My first reaction, when I heard about the proposed $2.3-million fence around MacArthur Park, was skepticism.
Yeah, the park and the immediate neighborhood have long dealt with a nasty web of urban nightmares, including homelessness, crime and a rather astonishing open-air drug scene, all of which I spent a few months looking into not long ago.
But what would a fence accomplish?
Well, after looking into it, maybe it’s not the worst idea.
Skepticism, I should note, is generally a fallback position for me. It’s something of an occupational duty, and how can you not be cynical about promises and plans in Los Angeles, where each time you open the newspaper, you have to scratch your head?
I’m still having trouble understanding how county supervisors approved another $828 million in child sexual abuse payments, on top of an earlier settlement this year of $4 billion, even after Times reporter Rebecca Ellis found nine cases in which people said they were told to fabricate abuse allegations.
The same supes, while wrestling with a budget crisis, agreed to pay $2 million to appease the county’s chief executive officer because she felt wronged by a ballot measure proposing that the job be an elected rather than appointed post. Scratching your head doesn’t help in this case; you’re tempted instead to bang it into a wall.
Drone view of MacArthur Park looking toward downtown Los Angeles.
(Ted Soqui/For The Times)
Or maybe a $2.3-million fence.
The city of L.A. is primarily responsible for taking on the problems of MacArthur Park, although the county has a role too in the areas of housing, public health and addiction services. I made two visits to the area in the last week, and while there are signs of progress and slightly less of a sense of chaos — the children’s playground hit last year by an arsonist has been fully rebuilt — there’s a long way to go.
In a story about the fence by my colleague Nathan Solis, one service provider said it would further criminalize homelessness and another said the money “could be better used by funding … services to the people in the park, rather than just moving them out.”
The vast majority of people who spoke at the Oct. 16 meeting of the Recreation and Parks Commission, which voted unanimously to move forward with the fence, were adamantly opposed despite claims that enclosing the space would be a step toward upgrading and making the park more welcoming.
“Nothing is more unwelcoming than a fence around a public space,” one critic said.
“A fence can not solve homelessness,” another said.
The LAPD underwater dive unit investigates activity in MacArthur Park Lake.
(Genaro Molina/Los Angeles Times)
Others argued that locking up the park, which is surrounded by a predominantly immigrant community, recalls the ridiculous stunt that played out in June, when President Trump’s uniformed posse showed up in armored vehicles and on horseback in what looked like an all-out invasion of Westlake.
But another speaker, Raul Claros — who is running against Councilmember Eunisses Hernandez in the 1st District — said he’d spoken to residents and merchants who support the fence, as long as it’s part of a greater effort to address the community’s needs.
Claros said he has three questions: “What’s the plan? What’s the timeline? Who’s in charge?”
Hernandez, by the way, is not opposed to the fence. A staffer told me there’s a fence around nearby Lafayette Park. Other fenced parks in Los Angeles include Robert Burns Park, adjacent to Hancock Park, and the L.A. State Historic Park on the edge of Chinatown, which is locked at sunset.
As for the long-range plan, the Hernandez staffer said the councilwoman has secured and is investing millions of dollars in what she calls a care-first approach that aims to address drug addiction and homelessness in and around the park.
Eduardo Aguirre, who lives a couple of blocks from the park and serves on the West Pico Neighborhood Council, told me he’s OK with the fence but worried about the possible consequences. If the people who use the park at night or sleep there are forced out, he said, where will they go?
“To the streets? To the alleys? You know what’s going to happen. It’s a game,” Aguirre said.
Last fall I walked with Aguirre and his wife as they led their daughter to her elementary school. They often have to step around homeless people and past areas where dealing and drug use, along with violence, are anything but infrequent.
Families and others should be able to feel safe in the park and the neighborhood, said Norm Langer, owner of the iconic Langer’s deli on the edge of the park.
A visitor takes in the view at MacArthur Park.
(Genaro Molina/Los Angeles Times)
“I completely understand why you’re skeptical,” Langer told me, but he said he’s seen improvements in the last year, particularly after fences were installed along Alvarado Street and vendors were shut down. Police say some of the vendors were involved in the drug trade and the resale of stolen merchandise.
“The point isn’t to limit access,” Langer said. “The fence is intended to improve safety and quality of life for the people who live, work, and spend time here. It gives park staff a fighting chance to maintain and restore the place, especially at night, when they can finally clean and repair without the constant chaos that made upkeep nearly impossible before.”
LAPD Capt. Ben Fernandes of the Rampart division told me police are “trying to make it not OK” to buy and use drugs along the Alvarado corridor. Drug users often gather in the northeast corner of the park, Fernandes said, and he thinks putting up a fence and keeping the park off limits at night will help “deflect” some of “the open-air usage.”
The park has a nice soccer field and a lovely bandstand, among other popular attractions, but many parents told me they’re reluctant to visit with their children because of safety concerns. If a fence helps bring back families, many of whom live in apartments and have no yards, that’s a good thing.
But as the city goes to work on design issues, questions about enforcement, opening and closing times and other details, it needs to keep in mind that all of that is the easy part.
It took an unforgivably long time for L.A. Mayor Karen Bass and other elected officials to acknowledge a social, economic and humanitarian crisis in a place that’s home to thousands of low-income working people.
I took to the slopes for the first time in the glorious Saalbach-Hinterglemm, Austria, and was left wondering why I’d waited so long to try skiing – but one piece of advice was useless
Saalbach-Hinterglemm sits in the heart of the Austrian Alps
When I excitedly told friends I was off to Austria to ski for the very first time, nearly 30 years into my life, the seasoned skiers among them looked a little nervous. “It’s definitely easier to learn when you’re younger,” they warned me.
So I immediately did what any late millennial would do, and took to TikTok in the hope of becoming a pro skier without ever having set foot on the slopes. In the weeks leading up to the trip, I spent every spare minute watching ski instructors share their tips for beginners, before practising the techniques – static – in my living room.
However, it all began to feel very real when we arrived in Saalbach-Hinterglemm in the heart of the Austrian Alps, where the Alpine Ski World Championships were held back in February
We checked in to the uber-modern Wiesergut, a ski in, ski out hotel built on the site of a 14th-century manor, which looks like something straight out of Architectural Digest.
My spacious bedroom exuded understated urban chic, with a soaring double-height ceiling, floor-to-ceiling windows and a sophisticated mix of natural materials like wood, stone and linen. Luxurious Aesop toiletries lined the bathroom shelves and, to my delight, there was even a Dyson Airwrap for fixing up soggy helmet hair. The room also came with its own fireplace and a hot tub.
I couldn’t get my skiwear on fast enough but, once dressed, I took one look in the mirror and felt like an imposter. Staring back at me was the definition of “all the gear, no idea”. Luckily, there was another newbie in the group and the pair of us headed out for a lesson on the baby slopes, just a stone’s throw away from Weisergut.
I quickly discovered that my TikTok ski lessons had taught me next to nothing, but soon got to grips with finding my balance, turning and slowing down – very important in order to avoid any Paltrow-esque ski crashes.
After two hours of “pizza and French frying” our way down the baby slopes, we’d certainly worked up an appetite, and 1,500 metres up Reiterkogel mountain, Wieseralm provided the perfect location to refuel. A sister to the Weisergut, the mountain restaurant offers alpine classics such as Kaiserschmarrn, cheese dumplings and Viennese schnitzel. We were treated to a host of other decadent delights including truffle carbonara, buttery mash, fillet steak and king prawns.
Each time we thought we were done, the servers brought out another course, each as impressive as the last, and they made sure our wine glasses were never empty. Forget skiing backdown the mountain – we could have just rolled down.
Some 30km away, nestled in the beautiful Leoganger mountain range, sits Priesteregg, a five-star eco resort with its own picturesque mountain village.
Sixteen charming chalets are dotted on a steep hillside, each adorned with scarlet geraniums in the window boxes, wooden deckchairs softened with sheepskin throws, flickering candles and log fires waiting to be lit.
Smiling girls in floral dirndls welcomed me with a hot coffee before I headed to the Priesteregg BAD (spa) for wellness treatments.
I went for a swim in the Himmelbecken, an outdoor infinity pool that offers a magnificent view of the Hochkönig mountain, before taking part in a yoga class on the terrace over looking it. The yoga instructor then took us through an incredible guided breathing session using the Wim Hof method in preparation for a cold plunge at the Naturbecken pool.
To my surprise, I enjoyed every second of the dip, and barely noticed the cold even as I climbed out into the rain. I don’t know if this was the effect of the breathwork, or if the breathtaking scenery simply offered the perfect distraction from the discomfort.
I’ve never slept more soundly than I did in my bedroom at the chalet. Situated on a high plateau facing the mountains, the chalets offer stunning views, including a glimpse of the nearby luminescent man-made glacial lake.
It’s hard to imagine a more indulgent start to the day than the Priesteregg breakfast, served in your chalet. You wake to the soft sounds of quiet preparation, and when you step into the living space, it has all been laid out – candles lit, coffee brewing and the table laden with platters of local ham and cheese, fresh fruit, yoghurt and still-warm breads and pastries. All that’s left for you to do is cook the eggs and bacon, if you fancy it.
The nearby town of Leogang is worth exploring, including Mama Thresl – Priesteregg’s cooler, more casual sister hotel – which provides easy access to the gondola for those wanting to ski or snowboard. But given Priesteregg’s panoramic mountain views, one-of-a-kind wellness area, incredible on-site cuisine and warm Austrian hospitality, it’s a wonder anyone would leave.
How to book
Rooms at Priesteregg Premium Eco Resort (priesteregg.at/en)start from £296 B&B per person, per night in a Berg MountainChalet (based on two sharing).
Rooms at Wiesergut (wiesergut.com) start from £332B&B per room, per night in a Manor Suite Bliss.
Rooms at MamaThresl (mama-thresl.com) start from £170B&B per room, for two people in a Wooden style double room.
“Now You See Me: Now You Don’t” star Jesse Eisenberg may soon one-up the film franchise’s Robin Hood-esque Four Horsemen in the giving-back department.
This December, the Academy Award nominee and longtime blood donor will give one of his kidneys to a complete stranger, he said Thursday on the “Today” show. He slipped the news into a conversation with host Craig Melvin about a recent show-sponsored blood drive.
As Melvin and his co-hosts reacted in disbelief, Eisenberg said, “I really am [donating].”
“I don’t know why. I got bitten by the blood donation bug,” he said, adding that he was “so excited” to make the nondirected (a.k.a. “altruistic”) donation, wherein a living donor is not related to or known by the recipient.
According to the National Kidney Registry, approximately 90,000 people in the U.S. are currently in need of a kidney transplant, while roughly 6,000 people donate kidneys each year. Less than 5% of those already slim donations are nondirected.
Eisenberg said he suspected that if people knew how safe the process was, those numbers would go up.
“It’s essentially risk-free and so needed,” Eisenberg said in a separate interview with Today.com. “I think people will realize that it’s a no-brainer, if you have the time and the inclination.”
“The Social Network” alum added that prospective donors need not worry about forking over a kidney and later facing a situation wherein a family member urgently needs one.
“The way it works now is you can put a list of whoever you would like to be the first [relative] to be at the top of the list,” he said, referring to the National Kidney Registry’s family voucher program. The program launched in 2019, preceded by an earlier “standard” iteration that required the voucher donor to name a voucher holder who had some form of kidney impairment. (The standard voucher option is still available to donors as well.)
“Not only does this remove an important disincentive to living kidney donation, but it is the right thing to do for the generous people who are donating a kidney to a stranger. Donors can now donate a kidney and still provide security for their loved ones should they need a kidney transplant in the future,” Dr. Jeff Veale, who helped pioneer the voucher system, said in a statement at the time of the program update.
Recovery is also a non-issue for most kidney donors, who on average return to daily activities within a few weeks of the surgery, per the Mayo Clinic.
“Now You See Me: Now You Don’t” hits theaters Nov. 14, nearly a decade after the previous installment in the franchise premiered. Eisenberg stars alongside returning cast members Isla Fisher, Woody Harrelson and Dave Franco and newcomers Justice Smith, Dominic Sessa, Ariana Greenblatt and Rosamund Pike.
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“Bread of Angels,” Patti Smith’s mesmerizing new memoir, only deepens the mystery of who this iconic artist is and where her singular vision originated. I’ve long been struck by her magnetism on stage, her fearless approach to her craft, and the stark beauty of her words on the page, including the National Book Award-winning “Just Kids.” She has a preternatural belief in her own instincts and a boundless curiosity that, taken together, help explain the extraordinarily rich life and oeuvre she’s constructed. This transcendent — and at times terrifying — account of that evolution enriches that understanding. And yet, Smith’s persona remains veiled — sphinx-like — an ethereal presence whose journey to fame was fueled by her questing spirit and later detoured by tragedy.
