pop culture. Everyone knows it. It’s about power. It’s about family. It’s about dynamics. All the fun subject matter that makes for a great TV show.

How was it working with Parker Posey as host of the show?

I grew up in the Midwest in Kansas City, and I was a huge fan of independent film. My best friend and I would go to the one art house [theater] that we had growing up, and we loved Parker Posey. I’ve been a huge fan of her since “Dazed and Confused.” And so when she signed on for the show, I called my best friend when I was allowed to talk, and I said to her, “Oh, my God, you’re not going to believe who is hosting the show,” and we both did a little scream. It was just an … incredible moment in my career that I’m doing a show where Parker Posey, she’s iconic to me, was the host. I think that she’s perfect choice, right? She’s unique. She’s artsy. She’s comedy. She’s done drama. She can embrace a character, a setting. It was for me … just like a dream come true.

I’m so excited you said “Dazed and Confused,” because that’s what I associate her with.

When she signed on, I went back and rewatched that movie. I hadn’t seen it in a while. I was just like, oh, my God, she is so good in that.

And “The Mob” is so different. But it seems like she’s trying so many different things in this later stage of her career.

I know, it’s so cool. “The White Lotus,” she was amazing in, and I feel like people sort of rediscovered her in some ways. Maybe younger generations did, and it’s great, it’s amazing. She’s trying all these new things. I just watched “Wild Horse Nine.” She was incredible in that.

The cast of “The Mob” features a mix of actors and reality TV personalities, which I thought was really interesting. How did you land on that combination?

I think the subject matter of the mob is universal, right? It’s about loyalty. It’s about power, it’s about respect, it’s about family, and I think combining all of these personalities, … from acting and reality, is a unique opportunity to get [them] … on one TV show and see how they react. It’s a super-fun dynamic, and it just adds another layer to the show that’s I think unexpected and really fun.

Debi Mazar, who was in “Goodfellas,” and Aida Turturro, who was in “The Sopranos,” add some authenticity to the mob theme. I imagine their casting was purposeful — how did they incorporate that into the show?

I love Debi Mazar so much. I’m also a huge fan of her, not just from “Goodfellas,” but I love the show “Younger.” She’s also just iconic … We joke it’s the summer of Debi Mazar, with all the Madonna and Coachella things [the pair made an appearance during Sabrina Carpenter’s set]. I agree, she does bring some authenticity to the show, and she’s definitely of that world. I can’t speak to whether she was playing a character or not. You’re supposed to be yourself. So she wasn’t necessarily [anything] other than Debi, unless she was doing something that I don’t know about. I think Aida is also incredible. She says in the show, I think … in one of the first episodes, “I’m not in the mob.” It’s kind of fun to see her play against type. Like, she is Janice Soprano. But then now we’re seeing the real Aida Turturro and how she plays the game as herself.

Joe Gorga is the family’s first don on “The Mob.”

(Andrea Miconi / Disney)

And you have Joe Gorga, who was picked as the first don of the house, and it felt really perfect because he is from Jersey and he has that voice that you associate with those characters.

That did work out perfectly. It was good because he has a lot of these kind of qualities and stereotypes, but he also is fun and funny. And the show is a comedy in some ways … it’s an homage to the genre. Having Joe as that first don and playing that up a little bit is was fun. We were we were thrilled.

Something people will identify are the allusions to mobster TV shows and movies, like the horse head from “The Godfather.” They’re also incorporated when someone gets whacked.

We’re all huge fans of of that genre, and so many people just wanted to drop these little breadcrumbs for the audience who also love it. Our set decorator, John Sparano, is a huge movie buff. He did things that were like, I don’t think anyone would ever understand this. There was a picture of some pool table balls that were about “The Godfather.” I have to ask him, or it’s like, “No one is going to know these three numbers, John. But OK, I’m glad you’re doing it.” In terms of the whackings, we just thought … this genre gave us the opportunity to have fun with those, make those cinematic and honor those films and and how they did things.

Is there anything you are watching lately that you are recommending to other people right now?

I like the show “War” on HBO Max, and I guess that’s apropos for being a reality TV producer. There’s so much drama, and it’s about a relationship. I’m really enjoying watching that, and I feel very nervous sometimes before the end of the show. I’m like, “Oh, my God, what’s going to happen?”

ICYMI

Must-read stories you might have missed

This year, the Dodgers watched the World Series from home, with the Milwaukee Brewers’ World Series victory over the Tampa Bay Rays officially ushering in a fresh slate for the Dodgers to plan their 2027 championship pursuit.

“When you take the experience and the talent of our core guys, and you look at what is coming [up through the farm system], that is what gives us a high degree of confidence about being able to sustain this,” said Andrew Friedman, the Dodgers’ president of baseball operations, in his end-of-season news conference, “not just in 2027, but as we look out.”

As the Dodgers attempt to strengthen their roster to climb back to the top, however, they’ll have to navigate a disjointed winter transaction window.

MLB owners are expected to impose a lockout when the collective bargaining agreement expires on Dec. 1. If that happens, the offseason will grind to a halt, suspended indefinitely until the two sides sign a new agreement.

Will that expected shutdown spur early action in free agency?

Will the threat of a salary cap freeze the player market?

It’s unclear, but teams are readying themselves to jump into action whenever the market does move.

“There’ve been a number of things that we’ve done over the last couple of years that, in October, early-November planning we didn’t think was likely or that possible,” Friedman said. “An opportunity popped up, and we were at least prepared enough to act in the time to get something done — there’ve been trades, there’s been free-agent signings.

“So for us, it’s just about our internal meetings, getting as prepared as we can be. Because things are going to play out in ways and timing and things that we can’t anticipate, so be as prepared as we can be.”

Amid those unique circumstances, here’s a guide to the Dodgers’ offseason:

Susan Saint James, the TV star who shared the screen with Rock Hudson as his on-screen wife in “McMillan & Wife” and co-led the heartfelt, blended family comedy “Kate & Allie” with Jane Curtin, has died.

The Los Angeles native died Monday after being diagnosed with pancreatic cancer, according to People, which first reported the actor’s death. She was 80.

Saint James’ family remembered the actor for her warm personality and kindness, writing in a statement shared with the magazine, “Every person she met became the most important person in the room at that moment, from a fellow board member to the clerk at the shoe store, who usually walked away knowing her entire life story.”

Her acting career spanned almost six decades — she broke out as Peggy Maxwell in NBC series “The Name of the Game” — from the mid-1960s to the 2020s across TV and film, but audiences know the actor best for starring as Hudson’s detective wife in “McMillan & Wife.” The NBC series, which aired from 1971 to 1977, centered on San Francisco police commissioner Stuart “Mac” McMillan and wife Sally McMillan as they solve a variety of crimes. Saint James earned four Emmy nominations for her work.

She pivoted to film and TV movies after the series ended, garnering roles in “Love at First Bite,” “The Kid from Nowhere,” and “Don’t Cry, It’s Only Thunder.”

After nearly a decade away from the TV series scene, Saint James returned in CBS’ unconventional sitcom, “Kate & Allie.” She starred as Kate McArdle, one of the series’ titular divorcées who decide to raise their children under the same roof. Saint James’ Kate was the modern and no-nonsense counterpart to Curtin’s old-fashioned, sweet Allie. The series aired from 1984 to 1989 and earned Saint James two additional Emmy nominations.

When the stars and creative team of “Kate & Allie” reunited amid the COVID-19 pandemic in 2021, Saint James reflected on how the show was representative of a same-sex household and how mothers raising their own children related to the show’s material. She and her co-stars also said they knew at the time that the series was something special.

“It wasn’t like we went back and said, ‘You don’t know what you got ‘till it’s gone.’ It was just fun,” she said.

Saint James mostly stayed away from Hollywood in the decades following “Kate & Allie,” save for brief appearances in series including “Law & Order: SVU,” “Suits” and “Upload.” She notably found herself in the spotlight again in the early 2000s, but for family tragedy.

Her son Edward “Teddy” Ebersol died at age 14 in a 2004 Colorado plane crash that also claimed the lives of two other people. Teddy Ebersol, whom Saint James shared with husband and former NBC Sports Chairman Dick Ebersol, was aboard a chartered Canadair CL-601 Challenger jet with his father and older brother, Charles, on Nov. 28, 2004, when it crashed during takeoff in light snow and freezing temperatures from the airport near Montrose, Colo. The pilot and a flight attendant were also killed in the crash. Dick and Charlie sustained injuries in the crash, and a copilot was critically injured.

“Here’s the bad part … I’ve never touched his clothes, I’ve never been able to move his things,” Saint James told Oprah in a 2006 interview. She continued to speak publicly about her grief in the following years.

“The thing that could move me on was that I could embrace Teddy finally in a way that was, ‘he’s my kid,’” she said during a 2009 panel on grief. “They can take his body, but I own that boy and I love that boy.”

Beyond her screen work and family tragedy, Saint James was also known for her longtime advocacy in the sports world. Saint James supported the mission of the Special Olympics since an early iteration of the games in California in 1972. The first Special Olympics was held in Chicago in 1968.

In a statement published Tuesday, Special Olympics said Saint James “believed deeply in the power of inclusion” and she served as a board member and a campaign co-chair for Special Olympics Connecticut. Her advocacy included founding the annual Susan Saint James poker tournament fundraiser. The organization’s Susan Saint James Leadership Award honors individuals who “embody her remarkable spirit of leadership, generosity, and dedication to our mission,” the post said.

“Thank you, Susan, for being an extraordinary champion of our athletes,” Special Olympics added in its statement. “Your legacy will live on through the lives you touched and the inclusive future you helped build.”

The actor, born Aug. 14, 1946 and raised in Rockford, Ill., received her star on the Hollywood Walk of Fame in 2008 and partially attributed her success in the industry to her connection with Special Olympics. Former California first lady Maria Shriver, daughter of Special Olympics founder Eunice Kennedy Shriver, attended the ceremony.

