Dodgers pitching coach Mark Prior was worried. But how worried? He couldn’t say at first.
The team had taken major steps to address Shohei Ohtani’s lingering left knee condition, presenting him with a plan to skip his last start before the All-Star break and have his knee drained that Sunday. And he’d co-signed it.
The swelling in Ohtani’s knee, however, had been more persistent than the team expected. And pitching seemed to irritate it.
“I would say, moderately concerned,” Prior eventually said in a conversation with The Times last weekend. “But no more concerned than I probably am with anybody else who’s had to deal with aches and pains. Hopefully, this break and this rest will get it to calm down a little bit, and then we’ll see where we’re at next weekend.”
Coming out of the All-Star break, the Dodgers face the most pressing question for their second half: Will they be able to manage Ohtani’s knee condition?
Of course, plenty of other questions loom: What approach will the Dodgers take at the trade deadline? Will the pitchers coming off the injured list in the second half provide enough depth? Can they maintain the best record in the majors?
But naturally, Ohtani’s health is tangled up in all those answers.
The Dodgers have enough star power and enough of a lead in the division to still make the playoffs without Ohtani replicating his first half on the mound (8-2, 1.79 ERA). And they showed last year that they can win a World Series even if their postseason path begins with a wild-card series.
They’d prefer, however, to take a different route, with a strong second half that ensures home-field advantage all the way through the postseason.
“At the end of the day, it’s just trying to expect the best of your ballclub,” manager Dave Roberts said before the break. “And with the talent that we have, we expect to have the best record in baseball, and so that’s our standard. And so, what falls out of it is X, Y and Z. So that’s what we’re playing for.”
That’s also what they need a healthy Ohtani for.
Workload is part of the equation, and an aspect that’s garnered plenty of attention in Ohtani’s first full season balancing two-way duties since 2023.
“I’ve been much more open and watching … his workload, and not just taking for granted that he can be a two-way player, take every at-bat, pitch like a normal pitcher,” Roberts said. “I think that would be unfair. So for me, if anything, it’s just, keep having those conversations with him, bringing them to him, and saying, ‘Hey, this is what we see. This might be a different option, a better option for your best interest and our best interest.’ And I think that with that, he’s responded really well.”
That approach will continue in the second half. But refining Ohtani’s mechanics also will be vital to keeping his knee from becoming an issue again.
Ohtani said it himself, through interpreter Will Ireton, last week: “I have to kind of find a way to adjust my mechanics so that my knee doesn’t get affected.”
He’s been trying to do so since the swelling in his knee first cropped up.
“I think we’ve identified the issue,” Prior said. “Sometimes the fix isn’t always the easiest, especially with a guy who doesn’t spend probably the same amount of time on the mechanics of it.”
As a two-way player, Ohtani doesn’t have the “physical bandwidth,” as Prior put it, for things like multiple bullpen sessions between starts, even if they are a week apart. He has to keep the long, grueling season in mind when he’s also in the lineup every day.
“He fixed it, and then I’m wondering if it got aggravated just in-game,” Prior said. “These guys are extreme compensators, and in the moment they don’t necessarily know what they’re doing, but they’re finding other ways to pitch, and then afterwards you find out that things are a little sore.”
Ohtani had a dominant first half, but, whether because of the knee condition or mechanics or some combination of the two, he wasn’t quite as sharp in his last four starts (4.38 ERA).
“If he can fix the delivery, then he can fix a little bit more of the execution,” Prior said.
But will the delivery adjustment, All-Star break intervention and attention to workload fix Ohtani’s knee at least through the postseason? The Dodgers’ second-half trajectory will be tied up in the answer.
It’s a rare day when you cannot hike somewhere in Los Angeles.
But as I write this, L.A. County is under an extreme heat warning through Thursday evening. California recently saw its first storms of monsoon season, which I learned is the reason I found myself earlier this week whining about the humidity. We’ve now entered the period of summer when you need to plan your trips with heat in mind.
In this week’s edition of The Wild, our weekly outdoors newsletter, I will highlight three hikes around L.A. where, if you go early, you can enjoy a quick, shady jaunt in nature. But first, let’s talk summer trail safety.
You are reading The Wild newsletter
Sign up to get expert tips on the best of Southern California’s beaches, trails, parks, deserts, forests and mountains in your inbox every Thursday
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
How to hike safely in L.A. in summer
⌚Avoid hiking in the hottest part of the day. This will vary by day and region, but I typically plan to leave the trail by 11 a.m. in summer, or hike in the evenings, around 6 p.m.
🫗Pack more water than you normally need. Dehydration is a major reason that adventurers out on a day hike need to be rescued. It’s generally recommended to drink at least 1 quart every two hours (the amount in your typical Nalgene bottle). In summer, you will need to increase that. During summer, I also like to carry electrolyte powder and gummies.
🌤️Check the weather forecast of where you’re heading. If headed to Angeles National Forest, which includes the San Gabriel Mountains, take a look at the “Current Conditions” tab to find relevant weather information. The Santa Monica Mountains National Recreation Area has a similar page here. If hiking in an L.A. park, remember that, because the region has several microclimates, temperatures can vary widely across the county.
😎 Wear sun protection. This includes a sun hoodie, wide-brimmed hat and sunglasses. I also recently started regularly carrying the hiking umbrella that I reviewed in last year’s Times Gift Guide.
🥵 Know the signs of heat illness. Heat cramps can be the first signal from your body that something is amiss, usually presenting as painful spasms in your legs and/or abdomen. Next comes heat exhaustion. Symptoms include clammy skin, nausea, cramps, vomiting and headache. “Don’t ignore a headache when hiking in hot weather!” the American Hiking Society cautions. “This is serious stuff. Stop. Drink. Rest.”
📲 Tell someone where you’re going. Complete this form (or something similar) and share it with a friend or family member. Place an additional copy on your vehicle’s dash if driving to the trailhead. The last thing you want is to be injured without anyone knowing where you are.
3 shady hikes around L.A.
As I’ve said many times, the best hike is where you are. The three hikes below all feature early-morning shade, but if they’re farther than you can drive or reach by transit, check out this guide I wrote about how to find shady hikes near you. I returned to it when writing this piece to remind myself of my own tips!
OK, let’s imagine the air blowing from your office fan or air conditioner is actually a light mountain breeze as we explore these three great hikes. Adventure awaits!
Sycamore trees cast shade over a trickling creek in Sullivan Canyon near Brentwood.
(Jaclyn Cosgrove / Los Angeles Times)
1. Sullivan Canyon Trail
Distance: 8.8 miles out and back Elevation gained: 1,200 feet Difficulty: Moderate Dogs allowed: Yes Nearest to: Brentwood and the Pacific Palisades Accessible alternative:Inspiration Loop Trail at Will Rogers State Historic Park
The Sullivan Canyon Trail is an 8.8-mile out-and-back trek along a seasonal creek, shaded by tall sycamores (easy to identify because of their mottled bark) and thick old coast live oaks. There are a few options to explore the canyon, including a loop, but that will include a more exposed route.
To start the most shaded option, you’ll walk past a green gate on Queensferry Road and head down a short, steep paved road. (The walk back up will be the hardest part of the entire hike.)
After about a fifth of a mile, you’ll head northwesterly onto the trail, a wide dirt and gravel road. I immediately felt like I’d been transported into a fairy-tale scene where someone in a carriage would come heading down the trail toward me. Instead, it was a mountain biker, which was less enchanting, but fine nonetheless.
Quickly, I noticed there’s a tree swing builder who loves this canyon. I spotted two swings, one of which I stopped and enjoyed because, why not?
I was surprised to see that the Sullivan Canyon creek, which is about 6.2 miles and starts (per this map) near San Vicente Mountain Park, was still flowing. You will cross the creek and its offshoots a few times, an easy enough task in the summer months when the water is lower.
As you navigate the creek, you’ll notice tadpoles swimming about. I was charmed when I noticed one of these larval amphibians use a leaf to camouflage its movements as it darted to and fro in a shallow pool. That’s one way to trick a bird looking for a snack!
A gopher snake lounges on the trail in Sullivan Canyon.
(Jaclyn Cosgrove / Los Angeles Times)
I was admiring the chaparral growing up the canyon walls and the late-blooming wildflowers when I gasped. A few feet ahead, a snake sunned itself on the trail. I used iNaturalist, a citizen science app, to photograph the reptile. The app AI identification system informed me it was 82% sure this was a gopher snake. I laughed to myself, thinking about telling the rescuers after I was struck, “I was 18% sure it wasn’t a rattlesnake!” I passed without issue, but will note that both species are common sights in the canyon.
You do not have to hike the entire length of the trail to enjoy Sullivan Canyon. Because the first 2 miles in are fairly flat, this is a great hike for when you’d like to walk and talk with a friend. Or you could bring a child who needs to frolic, as there are multiple large old trees with thick branches low to the ground, tempting even an older millennial outdoors journalist to try to climb them.
The only downside to this hike is the parking situation. When I arrived, I quickly realized my first task would be to solve a bureaucratic riddle. There were signs noting parking was prohibited from 7 a.m. to 7 p.m. and then other signs with just arrows pointing in various directions.
Puzzled, I asked a driver in an REI shirt who was standing nearby, as I figured they were probably outdoorsy. They confirmed that amid the arrows, there were gaps where people are allowed to park. As I packed up my bag to head on the hike, feeling semi-confident that my car wouldn’t be towed, a mountain biker pulled up next to my car and asked where he could park. I laughed to myself, suddenly a newfound expert on where to park on Queensferry Road! (And if you want the history of how and when these parking restrictions went into place, you can read this 1998 Times story.)
But even with the parking headaches, Sullivan Canyon remains a treasure worth exploring for the shade, light breeze and beauty it offers to early-morning hikers.
Left, Millard Creek runs alongside this hike to the Dawn Mine; and right, a view of the San Gabriel Valley and beyond from the Millard Canyon area.
(Jaclyn Cosgrove / Los Angeles Times)
2. Dawn Mine Trail
Distance: About 6 miles out and back Elevation gained: About 1,550 feet Difficulty: Moderate Dogs allowed: Yes Nearest to: Altadena Accessible alternative: Gabrielino Trail near NASA’s JPL
This 6-mile jaunt to the Dawn Mine offers hikers a shade-lined path along Millard Creek where it’s common to spot California tree frogs and newts, along with a host of native shrubs and trees.
To begin your hike, you can either parallel park nearNuccio’s Nurseries, taking care to obey all parking signage, or if those spots are all taken, park nearby and order a rideshare to drop you at the trailhead. I had cell reception with Verizon here, so it should be possible to order a ride back to your vehicle.
Millard Creek in Angeles National Forest.
(Jaclyn Cosgrove / Los Angeles Times)
From here, you have two options to reach the Dawn Mine trailhead.
1. Follow Chaney Trail road for a mile until you reach Mt. Lowe Motorway (called Mt. Lowe Road on some maps), where you’ll turn east. Chaney Trail road offers limited shade, so start early.
2. Walk about half a third of a mile north from Nuccio’s, and then near a bend in the road you’ll take the Chaney Trail, a winding dirt path north, for about half a mile where it’ll meet up with Mt. Lowe Motorway. (This option is also about a mile, although distance will depend on where you park.)
Headed northeast-ish on Mt. Lowe Motorway, you will walk just over a third of a mile before heading off the pavement and onto a trail. You’ll reach Millard Creek in about two-thirds of a mile.
You’ll head east and northeast until reaching Dawn Mine, which former Times outdoors writer John McKinney noted was a literal gold mine from 1895 through the 1950s. These days, it’s a figurative gold mine for local history buffs or those who want to take a cool selfie.
Millard Creek in the San Gabriel Mountains near Altadena, as seen in January.
(Jaclyn Cosgrove / Los Angeles Times)
It is not safe to enter the mine, but you can enjoy the frigid breeze coming out of its mouth. Mountain air-conditioning!
I’d advise turning around from here. You might notice on your map that it’s possible to make a loop, and although that route offers great views, it’s exposed and not ideal on the hotter days of summer.
Franklin Canyon Reservoir north of Beverly Hills.
(Jaclyn Cosgrove / Los Angeles Times)
3. Franklin Canyon Park loop
Distance: 1.2-mile loop with options to extend (see map) Elevation gained: About 200 feet Difficulty: Easier end of moderate Dogs allowed? Yes Nearest: The hillsides between Beverly Hills and Studio City Accessible alternative: Franklin Canyon Drive loop
Franklin Canyon Park is 605 acres of public land north of Beverly Hills that features chaparral and oak woodlands. The park has three bodies of water: the 3-acre Franklin Canyon Lake, Heavenly Pond and Wild Pond.
To reach the park, you’ll enter through either the northern or southern gate. (The northern gate was closed for months while the L.A. Department of Water and Power completed a project.)
Take good care as you drive into the park, as there are a few tight corners with low visibility.
Upon arrival, I’d recommend taking a 1.2-mile loop, which I’ve mapped out here, that will take you past the lake and ponds and up into the park’s hillsides. Whenever I’ve visited the park, I’ve found it to be cooler than the nearby neighborhoods, thanks to its water and abundant shade provided by oaks, sumac and other trees.
To begin your hike, you’ll park in the large dirt main parking lot. Head south on Franklin Canyon Drive, where you’ll quickly find a trail entrance with wooden steps that lead down near Franklin Canyon Reservoir. I hope you’re greeted by the sound of quacking waterfowl like I was!
Continue in the southerly direction, appreciating the gnarled coast live oaks and sound of shy red-eared sliders plopping off their logs into the water. This short trail will lead you back up to the road where you’ll walk south for just a bit before turning onto the gentle path that loops around Heavenly Pond. This is an especially good spot to find turtles and ducks.
A turtle rests on a hunk of wood in the Heavenly Pond in Franklin Canyon Park.
(Jaclyn Cosgrove / Los Angeles Times)
From Heavenly Pond, continue south on the paved road, following it past the private residence to the wooden steps at the reservoir’s southern end. Take these stairs down onto Chernoff Trail. You’ll quickly spot toyon and pine trees, among other natural delights. Soon, you’ll bear right (or northeast) to take stairs onto the road. Cross the road and continue northeast onto the trail. Take the next set of steps up past thick bunches of black sage.
