thing

Welcome to Screen Gab, the newsletter for everyone who spent the week Googling Ed Gein.

“Monster,” the gruesome and graphic anthology series from longtime collaborators Ryan Murphy and Ian Brennan, has dramatized the chilling story of serial killer Jeffrey Dahmer and the highly publicized and complex case of Lyle and Erik Menendez, brothers who were convicted for the 1989 murder of their parents. The third installment of the Netflix series, which was released last week, puts its twist on the legend of Gein, a killer who inspired fictional villains like Norman Bates and Leatherface. Brennan, who wrote the season, stopped by Guest Spot to discuss the fantastical approach to the season and that “Mindhunter” hat tip.

Also in this week’s Screen Gab, our streaming recommendations include a “Frontline” documentary that continues its chronicle on the lingering impact of poverty and a spinoff of “The Boys” set at America’s only college for superheroes.

ICYMI

Must-read stories you might have missed

Illustration of John Candy with his hands on his cheeks.

(Brian Lutz / For The Times)

‘You never stop thinking about John Candy’: How a pair of projects keep his legacy alive: The beloved actor, who would have turned 75 this month, is the focus of an eponymous biography and “John Candy: I Like Me,” a documentary directed by Colin Hanks.

With the help of advisors, ‘Boots’ co-stars challenged themselves to portray military life authentically: Actors Miles Heizer and Max Parker trained like Marines and utilized the experiences of the show’s military advisors to ground their characters.

She’s used to finding laughs in catastrophe. But Rose Byrne is only now going to the edge: After stealing focus in everything from “Bridesmaids” to “Insidious,” Rose Byrne unravels beautifully in “If I Had Legs I’d Kick You.”

Victoria Beckham sheds Posh persona, gets candid about eating disorder in Netflix doc: The three-part docuseries chronicles the Spice Girls alum’s pivot from pop stardom to high fashion.

Turn on

Recommendations from the film and TV experts at The Times

A still from “Frontline: Born Poor,” which filmed over 14 years with kids from three families, from adolescents to adults, to explore how poverty has affected them.

(Frontline PBS)

“Frontline: Born Poor” (PBS.org)

Television is glutted with “reality,” but there are still filmmakers who prefer to look at how people live when they’re not contestants in a dating game or bunked up with competitive strangers. Jezza Neumann’s “Born Poor” is the third installment in a moving documentary series that began 14 years ago with “Poor Kids,” and, like Michael Apted’s “7 Up” films, has visited its subjects in intervals over the years since. Set in the Quad Cities area, where Illinois meets Iowa along the Mississippi River, it follows Brittany, Johnny and Kayli from bright-eyed childhood into chastened, though still optimistic adulthood, as they deal with life on the margins — power lost, houses lost, school impossible, food unpredictable. Now, with kids of their own, all are concerned to provide them a better life than the ones they had. With Washington waging a war on the poor to protect the rich, it’s a valuable watch. — Robert Lloyd

Derek Luh (Jordan Li), from left, Jaz Sinclair (Marie Moreau), Keeya King (Annabeth Moreau), Lizze Broadway (Emma Meyer) in “Gen V.”

(Jasper Savage / Prime)

“Gen V” (Prime Video)

Just two weeks out from its Season 2 finale and the satirical superhero series continues to deliver merciless dark humor and sharp topical commentary on America’s great crumble — inside of a tale about misfits enduring the rigors of college life.

Spun off from the brilliant “The Boys” franchise, this series from Eric Kripke, Craig Rosenberg and Evan Goldberg follows a group of students at Godolkin University, an institution designed to identify and train the next generation of superheroes. But the co-eds soon discover that their supposed higher education is in fact a clandestine operation to create “Supe” soldiers for an impending war between the super-powered and non-powered humans. Returning to the fold is Marie Moreau (Jaz Sinclair), who emerges as the rebel group’s most powerful weapon against the school’s nefarious plot. Working alongside her are Emma (Lizze Broadway), Cate (Maddie Phillips), Jordan (London Thor and Derek Luh) and Sam (Asa Germann). The wonderfully unnerving Hamish Linklater (“Midnight Mass”) joins the cast as the school’s new dean.

Is “Gen V” just as gory as “The Boys”? Absolutely. Watch with caution. But nothing else is quite as fearless in calling out the contradictions and absurdities of our times, be it corrupt politics, corporate domination or false religiosity. — Lorraine Ali

Guest spot

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

Charlie Hunnam as Ed Gein in an episode of “Monster: The Ed Gein Story.”

(Netflix)

“Monster: The Ed Gein Story” stars Charlie Hunnam as the so-called “Butcher of Plainfield,” whose gruesome crimes in 1950s small-town Wisconsin went on to inspire pop culture classics like “Psycho” and “The Texas Chain Saw Massacre.” The season leans into Gein’s diagnosed schizophrenia and his legacy in Hollywood to present a deeply fictionalized version of his horrifying activities. All eight episodes of the season are now streaming. Ian Brennan, who co-created the anthology series with Ryan Murphy and helmed the latest installment, stopped by Guest Spot to discuss the season’s approach to fact vs. fiction, that “Mindhunter” nod and the documentary that earns his rewatch time. — Yvonne Villarreal

We often hear from actors about the roles that stay with them long after they’re done filming. Are there elements of “Monster: The Ed Gein Story” that you still can’t shake?

Ed Gein was schizophrenic, and I find the internal life he would have suffered through for decades — alone and hearing voices, primarily that of his dead mother — completely harrowing. He wasn’t medicated until late in his life, and until he was, his mind was a hall of mirrors of images he saw and couldn’t unsee — most shockingly photos of Nazi atrocities during the Holocaust. I believe the only way he could cope was to try to normalize these things — digging up bodies, skinning them, making things from them — and the nagging voice of his mother ultimately drove him to murder at least two women, Mary Hogan and Bernice Worden, maybe more. Ed Gein wasn’t the local boogeyman — his neighbors didn’t find him scary — he was the guy you’d have watch your kids if the babysitter canceled last-minute. And yet, in those four inches between his ears there existed a bizarre, terrifying hellscape of profound loneliness and total confusion. Every day in this country we see what happens when the lethal combination of male loneliness and mental illness goes ignored. The thought of an Ed Gein living just down the street from me is chilling.

“Based on a true story” depictions typically have a loose relationship with the truth due to storytelling needs. This season of “Monster” bakes that idea into the narrative — whether because of Ed’s understanding of events or the way in which he, or his crimes, inspired deeply fictionalized villains like Norman Bates (“Psycho”), Leatherface (“The Texas Chain Saw Massacre”) and Buffalo Bill (“The Silence of the Lambs”) — in trying to unpack the “Who is the monster?” question. What questions were swirling in your head as you tried to weave this story together? And how did that inform where and how you took your liberties?

Ed’s story is, in many ways, fragmented — he didn’t remember many details of the acts he committed, and he passed polygraph tests when interrogated about cold cases police suspected he may have perpetrated. So we knew from the very beginning that there would be gaps to fill in when telling his story — and it seemed the obvious way to do it was to let the true story interplay with the fictionalized versions of Ed Gein that he inspired. There’s a subtle thematic bleed between the versions of Ed we see in the series and the monsters in the movies he inspired — in the first three episodes, we see a “Psycho”-inflected Ed Gein obsessed with his mother; next a much more sexualized, violent Ed Gein that would become “Leatherface”; then an Ed Gein who so fetishized the female body and who was made so ill by the repression of that urge that he became obsessed with building a suit made from women’s bodies. These versions of Ed, to me, are like the blind men feeling different parts of the elephant in the parable — each true in their own way, but each also just a fragment of a shattered whole that will probably never be fully understood.

The season finale features a “Mindhunter” nod. Happy Anderson, who played serial killer Jerry Brudos on that show, reprises his role as the Shoe Fetish Slayer, talking to characters meant to be Holden Ford and Bill Tench, though they’re named John Douglas and Robert Ressler, the real FBI agents who inspired the fictional ones. When and why did you realize you wanted to have that hat tip? Was there an attempt to try to get Jonathan Groff or Holt McCallany?

Having written three seasons of this anthology so far, we’ve realized each time that the emotional climax always comes in the penultimate episode and the finales are always particularly difficult to figure out. We knew we needed to top the episodes that had preceded it by shifting the show’s look and tone — and we had in our hands the nugget that John Douglas and Robert Ressler had, indeed, interviewed Ed Gein in person. Ryan and I both find David Fincher’s oeuvre almost uniquely inspiring, so once we pictured an episode that played as an homage to Fincher’s tone and style and narrative approach, it was something I, at least, just couldn’t unsee. If we were going to go down the rabbit hole of what this chapter of Ed’s story might have looked like, I could only really picture it in Fincher’s terms — so your guess is as good as mine as to why casting the “Mindhunter” pair of Jonathan Groff and Holt McCallany in the roles didn’t feel right (we both love both of those actors), but it just didn’t.

There are so many dark moments for the actors. What scene struck you as especially difficult to write and shoot?

I was at once excited and terrified by the challenge of depicting necrophilia on our show. I’m fairly certain it’s never been done before on TV, and I knew it ran the risk of seeming arbitrarily shocking or exploitative (though I think choosing to tell Ed’s story in an easier manner by avoiding this chapter and not showing it would be the actually exploitative choice). Needless to say, even after I’d written the scene, it preoccupied me, as I had to also direct it. I felt greatly helped by the new industry standard of intimacy coordinators on set — and ours, Katie Groves, was spectacular — but still I worried about the scene just playing as cringey or unwatchable. But Charlie Hunnam, as with every scene he acted in on the show, came at the sequence with honesty and deep concern to capture all of the strangeness of the bizarre, disturbing act we were depicting — and what it said about what was going on inside Ed to lead him to commit such an act.

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

I just saw PT Anderson’s “One Battle After Another” — which was shot by one of our two directors of photography, Michael Bauman — and was just completely floored and delighted. I’m sure it’s rife with homage to films that have gone before, but I could detect no inheritance at all; it felt like a genre to itself — completely original and new. And I still find the time I watched Jonathan Glazer’s “Zone of Interest” to be among the most profound experiences of my life. He took what is maybe cinema’s most settled, well-trodden genres and turned it on its head in a way I found shocking and revelatory. If there is a better portrait of the proximity and ubiquity and the banality of human evil, I haven’t seen it. I think it is as brilliant a slice of human ingenuity as has ever been crafted. I have thought about that movie every day since I first saw it.

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

It’s annoying to say it, but I don’t watch a lot of television. It’s like spending all day at the sausage factory then coming home to watch sausage footage. But the big exception is Peter Jackson’s Beatles documentary “Get Back” [Disney+] chronicling the making of the film and album “Let it Be.” I basically just watch it over and over again. I came late to the Beatles (I loved the Who and resented that they always sat squarely in the Beatles’ shadow), but when they hit me, they hit me hard, and watching them in this documentary at the height of their powers is a master class in the craft of collaboration and the hard work of genius. Also, everything I thought I knew about the Beatles at the end of their stretch as a band is wrong — fighting all the time? A bit but not really. Paul hated Yoko? He actually seems to really like her. I don’t know how many hours the documentary clocks in at, but I wish it were 10 times as long.

Was it a fluke or fundamental change?

A week after its monumental upset of Penn State, UCLA could get some answers about the trajectory of its season.

A road game against an opponent with plenty of its own urgency should tell the Bruins whether they’re on the road to redemption or merely picking up speed on a route to nowhere.

Michigan State (3-2 overall, 0-2 Big Ten) needs a win as badly as UCLA (1-4, 1-1) given that it’s staring up in the conference standings at a team that lost its first four games of the season.

Spartans coach Jonathan Smith, the Pasadena native and Glendora High graduate whose name has been among those linked to UCLA’s vacancy, might need to win this game just to help secure his future with his current team after compiling an 8-9 record almost midway through his second season.

Meanwhile, the stock of UCLA interim coach Tim Skipper and offensive coordinator Jerry Neuheisel — let’s dispense with the official yet insulting playcaller title, please — could reach new heights with a second consecutive victory.

Skipper equated Neuheisel’s success in his playcalling debut to giving players answers before a test, which was all the more impressive considering that Neuheisel had just a couple of days to install his new scheme after replacing departed offensive coordinator Tino Sunseri.

What might UCLA’s offense look like with a full week of prep work? Here are five things to watch when the Bruins face the Spartans at Spartan Stadium at 9 a.m. PDT in a game televised by Big Ten Network:

“Kiss of the Spider Woman,” a sexual and scatological dazzler about an inmate‘s obsession with a favorite musical, sounds like the kind of thing some folks won’t watch even if they, too, were locked in a prison for years. Their loss. In the spirit of the film, I’ll try to change their mind.

It’s 1983 Argentina, the last days of a militarized dictatorship under which 30,000 people have been disappeared. Scraggly, severe Valentin (Diego Luna) is a political prisoner with ties to the revolutionary underground. His new cellmate is a brazen chatterbox named Molina (Tonatiuh), a gay window dresser serving an eight-year sentence for indecency in a public bathroom. They have zero shared interests. But to pass the time — and, more importantly, to get Valentin to put down his biography of Lenin and talk a little — Molina recounts the plot of a Golden Age spectacular starring the fictional movie star Ingrid Luna (Jennifer Lopez), a red-lipped, pineapple-blond beauty whose vintage posters brighten their wretched gray walls.

“I hate musicals,” Valentin complains.

“Then I pity you,” Molina says breezily, charging into the first scene.

Through beatings and starvation, poisonings and betrayals, all under the gaze of the oppressive warden (Bruno Bichir), Valentin and Molina escape into Technicolor in a desperate need for distraction. The writer-director Bill Condon (“Chicago,” “Dreamgirls”) has savvily, unabashedly reworked the 1993 Broadway extravaganza (already a bold adaptation of the 1976 experimental novel and 1985 Academy Award-winning drama). He’s double-cast Luna and Tonatiuh as the film-within-a-film’s leads and changed the imaginary tale from a Nazi propaganda flick to a melodramatic but moving South American romance between a glamour queen and a noble photographer. Its themes of love and sacrifice come to mirror Valentin and Molina’s own relationship.