During that ceremony, Saint James said she managed to achieve her dream of becoming a Hollywood movie star “through the good works of a lot of wonderful people that created a loving and home-like environment for me all those years.”

“But the thing that really contributed to my success and happiness with my career was coupling it up with the work that I did with the Special Olympics,” she said, adding, “you can guess that being associated with them turned out to be getting to know some pretty amazing people since I’m now really cozy with the first lady of the state of California.”

Saint James was married three times, first to scriptwriter Richard Neubert from 1967 to 1968, according to People. She remarried in 1971 to makeup artist-turned manager Thomas Lucas. They share two children — daughter Sunshine and son Harmony — and divorced in 1977.

Saint James remarried to then-NBC executive Dick Ebersol after they met in 1981 when she hosted “Saturday Night Live.” They welcomed children Charles, William and Edward (Teddy.)

Noah Adams, a longtime host of NPR news program “All Things Considered” and a journalist known for his gentle voice and genuine curiosity, has died. He was 84.

Adams died Oct. 16 at his home in Yellow Springs, Ohio, according to NPR. The cause was complications of a benign brain tumor removed eight years ago, his wife and longtime NPR news producer Neenah Ellis told the New York Times.

A host of the weekday edition of “All Things Considered” for 18 years, Adams helped cover major news events and produced segments from his travels around the country, talking to everyday people, often in small rural towns.

“He never liked talking to people who he knew had preprogrammed things to say,” Melissa Block, a former “All Things Considered” host who’d previously worked as a producer for Adams, said in NPR’s segment announcing his death. “He wanted people who were genuinely speaking from their heart and with conviction and sincerity.”

Born on Sept. 15, 1942, in Ashland, Ky., Adams joined NPR in the mid-1970s after working various jobs including as a DJ and in construction in and around his hometown. A college dropout, Adams was inspired to start working in public radio after encountering “All Things Considered” as a listener.

He was introduced to the program by a colleague shortly after it debuted in 1971. He told The Times in 2002 that he remembered thinking, “That sounds conversational, that they intend for me to be listening, that I’m smart enough to be listening,” when he first heard the show.

After working at the University of Kentucky’s public radio station, he applied for a job at NPR. He was hired as a production assistant on “All Things Considered” in 1975 before becoming a weekend co-host for the show in 1978. He moved to the weekday show in 1982.

Susan Stamberg, Adams’ “All Things Considered” co-host from 1982 to 1987 who died last year, described him as “the most genuine, uncontrived voice in broadcasting” in the foreword of his 1992 book about his work on the program.

“The conviction shines through the words he writes, and the quiet and very powerful way in which he speaks,” she wrote, according to Current. “He is a quiet, careful man, a craftsman in his work, his seriousness softened by a twinkle in his eye, an occasional goofy grin, and the daffodils he’ll bring into the studio on an especially tense or stuffy day.”

Adams mentioned the camaraderie with his colleagues and one-on-one interviews as among the things he would miss when he left his job as host of “All Things Considered” for a second and final time in 2002.

These interviews, which often turned into “a conversation that’s so quiet and so slow,” were the “kind of conversation [that] cannot be accomplished on anything but radio,” he told The Times.

Among Adams’ signature audio work is the 1981 radio documentary “Father Cares: The Last of Jonestown,” as well as a series of interviews with Tom DeBaggio, a man living with Alzheimer’s disease, and an interview with Betsy Walter, an 8-year-old girl whose parents had gotten divorced. Adams wrote a number of books, including “Piano Lessons: Music, Love, and True Adventures,” which chronicled Adams’ quest to learn how to play the piano in his 50s, and “The Flyers: In Search of Wilbur and Orville Wright.”

“He has a writer’s eye, and I think you hear that when he’s on the air,” Robert Siegel, Adams’ “All Things Considered” co-host, said in 2002. “And he takes sound very seriously. When you combine writing with sound, you can create extraordinary radio.”

Raise your hand if your group chat is still talking about “You Can See Everything.”

For anyone who has watched Nathan Fielder and Lance Oppenheim’s documentary about former Theranos CEO (and convicted felon) Elizabeth Holmes and her partner Billy Evans in the past week, every new think piece, funny meme, discussion thread or video parody about the film has been something to revel in. I’ve personally spent several hours messaging or speaking to friends and colleagues over the phone about the documentary, and it seems like a lot of people similarly can’t stop obsessing about it.

The film has sparked renewed interest not only in Holmes, but also in works previously released about her, including “Bad Blood,” written by John Carreyrou, the journalist who exposed Holmes and Theranos’ fraudulent practices, and Alex Gibney’s 2019 documentary “The Inventor,” which senior writer Greg Braxton rewatched and analyzed in the context of the new documentary. Also notable has been the resurgence of Hulu’s “The Dropout,” the 2022 limited series created by Liz Meriwether (“Furious”) that stars Amanda Seyfried — Variety reported this week that the series has seen a jump in viewership over the past month. And of course, there’s been lots of interest in Fielder; we’ve put together a guide to his work if you’re looking to understand him and his style.

But with all the attention on Holmes, Times culture critic Mary McNamara raises an important question: Why are we still so fascinated by Holmes, despite her track record as a con artist and fraudster? There are many answers to the question, but there’s no denying the public’s renewed fascination with Holmes, and now Evans as well.

However, if you prefer to think about lighter relationships that are less perplexing, NBC’s latest sitcom will do the job and remind you of what it’s like to be immediately swept off your feet. “Newlyweds,” starring Téa Leoni, Tim Daly and Jamie Lee Curtis arrives on NBC today. Curtis, who co-created the series, stopped by Guest Spot to talk about what inspired it and the recent changes behind the scenes.

Also in this week’s Screen Gab, our writers recommend a documentary about a saga surrounding one of the greatest hip-hop groups of all time and a cult-classic horror film that’s perfect for spooky season. — Maira Garcia

Turn on

Recommendations from the film and TV experts at The Times

Tarik Azzougarh, left, and the RZA in Netflix’s “The Disciple.”

(Netflix)

“The Disciple: A Wu-Tang Fable” (Netflix)

In 2015, the only copy of the Wu-Tang Clan’s “Once Upon a Time in Shaolin” sold at auction for $2 million. The buyer was revealed to be hedge fund and pharma dirtbag Martin Shkreli, who infamously raised the price of an antiparasitic drug by 5,000% overnight and later went to prison for securities fraud. Joanna Natasegara‘s enchanting documentary “The Disciple” explores the long run-up to this Guinness Book of World Records event, and its aftermath, through the surprising, touching, funny and sometimes sad story of the album’s co-producer, Tarik Azzougarh, a.k.a. Cilvaringz. A Dutch Moroccan superfan whose freestyling and persistence earned him a place in the group’s auxiliary, it was Cilvaringz who first proposed the idea and brought it to fruition with Wu-Tang main man RZA — both a culmination and the beginning of an end. The film raises questions of art and ownership, friendship and business, creativity and capitalism, asking the questions who is music for, and what is it for. — Robert Lloyd

‘Highway to Hell’ (Tubi, Prime Video)

This is the perfect spooky-season flick to pop on when you don’t mind interruptions from trick-or-treaters or your buddy who treats movie night like an audition for “Mystery Science Theater 3000.” Directed by Ate de Jong (“Drop Dead Fred”), this 1992 comedy-horror cult classic stars Chad Lowe and Kristy Swanson as an eloping couple who take the wrong shortcut and wind up in Hades — basically, an even worse version of the drive to Vegas — where a young Ben Stiller works the roadside diner and Gilbert Gottfried plays Hitler. Every shot has a snort-worthy gag: a stop-motion Cerberus, a casino-bar called Hoffa’s, a cop whose handcuffs are literally a pair of severed hands. A flop at the time, “Highway to Hell’s” breakneck mix of smart and stupid was applauded by former L.A. Times film critic Kevin Thomas as “the Greek legend of Orpheus, revved up ‘Mad Max’-style.” Screenwriter Brian Helgeland would eventually win an Oscar for “L.A. Confidential.” Somehow, I never hear him brag about this goofy delight. He should. — Amy Nicholson

Guest spot

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

Jamie Lee Curtis as Claudia in “Newlyweds,” a sitcom she co-created and executive produces.

(Nicole Weingart / NBC)

Jaime Lee Curtis has been in showbiz for a very long time. And when she sets her mind to something, like returning to a sitcom, she’s going to make it happen.

“It’ll be 50 years next January that I have been a professional actress,” she says over a video call earlier this week. “It’ll be 50 years that I’ve been driving on the lot at Universal.”

Over the course of her long career, Curtis, 67, has developed a lengthy résumé in film and television, winning numerous accolades along the way, including an Oscar and an Emmy (she’s been nominated for a Grammy too — there’s still time for an EGOT). But she longed to return to a sitcom ever since wrapping her lead role on ABC’s “Anything but Love,” a series that premiered in 1989 and ran for four seasons.

While she’s had guest appearances and some recurring roles on sitcoms over the years, including on shows like “New Girl” and “The Drew Carey Show,” NBC’s “Newlyweds” was an idea she had gestated for years, and now it’s set to arrive as part of the network’s Friday prime-time lineup. The actor, who executive produces “Newlyweds” and has a recurring role, took some time to discuss how she came up with the idea for the show, her co-creator’s firing and the political thriller series she’s watching with her spouse, filmmaker Christopher Guest. — M.G.

Jamie, you co-created this series and it’s loosely based on your relationship with your husband, Christoper Guest. Tell me how it came about and how you wanted to tell that story in this show.

It was April 25, 2019. I was in New York City … I was in a car being driven by a man in his 60s in a suit with gray hair on his temples. We were chatting, as one does in the back of a car, and I asked him if he was married, and he said he was divorced. I said, “Do you have kids?” And he said, “No.” And I said, “Well, that’s the blessing that you know you’re not dealing with divorce and children, which I’ve dealt with a lot.” And he then said, “But my new wife.” In that second, I went, “Oh, my new wife.” That’s a sitcom about people in their 60s hooking up, similar to the way my husband and I met, which was we met and married very quickly. And in fact, we would have gotten married had we gone out on our first date. We have said we would have gone and gotten married that night. So the idea popped in my head: What happens if two people in their 60s get married on a whim, and decide to just throw caution to the wind and go for it? What happens to the families and the friends and their own lives and the very routinized lives that they had led leading up to that moment? I knew it was a sitcom.

