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Even though it was late October, I couldn’t help but feel jealous as I watched my best friend Jenny swim into the calm, clear water of the American River near downtown Sacramento.

I was in town to cheer Jenny on as she competed in a long-distance triathlon. Although the race was such a fun experience, that moment on that tree-lined river bank stuck with me. In my home state of Oklahoma, I regularly swam in lakes and kayaked and rafted in rivers. But freshwater recreational opportunities were harder to come by once I moved to L.A.

This all led me to wonder: Will it ever be safe to swim in the Los Angeles River?

A large white bird stands along the L.A. River in the Glendale Narrows area of the waterway near Elysian Valley a.k.a. Frogtown.

(Jaclyn Cosgrove / Los Angeles Times)

This felt like an especially relevant time to discuss this question, as Friends of the L.A. River will host its annual (free!) RiverFest this Sunday from 2:30 to 7:30 p.m. at L.A. State Historic Park in Chinatown. This year also marks the organization’s 40th birthday.

After reading this edition of The Wild, our weekly outdoors newsletter, I hope you feel as fired up as I do about how we can work toward a day when the answer to my question is “Yes!” But we aren’t there yet. Let’s explore why.

The L.A. River is a 51-mile waterway that flows from the confluence of Bell Creek and Arroyo Calabasas in Canoga Park, ending in Long Beach as it flows into San Pedro Bay near the Queen Mary.

Candice Dickens-Russell, chief executive at Friends of the L.A. River, told me that her organization’s founder spent decades trying to persuade Angelenos to understand that our local watercourse was not a manmade concrete flood channel but actually a river that has been surrounded by concrete.

“I’m feeling like we’re at a tipping point for people to understand that the L.A. River is really a river, which is wonderful because our founder spent his entire life trying to get people to understand that,” she said.

Channelization of the L.A. River started in the mid-1930s after a number of devastating floods and was completed in 1960.

In an early 1936 article, Times real estate editor Charles C. Cohan seemingly praised the channelizing of a nine-mile stretch of the river from Fletcher Drive westerly to Lankershim Boulevard, calling it “one of the greatest stream-channel transformations ever undertaken in the West.”

Ducks hang out in the Glendale Narrows area of the L.A. River.

(Jaclyn Cosgrove / Los Angeles Times)

Cohan went on to write: “Men and machinery directed by the United States Army engineers are changing that vitally important length of the river from an irresponsible water course into a far larger, thoroughly conditioned channel that will be a vitally important flood protection while at the time conforming to the well-ordered, picturesque region through which it passes.”

It didn’t have to be this way.

Before the devastating flooding of 1938, the Los Angeles Chamber of Commerce commissioned two major landscape architecture firms in 1927 to develop a report analyzing how the region could develop more parkland in an already park-poor city.

“The report imagined an ‘emerald necklace,’ an urban paradise of parks and rivers and open spaces and public beaches encircling L.A. County, and it also laid out the practical, political and financial mechanisms to make it happen,” Times columnist Patt Morrison wrote in May.

The Glendale Narrows area of the L.A. River.

(Jaclyn Cosgrove / Los Angeles Times)

The report’s authors wrote about how flood-prone land would make for better park space than business and residential developments, as anything built in these areas would inevitably be damaged during floods. The parks could also serve as their own kind of protection.

“Parkways along the river were intended to reduce the need for structural flood protection features,” according to a 2001 state report.

For political and financial reasons explored in the book “Eden by Design,” that plan was shelved and long forgotten after it was published in 1930. Around 1938, local officials worked with the U.S. Army Corps of Engineers to channelize the L.A. River, literally paving the way for what we experience today and what we’ve seen on film in everything from “Grease” to “Drive.”

In recent years, local groups have started advocating for a “rewilding” of the L.A. River, removing some level of concrete and instead using our natural environment and watershed as a means of flood control.

A large bird that appears to be a type of heron flies over the L.A. River.

(Jaclyn Cosgrove / Los Angeles Times)

“If we develop and retrofit land to capture water, we can reduce the intensity of flood waters and peel back concrete to enable all of the essential functions healthy rivers and soil provide,” according to the local nonprofit the River Project.

This would certainly also change the swimming experience to a much more natural opportunity, rather than feeling like you’re floating about in a large, flowing swimming pool.

The future of the river becoming swimmable, though, depends in large part on how much water is left for recreation, a complicated equation for officials to develop in a region constantly grappling with how to rely less on imported water.

A person rests in the shade of trees along the L.A. River.

(Jaclyn Cosgrove / Los Angeles Times)

Presently, the L.A. River is fed, in part, by rain and snowmelt in the wet months.

In the dry months, its main water source is three water reclamation plants that release tertiary treated water into the river. “These plants take all the wastewater from apartment buildings, houses and commercial operations and cleans it. Some of that water is used for irrigation at city parks and golf courses. Some feeds Lake Balboa,” my former Times colleague Deborah Netburn wrote in 2018. “But most of it — more than 30 million gallons each day — ends up in the river.”

Dickens-Russell of Friends of the L.A. River said for the last three years, she has sat alongside leaders from government agencies, local nonprofits and more to discern, among other things, just how much water our river needs. (For my fellow nerds who want to Google their hearts out, the full name of this effort is the Los Angeles River California Environmental Flows Framework Project, or CEFF.)

The Glendale Narrows is one of three soft-bottomed areas of the L.A. River.

(Jaclyn Cosgrove / Los Angeles Times)

For example, the L.A. River has three soft-bottomed areas where plant and animal life thrives. If the river were starved of reclaimed water in the dry months, what would happen to those ecosystems?

“No one is saying the river doesn’t need water — there is no debate about whether there should be water in the river — the debate is … how much water does the river need?” Dickens-Russell said. “We’re trying to establish that baseline.”

The CEFF group will meet for the last time in less than two weeks, and afterward, its members will send their findings to the state water board, which oversees any changes to river flow in California, she said.

The Glendale Narrows area of the L.A. River.

(Jaclyn Cosgrove / Los Angeles Times)

Even as officials discern the amount of the water the river needs for its multitude of uses, the L.A. River also has to be clean enough to swim in.

And humans and our behaviors are one of the biggest reasons our river water becomes polluted.

When it rains in cities, that water runs off buildings, driveways and roads, picking up fertilizer from our yards and farmlands, motor oil spilled on our streets and highways, pesticides sprayed on our plants, dirt and bacteria. This untreated runoff makes its way through storm drains and ditches into our local streams and rivers and eventually, the ocean.

Additionally, for years, runoff from industrial sites along the river have added to the problem, an effort that’s been highlighted as climate justice activists work to develop the former Taylor Yard, a railroad maintenance yard, into a park.

This is all part of a much larger problem beyond the banks of the L.A. River. “Polluted runoff is one of the greatest threats to clean water in the U.S.,” according to the federal Environmental Protection Agency.

The river is especially gnarly after its so-called “first flush,” when L.A. experiences its first big rain after a lengthy dry spell, and everything that’s built up on our roadways flows into the river.

A sunflower-like plant resembling California brittlebush grows among invasive plants in the L.A. River.

(Jaclyn Cosgrove / Los Angeles Times)

Addressing this pollution to the extent that would make the L.A. River swimmable is not an impossible task, but it’s one that would require significant investment in our local infrastructure — like implementing creative solutions to keep out or remove trash from the river. That’s where public opinion and advocacy come into play, Dickens-Russell said.

Cities across the world like Portland and Copenhagen have successfully transformed their urban rivers into green spaces that offer reprieve from intense and increasingly frequent heat waves in our climate-changed world. Unlike Paris, which made a $1.5-billion investment in cleaning the Seine, our river won’t be ready — unless something substantial changes — for the 2028 Olympics.

The possibility of swimming in the L.A. River, though, is far from a new idea.

“Towards a swimmable, fishable, boatable river,” read the first page of the Friends of the L.A. River’s first “State of the Los Angeles River” report, published in 2005.

Lino Jubilado using a tenkara-style fly fishing rod in the L.A. River in Long Beach.

(Jerry Hsu / For The Times)

Swimming in our river isn’t going to happen with just “one good project,” but instead a mix of people changing their behaviors and also pushing for change, Dickens-Russell said.

“Looking at your question, ‘When will we be able to swim in the L.A. River?’” Dickens-Russell said, “I don’t know that that’s the question. I think the question is what we’re willing to invest to make that possible. A swimmable river is an achievable goal, but it’s going to require sustained investment in water quality and things like habitat restoration and safe and equitable public access. Every project that reduces pollution and restores natural function brings us a little bit closer to that. And yeah, we should be planning for a future where Angelenos can safely swim in the L.A. River. Why not?”

While digging through The Times’ archives for this story, I found a new visual of a river to inspire me: Three boys swimming in the L.A. River in 1936.

“Viewing the dusty Los Angeles River bed last week no one would have thought of swimming in connection with it,” the caption read. “But yesterday Bob Henderson, Stanley Hayden and Archer Bolton frolicked in the flood waters near Bell, thanks to the week-end rain.”

Ninety years later, I’m dreaming of one day doing the same. How long will that take exactly? It’s up to all of us to find out.

3 things to do

Hikers learn about their local ecosystem on a previous hike with environmental educator Jason Wise and others.

(Jason Wise)

1. Celebrate the full spectrum of the animal kingdom in L.A.
Environmental educator Jason Wise and biological anthropologist Natalia Reagan will host a sunset queer ecology walk from 6 to 8 p.m. Aug. 13 in Griffith Park. The co-hosts will dive deep into the world of animal homosexuality, bisexuality, asexuality, polyamory and more. Suggested donation of $30. Register at eventbrite.com.