The songs themselves are the same rather-forgettable numbers by John Kander and Fred Ebb who did a zingier job mixing fascism with feathers in “Cabaret.” “Live inside me on a movie screen,” Lopez’s Ingrid sings, luring Molina to get lost in daydreams. Behind her, dancers gyrate like victims being electrocuted. (I wouldn’t have minded more jolts of morbid humor.) Unhummable as the music is, its message has a spark: In the war for liberation, it’s OK to take mental breaks.

In fact, pleasure is necessary, especially for the regularly tortured Valentin who seems to have been numb for a long time. (Communist memoirs don’t stir the soul.) A hardline ascetic, Valentin won’t even alert the medics when he’s sick, in case they give him morphine.

The two roommates comically bicker about what scant pop culture Valentin knows, taking shots at “Raging Bull,” Meryl Streep and his own crass insistence that Ingrid’s character, Aurora, is frigid due to some kind of childhood trauma. (“Oh, God, let her be,” Molina sighs.) Yet, their conversation always pirouettes back to the gap between the real world and the movies.

“I hate to break it to you,” Valentine says, “but nobody sings in real life.”

“Well, maybe they should,” Molina huffs.

Maybe in confinement they can’t.

Condon smartly limits who sings and why and when. In the 1985 drama, which starred Raul Julia and William Hurt (who won the Oscar for Molina), both men remained trapped in this horrible dungeon and never sang a song. On Broadway, all of the characters — even cranky Valentin — crooned numbers the whole way through. But Condon draws a thick line between reality and fiction to highlight how much his leads need the freedom for radical self-expression.

“Kiss of the Spider Woman” is about a lot of things: Valentin reconnecting with his emotions, Luis discovering that he’s more than a self-described trivial sissy. (“I cringe every time you make fun of yourself,” Valentin growls.) But it’s fundamentally about those scenes in which the palette and polish of the film shifts and cinematographer Tobias A. Schliessler switches from handheld to Steadicam. The putrid chamber drama becomes a fantasia, befouled rags turn into tuxedo pants and it’s finally safe to belt how they feel.

Earlier incarnations of this story had activism as the end goal, Valentin for his principles and Molina for his new friend. Condon is more focused on their humanity. Caring for each other makes this bleak world worth fighting for. Without joy, we’re already in chains.

People will come out of “Kiss of the Spider Woman” gushing about Tonatiuh and with good reason. Striding confidently into his first starring role, the L.A.-born breakout talent is a bright new discovery with shining eyes and brash exuberance. He needs to be excellent for the movie to succeed and he’s pretty darned close, even pulling off a glib beat where Molina recoils from a battered man and quips, “If I looked like that, I’d want a bag over my head too.” There are scenes where he comes off arch and a little telegraphed, although in fairness, that’s also just who Molina is — performance is protection. And when Tonatiuh cowers from the guards, we get a hint of what Molina has suffered without Condon ever having to show the abuse.

To keep things faithful to 1983, Tonatiuh’s Molina doesn’t identify as transgender — the character sticks to the limited vocabulary of the time. But you see Molina’s subtle disappointment when Valentin, trying to be supportive, insists, “You’re not a monster, you’re a man.” And Condon has tweaked a climactic refrain, changing the pronoun to “Her name was Molina.”

Playing Ingrid-as-Aurora — the heroine of a film that, even its biggest fan admits, is “no ‘Citizen Kane’” — Lopez is shellacked under two layers of diva artifice. But at this point in her career, she’s suited to being an icon. She’s long since given up pretending she’s still Jenny from the Block, and Condon has shaped the role of Ingrid to her like a corset. You hear it in the line, “No matter how hard Hollywood tried to make her all-American, she never stopped being Latin” and more than that, you see it in Lopez’s delight as she flashes her legs and tosses her hair. She knows she can nail this role and she really hoofs it. There’s a wide-angle shot of a nightclub where Condon gives her and a dozen background performers a full, uncut minute to twirl. Most impressively, Lopez grabs a martini, slowly does a one-legged spin to the ground and then uncoils herself to stand back up and cheer.

She has a harder time commanding the screen in a third role, when Ingrid also acts the part of the sinister Spider Woman, a spiky-haired, taloned jungle goddess who smooches her prey to death. The movie’s stiff Spider Woman set pieces are a relic of the ’90s musical that put Chita Rivera in a massive web. Trapped in them, Lopez can’t do much more than a predatory grin. But it’s still better than how Condon’s “Chicago” chopped up its choreography into close-ups (and here, there’s still a few gratingly askew camera angles). The new film is the director’s penance: an apologia to musical lovers who want to see the star do every inch of the dancing.

Still, my favorite performance has to be Luna’s, whose Valentin is at once strong and vulnerable, like a mutt attempting to fend off a bear. He’s the only one who doesn’t need to prove he’s a great actor, yet he feels like a revelation. Watching him gradually turn tender sends tingles through your heartstrings. For his second role as Ingrid’s onscreen boyfriend, Condon resurrects a discarded number from the original musical where Luna croons about being “An Everyday Man,” his warm voice perfectly imperfect. Even when he’s grouchy and filthy, you get why Molina would imagine Valentin as the ideal romantic lead.

I don’t want to spoil the ending other than to say that Condon adds an exclamation point to his insistence on music as emancipation with a new scene set after the fall of the junta and its right-wing abduction squads. The camera looks down at the jail as the inmates spill into the courtyard. Then it pulls up for an aerial shot of the entire block. We see citizens flood the streets. We hear honking horns and spontaneous street music. The whole country is free to sing.

If Wednesday’s game proves to be the last one in a Dodgers uniform for Clayton Kershaw, it will do little to tarnish his legacy, said teammate Mookie Betts.

“He’s gonna have a statue, so we have to kind of keep that in mind,” Betts said. “In the grand scheme of things, Kershaw is a first-ballot Hall of Famer, one of the best pitchers to ever do it.

“So if you let two innings kind of ruin that, then you don’t know baseball.”

But, Betts confessed, Kershaw’s relief appearance in Game 3 of the National League Division Series was hard to watch. In those two innings he gave up six hits, five runs, walked three and did not strike out a hitter, turning a tight game into an 8-2 rout for the Philadelphia Phillies, who staved off elimination and extended the best-of-five series to a fourth game Thursday.

“He just didn’t have a great slider tonight,” Dodgers manager Dave Roberts said. “Clayton pitches off his slider. He was working behind, too. The command wasn’t there tonight.”

Clayton Kershaw bends over during a tough eighth inning.

(Gina Ferazzi/Los Angeles Times)

Kershaw, who went 11-2 as a starter during the regular season, was left off the roster for the wild-card series and hadn’t pitched in nine days when he started warming up in the sixth inning Wednesday. He hadn’t gone that long between appearances all year.

“I did everything I could in between,” he said. “It’s been a while but, you know, I threw [off] flat ground as best I could. It wasn’t there tonight.”

That was obvious from the first batter he faced. Kershaw, who walked a batter every 3.2 innings during the regular season, threw three straight balls to Trea Turner before giving up a single. He would give up two more walks, one intentional, in the inning but escaped harm thanks to a poor baserunning decision by the Phillies’ Kyle Schwarber and a nice catch by right fielder Teoscar Hernández.

But with Tanner Scott unavailable for personal reasons and Alex Vesia having already pitched twice in the series, Roberts had few other good options against the left-handed-heavy Phillies. So he sent Kershaw out for the eighth and that’s when things really got out of hand.

J.T. Realmuto led off the inning and drove Kershaw’s second pitch — a slider — over the wall in left-center. The Phillies would send eight more men to the plate in the inning, scoring four more times, with two of those runs coming on Schwarber’s second homer of the night.

Kershaw threw first-pitch strikes to just four of the 14 batters he faced and missed the zone with 26 of the 48 pitches he threw overall. That won’t stop the Dodgers from building a statue of him when he retires this fall but it didn’t move him any closer to a second straight World Series ring either.

“I wasn’t throwing strikes, and it’s hard to pitch behind in the count,” he said.

Kershaw said he felt fine physically but added, “I just wasn’t finding it.”

That wasn’t a problem for the top of the Philadelphia lineup, which found little success in the first two games of the series. The Phillies’ first four hitters — Turner, Schwarber, Bryce Harper and Alex Bohm combined for just three hits, all singles — in 27 at-bats, striking out 12 times. They matched that hit total against Dodger starter Yoshinobu Yamamoto in the span of 11 fourth-inning pitches Wednesday, with Schwarber homering off the roof of the right-field pavilion and Harper and Bohm following with singles.

They finished the night nine for 16 with five runs scored and five RBIs, with Schwarber’s two homers traveling a combined 863 feet.

“We just had a little quick meeting. Nothing crazy, but just focus on the game, win today,” Turner said. “We all know we were kind of pressing as a group in the first two games and wanting to win so bad.”

If Turner and the Phillies win again Thursday, the series returns to Philadelphia and raucous Citizens Bank Park — where the Phillies had the best home record in baseball — for a decisive Game 5 on Saturday. If the Dodgers win, they move on to the NL Championship Series, where Kershaw could get a chance to end his career on a more sonorous note than the clunker he played Wednesday.

“That’s the great thing about baseball,” he said. “You get a new game every day.”

One glorious afternoon at the Rose Bowl isn’t enough.

That’s why after they fielded the congratulatory phone calls and text messages, made a celebratory champagne toast and smiled while rewatching game footage for the first time this season, UCLA players and coaches eagerly resumed the pursuit of something more.

“We don’t want to be one-hit wonders,” interim coach Tim Skipper said Monday, “that’s the whole key to this thing — do not be a one-hit wonder, get back to work.”

While beating Michigan State on Saturday at Spartan Stadium wouldn’t generate the same recognition that came with the previously winless Bruins’ recent victory over then-No. 7 Penn State, it would erase any lingering doubts that things just fell into place one wonderful weekend.

UCLA (1-4 overall, 1-1 Big Ten) hopes it discovered a winning formula beyond Jerry Neuheisel’s playcalling, quarterback Nico Iamaleava’s heroics and Skipper’s putting everything together. After seeing his team look listless the previous week against Northwestern, particularly in the game’s early going, Skipper adopted the word “strain” as a rallying cry going into the game against the Nittany Lions.

“It’s just draining your tank and doing everything possible that you can possibly do on every single play for us to achieve success,” Skipper said. “So, strain was mentioned every single day, it was mentioned after the game, and I think that was the major difference. Our guys strained, from the opening kickoff to the very end of the game. We had to strain on every play to get the game to be a positive outcome for us.”

It was favorable for everyone on the team, including position groups that had previously struggled.

Not long after the Bruins held off the Nittany Lions for an epic 42-37 triumph, UCLA offensive line coach Andy Kwon gathered his players for a group photo in the end zone. Kwon posted the photo on the social media platform X, adding a one-word caption: “STRAIN!”

UCLA quarterback Nico Iamaleava passes against Penn State on Saturday.

(Gina Ferazzi / Los Angeles Times)

The word also was uttered twice during a short video in which athletic director Martin Jarmond delivered the game ball to Skipper.

Two days later, there was some further basking in UCLA’s first victory over a top-10 team since toppling Oregon in 2007. Skipper was named the Dodd Trophy coach of the week, Iamaleava the Associated Press national player of the week and Neuheisel the CBS Sports coordinator of the week.

More important, it was fun to be back in the football practice facility again.

“Smiling. Laughing. Talking,” Skipper said of the scene compared to previous weeks. “When you’re sore after a game, it actually feels pretty good, you know what I mean? Like, a lot of things, just the flow. People laugh at bad jokes now and stuff, you know? Just, man, just joy.”

Meanwhile, Penn State’s falling out of the national rankings was a reminder of how quickly a college football season can change.

The Bruins finally hope to have some stability going into the game against the Spartans (3-2, 0-2) after having installed a new defense one week and a new offense the next in the wake of multiple coaching changes. Skipper said Neuheisel’s ability to explain why he wanted to run plays in certain situations to counter what the defense was doing led to an offense that rolled up a season-high 435 yards of offense, including a season-high 269 on the ground.

“He explained it in a way that he was totally confident in what he was saying,” Skipper said. “And I think everybody felt that and believed in that, and it just carried over into the game.”

Those who fear UCLA’s offense might not be as effective now that there’s footage of what Neuheisel likes to do may not need to worry. Skipper said the playbook would be specifically tailored to each opponent because the team did not have spring practice or fall training camp to install its offense.

“We’re going to watch our opponents in all phases,” Skipper said, “and then we’re going to game plan for them, and then the things that work that we’ve done previously, we’re going to do, and the new things we have to do to establish the game plan the way we want it to go, we’re going to add that to the game plan. So we’re just a work in progress, man.”

One win down, the rest of the season to go.

Welcome to Screen Gab, the newsletter for everyone who loves Saturday college football games and … catfish?

This week saw the premiere of “Chad Powers,” Hulu’s new comedy starring Glen Powell, who co-created and co-wrote the series with Michael Waldron. It’s based on a viral sketch by former NFL Giants quarterback Eli Manning (he’s a producer on “Chad Powers” as well), who birthed the character. But Powell and Waldron have expanded the premise and backstory of a man named Russ Holliday who makes another go at playing college football by donning a disguise à la “Mrs. Doubtfire.” In a conversation with reporter Kaitlyn Huamani, Powell said the show was an attempt at making the “greatest football experience, whether in movies or TV shows, that people have ever seen.” Times TV critic Robert Lloyd says while the show has some tropes, characters played by Steve Zahn, Perry Mattfeld and Wynn Everett add drama and laughs. Waldron, whose previous TV work is instrumental to the show’s ethos, stopped by Guest Spot this week to talk more about “Chad Powers,” and what he’s watching lately.

Meanwhile, if you’ve been staying up this week, late-night TV has been not only a hotbed of laughs, but also political discourse. On Tuesday, Jimmy Kimmel, who has been taping his L.A.-based show in Brooklyn this week, and Stephen Colbert took turns as guests on each other’s shows, creating a memorable crossover event thanks to some fortuitous timing. It was the first time either has discussed in detail how their shows were disrupted this year — Colbert’s “Late Show” was canceled in July (it will air through May 2026) and Kimmel was suspended by Disney for several days in September. We have a rundown of the conversations along with clips of their visits, which are worth watching. And don’t forget “Saturday Night Live,” another late-night show that’s been in the crosshairs of politicians, returns this weekend for its 51st season, with Bad Bunny as host and Doja Cat as musical guest (we’ll be recapping the show again this season).