Like Jeanette Walls’ classic, “The Glass Castle,” Smith’s saga begins with a hard-scrabble childhood she relates as if narrating a Dickensian fairy tale. In the first four years of her life, her family relocated 11 times, moving in with relatives after evictions, or into rat-infested Philadelphia tenements. Smith’s mother was a waitress who also took in ironing. Her father was a factory worker, a World War II veteran scarred by his experience abroad. They shared their love of poetry, books and classical music with their daughter, who was reading Yeats by kindergarten.
Smith, who was born in 1946, was often bed-ridden as a young girl, afflicted with tuberculosis and scarlet fever, along with all the usual childhood ailments. She writes: “Mine was a Proustian childhood, one of intermittent quarantine and convalescence.” When she contracted Asian flu, the virus paralyzed her with “a vise cluster of migraines.” She credits a boxed set of Puccini’s “Madame Butterfly” recordings her mother bought with tip money for her return to health.
As a 3-year-old, Smith recalls grilling her mother during evening prayers, posing metaphysical questions about Jesus and the soul, immersing herself in Bible study and later joining her mother as a Jehovah’s Witness. She didn’t confine herself to a single religious discipline, though. For example, while still a young child, she saw the movie “Lost Horizons” and became entranced by Tibet and the teachings of Buddhism — “an awareness of the interconnectedness of all things.” While “this seemed beautiful,” she writes, “it nonetheless troubled me.”
There is a romantic quality even to the deprivations Smith chronicles, an effect heightened by what she chooses to highlight or withhold. With little money for toys, she and her siblings entertained themselves using the knobs on a dresser as instruments on a ship, sailing on faraway seas. She and her younger siblings regularly set out with their mother to the nearby railroad tracks, where they harvested leftover lumps of coal to fuel their pot-bellied stove — the apartment’s sole source of heat. Under the floorboards of her closet, Smith conceals “glittering refuse I had scavenged from trash bins, fragments of costume jewelry, rosary beads,” along with a blue toothbrush she’s invested with magical powers.
Their apartment building overlooks a trash-strewn area dubbed “the Patch,” which is bordered by “the Rat House.” There, Smith proclaims herself general of the neighborhood’s Buddy Gang, fearlessly fending off bullies twice her size, while at school, she was viewed as odd by her teachers, “like something out of Hans Christian Andersen.”
Within this urban setting, Smith often paused to marvel at nature. Taking a short cut on the long walk to school, she stumbles on a pond in a wooded area. A snapping turtle emerges and settles a few feet away. “He was massive,” she recalls, “with ancient eyes, surely a king.”
It’s impossible to know if Smith was really this self-possessed and ruminative as a child or if nostalgia has altered her perspective. What’s undeniable, though, is that her extraordinary artist’s eye and soulful nature emerged at an age when the rest of us were still content to simply play in our sandboxes. She recollects fishing Vogue magazines out of trash cans around age 6 and feeling “a deep affinity” with the images on their pages. She’s immersed in Yeats and Irish folk tales while being bored at school reading “Fun With Dick and Jane.” On her first visit to an art museum, viewing Picasso’s work produces an epiphany: She was born to be an artist. A decade later, she boards a bus bound for New York City.
At this point, about a third of the way into the book, we enter the vortex that is Patti Smith’s talent and ambition on fire. The pace of the memoir accelerates. An alchemy infuses each chance encounter. Opportunities abound. Everywhere she turns there are talented photographers, poets, playwrights and musicians encouraging and supporting her. She writes poetry and finds a soulmate in Robert Mapplethorpe. She meets Sam Shepard, who features her poem in a play he’s writing. She meets William Burroughs, performs a reading with Allen Ginsberg. She forms a musical partnership with Lenny Kaye, and begins performing her poetry, with the 19th century French poet Arthur Rimbaud as her spiritual inspiration.
Smith’s story unfolds as a bohemian fairy tale. Luck is with her, bolstered by a fierce conviction in her own bespoke vision. “There was no plan, no design,” she writes of that time, “just an organic upheaval that took me from the written to the spoken word.” Bob Dylan becomes a mentor. Her fame grows enormous with the 1975 release of “Horses” and the international touring that followed, yet she retains the bearing of an ascetic. She writes: “We hadn’t made our record to garner fame and fortune. We made it for the art rats known and unknown, the marginalized, the shunned, the disowned.”
Smith’s rock star trajectory is diverted by her love affair with Fred Sonic Smith, for whom she ditches her career at its height, against the advice of many of those closest to her. But as with every decision she’s ever made, she can’t be dissuaded. In this intimate portion of the book, we receive glimpses of two passionate artists hibernating, in love. They marry, have two children, and cultivate an eccentric version of domestic bliss. But harsh reality intervenes and the losses begin to accumulate. One after the other, Smith loses the men she loves most — Robert, then Fred, then her beloved brother, Todd. These losses haunt the memoir; she grapples with them by returning to the stage with a fierce new hunger.
The book’s final pages reveal Smith continuing to grieve, mourning the loss of other loved ones — her parents, Susan Sontag, Sam Shepard. I wish I could simply reprint those pages here — they moved me deeply. At 78, she reflects on the process of “shedding” — which she describes as one of life’s most difficult tasks. “We plunge back into the abyss we labored to exit and find ourselves within another turn of the wheel,” she writes. “And then having found the fortitude to do so, we begin the excruciating yet exquisite process of letting go.”
“All must fall away,” she concludes. “The precious bits of cloth folded away in a small trunk like an abandoned trousseau, the books of my life, the medals in their cases.” What will she retain? “But I will keep my wedding ring,” she writes, “and my children’s love.”
Haber is a writer, editor and publishing strategist. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.
Decades since it’s release fans continue to hail this 90s sci-fi movie as both ‘groundbreaking’ and ‘breathtaking’ and they can watch it once again on ITV tonight
Fans have called the film ‘ground-breaking’ for its visual effects
Film fans have dubbed this 1991 movie as the “best action movie of all time”, scoring it an impressive 91% on the review site Rotten Tomatoes – and it’s on ITV for free tonight.
The classic American science-fiction movie is set to appear on TV tonight,for the perfect slice of nostalgia as you gear up for the Halloween weekend. Terminator 2: Judgement Day is the second instalment in the famed Terminator series, with Arnold Schwarzenegger playing the leading role, in what viewers are calling the best sequel to exist.
In the film, directed by James Cameron, the malevolent artificial intelligence network, known as Skynet, sends a highly advanced killing machine, The Terminator, back in time. It finds itself in 1995, on a mission to kill the future leader of the human resistance while he is still a child in order to protect the future of humanity.
One fan of the film wrote on Rotten Tomatoes: “This is one of those stellar classic action movies, and it was the best action movie of the 1990s. It was significantly ahead of its time! Groundbreaking special effects, a relentless and threateningly powerful villain, humorous and awesome moments, and entertaining action set pieces and sequences that looked convincingly real!”
Another viewer simply says: “In my opinion, this is the greatest action movie of all time. And the greatest movie sequel of all time.” Meanwhile, someone else wrote: “My favourite movie of all time, no notes.”
The film went on to be an instant classic, as a box office boom and critical success, grossing $519–520.9 million. It went on to become the highest-grossing film of 1991 across the globe and the third-highest-grossing film of its time.
Decades later, Terminator 2 is still considered to be one of the best science fiction films ever made, as a trailblazer for visual effects and computer-generated imagery. Not to mention, it has an all-star cast made up of Edward Furlong, Linda Hamilton, Robert Patrick and Dean Norris.
A viewer praised the cast’s performances in the sequel, writing: “Judgment Day elevates the franchise with groundbreaking visual effects and breathtaking action. Arnold delivers one of his most iconic performances, while Linda Hamilton’s transformation into a fierce and determined Sarah Connor is unforgettable.”
If viewers’ raving reviews aren’t a convincing enough reason to kick back tonight and have a movie night in, the film’s numerous accolades may prove it worthy. Terminator 2 went on to receive an impressive six Academy Awards, as well as a BAFTA Award and four Saturn Awards, honouring its visual effects, hair and makeup and, of course, the best sound effects.
A review says: “Best Terminator movie, period. This is the one that all others are judged on, and it’s a high bar.” If you’re looking for something to watch tonight, flick over to ITV4 tonight at 9pm to see an all-time classic movie from the comfort of your sofa.
Nicey Nash-Betts has only ever lived in Los Angeles — and she’s proud of that.
“I’m an OG Angeleno,” says the Academy Award-winning actress who’s lived all over the county, from Compton to Palmdale. When I ask her why she’s stayed, she says, “The weather.” And also: “My family is here and I feel like as a whole, people who are from L.A. are a lot more down to earth. It’s the transplants who come here with some weird energy. But the people who are from L.A. are just lovely.”
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
Starting Tuesday, Nash-Betts will star in Ryan Murphy’s new Hulu show, “All’s Fair,” which follows a crew of female divorce attorneys as they leave their male-dominated firm to launch their own practice. It’s a role she almost didn’t take.
“I was just coming off of doing ‘Grotesquerie,’ so I was like, “Ooo. It sounds like it might be a lot work,” says Nash-Betts, whose credits include “Claws,” “The Rookie: Feds” and “When They See Us.” “So I waited a little bit and then I slipped in at the last minute and was like ‘OK, I’m in!’ “
She joins a star-studded glamorous cast of badass women including Sarah Paulson, Kim Kardashian, Glenn Close, Naomi Watts and Teyana Taylor. What was it like working with them?
“We don’t just genuinely like each other, but we have respect for each other,” Nash-Betts says. “And when you respect somebody’s time, their talent, their effort, you know that you’ll always have one of your sisters to lean on that day even if you’re going through something in your personal life.”
When Nash-Betts isn’t on set, she can be found bopping around the city with her “hersband” singer-actor Jessica Betts, whom she married in 2020, and spending time with her three adult kids. Her perfect Sunday in L.A. involves hitting up the farmers market, getting a couple’s massage and ending the night in the same way she did when she won her first Emmy in 2024.
This interview has been lightly edited for length and clarity.
7:30 a.m.: A slow morning
It depends on how early I want to get to the farmers market, so I may wake up around 7:30 a.m. and then just slow roll the day. Make my spouse a cup of coffee. We’re not big eaters in the morning. Occasionally I will get up and make an omelet with all the things and some smothered potatoes, and bring it upstairs on a cart with some juice. Now, I’m telling you the truth. “Baby, am I telling the truth?” [Looks back and screams out to Betts in another room].
9:30 a.m. Get my essentials at the farmers market
I’d grab a shower and say, “Let’s get dressed and go outside, and see what the world has for us today.” I love to go by the farmers market. It’s where we get all of our peppers and vegetables. We like the eggs, the fresh pressed juices and we get our dog snacks from there. I like to go to the farmers market on Saturdays at the Commons in Calabasas, but if I’m going on a Sunday, it’s the one in Westlake. I just think that it’s a one-stop shop for everything that we’re looking for and typically the vendors are really kind. I don’t know if that’s because they want you to buy their stuff or that’s just who they are, but either way, I’ll take it.
And every now and then, I might find a little bop, a little sundress, a little something to throw on, drop the things back off and then head down into the city.
Noon: Stroll around the Grove
If the weather is great, we’ll take something out of the garage that’s a convertible because there’s nothing like the L.A. sunshine. Then depending on what time we can get spa appointments, we might go to the Grove first and walk around. I like the shops that are there. Sometimes you might get a little sweet treat when you’re walking around, but you can always impromptu decide you want to go to the movies and push your plans a little later. It’s just centrally located and it has all of the good things that I like.
2 p.m. Couples massage and a cocktail
Next, we’d head to the Four Seasons for a couple’s massage and a cocktail. Sometimes we’ll go to the Four Seasons Westlake. Sometimes we’ll go to the Four Seasons on Doheny [Drive], but we like to get a spa room, which is in the back. It’s like a suite with a fireplace and a bed in there. You can relax. You have your own private plunge pool and we get our services in the suite. We both always get deep tissue.
5 p.m.: Thai food for dinner
Afterward, we’d drive down to Farmhouse Thai in West Adams because we love it there and we have come to love the owner. I always get the crab fried rice, the whole cripsy fish, the cup of ramen noodles with the short rib on top and spring rolls. That’s the standard order. But if I don’t go out to dinner, I will make crabs every weekend. So sometimes, my kids will come over and eat. If I get to lay my eyes on them during the weekend, that’s always a good time.
