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Every so often, an aspiring screenwriter wanders into the dim red glow of Jumbo’s Clown Room hoping to interview one of the dancers. “They’re like: ‘I’m writing a screenplay. Can I interview you?” says Cecilia Fairchild, one of the longtime dancers at the renowned East Hollywood bikini bar.

Her response is usually some version of this: “I’m like, ‘Why are you writing about that? Don’t you know we are all writing that too? Leave us alone,’” Fairchild says with a mischievous laugh. What bothers Fairchild is the assumption behind it — that the dancers are voiceless and helpless. Worst of all, they’re presumed to have stories worth mining but not the ability to produce literature themselves.

Jumbo’s has a longstanding reputation of being part of L.A.’s literary lore.

In the 1970s and 1980s, Charles Bukowski — L.A. nightlife’s debaucherous poet laureate — was rumored to haunt the bikini bar in its early days. David Lynch wrote his classic screenplay “Blue Velvet” at the bar. (According to local legends, the iconic opening shot of “Blue Velvet” came to Lynch when he spotted a dancer with only one ear.) Writer and director Quentin Tarantino reputedly wrote at the bar. But while Jumbo’s has garnered a mythology as a magnet for filmmakers, writers and musicians who collect impressions, the dive’s dancers have shifted from being the subject to the artists.

Many of Jumbo’s dancers write fiction and memoir, host literary salons across Los Angeles and find ways to tell their own stories rather than serve as muses. “It’s funny because I wish that male auteurs would tell the story of customers. I want a sniffer’s memoir. I think that’s a real point of view,” Fairchild says. (Speaking of alienation and horniness, the dancer has been meaning to crack the Marcel Proust canon.)

Honey Ryder (Claudia Musikul) types on the bar inside Jumbo’s Clown Room. (Carlin Stiehl / For The Times)

Fairchild is a playwright, poet and memoirist. Her recently completed memoir, “The Poison + The Spit,” traces a life of tumultuous love affairs and a stint dancing in New Orleans, rendered in prose that is whimsical, surreal and deeply emotional. The dancer also hosts the Downpour, a popular monthly literary salon at Bar Covell, and recently directed “Fool in the Pool,” a play that premiered at El Condor in Silver Lake this summer.

Her writing style mirrors her dancing: kinetic, wild and unpredictable. She sometimes takes the stage in roller skates, dancing to David Bowie. Her memoir achieves that same sense of hypnotic motion. “The memoir is so heavy,” she says. “Everything was so sad that I needed some lens to look at it that was fun, zippy and crazy.”

For Fairchild, dancing and writing possess the same need to expose oneself. “Vulnerability is one of the most interesting things about dancing,” she says. “There really is the potential to look into people, and they look into you, and you wordlessly share something with them that is half sexual and half this other thing.”

Meanwhile, Danielle Henderson — another dancer and aspiring novelist at Jumbo’s who writes under the pen name D.M. Faulk — has been working on a science-fiction novel titled “Meridian.” The book imagines a dystopian American wasteland where pregnant women are surveilled and controlled. She has been a longtime science-fiction fan since she and her father watched “Jurassic Park” and “Planet of the Apes” when she was a child.

Long treated as passive muses by visiting writers, Jumbo’s dancers — from left, Caroline Blaike (Caroline Moyer), Honey Ryder (Claudia Musikul), and Cecilia Fairchild — are reclaiming the narrative as active poets, memoirists and screenwriters.

(Carlin Stiehl / For The Times)

Unexpectedly, the Jumbo’s comically tiny dressing room became the inspiration for her novel. In 2022, when Roe v. Wade was overturned, conversations between dancers about reproductive rights ignited in the dressing room, which in turn informed her novel.

“A lot of those conversations happen in the dressing room. I’m incredibly inspired by the women I’m with who are incredibly sex positive and strong.” That ethos informed Henderson’s protagonist, Zayla.

In recent years, the bar has become a local author hangout. Allie Rowbottom, the author of the recent buzzy adult film novel “Lovers XXX,” discovered the bar in 2011 on the occasion of writer Elizabeth Hall’s birthday party. “I recall sitting front row on novelist Jon Lindsey’s lap, raining dollar bills on dancers performing intricate, beautiful athletic feats,” Rowbottom says. “I spent more than I could afford that night and have been back often since.”

Increasingly, Jumbo’s has cemented itself as a watering hole to the local writing scene. “Two years ago, I rented out a few tables for Jon Lindsey’s birthday, attended by Los Angeles literati like Tea Hacic-Vlahovic, Sammy Loren, Morgan Krantz, Tex Gresham and Nada Alic,” she adds.

According to Rowbottom, Jumbo’s is rife for literary inspiration. “To me, Jumbo’s feels uniquely dedicated, as a venue, to intersecting sex and art, despite the obvious dissonance of selling either,” she says. “I suspect such is what has historically made it a rich spot for writers, dissonance and tension being of utmost importance to good literary work.”

From left, Caroline Blaike (Caroline Moyer), Honey Ryder (Claudia Musikul), Cecilia Fairchild and Stephen (Aaron Laughton) inside Jumbo’s Clown Room.

(Carlin Stiehl / For The Times)

A charged scene in L.A. writer Aiden Arata’s critically-acclaimed 2025 essay collection, “You Have a New Memory,” features a night out at Jumbo’s Clown Room. “The dancers are starlets, athletes, artists; the theme is clown, and also longing — longing is a high form of physical comedy,” says Arata. “It possesses that heady mix of scuzz and glamour that can trick you into thinking your life is about to change.”

Jumbo’s burgeoning literary interest revives a hotly debated question: Who gets to tell the stories of sex work? For decades, the club has inspired celebrated writers and filmmakers, but Claudia Musikul — a dancer at Jumbo’s and a screenwriter herself — hopes its literary legacy will increasingly belong to the people at its core: the dancers.

“I hope that everybody can actually get their work out there because I feel it’s much deserved,” says Musikul. “You’ve probably heard about Bukowski, David Lynch doing ‘Blue Velvet’, or Anthony Bourdain. That’s all really cool, but in a way, it’s the actual dancers’ turn to have that kind of recognition.”

Musikul primarily writes screenplays about strippers, a subject she believes is seldom represented authentically. She has been in writing partnerships and workshops while developing scripts centered on dancers. In a sea of films depicting sex work, she cites Paul Verhoeven’s “Showgirls” as a film that resonates with her experience.

“‘Showgirls’ is my very favorite movie,” she says. “It’s my very special place in my heart movie.”

For Caroline Blaike, a poet and dancer at Jumbo’s, the connection between dancing and writing lies in observation. Years of performing have made her acutely attentive to the people who pass through the club, a voyeuristic habit that carries over into her poetry.

“When you’re a dancer, you’re very observant. You watch every person that walks in,” she says. “I feel like the way dancing makes you observe people helps you write from a perspective that other people can then relate to.”

Blaike has been working on a poetry collection that explores love, queerness, desire and personhood. “It’s gotten a little sexier over time, which is kind of fun,” she says. “I also just write about love, being gay, just existing. It can be a little aggressive, but people seem to like it, so that’s good.” She writes these poems from her prized typewriter — a “1951 Olympia typewriter that is my child.”

Among Blaike’s earliest literary touchstones was Maya Angelou. She still remembers encountering Angelou’s line in her poem “Still I Rise,” “I dance like I have diamonds at the meeting of my thighs,” and being stunned by it.

“I was like, ‘Oh, you can write that? That’s amazing,’” she says.

The literary ambitions at Jumbo’s extend well beyond the stage. Stephen Laughton, one of the club’s security guards, jokes that he leads a double life. By night, he keeps watch at the door; by day, he is an award-winning playwright. He’s recently been named the new associate artistic director of the Echo Theater in Atwater Village, and Laughton’s served as the writer-in-residence in the astrophysics department at the Natural History Museum in New York. Last November, his latest play became the first in the world to be staged in a planetarium.

“It’s this crazy, beautiful science play about two guys who meet in a club that explores mental health in the LGBT community, human interaction, time and astrophysics,” Laughton says.

Like many of his co-workers, Laughton has found himself turning Jumbo’s into copy. The club, he suggests, has a way of compelling everyone who works there to write about it.

“I think that probably what we’re all going to realize is that we’re all writing a version of the exact same story,” Laughton jokes.

Blaike argues that the dancers’ diverse talents are a key reason why Jumbo’s Clown Room has become such a beloved institution in the city. “It attracts confident, creative women who work there,” says Blaike. “Our community of women is supportive of each other and each other’s endeavors. … It really does facilitate that.”

In the second week of the college football season, in a clash of titans, the University of Texas scored 21 unanswered points to surge past Ohio State in the fourth quarter and win, 24-23.

The comeback, Gov. Greg Abbott decreed, was the greatest home victory in more than 130 years of Longhorn football.

A screen grab of one celebratory moment showed a group of students ecstatic beyond belief. They were clad in the university’s signature burnt orange. Two wore cowboy hats. One flashed “Hook ‘em Horns,” the university’s proud hand signal.

To see the picture earlier this month was to witness pure, untempered joy.

But Bo French, the Republican candidate for Texas Railroad Commission, saw something different.

Most of the students were darkly complected and apparently of South Asian heritage. French posted the photo and wrote on X, “I heard UT graduation this year looked like this. I didn’t believe it. The problem is now obviously far worse than anyone imagined.”

He followed with a second post, doubling down on the racist “Great Replacement” theory.

“Like body-cams exposed criminals, social media is exposing how many Americans have been displaced by foreigners,” French spewed. “It’s everywhere and far worse than any of us could imagine.”

In many places, French’s unapologetic, unvarnished bigotry would be disqualifying. But given Texas’ strong Republican leaning he stands a better-than-even chance of being elected in November to the state Railroad Commission, which, despite its name, oversees Texas’ vast oil and gas industry.

The hateful gibe was perfectly in character. “In some ways in Texas this is old news,” said Brandon Rottinghaus, who teaches political science at the University of Houston.

Last year, as chairman of the Tarrant County GOP, French posted an online poll asking, “Who is a bigger threat to America?” The choice on offer: Muslims or Jews.

Speaking in March at a political conference, he urged President Trump to round up and deport every Muslim in the country, calling the Islamic faith subversive and a clear and present danger to America.

“The Republican Party is used to Bo French making these kinds of outrageous statements,” Rottinghaus said.

Still, the response to French’s latest acrid emission was telling, not least for what it says about reflexive partisanship and today’s political reward structure.

As you’d expect, his Democratic opponent, state Rep. Jon Rosenthal, was scathing. “I spent 25 years as an oil and gas engineer,” he wrote on social media. “Bo French spent Sunday morning sorting our student section by skin color … A man who can’t tell a Longhorn from a foreigner has no business regulating anything in TX.”

The state’s outgoing U.S. senator, Republican John Cornyn, was also quick to denounce French. “This is the Republican nominee for statewide office,” Cornyn said in a post. “Are other Republican elected officials going to condemn the intolerance and racism, or look the other way while it becomes normalized.”

For Abbott and for Ken Paxton, who beat Cornyn in an eye-gouging, rabbit-punching Republican Senate primary, the answer was, for all intents, the latter.

“That is not my message,” Abbott said in a written statement, summoning the moral clarity and political courage of a puff pastry. “We all support our college football teams. The way we win the state is the same way we win football games. We unite under the brand of Texas.”

Then, just to have it both ways, Abbott suggested “that doesn’t mean that Texas cannot also lead in having the toughest immigration laws of any state in America and freezing H1B visas at our universities.” (The overwhelming majority of those holding H1B visas are Asian nationals from India and China.)

Paxton responded by attacking his Democratic opponent, state Rep. James Talarico, for saluting Cornyn for taking a stand against French’s prejudice. “I condemn racism in all its forms,” Paxton wrote on X, adding, “Only one person in this race has a history of dividing Texans by race, and it’s James Talarico.”

A simple, straightforward condemnation shouldn’t have been hard. Lacey Hull, a Republican state representative from Houston, was among those in the GOP who showed how.

“Please delete this,” she urged French on X. “This post breaks my heart. I see college kids cheering on their football team. I see Texans.”

But Abbott, bidding for an unprecedented fourth term, is facing a tougher than expected race against Democratic state Rep. Gina Hinojosa.

Paxton, whose unsavory resume includes impeachment, indictment, petty theft and charges of adultery, has managed the rare feat of turning his race against Talarico into a nail-biter. (It’s been more than three decades since a Democrat won statewide office in Texas.)

Both need a robust GOP turnout to win in November and neither wants to risk alienating too many within the party’s xenophobic, anti-immigrant wing.

“They’re concerned about turnout,” said Mark Jones, a political scientist at Rice University. “Texas is a red state, but one thing that Republicans are concerned about is that the base may not turn out in as large a number as they need.”

Given French’s loathsome history, Abbott and others in the party establishment worked hard to keep him from winning the Republican nomination, Rice noted. But not Paxton. He headlined the kickoff to French’s campaign and has good reason to be glad he won and is now part of the GOP ticket.

His presence means that Paxton is only the second most odious figure seeking statewide office in Texas in November.

Hikers trekking along trails around Los Angeles know that, by late summer, most creeks and rivers have dried up for the season.

However, recent rainfall across Southern California has replenished our waterways just enough to bring back a little of their spring and early summer glamour.

In this week’s edition of The Wild, our weekly outdoors newsletter, I will highlight three L.A. trails where you can still find water flowing, offering a cool relief in a year when L.A. residents are sick of humidity, heat and high electric bills.

Before heading out, here are a few things to remember:

• Familiarize yourself with what poison oak looks like, as it will be prominent on all of these trails. Its leaves this time of year range from glossy green to red, orange and yellow.
• Practice seven Leave No Trace principles, including never leaving anything behind such as toilet paper or orange peels.
• Rocks and boulders in and along creeks will often be slippery from years of erosion. Take good care when climbing them or using them for leverage as you traverse an area.
• Wear insect repellent. Mosquitoes and ticks are both found along the routes below.
• Riparian habitats, like creeks flowing through canyons, are home to sensitive creatures including California newts, frogs and toads. Take good care to watch where you’re stepping, ensuring you aren’t crushing one of these little sweeties as you tromp along.

Now that we’ve all agreed to recreate responsibly, let’s talk about those hikes!

The Santa Ynez waterfall is an 18-foot cascade through a canyon carved by water for thousands of years.

(Jaclyn Cosgrove / Los Angeles Times)

1. Santa Ynez Waterfall Trail

Distance: 2.2 miles out and back
Elevation gained: About 200 feet
Difficulty: Easy in the beginning with technical aspects near the falls
Dogs allowed: No
Nearest to: Pacific Palisades
Accessible alternative: Inspiration Loop Trail at Will Rogers State Historic Park

The Santa Ynez waterfall trail is a 2.2-mile journey along Santa Ynez Creek in Topanga State Park, shaded by large sycamores, oak trees and the canyon’s walls. You’ll notice a small cave-like structure in the canyon wall shortly upon starting the hike. Unfortunately, other visitors have carved into its sides. Don’t be one of them.

To begin your hike, you will park along Vereda de la Montura. Note that parking isn’t allowed daily between 8 p.m. and 6 a.m.

A small cave-like structure in Santa Ynez Canyon in Topanga State Park.

(Jaclyn Cosgrove / Los Angeles Times)

I thought I was in the wrong place when I first pulled up, given the trailhead sits in the middle of a neighborhood. I walked northwest along the street and found an open gate with stairs leading down. This is where you’ll start the trail.

I was immediately reminded of Sullivan Canyon (which is about 3 miles away, as the crow flies), as the two canyons feature rocky canyon walls and tall old trees. There are a few times when the trail splits off and returns to itself. Just over half a mile in, though, the trail splits in two, with Santa Ynez Canyon Trail to the west (or left) and the waterfall trail, which you will take to the north or northwest-ish.

A lush tree canopy provides shade in Santa Ynez Canyon as hikers head to the waterfall.

(Jaclyn Cosgrove / Los Angeles Times)

The first mile of this trail is primarily a nice stroll northward along a creek, the ground covered in green and brown leaves. However, just over a mile in, if you want to see the waterfall and small cave next to it, you will need to scramble up a large boulder and then rock hop through the creek. As of last week, there was a rope to aid hikers upward. (On my way down, I unintentionally slid quickly down the rock, feeling every peddle in the tuchus until I landed feet first in the creek — so take your time here.)

The waterfall isn’t roaring at the moment, but I found the trickling sound of water soothing. It’s also a geologically interesting area to look around, as the water has carved out the canyon walls into interesting shapes (and created a small cave near the waterfall).

The walls of Santa Ynez Canyon were carved by water, wind and time over centuries.

(Jaclyn Cosgrove / Los Angeles Times)

As I was heading back from the falls, I noticed several bees circling an area high in the canyon wall where it appeared they’d built a nest. Pack accordingly if you are allergic to bee stings.

Slow down and look up as you hike through Santa Ynez Canyon, taking the opportunity to observe rock formations, plants and reptiles.

(Jaclyn Cosgrove / Los Angeles Times)

I only saw three other people along the trail while there on a weekday. I was mostly alone, though, listening to the wrentits and spotted towhees as blue dragonflies darted to and fro.

Cold Creek in the Cold Creek Valley Preserve near Calabasas.

(Jaclyn Cosgrove / Los Angeles Times)

2. Cold Creek Trail

Distance: 2.2 miles out and back (with option to extend)
Elevation gained: About 300 feet
Difficulty: Easier end of moderate
Dogs allowed: Yes
Nearest to: South of Calabasas
Accessible alternative: Nicholas Flat ADA Trail

The Cold Creek Valley Preserve, cared for by the TreePeople Land Trust, is a shady riparian habitat near Calabasas with a gently flowing creek that features multiple short cascades. The land was saved from development by several local residents and nonprofits, including Timothy B. Schmit, bass player for the Eagles.

The preserve features multiple public hiking routes, including the Cold Creek Trail.

“Located on an ancient trade route, the [I]ndigenous people of Southern California have used the area for hunting and settlement for generations, leaving a lasting influence visible on the land,” according to TreePeople. “The perennial Cold Creek is the keystone feature of the area, one of the cleanest free-flowing streams in the Santa Monica Mountains.”