This week, our streaming recommendations include films from a master of horror, who is much more multifaceted than he might get credit for, and a new action-packed film on Prime Video.

ICYMI

Must-read stories you might have missed

Loren Bouchard, creator of the adult animated comedy series “Bob’s Burgers.”

(Christina House / Los Angeles Times)

‘Bob’s Burgers’ creator and cast celebrate 300 episodes of their heartfelt and edgy ‘comfort show’: “Bob’s Burgers” creator Loren Bouchard and cast discuss how it achieved “comfort show” status, the Belcher’s family dynamic and their favorite episodes.

This ‘Love Is Blind’ star had Season 9’s most cringey breakup. But he’s OK: Patrick Suzuki, a participant on Netflix’s hit reality dating series, spoke about his connection with two women on the show.

All the movies of Paul Thomas Anderson, ranked from worst to best: The director’s latest, “One Battle After Another,” is now in theaters, but the career of the Valley’s No. 1 filmmaker stretches over three decades. What’s his best?

‘Maigret’ on PBS is the latest version of Simenon’s sleuth. Here are 6 more to watch: PBS’ “Maigret” follows a long line of portrayals of the Parisian fictional detective created by Georges Simenon. Here’s a guide to other great versions to watch.

Tony Shalhoub loves bread, and he thinks it can get you ‘out of your own sphere’: “Breaking Bread,” the actor’s new CNN travel show premiering Sunday, is centered on the food staple, but it also uncovers stories about how it relates to migration, labor and his own family history.

Turn on

Recommendations from the film and TV experts at The Times

Jeff Bridges in John Carpenter’s 1984 movie, “Starman.”

(Sony Pictures)

John Carpenter (Criterion Channel)

An extensive October series on the director who redefined the season of the witch — but one without “Halloween” or “The Thing”? We love it. John Carpenter contains multitudes and it’s high time people began thinking beyond his twin horror landmarks. You could think of these collected movies as being about antiheroes navigating a broken America (“Escape from New York,” “They Live,” “Assault on Precinct 13”). Or maybe they’re cracked romances (the Oscar-nominated “Starman,” “Christine”). Vicious comedies? (“Dark Star” and “Vampires” both have their share of laughs.) One thing they’re decidedly not is boring. And if you let a more metaphysical dimension in (“Prince of Darkness,” “In the Mouth of Madness”), Carpenter suddenly becomes profound. I’m stoked to return to the ones that let me down at first — looking at you, “Memoirs of an Invisible Man” — because I know I’ve grown up since. This is a filmmaker who was always a few steps ahead of me. — Joshua Rothkopf

Chai Hansen, left, Mark Wahlberg and LaKeith Stanfield in “Play Dirty.”

(Jasin Boland / Prime)

‘Play Dirty’ (Prime Video)

It’s Christmas in New York, and one pack of amoral thieves with little regard for human life are at odds with another pack of amoral thieves also with little regard for human life in this action film based on Parker, the Donald E. Westlake character. The inspiration under another name (Walker) for John Boorman’s “Point Blank” and (in a very roundabout way) Jean-Luc Godard’s “Made in USA,” the character is played here by Mark Wahlberg, with a cast that includes LaKeith Stanfield, Rosa Salazar, Tony Shalhoub, Keegan-Michael Key and Gretchen Mol dignifying the violent fluff. (Shootings, crashes, runaway subway train and the like.) Many things go wrong before they go (sort of) right, heists follow heists, and there’s a high body count, mostly of characters without names, but some with. (You do need to be in the right mood for this.) I am here above all for “Atlanta’s” Stanfield, as Parker’s laconic partner, who brings spacey warmth to the icy goings-on. — Robert Lloyd

Guest spot

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

Glen Powell, left, with Michael Waldron on the set of “Chad Powers.”

(Daniel Delgado Jr./Disney)

How do you attempt to create a show that you hope is the best depiction of college football ever? Well, it helps to be a superfan of the sport, which is precisely what Waldron and Powell are (ESPN’s Tori Petry even spoke to Powell on the sidelines of the Texas vs. Sam Houston game last week). Deep knowledge of college football was essential because Waldron wanted to convey to fans that they were not going to leave any detail untouched. While the school the show is set at, South Georgia, is fictional, the rest of the world on “Chad Powers” is not. “We always wanted real schools to be the teams that they were playing, just to ground our show and the world in authenticity, the real world of college football,” Waldron told The Times this week. “I think that’s what fans want to see.”

But even if you aren’t a superfan of college football or sports in general, Waldron, whose work on television includes creating Marvel’s “Loki” on Disney+ and “Heels” on Starz, a short-lived but critically acclaimed show about pro wrestling, knows that the writing on a TV show is key to getting viewers hooked and wanting more. “Chad Powers” is infused with references to internet personalities and memes, which anyone who is very online will understand and relate to, giving the series an opportunity to spark interest with a more expansive audience. And it works, especially if you are a looking for a comedy that will deliver some easy belly laughs. The Hulu series drops new episodes every Tuesday through Oct. 28, easily filling the time between the next Saturday game. Here, Waldron tells us about how he and Powell first connected, a special cameo on the series and a couple of films you should watch. — Maira Garcia

How did you and Glen Powell first meet and how did it lead to your new show? Are you big followers of sports or football?

Like all legendary Hollywood friendships, ours began on a Zoom general meeting during a pandemic. We hit it off talking about our mutual love of college football (I went to UGA [University of Georgia] and Glen went to [University of] Texas), which is why we were both excited to do a series set in this world.

You were a writer on “Community” and “Rick and Morty,” both shows that have reverberated among millennial viewers because of their self-awareness and/or pop culture references. Did either of those shows inform your approach to “Chad Powers”?

Well, to be clear, I was just the writers’ PA on “Community,” but that show might have been where I learned the most. Dan Harmon is one of the best writers alive and was doing “meta” before we had a word for that. In writing stuff that is “self-aware,” there’s an instinct to be cynical. Dan runs in the opposite direction, and he taught me that genuine earnestness can be a very subversive tool.

A very surprising and funny moment we get right at the start of the show is a cameo from Haliey Welch, aka Hawk Tuah Girl. How did that come about?

We were reshooting the nightclub sequence in Act 1 of the pilot to get more comedy and L.A. scope, and include the character of Russ’ agent. We wanted to populate his world with other people who felt defined by a singular viral moment, and for a show set in 2025, who better than Haliey?

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

Have you heard of this movie “One Battle After Another”? It’s pretty damn good.

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

I think I watch “Tenet” [VOD] once a month. That’s as cool as a movie can possibly be. Don’t try to understand it. Feel it.

Tony Shalhoub is loath to compare his upcoming CNN series, “Breaking Bread,” to the travel food shows hosted by his frequent collaborator Stanley Tucci, who directed him in the gourmand classic “Big Night.”

“I don’t consider myself a foodie,” Shalhoub says in a video interview. “He is the ultimate foodie, amazing chef. He really knows what he’s talking about and I don’t know anything.”

But Shalhoub, best known these days as one of the stars of “The Marvelous Mrs. Maisel,” makes up for his lack of knowledge with utter enthusiasm. As host and executive producer of “Breaking Bread,” premiering Sunday at 9 p.m. Pacific, he traipses the globe trying different breads and bread-related products while uncovering stories of how these staples relate to migration, labor and his own family history. In fact, the legacy of Shalhoub’s father, who settled in Wisconsin after leaving Lebanon, is present in multiple episodes. The elder Shalhoub’s love of the stuff served as one of the inspirations for the whole enterprise.

“We were eating most often bakery bread rather than just commercial store-bought packaged bread, and he really had a great appreciation for it and wanted to model that for us,” Shalhoub says.

Still, Shalhoub’s goals go beyond food porn. Days before the premiere, Shalhoub spoke about why he sees “Breaking Bread” as being about something bigger. This conversation has been edited for clarity and length.

How did doing a food show even come to you?

Well, I was so enamored of Stanley [Tucci’s] show.

I was going to ask if Stanley had something to do with it.

We never really talked about it a lot, but I’ve been inspired by Stanley for so many things. But even prior to his travel food show [“Searching for Italy”], a nephew of mine [Michael Matzdorff], when I lived in Los Angeles, came to me and he was making bread at the time. This was way before the pandemic, when that became the thing to do. We got into talking about bread, and I was so impressed by what he was doing in his own kitchen, and he just casually mentioned, “Wouldn’t it be cool to explore bread making all over the globe?” We got a pitch together. It didn’t really get a lot of traction then, and this was a couple decades ago, but the idea stayed with me. I mentioned it to another friend who’s a producer on the show, Tamara Weiss, and she just kind of had this great idea to reformat it, and I guess the timing was right.

Was this your nephew that appears in the Tokyo episode or a different nephew?

This is an older nephew than that. I have many nephews and many nieces and they’re all geniuses. But there’s another leg to this too, aside from my fascination with bread and bread around the world. I’ve been acting for so many years and felt very fortunate with all of the breaks that I’ve gotten. But I’ve been starting to feel a little bit like I wanted to reconnect to the world again, in some way. When you are working and your experiences are mostly coming through scripted, mostly fictional stuff, after a while, there’s that possibility that you start to feel a little disconnected from actual life and the world. That also was one of the main drivers here. I wanted to meet new people, travel to new places or even familiar places, but with a different point of view. In a lot of ways, it’s been eye-opening. The food component aside, I’ve found it’s been really good for me. You get out of your own head and out of your own sphere, and you’re reminded that there’s so much else going on out there.

How did you choose where you were going to go? So many of the places have a personal connection for you: You said you wanted to start in Lebanon, where your father is from, but the political situation didn’t allow for it so you went to Brazil, where there is a large Lebanese population. You spend time in New York, where you live, and Wisconsin, where you are from.

We initially had a list of about 12 different locations, and some of those were locations that I just thought, “Boy, it would really be fun to travel there.” When we got into it with CNN, you know, especially for the first season, they wanted for me to have a personal connection to each of these locations. We gave them a list of about 10 places, and they chose six. So obviously New York, because this is now my second time living here in the city, and I love it. I consider it my home and where so much of my career has taken place. I think Marseille, because even though I traveled to France several times, is a place where my father, when he was immigrating from Lebanon over a hundred years ago, as many immigrants did, had to stop in Marseille in the process. We’ve always been curious about that part of his journey because we knew about his departure from Beirut, and we knew about his arrival in Ellis Island, but we didn’t know about the middle part of his journey. So we were able to explore that and get some more new information about that.

Members of your family also show up, including your daughter Josie Adams and another nephew. Why did you want to involve them?

Whenever there’s a discussion about bread or about food in general, it mostly stems from or grows out of my childhood, growing up, my parents, my other older relatives, and I guess that’s the closest connection for me. It has been such a part of what connects us all.

Tony Shalhoub with his daughter Josie Adams and pastry chef Pierre Ragot in the Marseille episode of “Breaking Bread.”

(CNN Original Series)

How did your relationship to bread, clearly something you love, change over the course of making the show?

The main takeaway was that the show, for me, really became more about the people that I met than the product itself. There were familiar things, some of them done in a kind of innovative and new way and other things that I had not experienced before or tasted before, but [it was] really more about the people and their devotion to that work and the reasons that they become so obsessed and so devoted to that kind of work. For me, the show really becomes about those stories and those histories, whether it’s a family history or a story about immigration or a story of a war-torn country. To be really frank about it, bread is really more the vehicle that brings us into these other discussions.

I want to say this in a very tactful way, but the risk of doing this kind of show is that there is a point, I believe, of diminishing returns when we talk about food. This is my fear. It was like, will someone stand up and say, “Stop it.” There’s so many important things that are going on that deserve our focus and our attention, but because we’re talking about food, it’s inevitable because we have to have it every day. It sustains us, and that’s all fine and good, but I’ve been thinking about this a lot, and I want bread to be that thing that sparks other conversations.

In the Marseille episode, you uncover part of your father’s story, discovering details of his trip to America in the municipal archives. What was that experience like?

It was quite moving and also doing it with my daughter and having those discussions with my daughter. She didn’t know my father because he passed away before she was born. But I don’t think I would’ve had the opportunity or the access to uncover these things had I not been doing this show at this time in that city. It would’ve just gone undiscovered and unknown.

Obviously, you’ve eaten on screen before, that’s part of an actor’s job, but did you think about how you were going to react to what you try?

I didn’t really think about it or plan it. I wanted to figure out ways to avoid or sidestep stock reactions. “God, that’s delicious.” Of course, that’s what everyone says when they’re eating something exciting and new. But I was really trying to stay open and rather than using words, a lot of times I just felt I let it go into my body and my body kind of did the work.

There’s a moment when you almost do a little dance.

Because some of this stuff just transcends words.

Was there something you tried that truly surprised you?

Certainly, I think given the amount of pastry I consume and have consumed in my lifetime, I thought that Mary O’s Irish Soda Bread scones were kind of a revelation. I’ve made scones. I’ve had scones. I love them, but this was revelatory. In Brazil they couldn’t grow wheat for a time, and before they were importing it, they were relying on cassava flour everywhere. They make a cheese bread. They were making it out of cassava flour, which is delicious, not heavy, and no gluten and all of that, and with cheese. Somehow miraculously, you’re eating these things and you’re never feeling full or bloated.

After an inconsistent start to the season for USC’s secondary, the defensive coordinator stood in front of a cadre of cameras and didn’t mince words. There were too many coverage busts leading to too many big pass plays, he said. He planned to spend the bye week studying film with microscopic focus in hopes of understanding exactly what had gone wrong.

“The lowlights cannot be that low,” he said. “You can’t just say it happens sometimes. Those things can’t happen.”

That coordinator was Alex Grinch, speaking in September 2023. Six weeks later, he was fired.

The circumstances aren’t quite that dire for the Trojans’ defense — or Grinch’s successor, D’Anton Lynn — in October 2025. But the problems with big pass plays have persisted since then. In fact, they’ve been worse this season than they were under USC’s previous coordinator, in spite of the fact that USC has yet to play a top-40 passing offense.

Through five games, USC has given up 51 pass plays of 10 yards or more. That’s eighth worst in the nation, equating to an average of over 10 such plays per game. And against Illinois, that propensity for allowing explosive plays came back to bite USC in a brutal loss.