It wasn’t until years later I was put together with Gail Lerner, and we — during COVID actually — started working on the idea. But much of what’s in that script was kind of what happened to me and my husband … it’s something that’s been around for a while, and I’m just really excited finally that it has turned into this version, “Newlyweds” starring Tim and Téa.

Let’s talk about Tim and Téa. They’re the newlyweds, but they’re also married in real life. What was it like playing off their dynamic and vice versa?

When the pilot got picked up, … it was what they call “cast-contingent,” which means they like the idea, but they want to make sure that the right person gets in … so they wanted us to find Jeanie first, and it was a very short list of actresses they would bank a show on. Téa, luckily, was one of those actresses and had been looking for something on the lighter side. … and it so happens she’s married to a guy IRL who happens to have a lot of experience in the comedy space on TV shows, and all of a sudden we were like, oh, wouldn’t that make a kind of fantastic bit of pairing.

What do you think we’re going to learn about Claudia? She seems so liberated, but we’ve only seen the surface. She’s got a soft spot for Jeanie and even James.

I think you’re gonna see, in fact, that she becomes not just a foil but a friend. I feel like her acceptance of Jeanie … we’re going to mine it for its comedy. I mean, I think at the end of the day, she will always shake things up because that’s just her nature. We get to meet Claudia’s mother. I can’t tell you because we haven’t announced it yet, who plays my mother. I can tell you that she’s over 90.

You’re going to have me Googling.

We get to see a little bit of the oak tree and the acorn. We definitely get the snarky oak tree and the snarky acorn.

I want to come back to your co-creator Gail Lerner, who was recently dismissed from her role as showrunner, and has been replaced with Bruce Helford. Regardless of the news, she has called it “the most joyous TV experience of her life.” How are you and the cast moving forward after these changes?

Well, you can imagine it was a bummer. You know, network television has a whole series of requirements, way beyond … my little creative ideas. It has to do with management of scripts and the amount of early drafts of things, and it’s required within a network structure. And to run a show on television, and to consistently run a show, is a different animal than just the creativity that it takes to think of a show or to develop a show. That’s why Bruce has stepped in very quickly because Bruce has proven over and over again that he’s a guy who can make 100 episodes of a show with a much bigger worldview.

It was beautiful that Gail said the very things she said because we all felt that way too. It was joyous, fun, but there were a lot of things that were way beyond my understanding. What I’ve come to learn, I’m 67, is that creativity is a continuum. That it is not rigid and binary. That I had an idea that then Gail took and built on that idea, and now Bruce has come in and taken Gail’s idea … and is building out another version of the show.

Bruce Helford was the second in charge at the TV show “Anything but Love” when I did it back in the day, so I’ve known him.

So y’all are back together.

The only other time I was ever on a sitcom was “The Drew Carey Show” when Bruce Helford wrote me a part of this crazy hairdresser who … goes on a date with Drew Carey and ends up doing bungee jumping with him on the date. It’s a funny continuum for me to be back with Bruce, who weirdly enough was the actual first person I called when I had the idea [for “Newlyweds”]. I called Bruce because I knew him as a showrunner for sitcoms. We talked about it very briefly, and then he went off to something else. I went off to something else, and it kind of fell apart. So it’s slightly weird to me, and beautiful in that way that the person I actually called when I had the idea is now the one running the show.

It’s a full–circle moment.

Completely full-circle moment.

Has Christopher seen the show? What does he think?

I will say this: Christopher Guest is not a sitcom fan. You know, my husband is a very specific person and makes very specific, very funny movies and television shows. [Sitcoms are] not the thing that he is drawn to. But he genuinely understands that I’ve wanted to do a sitcom for a long time.

Because it’s spooky season right now, and you’re one of the OG scream queens, I have to ask you: Do you watch anything in that vein?

So I’m boring because the truth is, I don’t like scary things. I don’t like scary movies. I have zero interest in scary movies, and I think if someone ended up doing some analysis of me as a human once I’m dead, they would understand that actually my natural fear of scary things is what, in fact, made me such a good actress in them, and I don’t pretend to like them. I like the fans of [scary movies] because there’s a passionate group of people that love them. But I don’t have to love the movies, I just have to love what I do.

Is there anything else you’re watching right now?

My husband and I just started watching the [fourth] season of “The Diplomat” [Netflix], which the writing is so great. Last night we watched an episode written … by Peter Noah, who was the guy who took over “Anything but Love” … and was the showrunner. This episode last night [Episode 4, “Pagliacci”] was what Chris and I watched, and I wrote to Peter last night to say, “Bravo, bravo! Oh, the writing is so gripping.” Of course the writing leads the performances, which lead the filmmaker. It’s always the writing.

ICYMI

Must-read stories you might have missed

Dodger Stadium was eerily quiet on Wednesday, as a light rain fell over the already-yellowing grass. A crow perched on an empty seat. Scattered lights flickered in mostly-dark hallways.

Before the World Series had begun, the stadium was closed down for the season, hosting just one last event before officially wrapping up the 2026 slate.

In the interview room, tucked away at the entrance to the clubhouse, president of baseball operations Andrew Friedman and general manager Brandon Gomes took their seats at the podium for their end-of-season press conference.

There was the usual end-of-season checklist. Are you expecting any changes to the coaching staff or front office? “I expect status quo,” Friedman said. Is Shohei Ohtani going to undergo offseason surgery? “That’s not on the table,” Friedman said.

But from that emerged a persistent throughline.

The Dodgers had fallen short of their goal of a three-peat. But considering the age of the position-player core, the scrutiny owner Mark Walter is under, and MLB owners’ insistence on a salary cap in their early CBA proposals, was the Dodgers’ dynasty over?

“I welcome it,” Friedman said of such claims. “For us, and we’ve talked about this a lot, even after successes and we winning a World Series and then winning back to back, everything we do is for our fans. And there’s a lot of noise around us in general. We don’t really pay much attention to it. It’s a partnership we feel with our fans, and so people saying that we’re done and we’re on the downside of this run — it’s just more noise to us because everything for us is about the motivation we have to have a parade in the streets of Los Angeles next November.”

Friedman also didn’t seem to anticipate any trickle down from Walter’s outside ventures — Walter’s insurance companies are under federal investigation and face several lawsuits — affecting the Dodgers’ offseason budget.

“It’s been business as usual for us,” Friedman said. “We talked to Mark after we lost, and he was obviously really disappointed. But so much of his focus was on, ‘OK, what can we do? What are our plans? What are our thoughts for the off season?’ And our brains weren’t quite there yet, but so much of his focus was how do we put ourselves in the best position to win in ‘27?”

How will the Dodgers go about picking themselves up from their NLCS exit?

The Dodgers’ 2026 season wasn’t exactly a failure. They won 100 games in the regular season and lost in the playoffs to the only team that won more than that — the Brewers. But the Dodgers, with their star power and payroll, aren’t in the business of accepting moral victories.

Though plenty went wrong in the postseason, from Ohtani’s struggles following hisinjured list stint, to stalwart Yoshinobu Yamamoto’s surprising short start in Game 2 of the NLCS, the overarching theme in the Dodgers’ four straight losses to the Brewers was a lack of offensive execution, especially with runners in scoring position.

“Obviously throughout the latter part of the year, it was stuff we were talking about and trying to put our finger on,” Friedman said of the offense. “And in a lot of ways, it’s a little bit of a game of whack-a-mole, where it can be one thing for some period of time, and then it’s something else, and then it’s something else. Sometimes it’s noise, and sometimes it’s real. And what’s important for us is to be able to sift out the noise and isolate what’s real and what things we can improve upon. We’ll spend a lot of time really focusing on that in the off season.”

Asked if the age of the lineup could be a contributing factor, Friedman pointed to the strong finishes of some of the more veteran players on the roster.

“I don’t think it’s as easy as to paint it with that broad of a stroke,” he said.

Friedman, in an effort to continue to extend the Dodgers’ run of success, has kept in mind the cliff that successful veteran teams can fall off of, if the roster isn’t properly backfilled.

“This isn’t something that we just woke up and were like, ‘Oh wow, the age of our position player group,’” Friedman said. “We knew what things were going to look like in ‘26, ‘27, but also how talented these guys are, the way they prepare. And so much of our long-term contract bats are betting on the human — betting on the person, betting on the work ethic, betting on them doing everything they can to keep themselves in the best position to have success. But when you couple the core talent that we have at the major league level with the position-player strengths that we have in our farm system, that’s what makes us excited, is the art of how to onboard some of these young, talented minor league players.”

The Dodgers had the No. 1 ranked farm system as of mid-August, according to MLB Pipeline. But many of those prospects, including the three outfielders who the Dodgers’ Top 3 (Josue De Paula, Eduardo Quintero and Mike Sirota), are blocked by veteran players.

“For us, it’s just about having as many many talented players as we can, and things tend to sort themselves out,” Friedman said.

This offseason, the Dodgers will also have to figure out what to do about their soon-to-be free agents, a group headlined by left-hander Tarik Skubal. The two-time Cy Young winner was not only the best pitcher available on the trade market when the Dodgers acquired him from the Tigers at the trade deadline, but he’s in line to be the best pitcher available this offseason as well.

“It’s not easy for a guy to get traded in the middle of a season to come to a new city, new clubhouse,” Friedman said. “You have set routines, and you have to make those adjustments. It’s not easy. The way he was able to seamlessly transition, not just in terms of on the field, but in the clubhouse, I can’t say enough good things about the impact that he made in such a short period of time.

“We have a tremendous amount of respect for him on and off the field. … He’s put himself in this position to go out and be a free agent. And for us, it’s, continue to talk to [his agent, Scott Boras]. But he and his family have to make a choice over where they want to spend the next X number of years, and obviously we wish him nothing but the best.”

