Acclaimed German director Wim Wenders announced he was withdrawing his 1975 film, “Wrong Move,” from distribution due to a scene featuring then-13-year-old actor Nastassja Kinski topless.
Kinski played Mignon, a mute acrobat and street performer, in the film. In the controversial scene, she is featured lying on the bed topless as she tries to seduce her 30-something co-star Rüdiger Vogler, who plays Wilhelm.
Wilhelm enters the room, removes most of his clothing and gets into bed with her, slaps her, pushes her away and then caresses her face and cradles her.
In a 1997 USA TV interview, she was candid about wishing some of her work could be scrubbed from the screen permanently, saying, “I’ve done quite a lot of movies, a lot of movies that I want to just go and burn someplace. You always calculate ‘how much would that cost? How would I do that?’ and just know it’ll exist forever. It won’t be showing all that much, but just the fact that it’s there and it’ll exist.”
She told W Magazine the same year, “If I had had somebody to protect me or if I had felt more secure about myself, I would not have accepted certain things. Nudity things,” Kinski said. “And inside it was just tearing me apart.”
Per the Hollywood Reporter, Wenders received a lifetime achievement award at the German Film Awards last week and addressed the “Wrong Move” issue in his speech, saying that he would not shoot the scene today. He also said that he knew that keeping it in the film had continued to cause Kinski pain.
“I can’t blame the 29-year-old young man I was then, 50 years ago, who made a film of his time; wanting, in a way, to capture the zeitgeist,” he added before calling on the members of the German Film Academy to debate the issue and aid him in finding a resolution.
On Wednesday, the “Perfect Days” director issued a statement that was posted on social media saying that he would withdraw the film from all current forms of distribution.
“As the only person responsible at the time for Wrong Move who is still here, I recognize that Nastassja Kinski should have been better protected back then. For that, I apologize to you, Nastassja, unreservedly, no ifs and buts.”
Wender said that “the many reactions, comments, and conversations of recent days” had a played role in shifting his perception of the issue but that society must find appropriate ways of dealing with controversial film works from the 20th century.
“Only after that process has taken place — even if it takes considerable time — and once we have been able to present a mutually agreed solution, which will include Nastassja Kinski, will we make the film available again.”
Kinski commented on Wenders’ statement on Wednesday. The following has been translated from German:
“Wim, after all that, all those years, only because the public has now commented in so many newspapers, as well as colleagues, and now because thousands — even though I asked for so long — only now because of the public, do I read THESE words from you, W. Wenders: ‘Nastassja, back then 13 in the first film, Wrong Move.’ ”
Nothing could possibly generate a headline Tuesday night when the worst American League team — the Angels — played host to the perhaps the worst National League team — the Colorado Rockies.
Except. . .
This.
A fly ball conked Angels right fielder Jo Adell on the head and bounced over the fence for a home run, reminding fans of José Canseco’s similar gaffe 33 years ago.
The ball caromed back into the outfield and Rumfield momentarily stopped at second base. But the umpires confirmed the home run, coupling Adell with Canseco in numerous social media posts.
Canseco, the steroids-fueled, defensively challenged left fielder of the Texas Rangers, made a similar blunder on May 26, 1993, when a ball hit by Cleveland’s Carlos Martínez bounced off his head and over the wall.
Mike Trout presumably has witnessed every possible blooper, blunder and boo-boo in 16 seasons with the woeful Angels. The center fielder stood only a few feet from Adell when this one occurred and did not make himself available for comment afterward.
To his credit, Adell faced reporters.
“It looks like I’ve never played in the field before, which is disappointing, because it’s beyond the truth,” he said. “I’m the only one that really knows what happened. I was out there, and it happened to me, so it is what it is.
“It was kind of the icing on the cake, because I was [expletive] all the way around the whole day today.”
Adell was hitless in four at-bats, striking out twice, in the 8-2 loss that dropped the Angels to 23-39, the worst record in the AL.
The play was emblematic of Adell’s seven-year career with the Angels, who made him a first-round draft pick in 2017. At first blush, his lifetime Wins Above Replacement of 0.3 would indicate that he’s little better than the fictional minor league “replacement player” to which MLB players are compared in calculating the statistic.
Yet Adell’s physical tools and occasional highlights scream stardom. He shouldn’t be an ordinary Jo. The antithesis of the embarrassing episode Tuesday night came less than two months ago when he robbed the Seattle Mariners of three home runs in one game.
“It was the Jo Show,” Angels manager Kurt Suzuki said at the time. “This guy works as hard as anybody I’ve ever been around. His work ethic, attention to detail, his desire to improve every single day. To see him do that, I don’t believe you’ll see that again.”
Suzuki, who was Adell’s teammate in 2021 and 2022, likely never thought he would see a fly ball bounce off the outfielder’s head and into the stands, the Jo Show shifting to Oh, No!
“I saw the play, but for me, Jo’s made great strides defensively from when I played with him,” Suzuki said Tuesday. “And obviously, he had the night he robbed three home runs. It was a tough play tonight, but at the same time, the strides that he’s made defensively have been great.”
Adell was considered a defensive liability early in his career and was saddled with a four-base error in 2020 when a fly ball hit his glove and went over the fence. But he steadily improved and became a Gold Glove Award finalist in 2024.
That didn’t stop the “Tarps Off” throng of shirtless fans at Angel Stadium from chanting Adell’s name after the gaffe against the Rockies. For his sake, they likely will revert to imploring Angels owner Arte Moreno to “sell the team” soon enough.
Adell might have to stay away from social media forever, but he would like to forget the ball bouncing off his head as soon as possible.
“That’s what we have to do,” he said. “I mean, there’s really no other way around it. Let it fester and tumble over, but these are plays I’ve made hundreds and thousands of times. I’ve got to just keep going, and as a team, we’ve got to keep going.”
According to Abs Mechial, there is a specific minute every day in which holidays can be booked for cheaper on average – but you may need to set your alarm to take advantage of it
A financial adviser has revealed the best time to book your 2026 holiday (stock)(Image: Ralf Hahn via Getty Images)
If you are yet to book a getaway this year and are wondering when the ideal moment might be to do so, a financial expert has identified precisely when you should – and shouldn’t – make your move. Abs Mechial turned to TikTok to reveal that not only are certain days preferable for booking, but specific times of day matter too.
“When is the worst time to book a holiday and when is it actually cheapest? he asked his followers in a video. Surprisingly, according to research, Abs claimed there is a one-hour window in each day when holidays can cost you significantly more money to book.” he asked his followers.
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“According to the data, the most expensive time to book is between 9am and 10am,” he explained. “Bookings in that window came in around 30 per cent more than the cheapest time of the day – so no more booking holidays as soon as you log in for the day.”
As for the most economical time of day, Abs warned that you might need to set your alarm. “Early… and I mean really early,” he said. “Between 4am and 5am – and the logic does make sense.”
Abs highlighted that overnight, demand “drops off” and consequently prices “reset” to their baseline.
He elaborated: “Then as the day goes on, the more searches and more clicks result in prices starting to creep back up again.”
For those reluctant to wake up before sunrise, however, Abs provided guidance for anyone wanting to book during “more realistic hours”.
“Late evening, around 8pm to 10pm tends to be noticeably cheaper than the morning rush,” he enthused. “But if you want to go even further and want the exact moment – not just the hour, but the minute – according to the data, the single cheapest minute to book a holiday is 2:48am.”
Surprisingly, bookings made at that precise time worked out up to 60 per cent cheaper on average, according to Abs.
He concluded with a word of caution, however: “Now, definitely take that with a pinch of salt – booking at 2:48am isn’t going to make every holiday 60 per cent cheaper, but the pattern is clear – if you want to save money, avoid peak booking hours because timing, just like everything else with money, makes a massive difference.”
Responding in the comments, one TikTok user offered their own unverified tip: “Best to search in private browser so prices do not increase if you are searching for same destinations. Prices increase with demand so private searching will prevent this.”
A second person added: “I usually book mine within 72 hours of departure… like 50% cheaper! I find the hotels I want and then I wait for them to deal them off.”
A third exclaimed: “Wow that’s crazy how the time of day can cost you!”
While a fourth TikTok user pointed out: “Doesn’t change if you want a certain resort at a certain time of year.”
Nonfiction films and series are among some of the most-watched (and most-discussed) programming on TV. As Emmy season heats up, the directors of six notable contenders share thoughts about their projects.
‘The Yogurt Shop Murders’ (HBO)
“It’s just a famous, famous story in Texas, but particularly Austin,” director Margaret Brown says of the bewilderingly complex case of four teenage girls slain at a yogurt shop in the state’s capital in 1991. “You heard about it all the time at parties. My best friend was like, ‘That story is rabbit hole upon rabbit hole upon rabbit hole — no one knows what really happened. It’s impossible to figure out.’ I liked the idea of something that was impossible to figure out. But when I started doing the interviews, I was like, ‘This is dark, this is deep trauma.’ I’d never watched or done true crime before. I didn’t realize what it would be like to sit with people who hadn’t known what happened to their siblings and children for over 30 years. I remember [thinking], ‘I’ve got to get this right. I can’t mess this up. There’s just too much pain here.’”
‘The American Revolution’ (PBS)
“Leading up to it, I said I just don’t want us drowning in fife-and-drum treacle,” director Ken Burns says of his expansive treatment of America’s origin story, which draws out the experiences of Native Americans and enslaved people as well as the era’s atmosphere of civic discord. “Clearly it’s not, because we’re so existentially challenged by the moment. But the revolution gives us a sense of perspective. Times were more challenging then. More division. More division in the Civil War. More division in Reconstruction. Yes, the threats are unprecedented, but they’re not totally unfamiliar. Mark Twain is supposed to have said history doesn’t repeat itself, but he’s [also] supposed to have said it rhymes. I love that. So like Odysseus, I tie myself to the mast and resist the temptation to put a little neon sign in the film saying, ‘Isn’t this so much like today?’”
‘Sean Combs: The Reckoning’ (Netflix)
“There was so much noise,” says director Alexandria Stapleton, who tracks hip-hop mogul Sean “Diddy” Combs’ rise and shocking fall in this series, executive produced by 50 Cent. “I’m scared for my safety, I’m scared for my career. Then there was every journalist, every giant corporation, trying to chase the same story. Because there was a feeding frenzy, there were a lot of people that were not truthful. It was making sure that we were going after the right people to speak with, and then … making sure that they felt safe emotionally. No one knew who I was interviewing while I was making it. In making a project about a man who’s very connected in media and very good at whatever he wants his narrative to be, there was a very deliberate decision to not drop this project until we literally were a week out.”
‘Ocean With David Attenborough’ (National Geographic)
(Keith Scholey / Silverback Films and Open Planet / National Geographic)
“It’s been weird, because I’ve got older, and he sort of stayed the same, like the Dorian Gray picture,” says Keith Scholey, one of the film’s directors, of the 100-year-old broadcasting legend and naturalist. “He’s still got that huge power and presence and commitment. It comes from the heart. He’s got a huge depth to him, in terms of knowledge, experience, personality … but he’s also very self-effacing. The most boring thing in the world for David Attenborough is David Attenborough. He’s interested in every aspect of the truth, and he loves uncovering that and passing that on to the world. He knows how to present in a way that it’s a performance, but it’s not a performance.”
‘Neighbors’ (HBO)
“Neighbor disputes are a great leveler,” says Harrison Fishman, who co-directs this gonzo excursion into neighborhood feuds with Dylan Redford. “If you think about class and race and politics, all that stuff gets thrown out the window when people are dealing with such small, concrete problems. You quickly start learning why people care so much about the things that they’re fighting for. It becomes a bit like a Trojan horse into learning about aspects of America and things about people that have nothing to do with the dispute. Those tangents are so valuable to us, because it gives context to the dispute. But it also helps people understand who everybody is in our country.”
‘Mr. Scorsese’ (Apple TV)
“We would get together and have these very long conversations,” says director Rebecca Miller, who interviewed American cinema’s great poet of tortured masculinity over five years. “But then in terms of the other voices, I thought, ‘Who knows him best?’ There was this wonderful movie called ‘Crumb,’ by Terry Zwigoff. He interviewed [cartoonist R. Crumb’s] ex-girlfriend at a certain point, and I felt like I got a view into the person, not in a gossipy way, but … trying to get a rounded view. If you only get the front-facing part, you’re not going to get a full sense of who they are. It was very important to me that we hear from the daughters or his wife, that there’s a sense of a person in there.”
WASHINGTON — Democratic Rep. Jimmy Gomez of Los Angeles is reportedly under investigation by the House Ethics Committee over sexual misconduct allegations.
The investigation came after the New York Post reported in April that the 51-year-old, five-term congressman had been spotted kissing a much younger congressional staffer from a different office in 2023.
According to CNN, which on Tuesday first reported news of the investigation, the congressional committee learned of other allegations of sexual misconduct as it investigated the report of Gomez’s 2023 conduct with the staffer.
The 2023 incident with Gomez and a younger staffer reportedly occurred at a party hosted by Swalwell, according to the New York Post. Gomez’s office denied the report at the time.
Another lawmaker, Texas Republican Rep. Tony Gonzales, also resigned from Congress in April in the wake of allegations of sexual misconduct with a former staffer who later committed suicide.
Both Swalwell and Gonzales were under investigation by the ethics committee before they resigned, but those investigations ended when they left office as the committee only has jurisdiction to investigate sitting members.
Gomez’s office didn’t respond to multiple requests for comment, but, in a statement to CNN, Gomez said he would cooperate with the ethics investigation. While he acknowledged making “personal mistakes” outside his marriage and apologized to his family, he said his actions didn’t violate House ethics rules.
“Years ago, I made personal mistakes outside my marriage that have caused real pain to my wife and family. Although my actions were consensual in nature and haven’t violated the law or House ethics rules, that doesn’t diminish the impact that these mistakes have made on those I care about the most,” Gomez said.
The House Ethics Committee declined to comment on the reported investigation.
Gomez is married to Mary Hodge, a past top aide to former Los Angeles Mayor Eric Garcetti. The couple have a son whom Gomez wore in a baby carrier during the lengthy House speaker election in 2023. That same year, Gomez founded the Congressional Dads Caucus, which has advocated for expanded child tax credits and other parent-friendly legislation.
The disclosure of the congressional investigation comes as Gomez faces a campaign challenge from Angela Gonzales-Torres, a Pasadena City College counselor with the backing of the progressive Justice Democrats.
Gonzales-Torres has criticized Gomez for receiving the backing of the American Israel Public Affairs Committee, or AIPAC, though Gomez has at times taken political stances at odds with the group.
After news of the ethics investigation broke, Gonzales-Torres wrote on the social media platform X, “I take political corruption seriously … I also take very seriously what appears to be a culture in Congress in which men abuse women.
“If @RepJimmyGomez has nothing to hide, he should have no concern. But if there was any criminal behavior that he witnessed, participated in, or helped conceal, we will find out and we will help ensure accountability and justice.”
Gomez was first elected to Congress in a 2017 special election to succeed Xavier Becerra, who is now running for governor and has seen the biggest boost in support following Swalwell’s departure from the race in April.
Gomez previously served in the state assembly from 2012 to 2017 and was political director for the United Nurses Assn. of California before that.
Mindy Kaling was in her early 30s when the first TV series she created, “The Mindy Project,” made its debut and set in motion her attempt at forging an identity as a prolific multi-hyphenate after “The Office,” where she was a writer and cast member for eight seasons. But if you ask her to reflect on that time of her life, she says, it’s a bit of a blur.
As she explained recently, “I remember it, but not all that distinctly. It was such a grind — waking up at 6 a.m. to be on camera, wrapping late. And I did that for 117 episodes.”
But ask her about her 20s, when she was living in New York City and trying to figure out how she could break into the industry as a comedy writer? “I remember incredibly vividly,” she says. “I’m like, did I feel things more intensely back then? I’m not sure. But that period of time … there was just so many highs and lows. And it felt cinematic to me.”
So she made a TV show about it.
Premiering Tuesday with three episodes, “Not Suitable for Work” follows five ambitious 20-somethings living in Manhattan who are navigating the early stages of their careers while trying to have a semblance of a life and the heightened emotions they experience during this period. Kaling calls it the third chapter in her semi-autobiographical TV trilogy, which includes “Never Have I Ever,” about a first-generation Indian American teenager coping with her father’s death while trying to be popular (or at least not super uncool), and “The Sex Lives of College Girls,” about four young women who dorm together and boldly maneuver their new, uninhibited lives on campus.
In the new Hulu series, viewers are introduced to AJ Pascarelli (Ella Hunt), a hard-working and disciplined young woman who moves to town to start a high-pressure finance job, and her roommate Abhinaya “Abby” Chilukuri (Avantika), a savvy and fashion-obsessed assistant to a celebrity stylist. They live across the hall from Josh Teitelbaum (Jack Martin), an idealistic nepo baby of a media titan — he’ll lean into his privilege when it suits him while also trying to distance himself from it — with ambitions of making it in journalism. His two roommates are Kel Washington (Nicholas Duvernay), an insecure but earnest med student who would rather be acting, and Davis Beau Bradley Barrett III (Will Angus), a high-energy, bumbling financial analyst who works at the same corporate firm as AJ and is an undercover hopeless romantic. As one might expect, there are some messy entanglements within and outside the group.
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1.Abby (Avantika), left, and AJ (Ella Hunt) move in together.2.Across the hall live Davis (Will Angus), left, Josh (Jack Martin) and Kel (Nicholas Duvernay).(Gwen Capistran / Disney)
“I hope that young people will respond to the show, “ Kaling says. “We did so much research in it because at a certain point it is funny — I’m in my 40s, and I am often like, ‘I wonder if young people are suspicious about why I’m so obsessed with writing shows about young people.’”
So, why is she?
“Because I find it almost impossible to reflect on the current time I’m in,” she says. “It would be too painful to be too introspective about the time that I’m in. I need a real sense of distance to look back on it, especially since having kids. Once you have kids, it triggers these memories of your own childhood.”
Over video call from New York City, Kaling reflected on the series and her early years of trying to make it. These are edited excerpts from the conversation.
How did you land on the professions that your characters would be pursuing and what did you want to say about ambition at this stage of life?
I love people who have big wants, and sometimes the audience is like, “Maybe you want the wrong thing” and they [the characters] don’t quite know that yet. I love writing about the underdog. And with their particular professions, they’re all things that I had some interest in researching. I’ve always been fascinated by investment bankers. I went to Dartmouth, so I have a lot of friends who went into that, and I swear I’ve had my friends explain their job so many times to me, and I still didn’t totally understand it. We were lucky; a very famous investment bank very generously offered to let me come for a day and meet with young bankers. I also … write about the children of immigrants. I’m very, very interested in that story, and so we got to research what it’s like being the child of Nigerian immigrants. But every single character has a journey, or there’s an aspect of them that I feel like I really relate to, and that is in almost all my shows.
What was it like observing young people in the investment banking world?
They were wary — because they’re smart — of someone from Hollywood coming in to document what they were doing and asking questions. It helped that a lot of the guys liked “The Office” and a lot of the women liked “The Mindy Project” and “Sex Lives of College Girls” because they’re all kind of young. I think that made them trust me a little bit more. For the AJ and Davis characters, so much of what I researched when I was there fed into their plot line … almost all the characters have a boss they fear and idolize, and the way that first-year bankers feel about their managing directors is not dissimilar to the way I felt about Greg Daniels when I started at “The Office.” And the hours are actually not dissimilar.
There’s a moment early on where Jay Ellis’ character, Bill, who is a managing director at this fictional investment banking firm, is asked about work-life balance. I’m curious how you thought about that at the start of your career versus now.
I didn’t care at all about anything except my job for 16 years. It was my entire personality and purpose. When I was in my 20s, the only thing that mattered was being a good comedy writer and succeeding, and one day maybe being able to create my own shows. There was no balance. I didn’t want balance. I wanted to live and breathe comedy writing for my entire life. I hated the weekends, actually. And who wouldn’t? I was a friendless transplant in Los Angeles and I just wanted to get back to working at “The Office.” Every year I was there, I got more ambitious and I wanted to go off and create my own show and have a bigger part as an actor and everything.
It wasn’t until after I did that on “The Mindy Project” … that I just felt like, “OK, I get this. I want to now try being a mom.” Once I had my daughter, Katherine [at 37], it wasn’t that the balance changed, it was my first real, legitimate interest outside of work — that I cared about more than work.
“When I was in my 20s, the only thing that mattered was being a good comedy writer and succeeding, and one day maybe being able to create my own shows,” Kaling says. “There was no balance. I didn’t want balance.”
(Ebru Yildiz / For The Times)
After college, you moved to Brooklyn with two Dartmouth friends to pursue a career in comedy. You eventually got a full-time job as a production assistant on “Crossing Over with John Edward,” a program where people would receive psychic readings. Tell me about that time in your life.
I remember feeling like I had no access and that I didn’t have any place to put my ambition. It was so far away from anything I wanted to do — scripted comedy and reality television could not be further apart. It was a fascinating time because there were such highs and lows. There was the excitement of new crushes and having fun in a new city with two friends, but there was also the crushing disappointment of feeling like I was never gonna make it. I didn’t even have a path forward to making it, but I was lucky, because I lived with my two best friends. We would go to open mic nights, and we would go to restaurant week and see how the rich people in Manhattan were living. We would take the subway uptown to Central Park and walk along Fifth Avenue and like look at these amazing homes and just dream what it was like to be like a wealthy New Yorker who could buy everything that they read about on DailyCandy — now I’m really dating myself here, back when DailyCandy was a thing. But that’s what it was like, I just I felt a lot of extreme emotions.
How did you approach that job?
My boss was a producer and would approach the families and get their information, and then we would have to do research on them, but it was mostly because they would do a little clip package on the different families. I had to get them to sign releases to be on the show and get photographs of their deceased [loved ones] and them. I actually thought it was pretty interesting work. It just had nothing to do with comedy writing, and that job was not clearly going to lead anywhere toward comedy writing, and I came to New York because of “Saturday Night Live.” When I was working there is when my friend Brenda [Withers] … and I started writing this play “Matt & Ben” [a satirical play that imagines the story of Matt Damon and Ben Affleck before “Good Will Hunting” made them famous] in the time we had off. We started writing it, then I got that job as a PA, then the show went up at the Fringe Festival, and then it was going to go off off Broadway, and when it went off-off-Broadway, and I had a steady income, that’s when I quit my job there. I was only at “Crossing Over” for three or so months.
Greg Daniels attended a performance of “Matt & Ben” and it’s what led to you getting on “The Office” at 24.What was that first meeting like?
Back then, because the internet was so different, when I looked up Greg, besides his credits, you couldn’t find a lot of biographical information about him, or even a photo. I don’t think I even knew what he looked like. When I met him, I don’t think I had seen the British “Office” yet; I wasn’t cool. At that time, I had put so much pressure on this job. I only had two interviews — it was this and there was a show that ended up getting canceled while I was waiting to meet the showrunner. It was a pilot called “Nevermind Nirvana,” about an Indian man who married a white woman, and Ajay Sahgal was the writer. I was like, “Oh my God, if anyone is going to get hired to work on the show, it has to be me.” I was pretty excited about that meeting, but when I was sitting in the waiting room at the production offices to meet with Ajay, they told them they weren’t going to pick up the pilot, so I never even got to meet him, and they just told me I could leave.
I’d only had that interview, and then I met with Greg. This is my memory: it was a high-rise building in Century City, in the offices of “King of the Hill,” so there was a lot of like “King of the Hill” cutouts and stuff there. And he’s just a very thoughtful, quiet guy who doesn’t push conversation … I’m someone who’s pathologically chatty, and so talking to Greg, who is completely fine with there being pauses in conversation, and is just a confident grown-up, it was incredibly intimidating. I was very stressed out in our meeting, but I also was blown away by him.
That first season, you were also the only female writer on staff and the youngest —
B.J.[Novak] is a month younger than me. I want to correct that because he’ll read this and go, “Hey … !”
How did that play into how you felt in the room?
I haven’t really ever had imposter syndrome. And this is my probably my personality defect — I felt that even if I hadn’t seen anyone like me in these roles, that I was just going to be the first one, and I was going to work really hard and prove it to them. The staff was super competitive, but they were smart feminist guys. It was hierarchical and stressful, but it was not because of my fellow writers, except that I wanted to impress them. I felt nervous because I wanted to be contributing, but I don’t know why — I just loved the pilot so much that Greg had made, and I loved these characters, and this world — I was like, I can’t possibly lose my job, I love it too much. Which is probably really stupid, I didn’t ever think there’s a possibility that I could get fired here.
Phyllis (Phyllis Smith), Kelly (Mindy Kaling), Dwight (Rainn Wilson) and Michael (Steve Carell) in a scene from Season 2 of “The Office.”
(Paul Drinkwater / NBCUniversal via Getty Images)
We see how AJ wants to impress the boss and takes on more than she can chew and screws up some data before a big presentation. What was that first big mistake or misstep that you made in those early years that you still think about?
I remember Season 2 — because I just wanted to prove to Greg and to the cast and to the director, the cinematographer, and everyone that I was super invested — we were shooting “The Dundies” [episode]. I was an actor on the show as well, but I wasn’t acting in this scene, but it was my episode [that I wrote], and in between takes, John [Krasinski, who played Jim Halpert] and Jenna [Fischer, who played Pam Beesly] were just on set, and I remember going up to them and being like, “Guys, that take was so great!” And I walked away. Greg came up to me and was like, “You know, we really should let just the director talk to the cast between takes.” Greg, he’s my mentor, but he definitely, over the course of the eight years I lived there, had corrected me many times, as he should have, but that was one of the first times. I remember I was so embarrassed, but I didn’t understand it’s not the role of a story editor to be giving feedback to the cast between takes on a show.
The bosses on the show all have different styles and expectations that may seem demanding or annoying on the surface. How do they reflect where you’re at now?
No one trains you on how to be a good boss. And bad bosses are so prevalent. The entire premise of “The Office” hinges on this funny concept that terrible bosses exist. It wasn’t until I was on “The Mindy Project” that I was the employer for the first time. Every single year of that show, it was a battle getting a new season. One of the challenges of being a good boss is being able to put aside those personal, professional battles you’re fighting … but then also realizing that you’re a mentor to other people, and you have to start thinking about things that you never thought you needed to — overtime, maternity leave, respect in the workplace, the things that make the workplace enjoyable for everyone else who’s there working for you. And it’s not like that comes naturally.
The double blessing of having a good boss, which I did in Greg Daniels and Howard Klein [an executive producer on “The Office”], is that they modeled that for me. Even though I could not be more different than Greg. Even to this day, I’m realizing I have all the unique challenges of being a single mom, being the creator of these shows with crews and casts, but then also being able to be empathetic for all the people that work for me and making sure I make time to listen to them when they want to talk to me about an issue that they’re having; it’s a continual challenge that I’m hoping I’m getting better and better at [managing].