9 p.m.: Skinny dipping and champagne
When we get back, we are definitely getting in the pool. Skinny dipping and champagne is how we’re going to end the day. We do this often. Even when I won my Emmy for “Dahmer,” people asked, “How will you celebrate?” and I said, “Skinny dipping and champagne.” And it just so happened, we found a hotel downtown that had a full-sized swimming pool inside the room, so there’s pictures on my Instagram of us in that pool, skinny dipping and drinking champagne. I think that night, we were probably drinking Perignon.
11 p.m.: Hang in the pool until I get sleepy
If I have to get up early on Monday morning, then I might try to lay down around 11 p.m., but if I don’t have to get up and be anywhere, it’ll maybe be around 12:30 or 1 a.m.
California, described by one observer in the late 19th century as “the Jews’ earthly paradise” for the economic and social promise it held, seems to have become newly hostile to Jewish people in recent years. More than any other place on Earth, Jews have shaped much of California’s progress, from Levi Strauss and the founders of the entertainment industry to numerous other leaders in culture, science, real estate and finance.
The current assault expresses itself in politics, in schools from elementaries to universities, on the streets, in literary circles and in anti-Zionist graffiti.
Erwin Chemerinsky, the dean of the UC Berkeley Law School (and my fellow contributing writer in the L.A. Times opinion section), expressed two years ago that “nothing has prepared me for the antisemitism I see on college campuses now.” The Louis D. Brandeis Center for Human Rights Under Law and Jewish Americans for Fairness have filed a lawsuit against Berkeley, alleging “longstanding, unchecked” antisemitism.
This is not just a local issue. California’s population of 1.2 million Jews is roughly three times the size of each of the three largest Jewish diaspora communities outside the U.S. — in France, England and Canada. Los Angeles itself is the world’s third-largest Jewish city. Demographer Ira Sheskin noted recently that unlike New York City, which has lost roughly half its Jewish population since 1950, California’s Jewish populace has continued to grow, albeit more slowly in recent years.
Despite their relative demographic vitality, many California Jews feel increasingly isolated. Even in Hollywood, the Writers Guild, long a bastion of fashionable progressivism, suddenly decided to be neutral rather than making a statement on the Israel-Hamas war. Some leading figures, like Maha Dakhil, co-head of motion pictures at CAA, accused Israel of “genocide,” and others now refuse to work with Israeli film companies. Two thousand actors signed a statement outlining Israel’s “war crimes” with no mention of Hamas’ atrocities.
The political fallout has been considerable, and may become more so. Most California Jews are Democrats, according to the Pat Brown Institute; 20-30% tilt to the GOP. But the anti-Israel caucus, both here and nationally, is almost entirely made up of Democratic progressives. In a show of power, these activists even succeeded in disrupting California’s 2023 state Democratic Party convention. Many are justifiably uncomfortable with the GOP, citing the influence of antisemitism from the likes of Tucker Carlson and Candace Owens, and some critics of Israel have found the Democratic Party too cozy with Jerusalem and its supporters, but generally the Republicans, including MAGA young people, are clearly more philosemitic than the Democrats.
At a local level, politics in many cities have sent a message to the Jews of California. Anti-Israel resolutions have passed in Oakland, Stanton, Burbank and Richmond, where the progressive-controlled City Council accused Israel of “ethnic cleansing” and “apartheid.” Oakland called for an immediate ceasefire without mentioning Hamas’ atrocities. Demonstrators there even suggested that Israel murdered its own people as a pretext to attack Gaza.
And California’s youth are being groomed to hate Israel with hostile curriculums, setting up a whole new generation of antisemitism in the future and in the meantime putting Jewish teachers at risk. San Francisco has experienced anti-Israel walkouts in 10 high schools, organized by an advocacy group with access to student addresses.
At the same time, the drive to “globalize the intifada” affects California’s Jewish community directly. It has forced at least one L.A. synagogue to relocate its services; others have been vandalized. The Brentwood home owned by the president of the American Israel Public Affairs Committee was attacked in 2023 with smoke bombs and red paint. More recently, two years after the bloody Hamas attack on Israel, supporters of Palestinians disrupted a commemoration at Pomona College, warning that “Zionism is a death cult that must be dealt with accordingly.”
These assaults make Jews more concerned about their safety and perhaps more likely to turn inward in their communities. Far less alluring under these circumstances is the Jewish notion of tikkun olam, or repairing the world. Although it is the driving force in many congregations, particularly Reform synagogues, in troubled times it can be eclipsed by concerns about safety.
This new environment favors the Orthodox, pioneers of a kind of “self-segregation,” notes writer Joseph Epstein in the Wall Street Journal. And because of their higher birth rates and the below-replacement birth rates among non-Orthodox American Jews, the Orthodox could triple their share of the U.S. Jewish population by 2060. This trend plays out in California’s Jewish communities such as L.A.’s Pico-Robertson — epicenter of California orthodoxy.
The resurgence of California Jewry matters more today, given that voters in the traditional center of Jewish life, New York, have been supporting a mayoral candidate who was at least at one time sympathetic to “globalizing the intifada.” Many suspect that the once well-connected Jewish community in New York will likely face indifference, if not open hostility, from City Hall if Zohran Mamdani is elected.
Fortunately, the sun has not yet set on California’s Jews. The Golden State can still remain our “paradise” — true to its past. But this will work only by learning how to protect ourselves and make the case to our gentile neighbors so that we can continue to contribute mightily to the future of our common home.
Joel Kotkinis a contributing writer to Opinion, the presidential fellow for urban futures at Chapman University and senior research fellow at the Civitas Institute at the University of Texas, Austin.
TORONTO — It was a miserably cold, rainy and gray afternoon outside Rogers Centre on Thursday.
Inside the stadium, however, the Dodgers found some rays of emotional sunshine.
No, this is not where the team wanted to be, facing a 3-2 deficit in the World Series entering Game 6 on Friday night against the Toronto Blue Jays.
And no, there was not much to feel good about after a disastrous 48 hours in Games 4 and 5 of this Fall Classic, in which the Dodgers relinquished control of the series and allowed their title-defense campaign to be put on life support.
But during an off-day workout, the club tried to rebound from that disappointment and reframe the downtrodden mindset that permeated the clubhouse after Game 5.
Every player showed up to the ballpark, even though attendance was optional after a long night of travel.
“That was pretty exciting for me, and just speaks to where these guys are at,” manager Dave Roberts said. “They realize that the job’s not done.”
Roberts brought some levity to the start of the workout, too, challenging speedster Hyeseong Kim to a race around the bases — only to stumble face-first on the turn around second while trying to preserve his comically large head start.
“Cut the cameras,” Roberts yelled to media members, as he playfully grabbed at his hamstring and wiped dirt off his sweatshirt.
Dodgers manager Dave Roberts reacts after falling while challenging Hyeseong Kim to a race on the basepaths during a team workout at Rogers Centre on Thursday.
(Vaughn Ridley / Getty Images)
Then, the Dodgers got to work on their primary task: Trying to sync up an offense that had looked lost the last two games, and has scuffled through much of October.
“I’ve been doing a lot of thinking about this … and I could dive into my thoughts,” Roberts said of the team’s offensive struggles, which he noted could include another lineup alteration for Game 6.
“But I think at the end of the day,” Roberts continued, “they just have to compete and fight in the batter’s box. It’s one-on-one, the hitter versus the pitcher, and that’s it. Really. I mean, I think that that sort of mindset is all I’ll be looking for. And I expect good things to happen from that.”
In the losses at Chavez Ravine, the majors’ second-highest scoring offense struggled to hone that ethos. The Dodgers scored only three runs, racked up a woeful 10 hits and looked more like the version of themselves that stumbled through much of the second half of the season before entering the playoffs on a late-season surge.
Their biggest stars stopped hitting. Their teamwide approach went by the wayside. And in the aftermath of Game 5, they almost seemed to be searching for their identity as a team at the plate — trying to couple their naturally gifted slugging ability, with the need to work more competitive at-bats and earn hittable pitches first.
“We’re just not having good at-bats,” third baseman Max Muncy said.
“We’ve got to figure something out,” echoed shortstop Mookie Betts.
Take a quick glance at the numbers in this World Series, and the Dodgers’ hitting problems are relatively easy to explain.
Shohei Ohtani (who took another Ruthian round of batting practice Thursday) does not have a hit since reaching base nine times in the 18-inning Game 3 marathon. Betts (who spent as much time hitting as anyone Thursday) has bottomed out with a three-for-25 performance.
Other important bats, including Muncy and Tommy Edman, are hitting under .200. And as a team, the Dodgers have 55 strikeouts (11 more than the Blue Jays), a .201 overall average and just six hits in 30 at-bats with runners in scoring position.
“We got a lot of guys who aren’t hot right now, aren’t feeling the best,” Edman said Wednesday night. “But we got to turn the page, and hopefully we can swing it better the next couple days.”
“As a group,” Kiké Hernández added, “it’s time for us to show our character and put up a fight and see what happens. … It’s time for us, for the offense, to show up.”
Better production from Betts would be a good start.
On Wednesday night, the shortstop did not mince words about his recent offensive struggles, saying he has “just been terrible” after batting .164 in 13 games since the start of the National League Division Series.
Roberts tried to take some pressure off the former MVP in Game 5, moving him from second to third in a reshuffled batting order. But after that yielded yet another hitless performance, Roberts further simplified the task for his 33-year-old star.
“Focus on one game, and be good for one game,” Roberts said. “Go out there and compete.”
On Thursday, that was Betts’ focus, with multiple people around the team noting a quiet and renewed confidence he carried into his off-day batting practice session. He had long talks with hitting coach Robert Van Scoyoc, special assistant Ron Roenicke and Roberts around the hitting cage. He searched for answers to a swing that, of late, has generated too many shallow pop-ups and mishit balls.
Dodgers teammates Mookie Betts, left, Max Muncy, Tommy Edman and Freddie Freeman wait on the infield during a pitching change in the seventh inning of Game 5 of the World Series on Wednesday night at Dodger Stadium.
(Robert Gauthier / Los Angeles Times)
“He looked great,” fellow hitting coach Aaron Bates said. “Actually, his head was in a good place. Good spirits. The whole group, guys were great. Everyone came and showed up and hit and got their work in.”
For the Dodgers to save their season, it isn’t only Betts who will need to find a turnaround.
While Blue Jays starters Shane Bieber and Trey Yesavage pitched well in Games 4 and 5, the Dodgers also seemed to struggle to adapt their plan of attack — getting stuck in an “in-between” state, as both Roberts and several players noted, of both trying to attack fastballs and protect against secondary stuff.
“Sometimes we’re too aggressive,” outfielder Teoscar Hernández said. “Sometimes we’re too patient.”
“It seems like at-bats are snowballing on us right now,” Kiké Hernández added. “We’re getting pitches to hit, we’re missing them. And we’re expanding the zone with two strikes.”
Being “in-between” was a problem for the Dodgers late in the season, when they ranked just 12th in the majors in scoring after the All-Star break. That it is happening again raises a familiar question about the identity of the club.
Do they want to be an aggressive, slugging lineup that lives and dies by the home run? Or more of a contact-minded unit capable of grinding out at-bats and stressing an opposing pitcher’s pitch count. Roberts’ emphasis on better “compete” signaled the need to do more of the latter.
Freeman echoed that notion leading up to Game 5.
“If we’re going up there just trying to hit home runs, it’s just not the name of the game,” Freeman said. “We just need to check down and have, like, almost a 0-1 mindset. Just build innings, extend ‘em, work counts, be who we are.”
So, how do they actually go about doing that, ahead of a Game 6 matchup with a pitcher in Kevin Gausman who excels at mixing his fastball and splitter?
“Basically, you have to keep to your strengths,” Bates said. “And see what the next pitcher brings to the table.”
The only silver lining: The Dodgers have been in this spot before.
Last year, at the very start of their World Series run, they faced a similar situation in the NLDS against the San Diego Padres, winning back-to-back games with clutch offensive outbursts that helped catapult them to an eventual World Series title.
“We can do it again,” Freeman said.
“I think we’re a more talented team than we were last year,” Kike Hernández added.
Entering Friday, they will have two games to prove it. Now or never. Do, or watch their dreams of cementing a dynasty die.
In shutdowns past — including during Trump’s first term — presidents normally scaled back their schedules. With staffers deemed “non-essential” sent home, the White House often sought to appear sympathetic to Americans affected by disruptions to healthcare, veterans benefits and other key services.
Nonetheless, it’s been mostly business as usual for Trump over the last 29 days.
“It’s like that country song: ‘Sometimes falling feels like flying for a little while,’” said Paul Begala, a Democratic strategist and former advisor to President Clinton, who presided over two shutdowns between 1995 and 1996. “They seem to be like, ‘So far, so good, man.’ ”
Ballroom, golf and trips
Trump was on a six-day swing through Asia, after a recent, whirlwind Middle East visit. He hosted a White House fundraiser for major donors to his $300-million ballroom that has seen construction crews tear down the East Wing, and held another fundraiser at his Florida estate.