2. Churn up hills in L.A.
Labyrinth, a trail run club, will host Dirt & Dessert from 7:30 to 10 a.m. Saturday in Griffith Park. Participants will tackle a 5K trail run while churning their own ice cream. Runners should bring their own bag, vest or backpack to hold ice cream-making materials, which will be included in the $14 event fee. Register at eventbrite.com.

3. Nurture native habitat in Northeast L.A.
We Explore Earth needs volunteers from 8 to 10:30 a.m. Saturday at Ascot Hills Park to beautify the park’s hillsides and trails. Participants will remove invasive species and support native habitat recovery. Register at eventbrite.com.

The must-read

Marc Papas cycles past graffiti next to the L.A. River.

(Kayla Bartkowski / Los Angeles Times)

Cyclist Marc Papas is on a mission to bike every public street in L.A., an estimated 7,516.07 miles. Papas moved to L.A. in late 2020 after completing his PhD at Georgia Tech, freelance journalist Oren Peleg wrote for The Times. Papas was initially scared to ride his bike around L.A., fearful of all he’d been told about our city’s car-filled and dangerous streets. Then he found himself asking: “With perfect weather year-round, and a mostly flat topography, why wasn’t everyone in L.A. riding bikes?” His passion evolved into “The Project,” of which he’s already ridden over 78% (about 5,840 miles) of our city’s streets.

Who else feels inspired to jump on their bike?

Happy adventuring,

P.S.

After my friend Maria told me she’d signed up for $10 kayaking classes after learning about them from my Instagram Stories, it made me realize that there were likely many others who’d like to know that information. L.A. County Parks and Recreation is hosting stand-up paddleboard and kayaking classes, and they’re only $10 per session. Instructors will teach participants about proper paddling technique, balance and coordination, and water safety. The classes will be offered at Santa Fe Dam, Bonelli Regional Park and Castaic Lake. August classes have sold out at Santa Fe Dam and Bonelli, but several spots remain at Castaic Lake, which sits north of L.A. and offers amazing views of the San Gabriel Mountains. Sign up by searching “kayak” or “stand” on the county’s activity registration website. A great way to have fun and stay cool this summer!

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.

California Atty. Gen. Rob Bonta said Tuesday that his office has protected more than $200 billion in federal funding for the state, defended core civil rights and removed military forces from Los Angeles streets by suing the Trump administration about once a week.

“Since President Trump returned to office, California has been under attack — and has led the way in fighting back,” Bonta said.

Bonta said his office has filed 82 lawsuits against the administration since Trump’s inauguration last year, in addition to 122 amicus briefs supporting lawsuits against the administration by other parties and 112 comment letters in response to federal actions.

That work has saved the state an estimated $207.1 billion, Bonta said, including $168 billion — equal to a third of the state’s annual budget — that was threatened when the Trump administration tried to freeze trillions of dollars in federal funding to the states last year. Billions in threatened cuts to transportation, emergency preparedness, education and family assistance funding were also prevented, Bonta said.

The work has also protected birthright citizenship for the U.S.- born children of immigrants, ensured that National Guard troops are not deployed in major California cities against the wishes of local leaders, lifted multiple sets of tariffs driving up costs for American consumers and repeatedly blocked administration efforts to interfere in California’s elections, Bonta said.

“We’ve protected funding that keeps our communities safe, feeds hungry families, and ensures our kids get the education they deserve. We’ve gone all the way to the Supreme Court to defend constitutional rights — and won. We’ve protected our elections and stopped the militarization of our cities. We’ve defended our right to prioritize public safety over assisting with the President’s inhumane immigration agenda,” Bonta said.

As it has done in the past, the White House on Tuesday derided Bonta’s lawsuits as misguided.

“Instead of bragging about filing frivolous lawsuits against the Trump Administration, the California AG should focus on addressing problems in his own state — like the countless criminal illegal aliens the Newscum Administration allows to roam free and terrorize communities,” said White House spokeswoman Abigail Jackson in a statement to The Times.

The White House has previously said Trump is “trying to restore American Greatness” and that Californians would be “infinitely better off” if Bonta got out of the president’s way.

Bonta’s office is required to report annually to the state Legislature on its work fighting the Trump administration as part of a 2025 special session measure delivering it an extra $25 million to fund such litigation. His office published its latest report to lawmakers Tuesday.

The report said the office had received $19.2 million of the special session funding through July 30, which had “contributed to — but in no way has been sufficient to cover — the costs of the litigation.”

Bonta’s office has also received regular appropriations to fund such litigation in each of the state’s last two budgets, of $14.2 million last fiscal year and $23.9 million this fiscal year. The office’s overall budget is about $1.4 billion.

At a morning news conference with other state leaders, Bonta said his office has spent close to $30 million on its “federal accountability work” overall since Trump took office, and argued that investment has been “paying off in droves” given the billions saved.

Senate President Pro Tempore Monique Limón (D-Goleta) and Assembly Speaker Robert Rivas (D-Hollister), standing with Bonta, agreed.

Limón said she was proud to have worked with Bonta and Gov. Gavin Newsom to form a “collective backstop” against the Trump administration, while Rivas said the funding provided to Bonta’s office “may be one of the smartest investments that this legislature has ever made.”

Of the 82 lawsuits, 66 remain active, according to the report. Despite that, Bonta said his office has won 45 orders providing some early relief from the Trump administration’s actions, and 21 final orders in its favor. In eight cases, he said, the administration “backed down” in advance of a trial.

Bonta’s office has lost arguments made against the Trump administration, including on behalf of other litigants, particularly on issues related to transgender rights and the scope of Trump’s executive power to reshape government and federal immigration policy.

However, Bonta claimed his office has won in 83% of the court orders issued in cases brought by the state and praised his team for having “worked around the clock on behalf of Californians, pulling countless all-nighters along the way” to make it possible.

Bonta, who is up for reelection in November, is campaigning in part on his willingness to stand up to Trump — which polling and voting has suggested many Californians want their elected officials to do.

Xavier Becerra, the Democratic candidate for California governor, is running on a similar message. Before he was the U.S. Health and Human Services secretary, Becerra had Bonta’s job and sued the first Trump administration more than 120 times, often successfully.

Bonta said he expects Becerra will be an “incredible partner” in the fight moving forward.

Republicans Michael Gates, who is running against Bonta, and Steve Hilton, who is running against Becerra and is endorsed by Trump, have said they would work collaboratively with the Trump administration to ensure the needs of Californians are met, rather than fighting it at every turn.

“I would be wanting to work with the administration to help Californians,” Hilton has said. Gates has called Bonta’s campaign against Trump “out of touch.”

Many of the lawsuits Bonta’s office has brought against the administration have been filed as part of a multistate coalition of Democratic attorneys general. As presidents of both parties have flexed more executive power in recent decades, state attorneys general have become more collaborative and litigious in fighting back — and that has been especially true under Trump.

Bonta said Trump will be remembered in part for his “repeated attacks on California, on Californians, on our Constitution, and on our democracy,” but California will be remembered for fighting back.

“Are these trying times? 100%. Absolutely, yes,” Bonta said. “But we shouldn’t be helpless, because we’re not helpless.”

It’s a few minutes after 10 a.m. on a recent morning and the thermometer is closing in on 95 degrees, but Marc Papas isn’t fazed. “The heat doesn’t bother me much,” he said, unloading his bicycle — a blue and yellow 1989 Trek 400 — from the trunk of his car on a side street in Reseda. “I just keep going.”

Papas adjusted the heart monitor underneath his T-shirt, checked the bike computer attached to his handlebars, then set off on the day’s ride; he’s taken it upon himself to bike every public street in Los Angeles. The Phoenix native has completed over 78% (about 5,840 miles) after two years. He calls it “The Project,” and says there’s about 7,516.07 miles in total, when you include various enclaves and adjacent cities like Beverly Hills or Burbank. Today he’s headed toward the longest continuous bike lane in Southern California — a stretch of Reseda Boulevard. It’s an unexpected amenity in a part of the city that seems otherwise hostile to pedestrians and cyclists, but one Papas wants incorporated around more of Los Angeles.

“Somebody once asked me on a Reddit Ask Me Anything what is one street you think needs a bike lane,” he said. “I wrote him a whole essay in response, because I can’t just say one street.”

Marc Papas estimates he covers about 75 new, unique miles each week, putting him on track to complete the entire city after nearly three years of riding.

(Kayla Bartkowski / Los Angeles Times)

Marc Papas sets his blue and yellow 1989 Trek 400 near a graffiti post along the Los Angeles River.

(Kayla Bartkowski / Los Angeles Times)

After a few blocks on Reseda, Papas turned back into the neighborhood centered around Etiwanda and started tracing loops across the blocks. It’s his standard pattern for covering any area he rides for the Project. “I base my routes on a math theory called the Eulerian Path,” said Papas, a mechanical engineer by training. Each new segment of the city he rides is generally a rectangle bound by major streets. “Then, I start with loops around the edges and work my way in,” he continued. “It’s the most efficient way to cover an area without overlapping.”

Today’s ride would yield eight new miles for Papas. “So, I’ll be about 12 miles away from 80%,” he calculated.

Papas started his biking project almost by accident. He moved to Los Angeles in late 2020 after finishing his PhD at Georgia Tech. He had taken up biking around Atlanta as part of triathlon training and worried he wouldn’t be able to continue once arriving in L.A.

“I remember having a sort of fear around it,” said Papas. “I’d heard it’s just so car-filled and dangerous to be on the roads.” But riding along the beach and around much of the Westside quickly changed his mind. With perfect weather year-round and a mostly flat topography, why wasn’t everyone in L.A. riding bikes?