When Bill is asked about work-life balance, he’s also asked if he has inspirational words to impart. It’s very much about overworking and being productive. How do you tackle the question today?
I used to say “you have to write your own part.” And everyone would get annoyed because they’re like, “I’m not a writer.” I’ve had to really think about the question so I could be helpful. We all want a linear path to success. And if my career has taught me anything, it’s that the linear path just was not how I got my job. You know when you go on Google Maps and it shows you all the different paths — the fastest, one path with the toll road and one path that’s going to take seven minutes longer. I’ve only ever taken the one that’s seven minutes longer, or the toll; it’s never been the easy way. The sooner I got used to that, the better.
Before I let you go, in the show, one of the celebrity clients Abby is dealing with is Austin Blanchett, Cate Blanchett’s fictional nephew. Was it always going to be Cate? What other celebs were in the running?
It was Cate Blanchett’s nephew before we had Harry Richardson. When I worked on “Ocean’s Eight,” one of the biggest surprises on it was that Cate Blanchett was incredibly funny and did not take herself seriously at all. I suspect if anyone was going to think it was funny that in this fictional world of the show she had this useless nepo nephew that she had to help get jobs, it would be Cate. I hope she doesn’t sue me. I think she would think it was funny.
As primary voters head to the polls Tuesday to determine which candidates will face off in November to become California’s governor and Los Angeles’ mayor, both races are wide open, with a new crop of candidates challenging the Democratic status quo.
For Democrats, little clear consensus has emerged so far on who should lead the city and state into the future.
In California’s crowded gubernatorial race, Democrats have struggled in recent months to settle on a candidate to succeed term-limited Gov. Gavin Newsom.
In L.A., experience seems to be as much a liability as an advantage.
Mayor Karen Bass finds herself in the extraordinary position, as an incumbent, of fighting to make the runoff as she is assailed from the left and the right. The latestUC Berkeley-L.A. Times poll shows Bass leading with just 26% of the vote, one point ahead of City Councilmember Nithya Raman, a wonkish Democratic socialist, and four points ahead of Republican Spencer Pratt, a former reality TV star.
“There’s a clear sense of frustration with the Democratic Party,” said Sara Sadhwani, a professor of politics at Pomona College. The reason a wave of conservative outsiders like Pratt and Hilton are doing so well in such a solidly liberal city and state, Sadhwani said, is that they’re more willing to spell out the challenges that L.A. and California face.
“Democrats tend to be very concerned about not upsetting one coalition or another, so it’s politics as usual with many of the Democratic candidates,” Sadhwani said. “Spencer Pratt has blown a hole in that by just naming the problems that everyday residents and voters are seeing and feeling on the ground.”
On homelessness, many Angelenos are frustrated Bass hasn’t significantly moved the needle.
“We can point to facts and figures that might suggest that things have changed,” Sadhwani said. “But when you walk down the streets of Los Angeles, it doesn’t feel like it, so she hasn’t passed the field test. That’s the problem.”
A growing segment of Angelenos also chafe at the city’s high cost of living. And many are angry about the Bass administration’s lack of preparation and response to the 2025 Palisades fire.
“The Democrats have to account for those challenges,” Sadhwani said. “They have been in power for all of this time.”
California, of course, remains a Democratic stronghold, and polls show state voters are overwhelmingly opposed to President Trump. His second-term agenda — including a sweeping immigration crackdown, tariffs and the war in Iran — only seems to have cemented California’s status as a resistance state.
But after so many years of Democratic dominance, in Sacramento and at Los Angeles City Hall, leaders have to answer for voter frustrations.
The top two vote-getters in California’s nonpartisan primaries will advance to theNovember runoff, unless one candidate manages to pick up more than 50% of the vote.
Republicans have turned out at higher rates than Democrats in early voting. Paul Mitchell, vice president of the Sacramento-based bipartisan firm Political Data Inc., said that older Democrats who reliably turn in their ballots were slower to vote this year, likely because two Republicans were on the gubernatorial ballot and the Democratic field was fractured.
“That has caused them to dive into a lot more strategic voting,” Mitchell said, noting many seemed to be waiting to cast their ballots for the Democrat who looks to have the best chance of moving on to November.
For the GOP, getting a candidate on the November ballot for governor means more than just demonstrating Republicans are players in California. A GOP candidate would bring out more Republicans to vote in the general election, raising the party’s prospects of winning down-ballot races and passing a GOP-led ballot initiative on voter ID.
For Democrats, the midterm races offer the party its first major chance to chart a new path for the future.
As polls show Trump cratering in popularity, Democrats in California and beyond are struggling a year and a half after Kamala Harris’ bruising 2024 defeat to agree on what went wrong.
The Democratic National Committee’s long-awaited autopsy of that election — which said Harris “wrote off rural America,” wrongly assumed identity politics would win over voters of color and failed to develop “defined or consistent” strategy against Trump — has only generated more hand-wringing.
“There is not a clear vision, there is not a clear policy agenda, and the Donald Trump presidency upended the policy world as we knew it,” Sadhwani said. “It’s unclear how any Democrat, including any of the individuals in these two races, is going to navigate the waters into the future. One thing is for certain: We aren’t going back. So, which of these candidates is going to lead us into an uncertain future?”
Referendum on Bass
In L.A., the election is a referendum on Bass, who pledged in 2022 to solve homelessness, cut crime and make the city more affordable.
“How has L.A. changed in four years?” said Christian Grose, a professor of political science and public policy at USC. “The Bass campaign is saying it has changed for the better and she still needs more time. All the other candidates, from very different perspectives, are saying that it’s much worse than it was four years ago, and it’s time for new leadership.”
Bass told The Times she plans to win in November by demonstrating her administration’s progress in clearing homeless encampments and accelerating the building of affordable housing. She has also noted that data shows homicides in the city are at their lowest since 1966.
Challenging Bass from the left is Raman, who was elected in 2020 as the first DSA-backed L.A. City Council member. Pitching herself as the viable progressive in the race, Raman has accused Bass of not doing enough to make the city affordable and critiqued Bass’ spending on Inside Safe, her program to move unhoused people into stable housing. Although Raman presents herself as an outsider, she is a former Bass ally who has chaired the council’s Housing and Homelessness Committee for more than three years.
“She’s absolutely a part of the establishment,” Sadhwani said. “She’s been in City Hall longer than Karen Bass.”
Pratt is challenging Bass and the entire Democratic status quo.
A former star of “The Hills” who lost his home in the Palisades fire, he has surprised many political observers with his success assailing the city’s handling of the 2025 firestorms. He has called unhoused people drug-addled “zombies” and argued that L.A.’s housing crisis requires heavy-handed policing.
Still, most political experts agree that Bass has the most viable path to victory, starting with a solid base of Black voters and a large share of Latino voters, plus support from powerful unions.
“Under normal circumstances, or at least under historic circumstances, that would be plenty to get her over the finish line,“ said Jim Newton, executive director of UCLA Blueprint magazine and a former political journalist for The Times. “What’s problematic for her is that there are people who are angry with her.”
A reset in California
Newsom has emerged in recent years as the national face of Democratic resistance to Trump, bolstering California’s status through a barrage of lawsuits and all-caps trolling against Trump.
Whatever candidate replaces Newsom, things are going to be different.
The emerging front-runner, Becerra, is a safe-bet career politician who has served as California attorney general and U.S. secretary of Health and Human Services. Asked recently why he had climbed in the polls, Bercerra said he thought voters wanted experience, not “glitz and sizzle.”
He has pledged to issue executive orders declaring California’s housing shortage a state of emergency and directing state agencies to maintain coverage for every Californian affected by federal or Medi-Cal cuts. He also touts his record, as the state’s attorney general, of suing Trump 122 times.
Steyer, a hedge-fund billionaire, calls himself “the most progressive candidate on the ballot.” He has pledged to build one million affordable homes, make the wealthy pay more taxes, and defend the environment — stances that are certain to unsettle Sacramento lobbyists and test the limits of California’s progressivism. But his past investments in coal plants and ICE prisons raise questions for some voters.
“His wealth is in one way his Achilles heel in the election,” Grose said. “Voters think of him as a billionaire more than progressive.”
Hilton has pledged to cut government spending, make housing more affordable and bring gas prices down. But to achieve some of his goals he would scale back public services and environmental regulations and ramp up domestic production of oil and natural gas — strategies that many Californians might hesitate to get behind.
“Clearly, the party itself has lost its way in California,” Sadhwani said. “I would not be surprised if the California Democratic Party looks for new leadership after this election.”
If Republicans make it to the runoff, they face steep odds of being elected in November in a state where Democratic registered voters outnumber Republicans bymore than 20 percentage points.
Rob Stutzman, a GOP strategist, said neither Hilton nor Pratt was likely to win. But if they made the runoff they could have a huge impact on the political environment by advancing “grievance issues that really put up a spotlight on what I call the blue state incompetence.”
Of all the candidates, Mitchell said, Pratt as an outsider adept at Instagram and TikTok has the greatest opportunity to create a new surge electorate. But he’s also going after the hardest voters to get to turn out: disaffected voters who are upset at the system.
Pratt had more retweets and viral videos than any other candidate, Mitchell said. “But that doesn’t buy him the vote of the disaffected DoorDash driver who believes that the system is broken, and who hasn’t voted in the last five elections.”
If Republicans don’t make it past the primary, Mitchell said, Democrats would likely hit the reset button.
“Pratt running has kind of obfuscated the differences between Raman and Bass,” Mitchell said. “It’s like a WWE match versus a chess match. I think Raman versus Bass would be more of a strategic and nuanced election than Spencer Pratt trying to hit Karen Bass over the head with a chair.”
Welcome back to The Times’ Lakers newsletter, where we’re calling in reinforcements for the home stretch of the NBA season.
The Finals begin Wednesday. All but the New York Knicks and the San Antonio Spurs are left to reckon with their rosters from the sidelines. Some of the recently eliminated teams have major decisions that could affect the market for the Lakers, who, I’m sure you know, are facing some huge roster questions. To break down the offseason, I sent the bat signal out to some of my favorite co-workers for their thoughts.
All things Lakers, all the time.
Get all the Lakers news you need in Thuc Nhi Nguyen’s weekly newsletter.
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What say you?
Joining me at our virtual roundtable are Los Angeles Times reporters Broderick Turner and columnists Bill Plaschke and Mirjam Swanson. With an assist from our assistant editor Dan Loumena, we examine the upcoming offseason.
The biggest question facing the Lakers: Re-sign LeBron James, let him walk as a free agent or hope he retires?
Nguyen: LeBron deciding to retire would definitely make things simpler for the Lakers, but nothing about this franchise can be simple. With how the season ended and the way he played, it feels unlikely that he would walk away at this point. It’ll come down to the money. This free agency class is not very strong. A soon-to-be 42-year-old could be the best of the bunch. But if the Lakers are on the hook for something close to what James made last year, building out the rest of the roster seems untenable. At the right price, he still feels like a player who could help the Lakers.
Plaschke: There is no “right price” for the Lakers and LeBron. He’s still one of the best players in the game, and he’ll demand to be paid like it, but the Lakers aren’t going to want to pony up. Not for a third option. Not for a 42-year-old consistent injury threat. And not for a guy who, if they give him what he wants, they’ll have no chance to begin building what they want, which is a championship. Bring back LeBron James? Pass.
Swanson: There absolutely is a right price — for the Lakers. Will that be the right price for LeBron? What if a low-low price of $20 million-ish would do it? Higher than the mid-level but far less than he’s used to? I think there’s a world where the Lakers can make a $20-million to 30-million pay cut make sense for LeBron — and I think he’s waiting to see if they can do it.
LeBron is such a Rorschach test because everyone hears what he says and so many of us perceive it differently. What I heard when he spoke about his future on the recent “Mind the Game” podcast was A) not someone who’s lost his love for the game, B) someone who really enjoyed last season’s Lakers team, C) someone who’s L.A.-lifestyle-loving family is going to have a lot of sway in this latest Decision and D) someone who was letting it be known that he isn’t making the call until “late-June into August,” by which time the music will have all but stopped on the NBA’s annual musical chairs number.
I take that to mean that LeBron is going to sit back and see what the Lakers do with the money they’re going to be reallocating to other players and whether it brings them closer to contention. If they do that, I think he comes back for another hurrah for substantially less — and they should want him! He’s not only one of (if not the) best players of all time. He was still a massively productive player at 40 and 41. He led the Lakers to a playoff series victory against Houston and was their most dependable player on the court for much of the Oklahoma City series in which they were otherwise completely overmatched.
Turner: Let’s be clear first: LeBron is one of the best free agents in a market that is not strong this offseason. That, alone, puts the Lakers in a precarious situation, because they know it’s a weak market and so do James and his representatives. James’ asking price and what the Lakers are willing to pay him will be the test for both sides. It’s called negotiations and James and his people already are letting the media machine suggest James wants the same $52.3 million he earned last season again. Or if not, James, rightfully, wants to know how the Lakers will build their team if he does take a pay cut. He proved his worth again in the playoffs, leading the Lakers past the Houston Rockets with Doncic out and Reaves playing in just two of those games. The Lakers will have to pay The Man.
Austin Reaves is expected to opt out of his contract to enter unrestricted free agency. The Lakers can bring him back for up to five years and $241 million. Other teams can sign him for up to four years and $178 million. What should the Lakers do?
Austin Reaves controls the ball during the first half of Game 6 against Houston.
(Ashley Landis / AP)
Plaschke: Bring back AR. He got batted around a bit in the playoffs, but he was trying to return too soon from his oblique injury. Judge him by his entire body of work, which meshes perfectly with Luka’s body of work. Give AR what he wants. Bring him back.
Swanson: Unless the Brooklyn Nets or Atlanta Hawks or Memphis Grizzlies want to massively overpay, Austin is coming back. He loves L.A. and L.A. loves him back. But I don’t think anyone thinks Austin is going to get $240 million from the Lakers, it’s more likely going to be a five-year, $200-million deal — that extra year the Lakers can offer being the sweetener in any potential bidding war.
And the Lakers shouldn’t overpay him, because they need to make sure he’s on a tradeable contract — in case they can’t figure out how to overcome Austin’s and Luka’s redundancies as defensively suspect shot-makers. Or if his toughness doesn’t override his unfortunate susceptibility to injury. Or if uneven playoff performances in the future put a lid on the Lakers’ postseason potential. You know, just in case.
Turner: He wants to return and the Lakers want him back. At what price is the question. Reaves earned $13.9 million last season and has a player option for next season at $14.8 million. He’s going to bet on himself and decline that option for a bigger payday. At the very least, Reaves will earn $40 million or more per season. The Lakers know a few teams have their eyes on Reaves. Reaves and his representatives know they can get up to five years and $241 million from the Lakers, and that’s what they want.
If the Lakers and LeBron do not come to an agreement, what other options do they have via trade or trying to sign a star?
Nguyen: The Lakers are trying to remodel the roster to fit around Luka Doncic, which means they need shooting, defense and a perfect pick-and-roll partner. Despite lingering hamstring injuries, Denver’s Peyton Watson, who is a restricted free agent, was an intriguing name, especially with a potential homecoming for the former UCLA Bruin. Detroit’s Jalen Duren is a restricted free agent and coming off an underwhelming postseason run, which could complicate negotiations for the third-team All-NBA player. If Cleveland is willing to part with one of their big men after getting swept out of the Eastern Conference finals, maybe the Lakers could lurk around for a big trade. Come draft night, the Lakers have three first-round picks available to trade: 2026, 2031 and 2033.
Swanson: The Lakers need to target stars in their roles. Most of those guys Thuc Nhi mentioned would be good — though Duren’s playoff nosedive would make me not want him at his going price. For the Lakers, it’s: Shooters wanted, defenders wanted, ATHLETES wanted. Think the New Orleans Pelicans’ Trey Murphy or maybe Herb Jones. And bring back Rui Hachimura, a big-bodied shooter who we trust in the clutch. Build Luka a suitable army, as much as possible, with the cap space and draft picks they’ve been saving for this offseason.
Turner: Here’s the thing: The Lakers can re-sign LeBron and AR and still use the mid-level exception that will be about $15 million to sign a free agent. Denver’s Peyton Watson is a name that has been attached to the Lakers. The problem is he is a restricted free agent and the Nuggets can match any offer he receives. Also, if the Lakers make him an offer, the Nuggets have 48 hours to make a decision. During that waiting period, the Lakers would have cap space tied up and could lose out on other free agents. But word around the NBA is that the Nuggets will shed some salaries so they can pay Watson because they need young, athletic wings.
Then there’s the Deandre Ayton situation. Can the Lakers upgrade at center?
Deandre Ayton defends against Oklahoma City Thunder guard Luguentz Dort during the playoffs.
(Kyle Phillips / Associated Press)
Nguyen: It feels likely that Deandre Ayton will be back on his player option. It’ll be hard for him to get anything better on the open market. But the Lakers definitely need more out of that position. If he comes back with Luka and Austin, “run it back” is starting to give “running in circles” while Oklahoma City and San Antonio run circles around everyone else in the West.
Plaschke: DA is going to take the Lakers’ money, so this feels like a moot point. A better question is, how can they get rid of him once he’s back? His motor doesn’t run at 100% all the time, and at this level, that is inexcusable.
Swanson: Yeah, DA proved he is who we all thought he was: A great talent with wavering focus. But remember, he’s not taking very much of the Lakers’ money; dude is on an $8-million contract. Together he and [Jaxson] Hayes make close to $13 million. Considered the price tag, the Lakers actually got a lot of bang for their buck.
Now, can either of those guys stop Wemby? Of course not. Can anyone on the planet, though? Uh, no. So, sure, the Lakers could spend big to upgrade at center, but it wouldn’t make much of a difference. They’d be better served to save money in the post — and potentially on LeBron — and spend it on wing defenders and shooters, which is where they can hope to counteract the top teams.
Turner: DA underperformed most of the season and was even less impressive in the playoffs against OKC. Teams are not lining up to get him, so he’ll probably pick up his player option of $8.1 million next season. Portland center Robert Williams is an unrestricted free agent that, when healthy, is an upgrade if the Lakers look his way. He earned $13.3 million last season and the Lakers could use the mid-level exception to entice him. He’s a really good defender and the sort of lob threat that Doncic loves to have on his team.
Favorite thing I ate this week
A Vietnamese bar spread: Salt and pepper chicken (top left), salt and pepper tofu (bottom left), baby clams with shrimp chips and sesame crackers (center), Vietnamese BBQ pork skewers (top right) and mango salad (bottom right).
(Thuc Nhi Nguyen / Los Angeles Times)
When I was growing up, my parents had an open door policy. Family members dropped by basically unannounced on random weekdays after work or weekend afternoons to sit around our table, share a few drinks and snack on some bites. In Vietnamese, we call it “nhậu.”
It means “to go drinking,” but just as important as the cold beer is the spread of snacks that kept my uncles and aunts drinking, laughing and hanging out for hours together.
You don’t need a reason to nhậu. You just need friends, food and beer. While my friends helped stock the fridge with drinks this week, I shared some of my Vietnamese favorites. We grazed on salt and pepper chicken, salt and pepper tofu, baby clams with shrimp chips and sesame crackers, BBQ pork skewers and mango salad. It was just like Vietnam except without the oppressive humidity.
Sit at a table with a bunch of actors and it inevitably becomes an impromptu acting class, one in which even theMichelle Pfeiffer is leaning over to observe. At least that’s what happened on a recent afternoon when The Envelope gathered six actors from some of this season’s most talked about television series for its 2026 Emmy Drama Roundtable.
It all began when Pfeiffer (“The Madison”) shared that, while studying acting, she couldn’t grasp the technique created by Sanford Meisner, which trains actors to stop overthinking and encourages them to listen and respond actively to their scene partners. The revelation immediately activated Katherine LaNasa (“The Pitt”), who beckoned Tom Pelphrey (“Task”) to join her in a spontaneous application. (Both had studied the method.)
“I like your jacket,” LaNasa said, locking eyes with Pelphrey.
“You like my jacket?” he replied playfully.
“I do like your jacket … You’re smiling at me.”
The exchange, which had a flirtatious energy, continued for a minute, before Pelphrey and LaNasa emphasized that it’s essentially looking at and listening to what the other person is doing.
“Somehow I was doing it wrong and I didn’t understand why I was doing it wrong,” Pfeiffer said.
This openness and encouragement carried the entire conversation, which brought together Pfeiffer, who plays Stacy Clyburn, a wealthy New York City matriarch whose life is upended by the tragic death of her husband, which compels her to move to Montana; LaNasa, who brings depth to the burnout plaguing steadfast, straight-talking charge nurse Dana Evans; Pelphrey, in his turn as Robbie Prendergast, a sanitation worker who robs drug houses at night to provide for his family; Zahn McClarnon, who stars as Det. Joe Leaphorn, a stoic man battling his past and the loss of his son in “Dark Winds”; Billy Magnussen, who portrays Duncan Park, the eccentric and profit-hungry CEO of a tech company in “The Audacity”; and Karolina Wydra, who plays Zosia, the eternally cheerful liaison to a utopian, hive-minded collective in “Pluribus.” Read on for excerpts from our discussion.
I know all your characters are going through some personal things, but if you were to transform into them for 24 hours, what would you do with that day?
Magnussen: I live with Duncan daily because I think your job as an actor is to check the morality of the character you’re playing. And at the same time, you have to question your own morality, see where you stand, to then deal with that character. Duncan’s a really messed-up guy, and doing it for five months … I was on set 16 hours a day every day. I was with him nonstop. And his temperament and pace was just out of this world. It’s exhausting. So what would I do? I would try to go to a spa, personally, because it’s exhausting.
Wydra: Do you find that it gets blurry after a little while?
Magnussen: I still know who Billy is.
McClarnon: But there’s times where you can’t see that line between [fiction and] reality, just moments. I’ve found myself in those moments where I know the difference, obviously, but I’m so emotionally attached to Deanna Allison, who plays my wife on the show, where I can’t separate them anymore. It’s not like 24 hours, but just moments where I’m like, “Wait a second, where am I? Am I in the show? Is this Joe Leaphorn or is this Zahn?” Usually in the middle of the season, it starts to get a little blurry for me.
Magnussen: Do you think it’s the job, though, to keep it separated? Or do you guys believe in Method acting?
Wydra: Rhea Seehorn, who is on “Pluribus,” who’s incredible, who’s my partner in crime, she gave me a book about Method [acting] — the Method and what really Method was. And it’s not what we think it is. We all do Method acting, but it’s not staying in the character and living in the character forever. … And that’s what people think Method is, is that you never break the character, you take the character home, but it’s not. It’s building a world. Building it, personalizing it.
Pfeiffer: Isn’t that what we all do? Some actors will go live on the ranch. They won’t take a bath for six months. They really take it to another level, which I’m not willing to do … From the minute I commit to something, it’s right there [in my head], I’m thinking about it. It can be a year away, and it’s right here torturing me, which is I think why I’m a bit of a commitment-phobe. My agents always call me “Dr. No” because I know no matter what, even if I’m not consciously aware of it, it’s there just badgering me.
LaNasa: I have found that people want Dana, want my character, in real life. And it’s cool because she’s very comforting to people. But I had an experience recently in New York where this table of girls, they were having some party, and someone said, “Oh, you mean a lot to us.” And I said, “Oh, are they nurses?” Well, some of them are. And then they asked at the end of their dinner would I take a picture. And then one girl told the other people to leave and then she told me her illness journey. And I had breast cancer. She was going through breast cancer. And it was really interesting. And it was the most meaningful that I’d ever felt about taking a character home where it’s like … I think I spoke about my wellness journey because I was playing the role. It ended up coming up through the press. … And for some reason, because I was Dana in someone’s mind, it meant something. And I thought, “Well, this was actually useful. This breaking of that wall between character and person was actually useful.”
Tom, you get the call that you’re cast as Robbie in “Task.” What’s the first thing you do to figure him out?
Pelphrey: When I read the first two episodes, I felt like I understood Robbie’s soul perfectly, but I knew that I would have to break my ass to get that accent right. So that was where I focused most of my conscious energy and discipline and time, was just [on the] technical, just on the accent. The fun part was, because he would be my age, thinking about growing up in Philly at that time and who his heroes would be, having ideas for tattoos, stuff like that. We had more time than you get sometimes before we had to start filming because we knew and then the writers’ strike happened. I had a lot of months to sit with him and emotionally and spiritually. And I’d just become a father. Obviously [with] Robbie, everything he does is for his kids.
Pfeiffer: It changes everything. It opens your heart.
Pelphrey: I was a new person. And I understood him in that regard perfectly and I couldn’t have before. I could have imagined it and now I knew for sure.
For “The Audacity,” Billy, you spoke with some tech folks. What did you come to understand about what they’re after as innovators versus what you’re after as a creative?
Magnussen: Listen, no one’s a villain in their own story. I believe that from Day 1, these people probably came to the Valley with genuine ideas. The genesis of their idea was to connect and really bring something powerful and important to society and people. And, “Oh wait, we’re making a lot of f— money.” And through that lens, you start being blinded by this humanity that’s around you or caring for people around you rather than a bottom line. When you’re in an incestuous pool or in a small bubble, culture is created. And like Facebook, their slogan was “Move fast and break things.” Being a bull in a china shop is not a good idea anywhere, but for some reason that was the culture. People just started doing that more and more and breaking things and breaking things and breaking things. I don’t think they started off that way, but the culture just bred them to become this way. I personally relate that to, I don’t want to say Hollywood or the entertainment world, but we’ve seen the toxicity. And we’ve been slowly trying to filter that out, I think, of Hollywood. But when you have a microclimate kind of culture feeding in toxic behavior and rewarding toxic behavior over and over again, it breeds it. So you start to have to scrape away that cancer. But again, the genesis of all these ideas were pure. We were 6 years old just dreaming to be something or being like, “I could do this.”
Pfeiffer: Pretending to be something else, other than what we were.
Magnussen: I empathize with that. I don’t think people are bad. I just think they’re lost sometimes.
Karolina, your character in “Pluribus,” Zosia, is carrying the weight of almost every person in the world. What do you remember about those discussions with [creator] Vince Gilligan and how he helped you unpack this character and the relationship with Carol, Rhea [Seehorn]’s character?
Wydra: I took a break for five years from acting before Zosia came into my life. I walked away at 39 to have kids and my agent and my manager dropped me and it was really terrifying to also be a woman and turning 40, to have children at that time. When Lou [her second son] was maybe a year-and-a-half [old], I got the itch of like, “God, I miss acting so much. How am I ever going to come back? How am I going to get an opportunity?” And I was 43 at the time and out of nowhere I got an email being like, “Hey, there’s this thing …” from a commercial agent that I was on their roster, but I did not work with them. And they said, “There’s this audition.” And I go, “OK.” I read it and I said, “Who wrote it?” And she said, “Vince Gilligan for Apple TV.” I went, “What? OK.” And I didn’t know anything about the project and it was always my dream to work with Vince from when I saw “Breaking Bad.”