Continue north on Blinderman Trail, following as it bears east before it loops back around west. Along the way, you’ll pass well-maintained benches and bridges. If it’s already sunny out, please consider shortening your jaunt up these steeper trails in Franklin Canyon and consider repeating your excursion around the ponds.
At any point you need to refill your water bottle, there are water fountains near the Eugene and Michael Rosenfeld Auditorium, which is just southeast of the main lot.
***
Wild writer Jaclyn Cosgrove takes a turn on a tree swing attached to a sturdy coast live oak branch in Sullivan Canyon.
(Jaclyn Cosgrove / Los Angeles Times)
We are so lucky to have an abundance of public land tucked throughout L.A. I hope you find blissful shade, trickling streams and the experience you need out there!
3 things to do
Hikers talking and connecting on a previous Better Future Club hike.
(Amanda Sayeg)
1. Make new friends on a hike in L.A. The Better Future Club will host a short hike at 9:30 a.m. Saturday in Griffith Park. Participants will gather at the Trails, a cafe in the park, before heading out. Register at luma.com.
2. Chill out with the mountain chickadees near L.A. The Antelope Valley Audubon Society will host a birding field trip from 8 a.m. to noon Saturday at Chilao Visitor Center in Angeles National Forest. All experience levels welcome. Society members will bring extra binoculars, but guests are encouraged to bring their own if they have a pair. Register at eventbrite.com.
3. Saunter down Santiago Creek in Orange The Santiago Creek Greenway Alliance will host a five-mile community bike ride from 1 to 3 p.m. Sunday in Orange. Riders will meet at the Sports Center at Grijalva Park parking lot (368 N. Prospect in Orange). The group will take the Santiago Creek Bike Trail to the Santiago Park ECO Center in Santa Ana. Register at eventbrite.com.
The must-read
The Hansen Dam Aquatic Center in Lake View Terrace is said to be the largest pool in America. The center features public swimming, its own beach, pedal boats, a large water slide and fishing.
(Kayla Bartkowski / Los Angeles Times)
I personally love “Gray May” and “June Gloom,” the times when Los Angeles is overcast for several days in late spring and early summer. It makes choosing a hike easy, as I don’t need to exclude every single exposed path or fire road from the possibilities of where I will go on a particular day. We are now entering what I’ve laughingly dubbed, mostly in my head, “You Fry July!” Although the L.A. temperatures are nothing like what my friends and family back in Oklahoma are experiencing, our dry heat is getting hotter as we move more fully into summer. That’s why, instead of hiking, consider taking a dip at one of these 24 affordable L.A. pools. Or take a dip after a morning hike. Either way, stay cool, stay hydrated and stay safe, friends!
Happy adventuring,
P.S.
Two weeks ago, I wrote about great first-come, first-served campgrounds near L.A. where you can often find a spot, even when arriving last minute. A reader later commented on my story that Google Maps had taken them on a harrowing back road to reach Horse Flat Campground. My heart dropped, as I worried I had sent a Wild reader into danger. I quickly checked which route Google Maps was recommending — and I got big mad. Google Maps was showing that Angeles Crest Highway was closed just east of Red Box Picnic Area, which was inaccurate. I contacted Google (crickets from them) and the California Department of Transportation, who quickly corrected the route to accurately portray where the highway is actually closed. The best way to know about closures along Angeles Crest Highway is to check the California Department of Transportation’s QuickMap tool. Please be safe out there!
For more insider tips on Southern California’s beaches, trails and parks, check out past editions of The Wild. And to view this newsletter in your browser, click here.
WASHINGTON — The Senate unanimously approved a measure Tuesday that would make daylight saving time permanent across the United States next year.
The bipartisan bill, named the Sunshine Protection Act, would ensure Americans would no longer have to change their clocks twice a year. But the bill still needs approval from the House, and the signature of President Biden, to become law.
“No more switching clocks, more daylight hours to spend outside after school and after work, and more smiles — that is what we get with permanent daylight saving time,” Sen. Ed Markey (D-Mass.), the original co-sponsor of the legislation, said in a statement.
Markey was joined on the chamber floor by senators from both parties as they made the case for how making daylight saving time permanent would have positive effects on public health and the economy and even cut energy consumption.
“Changing the clock twice a year is outdated and unnecessary,”said Sen. Rick Scott (R-Fla.).
“I’ve said it before and I’ll say it again: Americans want more sunshine and less depression — people in this country, all the way from Seattle to Miami, want the Sunshine Protection Act,” added Sen. Patty Murray (D-Wash.).
Nearly a dozen states across the U.S. have already standardized daylight saving time.
Daylight saving time is defined as a period between spring and fall when clocks in most parts of the country are set one hour ahead of standard time. Americans last changed their clocks on Sunday. Standard time lasts for roughly four months in most of the country.
Members of Congress have long been interested in the potential benefits and costs of daylight saving time since it was first adopted as a wartime measure in 1942. The proposal will now go to the House, where the Energy and Commerce Committee had a hearing to discuss possible legislation last week.
Rep. Frank Pallone (D-N.J.), the chairman of the committee, agreed in his opening statement at the hearing that it is “time we stop changing our clocks.” But he said he was undecided about whether daylight saving time or standard time is the way to go.
Markey said Tuesday: “Now, I call on my colleagues in the House of Representatives to lighten up and swiftly pass the Sunshine Protection Act.”
ARLINGTON, Texas — In a World Cup boasting a galaxy of stars, a lunch-bucket team of blue-collar everymen may wind up outshining them all.
Spain punched its ticket to the final Tuesday by smothering France 2-0 at AT&T Stadium, running its unbeaten streak to 37 games while eliminating a team that had run roughshod through the tournament.
And it wasn’t even close. France came into the game with 16 goals, second only to Argentina in the tournament, then failed to put a shot on goal in the first 81 minutes
It had Kylian Mbappé, who is tied with Lionel Messi for the scoring lead this summer and was the Golden Boot winner four years ago in Qatar. He was all but invisible until, frustrated, he felled Spanish keeper Unai Simón with a cheap shot in the final minutes, drawing a well-deserved yellow card.
France couldn’t even score into an open net, with Desire Doue lining a low shot right at a rapidly retreating Simón, who had come well off his line and left the goal unattended. For Simón, Tuesday’s clean sheet was his sixth in seven games in this tournament.
Spain will meet the winner of Wednesday’s second semifinal between England and reigning champion Argentina on Sunday at MetLife Stadium in East Rutherford, N.J.\
France’s Kylian Mbappé reacts after losing to Spain during a World Cup semifinal in Arlington, Texas, on Tuesday.
(Julio Cortez / Associated Press)
“Whoever comes, comes,” teenage center back Pau Cubarsí said in Spanish. “I don’t think I want any of them. Let it be God’s will. We’re going to New York and then we’ll figure out who needs to come.”
Winning with defense may not be attractive, but it’s certainly been effective. And for Spain, the approach certainly fits with its team-first mentality.
“There was some talk that our defense and goalkeeping weren’t up to par. But I think we’ve silenced a lot of critics,” Cubarsí said. “We’ve only conceded one goal and we’re in the final.
“This is a team effort, both those who play and those on the bench.”
Added right back Pedro Porro: “We’re just continuing to work with humility. We’ve been doing things right and building on our strengths. We’ve also been correcting the things we haven’t done well. We’re just taking it step by step.”
It wasn’t so much that France played poorly, although they did. It was that Spain forced them to play that way.
France had never trailed in the tournament, but it fell behind in this one on Mikel Oyarzabal’s successful penalty shot in the 22nd minute. Lucas Digne was called for the foul when he chested down an errant pass from Spain’s Marc Cucurella on the edge of the 18-yard box, then reached out his left boot to control it, only to catch the leg of Spain’s Lamine Yamal who was charging in from the blind side.
Salvadoran referee Iván Barton immediately pointed to the spot and Oyarzabal stepped up and obliged, beating French keeper Mike Maignan into the side netting at the right post for his fifth goal of the tournament. The score was the first Maignan had allowed in the knockout rounds, snapping a 360-minute scoreless streak and it would be all Spain would need to get to the final for the first time since 2010, when it won its only World Cup.
Spain goalkeeper Unai Simon makes a save in front of France’s Theo Hernandez during a World Cup semifinal in Arlington, Texas, on Tuesday.
(Jessica Tobias / Associated Press)
Maignan didn’t do any better on the second shot he faced, this one coming 13 minutes into the second half when Porro came in alone on the keeper, then used his right foot to flick the ball by the goalkeeper to double Spain’s lead.
“My son couldn’t come today because he’s feeling a little under the weather with a fever,” said Porro, who dedicated his goal to the boy. “It was a mix of emotions because he couldn’t be here, and then his dad scored a goal.
“I wanted to look out at the stands and the only people there were my partner, my father-in-law and my physical therapist.”
For Porro, the goal was a measure of redemption as well. There were doubters when coach Luis de la Fuente named him to the World Cup team and those critics grew louder when De la Fuente made him a starter.
But those critics fell notably silent Tuesday.
“I don’t have to prove anything to anyone,” Porro said. “Obviously, I never imagined — not even in my wildest dreams — that I’d be playing in this World Cup the way I am.
Spain’s Pedro Porro celebrates after beating France during a World Cup semifinal Tuesday in Arlington, Texas.
(Florencia Tan Jun / Getty Images)
“But it’s also thanks to my teammates, and thanks to the coach for the confidence he’s shown in me from the very beginning.”
Spain hasn’t lost a game in the knockout phase of a World Cup since 2006 — when it fell to France — playing to draws in the round of 16 in the last two tournaments before being eliminated both times on penalties. They didn’t let it come down to that this time.
“We’re in a final. It’s a once-in-a-lifetime experience,” said Cubarsí, 19. “Maybe I’m still too young for everything I’m going through right now. But soccer is something to be enjoyed. Opportunities will come your way if you’re willing to make sacrifices and all that.”
For French coach Didier Deschamps, meanwhile, the loss marked his penultimate game with a team he’s taken to two World Cup finals in 15 years as coach. He had earlier announced he would be stepping aside after the tournament. Instead of capping raucous Bastille Day celebrations in France with a trip to the World Cup final, Deshamps and his squad will travel to Miami to play in the third-place game.
Some players knelt at the final whistle, head down, staring at the turf.
“There’s obviously a lot of disappointment,” Deschamps said. “The players are devastated because we had high hopes. Even so, we have to be realistic and acknowledge that today we were a step behind technically against a team that played very well.
If you buy books linked on our site, The Times may earn a commission from Bookshop.org, whose fees support independent bookstores.
“Writers are always selling somebody out,” Joan Didion once wrote. She was talking about journalists, but it can be just as true of novelists. Whether the genre is romantasy or autofiction, making up stories often demands making up stories about real people — exploiting them — to serve a narrative purpose.
Cali Adeline’s debut novel, “People Watching in the Desert,” gives this thorny ethical business an impressively complex treatment for a book that comes on like a beach read. Sonny, its hero, has checked into Sanctuary, a spendy Phoenix-area resort, for an extended stay. She’s 25 and unemployed, and it’s unclear at first how she acquired the funds to splurge on an on-site cottage with a pool, 90-minute massages, and various forced-fun adventures. It’s also unclear why she chose a five-star resort for the splurging, given her discomfort with everything from the menu on down. Sitting down for dinner alone, she “discreetly googled some of the words on her phone under the table: cotija, calabacitas, tabbouleh, bisque.”
Adeline lays out a breadcrumb trail that eventually reveals that Sonny has lugged some especially heavy personal baggage to Sanctuary. Her neglectful, addict mom died when she was a child, only to be replaced with a repressive, overprotective grandmother who stomped on her every ambition. Early adulthood has been defined by failed relationships and uninspiring work. People are to be feared: She’d sooner indulge in croquettes at the resort’s cocktail party than make small talk with other vacationers, and when she braves the world outside her cottage it’s usually with a notebook in her hand.
The early pages of “People Watching” weave Sonny’s perspective with brief sketches of her fellow resort-goers, which usually open with godlike authority: “Allana was ten feet tall and beautiful.” “Chloe and Mark had been married for seven blissful years.” “Dale was invisible. He had that way about him.” The odd bluntness of these statements, combined with their touches of surreality (“ten feet tall”?), makes clear that these mini-bios are scribblings from Sonny’s notebook. Terrified of the world, but determined to better understand what she’s been excluded from for so long, she’s determined to imagine her way into reality.
Sonny’s Walter Mitty-like imaginings do some valuable double duty in the novel. For one thing, they offer some necessary conflict in a setting that’s all about relieving tension. Resorts are, almost by definition, boring, but as Sonny hangs out poolside or does yoga or endures a singing bowl, her mind (and the novel) is reeling with imagined infidelities, deaths, gambling debts and other domestic dramas. Second, her sketches serve as character-defining examples of projection on Sonny’s part, as her observations of others reveal her own concerns about love, sex, money and rejection.
And, of course, she’s deflecting, too — better to make up drama about others than confront her own. The memories Sonny eventually surfaces are more potent than anything she makes up. But they’re also crueler, and you can understand why she’ll think and write about anything but. She recalls a time as a child when she was neglected for days on end and braved a trip to a neighbor for help. “The woman asked Sonny when the last time she took a bath or changed her clothes was and Sonny didn’t know the answer. Her only response was, ‘I’m four,’ as she proudly held up five fingers,” Adeline writes. “She was three.”
Remember the words “beach read” up there? It’s not difficult to predict how Sonny’s arc will curve: It’s a Walter Mitty story, but also an Ugly Duckling story. That notebook full of mini-dramas becomes a source of drama in itself. Say, that bartender is pretty cute, isn’t he? And Sonny eventually integrates with a few of her fellow resort-goers, and learns there’s more to them in reality than her imaginings. As one character gently chastises her, “People can surprise you, Sonny, but you have to let them.”