Members of the Cabinet have similarly hit the road. Vice President JD Vance traveled to Israel, Homeland Security Secretary Kristi Noem went to Oregon and Defense Secretary Pete Hegseth toured Topgun, the U.S. Navy’s elite fighter weapons school in Nevada.
Only 32% of staff in the Executive Office of the President were set to be furloughed during the current shutdown, according to a White House budget office contingency report. That’s down from 61% during the last shutdown in 2018-19, in Trump’s first term. About half of the Executive Mansion’s team that includes housekeepers, ushers, valets and butlers are currently working. Last time, more than 70% were furloughed.
It’s often been hard to tell a shutdown is happening with so many staffers remaining at their desks.
“I don’t even know if they’re supposed to be working, but they wouldn’t miss a day,” Trump said during an event last week.
It’s a departure from Trump’s first term, when he cut out golf and canceled a planned trip to Florida for Christmas during the 2018 shutdown, which stretched into the new year. He made a surprise visit to troops in Iraq then, but nixed plans to go to the Swiss Alps for the World Economic Forum.
When hosting Clemson University football players celebrating their NCAA football championship, Trump brought in burgers and fries from McDonald’s and Domino’s pizza because of White House staff furloughs.
This time, the president had Republican senators over for a lunch that featured burgers, too. But staff made them. “They do great food at the White House,” Trump said.
‘A smarter approach’
Some say barreling ahead like there’s no shutdown has some political advantages for Trump, allowing him to look presidential while avoiding congressional bickering.
“It’s a much smarter approach,” said Marc Short, chief of staff to former Vice President Mike Pence.
In Trump’s first-term shutdown, he rejected a congressional compromise to force the government to close — an attempt to win funding to wall off the U.S.-Mexico border. Then, he named Pence as lead negotiator to end the shutdown while involving his son-in-law Jared Kushner — creating the visual of them having to go to Capitol Hill.
“The first go-around, he was pretty clear with cameras rolling: He said he wanted the shutdown. He claimed ownership,” Short said. This time? “The White House has been clear about not owning it.”
Back in 1995, Begala recalled talking strategy with Clinton during a sweaty summer run at Fort McNair in Washington, and telling the president that Republican House Speaker Newt Gingrich and his party “think they can roll you,” forcing cuts to Medicare by threatening a shutdown.
Clinton responded: “‘My favorite movie’s ‘High Noon,’ ” Begala recalled, meaning the western in which a marshal stands up to outlaws. ”They do that — then I just have a Gary Cooper, ‘High Noon’ moment. That’s easy.”
When Gingrich later came to the White House to negotiate, Begala said Clinton wouldn’t budge, even though some advisors urged him to cut a deal. Voters ultimately blamed congressional Republicans more than the White House for the government closing, and Clinton was easily reelected in 1996.
“That could have really gone badly for Clinton,” Begala said. “But he did understand that standing strong, and having a Gary Cooper moment, would be really good for him.”
Trump could probably find a way to end the current shutdown if he wanted to prioritize it, said Leon Panetta, who worked to end past government closures as Clinton’s chief of staff. But Trump’s “attention is focused on everything but sitting down and getting both parties together to resolve this issue,” Panetta said.
‘Continuing to work night and day’
During the 16-day government shutdown of 2013, President Obama scrapped a four-country Asia trip and skipped the Congressional Hispanic Caucus gala. His schedule featured events meant to show the shutdown’s effects, including visiting a Maryland construction firm that benefited from the kind of federal loans jeopardized with the government shuttered.
In 2019, as that shutdown dragged on, Trump’s White House officials acknowledged feeling pressure to end it. This time, the administration’s approach has been to blame the Democrats, while signaling that it’s prepared to wait — even warning of coming travel delays during the Thanksgiving holidays.
“President Trump is continuing to work night and day on behalf of American people,” said White House spokesperson Abigail Jackson. “The entire administration, including the president, will continue highlighting the workers and families who are suffering because of the Democrats’ decision to shut down the government.”
Bill Daley, a White House chief of staff to Obama before the 2013 shutdown, said Trump isn’t acting like he’s feeling political heat to reopen the government, even before next Tuesday’s gubernatorial elections in Virginia and New Jersey — both home to sizable federal workforces.
“My guess is, he thinks it helps him,” Daley said, “until — and I don’t know if it will — the bottom falls out.”
Democrats are demanding an extension of expiring tax credits that have helped millions of people afford health insurance, while Republicans say they won’t negotiate until the government is reopened.
Trump has said the shutdown must end, but also used it to cut federal positions and target programs Democrats favor, while redirecting funds to his own priorities — like covering military paychecks. The president has even said of closed museums, “We should probably just open them.”
Americans, meanwhile, are divided on who’s to blame.
Roughly 6 in 10 say Trump and congressional Republicans have “a great deal” or “quite a bit” of responsibility for the shutdown, while 54% say the same about Democrats in Congress, according to a recent poll from the Associated Press-NORC Center for Public Affairs Research.
Mike McCurry, a White House press secretary under Clinton, said Democrats have yet to settle on a clear shutdown message that has resonated. Trump has the presidency to deliver his take, but McCurry noted he has been “mercurial.”
“It is not likely we’re going to have clear winners or losers after this,” McCurry said. “It’s going to be a bit of a muddle.”
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What is there left to know about Paul McCartney in 2025? Actually, quite a bit. The octogenarian megastar is seemingly ever-present, popping up on social media feeds with his affable avuncularity, his relentlessly sunny, two thumbs up ‘tude. Yet despite the steady trickle of Beatles scholarship that continues to be published, including Ian Leslie’s insightful book, “John & Paul: A Love Story in Songs,” earlier this year, McCartney is a cipher, a blank page. He has masterfully created the illusion of transparency, yet his life remains stubbornly opaque. Does the man ever lose his temper? Has he ever cheated on his taxes? If there is a chink in McCartney’s armor, we are still looking for it.
Denny Laine, Paul McCartney, Linda McCartney and Denny Seiwell in Osterley Park, London, in 1971.
(Barry Lategan / MPL Communications )
Yet according to this new book, an oral history of McCartney’s band Wings, there is still much to be excavated from what is the most examined life in pop music history, especially when it comes from the horse’s mouth. The book is ostensibly “authored” by McCartney even though it is an oral history that has been edited by Ted Widmer, an estimable historian and a former speechwriter for Bill Clinton. Widmer has also written third-person interstitial information to guide the reader through the story.
Stitching together interviews with McCartney, his wife Linda, erstwhile Beatles, and the various musicians and other key players who found themselves pulled into the Wings orbit across the nearly decadelong tenure of the band, “Wings: The Story of a Band on the Run” is a smooth, frictionless ride across the arc of McCartney’s ’70s career, when he continued to mint more hits, and secured a lock on a massive career that is presently in its 55th year.
Joe English, Jimmy McCulloch, Linda McCartney, Paul McCartney and Denny Laine in 1976.
(Clive Arrowsmith / MPL Communications)
Hard as it is to fathom, McCartney has had pangs of doubt concerning his art and career, never more so than in the immediate aftermath of the Beatles’ breakup in 1970, when he found himself at loose ends, unsure of how to follow up the most spectacular first act in show business history. In the immediate aftermath of that epochal event, McCartney retreated to a 183-acre sheep farm on the Kintyre Peninsula in Argyllshire, Scotland, with his wife Linda and their young family. According to the book, there was uncertainty about his ability to write songs that could stand alongside his Beatles work. Hence, his first solo offering, “McCartney,” was mostly tentative, half-baked notions for songs, interlaced with a few fully realized compositions like “Maybe I’m Amazed,” all recorded by McCartney in his home studio.
Home recording sessions for the McCartney album in London, 1970.
But the gentleman farmer couldn’t stay down on the farm for long. Eventually, the old impulse to be in a band and to perform became McCartney’s new imperative, but he would go about it in an entirely different way. No more camping out in Abbey Road studios, the Beatles’ favorite laboratory, hiring out string sections and horn sections, ruminating over tracks for as long as it took. McCartney would instead take an incremental DIY approach, starting modestly and progressing accordingly. Instead of meticulously recording tracks, records would be dashed off spontaneously. Bob Dylan became a kind of North Star for how to approach a record: “Bob Dylan had done an album in a week,” says McCartney in the book. “I thought, ‘That’s a good idea.’’’
Paul McCartney, Wings Over the World tour, Philadelphia, 1976.
(Robert Ellis / MPL Communications)
It was around this time that McCartney hired Denny Laine, who became (aside from wife Linda) the only full-time member of Wings for the duration of the band’s life. The two had met years earlier, when the Beatles were partying in Birmingham with Laine and his band the Diplomats. “Truth be told, I needed a John,” McCartney admits in the book. The first Wings album, “Wild Life,” recorded in a barn on McCartney’s Scotland farm, was critically savaged, but listening to it now, it retains a certain homespun charm, the amiable slumming of a master musician tinkering with various approaches because he can and because it’s fun. A short tour of universities around the U.K. further contributed to the low-key vibe that McCartney was intent on maintaining; he was waiting for the right time to pounce on the American market, specifically, and reclaim his mantle as the King of Pop.
1973’s “Band on the Run” would be the album that cracked it wide open again for McCartney, but he was still in a rambling mood, this time eager to try one of EMI’s studios in Lagos, Nigeria. “It wasn’t the sort of paradise we thought it would be,” McCartney is quoted in the book, “but it didn’t matter, because we were basically spending a lot of time in the studio.” Once in Africa, Paul, Linda and Denny Laine were mugged, their tapes stolen. Another night, they were guests of the master afrobeat musician Fela Kuti, who invited the three to his Afrika Shrine club for an indelible performance: “It hit me so hard,” says Paul. “It was like boom, and I’ve never heard anything as good, ever, before or since.”
McCartney II recording sessions, Lower Gate Farm, Sussex, 1979.
“Band on the Run” became an international smash and McCartney once again found himself playing arenas and stadiums with yet another iteration of Wings. It is also at this point that the story of Wings settles into a more of an “album-tour-album” narrative, save for a harrowing drug bust for pot in Japan on the eve of a Wings tour in January 1980, when McCartney spent nine days in jail. “I had all this really good grass, excellent stuff,” explains McCartney, who had cavalierly packed it in his suitcase. Once in jail he had to “share a bath with a bloke who was in for murder,” organizing “singsongs with other prisoners” until his lawyers arranged for his release. The bust would presage the dissolution of Wings; McCartney would release a solo album, “McCartney II,” in May.
Paul McCartney, Linda McCartney, Denny Seiwell and Denny Laine. Promotional photo shoot for “Wild Life,” 1971.
How you feel about the albums that Wings made after 1975’s excellent “Venus and Mars” will perhaps affect your judgment of the back half of “Wings: The Story of a Band on the Run.” But even a charitable fan will have a hard time making a strong claim for the albums that followed 1975’s “Venus and Mars,” which includes “London Town,” “At the Speed of Sound” and “Back to the Egg.” The book’s best stuff is to be found at the start, when the superstar was making his first baby steps toward renewed relevance, and then found it.
Weingarten is the author of “Thirsty: William Mulholland, California Water, and the Real Chinatown.”
PARIS — Two suspects in the Louvre jewel heist on Wednesday were handed preliminary charges of criminal conspiracy and theft committed by an organized gang, according to the Paris prosecutor’s office. The prosecutor said they admitted their involvement.
Prosecutor Laure Beccuau said at a news conference that the two are believed to be the men who forced their way into the world’s most visited museum Oct. 19, and that at least two other accomplices are at large. The jewels remain missing.
The two were given preliminary charges and ordered held in custody pending further investigation, the prosecutor’s office said in a statement.
They have “partially” admitted their participation in the robbery, Beccuau said. She declined to provide details about the suspects’ statements to investigators because accomplices were still being sought.
It took thieves less than eight minutes to steal the jewels valued at $102 million on Oct. 19, shocking the world. The robbers forced open a window, cut into cases with power tools and fled with eight pieces of the French crown jewels.
Suspects’ DNA was found
The two men arrested on Saturday night “are suspected of being the ones who broke into the Apollo Gallery to steal the jewels,” Beccuau said.
One is a 34-year-old Algerian national who has been living in France since 2010, Beccuau said. He was arrested at Charles de Gaulle airport as he was about to fly to Algeria with no return ticket. He was living in a suburb north of Paris, Aubervilliers, and was known to police mostly for road traffic offenses. His DNA was found on one of the scooters used by robbers to leave the scene, she said.