Long story short, I’m here and the whole journey has been so wild, so insane. When I first would talk to him about Zosia, I was like, “God, how am I going to tackle the world and someone that has the highest emotional intelligence, someone that does all these different things? And how do you see the Others? How do you want them to move about the world and the complexities of who they are?” Vince is such a beautiful human being. He’s like, “They’re just happy and content.” You go, “OK, yeah, but … what else?” For me, Zosia is extremely spiritual. Meditation was my key, my go-to to get into that zone of connection to humanity, not in the physical but very spiritual way where, [if] you meditate enough, the ego gets lifted and you truly feel connected, and you feel one with everyone. And the wild thing, I think the greatest gift, was becoming a mother; I understood what it means, unconditional love. Because my heart lives outside my body all the time. And so becoming a mother was a gift to play Zosia, because I unconditionally love Carol. And now, no matter what she throws at me, I just love her, and take care of her, and I want to nurture her.
Michelle, you get the call from Taylor Sheridan, who also created “Landman” and “Yellowstone.” He says he wants to meet with you and he wants to do it on his turf in Texas, not yours. There’s no script. What does someone like Taylor Sheridan say to someone like Michelle Pfeiffer that will get her to agree to the show?
Pfeiffer: Well, he gave me a lot of tequila.
LaNasa: Writing this down: Tequila, check.
Pfeiffer: I got a call that he wanted to meet with me, that he had an idea for something, “But you have to come to Texas.” And I said, “Is there anything? Is there an outline? Is there a paragraph?” “No, no. He wants to explain it to you in person.” I had to stay the night in Fort Worth and then met with him and he gave me tequila, and then after a while I had to stop drinking. He gave me a very rough outline of the show, of the character … She’s been with the love of her life for 50 years. It’s the marriage that we all dream of having. And he dies suddenly, tragically, and … all of a sudden the rug is really just emotionally and psychologically pulled out from underneath them. And it’s how do you rebuild a life and it’s the study of grief. He said that I had committed that night, which I did not. I’d had a few cocktails. We went back and forth a little bit about [the fact] that I really would like to read something. And he said, “Well, I would really like to cast this before I write anything.” Then I realized I wasn’t going to win this battle and I reached out to Helen Mirren [who starred in Sheridan’s “1923”], who I don’t know, but I figured she doesn’t suffer fools and she would give me the truth about what it’s like to do this. She couldn’t have spoken [more] highly of everything. She said the scripts are wonderful. The production is wonderful. And loves Montana. And so I took a leap of faith. I never do that.
What stands out to you about his process versus then working with your husband, David E. Kelley, also a prolific writer, who adapted “Margo’s Got Money Troubles”?
Pfeiffer: I couldn’t be luckier working for two of the most talented and prolific writers in the history of television. [They’re] not that much different. I purposefully didn’t want to bug David because it’s not like we had any hard-and-fast rules about not working together, but we weren’t really actively seeking it out because that can get a little dicey, just looking at it from afar. I really cherish my marriage, and our family, and I just didn’t want to mess it up. I really mostly went to the director and every now and then I might throw a little something his way. And [with] Taylor … I would go through Christina [Alexandra Voros], our director, because he’s just not honestly that accessible because he’s got a bit going on. I personally don’t like to spend my time trying to rewrite things. It’s more interesting to me to try to make something work and then I end up finding something I never would’ve decided. It just takes you to a new place and it’s so much more interesting than anything I would have conjured up.
Zahn, you’re not only the lead in “Dark Winds,” but also an executive producer and directing episodes. I know there was a moment where your character was supposed to shoot someone in the face early on. And you felt strongly, “My character’s not someone that would do this.” Talk to me about leaning into speaking your mind.
McClarnon: There’s not a lot of Native characters on television. The foundation of that character obviously comes from Tony Hillerman’s books. So the foundation was set for that character. And when I got to a point in the season where I’m supposed to kill a man, shoot him in the head in the middle of the desert — first off, I didn’t see that in the books. And I know it’s television and we want drama and all that stuff, but also, to be honest with you, I want Native kids — see, I’m going to cry now — to have something to look up to. We grew up with these stereotypes and we grew up with these tropes of Native Americans. The only one I can really remember that I really looked up to was Will Sampson in “One Flew Over the Cuckoo’s Nest” because he was playing a trope, but he becomes the hero at the end of the story. It’s one of my favorite films. So when it came to that point where the writer said, “He’s going to kill this rich white man in the desert and shoot him in the head,” morally, I think Joe Leaphorn is more than that.
And it was simple. I sat down with the showrunner [John Wirth] and we talked about it, and we went back and forth for about a week. And I’m so glad that I have access to somebody like that. I have access where they’re not telling me, “No, this is the way it’s written. This is what you’re going to do.” So yeah, we decided not to shoot the guy in the head, where I’d just leave him out in the desert to fend for himself.
Katherine, you’ve talked to nurses and medical professionals in the making of “The Pitt,” but you were also a patient during your breast cancer journey, interacting with them a lot from the other side. What is something that they’ve told you or even something you observed in that time that really spoke to you about what they’re going through on the day to day in these jobs?
LaNasa: It’s funny, I’d always wanted to work with John Wells. I go through this period of all this unemployment, and then I get this job for John Wells. I had had cancer a year before and then had complications up to like six months before. It wasn’t until I got to the emergency room set that I was like, “Oh, this whole period … ” — the spirituality of that. I really believe that we need to be grateful for our life while we’re living it, no matter what’s going on. Because I still have my children, and I have nature, and I have my husband, and cooking, and my dog, and so many wonderful things. And I was really trying to hold onto that. It’s always this idea that maybe something is for a reason or whatever — now I’m going to cry. The fact that that was so purposeful, that I understood so deeply what it was to be a patient, what it was to be terrified going into the emergency department. I also understood how much it mattered when a nurse took a little extra time and was a little bit kind.
Pfeiffer: You’re going to make me cry.
LaNasa: And there was one particular nurse — I had my cancer, went through my radiation and then [went] back and forth, back and forth [to the ER]. And there was a week, the second trip to the ER [they thought I might have multiple sclerosis]. “Now do I have MS on top of having had cancer?” And I had a breakdown in the ER. And she’s like, “Listen, first six months after cancer are really bumpy, and it’s not going to stay like this. Do you need an Ativan?”
Magnussen: Did not see that turn.
LaNasa: It was that human touch. Or when they would come and give you a warm blanket or something. There’s a nurse, Kathy Garvin at County, who told me she wouldn’t do the job that she does being the [emergency department] charge nurse if it wasn’t in a county hospital. She wants to do that hard work for people that really need her. For the most underprivileged, for the unhoused. And I try to honor that in the story and to just bring that to life — their generosity and their humility.
The Envelope’s 2026 Emmy Drama Roundtable: From left, Zahn McClarnon, Michelle Pfeiffer, Tom Pelphrey, Katherine LaNasa, Billy Magnussen and Karolina Wydra.
There’s a lot of discussion in the industry right now about runaway production and can L.A. rebuild and what’s lost. I’m curious how you feel about this topic.
Magnussen: I live in Georgia and … one of our biggest exports as Americans is our culture. And if we just keep it isolated to Hollywood, I think we lose out at expressing everything we are as Americans.
McClarnon: We shoot on the Tesuque Pueblo. There’s 19 pueblos in New Mexico. We have taken over their old casino and we’ve converted it into a soundstage. We use their back lot. We obviously help out the tribe with renting the place out. And so I like shooting in New Mexico and supporting the local community, especially local Natives.
Pfeiffer: I think there’s room for all of it. We shot [a movie] in London that took place in Los Angeles. And it’s ridiculous that our entire industry has left. Los Angeles is really hurting. And a lot of people are hurting. All those jobs, all of those restaurants where people used to eat, people used to shop. And I think to not give the same sort of tax incentives that other states are doing — look, if it takes place in Georgia, you should go to Georgia. But I think Los Angeles was really built on the movie [industry].
LaNasa: I have a 34-year-old and a 12-year-old. I remember with my 34-year-old, even just being a young, starting-out mother, I would be like, “Well, I’m not going out of town. I have a child.” I would never go do a TV show out of town. I had a kid and the kid was in school and I needed to provide consistency for that child. And then with my second one, that was impossible. We would just not have been able to work. But it’s really hard on families. We are actors and we’ve come here to pursue the industry. We’ve moved here and we’ve risked something … L.A., for all of its problems, is a city of dreamers. It’s a city of people that came to pursue their art. And I am one of those people. And so in a way, I wasn’t really a citizen like the other citizens of Atlanta. I was outside. I didn’t have my community.
Magnussen: I know, but that’s the thing I have an issue with is this idea that, “It’s only there.”
Pelphrey: I’ll say this. Love that we get to film all over our beautiful country. Would love to keep the jobs in this country. That would be the nice part. Because when everybody’s like, “Oh great, we can go to Belarus or London.” Guess what? All of us get to go. Our crew doesn’t get to go — the people that we know that we need, that we work with, that we make these things with. We get to go wherever the f— we want, actors, directors, but the crew doesn’t.
COLLEGE STATION, Texas — As Augie Lopez trotted around the bases late Monday night, the small contingent of USC fans could finally be heard at Blue Bell Park. With one towering blast to right field, the Trojans’ designated hitter silenced Texas A&M’s rowdy 12th Man.
Lopez’s three-run home run helped push the Trojans over Texas A&M 7-1 to reach the NCAA super regional for the first time in 21 years.
Lopez silenced most of the sellout crowd of 7,042, making it easy to hear USC fans serenading him during the College Station Regional Final.
“Augie! Augie! Augie!” USC fans chanted after Lopez returned to the dugout. After the win, he was named the regional’s most outstanding player.
It took a while, but the offense showed up to propel USC (47-16) to the Chapel Hill Super Regional against North Carolina.
Until Lopez’s blast, Texas A&M right-hander Clayton Freshcorn had slowed down a USC offense that had scored 48 runs combined while winning three consecutive games out of the losers’ bracket, including 14 on Sunday night against Texas A&M (41-16), to force the winner-take-all final.
USC right-hander Grant Govel, who had thrown 89 pitches over 5⅔ innings on Friday, retired the first seven Aggies before Bear Harrison hit a solo home run to left-center field in the third.
The Aggies ran out a threat in the fourth. Chris Hacopian drew a leadoff walk. Ben Royo kept the inning alive with a two-out single to left. Jorian Wilson followed with a single to shallow right-center field. Second baseman Abbrie Covarrubias was positioned perfectly to field the ball in the outfield, but his throw to first wasn’t in time.
Fortunately for the Trojans, Adrian Lopez alertly threw home to easily nail Hacopian by several feet to end the inning.
Covarrubias tied the score 1-1 with an RBI single to left-center in the fifth. One out later, Covarrubias stole second. Augie Lopez broke the tie with a single to right-center.
Two innings later, Lopez crushed his three-run blast.
COLLEGE STATION, Texas — Two days after failing to capitalize off numerous scoring opportunities against Texas State, USC battered the Bobcats early and often to remain alive in the College Station Regional.
Third baseman Kevin Takeuchi set the tone with a grand slam in the first inning as USC beat Texas State 15-4 Sunday afternoon before a crowd of 6,885 at Blue Bell Park
With the victory, the Trojans (45-16) advance to the regional final against Texas A&M on Sunday night. The Trojans must beat the Aggies to force a winner-take-all game Monday at a time to be determined.
The Trojans avenged the 5-4 loss they suffered against Texas State on Friday night in the regional opener. In that loss, USC stranded 13 runners, struck out 12 times and left men in scoring position in each of the first seven innings.
The Trojans have been on a tear ever since. They crushed Lamar 19-6 on Saturday and then battered Texas State. The Trojans wasted no time jumping on the Bobcats in the rematch.
Abbrie Covarrubias led off with a single. Texas State sophomore right-hander Cade Smith then hit Adrian Lopez with a pitch and walked Augie Lopez to load the bases. Takeuchi followed with his grand slam to center.
“It just helped me pitch with freedom,” USC freshman starter Diego Velazquez said of the grand slam. “A pitcher always feels good when you’re in the lead, especially with a grand slam. It just keeps everyone positive, so it definitely helped very much.”
Velazquez gave up two runs on three hits and three walks with three strikeouts in 3 1/3 innings. He was relieved by fellow freshman right-hander Gavin Lauridsen, who failed to retire a batter while giving up two runs on two hits and two walks. Freshman left-hander Sax Matson then pitched 3 ⅔ scoreless innings of relief to earn the victory.
Isaac Cadena made it 6-0 in the third with a two-run home run to right field. With one on and two outs in the fourth, Augie Lopez hit an RBI single in the fourth to give the Trojans a 7-0 lead. Reliever Alec Beversdorf then walked Takeuchi and hit Cadena to load the bases. Jack Basseer drew a walk to plate another run to give USC an 8-0 lead, prompting Texas State to make another call to the bullpen.
Texas State countered with four runs in the bottom of the fourth, highlighted by Coy DeFury’s two-run home run.
Lauridsen relieved Velazquez with one out in the fourth, but he couldn’t retire a batter. Brady Boles greeted Lauridsen with a single up the middle. After Jackson Cotton walked, Manny Salas cut USC’s lead to 8-3 with an RBI single through the right side.
Clayton Namken followed with a walk, prompting USC coach Andy Stankiewicz to call on Matson, who took over with the bases loaded.
“I felt good about Diego on the mound here being able to compete and give us quality innings, and he did that,” Stankiewicz said. “I think he’d probably say he wanted to give us a little bit more, but he gave us three quality innings.
“And then Sax Matson came in and did a fantastic job. He came in and made some big, big-time pitches to get us out. It could have been a little dicey there.”
Both teams were retired in order in the fifth, but USC’s offense got back on track with a run in the sixth, two in the seventh and four more in the eighth.
“I think it just shows the type of bond we have all together,” Velazquez said. “We’re all pulling the rope for each other. I think it just shows how strong we are and how we’re able to pull off miracles and stuff.”
R&B singer Peabo Bryson, well known for his duets from beloved Disney classics “Aladdin” and “Beauty and the Beast,” suffered a stroke over the weekend.
A representative for the artist told The Times that the singer is undergoing treatment but provided no details about his condition.
“Two-time Grammy Award-winning singer, songwriter and balladeer, Peabo Bryson — the voice behind the Oscar-winning Disney songs ‘Beauty and the Beast’ and ‘A Whole New World’ — has suffered a stroke and is currently under medical care,” the representative said in an emailed statement. “At this time, the family requests privacy as they navigate this deeply personal moment together. The thoughts, prayers and love of friends and fans are welcomed and deeply appreciated.”
Bryson recently performed a concert with Jeffrey Osborne at Trilith Live in Fayetteville, Ga., in early May. The event was a standalone performance, apart from the crooner’s Golden Touch tour, which he announced last year, amid his celebration of 50 years in the music industry. In April, the Grammy winner turned 75 and posted photos on Instagram from a birthday bash showing him surrounded by friends and family. In early May, he posted a video of his son, Kitt, performing a Michael Jackson dance routine, writing “Super proud Dad moment from last nights Gig in Atlanta.”
Soul and funk band Maze, which was fronted by the late Frankie Beverly, shared some love for Bryson on social media.
“The entire Maze The Music Forever family sends our heartfelt prayers, love, and support to Peabo Bryson during this time of healing,” read the post. “Peabo’s extraordinary voice, timeless artistry, and unwavering contributions to music have touched millions around the world. We pray for God’s healing hand, renewed strength, comfort, and a full recovery.”
Serena Williams is returning to competitive tennis after all.
Months after insisting on social media, “Omg yall I’m NOT coming back,” the 23-time Grand Slam singles champion announced Monday that she’ll play professionally for the first time in almost four years at the HSBC Championships at the Queen’s Club in London.
Williams, 44, has been given a wild-card entry into the doubles draw of the WTA 500 event, which begins June 8.
“Queen’s Club feels like the perfect place to begin this next chapter,” Williams said in a statement released by the tournament. “Grass has given me some of the most meaningful moments of my career, and I’m excited to be back competing on one of the sport’s most iconic stages.”
Williams teased the announcement earlier Monday by posting a video on social media that featured her phone‘s notifications going off constantly while she seemingly was practicing on the court.
“Good news travels fast,” Williams wrote on the post.
Tournament director Laura Robson said during TNT Sports UK’s coverage of the French Open on Monday that Williams’ playing partner will be Canadian teenager Victoria Mboko, who is ranked No. 9 in WTA singles. Williams has won 14 Grand Slam titles and three Olympic gold medals in doubles with her sister Venus Williams as her partner.
It is not clear whether Williams will participate in any other events. Wimbledon, a Grand Slam event Williams won seven times in singles, begins June 29 in London.
Williams’ last professional match was a loss to Australian Ajla Tomljanovic in the third round of the U.S. Open on Sept. 2, 2002. She registered as retired with the International Tennis Integrity Agency the next day.
Last December, however, Williams reentered the agency’s drug-testing pool. According to the ITIA website, retired players “may not return to sanctioned events unless they have made themselves available for out-of-competition testing for at least six months prior to the event in question.”
The move led to much speculation about a possible Williams return, leading to her social media post denying any such intentions.
Martina Navratilova, the 18-time Grand Slam champion who is the oldest woman to win a tour-level singles match — she was 47 when she won a Wimbledon match in 2004 — expressed excitement for Williams’ return.
“Serena brought the game to another level and it is incredible for the sport that she’s pushing the boundaries and coming back,” Navratilova said in a statement released by the WTA. “To many of the younger players, they never had the opportunity to play her; some may have never watched her on television, so this will be a new and exciting experience.”
Jason Bateman could snag limited series Emmy nominations for his lead role as a deep-in-debt barman on Netflix’s “Black Rabbit” and supporting role as a sexually adventurous weatherman on HBO’s “DTF St. Louis.” Drawing more than one nomination in a year has been the norm for Bateman.
14
Bateman’s previous Emmy nominations encompass acting, directing and producing.
1
His lone Emmy win came in 2019, for directing an episode of his Netflix crime drama “Ozark.”
21
The former child actor’s first nomination, as lead of the Fox (later Netflix) comedy “Arrested Development,” came in 2005. Bateman’s adult “comeback” has lasted 21 years and counting.
4
Times he has received multiple nominations in a year, most often for acting in, directing and producing “Ozark.”
2
“Black Rabbit” and “DTF St. Louis” would mark his second time receiving acting nominations for different shows in the same year.
2020
Bateman competed for drama lead for “Ozark” and guest actor for HBO’s “The Outsider.”
0-for-7
Bateman is overdue for an acting Emmy. His brilliant straight-man work in “Arrested Development” lost out to Emmy juggernauts Tony Shalhoub (“Monk”) in 2005 and Jim Parsons (“The Big Bang Theory”) in 2013.
3-for-13
The Actor Awards have been kinder: Bateman won three lead actor statuettes for “Ozark.”
2026
The guilds already have spoken on “Black Rabbit,” with Bateman receiving Actor, DGA and PGA nominations.
5
Also a producer on “DTF St. Louis,” Bateman has a shot at five Emmy nominations this year.
In her early 20s, Ashley Padilla moved from the Bay Area to Los Angeles, hoping to make a living in comedy. She was taking classes at the Groundlings when an acting exercise forever changed her.
“The teacher said, ‘All right, everyone try to get my attention.’ Everyone starts going crazy,” recalls Padilla, imitating the manic movements her classmates incorporated to be as noticeable as possible. “I just stood in the back like a quiet little freak. I didn’t try to do anything. And she went, ‘I’m just staring at Ashley.’”
Padilla, now 33, is sitting in the restaurant at the 1 Hotel on Sunset, dressed in an elegant white blazer and long skirt, a long way both mentally and professionally from that aspiring performer struggling to find her creative voice. But that lesson remains close to her heart.
“I think about it all the time: You don’t have to be so loud. It actually is more powerful if you’re a little slower.”
Currently in her second season as a featured player on “Saturday Night Live,” Padilla, who sports an ebullient manner and warm smile, has become a fan favorite by exploring how much humor (and tension) you can derive from stillness. Her best sketches, including “Mom Confession,” in which a MAGA mother finally, begrudgingly, admits to her liberal kids that maybe Trump hasn’t been a great president, sparkle because of how expertly she builds suspense regarding where the setup is going.
Ashley Padilla, right, with castmates Tommy Brennan and Jane Wickline in the “SNL” sketch “Mom Confession.”
(Will Heath/NBC)
“I really want to be able to stop and take that pause at the beginning [of a sketch], which are the quickest things to cut because you’re trying to save time: ‘Let’s get rid of when you enter,’” she says. “What roots me as an actor is a little breath. Before we get to the jokes, let the audience see me live in it for a second. I think I’ve proven that [those pauses are] not going to suck the air out of the room. It’s actually going to assist in the blowup that we’re waiting for.”
When Padilla lived in L.A., she adored her Los Feliz neighborhood, so on this late April afternoon she confesses to some disorientation at doing press on the Westside. Still, memories keep creeping up unexpectedly. “I’ll see a coffee shop, and you remember how you were feeling: ‘Will I ever make it?’”
There were encouraging moments that kept her going. One dispiriting day, she was on Melrose Avenue walking to the Groundlings. “In my head I went, ‘Will I ever be on television?’ Just then, a car passes with the girl rolling down the window going, ‘I’ve seen you perform! You’re going to be on television!’ It’s literally like someone answered my cry inside and went, ‘Calm down, it’s going to be OK.’”
Optimism came through other channels too, such as her job as Diane Keaton’s assistant, eventually co-creating her 2024 book “Fashion First.” Padilla adored the late actor and filmmaker, grateful for her endless sense of wonder, which inspired Padilla to see the world differently.
“She would stare at a tree: ‘Look at the way the sun goes through the branches,’” Padilla says, marveling. “I have a voicemail that I listen to whenever I’m feeling a little sad or I miss her — she’s just like, ‘Hey, Ash, how are you doing? I’m just checking in.’ And she stops and goes, ‘The blue sky. Wow.’ And I’m just like, ‘You are someone we all want to be around.’ It’s why she is so massive in people’s lives.”
Before ‘SNL,’ Padilla had stints at the Groundlings and as Diane Keaton’s assistant.
(Sela Shiloni / For The Times)
Since girlhood, Padilla has loved to write, which was valuable once she joined the Groundlings, doing seven shows a week. “You don’t get onstage unless you write your own stuff,” she says. Her viral “SNL” sketch “Haircut” — in which Padilla goes to dinner with friends, disturbing them with her atrocious haircut — was created at Groundlings, where it killed. But pitching it at “SNL” revealed the differences between the stage and live television.
“‘Haircut’ started as a ‘[Weekend] Update’ [feature], and I was unwilling to get rid of some stuff in there because I knew it worked at Groundlings,” she recalls. Padilla credits her frequent “SNL” co-writers Alison Gates and Kent Sublette for helping her understand the program’s rhythms. “They made it punchier and snappier. I definitely need the other writers — they make it so much better. At the Groundlings, there’s no camera cuts, there’s no time limit — you can mosey and do behavioral stuff. But [‘SNL’ sketches] need to look good on television. These writers are so good — they’ll say a joke that I go, ‘You’ve just said everything I was trying to do in a whole page.’”
Padilla’s peculiar but grounded characters may make you wait to see what they have in store, but she isn’t wasting any time. Last summer, wanting to distract herself from wondering whether she’d be asked back to “SNL,” Padilla wrote a screenplay, which is now being backed by Oscar-winning “Moonlight” producer Adele Romanski. Padilla won’t say much about the project, but you can bet she included a part for herself.
“It’s like, ‘I want to be on television? OK, write your sketches. I want to be in movies? I wrote a movie,”’ she explains. “I don’t want to wait around for someone to give me a role. I hope I get to work with great people, but I also want to control my own career — and my own happiness as well. I want to be creative all the time.”
Yes, voting centers will be open across Los Angeles this week. And no, you don’t have to cast your ballot by mail.
With days left before the June 2 primary, President Trump made a round of misleading claims about the electoral process, this time falsely suggesting that the city was holding elections only by mail.
Trump’s comments came Saturday during an appearance on Fox News when he was asked by host Lara Trump — the president’s daughter-in-law — about his predictions for the upcoming primary.
“You know, they don’t have voting booths; everything’s by mail,” Trump responded. “I don’t think a Republican can win in California unless you pass the Save America Act — then they’re gonna have to show proof of citizenship, they’re going to have to get rid of mail-in voting.”
The L.A. County registrar-recorder moved to set the record straight in a tweet posted Sunday morning that read “MISINFORMATION ALERT.”
MISINFORMATION ALERT: There are 646 Vote Centers open in Los Angeles County — all with multiple voting booths, open today and tomorrow 10AM to 7PM & Tuesday (Election Day) 7AM to 8PM. https://t.co/suHN4efyXJ…. In-person options available in all elections. /@FoxNews@WhiteHousehttps://t.co/vH4VAGfdp9
— Los Angeles County Registrar-Recorder/County Clerk (@LACountyRRCC) May 31, 2026
Noting that in-person voting was in fact allowed, the agency announced that it had 646 vote centers across the county — each with multiple voting booths. The centers will be open from 10 a.m. to 7 p.m. on Monday and Tuesday, the agency said in the posting, while tagging Fox News and the White House.
A map of polling locations featured on the agency’s website shows that there are dozens of voter centers available countywide. Mobile vote centers also were made available at various sites in the county. Mobile voting runs for the 10 days before election day and will not be available on June 2, according to the county registrar-recorder.
As of Friday morning, 333,000 mail-in votes had been cast in the June 2 primary for Los Angeles mayor, city attorney, city controller and eight of the 15 City Council seats. This was up from 321,000 at the same time in 2022, according to registrar-recorder.
Registered voters already should have received a ballot in the mail. Those who choose to vote in person can take their mail-in ballot to a vote center and ask to vote in person instead. Residents who haven’t yet registered to vote can still do so by requesting a conditional voter registration application at any voter center and filling out their ballot as they normally would.
Recent polling suggests that, ahead of Tuesday’s primary, incumbent Los Angeles Mayor Karen Bass has what pollsters deem a statistically insignificant lead in her bid for reelection as the city’s top executive. Bass is locked in a tight race with councilmember and former ally Nithya Raman and Spencer Pratt.
Trump has signaled his support for Pratt but hasn’t formally endorsed the former reality TV star and registered Republican. Former Trump advisor Steve Bannon said the president hadn’t done so out of the fear it would hurt Pratt’s chances in Democrat-dominant Los Angeles.
In 2020, during the outbreak of the COVID-19 pandemic, Gov. Gavin Newsom took the unprecedented step of issuing a statewide order for voting by mail for that year’s election in what he described as a necessary step to limit the virus’ spread.