“The pass defense has to get better,” USC coach Lincoln Riley said after the game. “It just wasn’t good enough.”

Two days later, when asked about the state of his secondary, Riley took a more encouraging tone. The cornerbacks, he said, “had a few errors here and there.” Take the game’s two biggest pass plays out of the equation, he added, and “it’s going to be really tough for them to beat us.”

Whether his cornerbacks have that same confidence coming out of the loss could be another question. How they respond out of this week’s bye, with key matchups against Michigan and Notre Dame ahead, might ultimately determine the course of USC’s season.

“Confidence, you can’t fake that,” Riley said. “We’re doing enough good things that it should show up and there should be confidence from that, but if we keep making some of the mistakes that we’ve made, whether it’s a busted coverage, or like not leveraging the football — those are controllable on us. Other people aren’t even having to make plays that way.”

Three consequential moments in the second half last Saturday were directly correlated to crippling mistakes from USC defensive backs. An Illinois swing pass in the third quarter went for a 64-yard score after safety Bishop Fitzgerald took a bad angle on running back Justin Feagin, and two corners in the area failed to shed blocks. Then, in the fourth quarter, another cornerback, Braylon Conley, was burned twice on explosive pass plays — first, when he was beat for a touchdown on a slant over the middle, and then, on the ensuing possession, when he fell down defending a hitch route that exploded for 61 yards.

Most of the group’s most glaring mistakes on big plays this season have been attributed to breakdowns in communication. Those issues were only exacerbated last week in the absence of safety Kamari Ramsey, who had recently taken over relaying calls from the sideline to the secondary.

Ramsey should return next week, but Riley said this week that communication on defense has been a primary focus for USC.

To Fitzgerald, the week off was a chance to “fully reset everything” in the secondary.

“It’s really just focusing more on the same things and trying to execute as a whole,” Fitzgerald said. “As a defense, if 10 guys do one thing but one person does the wrong thing, it’s a busted play. We can’t afford that. So we’re just trying to get everybody on the same page.”

As the Trojans enter the most difficult stretch of their schedule, it’s not clear who the coaches will trust most at corner going forward.

Injuries early this season robbed USC of two of its most experienced cornerbacks, Prophet Brown and Chasen Johnson. Then last week, as USC’s secondary unraveled in the loss to Illinois, redshirt senior DeCarlos Nicholson was in and out of the lineup with what appeared to be a nagging hamstring.

Nicholson, nonetheless, has been USC’s most consistent cover corner through five weeks. Across from him, redshirt freshman Marcelles Williams has started the last three games, but hasn’t by any means run away with the job.

Senior DJ Harvey was brought in from the transfer portal to be a major contributor at corner, but he has fallen far short of those expectations. He played only five snaps last Saturday, in spite of the team’s dire depth at corner, but one of those plays resulted in a devastating pass interference call on Illinois’ game-winning drive.

“We’re pretty young out there on the perimeter right now, without having Prophet and Chasen,” Riley said. “We need [Harvey’s] experience to show up. His emergence in this next phase of the season will be important for us, and he’s going to get every opportunity to do it.”

The most uncertain spot in the secondary has been in the slot, where Riley has yet to find a capable replacement for Brown. But USC might have an answer on the way in the form of true freshman Alex Graham.

Graham was an early standout during USC’s preseason camp but has been on the shelf since. Coaches have suggested he could return as soon as next week against Michigan and potentially step into a significant role right away in the slot, where, to this point, USC has relied on Ramsey playing out of position.

There’s not much depth at defensive back for USC to mine after that. True freshman RJ Sermons was one of the more coveted cornerback prospects in America, when he reclassified in the spring to enroll at USC a year early.

Riley didn’t rule out the possibility that Sermons, who should be a senior in high school, could play a critical role down the stretch. He said USC was “pushing it” with both he and Graham in hopes that they’d be ready “sooner than later.”

“They’re two guys that are talented enough to contribute for us right now,” Riley said. “You’re on just a race against time to get them ready, to pump as many reps into those guys. Because they clearly have the ability.”

Regardless, it’s going to take more than two true freshmen to steady USC’s secondary. The more pressing question now, after a suspect start this season, is whether the rest of the group is able to right the ship from here.

“One game doesn’t define them as a player, doesn’t define us as a defense,” safety Christian Pierce said. “We just keep our heads high and put the best foot forward.”

More so than with other directors, it’s always tempting to overly psychologize Paul Thomas Anderson’s films, looking for traces of his personal development and hints of autobiography: the father figures of “Magnolia” or “The Master,” the partnership of “Phantom Thread,” parenthood in the new “One Battle After Another.” Yet two things truly set his work apart. There’s the incredibly high level of craft in each of them, giving each a unique feel, sensibility and visual identity, and also the deeply felt humanism: a pure love of people, for all their faults and foibles.

Anderson is an 11-time Academy Award nominee without ever having won, a situation that could rectify itself soon enough, and it speaks to the extremely high bar set by his filmography that one could easily reverse the following list and still end up with a credible, if perhaps more idiosyncratic ranking. Reorder the films however you like — they are all, still, at the very least, extremely good. Simply put, there’s no one doing it like him.

Perhaps nothing marks Anderson as a filmmaker from the ’90s as much as his impeccable use of music, from the drowned-in-sound deluge of “Boogie Nights” to his ongoing collaboration with Radiohead’s Jonny Greenwood as a composer. So just to add to the arguability of the following list, we’ve also noted a favorite song or two from each movie, the song titles often becoming surprise summations of the plots themselves.

This list is made in good faith, without any purposeful stuntery (honest). Feel free to let us know how your opinions vary.

Welcome to Screen Gab, the newsletter for everyone who feels as cantankerous as Jackson Lamb by the end of the workweek.

The fifth season of “Slow Horses” premiered this week. And everyone’s favorite team of disgraced British spies are back to connect the dots of a new mysterious threat. Once an underrated gem, the spy thriller’s move into the awards spotlight has brought more attention to the critical darling. But in following the very British model of releasing six-episode seasons, the entertaining ride can feel fleeting — luckily, two more seasons are already in the works. Will Smith, the show’s head writer, who is stepping down after this current season, stopped by Guest Spot to talk about the sleeper hit.

Also in this week’s Screen Gab, our streaming recommendations include an Italian-set action-drama about a fixer at a luxury resort and a beloved baking competition series that always serves up a refreshing dose of wholesome goodness and showstopping sweet treats.

P.S.: Last week’s newsletter incorrectly stated that new episodes of ABC’s “High Potential” air on Wednesdays. They air on Tuesdays, and are available to stream on Hulu and Disney+ the next day. Don’t tell Morgan or she’ll add us to the murder board!

ICYMI

Must-read stories you might have missed

Tim Curry, center, as Dr. Frank-N-Furter in 1975’s “The Rocky Horror Picture Show.”

( John Jay)

Tim Curry on the sexual whirlwind of ‘The Rocky Horror Picture Show,’ then and now: It is the original midnight movie and is now being feted around the world for its 50th anniversary and second life as the longest continuous theatrical release in cinema history.

As ‘Law & Order’ starts its 25th season, the case isn’t closed yet for Dick Wolf: The franchise is the crown jewel of producer Dick Wolf’s empire, with the mothership series kicking off a milestone season Thursday on NBC.

How Beyond Fest became L.A.’s best film festival: An event that started off as a bluff has outgrown its genre roots to become a legitimate destination for rabid film fans, boasting rarities and prestige titles alike.

In ‘Wayward,’ Mae Martin takes their modern-day Peter Pan persona deep into a dark thriller: The multihyphenate artist’s latest television series for Netflix is a fairy-tale-like exploration of the underbelly of the so-called troubled teen industry.

Turn on

Recommendations from the film and TV experts at The Times

Jordan Alexandra as Genny and Jesse Williams as Daniel De Luca in a scene from “Hotel Costeria.”

(Virginia Bettoja / Prime)

“Hotel Costiera” (Prime Video)

A charming Jesse Williams, the “Grey’s Anatomy” alum, plays Daniel De Luca, a sort of action concierge at a high-end boutique hotel on the Amalfi Coast in this easygoing mix of “The White Lotus” and a midcentury Continental adventure show, like “The Saint” or “The Protectors.” A long-arc plot involving the missing daughter (Amanda Campana) of Daniel’s hotelier boss (Tommaso Ragno) runs alongside episodic stories — the search for a missing guest, sourcing a flight-worthy coffin, stealing an important bracelet from a local crime figure — mixing mysteries with human interest and a lot of local color. (Williams speaks Italian with persuasive fluency.) Assisting Daniel in his investigations is a team of classic types — a beautiful yet brainy woman (Jordan Alexandra); a comical aristocrat (Sam Haygarth), like Bertie Wooster by way of Mr. Bean; and a rotund restaurateur Bigné (Antonio Gerardi), at whose trattoria they all hang out, plotting whatever needs to be plotted. It’s saying nothing against the rest of this pleasantly diverting series that these scenes are the heart of the show, and, yes, I would like a cappuccino, grazie. — Robert Lloyd

Paul Hollywood, left, Alison Hammond, Prue Leith and Noah Fielding in a promotional still from “The Great British Baking Show.”

(Mark Bourdillon / Channel 5 / Netflix)

“Great British Baking Show,” Collection 13 (Netflix)

September means the arrival of fall and another season of the best baking show on TV. Over the years, the series has stuck to a simple yet effective recipe of beautiful bakes, friendly competition and soothing voiceovers (thanks to Noel Fielding). This season’s contestants are just as talented and endearing as previous ones, but now that we’re three episodes in — and past the dreaded Bread Week — we’re down to nine bakers. Among them are Nataliia, a Ukrainian immigrant living in East Yorkshire; Iain, a short king and self-proclaimed “yeastie boy” from Belfast; and Jasmine, an ever-smiling 23-year-old medical student. In this week’s back-to-school-themed episode, the bakers’ challenges include making flapjacks (in the U.K., they’re like a granola bar) and school cake (a sponge with icing and sprinkles). They sound simple, but no recipe is what it seems on this show. And those low-stakes surprises and competition are precisely what makes “Baking Show” a balm for the soul right now. — Maira Garcia

Guest spot

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

Rosalind Eleazar, left, Christopher Chung, Saskia Reeves, Aimee-Ffion Edwards and Jack Lowden in “Slow Horses.”

(Jack English / Apple TV+)

Do you ever look at your boss and feel both deep gratitude and disappointment because they’re not Jackson Lamb? There’s at least a new season of “Slow Horses” to vicariously experience the walking HR nightmare and his joyously rumpled, smelly and messy leadership style, as expertly portrayed by Gary Oldman. Based on Mick Herron’s “Slough House” novels, the espionage thriller/workplace dramedy centers on a misfit crew of MI5 outcasts — led by Lamb — who’ve blown their careers and now find themselves banished to Slough House, a dumping ground where the agency hopes they’ll be forgotten. The Apple TV+ series returned this week with its eponymous group of spies investigating a series of coordinated terror attacks that have struck London. A new episode will be released every Wednesday until the season finale on Oct. 29. In his last season as head writer, Will Smith stopped by Guest Spot to discuss his creative collaboration with Oldman, his pick for most the competent agent and the best show he’s seen in years. — Yvonne Villarreal

This once–sleeper hit has become such a force with critics and fans. Knowing Season 5 would be your last as head writer, did it feel any different writing this first episode? What was the most important decision you made in this season opener?

You just always want to make it the best it can be and you don’t want to repeat. You need to give the audience enough of what drew them to the show in the first place without making them think, “I’ve seen this,” and you need to give them enough that’s new without them going, “This isn’t the show any more.” The same goes for the cast, by the way; they have to feel their characters are moving on but in an organic way, that you’re acknowledging what went before and building on it. Luckily, that’s Mick’s approach with the books too. And it really helps having the same crew and returning director Saul Metzstein (from Season 3) — Saul and the camera team know what’s gone before and are continually finding new ways to shoot in our existing locations. A really obvious example of how we try to move things on but keep it all connected is Slough House itself. I know it’s a cliche, but it really is a character in the series; to me, it’s an embodiment of Lamb, it reflects so much about him, but it’s never the same. We establish it in Season 1, in Season 2 it’s a discomforting sweatbox, in Season 3 it’s full of boxes of files, which completely changes how people move around it. In Season 4 it’s shot to pieces, and in Season 5 we see the cheap repairs have been started and left. So I hope we’ve hit that same sweet spot with this series, that it gives you exactly what you want and then some things you didn’t know you wanted but feel totally in keeping with the show.

The episode opens with both a mass shooting and a fatal sniper shot in London. While it’s a sequence in the books and was written months ago, it could feel all too timely and provoking depending on the news cycle in which it’s being viewed. How do you decide what to show, how much is enough, what will engage and what will overwhelm?

This weighed quite heavily on us as we sadly knew that some horrific event could happen around the launch of the show that could affect how it was viewed. We actually had a version that cut out after he first opened fire, but felt that that didn’t go far enough. So we went and filmed a pickup where we stayed with the shooter and see his victims fall in the distance. We didn’t want the horror to be overwhelming, although being with him and his blank detachment in this version is disturbingly chilling. And then we took it as far as the assassin himself being killed out of nowhere. Which is a shock and a twist — what the hell is going on? The audience are confused in a good way. I hope by now they trust that all will be explained.

How involved is Gary in terms of script and character development? Can you give an example of a detail or moment over the run of the series that he advocated for or against that proved valuable to the story?

Gary is an incredibly generous and deferential collaborator. As I’ve said before, he’s not just one of the greatest actors of his generation, he’s also a hugely talented writer and director, and he’s completely respectful of myself and Saul Metzstein and the other directors. I think it helps that we’re very in tune creatively. Gary and I both have a love and respect for the source material, so he knows I’m not going to junk the book — we’re going to work on it and bring a version of it to life. The other brilliant thing about Gary is that he’s not intimidated by the fact that Lamb’s arc is all in the backstory. He absorbs and plays that, even if he doesn’t know the specifics. You just get the sense that Lamb has been through some bad stuff. Lamb is a cautionary tale, a smoking ruin; he’s not going to change now. The changes come to our perspective when we learn a little bit more about him and what he’s been through. The moment he was most involved in I can’t talk about in detail because it’s a spoiler. But it came from an idea his wife, Gisele, had. Gary and I then discussed the best version of it in story terms, and then we shot it twice as Saul had an even better idea as to how to make it land. We put an awful lot of thought into it, and actually it’s the one area where we do depart from the book (with Mick’s blessing). I’m very excited about it and what it can lead to in future series that I’m looking forward to watching as a fan.