When asked about negotiations, however, Friedman spoke generally, saying the Dodgers were still “wrapping [their] arms around” their offseason strategy.

The impending lockout, which is expected to go into effect on Dec. 1 as soon as the current CBA expires, and uncertainty over changes in the next CBA, will certainly affect the free agent and trade markets this offseason. And though MLB navigated a lockout just five years ago, the owners’ push for a salary cap has many around the industry bracing for a longer work stoppage and murkier landscape on the other side.

“I never have any feel for how a market’s going to play out,” Friedman said. “We’ve kidded ourselves in the past that, like, ‘Hey, we think this is going to happen,’ and it just takes on its own life form. So for us, it’s just about being as prepared as we possibly can be, and pouncing on opportunities.”

Eric Dangerfield is surrounded by senior citizens.

After a packed set at Riot Fest the previous weekend, the 25-year-old lead singer and rhythm guitarist of the Paradox welcomed the quiet of his boomer-dominated neighborhood.

“I’m a suburban dude,” he said, smiling from his home in metro Atlanta, his cropped two-toned dreads bobbing as he spoke.

The Paradox spent much of the summer on the festival circuit, powering through a growing discography of pop-punk gems, so Dangerfield and the three other band members are taking a brief breather before their Proceed With Caution Tour starts this month — their first as headliners.

It’s peaceful. That is, “Except when the boys come over,” he adds.

On a late morning in September, the boys are here and accounted for: patching in to a video call, minutes apart, from their homes, also in suburban ATL. Dangerfield, born with the perfect stage name, has ideas that flow faster than he can seem to get them out. Then there’s Donald Bryant on bass. Yin to Dangerfield’s yang, with a quiet, commanding presence.

Percy “PC3” Crews has been playing drums since he was 3, and his vicious skills on the drum kit contrast with a cheery, relaxed demeanor. Finally, there’s Christopher Bernard, a.k.a. Xelan — the lead guitarist and Dangerfield’s vocal complement.

Dangerfield likens the four to musical superheroes from a Marvel series. But not so much the “Earth’s mightiest heroes” variety.

On their first headlining tour, the band brings its new EP, “Proceed With Caution,” to Los Angeles while claiming space in a historically white genre and weaving social commentary into its pop-punk sound.

(Shorefire Media)

“I’m like Mister Fantastic and Donald’s my Invisible Woman. Xelan’s the Thing, and Percy is John Storm,” he says of his partners in musical mischief. “If I’m ugly, just say that,” quips Xelan, the band’s oldest member at 30. “Yeah. Because you’re strong, bro,” reassures Eric.

By this time, the interview has devolved into fun-loving chaos.

They finish each other’s sentences and switch up their Google Meet backgrounds, cracking up as an awkward graduation portrait pops up. At some point, Bernard decides to give a bedroom tour, showing off his collection of Blink-182 and Fall Out Boy posters.

A photo of him with Travis Barker hangs next to a framed Billboard plaque on a nightstand. Barker was featured on the Paradox’s 2025 single “Bender” and performed with the group at Vans Warped Tour the same year.

The Billboard plaque commemorates the band’s song “Get the Message” from its debut EP, “NSFW,” reaching No. 1 on the Alternative Airplay chart in January — a great achievement for any rock artist — but the Paradox also happens to be the first all-Black band to do so.

The success, although rapid, didn’t come from nowhere. All of the members have been working toward music in some form for years.

Dangerfield had a deal with a small label where he was originally making a go of it as a pop and R&B soloist. He also put out his music online. Looking for something different, he remembered his passing interest in pop-punk from his days growing up in Palm Coast, Fla. It was the “Fat Lip” video by Sum 41 that sealed the deal.

Yearning to be in a band, he started working with Bernard, whom he met online and shared his passion for the genre. Bryant was Dangerfield’s childhood friend from Palm Coast who had also moved to Atlanta, while Crews had been a fixture on the local music scene. And the name? It came from Dangerfield’s love of quantum physics.

Shortly after the group officially formed in June 2024, Dangerfield’s then-girlfriend — now wife and band “momager” Lexi Dangerfield — opened Instagram and TikTok accounts filming and posting their homey videos. The band’s song “Kaitlyn” and some covers blew up. The artists’ perspective, filtered through a Gen Z lens, struck a multigenerational nerve.

Attention came so quickly that Dangerfield felt the need to defend against online detractors who were convinced the group was an industry plant.

From there, the fairy-tale plot thickened. Billie Joe Armstrong followed Dangerfield on Instagram, and the two struck up a friendship that led to the Paradox opening for Green Day on the Atlanta stop of its Saviors Tour. But this was, of course, after Jack White’s people called — who the group ended up opening for at Basement East in Nashville.

Things haven’t slowed down in the two years since, with opportunities coming fast and furious. In the spring of last year, the band signed a deal with Hundred Days Records, a subsidiary of Virgin Music Group, and teamed up with producers Mike Pepe and Robopop to work on “NSFW.”

“Bender,” the group’s collaboration with Barker, and “Do Me Like That” are featured on Madden NFL 27 and NBA 2K26 video game soundtracks. Last month, the musicians streamed a concert from Twitch superstar Kai Cenat’s house. And now, instead of opening for their idols, they are inviting them up on stage as guests. For their second Warped Tour in Long Beach, that meant Deryck Whibley of Sum 41 and Logan Henderson from Big Time Rush.

The embrace from established musicians has definitely helped the band navigate its rise. In a moment of doubt, Crews said Good Charlotte’s Joel Madden, in particular, came through with sage advice.

“He asked me a question: ‘How does it feel being where we were?’ And I was like, ‘It feels like a dream.’ It felt like I was gonna wake up on my desk sophomore year with drool on my f— table. And I was telling him that, and he was like, ‘You know, it may feel that way, but it is real … It’s real, and it’s you … you belong in these rooms.’”

The irony of being embraced in a mostly white subgenre of punk rock while Black American culture formed its foundation is not lost on the group. Had the band come about during one of Dangerfield’s favorite eras of music, the ’50s and ’60s — there would likely have been rooms in which they weren’t welcomed.

While the band members understand the impact their visibility has — especially for non-white kids who grew up in the suburbs as they did: skating, riding BMX, building Legos, watching anime, dreaming of a life onstage — it does require some balance. “They’re not asking Taking Back Sunday this stuff,” Dangerfield acknowledged when asked if they might tire of the representation mantle. “Or Blink, but … We are a minority in this space and in this country, and I think that you know the stuff that comes with being Black should definitely be talked about. I think those conversations are important.”

He said as much in August, when the group made its Tiny Desk debut in celebration of NPR’s Black Music Month. “Now, like they said, we made history,” he said, leaning into the mic after the first song. “And the Paradox is in the business of bringing rock ’n’ roll back to the originators.”

A glance at the comment section under the video makes clear the group’s authenticity resonates with those who haven’t felt seen or heard in certain spaces.

“I’m a black girl from the suburbs of Metro ATL,” wrote @rainjojo. “And I’m glad to see representation of people who are like me indulging in punk rock. I got into this genre from childhood shows like “16,” “Stoked”, and other early 2000 to 2010 shows, and I remember being bullied for being whitewashed. Please keep making more music like this.”

The tour is named after “Proceed With Caution,” the band’s sophomore EP released on Oct. 2. Across six tracks, it continues in the same vein as “NSFW,” with sharp melodies and a dash of humor thrown in. But on “That’s Not Fair,” the group wades deeper into social commentary. It was also the most difficult to record, cut raw with no click track.

“We were just trying to think of things that were not fair, [from] small and trivial like losing your keys to, I don’t know, using it as a bridge to talk about larger issues and things like that,” Dangerfield says of the song. “I think a big thing for me personally, it’s not political … is kind of the fact that everything is getting so expensive. The price of everything is rising so rapidly, and the salaries that people are being paid are not really growing to match that.”

The Paradox perform at The Moroccan Lounge on Thursday, Oct. 22.

(Hunter Lyon)

“And it’s like, we got very lucky, but the thing is, most people don’t,” he continued. “If you’re gonna sacrifice all your time, slaving away working for big corporations and stuff like that, you should at least be able to, you know, buy a candy bar or something.”

So far, the musicians aren’t taking anything for granted and are trying to enjoy the in-between moments.

Dangerfield and his wife took their daughter on a Disney cruise for her second birthday — she’s spent much of her young life traveling with the band.

With some of his publishing money, Bernard indulged his love of vintage Japanese fashion and has a 2000s-era Tuscan house on his vision board. Crews stays healthy, listens to lots of Snarky Puppy, and looks forward to the relaxed cannabis laws of L.A. when the tour stops at the Moroccan Lounge on Oct. 22 and 23. If time allows, he might even have time to surf in Malibu.

Bryant, who counts Mike Dirnt, Mark Hoppus and James Jamerson among his biggest influences, balances a dream of seeing his band play for thousands with looking forward to a life lived like his older brother: a chiropractor with a nice family.

But some dreams will have to wait as the band goes back to making music, hopefully with lasting impact. The members want to become household names, “like Nirvana,” with music people will play for hundreds of years. Why not?

Anything is possible when you are a fantastic foursome.

It’s the third afternoon in another string of sweltering days in Los Angeles. A recent Friday offers no salvation for the weekend ahead besides sitting in front of a fan or turning up the air conditioning.

Thankfully, standing inside the climate-controlled walls of the Line hotel’s lobby and behind a cup of joe from its Alfred Coffee, there’s a smidgen of comfort.

The bell to the ground floor elevator rings and out steps a tall figure, wearing an all-black ensemble. His shorts hang just below his knees, his hair is a bit messy and his boots climb up his calf.

Grian Chatten looks remarkably cool for someone who’s just rolled out of bed, even more so for someone who has a performance at Hollywood Forever Cemetery later that night. He’s the leading man behind Fontaines D.C., a Dublin-born rock quintet that’s become one of the most exciting acts to grace a stage today.