A handful of rural counties had no in-person voting locations that March.
In 1979, the state eliminated the need for an excuse to receive an absentee ballot, and an option to choose permanent absentee voting was created in 2002. In the decades since, Californians have embraced the flexibility that voting away from a polling place offers. In nearly every statewide election since 2008, the majority of votes have not been cast at a traditional polling place.
Fourteen more counties — including Orange, Sacramento and Santa Clara — have adopted the state Voter’s Choice Act, an optional state law that requires them to mail every voter a ballot and to replace traditional neighborhood polling places with multipurpose vote centers. Those in-person locations offer multiple election services for up to 10 days before election day.
Los Angeles, the 15th county to adopt the new state law, was initially given special permission by the Legislature to implement it without mailing every voter a ballot.
Trump has for years repeated baseless claims that the 2020 election was stolen and that undocumented immigrants were swaying elections by voting illegally.
In light of these claims, Trump and some Republicans have pushed for new restrictions on voters. A federal proposal known as the Save America Act — which would require Americans to prove they are U.S. citizens before they register to vote and to show identification at the polls, among other things — cleared the U.S. House but stalled out in the Senate.
In November, California voters will weigh in on a similarly contentious ballot measure pushed by Republicans that would require all voters in future elections to show identification every time they vote in person or provide a special PIN when submitting mail-in ballots.
Under current state law, Californians are required to provide identification when registering to vote and must swear under penalty of perjury, a felony, that they are eligible to vote and are U.S. citizens. They are not required to show or provide identification when casting a ballot in person or by mail.
If passed, the California ballot measure would require voters to present government-issued identification, such as a state driver’s license, every time they vote. Voters mailing ballots would be required to write a four-digit number, essentially a PIN, on their ballot envelopes matching the one generated when they registered to vote.
Critics of California’s voter ID initiative, including many legal scholars, say the ballot measure addresses a problem that does not exist.
In May, a federal judge handed Trump a victory by declining to halt the president’s executive order creating a federal list of eligible voters and then directed the U.S. Postal Service to deliver mail ballots only to those on the list. Observers say the decision opens the door for potential sweeping changes in how American elections are run shortly before this year’s midterm elections.
There are some big names that will be on show at London Stadium for Soccer Aid including some famous celebrities and plenty of former international footballers.
England squad in full: Robbie Williams (Manager), Wayne Rooney, Jermain Defoe, Jill Scott, Tom Hiddleston, Danny Dyer, Paddy McGuinness, Olly Murs, Joe Marler (GK), Theo Walcott, Toni Duggan, Steph Houghton, Jordan North, Angry Ginge, GK Barry, Jack Wilshere, Joe Hart, Sam Thompson, Chloe Burrows, Jack Whitehall and Owen Cooper.
World XI squad in full: Usain Bolt (Manager), Edwin van der Sar, Michael Essien, Jordi Alba, Leonardo Bonucci, Dimitar Berbatov, Nemanja Matic, Maisie Adam, Big Zuu, Nabhaan Rizwan, Nitro, Ali Krieger, Jen Beattie, Nicky Byrne, Dermot Kennedy, Chris O’Dowd, Richard Gadd, Nikolaj Coster-Waldau, Tobi Brown and Behzinga.
Tom Hiddleston and Olly Murs will be playing for England XI at Soccer Aid For UNICEF 2026(Image: (Photo by Jo Hale/Getty Images))
England head coach Thomas Tuchel advised his World Cup players to go on holiday in United States time zones before the tournament, to help the acclimatisation process.
A total of 21 of England’s 26-man squad will arrive in Florida on Monday for their pre-tournament camp, where they will also face New Zealand and Costa Rica in warm-up matches on 6 and 10 June.
Many players are understood to have spent the off-season in the United States or Caribbean at the behest of the England boss.
The weather is sure to play a major factor in the tournament, with studies indicating that nearly a quarter of all World Cup games are likely to be played in temperatures higher than 26C.
Adapting to the US time zones will also be a factor, with England’s tournament training base in Kansas City, Missouri, six hours behind UK time, which is the same as Dallas, where Tuchel’s men face Croatia in their opening group game on 17 June.
The remaining Group L matches against Ghana and Panama, which will be played in Boston and New Jersey respectively, will be played in a time zone five hours behind the UK.
To ensure England can hit the ground running, Tuchel requested players travelled west for their post-season break before joining up with the squad.
Arsenal quartet Declan Rice, Noni Madueke, Eberechi Eze and Bukayo Saka, and Crystal Palace goalkeeper Dean Henderson – who were all involved in European finals this week – will join the rest of the squad at a later date.
When Craig Ferguson left CBS’ “The Late Late Show” in December 2014, fulfilling a pledge made public the previous April, it was assumed by some that it had something to do with not being offered the chair being vacated by his illustrious lead-in, David Letterman. (Stephen Colbert, you may be aware, was named the new “Late Show” host.) Others simply couldn’t believe anyone would just walk away from such a job, which Ferguson had held for two weeks shy of 10 years, because, even in the less prestigious 12:30 time slot it seemed like a prize — but mostly because he was so good at it.
“That’s one of the odd things about that particular genre of television,” he told me in 2016. “The minute I started at 12:30, the question became when and do you want and how are you going to get 11:30? But I never wanted 12:30, never mind 11:30. Why is that a thing?”
Ferguson went on to other things. He’s hosted game shows (currently the CW’s “Scrabble,” with puckish energy); toured as a stand-up (he’s on the road into June); hosted a history-themed panel show, “Craig Ferguson: Join or Die”; launched “Joy, a Podcast,” which is as close as he’s come to the confessional freestyling of “The Late Late Show”; and published “Riding the Elephant: A Memoir of Altercations, Humiliations, Hallucinations & Observations.”
His latest show, premiering Saturday on CNN, is “American on Purpose,” which shares a title with his first memoir, a reference to the Scottish-born Ferguson becoming an American citizen. Timed generally to the 250th anniversary of the United States, it finds Ferguson in a five-episode crazy quilt of observations, interviews, inquiries, stunts, games and documentary vignettes forming a comical, but not unserious, somewhat wayward look at American ideas and ideals — freedom of speech, capitalism, patriotism, individualism and immigration. It’s a vision wide enough to include monster trucks, lowriders, underground comedy, Miami street art, Texas barbecue and haggis tacos, dreamed up by Ferguson and executed by celebrity chef Marcus Samuelsson.
Ferguson, a Scotsman, having haggis tacos on “American on Purpose.”
(CNN)
“You know me,” Ferguson said when we spoke over video call recently. “Less format is better for me always.”
His caveat to the producers was that he wouldn’t “make an anti-American show. I wouldn’t make a show pointing out everything that’s wrong. I feel that’s a market that’s heavily catered to. I’m not a f—ing idiot, I’m not making propaganda, I won’t make a jingoistic show. But I want to make a show which is celebratory,” Ferguson says. “And I want to be clear that the show I make for CNN will be the same as if I was making it for Fox News. It has to be my point of view, which is upbeat without being dumb — I hope. I feel like we got pretty close.” This conversation has been condensed and edited for clarity.
A good friend of mine, an Englishman, recently became an American citizen and had only wonderful things to say about the naturalization ceremony, the diversity of his fellow new Americans, and the graciousness of the people conducting it. What was your experience?
My ceremony was in Pomona fairgrounds in 2008. And I think it was 2,000 of us; I think it was 1,999 new Mexican Americans and one new Scottish American. And it was f—ing wonderful. And it is moving. I kind of wish it for my friends who are born here, American citizens, because you have to remove your everyday, “Oh my God, did you see the news today” cynicism, and remember what this place is about — freedom, second chances, third chances, escape, representation, individualism, different ideas coexisting in one country, wildly different points of view somehow managing to get along. That is f—ing beautiful. What I still feel as an immigrant American is a certain gratitude that doesn’t leave you. I’m not blind to the faults of the United States. Show me a country that doesn’t have faults. We talk about the bloody past. Show me a country that doesn’t have a bloody past. Humans have a bloody past. I’m not saying there’s nothing wrong, but I’m not looking at that in this show. I’m looking at what makes me feel great about this place, and it is a great place, an aspirational place. To my mind, we are still the big foam finger number one. I don’t think there’s anyone can touch us for … unusualness. We’re really unusual.
It’s a very optimistic show. Is that how you feel personally about the future of the country, and humanity?
Like most people, I have my moods. I got a real boost of optimism [hanging out] with very clever academics who kind of guard the Declaration of Independence in Philadelphia. And you say to them, “People say the country’s never been this divided.” They always laugh. They laugh at the idea it’s never been as bad as this, the rhetoric has never been this hateful. They’re like, “It’s always been like this. It’s always been an argument. The whole point of this place is that it is an argument.” The guys who started this country, some of them hated each other with just as much venom and outrage and indignance as political players hate each other today. I find that quite encouraging. Like I said, I’m not blind to the fact that there are issues and faults and deep things to worry about. But that’s not what this show’s about. It’s as if I was a musician, and I decided to write a happy song. People say, “Why aren’t you sad?” I’m like, “Well, I get that sometimes, but this song is a happy song, this is a rock song. I’ll do a power ballad later on.” It’s not terrible to to do something upbeat every now and again.
What did you discover in the course of making the show?
There were many things, actually. In L.A., I did a kind of run around with the guys who make the lowrider cars, and the community and the story of how that came about are really fascinating, a kind of parallel run of the rise of the automobile in America, but how it was taken on by the Mexican culture. Another that really stuck with me was in the Everglades, when I was with the Gladesman there, finding out that a large percentage of them [were descended from] displaced Scottish peasants, cleared out of the Highlands to make room for sheep for the landowners; they went to Canada, and they drifted all the way down to the southern tip of the United States. These guys there could trace their ancestry back to 100 miles from where I grew up. Americans would be kicked out of most of the countries of the world. So it makes us awesome. I mean, 40% of this country can trace themselves through Ellis Island, through that administration building in New York. That’s insane.
Ferguson at Venice Beach in a segment on the show.
(CNN)
When did you get interested in history?
In Scotland, we’re surrounded by it all the time. There’s a lot of stuff still lying around from a long time ago. American history became interesting to me because it was so attached to Scotland. The Scottish Enlightenment is really kind of the origin story of the Declaration of Independence. Knowing that the philosophy that was coming out of Edinburgh in the 1700s was directly feeding into what these guys were doing, it felt like the continuation of a certain strain of Scottish history. It didn’t end with “Highlander” or “Shrek.”
There’s a road movie element to the series. Do you take trips around the country on your own time?
All the time. I don’t think you can know the United States unless you’ve driven across it at least a couple of times. If you can take a car from New Orleans to Northeastern Maine, Florida to Washington state, it’s worth doing. One of the things that was in the engine for me when I started this [series] was, I’ve seen over the years a lot of — probably more in Britain than in America — lazy kind of pseudo-intellectual documentaries where somebody will say, “Well, you know, the thing about America is…” Well, which America are you talking about? And they will go and get some guy that lives on his boat in Fort Lauderdale with a hat that’s got “Who Farted?” written on it and tell you that’s America. That guy’s there and he’s awesome, but it’s not the whole story. You know what I mean? It’s like saying “Well, you know, Hitler was a vegetarian.” That’s true, he was. But it’s not really the whole f—ing story, is it?
The title of Violet Grohl’s debut album, “Be Sweet to Me,” started as an inside joke.
“‘Be Sweet to Me’ is a phrase that my best friend and I say to each other when we’re play-fighting,” says the rising singer. “It’s what we do to put an end to it. Like, ‘Oh, be sweet to me!’”
The phrase might also carry a double meaning, one Grohl is still parsing. At some point in the naming process, someone in her circle asked Grohl if she was making a plea. Remembering that moment, Grohl pauses to consider.
“I guess it can be seen as a pretext for the album. Just … be sweet,” she says. “But at the same time, it’s literally just what my best friend and I say to each other when we’re calling each other idiots.”
Intentional or not, no one could blame the 20-year-old for inserting an earnest request for audiences to proceed with kindness as she readies her debut album, which finally landed Friday.
The reasons are pretty self-explanatory: Grohl is the eldest child of modern rock icon Dave Grohl, the highly decorated founder and centerpiece of Foo Fighters and onetime drummer of Nirvana, and his wife, former model and TV producer Jordyn Blum. In an age of “nepo” accusations and internet dogpiles, it would be completely understandable for Grohl to feel anxious about her album’s reception.
But if she is, it doesn’t show. On a warm day in mid-May, Grohl appears relaxed and self-assured — but not arrogant — as she idles on a sofa in a cozy Studio City ADU owned by her publicist. Encased in a long, black sleeveless dress, she’s giving a mixture of off-duty rock star and summer goth. Her arms host an array of intricate tattoos; I spot a raven, a skull and a vintage lace fan. Next to her is a bulging Balenciaga mini bag, and a pair of oversized sunglasses on her head are perched atop a mop of jet black curls. The high contrast of her pale, makeup-less skin and swept back hair makes her round, gray-blue eyes appear even more pronounced.
“Everyone wants you to be an idealized version of … not even yourself, but of what they want you to be,” she says. “Sorry, that’s just not gonna happen with me.”
(Bella Newman)
Any time spent with her reveals that Grohl is the sort of person who is ultra-sensitive to the energy of places, people and even the long-deceased. In her free time, Grohl is an avid lover of anything paranormal. “The same time I got into horror movies, I started watching ‘Ghost Adventures’ on Travel Channel,” she says. “It totally sent me down this rabbit hole of the supernatural.”
When I ask if she’d ever made contact with any ghosts, Grohl nods emphatically before describing a trip to a hunting estate near the Scottish Highlands. “It is the most haunted place I’ve ever been in my whole life,” she says. “I walked into the house, and it was like a blast of cold air, chills everywhere. It’s this instinctual feeling of, I’m not alone here … I heard footsteps and disembodied voices, I saw shadows, I had crazy f–ing dreams. It’s so eye-opening, but it’s not evil or negative.”
Chilling films and Lynchian surrealism pervade the tracklist of “Be Sweet to Me,” which relies on symbolic lyricism to illustrate coming-of-age stories. From a sonic perspective, listeners will be thrilled to know that her debut does not just make for an entertaining listen — it’s a dedicated towpath to the very squealing heart of alternative rock, built by an artist who understands her music history on a granular level. Across a tight 11 tracks, “Be Sweet to Me” careens across late-’80s and ‘90s experimental genres, from ripping alt-rock on “Bug in the Cake” to hazy dream pop on “Mobile Star” to aggro Clinton-era alt metal on “Often Others,” and even a bit of chugging hardcore on “Cool Buzz.”
As many references as she brought to the recording process, led by producer Justin Raisen (a known collaborator of Charli XCX and Kim Gordon, who made the introduction), Grohl is not attempting to cosplay the grunge era. Instead of simply mirroring influences, she deftly puts her own spin on each arrangement with inventive, grabby arrangements, razor-sharp production and her versatile vocals, which can bellow like Courtney Love, murmur like PJ Harvey or turn ethereal like Elizabeth Fraser.
“Justin has a crew of musicians that he works with, and they’re all close friends of his,” Grohl explains of the album’s backing band, which Raisen assembled to mimic the Wrecking Crew, a loose collective of session players who appeared on some of the most beloved albums of the 1960s and ‘70s. “They’re the coolest, most talented, genuine music lovers, and seriously talented musicians … I’d never been in that kind of recording environment before. Everyone would throw out ideas or I would share a reference, and whatever it was about the song, [we’d ask] how we can build and make it a completely new, different thing.”
Growing up in Tarzana/Woodland Hills, Grohl says she’s been singing ever since she could speak. In a baby book, her mother wrote how Grohl, at 8 or 9 months, was “babbling and singing.” She took piano lessons with a teacher who taught her any Beatles song she wanted to learn. She later picked up the ukulele, and then a guitar. Now, it’s any piece of gear, from bass to drums to a lap dulcimer. “I just love messing around with different instruments and seeing all the different sounds I can make,” she says.
Grohl also had an ideal music-taste mentor in her father, who told his eldest all about Björk and acquiesced to playing Amy Winehouse’s “Rehab” on repeat. “I think I was 4 or 5, and I remember sitting in front of his computer, and he was talking about how she was from Iceland,” Grohl says of those days. “And I was like, ‘Oh, she’s the princess of Iceland. That was my idea of Björk from a young age. Björk’s ‘Hunter’ music video was a turning point for me.”
By adolescence, while on the road with the Foo Fighters, Grohl would make herself useful by assisting the band’s tour manager. She remembers: “I had a walkie-talkie, I would hand per diems out to people, I would run the envelopes around, and bring my dad a towel after the show, stuff like that.” The live-music atmosphere may have also sparked Grohl’s curiosity in songwriting, which she says began as a way of journaling. “I have cassette demos that I made with a tiny one-track recorder,” she remembers. “Then I started learning how to use Logic right before I turned 13, and that opened up this whole new world.”
One night in May 2018, on a break from the East Coast leg of the Foos’ Concrete and Gold tour, the elder Grohl headlined a benefit concert for the UCSF Benioff Children’s Hospital, where he encouraged his daughter, then only 12, to join him onstage to sing Adele’s “When We Were Young.” A few weeks later, back on tour, Grohl jumped onstage to help sing backup on a few tracks. “It wasn’t my first time singing on a stage, but it was my first time singing on a stage with that many people in [the audience],” she says of the second experience. “I was really scared, but once it was happening, and once it was over, I was like, ‘Oh, this is what I want to do. This is my purpose.’”
Chilling films and Lynchian surrealism pervade the tracklist of “Be Sweet to Me,” which relies on symbolic lyricism to illustrate coming-of-age stories.
(Bella Newman)
From there, Grohl became something of a live fixture — a beloved Foos adjunct performer. But clearly one with her own trajectory. In pre-pandemic 2020, Grohl joined the surviving members of Nirvana at the Art of Elysium Gala, where she sang “Heart-Shaped Box.” The next year, father and daughter recorded a duet of “Nausea” by L.A. classic punk favorites X. In 2022, Grohl opened the second tribute to late Foos drummer, Taylor Hawkins, with an aching rendition of Leonard Cohen’s “Hallelujah.”
It should definitely be said that Grohl is hardly pulling a Jakob Dylan as it relates to her parentage — a detail that actually makes her appear that much more self-actualized and approachable, simply because she isn’t trying to circumvent reality or engage in a furious round of name-dropping. She freely discusses the long evening car rides around Los Angeles she’d take with her dad and two younger sisters during the pandemic, the car becoming a music-recommendation feedback loop, with older and younger generations trading off DJ duties. “My sister and I introduced him to Jockstrap,” Grohl chuckles when I ask what bands she introduced her dad to during those rides. “I’d play him old jazz standards, hip-hop. It was a constant thing.”
During those evening rides, Grohl also drank up the city’s otherworldly, vaguely haunted visage. “There’s something special about L.A. that I can’t fully describe,” she says. “There’s inspiration everywhere, so many beautiful people and historic buildings. I love art about L.A. — when people reference L.A. in their music, movies, or books. I grew up here, and I’ve lived here my whole life. I just feel that deep connection to it all.”
Like any great artist, Grohl is a product of her surroundings, and that can’t help but include a very specific, unlikely upbringing. In her own matter-of-fact way, Grohl shrugs as she acknowledges the inescapable pressure of her last name. “Everyone wants you to be an idealized version of … not even yourself, but of what they want you to be,” she says. “Sorry, that’s just not gonna happen with me. You’re not gonna convince me to change. I’m doing this because I love music, and that’s all I’ve ever known. Everyone’s gonna want me to be something, and I’m not the person that will give in to that.”
I was willing to give the young novice a primer on what a mayor can and can’t do, and let him know City Hall is a reality show like no other he’s been on. But Spencer Pratt didn’t call me in response to my column last week.
I did, however, hear from a slew of his most ardent supporters.
Steven C. had this to say: “You’re a left-wing idiot, and … it’s time for you to retire. You’re a joke!!! You always have been!!! God bless Spencer Pratt and the 45th and 47th President of the United States Donald Trump!!!!!”
You may be onto something, Steven!!! I’ve been thinking about retiring!!!! But then a former reality TV star like Pratt comes along and tells Vanity Fair he had a chat with God, who told him He wants Pratt to be mayor of L.A!!!!! With people like this running for office, how can I retire?!!!!!
R.W. wrote to say: “You say Spencer has never done anything in his life…What credentials do you have? From what I’ve read about you, you are a lousy commie journalist who has never accomplished anything in your life!!”
Just recently, R.W., I replaced a broken toilet tank flush valve and I learned two Willie Nelson songs on the guitar. That’s not nothing.
Peter did not mince words: “Your piece on Pratt is a hit piece filled with bull— . You should go f— yourself before someone takes you out, which is the appropriate response to a s—bag like yourself. So please f— off and drop dead, which is exactly what you deserve.”
Peter, I did drop dead once. Cardiac arrest. While on the other side, I saw God, who told me to snap out of it because He was going to tell Spencer Pratt to run for mayor. Who knew God had a defibrillator?
All of these, by the way, were actual emails, and there were many more just like them. But it’s only fair to note that despite the fulminating knucklehead wing of Pratt’s posse, he’s tapped into a justifiable sense of frustration with City Hall, given homelessness, the Palisades inferno and budget issues that squeeze all manner of basic city services.
That’s why Mayor Karen Bass is paddling furiously, trying to keep her political career afloat. In the latest UC Berkeley-L.A. Times poll, Bass is at 26%, Nithya Raman at 25% and Pratt at 22%. That’s so tight, it appears that no one will get the 50% needed to win outright, and if we get a top-two runoff, it’s not clear who will go to the dance.
So as we close out the primary, with the election on Tuesday, five talking points come to mind.
Which candidate knows the city best?
Los Angeles has 114 distinct neighborhoods spread across 470 square miles (that’s 10 times the size of San Francisco), with an estimated 220 languages spoken. Diversity is a defining characteristic, and roughly half the population is Latino, which makes it a shame there’s no Latino candidate for mayor, especially given the raids and roundups by President Trump.
A mayor doesn’t have to speak six languages and know every corner of the city, but residents want to be seen and heard, and feel like they’re understood and represented.
Raman is well-versed on homelessness policy, and she’s spot-on about the need for greater urgency in problem-solving, but as my colleague Noah Goldberg reported, constituents in her district complain that they haven’t seen enough of her.
As I said, Pratt has wisely targeted municipal failure. But in the realm of outsider candidates with Republican credentials, Rick Caruso, who ran against Bass last time, was comfortable whether he was in the Valley, South L.A. or anywhere in between. And he easily connected with people. Would Pratt be a tourist in his own city?
By virtue of her job the last four years, Bass — who raised a blended Black and Latino family — knows the city best, although her unfavorability rating is a big problem.
What about the other candidates?
In the aforementioned poll, minister and housing activist Rae Huang had 9% and former educational technology businessman Adam Miller had 5%. Virtual unknowns, neither had a legit chance of winning, but they could be spoilers for one of the top three candidates.
If only I had a nickel for every time a reader suggested that.
By 101 measures, Los Angeles is one of the great cities of the world and California has built the world’s fourth-largest economy while leading on climate change, so apocalyptic diagnoses are a bit off the mark.
Also, local elections are nonpartisan. You don’t run for mayor as a D or an R.
And yet it’s true that Democrats and their policies and sensibilities rule the day, and they have a lot to answer for in Los Angeles and in California.
But would the same critics suggest that in conservative cities like Fresno and Bakersfield, which have their own homelessness and other problems, Republicans are to blame?
When it comes to housing, poverty, healthcare and streets occupied by people who are addicted or mentally ill, the failures go back decades, touch all levels of government, and cross party lines.
Have I given up on Los Angeles?
When I pointed out that Pratt seemed unaware of these complexities, and of the structural limits of mayoral power, readers suggested he was rising to the challenge while I was giving up on L.A.
Not at all. I care about L.A. enough to hold its leaders to a higher accountability, and to scrutinize posers and pretenders who think they can do a better job.
My advice for the next mayor.
Fix what’s broken, celebrate what works and take responsibility for what doesn’t.
Now let me try one more time:
Spencer, give me a call.
You can’t tell us you had a conversation with God about running for mayor and not share more details.
Did God scold you for referring to the mayor as Karen “Basura,” which means trash in Spanish?
Did He say we should pull out of the ‘28 Olympics, or have any advice on how to fill potholes and fix sidewalks?
If you’re having regular conversations about City Hall with the Father, the Son and the Holy Spirit, we’re dying to know:
Wim Wenders pulls film featuring topless 13-year-old Nastassja Kinski
Acclaimed German director Wim Wenders announced he was withdrawing his 1975 film, “Wrong Move,” from distribution due to a scene featuring then-13-year-old actor Nastassja Kinski topless.
Kinski played Mignon, a mute acrobat and street performer, in the film. In the controversial scene, she is featured lying on the bed topless as she tries to seduce her 30-something co-star Rüdiger Vogler, who plays Wilhelm.
Wilhelm enters the room, removes most of his clothing and gets into bed with her, slaps her, pushes her away and then caresses her face and cradles her.
Kinski, who also starred in Roman Polanski’s “Tess” and Wenders’ “Paris, Texas,” has voiced her discomfort with the scene for decades and recently told a German news outlet that, although she “didn’t know much at the age of 13,” she could tell that it wasn’t right.
In a 1997 USA TV interview, she was candid about wishing some of her work could be scrubbed from the screen permanently, saying, “I’ve done quite a lot of movies, a lot of movies that I want to just go and burn someplace. You always calculate ‘how much would that cost? How would I do that?’ and just know it’ll exist forever. It won’t be showing all that much, but just the fact that it’s there and it’ll exist.”
She told W Magazine the same year, “If I had had somebody to protect me or if I had felt more secure about myself, I would not have accepted certain things. Nudity things,” Kinski said. “And inside it was just tearing me apart.”
Per the Hollywood Reporter, Wenders received a lifetime achievement award at the German Film Awards last week and addressed the “Wrong Move” issue in his speech, saying that he would not shoot the scene today. He also said that he knew that keeping it in the film had continued to cause Kinski pain.
“I can’t blame the 29-year-old young man I was then, 50 years ago, who made a film of his time; wanting, in a way, to capture the zeitgeist,” he added before calling on the members of the German Film Academy to debate the issue and aid him in finding a resolution.
On Wednesday, the “Perfect Days” director issued a statement that was posted on social media saying that he would withdraw the film from all current forms of distribution.
“As the only person responsible at the time for Wrong Move who is still here, I recognize that Nastassja Kinski should have been better protected back then. For that, I apologize to you, Nastassja, unreservedly, no ifs and buts.”
Wender said that “the many reactions, comments, and conversations of recent days” had a played role in shifting his perception of the issue but that society must find appropriate ways of dealing with controversial film works from the 20th century.