If you were running the spies, who would you say is the most competent agent? And what have you learned about how to walk the line between keeping the “misfits and losers” bit believable but also allowing the Slow Horses to actually triumph in the end?

After Lamb, Catherine is the smartest agent in the building, although River is the most effective field agent. Catherine is not trained as a spy but has been around them most of her adult life. She’s incredibly bright and perceptive but lacks confidence. She’s often the person putting the pieces together but never gets the credit. I think Lamb wants her around for that reason, as well as the twisted mix of protecting her and goading her and having her as a living reminder of his own fallibility — they were both betrayed by Charles Partner (Catherine’s boss, Lamb’s friend and mentor) and Lamb had to execute him. I’m not saying Lamb was sunshine and light before that, I think he’s always been a hard-living cynic, but that really did break something in him. And yes, it’s a delicate balance maintaining the premise of the show — these people are useless yet every season they save the day but are still not allowed out of exile. I think the compromise and unfairness is what makes it believable. Although at some point I feel they either have to redeem themselves or accept that it’s fruitless and move on. But again, usually Mick will kill them off before they reach that crossroads.

In “Clown Town,” Herron’s latest installment in the book series, he references the language of the show. There’s a line — “It’s like explaining Denmark to a cat”— that feels like a direct reference to the Season 1 line, “It’s like explaining Norway to a dog.” As a writer, what’s it like to see the way he has acknowledged and tipped his hat to the show?

One of the things I’m proudest of is how much Mick and his readers love the show. Sometimes I think a line is Mick’s and it turns out to be mine or vice versa, and Mick has the same confusion. He’s also read out the opening scene of Season 4 at events and said he didn’t write it, but he would have done [it] if he’d thought of it. Knowing I’m in tune with him and his characters and stories has been absolutely wonderful because I started this and finish it as a huge fan of his work.

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

“Lost Boys and Fairies” by Daf James on the BBC [available to stream on Britbox] is the best show I’ve seen in years. It’s about a gay couple going through the adoption process and is charming, tragic, playful, sad and uplifting. It’s so deftly written by Daf and wonderfully directed by James Kent and stars one of my favorite actors, Sion Daniel Young, whom “Slow Horses fans” will know as Douglas from Season 3.

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

I will always watch Michael Mann’s “Heat” [Prime Video] whenever I chance upon it, and watch it by choice at least one a year. It’s perfect. But for true comfort, I return again and again to the Hal Roach-era comedies of Laurel and Hardy, which have brought me unlimited joy throughout my life.

If you thought Jimmy Kimmel saved free speech, think again.

To hear President Trump tell it, no one, especially law enforcement officers, is safe from the dangers caused by opposing his policies — and he’s ready to do something about it.

“This political violence is not a series of isolated incidents and does not emerge organically,” Trump wrote in a new executive order. “A new law enforcement strategy that investigates all participants in these criminal and terroristic conspiracies — including the organized structures, networks, entities, organizations, funding sources, and predicate actions behind them — is required.”

Of course, despite his menacing tone, I agree with Trump that politically motivated violence against law enforcement — or anyone, be it Charlie Kirk or immigrant detainees — is reprehensible and completely unacceptable.

The deadly shooting in Dallas this week, which Trump referred to in the order, is a tragedy and any political violence should be prosecuted to the fullest extent of the many laws on the books that protect our public servants, and the public at large.

But criticizing government overreach is not inciting violence, and calls for Democrats to stop attacking Trump’s policies are just calls to silence dissent — one more attack on free speech at a moment when it’s clear this administration is intent on demolishing opposition.

If we are serious about preventing further political violence, trust in our justice system must be a priority. And you know what’s really eroding trust? Scary masked agents on our streets who refuse to even say what agency they work for.

In recent days, about 6,700 federal workers from agencies outside of ICE have been pulled into its immigration mission, according to the non-partisan Niskanen Center.

The anxiety brought on by an unaccountable and unknowable federal force, one that is expected to grow by thousands in coming years, is what is raising the temperature in American politics far more than the words from either side, though I am not here to argue that words don’t have power.

Ending the fear that our justice system is devolving into secrecy and lawlessness will reduce tension, and the potential for violence. Want to protect officers — and our democracy?

Ban masks.

“Listen, I understand that it being a law enforcement officer is scary,” former Capitol police officer Harry Dunn told me Wednesday during a press event for the immigration organization America’s Voice.

Dunn was attacked, beaten and called racial slurs during the political violence on Jan. 6, 2021.

“Nobody ever signed up to be harassed, to be targeted. That should never happen,” he said.

But Dunn said he’d never don a mask, because it harms that public trust, that mission to serve and protect.

When officers cover their faces and demand to be nameless and faceless, “They are terrorizing … with something just as simple as a mask,” he said.

Which is why California just passed a law attempting to ban such masks, effective next year — though it will likely be challenged in court, and federal authorities have already said they will ignore it.

“We’re not North Korea, Mr. President. We’re not the Soviet Union. This is the United States of America, and I’m really proud of the state of California and our state of mind that we’re pushing back against these authoritarian tendencies and actions of this administration,” said Gov. Gavin Newsom before signing the bill.

The argument in favor of masks is that some officers are afraid to do their jobs without them, fearing they or their families will be identified and targeted. The Department of Homeland security claims that assaults on officers are up 1,000%, though it’s unclear what data produced that figure.

“Every time I’m in a room with our law enforcement officers, I’m talking to them before they go out on our streets, I’m just overwhelmed by the fact that all of these young men and women have families that they all want to go home to,” Homeland Security Secretary Kristi Noem said. “(P)eople like Gavin Newsom are making it much more dangerous for them just to go do their job.”

Federal immigration authorities are not required by their agencies to wear masks. Not ski masks, not balaclavas, not even medical masks — which many officers refused to don even during the pandemic.

Like the choice to become a federal law enforcement officer, hiding their identity while doing their duty is a personal decision. Some agents aren’t masked. There is no rule to bring clarity, only leaders pushing the false narrative that protecting officers is impossible at this moment of unrest, and they must do what they see fit to protect themselves.

Which raises the question, why not help all officers feel safe enough to go unmasked, rather than allowing some to work in a fearful environment? Surely, if some officers feel safe enough to go about their duties in a regular fashion, there must be something their leaders can do to promote that sense of strength among the ranks rather than cave to the timidity of anonymity and helplessness?

“Things can be done,” Gabriel Chin told me. He’s a professor of law at UC Davis and an expert on criminal procedure.

“The nice thing about being a law enforcement officer is if somebody does something illegal to you, you have the resources to investigate and have them criminally charged,” Chin said. “But you know, this kind of thing has happened to judges and police and prosecutors, apart from ICE, for some years, unfortunately, and yet we don’t have masked judges and masked prosecutors.”

In 2020, for example, the son of New Jersey judge Esther Salas was shot and killed by a self-described men’s rights lawyer who came to her front door and had a list of other judges in his car.

Salas did not respond by demanding judges become faceless. Instead, she successfully lobbied for greater protection of all judges nationwide.

U.S. District Judge John Coughenour, a Republican-appointee who was the first to block Trump’s executive order axing birthright citizenship, has spoken publicly, along with five other federal judges, about continuing threats facing his brethren, including both a recent “swatting” incident and a bomb threat against him and his family.

“It’s just been stunning to me how much damage has been done to the reputation of our judiciary because some political actors think that they can gain some advantage by attacking the independence of the judiciary and threatening the rule of law,” he told Reuters — an attack coming from the right.

Speaking at the same event, Chief U.S. District Judge John McConnell of Rhode Island said that like many other judges, he’s been harassed with pizzas being sent to his home address — including “one in the name of Daniel Anderl,” Reuters reported. That’s the name of Salas’ murdered son.

Just this week, a Santa Monica man was arrested and charged with doxxing an ICE lawyer.

But McConnell’s face is still visible when he takes the bench, as is Coughenour’s and every other judge and prosecutor. They face those who come before them for justice, because that is what justice requires.

What ultimately keeps them — and our system — safe is our collective belief that, even if imperfect, it has rules, stated and implied.

The most basic of these is that we face each other, even if we are afraid.

Like that one friend who repeatedly promises to quit drinking after just one last round, the American government is staggering toward another shutdown. It’s starting to seem inevitable — because it looks as though neither side is going to swerve in this game of chicken.

Sen. Chuck Schumer (D-N.Y.), the Senate minority leader who somehow manages to perpetually look both tired and smug, can’t afford another political retreat. He’s refusing to give Republicans another blank check, aiming instead to wring out some key concessions in exchange for a few Democratic votes to get a funding bill through the upper chamber.

The problem? President Trump, who runs the show for Republicans, views a shutdown the same way Hans Gruber viewed the FBI in “Die Hard”: as a feature, not a bug. Shuttered agencies and mass firings of federal workers aren’t obstacles; they’re leverage (and sometimes the goal itself).

Schumer can’t back down, and Trump doesn’t want to back down. That’s why the shutdown feels more imminent than the last time we flirted with one, back in March, when Schumer and Democrats folded.

In fairness, their reasoning wasn’t crazy. Trump and Elon Musk were running roughshod with their Department of Government Efficiency, and a shutdown would have only given Republicans more discretion to decide which services (Space Force, a new White House ballroom and, I don’t know, a National Strategic Spray Tan Reserve) were “essential.”

Democrats also had a plausible reason to believe that Trump’s steep “reciprocal” tariffs would wreck the economy. They reasoned that if they just kept their heads down, the president would take all the blame for the crash — a reasonable idea that fell apart when Trump pumped the brakes before careening the economy off a cliff.

Since then, Trump has engaged in a campaign of authoritarian-tinged vengeance at such an impressive pace that the Democrats’ strategy of “playing possum” seems laughably passive and utterly naive — like assuming a hurricane will just get tired and stop.

So now Democrats are thinking, “Well, things can’t get any worse if we fight back.”

(Spoiler alert: Things can always get worse.)

Still, you can’t blame Dems for drawing a line in the sand, consequences be damned. Blocking government funding is one of the only mechanisms at the disposal of a minority party to demonstrate their opposition. Moral outrage and pride practically demand it.

Why help bankroll a government led by a man who doesn’t negotiate in good faith and seems intent on bulldozing democracy itself?

Why be complicit in normalizing — and funding! — Trump’s abnormal behavior?

Unfortunately, most voters don’t care about democracy in the abstract, and even fewer care about the inner workings of Congress. They care about kitchen-table issues.

So Democrats are trying to marry their righteous fury with something more practical and concrete — casting the shutdown as a battle to extend Obamacare subsidies and undo GOP Medicaid cuts.

If you’re keeping score, the opposition party is now trying to portray this looming shutdown as being about multiple things. And anyone who’s ever cracked a marketing textbook knows, that’s a fraught strategy. Dare I say “doomed”? If you can’t stay on one message, your opponent will control the narrative — meaning Republicans will blame the fallout on obstructionist Democrats.

Republicans have a simpler pitch that could almost fit on a bumper sticker: “We just want to keep things funded at the current level, plus toss in a little extra security for lawmakers.”

Which message will prevail? Who will take the blame if the government shuts down and Americans are suffering in myriad ways? Democrats say that Republicans control everything, so the buck stops with them. Republicans will say the Senate requires 60 votes and Democrats are withholding support to score political points. It’s not a slam dunk for either party. The American people just want the government to function, and neither side is making that easy.

You really have to squint to imagine a scenario where Dems could honestly declare “mission accomplished” when this is all over. Still, there is a growing sense that it’s better to go down fighting, even if you’re destined to lose (which they might be).

But make no mistake, a shutdown is very likely happening. The Republican-controlled House of Representatives isn’t even set to return to Washington until Wednesday (the day the government could be shuttered).

Meanwhile, Trump abruptly canceled negotiations with Democratic leaders, citing “the unserious and ridiculous demands being made by the Minority Radical Left Democrats.”

The good news: We’re not talking about the debt ceiling or a possible government default; it’s just a government shutdown (something that has happened many times already). Social Security checks will still arrive. Federal workers will eventually get paid. Parks will close. Life will stagger on.

And so, barring some deus ex machina, we slouch toward another shutdown: a bureaucratic farce that everyone can see coming a mile away. It accomplishes nothing productive, yet feels destined to happen — like the “Austin Powers” slow-motion steamroller gag, except stretched out over weeks, costing billions of dollars and hurting millions of lives.

We’ve seen this movie before. We’re the ones being flattened.

Matt K. Lewis is the author of “Filthy Rich Politicians” and “Too Dumb to Fail.”

This week, the Trump administration announced that it was taking “bold action” to address the “epidemic” of autism spectrum disorder — starting with a new safety label on Tylenol and other acetaminophen products that suggests a link to autism. The scientific evidence for doing so is weak, researchers said.

Health and Human Services Secretary Robert F. Kennedy Jr. said federal officials “will be uncompromising and relentless in our search for answers” and that they soon would be “closely examining” the role of vaccines, whose alleged link to autism has been widely discredited.

Kennedy has long argued that rising diagnoses among U.S. children must mean more exposure to some outside influence: a drug, a chemical, a toxin, a vaccine.

“One of the things that I think that we need to move away from today is this ideology that … the autism prevalence increase, the relentless increases, are simply artifacts of better diagnoses, better recognition or changing diagnostic criteria,” Kennedy said in April.

Kennedy is correct that autism spectrum disorder rates have risen steadily in the U.S. since the U.S. Centers for Disease Control began tracking them, from 1 in 150 8-year-olds in 2000, to 1 in 31 in 2022, the most recent year for which numbers are available.

But physicians, researchers and psychologists say it is impossible to interpret this increase without acknowledging two essential facts: The diagnostic definition of autism has greatly expanded to include a much broader range of human behaviors, and we look for it more often than we used to.

“People haven’t changed that much,” said Alan Gerber, a pediatric neuropsychologist at Children’s National Hospital in Washington, D.C., “but how we talk about them, how we describe them, how we categorize them has actually changed a lot over the years.”