And how couldn’t they be?

Their 2019 debut, “Dogrel,” was met with critical acclaim, a masterful album with references to James Joyce and a teeming garage-style production. Fast-forward five years later and their fourth effort, “Romance,” became their first to chart in the United States, reaching No. 97 on the Billboard 200.

Nowadays, they’re kicking up dust again with the release of “Dopamine Chamber,” which came out last Friday via XL Recordings. Its a continuation of the precedent they’ve set in terms of lyrical and sonic quality, but simultaneously is far more melancholic and synthesized than their previous work.

“Dopamine Chamber” is the band’s fifth release, following the success of “Romance” back in 2024.

(Ewen Spencer)

However, its rollout was rocky as the debut music video “Marianne” was criticized for its use of artificial intelligence. When the psychedelic, entrancing recording first hit YouTube, it listed a credit for AI “artists” in its description, sounding alarms among the band’s loyal fan base.

After all, it was widely viewed as contradictory of the group, which has been vehemently outspoken on various contemporary issues, including what the U.N. Human Rights Council has officially concluded to be genocide in Gaza.

We sat down with Chatten to discuss the new album, as well as some of the backlash the band has recently faced.

Tell me about this album title. Is it a literal happiness chamber?

It was me [who came up with it] because it originated as a line in a song, and the song never made it onto the album. We kept the pairing of words “dopamine chamber.”

I wanted to make it a bit more literary. Turns out that the dopamine chamber … it’s where they put rats to test different chemicals or in order to check their dopamine levels. We found that out after.

So it’s fake happiness.

It’s almost like nonconsensual happiness. I mean, if that exists.

Do you ever feel like that in life? Like you’re like forced to be happy with everything bleak that’s going on?

I think we force ourselves to feel a certain happiness every now and then, just so we can compartmentalize things and go about our day. I think that’s a survival mechanism, anyway. But to lose that is dangerous.

This album is a lot more synthesized than your previous work. “Six Short Morning” and “Mimesis” definitely stand out there.

It made sense, thematically. I felt that those textures signaled … I hate using the word “dystopian,” but the dystopian future. I wanted the album to feel more like an advanced version of “Romance,” where the body of the record had become more bionic. There’s a reason that there are so many strings and cinematic stuff, that’s the organic world that I wanted to draw on — people like Mina, the ‘60s singer from Italy.

The acoustic sounds are, of course, still present.

They’re supposed to be kind of like fighting for space, a little bit.

One track that stuck out to me was “Happy for You,” because of it’s insincere flattery. Who or what do you have in mind when you write songs like that?

It’s a bit like [R.E.M.’s] “Shiny Happy People,” it’s a similar function. That song is a jealousy of other people’s happiness or well-adjustedness.

I noticed those internal struggles show up a lot on this album. On “One Man,” are you singing about feeling the weight of many?

I think that’s more about the general existential feeling of helplessness in the face of things that are happening in the world. I’ve got a really good friend called Nikolaj Schultz, do you know him?

No idea.

He’s a sociologist and philosopher, and he writes mostly about the environment, the Anthropocene, and he’s written a couple of books with the French philosopher Bruno Latour, who passed away [in 2022]. He’s someone who’s strapped to their bed and feels away the world from morning to night.

That was a profound influence on “Romance” and on this album. So I think “One Man” pertains to that, maybe even to him.

It seems like you are heavily inspired by literature, more so than other artists would be by just general music and listening.

I think in literature, I can understand sometimes what the point is in what they’re writing. For example, this Schultz book “Land Sickness,” the style of it is to render the audience sensitive to this issue just by the osmosis of showing how much it affects you. Like, my mom got me into music by showing me how much it affected her.

How did the feature with Rosalía come about for “Where Is Gone?”

Well, this is our first feature. Carlos [O’Connell], our guitarist, grew up in Spain and had been listening to her first couple of records. Then we got into “Motomami” together and it became a fixture to listen to it backstage before our shows. When “Lux” came out, we were all quite obsessed with it.

We were four days out from mixing or from mastering the album, and Carlos rang me. He was like, “I think we’d be mistaken to not just send Rosalía something and see if she’d be interested.”

We sent her four tracks. We sent her “Where Is Gone?,” “One Man,” “Tongue,” and I can’t remember what the other one was. She got back within 48 hours with a full vocal of “Where Is Gone?”

You weren’t in the studio together?

She was on tour. She was in Miami at the time.

What happened with “Marianne?” There was a moment where it was credited to AI “artists.” Then it was corrected to be effects artists.

I woke up at like 5:30 a.m. the day after the video came out, and I saw an article that said there was AI used in the video, and I called our management, and I was like, “What the f—, is this true?” and it turned out that there was some AI used in like the workflow or the postproduction.

So all those main scenes and main effects and stuff were VFX and prosthetics, like the cheeks and everything. Over 110 people worked on the thing. It was a real huge human effort. But then somewhere in the process, someone from the VFX team I guess used some kind of AI in the workflow. And none of us were told about it. Apparently, not even our label or our management were told about it and it was a real shock.

Yeah, it seemed like you guys didn’t know.

Of course. I mean, we’re gonna have it written into our contracts going forward that like it can’t be in our music videos. You know what I mean? I don’t condone it.

I think a lot of people were shocked just because you guys are so active in contemporary issues, which AI certainly is.

It’s so f— ironic. No, very contradictory. The themes of the f— album as well. I was hoping to talk about how I felt about AI in interviews at some point anyway, and then this kind of pulled the rug from under that conversation a little bit.

It just f— sucked.

Well, how do you feel about AI?

I think it’s f— terrifying. I was watching a Robin Williams scene from “Dead Poets Society” when he talks about poetry, literature. These are the things that we stay alive for, and well, that’s exactly what AI threatens to rob from the human race.

I’ve seen those articles about those guys who are leaving AI companies because they said that the human race is going to be dead within 10 years. AI is literally rendering our souls obsolete and I think that is true death.

A lot of people say, “It’s here, we have to deal with it.”

We should just shut it off.

It always ends here. Every conversation [about AI] just ends grim. This is like every conversation with my dad over the last three years about it. It makes it tough to be alive, doesn’t it?

Jim Nantz is fine.

The 67-year-old sportscaster didn’t actually injure himself demonstrating the so-called “Peanut” punch with CBS broadcast booth partner J.J. Watt — who is 37 and a three-time former NFL defensive player of the year — during the Buffalo Bills-Las Vegas Raiders game on Sunday.

He seems to feel foolish though.

“I learned a lesson,” Nantz said Tuesday on ESPN’s “The Pat McAfee Show.” “You got J.J. Watt cradling the ball like this. What am I — I’m going to like knock it out of his hands? Come on, the thing was vacuum sealed into his chest.”

Named after retired cornerback Charles “Peanut” Tillman, the “Peanut punch” has become an effective method for defensive players to cause fumbles. While showing viewers how offensive players should hold the football to counter the maneuver , Watt encouraged Nantz to “give that a good punch.”

“Really?” Nantz asked.

“Hard as you got, brother,” Watt replied.

So Nantz delivered a solid blow to the ball, which didn’t budge in Watt’s arms.

“I did kind of go aggressively here after this ball because J.J. encouraged me to do so,” Nantz told McAfee while watching a clip of the incident.

Back on the broadcast, Nantz immediately winced and grabbed his hand.

“I did not think you were going to go that hard,” Watt laughed. “That was so much harder than I thought you were going to go.”

Nantz clearly was in discomfort, but he chuckled about it as well.

“My wrist is broken,” he told his booth partner. “Like I’m going to knock it out of your hands.”

“Get Jim some ice,” Watt joked as they were going to commercial.

After halftime, Nantz could be seen in the booth with his hand wrapped. That led some people to believe he had seriously injured himself.

“I heard from people you can’t believe,” Nantz told McAfee. “[Bills quarterback] Josh Allen texted me an hour after the game and said, ‘Did you just break your hand? I hear you broke your hand.’ I heard from a former president of the United States, reached out and wanted to know if my hand was broken.”

McAfee and company speculated that the former president was Barack Obama, but Nantz did not reveal his identity.

After the game, Watt joked on X: “CBS Injury Report Week 7 — Jim Nantz: Questionable (Wrist/Hand).”

The NFL joined in the good-natured fun, posting the clip on Instagram and writing, “the peanut punch isn’t for everybody,” along with a laughing emoji.

While Nantz admitted his hand and wrist “did hurt for a while,” he told McAfee that any reports beyond that were “greatly exaggerated.”

“It did sting, I’m not going to kid you,” Nantz said. “But I gave it my best, and as soon as I did it, I regretted it because I felt like everything had been compressed. And I did think I was going to wake up Monday with this thing about triple the size, but I’m fine. I’m not going to be on the injury report this week. I’m going to be good to go. No broken bones.”

Two things can be true: The Dodgers’ season ended prematurely and, for Shohei Ohtani, the offseason couldn’t come soon enough.

Thursday’s elimination — a no-doubt-about-it sweep at the hands of the Milwaukee Brewers, who vanquished the Dodgers in the same fashion Ohtani and Co. had summarily eliminated them last season — was apparently the only way to get the two-way superstar out of the lineup.

Now he can get some much-needed rest and recovery, a reality check and, possibly, some surgical procedures to repair the knee and biceps injuries that plagued him this season.

Ohtani didn’t rule anything out in his postgame scrum, several rows deep, in front of his locker after the Dodgers’ 6-4 defeat in Game 4 of the National League Championship Series.

“Hard to tell at this point,” the 32-year-old Ohtani said in Japanese, via interpreter Will Ireton. “It’s something that’s going to be analyzed, discussed over the offseason, and see if that’s a viable thing to do.”

Hopefully, for the Dodgers’ sake and for baseball’s, Ohtani and his team will see their way to a reasonable load management plan. Hopefully they’ll find a viable injury management strategy.

Especially if he continues to pitch, as Ohtani said he plans to: “Yes, definitely, and looking forward to having a better season.”