“Only after that process has taken place — even if it takes considerable time — and once we have been able to present a mutually agreed solution, which will include Nastassja Kinski, will we make the film available again.”
Kinski commented on Wenders’ statement on Wednesday. The following has been translated from German:
“Wim, after all that, all those years, only because the public has now commented in so many newspapers, as well as colleagues, and now because thousands — even though I asked for so long — only now because of the public, do I read THESE words from you, W. Wenders: ‘Nastassja, back then 13 in the first film, Wrong Move.’ ”
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Jo Adell revives José Canseco meme by giving up homer off his head
Nothing could possibly generate a headline Tuesday night when the worst American League team — the Angels — played host to the perhaps the worst National League team — the Colorado Rockies.
Except. . .
This.
A fly ball conked Angels right fielder Jo Adell on the head and bounced over the fence for a home run, reminding fans of José Canseco’s similar gaffe 33 years ago.
Adell chased TJ Rumfield’s fourth-inning drive onto the Angel Stadium warning track and reached up to catch it. The ball grazed his glove before bouncing squarely on his noggin and over the wall.
The ball caromed back into the outfield and Rumfield momentarily stopped at second base. But the umpires confirmed the home run, coupling Adell with Canseco in numerous social media posts.
Canseco, the steroids-fueled, defensively challenged left fielder of the Texas Rangers, made a similar blunder on May 26, 1993, when a ball hit by Cleveland’s Carlos Martínez bounced off his head and over the wall.
Mike Trout presumably has witnessed every possible blooper, blunder and boo-boo in 16 seasons with the woeful Angels. The center fielder stood only a few feet from Adell when this one occurred and did not make himself available for comment afterward.
To his credit, Adell faced reporters.
“It looks like I’ve never played in the field before, which is disappointing, because it’s beyond the truth,” he said. “I’m the only one that really knows what happened. I was out there, and it happened to me, so it is what it is.
“It was kind of the icing on the cake, because I was [expletive] all the way around the whole day today.”
Adell was hitless in four at-bats, striking out twice, in the 8-2 loss that dropped the Angels to 23-39, the worst record in the AL.
The play was emblematic of Adell’s seven-year career with the Angels, who made him a first-round draft pick in 2017. At first blush, his lifetime Wins Above Replacement of 0.3 would indicate that he’s little better than the fictional minor league “replacement player” to which MLB players are compared in calculating the statistic.
Yet Adell’s physical tools and occasional highlights scream stardom. He shouldn’t be an ordinary Jo. The antithesis of the embarrassing episode Tuesday night came less than two months ago when he robbed the Seattle Mariners of three home runs in one game.
“It was the Jo Show,” Angels manager Kurt Suzuki said at the time. “This guy works as hard as anybody I’ve ever been around. His work ethic, attention to detail, his desire to improve every single day. To see him do that, I don’t believe you’ll see that again.”
Suzuki, who was Adell’s teammate in 2021 and 2022, likely never thought he would see a fly ball bounce off the outfielder’s head and into the stands, the Jo Show shifting to Oh, No!
“I saw the play, but for me, Jo’s made great strides defensively from when I played with him,” Suzuki said Tuesday. “And obviously, he had the night he robbed three home runs. It was a tough play tonight, but at the same time, the strides that he’s made defensively have been great.”
Adell was considered a defensive liability early in his career and was saddled with a four-base error in 2020 when a fly ball hit his glove and went over the fence. But he steadily improved and became a Gold Glove Award finalist in 2024.
That didn’t stop the “Tarps Off” throng of shirtless fans at Angel Stadium from chanting Adell’s name after the gaffe against the Rockies. For his sake, they likely will revert to imploring Angels owner Arte Moreno to “sell the team” soon enough.
Adell might have to stay away from social media forever, but he would like to forget the ball bouncing off his head as soon as possible.
“That’s what we have to do,” he said. “I mean, there’s really no other way around it. Let it fester and tumble over, but these are plays I’ve made hundreds and thousands of times. I’ve got to just keep going, and as a team, we’ve got to keep going.”
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Financial adviser urges Brits to wait until specific time of day to book 2026 holiday
According to Abs Mechial, there is a specific minute every day in which holidays can be booked for cheaper on average – but you may need to set your alarm to take advantage of it
A financial adviser has revealed the best time to book your 2026 holiday (stock)(Image: Ralf Hahn via Getty Images)
If you are yet to book a getaway this year and are wondering when the ideal moment might be to do so, a financial expert has identified precisely when you should – and shouldn’t – make your move. Abs Mechial turned to TikTok to reveal that not only are certain days preferable for booking, but specific times of day matter too.
“When is the worst time to book a holiday and when is it actually cheapest? he asked his followers in a video. Surprisingly, according to research, Abs claimed there is a one-hour window in each day when holidays can cost you significantly more money to book.” he asked his followers.
“According to the data, the most expensive time to book is between 9am and 10am,” he explained. “Bookings in that window came in around 30 per cent more than the cheapest time of the day – so no more booking holidays as soon as you log in for the day.”
As for the most economical time of day, Abs warned that you might need to set your alarm. “Early… and I mean really early,” he said. “Between 4am and 5am – and the logic does make sense.”
Abs highlighted that overnight, demand “drops off” and consequently prices “reset” to their baseline.
He elaborated: “Then as the day goes on, the more searches and more clicks result in prices starting to creep back up again.”
For those reluctant to wake up before sunrise, however, Abs provided guidance for anyone wanting to book during “more realistic hours”.
“Late evening, around 8pm to 10pm tends to be noticeably cheaper than the morning rush,” he enthused. “But if you want to go even further and want the exact moment – not just the hour, but the minute – according to the data, the single cheapest minute to book a holiday is 2:48am.”
Surprisingly, bookings made at that precise time worked out up to 60 per cent cheaper on average, according to Abs.
He concluded with a word of caution, however: “Now, definitely take that with a pinch of salt – booking at 2:48am isn’t going to make every holiday 60 per cent cheaper, but the pattern is clear – if you want to save money, avoid peak booking hours because timing, just like everything else with money, makes a massive difference.”
Responding in the comments, one TikTok user offered their own unverified tip: “Best to search in private browser so prices do not increase if you are searching for same destinations. Prices increase with demand so private searching will prevent this.”
A second person added: “I usually book mine within 72 hours of departure… like 50% cheaper! I find the hotels I want and then I wait for them to deal them off.”
A third exclaimed: “Wow that’s crazy how the time of day can cost you!”
While a fourth TikTok user pointed out: “Doesn’t change if you want a certain resort at a certain time of year.”
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6 nonfiction Emmy contenders to watch this season
Nonfiction films and series are among some of the most-watched (and most-discussed) programming on TV. As Emmy season heats up, the directors of six notable contenders share thoughts about their projects.
‘The Yogurt Shop Murders’ (HBO)
“It’s just a famous, famous story in Texas, but particularly Austin,” director Margaret Brown says of the bewilderingly complex case of four teenage girls slain at a yogurt shop in the state’s capital in 1991. “You heard about it all the time at parties. My best friend was like, ‘That story is rabbit hole upon rabbit hole upon rabbit hole — no one knows what really happened. It’s impossible to figure out.’ I liked the idea of something that was impossible to figure out. But when I started doing the interviews, I was like, ‘This is dark, this is deep trauma.’ I’d never watched or done true crime before. I didn’t realize what it would be like to sit with people who hadn’t known what happened to their siblings and children for over 30 years. I remember [thinking], ‘I’ve got to get this right. I can’t mess this up. There’s just too much pain here.’”
‘The American Revolution’ (PBS)
“Leading up to it, I said I just don’t want us drowning in fife-and-drum treacle,” director Ken Burns says of his expansive treatment of America’s origin story, which draws out the experiences of Native Americans and enslaved people as well as the era’s atmosphere of civic discord. “Clearly it’s not, because we’re so existentially challenged by the moment. But the revolution gives us a sense of perspective. Times were more challenging then. More division. More division in the Civil War. More division in Reconstruction. Yes, the threats are unprecedented, but they’re not totally unfamiliar. Mark Twain is supposed to have said history doesn’t repeat itself, but he’s [also] supposed to have said it rhymes. I love that. So like Odysseus, I tie myself to the mast and resist the temptation to put a little neon sign in the film saying, ‘Isn’t this so much like today?’”
‘Sean Combs: The Reckoning’ (Netflix)
“There was so much noise,” says director Alexandria Stapleton, who tracks hip-hop mogul Sean “Diddy” Combs’ rise and shocking fall in this series, executive produced by 50 Cent. “I’m scared for my safety, I’m scared for my career. Then there was every journalist, every giant corporation, trying to chase the same story. Because there was a feeding frenzy, there were a lot of people that were not truthful. It was making sure that we were going after the right people to speak with, and then … making sure that they felt safe emotionally. No one knew who I was interviewing while I was making it. In making a project about a man who’s very connected in media and very good at whatever he wants his narrative to be, there was a very deliberate decision to not drop this project until we literally were a week out.”
‘Ocean With David Attenborough’ (National Geographic)
(Keith Scholey / Silverback Films and Open Planet / National Geographic)
“It’s been weird, because I’ve got older, and he sort of stayed the same, like the Dorian Gray picture,” says Keith Scholey, one of the film’s directors, of the 100-year-old broadcasting legend and naturalist. “He’s still got that huge power and presence and commitment. It comes from the heart. He’s got a huge depth to him, in terms of knowledge, experience, personality … but he’s also very self-effacing. The most boring thing in the world for David Attenborough is David Attenborough. He’s interested in every aspect of the truth, and he loves uncovering that and passing that on to the world. He knows how to present in a way that it’s a performance, but it’s not a performance.”
‘Neighbors’ (HBO)
“Neighbor disputes are a great leveler,” says Harrison Fishman, who co-directs this gonzo excursion into neighborhood feuds with Dylan Redford. “If you think about class and race and politics, all that stuff gets thrown out the window when people are dealing with such small, concrete problems. You quickly start learning why people care so much about the things that they’re fighting for. It becomes a bit like a Trojan horse into learning about aspects of America and things about people that have nothing to do with the dispute. Those tangents are so valuable to us, because it gives context to the dispute. But it also helps people understand who everybody is in our country.”
‘Mr. Scorsese’ (Apple TV)
“We would get together and have these very long conversations,” says director Rebecca Miller, who interviewed American cinema’s great poet of tortured masculinity over five years. “But then in terms of the other voices, I thought, ‘Who knows him best?’ There was this wonderful movie called ‘Crumb,’ by Terry Zwigoff. He interviewed [cartoonist R. Crumb’s] ex-girlfriend at a certain point, and I felt like I got a view into the person, not in a gossipy way, but … trying to get a rounded view. If you only get the front-facing part, you’re not going to get a full sense of who they are. It was very important to me that we hear from the daughters or his wife, that there’s a sense of a person in there.”
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L.A. Rep. Jimmy Gomez reportedly faces House investigation over sexual misconduct allegations
WASHINGTON — Democratic Rep. Jimmy Gomez of Los Angeles is reportedly under investigation by the House Ethics Committee over sexual misconduct allegations.
The investigation came after the New York Post reported in April that the 51-year-old, five-term congressman had been spotted kissing a much younger congressional staffer from a different office in 2023.
According to CNN, which on Tuesday first reported news of the investigation, the congressional committee learned of other allegations of sexual misconduct as it investigated the report of Gomez’s 2023 conduct with the staffer.
Gomez was friends with former California Rep. Eric Swalwell, who earlier this year resigned from Congress and suspended his California gubernatorial campaign after multiple women accused him of sexual assault. Gomez had been a co-chair of Swalwell’s campaign.
The 2023 incident with Gomez and a younger staffer reportedly occurred at a party hosted by Swalwell, according to the New York Post. Gomez’s office denied the report at the time.
Another lawmaker, Texas Republican Rep. Tony Gonzales, also resigned from Congress in April in the wake of allegations of sexual misconduct with a former staffer who later committed suicide.
Both Swalwell and Gonzales were under investigation by the ethics committee before they resigned, but those investigations ended when they left office as the committee only has jurisdiction to investigate sitting members.
Gomez’s office didn’t respond to multiple requests for comment, but, in a statement to CNN, Gomez said he would cooperate with the ethics investigation. While he acknowledged making “personal mistakes” outside his marriage and apologized to his family, he said his actions didn’t violate House ethics rules.
“Years ago, I made personal mistakes outside my marriage that have caused real pain to my wife and family. Although my actions were consensual in nature and haven’t violated the law or House ethics rules, that doesn’t diminish the impact that these mistakes have made on those I care about the most,” Gomez said.
The House Ethics Committee declined to comment on the reported investigation.
Gomez is married to Mary Hodge, a past top aide to former Los Angeles Mayor Eric Garcetti. The couple have a son whom Gomez wore in a baby carrier during the lengthy House speaker election in 2023. That same year, Gomez founded the Congressional Dads Caucus, which has advocated for expanded child tax credits and other parent-friendly legislation.
The disclosure of the congressional investigation comes as Gomez faces a campaign challenge from Angela Gonzales-Torres, a Pasadena City College counselor with the backing of the progressive Justice Democrats.
Gonzales-Torres has criticized Gomez for receiving the backing of the American Israel Public Affairs Committee, or AIPAC, though Gomez has at times taken political stances at odds with the group.
After news of the ethics investigation broke, Gonzales-Torres wrote on the social media platform X, “I take political corruption seriously … I also take very seriously what appears to be a culture in Congress in which men abuse women.
“If @RepJimmyGomez has nothing to hide, he should have no concern. But if there was any criminal behavior that he witnessed, participated in, or helped conceal, we will find out and we will help ensure accountability and justice.”
Gomez was first elected to Congress in a 2017 special election to succeed Xavier Becerra, who is now running for governor and has seen the biggest boost in support following Swalwell’s departure from the race in April.
Gomez previously served in the state assembly from 2012 to 2017 and was political director for the United Nurses Assn. of California before that.
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Mindy Kaling’s ‘Not Suitable for Work’ is a vivid memory of her 20s
Mindy Kaling was in her early 30s when the first TV series she created, “The Mindy Project,” made its debut and set in motion her attempt at forging an identity as a prolific multi-hyphenate after “The Office,” where she was a writer and cast member for eight seasons. But if you ask her to reflect on that time of her life, she says, it’s a bit of a blur.
As she explained recently, “I remember it, but not all that distinctly. It was such a grind — waking up at 6 a.m. to be on camera, wrapping late. And I did that for 117 episodes.”
But ask her about her 20s, when she was living in New York City and trying to figure out how she could break into the industry as a comedy writer? “I remember incredibly vividly,” she says. “I’m like, did I feel things more intensely back then? I’m not sure. But that period of time … there was just so many highs and lows. And it felt cinematic to me.”
So she made a TV show about it.
Premiering Tuesday with three episodes, “Not Suitable for Work” follows five ambitious 20-somethings living in Manhattan who are navigating the early stages of their careers while trying to have a semblance of a life and the heightened emotions they experience during this period. Kaling calls it the third chapter in her semi-autobiographical TV trilogy, which includes “Never Have I Ever,” about a first-generation Indian American teenager coping with her father’s death while trying to be popular (or at least not super uncool), and “The Sex Lives of College Girls,” about four young women who dorm together and boldly maneuver their new, uninhibited lives on campus.
In the new Hulu series, viewers are introduced to AJ Pascarelli (Ella Hunt), a hard-working and disciplined young woman who moves to town to start a high-pressure finance job, and her roommate Abhinaya “Abby” Chilukuri (Avantika), a savvy and fashion-obsessed assistant to a celebrity stylist. They live across the hall from Josh Teitelbaum (Jack Martin), an idealistic nepo baby of a media titan — he’ll lean into his privilege when it suits him while also trying to distance himself from it — with ambitions of making it in journalism. His two roommates are Kel Washington (Nicholas Duvernay), an insecure but earnest med student who would rather be acting, and Davis Beau Bradley Barrett III (Will Angus), a high-energy, bumbling financial analyst who works at the same corporate firm as AJ and is an undercover hopeless romantic. As one might expect, there are some messy entanglements within and outside the group.
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1. Abby (Avantika), left, and AJ (Ella Hunt) move in together. 2. Across the hall live Davis (Will Angus), left, Josh (Jack Martin) and Kel (Nicholas Duvernay). (Gwen Capistran / Disney)
“I hope that young people will respond to the show, “ Kaling says. “We did so much research in it because at a certain point it is funny — I’m in my 40s, and I am often like, ‘I wonder if young people are suspicious about why I’m so obsessed with writing shows about young people.’”
So, why is she?
“Because I find it almost impossible to reflect on the current time I’m in,” she says. “It would be too painful to be too introspective about the time that I’m in. I need a real sense of distance to look back on it, especially since having kids. Once you have kids, it triggers these memories of your own childhood.”
Over video call from New York City, Kaling reflected on the series and her early years of trying to make it. These are edited excerpts from the conversation.
How did you land on the professions that your characters would be pursuing and what did you want to say about ambition at this stage of life?
I love people who have big wants, and sometimes the audience is like, “Maybe you want the wrong thing” and they [the characters] don’t quite know that yet. I love writing about the underdog. And with their particular professions, they’re all things that I had some interest in researching. I’ve always been fascinated by investment bankers. I went to Dartmouth, so I have a lot of friends who went into that, and I swear I’ve had my friends explain their job so many times to me, and I still didn’t totally understand it. We were lucky; a very famous investment bank very generously offered to let me come for a day and meet with young bankers. I also … write about the children of immigrants. I’m very, very interested in that story, and so we got to research what it’s like being the child of Nigerian immigrants. But every single character has a journey, or there’s an aspect of them that I feel like I really relate to, and that is in almost all my shows.
What was it like observing young people in the investment banking world?
They were wary — because they’re smart — of someone from Hollywood coming in to document what they were doing and asking questions. It helped that a lot of the guys liked “The Office” and a lot of the women liked “The Mindy Project” and “Sex Lives of College Girls” because they’re all kind of young. I think that made them trust me a little bit more. For the AJ and Davis characters, so much of what I researched when I was there fed into their plot line … almost all the characters have a boss they fear and idolize, and the way that first-year bankers feel about their managing directors is not dissimilar to the way I felt about Greg Daniels when I started at “The Office.” And the hours are actually not dissimilar.
There’s a moment early on where Jay Ellis’ character, Bill, who is a managing director at this fictional investment banking firm, is asked about work-life balance. I’m curious how you thought about that at the start of your career versus now.
I didn’t care at all about anything except my job for 16 years. It was my entire personality and purpose. When I was in my 20s, the only thing that mattered was being a good comedy writer and succeeding, and one day maybe being able to create my own shows. There was no balance. I didn’t want balance. I wanted to live and breathe comedy writing for my entire life. I hated the weekends, actually. And who wouldn’t? I was a friendless transplant in Los Angeles and I just wanted to get back to working at “The Office.” Every year I was there, I got more ambitious and I wanted to go off and create my own show and have a bigger part as an actor and everything.
It wasn’t until after I did that on “The Mindy Project” … that I just felt like, “OK, I get this. I want to now try being a mom.” Once I had my daughter, Katherine [at 37], it wasn’t that the balance changed, it was my first real, legitimate interest outside of work — that I cared about more than work.
“When I was in my 20s, the only thing that mattered was being a good comedy writer and succeeding, and one day maybe being able to create my own shows,” Kaling says. “There was no balance. I didn’t want balance.”
(Ebru Yildiz / For The Times)
After college, you moved to Brooklyn with two Dartmouth friends to pursue a career in comedy. You eventually got a full-time job as a production assistant on “Crossing Over with John Edward,” a program where people would receive psychic readings. Tell me about that time in your life.
I remember feeling like I had no access and that I didn’t have any place to put my ambition. It was so far away from anything I wanted to do — scripted comedy and reality television could not be further apart. It was a fascinating time because there were such highs and lows. There was the excitement of new crushes and having fun in a new city with two friends, but there was also the crushing disappointment of feeling like I was never gonna make it. I didn’t even have a path forward to making it, but I was lucky, because I lived with my two best friends. We would go to open mic nights, and we would go to restaurant week and see how the rich people in Manhattan were living. We would take the subway uptown to Central Park and walk along Fifth Avenue and like look at these amazing homes and just dream what it was like to be like a wealthy New Yorker who could buy everything that they read about on DailyCandy — now I’m really dating myself here, back when DailyCandy was a thing. But that’s what it was like, I just I felt a lot of extreme emotions.
How did you approach that job?
My boss was a producer and would approach the families and get their information, and then we would have to do research on them, but it was mostly because they would do a little clip package on the different families. I had to get them to sign releases to be on the show and get photographs of their deceased [loved ones] and them. I actually thought it was pretty interesting work. It just had nothing to do with comedy writing, and that job was not clearly going to lead anywhere toward comedy writing, and I came to New York because of “Saturday Night Live.” When I was working there is when my friend Brenda [Withers] … and I started writing this play “Matt & Ben” [a satirical play that imagines the story of Matt Damon and Ben Affleck before “Good Will Hunting” made them famous] in the time we had off. We started writing it, then I got that job as a PA, then the show went up at the Fringe Festival, and then it was going to go off off Broadway, and when it went off-off-Broadway, and I had a steady income, that’s when I quit my job there. I was only at “Crossing Over” for three or so months.
Greg Daniels attended a performance of “Matt & Ben” and it’s what led to you getting on “The Office” at 24. What was that first meeting like?
Back then, because the internet was so different, when I looked up Greg, besides his credits, you couldn’t find a lot of biographical information about him, or even a photo. I don’t think I even knew what he looked like. When I met him, I don’t think I had seen the British “Office” yet; I wasn’t cool. At that time, I had put so much pressure on this job. I only had two interviews — it was this and there was a show that ended up getting canceled while I was waiting to meet the showrunner. It was a pilot called “Nevermind Nirvana,” about an Indian man who married a white woman, and Ajay Sahgal was the writer. I was like, “Oh my God, if anyone is going to get hired to work on the show, it has to be me.” I was pretty excited about that meeting, but when I was sitting in the waiting room at the production offices to meet with Ajay, they told them they weren’t going to pick up the pilot, so I never even got to meet him, and they just told me I could leave.
I’d only had that interview, and then I met with Greg. This is my memory: it was a high-rise building in Century City, in the offices of “King of the Hill,” so there was a lot of like “King of the Hill” cutouts and stuff there. And he’s just a very thoughtful, quiet guy who doesn’t push conversation … I’m someone who’s pathologically chatty, and so talking to Greg, who is completely fine with there being pauses in conversation, and is just a confident grown-up, it was incredibly intimidating. I was very stressed out in our meeting, but I also was blown away by him.
That first season, you were also the only female writer on staff and the youngest —
B.J.[Novak] is a month younger than me. I want to correct that because he’ll read this and go, “Hey … !”
How did that play into how you felt in the room?
I haven’t really ever had imposter syndrome. And this is my probably my personality defect — I felt that even if I hadn’t seen anyone like me in these roles, that I was just going to be the first one, and I was going to work really hard and prove it to them. The staff was super competitive, but they were smart feminist guys. It was hierarchical and stressful, but it was not because of my fellow writers, except that I wanted to impress them. I felt nervous because I wanted to be contributing, but I don’t know why — I just loved the pilot so much that Greg had made, and I loved these characters, and this world — I was like, I can’t possibly lose my job, I love it too much. Which is probably really stupid, I didn’t ever think there’s a possibility that I could get fired here.
Phyllis (Phyllis Smith), Kelly (Mindy Kaling), Dwight (Rainn Wilson) and Michael (Steve Carell) in a scene from Season 2 of “The Office.”
(Paul Drinkwater / NBCUniversal via Getty Images)
We see how AJ wants to impress the boss and takes on more than she can chew and screws up some data before a big presentation. What was that first big mistake or misstep that you made in those early years that you still think about?
I remember Season 2 — because I just wanted to prove to Greg and to the cast and to the director, the cinematographer, and everyone that I was super invested — we were shooting “The Dundies” [episode]. I was an actor on the show as well, but I wasn’t acting in this scene, but it was my episode [that I wrote], and in between takes, John [Krasinski, who played Jim Halpert] and Jenna [Fischer, who played Pam Beesly] were just on set, and I remember going up to them and being like, “Guys, that take was so great!” And I walked away. Greg came up to me and was like, “You know, we really should let just the director talk to the cast between takes.” Greg, he’s my mentor, but he definitely, over the course of the eight years I lived there, had corrected me many times, as he should have, but that was one of the first times. I remember I was so embarrassed, but I didn’t understand it’s not the role of a story editor to be giving feedback to the cast between takes on a show.
The bosses on the show all have different styles and expectations that may seem demanding or annoying on the surface. How do they reflect where you’re at now?
No one trains you on how to be a good boss. And bad bosses are so prevalent. The entire premise of “The Office” hinges on this funny concept that terrible bosses exist. It wasn’t until I was on “The Mindy Project” that I was the employer for the first time. Every single year of that show, it was a battle getting a new season. One of the challenges of being a good boss is being able to put aside those personal, professional battles you’re fighting … but then also realizing that you’re a mentor to other people, and you have to start thinking about things that you never thought you needed to — overtime, maternity leave, respect in the workplace, the things that make the workplace enjoyable for everyone else who’s there working for you. And it’s not like that comes naturally.
The double blessing of having a good boss, which I did in Greg Daniels and Howard Klein [an executive producer on “The Office”], is that they modeled that for me. Even though I could not be more different than Greg. Even to this day, I’m realizing I have all the unique challenges of being a single mom, being the creator of these shows with crews and casts, but then also being able to be empathetic for all the people that work for me and making sure I make time to listen to them when they want to talk to me about an issue that they’re having; it’s a continual challenge that I’m hoping I’m getting better and better at [managing].
When Bill is asked about work-life balance, he’s also asked if he has inspirational words to impart. It’s very much about overworking and being productive. How do you tackle the question today?
I used to say “you have to write your own part.” And everyone would get annoyed because they’re like, “I’m not a writer.” I’ve had to really think about the question so I could be helpful. We all want a linear path to success. And if my career has taught me anything, it’s that the linear path just was not how I got my job. You know when you go on Google Maps and it shows you all the different paths — the fastest, one path with the toll road and one path that’s going to take seven minutes longer. I’ve only ever taken the one that’s seven minutes longer, or the toll; it’s never been the easy way. The sooner I got used to that, the better.
Before I let you go, in the show, one of the celebrity clients Abby is dealing with is Austin Blanchett, Cate Blanchett’s fictional nephew. Was it always going to be Cate? What other celebs were in the running?
It was Cate Blanchett’s nephew before we had Harry Richardson. When I worked on “Ocean’s Eight,” one of the biggest surprises on it was that Cate Blanchett was incredibly funny and did not take herself seriously at all. I suspect if anyone was going to think it was funny that in this fictional world of the show she had this useless nepo nephew that she had to help get jobs, it would be Cate. I hope she doesn’t sue me. I think she would think it was funny.