He was soon cycling to work in Monrovia from his apartment in Pasadena, and biking more than he ever had in his life. “Sometimes friends would be surprised to learn I have a car,” he said. “They thought I bike everywhere because I don’t drive.”

Then, on Dec. 31, 2023, Papas decided to get in one last bike ride for the year. He rode a section of San Marino that he and friends refer to as “The Mitochondria” for the shape the streets make when viewed in the tracking app Strava. After riding the Mitochondria, he decided to keep going — making a path up each street and block — until he was satisfied. It gave him the idea to ride every mile of street in San Marino. “It’s only 60 miles total,” said Papas. “That seemed doable.”

“There are beautiful pieces of art on the walls that you wouldn’t imagine,” says Marc Papas, who has spotted murals throughout the city.

(Kayla Bartkowski / Los Angeles Times)

Marc Papas cruises along the Los Angeles River bike path.

(Kayla Bartkowski / Los Angeles Times)

Finishing the 60 miles of San Marino led to completing the 400 miles of Pasadena. He next found himself taking detours to cover new streets in Northeast Los Angeles as he’d ride to and from Koreatown Run Club meet-ups at Los Angeles Community College. But it wasn’t clear to himself, or anyone else, what he was doing. “Friends were seeing my Strava activities and texting me like, ‘What the heck are you doing, man?,’” Papas recalled. One friend jokingly asked if he was drawing the Nazca lines across the city, but Papas wrote it off as just trying to clock extra mileage. “There’s a level of self-deception, because riding the whole city of Los Angeles seemed impossible to do,” he said. Still, his treks around Northeast L.A., East Hollywood and Los Feliz were starting to build up mileage — he had completed about 18% of the city.

When Papas drove out to North Hollywood in November 2024 specifically to track new mileage, he realized he had crossed the Rubicon. “At that point, I can’t lie to myself anymore about what I’m doing,” he said. “I’m driving out to these places to get miles more efficiently. When that happened, I was like, all right, I’m in it for the long haul.”

“Biking is like a superpower to gain familiarity with your neighborhood,” says Marc Papas.

(Kayla Bartkowski / Los Angeles Times)

As Papas covered more and more of the city, he began growing an appreciation for various architecturally-significant neighborhoods as well as the many murals across large swaths of South and East L.A. “There are beautiful pieces of art on the walls that you wouldn’t imagine,” he said. “I want to take people to these places and do a mural tour.” He was especially moved when he was riding in Pacoima and saw a Buddy Holly and Ritchie Valens mural that memorializes the tragic plane crash that killed both Holly and Valens. “So many of these murals are commemorating people and events that are culturally important to those specific areas,” he added.

The bike rides were connecting him to his city in ways he never expected. “I’m not necessarily saying that everybody needs to go out and ride their bikes,” said Papas, though he’d certainly love it if more Angelenos did. Instead, he hopes his biking project is showing people what’s possible — in the most extreme way. Yes, you can bike in Los Angeles, as many Angelenos often do out of necessity. It’s even enjoyable. And yes, you can do it across every single mile of the city, even if the cycling infrastructure isn’t perfect yet. “I think to me, success would be if people just go out and explore their own neighborhood,” he said. He views cycling as a form of civic engagement and a way to see things otherwise invisible when speeding by in a car. For beginners, Papas recommends sticking to bike paths and joining cycling groups. More experienced riders should venture out into new areas, said Papas. “Biking is like a superpower to gain familiarity with your neighborhood, but it just needs to be unleashed.”

“At this point, I can’t lie to myself anymore … I’m in it for the long haul,” says Marc Papas. He’s already clocked thousands of miles on his mission to cover every street in L.A.

(Kayla Bartkowski / Los Angeles Times)

Last September, Papas passed the 50% mark of his project and estimates he’s been covering an additional 1% (or about 75 new, unique miles) every week since. That puts him on pace to finish sometime around mid-December — should everything go smoothly — nearly three years after he first began. Does he know what his final mile will be? “Eldred Street in Mount Washington,” he said. He notes it’s one of the steepest streets in the entire country.

“It’’s a fitting end, like a final boss [in a video game], just one last all-out hard effort to completely finish things off,” Papas said. “It gives me goosebumps to think that would be the time and place that this years-long project would be done.” Of course, there’s always the rest of Los Angeles County to conquer.

Do we still call it a “heat wave” if it never ends?

Maybe my Texas and Arizona friends can help me out here on proper nomenclature because, while everybody loves the sunshine, I’m starting to dream of the time when autumn leaves start to fall.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. My birthday’s still a few months away. Is it OK if I have a slice of this cake, anyway? Maybe the Television Academy can send it to the Emmy nominees who are no longer invited to the ceremony this year.

Read on for more …

Awards show adaptation or mere party foul?

What if you were invited to a party and then nine days later that invitation is rescinded? A party in your honor, no less, or at least one where you are among the honorees. How would you feel? Would you be tempted to take that birthday cake I just mentioned and smash it into the face of your host?

Maybe I’ve watched the pie fight in “Blazing Saddles” one too many times. (Happy 100th birthday, Mel Brooks!) Still, if I were among the Emmy nominees in the five categories that the Television Academy shuttled off the Primetime Emmy Awards to the untelevised Creative Arts Emmy Awards, I might be reaching for some baked goods and taking aim.

The five categories excised from the show include four from the limited series/movie group — supporting actor and actress, writing and directing. (Variety series writing was also cut.) When I wrote a few weeks ago that the limited series boom had gone bust, it wasn’t my intention that the TV Academy remove more than half of the categories from the show. It could have just been a down year, people! Television was pretty meh across the board the last 12 months. Why pick on one division?

In doing so, the Television Academy effectively disenfranchised HBO’s “DTF St. Louis,” the best limited series of the season, from the ceremony. Steven Conrad’s dark comedy about suburban loneliness earned 13 nominations, including supporting acting nods for each member of its stellar ensemble — Jason Bateman, David Harbour, Linda Cardellini, Richard Jenkins and Joy Sunday. Conrad was nominated for three — writing, directing and producing the series.

But now only Harbour, Bateman and Conrad will receive tickets to the show as executive producers of the nominated series. The other actors can attend the Creative Arts Emmys, held the weekend before the Primetime Emmys. And of course, HBO will be happy to buy them tickets if they want to go to the televised ceremony too.

The question is: Will they and other nominees, which include the likes of Nick Offerman (“Death by Lightning”), Charles Melton (“Beef”) and Dakota Fanning (“All Her Fault”), want to get dressed up two weekends in a row? (First-world problems, I know.)

“It really did manifest as a disinvite for all these people,” says one awards consultant who, like other sources for this story, requested anonymity in order to speak candidly about the move. “Had the Television Academy done it before nominations came out, then at least people’s expectations would have been managed. But now it’s sort of like you got invited to the party and now you can’t come. It’s not a very nice feeling.”

“Beef” star Charles Melton’s category, supporting actor in a limited series or TV movie, will be presented at the untelevised Creative Arts Emmys the weekend before the Primetime Emmys ceremony.

(Netflix)

Why did the TV Academy wait to shift the categories until after the nominations were announced? Why focus on limited series and not, say, spread the cuts across drama and comedy categories too? Are these changes permanent?

I asked these questions to the Television Academy and the answers were, basically: We announced as soon as possible. We’re going to sidestep that second query. And we’ll see how it goes!

What this comes down to is a desire to create a show that, in the words of a TV Academy spokesperson, is “driven by the need to innovate while delivering a three-hour broadcast, keeping audience expectations and the creative structure of the ceremony in mind.”

Translation: fewer awards, fewer speeches, more throwback segments that have a chance to go viral and get people talking.

The Oscars tried this in 2022, moving eight categories off the telecast, handing them out before the broadcast began. Members hated the idea and order was restored the following year with all 23 awards being presented during the live telecast. (In 2019, when the motion picture academy announced a similar move, saying that four categories would be handed out during commercial breaks, the blowback was so fierce that the decision was almost immediately reversed.)

Emmy ratings were up 8% last year, the highest since 2021. An average of 7.42 million viewers watched. Not NFL numbers, but a continued indication that the audience level for major awards ceremonies has stabilized after steep declines during the COVID-19 pandemic.

Still, there is a feeling among some that awards shows need to adapt and pick up the pace in a time when viewers’ attention spans have shortened. Is there an appetite for a three-hour ceremony when you can simply watch the highlights the next day on social media platforms?

“If people don’t want to see actors winning awards, then the days of televised awards shows should just be over,” gripes another Emmy consultant.

One thing that might be over — or at least greatly diminished — will be submissions for the supporting acting categories for limited series/movie next year if the academy makes this revision permanent.

“I think everyone will be going lead,” one network executive joked, “even if they have just five minutes an episode.”

“Spider-Man: Brand New Day” swung into the top spot at the box office and scored one of the highest-grossing opening weekends with an estimated haul of $355 million in the U.S. and Canada, far surpassing studio and analyst expectations.

The Sony Pictures film also brought in $572 million internationally for a worldwide total of $927 million, according to studio estimates.

The movie’s haul now ranks as the second-biggest domestic and global opening ever, surpassed only by Walt Disney Co. and Marvel Studios’ “Avengers: Endgame” in 2019.

The film, which stars Tom Holland and Zendaya, is produced by Sony-owned Columbia Pictures, Marvel Studios and Pascal Pictures. Its production budget was about $225 million.

Marvel Studios President and “Spider-Man” producer Kevin Feige called the debut “truly phenomenal.”