Defining ‘autism’

The term “autism” first appeared in the scientific literature around World War II, when two psychiatrists in different countries independently chose that word to describe two different groups of children.

In 1938, Austrian pediatrician Hans Asperger used it to describe child patients at his Vienna clinic who were verbal, often fluently so, with unusual social behaviors and at-times obsessive focus on very specific subjects.

Five years later, U.S. psychiatrist Leo Kanner published a paper about a group of children at his clinic at the Johns Hopkins Hospital in Baltimore who were socially withdrawn, rigid in their thinking and extremely sensitive to stimuli like bright lights or loud noises. Most also had limited verbal language ability.

Both Asperger and Kanner chose the same word to describe these overlapping behaviors: autism. (They borrowed the term from an earlier psychiatrist’s description of extreme social withdrawal in schizophrenic patients.)

This doesn’t mean children never acted this way before. It was just the first time doctors started using that word to describe a particular set of child behaviors.

For the next few decades, many children who exhibited what we understand today to be autistic traits were labeled as having conditions that have ceased to exist as formal diagnoses, like “mental retardation,” “childhood psychosis” or “schizophrenia, childhood type.”

Autism debuted as its own diagnosis in the 1980 third edition of the Diagnostic and Statistical Manual of Mental Disorders, the American Psychiatric Assn.’s diagnostic bible. It described an autistic child as one who, by the age of 2½, showed impaired communication, unusual responses to their environment and a lack of interest in other people.

As the decades went on, the DSM definition of autism broadened.

The fourth edition, published in 1994, named additional behaviors: impaired relationships, struggles with nonverbal communication and speech patterns different from those of non-autistic, or neurotypical, peers.

It also included a typo that would turn out to be a crucial driver of diagnoses, wrote cultural anthropologist Roy Richard Grinker in his book “Unstrange Minds: Remapping the World of Autism.”

The DSM’s printed definition of autism included any child who displayed impairments in social interaction, communication “or” behavior. It was supposed to say social interaction, communication “and” behavior.

The error went uncorrected for six years, and the impact appeared profound. In 1995 an estimated 1 in every 500 children was diagnosed with autism. By 2000, when the CDC formally began tracking diagnoses (and the text was corrected), it was 1 in every 150.

Reaching underserved communities

In 2007, the American Academy of Pediatrics recommended for the first time that all children be screened for autism between the ages of 18 and 24 months as part of their regular checkups. Prior to that, autism was diagnosed somewhat haphazardly. Not all pediatricians were familiar with the earliest indicators or used the same criteria to determine whether a child should be further evaluated.

Then in 2013, the fifth edition of the DSM took what had previously been four separate conditions — autistic disorder, Asperger’s disorder, childhood disintegrative disorder and pervasive developmental disorder — and collapsed them all into a single diagnosis: autism spectrum disorder.

The diagnostic criteria for ASD included a broad range of social, communication and sensory interpretation differences that, crucially, could be identified at any time in a child’s life. The term was no longer limited only to children whose development lagged noticeably behind that of their peers.

Since that definition was adopted, U.S. schools have become more proactive about referring a greater range of children for neurodevelopmental evaluations. The new DSM language also helped educators and clinicians better understand what was keeping some kids in disadvantaged communities from thriving.

“In the past, [autism was] referred to as a ‘white child’s disability,’ because you found so few Black and brown children being identified,” said Shanter Alexander, an assistant professor of school psychology at Howard University. Children of color who struggled with things like behavioral disruptions, attention deficits or language delays, she said, were often diagnosed with intellectual disabilities or behavioral disorders.

In a sign that things have shifted, the most recent CDC survey for the first time found a higher prevalence of autism in kids of color than in white children: 3.66%, 3.82% and 3.30% for Black, Asian and Latino children, respectively, compared with 2.77% of white children.

“A lot of people think, ‘Oh, no, what does this mean? This is terrible.’ But it’s actually really positive. It means that we have been better at diagnosing Latino children [and] other groups too,” said Kristina Lopez, an associate professor at Arizona State University who studies autism in underserved communities.

The severity issue

An autism diagnosis today can apply to people who are able to graduate from college, hold professional positions and speak eloquently about their autism, as well as people who require 24-hour care and are not able to speak at all.

It includes people who were diagnosed when they were toddlers developing at a noticeably different pace from their peers, and people who embraced a diagnosis of autism in adulthood as the best description of how they relate to the world. Diagnoses for U.S. adults ages 26 to 34 alone increased by 450% between 2011 and 2022, according to one large study published last year in the Journal of the American Medical Assn.

Kennedy was not correct when he said in April that “most cases now are severe.”

A 2016 review of CDC data found that approximately 26.7% of 8-year-olds with autism had what some advocates refer to as “profound autism,” the end of the spectrum that often includes seriously disabling behaviors such as seizures, self-injurious behavior and intellectual disability.

The rate of children with profound autism has remained virtually unchanged since the CDC started tracking it, said Maureen Durkin, a professor of population health science and pediatrics at the University of Wisconsin-Madison. Indeed, the highest rate of new diagnoses has been among children with mild limitations, she said.

For many researchers and advocates, the Trump administration’s focus on autism has provoked mixed emotions. Many have lobbied for years for more attention for this condition and the people whose lives it affects.

Now it has arrived, thanks to an administration that has played up false information while cutting support for science.

“They have attempted to panic the public with the notion of an autism epidemic as a threat to the nation, when no such epidemic actually exists — rather, more people are being diagnosed with autism today because we have broader diagnostic criteria and do a better job detecting it,” said Colin Killick, executive director of the Autistic Self Advocacy Network. “It is high time that this administration stops spreading misinformation about autism, and starts enacting policies that would actually benefit our community.”

This article was reported with the support of the USC Annenberg Center for Health Journalism’s National Fellowship’s Kristy Hammam Fund for Health Journalism.

Welcome to Screen Gab, the newsletter for everyone who wasn’t expecting to hear this much about “Celebrity Family Feud” in 2025.

The talk around Hollywood on Wednesday — and beyond — has centered on late night after Walt Disney Co.-owned broadcaster ABC said it was suspending “Jimmy Kimmel Live!” indefinitely over the host’s remarks about right-wing activist Charlie Kirk and his accused killer. (Airing in its place so far? You guessed it, “Celebrity Family Feud.”) Let us help you get up to speed on the situation. Media reporters Stephen Battaglio and Meg James have an inside look behind the decision to bench Kimmel. The decision, of course, has rocked the late-night circuit, and Kimmel’s colleagues didn’t shy away from using their own platforms to address the matter — here’s what they had to say. And does Kimmel’s suspension have echoes to ABC’s firing of Roseanne Barr? Culture and representation reporter Greg Braxton explains the parallels and differences here. Our reporters were also at the demonstration that took place outside the El Capitan Entertainment Centre in Hollywood, where Kimmel tapes his show.

That wasn’t the only shocking news to hit Hollywood this week. Robert Redford, a generational movie star and titan of filmmaking, died Tuesday at the age of 89. If you haven’t already, take a moment to read our obituary that captures why he was one of Hollywood’s most influential figures. Film reporter Mark Olsen also dives into the legendary actor’s impact on independent cinema through the Sundance Institute. And members of the film team explain Redford’s legacy through 10 essential films.

Also in this week’s Screen Gab, Judy Reyes stops by Guest Spot to discuss her role as tough but compassionate Lt. Selena Soto in ABC’s hit “High Potential,” which returned for Season 2 this week, and how she’s feeling about reprising one of her most well-known characters, Carla Espinosa, in the upcoming “Scrubs” reboot. Plus, our streaming recommendations include a documentary telling the remarkable true story of four Colombian children who survived a plan crash and 40 days alone in the Amazon rainforest, and a Redford classic.

ICYMI

Must-read stories you might have missed

Filmmaker Paul Thomas Anderson is poised to release his latest film, “One Battle After Another,” an action thriller starring Leonardo DiCaprio, Sean Penn, Benicio del Toro, Regina Hall, Teyana Taylor and Chase Infiniti.

(Christina House / Los Angeles Times)

He’s made the most incendiary movie of the year. But Paul Thomas Anderson remains an optimist: The director of “Boogie Nights” and “There Will Be Blood” returns with an angry epic about American dissent, born from grappling with Thomas Pynchon’s “Vineland.”

Jenny Han on ‘The Summer I Turned Pretty’ series finale and why Belly had to go to Paris: The author, producer and showrunner knows fans are restless about how her hit Prime Video series might end, but she says she “loves surprising people.”

Troy Kotsur made you laugh and cry in ‘CODA.’ But in ‘Black Rabbit,’ he wants to scare you: The Deaf Oscar winner plays a vicious gangster in Netflix’s crime thriller “Black Rabbit” opposite Jason Bateman and Jude Law.

Commentary: Are the ‘Downton Abbey’ and ‘Conjuring’ finales essentially the same movie?: The recent films appear to occupy the opposite ends of the franchise universe. But were they really so different after all?

Turn on

Recommendations from the film and TV experts at The Times

A scene from “Lost in the Jungle.”

(National Geographic / Anit)

“Lost in the Jungle” (Disney+, Hulu)

If you haven’t canceled your Disney+ and/or Hulu subscriptions yet, I highly recommend this riveting, complex, exquisitely made documentary about the survival of, and search for, four Indigenous children in the Colombian jungle after the crash of a small plane that killed their mother and the pilot — and the fraught family history that brought them there. Proceeding with the force of a fairy tale, including an evil stepfather, incidentally helpful monkeys and confounding forest spirits, it on the one hand focuses on a resourceful 13-year-old who keeps three younger siblings, including a baby, alive in a dangerous world for 40 days, and on the other, the military and Indigenous searchers who learn to cooperate as they navigate weather, illness, “things that can’t be seen, not with human eyes” and a history of distrust marked by narco-guerillas, industrial exploitation and state neglect. Directors E. Chai Vasarhelyi, Jimmy Chin and Juan Camilo Cruz combine interviews with family members, searchers and soldiers, with footage from the forest and line animations illustrating the children’s experience into something suspenseful, strange and beautiful. — Robert Lloyd

Robert Redford, right, with Dustin Hoffman in a scene from “All The President’s Men.”

(Sunset Boulevard / Corbis via Getty Images)

“All the President’s Men” [VOD]

It’s stands as one of the most discerning and potent films ever made about the crucial and essential role of journalism as a public watchdog in holding political leaders accountable and protecting democracy. Based on the book by Bob Woodward and Carl Bernstein, the 1976 film chronicles the unearthing of the Watergate scandal, tracking the duo’s time as Washington Post reporters — with Robert Redford as Woodward and Dustin Hoffman as Bernstein — trying to pin down the connection between Robert Nixon’s reelection campaign and the burglary and wiretapping at the Democratic National Committee headquarters in the Watergate complex that ultimately brought down Nixon’s presidency. It plays as a deeply engrossing thriller, and every scene between Redford and Hoffman, as dogged journalists whose work became enormously consequential and a turning point in American history, is gripping to watch. It’s a fitting film to screen this week — to reflect alone on one of Redford’s most powerful performances. — Yvonne Villarreal

Guest spot

Judy Reyes in a scene from Season 2 of “High Potential”

(Jessica Perez / Disney)

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

Every genius needs a little structure and guidance to keep them on course. In “High Potential,” Morgan Gillory (Kaitlin Olson) is a single mom with an exceptional mind who works as a cleaner at the police department and finds her way into detective work after successfully examining some evidence during her shift. But putting her unique talent to effective use couldn’t have happened if Lt. Selena Soto, the head of the major crimes division played by Judy Reyes, didn’t see Morgan’s potential and nurture it.

The quirky crime procedural has been a breakout hit for ABC since its launch last year and it returned this week for its second season; new episodes air Tuesdays, and are available to stream on Hulu and Disney+ the next day. Here, Reyes discusses how Soto’s approach as a boss came into focus this season and how she’s feeling about revisiting “Scrubs” 15 years after the comedy ended its run. — Yvonne Villarreal

How has Selena Soto come into focus for you this season? And can you share an anecdote of a boss looking out for you — however small or big — that has stood out to you during your time in the industry?

I think Soto saw herself in Morgan: someone for whom truly being themselves takes a lot of risks. She can’t be anything else, and the expectations from the world create a lot of problems with others who can’t handle the burden of those being completely unique.

My first manager took a huge chance on me at the restaurant I worked in as a hostess for years in NYC. She and her husband were regulars, and her husband chatted me up one night, and when I confessed that I was an actor, he convinced his wife to take a meeting with me, and she convinced her associates to give me a chance, and the rest is history.

Morgan is a cleaner with an exceptional mind who found her way into detective work after examining some evidence during her shift at the police department. What’s a career you’d love to pivot to if given the chance?

I always wanted to be a gymnast. Or some kind of athlete … tennis! You asked …

You’ll be reprising your role as Carla in the new “Scrubs” series. What does this moment bring up for you? What intrigues you about revisiting this character 15 years later?

I’m filled with gratitude and appreciation. I recognize how in my youth I took for granted the adventure and opportunity. I’m moved by how much people love the show and Carla, and how much all of it mattered to fans in different stages of their lives. I’m overwhelmed with the gift of being part of a magical moment in TV, and to get to revisit it as adults with the same folks is exciting because Bill and the writers are so daring with their humor and drama. I just know Turk and Carla keep going strong in their marriage and continue in their friendship. I’m honored by what this character continues to mean to Latinos, especially in this time.

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

I’ve watched “Hacks” [HBO Max] because I’m obsessed with Jean Smart. I’ve watched “The Summer I Turned Pretty” [Prime Video] because I need to connect to my teenager and it’s a fun love/hate watch. I watch “Abbott Elementary” [Hulu, Disney+, HBO Max] because it’s f— funny and you can’t go wrong with it; it reminds me of “Scrubs” [Peacock, Hulu, Disney+] in a lot of ways. I just started watching “Severance” and “Shrinking” [both Apple TV+]. “Severance” because it’s so original and “Shrinking” for the same reason; it also feels so familiar … and Harrison Ford and Jessica Williams.

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

“The Devil Wears Prada” [Hulu, Disney+], “Girls Trip” [Tubi, Prime Video], “Bridesmaids” [Netflix], “Love & Basketball” [VOD] [and] any of “The Matrix” movies [VOD].