The tree canopy along the Cold Creek Trail in the Cold Creek Valley Preserve provides a shady cool environment for hikers.

(Jaclyn Cosgrove / Los Angeles Times)

To begin your hike, you’ll park in a bumpy dirt lot just off Stunt Road. Be mindful as you near the trailhead, as there will likely be construction crew members in the area. They’re working to install rumble strips and other infrastructure to slow down drivers and hopefully improve traffic safety.

At the start of the trail, you’ll find a portable toilet near the gate. You’ll walk southeast for a short bit before rounding the curve of the trail. You’ll officially be transported into this sylvan sanctuary (although I could admittedly still hear the construction workers communicating on their walkie-talkies).

The trail mostly runs parallel to Cold Creek, which you will hear flowing and have the opportunity to sit near at multiple points along the route, including on a few wooden benches. The trail crosses the creek about four times, but it isn’t overly technical to maneuver.

The Cold Creek Valley Preserve is open from sunrise to sunset.

(Jaclyn Cosgrove / Los Angeles Times)

About half a mile in, the trail intersects with Lower Stunt High Trail. You can continue northwest along the creek. You will find another option, the Yucca Trail, just under a mile into your hike, a nice .68-mile loop through the preserve.

The park, open from sunrise to sunset, offers a sweet reprieve from the sun and is a great spot to take a deep breath and meditate in the woods.

The Gabrielino Trail is a multi-use trail frequented by hikers, bikers and horseback riders.

(Jaclyn Cosgrove / Los Angeles Times)

3. The Gabrielino National Recreation Trail (multiple segments)

Distance: 28.8 miles
Elevation gained: About 6,000 feet
Difficulty: Challenging when done in its entirety
Dogs allowed: Yes
Nearest to: Arcadia and Pasadena, depending on the trailhead
Accessible alternative: Gabrielino Trail starting near North Windsor Avenue near Altadena

The Gabrielino National Recreation Trail is a 28.8-mile journey through the San Gabriel Mountains. Most thru-hikers start the trail at Chantry Flat and take the trail on a squiggly N-shaped journey all the way to its western trailhead near NASA’s Jet Propulsion Laboratory near Pasadena.

However, it isn’t necessary to take the entire Gabrielino Trail to enjoy its beauty. The trail has several entry points, offering short day trips, including the following, which run parallel to at least one local creek or river:

Regardless of where you go, I hope you enjoy our last weekend of summer. That’s right: Summer ends Tuesday! Hopefully that means it soon feels like autumn in L.A.

3 things to do

Volunteers walk down the beach at a Heal the Bay coastal cleanup event in 2024 with Water for L.A.

(Heal the Bay)

1. Clean up public lands around L.A.
Heal the Bay will host L.A. County’s annual coastal cleanup day from 9 a.m. to noon Saturday in more than 60 sites. Participants should consider wearing closed-toe shoes and sun protection. Cleanup supplies will be available at sites but will run out at popular sites. Volunteers can pick a beach, river, park or trail near them by visiting support.healthebay.org.

2. Portray a bird of prey in San Dimas
The San Dimas Canyon Nature Center will host a guided sketch experience from 6 to 7 p.m. Friday at 1628 Sycamore Canyon Road in San Dimas. Participants will learn how to draw a red-tailed hawk. Learn more at the center’s Instagram page.

3. Learn dangers from rangers in Newbury Park
Hikers can bring their four-legged besties to Rancho Sierra Vista/Satwiwa from 9 a.m. to noon Saturday for a B.A.R.K. Rangers event where rangers will educate dog owners on how to safely and responsibly enjoy public lands. Rangers will also conduct a special swearing-in ceremony, complete with a Santa Monica Mountains National Recreation Area B.A.R.K. Ranger badge, for pups who complete certain challenges. Learn more at eventbrite.com.

The must-read

A juvenile great white shark in Hermosa Beach in April, seen via drone.

(CSULB Shark Lab)

Yes, El Niño morphed our city’s usually pleasant Mediterranean climate into the largest hot yoga class in L.A. But did you know it has also resulted in our ocean water being warm enough to attract animals not usually seen along our coastline? Those fishing off the Malibu Pier were surprised in mid-August by a hammerhead shark swimming nearby. A giant whale shark was recently documented by a fish spotter between Malibu and one of the Channel Islands, a species that prefers warmer waters (and is the largest known fish on the planet). And in line with our predicted “sharky summer,” a juvenile great white shark was spotted a bit close to a swimmer off the coast of Santa Barbara. The best news is: Nothing bad has happened to any humans or animals during these visits, underscoring how well we can co-exist with these beings, despite our fears of them.

Happy adventuring,

P.S.

More and more wildlife lovers are heading into public lands for “recreational herping,” the practice of looking for amphibians and reptiles. Conservation photographer Mario Ramos recently raised concerns via his Instagram page about how the increase is leading some folks to unintentionally harm the animals they seek to observe. “A harsh truth about field herping is that our interactions with wild herps are often stressful and potentially detrimental to the animals, no matter how you frame it,” Ramos wrote. Ramos then outlined how to ethically look for animals that slither and slide in the wild. Always respect the locals, folks!

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.

TORONTO — An actor from last year’s Toronto International Film Festival has been turning heads around town this week: Inde Navarrette, whose “Obsession” went from a modest 2025 Midnight Madness slot to a box office behemoth.

But if you had to pick this year’s Navarrette, who would it be? Among the breakout names of TIFF 2026 is unquestionably Rosalind Eleazar, the London-born 38-year-old star of “Misty Green,” the first film written and directed by Chris Rock since 2014’s “Top Five” and among the most notable world premieres at this year’s festival.

Misty is a Hollywood survivor who was never able to make the most of her own success, winning an Emmy a few years back but now losing the apartment she has been living in because the widow of the man she was cheating with wants it back. With her bad attitude and personal problems, Misty has burned many bridges along the way. There’s a chance she could be cast in a remake of “Dreamgirls” that would turn everything around for her, but Misty’s brother, Jay (Daniel Kaluuya, in his first major screen role since 2022’s “Nope”), was recently released from a mental facility and needs monitoring.

Though there are comedic moments along the way, “Misty Green” is very much a character study, as well as an unsparring examination of the systemic pressures on Black women in Hollywood — one executive interrupts Misty’s audition to ask if she is “mixed.” She does herself no favors, frequently self-sabotaging and getting in her own way.

“Being an actor is hard,” Eleazar said in an interview at The Times’ photo and video studio in Toronto on Sunday with a sense of well-earned candor. “I could totally relate to Misty’s journey and the setbacks and the constant picking yourself back up after multiple rejections and just going again. And trying not to have armor because as an actor you want to keep yourself open and you don’t want to harden too much. But it can be easy to harden yourself to an industry that can be unforgiving.”

Though “Misty Green” is Eleazar’s first lead in a film, she has had a steadily building career. She is probably most familiar to American audiences from her role as an MI5 agent on the Apple TV series “Slow Horses.” But soon she will likely be known for the explosive announcement that is “Misty Green.” The film will go on to play at the New York Film Festival and the London Film Festival and be released by distributor A24 on Oct. 9.

“It can be easy to harden yourself to an industry that can be unforgiving,” Eleazar says.

(Jason Armond / Los Angeles Times)

After her movie’s TIFF world premiere in a coveted Saturday night slot at Roy Thompson Hall, Eleazar was included among those celebrated at the annual TIFF Tribute Awards, a fundraising gala put on by the festival. She was recognized alongside such actors as Helen Mirren, Penélope Cruz and Isabelle Huppert, whom she called “extraordinary company.”

“I grew up watching them and admired their work,” Eleazar says earlier in the day. “It’s just such an honor to be considered amongst heavyweights like that. Dame Helen Mirren. Crikey.”

With a warm smile she adds, “Just went very British.”

In accepting the prize, Eleazar recalled how when she came to Toronto for the premiere of her first feature film, 2019’s “The Personal History of David Copperfield,” she stepped away from a party to call her mother at 4 a.m. London time. Not wanting to make that same mistake again, she made sure her mother was there with her in Toronto for this year’s Sunday gala, sitting at a table with Eleazar’s husband, the actor and producer Gabriele Lo Giudice.

Eleazar performs two songs in the film, a heartbreakingly vulnerable cabaret version of Radiohead’s “Creep” and a stripped-down, tender reading of “One Night Only” from “Dreamgirls.” (Eleazar does not consider herself a singer and took vocal lessons before shooting.) Then, in a scene in which Misty demands she be allowed to finish an audition, she flashes into someone else in a bit of pure craft that leaves those in the room astonished.

It was important that Misty be seen as someone who is in fact immensely talented, who may even be worth all the bother and strife that she brings along with her.

“I think we’ve seen movies before where the character isn’t talented and it’s about the hustle and the dream of making it in Hollywood,” says Eleazar. “But I think it’s really interesting seeing someone that cannot get out of their own way — someone that is railing against the industry and is fighting Hollywood, fighting herself, fighting the people around her. It becomes quite a universal subject. It is about our industry but it’s also just about someone who is trying to escape herself.”

Despite Misty’s obvious talents, acting simply may not be the best career for her anymore; it strains her emotional and mental health and enables her substance abuse. Over the course of her own career, Eleazar has at times had to check in with herself to make sure she was heading down the right path.

“There are definitely times that I’ve questioned it,” she says. “For me it does really feed my soul and therefore, at my low points, I’ve managed better. But it can be really heavy. And maybe I shouldn’t but I feel like I’m pretty happy being an actor.”

Chris Rock and Rosalind Eleazar in the movie “Misty Green.”

(A24)

To land the role, after a few meetings with Rock over Zoom, Eleazar flew herself from London to Los Angeles so she could read in the room. As it happened, it made for an intense few days: First she had a chemistry read with Ralph Fiennes in the U.K. for a stage role (she would appear opposite Fiennes in “Small Hotel” in 2025) and then immediately flew to L.A. to read with Rock.

“What a mad, amazing three days,” she recalls. Similarly, Eleazar would be ending her whirlwind few days in Toronto by heading to Los Angeles to be with the “Slow Horses” team for the Emmys on Monday.

In introducing her tribute on Sunday night, Rock recalled when Eleazar auditioned for the part.

“The room just changed,” he said. “She was funny, she was dangerous, she was moving and completely in command. Misty Green is a woman whose life is coming apart. Rosalind never played her as a victim. She made you see the intelligence, the appetite and the fight underneath all the chaos. The audition was supposed to help me decide who to play Misty, but halfway through, the decision had already been made.”

“It becomes quite a universal subject,” Eleazar says of Chris Rock’s latest movie. “It is about our industry but it’s also just about someone who is trying to escape herself.”

(Jason Armond / Los Angeles Times)

There is something poetic about the fact that playing a mid-career actress struggling to land her next job may be the very thing that brings Eleazar wider recognition.

“It’s kind of meta, isn’t it?” she says with a laugh. “Look, I’m so happy that people are responding to the film and my performance. That really is the cherry on top because for me — I know it sounds rather cheesy — but I literally felt like I won once I did that film. I had such a great time exploring who she was and working with Chris and Daniel and Adam [Driver] and that cast. So everything else is just so lovely.”

In accepting her own tribute award on Sunday, Helen Mirren went off-script from her prepared remarks to say how moved she had been by Eleazar’s earlier speech, adding, “It’s exciting to see the generations coming up, especially women.”

As Rock succinctly added in his speech, “Misty Green wishes she could be Rosalind Eleazar.”

Regardless of what happens with “Misty Green” commercially or throughout awards season, Eleazar will continue tending her steady climb. Production will begin soon on season 7 of “Slow Horses” and Eleazar is currently shooting a film role that she isn’t yet allowed to talk about.

But Misty and the experience of bringing her to life on the screen will remain transformative.

“It almost reminded me of like a Shakespearean character in a way,” Eleazar says. “She’s so self-destructive and flawed and contradictory and at times it’s hard to get onside with her. We see it a lot of the time with male roles and I’d love to see it more with female roles — these really complex and messy characters.”

WASHINGTON — Gov. Gavin Newsom said he would not run for the Democratic presidential nomination in 2028 if Kamala Harris does so, appearing to offer deference to the former vice president ahead of a race that could draw a historically crowded field of candidates.

“I wouldn’t run if she ran,” Newsom told CNN’s Jake Tapper in an interview posted Monday. “Why would I? I wouldn’t do that to her. … I wouldn’t do it to you, I wouldn’t waste everyone’s time.”

Newsom appeared to acknowledge a desire to avoid the possibly messy fight for California backers that could ensue if both were to run, saying there would be “pure crossover” between Harris’ supporters and his.

The governor’s effective yield to Harris diminishes the possibility of a showdown between two of California’s most powerful political figures in an election whose stakes are viewed by the Democratic Party as existential. The possibility of Harris making a second attempt at the presidency after her loss to President Trump in 2024 has hung as the biggest question over the potential Democratic field.

Both Newsom and Harris have acknowledged they are considering presidential bids in 2028, but Harris has closely held her intentions. She said last week that she had not decided whether to run, telling former soccer player Megan Rapinoe in a podcast interview that she was focused on working full time to help Democrats win the midterms.

A spokesperson for Harris declined to comment. Representatives for Newsom did not immediately respond to a request Monday afternoon.

Harris has appeared as the party front-runner in multiple polls about 2028, including one in July that showed her beating Newsom by double digits. But questions have continually circulated within the party about whether voters who are scarred from the party’s 2024 loss would be enthusiastic about a Harris run.

Several California donors told The Times in May that they did not plan to support Harris or did not want to discuss a possible bid by her; in a few corners, more enthusiasm came through for Newsom.

The dynamics around the 2028 Democratic primary continue to evolve as party hopefuls jockey for the spotlight, and they shifted notably with the selection of South Carolina as the party’s first primary state. That choice could give Harris a boost if South Carolina’s Black voters move in her favor.

Harris and Newsom came up in politics in the same era and have never before run in an election against each other, operating their political careers largely in parallel rather than in competition. In February, Newsom said on CNN that he had “never gotten in the way of her ambition” and he didn’t “imagine I would in the future,” saying “fate” would determine whether they ran against each other.

Newsom swung through South Carolina this month, the type of move generally interpreted as laying the groundwork for a presidential bid. In the CNN interview, Newsom noted that he did not know whether Harris would run and agreed it was a “pretty good case” to make when Tapper raised the argument that Harris had had her chance at the presidency and Newsom had not yet.

The governor suggested that a fight between him and Harris would split their supporters’ vote in a way that would be “a gift from God for everybody else” in the race, saying “it services no greater good” for both of them to run. He also nodded to their overlapping political circles.

“I know her base of supporters, I know her friends. The [Venn] diagram on that is just pure crossover,” Newsom said. “I wouldn’t do that.”

The interview was filmed in Montana, where Newsom’s in-laws own a ranch, as Newsom and Tapper fly-fished together. The full segment was set to air Tuesday.

Newsom said that in order to decide to run, a candidate needs to be able to “meet the moment.”

“You gotta be honest with yourself,” he said. “Do you represent the zeitgeist of the moment or are you wasting everybody’s time?”

Turn on a radio between 1978 and 1987 and you were sure to hear Journey — any of the more than two dozen sumptuous yet muscular rock hits that shaped young America’s ideas about love, inspiration and wanting it the way you need it. Four decades later, the band’s music is still everywhere, including television, social media and streaming platforms like Spotify, where Journey has more monthly listeners than Bruce Springsteen, U2 or Bob Dylan. Yet Saturday night the group will bring what it’s calling its farewell tour to Crypto.com Arena — a capstone (at least if the band is to be believed) to a long career full of twists and turns.

Indeed, domination was hardly a given when guitarist Neal Schon and keyboardist Gregg Rolie — both of whom had played with Carlos Santana — formed Journey as a kind of jazzy proto-jam band in San Francisco in 1973. But with the addition a few years later of singer Steve Perry, the group found its gloriously dramatic sound and began racking up hits one after the next (though critics were rarely kind). Perry eventually quit, which took the wind out of Journey’s sails until Schon discovered an uncanny soundalike from the Philippines, Arnel Pineda, on YouTube; he’s helped the band get back into arenas and the occasional stadium even as Schon and keyboardist Jonathan Cain, who replaced Rolie in 1980, have battled each other in court over financial matters.

Got all that? To try to make sense of Journey’s path, I’ve ranked all 25 of the band’s hits that have charted on Billboard’s Hot 100, starting with the worst and ending with the best. Hold onto that feeling — it goes on and on and on and on.

25. ‘Walks Like a Lady’ (peaked at No. 32 in July 1980)

Some are born to sing the blues, as Perry once observed — just not Perry himself, who chews his way through this corny come-on like an overserved uncle at the Hard Rock Cafe. Nice showcase for Rolie’s organ work, though, on one of the last Journey singles he played on before leaving the band.

24. ‘Just the Same Way’ (peaked at No. 58 in May 1979)

Rolie and Perry tag-teaming lead vocals is not a form of democracy I’d vote for.

23. ‘After the Fall’ (peaked at No. 23 in August 1983)

Safe? Sterile? Soulless? Look, the haters can’t always be wrong.

22. ‘Too Late’ (peaked at No. 70 in January 1980)

“Before your time has run astray / You’ve got to try to get away.”

21. ‘Anytime’ (peaked at No. 83 in July 1978)

After overseeing Queen’s first few albums, producer Roy Thomas Baker turned his attention to Journey (and to the Cars); this midtempo number from the “Infinity” LP offers a credible approximation of Queen’s trademark stacked vocal harmonies.

20. ‘The Party’s Over (Hopelessly in Love)’ (peaked at No. 34 in April 1981)

Three platinum plaques in less than two years — for “Infinity,” “Evolution” and “Departure” — meant that Journey had no choice but to drop a live record, “Captured,” at the top of 1981. (It went platinum by Christmas.) As extra consumer bait, the double album closed with this new studio cut built around a killer Schon lick (and not much else).

19. ‘Good Morning Girl’/‘Stay Awhile’ (peaked at No. 55 in September 1980)

Phantom of the roller rink.

18. ‘Why Can’t This Night Go On Forever’ (peaked at No. 60 in May 1987)

Propelled by the success of his debut solo album — not to mention his appearance on the smash all-star “We Are the World” — Perry assumed greater control of Journey’s sound for 1986’s synthed-up “Raised on Radio,” which spawned no fewer than five singles, ending with this slightly lugubrious ballad. Yet the takeover came with a cost: By the end of 1987, the band had entered a hiatus that would last nearly a decade.