“We are grateful to audiences everywhere for coming out and experiencing our film the way it was meant to be seen,” he said in a statement Sunday. “This debut reflects the enduring power of Marvel’s characters, and the connection they continue to have with fans around the world — and, as audiences saw, it sets up exciting things to come.”

Anticipation for the movie was building for months, as robust pre-sales indicated high interest in Spidey’s return to the big screen.

The previous film in the franchise, 2021’s “Spider-Man: No Way Home,” had one of the biggest domestic debuts on record with $260 million.

But it came during the depths of a COVID-19 surge and against very little competition at the box office. That film also reunited all three Spider-Men — Holland, Tobey Maguire and Andrew Garfield — in one time-bending, multiverse storyline, a move “Spider-Man” producer Amy Pascal described as 20 years in the making.

This time around, “Spider-Man” was up against the juggernaut holdover Universal Pictures’ Christopher Nolan film, “The Odyssey,” which came in second at the domestic box office with $51 million on its way to a global total of $911.4 million.

The strong performance of “The Odyssey,” as well as the billion-dollar-grossing “The Super Mario Galaxy Movie” and “Michael” earlier this year, helped push Universal over the $4-billion global box office mark this weekend, the first studio to do so this year.

Walt Disney Co. and Pixar’s “Toy Story 5” came in third with $6.3 million to add to its worldwide total of more than $1.06 billion. Universal and Illumination’s “Minions & Monsters” ($5.8 million) and Disney’s live-action “Moana” ($5.3 million) rounded out the top five this weekend, according to data from Rentrak.

“‘Spider-Man: Brand New Day’ is fundamentally a movie about friendship, about the balm of connection in all our lives,” Sony Pictures Motion Picture Group Chairman Tom Rothman said in a statement Sunday. He added that this theme resonates with “audiences of all ages and all around the world.”

Alone and engulfed in the darkness of a Madrid cinema, Javier Bardem watched Martin Scorsese’s 1991 psychological thriller “Cape Fear” after learning he’d be starring in an episodic reimagining of the crime saga for Apple TV — the series finale is now streaming.

He arranged the private screening to symbolically request Robert De Niro’s blessing to play the dangerously charismatic Max Cady, an ex-con parched for revenge against those who had a hand in his imprisonment. De Niro received an Oscar nomination for that role.

“It was my way of honoring the work he did back then and, at the same time, to detach myself from that performance and ask his permission to create my own take,” Bardem tells me in Spanish while sitting at a restaurant inside a Beverly Hills hotel.

His informal getup, a T-shirt and shorts, contrasts with the elegant environment primed for business lunches and ostentatious dinners. He exudes an easy-going air. A quintessential cool dad casually sipping on an iced Diet Coke as he shares anecdotes about his passion for acting.

Bardem, 57, agreed to play Cady because the version of the character that the show’s creator, Nick Antosca, envisioned was not only decidedly distinct from those embodied by De Niro and Robert Mitchum, the latter of whom starred in a 1962 film adaptation, but also tailored to him as a Spanish man.

Had it been a standard remake, Bardem would have passed. Still, like the films, the show also “drinks from the fountain” of John D. MacDonald’s 1957 novel “The Executioners.” What remains intact across all versions of Cady is a devilish sense of humor and a lack of self-importance. In any of his iterations, he has nothing to lose. That makes him lethal.

In “Cape Fear,” Bardem’s Max Cady is distinct from the versions of the character played by Robert De Niro and Robert Mitchum in earlier films.

(Apple)

The cerebral Cady that Bardem inhabits spent nearly two decades in prison convicted for his wife’s murder. When the discovery of new evidence results in Cady’s freedom, his new mission is to torment Anna (Amy Adams) and Tom Bowden (Patrick Wilson), the attorney and prosecutor on his case, who are now married and have two teenaged children.

Cady turns their lives into a trap of paranoia and, indeed, fear, while procuring plausible deniability to avoid consequences. It’s a malicious and relentless barrage of the mind.

“He’s a 2026 Max Cady. It’s a different way of approaching violation of privacy, and the intrusion of the characters’ psyches. The digital world has made everything very different now,” he explains. “We are hyper-aware of what is said and written about us. We are inundated with so much information that, at times, we can’t tell what is true and what is false.”

While in the 1991 film the audience is aware that De Niro’s Cady committed sexual crimes making him “an absolutely despicable character,” Bardem says this new version portrays a complex person who’s suffered at the hands of the American justice system.

“Here we understand that he was imprisoned for something he didn’t do. He may have done other things, but he says, ‘You turned me into this monster.’ It’s true. From that point on, a vengeful and destructive mindset developed,” Bardem says of his Cady.

The final episode shows the public unmasking of Cady, just before he learns he is responsible for his own son’s death. Bardem describes him as a “dying beast” who has lost control of the narrative that he so meticulously orchestrated to rebuild his image.

The character was written to account for the actor’s Spanish accent. This Cady grew up in Spain until he moved to North Carolina at 13 and learned English on the streets. Bardem worked with renowned dialect coach Tim Monich to infuse his speech with a hint of a Southern drawl, aware that his character didn’t have to sound like a native speaker.

“I’m not bilingual,” Bardem says. The statement is somewhat shocking, considering he’s worked in the U.S. for decades in numerous English-language productions.

“Acting in English is easier for me because the dialogue is set,” he says. “But when the time comes to improvise, I find it difficult. That still doesn’t come naturally to me in English.”

The Spanish actor says acting in English is easier for him but that improvising is more challenging.

(Erik Carter / For The Times)

There’s a freedom to working in English since words have less emotional significance, the Oscar-winner believes. “I can be more daring in English. I can say the words or verbalize the thoughts with much less inhibition, because I am not as emotionally attached,” he explains. “But when you speak in your mother tongue, your body tenses up a bit because you think, ‘I understand the full emotional spectrum of what I’m talking about.’ ”

At this stage in his lauded career, Bardem is interested only in roles that explore “contradictions with an underlying humanity.” He’s played one-dimensional parts in the past, but the cost of being away from his loved ones is too high.

The job has to measure up to the trade-off of precious time he’s surrendering.

The “Cape Fear” production structured the schedule for Bardem to work for two weeks followed by five or six days off, allowing him to travel back to his family, which includes his famous and just as in-demand wife, Penélope Cruz, and their two teenaged children, Leo, 15, and Luna, 13.

“Cape Fear” filmed in Atlanta and Savannah, Ga. That’s a long trip back to Spain but manageable and certainly worthwhile, he says. “One of the few things I ask for contractually is time with family, and that has always been respected; Penélope and I have always managed our projects in such a way that one of us is always present for our kids.”

Thanks to his award-winning turn as an unnerving killer in “No Country for Old Man” and the dapper cyberterrorist in “Skyfall,” audiences might associate Bardem with sinister characters (his Cady joins the ranks). And they are satisfying to portray, he says.

“It’s true that characters with that kind of darkness are very attractive to play,” he says. “The villain is always more compelling than the hero. The hero is perfectly upright. A good villain has many cracks, which is what makes him more human.”

Bardem on playing sinister characters like Max Cady: “The villain is always more compelling than the hero. The hero is perfectly upright. A good villain has many cracks, which is what makes him more human.”

(Apple)

In recent years, however, Bardem made a deliberate effort to work on projects that his children could watch, particularly when they were younger, namely the fantasy musical “Lyle, Lyle, Crocodile” and the live-action remake of “The Little Mermaid,” in which he played King Triton.

“I needed my children to see what I do,” he says. “They knew I’d leave home for two weeks and then come back, and I’d tell them about it and show them photos, but they hadn’t been able to watch any of my movies yet because they were geared more toward adults.”

Cruz and Bardem have always encouraged their children’s creative pursuits. It wouldn’t surprise them if they eventually pursue a life in the arts. “I don’t see them becoming scientists or lawyers, which makes sense. I don’t know if they will become ‘nepo babies’ or not, but we are conscious that children always feed on what their parents do,” Bardem says.

Every time either Bardem or Cruz gets an offer for a new role, the couple discuss it and then bring their kids into the conversation. It’s important, Bardem believes, that Leo and Luna know how fulfilling acting is for both of their parents.

“They know we feel immense gratitude for being able to make a living from our passion. And they understand that the way we try to live up to that gift is by doing our absolute best and giving it the full attention it deserves,” he says.

When they were younger, the kids weren’t interested in seeing their parents on screen, but that’s changed. “They have seen ‘The Invite’ three times. They love it. And they’ve watched ‘Volver’ and ‘Bandidas,’” he says. “They’ve watched me in ‘F1,’ and Leo is watching ‘Cape Fear.’ ”

In June, Bardem became part of Hollywood history when his hands and footprints were added to the entrance of TCL Chinese Theatre. The ceremony included directors Michael Mann and Denis Villeneuve and producer Jerry Bruckheimer.

“I missed my mother so much at that moment because there are so many footprints of classic actors and actresses there. I imagine my mother seeing my hands and feet next to Gary Cooper, who was one of the loves of her life,” he says.

In June, Bardem’s hands and footprints were added to the entrance of TCL Chinese Theatre: “I missed my mother so much at that moment because there are so many footprints of classic actors and actresses there.”

(Erik Carter / For The Times)

It felt surreal, Bardem says, to have Mann present at the event. They worked together on “Collateral” over two decades ago. “I was crazy about ‘Miami Vice’ in the ’80s,” Bardem says. The suit he wore in the photo shoot for this piece, he adds, reminded him of that emblematic series and film.