Like most aspects of her life, Lilly Singh approaches the end of the weekend with a clear intention. “Sunday is a big deal to me,” she says. “Sunday is my self-love, reset day.”

The comedic actress and personality began a career in her native Toronto as an early YouTube star. She moved to Los Angeles in 2015, first landing at a spot near the La Brea Tar Pits before relocating to a house in the San Fernando Valley that she shares with her dogs, Scarbro and Soca.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

“I moved to L.A. to be warm and the Valley is very warm,” Singh says. “When people are complaining it’s too hot, I am thriving.”

She previously hosted the NBC talk show “A Little Late With Lilly Singh” and led the Disney+ sitcom “The Muppets Mayhem.” Most recently, she co-wrote, produced and starred in the film “Doin’ It,” playing an app-maker who is hired to teach a sex-ed class and decides she needs her own hands-on education in the subject. It opens in theaters Friday.

Singh was a night owl for most of her life, often staying up until the early morning hours and waking at noon. To improve her mental health, she’s adjusted her approach and now gets up during the week at 7 a.m. so she has two hours to mentally and physically prepare herself for the day.

There is a day of the week, however, where she shows herself compassion and makes an exception. “I’m probably not going to set an alarm on a Sunday,” she says.

This interview has been lightly edited for length and clarity.

9 a.m.: Daily routine
Every morning, I have certain mental health routines. I always am going to have journaling on my front patio, and I’m always going to stretch and do breath work. Those are nonnegotiables.

9:30 a.m.: Market essentials
After I deal with and feed the dogs, the No. 1 stop is the Studio City Farmers Market. I will die on the hill of saying it is the best farmers market. I take one thing at the farmers market very seriously, which is the kefir yogurt. I literally have a yogurt dealer, Orlando. I have to text him on Saturday night to be like, “Hold these flavors for me.” If you go there and you don’t text them, they’re sold out. When the Alphonso mango is in season, you have to get there at 7 a.m. to get it.

I walk both ways, so I’m basically a fit legend because, come on, it’s usually really hot.

10 a.m.: Flower power
I get florals every Sunday. If I don’t get them from the farmers market, I’ll get them at Trader Joe’s. Every Sunday, I reset my house in terms of flowers. I put flowers in every corner of my house. I spend an hour just making little bouquets and putting them on my desk and in my kitchen and in my bathrooms because it’s an easy dopamine-hit hack and it makes me happy throughout the week.

11 a.m.: The best brunch date
Almost every Sunday, I take myself on a solo brunch. No one is allowed to come with me. This is me taking myself on a date.

I go to the same spot every single time: Sweet Butter Kitchen. It’s just down Ventura. I get a two-sunny-side-up egg breakfast with sourdough toast. I get my bacon. Depending on how much I’ve worked that week and how much I want to spoil myself, I will also get pancakes.

I love the ambience. I’ll take my journal or sometimes I’ll just vibe out and enjoy my own company.

Noon: Planning session
Every third Sunday, I do a monthly reflection. I track my last month against my yearly goals.

I’ll also plan my social activities for the next month. Almost every month, I host a poker night. Almost every Thursday, I do a dinner. I’ll make sure my social calendar is full for the next month because in L.A., if you don’t do that, you won’t have friends and you’ll be alone.

I’m very about my journal. It’s a hard-covered journal that is smooth to the touch, with a specific Sharpie 1.0 pen. It’s the only pen I want to use. And the journal has a pen holder, which is also crucial. And it has the string that saves your page — also crucial. And it has lines. I don’t want a journal that doesn’t have lines. It has to have a little flap in the back that will hold all my documents.

In my adult life, I’ve always been this organized. Perhaps not in university or in high school, but as I’ve become a career woman, I like to be very, very organized.

1 p.m.: Tastes from home
I’m ready to eat again because Sundays are for eating. I love Smorgasburg LA. Coming from Toronto, I’m really used to Caribbean food and Asian foods. In L.A., I feel like the best international food I have found is at Smorgasburg.

If I want to hang with the friends or if someone’s in from out of town and I want to show them a good time, we’ll go there.

3 p.m.: Sunshine state
I think sunshine time is so important and nature is so important. Throughout the week, I don’t always get to spend time outside, so I spend as much time as humanly possible outside, and that’s either lying on the grass with my dogs or it’s in my pool.

5 p.m.: On the A-List
I don’t want you to think I’m a loner, but if I’m ever doing things alone, it’s more often going to be on a Sunday. I love going to the movie theater. For me, it is AMC at Universal [CityWalk]. My greatest quality — this is not even an ad — is that I am an AMC Stubs A-List member. I take it very seriously.

I’d probably go to dinner and then a movie. So I don’t have popcorn solely for dinner, which I’ve done many times, but I try to avoid, I’m going to go to Kiwami by Katsu-Ya, which is on Ventura. It’s one of my favorite sushi spots. It feels very small and intimate. They have the best lychee martinis, and I’m a big lychee martini girly. The staff knows me because I go so often and they’re just so fast with the service.

It’s crucial for me to tell you that one of the reasons I go to the movies by myself is I am crazy about watching the previews. My friends always make me miss the previews. I love getting there early and I love being seated for the previews. I’ve gone to the theater sometimes 10 minutes before anything is even on the screen.

I like Universal because it is full of tourists. As someone who was not born and raised in L.A., I love seeing people experience L.A. When I’m walking from the parking lot to the theater, people have their Super Nintendo World stuff and they have their Universal merch. They’re so excited to be there, and it reminds me, like, oh yeah, this is a really exciting place for people.

10 p.m.: Ready for the week ahead
I’ll come home, cuddle the dogs, then I make sure I’m ready for the week. I make sure my house is in a good spot. I make sure my flowers are popping. I probably will do a hot tub or sauna moment, then do my skincare routine.

11 p.m.: One last journal entry
I don’t like to watch anything in my bedroom because sleeping is a huge thing for me. I have a little bit of insomnia, so I really try to wind down. On my night table, I have my nighttime journal and I do a little self-compassion journaling.

After years of weathering the #AfterDark absurdity of the Pac-12 Conference, USC hoped moving to the Big Ten might help kick most of those bizarre midnight romps from its calendar.

Of course, geographic sense only matters so much in college football when there’s millions to be made from broadcast rights. Fox had the third choice this week among the networks and chose the best available game. That’s why USC and Michigan State will kick off at 8 p.m. Saturday. Which means, in East Lansing, Mich., the game should wrap somewhere around 2:30-3 a.m.

There were two such kickoffs in the Big Ten last season, and only one that included a team hopping three time zones to the west. USC won that 8 p.m. game against Rutgers in quarterback Jayden Maiava’s debut.

The Spartans arrived in L.A. on Thursday to give them plenty of time to acclimate. Jonathan Smith, who previously coached at Oregon State, understands what such a late kickoff requires. Still, you could understand why Michigan State might not be thrilled at the prospect of playing so late.

USC will have its own time-zone trouble to deal with next week, when it kicks off at 9 a.m. PDT in a road matchup with Illinois. This weekend, the bigger question for USC will be if the fans arrive well-rested — or at all.

“Both teams gotta deal with it,” coach Lincoln Riley said. “We gotta handle it well, our crowd needs to handle it well. At the end of the day, it’s a game, it’s being played, it’s being played in the Coliseum, and we expect to win and we expect to have a really good crowd behind us. We’re not going to make excuses about it.”

Here are four things to watch as USC takes on Michigan State:

Trojans take to the air

Few quarterbacks in college football have started the season at the breakneck pace that Jayden Maiava has managed through three weeks. Maiava is averaging more than 14 yards per attempt — the most of any quarterback in the nation by three full yards — while completing 68% of his passes, almost a 10% improvement from last season.

There’s no reason to think that trend won’t continue against Michigan State.

The Spartans rank 118th in the nation — and worst in the Big Ten — in pass defense, and that’s after playing teams like Youngstown State and Western Michigan. They haven’t seen anything yet like USC’s passing offense, and especially receiver Makai Lemon, who ranks behind only Ohio State’s Jeremiah Smith in receiving yards (315-311) this season in the Big Ten.

Michigan State has been stingy this season against the run, so it could be tough to find much of a rhythm on the ground. That means a potential big game for Maiava.

Will USC’s pass rush keep rolling?

Through three games, USC’s rejuvenated pass rush actually leads the nation in sacks with 14. Michigan State, meanwhile, has allowed the second-most sacks of any Big Ten team this season.

That formula could mean a long afternoon for Spartan quarterback Aidan Chiles, who Riley said this week poses “the biggest challenge we’ve faced up to this point” at the position. The Long Beach native appears to be putting it all together as a passer, but it’s Chiles’ dual threat ability that could be especially dangerous against a front four that’s been aggressive early in the season..

He’s tied for the conference lead in rush attempts among quarterbacks at 10 per game.

“When you add in Chiles’ athleticism, that definitely adds an entirely new element,” Riley said. “So it’ll be a big focus point for us to be able to keep him in the pocket, to contain him in there.”

When under heavy pressure, Chiles has been much less effective. His completion percentage drops from 79% in a clean pocket to 48% in a pressured one.

Stud receiver status

Both teams could be without their most dynamic pass catcher on Saturday.

USC wideout Ja’Kobi Lane, last year’s Big Ten leader in touchdown receptions, is questionable after he sat out practice on Wednesday. Riley wouldn’t comment on whether he’d be available for the game.

Similarly, the status of Spartan receiver Nick Marsh was up in the air as of Friday. Marsh made the trip to L.A., in spite of dealing with a lower leg injury. He’s by far Michigan State’s most dynamic weapon on offense and his absence would be significant, if he’s unable to go.

Tanook Hines breakout game incoming?

With Lane hobbled, keep a close eye on freshman Tanook Hines, who pulled down a stunning acrobatic catch last Saturday at Purdue.

Riley raved about the freshman earlier this week.

“He goes after the ball with a unique mindset for a freshman,” Riley said. “You talk about a guy who really attacks the ball. He’s played physical. He’s a really good blocker. He’s done a good job of picking up our system. … He’s an all-ball guy. There’s no fluff to this guy. He’s an edgy, tough competitor.”

Far be it from me to tell anyone how to direct their career, but can I just say how glad I am to learn that Jason Bateman, who spent four seasons in the darkness of “Ozark,” is making a comedy again. (A “dark comedy,” but still.) That’s not the series he’s starring in at the moment for Netflix, however, but something called “DTF St. Louis,” for HBO, from “Patriot” creator Steve Conrad, which isn’t arriving until next year. Fingers crossed, we’ll all be around to see it.

In the eight-episode miniseries “Black Rabbit,” which premieres Thursday, Bateman and Jude Law play brothers Vince and Jake Friedkin, respectively, who long before the story begins were partners in a rock band, the Black Rabbits — successful enough that Vince is recognized in a bar (but not so successful that the fans can remember his name, or the name of the band). More recently, they had been partners in a far downtown Manhattan restaurant, also called Black Rabbit, though Vince’s level of current participation is muddy. (At one time, he ran the upstairs bar.) It isn’t a comedy, in spite of Vince’s Michael Bluth-like habit of dropping ironic quips into stressful situations.

The setting brings to mind “The Bear” — which is a comedy — as does its young genius chef, Roxie (Amaka Okafor); the New York Times is planning a review and New York magazine is putting her on the cover. We see that the restaurant, which has a VIP floor upstairs for horrible rich jerks, is a hit because the place is packed, and because there’s a lot of shouting in the barely pictured kitchen, but food, barely shown or talked about, is not really on the menu here. Jake is more interested in property and expansion — he has an inside track to lease the Pool Room, a real-life space in New York’s fabled Four Seasons Hotel, and he wants Roxie to run the kitchen and Estelle (Cleopatra Coleman), who is in a relationship with his old friend Wes (Ṣọpẹ́ Dìrísù) — now a mega successful musician, a co-owner of the Black Rabbit and a jealous guy — to design it. From camera angles and cutting, it’s clear that Vince and Estelle are attracted to one another, but as Law and Coleman have no particular chemistry, it feels more stated than felt. But it’s important.

Ṣọpẹ́ Dìrísù as Wes, a co-owner of the Black Rabbit, and Amaka Okafor as Roxie, the head chef.

(Netflix)

Vince, meanwhile, is living out west, looking like he’s ready to audition for a late-life Dennis Wilson biopic and trying to sell some valuable old coins. When he’s set up and robbed in his car, he winds up running over one of the thieves — twice. Whether by writerly intention or inattention, this will be no more of an emotional issue for Vince than it will have anything to do with the rest of the story, apart from sending him back to NYC, where he is $140,000 in the hole over gambling debts. Whenever he’s not in actual danger (which is a lot of the time), he’s weirdly happy-go-lucky.

Jake has a well-to-do ex-wife, Val (Dagmara Dominczyk), who seems nice, and a son, Hunter (Michael Cash), taking dancing lessons. They all get along fine, though Jake battles that most common of TV paternal ailments, Busy Dad Syndrome. (He does better than most.) Vince has an adult daughter, tattoo artist Gen (Odessa Young), who is not especially glad to see him back in town. Their safety will become a chip in the series’ central business, which sets Vince, and ultimately Jake, against vaguely defined mobster Joe Mancuso (Oscar-winning deaf actor Troy Kotsur, from the film “CODA,” in one of the series’ more layered performances); his sweaty idiot caricature of a wannabe tough guy son, Junior (Forrest Weber); and Junior’s less-than-efficient minder, Babbitt (Chris Coy), who is occasionally sort of likable, albeit one feels bad for sort of liking him. In the small world these characters inhabit, Mancuso was close to the brothers’ dysfunctional family back in Coney Island. But business is business.

Like most every streaming drama nowadays, “Black Rabbit” opens with a flash forward to a more exciting part of the story — here, a robbery and shooting at a crowded party — before dialing back to a calmer chronological beginning. This lets the viewer know that, though there is going to be exposition for a while, things will get crazy eventually. And they very much do, including sexual assault, murder and bad management.

Junior (Forrest Weber), Babbitt (Chris Coy) and Vince (Jason Bateman), who owes them lots of money.

(Netflix)

Jake, chasing his Pool Room dream, has his own money troubles, and the brothers’ needs will clash as one scheme after another to set things right goes wrong and their relationship rockets between heated arguments and brotherly reminiscence. It’s too easy to stop listening to the arguments, which tend to go long and not lead anywhere, but there is some relief (and nice writing) as regards the reminiscence. Still, though later episodes will reveal an early event that might explain something about Vince, it’s not enough to make one care especially what happens to them, except to worry which innocent bystanders, including the Black Rabbit staff, will be hit by shrapnel when things go boom.