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In deep blue California, frustration with Democratic status quo fuels governor, L.A. mayor race
As primary voters head to the polls Tuesday to determine which candidates will face off in November to become California’s governor and Los Angeles’ mayor, both races are wide open, with a new crop of candidates challenging the Democratic status quo.
For Democrats, little clear consensus has emerged so far on who should lead the city and state into the future.
In California’s crowded gubernatorial race, Democrats have struggled in recent months to settle on a candidate to succeed term-limited Gov. Gavin Newsom.
After former Rep. Eric Swalwell suspended his campaign in April amid allegations of sexual misconduct, Xavier Becerra, a former Biden cabinet member, inched ahead by positioning himself as the safe, experienced Democratic candidate. Another Democrat, billionaire climate activist Tom Steyer, and Republican Steve Hilton, a former Fox News commentator, trail close behind.
In L.A., experience seems to be as much a liability as an advantage.
Mayor Karen Bass finds herself in the extraordinary position, as an incumbent, of fighting to make the runoff as she is assailed from the left and the right. The latest UC Berkeley-L.A. Times poll shows Bass leading with just 26% of the vote, one point ahead of City Councilmember Nithya Raman, a wonkish Democratic socialist, and four points ahead of Republican Spencer Pratt, a former reality TV star.
“There’s a clear sense of frustration with the Democratic Party,” said Sara Sadhwani, a professor of politics at Pomona College. The reason a wave of conservative outsiders like Pratt and Hilton are doing so well in such a solidly liberal city and state, Sadhwani said, is that they’re more willing to spell out the challenges that L.A. and California face.
“Democrats tend to be very concerned about not upsetting one coalition or another, so it’s politics as usual with many of the Democratic candidates,” Sadhwani said. “Spencer Pratt has blown a hole in that by just naming the problems that everyday residents and voters are seeing and feeling on the ground.”
On homelessness, many Angelenos are frustrated Bass hasn’t significantly moved the needle.
“We can point to facts and figures that might suggest that things have changed,” Sadhwani said. “But when you walk down the streets of Los Angeles, it doesn’t feel like it, so she hasn’t passed the field test. That’s the problem.”
A growing segment of Angelenos also chafe at the city’s high cost of living. And many are angry about the Bass administration’s lack of preparation and response to the 2025 Palisades fire.
“The Democrats have to account for those challenges,” Sadhwani said. “They have been in power for all of this time.”
California, of course, remains a Democratic stronghold, and polls show state voters are overwhelmingly opposed to President Trump. His second-term agenda — including a sweeping immigration crackdown, tariffs and the war in Iran — only seems to have cemented California’s status as a resistance state.
But after so many years of Democratic dominance, in Sacramento and at Los Angeles City Hall, leaders have to answer for voter frustrations.
The top two vote-getters in California’s nonpartisan primaries will advance to theNovember runoff, unless one candidate manages to pick up more than 50% of the vote.
Republicans have turned out at higher rates than Democrats in early voting. Paul Mitchell, vice president of the Sacramento-based bipartisan firm Political Data Inc., said that older Democrats who reliably turn in their ballots were slower to vote this year, likely because two Republicans were on the gubernatorial ballot and the Democratic field was fractured.
“That has caused them to dive into a lot more strategic voting,” Mitchell said, noting many seemed to be waiting to cast their ballots for the Democrat who looks to have the best chance of moving on to November.
For the GOP, getting a candidate on the November ballot for governor means more than just demonstrating Republicans are players in California. A GOP candidate would bring out more Republicans to vote in the general election, raising the party’s prospects of winning down-ballot races and passing a GOP-led ballot initiative on voter ID.
For Democrats, the midterm races offer the party its first major chance to chart a new path for the future.
As polls show Trump cratering in popularity, Democrats in California and beyond are struggling a year and a half after Kamala Harris’ bruising 2024 defeat to agree on what went wrong.
The Democratic National Committee’s long-awaited autopsy of that election — which said Harris “wrote off rural America,” wrongly assumed identity politics would win over voters of color and failed to develop “defined or consistent” strategy against Trump — has only generated more hand-wringing.
“There is not a clear vision, there is not a clear policy agenda, and the Donald Trump presidency upended the policy world as we knew it,” Sadhwani said. “It’s unclear how any Democrat, including any of the individuals in these two races, is going to navigate the waters into the future. One thing is for certain: We aren’t going back. So, which of these candidates is going to lead us into an uncertain future?”
Referendum on Bass
In L.A., the election is a referendum on Bass, who pledged in 2022 to solve homelessness, cut crime and make the city more affordable.
“How has L.A. changed in four years?” said Christian Grose, a professor of political science and public policy at USC. “The Bass campaign is saying it has changed for the better and she still needs more time. All the other candidates, from very different perspectives, are saying that it’s much worse than it was four years ago, and it’s time for new leadership.”
Bass told The Times she plans to win in November by demonstrating her administration’s progress in clearing homeless encampments and accelerating the building of affordable housing. She has also noted that data shows homicides in the city are at their lowest since 1966.
Challenging Bass from the left is Raman, who was elected in 2020 as the first DSA-backed L.A. City Council member. Pitching herself as the viable progressive in the race, Raman has accused Bass of not doing enough to make the city affordable and critiqued Bass’ spending on Inside Safe, her program to move unhoused people into stable housing. Although Raman presents herself as an outsider, she is a former Bass ally who has chaired the council’s Housing and Homelessness Committee for more than three years.
“She’s absolutely a part of the establishment,” Sadhwani said. “She’s been in City Hall longer than Karen Bass.”
As Raman tacked to the center during the campaign to appeal to more moderates and distanced herself from past calls to defund the police, she alienated some DSA members who complained they didn’t know what she stood for. Her three fellow DSA City Council members endorsed Bass.
Pratt is challenging Bass and the entire Democratic status quo.
A former star of “The Hills” who lost his home in the Palisades fire, he has surprised many political observers with his success assailing the city’s handling of the 2025 firestorms. He has called unhoused people drug-addled “zombies” and argued that L.A.’s housing crisis requires heavy-handed policing.
Pratt has raised vastly more campaign contributions than Bass and Raman. He has also generated national online buzz by waging an aggressive social media campaign and inspiring supporters to post a stream of viral AI election campaign ads.
Still, most political experts agree that Bass has the most viable path to victory, starting with a solid base of Black voters and a large share of Latino voters, plus support from powerful unions.
“Under normal circumstances, or at least under historic circumstances, that would be plenty to get her over the finish line,“ said Jim Newton, executive director of UCLA Blueprint magazine and a former political journalist for The Times. “What’s problematic for her is that there are people who are angry with her.”
A reset in California
Newsom has emerged in recent years as the national face of Democratic resistance to Trump, bolstering California’s status through a barrage of lawsuits and all-caps trolling against Trump.
Whatever candidate replaces Newsom, things are going to be different.
The emerging front-runner, Becerra, is a safe-bet career politician who has served as California attorney general and U.S. secretary of Health and Human Services. Asked recently why he had climbed in the polls, Bercerra said he thought voters wanted experience, not “glitz and sizzle.”
He has pledged to issue executive orders declaring California’s housing shortage a state of emergency and directing state agencies to maintain coverage for every Californian affected by federal or Medi-Cal cuts. He also touts his record, as the state’s attorney general, of suing Trump 122 times.
Steyer, a hedge-fund billionaire, calls himself “the most progressive candidate on the ballot.” He has pledged to build one million affordable homes, make the wealthy pay more taxes, and defend the environment — stances that are certain to unsettle Sacramento lobbyists and test the limits of California’s progressivism. But his past investments in coal plants and ICE prisons raise questions for some voters.
“His wealth is in one way his Achilles heel in the election,” Grose said. “Voters think of him as a billionaire more than progressive.”
Republicans seem to have rallied around Hilton — a British immigrant and former top strategist forconservative prime minister David Cameron — who has secured Trump’s backing and is campaigning on the message that California is a failed state in need of radical reform.
Hilton has pledged to cut government spending, make housing more affordable and bring gas prices down. But to achieve some of his goals he would scale back public services and environmental regulations and ramp up domestic production of oil and natural gas — strategies that many Californians might hesitate to get behind.
Whichever candidates make it to the runoff, the California Democratic Party will face questions about its strategy and vision. Less than two months ago, the party chair had urged Becerra to drop out of the race to make way for Swalwell.
“Clearly, the party itself has lost its way in California,” Sadhwani said. “I would not be surprised if the California Democratic Party looks for new leadership after this election.”
Can a Republican win?
Because the top two spots in each contest are up for grabs, elections experts warn that the vote results may not be known for days.
If Republicans make it to the runoff, they face steep odds of being elected in November in a state where Democratic registered voters outnumber Republicans by more than 20 percentage points.
Rob Stutzman, a GOP strategist, said neither Hilton nor Pratt was likely to win. But if they made the runoff they could have a huge impact on the political environment by advancing “grievance issues that really put up a spotlight on what I call the blue state incompetence.”
Of all the candidates, Mitchell said, Pratt as an outsider adept at Instagram and TikTok has the greatest opportunity to create a new surge electorate. But he’s also going after the hardest voters to get to turn out: disaffected voters who are upset at the system.
Pratt had more retweets and viral videos than any other candidate, Mitchell said. “But that doesn’t buy him the vote of the disaffected DoorDash driver who believes that the system is broken, and who hasn’t voted in the last five elections.”
If Republicans don’t make it past the primary, Mitchell said, Democrats would likely hit the reset button.
“Pratt running has kind of obfuscated the differences between Raman and Bass,” Mitchell said. “It’s like a WWE match versus a chess match. I think Raman versus Bass would be more of a strategic and nuanced election than Spencer Pratt trying to hit Karen Bass over the head with a chair.”
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LeBron, Austin and Ayton: Lakers roundtable on the biggest offseason questions
Welcome back to The Times’ Lakers newsletter, where we’re calling in reinforcements for the home stretch of the NBA season.
The Finals begin Wednesday. All but the New York Knicks and the San Antonio Spurs are left to reckon with their rosters from the sidelines. Some of the recently eliminated teams have major decisions that could affect the market for the Lakers, who, I’m sure you know, are facing some huge roster questions. To break down the offseason, I sent the bat signal out to some of my favorite co-workers for their thoughts.
All things Lakers, all the time.
Get all the Lakers news you need in Thuc Nhi Nguyen’s weekly newsletter.
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What say you?
Joining me at our virtual roundtable are Los Angeles Times reporters Broderick Turner and columnists Bill Plaschke and Mirjam Swanson. With an assist from our assistant editor Dan Loumena, we examine the upcoming offseason.
The biggest question facing the Lakers: Re-sign LeBron James, let him walk as a free agent or hope he retires?
Nguyen: LeBron deciding to retire would definitely make things simpler for the Lakers, but nothing about this franchise can be simple. With how the season ended and the way he played, it feels unlikely that he would walk away at this point. It’ll come down to the money. This free agency class is not very strong. A soon-to-be 42-year-old could be the best of the bunch. But if the Lakers are on the hook for something close to what James made last year, building out the rest of the roster seems untenable. At the right price, he still feels like a player who could help the Lakers.
Plaschke: There is no “right price” for the Lakers and LeBron. He’s still one of the best players in the game, and he’ll demand to be paid like it, but the Lakers aren’t going to want to pony up. Not for a third option. Not for a 42-year-old consistent injury threat. And not for a guy who, if they give him what he wants, they’ll have no chance to begin building what they want, which is a championship. Bring back LeBron James? Pass.
Swanson: There absolutely is a right price — for the Lakers. Will that be the right price for LeBron? What if a low-low price of $20 million-ish would do it? Higher than the mid-level but far less than he’s used to? I think there’s a world where the Lakers can make a $20-million to 30-million pay cut make sense for LeBron — and I think he’s waiting to see if they can do it.
LeBron is such a Rorschach test because everyone hears what he says and so many of us perceive it differently. What I heard when he spoke about his future on the recent “Mind the Game” podcast was A) not someone who’s lost his love for the game, B) someone who really enjoyed last season’s Lakers team, C) someone who’s L.A.-lifestyle-loving family is going to have a lot of sway in this latest Decision and D) someone who was letting it be known that he isn’t making the call until “late-June into August,” by which time the music will have all but stopped on the NBA’s annual musical chairs number.
I take that to mean that LeBron is going to sit back and see what the Lakers do with the money they’re going to be reallocating to other players and whether it brings them closer to contention. If they do that, I think he comes back for another hurrah for substantially less — and they should want him! He’s not only one of (if not the) best players of all time. He was still a massively productive player at 40 and 41. He led the Lakers to a playoff series victory against Houston and was their most dependable player on the court for much of the Oklahoma City series in which they were otherwise completely overmatched.
Turner: Let’s be clear first: LeBron is one of the best free agents in a market that is not strong this offseason. That, alone, puts the Lakers in a precarious situation, because they know it’s a weak market and so do James and his representatives. James’ asking price and what the Lakers are willing to pay him will be the test for both sides. It’s called negotiations and James and his people already are letting the media machine suggest James wants the same $52.3 million he earned last season again. Or if not, James, rightfully, wants to know how the Lakers will build their team if he does take a pay cut. He proved his worth again in the playoffs, leading the Lakers past the Houston Rockets with Doncic out and Reaves playing in just two of those games. The Lakers will have to pay The Man.
Austin Reaves is expected to opt out of his contract to enter unrestricted free agency. The Lakers can bring him back for up to five years and $241 million. Other teams can sign him for up to four years and $178 million. What should the Lakers do?
Austin Reaves controls the ball during the first half of Game 6 against Houston.
(Ashley Landis / AP)
Plaschke: Bring back AR. He got batted around a bit in the playoffs, but he was trying to return too soon from his oblique injury. Judge him by his entire body of work, which meshes perfectly with Luka’s body of work. Give AR what he wants. Bring him back.
Swanson: Unless the Brooklyn Nets or Atlanta Hawks or Memphis Grizzlies want to massively overpay, Austin is coming back. He loves L.A. and L.A. loves him back. But I don’t think anyone thinks Austin is going to get $240 million from the Lakers, it’s more likely going to be a five-year, $200-million deal — that extra year the Lakers can offer being the sweetener in any potential bidding war.
And the Lakers shouldn’t overpay him, because they need to make sure he’s on a tradeable contract — in case they can’t figure out how to overcome Austin’s and Luka’s redundancies as defensively suspect shot-makers. Or if his toughness doesn’t override his unfortunate susceptibility to injury. Or if uneven playoff performances in the future put a lid on the Lakers’ postseason potential. You know, just in case.
Turner: He wants to return and the Lakers want him back. At what price is the question. Reaves earned $13.9 million last season and has a player option for next season at $14.8 million. He’s going to bet on himself and decline that option for a bigger payday. At the very least, Reaves will earn $40 million or more per season. The Lakers know a few teams have their eyes on Reaves. Reaves and his representatives know they can get up to five years and $241 million from the Lakers, and that’s what they want.
If the Lakers and LeBron do not come to an agreement, what other options do they have via trade or trying to sign a star?
Nguyen: The Lakers are trying to remodel the roster to fit around Luka Doncic, which means they need shooting, defense and a perfect pick-and-roll partner. Despite lingering hamstring injuries, Denver’s Peyton Watson, who is a restricted free agent, was an intriguing name, especially with a potential homecoming for the former UCLA Bruin. Detroit’s Jalen Duren is a restricted free agent and coming off an underwhelming postseason run, which could complicate negotiations for the third-team All-NBA player. If Cleveland is willing to part with one of their big men after getting swept out of the Eastern Conference finals, maybe the Lakers could lurk around for a big trade. Come draft night, the Lakers have three first-round picks available to trade: 2026, 2031 and 2033.
Swanson: The Lakers need to target stars in their roles. Most of those guys Thuc Nhi mentioned would be good — though Duren’s playoff nosedive would make me not want him at his going price. For the Lakers, it’s: Shooters wanted, defenders wanted, ATHLETES wanted. Think the New Orleans Pelicans’ Trey Murphy or maybe Herb Jones. And bring back Rui Hachimura, a big-bodied shooter who we trust in the clutch. Build Luka a suitable army, as much as possible, with the cap space and draft picks they’ve been saving for this offseason.
Turner: Here’s the thing: The Lakers can re-sign LeBron and AR and still use the mid-level exception that will be about $15 million to sign a free agent. Denver’s Peyton Watson is a name that has been attached to the Lakers. The problem is he is a restricted free agent and the Nuggets can match any offer he receives. Also, if the Lakers make him an offer, the Nuggets have 48 hours to make a decision. During that waiting period, the Lakers would have cap space tied up and could lose out on other free agents. But word around the NBA is that the Nuggets will shed some salaries so they can pay Watson because they need young, athletic wings.
Then there’s the Deandre Ayton situation. Can the Lakers upgrade at center?
Deandre Ayton defends against Oklahoma City Thunder guard Luguentz Dort during the playoffs.
(Kyle Phillips / Associated Press)
Nguyen: It feels likely that Deandre Ayton will be back on his player option. It’ll be hard for him to get anything better on the open market. But the Lakers definitely need more out of that position. If he comes back with Luka and Austin, “run it back” is starting to give “running in circles” while Oklahoma City and San Antonio run circles around everyone else in the West.
Plaschke: DA is going to take the Lakers’ money, so this feels like a moot point. A better question is, how can they get rid of him once he’s back? His motor doesn’t run at 100% all the time, and at this level, that is inexcusable.
Swanson: Yeah, DA proved he is who we all thought he was: A great talent with wavering focus. But remember, he’s not taking very much of the Lakers’ money; dude is on an $8-million contract. Together he and [Jaxson] Hayes make close to $13 million. Considered the price tag, the Lakers actually got a lot of bang for their buck.
Now, can either of those guys stop Wemby? Of course not. Can anyone on the planet, though? Uh, no. So, sure, the Lakers could spend big to upgrade at center, but it wouldn’t make much of a difference. They’d be better served to save money in the post — and potentially on LeBron — and spend it on wing defenders and shooters, which is where they can hope to counteract the top teams.
Turner: DA underperformed most of the season and was even less impressive in the playoffs against OKC. Teams are not lining up to get him, so he’ll probably pick up his player option of $8.1 million next season. Portland center Robert Williams is an unrestricted free agent that, when healthy, is an upgrade if the Lakers look his way. He earned $13.3 million last season and the Lakers could use the mid-level exception to entice him. He’s a really good defender and the sort of lob threat that Doncic loves to have on his team.
Favorite thing I ate this week
A Vietnamese bar spread: Salt and pepper chicken (top left), salt and pepper tofu (bottom left), baby clams with shrimp chips and sesame crackers (center), Vietnamese BBQ pork skewers (top right) and mango salad (bottom right).
(Thuc Nhi Nguyen / Los Angeles Times)
When I was growing up, my parents had an open door policy. Family members dropped by basically unannounced on random weekdays after work or weekend afternoons to sit around our table, share a few drinks and snack on some bites. In Vietnamese, we call it “nhậu.”
It means “to go drinking,” but just as important as the cold beer is the spread of snacks that kept my uncles and aunts drinking, laughing and hanging out for hours together.
You don’t need a reason to nhậu. You just need friends, food and beer. While my friends helped stock the fridge with drinks this week, I shared some of my Vietnamese favorites. We grazed on salt and pepper chicken, salt and pepper tofu, baby clams with shrimp chips and sesame crackers, BBQ pork skewers and mango salad. It was just like Vietnam except without the oppressive humidity.
In case you missed it
Luka Doncic invests in purchase of Italian basketball team with eye on NBA Europe
Shaikin: For Dodgers, getting to playoffs is not good enough for Mark Walter. For Lakers?
Lakers layoffs part of sweeping changes to business operations
Swanson: NBA’s anti-tanking draft reform might be great for Lakers but is bad for basketball
Lakers hire former Pelicans executive Rohan Ramadas amid front office expansion
Firing Jason Kidd removes the last reminder of the Luka Doncic trade from Dallas
A new board game mocks Shai Gilgeous-Alexander for ‘foul baiting.’ He wants it destroyed
‘Bonkers’ bribery case raises questions about why NBA star Terry Rozier would allegedly risk millions by participating
Until next time…
As always, pass along your thoughts to me at thucnhi.nguyen@latimes.com, and please consider subscribing if you like our work!
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Michelle Pfeiffer, Katherine LaNasa, more on 2026 Emmy Drama Roundtable
Sit at a table with a bunch of actors and it inevitably becomes an impromptu acting class, one in which even the Michelle Pfeiffer is leaning over to observe. At least that’s what happened on a recent afternoon when The Envelope gathered six actors from some of this season’s most talked about television series for its 2026 Emmy Drama Roundtable.
It all began when Pfeiffer (“The Madison”) shared that, while studying acting, she couldn’t grasp the technique created by Sanford Meisner, which trains actors to stop overthinking and encourages them to listen and respond actively to their scene partners. The revelation immediately activated Katherine LaNasa (“The Pitt”), who beckoned Tom Pelphrey (“Task”) to join her in a spontaneous application. (Both had studied the method.)
“I like your jacket,” LaNasa said, locking eyes with Pelphrey.
“You like my jacket?” he replied playfully.
“I do like your jacket … You’re smiling at me.”
The exchange, which had a flirtatious energy, continued for a minute, before Pelphrey and LaNasa emphasized that it’s essentially looking at and listening to what the other person is doing.
“Somehow I was doing it wrong and I didn’t understand why I was doing it wrong,” Pfeiffer said.
This openness and encouragement carried the entire conversation, which brought together Pfeiffer, who plays Stacy Clyburn, a wealthy New York City matriarch whose life is upended by the tragic death of her husband, which compels her to move to Montana; LaNasa, who brings depth to the burnout plaguing steadfast, straight-talking charge nurse Dana Evans; Pelphrey, in his turn as Robbie Prendergast, a sanitation worker who robs drug houses at night to provide for his family; Zahn McClarnon, who stars as Det. Joe Leaphorn, a stoic man battling his past and the loss of his son in “Dark Winds”; Billy Magnussen, who portrays Duncan Park, the eccentric and profit-hungry CEO of a tech company in “The Audacity”; and Karolina Wydra, who plays Zosia, the eternally cheerful liaison to a utopian, hive-minded collective in “Pluribus.” Read on for excerpts from our discussion.
I know all your characters are going through some personal things, but if you were to transform into them for 24 hours, what would you do with that day?
Magnussen: I live with Duncan daily because I think your job as an actor is to check the morality of the character you’re playing. And at the same time, you have to question your own morality, see where you stand, to then deal with that character. Duncan’s a really messed-up guy, and doing it for five months … I was on set 16 hours a day every day. I was with him nonstop. And his temperament and pace was just out of this world. It’s exhausting. So what would I do? I would try to go to a spa, personally, because it’s exhausting.
Wydra: Do you find that it gets blurry after a little while?
Magnussen: I still know who Billy is.
McClarnon: But there’s times where you can’t see that line between [fiction and] reality, just moments. I’ve found myself in those moments where I know the difference, obviously, but I’m so emotionally attached to Deanna Allison, who plays my wife on the show, where I can’t separate them anymore. It’s not like 24 hours, but just moments where I’m like, “Wait a second, where am I? Am I in the show? Is this Joe Leaphorn or is this Zahn?” Usually in the middle of the season, it starts to get a little blurry for me.
Magnussen: Do you think it’s the job, though, to keep it separated? Or do you guys believe in Method acting?
Wydra: Rhea Seehorn, who is on “Pluribus,” who’s incredible, who’s my partner in crime, she gave me a book about Method [acting] — the Method and what really Method was. And it’s not what we think it is. We all do Method acting, but it’s not staying in the character and living in the character forever. … And that’s what people think Method is, is that you never break the character, you take the character home, but it’s not. It’s building a world. Building it, personalizing it.
Pfeiffer: Isn’t that what we all do? Some actors will go live on the ranch. They won’t take a bath for six months. They really take it to another level, which I’m not willing to do … From the minute I commit to something, it’s right there [in my head], I’m thinking about it. It can be a year away, and it’s right here torturing me, which is I think why I’m a bit of a commitment-phobe. My agents always call me “Dr. No” because I know no matter what, even if I’m not consciously aware of it, it’s there just badgering me.
LaNasa: I have found that people want Dana, want my character, in real life. And it’s cool because she’s very comforting to people. But I had an experience recently in New York where this table of girls, they were having some party, and someone said, “Oh, you mean a lot to us.” And I said, “Oh, are they nurses?” Well, some of them are. And then they asked at the end of their dinner would I take a picture. And then one girl told the other people to leave and then she told me her illness journey. And I had breast cancer. She was going through breast cancer. And it was really interesting. And it was the most meaningful that I’d ever felt about taking a character home where it’s like … I think I spoke about my wellness journey because I was playing the role. It ended up coming up through the press. … And for some reason, because I was Dana in someone’s mind, it meant something. And I thought, “Well, this was actually useful. This breaking of that wall between character and person was actually useful.”
Tom, you get the call that you’re cast as Robbie in “Task.” What’s the first thing you do to figure him out?
Pelphrey: When I read the first two episodes, I felt like I understood Robbie’s soul perfectly, but I knew that I would have to break my ass to get that accent right. So that was where I focused most of my conscious energy and discipline and time, was just [on the] technical, just on the accent. The fun part was, because he would be my age, thinking about growing up in Philly at that time and who his heroes would be, having ideas for tattoos, stuff like that. We had more time than you get sometimes before we had to start filming because we knew and then the writers’ strike happened. I had a lot of months to sit with him and emotionally and spiritually. And I’d just become a father. Obviously [with] Robbie, everything he does is for his kids.
Pfeiffer: It changes everything. It opens your heart.
Pelphrey: I was a new person. And I understood him in that regard perfectly and I couldn’t have before. I could have imagined it and now I knew for sure.
For “The Audacity,” Billy, you spoke with some tech folks. What did you come to understand about what they’re after as innovators versus what you’re after as a creative?
Magnussen: Listen, no one’s a villain in their own story. I believe that from Day 1, these people probably came to the Valley with genuine ideas. The genesis of their idea was to connect and really bring something powerful and important to society and people. And, “Oh wait, we’re making a lot of f— money.” And through that lens, you start being blinded by this humanity that’s around you or caring for people around you rather than a bottom line. When you’re in an incestuous pool or in a small bubble, culture is created. And like Facebook, their slogan was “Move fast and break things.” Being a bull in a china shop is not a good idea anywhere, but for some reason that was the culture. People just started doing that more and more and breaking things and breaking things and breaking things. I don’t think they started off that way, but the culture just bred them to become this way. I personally relate that to, I don’t want to say Hollywood or the entertainment world, but we’ve seen the toxicity. And we’ve been slowly trying to filter that out, I think, of Hollywood. But when you have a microclimate kind of culture feeding in toxic behavior and rewarding toxic behavior over and over again, it breeds it. So you start to have to scrape away that cancer. But again, the genesis of all these ideas were pure. We were 6 years old just dreaming to be something or being like, “I could do this.”