Hopefully this bumpy season — his first as a Dodger to end short of the championship following the 2024 and 2025 title runs — will make Ohtani better. Wiser. More willing to listen to his body and to communicate what it’s telling him with the ball club that relies on him so much.

“I’ll always trust Shohei,” Dodgers manager Dave Roberts said. “He’s the best player on the planet, and he’s not completely healthy. But I just give him a lot of respect for not running from it, still wanting to participate, still wanting to play when he’s not 100%.”

But hopefully when Ohtani’s knee barks next time, he won’t pitch through it. Hopefully when his right arm tightens up, he’ll step out of the box. Even — or especially — if it takes longer than a 15-day IL stint to make him right.

Hopefully he’s learned that irrespective of a sense of duty or pride or a selfish streak, the cold-hitting fact is that a compromised version of Ohtani leaves the Dodgers’ whole team — a $400 million investment — compromised, as it was this postseason.

“I don’t really want to take it for granted for the opportunity to be able to play with these guys,” Ohtani said. “But honestly, I think I’m just very disappointed.”

In eight playoff games against the Atlanta Braves and Brewers, Ohtani hit .192 (five for 26). He struck out 10 times. He didn’t get an extra-base hit or drive in a run until Thursday, in the season finale, which reminded us of Ohtani’s power — he walloped his first home run since Aug. 18, a three-run missile in the second inning that traveled 428 feet — and his pain.

Roberts looked, for a moment, like a genius for continuing to keep Ohtani in the lineup — and to pencil him in as the Dodgers’ leadoff hitter after batting him sixth on Wednesday.

For that one shining moment.

Shohei Ohtani celebrates after hitting a three-run home run in the second inning of the Dodgers’ 6-4 loss to the Milwaukee Brewers in Game 4 of the NLCS on Thursday night at Dodger Stadium.

(Gina Ferazzi / Los Angeles Times)

But Ohtani also struck out three times Thursday — made to look foolish in a much-too-familiar way.

The Dodgers needed a healthy Ohtani to deal with a young, hungry ballclub like the Brewers.

To have a chance against a team that was, as Dodgers utility man Kiké Hernández said, “almost playing perfect baseball,” they needed him dialed in and not tinkering, not staying late searching.

They need the version of him that delivered the perfect game a year ago, his three-home-run, 10-strikeout masterpiece that sent Milwaukee home in Game 4 of the NLCS.

“Ohtani is arguably the best player in the world,” Brewers manager Pat Murphy said.

“He’s proven that to us. He had the greatest game I’ve ever seen played by an individual player last year against us.”

The Dodgers need that guy striking fear into opponents. Not him striking out, or getting stranded helplessly on base.

Shohei Ohtani tosses his bat after hitting a three-run home run against the Milwaukee Brewers during the Dodgers’ 6-4 loss in Game 4 of the NLCS on Thursday at Dodger Stadium.

(Robert Gauthier / Los Angeles Times)

And they got a glimpse of that guy Thursday with that second-inning home run, a shot that had him throwing his arms up and screaming toward his dugout, as emotive as we’ve seen him, relieved and exulting after giving the Dodgers a 4-0 lead — and a fleeting expectation that they’d play a Game 5 on Friday.

“It was a lot of pent-up anger, frustration,” Roberts said. “It was the best ball he hit in probably two, three months, and it was a big hit.”

“It was like,” Max Muncy said, “that’s the swing we’ve been waiting for.”

Now we all wait for baseball to return — and then to learn what this season taught Ohtani, one of the most unique athletes in the history of the game.

“Not quite satisfied with how things shaped up on the pitching side at the end of the year,” Ohtani said. “… I haven’t been able to really come to grips in terms of what I’ve learned overall. It’s something that I’m going to kind of go back to the drawing board in terms of treatment, training program, and see what I can come up with for next season.”

Nathan Fielder would rather you not read this article. At least not until you’ve seen his new movie.

He has a point.

Now in theaters, “You Can See Everything,” the nearly three-hour documentary Fielder co-directed with filmmaker Lance Oppenheim about convicted Theranos founder Elizabeth Holmes, is full of head-spinning twists and turns best left unspoiled, and the filmmakers have gone to extreme lengths to keep them that way. At its secret premiere at the Telluride Film Festival last month, audience members were required to lock their phones in pouches and warned that security guards with night-vision goggles would be watching for anyone trying to record the screening. Afterward, Fielder pleaded with the crowd to keep the film’s biggest surprises to themselves.

Holmes was convicted in 2022 of defrauding investors in her failed blood-testing company and sentenced to more than 11 years in federal prison. Fielder and Oppenheim began filming her and longtime partner Billy Evans, an MIT graduate and heir to a family-owned San Diego hotel business, shortly before she reported to prison in 2023, gaining extraordinary access to the couple and their two young children.

Holmes and Evans welcomed the cameras, hoping they would help vindicate her. But the closer Fielder and Oppenheim got to the couple, the harder it became to distinguish candor from calculated performance. Fielder, whose series “Nathan for You” and “The Rehearsal” put real people through elaborate, often uncomfortable experiments, began to wonder whether the tables had been turned.

“I really am struggling to this day to understand exactly what I experienced in this,” Fielder admitted during a post-screening Q&A at Telluride. “I don’t quite know what I went through.” He said he hoped audiences might help him make sense of the “glitchy feeling” it left in his head.

Having seen the film twice, we’re not entirely sure we can help him.

In deference to Fielder’s wishes, this is your last chance to turn back: Major spoilers follow. For those still with us, here are 10 of the film’s strangest moments — by no means the only ones — along with a few clues from Fielder himself about how they came to be.

Evans takes ’radical transparency’ too far

Evans has a theory about why the world sees his partner as a monster: Nobody really knows her. “In the absence of knowing somebody, it’s really easy to make them feel other and scary,” he tells the filmmakers. His proposed solution is “radical transparency” — a familiar Silicon Valley mantra with an ironic resonance given Theranos’ notorious culture of secrecy. The filmmakers are allowed virtually unlimited access to the family’s life, with Fielder even invited to move into their rented house in Del Mar, near San Diego. In one scene, Evans stands completely naked in the shower, brushing his teeth with the bathroom door wide open and the cameras rolling, as Fielder stands awkwardly nearby. At Telluride, Fielder, who had initially planned to stay behind the scenes, admitted he was still perplexed by the couple’s openness. “I’m a weird guy — why do they want me there?” he said. “That messed with my head a little bit.”

Fielder observes Holmes and her family in a scene from the documentary “You Can See Everything”

(A24)

Theranos, the sequel

A federal fraud conviction apparently hasn’t ended Holmes’ ambitions to revolutionize medical testing. Before heading to prison, she and Evans begin laying plans for a new venture involving lasers and artificial intelligence that Evans describes as “2.0” — a chance, he says, “to put the band back together and do it all again.” Holmes declares, “From wherever I am, I’m going to continue to work inventing, even if it’s inventing from a cage.”

Holmes claims she’s never told a lie

For someone convicted of defrauding investors, Holmes has a remarkably uncomplicated view of her own honesty. Asked by Fielder whether she’s ever told a lie in her life, she replies, “I don’t think so.” Pressed — surely she’s pretended to be sick to get out of a party? — she concedes she has, explaining that she thought he meant the criminal case against her. In a scene that became the centerpiece of the film’s teaser trailer, Holmes fixes Fielder with an unwavering stare. “Why would I deceive you?” she asks. “There’s no reason for me to do that.” When Fielder asks whether she’s being real with him, she doesn’t miss a beat: “I’m always being real.”

The Theranos device gets a second look

Holmes hauls out of storage the infamous Theranos device, the machine that helped bring down her company. “So this is the famous scam device,” Fielder says. “It is not a scam device,” Holmes replies. When she insists the machine can perform any medical test, Fielder finds himself drawn into an absurd debate over the meaning of the word “can.” Did she mean it could actually perform those tests, or that it theoretically would once the necessary chemistry had been developed? The man who has made a career out of baffling other people seems genuinely baffled himself, reduced to explaining the word “can” to the founder of Theranos.

Holmes and Evans enter federal court in 2022.

(Nic Coury / Associated Press)

Elizabeth Holmes meets Abbott and Costello

Still trying to make his point, Fielder turns to Abbott and Costello. He plays Holmes the classic “Who’s on First?” comedy routine — two people hopelessly talking past each other. Holmes watches politely and says she finds it funny. But she seems to have missed the central joke: The first baseman’s name is actually Who. “I didn’t pick it up,” she admits. Fielder’s attempts to explain the joke and why he showed it to her get him nowhere. Evans, watching the exchange, regards his wife’s difficulty following the joke as further evidence that her mind simply works differently from everyone else’s.

Fielder gives Holmes an escape kit

On the morning Holmes is due to report to prison, Fielder arrives with a parting gag gift: hair dye and glasses, in case she’d prefer to disguise herself and flee the country. Fielder is famous for excruciatingly awkward deadpan comedy, but Holmes’ parents are there, the family is preparing for an emotional goodbye and he seems to realize almost immediately that he has misjudged the situation. “I didn’t know your parents would be here,” he says, assuring everyone that it’s “just kind of like a joke.” The more he tries to explain himself, the more uncomfortable things become. “Maybe not appropriate for the moment,” he concedes.

Amanda Seyfried becomes a surprise co-star

Seyfried won an Emmy for playing Holmes in Hulu’s “The Dropout,” which Holmes had avoided watching for fear it would be too emotionally disturbing. Fielder persuades Holmes to watch it for the first time, on a laptop in the couple’s bed. She soon breaks down in tears and asks him to turn it off. Later, Fielder visits Seyfried at her apartment and shows her footage of Holmes watching her performance. So we watch Seyfried watch Holmes watch Seyfried playing Holmes as Fielder watches her. And things only get weirder from there.

At Telluride, Fielder said the filmmakers initially doubted Seyfried would want to participate. But after a brief phone call, she invited them over and agreed to be filmed. Neither side knew where things would lead. “It just actually evolved in that organic way, which was really exciting,” Fielder said.