The pat-ness of Sonny’s Sanctuary journey makes her yet another entry in an evolving genre you might call “Is This Character Concussed?” In these novels, the main character has been so absurdly addled by a (late-revealed) trauma that everyday human interactions are wildly aglow with (at first) terror or (later) manic-pixie wonder. Prime examples include Gail Honeyman’s “Eleanor Oliphant Is Completely Fine,” Sayaka Murata’s “Convenience Store Woman,” and multiple characters in the oeuvre of Sally Rooney and Ottessa Moshfegh. (Women are the most common character in these books, but guys can play too: See Fredrik Backman’s “A Man Called Ove.”) Socially awkward characters offer an opportunity for dry humor and deadpan prose. Because these stories have to dramatize a search for normalcy, its leads tend to be awkward in ways that strain credulity.
But you don’t have to wholly buy into the idea of a character like Sonny to find something intriguing about what Adeline is saying about storytelling throughout “People Watching.” In Sonny’s notebook, every observation is a moral choice, a mini-essay about what proper conduct is, what failure is, how you might get past it, and what our responsibilities to others might be. A notebook is a place of wish fulfilment, and a place for vengeance. Sonny explains at one point that she only started to get free of her grandmother’s clutches once she was capable of imagining her violently erased:
“I wrote a story. About her. And how one day while I was at work the house caught fire. Which wasn’t that far-fetched because the whole place really was a fire hazard. And … and … well, she was asleep inside the house, in the story, and didn’t make it out. I didn’t mean it. I was angry. And it was a story.”
Adeline stresses the word “story” three times in one brief passage. Sonny wants to reassure everybody that she was just making it up. But no writer is, not entirely.
Walt Disney Co.’s “Moana” lost its way at the box office this weekend as the company’s latest live-action remake opened to a sluggish $43 million in the U.S. and Canada.
The domestic haul for “Moana” underperformed studio expectations, which ranged from $60 million to $65 million. Globally, the film brought in a total of $95 million on a production budget of about $250 million.
Despite its lackluster debut, the film still came in first at the box office during a weekend where it had few new competitors in the family film space.
The “Moana” franchise has been a box-office and streaming juggernaut. The original 2016 animated movie brought in more than $643 million worldwide and is the most-watched movie on Disney+, while a 2024 sequel grossed more than $1 billion at the global box office. On the merchandise side, more than 22 million “Moana”-themed toys have been sold. “Moana” also appears in the Disney theme parks.
But the theatrical reception for the live-action film may signal that audiences think there’s been too much “Moana” in just 10 years. (The 2024 film sequel was originally set to be a streaming series before it was moved to Disney’s theatrical calendar.)
Most of Disney’s previous live-action remakes have come decades after the original animated movie, such as 2025’s “Lilo & Stitch,” which arrived 23 years after its animated predecessor and grossed more than $1 billion in worldwide box office receipts.
The theatrical haul for the latest “Moana” may also have suffered from poor reviews — the film got a 34% on aggregator Rotten Tomatoes, with several critics highlighting its nearly frame-by-frame similarity to the original film. The audience score on Rotten Tomatoes, however, was 90%.
Still, as the last of this summer’s major animated films, “Moana” could see a longer tail in theaters, particularly with many children still on break from school. Disney’s live-action “Mufasa: The Lion King” opened in 2024 to a middling $35 million, but ended up grossing more than $722 million globally through the holiday season.
Universal Pictures and Illumination’s “Minions & Monsters” came in second at the domestic box office this weekend with $20.5 million. Disney and Pixar’s “Toy Story 5” continued its strong run with an $18.5-million haul, enough for third place and contributing to a total global gross of $879.1 million.
Warner Bros.’ “Evil Dead Burn” ($13.7 million) and Angel Studios’ “Young Washington” ($6.4 million) rounded out the top five.
Also notable this weekend: Lionsgate’s musical biopic “Michael” crossed $1 billion in worldwide box office revenue, the first time that the studio has reached that milestone and the second film this year after “The Super Mario Galaxy Movie” to hit that mark.
It’s a Tuesday evening, just before sunset, and I am in a meadow thrashing an air guitar with a dozen strangers in Griffith Park.
We take the lyrics to Prince’s “Let’s Go Crazy” literally as we gyrate and bend to the song’s iconic guitar solo, which lasts almost 45 seconds. Huffing and puffing, we leave the meadow, laughing together at the beautiful end of the hourlong “silent disco” hike we completed along one of the park’s dirt trails.
I stay for an extra 45 minutes, talking to two other dancers whom I hope become future friends — and that we all dance together again soon.
You are reading The Wild newsletter
Sign up to get expert tips on the best of Southern California’s beaches, trails, parks, deserts, forests and mountains in your inbox every Thursday
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
That night, I participated in Dance Quest’s silent disco hike, a new way to experience Griffith Park where participants shimmy and shake on a trail alongside L.A. improviser and comedian Kristen Smith.
For a suggested donation of up to $25 — Smith emphasizes that no one will be turned away for lack of funds — participants don headphones and hike as they listen to a playlist that Smith has curated. That Tuesday night’s playlist included Donna Summer, Madonna and Carly Rae Jepsen (whom Smith unapologetically stans).
Smith plans to host at least two night hikes a month, but will schedule more if those events sell out. She’s taking a brief pause, though, because her wife gave birth to their second child last Thursday.
Dance Quest leader Kristen Smith pumps her fists in the air on an overlook along a trail in Griffith Park.
(Jaclyn Cosgrove / Los Angeles Times)
I’m kind of an experiential purist when it comes to hiking — never headphones, never music. I love putting my phone away and just being there with the trees and bees. I couldn’t help but wonder: Would this silent disco ruin or enhance the outdoors experience?
I was pleasantly surprised by the answer, but I think it largely depends on who leads the dancing.
Smith, a tribal member of the Chickasaw Nation who identifies as two spirit and uses she/they pronouns, said they were inspired to start Dance Quest while on a trip to Scotland in 2024 to celebrate their mother’s 70th birthday.
Kristen Smith of Dance Quest leads hikers on a silent disco trek through Griffith Park.
(Jaclyn Cosgrove / Los Angeles Times)
While out and about, Smith and her mom spotted Guru Dudu, a character created by Melbourne-based performer David Naylor, leading a silent disco through the streets of Edinburgh.
“That looks fun,” Smith’s mom said.
They both signed up for a tour, led by Dudu, who wore a purple sequin jumpsuit.
“We danced through the very crowded streets of Edinburgh, and it was the most fun I’d had in such a long time,” Smith said.
L.A. artist Heidi Neilson, center, dances alongside other silent disco hikers in Griffith Park.
(Jaclyn Cosgrove / Los Angeles Times)
Smith, who’d spent years performing on stages throughout L.A., had been stuck inside and away from people for much of the COVID-19 pandemic.
In summer 2021, just as vaccines were becoming available and it was becoming safer to gather with groups indoors, Smith was diagnosed with follicular lymphoma, a type of non-Hodgkin lymphoma.
Smith’s summer was soon full of surgeries and tests until they started chemotherapy that September, receiving a dose every three weeks until early 2022, when their doctors switched Smith to chemotherapy every three months.
Smith’s treatment was going well, but that didn’t mean an immediate return to normalcy was on the horizon. Her doctors said Smith and her family needed to assume Smith’s COVID-19 vaccine didn’t give her immunity to the virus.
As Smith watched her friends return to a semblance of their pre-pandemic lives, she worked inside at her Nickelodeon job, grateful for health insurance and employment in the entertainment industry, but missed the joy and connection that comes with performing.
Kristen Smith of Dance Quest is surrounded by silent disco dancers in Griffith Park.
(Jaclyn Cosgrove / Los Angeles Times)
Smith kept wondering how they could find a way to remain active and connect with others. Plus, being outside remains the safest option for Smith to be around people, as the type of cancer they have is not considered curable and is managed like a chronic illness.
“I know that one of the things that I offer to the world is joy and sparkly effervescence,” Smith said. “I was like, ‘What can I do to be my own boss, is something that’s of service to people in this time of darkness and is also good for me as well?’”
During the silent disco in Edinburgh, Smith realized as they danced alongside others that they felt like they were performing and letting go in a way they hadn’t been able to do in a long time. “When we finished, I was like, ‘I can do this,’” Smith said.
Smith told their mentor at Nickelodeon about their idea to start Dance Quest and they immediately encouraged them to give it a shot. Smith bought the equipment the next week and launched Dance Quest, her company that hosts the silent disco hikes, earlier this year. After doing a test run with friends and family, they started hosting events in the park.
When I arrived to the silent disco, I quickly met my fellow dancers, a welcoming group of people ages 5 and older. I liked that I could adjust the volume on my headphones rather than listen to music all at the same volume.
Holly Gray, an L.A. event planner, throws her arms in the air alongside other dancers in Griffith Park.
(Jaclyn Cosgrove / Los Angeles Times)
We took a wide dirt path in the park that’s not as popular as other routes, which allowed us to spread out and really do whatever we wanted. I quickly realized this was primarily going to be a lot of frolicking to a good beat, which was exactly what I wanted.
Along the way, Smith pointed out invasive plants like black mustard and native plants and animals that live in the park. Whenever a hiker headed our way, we made a tunnel of “spirit fingers” for them to pass through, which I detected 95% of people actually enjoyed. In today’s fast-paced and often negatively focused world, it’s kind of nice to turn a corner and find strangers cheering for you.
Smith, who taught improv to children, teenagers and business professionals, will not force participants to dance. That isn’t the purpose of Dance Quest.
Kristen Smith of Dance Quest, center, leads two children along a dirt path in Griffith Park.
(Jaclyn Cosgrove / Los Angeles Times)
Rather, it’s to find joy with others and escape the harsh political environment that queer and BIPOC people face on a daily basis.
“When you put on the headphones, you forget how you look, and hopefully I provide a no-pressure environment where, however your body tells you to move, you move that way,” Smith said. “And there’s strength in numbers with the silent disco.”
3 things to do
Families play volleyball at an L.A. County overnight camping event at a local park.
(Los Angeles County Department of Parks and Recreation)
1. Camp with family and friends around L.A. Los Angeles County Parks and Recreation will host family campouts on weekends in July and August at five of its parks. That includes campouts at Castaic Lake Recreation Area at 6 p.m. Friday; Frank G. Bonelli Regional Park in San Dimas at 6 p.m. Friday; Kenneth Hahn State Recreation Area at 6 p.m. July 17; and 6 p.m. July 24 at Santa Fe Dam Recreation Area. Those parks, along with Whittier Narrows Recreation Area, will host additional family campouts in August. General admission is $15. Children age 13 and younger are free. To register, visit anc.apm.activecommunities.com.
2. Clear out streambeds in L.A. Friends of Griffith Park needs volunteers from 8:30 to 11 a.m. Saturday in the park’s Fern Dell hiking area. Participants will clean streambeds and trails, yanking weeds and restoring habitat. Learn more at friendsofgriffithpark.org.
3. Kayak the L.A. River near Van Nuys L.A. River Expeditions will host a two-hour kayak tour at multiple times Saturday through the Sepulveda Basin, a lush area of the Los Angeles River. Paddlers will move through the tree-lined, mud-packed riverbanks, observing local fish and birds. Trips are at 9 a.m., 12:30 p.m. and 3:30 p.m. Tickets are $53.74. Register at eventbrite.com.
The must-read
Mary Saba Tehran takes part in a Mindful Archery class at the Woodley Park Archery Range in Van Nuys.
(Eric Thayer / Los Angeles Times)
Times staff writer Deborah Vankin recently learned via a bow and arrow the importance and freedom that can come with literally letting go. Vankin wrote about her experiencing at Mindful Archery, a course led by spiritual counselor and archer Angie Fadel at Woodley Park Archery Range in Van Nuys. Fadel said her goal is to help female and BIPOC participants release something holding them back or take aim at a goal. “An archery range can be a very white, male-dominated space,” she said. “And the stance, with a bow and arrow in your hand, shooting — it’s very male. And [men] don’t have any problem, most of the time, taking up space. So it is a practice to remind ourselves, as a queer woman, a trans person, nonbinary person, anybody that’s kind of othered in our society, to be able to take up space. To adopt a power stance and be, like, ‘I’m allowed to be here.’”
Happy adventuring,
P.S.
Great news! State lawmakers have selected the California State Library park pass to receive ongoing funding in future budget cycles. Previously, lawmakers had to approve funding every year for the program to be added into the state’s budget, according to the California State Parks Foundation. This development means Californians will be able to check out a state parks pass for free at their local library for the foreseeable future, unless a governor or the Legislature announces otherwise. In L.A. County, participating parks include the Antelope Valley California Poppy Reserve, Leo Carrillo State Park, L.A. State Historic Park and Malibu Creek State Park. You can find out which library near you offers the pass by visiting this interactive map. Have fun out there!
For more insider tips on Southern California’s beaches, trails and parks, check out past editions of The Wild. And to view this newsletter in your browser, click here.
The World Cup final halftime show already was going to feature three superstar acts with 121 Billboard Hot 100 hits, 20 No. 1 singles and 12 Grammy Awards among them.
Somehow that must not have been enough star power, because another performer with 123 hits, eight chart toppers and two Grammys has been added to the lineup.
Bieber was announced Wednesday as the fourth co-headliner for the July 19 intermission extravaganza at MetLife Stadium in East Rutherford, N.J., joining South Korean boy band BTS, U.S. pop culture icon Madonna and Latin music superstar Shakira.
Four gigantic worldwide acts might seem like a lot to cram into an 11-minute (!) show, but apparently curator Chris Martin doesn’t see it that way. In addition to the quartet of headliners, Martin also has lined up Nigerian Afrobeats performer Burna Boy, soon-to-be-departing Los Angeles Philharmonic conductor Gustavo Dudamel and Staten Island elementary school choir the PS22 Chorus (which will be performing with Martin’s band Coldplay).
Oh yeah, the Muppets will be there, too. Bieber will be lucky if he gets a chance to sing a bar or two from a list of hits that includes “Peaches,” “Sorry,” “Love Yourself” and “Daisies.”
Nonetheless, he seems happy to be part of the festivities, which will support the FIFA Global Citizen Education Fund, weeks after attending the U.S.-Paraguay game at SoFi Stadium, where he gave a surprise performance of his song “Yukon” in a backstage area.
“The FIFA World Cup brings the world together in a way nothing else can,” Bieber said in a statement. “I’m grateful to be part of this Halftime Show, and even more grateful knowing it’s already helping expand access to education for children around the world.”