17. ‘Still They Ride’ (peaked at No. 19 in July 1982)

Listen to how nimbly Perry maneuvers some very tricky intervals.

16. ‘When You Love a Woman’ (peaked at No. 12 in December 1996)

Journey reunited for 1996’s “Trial by Fire,” which brought the band its only Grammy nomination (and which might feature the ghastliest album cover in music history). If the members knew that rock had changed dramatically while they were away, they didn’t show it in the LP’s romantic lead single: “When You Love a Woman” — a chart-topper for three weeks on Billboard’s adult contemporary tally — clearly sought to pick up where “Open Arms” and “Faithfully” had left off.

15. ‘Girl Can’t Help It’ (peaked at No. 17 in November 1986)

Wonder what Perry and Huey Lewis talked about between takes on “We Are the World.”

14. ‘Be Good to Yourself’ (peaked at No. 9 in May 1986)

“Karate Kid”-core.

13. ‘Only the Young’ (peaked at No. 9 in March 1985)

More “Karate Kid”-core, in this case released first as a song by Patty Smyth’s band Scandal; Journey’s version later wound up alongside Madonna’s “Crazy for You” on the soundtrack to “Vision Quest.”

12. ‘Wheel in the Sky’ (peaked at No. 57 in May 1978)

Before Perry came aboard in 1977, Journey spent a few months with Robert Fleischman as lead singer — long enough for Fleischman to co-write the group’s first Hot 100 entry, not so long that he got to sing it on the record.

11. ‘Any Way You Want It’ (peaked at No. 23 in April 1980)

Ooh, baby, hold tight.

10. ‘Suzanne’ (peaked at No. 17 in August 1986)

Easily Perry’s most unhinged vocal performance.

9. ‘Send Her My Love’ (peaked at No. 23 in November 1983)

A luscious and melancholy white-soul song that I’d bet Phil Collins admired back in the day — and that Justin Bieber would probably flip for now.

8. ‘Lovin’, Touchin’, Squeezin’’ (peaked at No. 16 in October 1979)

Inducting Journey into the Rock & Roll Hall of Fame in 2017, Train’s Pat Monahan belted the na-na-na outro of the band’s first Top 40 hit as he made his case for the group’s excellence. “They didn’t even need lyrics — that’s how badass this band is,” he pointed out. Still, let’s not gloss over the appealing perversity of starting a song this horny the way Perry does: “You make me weep and want to die.”

7. ‘Lights’ (peaked at No. 68 in September 1978)

Dodgers fans can delight in the fact that Perry originally wrote this paean to San Francisco — an anthem taken up at one time or another by every Bay Area pro sports team, including the Giants — about the lights going down and the sun shining on … Los Angeles. (Swap out “the bay” for “L.A.”) Maybe that’s why “Lights” has always felt to me like a precursor to the Red Hot Chili Peppers’ “Under the Bridge.”

6. ‘Separate Ways (Worlds Apart)’ (peaked at No. 8 in March 1983)

[Listens to “Eye of the Tiger” once.]

5. ‘I’ll Be Alright Without You’ (peaked at No. 14 in February 1987)

Shout out to future “American Idol” judge Randy Jackson, who joined Journey for “Raised on Radio” and proceeded to lay down the slinkiest, sultriest, funkiest bass line the band had ever known.

4. ‘Don’t Stop Believin’’ (peaked at No. 9 in December 1981)

Believin’ in what, exactly? The genius of Journey’s most-streamed track on Spotify (with more than 2.9 billion plays) is its use of concrete images to advance a pretty mysterious narrative. We’ve all stood under a streetlight; we all know the smell of wine and cheap perfume. Yet everybody’s midnight train is going to a different anywhere.

3. ‘Open Arms’ (peaked at No. 2 in February 1982)

Famously — and fortuitously — rejected by a former bandmate of Cain’s as “sentimental rubbish,” “Open Arms” was perhaps just waiting to be embraced by Perry, who sings it with the wounded gusto of a man well acquainted with regret. In a poetic twist, Journey’s highest-charting hit was blocked from No. 1 by the J. Geils Band’s “Centerfold,” in which the heartbroken narrator goes laughing all the way to his bed.

2. ‘Who’s Crying Now’ (peaked at No. 4 in October 1981)

The first of three Top 10 singles from 1981’s 10-times-platinum “Escape,” this immaculate R&B jam imagines an alternate dimension where Perry and Cain hear Earth, Wind & Fire’s “After the Love Has Gone” and decide to form a new group with David Foster. Except Perry remembers the song as a high point for Schon: “You know the guitar outro from ‘Who’s Crying Now’?” he asked a New York Times reporter in 2003. “I fought for that because I knew no DJ would cut that song off with Neal’s guitar wailing at the end of it. It was too brilliant.”

1. ‘Faithfully’ (peaked at No. 12 in June 1983)

It wasn’t the first rock ballad about life on the road — and it definitely wasn’t the last — but “Faithfully” might be the most emotionally generous: “Loving a music man ain’t always what it’s supposed to be,” Perry tells his lady, grounding the song in the experience of those who leave and those left behind; later, he envisions their reunion with such tenderness — “I’ll get the joy of rediscovering you” — that you know he’s already decided to take off again.

At the end of a topsy-turvy Saturday that saw the Big Ten’s top contenders tumble, Trent Mosley stood just inside USC’s 15-yard line, looking skyward.

By that point, Ohio State had just blown a 20-point, fourth-quarter lead to Texas, and Oregon had, hours earlier, been stunned by Oklahoma State. The path to the top of the Big Ten suddenly seemed open as ever, just as the Trojans’ tremendous freshman caught the punt and took off in search of an opening himself.

With his stunning start to the season, no one player at USC — and perhaps in all the nation — had manufactured more hope through two games. While the conference’s other top teams spent the day licking their wounds, here, once again, was Mosley weaving joyfully through the open field and conjuring the very same magic from thin air. He shook off one tackle, then another. Soon enough, he was gone for an 86-yard punt return, and the No. 14 Trojans were rolling, comfortably on their way to a 49-30 win over Louisiana.

The second half didn’t feel quite as hopeful, as the Trojans let up and let Louisiana linger around through a victory that coach Lincoln Riley deemed “up and down.”

Still, the win was USC’s 10th straight at home, going back to the 2024 season, and gives the Trojans’ a spotless nonconference slate in 2026 — not that anyone would confuse their early-season schedule for a murderer’s row. There won’t be any easy home wins from here, though, with USC’s next three games against Oregon, Washington and Ohio State.

“It’s been good getting adjusted to this,” Mosley said. “But now we go on the road, so that’ll be a new adjustment.”

USC has, in glimpses this season, looked like a team that belongs among those Big Ten behemoths. And the most encouraging of those moments have largely come from the Trojans’ talented freshman class.

Mosley, who also had an acrobatic receiving touchdown Saturday, wasn’t the only one who made his presence felt. Tight end Mark Bowman had his eagerly anticipated breakout game, as he exploded for six catches, one of which he capped by hurdling two defenders. He finished with 83 yards and two touchdowns, all in the first half. Defensive tackle Luke Wafle, meanwhile, continued his streak of early dominance by tallying a team-leading seven tackles.

USC tight end Mark Bowman hurdles over Louisiana safety Kody Jackson during the first half Saturday.

(Kevin Terrell / Getty Images)

“I feel like our peak, our trajectory should be even higher because of how many young guys are playing,” Riley said.

The win wasn’t nearly as dominant an effort for the rest of USC’s defense, which was coming off of a shutout of Fresno State. Louisiana averaged 7.6 yards per play and scored 20 points in the second half, led by dual threat quarterback Lunch Winfield, who scampered to 91 rushing yards.

“We’re just gonna take this as a learning moment,” defensive tackle Jide Abasiri said. “I just feel like sometimes we’ll get comfortable or complacent, then that’s something we need to, going forward, fix when adversity hits.”

It wasn’t the sharpest night for the Trojans’ offense, either. Though, you wouldn’t know it from the box score. While USC rushed for 214 yards, nearly 100 came in the fourth quarter, with the game well in hand. Quarterback Jayden Maiava put up numbers once again, as well, completing 19 of 29 passes for 261 yards and five touchdowns.

USC receiver Trent Mosley makes a touchdown catch under pressure from Louisiana safety Maurion Eleam Saturday at the Coliseum.

(Mark J. Terrill / Ap Photo/mark J. Terrill)

The five passing scores tied a career high. But Maiava said after the game that it “definitely didn’t feel like” that strong of a performance.

Through two games, Maiava had accounted for as many touchdowns (six) as he had incomplete passes entering Saturday’s game. But on Saturday, he missed his first three passes, the third of which went directly to a Louisiana defensive back.

The interception was Maiava’s first of the season, and it led to a Louisiana field goal, giving the Ragin’ Cajuns (1-1) an early lead. It was also the first time the Trojans trailed this season.

USC (3-0) and its quarterback settled down after that. The Trojans mounted a 12-play scoring drive on the ensuing possession, and Maiava found Bowman for a five-yard score. Then, they mounted a 10-play drive, and Maiava found Bowman again.

By that point, USC’s offense had piled up almost 200 yards, while Louisiana had scraped together just 18.

But the Ragin’ Cajuns refused to go away — for the moment, at least. They marched the length of the field and scored, cutting USC’s lead to 14-10.

That was the closest they’d get. The Trojans mounted a third straight drive of 10 plays or more, and this time, Maiava fired a touchdown pass through the hands of a Louisiana defensive back on its way to freshman Kayden Dixon-Wyatt.

The knockout blow came soon after that. After its follow-up drive went nowhere, Louisiana made the mistake of punting to Mosley, who took off sprinting to his right and didn’t stop until he reached paydirt.

The punt return was his fourth score of the season. He added a fifth before the final buzzer sounded.

The rest of the night wouldn’t go nearly as smoothly. The intensity, Riley said, “dipped a little bit.” Louisiana would linger, well into the fourth quarter.

But by then, the Trojans could safely coast their way to a clean non-conference sheet, knowing the trust test of their season – and their stellar true freshmen – is still to come.

As a kid growing up in rural Oklahoma, I feared what lurked beneath the lake water.

I’d listen as my family spun yarns about the massive catfish they’d discovered while noodling. I was terrified that, despite their docile nature that not a single adult told me about, an alligator gar would eat me while I bobbed in the lake. Old timers would recount finding a water moccasin in their boat. And I’ve still never recovered from the concept of a “breeding ball,” which a friend’s cousin’s cousin claimed to have run into while water skiing.

Despite the fact that nothing bad ever happened to me in a lake, my fear stayed with me into adulthood. I’ve met several Californians who hold fears similar to mine, but rather than lakes, their outsized anxieties lie within the ocean. It not only keeps them from swimming at our local beaches but also from venturing beyond the shallow shoreline.

An underwater view near Terranea Resort on the Palos Verdes Peninsula.

(Allen J. Schaben / Los Angeles Times)

In this week’s edition of The Wild, our weekly outdoors newsletter, I will discuss how to safely tackle those fears and start exploring with a snorkeling kit. Get ready to learn about the incredibly diverse and colorful world that lives beneath our local waters — you’re about to feel like Ariel exploring a whole new world! Let’s dive in.

I spoke to Ralph Buck, who founded Barnacle Busters, an L.A.-based LGBTQ scuba club, with two others almost 40 years ago. Buck’s passion for helping others learn how to safely explore the ocean was so infectious that by the time we ended our call, I was seriously considering whether I should get my scuba certification (which is a story for another day).

Here’s what Buck advised regarding snorkeling.

The Wild writer Jaclyn Cosgrove snorkels among what appear to be grunion or topsmelt near the coastline of the Palos Verdes Peninsula.

(Allen J. Schaben / Los Angeles Times)

1. Get the right gear

Generally you will need the following gear to get started:

• A correctly sized mask and snorkel.
• A wetsuit (with booties, as a bonus, to protect your feet): Generally, 7 mm is a great thickness for Southern California, although our water is warmer because of our El Niño season (and climate change).
• A life jacket or flotation device: This is considered optional, as the wetsuit will help you float, but there’s absolutely no shame in being extra safe! (And if you don’t have a wetsuit, please do wear a life jacket.)
• Fins: It might be too strong to suggest they’re “optional,” but they can be awkward for those new to snorkeling and not necessary if you’re in calm enough waters or an overall strong swimmer.
• Camera: Very, very optional. While out at Santa Cruz Island two weeks ago, I took some terrible underwater photos with my iPhone and wished I’d just left it on the shore.
• Weight belt: If you want to dive, you might need a weight belt to help you go under. That said, this is a more advanced tool, and it’s good to just focus on the basics as you get more comfortable in the water.

One thing new snorkelers might not realize is the level of buoyancy that a wetsuit gives you. Both times I’ve been in the past month, I wore a 7-mm suit and loved how easy it was to float above the eel grass at Santa Cruz Island and the kelp on the coast of Palos Verdes. I love a sport that includes just lying around.

Kelp, sea grass and various algae grow beneath the water at Terranea Beach Cove in Rancho Palos Verdes.

(Allen J. Schaben / Los Angeles Times)

2. Plan for getting your wetsuit on

For anyone on the shore of Prisoners Harbor two weeks ago, they got the pleasure of watching me groan (and curse) as I maneuvered into a thick wetsuit without anything but my swimsuit on. I told my friend I knew what sausage felt like as it’s shoved into its casing.

Zach Cantrell, owner of Ventura Dive and Sport, gave me a tip I will be eternally grateful for: Bring a plastic bag or something else that will help you slide into your wetsuit, as it helps reduce the friction between your body and the wetsuit. I brought one with me when my colleague, Allen J. Schaben, and I went out last week, and getting my wetsuit on was a breeze. No human sausage vibes (or cursing).

Buck suggested other options might be pantyhose or a long-sleeved unitard. Anything to help you slide into your wetsuit!

3. Before going out, practice in a pool

“I would suggest before hitting the open water, go hop in a pool and maybe find an experienced snorkeler to go with you simply because there are some subtle little pieces to the puzzle, which are” easy to miss for a new snorkeler, Buck said.

That includes the direction to point your snorkel. If it’s pointing too far forward, you will likely find yourself breathing straight saltwater as the waves hit you. But if you point it straight up or tilt it a bit backward, it’ll help your breathing apparatus stay clear.

A variety of marine life living around the rocky bottom of Terranea Beach Cove in Rancho Palos Verdes.

(Allen J. Schaben / Los Angeles Times)

4. Never snorkel alone

You look out at the ocean and see calm waters. You hear the siren’s call. You are alone. Resist.

Despite looking like a fairly chill activity, snorkeling still comes with significant risks that will be exacerbated if swimming alone. While out with my colleague off the coast of Rancho Palos Verdes, he pointed out a massive rock that I thought I could maneuver around. I timed my movements wrong and whacked right into it. I was fine, but also glad someone had my back if I wasn’t.

5. Assess the day’s conditions

• Check the weather. If it is a particularly windy day, it’s likely not a good day for snorkeling, not only for safety reasons but also visibility.
• Check the surf. There are several websites that pull data about the height of the surf, including the L.A. County Department of Beaches & Harbors.
• Before entering, scan the shore to assess the movement of the water.
• Learn how to spot rip currents. Rip currents “most commonly form at low spots or breaks in sandbars and near structures such as groins, jetties, and piers,” according to the National Oceanic and Atmospheric Administration.

“If you’re a beginner, and the waves are higher than knee high, I would just go to brunch,” Buck said. “If the surf’s too big, your visibility is going to suck anyway.”

I do love any excuse to have waffles.

The Wild writer Jaclyn Cosgrove carefully enters the water at Terranea Cove Beach in Rancho Palos Verdes.

(Allen J. Schaben / Los Angeles Times)

6. Choose an area that’s easy to enter and exit

This includes sandy beaches, where you can easily wade into the water without losing your balance. At Prisoners Harbor, I fell over several times because the shore is covered in various fist-sized rocks. (I need to work on my balance.) Snorkeling off the Palos Verdes Peninsula, I took my time, watched the waves and slowly moved into the water as the waves allowed. I found that, when there are rocks around, walking into the water like I’m navigating a balance beam is a good approach.

Also, in terms of looking for the best spots to snorkel, look for kelp forests and rock reefs. And because you’re newer, I would stick to spots known for snorkeling.

7. Plan for fog

Buck said before the COVID-19 pandemic, the Barnacle Busters, like most diver clubs, would recommend a simple solution to fog in your goggles: Spit. They still recommend using your spit in bodies of water where your germs won’t immediately affect other swimmers like in the ocean.

You can also buy an anti-fogging agent for your goggles. If you take your goggles off at any point as you snorkel, you’ll need to reapply either spit or anti-fog spray.

While I was out snorkeling, I was amazed at how well spit worked. (And if you want to understand the science behind why this works, check out this blog post from Scuba.com.)

A garibaldi, California’s state fish, at Casino Point Dive Park on Catalina Island in 2016.

(Allen J. Schaben / Los Angeles Times)

8. Check in with yourself and your partner

You should check in with your partner every 30 seconds. That might feel like it’s way too frequent, but you’ll be amazed at how far apart you can float from your friend in that time frame. It can be as simple as making sure you see them and they see you.

9. Keep an eye out for hazards

When entering the water, you’ll want to do the “stingray shuffle” to ensure you alert any nearby rays of your presence. Around L.A. County, you’ll also want to watch out for sea urchins because their spines can prick your skin, which will require treatment if you bump into them.

As our county lifeguards point out, L.A. beaches aren’t typically places you’ll find the most dangerous jellyfish. “Jellyfish in Southern California are usually smaller in scale and have a more mild sting than other species found around the world,” according to the agency’s website.

(And don’t worry. Electric eels don’t live in the ocean.)

I asked Buck how often he and his fellow divers check for hazards like sharks.

He told me that outside of rocks, high surf and going out too deep for one’s skill level, he and his diving partners don’t think too much about hazards in our local waters.

Purple sea urchins grow on a rock near the shore of Prisoners Harbor on Santa Cruz Island in the Channel Islands National Park.