Seyfried as Holmes in a scene from Hulu’s “The Dropout.”

( Beth Dubber / Hulu)

Seyfried plays detective

Seyfried soon finds herself reenacting Holmes’ conversations with Fielder as he tries to make sense of their encounters. She becomes so invested that she joins Fielder on a visit to Evans’ home, hoping she might get him to open up in ways Fielder can’t. “I feel like an undercover cop right now,” she says, clearly getting a rush. There, after meeting the couple’s children, she unexpectedly winds up on a prison phone call with Holmes herself. With only two minutes for the family to talk, Seyfried suddenly seems mortified to be intruding. “I’m so sorry — I don’t want to ruin your two minutes with your beautiful family,” she says. Fielder, naturally, has a camera running.

Evans takes control of the narrative

With Holmes behind bars, Evans seems determined to manage her public image himself. Armed with power of attorney, he takes over her verified X account, posting messages in her name, some of which sound nothing like the carefully controlled Holmes, including one telling another user to “f— off.” “There’s just so much trust that most things I don’t really consult her on,” Evans says at one point. “I know what she’d want.”

Evans’ attempts to steer the documentary itself begin even before Holmes reports to prison. In a meeting later reenacted in the film, after Holmes leaves the room, he raises the subject of money with Fielder, Oppenheim and executives from A24, the studio behind the film, demanding a share of the profits. Fielder says A24 reluctantly agreed, leaving him worried that the integrity of the project may have been compromised. When Holmes later insists she has no financial interest in the film, Fielder is taken aback. Either she’s “fully sincere,” he tells Seyfried, or “she honestly might be the most manipulative person that’s ever lived.” (The film notes at the end that Evans later changed his mind and decided not to accept payment.)

On Oct. 5, Holmes’ X account promoted the documentary with a tantalizing warning: “I really don’t think you are ready for this doc.” Whether that was Holmes speaking or Evans speaking for her is anyone’s guess.

Seyfried confronts Evans

Things turn ugly during that same visit to Evans’ home. A conversation about conjugal visits and Evans’ sex life gives way to a heated argument over his use of Holmes’ X account. Evans brings up the social media backlash Seyfried faced for criticizing Charlie Kirk after his shooting death, then attacks her portrayal of his partner in “The Dropout.” Soon he’s threatening vengeance against people he believes have wronged Holmes. “I’m going to ruin their lives,” he declares. Asked whose lives he means, Evans replies, “F—ing everyone. I’ve got vengeance in my heart.”

Later, away from Evans, Seyfried offers her own assessment: “He is bat— crazy.”

As the nation hurtles toward a pivotal and divisive midterm election, it’s fair to wonder if people on opposite sides of the political spectrum will ever be able to again live peacefully as neighbors, to talk, and especially listen, to each other.

It’s a question co-directors Robert May and Barry Levinson and producer Jason Sosnoff set out to answer in the aftermath of the insurrection at the Capitol on Jan. 6, 2021. It led to their five-part docuseries, “Bucks County, USA,” now on streaming on PBS.org and the PBS app, that unfolds across four years in a suburban Pennsylvania county being ripped apart by vicious school board battles poisoned by partisan personal conflicts. (The finale streams Sunday, and the full docuseries will air Oct. 29 on SoCal PBS.)

“We don’t pay enough attention to one another,” Levinson says. “We just say, ‘I’ve formed my position and I’m locked into it’ and we don’t share enough interaction where we can discuss things. Democracy requires interactions, and if we cannot find a way to find common ground, that’s my big worry.”

The series shows how Paul Martino spent a fortune supporting Republican candidates who supported reopening schools quickly after the height of the pandemic but then, more contentiously, turned their attention to the culture wars. They focused on what was being taught in the classrooms and stocked on the shelves in the school libraries, leaving teachers feeling attacked and Black families and LGBTQ+ students alienated and ostracized.

“It’s unexpected how something like that can accelerate into such a contentious situation,” Levinson says, “where well-educated people in a wonderful community can’t figure things out.”

May says national polarization is poisoning the atmosphere locally. “It became a life-or-death battle in the name of their kids, but they both felt their children would be mercilessly mistreated if they didn’t do something to save them from the other side.”

An aerial view of Bucks County, Pa., the community at the center of Robert May and Barry Levinson’s docuseries.

(SenArt Films & Baltimore Pictures)

The filmmakers followed the heated battles as people in the divided community resorted to screaming and name-calling. It frequently plays like a fun house nightmare version of “Our Town.” That’s true even of their version of the play’s Stage Manager. Two teenagers, Evi Casey and Vanessa Martino, Paul’s daughter, guide us through each episode. While the girls are best friends, Evi’s liberal mother and Vanessa’s conservative father view each other as hostile opposition.

“I think the series does a good job of showing the political division and how it affects the kids,” says Casey.

The series opens with a school choir singing “What a Wonderful World” underneath a collection of residents telling us how they’ve been berated: “I’ve been called a pedophile.” “I’ve been called a Nazi.” “I’ve been called anti-American.” “I’ve been called a dyke and a groomer.”

But the series then gets to know people in depth, allowing for far more nuance than the contentious school board meetings.

“My hope was that people can take the time to at least have a deeper conversation with somebody who they think is doing harm to their community and try and understand it better, “ Sosnoff adds. “It starts with microchanges where somebody reconsiders the way they might harm somebody else.”

Katherine “Kitty” Good Semisch, a retired Bucks County teacher and a key figure in the documentary, says the series is perfectly timed for the midterms because of its efforts to humanize everyone. “Dehumanization and demonization lead to the worst outcomes, and this kicks out from under anybody the lazy position that the people on the other side aren’t human,” she says. “Everyone is just trying to find something that works for their community.”

Sosnoff originally approached Levinson with the idea of a project that would humanize both sides, but his original idea was to bring people together at a summer camp with a facilitator so they could get to know each other better. “Barry wisely said, ‘That’s more of a sociological experiment where you’re playing God,’” Sosnoff recalls. “He said, ‘Let’s focus on a seemingly idyllic small town, like in “Our Town,” and examine what happened and why.’”

They chose Bucks County, a purple county in a purple state. “It’s not a place of extremists but people were really inflamed,” Sosnoff says, noting that some people were reluctant to speak on camera. “The climate of fear was very much alive. It was a community in trauma.”

There are brawls over policy that lead to lawsuits, but the main drama is the 2023 school board election, where the Democrats hoped to reverse the Republicans’ 6-3 majority.

While May says he is offended by “people that don’t care about other people or their right to exist,” especially when it comes to LGBTQ+ rights, he emphasized that he resisted taking sides in the documentary. “When we don’t see people as human, that’s when you lose a society.”

Indeed, Sosnoff says that while it’s bad when people are marginalized and victimized by discrimination from those in power, they’d still edit episodes to keep everything balanced, occasionally saying, “We need to give conservative characters more screen time and understand their positions.” (He also says they grew to like everyone involved.)

At the center of the drama depicted in “Bucks County, USA” is a school board election and a community grappling with political division.

(SenArt Films & Baltimore Pictures)

May says he knows some viewers will be furious with this approach, but he hopes that if they watch all five episodes, they’ll get a full picture. “You can’t just see parts of it. You need to see in order,” May says. “People reveal who they are over the five episodes. There’s an extraordinary amount of nuance, but if somebody’s saying something stupid, we have that too.”

(And don’t mistake May’s efforts at evenhandedness for a lack of passion — the day after a 30-minute joint interview with Levinson, he called me back and talked, largely uninterrupted, mostly about bias and perceptions.)

Amazingly, most people interviewed from both sides in the community support the final version.

At the center of the action are Vanessa’s mother, Aarati Martino, who ran for school board as a Republican, and Paul, who poured hundreds of thousands of dollars into school board elections.

“Overall, I am pleased,” Paul Martino says now. “There’s some things I think don’t portray the facts exactly quite right, but they recorded 500 hours and you’re not going to love everything that’s on the screen. Everybody is represented in this film.”

Martino, who never really owns the impact of him using his fortune to try to elect cultural conservatives, says he’s been “unfairly attacked” and has become “a convenient boogeyman in some of the scenes. But I’m actually not even upset about that piece of the puzzle.” (What he feels is lacking is that in 2021 he says 30% of the 300 candidates he funded around the state were Democrats.)

And Donte King, whose family endures racism both subtle and blatant, praises the filmmakers’ attempts to humanize people with contrasting viewpoints, saying he was pleased with getting to tell his story. “It allows people to connect with you,” he says. “We might have different ideologies, but we’re more alike than we are unalike, so maybe somebody who votes blue will identify with someone who votes red and vice versa.”

The closest thing to a hero in the series may be Semisch, a liberal, who shows civic courage in her efforts to build bridges, meeting one-on-one with Vonna DeArmond, a conservative elementary school teacher, and organizing events like an ice cream social and a candle-making evening. (Martino also posted an online peace offering, saying he’d buy anyone from the other side drinks; Semisch was the only one to take him up on it, but several people interviewed, including May, say Martino’s unbending personality may explain the lack of response.)

Semisch wishes that May had fact-checked some of the misleading claims by the right, but she praises the series’ subtlety. “I understand people’s frustration, but they’re leaving it to the audience to sort out who’s making sense,” she says. “My side was advocating for more books in the library and for better training for teachers to navigate difficult topics. As you watch, it seems to me that the people on the other side aren’t making as much sense.”

Near the end of the series, there’s one sweet moment of coming together between Evi’s and Vanessa’s mothers and another moment of seemingly genuine outreach by one of the town’s conservatives to King. But there’s also plenty of acrimony and recrimination in the aftermath of the school board election and one final confrontation between King and Paul Martino at a roundtable that leaves little doubt that tensions are still simmering.

Still, May says, “I remain hopeful and optimistic because I’ve seen the humanity in all of them. I think things are better there now than when we started.”