One song that is sure to be featured during the set is this year’s World Cup anthem, “Dai Dai,” by Shakira and Burna Boy. The two acts already performed the song during the tournament’s opening ceremony in Mexico City.
Speaking of hit collaborations, Madonna recently charted with “Bring Your Love,” a duet with Sabrina Carpenter. Not to start any rumors, but surely they can squeeze one more pop superstar onto that stage, right?
The fatal shooting of a Houston man by a federal immigration officer Tuesday marks at least the eighth death during the Trump administration’s immigration enforcement campaign, and the first fatality amid a newly intensified push by the administration to carry out its mass deportations agenda.
Department of Homeland Security officials said in a statement that Lorenzo Salgado Araujo, a Mexican national, ignored commands while trying to evade arrest during an enforcement operation. They say he attempted to ram his car into an agent, who opened fire in self-defense.
Araujo’s family said he was on his way to work at a construction job. He died on the way to the hospital.
The fatal shooting drew immediate criticism from immigrants rights groups and some Democrats who called for an independent investigation and for all footage, communication and evidence to be preserved.
Video footage in several previous shootings has contradicted the accounts of federal officers. No immigration officers have been charged in those fatal encounters.
Man shot during vacation trip traffic stop
A fatal late-night traffic stop in Texas in March 2025 marked the earliest deadly shooting by federal officers during the nationwide immigration crackdown. It took almost a year for records in the fatal shooting of the 23-year-old U.S. citizen to be disclosed.
A Homeland Security Investigations team was conducting an immigration enforcement operation with local police when agents stopped Ruben Ray Martinez, who was on his way from San Antonio to South Padre Island. Family members said he had just turned 23 and was with his best friend on his way to celebrate.
DHS officials said Martinez was told to exit the vehicle, but he refused and instead “intentionally ran over” an agent. Another agent fired shots through the open driver’s window, striking Martinez, who died at a hospital. The HSI agent was treated for an undisclosed knee injury.
Martinez’s mother said she was contacted by investigators with the Texas Rangers who told her there was video that contradicted the account given by federal agents. Federal and state authorities have declined to comment on potential discrepancies.
Nurse shot during Minneapolis protest
A Border Patrol officer shot and killed Alex Pretti, a 37-year-old nurse, during a Jan. 24 protest against the Metro Surge immigration operation in Minneapolis.
Federal authorities immediately described Pretti, a U.S. citizen, as an armed agitator who was a threat to officers. But bystander video showed Pretti was on the ground and had been holding a cellphone during the interaction with officers.
The video showed an officer appearing to pull a gun from Pretti’s waistband and step away before the first shot was fired by another officer, followed by more shots. Pretti had a permit to possess a firearm.
State and local officials pushed back against the federal officials’ initial characterizations of Pretti, with Gov. Tim Walz calling the comments “despicable.”
Driver shot behind the wheel of an SUV
Renee Good, a U.S. citizen, was repeatedly shot by an Immigration and Customs Enforcement officer in Minneapolis on Jan. 7. Videos show she was turning the wheels of her car away from an officer, Jonathan Ross, when he opened fire. Trump administration officials have repeatedly defended Ross, claiming his life was at risk from the moving vehicle.
Good’s death caused a firestorm across the country. The U.S. Justice Department said it wouldn’t share information on the shooting with state authorities.
State and local officials subsequently sued to try to stop the immigration sweeps. Protesters with whistles trailed officers who, in response, deployed tear gas and other chemical irritants.
Cook from Mexico shot during a traffic stop
ICE agents fatally shot Silverio Villegas González during a traffic stop Sept. 12 in suburban Chicago. Relatives said the 38-year-old line cook from Mexico had dropped off a child at daycare that morning.
At the time, DHS officials said agents were pursuing a man with a history of reckless driving who was in the country illegally. They alleged Villegas González evaded arrest and dragged an officer with his vehicle.
Homeland Security said the officer opened fire fearing for his life and was hospitalized with “serious injuries.” However, local police videos showed the agent walking around and dismissing his injuries as “nothing major.”
DHS has said the death remains under investigation.
Farmworker fell from greenhouse roof during ICE raid
Authorities were arresting dozens of farmworkers July 10 at Glass House Farms in Camarillo when Jaime Alanis fell from the roof of a greenhouse and broke his neck. The 57-year-old laborer from Mexico died at a hospital two days later.
Relatives said Alanis had spent a decade working at the farm. During the raid, Alanis called family to say he was hiding. Officials said he fell about 30 feet from the greenhouse roof.
Homeland Security said Alanis was never in custody and was not being chased by immigration authorities.
Man struck on California freeway after running from officers
A man fleeing from immigration officers outside a Home Depot store in Monrovia died after being hit by an SUV as he tried to cross a freeway on Aug. 14.
Monrovia police said ICE agents were conducting enforcement operations when the man was hit while running across the eastbound lanes of the 210 Freeway.
The man, identified by the National Day Laborer Organizing Network as Carlos Roberto Montoya Valdez, 52, of Guatemala, died at a hospital.
Homeland Security said Montoya Valdez wasn’t being pursued by immigration authorities when he ran.
Gardener from Honduras killed on Virginia interstate
A pickup truck fatally struck Josué Castro Rivera on a highway in Norfolk, Va., as he tried to escape authorities during a traffic stop on Oct. 23.
Castro Rivera, 24, of Honduras, was heading to a gardening job with three passengers when ICE officers pulled over the vehicle, according to his brother, Henry Castro.
State and federal authorities said Castro Rivera ran away on foot and was hit by a pickup truck on Interstate 264.
Homeland Security said Castro Rivera’s vehicle was stopped as part of a “targeted, intelligence-based” operation and that Castro Rivera had “resisted heavily and fled.”
Bynum and Lauer write for the Associated Press. Bynum reported from Savannah, Ga. Lauer reported from Philadelphia. AP reporters Ed White in Detroit; Sophia Tareen in Chicago; and Michael Biesecker in Washington contributed to this report.
Lasser was born in New York City on April 11, 1939, to parents Sol Jay Lasser, a tax specialist, and Paula Lasser, a designer. She attended Brandeis University, where she majored in political science and performed in musicals and cabaret. She dropped out her senior year to pursue acting.
“My career started almost too easy,” she told the Times in 1975. “In New York the first agent I met sent me on my first audition, and I was signed for a show-stopping part [a replacement for Barbra Streisand in ‘I Can Get It for You Wholesale’]. After that there was a flood of offers.”
She told the Times that she found it frightening to hit it big with such little training.
“I had to feel prepared,” she said. So, she studied under actor and acting teacher Sanford Meisner and worked hard.
“I feel so strongly that what is worth doing is worth doing the very best you can. But it’s so important to know what you want to do. How you can develop your potentials to the highest, live your life to the richest and fullest.”
Lasser joked in a 1976 article in the Times that her role as Mary Hartman might merit identification beyond being Woody Allen’s ex-wife. The two met in 1962 on a double date — with other people — but their chemistry was potent, and they began working together on various projects, including in her first project for television, “The Laughmakers,” an unaired pilot penned by Allen.
“When we met, I was seeing a friend of his. It was one of those things, well if you think you’re complicated, you should meet so-and-so. And it was Woody,” Lasser told the Toast in a 2013 interview. They “were meant to be in the same playpen,” she said. “Immediately we just connected. He was with somebody … oh, he was married, that’s right. … So, I met him, and it was so clear the whole night the four of us were there, and neither of us are talking to anyone else, do you know what I mean? … We really understood what the other was saying.”
The two were married from 1966 to 1970. Lasser acted in Allen’s “Take the Money and Run” (1969), “Bananas” (1971) and the 1972 film “Everything You Always Wanted to Know About Sex (But Were Afraid to Ask).”
Through the early ’70s, she appeared in various TV movies and television shows including “The Bob Newhart Show” and “The Mary Tyler Moore Show.” Somewhere along the way, the biggest producer in television caught wind of Lasser’s chops and wanted her for his pet project, a parody of sudsy daytime dramas called “Mary Hartman, Mary Hartman.”
During an interview featured in an oral history of American TV by the Television Academy Foundation, Lear said he’d brought the script for the series to a colleague, and they read it and said, “You can’t do this without Louise Lasser.”
“She came in my office, started to read the lines, and forget it,” Lear said. “There’s only one Louise Lasser.”
Lasser, put off by the soap opera nature of the show, turned down the role five times.
“I kept saying, no, it’s just not right,” she said during a 2000 reunion for the show. “I had no job, no money. … I just was that way, so after the fifth meeting, I said to my manager, ‘You mean he’s not going to call again?’
“Then my friend said, ‘You know, I think you really don’t want to say no.’ So I thought to myself my rationalization was, well, maybe it’d be really good for me to work for 52 weeks out of a year.”
Lasser starred as Hartman in 315 of the show’s 325 episodes over the course of an 18-month run.
You turned 250 on Saturday and, honestly, you don’t look a day over 249. (Ha ha.)
Seriously, it’s perfectly understandable why there’s more gray on your scalp and deeper worry lines on your face. This last year has been another challenging one, to say the least. (And we thought the one cataloged 12 months ago in this space was rough.)
The country is caught up in an unpopular, on-again, off-again war with Iran that was recklessly launched by President Trump with far more swagger than foresight. In an utterly predictable move, Iran choked off the the Strait of Hormuz, a vital passageway for the world’s oil, sending gasoline prices skyrocketing. Though they’ve fallen since the announcement of a shaky ceasefire agreement, the cost of filling up is still significantly higher than a year ago.
The ground beef served up at many July 4 cookouts costs 75 cents a pound more than it did a year ago. A package of hamburger buns is up 15 cents. The price of hot dogs and other picnic staples have also increased, along with just about every other item at the grocery store.
Chew that over with your corn on the cob. (Up roughly 2.5% from July 2025.)
Meanwhile, Trump enriched himself to the tune of $2.2 billion during his first year in office alone. Treating the U.S. treasury like his personal cash cow, the president has lavished hundreds of millions of taxpayer dollars on vanity projects such as a personally kitted out Air Force One — a “gift” from Qatar that Trump plans to keep after retirement — and a gilded White House ballroom, rising where the demolished East Wing used to stand. Plans are underway for a grand, marble arch in Washington celebrating, well, you know who.
But, heck, if it’s any consolation on this star-spangled holiday weekend, the country has been through worse. Much worse. And you, America, have not only survived but in many ways grown stronger by surmounting obstacles, facing down your flaws and overcoming some knee-buckling, soul-crushing challenges.
But it’s worth noting that earlier court majorities held that Black Americans — “beings of an inferior order,” in the words of the wretched Dred Scott decision — could be denied citizenship, that racial segregation was constitutional and that compulsory sterilization based on eugenics was perfectly fine from a legal standpoint.
That ugly, sordid history won’t necessarily make anyone feel better about the current state of affairs, nor should it. But it does offer some perspective and, with it, hope.
This weekend is best celebrated honoring the country’s many good things and the bright, shining place that America aspires to be, with liberty and justice for all. So chin up! Have another slice of birthday cake, America, and don’t worry about the calories — you really do look terrific for 250!
Going forward it’s up to us, your citizens, to keep working toward that more perfect union mentioned in the preamble to the Constitution. Whatever ails you, America, the remedy resides with we the people and the power we hold, particularly at the ballot box.
As Dodgers third baseman Max Muncy moved fluidly through a chopper at the edge of Camelback Ranch’s infield grass and made a running throw to first, his offseason work started to snap into place.
He wasn’t thinking about the angle he took to the ball, or how to get into the right position to throw — or anything, really. He was just moving instinctively.
“That’s how I like to field it in my work, is not necessarily traditionally,” Muncy told The Times on Thursday. “I like to field it one-handed, sometimes off the wrong foot, sometimes off balance, and that’s what works for me really, really well. I just couldn’t get that into the game. And finally getting those first couple of balls [this spring] to go that way just made everything click in my head and gave me the freedom to know that I can do it when it matters.”
Muncy has put together an impressive all-around first half. His .871 OPS through Thursday leads NL third basemen. He’s on pace for his highest slugging percentage (.513) in five years. But he’s most proud of the work he’s put in on the defensive side.
“I felt like I would show flashes of this, but never the consistency,” Muncy said. “And so to be able to just do it on the consistent daily basis that I’ve been doing this year, that’s easily what I’m most proud of.”
Now, with that well-rounded body of work, he’s in position to claim the third All-Star selection of his career and first since 2021.
Muncy entered Stage 2 of All-Star fan voting this week as the favorite to claim the starting nod at third base, up against fellow finalist Alec Bohm. But voting totals reset, adding some unpredictability to the process. The All-Star starters are set to be revealed Saturday at 4:30 p.m. on Fox.
“In total, the player, the defense, the hitting, the slugging, I think this is the best version of Max,” manager Dave Roberts said. “I’m so happy that he’s leading the All-Star voting.”
Not only is this shaping up to be Muncy’s best offensive season since 2021, it’s the best defensive season of his career, regardless of position.
Entering this weekend’s series against the Padres, he had a fielding run value of plus-five runs, tied with the Giants’ Matt Chapman for the highest mark among third basemen, according to Statcast.
“He’s always been a hitter,” first-base/infield coach Chris Woodward told The Times. “And I think he took it upon himself to say, ‘I’m going to prove to everybody that I’m a really good defensive player,’ which he has been in his time here, but he’s just never had the opportunity to play one position.”
Though Muncy is in his 11th major-league season, and has played all around the infield for most of it, 2022 marked his first season making the majority of his appearances at third base. And 2023 was his first season moving there full time.
He was also limited by injuries in that span. For years, he still felt the effects of the elbow injury he suffered toward the end of 2021. And he strained his right oblique in each of the last two seasons.
“Third base was just a new position for me, and it just took time to learn it,” Muncy said. “And so just trying to get my work to translate into the game is a tough thing to do, and that’s kind of the secret to every aspect of baseball.”
Each infield position is unique, with its own quirks in footwork, angles and timing. Each has plays — like a slow-roller up the third baseline that requires a quick throw across the diamond — that no other position will encounter.
“When a righty gets around the ball, it comes off the bat a lot different than when a lefty gets around the ball,” Muncy said. “And it’s weird how that works, and it’s hard to explain, but that’s just the way it is.”