(Jaclyn Cosgrove / Los Angeles Times)

“Well, we don’t consider sharks to be a hazard at all. My husband and I blame Steven Spielberg for the irrational fear of sharks,” Buck said, referencing Spielberg’s 1975 film “Jaws” and the adverse effects the film had on white sharks.

Buck said he and his husband rarely see sharks. He does give some weight to the argument that divers in wetsuits can resemble seals and sea lions when floating on the surface.

“But in areas where you’ll probably be snorkeling, you’ll probably be snorkeling on shallow rocky reefs or shallow kelp. It’s not even a consideration for us,” he said.

Lastly, if you or your partner start to shiver, get out.

The Wild writer Jaclyn Cosgrove snorkels at Terranea Cove Beach in Rancho Palos Verdes.

(Allen J. Schaben / Los Angeles Times)

10. Don’t touch anything

Practice Leave No Trace in the ocean too. “That’s our philosophy for diving too,” Buck said. “Look, but don’t touch.”

And never feed the marine life.

11. Have fun!

Since learning to snorkel, I’ve already found two friends who also enjoy it, and I plan to ping them to go out soon. If you don’t have anyone in your circle who snorkels yet, consider joining a local club.

In a world that feels hard right now, I felt like I had a two-hour vacation as I floated above the bright green sea grass and golden yellow kelp, watching garibaldi and what appeared to be grunion or topsmelt bob and dive around me. I came out refreshed and grateful to live here.

3 things to do

The hike to Eaton Canyon Falls in the San Gabriel Mountains before the 2025 Eaton fire.

(Myung J. Chun / Los Angeles Times)

1. Learn about Eaton Canyon’s future in Arcadia
L.A. County Parks and Recreation will host From Ashes to Action: Reimagining Eaton Canyon from 5 to 7 p.m. Wednesday at the L.A. County Arboretum’s Ayres Hall (301 N. Baldwin Ave. in Arcadia). Attendees will learn about design concepts for the next Eaton Canyon nature center along with the latest work completed in the natural area. The event is free, but registration is required. Register at arboretum.org.

2. Service sage in San Pedro
Cabrillo Marine Aquarium (3720 Stephen M. White Drive) needs volunteers from 9 to 10:30 a.m. Saturday to work on its native plant garden. Participants will learn about plants as they work. All ages welcome. Learn more at cma.recreation.parks.lacity.gov.

3. Launch into Latino Conservation Week in L.A.
The Audubon Center at Debs Park will kick off Latino Conservation Week from noon to 6 p.m. Sunday at Metabolic Studio (1745 N. Spring St.). Activities include a bachata class, panel discussion and guided nature hike. Learn more at act.aubudon.org.

The must-read

Burn damage to the Torrey pine grove at Santa Rosa Island, as seen from a ferry on June 8.

(Kayla Bartkowski / Los Angeles Times)

Last week, the National Park Service announced that up to 80% of the rare Torrey pines on Santa Rosa Island in the Channel Islands National Park could die after being harmed by a wildfire in May. Times staff writer Corinne Purtill wrote that initially park officials were hopeful that because the fire, which charred through 40% of the 18,000-acre island, burned at low intensity through the grove, the trees could recover. Research found the fire hurt the mature trees’ exposed root systems. However, I am holding onto hope — for a few reasons. “Park staff have also collected more than 14,000 seeds released from the pine cones. Viable seeds will be planted and raised in a nursery until the seedlings can be planted in the grove,” Purtill wrote.

Another reason is that volunteers are already actively working to save these trees. You can help with that. The California Institute of Environmental Studies needs volunteers to help with recovery as well as with Channel Islands Restoration. You can also donate to the Channel Islands Park Foundation’s Santa Rosa fire resilience fund.

Now more than ever, it’s on us to protect our public lands.

Happy adventuring,

P.S.

While out kayaking off the coast of Santa Cruz Island last month, I yanked a plastic wrapper out of the ocean. I frequently pick up plastic snack wrappers and corners of wrappers that people have accidentally dropped on the trail. And not infrequently have I found thick plastic bags — those said to be reusable — floating in shallow water near the beach. In recent years, California lawmakers have passed laws to address our state’s plastic consumption, including the Plastic Pollution Prevention and Packaging Producer Responsibility Act, or Senate Bill 54. Starting in 2027, the state will receive $500 million every year for 10 years to address plastic pollution, and state leaders want to hear from you how to best spend that money. You can submit your thoughts through Sept. 30 using this form or send your message using the email listed on the form’s webpage. Times staff writer Susanne Rust recently wrote about how there’s a secretive multimillion-dollar campaign to crush California’s landmark plastics law. If the battle over single-use plastic in California is something you’re passionate about, consider subscribing to Boiling Point, where my Times colleagues explore what’s happening to our climate-changed world. They’ll definitely keep you posted!

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.

Throughout his 40 years in Los Angeles, one piece of advice on where to live still rings true for Jimmy Smits, known for starring in “L.A. Law,” “NYPD Blue” and “Sons of Anarchy.” Long ago, producer Steven Bochco, who helped launch Smits’ TV career, encouraged the native New Yorker to stick around.

“He said, ‘I think you’re going to be working at Fox or around here for a while,’” Smits recalls. “‘Don’t be a schmuck. Stay near, so you can get to work on time. Get the s— house in the best ZIP Code you can.’”

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

And so, from West Los Angeles to Santa Monica to Brentwood, Smits and his wife, actor Wanda De Jesus, have made the Westside their home base.

“Even when I lived in Brooklyn, we were near water,” Smits says. “It’s not Coney Island, but it’s the Santa Monica Pier. We have this New York-L.A. thing.”

When he’s not working, Smits prioritizes relaxation and his spiritual life. Most Saturday evenings, there’s a Mass to attend. All physical activities are done near water.

Beyond acting, the Emmy and Golden Globe winner is an advocate for education and the arts. This year is the 30th anniversary of the National Hispanic Foundation for the Arts, which he co-founded to support emerging talent in the performing arts.

Here’s a look at his ideal Sunday, with a bit of a New York-L.A. state of mind.

This interview was edited for length and clarity.

6:30 a.m.: First, the news

I still love reading the newspaper, tactile-wise. I keep the entertainment sections for weeks at a time for both the L.A. Times and New York Times. I recently had to go digital with the New York Times because my wife was like, “we can’t have all these newspapers around here!”

8 a.m.: People watching over breakfast

We’re not real foodies. Food is more like fuel for me. I love to experiment with different types of cuisines, but going to restaurants is more about the atmosphere. For breakfast, we’ll go to the Brentwood Farmers Market off San Vicente or the Coast Beach Café at Shutters on the Beach. You can people watch there. Or, they have an enclosure in the back that’s more chill. You can feel the ocean breeze on the water. If I’m really hungry, I’ll have the brioche French toast with some scrambled eggs and turkey bacon. But most of the time, it’s a pressed juice, English breakfast tea with warm milk and honey and a blueberry muffin.

9:30 a.m.: Beachside workouts

Part of the day will always have some kind of physical thing, and it’ll always relate to the water. Biking, brisk walking or wogging on the beach is ideal. If we’re biking, we’ll go up to where Will Rogers State Park is. It’s much quieter around there. We’ll start there and go towards the Santa Monica Pier and do laps back and forth. We’ll make stops along the way, at the Annenberg Community Beach House in Santa Monica or the bluffs at Palisades Park in Santa Monica, where they have a rose garden, [the California Incline roadway] and a lot of ways to get physical activity.

11:30 a.m.: What’s for lunch? Pasta

For lunch, it’s Divino, which is an Italian place in Brentwood. I’d order a light pasta and salad.

1 p.m.: Head to the playhouse for a matinee

My main go-to theaters are the Geffen Playhouse, which is close to us on the Westside; the Center Theatre Group, with the Ahmanson Theatre or the Mark Taper Forum, the Pasadena Playhouse or the Latino Theater Company Center at the Los Angeles Theatre Center, which specializes in Latino and multicultural productions. I get my New York theater fix by going to see plays at one of those places.

4 p.m.: Family time

At some point in the day, there would always be an East Coast call that winds up lasting way too long. With FaceTime, wherever we’re at, we can talk with the family, who are mostly in New York.

6 p.m.: Longtime faves for dinner

One of our favorite restaurants is Carlitos Gardel Argentine Steakhouse on Melrose Avenue, which has been around since the ‘90s. Italy plays big in Argentinian food, so you can get wonderful pastas there. I’ll usually have the entraña, which is a wood-grilled skirt steak, and the gnocchi is off the hook. The place reminds me of my college buddy-celebrity chef Michael Lomonaco, and his [former] restaurant Porter House in New York, where we’d go after the theater.

If not there, we’ll go to the restaurant we’ve been going to since I first got here. One of my first jobs was at then-MGM, which is now Sony, in Culver City. In ’86, I was working on “L.A. Law” and had a lunch break. I just wanted to walk around and found a Cuban restaurant called Versailles. I thought it was the closest I was going to get to the way Mom cooked. I developed a great relationship with the owners, the Garcia family. They have great Cuban food. I’ll have their arroz con pollo, which is chicken and rice.

8:30 p.m.: TV catch-up time

After dinner, we’d go home and get ready for the week. Depending on whether we go to a matinee or evening play, we would DVR stuff, like whatever sports that were on during the day that I missed. We’d definitely watch “60 Minutes,” “John Oliver” and pop in a movie or watch a stand-up comedy show. If we’re shooting something, I have to study for the next day. If not, we just relax, watch TV and go to bed between 10 p.m. and 11 p.m.

If Matthew Fine, a 5-foot-8, 165-pound senior running back and lacrosse star for Loyola High, needs a walk-up song, he can go back to 1969 when Frank Sinatra’s hit “My Way” came on the radio with the lyrics, “I did it my way.”

Fine, who lives in Manhattan Beach, declined to be interviewed last week before the Cubs’ game against the public school he lives five minutes from, Mira Costa. He didn’t want to give friends he grew up with any bulletin board material. Then he went out and rushed for 105 yards in a 14-7 Loyola victory.

It was fun for him to catch up with neighborhood kids he used to play with starting at age 5.

“I traded jerseys and traded photos,” he said. “It was nice talking to them.”

Asked if he walked home from the game, Fine said, “I actually considered it.”

Fine, with his speed and strength from lacrosse training, could be the comeback player of the year in football. He quit football after his sophomore year to focus on lacrosse. Loyola has one of the best lacrosse programs in the state, winning last season’s Southern Section championship. He’s earned a lacrosse scholarship to Utah.

Football coach Drew Casani had lobbied Fine to return to football before his junior year with no success. Last school year, after the lacrosse season ended, Casani sent him a text inviting him to return.

“I’m in,” Fine responded.

“I love football,” Fine said. “There was a lot of uncertainty. My junior year is where you get recruited for lacrosse. After sitting out a year and watching all the guys playing football, I got really jealous and wanted to jump back in.”

He rejoined the team this year starting at the bottom of the depth chart. Now he’s had back-to-back games rushing for more than 100 yards. This will be his first and only year playing on varsity.

“I’m doing this for fun,” he said. “I love football. I’ve been doing it longer than any other sport.”

Whenever the season ends, it will be Fine’s final football game.

“I don’t think I’ll have any regrets,” he said. “I’ll just be sad. I don’t want to think about that.”

Incredibly, as much as people believe football gets players in the best shape of their life, Fine once flunked his conditioning test for lacrosse after playing football.

“It’s a different type of conditioning,” he explained.

Casani is thrilled that Fine’s one year off from football has had little effect.

“He picked up seemingly where he left off,” Casani said. “ He’s fast, has vision and is hard to tackle.“

Don’t ask his father, Mickey, what Fine might do next or any day.

“My son does things his own way,” he said. “Sometimes I don’t understand it.”

With a 4.0 grade-point average and terrific lacrosse talent as an attacker, Fine has a bright future. For those who play intramural flag football on Utah’s campus, Fine could be the ringer to deliver a championship next year.

Start the early recruitment, Utes students.

It’s never too late to go back to school. But after years of deferred admission, can a new generation of students at Hillman College score high at delivering a compelling, modern take on the groundbreaking sitcom “A Different World”?

The foundation for an updated version of the popular sitcom set at a historically Black college was set three decades ago. In the 1993 series finale, the show’s central couple — smart, bespeckled math whiz Dwayne Wayne (Kadeem Hardison) and high-maintenance Southern belle Whitley Gilbert-Wayne (Jasmine Guy) — were embarking on their next chapter as newlyweds, relocating to Japan and expecting their first child. Before their departure, a professor jokingly quips to Dwayne: “I can’t wait to have your child in my class in the year 2014.”

The only guide you need for fall entertainment.

But plans for a revival — the original series itself was a spinoff of “The Cosby Show,” centered on the Huxtables’ free-spirited daughter Denise (Lisa Bonet) — to suit that time frame were in limbo for years. Producer and director Debbie Allen, who joined the original series in its second season to help it better reflect the HBCU experience, actively pitched and tried to relaunch “A Different World” in the early 2010s, but those efforts were derailed by the highly publicized sexual assault allegations against the show’s creator, Bill Cosby.

“It’s very difficult,” Allen told The Times. “The biggest difficulty, just being totally transparent, was people’s hesitation to work with Mr. Cosby; to have anything to do with him. [But] we were so independent. He kind of put us on a boat and said, ‘Go.’ And that’s what we did. And he was happy to know that we were going on our way.”

In early 2023, another push began to revive the series while also distancing itself from Cosby. Now, its decades-long gap year finally complete, a new incarnation of “A Different World” is starting up classes this fall at Netflix. And it hopes to carry on the legacy of its predecessor, which was celebrated for its depiction of Black culture and life in a higher education setting during its six-season run on NBC, from 1987 to 1993, bringing HBCUs into the mainstream.

Rashida (Alijah Kai), left, Deborah (Maleah Joi Moon) and Hazel (Kennedi Reece) in Netflix’s “A Different World.” After years of trying to tell the story of a new class at fictional Hillman College, Debbie Allen, who returns as an executive producer and director, says the sequel arrives at the right moment: “If there’s any voice we need to hear from right now, it’s young people.”

(Daniel Delgado Jr. / Netflix)

Billed as a sequel series premiering Sept. 24, a Wayne offspring is our anchor for the freshman class at Hillman College, the show’s fictional historically Black college based in Virginia. Deborah Wayne (Maleah Joi Moon) is an aspiring artist forced to attend her parents’ alma mater on academic probation after her NYU acceptance is rescinded. As the youngest Wayne child, she continues the family’s legacy at the school: her older sister — the child Whitley was pregnant with at the end of the original series — and an older brother are both alums.

She’s joined by a mix of first-gen and legacy students: star quarterback Shaquille Johnson (Cornell Young IV), who is the only child of original character Ron Johnson (Darryl M. Bell); criminal justice major Rashida Duvall (Alijah Kai); psych major Amir Rodale (Jordan Aaron Hall); Ghanaian-Nigerian fashion merchandising student Kojo Achebe (Chibuikem Uche); and small-town pastor’s daughter Hazel Henry (Kennedi Reece).

Some of the show’s original creative team join Allen as executive producers, including Tom Werner, and original series writers Reggie Rock Bythewood and Gina Prince-Bythewood. (Mandy Summers of “That ’90s Show” is also an executive producer.) To shepherd this reimagined version of the sitcom, Allen enlisted her former “Grey’s Anatomy” colleague Felicia Pride, who was most recently part of the writing staff on “Bel-Air,” the dramatic reboot of ’90s comedy “The Fresh Prince of Bel-Air.” It was a dream call for Pride, who as a kid living in Baltimore recorded and rewatched episodes — namely, the one involving a step competition that she obsessively watched after school to learn the routine. But she was reluctant.

“I love the show so much,” Pride said, seated next to Allen inside a Netflix conference room in Los Angeles on a recent day. “I was like, ‘I don’t want to be the one to mess it up.’ But she [Debbie] was so adamant that the time was now to hear from young Black America — and that, I could get with.”

Allen remembers it this way: “I don’t have an ego. I begged her. It’s the truth. To get this show back up, we’ve tried for years. But this is the time that’s right … We had inspired all these kids, not just Black kids, all young people to go to college. This was a peep into college that had never happened before, where you saw young people being responsible and living their lives and being crazy, but still dealing with what is happening in this world. If the young people in the country don’t have a voice, that country is dead. And if there’s any voice we need to hear from right now, it’s young people.”

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1. The original “A Different World”: Dwayne (Kadeem Hardison), left, and Ron (Darryl M. Bell). 2. Jaleesa (Dawnn Lewis), left, Freddie (Cree Summer) and Whitley (Jasmine Guy). With Netflix’s modern take, showrunner Felicia Pride wanted the series to be intergenerational: “That’s why I’m so glad that we were able to have the legacy cast in the show — I wanted it to have the heart.” (NBCUniversal via Getty Images)

The show has been credited with boosting enrollment at HBCUs. While overall HBCU enrollment rose by 26% between 1976 and 1994, according to the National Center for Education Statistics, much of that increase occurred during the stretch of the show’s run.

Pride said she rewatched the original series, paying particular attention to the shift that materialized in Season 2 when Allen was brought on to overhaul it, as a starting point. Allen had a document of ideas detailing the types of characters she wanted to see depicted, including a star athlete, the first out queer character in the show’s universe and an African student. One major detail was a nonnegotiable: Allen wanted the show to revolve around Dwayne and Whitley’s daughter. (How they arrived at the character’s name — Deborah (pronounced Deb-OR-ah), which also happens to be Allen’s first name — is fuzzy. Pride remembers the name already being set by Allen; Allen recalls being amused upon seeing it on the page, thinking Pride had chosen the name.)

And just as in college, legacy matters on TV.

“I wanted the show to feel of now,” Pride said. “I also wanted it to be intergenerational. That was important to me, and that’s why I’m so glad that we were able to have the legacy cast in the show — I wanted it to have the heart … These [characters] were like my friends. I felt comfort in them. I felt like I could be them. It was also culture in a way that I hadn’t seen before, represented by people who look like me.”