The other suspect, 39, was arrested at his home in Aubervilliers. “There is no evidence to suggest that he was about to leave the country,” Beccuau said. The man was known to police for several thefts, and his DNA was found on one of the glass cases where the jewels were displayed and on items the thieves left behind, she added.
Video surveillance cameras showed there were at least four criminals involved, Beccuau said.
The four suspected robbers arrived onboard a truck equipped with a freight lift that two of them used to climb up to the museum’s window. The four left on two motor scooters along the Seine River toward eastern Paris, where they had some other vehicles parked, she said.
Beccuau said nothing suggests that the robbers had any accomplices within the museum’s staff.
The jewels are still missing
The jewels have not been recovered, Beccuau said.
“These jewels are now, of course, unsellable … Anyone who buys them would be guilty of concealment of stolen goods,” she warned. “There’s still time to give them back.”
Earlier Wednesday, French police acknowledged major gaps in the Louvre’s defenses — turning the dazzling daylight theft into a national reckoning over how France protects its treasures.
Paris Police Chief Patrice Faure told Senate lawmakers that aging systems and slow-moving fixes left weak seams in the museum.
“A technological step has not been taken,” he said, noting that parts of the video network are still analog, producing lower-quality images that are slow to share in real time.
A long-promised revamp — a $93-million project requiring roughly 37 miles of new cabling — “will not be finished before 2029-2030,” he said.
Faure also disclosed that the Louvre’s authorization to operate its security cameras quietly expired in July and wasn’t renewed — a paperwork lapse that some see as a symbol of broader negligence.
The police chief said officers “arrived extremely fast” after the theft, but added the lag in response occurred earlier in the chain — from first detection, to museum security, to the emergency line, to police command.
Faure and his team said the first alert to police came not from the Louvre’s alarms but from a cyclist outside who dialed the emergency line after seeing helmeted men with a basket lift.
Faure urged lawmakers to authorize tools currently off-limits: AI-based anomaly detection and object tracking (not facial recognition) to flag suspicious movements and follow scooters or gear across city cameras in real time.
Former bank robber David Desclos has told the AP the theft was textbook and vulnerabilities were glaringly obvious in the layout of the gallery.
Museum and culture officials under pressure
Culture Minister Rachida Dati, under pressure, has refused the Louvre director’s resignation and insisted that alarms worked, while acknowledging “security gaps did exist.”
The museum was already under strain. In June, the Louvre shut in a spontaneous staff strike — including security agents — over unmanageable crowds, chronic understaffing and “untenable” conditions. Unions say mass tourism and construction pinch points create blind spots, a vulnerability underscored by the thieves who rolled a basket lift to the Seine-facing façade.
Faure said police will now track surveillance-permit deadlines across institutions to prevent repeats of the July lapse. But he stressed the larger fix is disruptive and slow: ripping out and rebuilding core systems while the palace stays open, and updating the law so police can act on suspicious movement in real time.
Experts fear that the stolen pieces may already be broken down and stones recut to erase their past.
Adamson and Corbet write for the Associated Press.
The hair of the dog is no miracle remedy. Colin Farrell knows this from experience.
The Irish actor learned the limits of the folk remedy many moons ago while filming “Minority Report,” the Steven Spielberg-directed tech noir film based on Philip K. Dick’s science fiction novella of the same name.
That fateful day on set, as Farrell told it Tuesday on “The Late Show With Stephen Colbert,” was perhaps even more disturbing than the surveillance-state setting wherein the 2002 film unfolds.
It all started on the eve of Farrell’s birthday, he said. That night, he “got up to all sorts of nonsense” that landed him back home in the wee hours. At the time, Farrell was struggling to kick a longtime substance abuse habit.
“I remember getting into bed, and as soon as I turned off the light the phone rang,” the Academy Award winner said. He was 10 minutes late for his 6 a.m. pickup.
“I went, ‘Oh, s—.’”
Farrell said he had hardly fumbled his way out of his car when assistant director David H. Venghaus Jr. intercepted him, insisting, “You can’t go to the set like this.”
In response, the young actor requested six Pacifico beers and a pack of Marlboro Reds.
“Now listen, it’s not cool because two years later I went to rehab, right?” Farrell told Colbert. “But it worked in the moment.”
Did it, though?
In the end, Farrell said it took him 46 takes to deliver one single line, albeit a verbose one: “I’m sure you’ve all grasped the fundamental paradox of pre-crime methodology.”
“Tom wasn’t very happy with me,” Farrell said. Lucky for Cruise, he got a consolation prize in the form of a Saturn Award nomination from the Academy of Science Fiction, Fantasy & Horror Films. Plus, “Minority Report’s” $35.6-million domestic opening didn’t hurt.
At first, the transition was difficult to manage, Farrell said: “After 15 or 20 years of carousing the way I caroused and drinking the way I drank, the sober world is a pretty scary world.”
But “to come home and not to have the buffer support of a few drinks just to calm the nerves, it was a really amazing thing,” he said.
USC had lost four of five, its season already all but lost, when Lincoln Riley made a bold move early last November that would have lasting ripple effects. He benched starting quarterback Miller Moss, in favor of backup Jayden Maiava, whose big arm and mobility gave the Trojans’ offense a different, more dynamic look.
The sudden switch made for a tense two weeks leading up to last season’s meeting with Nebraska. Not everyone in the locker room, you see, was thrilled with Moss’ removal.
But the move paid dividends in the end. Maiava injected life into the offense, USC returned from its bye and won three of its last four to finish the season. More critically, Riley found his quarterback of the future.
“The way that Jayden handled both when he wasn’t the starter, then when he was, I think set the stage for the player he has started to become and what he means to this program and this team right now,” Riley said this week. “He handled it with class both ways, and that makes a huge difference.”
USC starting quarterback Jayden Maiava throws a pass against Notre Dame at Notre Dame Stadium on Oct. 18.
(Justin Casterline / Getty Images)
A season later, USC is once again searching for answers coming out of its second bye, with Nebraska looming in November. Though, none of the questions this time concern the quarterback, who has been one of the best in the Big Ten. Nor are they as easy to solve as plugging in one player.
USC’s defensive front was just steamrolled for over 300 yards by Notre Dame’s run game. The offensive line is still dealing with nagging injuries. And the Trojans own rushing attack left a lot to be desired in their last outing.
Nevertheless, USC is 5-2, still within conceivable reach of the College Football Playoff conversation. The Trojans should be favored in four of their final five games, the lone exception being a trip to Eugene in late November. You don’t have to squint too hard to see a potential path to the Playoff … assuming USC can iron out its issues, first. That’s more encouraging than the circumstances were at this time last year.
“We’re still in a good place,” tight end Walker Lyons said. “We still control our destiny where we’re at right now.”
That’s been the message since USC left South Bend in bitter defeat. But control could slip through their hands in a hurry if Riley can’t right the ship this week on the road at Nebraska. A single loss, especially one outside of Oregon, would all but sink those hopes.
“I think we’ve learned a lot about ourselves with some of these really good matchups we’ve had as of late,” Riley said. “We know what we’ve gotta do. It’s very clear to us. Now we’ve just got to do a great job of it.”
That part hasn’t been so easy for USC as it unraveled down the stretch in each of its last three seasons. The Trojans are 6-11 in October and November since winning seven of eight during that stretch of Riley’s first campaign.
Adding a hostile road environment to that equation this week only makes matters more complicated. The Trojans haven’t won a true road game in October or November outside of Los Angeles since Oct. 28, 2023.
Nor do they seem to have pinned down precisely what’s ailing their defense at the moment. A week after one of USC’s best defensive performances of the season in a win over Michigan, the Trojans suddenly had major errors in execution, leading the Irish to rack up 306 rushing yards, the most allowed by a D’Anton Lynn-led defense. Lynn, the Trojans’ second-year coordinator, called the mistakes “extremely” frustrating.
But like Riley, he’s confident a week away will have done USC’s defense well.
“At the end of the day, when we’re on the same page, we know we can be a good defense,” Lynn said. “But we have to be on the same page and trust that the guy next to us is going to do his job, and we don’t have to overcompensate for anything.”
Notre Dame’s Jadarian Price (24) carries the ball and pulls away from USC’s Bishop Fitzgerald (19) on Oct. 18 in South Bend, Ind.
(Paul Beaty / Associated Press)
That trust comes much easier now for Maiava, after a full year as USC’s starting quarterback. Though, Nebraska and its top-rated pass defense won’t make it easy, per se. The Huskers are giving up a mere 127 yards passing per game through seven games.
It all makes for a test that the Trojans can’t afford to fail, one where its quarterback will be critical.
“Keep your head down, keep fighting,” Maiava said. “Just stay in it no matter what. We had this bye and we got to rest up a little bit which is great. But we need to be that beast every single day.”
Injury update
Left tackle Elijah Paige and center Kilian O’Connor both dressed for practice on Tuesday, but Riley expressed some doubt that USC would have its full starting offensive line available in time for Saturday’s game.
“We’re better,” Riley said, “but we’re not at a point where I’m like, ‘Yeah those guys are ready to go.’ We’re just not to that point yet.”
“Who are you really? What is real happiness? What do you actually need for happiness?” Rhea Seehorn murmurs.
It’s an otherwise ordinary Wednesday afternoon, steps away from bookshelves stuffed with works like “East of Eden” by John Steinbeck and the “A Court of Thorns and Roses” series by Sarah J. Maas, when she casually lists these big life questions aloud while leaning over a vegan brownie and cup of tea at a small table inside Village Well Books & Coffee in Culver City. I’m still questioning whether I read the street parking signs correctly. But these are queries Seehorn has given hard thought to in recent months.
That’s what happens when you’re headlining a Vince Gilligan show. Existential reckonings are part of the gig.
Seehorn is at least familiar with the deep internal struggles that swirl within Gilligan’s protagonists. For six seasons on “Better Call Saul,” AMC’s hit prequel spinoff to “Breaking Bad” that told the backstory of Walter White’s smarmy lawyer Saul Goodman a.k.a. Jimmy McGill (Bob Odenkirk), Seehorn played Kim Wexler. The fan-favorite type A lawyer with a perfectly-positioned ponytail was McGill/Goodman’s principled but increasingly conflicted girlfriend who got caught up in his elaborate schemes and paid a price for his crimes.
In his first follow-up to the “Breaking Bad” universe, Gilligan opted to forgo revolving another series around a tormented man in favor of one that let the shades of Seehorn’s talent fill the screen.
Gilligan says that in “Better Call Saul,” which he co-created with Peter Gould, he saw in Seehorn what he had observed in Aaron Paul years before on “Breaking Bad” — an actor whose performance propelled a side character, wayward junkie Jesse Pinkman, into a figure that commanded viewers’ attention and became integral to the story.
“Aaron made that character indispensable,” Gilligan says over video call. “It was like déjà vu with Rhea Seehorn. I hate saying I wasn’t aware of her prior to us auditioning and casting her. But she was just fantastic from Day 1. What Peter and I saw in her was a potential to take a show that, at the beginning, was about one character and make it a two-hander. And I just knew very, very quickly in the early life of ‘Better Call Saul’ that I wanted to work with her again after it was over.”
So he set out to create a story where she was No. 1 on the call sheet.
How did Seehorn process that news?
“I just cried,” she says.
It’s not, as some may have hoped, a Kim Wexler spinoff — though, she’s still open to that: “I’ll do it. I’ll do it. Anything. A series. A film. A Staples commercial,” she says.
Rhea Seehorn as Carol in Apple TV’s “Pluribus.”
(Apple TV)
“Pluribus” has been a tightly-guarded project for Apple TV with a strict embargo on details that makes it difficult to provide a lot of context to its premise. Here’s what can be said: Seehorn plays Carol, a fantasy romance author who, despite a successful career and seemingly loving relationship with her partner, is described as “the most miserable person on Earth.” After a signal from space changes the world in a significant way, she must save humankind from happiness. The nine-episode drama premieres with two episodes on Nov. 7; new episodes will be released weekly after that.
For a while, Seehorn only had the first script to make her assessments about the world Gilligan was building. She eventually got her hands on two more before 2023’s dual Hollywood strikes kicked in. When she finished reading through them, one thought came to mind: “‘Wow, this is a lot of me,’” she says, launching into laughter. “He had warned me — ‘You’re going to be in almost every scene’ — but then you read it and you’re like, ‘Oh … oh.’”
Careful to be as vague as possible, she continues: “I can’t spoil it. There’s a lot of time I spend completely on my own. I’m not giving away anything am I? Make sure I’m not!” Aside from the way she has to be coy about the series, she’s appealingly unguarded in her enthusiasm for the journey it sent her on as an actor.