For much of Muncy’s baseball life he played on the right side of the infield, fielding pull-side contact from left-handed hitters and opposite-field contact from right-handed hitters. That was second nature.
“You have to completely flip that,” Muncy said of playing third base, “and understand which way it’s going to bounce, how it’s going to bounce, how it’s going to get to you. It just took years of experience to finally get to that point.”
Dodgers shortstop Mookie Betts, left, and third baseman Max Muncy congratulate each other coming off the field after a defensive play against the Baltimore Orioles on June 19.
(Gina Ferazzi/Los Angeles Times)
Woodward has always been impressed by Muncy’s agility, surprised when the Dodgers first promoted him in 2018 (as he returned to the big-leagues for the first time since being released by the A’s the previous spring) and by how he moved at second base, despite an atypical build for a middle infielder.
Now, after an offseason with a new diet and training program, he may have leveled up that part of his game — even at 35 years old.
“In the past it was a good first step, and he couldn’t sustain his speed,” Woodward said. “And this year I think he can sustain the speed through the ball.”
Said Muncy: “I’m still beating the age curve for now.”
Woodward also noted how good Muncy is at staying on top of the mental side of the game, knowing how specific pitches to different types of hitters should change his positioning. That, along with regular communication, are some of the details that make the Dodgers infield look like it’s moving as a unit — or, as Woodward put it, an “NFL defense” because of the way they swarm to the ball.
The Dodgers’ infield defense as a whole has improved even from last season (No. 6 in fielding run value) to sit in the No. 3 spot in the majors (plus-17 runs) a little past the halfway point of the season.
Muncy unlocking even more potential in the hot corner is a big part of the Dodgers raising their defensive ceiling. That’s helped the Dodgers, who own the best record in the majors, create separation in the standings. But it’ll be even more vital in the postseason, when the margin for error is at its thinnest.
In All-Star voting, defense won’t be the determining factor. Muncy’s increased power at the plate is the far flashier aspect of his case to start the Midsummer Classic. But a well-rounded resume doesn’t hurt.
Muncy can picture it: his three children — Sophie Kate, who turns 5 this month, Wyatt James, 3, and Macie Grace, who was born in January — taking in All-Star weekend in Philadelphia, watching their dad represent the National League.
“Being able to have my kids experience the whole ordeal with me would mean everything to me,” Muncy said. “My oldest is kind of old enough now to remember these types of things, and so I think it’d be really special to just share that moment with them.”
In an era hallmarked by what experts call a “sexrecession,” Six Sex is a symbol of liberation.
The Argentine baddie fashions herself as a baby-voiced, bikini-clad fembot, beamed in from the clubs of Buenos Aires — and has become known for cheeky, instructive celebrations of desire. Her songs are designed to galvanize like-minded club rats into Dionysian revelry, or, in the case of the song “How to Make Your Ass Bigger,” squats.
To a certain subset of the Latine underground, she represents a pure-hearted hypersexuality. Yet, for the artist behind the persona, Francisca Agustina Cuello, this wasn’t always the intention.
“I don’t know if it was because I still had to keep my innocence or what, but I didn’t envision the project that way,” she said, calling from a hotel room in Barcelona. “That response sort of came about from the people, towards me. So, I said OK, I’m making it my own.”
In doing so, Cuello has churned out six thumping EPs as Six Sex, a campy character that she describes as a “fable” — a mix of “fantasía y hedonismo.”
That dynamic is taken to extremes on her debut album, “Ultra”, released June 6. It’s a dark and propulsive journey through decades of electronic dance music, best described by its own opening words portending “ultra terrorific fantasy.” (The phrase conjures up images of grandeur, but really, it evokes that “Blades of Glory” quote: “no one knows what it means, but it’s provocative.”)
“I feel like nothing I say is all that serious,” she said about her lyrics. “It’s a thing about my personality to be silly and goof around.”
“Ultra” centers Cuello’s winking, suggestive sense of humor. “Not Your Mom” features a conversation with a garbled, omnipotent voice akin to the parents in Charlie Brown; “FUchi!” features schoolyard taunts about “low dickie energy;” the album ends with “No More Porn,” a playful yet powerful subversion of sexual expectations.
“At the same time, for me, that acts as a filter,” she added with a laugh. “Weeding out the people who get scandalized by it, and identifying the people who get it and say: ‘Yas, yo también quiero tener cuatro novios.’”
Earlier this year, Cuello took the stage at Don Quixote, performing in front of a sold-out crowd for her Los Angeles debut. The smell of sweat permeated the air as she ripped through several of her hits — including collaborations with Reysha Rami and German producer MCR-T. Every single one of her signature ponytail flips sent the room into hysterics. The audience screamed every word at the top of their lungs; it was the loudest, most raucous show I’d been to in years.
Cuello took a breather in the middle of her world tour to chat with De Los over Zoom about all things Six Sex: her new record, her writing style and how it feels to connect with fans spun into febrile intensity.
This interview has been condensed for clarity and was translated from Spanish to English.
“[I’m] weeding out the people who get scandalized,” says Six Sex of her provocative music.
(Catalina Jacobo)
I was really taken by the “Ultra” album cover. You’re wearing a white bikini and in this “come to Jesus” pose. What was the goal? [laughs] It was hard, because I wanted the cover to represent what the entire journey of the album meant to me. I was looking for something strong and heavy in visual terms, because with “Ultra”, this is the first time I’ve finished a long, heavy project and I see the start of something. It’s like something new was unlocked. I found a new way to convey feelings, and a new way to create as well. It’s not like I just finished, and it is what it is. Rather, it is the beginning of something bigger.
Is there an element of separation at all between the artistry and you as a person? I think they’re pretty close. It’s as if Six Sex was sort of a fable, or like a hentai or comic [version of] my life. It’s also happened that things I wrote as a joke later became reality. But generally, I draw inspiration from things that actually happened to me.
Is it weird to put those intimate experiences on an album? No, not for me. Because I’m not speaking so seriously, I don’t feel exposed. Even though my persona and my character are very close to one another, I don’t have to prove anything to anyone. I’m not trying to make you believe in something. The songs stop being about me as soon as someone else listens to them. There are certain things we can all see ourselves represented in, and I think my music aims for that, too.
I want to ask about your performance style. I saw you live in Los Angeles and was really taken by the energy exchange between yourself and the crowd. How do you approach live performance? Nowadays, I’m in a balance between performance and being a human being that connects with people and can pause to look in the eyes of the audience to register how they feel. I like being in a showgirl role, and at the same time, knowing when to step out of it.
Sometimes I go up there after having a crappy day, thinking that I’m gonna screw it up. And when I get up there and connect with the people, everything flows in a perfect way.
Does the music transform when it’s performed live, versus on a record? A lot of your music seems designed to be played in the club. I think it’s very personal. For me, I’m a bit autistic; sometimes when I’m at a show, I get different sensations. It really depends on the person. I like seeing people’s reactions live when I start playing these songs for the first time. People were super hyped. They were enjoying them and jumping around a lot. It feels really fresh.
You reference ‘90s club classics all over “Ultra,” including by U.K. band the Prodigy on “Bitch Up.” How did these sounds come into your life? These sounds evoke a special kind of nostalgia for me. Even though I hadn’t been listening to them lately, they sounded like something I wanted to bring back to the table — songs my uncle used to listen to when I was really young. Like a CD [of] pirated songs that somehow ended up at my house, and at the time I was like, “Wow, what is this music?”
There’s an element of Six Sex that gives “fembot,” like a female, sexy robot. I’m curious if you feel that playing out in your work. [laughs] I didn’t know about the fembot thing. I don’t use Twitter. I [keep] a bubble… against some things that I don’t know. But I’ve always liked the idea that people have that perception of me, to some extent.
How do you feel about the rise of AI as a musician, especially considering your persona adopts that perception? I mean… I don’t have a formed opinion on the matter. I do think that, I don’t know, it’s all very relative. For one thing, I obviously feel like it strips away the human value, but at the same time, it’s also a tool for humans. So it’s kind of contradictory. I feel weird about it…. I don’t know.
Zooming out, I’ve noticed Argentina has been having a musical moment over the last few years between yourself, Ca7riel y Paco Amoroso, Juana Rozas… How do you feel Argentina being represented or even challenged in your music? I feel that culturally, Argentina is a very rich country. However, I do feel like, over generations, a paradigm was broken, and new sounds have been created that don’t necessarily abandon the roots of our music, but were created out of counterculture.
That same kind of counterculture is what makes Argentina be in such turmoil. It’s also the context of our country. Economic, political, social. The key Argentinian figures we refer to nowadays are constantly changing. And that allows you to listen to a variety of genres from Argentina, from people doing different things, and at the same time raising the flag and saying: “Yo soy argentino.” And we love that.
Cut to a seedy alley behind a Chinese restaurant in Rome: A dozen mobsters menace a slight young man who suddenly pulls out a pair of nunchucks. He swings the traditional stick-and-chain weapons and makes quick work of his enemies, who fall one by one, groaning in pain.
The comedic, legendary action scene is from the 1972 film “The Way of the Dragon,” written, directed and starring Bruce Lee. The martial arts star was a trailblazer, allowing Asian Americans to see themselves represented in a strong, positive light on-screen.
And now he has secured a place in California history, becoming the first Chinese American in state history to have a day designated in his honor.
Lee was born in 1940 in San Francisco. His mother was of European descent and his father was a Cantonese opera star who was on tour in the city, affording his son birthright citizenship.
Lee grew up in Hong Kong, where he followed his father’s path as a performer, acting in more than a dozen films as a child and studying the close-quarters southern Chinese martial art Wing Chun.
On May 17, 1959, an 18-year-old Lee returned to San Francisco and eventually made his way to Hollywood. He went on to influence an industry that was at the time bereft of Asian American talent, and helped to popularize the genre of martial arts films and ignite Western interest in Hong Kong action cinema.
In recognition of his contributions, state Assemblymember Matt Haney (D-San Francisco) introduced a bill designating May 17 as “Bruce Lee Day” in California. The bill, signed into law Tuesday by Gov. Gavin Newsom, encourages schools and communities to honor Lee’s life and cultural impact.
Haney has described Lee as a “symbol of pride, resilience and possibility for generations who rarely saw themselves reflected with strength and dignity.”
Lee, who saw himself not only as an actor but also as a poet and philosopher, encountered repeated barriers. Up for the main role in the 1970s television series “Kung Fu,” for example, he was rejected in favor of white actor David Carradine.
In 2020, filmmaker Bao Nguyen sought to show how Lee dispelled anti-Asian sentiment and long-held stereotypes of emasculated Asian men in his ESPN documentary “Be Water.”
“The Asian male was the face of the enemy to many Americans,” Nguyen told The Times in 2020. “It was this vicious cycle of society reflecting media and culture, and media and culture reflecting society. There had to be some kind of intervention there and Bruce, in a way, was that intervention. He was the hero that we hadn’t seen before.”
Lee learned much about the systemic oppression that Black Americans faced from his first student, Jesse Glover, who had been a victim of police brutality.
And scholars have pointed out that, although his films had far-from-perfect politics, they touched on themes of fighting oppression. The 1971 movie “The Big Boss” showed Lee battling alongside laborers. “Fist of Fury” saw him opposing Japanese colonialism and discrimination.
Lee died young in 1973, at age 32 — before he was able to witness the full extent of his stardom. He died just one month before the release of “Enter the Dragon,” which was a box-office sensation and is considered a masterpiece of martial arts filmmaking.
It’s the 250th birthday of the United States of America and how better to celebrate than with a big-screen hagiography of America’s first president, George Washington? “Young Washington” arrives in theaters just in time for the Fourth of July with a chiseled, hot young actor in the lead role and the sheen of a prestige HBO drama, though the result isn’t really big-screen spectacle or appointment television. It feels more like something to be watched on the AV rig in a middle school social studies class. At least there won’t be a quiz at the end.
But there could be, because the plot of “Young Washington” plays out with all the thrill of a textbook chapter. It takes place mostly around 1753-55, at the advent of the French and Indian War. We open in medias res when the 23-year-old Col. Washington (William Franklyn-Miller) lurches from a dysentery-riddled nap directly into battle in the Pennsylvania woods, his battalion on the back foot, surrounded by gore and gunpowder. Another officer describes how dire the situation is while George ponders saving his men and asks, “What could be worth the risk?” Washington steels his gaze and we cut to black. You can almost hear the eagles scream, guitars riff and engines rev.
“Young Washington” is produced and distributed by Angel Studios, the faith-based movie studio that churns out films based on true stories that either feature freak accidents, strange illnesses or, more recently, unique stories from the past in which faith in God is a factor. Apparently, our nation’s founding also falls under this umbrella.
The film is directed by Jon Erwin, one of the in-house Angel Studios mainstays, who also helmed “Jesus Revolution,”“I Still Believe” and “I Can Only Imagine.” Erwin gives the whole project a kind of gritty, visceral approach — very “Game of Thrones” in red coats. It’s violent, muddy, the contrast is high and too many drone shots soar over the forest treetops.
Though it opens with a bang, this 1755 battle framing device gives way to the George origin story, starting with his father’s death 12 years earlier, when the 11-year-old George is bereft that he’ll have to sacrifice his education in order to become a tenant farmer and provide for his family including his mother, Mary (Mary-Louise Parker, doing a bizarre accent).
His older half-brother Lawrence (John Foss) takes him under his wing and teaches him, and the young George grows into a smart, bright, ambitious young man, whose dreams of becoming a British officer are dashed because he doesn’t have formal education, a fortuitous marriage or his own land. But he’s bootstrapped himself into intelligence and with savvy networking and know-how, he becomes indispensable to the British, volunteering as a major to survey land and negotiate treaties with the Native tribes and French army. It’s all a bunch of politicking and petty disputes until it escalates into all-out war thanks to an ill-advised ambush.
Sir Ben Kingsley, Kelsey Grammar (who starred in “Jesus Revolution”) and Andy Serkis play the British officers who begrudgingly, at times, believe in George and his capabilities, though a lot of the film is about a young man getting rebuffed by snobbish British officers.