Several familiar faces from the original make their way into the sequel, some taking on the mentor role of the older characters from the original, others representing how one gives back to the community that shaped them. Hardison and Guy lead the cast from the original series who reprise their characters, along with Bell, Cree Summer as Freddie Brooks, Charnele Brown as Kimberly Reese Boyer, Ajai Sanders as Gina Deveaux, Karen Malina White as Charmaine Brown, Jada Pinkett Smith as Lena James, Jenifer Lewis as Dorothy Dandridge Davenport and Allen as Dr. Langhorne.

Several original “A Different World” cast members reprise their roles in the new version of the series, including Charnele Brown, left, Jasmine Guy, Kadeem Hardison, Darryl M. Bell and Cree Summer.

(Quantrell Colbert / Netflix)

“They were so happy to be back,” Allen said. “There was a day they were all together —”

“That was the day where I felt like, ‘Oh, this is history,’” Pride added.

“In between takes, it was just chaos,” Allen continued. “They just laughed and acted up. It was just wonderful.”

To make the new characters and their stories resonate in a deeper, more contemporary way required as large a commitment to reflecting HBCU life as the original had under Allen’s guidance. The creative team assembled two paid student councils from various HBCUs — one to advise the writers’ room on storylines and campus issues; the other worked on the show’s Atlanta set, with students hired as production assistants that had working schedules tailored to their classes. The background performers filling up scenes in the quads, classrooms and parties feature 59% HBCU students and grads. And some key characters are portrayed by HBCU alumni who bring their lived experience to the screen, including Reece, who went to Howard University.

The freshman season will explore issues that Gen Z is grappling with such as financial insecurity, learning struggles, activism in the age of social media and matters of mental health, as well as bigger systemic issues like uncertainty around funding for HBCUs and immigration enforcement. The series also doesn’t shy away from its real-world backdrop — while it doesn’t explicitly mention President Trump by name, there is reference to the state of affairs under his administration.

Actors Jordan Aaron Hall, left, Cornell Young IV, Chibuikem Uche and Dasan Frazier are part of the new class of students at Hillman College in “A Different World.”

(Eli Joshua Ade / Netflix)

But this version of “A Different World” departs from its source material in its narrative format and tone. The original series was a multi-camera sitcom taped in front of a studio audience — and Allen initially thought any sequel of it would follow that same blueprint. But when the new series found its home at Netflix, it became a 10-episode single-camera dramedy. (Allen directed three episodes in the season, including the premiere, which set the cinematic style of the series.) As if to signal this iteration hasn’t completely deviated from its roots, in the show’s opening moments, Deborah Wayne coolly flicks the iconic flip-up frames made famous by Hardison’s Dwayne. And its memorable theme song that had versions from Phoebe Snow, Aretha Franklin and Boyz II Men hasn’t gone anywhere: Brandy was tapped to give a fresh spin on it that helps straddle the line between generations.

Now, Allen and Pride are on the cusp of seeing how this long-gestating idea will fare in the streaming world.

“You play the cards you’re dealt,” Allen said. “It took a while, but it was right for it not to happen until now. Right now is when we need it. Young people are struggling to find hope and inspiration and guidance, connection …”

Allen’s hope is that the show will have enough seasons to let the characters evolve: “On Netflix, not too many shows go past three, maybe four [seasons],” Allen said. What’s the goal? “At least three.”

Pride isn’t thinking ahead to graduation just yet. She’s still thinking about surviving the first day of school with this different (but familiar) show made for a different world.

“I came to understand we can never re-create the original show, and … even trying to pursue that is just not the thing to do,” Pride said. “It was a different time. It was a different everything, and it should stand on its own. What I wanted to do, personally, was just [focus on]: How can we capture that spirit and hopefully have a show that young people today can see themselves in, and that people [who watched the original] can also enjoy and be proud of?”

It was 1963 and up-and-coming freelance journalist Gloria Steinem had been a working writer in New York City for roughly three years when Show magazine sent her on an undercover assignment that she was uniquely qualified for: to infiltrate Manhattan’s “greatest new showbiz gimmick,” the Playboy Club. She already had the beauty and brains, all she’d need was an alias, a leotard and a notebook. The assignment would change the course of her career, but not in the way that she’d hoped.

“GIRLS:

Do Playboy Club Bunnies Really

Have Glamorous Jobs,

Meet Celebrities, And

Make Top Money?

Yes, it’s true! Attractive young girls can now earn $200-$300 a week at the fabulous New York Playboy Club, enjoy the glamorous and exciting aura of show business, and have the opportunity to travel to other Playboy Clubs throughout the world.”

Armed with the above ad and welcomed by a grinning private guard calling, “Here bunny, bunny, bunny!” Steinem set out to expose the working conditions and interior lives of the bunnies slinging booze to the playboys who patronized the club. She subjected herself to the wardrobe fittings, which included getting her bunny suit stuffed to boost her breast size; she was poked and prodded during an invasive physical exam; she strutted through the club near-naked with sore feet and a suit so tight, she had to wrap gauze around her midsection where her skin had been rubbed raw; and various other indignities she underwent for the sake of journalism.

Documenting a lunch shift at the club, Steinem wrote, “Somehow, the usual tail pullings and propositions and pinching and ogling seemed all the more depressing when, outside this windowless room of perpetual night, the sun was shining.”

Steinem’s article accomplished what it set out to do, and not only were the working conditions at the club exposed, but some were subsequently improved because of her work. In her essay collection “Outrageous Acts and Everyday Rebellions,” Steinem wrote that in response to the story, Hugh Hefner wrote her a letter saying that her “beef about the physical given [to] the girls before they start work at the club prompted my eliminating it.”

Also as a result of her piece, she was slapped with a $1-million libel suit, subpoenaed as a witness in a liquor laws case against the Playboy Club, and received “obscene and threatening” calls.

Most notable, of the short-term results of the story, was the immediate impact it had on her career. Sure, in a lot of ways it had put her on the map, but she struggled to land serious journalistic assignments because, as she put it, “I had now become a Bunny — and it didn’t matter why.”

Steinem, a feminist icon and one of the most widely recognized leaders of the second-wave women’s movement, died on Wednesday at 92. Since she shed the bunny suit after her 11-day stint on the job at the Playboy Club, she went on to cofound New York Magazine and Ms. Magazine, which changed the course of the abortion rights movement with its “We Have Had Abortions” petition in which high-profile women admitted to having illegal abortions, Steinem among them. She played a pivotal role in spearheading some of the most influential and successful women’s rights efforts. And in 2013, she was awarded the Presidential Medal of Freedom for her lifetime of work as a journalist and activist.

Still, with all the aforementioned accomplishments, and decades later, Steinem said that her naysayers used her bunny work in an attempt to discredit her. For decades she considered the story a “professional error of gigantic proportions.” But later, she changed her tune.

“I’m not sorry I did it,” she told Ronan Farrow in 2020, when she was 86 years old. “But it is true that as old as I am, when anybody wants to put me down, they say, ‘Well, she was once a bunny.’ ”

In Steinem’s “Famous Last Words” interview, released on Netflix following her death, she closed the segment by addressing the audience. “Please tell your own story,” she said. “This is the most important thing we can do for each other: is to know each other through stories.”

I was hesitant to tell this story, and stewed over the potential risks I would be taking by telling it, but then I thought of the risk Steinem took. She dealt with fallout and she grappled with the ways the article may have hurt her career more than helped. But of the ample wisdom she imparted, its the power of women’s stories to shift culture, change policy and empower other women that feels most resonant.

I didn’t discover Steinem’s “I Was a Playboy Bunny” exposé until I was in college. I was in my late twenties at the time because I’d taken a few detours after I left high school, most of them dead ends.

One such detour led me through the massive hedge-lined gates of the Playboy Mansion. I was 18, and the E! reality series “The Girls Next Door” sparked renewed interest in Playboy bunnies. I wish I could say that I’d arrived at the mansion on an undercover magazine assignment, but the reality was different. I’d been watching a rerun of the E! show from a bedbug-ridden townhome in downtown Los Angeles, and earlier that day I grappled with whether I should pay my parking debt or buy a burrito.

I watched as the girls bounced around the mansion, appearing carefree, bedbug-free and parking ticket-free. Their lives, produced and edited as they were, appeared to be stable and glamorous, and I thought, “Hmm, maybe I should do that.” If Hefner was good at anything, it was creating a facade.

Like Steinem found, applying to be a Playboy bunny was surprisingly simple. I emailed a photo of myself in a swimsuit and shortly afterward, an invitation to a casting call at the mansion arrived.

At the casting call, I was handed a satin robe and pointed toward a small tent where I could change and a large tent with the photo crew inside. Steinem had likened wearing the bunny suit to feeling like meat on a hook. I, too, couldn’t shake the thought of a meat factory and almost instantly, realized I wanted off the conveyor belt.

My trip to the mansion and endeavor to become a bunny was short-lived. I’d driven there feeling like a femme fatale, and left feeling naive and out of my depth. Worse, it was just another humiliating misadventure that I’d carry around for years with shame.

That is until I came across her story in her essay collection “Outrageous Acts and Everyday Rebellions.”

Steinem said that she was pigeonholed because of the story. She struggled afterward to be taken seriously and that may be true, but I’d argue an opposite point. Because Steinem was ultimately held in such high regard as a journalist and activist, and because she was an undercover bunny along the way, she helped the bunnies of the world to take themselves a little more seriously, to see that beyond the bunny suit, there is a world of possibilities waiting for them.

In the collection, originally published in 1983 and reprinted several times, Steinem wrote that after a town-hall meeting in New Bedford, Mass., a little girl of 6 or 7 gave her a crayon drawing of her in the bunny costume copied from a photo that had circulated online. “ ‘Even if a girl looks silly,’ she said, ‘boys should know that’s she’s smart.’ ”

“This story may outlast me,” she wrote. “but it’s not going to outlast or outsmart that little girl.”

In the book, Steinem wrote that one longer-term result of the article was “realizing that all women are Bunnies. After feminism arrived in my life, I stopped regretting that I had written the article.”

The line “All women are Bunnies” stands out. But what I imagine she meant is, bunnies are just women.

The NFL mountaintop this season sits 10 stories underground.

That’s the subterranean field at SoFi Stadium, playing host on Feb. 14, 2027 to its second Super Bowl. The first came five years earlier when the Rams beat Cincinnati on their home field.

It will mark the ninth Super Bowl in the Los Angeles area across three venues: the Coliseum (two), Rose Bowl (five) and SoFi (two). But in some ways, all those previous games were a drumroll leading up to this one — Super Bowl LXI, in a futuristic $5-billion stadium, absent the lingering restrictions of a pandemic.

“Super Bowl LVI was an amazing experience, but it was still on that tail end of COVID, and it was not everything that this Super Bowl LXI could be,” said Peter O’Reilly, NFL executive vice president of club business, international and league events.

“We didn’t do a Super Bowl Opening Night — it was virtual — and there were a lot of things we were still adjusting. … It was absolutely spectacular during the weekend and on game day, but I do think this Super Bowl gives us all the chance to do it full-on, in the way an L.A. Super Bowl can and should be.”

In the weeks leading up to the first Super Bowl at SoFi, there were misguided rumblings that the game might be moved to Dallas, because the NFL had secured that city as a backup. But those type of contingency plans are in place for every Super Bowl, and the game was not in serious peril of being moved. Still, there was a cloud of public doubt lingering over the event.

“Those rumors created a lot of havoc and uncertainty in our market,” said Kathy Schloessman, chief executive of the Los Angeles Super Bowl Host Committee for both games. “It was hard to get the excitement going because people didn’t know if the city was open or closed. I almost hate to say it because I don’t want to jinx anything, but this is our first normal Super Bowl planning.”

Super Bowls can take over a city. Look at the games played in New Orleans, Indianapolis or Houston. Seemingly every resident was aware the game was happening. But in some of the bigger cities — New York, Los Angeles, Miami — there aren’t reminders everywhere you turn.

Something that might offset that this season is ESPN is broadcasting the game for the first time, and has been hyping it ever since the most recent Super Bowl ended.

“It’s a year of the Super Bowl for them that ends in Los Angeles,” O’Reilly said. “That feels natural and poetic. I can’t say enough good things about the way they’ve embraced it.”

South side view of the field at SoFi Stadium.

(Sam Farmer / Los Angeles Times)

Disney is the parent company of ESPN, and likewise has embraced the game, which feels like a true confluence of the sports and entertainment industries.

“When I think about L.A. and brands coming together — Disney, SoFi Stadium, the Rams — I think it takes advantage of what the NFL had always hoped when bringing a Los Angeles team back,” Rams president Kevin Demoff said. “SoFi Stadium is that marriage of the NFL and entertainment.”

Whether they play in the game or not, the Rams are intimately connected to this Super Bowl, as they are the host team. That means they have a degree of financial responsibility to make good on the commitments made to the NFL when Los Angeles was awarded the game. They also are allotted more tickets to the game than the other franchises not hosting (or playing in) the event.

Although the Chargers were co-hosts for the first Super Bowl at SoFi, they opted not to host this one. According to a Chargers spokesman, they chose to cede the stage to Rams owner Stan Kroenke, whose vision they credit for the stadium and Hollywood Park development, but will make a “significant seven-figure financial commitment” to the host committee in the run-up to the game.

Part of Kroenke’s vision in moving the Rams and building the stadium and surrounding campus was to shift the center of gravity of the sporting world to Los Angeles. It’s worth noting that SoFi was a central location of the World Cup — the first U.S. goal was scored there — and will play host to swimming events in the 2028 Olympic Games.

“[SoFi] is now established as one of the world’s greatest sporting stages, which the Super Bowl helped put on the map the first time,” Demoff said. “But now it’s in the middle of this global run.”

It isn’t just the Super Bowl. SoFi will also play host to the NFL’s first-ever Thanksgiving Eve game — Rams versus Green Bay Packers — on Netflix.

“If you’re looking at the arc — not as a Super Bowl but how the NFL wanted to come back to Los Angeles — you have Disney, a longstanding, old-school entertainment partner,” Demoff said. “And then you have this element of streaming and new media and where the NFL is heading. It’s a really interesting juxtaposition.”

TELLURIDE, Colo. — Do you believe in ghosts?

Andrew Scott considers the question and looks at me with a mischievous grin, retreating to a corner of the restaurant booth where we’re catching up a few hours before his new movie, “Elsinore,” the most personal film he has ever made, premieres at the Telluride Film Festival.

Scott turns over the question again. “Do I believe in ghosts?”

It feels like a reasonable thing to ask. Three years ago at Telluride, the yearning romantic fantasy “All of Us Strangers” memorably premiered, featuring Scott playing a character who worked through unresolved trauma by talking to the dead. Ghosts are elsewhere in his work, metaphorical (“Vanya”) and literal (“Hamlet”).

“If I had a gun put to my head — which you don’t have to — I would say that I don’t believe in them,” Scott says. “But the idea of the afterlife and where we will go is still really fascinating to me. Dreams and the subconscious, too. I don’t know what went on consciously in the world outside my hotel room here last night. I was perfectly content to be asleep. And I like the idea of thinking about death that way. I’ll just be asleep. It’ll be OK. It’s the undiscovered country.”

“The movie for me is about time,” says Andrew Scott. “What are you going to do with your time? Ian decided to to live and to be a light and to be around people for the glory of the theater.”

(Anthony Dickenson / Focus Features)

Dropping a line from Hamlet’s “to be or not to be” soliloquy in this context feels unavoidable. In the powerfully moving “Elsinore,” Scott plays the real-life actor Ian Charleson, who, as he was secretly dying from AIDS, played Hamlet in a 1989 Royal National Theatre production, still considered one of the great performances in London theater history. Charleson was 40 at the time, known for playing Scottish Olympic athlete and missionary Eric Liddell in “Chariots of Fire.” He died eight weeks after leaving the National Theatre stage. “Elsinore” captures that journey in all of its glories and taxing challenges.

“That he would go for treatment in the morning and then play this Olympian role is just endlessly moving,” Scott says. “I don’t know how he did it.”

With our pint glasses filled with water as we adjust to Telluride’s altitude, we try to figure it out.

Charleson playing Hamlet, scaling the Everest for actors, reminded me of David Bowie making “Blackstar” as he was dying. As an artist, you’re not often given the chance to shape the narrative of your own end.

Being offered Hamlet doesn’t happen to every actor. To take it and turn it into something generous and useful — useful is a word I love about acting, that it’s useful to people.

When people are feeling down, they can watch a movie they love.

And see themselves. That can’t be underestimated.

What’s your go-to movie?

I will always watch “Bridesmaids” when it comes on TV. Comedy is precious to me. Laughing is precious to me. I don’t see it as the antithesis of tragedy. I think they’re one and the same.

The last time we talked, around the time of “Ripley,” you wanted to put out into the universe the idea of starring in a musical or a comedy. That hasn’t happened by the strictest definition. But you seem to be saying that genre labels don’t matter.

The reason, hopefully, that “Elsinore” is moving is that we approach some of the stuff with quite a bit of lightness. The effect is tragic and there are some heavy things in it. But my job, what I prioritized, is keeping it light.

You are seen dancing to Ethel Merman’s disco album. It doesn’t get much lighter than that.

My favorite actors are the ones that are funny. I worked with Lisa Kudrow last year on “The Comeback,” and yes, of course, she’s very funny. But if you look at that performance she gives toward the end, it’s so moving. People come away from things that are labeled comedies and go, “I just laughed at that.” Or people come away from things that maybe were really sad and say, “I was just devastated by that.” I think the job is to get rid of categorizing and make it more fluid.

Like life. Sometimes you eat the bear and sometimes, the bear, he eats you.

Exactly! I don’t love things that are overly serious. One of my big dreams for this film — and I do wish so much for this film because it’s so personal — is that people don’t feel like that they’re going to see something that’s depressing. I didn’t want to fetishize Ian’s death.

What do you hope audiences take away from watching it?

That they see themselves in it. You know, it doesn’t end well for any of us. The movie for me is about time. What are you going to do with your time? Ian decided to to live and to be a light and to be around people for the glory of the theater.

Speaking of time, next month you’re going to be celebrating a milestone, turning 50. Or not celebrating. I don’t know how you feel about birthdays.

I don’t love my birthday.

Any year?

My friends have said to me, “You gotta make some plans.” I love a party. Which is to say, I love other people’s parties. What I usually do is I leave it to the last minute and send texts around, saying, “I understand if you don’t want to come, but I might do this.” And then you do something small. I read something yesterday where you should go to your own parties like you’re a guest. I think that’s a very good way to to do it.