A large secondary and sometimes confusing cast comes in and out to propel and complicate matters, but it’s really all about the brothers. As Vince, Bateman — who also directed the first two episodes, efficiently, with “Ozark” co-star Laura Linney helming the second two — leavens an exasperating character with his innate likability. He’s a fine actor, but he’s also Jason Bateman, America’s sweetheart. By contrast, as the tense, excitable Jake, Law doesn’t generate much warmth, or make you believe he’s actually capable of opening a high-class midtown restaurant. (The funky but chic Black Rabbit was Vince’s vision.) That may be the idea, of course. And he does love his brother.

There are only so many ways this story can go, and it does indeed go to one of them, though it’s so likely by the time we get there that it doesn’t deliver much of an emotional charge. An epilogical montage, in a complete tonal turnaround, plays like an homage to the opening of Woody Allen’s “Manhattan,” cut to Rodgers and Hart’s “I’ll Take Manhattan”; its only purpose seems to be to make you less bad than you might have otherwise felt. (Hey, Katz’s Delicatessen!) So … thanks?

Meanwhile — “DTF St. Louis!” See you next year! Knock wood.

U.S. tennis star Taylor Townsend wasn’t prepared for some of the food she would be offered while taking part in the Billie Jean King Cup Finals tournament in Shenzen, China.

She apparently was also not expecting the backlash she faced after she posted her criticism of some of the local dishes — which included bullfrogs, turtles, sea cucumbers and, in her words, “an animal lung” that was “sliced up” and on a skewer — on Instagram.

Those posts have since been removed, and Townsend has posted a video on her Instagram Story in which the world’s top-ranked doubles player apologizes “sincerely from the bottom of my heart.”

“I understand that I am so privileged as a professional athlete to be able to travel all around the world and experience cultural differences, which is one of the things that I love so much about what I do,” Townsend said.

“I have had nothing but the most amazing experience and time here … and everyone has been so kind and so gracious. And the things that I said were not representative of that at all.”

The 29-year-old Townsend’s name was in the headlines during last month’s U.S. Open. After Taylor defeated Latvia’s Jelena Ostapenko in the second round of the singles competition, the players appeared to have a heated discussion.

Afterward, Townsend told reporters that Ostapenko “told me I have no education, no class.”

Ostapenko later apologized on her Instagram Story and explained that English isn’t her native language. “So when I said education,” Ostapenko wrote, “I was speaking only about what I believe [is] tennis etiquette, but I understand how the words I used could have offended many people beyond the tennis court.”

Townsend is one of six players representing the U.S. in the international team tournament in Shenzen. Earlier this week, she posted video of some of the food she and her teammates had been offered, apparently as part of a buffet. She also added a video of herself from later in the evening in which she criticized some of the offerings.

“I’m honestly just so shocked I like what I saw in the dinner buffet … These people are literally killing frogs. Bull frogs. Aren’t those poisonous? Like, aren’t those the ones that be giving you warts and boils and stuff?” Townsend said. “And turtles? And the fact that, like, it’s all stewed up with, like, chilies and peppers and onions and like, ‘Oh, you really made this a dish?’

“And then you got the sea cucumbers just staring there, like with the noodles, the only thing that we eat. So all in all, gotta give this like a solid 2 out of 10 so far, because this is crazy.”

One portion of the video, which showed portions of the buffet spread, featured the caption, “This is the craziest thing I’ve ever seen … and people are eating this,” followed by emojis of a melting face and a face screaming in fear.

The comments went viral on Chinese social media, with many commenters slamming Townsend as culturally insensitive.

Townsend’s apology comes as the U.S. prepares to face Kazakhstan on Thursday in the quarterfinals.

“I just truly wanted to apologize,” Townsend said in the new video. “There’s no excuse, there’s no words, and for me, I just — I will be better.”

The fallout from UCLA coach DeShaun Foster’s dismissal deepened Wednesday when interim coach Tim Skipper disclosed that defensive coordinator Ikaika Malloe had agreed to “mutually part ways” with the team, depriving the Bruins of one of their most respected assistant coaches.

Meeting with reporters for the first time since he was selected to coach the team for the rest of the season, Skipper said he didn’t know the specifics of Malloe’s departure. One person close to the coaching staff, who spoke on condition of anonymity because of the sensitive nature of the subject, told The Times that Malloe couldn’t get past blaming himself for the team’s 0-3 start, even suggesting that he be fired instead of Foster, so it was agreed that it would be best if he took time to regroup and focus on himself.

UCLA interim head football coach Tim Skipper claps as players participate in practice at Drake Stadium on Wednesday.

(Robert Gauthier/Los Angeles Times)

It’s believed that Skipper will be given the resources needed to bolster his coaching staff if he wanted to bring in another assistant. In the meantime, Skipper said the team would take a collaborative approach among remaining staff to coaching the defense.

Malloe was a favorite of players and was known for demanding as much from himself as anyone on the team, choking up early last season when he discussed the need to fix the Bruins’ defense. After Malloe made two personnel switches, moving Oluwafami Oladejo from linebacker to edge rusher while elevating linebacker Carson Schwesinger into the starting lineup, UCLA’s defense went on to be a team strength.

Even though UCLA’s defense struggled in the early going this season, giving up 36 points and 431 yards per game, Malloe remained universally adored by players.

“I know some of the defensive guys loved him so much, and sorry to see him go,” offensive tackle Garrett DiGiorgio said. “Initial reaction as a man, he’s a great person, great family person, and he brought so much value to this team. It’s just unfortunate that I feel like he felt somewhat responsible, along with Foster as well. All we can do is support him on his next step, and hopefully he can come back and see the guys at some point.”

There were no immediate roster defections, Skipper saying that every player was accounted for going into one of the team’s longest practices of the season. Players will have 30 days to enter the transfer portal after their coach bid them farewell during an emotional meeting Sunday morning.

DiGiorgio said Foster told the players who were able to attend the hastily arranged meeting early in the team’s bye week to keep their heads up and keep pushing. Making things all the more difficult was the culpability that some players beared for the team’s fortunes.

“I felt somewhat accountable as a player and as a captain,” DiGiorgio said, “of letting him down as head coach.”

UCLA interim head football coach Tim Skipper talks with media before practice at Drake Stadium on Wednesday.

(Robert Gauthier/Los Angeles Times)

Skipper acknowledged the strain of replacing a close friend who had visited his parents’ house and eaten his mother’s cooking, saying he considered Foster part of his family.

“It definitely wasn’t just great feelings and things like that,” Skipper said of the situation, “but we both know we’ve got to move on.”

This is the second time in as many seasons that Skipper will serve as an interim coach after taking over for Jeff Tedford in July 2024 and guiding Fresno State to a 6-7 record that included an appearance in the Famous Idaho Potato Bowl.

Having served in an inconspicuous role since his arrival as special assistant to the head coach in the middle of July, Skipper spent part of the last few days introducing himself to players and letting them know about his history as a former middle linebacker at Fresno State who has made coaching stops at eight schools.

First impressions have been positive.

“His initial energy and just the way he is in meetings,” DiGiorgio said, “I think he’s trying to uplift us as athletes and he’s not really trying to focus too much on what happened but more on the future and what we can do.”

Skipper was upbeat in his first public remarks since taking over for Foster, shaking every reporter’s hand before encouraging them to call him “Skip,” his preferred nickname. He said he would treat this bye week as a sort of mini-training camp before shifting into game preparation mode for the Bruins’ Big Ten Conference opener against Northwestern on Sept. 27.

“We are completely resetting,” Skipper said. “We’re not going to dwell on the past, we’re not going to dream about the future. We’re going to worry about right now.”

How do the Bruins go from the Big Ten’s only winless team to one that can start having success?

“We need to change our style of play, as far as how hard and how fast and how physical we play, OK?” Skipper said. “Starting with me and the rest of the staff, we have to make sure we simplify things so guys can play full speed ahead and there’s less thinking. That’s kind of my whole motto.”

Rediscovering the joy in football is part of that new approach. DiGiorgio said players are starting to play music in the locker room again, the offensive lineman bringing in his own portable sound system for everyone to enjoy.

“We’ve got to be able to come out here and not treat practice as practice,” DiGiorgio said, “but more as something that we get to do and we have the ability to be on this team.”

DiGiorgio said players would also meet with athletic director Martin Jarmond every Sunday to talk about how things are going with the team and try to build momentum for the rest of the season. Jarmond received public support for the coaching change Wednesday in a statement from Chancellor Julio Frenk provided to The Times.

“At a top university like UCLA, a successful football program plays a powerful role in building community and strengthening connections,” Frenk said in the statement. “I support Martin Jarmond’s decision to replace the football coach. As the leader of our athletics program, he will oversee the process of hiring a new head coach who will elevate UCLA football to national prominence and uphold our commitment to ensuring the best experience for our student-athletes.”

As far as the rest of this season goes, Skipper said he wouldn’t measure success by wins and losses but style of play.

“We need to get out there and give a product that everybody’s proud of,” Skipper said, “that’s exactly all I’m worried about.”

The Dodgers are planning to use Shohei Ohtani as a starting pitcher in the playoffs, president of baseball operations Andrew Friedman confirmed Monday.

That doesn’t mean, however, that there aren’t certain scenarios in which he could also come out of the bullpen, as well.

“Things play out in October that you can’t foresee,” Friedman said before Monday’s game against the Philadelphia Phillies — shortly after, coincidentally, catching up with new Phillies signing and ex-Dodgers favorite Walker Buehler, who made three starts in the Dodgers’ rotation last postseason before emerging for a title-clinching save in Game 5 of the Fall Classic.

“Walker Buehler was a starting pitcher for us last year, and finished out Game 5 of the World Series,” Friedman noted. “So you never know how things are going to play out.”

The possibility of Ohtani pitching in relief has been percolating for the last several weeks. Pitching coach Mark Prior said he could “absolutely” envision it during an appearance on the “Dan Patrick Show” last month. Manager Dave Roberts has more recently reiterated that the conversation regarding Ohtani’s postseason pitching role remains open as the regular season winds down.

“Could it change down the road in the postseason? Possibly,” Roberts said Sunday when pressed on the topic again. “But right now we see him as a starter.”

Friedman largely echoed that sentiment Monday, a day before Ohtani was set for his next scheduled start in a pivotal series against the Phillies (who entered this week’s visit to Dodger Stadium 4 ½ games ahead of the Dodgers for the No. 2 seed in the National League standings, and the first-round bye that comes with it).

Friedman praised Ohtani, who has returned from a second-career Tommy John surgery this year with a 3.75 ERA and 49 strikeouts over 36 innings, as “one of the best starters in the National League.”

Shohei Ohtani delivers against the Baltimore Orioles at Camden Yards on Sept. 5.

(Scott Taetsch / Getty Images)

He said the team’s expectation is that the right-hander “will impact us as a starting pitcher” in the playoffs — even though Ohtani might not pitch much past the fifth inning of games (the limit he has been held to in his recent regular season starts) and won’t be asked to make consecutive starts on normal four days of rest (he has gotten at least five days off between each of his outings this year).

“No one is taking on more than [he is with the] pitching and also hitting and running the bases,” Friedman said. “So just trying to be cognizant of that.”

However, pitching out of the bullpen in some specific, late-game situations could remain on the table.

Like Buehler last year, and Clayton Kershaw in many Octobers before that, a long postseason run would likely offer opportunities for the Dodgers to use Ohtani as a reliever in the days between his starts — perhaps in potential close-out games or on nights when the back end of the team’s struggling bullpen is low on other trustworthy options.

Ohtani does have memorable personal experience in such a role, having recorded the final outs of Team Japan’s victory in the 2023 World Baseball Classic.

When looking ahead to this postseason, Friedman did not close the door on that possibility either; even though he said his focus has remained on navigating the final two weeks of the regular season first.

“We’re expecting him to be a starter for us,” Friedman said, “and depending on everything else, we’ll figure out where to go from there.”

Of course, Ohtani’s two-way status would add extra complications to any potential bullpen plans.

There are logistical questions — like how he would warm up if his spot in the batting order comes up the inning before he’s supposed to take the mound.

And then there is a technical dilemma — with MLB’s two-way rules having been written in a way that, if Ohtani were to enter the game as a reliever, the Dodgers would lose him as a designated hitter once he exits the mound.

“Once you fire him … and you decide to come out of it, you have to take that cost of losing the DH and losing him as a hitter,” Roberts said. “You got to be willing to take the chance.”

That reality might restrict Ohtani to pitching only out of the bullpen in the ninth inning of games, and could make the Dodgers more hesitant to use Ohtani in relief at all for fear of what would happen if a game extended past the end of his outing.

Dodgers designated hitter Shohei Ohtani remains a key bat for the team, adding weight to any decision to use him as a reliever.

(Eric Thayer/Eric Thayer For The Los Angeles Times)

“I think they missed the mark with it,” Friedman said when asked if he was frustrated by the language of the two-way rule; which was enacted by MLB several years ago in response to Ohtani’s emergence as a two-way star, but only allows him to remain in the game as a hitter after he exits pitching starts, specifically.

“I think the rule was put in place to try to encourage people to do it, to incentivize people,” Friedman said. “So yeah, I think they missed.”

Friedman noted he’d liked to see the rule eventually changed to also include relief appearances, but acknowledged “that’s more of an offseason, future thing.”

“Obviously,” he added, “it’s not reasonable for us to ask for that in-season.”

Thus, for now, the Dodgers will continue to weigh the complex pros and cons of how to use Ohtani’s arm once they reach October.

His current weekly pitching schedule has Ohtani lined up to throw in Game 1 of a potential wild card series, which will begin exactly two weeks from his Tuesday night start against the Phillies (though Friedman insisted that wasn’t intentional).

Whether his services are needed, even in narrowly conceivable circumstances, out of the bullpen beyond that remains to be seen — with the Dodgers continuing to leave that possibility open for now.

“I think so much of it is, when does he start? What’s that time off in-between? How lined up are our other starters?” Friedman said.

“Until we know that, it’s hard to get too much into it.”