Bardem’s latest collaboration with Villeneuve, “Dune: Part Three” hits theaters in December. He recalls the joy of shooting the film’s opening sequence, a battle where the cast was covered in mud. It reminded him of childhood play. “Denis would laugh and say to me, ‘But why are you laughing?’ And I’d say, ‘This is what I used to do in the schoolyard, but now it’s for real. Now I look to my right, and I have 50 guys under my command,’ ” he says.

“I was lucky enough to shoot some scenes with Timothée [Chalamet]. I saw him playing a Paul who is very different from the Paul in the second film,” Bardem continues. “Years have passed, and Paul is now wielding power and is a victim of that power.”

Outspoken about the ongoing plight of Palestinians, Bardem wishes more people could apply the lessons they mine from fiction they consume to the world in turmoil.

“We root for the rebels in ‘Star Wars’ and want them to defeat Darth Vader, or we side with the Fremen in ‘Dune.’ We always take sides in fiction. Yet, when we witness oppression, abuse and the violation of the most fundamental rights by an oppressor in real life, we seem to struggle to stand with the oppressed,” Bardem explains. “That cannot be.”

Even while attending matches at the recent World Cup, where Spain won the title, the actor advocated for an end to the carnage. A viral video shows him engaging with a Palestinian man at a match. “Existence is resistance,” Bardem tells him. On social media he’s shared images of Lamine Yamal, one of his national team’s stars, waving the Palestinian flag.

“The impunity Israel enjoys regarding these crimes, both legally and in terms of international support, creates a profound sense of powerlessness,” he says.

Bardem admits he’s been asked, whether directly or indirectly, to tone down his vocal support. But he doesn’t fear backlash. On the contrary, he’s never felt more support from everyday people who share his mindset.

“If I’m so privileged to have a good life where I work doing what I love and can provide my family with stability and security, how could I not use that privilege to denounce those things that I think are wrong?”

If your summer could use a little energy boost, forget the complicated smoothie — turn to one of these fresh book releases instead. From fast-paced World War II history to a slow-burn rescue in rural Wyoming, along with an art-world mystery and a punchy look at modern America, you’ll find something to galvanize your bedside book stack. Happy reading!

FICTION:

Appraisals: A Novel
By Claire Boyles
W. W. Norton: 288 pp., $30
(Aug. 4)

While Boyles’ debut novel ostensibly follows the fate of an Eastern Colorado family farm, its deeper purpose involves showing how dire water resources are for all agricultural endeavors in the region. Maggie and her husband Fish have inherited their land from her grandparents, but they and their teenage daughter Ozzie all know that without irrigation, even defeating big development plans won’t make much of a difference to locals.

The Seekers of Deer Creek: A Novel
By Thao Thai
Mariner Books: 320 pp., $30
(Aug. 4)

Vietnamese American sisters Vivi and Calla are also a curator and an artist. When their father dies and leaves behind a sketch that might be the work of renowned Vietnamese painter K.P. Lý, the siblings embark on a quest to find out whether Lý had connections to their family. Along the way they reexamine their difficult upbringing and find new ways to communicate that matter more than any artwork.

Etna: A Novel
By Paul Yoon
Scribner: 208 pp., $28
(Aug. 4)

Anyone who has seen “The Odyssey” with Matt Damon or is anticipating “Heart of the Beast” with Brad Pitt (about a veteran and his war dog), should pick up Yoon’s remarkable tale of a combat survivor in an alternate present who happens to be a former military dog named Etna. His adventures traversing a broken land of haunted people and animals may be less the stuff of future myth and more about trauma, but Yoon brilliantly creates voices for human and canine that make both more whole.

A Tender Age: A Novel
By Chang-Rae Lee
Riverhead: 368 pp., $30
(Aug. 11)

Jeon-Gi, known as J-G, is a relatively happy 10-year-old in 1976, until a neighbor’s attack on him fuels his own violent ideas. Although he gets a relatively easy sentence after threatening a classmate, J-G’s parents decide to send him to a Christian summer camp. Incidents there that might be sweet nostalgia for other kids only remind him of how different and lonely he feels inside. However, it’s J-G’s adult reason for sharing his experience that hits home.

Sunrise: A Novel
By Téa Obreht
Random House: 368 pp., $29
(Aug. 11)

Many, so so many, historical novels seek to tie a contemporary protagonist to a long-ago event or story; so so many fail to make the connections mean anything. That’s why Obreht’s superb and fascinating new book should earn a place on your 2026 reading list: She not only meaningfully connects the stories of a stranded young woman, an early-20th-century gunslinger, and a historical reenactor, but manages to make them illuminate each other.

NONFICTION:

Triage
By Claudia Rankine
Graywolf: 192 pp., $28
(Aug. 4)

The book’s epigraph says a great deal: “Any attempt to name and describe our lives will always seem unstable because all language is a form of triage.” Rankine’s new attempt at triage focuses on her long friendship with a person identified only as “the theorist.” Anecdotes and analysis are interspersed with photos of all sorts of sofas and couches, calling into question ideas about where and how we find respite and support — or not.

Your Fellow Americans: Dispatches Across the Country We Call Home
By Peter Santenello
Simon & Schuster: 336 pp., $30
(Aug. 4)

Santenello has over 4 million subscribers on YouTube, where he posts videos about every kind of place in America — rich and poor, renowned and hidden, busy and abandoned. Love or hate the author’s self-described nonpartisan approach, you’ll find this book surprising, particularly as it reveals how geography, climate and infrastructure affect community and communication. Think Anthony Bourdain crossed with Michael Moore.

Empire of Ashes: Truman, Hirohito, and the Descent into Total War
By James M. Scott
W. W. Norton & Co.: 528 pp., $42
(Aug. 4)

Historian Scott (“Black Snow”) creates a propulsive read about the last days of World War II, in which America’s development of the atomic bomb pushed against Japan’s aggressive majority, with tragic results that many — including the author — believe necessary. The contrast between President Harry S. Truman, who had been in office for a matter of weeks, and Emperor Hirohito, whose military seemed unstoppable, remains shocking.

The People’s Historian: The Outsized Life of Howard Zinn
By Dave Zirin
Dutton: 320 pp., $33
(Aug. 4)

Recently a friend showed me a list of books recommended by a pundit and asked which one to read first. Without hesitation I told her she should pick up “A People’s History of the United States” by Howard Zinn, first published in 1980 and still the most comprehensive remedial tonic to received wisdom I know. Zirin’s lively biography of this activist should remind everyone that history isn’t just about facts and figures but also context and compassion.

The Rise and Fall of the Artificial State
By Jill Lepore
Liveright Publishing Corp.: 336 pp., $30
(Aug. 25)

Hannah Arendt, one of the 20th century’s defining political thinkers, posited that modern life was making “being human superfluous”; her learned successor Lepore warns that our present bears out that idea. One day scholars will teach Lepore’s work alongside Arendt’s, seeing that Lepore interrogates not simply a modern moment, but traces our current machine age back to the 17th-century conceit for artifice as improvement. According to her, the way out is to get back to nature. Meet you in the woods.

Who pissed off Ariana Grande? Well, who didn’t?

On her new album, “Petal,” the pop superstar opens the spigot on what she’s described as an “unfiltered rage” to blast any number of feckless exes, a prying public obsessed with her body and her personal life — and not least herself for allowing anyone the power to hurt her in the first place.

“Tell me who’s to blame — is it the people or myself?” she wonders against the icy synth stabs of the title track.

Her answer, delivered as a sneering little aside: “Yeah.”

“Petal” marks a dramatic shift from Grande’s previous LP, 2024’s “Eternal Sunshine,” a tender and melancholy electro-pop collection that laid out a kind of emotional philosophy of heartbreak. She recorded the new album with the same team — the hit-making writer-producers Ilya Salmanzadeh and Max Martin — but here they go for a murkier, more percussive sound to match Grande’s dark mood.

Tolling electric guitar accompanies her in “Freak” as she muses on “all of the life I’ve been denied,” while “Oh Well” puts a jittery U.K. garage beat under her sneering farewell to an unnamed antagonist: “Good luck on your way to hell.” In “Hate That I Made You Love Me,” which debuted at No. 1 on Billboard’s Hot 100 when Grande released it as “Petal’s” lead single, she sings, “I’ve held your projections when you’ve felt so insecure,” over a trudging groove that moves like a funeral march.

These downcast observations arrive at what would seem to be a professional high point for Grande, who recently wrapped her extended stay in the “Wicked”-verse and who’s in the middle of a tour that’s drawn adoring fans to arenas across the country.

But perhaps that’s the point: Almost every song on “Petal” can be interpreted two ways — as a story about a broken relationship between two people or as a tale about the toxic connection between an idol and her audience. (More than once did this record make me think about Taylor Swift’s “The Tortured Poets Department.”)

“My pain is music — do you hear me everywhere?” Grande asks in “Warning Signs (Interlude),” which climaxes with a pithy diagnosis of pop stardom in the parasocial age: “You don’t deserve me / You know you don’t, you never have / But I want you to feel me / I wish someone could hear me.”

Complaints about celebrity can be pretty tedious, of course; sometimes it feels as though famous pop singers have forgotten how to write about anything other than life in the social-media fishbowl.

Yet “Petal” gets some creative traction from how Grande chooses to use her voice; instead of belting, she rarely rises above a whisper, which gives a spooky, slightly creepy quality to her thoughts on being endlessly scrutinized. The airiness of her singing provides some comedy too in a hard-edged song such as “Like I Do,” where after noting that “all that s— talk keeps me well-fed,” she tells whoever needs to hear it, “No one f— you like I do.”

Having gotten all this off her chest, Grande finishes the album by allowing in some light: Over a zippy new wave arrangement, “Bad Thing (Bunny Hop)” ponders the renewing energy of a fresh romance — or maybe a rekindled old one — while the glistening “Nowhere, Nobody” has her taking deep breaths with a lover she’s convinced might finally give her what she needs.