He’s the kind of character who always makes the noble choice, does and says what’s right, and sees everyone as equals (including enslaved African men and Native American allies). He inspires his brother and others that the world can change and takes inspiration from his mother, who encourages him to continue his path and do it as God’s servant.
Unfortunately, this doesn’t make for a character that’s in any way complex or interesting at all. Franklyn-Miller is certainly pretty, serving as a fine face for this story, but the screenplay (by Erwin, Diederik Hoogstraten and Tom Provost) flattens his character into a basic cookie-cutter hero. Audiences, including the middle school social studies students, deserve better and more nuanced stories about this country and the values it was built upon.
“Young Washington” is propaganda in the form of a history lesson wrapped in a summer blockbuster. If only it were even slightly entertaining — maybe they’ll tackle that in the inevitable sequel.
‘Young Washington’
Rated: PG-13, for sequences of strong war violence and some bloody images
Like many outdoors lovers, I love a last-minute camping trip.
There’s a special kind of magic when the stars align, you snag a reservation and realize you’ll soon be sleeping under the stars in a place you’ve never been.
But given the popularity of California’s campgrounds, is it really possible to book a campsite on short notice? In this edition of The Wild, our weekly outdoors newsletter, I will explain not only how you can but also where you will be more likely to find open spots (even, if lucky, on a holiday weekend).
You are reading The Wild newsletter
Sign up to get expert tips on the best of Southern California’s beaches, trails, parks, deserts, forests and mountains in your inbox every Thursday
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
L.A. sits within a quick drive to both the San Gabriel and Santa Monica mountains, two expansive ranges that offer multipleopportunities.
But first, I want to share what I learned in my conversation with Mike Lee, owner of Campsite Tonight, a website and app that monitors campgrounds throughout California for cancellations so its users can book sites.
One of the expansive views of the San Gabriel Mountains that can be found at Chilao Campground.
(Jaclyn Cosgrove / Los Angeles Times)
I’ve long been a skeptic of using private websites to book a campsite on public lands. But given Lee is an avid camper, dad and Californian running the site on his own, I wanted to hear him out.
Lee was motivated to take over Campsite Tonight a few years ago after finding himself frequently frustrated with how challenging it was to book campsites at state and national parks in California at times when his busy family could take a vacation.
Campsite Tonight frequently scans several websites throughout California and several other states (including Utah for those dreaming of a trip to Zion National Park). His site checks the popular campgrounds every 12 seconds for cancellations while less popular campgrounds are scanned often but less frequently.
He also offers data for popular campsites too, so users can learn more about when to look. For example, at Yosemite’s Upper Pines Campground, Lee includes that 11 a.m. Pacific is the peak hour when cancellations appear (and about 31% of reservations there are booked within seven days of arrival).
A tent in the evening light at Upper Pines Campground in Yosemite National Park.
(William Hale Irwin / For The Times)
Lee’s app offers limited-but-still-useful features to free users, including some ability to search for open sites, and is $29.99 a month or $59.99 a year for advanced features, including the option to more rapidly book a campsite at a national park by essentially linking your Campsite account with your Recreation.gov account.
Running the website has “taught me, as I’ve looked at the data more and more, that last-minute camping is actually pretty achievable,” Lee said while sitting inside a tent in a campground near Yosemite. “The biggest thing is being flexible. Before, if I didn’t book it in advance or if I didn’t get [a site when I wanted], I would never look again. Now I look more.”
Lee said he’s noticed fewer cancellations on long weekends, although there will still be families that can’t make their trips. After we initially spoke, Lee built a page specifically to scan for campsites available over Fourth of July weekend. I was surprised by just how much remained open.
Leo Carrillo State Beach.
(Mike Cilantro / For The Times)
Scanning the page on Tuesday, I noticed a spot at Leo Carrillo State Park. Although it was for Wednesday night, I was tempted. Multiple campsites remained open in Los Padres National Forest, even over the weekend. A random campground in Sequoia National Forest made me look at just how far of a drive it would be from my apartment. And I noticed there was even a spot free at a Big Sur campground on Sunday evening. “No, you can’t, er, you shouldn’t drive that far for one night of camping,” I told myself. (Should I, though?)
That said, there are several first-come, first-served campgrounds near L.A., especially in Angeles National Forest, for those who’d like to stay closer to home or can’t find something online.
Here is a quick guide to what I recommend trying to snag. Given it’s a holiday weekend, it will still be more challenging, but if you can leave early Friday, I don’t think it’ll be impossible to camp at one of these spots.
For those looking for simple car camping (beginner)
A campsite at Chilao Campground with a large campfire ring.
(Jaclyn Cosgrove / Los Angeles Times)
Each of these campgrounds are in Angeles National Forest, offer piped water and vault toilets, and have sites with picnic tables, parking spots and campfire rings.
Chilao Campground: A large campground with 84 sites spread over two loops, Little Pines and Manzanita. Its landscape features large boulders, sweeping views and pine trees (especially the eponymous loop). Piped water is available, although it is at times turned off, so please check the campground website before heading out. The Chilao Visitor Center, open on the weekends, is nearby.
A campsite in Chilao Campground shaded by several pine trees.
(Jaclyn Cosgrove / Los Angeles Times)
Crystal Lake: A 120-site campground north of Azusa. It sits at 5,539-feet elevation and features great views of nearby peaks, including Mt. Islip and Windy Gap. Visitors can fish in Crystal Lake when it’s deep enough and find a hot meal at Crystal Lake Cafe and General Store.
Monte Cristo: A campground with 19 individual drive-in sites, including some with large shady sycamore trees. A small seasonal creek runs through the middle of the campground and has small pools in spring and early summer. (Note: Because of its proximity to L.A., this one can fill up quickly.)
For adventurers willing to plan just a bit, even last minute (intermediate)
Oak Flat Campground.
(Jaclyn Cosgrove / Los Angeles Times)
These sites offer their own escape, but because they lack potable water (unless otherwise noted) and are farther away from L.A., they require more planning than those on the “beginner” list. Each site has picnic tables and campfire rings. The campgrounds below are in Angeles National Forest unless otherwise noted.
Horse Flats: A shaded 26-site campground that offers easy access to nearby trails, including Mt. Hillyer and the Silver Moccasin Trail.
Oak Flat: A campground north of Castaic just off the 5 Freeway with 20 sites situated around a nice small meadow shaded by several oak trees.
Musch Trail Camp: This small-but-charming backpacking campground in Topanga State Park features flush toilets and sinks and requires only a one-mile hike in, a trek that’s on the easier end of moderate.
Sawmill: A rustic eight-site campground whose main challenge, outside of its lack of water, is just reaching it, as campers must take a steep gravel road off Pine Canyon Road (see website for information on road closure).
For experienced trekkers looking for quick escapes (expert)
One of a handful of sites at the Valley Forge Trail Camp in Angeles National Forest.
(Jaclyn Cosgrove / Los Angeles Times)
These backpacking sites offer backcountry adventures for those with the time and the right gear.
Glenn Camp: A 10-site forested haven next to the West Fork of the San Gabriel River that’s reached via a seven-mile paved road that can be hiked or biked; no restrooms available, so campers will need to follow Leave No Trace principles.
Valley Forge: Reachable via 2.4-mile hike along the Gabrielino Trail from Red Box Picnic Area, this six(ish)-site campground has picnic tables, campfire rings, vault toilets and is a sylvan refuge of mighty pines next to the pristine West Fork of the San Gabriel River.
Cooper Canyon: A backcountry campground shaded by towering old pine trees with about five sites, offering vault toilets, campfire rings, klamath stoves, large picnic tables and bear-proof boxes. Because of the Angeles Crest Highway closure, you will need to reach the site either by walking the closed road or Pacific Crest Trail.
Regardless of where and when you go, I hope you have a wonderful time enjoying our public lands. Please remember to practice the Leave No Trace principles and, in short, leave it cleaner than you found it!
3 things to do
A volunteer waters plants in the nursery at North East Trees in Ascot Hills Park in El Sereno.
(William Hallstrom)
1. Restore native plants in Ascot Hills North East Trees, a climate resiliency nonprofit, needs volunteers from 9 a.m. to noon Saturday at its native plant nursery in Ascot Hills Park (4371 Multnomah St.). Participants will get hands-on experience working with native plants as they help water and restore habitat. Learn more at the group’s Instagram page.
2. Sketch plankton in Playa del Rey Nature Nexus Institute, an environmental equity nonprofit, will host two beach ecology sketching events: an online option Tuesday from 6:30 to 8 p.m. and then an in-person event on July 12 in Playa del Rey. Learn more at the group’s Instagram page.
3. Check out the birds in Calabasas Two National Park Service volunteers will host an easy bird walk from 8:30 to 10 a.m. Saturday at King Gillette Ranch in Calabasas. Participants will walk less than a mile at an easy pace, stopping often to observe the birds. Children are welcome. Register at eventbrite.com.
The must-read
A visitor walks on the Redwood Canopy Trail at Trees of Mystery in Klamath.
(Andrew Cullen / For The Times)
If you’re sitting there, daydreaming over your next adventure, consider this California wildlife factoid: Our state is home to 139,000 acres of protected public lands where nearly half of the world’s remaining old-growth redwood forests live. The allure of walking beneath these giants is what drew writer Edwin Goei to head to Humboldt County. Goei maps out a guide for The Times of how an Angeleno can make the long-but-worthy trip there (including how to snag an $80 round-trip flight). “I learned that Humboldt County — including the cities of Eureka, Arcata and Ferndale — is full of treasures beyond its abundance of the Earth’s tallest trees,” Goei wrote.
Excuse me while I go research flights there.
Happy adventuring,
P.S.
You have until Monday to snag a free California State Parks Historian Passport. In honor of both Juneteenth and the 250th anniversary of the signing of the Declaration of Independence, the state is offering the pass — which typically costs $50 — to anyone who registers for it through ReserveCalifornia.com, but just for a few more days. The pass will be good through the rest of 2026 and will allow unlimited entry for up to four people to state historic parks and museums that charge a per-person admission fee or a vehicle day-use fee. I was amazed that it took less than 10 seconds once I was logged into my ReserveCalifornia account to secure my pass. Enjoy!
For more insider tips on Southern California’s beaches, trails and parks, check out past editions of The Wild. And to view this newsletter in your browser, click here.
Early in “Romería,” the film’s main character, Marina, is asked by some children if she’s ever seen the Santa Compaña, a collection of ghosts who, in Spanish legend, supposedly wander in a pack across the landscape. Humoring the kids, Marina says she hasn’t. That’s good, one of the girls responds. “They’re spirits that can’t die.”
As it happens, Marina is actually on a journey of sorts to connect with the dead — and so is Spanish writer-director Carla Simón, whose third feature is an autobiographical tale about her own quest to make peace with her late parents. Slender but flecked with magical touches, “Romería” is so gentle it never quite qualifies as haunting. Nonetheless, Simón stirs up the ineffable sadness that comes with wanting answers to the mysteries of your family — and then, like it or not, receiving them.
Newcomer Llúcia Garcia plays Marina, an 18-year-old aspiring filmmaker. It’s July 2004, and she’s traveled to the picturesque port city of Vigo to obtain government paperwork that will make her eligible for a university scholarship. She never knew her father Alfonso, who died in 1987. For some reason, there are no records indicating that she was his daughter. Hence the trip to Vigo to see her paternal grandparents for the first time so she can authenticate her ancestry.
Simón, whose previous features “Summer 1993” and “Alcarràs” also grappled with family matters, follows along with Marina on the way to this anxious meeting. Marina’s mother died only a few years after Alfonso, making Marina an orphan. But the mom’s parting gift, a diary, provides opaque glimpses into her life with Alfonso in the mid-1980s. Before Marina arrives at her grandparents’ home, though, she must run a gauntlet of uncles, aunts and cousins, their reactions to her existence varying from warm to wary. Repeatedly, Marina is told she looks just like her mom, but the comment occasionally contains a trace of bitterness. Many of these new faces view her as an unwelcome reminder of a past they’d prefer to forget. When they see Marina, it’s like they’re looking at a ghost.
The strongest component of Garcia’s doe-like performance is the way it captures someone in the midst of shedding her adolescence, gingerly trying on adulthood. Over the course of a few days, this bashful teen, always armed with her camcorder and far less free-spirited than her cousins, will be beset by her father’s feuding family. Silently observing the passive-aggressive maelstrom, Marina will receive an intense immersion in what her life might have been like if he’d lived.
But she quickly realizes that their memories of the man are far from perfect. No one can decide exactly where Alfonso lived in Vigo. And, more troublingly, Marina’s belief that he died in 1987 is contradicted by relatives, who insist that it was five years later. If Marina has that information wrong, what else does she not know?
“Romería” is hardly the first film in which an impressionable soul goes on the hunt for the parents she never had. Likewise, viewers will not be startled when Marina eventually discovers painful secrets about her mom and dad that cause her to reconsider those phantom figures.
Simón, who undertook a similar odyssey at the same age, never allows this delicate story to succumb to self-indulgence or an inflated sense of its own importance. Instead, her film is suffused with a rich, casual immediacy. Simón and her star bracingly recall the electricity of youth as Marina prepares for life as an artist. The movie, in part, is about how she finds her voice.
Simón’s films favor naturalism and “Romería” leaves ample room for Spain’s seaside beauty and glorious sunshine. The calming locales both complement and contradict the plot’s revelations, which are hardly bombshells but do speak to how well-to-do families labor to shove inconvenient skeletons into the closet. If anything, Marina will be more shocked by her grandparents (José Ángel Egido and Marina Troncoso), whose fiercely icy demeanor suggests this teenager should consider herself lucky not to have grown up around them.
Because “Romería” is a coming-of-age story, Marina will be tempted by cute boys; she’ll also begin to display a rebellious streak. As the picture rolls along, Garcia shows a more assertive side, relishing her character’s emergence from her shell. But this modest saga saves its biggest surprise for its final reels, when the narrative folds in on itself beguilingly, allowing Marina to relate to her mom and dad in ways she never had before. Maybe we can never truly know our parents, but if we’re lucky, we can gain the maturity to one day see them in ourselves.