“‘Better Call Saul’ was its own animal, but it had the mothership,” she says. “With this, in our conversations, it felt like Vince wanted to push things to the limit — it’s genre-defying, tone-defying. It’s hilarious and then gut-wrenchingly upsetting. It’s scary in a variety of ways. It really makes you think: What would you do in this situation?”
Seeking to playfully lean into the show’s interest in exploring happiness and the human condition, in scheduling our meet-up I asked that Seehorn pick a location that makes her happy, which led us to this bookstore near her home. “I buy books constantly,” she says. Her most recent purchase was Rachel Kushner’s spy thriller “Creation Lake.” But lately, she’s been prioritizing William T. Harper’s book, “Eleven Days in Hell: The 1974 Carrasco Prison Siege at Huntsville, Texas,” which chronicles the true story of the standoff between inmates and law enforcement. At the time of this sit-down, Seehorn is days away from beginning production in Texas on a film adaptation of the book that will also star Taylor Kitsch and Diego Luna.
She lights up as the conversation veers into the stuff she watched to unwind while shooting “Pluribus”: “I’m obsessed with ‘Chicken Shop Date,’” she says. “Do you watch? Can we please use this article to get me on that show? This is my campaign.”
Rhea Seehorn, who stars in the new Apple TV series “Pluribus,” says the show is genre-defying: “It’s hilarious and then gut-wrenchingly upsetting. It’s scary in a variety of ways. It really makes you think: What would you do in this situation?”
(Anthony Avellano / For The Times)
She wrapped production on “Pluribus” last December. Since then, she‘s shot an indie film, “Sender,” with “Severance’s” Britt Lower, had a brief family vacation and helped the eldest of her two stepsons get settled in for his first year of college. They’re the kind of life moments, she says, that feed into those big questions discussed earlier and what the show confronts.
“It’s about this reckoning — a big exploration of who you are. It got me thinking about how we handle really difficult emotions,” Seehorn says. “There was a constant through line for me about this feeling of anxiety that we all know. When we have those nightmares where you’re running around telling everyone that the barn is on fire and they all keep saying, ‘It’s fine.’ And you’re screaming that it’s not.
“You find yourself thinking, how do I measure success?” she continues. “About everything — relationships, career, talent, ambition. There’s reasons we make armor, sometimes long-term, sometimes short-term. There are choices that are survival skills, that are good for you at one time, that later are no longer the crutches and tools they used to be. The performance Carol is giving at the beginning — where she hates the life she’s living and questions the people who like her work because it’s not impressive enough — Vince and I had some deep-dive talks about that as people in the arts.”
Of course, the philosophy of self and purpose and happiness was not something Seehorn considered much while growing up. Deborah Rhea Seehorn — she went by Debbie until her early teens — was born in Norfolk, Va., but spent her childhood in places like Arizona and Japan because of her father’s job as an agent for the Naval Investigative Service, later known as NCIS when it added “Criminal” to its name. “My dad was not Mark Harmon,” she jokes. After her parents divorced when she was 12, the family stayed in the Virginia Beach area.
On paper, Seehorn wasn’t primed for a life of acting. But she felt a creative pull: Her mother did musical theater in high school; her father and paternal grandmother painted. And Seehorn and her sister began sketching from a young age. Seehorn initially had ambitions of pursuing a career in design or art — she majored in painting while a student at George Mason University. She thought maybe she’d land a job doing exhibition design or art restoration at the Smithsonian or one of the other museums around town. But when she was required to take an elective course her freshman year, she saw an opportunity to try something that otherwise felt out of reach to her.
“At the time, at least to me, American television and film had people who looked like models,” she says. “I didn’t. I thought I would get made fun of mercilessly if I said I wanted to be an actor. It felt the same as saying I wanted to be a supermodel. But I knew immediately, with the first class I took, that acting was it for me.”
It was taught by Lynnie Raybuck, a teacher and actor who remains a mentor to Seehorn. This is where — in life and in this conversation — it becomes clear Seehorn revels in the technique of acting. She grows animated referencing Practical Aesthetics, the acting technique developed by David Mamet and William H. Macy for the Atlantic Theater Company, and detailing her fondness for in-depth script analysis.
“To me, it blew my mind the first time I realized that it isn’t magic fairy dust on some people — that they’re just talented and you’re not,” she says. “That there is a way to work toward that. As soon as somebody said there was a way to study that and there was a way to get closer and closer to inviting that audience in to go with you on a journey and make it believable, I just was like, ‘Well, this is what I’m doing for a living.’”
Rhea Seehorn starred as Kim Wexler opposite Bob Odenkirk’s Saul Goodman/Jimmy McGill in “Better Call Saul.”(Greg Lewis/AMC/Sony Pictures Television)
She knew it wouldn’t pay the bills right away. She ushered, worked the box office, read stage directions for new plays — she had days jobs, too, like working at TGI Fridays — “By the way, they just offered me suspenders since I never got them.” (She was underage and unable to serve alcohol at the time, so she was a hostess who did expo for the waiters.)
She eventually landed in New York, working at Playwright Horizons, an off-Broadway theater. After a few years, the pull of L.A. led her west. She was cast in the ABC sitcom “I’m With Her,” starring Teri Polo and loosely based on writer Chris Henchy’s marriage to Brooke Shields. It didn’t last long, but other roles would come along with varying degrees of steadiness. She had a recurring role as an assistant DA in the legal dramedy “Franklin & Bash” and played the best friend of Whitney Cummings’ fictionalized version of herself in NBC’s “Whitney,” which ran for two seasons from 2011 to 2013.
Then, as “Better Call Saul” was coming together, the casting directors working on the project were familiar with Seehorn, who had auditioned for them many times over the years, and what she could deliver.
“The first time I met her was for the producer sessions and there were three actresses who were reading for Kim with me,” Odenkirk says by phone. “The other two actresses were absolutely fantastic. But Rhea and I had chemistry, and we all knew it. We all felt it. It was undeniable and it was easy.”
She was cast as Kim, before a last name was even assigned to the character, and with no inkling for how essential she would become to the story. And it quickly becomes clear how she dissects her characters. (Both Odenkirk and Gilligan, without prompting, say that her scripts were often heavily marked up with scribbled notes, highlights and tabs.)
“I only have one line of dialogue in that first episode, other than the intercom,” Seehorn says, still able to recite it by memory. “They told me later it wasn’t on purpose that I have almost no contractions in the first couple of episodes and other people do. And I was like, should I ask them if it’s OK to elide ‘want to’ to ‘wanna’ or ‘do not’ to ‘don’t.’ But then I was like, ‘No! What if I just try to figure out who talks like this?’ It started to be this thing of ‘Who is this controlled person? And why would she be this controlled?’ She became so important to me because I had largely built her out of subtext and this private part of her that mostly the audience was my biggest confidant.”
Rhea Seehorn on starting her acting career: “I thought I would get made fun of mercilessly if I said I wanted to be an actor. It felt the same as saying I wanted to be a supermodel. But I knew immediately, with the first class I took, that acting was it for me.” (Anthony Avellano/For The Times)
Odenkirk admiringly references Seehorn’s level of attention and their shared approach in defending the emotional intelligence of their characters. He notes the predicament the “Better Call Saul” writers sometimes faced in placing Jimmy/Saul and Kim, who knew each other so well, in dramatic situations that ordinarily would require more obliviousness or willing unawareness.
“When Kim and Jimmy were together, there were times — not many, but a few — where one of them was lying to the other one,” he says. “And it was always a challenge. We’d be like, ‘Saul knows he’s being lied to’ or ‘Kim knows Saul is lying.’ And we’d have to find a way around it. Or we’d have to let go — she’s [Rhea] good at that too … I just love her seriousness of purpose. And her love for losing herself in the dream.”
It’s why he’s not surprised Gilligan wanted her to lead his next series.
“She is formidable in nature,” Odenkirk says. “Her strength on screen is great, her dynamic range is incredible. She has the strength of character of a leading man — I’m just going to say it. She has the backbone and the steely determination of a leading man.”
In fact, when the idea for “Pluribus” began tugging at Gilligan years ago, in the midst of “Better Call Saul,” he initially envisioned it having a male protagonist.
“But I would take these long walks during our lunch breaks in the writers room and, I can’t remember when exactly, but it dawned on me on one of those walks that I really like this young lady, Rhea Seehorn,” he says. “She’s a really good actor. And I started thinking, ‘Why does the main character of my next show have to be a guy? ‘ I was about to say I kind of tailored the role to Rhea, but the truth is, I don’t know if that’s true. Rhea has so many strengths as an actor, I know she can do anything I threw at her — just like I knew many years before that Bryan Cranston could do anything. She makes it look easy.”
When Seehorn and I speak again a few weeks after our initial meeting, she is video-calling from a nondescript room during a break from production on “Eleven Days.” She has already fiddled through a number of jigsaw puzzles and “Paint by Numbers” — her activities of choice when she needs to turn down her actor brain — in the time since we last spoke; she reaches for the painting of plants she recently completed as proof. We eventually return to the idea of happiness. What makes her happy right now?
“It is my family and my friends, but it’s also my work,” she says. “Carol, on paper, has many of the things that I want, that many of us want. Success at work, especially in a career in the arts. But she won’t believe the hype. Her mocking of her work and her fans is just a mocking of herself. It’s self-loathing — like she’s trying to beat people to the punch.
“For me, I realized I fully own and will not be embarrassed about the fact that a third leg on that stool for my happiness is my work,” she continues. “It is intrinsically a part of who I am and I am a better mom to my stepsons and a better partner to my fiance because I get to do what I love.”
And she’s finding new ways to do more of it. She has become an executive producer on Katja Meier’s Swiss TV show “$hare” and made her episodic directorial debut with “Better Call Saul” — “I would like to try to direct again. There’s a couple of projects and people I’m talking to about directing on their show. People are like, ‘Why didn’t you direct the first season [of ‘Pluribus’]?’ I’m like,’I was trying to remember to brush my teeth with all I had going on.’”
She references the children’s book “Archibald’s Next Big Thing,” written by actor Tony Hale, whom she shared screen time with on “Veep.” It’s about embracing the journey you’re on.
“You’re constantly moving your goal post and all it is doing is just s— on yourself and where you are now,” she says. “Carol missed things until they were taken away. She could have stopped judging everything and judging herself.”
It was a reminder to embrace the freedom to think outside the box with her performance. The first episode is a high-wire balancing act; at one point, there’s a 12-minute stretch that has her character twisting through confusion, fear, grief, anger and frustration like pretzel dough being looped into a knot — on her own, yet not alone.
“Everything made me nervous about Carol,” she says. “As soon as Vince sent me the script, I was like, ‘This is bananas.’ You’re on your way to work and you just think, ‘What if I just took this off-ramp and I fled the scene and it would be all over?’ But then you’re like, ‘You know what, I’m gonna show up and do my best. Believe me, I did some takes that I’m sure were embarrassing, but I was just like, ‘When else are you going to try? The time is now.”
AMBITIOUS plans to turn a region into “Europe’s Silicon Valley” are on track with architects releasing the first images of an “essential” new railway station.
The station is a huge £120m boost to a world-famous city – and central to an American billionaire‘s massive £10 billion investment in the area.
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Conceptual view of the approach to the future Littlemore StationCredit: Unknown
This week, architects Foster + Partners released the first images of Littlemore Station, one of two new stations in Oxford set to be delivered with the reopening of the Cowley Branch Line.
The line has been out of service to passengers since 1963.
It is currently used by cargo trains going to and from the BMW mini plant but as previously reported is set to reopen.
The Government has pledged £120m in funding for the project to reopen the line.
It is part of a £500m investment in infrastructureto link up Oxford and Cambridgeand turn the region into the “European Silicon Valley”.
Anneliese Dodds, MP for East Oxford, said the Cowley Branch Line was “finally going to become a reality”.
She said it would make a “massive difference to local residents, slashing travel times and reducing congestion”.
The update has also been welcomed by the Ellison Institute, funded by American billionaire Larry Ellison, which is investing £10 billion in the region.
“It’s a great example of what can happen if Government and the private sector join forces and both contribute to a common goal.
“It will help us attract world-class talent to EIT by linking up key innovation hubs with Central London via direct train services.
“It will also facilitate a closer alliance between EIT and Oxford University with faster journey times.”
A second station will be built at Oxford Cowley, and the reopened line will connect Littlemore, Cowley, Blackbird Leys and Greater Leys to central Oxford in under 10 minutes.
An artist’s impression of the platform at Littlemore StationCredit: Foster and Partners
Services will then go directly twice-hourly to London Marylebone.
The Government has said that reopening the line will create up to 10,000 new jobs.
Cowley is an industrial area home to Plant Oxford, which is owned by BMW and is the largest industrial employer in Oxford, employing more than 4,300 people.