“Convinced” is probably the wrong word.

“Hard to believe in a perfect ending,” she admits, “But that’s all right.”

As we head into August and look to the fall, two burning questions are front and center when it comes to the Dodgers.

Will they win a third straight World Series championship?

And will the $500-million proposal to ferry fans by gondola from Union Station to Dodger Stadium remain aloft or crash and burn?

I can’t answer the first question, although I wouldn’t bet against a three-peat.

As for the second question, if I were former Dodgers owner and aerial tram godfather Frank McCourt, I’d fasten my seat belt, because the gondola is about to hit some heavy turbulence.

The gondola would slice through a section of L.A. State Historic Park, wipe out dozens of trees and trample a space that was carefully designed with years of community input. And the mounting opposition now includes seven former state park officials and four former members of the state Park and Recreation Commission.

The former staffers have sent “don’t you dare” letters to the commission, and one of them argued that the view of the downtown skyline would be cluttered and commercialized.

“Gondola cars encased in digital ads, flying 26 feet overhead every 25-30 seconds would irreparably impair the vista, and the sense of calm and escape from urban life,” wrote former state parks director Ruth Coleman.

The four former commissioners have signed a joint letter arguing that the gondola proposal “would enable a private development to permanently and irreparably shrink, degrade, and destroy the integrity of a state park.”

They’re speaking up now because the state is considering an amendment to the park’s general plan that would allow for “consideration and review of the proposed Los Angeles Aerial Rapid Transit (LA ART) gondola project.”

That was McCourt’s brainchild, back in 2018, and he’s a guy with lobbying muscle and friends in high places. McCourt later handed off the project to an environmental group, but the idea is still to deliver fans to Dodger Stadium, where he has financial interests.

A hearing on the matter is expected in the fall, and it’s sure to be a cage fight. Last December, throngs of supporters and foes squared off at a raucous Metro board meeting. The board ultimately green-lighted the gondola, which the L.A. City Council has almost unanimously opposed. So the showdown scheduled for this fall could be at least as interesting as the World Series.

For the record, I’m not anti-gondola. They’re fun, right?

But I’m not buying the proponents’ claim that this is a public transit project. They say several thousand people would soar up to Chavez Ravine and help relieve the miserable traffic in and out of parking lots, which McCourt took part ownership of after selling the team back in 2012 for a cool $2 billion.

But how much is gained if gondola riders ditch the free shuttle buses that now run to the ballpark from Union Station?

Then there’s a much bigger question, which my colleague Bill Shaikin explored in 2022: Is the gondola phase one of a plan to develop stadium property into some kind of Dodgertown commercial extravaganza?

Unclear, but let’s not be naive.

A Dodgers executive told Shaikin the Dodgers support the gondola project, although they are “really not involved” in it. But we’re talking about fabulously wealthy people whose only real job is figuring out how to make more money.

Team McCourt has suggested the gondola will be built with private money, perhaps from selling advertising rights, and that rides will be free to Dodger ticket holders.

But how would any of that pencil out with Dodger Stadium closed most of the year, and with gondola traffic chipping away at revenue from parking fees that start at a monstrous $40?

There’s something they’re not telling us, and if you think there’s no threat of taxpayers getting dinged one way or another at some point, you’ve either been hit in the head by a line drive or you’ve had too many $18 beers at Dodger Stadium.

If you want more details on the history of the gondola gambit, I suggest you check out all the reporting by Shaikin, who has been on the case for years, and offered up a far better idea than a gondola: Make it easier for fans to walk or bike to the ballpark.

But let’s get back to L.A. State Historic Park.

Much of the early gondola opposition was from Chinatown residents who didn’t like the idea of living under what would resemble an amusement park ride. But on Wednesday evening, I met with some people whose focus is the impact on the park.

“All of these trees would be gone,” said Sean Woods, a former state parks employee who penned one of the letters to Sacramento, and who was involved in some of the 65 public meetings and workshops at which community members helped with the design and mission of the park.

We were in a shady spot, where the gondola would run parallel to the existing Metro train tracks. There’d be supporting towers on park property, with cables dangling overhead, and a gondola station just outside the park. The gondola would occupy only a small slice of the 32-acre space, but it would be a visible distraction from every inch of the park.

“I think it’s a betrayal of California State Parks’ commitment to the communities that surround this park, that fought dearly for this park,” Woods said.

He was reflecting on a time when the former railyard was destined to become a giant industrial warehouse complex. And this followed the history of Chinatown having been relocated to make way for Union Station, and residents of Chavez Ravine being relocated to make way for Dodger Stadium.

Jon Christensen, Sean Woods and Susan Lai chat at Los Angeles State Historic Park.

(Eric Thayer / Los Angeles Times)

Joining us was Susan Lai, who along with Woods represents Friends of Los Angeles State Historic Park.

Lai is small in stature, but she swings for the fences.

“This is called a historic park for a reason,” she said, “and McCourt … has no historical connection to the park, no community connection to the park, and no cultural connection to the park.”

Lai is steeped in the archaeology of the park, the Gabrielino establishment here, the Zanja Madre irrigation line that served the early pueblo.

As we strolled, she told me this is another case of politically connected profiteers trying to impose their will on the local community, and she won’t stand for it. Lai is carrying a torch lit by her husband, Collin, who died last year at the age of 96 after years of fighting to make the park a reality.

“She’s brought an extra fire to this whole effort, and really inspired a lot of young people,” said Jon Christensen, gondola foe and co-founder of the Los Angeles Parks Alliance.

Christensen led Lai, Woods and me to the top of a grassy hill. When the park opened in 2006, I thought it seemed too flat and shapeless, too hemmed in by Broadway and Spring. But it later expanded, the trees filled in and the whole park grew on me as a place to see and feel Los Angeles.

I loved two things most of all.

The unstructured activities enjoyed by a broad mix of people picnicking on the grass, napping under a tree, kicking a ball around or doing what 10 guys were doing Wednesday evening — playing a game of Frisbee football in the meadow below us.

And the unfettered skyline view, which could soon be lost. And consider the optics: Dodgers fans soaring over a public park enjoyed by families who might need to hit the lottery to afford tickets to a game.

It was almost Dodger game time, and if the gondolas were up and running, they’d be close enough overhead that you could hit one with a tomato.

Not that I’m recommending that.

steve.lopez@latimes.com

Long-term experiments demand resources, which is why the Dodgers’ lab is perfect for the Roki Sasaki project.

Funding is no issue. Time is no object. Pressure is a privilege and so is patience.

And when the Dodgers set out to prove a hypothesis — Roki Sasaki can be a “Cy Young-caliber” starting pitcher, as general manager Brandon Gomes has suggested — they did it with the luxury of seeing the project all the way through, until they’ve been proved right.

And most everyone else, wrong.

No, Sasaki didn’t need to be moved to the bullpen.

No, Sasaki didn’t need to be sent back down to the minor leagues.

No, Sasaki wasn’t going to be a bust.

Yes, the Dodgers knew exactly what they were doing by continuing to trot out the 24-year-old right-hander, providing him with the big league education they promised.

Thursday’s test ran 5⅓ innings, and Sasaki — with his bigger glove and harder splitter — held the Seattle Mariners at bay until the sixth inning, when they scored their only two runs in a game the Dodgers won 6-2.

For the fourth straight start, Sasaki performed like the pitcher who was promised when he picked the Dodgers 18 months ago, trusting them to develop him into a starting star.

Tack on another win to three consecutive he’d previously recorded, against the Colorado Rockies, New York Yankees and New York Mets.

In his past four starts, Sasaki (5-5) has struck out 26 batters, walked seven and has a 2.25 ERA and 3.44 FIP in 24 innings.

Man alive, the Dodgers have done it! “The Monster of the Reiwa Era” is breaking out. And the rest of baseball should probably be terrified.

Teammates congratulate Roki Sasaki as he’s pulled from the game by Dodgers manager Dave Roberts in the sixth inning Thursday against the Seattle Mariners.

(Gina Ferazzi / Los Angeles Times)

“This is a tough league,” catcher Dalton Rushing said. “You have to have confidence and if you don’t have confidence, it’s hard to be successful. I think that’s all it was. He lacked a little bit of confidence early on. And as soon as he had that runway to kind of allow himself to be himself, you’ve seen the best out of him.”

Progress isn’t linear. But it’s been undeniable.

As a much-hyped rookie last season, Sasaki didn’t step right in as a permanent part of the Dodgers’ starting rotation. He had health issues and crises of confidence. And he had to acclimate to a culture far from his home in Japan, and to do it with his baseball-mad country following along closely.

All while playing under the Dodgers’ high-powered microscope. (Ask Kyle Tucker, a 29-year-old, English-speaking American, how challenging it’s been.)

Then, in the postseason, Sasaki became a not-so-secret secret weapon out of the bullpen in the Dodgers’ successful World Series defense. A step forward in relief, and then, as a sophomore starter, several steps back.

This spring training, Sasaki posted a 15.58 ERA and allowed 15 walks in 8⅔ innings. He looked lost — like, I thought, someone whose too-often dejected body language told us the glare of Dodger Stadium’s bright lights would do more damage than help.

I felt bad for the young man, felt he should get to fix his issues in the minors. I doubted his fortitude.

To start the regular season, Sasaki was shaky. He struggled with command. Failed to get out of the fifth inning in his first three starts. And the appeals began for the Dodgers to sign Sasaki up for duty in the ‘pen.

But the Dodgers (69-40) didn’t seem to consider it.