‘Romería’
In Spanish, Catalan, Galician and French, with subtitles
Not rated
Running time: 1 hour, 54 minutes
Playing: Opens Wednesday, July 1, at Laemmle Royal and Laemmle Glendale
Josh Lowe‘s first career grand slam was all the offense the Angels needed Sunday in a 4-1 victory over the Athletics at Anaheim Stadium.
Lowe was 10 for 33 with 27 RBIs with the bases loaded during his six-year career, but had managed only two extra-base hits in those situations prior to going deep off starter Aaron Civale in the second inning.
The center fielder fouled off a pair of 1-2 pitches before sending a high cutter 403 feet to the right-field corner for his first homer since May 20.
Angels starter Sam Aldegheri (3-3) allowed one run and five hits in five innings, striking out four. José Fermin threw two scoreless innings and Samy Natera Jr. got four outs for his first major league save.
Joey Meneses drove in Jeff McNeil with a sacrifice fly in the fifth for the A’s, who finished with six hits. They went 0 for 8 with runners in scoring position and left eight on base overall.
The A’s threatened to cut into the lead after two straight walks to open the eighth, but Ryan Zeferjahn struck out the next two batters before giving way to Natera, who retired Nick Kurtz on a fly ball.
Civale (5-5) permitted seven hits in five innings, striking out two. José Suarez tossed two scoreless innings in relief.
Up next: Angels RHP Ryan Johnson (1-2, 8.84 ERA) starts Monday night in Seattle against RHP George Kirby (6-7, 3.94) to begin a three-game set.
American Trickster: The Hidden Lives of Carlos Castaneda
By Ru Marshall OR Books: 682 pages, $30
If you buy books linked on our site, The Times may earn a commission from Bookshop.org, whose fees support independent bookstores.
The 1970s were thick with New Age spiritual fads and movements, from the benign (crystals) to the unspeakably toxic and cultic (Jonestown). Somewhere in the middle of that woo-woo spectrum lies the work of Carlos Castaneda. A UCLA anthropology grad student turned self-appointed guru, Castaneda became a counterculture icon with the publication of his first book, “The Teachings of Don Juan: A Yaqui Way of Knowledge,” in 1968, purporting to find enlightenment via psychedelic mushrooms, peyote and the cryptic musings of Don Juan, an Indigenous spirit guide.
That book, and the stream of his that followed, seduced millions of readers, plenty of them no doubt hoping that with the proper dosage they, like Castaneda, might also transform into a crow and soar across the purple skies of the dusty Southwest. That Castaneda’s books were largely flimflam isn’t in dispute. But Ru Marshall’s hefty biography, “American Trickster,” reveals the depth of his deception — and, just as potently, how easily people can be taken in by it.
“He didn’t lie out of convenience or opportunism,” Marshall writes. “He lied because he loved to. Lying was, for him, an art, and he did it exceptionally well.” This is a 1970s story, but anybody in the present can relate.
Born in Peru (not Brazil, as he often claimed) in 1925 (not a decade later, as he often claimed), Castaneda demonstrated no particular intellectual promise. But in the mid-1950s, first at L.A. City College and later at UCLA, he developed an affection for writing, philosophy and history. While pursuing a graduate degree in anthropology in the ’60s, he grew enchanted with Buddhism, Theosophy, existentialism and Native American spirituality — all key elements of the spiritualist goulash he would eventually cook up for his books. His timing was impeccable: From Timothy Leary’s LSD experiments to transcendental meditation, non-Christian religion and drugs fueled the zeitgeist. And Castaneda’s manuscript of “The Teachings” spoke effervescently about both.
Author Ru Marshall
(Allen Frame)
It hardly seemed to matter that the book also demonstrated his ignorance of both: He had little understanding of psychoactive drugs (you don’t smoke shrooms, dude), and there was nothing meaningfully Yaqui about Don Juan. Still, the book — and their follow-ups “A Separate Reality” and “Journey to Ixtlan” — were massive bestsellers. Castaneda made it to the cover of Time magazine. His work provided George Lucas with more than a little inspiration for his master-and-student space opera, “Star Wars.” And he became a target for parodists, the surest sign of fame. Donald Barthelme satirized him in his story “The Teachings of Don B.: A Yankee Way of Knowledge.”
That the ’70s American psyche, brutalized by Watergate and Vietnam, found solace in Castaneda’s sophistry isn’t surprising. More shocking is that the academic establishment tolerated it too: UCLA awarded him a PhD in anthropology with “Ixtlan” serving as his dissertation. Castaneda, Marshall writes, made an end run around the department’s Yaqui expert, with the other committee members overly impressed by his au courant melange of fieldwork and gauzy ruminations, despite the fact that his timelines and grasp of mycology didn’t make sense. “If we stop telling ourselves that the world is so-and-so, the world will stop being so-and-so,” Don Juan mused. Perversely, Castaneda’s success proved him right.
“American Trickster,” at more than 600 pages, is at once more information about Castaneda than any reader needs, and not nearly enough. Marshall (who in 2006 published a novel, “A Separate Reality,” inspired by Castaneda), has gone to ground on every element of his subject’s life, from his upbringing in Peru to his celebrity (he’d find his way into the orbits of former Gov. Jerry Brown, Federico Fellini and Oliver Stone at various points), to the years before his death of liver cancer in 1998. By that point he’d focused his attention on Tensegrity, a modified martial arts practice demonstrated at pricey workshops, and gathered a host of followers, mostly women, who he played against each other and psychologically abused in various ways.
But who did this guy think he was? How did he come to invent such a strange spiritual system, and develop the nerve to sell it both to mainstream publishers and the academic establishment? Why did he keep a box of knives under his bed? “Carlos acted in the zone where the trickery of the cult leader and that of the literary hoaxer (and the anthropological hoaxer) overlap,” Marshall writes. But all the biographical detail brings us no closer to what made him such a successful triple threat of eyewash.
Perhaps a book that couched Castaneda’s story more deeply in the context of the ’70s counterculture and the nature of cults past and present would make his story clearer. But perhaps not — his tale is inevitably something to wonder at, evidence of humans’ capacity to spin a yarn that flatters our egos and urge to understand our spiritual selves, and to buy into what’s spun.
Maybe it’s unsurprising that one of the first people to publicly sound the alarm about Castaneda was a novelist. In 1972, Joyce Carol Oates wrote a letter to the New York Times Book Review questioning a credulous review of Castaneda’s books. (The New York Times had spiked a more skeptical one, Marshall reports.) “It is quite possible that Don Juan represents a ‘non-ordinary’ reality so strange to me that I cannot accept it, and must try to reason my way out of believing,” she wrote. “But I don’t think so… I’d be very interested in whether other readers share my bewilderment.” No doubt others did. But what if bewilderment was exactly what they were seeking?
For a long time, the lifestyles and foibles of the modest bourgeoisie were a mainstay of art-house cinema, with urbane, upscale audiences happy to turn out to see versions of their own lives depicted on the screen. But more recently, as ideas about what middle age looks like have shifted, along with the changing demographics of viewers, these films have largely disappeared. Which is what makes the seriocomic “The Invite” feel both fresh and something of a throwback — a movie for those who worry about losing their edge.
Directed by Olivia Wilde, “The Invite” was a clear standout when it premiered at the Sundance Film Festival in January and now arrives in theaters as one of the best dramas of the year so far. It feels daring for how it wants to actually examine the emotional costs of contemporary grown-up life, bringing wincing laughs of recognition.
The film begins with married couple Angela and Joe, played by Wilde and Seth Rogen, checking back in at their home in San Francisco at the end of the day. He has been at the teaching job he resents and she has been frantically preparing for the dinner party she may not have told him about. Their daughter is away at a sleepover for the evening and it seems they no longer fully know how to relate to each other. As they bicker and jab, their quiet dissatisfaction with their lives stops being so quiet.
Angela has invited over their neighbors from the apartment upstairs, who they do not know well and who often have loud sex. That couple, Piña and Hawk, played by Penélope Cruz and Edward Norton, seems more assured, self-possessed and adventurous, the kind of people you can absent-mindedly invent stories about, assuming their lives are much cooler than your own.
Things go in ways both expected and unexpected, the two couples warily feeling each other out as they wait to spring their own private agendas. Over the course of the evening, things will be alternately tense, flirty, vulnerable and revelatory as surprisingly little food is eaten. (Other substances get ingested instead.)
An adaptation of Cesc Gay’s 2020 Spanish film “Sentimental,” the screenplay is credited to Rashida Jones and Will McCormack. In an unusual step, the script was further workshopped and developed with the cast during rehearsals. Rogen came up with some of the biggest laugh lines and Norton wrote the deeply earnest monologue he delivers late in the film. (The popular Belgian psychotherapist Esther Perel is also credited as a consultant.)
This American version expands upon the characters more than Gay’s original film while consistently returning to the disappointment of Angela and Joe’s lives in terms both big and small. Neither of them are the people they once thought they might become. Whether two people who are each unhappy can make it as a couple becomes the overriding theme of the film.
This is Wilde’s third movie as a director and it is, by far, her most cohesive and accomplished, both contained and expansive. Her debut, 2019’s charming end-of-high-school tale “Booksmart,” had a throw-everything-at-the-wall quality, as if she wanted to get out every idea and try every trick in case she never got another chance to direct. Wilde’s follow-up, the 2022 psychodrama “Don’t Worry Darling,” became mired in behind-the-scenes gossip and tabloid speculation that overshadowed what was intended as a stylized portrait of female rage and discontent.
Her latest fulfills and exceeds the promise of those earlier movies. Shot on 35mm film by cinematographer Adam Newport-Berra, the action of “The Invite” is almost entirely confined to Angela and Joe’s apartment, which thanks to a recent renovation has plenty of rooms to explore. All four players are exceptional in their roles, playing smartly off their screen personas while exploring the nuances of the characters and their intersecting dynamics.
Wilde’s Angela is expressive and antic; Rogen’s Joe is sullen and snarky. Cruz is alluring and watchful, while Norton turns out to be the film’s secret weapon. He has a low-key comic energy and helps guide the story through a few of its trickier emotional turns. At one point he simply rises from behind a couch and it plays like a punchline.
Skip the next two paragraphs if you want to hold onto the film’s purest pleasures. Those noises from upstairs have been Piña and Hawk hosting group sex parties and they are now cruising Angela and Joe for some extramarital couples’ fun. Here, the movie pivots from passive-aggressive party conversation into farce, as Angela and Joe try to process the idea anyone else might find them desirable, as they have long since given up on seeing themselves in that way.
Wilde in particular lights up during this section, Angela’s mind racing at possibilities she never considered for herself while fumbling over the practicalities of protocols and just how this would work. Before pushing the film into its final forlorn section, the excitement that something sexy might happen charges the actors. It is very likely that streams of Sade’s seductive “By Your Side” will skyrocket.
But the focus stays very much on the struggles of married life. One of the biggest strengths of “The Invite” is the way it keeps evolving as the night progresses so it never feels claustrophobic or repetitive. There is a sense of visual invention and imagination to the film that continues all the way through, such as a moment when Wilde crouches down to check on a doomed soufflé in the oven and addresses the camera directly, looking up as if talking to Rogen. The viewer is frequently placed in an adjacent POV to the different characters, as if you are there in the room too.
The film has a propulsive rhythm to it, a relentlessness, even as Wilde and editors Yorgos Mavropsaridis and Anthony Boys know when to ease off the throttle and take it easy for a bit. The film breathes in a dynamic way, the last few beats taking a startling turn toward a somber wistfulness. The ending is just enigmatic enough to have audiences talking it through as they make their way out of the theater.
The end credits include a handwritten dedication, “For Diane,” a nod to Diane Keaton. The live-wire wit and idiosyncratic verve that she embodied in “Reds” and “Something’s Gotta Give” are very much on display here. Early in the story, Norton dryly notes, “We love a contentious environment.” Thanks to Wilde’s confident direction and the ensemble’s unpredictable performances, audiences will too.
‘The Invite’
Rated: R, for sexual material, language throughout, and drug use
I was explaining the location of my broken-down car in Angeles National Forest to the tow truck dispatcher when I suddenly found myself shouting.
“Bear!” I yelled.
A black bear ambled across the road and into Red Box Picnic Area. I hollered at the bear, as did another person in the lot.
The bear ignored us both, focused on where it would find its dinner that night: a bear-proof trash can.
You are reading The Wild newsletter
Sign up to get expert tips on the best of Southern California’s beaches, trails, parks, deserts, forests and mountains in your inbox every Thursday
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
In this edition of The Wild, our weekly outdoors newsletter, I will share the three bear encounters I had last week with black bears in Angeles National Forest. They were my first, second and third times to experience bruins in the San Gabriels. The third time, when a bear slapped my backpacking tent, was the most memorable moment. We’ll get to that later.
For anyone feeling rusty on the best course of action when you see a black bear in our local mountains, here’s a quick refresher on the tips I got previously from a conservation biologist.
🙅🏃Don’t run. You will look like prey.
🗣️ Let bears know you’re there. Say something loudly and calmly — don’t shriek! — like “Hey, bear!” in a deep voice.
💪 Make yourself big. Put your hands up and out — don’t shake them around — and try to get the bear’s attention without indicating that you’re scared or that you’re a threat to that bear.
👀👀👀 Keep your eye on the bear. But don’t look it in the eye. That can be perceived as threatening or like you’re trying to be dominant.
🤔 Observe its behavior and react accordingly. To learn more about this portion of my tips, check out No. 4 on my list.
🏔️ Carry bear spray. Bear spray is legal to carry in Angeles National Forest and generally on national forest land unless otherwise posted. It is prohibited in Yosemite National Park and other California national parks.
A black bear wanders along Canyon Road in March 2020 in Arcadia.
(Irfan Khan / Los Angeles Times)
Anyone who hikes in Angeles National Forest is likely familiar with Red Box Picnic Area. It’s where adventurers park to hike up to Strawberry Peak or other nearby trails, like the Gabrielino Trail, which I wrote about last week. That’s how I found myself briefly stranded in the forest.
I had spent the day hiking past gorgeous wildflowers and splashing around in the Arroyo Seco. I got back to my car around 7:30 p.m., discovered my car’s battery was dead and, after realizing I had cellphone reception, called for help.