Chancellor Rachel Reeves has said that the Government has huge plans for the “Oxford-Cambridge corridor”.
Sometimes, the best place you can go is a dead end. Especially when that dead end is surrounded by crashing surf on empty beaches, dramatic cliffs and lonely trails through forests thick with redwoods.
That’s the situation along Big Sur’s South Coast right now.
A chunk of the cliff-clinging highway has been closed for a series of landslide repairs since January 2023, making the classic, coast-hugging, 98-mile San Simeon-Big Sur-Carmel drive impossible. Caltrans has said it aims to reopen the route by the end of March 2026, if weather permits.
That means the 44-mile stretch from San Simeon to Lucia will likely be lonely for at least six more months. Travelers from the near north (Carmel, for instance) will need to detour inland on U.S. 101. Meanwhile, many Canadian travelers (usually eager explorers of California) are boycotting the U.S. altogether over President Trump’s tariff policies and quips about taking over their country.
And so, for those of us in Southern California, the coming months are a chance to drive, hike or cycle in near solitude among tall trees, steep slopes and sea stacks. The weather is cooler and wetter. But over the three October days I spent up there, the highway was quieter than I’ve seen in 40-plus years of driving the coast.
Moreover, those who make the trip will be supporting embattled local businesses, which remain open, some with reduced prices. Fall rates at the Ragged Point Inn, 15 miles north of Hearst Castle, for example, start at about $149 nightly — $100 less than when the road was open.
“It’s kind of perfect,” said Claudia Tyler of Santa Barbara, on her way from Salmon Creek Falls to two nights of camping at Plaskett Creek in Los Padres National Forest.
“I am sorry for the businesses…,” Tyler said, “but it’s good for the traveler.”
Further north, David Sirgany, 64, of Morro Bay, was getting ready to surf at Sand Dollar Beach, thinking about coastal erosion, climate change and this moment in history.
“To me,” he said, “it feels like the end of a time that will never be again.”
The Ragged Point Inn stands at the southern end of Big Sur.
The closed area, known as Regent’s Slide, begins about 26 miles north of Ragged Point, toward the south end of Big Sur, and covers 6.8 miles. Thus, you’d need to detour inland via U.S. 101 to reach most of Big Sur’s best-known attractions, including the Bixby Creek Bridge, Pfeiffer Beach, Nepenthe restaurant, Deetjen’s Big Sur Inn, McWay Falls and Esalen Institute.
But there’s plenty to explore on the stretch from San Simeon north to the roadblock at Lucia (milepost 25.3). Just be careful of the $8.79-per-gallon gas at the Gorda Springs Resort. (At $6.99, the Ragged Point gas station isn’t quite so high.)
San Simeon Bay Pier at William Randolph Hearst Memorial Beach.
Here, from south to north, are several spots to explore from San Simeon to Lucia. Be sure to double-check the weather and highway status before you head out.
See Hearst’s castle. Or just one of his zebras.
I’ve been hoping to see some of the Hearst zebras in the hills of San Simeon for years, and this time I finally did — a single zebra, surrounded by cows in a pasture beneath distant Hearst Castle.
That was enough to make my brief stop at the castle visitor center (which has a restaurant, historical displays and shop) well worth it. Other travelers, however, might want to actually take a tour ($35 per adult and up) of the 165-room Hearst compound (which is officially known as Hearst San Simeon State Historical Monument).
The state park system’s visitor tallies from June through August show that 2025 was slightly slower than 2024, which was slightly slower than 2023.
Perhaps with that in mind, the castle last fall added “Art Under the Moonlight” tours, which continue this autumn on select Friday and Saturday nights through Nov. 16. The castle also decorates for the holidays.
If you’re spending the night, the Cavalier Oceanfront Resort has 90 rooms (for as little as $169) and firepits overlooking the sea.
A zebra, part of the Hearst Castle animal collection, is seen from the visitor center off Highway 1 in San Simeon.
San Simeon Bay Pier or hike San Simeon Point Trail
My southernmost hike was at the San Simeon Bay Pier. From the parking lot there, walk north on the beach and follow a path up into a eucalyptus grove. That puts you on the 2.5-mile round-trip San Simeon Point Trail (owned by Hearst Corp. but open to the public.)
At first, the route is uneventful and surrounded by imported eucalyptus (now being thinned) and pines. But there’s a payoff waiting at the point, where tides lap on a little sand beach, waves crash on dramatic black rocks and pelicans perch on sea stacks. Look back and you see the beach, the pier and the hills of the central coast sprawling beyond them.
Then, if you’re as hungry as I was, you rapidly retrace steps and head to the Seaside Foods deli counter in Sebastian’s General Store, a block from the pier. (I recommend the Coastal Cowboy tri-tip sandwich, $21. But you could also take your meal across the street to the Hearst Ranch Winery tasting room.)
Find the Piedras Blancas elephant seal viewing area, then go beyond it
California’s coast is a catalog of uncertainties, from rising tides and crumbling cliffs to private landowners discouraging public access. But we can count on the elephant seals of Piedras Blancas.
Elephant seals gather at Piedras Blancas, north of San Simeon.
Once you pull off Highway 1 into the observation area parking lot, no matter the time of year, you’re likely to see at least a few hulking sea creatures flopped on the sand and skirmishing for position.
Because it’s a great spectacle and it’s free, there are usually dozens of spectators along the shore. But most of those spectactors don’t bother to follow the boardwalk north and continue on the Boucher Trail, a 1.9-mile path along the bluff tops and across a meadow, leading to striking views of sea stacks and Piedras Blancas Light Station.
Along Boucher Trail, just north of the elephant seal viewing area at Piedras Blancas.
(BTW: Visitors need an advance reservation to tour the Piedras Blancas Light Station. At press time, all tours were canceled because of the federal government shutdown.)
At Ragged Point, that Big Sur vibe kicks in
About 10 miles beyond the elephant seals, the raw, horizontal coastal landscape morphs into a more vertical scene and the highway begins to climb and twist.
Right about here, just after San Carpoforo Creek, is where you find the Ragged Point Inn, a handy place to stop for an hour or an evening. It has 39 rooms, flat space for kids to run around, cliff-top views, a restaurant, gift shop, gas station and a snack bar that’s been closed since the highway has been blocked.
Right now, this stretch of the highway “is a great place to cycle,” said Diane Ramey, whose family owns the inn. “I wouldn’t do it at a normal time. But now the roads are uncrowded enough.”
To recover from the “frightening” drop in business when the road first closed, the inn has put more emphasis on Sunday brunch, the gift shop and live music on summer weekends, Ramey said.
At Salmon Creek Falls, roaring water meets tumbled rocks
At the Salmon Falls trailhead, 3.6 miles north of Ragged Point, there’s room for about 10 cars in the parking area on the shoulder of the highway.
When the highway is open, those spots are often all full. Not now. And it’s only about 0.3 of a mile to the base of the 120-foot falls, where there’s plenty of shade for the weary and boulder-scrambling for those who are bold. In the hour I spent scrambling and resting, I encountered just two couples and one family, all enjoying the uncrowded scene.
If you want a longer, more challenging hike, the falls trailhead also leads to the Salmon Creek Trail, a 6.6-mile out-and-back journey through pines, oaks and laurels that includes — gulp — 1,896 feet of elevation gain.
The yurts and quirks of Treebones Resort
Treebones, about 14 miles north of Ragged Point and 2 miles north of the rustic, sleepy Gorda Springs Resort, is an exercise in style and sustainability, producing its own power and drawing water from its own aquifer.
Treebones Resort, just off Highway 1 in the South Coast area of Big Sur.
Born as a family business in 2004, Treebones has 19 off-the-grid units, mostly yurts, whose rounded interiors are surprisingly spacious. Its Lodge restaurant offers chef’s-choice four-course dinners ($95 each) and a sushi bar.
If you book a yurt (they begin at $385), you’ll find your headboard is a felted wood rug from Kyrgyzstan (where yurts go back at least 2,500 years). The resort also has five campsites ($135 nightly, advance reservation required) that come with breakfast, hot showers and pool access.
A deck at Treebones Resort.
“For the last 20 years, we were basically 100% occupied from April through October,” assistant general manager Megan Handy said, leading me on a tour. Since the closure, “we’ve stayed booked on the weekends, but we’ve seen at least a 40% decline midweek.”
Once you’re north of Treebones, beach and trail possibilities seem to multiply.
Stand by the edge (but not too close) on the Pacific Valley Bluff Trail
Several people told me I shouldn’t miss the Pacific Valley Bluff Trail, a flat route that begins just north of Sand Dollar Beach. It runs about 1.6 miles between the roadside and the bluffs over the Pacific. Here you’ll see sea stacks in every shape, along with a dramatic, solitary tree to the north. In about 45 minutes of walking amid a land’s end panorama, I never saw another soul. Plenty of cow patties, though, and a few patches of poison oak, which turns up often near Big Sur trails.
A little farther north, I did run into four people walking the beach at Mill Creek Picnic Area. I found even more at Kirk Creek Campground, which was booked solid because it has some of the best ocean-view campsites in the area and it’s on the ocean side of the highway.
Waves crash near Sand Dollar Beach.
Big trees and a meandering creek at Limekiln State Park
Limekiln State Park is one California’s youngest state parks, having been set aside in the 1990s. But its occupants, especially the redwoods, have been around much longer.
And now, after park closures over storm damage and infrastructure issues and a reopening early this year, we have a chance to enjoy the place again. Or at least part of it. The park’s campground, Hare Creek Trail and Falls Trail remain closed.
But there’s still plenty of opportunity to check out the rare overlap of species from northern and southern California. As the Save the Redwoods League notes, “You can’t find both yucca and coast redwoods in very many parks.”
The park is about 4.4 miles south of the Highway 1 closure. Entrance is $10 per vehicle. I savored the 1.5-mile out-and-back Limekiln Trail, which is one of the best ways to see redwoods in the area. And once again, no fellow hikers.
Highway still too busy for you? How about an isolated lodge or a silent monastery?
Just south of the highway closure, the rustic, isolated Lucia Lodge and the New Camaldoli Hermitage, a Benedictine monastery, remain open for overnight guests.
But not everyone knows this. Unless somebody at Google HQ has just made a fix, Google Maps will tell you incorrectly that the hermitage and lodge are beyond the road closure. Nope. They’re both on the south side of the road closure, accessible to northbound traffic. And they’re both really quiet.
“People come here for silent, self-guided retreats,” said Katee Armstrong, guest ministry specialist at New Camaldoli Hermitage. Its accommodations, high on the slopes above the highway, include nine single-occupancy rooms and five cottages with kitchenettes ($145 nightly and up).
Meanwhile, on the ocean side of the highway, the Lucia Lodge’s 10 very basic units are visible from the road. Four of them are cabins that go back to the 1930s, when Highway 1 was new.
Some nights, there are only one or two guests, and those guests typically see no hotel employees, because there’s no lobby and the staff is down to a skeleton crew. (The lodge’s restaurant and lobby burned down in 2021.) The nearest restaurant is at Treebones, about 10 miles south.
“We have to have a conversation with every guest who books with us,” said Jessie McKnight, the lodge reservationist. Many “end up canceling once they understand the situation,” she said. “You’re kind of on your own.”
Ad yet, she added, “it’s so rare to experience Big Sur like this. Once the road opens, I think it’s going to be right back to being a zoo.”
Holly’s famous friends have rallied around her family following her sister Darci’s deathCredit: Getty ImagesHeartbroken Holly shared the tragic news last weekCredit: InstagramFriends including Sophie and Charlotte have donated to help Holly and her familyCredit: Instagram
Now her famous friends have rallied around the family during the incredibly difficult time, The Sun can reveal.
An insider said: “Holly Hagan’s famous pals have donated thousands of pounds to help pay for her tragic sister’s funeral and memorial, and allow them some breathing space from work.
“Charlotte Crosby and her partner Jake Ankers have donated £2,000, Sophie Kasaei has given £1,000, Adam Frisby £1,000 and Gaz Beadle and Nathan Henry gave £500 each.”
“The last four days have been something I hope no family ever has to go through.
“We are traumatised in every sense of the word.
“One day we will share Darci’s story. But for now I please ask that you do respect our privacy and allow us to process what has happened.
“To the incredible ambulance crew, and everyone at Manchester Royal Infirmary A&E and ICU, thank you so much for giving my sister the absolute best chance.
“Because of you all we have had the opportunity to hold her hand, stroke her hair and feel her heart beating for the last time.
“We will forever be grateful for the way you have looked after her and us throughout this unimaginable process.”
Holly added: “Right now my job is to support my family in any way that I can to ensure they don’t have to worry about work/finances.