Pfeiffer: Pretending to be something else, other than what we were.
Magnussen: I empathize with that. I don’t think people are bad. I just think they’re lost sometimes.
Karolina, your character in “Pluribus,” Zosia, is carrying the weight of almost every person in the world. What do you remember about those discussions with [creator] Vince Gilligan and how he helped you unpack this character and the relationship with Carol, Rhea [Seehorn]’s character?
Wydra: I took a break for five years from acting before Zosia came into my life. I walked away at 39 to have kids and my agent and my manager dropped me and it was really terrifying to also be a woman and turning 40, to have children at that time. When Lou [her second son] was maybe a year-and-a-half [old], I got the itch of like, “God, I miss acting so much. How am I ever going to come back? How am I going to get an opportunity?” And I was 43 at the time and out of nowhere I got an email being like, “Hey, there’s this thing …” from a commercial agent that I was on their roster, but I did not work with them. And they said, “There’s this audition.” And I go, “OK.” I read it and I said, “Who wrote it?” And she said, “Vince Gilligan for Apple TV.” I went, “What? OK.” And I didn’t know anything about the project and it was always my dream to work with Vince from when I saw “Breaking Bad.”
Long story short, I’m here and the whole journey has been so wild, so insane. When I first would talk to him about Zosia, I was like, “God, how am I going to tackle the world and someone that has the highest emotional intelligence, someone that does all these different things? And how do you see the Others? How do you want them to move about the world and the complexities of who they are?” Vince is such a beautiful human being. He’s like, “They’re just happy and content.” You go, “OK, yeah, but … what else?” For me, Zosia is extremely spiritual. Meditation was my key, my go-to to get into that zone of connection to humanity, not in the physical but very spiritual way where, [if] you meditate enough, the ego gets lifted and you truly feel connected, and you feel one with everyone. And the wild thing, I think the greatest gift, was becoming a mother; I understood what it means, unconditional love. Because my heart lives outside my body all the time. And so becoming a mother was a gift to play Zosia, because I unconditionally love Carol. And now, no matter what she throws at me, I just love her, and take care of her, and I want to nurture her.
Michelle, you get the call from Taylor Sheridan, who also created “Landman” and “Yellowstone.” He says he wants to meet with you and he wants to do it on his turf in Texas, not yours. There’s no script. What does someone like Taylor Sheridan say to someone like Michelle Pfeiffer that will get her to agree to the show?
Pfeiffer: Well, he gave me a lot of tequila.
LaNasa: Writing this down: Tequila, check.
Pfeiffer: I got a call that he wanted to meet with me, that he had an idea for something, “But you have to come to Texas.” And I said, “Is there anything? Is there an outline? Is there a paragraph?” “No, no. He wants to explain it to you in person.” I had to stay the night in Fort Worth and then met with him and he gave me tequila, and then after a while I had to stop drinking. He gave me a very rough outline of the show, of the character … She’s been with the love of her life for 50 years. It’s the marriage that we all dream of having. And he dies suddenly, tragically, and … all of a sudden the rug is really just emotionally and psychologically pulled out from underneath them. And it’s how do you rebuild a life and it’s the study of grief. He said that I had committed that night, which I did not. I’d had a few cocktails. We went back and forth a little bit about [the fact] that I really would like to read something. And he said, “Well, I would really like to cast this before I write anything.” Then I realized I wasn’t going to win this battle and I reached out to Helen Mirren [who starred in Sheridan’s “1923”], who I don’t know, but I figured she doesn’t suffer fools and she would give me the truth about what it’s like to do this. She couldn’t have spoken [more] highly of everything. She said the scripts are wonderful. The production is wonderful. And loves Montana. And so I took a leap of faith. I never do that.
What stands out to you about his process versus then working with your husband, David E. Kelley, also a prolific writer, who adapted “Margo’s Got Money Troubles”?
Pfeiffer: I couldn’t be luckier working for two of the most talented and prolific writers in the history of television. [They’re] not that much different. I purposefully didn’t want to bug David because it’s not like we had any hard-and-fast rules about not working together, but we weren’t really actively seeking it out because that can get a little dicey, just looking at it from afar. I really cherish my marriage, and our family, and I just didn’t want to mess it up. I really mostly went to the director and every now and then I might throw a little something his way. And [with] Taylor … I would go through Christina [Alexandra Voros], our director, because he’s just not honestly that accessible because he’s got a bit going on. I personally don’t like to spend my time trying to rewrite things. It’s more interesting to me to try to make something work and then I end up finding something I never would’ve decided. It just takes you to a new place and it’s so much more interesting than anything I would have conjured up.
Zahn, you’re not only the lead in “Dark Winds,” but also an executive producer and directing episodes. I know there was a moment where your character was supposed to shoot someone in the face early on. And you felt strongly, “My character’s not someone that would do this.” Talk to me about leaning into speaking your mind.
McClarnon: There’s not a lot of Native characters on television. The foundation of that character obviously comes from Tony Hillerman’s books. So the foundation was set for that character. And when I got to a point in the season where I’m supposed to kill a man, shoot him in the head in the middle of the desert — first off, I didn’t see that in the books. And I know it’s television and we want drama and all that stuff, but also, to be honest with you, I want Native kids — see, I’m going to cry now — to have something to look up to. We grew up with these stereotypes and we grew up with these tropes of Native Americans. The only one I can really remember that I really looked up to was Will Sampson in “One Flew Over the Cuckoo’s Nest” because he was playing a trope, but he becomes the hero at the end of the story. It’s one of my favorite films. So when it came to that point where the writer said, “He’s going to kill this rich white man in the desert and shoot him in the head,” morally, I think Joe Leaphorn is more than that.
And it was simple. I sat down with the showrunner [John Wirth] and we talked about it, and we went back and forth for about a week. And I’m so glad that I have access to somebody like that. I have access where they’re not telling me, “No, this is the way it’s written. This is what you’re going to do.” So yeah, we decided not to shoot the guy in the head, where I’d just leave him out in the desert to fend for himself.
Katherine, you’ve talked to nurses and medical professionals in the making of “The Pitt,” but you were also a patient during your breast cancer journey, interacting with them a lot from the other side. What is something that they’ve told you or even something you observed in that time that really spoke to you about what they’re going through on the day to day in these jobs?
LaNasa: It’s funny, I’d always wanted to work with John Wells. I go through this period of all this unemployment, and then I get this job for John Wells. I had had cancer a year before and then had complications up to like six months before. It wasn’t until I got to the emergency room set that I was like, “Oh, this whole period … ” — the spirituality of that. I really believe that we need to be grateful for our life while we’re living it, no matter what’s going on. Because I still have my children, and I have nature, and I have my husband, and cooking, and my dog, and so many wonderful things. And I was really trying to hold onto that. It’s always this idea that maybe something is for a reason or whatever — now I’m going to cry. The fact that that was so purposeful, that I understood so deeply what it was to be a patient, what it was to be terrified going into the emergency department. I also understood how much it mattered when a nurse took a little extra time and was a little bit kind.
Pfeiffer: You’re going to make me cry.
LaNasa: And there was one particular nurse — I had my cancer, went through my radiation and then [went] back and forth, back and forth [to the ER]. And there was a week, the second trip to the ER [they thought I might have multiple sclerosis]. “Now do I have MS on top of having had cancer?” And I had a breakdown in the ER. And she’s like, “Listen, first six months after cancer are really bumpy, and it’s not going to stay like this. Do you need an Ativan?”
Magnussen: Did not see that turn.
LaNasa: It was that human touch. Or when they would come and give you a warm blanket or something. There’s a nurse, Kathy Garvin at County, who told me she wouldn’t do the job that she does being the [emergency department] charge nurse if it wasn’t in a county hospital. She wants to do that hard work for people that really need her. For the most underprivileged, for the unhoused. And I try to honor that in the story and to just bring that to life — their generosity and their humility.
The Envelope’s 2026 Emmy Drama Roundtable: From left, Zahn McClarnon, Michelle Pfeiffer, Tom Pelphrey, Katherine LaNasa, Billy Magnussen and Karolina Wydra.
There’s a lot of discussion in the industry right now about runaway production and can L.A. rebuild and what’s lost. I’m curious how you feel about this topic.
Magnussen: I live in Georgia and … one of our biggest exports as Americans is our culture. And if we just keep it isolated to Hollywood, I think we lose out at expressing everything we are as Americans.
McClarnon: We shoot on the Tesuque Pueblo. There’s 19 pueblos in New Mexico. We have taken over their old casino and we’ve converted it into a soundstage. We use their back lot. We obviously help out the tribe with renting the place out. And so I like shooting in New Mexico and supporting the local community, especially local Natives.
Pfeiffer: I think there’s room for all of it. We shot [a movie] in London that took place in Los Angeles. And it’s ridiculous that our entire industry has left. Los Angeles is really hurting. And a lot of people are hurting. All those jobs, all of those restaurants where people used to eat, people used to shop. And I think to not give the same sort of tax incentives that other states are doing — look, if it takes place in Georgia, you should go to Georgia. But I think Los Angeles was really built on the movie [industry].
LaNasa: I have a 34-year-old and a 12-year-old. I remember with my 34-year-old, even just being a young, starting-out mother, I would be like, “Well, I’m not going out of town. I have a child.” I would never go do a TV show out of town. I had a kid and the kid was in school and I needed to provide consistency for that child. And then with my second one, that was impossible. We would just not have been able to work. But it’s really hard on families. We are actors and we’ve come here to pursue the industry. We’ve moved here and we’ve risked something … L.A., for all of its problems, is a city of dreamers. It’s a city of people that came to pursue their art. And I am one of those people. And so in a way, I wasn’t really a citizen like the other citizens of Atlanta. I was outside. I didn’t have my community.
Magnussen: I know, but that’s the thing I have an issue with is this idea that, “It’s only there.”
Pelphrey: I’ll say this. Love that we get to film all over our beautiful country. Would love to keep the jobs in this country. That would be the nice part. Because when everybody’s like, “Oh great, we can go to Belarus or London.” Guess what? All of us get to go. Our crew doesn’t get to go — the people that we know that we need, that we work with, that we make these things with. We get to go wherever the f— we want, actors, directors, but the crew doesn’t.
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USC baseball advances to super regionals for first time since 2005
COLLEGE STATION, Texas — As Augie Lopez trotted around the bases late Monday night, the small contingent of USC fans could finally be heard at Blue Bell Park. With one towering blast to right field, the Trojans’ designated hitter silenced Texas A&M’s rowdy 12th Man.
Lopez’s three-run home run helped push the Trojans over Texas A&M 7-1 to reach the NCAA super regional for the first time in 21 years.
Lopez silenced most of the sellout crowd of 7,042, making it easy to hear USC fans serenading him during the College Station Regional Final.
“Augie! Augie! Augie!” USC fans chanted after Lopez returned to the dugout. After the win, he was named the regional’s most outstanding player.
It took a while, but the offense showed up to propel USC (47-16) to the Chapel Hill Super Regional against North Carolina.
Until Lopez’s blast, Texas A&M right-hander Clayton Freshcorn had slowed down a USC offense that had scored 48 runs combined while winning three consecutive games out of the losers’ bracket, including 14 on Sunday night against Texas A&M (41-16), to force the winner-take-all final.
USC right-hander Grant Govel, who had thrown 89 pitches over 5⅔ innings on Friday, retired the first seven Aggies before Bear Harrison hit a solo home run to left-center field in the third.
The Aggies ran out a threat in the fourth. Chris Hacopian drew a leadoff walk. Ben Royo kept the inning alive with a two-out single to left. Jorian Wilson followed with a single to shallow right-center field. Second baseman Abbrie Covarrubias was positioned perfectly to field the ball in the outfield, but his throw to first wasn’t in time.
Fortunately for the Trojans, Adrian Lopez alertly threw home to easily nail Hacopian by several feet to end the inning.
Covarrubias tied the score 1-1 with an RBI single to left-center in the fifth. One out later, Covarrubias stole second. Augie Lopez broke the tie with a single to right-center.
Two innings later, Lopez crushed his three-run blast.
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USC routs Texas State to set up regional final showdown with Texas A&M
COLLEGE STATION, Texas — Two days after failing to capitalize off numerous scoring opportunities against Texas State, USC battered the Bobcats early and often to remain alive in the College Station Regional.
Third baseman Kevin Takeuchi set the tone with a grand slam in the first inning as USC beat Texas State 15-4 Sunday afternoon before a crowd of 6,885 at Blue Bell Park
With the victory, the Trojans (45-16) advance to the regional final against Texas A&M on Sunday night. The Trojans must beat the Aggies to force a winner-take-all game Monday at a time to be determined.
The Trojans avenged the 5-4 loss they suffered against Texas State on Friday night in the regional opener. In that loss, USC stranded 13 runners, struck out 12 times and left men in scoring position in each of the first seven innings.
The Trojans have been on a tear ever since. They crushed Lamar 19-6 on Saturday and then battered Texas State. The Trojans wasted no time jumping on the Bobcats in the rematch.
Abbrie Covarrubias led off with a single. Texas State sophomore right-hander Cade Smith then hit Adrian Lopez with a pitch and walked Augie Lopez to load the bases. Takeuchi followed with his grand slam to center.
“It just helped me pitch with freedom,” USC freshman starter Diego Velazquez said of the grand slam. “A pitcher always feels good when you’re in the lead, especially with a grand slam. It just keeps everyone positive, so it definitely helped very much.”
Velazquez gave up two runs on three hits and three walks with three strikeouts in 3 1/3 innings. He was relieved by fellow freshman right-hander Gavin Lauridsen, who failed to retire a batter while giving up two runs on two hits and two walks. Freshman left-hander Sax Matson then pitched 3 ⅔ scoreless innings of relief to earn the victory.
Isaac Cadena made it 6-0 in the third with a two-run home run to right field. With one on and two outs in the fourth, Augie Lopez hit an RBI single in the fourth to give the Trojans a 7-0 lead. Reliever Alec Beversdorf then walked Takeuchi and hit Cadena to load the bases. Jack Basseer drew a walk to plate another run to give USC an 8-0 lead, prompting Texas State to make another call to the bullpen.
Texas State countered with four runs in the bottom of the fourth, highlighted by Coy DeFury’s two-run home run.
Lauridsen relieved Velazquez with one out in the fourth, but he couldn’t retire a batter. Brady Boles greeted Lauridsen with a single up the middle. After Jackson Cotton walked, Manny Salas cut USC’s lead to 8-3 with an RBI single through the right side.
Clayton Namken followed with a walk, prompting USC coach Andy Stankiewicz to call on Matson, who took over with the bases loaded.
“I felt good about Diego on the mound here being able to compete and give us quality innings, and he did that,” Stankiewicz said. “I think he’d probably say he wanted to give us a little bit more, but he gave us three quality innings.
“And then Sax Matson came in and did a fantastic job. He came in and made some big, big-time pitches to get us out. It could have been a little dicey there.”
Both teams were retired in order in the fifth, but USC’s offense got back on track with a run in the sixth, two in the seventh and four more in the eighth.
“I think it just shows the type of bond we have all together,” Velazquez said. “We’re all pulling the rope for each other. I think it just shows how strong we are and how we’re able to pull off miracles and stuff.”
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Grammy-winning R&B singer Peabo Bryson has suffered a stroke
R&B singer Peabo Bryson, well known for his duets from beloved Disney classics “Aladdin” and “Beauty and the Beast,” suffered a stroke over the weekend.
A representative for the artist told The Times that the singer is undergoing treatment but provided no details about his condition.
“Two-time Grammy Award-winning singer, songwriter and balladeer, Peabo Bryson — the voice behind the Oscar-winning Disney songs ‘Beauty and the Beast’ and ‘A Whole New World’ — has suffered a stroke and is currently under medical care,” the representative said in an emailed statement. “At this time, the family requests privacy as they navigate this deeply personal moment together. The thoughts, prayers and love of friends and fans are welcomed and deeply appreciated.”
Bryson recently performed a concert with Jeffrey Osborne at Trilith Live in Fayetteville, Ga., in early May. The event was a standalone performance, apart from the crooner’s Golden Touch tour, which he announced last year, amid his celebration of 50 years in the music industry. In April, the Grammy winner turned 75 and posted photos on Instagram from a birthday bash showing him surrounded by friends and family. In early May, he posted a video of his son, Kitt, performing a Michael Jackson dance routine, writing “Super proud Dad moment from last nights Gig in Atlanta.”
Soul and funk band Maze, which was fronted by the late Frankie Beverly, shared some love for Bryson on social media.
“The entire Maze The Music Forever family sends our heartfelt prayers, love, and support to Peabo Bryson during this time of healing,” read the post. “Peabo’s extraordinary voice, timeless artistry, and unwavering contributions to music have touched millions around the world. We pray for God’s healing hand, renewed strength, comfort, and a full recovery.”
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Tennis legend Serena Williams to compete for first time in years
Serena Williams is returning to competitive tennis after all.
Months after insisting on social media, “Omg yall I’m NOT coming back,” the 23-time Grand Slam singles champion announced Monday that she’ll play professionally for the first time in almost four years at the HSBC Championships at the Queen’s Club in London.
Williams, 44, has been given a wild-card entry into the doubles draw of the WTA 500 event, which begins June 8.
“Queen’s Club feels like the perfect place to begin this next chapter,” Williams said in a statement released by the tournament. “Grass has given me some of the most meaningful moments of my career, and I’m excited to be back competing on one of the sport’s most iconic stages.”
Williams teased the announcement earlier Monday by posting a video on social media that featured her phone‘s notifications going off constantly while she seemingly was practicing on the court.
“Good news travels fast,” Williams wrote on the post.
Tournament director Laura Robson said during TNT Sports UK’s coverage of the French Open on Monday that Williams’ playing partner will be Canadian teenager Victoria Mboko, who is ranked No. 9 in WTA singles. Williams has won 14 Grand Slam titles and three Olympic gold medals in doubles with her sister Venus Williams as her partner.
It is not clear whether Williams will participate in any other events. Wimbledon, a Grand Slam event Williams won seven times in singles, begins June 29 in London.
Williams’ last professional match was a loss to Australian Ajla Tomljanovic in the third round of the U.S. Open on Sept. 2, 2002. She registered as retired with the International Tennis Integrity Agency the next day.
Last December, however, Williams reentered the agency’s drug-testing pool. According to the ITIA website, retired players “may not return to sanctioned events unless they have made themselves available for out-of-competition testing for at least six months prior to the event in question.”
The move led to much speculation about a possible Williams return, leading to her social media post denying any such intentions.
Martina Navratilova, the 18-time Grand Slam champion who is the oldest woman to win a tour-level singles match — she was 47 when she won a Wimbledon match in 2004 — expressed excitement for Williams’ return.
“Serena brought the game to another level and it is incredible for the sport that she’s pushing the boundaries and coming back,” Navratilova said in a statement released by the WTA. “To many of the younger players, they never had the opportunity to play her; some may have never watched her on television, so this will be a new and exciting experience.”
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Jason Bateman’s 2026 Emmy chances, by the numbers
Jason Bateman could snag limited series Emmy nominations for his lead role as a deep-in-debt barman on Netflix’s “Black Rabbit” and supporting role as a sexually adventurous weatherman on HBO’s “DTF St. Louis.” Drawing more than one nomination in a year has been the norm for Bateman.
14
Bateman’s previous Emmy nominations encompass acting, directing and producing.
1
His lone Emmy win came in 2019, for directing an episode of his Netflix crime drama “Ozark.”
21
The former child actor’s first nomination, as lead of the Fox (later Netflix) comedy “Arrested Development,” came in 2005. Bateman’s adult “comeback” has lasted 21 years and counting.
4
Times he has received multiple nominations in a year, most often for acting in, directing and producing “Ozark.”
2
“Black Rabbit” and “DTF St. Louis” would mark his second time receiving acting nominations for different shows in the same year.
2020
Bateman competed for drama lead for “Ozark” and guest actor for HBO’s “The Outsider.”
0-for-7
Bateman is overdue for an acting Emmy. His brilliant straight-man work in “Arrested Development” lost out to Emmy juggernauts Tony Shalhoub (“Monk”) in 2005 and Jim Parsons (“The Big Bang Theory”) in 2013.
3-for-13
The Actor Awards have been kinder: Bateman won three lead actor statuettes for “Ozark.”
2026
The guilds already have spoken on “Black Rabbit,” with Bateman receiving Actor, DGA and PGA nominations.
5
Also a producer on “DTF St. Louis,” Bateman has a shot at five Emmy nominations this year.
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Ashley Padilla attributes ‘SNL’ success to being a ‘quiet little freak’
In her early 20s, Ashley Padilla moved from the Bay Area to Los Angeles, hoping to make a living in comedy. She was taking classes at the Groundlings when an acting exercise forever changed her.
“The teacher said, ‘All right, everyone try to get my attention.’ Everyone starts going crazy,” recalls Padilla, imitating the manic movements her classmates incorporated to be as noticeable as possible. “I just stood in the back like a quiet little freak. I didn’t try to do anything. And she went, ‘I’m just staring at Ashley.’”
Padilla, now 33, is sitting in the restaurant at the 1 Hotel on Sunset, dressed in an elegant white blazer and long skirt, a long way both mentally and professionally from that aspiring performer struggling to find her creative voice. But that lesson remains close to her heart.
“I think about it all the time: You don’t have to be so loud. It actually is more powerful if you’re a little slower.”
Currently in her second season as a featured player on “Saturday Night Live,” Padilla, who sports an ebullient manner and warm smile, has become a fan favorite by exploring how much humor (and tension) you can derive from stillness. Her best sketches, including “Mom Confession,” in which a MAGA mother finally, begrudgingly, admits to her liberal kids that maybe Trump hasn’t been a great president, sparkle because of how expertly she builds suspense regarding where the setup is going.
Ashley Padilla, right, with castmates Tommy Brennan and Jane Wickline in the “SNL” sketch “Mom Confession.”
(Will Heath/NBC)
“I really want to be able to stop and take that pause at the beginning [of a sketch], which are the quickest things to cut because you’re trying to save time: ‘Let’s get rid of when you enter,’” she says. “What roots me as an actor is a little breath. Before we get to the jokes, let the audience see me live in it for a second. I think I’ve proven that [those pauses are] not going to suck the air out of the room. It’s actually going to assist in the blowup that we’re waiting for.”
When Padilla lived in L.A., she adored her Los Feliz neighborhood, so on this late April afternoon she confesses to some disorientation at doing press on the Westside. Still, memories keep creeping up unexpectedly. “I’ll see a coffee shop, and you remember how you were feeling: ‘Will I ever make it?’”
There were encouraging moments that kept her going. One dispiriting day, she was on Melrose Avenue walking to the Groundlings. “In my head I went, ‘Will I ever be on television?’ Just then, a car passes with the girl rolling down the window going, ‘I’ve seen you perform! You’re going to be on television!’ It’s literally like someone answered my cry inside and went, ‘Calm down, it’s going to be OK.’”
Optimism came through other channels too, such as her job as Diane Keaton’s assistant, eventually co-creating her 2024 book “Fashion First.” Padilla adored the late actor and filmmaker, grateful for her endless sense of wonder, which inspired Padilla to see the world differently.
“She would stare at a tree: ‘Look at the way the sun goes through the branches,’” Padilla says, marveling. “I have a voicemail that I listen to whenever I’m feeling a little sad or I miss her — she’s just like, ‘Hey, Ash, how are you doing? I’m just checking in.’ And she stops and goes, ‘The blue sky. Wow.’ And I’m just like, ‘You are someone we all want to be around.’ It’s why she is so massive in people’s lives.”
Before ‘SNL,’ Padilla had stints at the Groundlings and as Diane Keaton’s assistant.
(Sela Shiloni / For The Times)
Since girlhood, Padilla has loved to write, which was valuable once she joined the Groundlings, doing seven shows a week. “You don’t get onstage unless you write your own stuff,” she says. Her viral “SNL” sketch “Haircut” — in which Padilla goes to dinner with friends, disturbing them with her atrocious haircut — was created at Groundlings, where it killed. But pitching it at “SNL” revealed the differences between the stage and live television.
“‘Haircut’ started as a ‘[Weekend] Update’ [feature], and I was unwilling to get rid of some stuff in there because I knew it worked at Groundlings,” she recalls. Padilla credits her frequent “SNL” co-writers Alison Gates and Kent Sublette for helping her understand the program’s rhythms. “They made it punchier and snappier. I definitely need the other writers — they make it so much better. At the Groundlings, there’s no camera cuts, there’s no time limit — you can mosey and do behavioral stuff. But [‘SNL’ sketches] need to look good on television. These writers are so good — they’ll say a joke that I go, ‘You’ve just said everything I was trying to do in a whole page.’”
Padilla’s peculiar but grounded characters may make you wait to see what they have in store, but she isn’t wasting any time. Last summer, wanting to distract herself from wondering whether she’d be asked back to “SNL,” Padilla wrote a screenplay, which is now being backed by Oscar-winning “Moonlight” producer Adele Romanski. Padilla won’t say much about the project, but you can bet she included a part for herself.
“It’s like, ‘I want to be on television? OK, write your sketches. I want to be in movies? I wrote a movie,”’ she explains. “I don’t want to wait around for someone to give me a role. I hope I get to work with great people, but I also want to control my own career — and my own happiness as well. I want to be creative all the time.”
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NHS single patient record to be debated for first time
Reforms to the NHS records system could result in 20,000 fewer visits to A&E annually, according to government projections.
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Despite Trump’s insistence, in-person voting does exist in Los Angeles
Yes, voting centers will be open across Los Angeles this week. And no, you don’t have to cast your ballot by mail.
With days left before the June 2 primary, President Trump made a round of misleading claims about the electoral process, this time falsely suggesting that the city was holding elections only by mail.
Trump’s comments came Saturday during an appearance on Fox News when he was asked by host Lara Trump — the president’s daughter-in-law — about his predictions for the upcoming primary.
“You know, they don’t have voting booths; everything’s by mail,” Trump responded. “I don’t think a Republican can win in California unless you pass the Save America Act — then they’re gonna have to show proof of citizenship, they’re going to have to get rid of mail-in voting.”
The L.A. County registrar-recorder moved to set the record straight in a tweet posted Sunday morning that read “MISINFORMATION ALERT.”
Noting that in-person voting was in fact allowed, the agency announced that it had 646 vote centers across the county — each with multiple voting booths. The centers will be open from 10 a.m. to 7 p.m. on Monday and Tuesday, the agency said in the posting, while tagging Fox News and the White House.
A map of polling locations featured on the agency’s website shows that there are dozens of voter centers available countywide. Mobile vote centers also were made available at various sites in the county. Mobile voting runs for the 10 days before election day and will not be available on June 2, according to the county registrar-recorder.