What about just being around for half a century? Is that in your head? You’re the one who just said it doesn’t end well for any of us.

I’ve definitely thought about it more. Sometimes in the middle of the night, I’ve thought, “Jesus, what?” I’m sure that’s because of my mom dying and that I’m approaching my mortality. Again, how am I going to use my time? One of the reasons I was so ferocious about getting “Elsinore” made was that I would put all of myself into this and then maybe I can chill out a bit more.

Andrew Scott in the movie “Elsinore.”

(Anthony Dickenson / Focus Features)

The personal aspects of this movie are striking. In addition to producing “Elsinore,” you yourself have played Hamlet on stage. You’re also a gay actor portraying someone who, at the time, would have torpedoed his career by coming out.

When I was a kid, I was obsessed with the movies and would read Premiere and Empire magazine. Around 16 or 17, I started to realize that maybe if you’re gay, you wouldn’t be invited to movies. And I wasn’t wrong in thinking that, because there weren’t many examples. So I would omit things in interviews. I wouldn’t lie, but I really understood that about Ian’s generation.

There’s a melancholy moment in the movie where he says, “I wanted to be in the movies. I didn’t scale the heights.”

What a gorgeous little dream. A young boy goes, “I want to be in the movies.” And then to have that knocked out of you bit by bit. You’re not even going to be seen for the audition. Or, “Are you being a little fruity there?”

Did people tell you not to talk about being gay?

Very well-meaning people said to me, “Just keep that [private] because you’re not obviously gay,” which I often think is such an insult to say to people. “So maybe you can get away with it.” And I was like, OK. And I did that for awhile. But it was so insidious. When audiences think of acting, they think of actors pretending, like you’re putting yourself in somebody else’s shoes. So the fact that there was this whole section of gay actors who weren’t allowed to do that is awful. I’m so grateful that I get to do that.

What do you remember about the late ’80s and early ’90s in terms of navigating the AIDS epidemic?

It makes me emotional. It was extraordinary just to to have lived through that time and to be completely abandoned by your government, who wouldn’t even say the name of the illness. When I was a young adult, that’s what I was scared of. If you go for a sexual health screening, you go, “My God, am I going to die?” I remember going into those situations, and with no cause for such concern, feeling like I’m going to be punished for expressing myself in that way, because that’s the way the world was set up.

Let’s get back to Ethel Merman.

Please! [Laughs]

There’s that stanza in “There’s No Business Like Show Business” that goes: “There’s no people like show people / They smile when they are low.” Would you say that sums up the spirit of “Elsinore” about as well as any couplet could?

Yes, it’s so much about the power of community and show people. It’s about show people and smiling and getting on with the show.

When did you first feel that power of community?

Putting on “The Wizard of Oz” in a school play when I was about 10.

What part did you play?

Guess.

Dorothy?

[Laughs] No, a friend of Dorothy. Oh, come on. One more guess.

The Cowardly Lion?

No. The Tin Man. My mom sprayed me silver, in my hair and everything. We had a probably bit of aluminum foil and I had a funnel. I loved it so much. And I remember having a really extraordinary feeling of surprise, knowing the audience was there. For such a shy boy, when I had to do the big number, “If I Only Had a Heart,” it went to another level, better than rehearsal. I suppose the little showman, the little 10-year-old silver showman, came out.

The crux to defeating California is clear.

At least, UCLA coach Bob Chesney made it so on Monday.

“We have a chance to put it together against another opponent, a really good opponent, very well-coached, phenomenal talent on this team, but it all starts with No. 3,” Chesney said.

And while No. 3, Cal quarterback Jaron Keawe-Sagapolutele, may be familiar with UCLA’s defensive scheme and personnel — telling reporters Tuesday that the offense has been studying film from James Madison’s 2025 unit for the past few weeks — he may not be as accustomed with the defense’s new identity.

Defensive lineman Sahir West, who transferred to from James Madison to UCLA, says the Bruins have embraced their coach’s emphasis on toughness and attention to detail.

(Robert Simmons / Associated Press)

UCLA defensive coordinator Colin Hitschler, who has made stops as defensive coordinator and safeties coach at JMU, Alabama, Wisconsin and Cincinnati during the past six years, wanted his defense to enter 2026 with a brand — a reputation to describe the team’s play.

And after presenting his team with different options, the defense settled on the “Bruin Bullies,” a name based on the 1970s Philadelphia Flyers “Broad Street Bullies” — an homage to Hitschler’s home city.

“It’s a lifestyle, it’s a mentality more than anything,” Hitschler said. “It’s what we need to do to win the next play. That toughness, that internal belief. That’s what it’s about.”

Since arriving in Westwood, Hitschler has consistently been touted for his toughness and encouraging his players to compete with an unwavering belief — values he developed as a wrestler.

Hitschler, who won a national prep championship at William Penn Charter School and then wrestled at the University of Pennsylvania from 2005 to 2010, grew up in Philadelphia surrounded by the sport, with his older brother, father and grandfather all lettering at his alma mater, and his father working as a longtime football and wrestling coach at his high school.

“Wrestling is a unique sport in that it’s an individual sport, and you walk out on a mat and you win or lose, and it’s all about just you,” Hitschler said. “It’s a glorified fight with rules. Winning your individual battle in football is what leads to team success, and when those guys really buy into that toughness that it takes to beat the guy across from you, then you’re going to have a really good defense.”

Beyond toughness, Hitschler wanted the Bruins to show intensity and relentless attention to detail, emphasizing the importance of “being intentional in everything you do.”

“The first fundamental is effort and attitude, which is four to six, A to B, and nasty intentions,” UCLA sophomore linebacker Scott Taylor said. “He won’t tolerate low effort or low intensity, and it could be on any play. … We might do all the things we want to do, and then we’re going to come back to meeting that night, and he’s going to pull up the three bad clips from practice and go, ‘This is unacceptable. We better fix it tomorrow.’”

Hitschler’s emphasis on attacking extends to the secondary.

“All 11 guys want to tackle the ball. We have some really tough kids playing [defensive back.] … Those guys love hitting,” Hitschler said.

Hitschler’s track record developing elite defensive backs — such as the Indianapolis Colts’ Ahmad “Sauce” Gardner, Chicago Bears’ Coby Bryant and San Francisco 49ers’ Darrick Forest — drew players such as Derrick Barksdale to UCLA.

“His intensity level, the way he approaches the game, is something that inspires a player to even play even harder, play with even more technique, or play with more detail,” Barksdale said.

James Madison’s Derrick Barksdale said UCLA defensive coordinator Colin Hitschler’s history of developing players inspired him to join the Bruins.

(Carmen Mandato / Getty Images)

Hitschler’s revitalized defense will have to create splash plays — something the Bruins lacked last season, finishing last in the nation in sacks and tying for third worst in interceptions — if it wants to stop the potent Cal offense.

“Takeaways are all about playing longer and harder than the offense does, and our job doesn’t stop till somebody or the ball is on the ground,” Taylor said. “Personnel aside, the way we’re going to attack offenses, and the way we’re going to play on defense, is going to create stress and chaos for every team we play. Inherently, with how we play, there’s going to be a lot of big plays, and we’re not going to sit back and hope that the offense messes up.”

Junior defensive lineman Sahir West said the UCLA defense has fully embraced the challenge of being “Bruin Bullies” all season.

“That’s who we truly want to be. That’s not just a moniker. That’s what we live by. That’s basically the brand of football that we want to play,” West said. “Be bullies on the field. Be dominant. Take play by play. Just play hard. That’s who we are.”

It was a Thursday evening, and I was performing Gloria Gaynor’s 1978 hit “I Will Survive” for my audience of three on an ocean pier as we waited for the partial lunar eclipse.

As we shimmied to ‘70s hits via a Bluetooth speaker, I boasted about winning a talent competition in my tiny town thanks to my rendition of the disco classic. “We need to see these dance moves!” a fellow camper proclaimed.

Somehow, we had this island all to ourselves.

This was one of several memories I made last week when I traveled to Santa Cruz Island in Channel Islands National Park to stay at Prisoners Harbor Campground on its opening night. When the National Park Service announced that reservations would open Aug. 18, I spent 11 hours that day refreshing the page, waiting for my chance. At last, site No. 1 was mine.

Campsite No. 2 at the Prisoners Harbor Campground on Santa Cruz Island.

(Jaclyn Cosgrove / Los Angeles Times)

In this edition of The Wild, I lay out how you can create your own memories at this quiet campground on a lesser traveled side of Santa Cruz Island. I will explain how to book your site and ferry, what to pack and what you can do while on the island.

Step 1: Book your campsite ⛺

Prisoners Harbor Campground is a small, rustic campground open year-round on Santa Cruz Island, the largest island in California. Although the National Park Service lists the campground as having six sites, it technically has seven. Reservations can be made for $15 a night through Recreation.gov.

Prisoners Harbor Campground is about a 13-mile hike southwest from Scorpion Canyon Campground, the popular 31-site spot where most folks visiting the island camp. Unlike Scorpion Canyon, Prisoners Harbor does not have any water on site and is a more DIY experience. There are also fewer tours and experiences led by outfitters on this side of the island.

The map of Prisoners Harbor Campground.

(Jaclyn Cosgrove / Los Angeles Times)

Each campsite at Prisoners Harbor has a dirt-packed tent pad, a picnic table and metal food storage containers that everyone called “fox boxes,” as the island fox is the largest land predator on the island (and will absolutely steal your food, and maybe your shoes).

From the pier, you’ll walk about one-fifth of a mile on a mostly flat dirt road, passing the brick Prisoners Harbor warehouse and two pit toilets. You will cross the Cañada del Puerto, which was dry during our visit but can swell to 3 feet and become impassable, according to the park service.

I was pleased to find that site No. 1 is tucked away in the campground’s northern corner. It is shaded by oak trees and surrounded by thick brush, offering privacy and the feeling like you exist only in this one little corner of the world.

Site No. 2 is on the path to site No. 1 and isn’t presently bookable on Recreation.gov. (I’m guessing the park service will remedy that soon, as the site exists and is ready for campers!)

The shaded campsite No. 6 at Prisoners Harbor Campground.

(Jaclyn Cosgrove / Los Angeles Times)

Sites No. 3, 4, 5 and 6 are all positioned in a row on the southwestern corner of the campground. Similar to site No. 1, site No. 6 is tucked under thick tree canopy. I think it’s probably shaded for most, if not all, of the day. Sites No. 3, 4 and 5 also have some shade.

Site No. 7 is the accessible campsite and has a ramp leading up to it. It is fairly exposed, appearing to have the least amount of shade and privacy. It is closest to the pit toilet, though, which also has a ramp leading up to it.

As I was getting ready for bed, I noticed the soothing sound of ocean waves. My friend Christine was already cozy inside the tent, and I asked her if she’d turned on an ambient soundtrack on her phone to fall asleep. “No, that’s just the ocean!” she said.

Step 2: Book your ferry ⛴️

There are only two ways to get to Santa Cruz Island: Take a private boat or, the more popular route, book a ferry through Island Packers, leaving out of Ventura Harbor.

A roundtrip ferry to Prisoners Harbor costs $72 for children ages 3 to 12, $96 for campers ages 13 to 54, $91 for those 55 and older. It is also $91 for members of the U.S. military.

Upon booking your ferry, you must read the rules that Island Packers emails to you. I cannot stress that enough. There are weight limits (i.e. no single item may weigh more than 45 pounds) and limitations about what you’re allowed to bring. That said, it’s all fairly easy to follow — like not packing your water or fuel inside your bag, as those both are packed in specific places on the boat.

Christine, a friend of The Wild, paddles along the coastline of Santa Cruz Island near Prisoners Harbor.

(Jaclyn Cosgrove / Los Angeles Times)

Step 3: Plan out what you’d like to do on the island 🚣😎

With Prisoners Harbor being more of a DIY experience than Scorpion Canyon, one of the most important things you can do is plan ahead and book your activities at least a full day — ideally a few days — before your trip.

I knew I wanted to try snorkeling, but I don’t own gear — yet. Thanks to a recommendation from Island Packers, whose staff graciously answered all my questions, I contacted Ventura Dive and Sport to see what was doable. Owner Zach Cantrell was helpful and accommodating, setting me up with everything I needed, including a 7-mm wetsuit that made me feel like an actual marine mammal thanks to my ability to float while wearing it. Cantrell also made it easy to return my gear since the ferry was returning after his shop was closed.

Outside of snorkeling, you can also rent a kayak through Channel Islands Kayak Center. Or you can bring your own kayak, keeping in mind that Island Packers has specific rules around which kayaks you’re allowed to bring. You should also take a look at the National Park Service’s safety guidance regarding the risks of ocean kayaking.

The hike along Navy Road offers nice views of ocean and mountain ranges on the mainland.

(Jaclyn Cosgrove / Los Angeles Times)

You can also swim near the Prisoners Harbor pier, but you should keep in mind:

• The beach here is not sandy, but rather covered with rocks of varying sizes; pack swim shoes to protect your feet
• The waves can get choppy, so make sure not to swim alone
• There are stingrays in the area, so enter the water doing the stingray shuffle
• There are sea urchins on some rocks in the area, so watch out for those as well, as their sting also hurts

On the island, there’s, of course, hiking. There are two trailheads at Prisoners Harbor:

• The 4-mile out-and-back Pelican Bay hike, a challenging trek that traverses along the coastline, offering seemingly endless views of the area, before ending at the bay and Tinkers Harbor, another spot where you can swim and snorkel; The hike is on Nature Conservancy land, an environmental nonprofit that owns 76% of the island, and the conservancy requires that you sign a waiver and only traverse the hike when an Island Packers staffer is present on the trail.
• A hike along Navy Road that you can take to the backcountry Del Norte campground, or to a variety of other spots on the island, should you pack a paper map or download a map before your trip.

Christine and I had originally planned to check out the Pelican Bay hike on Friday morning, but then a kind island visitor said we could borrow their kayaks for free. That was an irresistible offer.

I’ve kayaked several times on rivers and in lakes but never on the ocean, so I wanted to be fairly cautious. We paddled northwest along the island’s coast, taking in the island’s jagged rocky cliffs. We spotted what appeared to be a small sea cave but agreed it wasn’t a good idea to explore without a guide who knows the island. You should always be ready on any adventure to check in with yourself and your travel companions about your skill and comfort levels. If the reason you’re wanting to do something is really just “FOMO,” ask yourself if it should instead be a “NO-GO.” (Yes, I just made that up.)

Kayakers leave out of Scorpion Anchorage on Santa Cruz Island.

(Jaclyn Cosgrove / Los Angeles Times)

I saw repeatedly on the National Park Service website that the island’s weather conditions can change rapidly, including while out on the kayak. Christine was out front and noted the wind was picking up. We swiftly paddled back, carried in part by the waves, which pushed our kayaks along in a similar sensation to surfing. I quickly fell in love with that feeling!

Despite the campground being fully booked, there were only two other campers during our trip — retired educators and travel besties Kim Eaton and Annemarie Lee, both of Riverside. They’d visited the Channel Islands multiple times, including Anacapa, Santa Rosa, San Miguel and had made previous trips to Santa Cruz, and they’d always wanted to do the Pelican Bay hike.

We were all on the island when it was particularly hot and humid, so the duo chose to go halfway and turn around.

The cloudy night sky, as seen from the Prisoners Harbor pier.

(Jaclyn Cosgrove / Los Angeles Times)

“The views were beautiful,” Eaton said, noting how clearly they could see the rugged coastline and waves. “We saw you guys kayaking!”

“The color of that ocean is beautiful,” Lee added.

Rocky outcroppings near Scorpion Anchorage.

(Jaclyn Cosgrove / Los Angeles Times)

Step 4: Plan what you’ll pack, including all your water

Everything you pack in, including your trash, you must pack out. There is no food for purchase, and there is no water at Prisoners Harbor, so you must bring whatever you plan to use for drinking and other purposes. I brought 4 gallons, and Christine packed 2. As I said, it was pretty hot, and we left the island with about a gallon and a half left.

I didn’t realize coolers were allowed. Nearby in campsite No. 4, Kim and Annemarie not only had a cooler but large ice cubes they’d frozen specifically for the trip, which last longer thanks to their size. “So if you like your cocktails, you’ll have ice” for multiple days, Kim said.

Step 5: Don’t miss the boat!

Island Packers requires campers to check in an hour before the boat leaves.

I left my home just before 6 a.m., picked up Christine and boogied to Island Packers, parking just before 8 a.m. Parking at Ventura Harbor is free Monday through Thursday, and $10 for a full-day pass Friday through Sunday and on major holidays.

After checking in, we worked with Island Packers staffers to load our gear onto the boat. I also thankfully had time to buy a four-shot latte next door at Freedom Coffee. Island Packers has several items for sale in their gift shop, including waterproof phone cases and other items you might have forgotten at home.

As you board the boat, make sure you remember wherever you tuck your return ticket. Our departure time from the island was 4:15 p.m. Friday, which gave us the better part of the day to explore.

An island fence lizard rests on a log at campsite No. 1, scoping out the new visitors to its island.

(Jaclyn Cosgrove / Los Angeles Times)

Step 6: Have fun!

Full of motion-sickness drugs and glee, we boarded the boat. I tried to keep my expectations low for what we’d see on the trip to the island. I’ve been on three whale watching excursions out of Long Beach, including once when we didn’t see any whales.

A bottlenose dolphin swims alongside the Island Packer boat on its journey to Santa Cruz Island.

(Jaclyn Cosgrove / Los Angeles Times)

However, shortly into our trip, our boat was visited by bottlenose dolphins that swam next to us. As we neared Scorpion Anchorage to drop off the passengers day-tripping and camping there, we saw so many common dolphins, it felt like an organized and official welcoming celebration.

A humpback whale near the coastline of Santa Cruz Island.

(Jaclyn Cosgrove / Los Angeles Times)

But the real magic happened shortly before we docked at the Prisoners Harbor pier when our captain Pancho spotted at least one (maybe two) humpback whale. We paused for a bit to take in the majestic animal’s movements. Christine and I agreed it was easy to see how sailors believed in sea monsters, given how otherworldly the humpback’s body appears as it slithers in and out of the water.