“Any posts you see this month are pre-recorded and scheduled ahead of time. I will be continuing to work, so they do not have to.”
The TV star then reflected on her late sister and recalled some of the fondest memories they shared together.
Holly continued: “Darci is so beautiful and she genuinely didn’t even realise it.
“I always told her she’d look better without the huge spider lashes but we all know what a hypocrite I was being since I wore nine pairs at her age!
“She lived in Darci world, forgetting to turn lights off, didn’t know how to lock doors after coming in from a night out, leaving the freezer open so my mam came down to a puddle of defrosted food.
“She was the best aunty, Alpha-Jax adored her. She spent his whole birthday on the bouncy castle with AJ and Alba, and that’s a memory I’ll cherish forever.”
Marymount girls volleyball team is peaking at the right time — and that could mean trouble for opponents.
The Sailors had everything working for them in a 25-13, 25-17, 25-15 sweep of visiting Mira Costa in the Southern Section Division 1 quarterfinals on Tuesday night, showing no signs of rust after a first-round bye in the 12-team bracket.
“We couldn’t have been more prepared,” Washington-bound senior hitter Sammy Destler said. “Our energy got us to the finish line. We were on fire. That’s the best we’ve played all season.”
Destler entered the match two kills shy of 1,000 for her career and it didn’t take long for her to reach the milestone, achieving it on a strike to the right side that gave Marymount a 12-6 lead in the first set.
“I had no clue until they announced it, but it feels good,” said Destler, one of seven Sailors who finished with at least five kills. “We’re very familiar with them, they have Audrey [Flanagan] and Simone [Roslon] and they’re always tough but tonight was about everything we did on our side.”
The fifth-seeded Mustangs (24-10), who shared the Bay League crown with No. 2 Redondo Union despite dropping their first league match since 2019, had pushed Marymount to five sets in a nonleague match in September, but this time they could not handle the Sailors’ balanced attack.
Marymount’s serving kept Mira Costa out of system all match. In the first set alone the Sailors served seven aces, including three in a row by Southern Methodist-bound middle blocker Elle Vandeweghe, that put her team up 20-9. She and Destler combined for a stuff block on set point.
Destler opened the second set with another ace, then Frankie Jones ended it with a kill. Destler and Makenna Barnes, a Northwestern commit, each had eight kills apiece while Vandeweghe and the Brown-bound Jones each added six.
Flanagan, a Wisconsin commit, paced the Mustangs with eight kills and got a hug afterwards from Destler, one of her best friends.
Marymount’s Makenna Barnes, right, goes on the attack against Mira Costa blockers Liliana Swanson, left, and Milly McGee, center, during Marymount’s victory in the Southern Section Division 1 quarterfinals on Tuesday.
(Steve Galluzzo / For The Times)
“We’ve played so many more matches than other teams,” Marymount coach Cari Klein said. “I didn’t want it, but I think we needed those extra few days rest because of the intensity of our schedule.”
The fourth-seeded Sailors (37-5) advanced to the semifinals to face top-seeded Sierra Canyon (37-3) on Saturday for the fourth time this season. The Sailors won the first meeting, 21-25, 25-15, 25-12 in the finals of the Durango Fall Classic in Las Vegas. The Trailblazers rebounded to take a pair of Mission League meetings over a span of eight days.
Klein, who is hoping to pilot the Sailors to their 11th section title in her 28th season, was so locked in to the task at hand Tuesday that she did not look at the CIF website to see if her team had won the coin flip for the next round: “Please say it’s here!”
Her wish was not granted, as Marymount will have to travel to Chatsworth, where it dropped a five-set thriller on Sept. 29, but Destler is confident they can win on any court.
“If we play like we this, there’s no stopping us,” she said.
Brian Setzer was on tour with the Stray Cats last year when he noticed the earliest signs of what was eventually diagnosed as an autoimmune disorder.
Now, it seems that disorder may be keeping Setzer off the road.
The Stray Cats said Tuesday they would be canceling their fall U.S. tour as Setzer, 66, battled a “serious illness.” The announcement comes months after Setzer’s diagnosis, although it’s not yet clear if this is a separate health issue.
“I know this affects so many people and I am devastated to have to deliver this news,” Setzer wrote Tuesday on X. “I’ve been trying everything I can to go on and do these shows, but it is just not possible.
“I’ve been looking forward so much to being on stage with my band mates again,” he said, “and playing for all of our amazing fans, and I’m gutted.”
The Stray Cats initially canceled the first two stops on their fall run, in Mount Pleasant, Mich., and Rockford, Ill., before scrapping the whole tour Tuesday. The band said refunds would be available at the point of purchase and did not announce any future tour dates.
Setzer first shared details about his unspecified autoimmune disease in February, writing on social media that, although the illness was not painful, it rendered him unable to play guitar.
“It feels like I am wearing a pair of gloves when I try to play,” he wrote, adding that the disease had for a time hindered his ability to accomplish everyday tasks like tying his shoes.
The artist said that he had been improving as he received care at “the best hospital in the world down the block from me,” the Mayo Clinic.
“I know I will beat this, it will just take some time,” he said. “I love you all.”
The Stray Cats, formed by Setzer, Lee Rocker and Slim Jim Phantom in 1979, have dissolved and re-formed several times over the decades. In 2019, the founding trio reunited to release a 40th anniversary album, aptly dubbed “40,” their first album in a quarter of a century.
On Friday, the band rolled out its first release since then. The pair of singles, consisting of original song “Stampede” and a cover of Eddie Cochran’s “Teenage Heaven,” were described on the band’s website as “loud, upbeat, and unmistakably The Stray Cats.”
“Jim and I cut both songs in Minneapolis at Terrarium Studios,” Setzer said in a statement posted to the site. “‘Stampede’ was an instrumental that I wrote lyrics for. I basically copied the guitar part, which was pretty ahead of its time to begin with, and ‘Teenage Heaven’ is one of the few Eddie Cochran songs that has not been covered to death.”
Rocker said “‘Stampede’ has the drive and intensity that brings me back to our first album,” and “‘Teenage Heaven’ is a classic Eddie Cochran song that we put our [Stray] Cats magic on.”
“The Cats are back and better than ever,” the bassist said.
Times staff writer Alexandra Del Rosario contributed to this report.
On June 2 this year, the Dodgers were in need of pitching help. At the time, their rotation had been ravaged by injuries, and their bullpen was overworked and running low on depth. Thus, the morning after their relievers had been further taxed following a short start from Yoshinobu Yamamoto against the New York Yankees, the Dodgers went out and added a little-known pitcher in a deal with the Seattle Mariners.
Will Klein’s origin story had quietly begun.
Almost five months before becoming a World Series hero for the Dodgers, pitching four miraculously scoreless innings in their 18-inning Game 3 win over the Toronto Blue Jays on Monday night, Klein joined the organization as a largely anonymous face, acquired in exchange for fellow reliever Joe Jacques in the kind of depth transaction the Dodgers make dozens of over the course of each season.
At that point, even Klein couldn’t have foreseen the star turn in his future.
He had a career ERA over 5.00 in the minor leagues. He had struggled in limited big-league action in 2024, battling poor command while giving up nine runs in eight outings. He had already changed organizations three times, and been designated for assignment by the Mariners the day before.
“I woke up to a 9 a.m. missed phone call and a text,” Klein recalled Tuesday. “Found out I was DFA’d. Really low then.”
Now, in the kind of serendipitous turn only October can create, Klein has etched his name into World Series lore.
“I don’t think that will set in for a long time,” he said.
As the last man standing in the Dodgers’ bullpen in Game 3, Klein pitched more than he ever has as a professional, tossing 72 pitches to save the team from putting a position player on the mound.
Afterward, he was mobbed by his teammates following Freddie Freeman’s walk-off home run, then greeted in the clubhouse with a handshake and an accomplished “good job” from Dodgers pitching icon Sandy Koufax.
He had 500 missed messages on his phone when the game ended. He got 500 more as he tried responding to everyone Tuesday morning. His middle school in Indiana, he said, had even hung a picture of him up in a hallway.
“I woke up this morning still not feeling like last night had happened,” he said in a pre-Game 4 news conference. “It was an out-of-body experience.”
A thickly bearded 25-year-old right-hander originally from Bloomington, Ind., Klein’s path to Monday’s extra-inning marathon could hardly have been more circuitous.
In high school, he was primarily a catcher, until a broken thumb prompted him to focus on pitching. When he was recruited to Eastern Illinois for college, his ACT scores (he got a 34) helped almost as much as his natural arm talent.
Dodgers pitcher Will Klein also pitched in the eighth inning of Game 1 in Toronto, allowing no runs.
(Robert Gauthier / Los Angeles Times)
“I’m big into academics,” Eastern Illinois coach Jason Anderson said by phone Tuesday. “If you can figure out science class, you can figure out how to throw a slider.”
Anderson wasn’t wrong. Though Klein was initially raw on the mound, posting a 5.74 ERA in his first two collegiate seasons, he worked tirelessly on improving his velocity, learning how to leverage the power he generated with his long-limbed, 6-foot-5 frame.
As his fastball crept toward triple digits, he started garnering the attention of MLB scouts. Though Klein’s junior season in 2020 was cut short after four outings by the COVID-19 pandemic, he’d shown enough promise in collegiate summer leagues beforehand to get drafted in that year’s fifth and final round by the Kansas City Royals.
Klein’s rise to the major leagues from there was not linear. His poor command (he averaged nearly seven walks per nine innings in his first three minor-league years) hampered him even as he climbed the Royals’ organizational ladder.
Klein reached the big leagues last year, but made only four appearances before being included in a trade deadline deal to the Oakland Athletics. This past winter, after finishing the 2024 campaign with an 11.05 ERA, he was dealt again to the Mariners.
The return in that package? “Other considerations,” according to MLB’s transaction log.
“His whole career has been [full of] challenges,” Anderson said. “He really just needed some time and somebody to believe in him.”
With the Dodgers, that’s exactly what he found.
Long before his arrival, Klein had admirers in the organization. The club’s director of pitching, Rob Hill, was immediately struck by his high-riding heater and mid-80s mph curveball when he first saw Klein pitch in minor-league back-field games during spring training in 2021 and 2022.
“I vividly remember his outings against us in spring training,” Hill said. “I was walking around, asking people, ‘Who is this guy?’ That was my first introduction to him.”
After being traded to the Dodgers, Klein was optioned to triple-A Oklahoma City to work under the tutelage of minor-league pitching coaches Ryan Dennick and David Anderson. There, he started to refine his approach and trust his high-octane arsenal in the zone more. In 22 ⅔ innings, he struck out a whopping 44 batters.
During four stints on the MLB roster over the second half of the year — during which he posted a 2.35 ERA in 14 outings — Klein also worked with big-league pitching coaches Mark Prior and Connor McGuiness on developing a sweeper to give him an all-important third pitch.
“I think our coaches have done a fantastic job of cleaning up the delivery, challenging him to be in the hitting zone, working on a slider,” manager Dave Roberts said. “He’s a great young man. And it’s one of those things that you don’t really know until you throw somebody in the fire.”
The Dodgers didn’t do that initially this October, sending Klein to so-called “stay hot” camp in Arizona for the first three rounds of the playoffs.
But while Klein was there, Hill said it “was very notable how locked in he was” during bi-weekly sessions of live batting practice, with the pitcher “consistently asking for feedback and trying to continue to make sure his stuff was ready.”
During the team’s off week before the World Series, Klein was sent to Los Angeles to throw more live at-bats against their big-league hitters. He promptly impressed once again, helping thrust himself further into Fall Classic roster consideration as the team contemplated ways to shuffle the bullpen.
Still, when Klein learned he would actually be active for the World Series, he acknowledged it came as a surprise.
“I’m just going to go out there,” he told himself, “and do what I can to help all these guys that have worked their butts off.”
After holding his own in a scoreless inning of mop-duty in a Game 1 blowout loss to the Blue Jays, Klein started sensing another opportunity coming as Monday’s game stretched deep into the night.
“I realized that, when I looked around in the bullpen and my name was the only one still there, I was just going to [keep pitching] until I couldn’t,” he laughed.
Every time he returned to the dugout between innings, he told the coaching staff he was good to keep going.
“No one else is going to care that my legs are tired right now,” he said. “Just finding it in me to throw one more pitch, and then throw another one after that.”
Back in Illinois, Anderson was like everyone else from Klein’s past. Awed by how deep he managed to dig on the mound. Moved by a moment they, just like him, could have never foreseen or possibly imagined.
“Everything about him — his mentality, his work ethic, his obstacles, his path — it was like he was destined to be on that field at that time,” Anderson said. “That’s one of the greatest baseball games in history.”
And, against all odds, it was Klein who left perhaps its most heroic mark.