As I waited, I chatted with a good Samaritan, an outdoors woman reading a book in her car who decided she’d wait with me until a service technician arrived.
The bear arrived in the lot around 8:30 p.m. As the sun dipped lower into the horizon, we watched the hungry fluffball knock over the brown metal trash can that was specifically designed to keep its species out.
A bear with its head inside a bear-proof trash can.
(Jaclyn Cosgrove / Los Angeles Times)
After knocking the trash can down, the bear easily shoved its arms inside. Over the next several minutes, it repeatedly shook the can toward its (adorable) face. It was kind of like watching a human shake a potato chip bag toward their mouth to get the very last bits of delicious fried starch.
My new friend and I agreed, in all our travels throughout California, we hadn’t seen anything like this. I contacted the California Department of Fish and Wildlife to ask them: How normal is it for a bear to deftly navigate the mechanisms of a trash can built to resist it?
“It’s pretty uncommon that the bears actually break in,” agency spokesman Cort Klopping said. “When I was talking to our biologist about it yesterday and a couple people in the office, the reactions were all kind of like, ‘Wow.’ Either somebody didn’t secure that thing or that bear was an absolute hulk of a bear to get into a bear-proof or bear-resistant trash can. … I was joking with the biologist that I think I’ve actually had trouble opening those.
“You were witness to what I would refer to as a pretty rare sight,” Klopping added.
I’d known there was a bear in the area when I started my hike earlier that day. At Switzer Picnic Area, I read signs posted around the picnic tables warning visitors, “Active Bear Area: Do not feed bears or leave food unattended.” The flier featured an image of a bear standing on a picnic table, eating through some family’s meal.
A sign posted at the Switzer Picnic Area in Angeles National Forest.
(Jaclyn Cosgrove / Los Angeles Times)
Angeles National Forest spokesperson Keila Vizcarra said in an email that since last August, forest officials have received at least four reports from the public and staff about two bears active in the Switzer area.
Earlier this month, recreation staff spotted two bears at the Switzer Picnic Area eating food left unattended at a picnic table. They notified state wildlife officials.
“The animals may be the same bears seen last year, but it is difficult to confirm because tag numbers are not always visible or provided; in this case, one of the bears did not appear to be tagged,” Vizcarra said.
Forest staff use various hazing methods to discourage bears and other wildlife from eating human food, like making loud noises, securing or repairing trash cans and educating visitors about how to keep their food safe from animals, she said.
“A major contributing factor continues to be unsecured or unattended food, which attracts bears from long distances,” Vizcarra said.
The bear at Red Box finished its trash-inspired tasting menu and then walked past our cars. We both honked, but it was so unfazed, I wondered aloud whether it was deaf. (It wasn’t.)
It then headed south from the parking lot, and we didn’t see it again. I had already planned to write this week’s newsletter about that experience.
Then I went backpacking as a little treat to myself.
On Friday afternoon, my dog, Maggie May, and I headed out from near Pasadena down the Gabrielino Trail with a plan to camp overnight at the Gould Mesa Trail Camp. Despite loving the outdoors, I’d never been backpacking, but after my parents bought me a tent and sleep pad for my birthday in late May, I was itching to go. Gould Mesa is close to a city. It’s next to the Arroyo Seco with water to filter and reachable by a short two-mile mostly flat hike. It felt like the perfect first trip.
About a mile in, a mountain biker warned us of a “big bear, really big bear” at the campground before he sped off. A female hiker told me the bear was average, probably 5 feet on its haunches. Others hadn’t seen it.
I was talking to another mountain biker, who was telling me the bear had been active in the area for about a month, when a man came racing down the trail, shouting about how the bear was aggressive and dangerous. The man said he’d lunged at the bear, trying to protect his food, and proceeded to make several choices that would likely be found on a “What not to do when you encounter a bear” list. Maggie and I continued onward.
We arrived at the campground around 4:30 p.m. and didn’t see anything. I asked a mother and son set up at the site next to mine about the bear, and they pointed to a large coast live oak where a small, young bear laid over a thick branch, its small feet dangling down, right above the trail. One reason hikers hadn’t seen the bear was that they’d walked right under it.
A young bear lies on the branch of a large coast live oak above the Gabrielino Trail near Pasadena.
(Jaclyn Cosgrove / Los Angeles Times)
The bear had entered the campground from near the river, and without the mother-son duo realizing that the bear was approaching them, it grabbed their food right off their picnic table. The mom told me that she considered trying to pull the food back, but the bear made noises suggesting that it preferred she didn’t. It then left the campground, and presumably after eating the meal that her son told me had “a lot of protein” in it, the bear climbed into the tree and took a nap.
I’d camped in areas with bears before, including in Kings Canyon National Park where bears came into the campground every night. This bear wasn’t being aggressive. Instead, it seemed young and like it was testing out how easy it was to get food from these weird animals — we humans — in its backyard.
I decided to stay, especially after the bear left around 7:30 p.m., and none of us saw it again. The campground was full, and two of us, myself included, had bear spray.
Maggie and I got into the tent around 9 p.m. and soon fell asleep to the sweet serenade of frogs and toads singing their nightly songs.
Then, at 2:39 a.m., I woke up to the sound of something slapping the corner of my tent next to my head.
“What the f—?” I screamed.
I lay there, heart racing, listening.
I had put my tent’s rain fly on, so I couldn’t see outside, but I could hear the bear as it left. A large whoosh-whoosh sound headed away from my tent.
For the next 20 minutes, I listened intently to every single sound the forest made. Then, after checking that my bear spray and satellite communicator were close by, I fell back asleep. In the morning, I found a small cut in my rain fly that the bear’s paw had left. My dad later suggested that I date the hole with a marker.
A small cut left after a bear swiped the rain fly of Wild writer Jaclyn Cosgrove’s backpacking tent.
(Jaclyn Cosgrove / Los Angeles Times)
Maggie and I left around 10:30 a.m. to beat the day’s heat. Once at my car and with strong cellphone reception, I must admit that I opened ChatGPT. I don’t have a bear biologist on speed dial — yet! — and I wanted to talk to someone about why the bear hit my tent.
I explained that there wasn’t any food or toiletries in my tent. I had packed everything inside a bear canister that I then placed inside the bear vault in the campground. The chatbot and I soon agreed: This bear was likely making its rounds for a late-night snack, hoping someone had dropped a marshmallow or hot dog, when it encountered my tent. Maybe my tent was in its way. Maybe it looked weird.
Later, I called Klopping with the California Department of Fish and Wildlife again.
When we’d spoke earlier in the week about the trash-can bear, I’d asked him whether that bruin was at risk of euthanasia.
I told him that Goldie, a mama bear euthanized by the state earlier this year after swiping at and injuring two people, was top of mind for me, along with Victor, a beloved bear in Mammoth who was euthanized in 2024.
Goldie was the first California black bear to be euthanized in 2026, Times staff writer Clara Harter reported. “There were two bears euthanized in 2025, three bears in 2024 and five bears in 2023, according to Fish and Wildlife,” Harter wrote.
Klopping said the trash-can bear was just out for an easy meal and would be classified as a “no harm, no foul bear,” defined by the agency as “a bear that has strayed into an area where an incident could occur, has not engaged in nuisance activity or caused property damage, and may require assistance to return to nearby suitable habitat.”
He said it was unlikely, based on what I reported, that the bear would be moved since it was already in a forest far from any neighborhood. Instead, the only action would probably be that someone secure the bear-proof trash can so it actually functions properly. (Sorry, bear.)
“As much as I don’t want to say it, this bear is doing bear things,” Klopping said. “This is a natural thing for a bear to do. It’s searching out calories to sustain itself — they’re there, readily available. This bear knows how to get to them.”
When I called Klopping back to talk about the bear (or bears) at the campground, I was more worried. I reported the incident through the agency’s website because I know its biologists use the data for several reasons, including discerning when to implement bear-resistant measures in an area or relocate a bear. But again, I worried about what would happen to the bear or bears.
A black bear peeks its head around the vault toilets in the Red Box Picnic Area in Angeles National Forest.
(Jaclyn Cosgrove / Los Angeles Times)
Klopping had told me it was rare for the agency to euthanize a bear: California Department of Fish and Wildlife received 2,735 calls and reports regarding black bears in 2025, including some duplicates where multiple people were reporting the same incident, compared with the two bear euthanizations that same year.
During our second call, he told me that a biologist would review the report I made and might call me to get additional information, but again, this wasn’t “aggressive” behavior, he said.
When bear yearlings separate from their mothers at around 18 months old — which often happens in June — Klopping said the agency will get reports of these adolescent bears wandering closer to populated areas.
“You would use the term ‘testing boundaries’ — that may have been exactly what happened here,” he said. “Odds are pretty good you probably scared it just as much as it scared you.”
I hope the bears I encountered soon return to foraging for forest delicacies that don’t come in fast-food wrappers.
As interesting as last week was, I really hope the only bears I see the rest of the summer are at the pride festivals I attend. They’re absolutely welcome to go camping with me!
3 things to do
Cyclists ride down an open street at a previous CicLAvia event.
(CicLAvia Los Angeles)
1. Frolic through the streets in South L.A. CicLAvia will host a free car-free open streets event from 9 a.m. to 4 p.m. Sunday through the Leimert and Exposition Park neighborhoods. The 3.6-mile pop-up park includes a short segment of Crenshaw Boulevard and mostly stretches along Martin Luther King Jr. Boulevard from Crenshaw to Figueroa Street. Visitors are welcome to walk, skate, bike, play and explore along the route. For more details, visit ciclavia.org.
2. Celebrate Pride along the river in Long Beach Friends of the L.A. River will co-host an LGBTQ Pride nature walk from 10 a.m. to noon Saturday through the Dominguez Gap Wetlands with the California Native Plant Society South Coast Chapter. Plant enthusiast Tory Jaimez will guide the walk, teaching participants about local ecology. Register at support.folar.org.
3. Listen to the birds in Huntington Beach We Explore Earth, a local outdoors community group, will co-host with Save Orange Hills and Friends of Shipley Nature Center a peaceful bird walk from 8:30 a.m. to 11:30 a.m. Saturday at Shipley Nature Center in Huntington Beach. Guides will help participants learn about local bird species and ecosystems. Register at eventbrite.com.
The must-read
Perched atop a tall pine tree, resident bald eagles Jackie, left, and Shadow protect their latest offspring in their 5-foot-wide nest. The nest is viewable via a live feed from the nest cam.
(Gina Ferazzi / Los Angeles Times)
Friends of Big Bear Valley, the nonprofit behind a popular eagle nest camera, is rushing to raise $10 million by July 31 to buy land that could become a lakeside gated community, leading to the destruction of crucial habitat that celebrity birds Jackie and Shadow use for foraging, along with other wildlife who call it home. Times staff writer Lila Seidman wrote that if the nonprofit can raise the money, then the San Bernardino Mountains Land Trust would conserve the roughly 63 acres and might transfer it to the U.S. Forest Service (a common practice of land conservancies). That’s if they meet the July deadline. “Failure is not an option,” said Jenny Voisard, media and website manager for Friends of Big Bear Valley. “We’re not going to let them build on it.”
Happy adventuring,
P.S.
After Goldie the bear was euthanized, lawmakers listened to the public’s demand for a more transparent process of when the California Department of Fish and Wildlife plans to kill a bear that the agency has deemed a threat to public safety. That includes Senate Bill 1135 by state Sen. Catherine Blakespear (D-Encinitas) that would “create the Wildlife Coexistence Program, which would provide public education, offer technical assistance and maintain a statewide incident reporting system. It would help communities deploy nonlethal devices to deter predators, like barriers or noise and light machines,” former Times staff writer Katie King wrote. The bill is set to have a hearing before the state Assembly’s Committee on Water, Parks and Wildlife on Tuesday at the state Capitol. Although the deadline to submit a letter to the committee has passed, residents can still attend the hearing, where they’re allowed to give their name, organization (if with one) and their position on the bill. You can still also contact your Assembly member or the committee.
For more insider tips on Southern California’s beaches, trails and parks, check out past editions of The Wild. And to view this newsletter in your browser, click here.
The giveaway that Lima should be on every food lover’s wish list is not just that it is home to the reigning No. 1 restaurant in the world according to the most recent World’s 50 Best Restaurants ranking. Maido in Lima’s famed Miraflores neighborhood, a longtime magnet for fine dining, is where chef Mitsuharu “Micha” Tsumura is transforming Peru’s traditional Nikkei cuisine, integrating the flavors of the Amazon in his own blockbuster style.
But it’s what’s happening one neighborhood over, just about three miles away in Lima’s Barranco district that make Peru’s capital more than a stopover for a single splurge meal on your way to Machu Picchu. The epicenter of the food lover’s Barranco is the garden-lush culinary complex, Casa Túpac, home to Virgilio Martinez’s Central, named to the World’s 50 Best Restaurants’ “Best of the Best” list after its No. 1 ranking in 2023, and to Pía León’s Kjolle, the current 50 Best’s No. 9 restaurant in the world.
Use these handy dining guides for all of your summer travel, near and far.
Beyond those walls, several other food hubs have emerged. There is the growing constellation of Barranco restaurants that chef Juan Luis Martínez runs with his wife, designer Michelle Sikic. Their Mérito is currently No. 26. on the World’s 50 Best list; Demo is a morning-to-night cafe with beautiful breakfast dishes; and more recently they opened Clon, with accessibly priced a la carte expressions of Martínez’s Venuezulan-Peruvian cuisine.
A few short blocks away are Ricardo Martins’ pair of restaurants, Siete, a romantic spot with beautiful food and cocktails, and La Perlita, devoted to the chef’s nostalgic take on criolla cuisine. Then there is the venerable Canta Rana, run by an Argentine devoted to soccer and ceviche, and, more recently, the Chilean and American partners who created a mecca for coffee and chocolate lovers.
This is just a hint of the culinary activity happening in one of the world’s great food cities.
It’s puzzling, then, why the Michelin guide doesn’t waive its requirement that tourist boards or local governments pay a fee to have its inspectors visit the city. On the other hand, Lima is doing just fine without Michelin stars.
See for yourself with your own visit to Lima. The suggestions that follow are a delicious way to begin your adventure.