Before leaving for the island, I’d read about how the island foxes will approach you while you’re eating, and that they’ll come into your campsite to try to snag your food. We didn’t have that experience, thankfully, as the campground is so new, and the animals aren’t used to people being there yet.

These tiny canines remained rather elusive — until just before we left. We were headed to the restroom when I gasped. An island fox, about the size of a large house cat, was busy foraging for food in the leaves. It made me happy to see it act naturally, rather than begging us for human food.

An island fox roots through leaves in pursuit of a meal.

(Jaclyn Cosgrove / Los Angeles Times)

The fox cautiously walked a few feet past us on its journey for bugs and other snacks. It was a last bit of island magic before we left.

Although the beauty and biodiversity of the island is a major reason to visit, I carried something else with me back to the mainland, though. To a person, everyone was kind to each other. Prisoners Harbor, through its simple design, offers you the opportunity to move slower, notice more and just enjoy life in a way that’s harder to do when you have cellphone service.

For those looking for a simple escape near L.A., Prisoners Harbor Campground is that and so much more. Late-night karaoke is not required — but highly recommended.

3 things to do

Declan Beck, left, his brother Colson and friend Dayna Monbello visit Malibu Creek State Park near Calabasas.

(Mel Melcon / Los Angeles Times)

1. Celebrate biodiversity around L.A. and beyond
California Biodiversity Day, which actually runs for a week from Saturday through Sept. 13, will include several opportunities to get outside and learn in L.A. County. Malibu Creek State Park and UCLA Stunt Ranch are both hosting one-day data collection events, called bioblitzes. Friends of Ballona Wetlands will offer a freshwater marsh tour on Sept. 12 in Playa Vista. And Arroyos & Foothills Conservancy will host a native plant walk. Find events near you at californianature.ca.gov.

2. Celebrate the black walnut in Ascot Hills
Coyotl wan Macehualli and several other local groups will host a “Black Walnut Day” from 10 a.m. to 4 p.m. Saturday at Ascot Hills Park. The annual gathering will include plant adoptions, a bird walk, a community bike ride, hiking and more. Learn more at the organization’s Instagram page.

3. Plant seedlings near Agoura Hills
The Santa Monica Mountains Fund, a local nonprofit, needs volunteers from 9 a.m. to noon Saturday to work at Cheeseboro Canyon. Volunteers will plant hundreds of live plants grown from locally collected seed. Register at eventbrite.com.

The must-read

(Ryan Gillett / For The Times)

Falling during a hike can lead to a serious injury, or even worse. This is why it’s crucial that hikers not only wear appropriate footwear but also ensure their ability to balance isn’t being hampered by underlying health issues. Times staff writer Deborah Vankin recently wrote “Get A Leg Up,” a multipart series on improving our balance. First, you read about how to test your balance IQ to discern any issues you might have. Then, you can use exercises that Deborah explains to improve your balance. “Knowing your balance ability is a critical component of self-care,” says Mike Teater, director of balance for Fyzical, a national network of clinics specializing in balance and dizziness, “so you can age gracefully and do the things you want to do — and enjoy the life you built for yourself.”

Happy adventuring,

P.S.

The L.A. River community is mourning the loss of Steven Appleton, founder of the LA River Kayak Safari. A longtime L.A. River supporter, Appleton died July 25 at his Elysian Valley home following an 18-month battle with a rare and aggressive form of esophageal cancer, according to a GoFundMe page launched to help his family. Times staff writer Doug Smith wrote of Appleton in 2019, “For more than a decade, he has been launching kayak expeditions just upstream from his newly acquired parcel. He has literally blazed water trails by moving broken chunks of concrete to eliminate obstacles to wading and kayaking.” Money from the GoFundMe fundraiser will help Appleton’s family cover his memorial and final expenses. Thank you, Steven, for doing your part to help our local river.

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.

Social media star Amelia Dimoldenberg is making way for a new chapter, ending her beloved celebrity interview series “Chicken Shop Date” after more than a decade.

The British personality, who has disarmed A-list celebrities with her deadpan delivery and brought her distinct interview style to the Oscars red carpet, announced on Thursday that the final episodes of “Chicken Shop Date” are imminent and that new work is on the horizon. “I never thought I’d stop Chicken Shop Date, I thought maybe it would be a part of me forever, and in some way it always will,” Dimoldenberg, 32, said in her Instagram announcement, “but I feel like it’s now time to move on from this adventure and onto a new one.”

Dimoldenberg began “Chicken Shop Date” as a teenager. It first manifested as a column in a youth publication before the host eventually took it to YouTube in 2014. In the years since moving to the online platform, Dimoldenberg became a viral sensation, sitting down for chats and chicken with stars including Cher, Keke Palmer, Charli XCX, Jennifer Lawrence and Andrew Garfield. She has published and produced, via her production company Dimz Inc., more than 100 episodes, with the series’ final installments on the way.

In her Instagram caption, the host reflected on her celebrity subjects over the years.

“I’ve spent my entire twenties sitting across from the most incredible people, people I’d always dreamt of meeting,” she wrote. “All of them charmed me (some more than others) and I definitely charmed them.”

She also wrote that “Chicken Shop Date” has been her “very own romcom” and also reflected on the show’s journey which has made her a staple on the awards circuit. She returned to the Oscars earlier this year to oversee its red carpet coverage.

“The beauty of my interviews is that they look so off the cuff,” she told The Times ahead of the ceremony earlier this year. “I think that’s what people like about me: I’m not going to be doing an in-depth look at their career or ask a very sincere question, but I will have done all my research so that I can ask them something that’s related to their movie or themes of their work or their interests that maybe catches them off guard. I don’t have to take the style of other reporters; I can do it in my own way.”

In the comments section, fellow social media stars and interviewers “Hot Ones” host Sean Evans and Ziwe celebrated Dimoldenberg. “Legendary run Amelia, I’ll be first in line for whatever’s next,” Evans wrote. Dimoldenberg and Evans appeared on each other’s shows in a crossover event in 2023.

For more than three decades, Liz Phair and Sleater-Kinney existed in parallel without ever quite meeting. They admired one another from afar, brushed shoulders only in passing, and, in some ways, represented opposing ways of challenging the limits placed on women in indie rock. Phair, who found novel and peerlessly smart ways to write about heterosexual skirmishes, used her ambitions to edge closer to the mainstream; Sleater-Kinney, one of the great duos of American rock, have succeeded in becoming the last band standing from the underground scene in which they emerged.

Both acts are about to share the stage for the first time, co-headlining a tour they’ve cheekily and earnestly named the Flannel and the Fury, with stops across the country, from El Cajon, Calif., to Ocean City, Md., and a night at Los Angeles’ Greek Theatre on Tuesday.

Yet, despite having spent more than 30 years orbiting the same world, they have had surprisingly little time together. This interview is one of a few substantial conversations they’ve ever had. It is, at first, slightly stilted. Carrie Brownstein and Corin Tucker (Sleater-Kinney) are in sync as always; Phair is clearly excited, but seemingly unsure of where to place herself in the dynamic. Now all in their 50s, the women have been asking similar questions of the same culture, and are only now getting the chance to compare answers.

“Sorry, I know you’re like, ‘Why aren’t you better friends?’ For me, that’s the point. I’m trying to be better friends,” says Brownstein. “Yeah, talk to us again when tour’s over,” Tucker adds.

Brownstein is sitting in a parking lot in Los Angeles, wearing a cardigan and glasses, people walking past her window, unaware of who’s inside. Tucker calls from her home, a blurred background behind her, wearing a white blouse and lipstick. Phair is at home too, makeup on and hair straightened, various musical instruments on the wall behind her. It’s a few weeks before their co-headlining tour, and Tucker has already loaded up all the equipment. She’s packed her suitcase too, full of socks she’ll throw away by the end of tour, and a wardrobe almost entirely of black.

“This is news to me,” says Brownstein. “I was thinking more of a chocolate brown. I will be all brown town.”

Phair is going for wine-like jewel tones. “A Cab Sav,” to be specific.

Phair, who’s had an on-and-off relationship with touring, is noticeably more nervous than Brownstein and Tucker. “It takes me two or three shows to get into it. At first I’m like, why are you all staring at me?”

Phair had been sitting on the idea of a co-headlining tour with Sleater-Kinney for a few years. She sheepishly says that she didn’t reach out herself, but got her manager to do it while she was working on the second half of her memoir. She’s been keen to share a bill with Sleater-Kinney ever since she heard their 1996 album “Call the Doctor.”

“By then, I’d started to pull back from indie rock,” says Phair. “I had gotten married, and I didn’t know I was pregnant at the time, but I was starting to drift out of this scene, and then they put out this kick-ass record, and I just remember thinking, I kind of want to be back in the game. It inspired me. It stuck with me.”

Phair felt she was atomized from the female coalitions of the ’90s, and that this co-bill might be a way to rectify that. “I’d love to be able to go back and sew it together again,” she says. “Here’s a band I was a fan of that meant something to me and now I can play with them.”

For Sleater-Kinney, Phair has long been more than a neighboring act. Tucker and Brownstein describe her as one of their “biggest inspirations.” Both have the same Phair favorite song: “Divorce Song.” “It’s a perfect song,” says Tucker. “I think I’ve put it on every mixtape I’ve ever made,” Brownstein adds.

By the time Phair released her debut album, “Exile in Guyville,” in 1993, she was the one of the two acts edging toward the mainstream. Within a year, she was on the cover of Rolling Stone.

“I still have a copy of the magazine,” says Brownstein. “We were all so excited. Like, an actual artist made the cover.”

Nirvana had made this small corporate alliance permissible a couple of years earlier, finding a loophole as Cobain wore a T-shirt that read “Corporate Magazines Still Suck” on their Rolling Stone cover. It was a time when an antiauthoritarian stance was the only artistically credible one. Before we started calling one another “performative,” Tucker, Brownstein and Phair came from a time when “poser” was the worst insult and sin. They came from a scene of ideological puritanism.

“You know when people die their life flashes before their eyes, sometimes, it’s like that when I do a deep dive, and I’m like, God, there were a lot of rules. There was a lot of fear. And I don’t think anyone who wasn’t there would be able to picture it,” says Brownstein. “It took us a long time to get over it.”

“OK, can I ask the question? Can I get right in here? Because I want to know,” Phair chimes. “Do you think that’s because there weren’t enough women? You think women would have brought the inclusivity to inclusivity?”

“Unfortunately, no,” replies Tucker.

“We had these all-female festivals in Olympia, and we had our own publicist, and they were like, how dare we?” says Brownstein. “You know, it was just gatekeeping, that now seems sort of repugnant. But it was also a way to establish yourself in opposition to what felt like the only way to be.”

It’s part of why Sleater-Kinney declined an invite to play Lilith Fair, the mainstream precedent for so-called female solidarity in music. One of history’s most famous traveling all-female festivals, Lilith Fair was considered by many in the Riot Grrrl movement to be an early symbol of the commodification of “girl power,” female solidarity aligned with corporate ideals.

Sleater Kinney

(Robin Laananen)

“It seems like they haven’t really given credit to women in an independent milieu who have organized a lot of female-only shows for years,” Brownstein told the Dallas Observer in 1998.

“I think at the time we thought we were too cool to play Lilith,” Tucker reflects.

“I’ll just leave your answer,” says Brownstein.

Then she changes her mind four seconds later.

“I saw the Lilith Fair documentary last year and got FOMO, I kind of regretted not playing” she says. “But at the same time we had a handicap from a small indie punk community that was kind of didactic, there was a real rigidity to what you were and weren’t allowed to do. Even us signing with Matador in the U.K. was considered too big.”

Selling out, they all conclude, is no longer a concern for anyone. Phair’s son, who is Gen Z, often says the phrase “it’s time to get the bag.”

“You know, every artist has the right to get their bag,” says Phair. “I always felt that way and I was especially vilified for it.”

That vilification reached its apex when she released her mainstream-aspiring self-titled album in 2003, an album Sleater-Kinney said they hated in an interview with Rolling Stone that year, and which Pitchfork gave a rare 0.0 score in one of its most notorious reviews.

“I’d be on tour doing 10 interviews a day back-to-back, and I almost had to give these interviewers therapy, because they were so sad about my turn from indie rock,” says Phair.

Phair is adamant she made her mark on “every one of those songs, except maybe ‘Favorite,’” she says, referencing the chintzy, awkwardly phrased track where she sings about her underwear. Maybe it’s a metaphor, but more likely, it is just a song about her underwear. Safe to say it won’t be on the show’s setlist: “I will never play it live.”

The old argument about selling out now sits inside a very different touring economy. Sleater-Kinney and Phair’s co-headlining tour happens to follow a flood of co-headlining tours this year, from indie acts like Waxahatchee and MJ Lenderman to big marquee names like Usher and Chris Brown. With higher ticket prices and more competition — not only with other touring bands but with the allures of home comforts — audiences need a bigger draw. Artists want an opportunity to play to big audiences, as well as a better chance of “getting the bag.”

All three artists insist they won’t necessarily bring home the bag, nor is that why they’re doing this.

“All our budget’s gone on to the lighting designer,” jokes Brownstein.

“When I do these interviews with you guys, I get kind of excited and nervous because I feel challenged in the best way,” says Phair. “I think co-headlining bills, it does let you go into bigger venues than you could by yourself. But it also, for me, gives me creative food, like nutrition. It makes me grow.”

By the time I reached the top, my shoulders were burning, my calves were screaming and I could no longer say exactly how many steps I’d climbed.

On the way down, I had counted 223. On the way back up, balancing a sack across my back, I arrived at 225. I chalked the discrepancy up to exhaustion.

The route at Thousand Steps Beach in South Laguna gains roughly 250 feet in elevation within a quarter mile from the sand to the highest point of the Ninth Avenue hill. And I was one of around 60 people making the climb again and again with sandbags weighing anywhere from 5 to 50-plus pounds.

Co-creator Joey Finiguerra sets out some gear before the workout begins.

A participant fills a bag with sand.

This was Sandbag Saturday, a free training session founded by brothers Dante and Joey Finiguerra. There’s no registration required — attendees just show up and grab one of the heavy-duty, polypropylene sacks the brothers provide and fill it with as much beach sand as they want. A portable luggage scale allows the more serious athletes to keep track of their progress week after week.

My quads and I were intimidated. But it turned out to be one of the friendliest workouts I’ve ever done.

The workout got its start in December 2023, when Dante, a former Navy SEAL and fitness coach, posted an invitation on Instagram for what was originally supposed to be “Water Jug Saturday.” He encouraged his followers to fill 5-gallon jugs and join him and Joey, a triathlete, for military-style drills on the sand, in the water and up the stairs and adjacent hill.

When a friend pointed out some weighted bags lining the path at the bottom of the staircase one day, the siblings quickly abandoned the water jug idea. Sandbags were easier to sling over shoulders and balance on heads. And perhaps just as importantly, “Sandbag Saturday” rolled off the tongue a lot better.

Long before Dante joined the military and Joey started running marathons, Thousand Steps Beach was always where they got their best workouts. As teenagers growing up in the area, they climbed the staircase barefoot, sprinted the hill overlooking the Pacific and stretched their limbs on the shoreline. They spent nights camping on the sand after long days of surfing. Joey later proposed to his now-wife there.

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1. Participants prepare to walk down a hill. 2. A close-up of a sandbag. 3. The workout consists of hundreds of steps.

“The beach really has meaning to us,” Dante told me when asked about the workout’s origins. “From 18 to 22, I trained for the Navy here almost every day. I always wanted to come back and give this to the community and to anyone who I felt would appreciate it.”

After serving for nine years, Dante’s military background is evident in the fitness sessions he designs for Sandbag Saturdays. Participants perform duck walks, suitcase carries, bear crawls and overhead holds reminiscent of the log and boat carries in Marine boot camps. But despite its inspiration, the atmosphere couldn’t be further from the “Full Metal Jacket”-esque training days that might come to mind.

“We don’t do the typical hardcore yelling at you,” Joey told me before leading the group on a recent Saturday. “Everyone can go as slow or fast as they want.”

Participants run while carrying sandbags on their heads.

Among the regular participants are active-duty firefighters, lifeguards, professional boxers, National Guard personnel, yoga teachers and locals just looking for a fun way to get their cardio in. For some, the gatherings are family affairs. When I was there, Dante and Joey’s mother and sister joined in, and a handful of young children carried tiny sacks too.

“I think people see us and it looks like there’s a barrier of entry with the sandbags and all,” said Anthony Gudenau, who joins Sandbag Saturdays regularly. “But I’m amazed at the different types of people that show up regardless.”

The group’s growth might be due to the sense of inclusiveness that becomes especially noticeable on the staircase. While doing the steps myself, I noticed participants regularly inviting curious, inquiring beachgoers to join in the following weekend.

Running in sand adds to the challenge.

Everyone is encouraged to move at their own pace.

“I love how we all pump each other up when we pass one another going up and down,” said Carmen Benedick, a local who has attended every Saturday for the past six weeks. “It’s not unusual for strangers who aren’t even part of it to also encourage you. The sense of community is amazing.”

Perhaps that’s why so many people keep coming back. Sandbag Saturday has evolved into a kind of outdoor third place, where the endorphin-releasing workout is only part of the draw. For all the sore glutes and calves, what lingers most is the appeal of turning this into a weekend ritual.

“I just want to keep doing it for free every Saturday,” Dante told me. “As long as it’s bringing a positive force to people’s lives and making them feel proud for doing something extremely hard.”

When the morning finally wrapped up and the temperature started to climb, participants stacked their sandbags into a towering formation. A few climbed onto the pile to practice gymnastics-style balances while others headed into the water.

The workout includes bear crawls after running into the water.

Then, one by one, the bags were sliced open, and the sand spilled back onto the beach where it had come from. I grabbed my belongings and headed up those 223 — or maybe 225 — stairs one last time.

August Wilson’s “Ma Rainey’s Black Bottom,” the first of his plays to reach Broadway, catapulted the author’s playwriting career.

It’s the only drama in Wilson’s 10-play American Century Cycle not set in Pittsburgh’s Hill District. But the series might never have come to fruition were it not for the way “Ma Rainey’s Black Bottom” heralded the emergence of a major new American dramatist.