Why would they? They’re incentivized to see this trial all the way through, because of what it says about them as a developmental destination. As the club that pushes the right buttons. That can figure out how to help top talent figure it out.

A lower-half mechanical change over the All-Star break helped the 6-foot-2 Sasaki’s retooled splitter regain its movement and his fastball its heat; he hit or eclipsed 100 mph six times Thursday.

Also, a noticeably larger glove seems to have helped him curb his habit as an overly generous tipper. They thought he might have been inadvertently cluing in opponents with his movements on the mound — now they’ve found a way to better hide them, though neither Sasaki nor manager Dave Roberts want to credit the leather for this recent breakthrough.

“It’s not the glove,” Roberts said. “I think it’s just more of even the second half, when he came out that first start, you just saw that I think he just kind of decided that it’s time to go and finish strong. It’s a new half, it’s a new beginning. And you’ve seen a different player, you know, to be quite honest.

“There’s a lot more confidence … I use that word ‘conviction’ a lot, and there’s a lot of conviction.”

Because it’s not the size of a glove on a man, right? It’s his heart.

I am not someone who regularly goes out on a weekday.

But when I heard just how ideal the viewing conditions will be for the upcoming Perseid meteor shower, I texted multiple friends, inviting them on a late-night adventure into the woods. That’s exactly my kind of party.

The Perseid meteor shower, which can produce up to 100 meteors an hour in its most active period, is expected to peak from the evening of Aug. 12 into the early morning of Aug. 13. Last year during the shower’s peak, the moon was 84% full.

That’s part of what makes this year special. The night sky will be at its darkest during the Perseids peak because we’ll have the new moon, the lunar phase when our moon’s illuminated side faces the sun.

In this 30-second camera exposure, a meteor streaks across the sky during the annual Perseid meteor shower in West Virginia in 2021.

(Bill Ingalls / Associated Press)

In this edition of The Wild, our weekly outdoors newsletter, I will explain not only where near L.A. you can drive, hike or camp for the best viewing of this meteor shower, but also, thanks to a conversation with an astrophotography expert, how you can get better photos regardless of whether you’re using your cellphone or dedicated camera.

First, though, let’s talk about what exactly a meteor shower is and why they occur.

🌑 Tips for viewing the Perseid meteor shower 🌃

I spoke to Bruce Betts, chief scientist at the Pasadena-based Planetary Society, a member-financed group focused on advancing space science.

Betts explained that Earth gets hit every night by an estimated 100 tons of material, equivalent to about 13 Randy’s Donuts signs blasting into the planet (which is a fun visual). This means there are meteors every night, around 10 an hour in a place with no light pollution.

A meteor shower occurs when Earth is moving through a debris field left by a comet. But nothing hitting Earth is thankfully as large as a 25-foot-high fiberglass doughnut.

“It’s mostly small-sized stuff — sand-sized, pebble-sized, dust-sized,” Betts said. “It’s going to burn up hundreds of thousands of feet up in the atmosphere. When you see it fizzle out, it’s way up there typically.”

I cannot be the only person who, learning this information, felt surprised that tiny specks of space dust can produce such dazzling experiences for us earthlings. But these particles are moving incredibly fast — tens of thousands of miles per hour — and as they move through our atmosphere, they’re heating up and vaporizing.

In the case of the Perseid meteor shower, you’re watching debris left behind by the comet Swift-Tuttle as it neared perihelion, its closest approach to the sun.

Earth orbits through that debris field every August. The Perseid meteor shower is named as such because as you’re watching, it appears as if the meteors are emanating from a point in the constellation of Perseus called the radiant point.

Meteors streak across the sky, seen above the Temple of Zeus during the Perseid meteor shower near Cavdarhisar, Turkey, in 2025.

(Emrah Gurel / Associated Press)

🌃 Getting the best Perseid-viewing experience 💫

To see the most meteors during the Perseids, you have to get to a point where you’re looking through less atmosphere, which around L.A. includes smog, smoke, clouds and, of course, light.

“The real problem is light pollution,” Betts said. “And that is, lights on the surface that are then reflecting off particles and stuff, a technical term, in the atmosphere. If you can get above that stuff, you start seeing better.”

Betts compared it to being in a bright room where there’s a dim light on. You won’t notice the dim light until you turn the rest of the lights off, and suddenly, that dim light is the brightest thing in the room.

During the Perseids peak, you don’t have to escape the light pollution of L.A. to see meteors. From outside your home, you will probably still see the largest blasts of light between 9 and 11 p.m. This is best for anyone who must be at their workplace at 8 a.m. for a meeting that could have been an email.

For the rest of us, let’s dive into where the best spots near L.A. are.

The 2023 Perseid meteor shower, as seen from Sequoia National Forest.

(Preston Dyches / NASA)

🏔️ Where to view the Perseids near L.A. 🌠

Below you’ll find my recommendations for spots that should provide good opportunities for viewing the Perseids. Please take good care when driving mountain or unfamiliar roads, and make sure someone outside your party knows where you’re headed and when you’ll be back. A meteor shower is still viewable when stranded with a flat tire, but far less fun!

• Mt. Wilson Observatory: Located about an hour northeast of downtown L.A. in the San Gabriel Mountains, the observatory has a large paved parking lot at about 5,650 feet elevation that features nice views of the surrounding area. The only caveat is that the main gate usually closes at 5 p.m. in the summer, so you’ll need to park inside before then.
• The Vetter Mountain Lookout: The lookout, at about 5,900 feet elevation, is reachable via a 5-mile round-trip hike and offers stunning panoramic views of the San Gabriel Mountains. The trailhead is about an hour drive northeast of downtown.
• Chilao Campground: Also about an hour drive from downtown, this large first-come, first-served campground sits at 5,300 feet and offers great views of the night sky. Nearby Mt. Hillyer, which can be reached via a 6.4-mile round-trip hike from near the Chilao Visitor Center, could also be a nice spot to observe the meteor shower.
• Crystal Lake Recreation Area and Campground: Crystal Lake is a 120-site first-come, first-served campground north of Azusa (about 1½- to two-hour drive northeast from downtown). At 5,539-feet elevation, it’s a great spot to camp and take in the shooting stars.
• Mt. Pacifico Campground: This is a rustic 10-site campground that sits at 7,100-feet elevation and is deep in the San Gabriel Mountains. It’s about a 1½-hour drive from downtown L.A. and involves taking narrow mountain roads. High-clearance vehicles are required to make the final mile into the campground.
• Musch Trail Camp: Musch Trail Camp is a small but charming campground in the Santa Monica Mountains. Located in Topanga State Park, it has picnic tables and a small restroom with flush toilets and sinks. It’s around a 45-minute drive mostly west from downtown.
• Leo Carrillo State Park: Along with its hiking trails and campground, the park in Malibu features 1.5 miles of beach, where you can watch the sunset before the sky darkens enough to see the meteor shower.
• Red Rock Canyon State Park: A two-hour drive from downtown L.A., this park has colorful desert cliffs and a 50-site campground with great views of the night sky.
• Joshua Tree National Park: I mean, duh.
• McGill Campground/Chula Vista Walk-In Campground: A two-hour drive from L.A., either of these campgrounds in Los Padres National Forest will provide you with a memorable experience, as the area is known for its stargazing. McGill is mostly by reservation while Chula Vista is a walk-in spot with first-come, first-served sites. If not prepared to camp, you can also watch nearby from the Mt. Pinos parking lot, but it’ll likely be quite crowded during the Perseids, as it is the closest darkest spot to L.A.

Or, you could try a spot where you can safely and legally drive and/or hike into that you recall being fairly dark at night. There are online tools that can help you find your own spot, including light pollution maps.

Regardless of where you go, please remember to practice the Leave No Trace principles, including packing out any trash you bring, not taking anything from the forest that you didn’t bring and not playing loud music, as it not only bothers hikers but also the animals who live in our natural areas.

A Perseid meteor appears at the top left of the frame in this 25-second exposure, as seen from White Tank Campground in Joshua Tree National Park in 2024.

(Raul Roa / Los Angeles Times)

📸 How to photograph the Perseid meteor shower 🤩

Many of us have tried and failed to take photos of the night sky. I spoke to accomplished astrophotographer Jeremy Evans, a delegate for Dark Sky International who affirmed that it’s no easy task to capture the beauty of celestial bodies.

“Carl Sagan said astronomy can be a humbling and character-building experience because it is a little overwhelming to look up at that vastness of the sky and either explore it, photograph it [or] study it, [regardless of] whether through a telescope, camera or naked eye,” Evans said.

Here’s what Evans, who has photographed the Perseids for the past 20 years, recommends (after you’ve found the darkest area possible to view the shower).

1. Point your camera to the southwest

Perseus, the constellation that the upcoming meteor shower is named after, will rise in the northeast between 9 and 10 p.m., depending on your latitude.

Photographing a meteor shower can feel like a game of Whac-A-Mole, Evans said. Instead of trying to chase meteors across the sky all night, set your camera to face the southwest for the Perseids.

“Most of the [Perseids] meteors, based on my experience, fly from northeast to southwest, so I like to have my camera pointing toward the southwest, and catch those meteors flying overhead and into my frame,” Evans said. “The good thing about that is, when they start burning up and giving you that trail of ionized gases, they’re usually flying over the southwest at that point. You can point your camera to the northeast, but you might not get the fire balls and the tails.”