Semisch, with DeArmond, will lead discussions about the series in Bucks County and May hopes others will follow suit around the country. He and Levinson hope that by strengthening local communities, it can eventually lead to stronger national bonds. “Maybe people can learn from them. Maybe this series is literally the beginning of a change.”

Sosnoff is a bit more measured in his final assessment, quoting a participant as saying, “We haven’t buried the hatchet yet, but it’s been put away in the closet,” he says. “I’ll take that as progress.”

Chargers offensive coordinator Mike McDaniel didn’t shy away from discussing his job security Thursday amid a frustrating 0-5 start to the season.

“I feel like it’s core to my job to always feel that way,” McDaniel said when asked if he’s coaching for his job. “I need to do the very best I possibly can, all the time, because [of] the players, the organization, the fans.

“So, that’s second nature. … I think it’s disrespectful to all those that choose to invest in our game and our team to not look at things that way. The second you get comfortable in this league, it’s a wrap; it’s too good. I will be doing my very best, because from an integrity standpoint, I think it’s really insulting to do anything else. And that won’t change.”

McDaniel says his determination is unwavering. His place in the Chargers’ organization, however, might not be if things don’t change soon.

The Chargers, who rank 10th in total yards allowed per game on defense (311.6), enter Sunday’s road game against the undefeated Kansas City Chiefs averaging just 16.8 points per game, the third-lowest mark in the NFL above just the also-winless Miami Dolphins (14.0) and Tennessee Titans (11.6). Quarterback Justin Herbert ranks 22nd in passing (937 passing yards) and is last in the NFL in total quarterback rating (26.6).

Injuries have played a significant role in the Chargers’ offensive struggles. Eight offensive players either didn’t practice or were limited in practice because of injuries on Wednesday. Four rookies started on the offensive line in Sunday’s loss to the Denver Broncos and wide receivers Ladd McConkey, Quentin Johnston and Brenen Thompson, didn’t play.

McDaniel insists that he’s been giving the franchise all he has.

“I would be so embarrassed if I told you, ‘Well, now I’m going to try harder,’” McDaniel said. “Like, what? What have you been doing? I’m confident in the players that we have. The improvement that I see before the results generally lead to good things. But talk is cheap. We got to do.”

The Dodgers have two pitchers who have won multiple Cy Young Awards in Blake Snell and Tarik Skubal. Another starter, Yoshinobu Yamamoto, is the reigning World Series most valuable player.

None of them will be on the mound Thursday when the season will be on the line. Instead, manager Dave Roberts will put the ball — and his team’s future — in the massive right hand of Tyler Glasnow, who will have no margin for error.

“It’s win or go home,” Skubal said. “Our backs are against the wall.”

That’s not how Andrew Friedman, the Dodgers’ president of baseball operations, saw things playing out when he traded three prospects to Detroit for Skubal in August. Or when he spent $182 million to sign Snell before last season. Or when he committed $325 million to sign Yamamoto the season before that.

The Milwaukee Brewers have bested all three in the National League Championship Series, reaching Snell for the only three home runs he’s given up this season in a 6-2 win in Game 3 on Wednesday. Now Glasnow is the only thing standing between the Dodgers and a long, cold winter.

And while that may not be the way the Dodgers wanted things to play out, they say they like their chances — for one night, at least.

“Everybody in the team is very confident in his ability and the stuff that’s coming out of his hand and doing his job,” Skubal said of Glasnow.

“I feel great about Glas,” utility man Kiké Hernández added. “He’s got some of the best stuff in the game. I feel like our pitchers have given us a chance every day to win a game, and we just haven’t hit. So we just got to hit.”

Glasnow started the season as the No. 3 starter, but before the Dodgers had gotten six weeks into their schedule, he was on the injured list because of lower back spasms. He spent most of the season there, pitching more innings in minor-league rehab starts than he did for the Dodgers between May and September.

He returned to make six starts down the stretch, striking out 49 in 34-1/3 innings to finish the season 5-2 with a 3.53 earned-run average in 13 starts, then held Atlanta to one hit over 4-2/3 innings in the deciding game of the division series.

“He’s fresh,” Roberts said of Glasnow. “He’s got a lot of arm talent. He’s got experience certainly in the postseason. We’ve got a lot of guys behind him” in the bullpen.

“I think he’s going to pitch well.”

The Dodgers’ season is depending on that. Glasnow, however, is just approaching it as another start.

“When I was younger maybe I’d feel it and get excited, and I’m like, ‘Oh, I can throw 105 if I try hard,’” he said. “Now it’s more about trying to settle in and go back to as close of a normal feeling as possible, not trying to chase it and be any different or any more or any less. Just try to stay with it and what I’ve done all week, my preparation, how I feel on the mound, and just keep it consistent.”

Glasnow, 33, has pitched in 17 postseason games for Tampa Bay and the Dodgers, going 2-6 with a 4.27 ERA. Only Snell, among Dodgers starters, has more playoff appearances. But Glasnow hasn’t won a playoff game since the 2020 division series when he was pitching for the Rays.

If he can give the Dodgers a boost Thursday, however, if he can extend their season just one more day, it could give the team new life.

Only one team has come back from a three-game deficit to win a best-of-seven League Championship Series and that was the 2004 Boston Red Sox team Roberts played for — a team that also gave the ball to its fourth-best starting pitcher with its season on the line.

On the afternoon of Game 4, with the New York Yankees looking to beat Derek Lowe and sweep the Sox, Boston’s Kevin Millar stepped on the field at Fenway Park and issued a warning.

Dave Roberts of Boston steals second past Derek Jeter of the Yankees in the ninth inning of Game 4 of the 2004 ALCS. Roberts and the Red Sox became the only team to come back from down 3-0 to win an LCS.

(Jed Jacobsohn / Getty Images)

“Don’t let us win tonight,” he shouted. “If we win today, we’ve got Pedro [Martínez] coming back and then [Curt] Schilling will pitch Game 6 and anything can happen in a Game 7.”

The series played out exactly as Millar predicted. And if Glasnow can rescue the Dodgers, they would have their three high-paid aces — Skubal, Yamamoto and Snell — lined up for the next three elimination games.

But none of that matters if they lose Thursday.

“We just need to win tomorrow’s game,” Skubal said.

LAS VEGAS — The plan for the Lakers had been to turn their fourth preseason game into a dress rehearsal for the upcoming season.

But that was not the case.

The Lakers did get the preseason debut of center Walker Kessler on Tuesday night, a good sign for them to see their biggest acquisition of the summer play.

But on the flip side, Luka Doncic didn’t play in the Lakers’ 101-89 loss to the Golden State Warriors at T-Mobile Arena because he was resting.

“He’s not injured, just getting the night off,” Lakers coach JJ Redick said.

So, it was left up to Kessler, Austin Reaves and the rest of the available Lakers to sort things out. And Reaves and Kessler were on point.

In just his second preseason game, Reaves was doing what is expected of him, scoring 28 points on 10-for-18 shooting, including four for seven on three-pointers, with seven assists and four rebounds. But forced to handle the ball more with Doncic out, Reaves also had seven turnovers.

Kessler started and had 11 points, nine rebounds, one blocked shot and one steal in 16 minutes.

For the Lakers, it was good to see Kessler on the court. They gave up a lot to acquire him in a trade with the Utah Jazz — two unprotected first-round picks and two pick swaps and then signing him to a four-year, $130-million contract.

Kessler played in only five games last season while recovering from a torn labrum in his left shoulder.

He missed the first three Lakers’ preseason games because of a left pinky injury.

Kessler yearned to play again.

“Yeah, I mean it was a lot of fun being out there again,” he said. “It’s been so long. Before the game I was actually pretty nervous, to be honest. But, getting out there and just playing with the guys, it was a blast. I can’t really, you know speak to … I think I have a certain presence on the floor, but I think my teammates around me did a great job of playing defense on the perimeter. I think we shared the ball really well tonight. Just how it was, especially in the first half. It was a lot of fun.”

He began his night with a defensive rebound, which allowed the Lakers to set up their offense early in the first quarter.

Kessler then cut to the basket, took a pass from Reaves and scored on a layup, his first points of the preseason.

His second basket was a left-handed layup early in the second quarter. Shortly after, Kessler blocked a shot by Warriors center Charles Bassey from behind, a display of his defensive presence.

Another good sign, less than a minute later, was when Kessler got an offensive rebound and bounded back up for a dunk.

When the Warriors went to their small-ball lineup in the first quarter, it meant the 7-foot-2 Kessler would be tested on defense, because his man was 6-2 Gary Payton II. It meant Kessler was forced to play defense on the perimeter and not down low where the Lakers prefer him.

Still, Kessler held his own.

Lakers forward Arthur Kaluma drives the ball against Warriors forward Yaxel Lendeborg during the first half Tuesday.

(David Becker / AP)

While he was out and unable to play, Kessler learned a few things about himself.

“Yeah, I think what I missed most was competing,” Kessler said. “Quite frankly, competing to win, and I think as far as making me a better basketball player, I just think it has made me long to go try to win every game and win every night. So returning, I think it makes me a little better basketball player.”

The Lakers lost to the Warriors for the second time this preseason. Their other two games were victories over the Sacramento Kings. They play one more preseason game, Friday night against the Denver Nuggets at Crypto.com Arena, and then open the season against the Warriors at home on Oct. 21.

Before the game, Redick said the plan was for the Lakers to “continue to work on us.”

“We have kind of circled this game, not as a full dress rehearsal, just in terms of our scout presentation, but we gave the guys a sample of that this morning and at shoot-ariund,” Redick said. “Not as much game-planning necessarily, but just kind of the sequencing of how we present prior to a game. We’ll do the same thing pregame with a brief personnel tape. We just want to get better. I mean, that’s the biggest thing. We want to get healthy, we want to get better, we want to continue to build our fitness and cardio level and find a rhythm. And it’s been a little disjointed with having some guys out.”

Redick said rookie Cameron Carr, guard Collin Sexton (lower leg) and forwards Ziaire Williams (right foot contusion) and Adou Thiero (undisclosed) “are still day to day” with their injuries.