Although it’s still one of his most produced works, “Ma Rainey’s Black Bottom” has the hallmarks of an early piece. Wilson discovers his playwriting voice in this play, but he’s still working out his approach to dramatic structure.

I wasn’t champing at the bit to see another production of “Ma Rainey’s,” but I’m glad I didn’t miss this latest Wilson revival at A Noise Within, directed by Gregg T. Daniel. Acted with breathtaking ensemble naturalness, the play seems lived in rather than performed.

Francis C. Edemobi, from left, Amber Liekhus and CJ Obilom in August Wilson’s “Ma Rainey’s Black Bottom” at A Noise Within.

(Craig Schwartz)

The voices of the characters come through as though we’re eavesdropping from a discreet distance on their banter and squabbles. There’s nothing more riveting on stage than the truth, and here we have human beings in all their flagrant, unadorned and seemingly irreconcilable complications.

Set in a Chicago recording studio in 1927, the play splits its focus between the title character, a fictitious re-creation of the great blues singer Ma Rainey engaged in a power struggle with her white industry overlords, and the exchanges of her sidemen, a quartet of Black men with markedly different ambitions and sensibilities.

Levee, the role magnificently played by Chadwick Boseman in George C. Wolfe‘s 2020 film adaptation, may have more of a claim on the protagonist role than even Ma Rainey, who’s the play’s thematic center. As she throws her diva weight around in defense of a talent born out of Black suffering, she crystallizes the racial politics that Wilson powerfully illuminates.

But Levee’s role is the most dynamic in the play. A trumpeter who wants to move the band in a more musically sophisticated direction, he’s written his own arrangement of the song “Ma Rainey’s Black Bottom” that they’ve come to the studio to record. But Ma Rainey insists on doing it her way, even if Levee’s version is more interesting from a jazz perspective.

Overcome with anger from a traumatic childhood in which he witnessed his mother being raped by a mob of white men, he can’t tolerate slights, big or small. And his fiery temper, igniting at every possible moment with his older and more accommodating bandmates, turns this snapshot of history into genuine tragedy.

Kai A. Ealy, from left, Alex Morris, Gerald C. Rivers and Jamar Gilbert in August Wilson’s “Ma Rainey’s Black Bottom” at A Noise Within.

(Craig Schwartz)

The bedraggled studio has been visually renovated with the wood-slatted elegance of Tesshi Nakagawa’s scenic design. Daniel’s production demands that we experience the play in a fresh light. The period is respected but never allowed to become stiff or artificial. This isn’t a waxwork staging.

Standing microphones, placed on different tiers of the set, never let us forget that Wilson was first and foremost a conductor of voices. He bestows on his characters arias, and Daniel’s cast delivers them as though the words were expressly made for these particular actors.

Jamar Gilbert’s Levee moves through the world as if it’s a battle zone, which of course for him it has been. Conflict has dogged him his entire life, and injustice is what he’s come to expect. His focus is on himself, his music, his sensual pleasures and his determination not to be anyone’s victim. He takes as much pride in the shine of his new shoes as he does in the flirtatious giggle of a pretty woman.

Toledo (Gerald C. Rivers), the philosopher and historian of the group, tries to broaden Levee’s perspective, but the two men have a knack for getting under each other’s skin. Their antagonism is fueled in part by Levee’s immaturity, but there’s also a divide in their worldview: Levee wants society to change in time for him to make good while Toledo is more concerned with the collective spirit of his people.

Meanwhile, Slow Drag (Alex Morris) mostly wants to get on with the session, collect his money and enjoy life as it was meant to be enjoyed, with whiskey, a little reefer and good-looking women. Cutler (Kai A. Ealy) tries to be a moderating influence, but he winds up as exasperated by Levee as Toledo.

Alex Morris, from left, Amber Liekhus and Jamar Gilbert in August Wilson’s “Ma Rainey’s Black Bottom” at A Noise Within.

(Craig Schwartz)

The authenticity of the production encompasses the music. These actors don’t mime making music, as is often the case in revivals. They jam together, modestly but effectively enough to make their recording session real to us.

There’s nothing at all modest about Amber Liekhus’ musical talent. Indeed, Liekhus is the first actor who was able to convince me that the character of Ma Rainey really is a professional, jobbing singer. She doesn’t imitate being the mother of the blues, as her character is known. She earns the distinction through the wondrous depths of her soulful singing.

She refuses to be bulldozed by either Irvin (Bert Emmett), her manager, or Sturdyvant (Matt Foyer), the owner of the recording studio, knowing full well that they depend on her gift for their pile of money. Her insistence that Sylvester (Francis C. Edemobi), her nephew with a pronounced stutter, speaks the intro to her new record, is her way of asserting human control over corporate greed.

Liekhus’ Ma Rainey isn’t merely being temperamental, as Sturdyvant and Irvin assume. She’s using her limited leverage in whatever ways she can. There’s something touching about her imperiousness, a regal vulnerability that shines through even in her romantic interaction with Dussie Mae (CJ Obilom), whom Levee has his predatory eye on.

The honesty of the acting is so enlivening that I’m tempted to rank this production among the very best Wilson revivals I’ve seen. If there’s one slight misstep, it happens at the play’s violent climax. The moment makes perfect psychological and dramatic sense, but the confrontation needs a few more beats than Daniel allows.

But this encounter with “Ma Rainey” reveals that even early Wilson can, in the right hands, offer unadulterated playwriting greatness.

Dolly Parton has been laid to rest in a private ceremony.

The immediate family of the country western star who died last week gathered at Woodlawn Memorial Park and Mausoleum in Nashville on Friday morning.

Parton was buried alongside her husband of almost 60 years, Carl Dean, who died in March 2025. The bronze crypt plate mounted at the mausoleum had the star’s name engraved on it before she died, alongside her husband’s name and a depiction of her Tennessee home.

In a social media post, Amelia Young from Nashville’s NewsChannel 5 shared photos of Parton’s burial site and said that the cemetery had set out velvet ropes and guest books so fans could visit Parton and pay their respects.

“Dolly’s fans and friends from around the world are encouraged to pay tribute to Dolly on social media tagging @dollyparton,” according to the cemetery’s obituary. In lieu of flowers, the family asks for donations to be made to Dolly Parton’s Imagination Library.

Woodlawn Memorial Park and Mausoleum is Nashville’s largest cemetery, where many other country western stars have been interred including George Jones, Tammy Wynette, Eddy Arnold, Marty Robbins and Porter Wagoner — Parton’s former mentor, for whom she wrote “I Will Always Love You” as a professional farewell when she went solo in 1973.

Parton’s great-niece Lainey Parton shared a tribute following the funeral, writing on Instagram, “This is a really hard post for me to make. I wanted to wait until after my granny was laid to rest yesterday before I tried to put any of this into words.

“From the time I was little, my granny always had a way of making me feel like I was enough. She never made my dreams feel too big or made me feel like I couldn’t do something. She believed in me before I even knew how to believe in myself.

“Most people can think of at least one bad memory with everyone in their family. I honestly can’t think of one with her.

“Because she couldn’t have kids of her own, she always made us feel like we were hers. She loved us that way, and I’ll forever be grateful for that.

“One memory I’ll always hold onto is when she asked me to sing with her on her @smokymountaindna album. I was a freshman in high school and SO nervous. But she had a way of making me feel like nothing bad could happen. She made me feel safe, confident, and like I belonged right there beside her. …

“She didn’t just tell me to chase my dreams, she helped me get there.”

Parton died peacefully last week, her nephew Bryan Seaver announced in a news release shared with The Times. Seaver also announced her death in a video shared to the singer’s Instagram page. Parton was 80.

In a statement, a representative for the country music icon said: “After bravely facing a brief battle with cancer, Dolly departed her Earthly life today at the Vanderbilt-Ingram Cancer Center surrounded by loved ones.”

The type of cancer was not specified.

WASHINGTON — Natalie Harp has never been in the spotlight quite like this.

Before the 35-year-old White House aide made headlines for her close access to President Trump, much of her early life was spent in Southern California, where she was home-schooled and attended a mega-church on Sundays — a quiet upbringing that, her brother says, was defined by conservative values and Christian teachings.

Their mother taught them at home using educational materials written from a biblical worldview. The family would attend services regularly at Shadow Mountain Church in El Cajon, where pastors would deliver sermons like the one from a recent Sunday, calling on God to use its thousands of congregants “in a way that turns this world upside down.”

“We were raised with the idea that America was God’s gift to the world and it’s the only place that people really live in freedom,” Preston Harp, her brother, told The Times.

Years later, in 2019, Harp’s ascent into Trump’s orbit began, when she went on Fox News to credit a healthcare bill Trump signed into law with saving her from a rare form of cancer — a story that later caught the president’s attention.

As that relationship took hold, the California family bubble she’d been raised in was bursting behind the scenes, culminating with her father’s suicide in July 2020. A month later, Harp emerged on the national stage, introducing herself as a “formerly forgotten American from California” at the Republican National Convention, where she declared her devotion to Trump.

“I wouldn’t be alive if it wasn’t for you,” she said.

Natalie Harp speaks after being called onstage by President Trump during the Faith & Freedom Coalition 2019 Road To Majority Policy Conference in Washington on June 26, 2019.

(Mark Wilson / Getty Images)

Now, she spends her days working as a special assistant to Trump, a man she has described, in highly personal letters, as her “guardian and protector.” In those letters, published by the Daily Beast, she has thanked the president for “always being there” for her and alluded to a “promise” Trump made to her after she lost her dad.

Harp’s taxpayer-funded job, with its unmatched access to the president, mostly happens away from the public eye. She has been called the “human printer” because she follows Trump with a portable printer to provide Trump with hard copies of flattering news coverage or information the computer-averse president requires.

She also stays up late drafting social media posts with the president, the New York Times reported. Several of Trump’s Truth Social posts have generated controversy in recent months, including an AI-generated image showing him as Jesus in a white robe laying his hands on a sick man.

Those who know her describe her as detail-oriented and a “devoted staffer to the cause” whose tight-knit circle includes those closest to Trump, such as Susie Wiles, Trump’s chief of staff, and Karoline Leavitt, the White House’s former press secretary.

“Just like many of the administration officials, you become friends with your co-workers,” Rep. Anna Paulina Luna, a Florida Republican who talks to Harp on a weekly basis, said in an interview.

Harp is “almost always” with Wiles, Luna said. The congresswoman added that her relationship with the president is “100% professional,” and that any suggestion otherwise is an attempt to smear her.

“She’s been nothing but professional and an absolute killer when it comes to getting her job done,” Luna said. “I would kill to have someone like her on my team.”

To her brother, Harp’s integration in Trump’s inner circle is in line with her upbringing.

“My mom raised us as super conservative, and he’s everything that she taught us to respect,” he said.

The White House declined to comment.

A California native in Trump world

As a kid in the San Diego neighborhood of Carmel Valley, Harp played with old-fashioned dolls and spent a lot of time reading, her brother said. For school, their mother used a curriculum from Bob Jones University Press, whose material focused on “biblical worldview shaping,” according to its website.

The home in which Natalie Harp, an aide to President Trump, grew up in the Carmel Valley neighborhood of San Diego.

(Sandy Huffaker / For The Times)

“We start with God’s truth as the standard,” the website states. “Scripture serves as the blueprint for how we put together our textbooks so that every lesson begins with truth.”

Growing up, Harp spent most of her time with adults, especially her mother, and would rarely socialize with her peers, her brother recalled. Even at church, she would opt to sit with the adults instead of spending time with the youth group.

“There would be like skateboarding demos, there would be cool stuff going on, but my sister was just with all the grown-ups, and she preferred it,” he said.

Harp and her brother were close as young children but drifted apart as they got older. Preston Harp found an outlet skateboarding and surfing with friends, and Harp opted to stay close to home, he said.

At some point, their mother began policing their discussions, particularly as he started espousing more progressive beliefs, her brother recalled.

“I wasn’t really allowed to be in her life,” he said. “If we ever talked on the phone my mom was listening to everything we’d say, and they were talking on the phone together with me on speakerphone.”

Harp declined to comment for this story through a request sent to the White House. Her mother did not respond to a phone call seeking comment.

An aerial view of Natalie Harp’s family’s home in the private gated community of Woodbridge Cove, in Irvine.

(Allen J. Schaben / Los Angeles Times)

In her mid-20s, Harp moved with her parents to Irvine to be closer to their father’s work at Biola University, a private Christian institution in La Mirada, southeast of Los Angeles. He worked as a professor at the school of business and later served as the executive director of the Office of Innovation, according to the university.

The family lived in a home adjacent to a man-made lake in Irvine’s Woodbridge neighborhood, a master-planned community known for its peaceful, family-friendly atmosphere.

Both Irvine and Carmel Valley are silos from the problems of the outside world, places where everything might seem perfect, even when it isn’t, her brother said.

“My mom likes living in bubbles,” he said.

Within a few years of the family’s move, in July 2020, Harp’s father, 61, died by suicide at their home. When Preston Harp arrived at the house, he said his mother wanted him to go along with the story that their father had died in his sleep. Preston refused, he said, not wanting to downplay his dad’s pain to keep up appearances. It was the start of a massive rift in the family.

“That was the last time I ever talked to my sister,” he said.

Entering the national stage

Harp has shared little about her upbringing publicly. However, she has spoken at length about medical issues she experienced starting in her mid-20s.

In 2020, she said during remarks at the Republican National Convention that five years earlier she was “the victim of a notoriously deadly medical error.”

“I survived, but only to be diagnosed with a rare and terminal bone cancer,” she said.

She said she was diagnosed with Stage 2 bone cancer. It was that experience that sparked her interest in entering the political arena.

“I just wanted to get better,” she said on the program. “I started tuning in for the first time into politics because I had never had a representative before. All my representatives were Democrats, so I thought, why should I care about politics?”

Two rounds of chemotherapy did not help and she was rejected from clinical trials, she said. But in 2018 Trump signed the Right to Try Act, which allows terminally ill patients to access certain experimental drugs and immunotherapy treatments that have not received full approval from the Food and Drug Administration.

“I am not dying from cancer anymore thanks to President Trump, I am living with cancer,” Harp said on the program.

The White House did not respond to a request seeking comment on the treatment she received.

Natalie Harp follows former President Trump as he boards his airplane after speaking at an event in Manchester, N.H., on April 27, 2023.

(Jabin Botsford / The Washington Post via Getty Images)

During Trump’s 2020 reelection campaign, Harp’s role was to talk about the Right to Try Act, said Sarah Matthews, a former deputy press secretary for Trump.

“I remember we would correspond over Twitter DMs, and she just seemed very excited to be helpful in any way,” Matthews said. At the time, it seemed Harp was trying to make inroads with staffers, she said.

“My role would not necessarily interact with her, but … I could tell that she was trying to initiate a connection,” she said.

Although it’s not clear who on the team found Harp, Matthews said she was “very eager” to help the campaign.

“They found this woman who was eloquent and well-spoken and all the things, but it did just come off to me like she really wanted to be part of Trump world,” Matthews said.

In intimate letters, Harp has explained her devotion to the 80-year-old president.

Natalie Harp listens as former President Trump speaks outside the courtroom during his trial on charges of covering up hush money payments, on April 30, 2024 in New York City.

(Curtis Means / Pool Photo)

In one letter, she writes that she is “unworthy” of Trump and reminisces about the times Trump called during her “Talkshow days,” a reference to her stint in 2021 hosting “The Real Story with Natalie Harp” on the right-wing One America News channel.

“We’d talk about everything and nothing,” she writes. “I want to get back to that synergy. We shouldn’t have to talk about work all the time!!”

She adds: “I always felt like an in-betweener, somewhere between Staff and those you enjoy talking to on the Plane or at Dinner, because that’s who I used to be to you when I was a ‘Talkshow Host’ (as much as I hated that actual job!)”

Ossoff’s ‘Natalie’ reference brings attention

The public attention on Harp sharpened this month when Jon Ossoff, a Democratic senator from Georgia, told supporters in Atlanta that Trump wanted to “build his ballroom and travel with Natalie” rather than do the work of the presidency. The remarks came after it became public that Harp had been one of a select few who joined Trump on an alternate plane flying out of Turkey as a precaution amid a threat of attack by Iran.

President Trump and Natalie Harp, right, attend a dignified transfer for service members killed during operations in the Middle East, at Dover Air Force Base in Dover, Del., on July 22.

(Lau Loeb / AFP via Getty Images)

Ossoff’s comment drew the ire of Trump allies, from Capitol Hill lawmakers to conservative influencers, with many of them blasting the comment as sexist and inappropriate.

Although the White House and Trump allies have fiercely defended Harp in public forums, and dismissed suggestions of an improper relationship, Trump has sidestepped questions about his aide.

“People can be very mean to successful, pretty women,” Luna said. “And that is what is happening to Natalie.”

In their book “Regime Change,” New York Times reporters Maggie Haberman and Jonathan Swan write that Trump has told staff that Harp is the only one who loves him as much as his wife and kids.

“All of you will go off and make money,” Trump would say. “She’ll never leave me.”

Although Trump worked closely with other executive assistants during his first administration, Matthews said his relationship with Harp appears to be “a different level of closeness.”

President Trump,right, accompanied by Tiffany Trump’s husband, Michael Boulos, left, and aide Natalie Harp, center, looks out the window of Marine One as it lands on the South Lawn of the White House on Sept. 18, 2025.

(Andrew Harnik / Getty Images)

“I think it’s because of the way she fawns all over him and the love notes,” she said. “I think he just really trusts her. So she’s been able to, I think, develop an even closer bond.”

Despite the recent controversy, Harp remained by the president’s side during public appearances last week.

At the Freedom 250 Grand Prix in Washington on Aug. 23, Harp sat a few rows behind Trump and First Lady Melania Trump, chatting with the president’s son Eric. Days before that, she reportedly traveled with Trump to South Carolina for a campaign rally and to his northern Virginia golf club.

“She’s just all work,” Luna said. “She is one of the hardest workers and it is hard to find people who are like that.”

Natalie Harp looks on as President Trump visits the Mission Control Center at NASA Lyndon B. Johnson Space Center in Houston on Friday.

(Kent Nishimura / AFP via Getty Images)

Ceballos reported from Washington, Fry from Irvine.

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