As of Friday morning, 333,000 mail-in votes had been cast in the June 2 primary for Los Angeles mayor, city attorney, city controller and eight of the 15 City Council seats. This was up from 321,000 at the same time in 2022, according to registrar-recorder.
Registered voters already should have received a ballot in the mail. Those who choose to vote in person can take their mail-in ballot to a vote center and ask to vote in person instead. Residents who haven’t yet registered to vote can still do so by requesting a conditional voter registration application at any voter center and filling out their ballot as they normally would.
Recent polling suggests that, ahead of Tuesday’s primary, incumbent Los Angeles Mayor Karen Bass has what pollsters deem a statistically insignificant lead in her bid for reelection as the city’s top executive. Bass is locked in a tight race with councilmember and former ally Nithya Raman and Spencer Pratt.
Trump has signaled his support for Pratt but hasn’t formally endorsed the former reality TV star and registered Republican. Former Trump advisor Steve Bannon said the president hadn’t done so out of the fear it would hurt Pratt’s chances in Democrat-dominant Los Angeles.
In 2020, during the outbreak of the COVID-19 pandemic, Gov. Gavin Newsom took the unprecedented step of issuing a statewide order for voting by mail for that year’s election in what he described as a necessary step to limit the virus’ spread.
A handful of rural counties had no in-person voting locations that March.
In 1979, the state eliminated the need for an excuse to receive an absentee ballot, and an option to choose permanent absentee voting was created in 2002. In the decades since, Californians have embraced the flexibility that voting away from a polling place offers. In nearly every statewide election since 2008, the majority of votes have not been cast at a traditional polling place.
Fourteen more counties — including Orange, Sacramento and Santa Clara — have adopted the state Voter’s Choice Act, an optional state law that requires them to mail every voter a ballot and to replace traditional neighborhood polling places with multipurpose vote centers. Those in-person locations offer multiple election services for up to 10 days before election day.
Los Angeles, the 15th county to adopt the new state law, was initially given special permission by the Legislature to implement it without mailing every voter a ballot.
Trump has for years repeated baseless claims that the 2020 election was stolen and that undocumented immigrants were swaying elections by voting illegally.
In light of these claims, Trump and some Republicans have pushed for new restrictions on voters. A federal proposal known as the Save America Act — which would require Americans to prove they are U.S. citizens before they register to vote and to show identification at the polls, among other things — cleared the U.S. House but stalled out in the Senate.
In November, California voters will weigh in on a similarly contentious ballot measure pushed by Republicans that would require all voters in future elections to show identification every time they vote in person or provide a special PIN when submitting mail-in ballots.
Under current state law, Californians are required to provide identification when registering to vote and must swear under penalty of perjury, a felony, that they are eligible to vote and are U.S. citizens. They are not required to show or provide identification when casting a ballot in person or by mail.
If passed, the California ballot measure would require voters to present government-issued identification, such as a state driver’s license, every time they vote. Voters mailing ballots would be required to write a four-digit number, essentially a PIN, on their ballot envelopes matching the one generated when they registered to vote.
Critics of California’s voter ID initiative, including many legal scholars, say the ballot measure addresses a problem that does not exist.
In May, a federal judge handed Trump a victory by declining to halt the president’s executive order creating a federal list of eligible voters and then directed the U.S. Postal Service to deliver mail ballots only to those on the list. Observers say the decision opens the door for potential sweeping changes in how American elections are run shortly before this year’s midterm elections.
The Associated Press contributed to this report.
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Soccer Aid LIVE: Match updates, kick-off time and how to watch, England vs World XI players
There are some big names that will be on show at London Stadium for Soccer Aid including some famous celebrities and plenty of former international footballers.
England squad in full: Robbie Williams (Manager), Wayne Rooney, Jermain Defoe, Jill Scott, Tom Hiddleston, Danny Dyer, Paddy McGuinness, Olly Murs, Joe Marler (GK), Theo Walcott, Toni Duggan, Steph Houghton, Jordan North, Angry Ginge, GK Barry, Jack Wilshere, Joe Hart, Sam Thompson, Chloe Burrows, Jack Whitehall and Owen Cooper.
World XI squad in full: Usain Bolt (Manager), Edwin van der Sar, Michael Essien, Jordi Alba, Leonardo Bonucci, Dimitar Berbatov, Nemanja Matic, Maisie Adam, Big Zuu, Nabhaan Rizwan, Nitro, Ali Krieger, Jen Beattie, Nicky Byrne, Dermot Kennedy, Chris O’Dowd, Richard Gadd, Nikolaj Coster-Waldau, Tobi Brown and Behzinga.
Tom Hiddleston and Olly Murs will be playing for England XI at Soccer Aid For UNICEF 2026(Image: (Photo by Jo Hale/Getty Images))
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World Cup 2026: England players advised by Thomas Tuchel to take holiday in US time zones
England head coach Thomas Tuchel advised his World Cup players to go on holiday in United States time zones before the tournament, to help the acclimatisation process.
A total of 21 of England’s 26-man squad will arrive in Florida on Monday for their pre-tournament camp, where they will also face New Zealand and Costa Rica in warm-up matches on 6 and 10 June.
Many players are understood to have spent the off-season in the United States or Caribbean at the behest of the England boss.
The weather is sure to play a major factor in the tournament, with studies indicating that nearly a quarter of all World Cup games are likely to be played in temperatures higher than 26C.
Adapting to the US time zones will also be a factor, with England’s tournament training base in Kansas City, Missouri, six hours behind UK time, which is the same as Dallas, where Tuchel’s men face Croatia in their opening group game on 17 June.
The remaining Group L matches against Ghana and Panama, which will be played in Boston and New Jersey respectively, will be played in a time zone five hours behind the UK.
To ensure England can hit the ground running, Tuchel requested players travelled west for their post-season break before joining up with the squad.
Arsenal quartet Declan Rice, Noni Madueke, Eberechi Eze and Bukayo Saka, and Crystal Palace goalkeeper Dean Henderson – who were all involved in European finals this week – will join the rest of the squad at a later date.
Premier League players Alex Scott, Jason Steele, Rio Ngumoha, Josh King and Ethan Nwaneri will also join the squad for England’s training camp in West Palm Beach, Florida.
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In ‘American on Purpose,’ Craig Ferguson celebrates America’s unusualness
When Craig Ferguson left CBS’ “The Late Late Show” in December 2014, fulfilling a pledge made public the previous April, it was assumed by some that it had something to do with not being offered the chair being vacated by his illustrious lead-in, David Letterman. (Stephen Colbert, you may be aware, was named the new “Late Show” host.) Others simply couldn’t believe anyone would just walk away from such a job, which Ferguson had held for two weeks shy of 10 years, because, even in the less prestigious 12:30 time slot it seemed like a prize — but mostly because he was so good at it.
“That’s one of the odd things about that particular genre of television,” he told me in 2016. “The minute I started at 12:30, the question became when and do you want and how are you going to get 11:30? But I never wanted 12:30, never mind 11:30. Why is that a thing?”
Ferguson went on to other things. He’s hosted game shows (currently the CW’s “Scrabble,” with puckish energy); toured as a stand-up (he’s on the road into June); hosted a history-themed panel show, “Craig Ferguson: Join or Die”; launched “Joy, a Podcast,” which is as close as he’s come to the confessional freestyling of “The Late Late Show”; and published “Riding the Elephant: A Memoir of Altercations, Humiliations, Hallucinations & Observations.”
His latest show, premiering Saturday on CNN, is “American on Purpose,” which shares a title with his first memoir, a reference to the Scottish-born Ferguson becoming an American citizen. Timed generally to the 250th anniversary of the United States, it finds Ferguson in a five-episode crazy quilt of observations, interviews, inquiries, stunts, games and documentary vignettes forming a comical, but not unserious, somewhat wayward look at American ideas and ideals — freedom of speech, capitalism, patriotism, individualism and immigration. It’s a vision wide enough to include monster trucks, lowriders, underground comedy, Miami street art, Texas barbecue and haggis tacos, dreamed up by Ferguson and executed by celebrity chef Marcus Samuelsson.
Ferguson, a Scotsman, having haggis tacos on “American on Purpose.”
(CNN)
“You know me,” Ferguson said when we spoke over video call recently. “Less format is better for me always.”
His caveat to the producers was that he wouldn’t “make an anti-American show. I wouldn’t make a show pointing out everything that’s wrong. I feel that’s a market that’s heavily catered to. I’m not a f—ing idiot, I’m not making propaganda, I won’t make a jingoistic show. But I want to make a show which is celebratory,” Ferguson says. “And I want to be clear that the show I make for CNN will be the same as if I was making it for Fox News. It has to be my point of view, which is upbeat without being dumb — I hope. I feel like we got pretty close.” This conversation has been condensed and edited for clarity.
A good friend of mine, an Englishman, recently became an American citizen and had only wonderful things to say about the naturalization ceremony, the diversity of his fellow new Americans, and the graciousness of the people conducting it. What was your experience?
My ceremony was in Pomona fairgrounds in 2008. And I think it was 2,000 of us; I think it was 1,999 new Mexican Americans and one new Scottish American. And it was f—ing wonderful. And it is moving. I kind of wish it for my friends who are born here, American citizens, because you have to remove your everyday, “Oh my God, did you see the news today” cynicism, and remember what this place is about — freedom, second chances, third chances, escape, representation, individualism, different ideas coexisting in one country, wildly different points of view somehow managing to get along. That is f—ing beautiful. What I still feel as an immigrant American is a certain gratitude that doesn’t leave you. I’m not blind to the faults of the United States. Show me a country that doesn’t have faults. We talk about the bloody past. Show me a country that doesn’t have a bloody past. Humans have a bloody past. I’m not saying there’s nothing wrong, but I’m not looking at that in this show. I’m looking at what makes me feel great about this place, and it is a great place, an aspirational place. To my mind, we are still the big foam finger number one. I don’t think there’s anyone can touch us for … unusualness. We’re really unusual.
It’s a very optimistic show. Is that how you feel personally about the future of the country, and humanity?
Like most people, I have my moods. I got a real boost of optimism [hanging out] with very clever academics who kind of guard the Declaration of Independence in Philadelphia. And you say to them, “People say the country’s never been this divided.” They always laugh. They laugh at the idea it’s never been as bad as this, the rhetoric has never been this hateful. They’re like, “It’s always been like this. It’s always been an argument. The whole point of this place is that it is an argument.” The guys who started this country, some of them hated each other with just as much venom and outrage and indignance as political players hate each other today. I find that quite encouraging. Like I said, I’m not blind to the fact that there are issues and faults and deep things to worry about. But that’s not what this show’s about. It’s as if I was a musician, and I decided to write a happy song. People say, “Why aren’t you sad?” I’m like, “Well, I get that sometimes, but this song is a happy song, this is a rock song. I’ll do a power ballad later on.” It’s not terrible to to do something upbeat every now and again.
What did you discover in the course of making the show?
There were many things, actually. In L.A., I did a kind of run around with the guys who make the lowrider cars, and the community and the story of how that came about are really fascinating, a kind of parallel run of the rise of the automobile in America, but how it was taken on by the Mexican culture. Another that really stuck with me was in the Everglades, when I was with the Gladesman there, finding out that a large percentage of them [were descended from] displaced Scottish peasants, cleared out of the Highlands to make room for sheep for the landowners; they went to Canada, and they drifted all the way down to the southern tip of the United States. These guys there could trace their ancestry back to 100 miles from where I grew up. Americans would be kicked out of most of the countries of the world. So it makes us awesome. I mean, 40% of this country can trace themselves through Ellis Island, through that administration building in New York. That’s insane.
Ferguson at Venice Beach in a segment on the show.
(CNN)
When did you get interested in history?
In Scotland, we’re surrounded by it all the time. There’s a lot of stuff still lying around from a long time ago. American history became interesting to me because it was so attached to Scotland. The Scottish Enlightenment is really kind of the origin story of the Declaration of Independence. Knowing that the philosophy that was coming out of Edinburgh in the 1700s was directly feeding into what these guys were doing, it felt like the continuation of a certain strain of Scottish history. It didn’t end with “Highlander” or “Shrek.”
There’s a road movie element to the series. Do you take trips around the country on your own time?
All the time. I don’t think you can know the United States unless you’ve driven across it at least a couple of times. If you can take a car from New Orleans to Northeastern Maine, Florida to Washington state, it’s worth doing. One of the things that was in the engine for me when I started this [series] was, I’ve seen over the years a lot of — probably more in Britain than in America — lazy kind of pseudo-intellectual documentaries where somebody will say, “Well, you know, the thing about America is…” Well, which America are you talking about? And they will go and get some guy that lives on his boat in Fort Lauderdale with a hat that’s got “Who Farted?” written on it and tell you that’s America. That guy’s there and he’s awesome, but it’s not the whole story. You know what I mean? It’s like saying “Well, you know, Hitler was a vegetarian.” That’s true, he was. But it’s not really the whole f—ing story, is it?
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Violet Grohl steps out of her famous father’s shadow with a haunted, alt-rock debut
The title of Violet Grohl’s debut album, “Be Sweet to Me,” started as an inside joke.
“‘Be Sweet to Me’ is a phrase that my best friend and I say to each other when we’re play-fighting,” says the rising singer. “It’s what we do to put an end to it. Like, ‘Oh, be sweet to me!’”
The phrase might also carry a double meaning, one Grohl is still parsing. At some point in the naming process, someone in her circle asked Grohl if she was making a plea. Remembering that moment, Grohl pauses to consider.
“I guess it can be seen as a pretext for the album. Just … be sweet,” she says. “But at the same time, it’s literally just what my best friend and I say to each other when we’re calling each other idiots.”
Intentional or not, no one could blame the 20-year-old for inserting an earnest request for audiences to proceed with kindness as she readies her debut album, which finally landed Friday.
The reasons are pretty self-explanatory: Grohl is the eldest child of modern rock icon Dave Grohl, the highly decorated founder and centerpiece of Foo Fighters and onetime drummer of Nirvana, and his wife, former model and TV producer Jordyn Blum. In an age of “nepo” accusations and internet dogpiles, it would be completely understandable for Grohl to feel anxious about her album’s reception.
But if she is, it doesn’t show. On a warm day in mid-May, Grohl appears relaxed and self-assured — but not arrogant — as she idles on a sofa in a cozy Studio City ADU owned by her publicist. Encased in a long, black sleeveless dress, she’s giving a mixture of off-duty rock star and summer goth. Her arms host an array of intricate tattoos; I spot a raven, a skull and a vintage lace fan. Next to her is a bulging Balenciaga mini bag, and a pair of oversized sunglasses on her head are perched atop a mop of jet black curls. The high contrast of her pale, makeup-less skin and swept back hair makes her round, gray-blue eyes appear even more pronounced.
“Everyone wants you to be an idealized version of … not even yourself, but of what they want you to be,” she says. “Sorry, that’s just not gonna happen with me.”
(Bella Newman)
Any time spent with her reveals that Grohl is the sort of person who is ultra-sensitive to the energy of places, people and even the long-deceased. In her free time, Grohl is an avid lover of anything paranormal. “The same time I got into horror movies, I started watching ‘Ghost Adventures’ on Travel Channel,” she says. “It totally sent me down this rabbit hole of the supernatural.”
When I ask if she’d ever made contact with any ghosts, Grohl nods emphatically before describing a trip to a hunting estate near the Scottish Highlands. “It is the most haunted place I’ve ever been in my whole life,” she says. “I walked into the house, and it was like a blast of cold air, chills everywhere. It’s this instinctual feeling of, I’m not alone here … I heard footsteps and disembodied voices, I saw shadows, I had crazy f–ing dreams. It’s so eye-opening, but it’s not evil or negative.”
Chilling films and Lynchian surrealism pervade the tracklist of “Be Sweet to Me,” which relies on symbolic lyricism to illustrate coming-of-age stories. From a sonic perspective, listeners will be thrilled to know that her debut does not just make for an entertaining listen — it’s a dedicated towpath to the very squealing heart of alternative rock, built by an artist who understands her music history on a granular level. Across a tight 11 tracks, “Be Sweet to Me” careens across late-’80s and ‘90s experimental genres, from ripping alt-rock on “Bug in the Cake” to hazy dream pop on “Mobile Star” to aggro Clinton-era alt metal on “Often Others,” and even a bit of chugging hardcore on “Cool Buzz.”
As many references as she brought to the recording process, led by producer Justin Raisen (a known collaborator of Charli XCX and Kim Gordon, who made the introduction), Grohl is not attempting to cosplay the grunge era. Instead of simply mirroring influences, she deftly puts her own spin on each arrangement with inventive, grabby arrangements, razor-sharp production and her versatile vocals, which can bellow like Courtney Love, murmur like PJ Harvey or turn ethereal like Elizabeth Fraser.
“Justin has a crew of musicians that he works with, and they’re all close friends of his,” Grohl explains of the album’s backing band, which Raisen assembled to mimic the Wrecking Crew, a loose collective of session players who appeared on some of the most beloved albums of the 1960s and ‘70s. “They’re the coolest, most talented, genuine music lovers, and seriously talented musicians … I’d never been in that kind of recording environment before. Everyone would throw out ideas or I would share a reference, and whatever it was about the song, [we’d ask] how we can build and make it a completely new, different thing.”
Growing up in Tarzana/Woodland Hills, Grohl says she’s been singing ever since she could speak. In a baby book, her mother wrote how Grohl, at 8 or 9 months, was “babbling and singing.” She took piano lessons with a teacher who taught her any Beatles song she wanted to learn. She later picked up the ukulele, and then a guitar. Now, it’s any piece of gear, from bass to drums to a lap dulcimer. “I just love messing around with different instruments and seeing all the different sounds I can make,” she says.
Grohl also had an ideal music-taste mentor in her father, who told his eldest all about Björk and acquiesced to playing Amy Winehouse’s “Rehab” on repeat. “I think I was 4 or 5, and I remember sitting in front of his computer, and he was talking about how she was from Iceland,” Grohl says of those days. “And I was like, ‘Oh, she’s the princess of Iceland. That was my idea of Björk from a young age. Björk’s ‘Hunter’ music video was a turning point for me.”
By adolescence, while on the road with the Foo Fighters, Grohl would make herself useful by assisting the band’s tour manager. She remembers: “I had a walkie-talkie, I would hand per diems out to people, I would run the envelopes around, and bring my dad a towel after the show, stuff like that.” The live-music atmosphere may have also sparked Grohl’s curiosity in songwriting, which she says began as a way of journaling. “I have cassette demos that I made with a tiny one-track recorder,” she remembers. “Then I started learning how to use Logic right before I turned 13, and that opened up this whole new world.”
One night in May 2018, on a break from the East Coast leg of the Foos’ Concrete and Gold tour, the elder Grohl headlined a benefit concert for the UCSF Benioff Children’s Hospital, where he encouraged his daughter, then only 12, to join him onstage to sing Adele’s “When We Were Young.” A few weeks later, back on tour, Grohl jumped onstage to help sing backup on a few tracks. “It wasn’t my first time singing on a stage, but it was my first time singing on a stage with that many people in [the audience],” she says of the second experience. “I was really scared, but once it was happening, and once it was over, I was like, ‘Oh, this is what I want to do. This is my purpose.’”
Chilling films and Lynchian surrealism pervade the tracklist of “Be Sweet to Me,” which relies on symbolic lyricism to illustrate coming-of-age stories.
(Bella Newman)
From there, Grohl became something of a live fixture — a beloved Foos adjunct performer. But clearly one with her own trajectory. In pre-pandemic 2020, Grohl joined the surviving members of Nirvana at the Art of Elysium Gala, where she sang “Heart-Shaped Box.” The next year, father and daughter recorded a duet of “Nausea” by L.A. classic punk favorites X. In 2022, Grohl opened the second tribute to late Foos drummer, Taylor Hawkins, with an aching rendition of Leonard Cohen’s “Hallelujah.”
It should definitely be said that Grohl is hardly pulling a Jakob Dylan as it relates to her parentage — a detail that actually makes her appear that much more self-actualized and approachable, simply because she isn’t trying to circumvent reality or engage in a furious round of name-dropping. She freely discusses the long evening car rides around Los Angeles she’d take with her dad and two younger sisters during the pandemic, the car becoming a music-recommendation feedback loop, with older and younger generations trading off DJ duties. “My sister and I introduced him to Jockstrap,” Grohl chuckles when I ask what bands she introduced her dad to during those rides. “I’d play him old jazz standards, hip-hop. It was a constant thing.”
During those evening rides, Grohl also drank up the city’s otherworldly, vaguely haunted visage. “There’s something special about L.A. that I can’t fully describe,” she says. “There’s inspiration everywhere, so many beautiful people and historic buildings. I love art about L.A. — when people reference L.A. in their music, movies, or books. I grew up here, and I’ve lived here my whole life. I just feel that deep connection to it all.”
Like any great artist, Grohl is a product of her surroundings, and that can’t help but include a very specific, unlikely upbringing. In her own matter-of-fact way, Grohl shrugs as she acknowledges the inescapable pressure of her last name. “Everyone wants you to be an idealized version of … not even yourself, but of what they want you to be,” she says. “Sorry, that’s just not gonna happen with me. You’re not gonna convince me to change. I’m doing this because I love music, and that’s all I’ve ever known. Everyone’s gonna want me to be something, and I’m not the person that will give in to that.”
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A second offering to Spencer Pratt, and 5 points about the L.A. mayor’s race
Well, I gave him a chance, offering my services.
I was willing to give the young novice a primer on what a mayor can and can’t do, and let him know City Hall is a reality show like no other he’s been on. But Spencer Pratt didn’t call me in response to my column last week.
I did, however, hear from a slew of his most ardent supporters.
Steven C. had this to say: “You’re a left-wing idiot, and … it’s time for you to retire. You’re a joke!!! You always have been!!! God bless Spencer Pratt and the 45th and 47th President of the United States Donald Trump!!!!!”
You may be onto something, Steven!!! I’ve been thinking about retiring!!!! But then a former reality TV star like Pratt comes along and tells Vanity Fair he had a chat with God, who told him He wants Pratt to be mayor of L.A!!!!! With people like this running for office, how can I retire?!!!!!
R.W. wrote to say: “You say Spencer has never done anything in his life…What credentials do you have? From what I’ve read about you, you are a lousy commie journalist who has never accomplished anything in your life!!”
Just recently, R.W., I replaced a broken toilet tank flush valve and I learned two Willie Nelson songs on the guitar. That’s not nothing.
Peter did not mince words: “Your piece on Pratt is a hit piece filled with bull— . You should go f— yourself before someone takes you out, which is the appropriate response to a s—bag like yourself. So please f— off and drop dead, which is exactly what you deserve.”
Peter, I did drop dead once. Cardiac arrest. While on the other side, I saw God, who told me to snap out of it because He was going to tell Spencer Pratt to run for mayor. Who knew God had a defibrillator?
All of these, by the way, were actual emails, and there were many more just like them. But it’s only fair to note that despite the fulminating knucklehead wing of Pratt’s posse, he’s tapped into a justifiable sense of frustration with City Hall, given homelessness, the Palisades inferno and budget issues that squeeze all manner of basic city services.
That’s why Mayor Karen Bass is paddling furiously, trying to keep her political career afloat. In the latest UC Berkeley-L.A. Times poll, Bass is at 26%, Nithya Raman at 25% and Pratt at 22%. That’s so tight, it appears that no one will get the 50% needed to win outright, and if we get a top-two runoff, it’s not clear who will go to the dance.
So as we close out the primary, with the election on Tuesday, five talking points come to mind.
Which candidate knows the city best?
Los Angeles has 114 distinct neighborhoods spread across 470 square miles (that’s 10 times the size of San Francisco), with an estimated 220 languages spoken. Diversity is a defining characteristic, and roughly half the population is Latino, which makes it a shame there’s no Latino candidate for mayor, especially given the raids and roundups by President Trump.
A mayor doesn’t have to speak six languages and know every corner of the city, but residents want to be seen and heard, and feel like they’re understood and represented.
Raman is well-versed on homelessness policy, and she’s spot-on about the need for greater urgency in problem-solving, but as my colleague Noah Goldberg reported, constituents in her district complain that they haven’t seen enough of her.
As I said, Pratt has wisely targeted municipal failure. But in the realm of outsider candidates with Republican credentials, Rick Caruso, who ran against Bass last time, was comfortable whether he was in the Valley, South L.A. or anywhere in between. And he easily connected with people. Would Pratt be a tourist in his own city?
By virtue of her job the last four years, Bass — who raised a blended Black and Latino family — knows the city best, although her unfavorability rating is a big problem.
What about the other candidates?
In the aforementioned poll, minister and housing activist Rae Huang had 9% and former educational technology businessman Adam Miller had 5%. Virtual unknowns, neither had a legit chance of winning, but they could be spoilers for one of the top three candidates.
I spoke to both, and if you’re undecided, you should read up on them before voting. On Huang’s website, the first words are “Homes are for people, not profit.” Miller wants to bring his success in the business world to City Hall, and when you consider his policy agenda along with his nonprofit work with veterans and homelessness, he’s a better candidate than Pratt.
But he wasn’t on a reality TV show.
Democrats ruined L.A. and California, right?
If only I had a nickel for every time a reader suggested that.
By 101 measures, Los Angeles is one of the great cities of the world and California has built the world’s fourth-largest economy while leading on climate change, so apocalyptic diagnoses are a bit off the mark.
Also, local elections are nonpartisan. You don’t run for mayor as a D or an R.
And yet it’s true that Democrats and their policies and sensibilities rule the day, and they have a lot to answer for in Los Angeles and in California.
But would the same critics suggest that in conservative cities like Fresno and Bakersfield, which have their own homelessness and other problems, Republicans are to blame?
When it comes to housing, poverty, healthcare and streets occupied by people who are addicted or mentally ill, the failures go back decades, touch all levels of government, and cross party lines.
Have I given up on Los Angeles?
When I pointed out that Pratt seemed unaware of these complexities, and of the structural limits of mayoral power, readers suggested he was rising to the challenge while I was giving up on L.A.
Not at all. I care about L.A. enough to hold its leaders to a higher accountability, and to scrutinize posers and pretenders who think they can do a better job.
My advice for the next mayor.
Fix what’s broken, celebrate what works and take responsibility for what doesn’t.
Now let me try one more time:
Spencer, give me a call.
You can’t tell us you had a conversation with God about running for mayor and not share more details.
Did God scold you for referring to the mayor as Karen “Basura,” which means trash in Spanish?
Did He say we should pull out of the ‘28 Olympics, or have any advice on how to fill potholes and fix sidewalks?
If you’re having regular conversations about City Hall with the Father, the Son and the Holy Spirit, we’re dying to know:
On homelessness, what would Jesus do?
steve.lopez@latimes.com
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