2. Adjust your camera’s settings

• If using a dedicated camera (as opposed to a phone camera), turn off image stabilization. Otherwise, you might be plagued with blurry images all night.
• Choose a wide lens. Evans generally recommends using a wide lens with a focal length between 14 and 24 mm. “You can use a fish eye,” Evans said. “However, a fish eye will show most of the night sky, but then the meteors are going to appear a lot smaller.”
• Determine your shutter speed. Some astrophotographers use the “500 rule,” an equation that helps them figure out the ideal shutter speed. It’s essentially dividing your camera lens’ focal length into 500 to get your shutter speed. For Evans, that’s often 500 divided by 24, which he rounds down to equal a 20-second exposure. (If your shutter speed is too slow, the stars can come out blurry)
• Turn off the flash.
• Turn off your camera’s auto focus. You will need to manually adjust your lens, as your camera most likely won’t be able to automatically focus on the starry sky. (More on that below.)
• Turn on shutter delay. If you don’t have an external remote, turn on the setting that allows for a multi-second delay after you press the button. This allows your camera to stabilize after you press the shutter. Wiggling camera = bad pics.

3. Set up your tripod.

Evans said a tripod is arguably your most important piece of equipment, and it’s worth investing in if you’re wanting to regularly practice astrophotography. Cheap tripods are often flimsy and can fall over and wiggle from a light breeze.

That said, I’ve taken good images of the stars by propping my DSLR up using soup cans on a metal bear box while out camping. I’ve also used boulders, including during a recent trip to capture the aurora. Really, whatever you’re using just needs to be as solid and unmoving as your least favorite relative’s political beliefs.

4. Use this trick to focus your camera.

Evans recommends pointing your camera at a bright object at least a quarter mile away, like a street light or other fixed object. You could also use a bright star or, if setting up early enough, Venus. Regardless, use this distant object to manually focus your lens.

If your DSLR has a “Live View” option, you can magnify the bright object using that feature, making it even easier to focus on the object. When you zoom back out, the object should be a fine point of light.

“And then be careful not to bump your lens,” Evans said.

5. Pack enough battery power.

Evans recommends bringing at least two batteries for your DSLR if you don’t own an external power source for your camera.

If your battery is more than 2 years old, it’s likely lost a significant amount of its capacity, Evans said. In that case, you’ll want to ideally pack a third battery, depending on how long you plan to stay out.

“When you’re taking a series of photographs in the day, you’re using a shutter speed of 1/500 of a second on average, and then when you go from 1/500 of a second to keeping that shutter open for 20 seconds, you’re using a lot more power,” Evans said, meaning a battery that usually lasts for several days might only provide enough battery to shoot night photography for, at most, a few hours.

🌠🌑🌃

Betts and Evans told me that they hope that people going out to view the Perseids results in more people not only enjoying the night sky but also wanting to protect it, namely from light pollution. I hope so too.

And I hope wherever you go, you witness the beauty of shooting stars burning in the night sky. It’ll be arguably the most fun you can have on a Wednesday night in August.

3 things to do

A great blue heron.

(Lois A. Sheppard)

1. Wander the wetlands in Seal Beach
The Los Cerritos Wetlands Land Trust will host a guided nature walk from 8 to 10 a.m. Saturday in Seal Beach. Guests will learn about the Los Cerritos Wetlands, looking for herons and other birds who frequent the area. Close-toed shoes are required. Register at eventbrite.com.

2. Care for oaks near Calabasas
The Resource Conservation District of the Santa Monica Mountains needs volunteers from 9 a.m. to noon Saturday in Topanga State Park to tend to fire-damaged oak trees. Participants will water, weed and mulch oak trees, and plant acorns to replace trees that have died. Attendees should wear durable shoes and bring drinking water. Register at eventbrite.com.

3. Cycle along Slauson in South L.A.
T.R.U.S.T. South LA, People for Mobility Justice and Metro will host a community bike ride along the Slauson rail-to-rail bike path from 6 to 9 p.m. Tuesday. The group will meet in front of Augustus F. Hawkins Nature Park. At registration, guests can request a voucher for a Metro bike if unable to bring their own. Register at docs.google.com.

The must-read

Jackie, an internet-famous bald eagle, sits on an egg in her nest shared with partner Shadow in Big Bear.

(Friends of Big Bear Valley)

As of Monday, Jackie, the beloved Big Bear eagle, appears to be improving. In mid-July, Jackie was rescued by L.A. County’s San Dimas Raptor Rescue team and transported to Ojai Raptor Center for emergency care. Fans of Jackie, one half of the avian power couple whom thousands of people regularly view via live webcams near their nest, have since anxiously waited for news. “She is eating on her own, her energy and alertness have noticeably improved, and she has become much more feisty during feedings,” the Ojai Raptor Center posted on social media.

Happy adventuring,

P.S.

Cool new feature alert! Times digital subscribers can now save trails highlighted in our hiking guides directly to their profiles on latimes.com. This allows subscribers to create their own curated lists of not only hiking trails but also restaurants, music venues and more. For example, you could save whale-watching sites, trails and beaches you wanted to check out, and then use the map function to see which spots are close to each other. And if you’re feeling especially spunky, you could throw some restaurants into the mix. I am personally excited to play around with this new feature because the No. 1 thing I like to do after a hike is eat, and our food writers are always finding great spots. Have fun out there!

For more insider tips on Southern California’s beaches, trails and parks, check out past editions of The Wild. And to view this newsletter in your browser, click here.

The Dodgers do not have to do anything. They’re in on everything, including Tarik Skubal.

With one week left before baseball’s trade deadline, the Dodgers are doing what the Dodgers always do. When you are flush with money and prospects, you can invite yourself into just about every conversation, from checking in on a star player to sniffing around for a three-way deal in which you trade away major league depth to acquire even more prospects.

“Not having an acute need at this time of year is very helpful,” Dodgers president of baseball operations Andrew Friedman said Tuesday.

It ain’t bragging if you can back it up. The Dodgers boast baseball’s best record, with seven key players expected to return from significant injuries over the next two months. Then comes the quest for a three-peat: the chance to become the first team in National League history to win three consecutive World Series championships.

To me, that should be the most compelling element of the Dodgers’ trade deadline strategy.

Friedman repeatedly has said he would like this era to be remembered as “the golden age of Dodger baseball,” and nothing says legacy like doing something that never has been done.

And, if major league owners get their way, something that might never be done again.

We’re not just talking about the owners of teams tired of getting beaten by the Dodgers. We’re talking about Friedman’s boss, Mark Walter.

“We can’t win all the time,” Walter told me this spring.

The owners are prepared to shut down the sport until they get a salary cap, but even a compromise with the players’ union would almost certainly involve some kind of spending restraints intended to make Friedman’s job tougher.

Act now, even in a way that might make you feel uncomfortable, because this chance might never come again.

“We feel this current team is as talented and tight-knit of a group as we’ve had,” Friedman said, “and we’ve been extremely aggressive over the past offseasons to try to put that group together.

“To the extent we can add to it, we’ve shown in the past that we’ll be aggressive on that front as well, but it’s good going into this last week feeling as good as we do about this group.”

On the one hand, Friedman himself, and Walter himself, and Dave Roberts and Shohei Ohtani and Mookie Betts and a cast of heroes talked up a three-peat at last year’s championship celebration.

Walter: “All I have to say to you is, we’ll be back next year.”

Friedman: “How about we do it again?”

Betts: “Three-peat ain’t never sounded so sweet.”

On the other hand, well, the Dodgers won the World Series last year without trading for the outfielder and closer the world said they needed, then committed $309 million to outfielder Kyle Tucker and closer Edwin Díaz in the winter.

“We don’t really think of the 2026 World Series as a three-peat,” Friedman said Tuesday. “ ‘24 and ‘25 are in the bank. As soon as you get into the offseason and into spring training, it’s all about winning in ‘26.

“That is somewhat semantics, but the context is that it’s no different than in any other year, in the sense of doing everything we can to win the last game of the year. I would think the aggressiveness last offseason would fully demonstrate that.”

On Tuesday, Fangraphs projected the Dodgers had a 25% chance to win the World Series, more than twice as high as any other team. A third catcher would help, and a reliever might too, but neither would lift that percentage in any meaningful way so much as provide insurance should Will Smith’s recovery from his neck injury stall or the bullpen implode.

Skubal might not lift that percentage much, either, in place of Ohtani or Blake Snell or Tyler Glasnow in the starting rotation. The Dodgers project all three to be healthy in October and, if not, they have All-Star Justin Wrobleski.

But Wrobleski already has set a professional high for innings pitched, and Skubal would provide a big lift to the teams most likely to keep the Dodgers from returning to the World Series: the Milwaukee Brewers, Atlanta Braves and Chicago Cubs.

And, although the Dodgers pride themselves on running a team whose championship window never closes, they already field the oldest lineup in the majors. In the NHL, owners shut down an entire season to get a salary cap.

Let’s say the 2027 baseball season starts late. By the end of the season, the Dodgers could field a lineup in which every position player besides Andy Pages was at least 30 years old, including Freddie Freeman at 38, Max Muncy at 37, Betts at 34 and Ohtani at 33.

Friedman called it “a fool’s errand” to try to predict the outcome of collective bargaining negotiations and disputed the thought that the Dodgers might miss a window by not maximizing whatever chance they have this year.

“I just think this is a really, really talented team,” he said. “If we had an acute need and it was like, ‘Oh, you didn’t address that,’ then, yeah, we missed an opportunity.

“In this game, there’s just no guarantees of anything. You just make the smartest decisions you can and hope it plays out in a way where you have some good fortune and you win the last game of the year.”

Perhaps “three-peat” should not be the word of the week. Perhaps we should substitute “three-peat-maxxing.”

LeBron James has decided this time, he’s taking his talents to Philadelphia.

The Lakers couldn’t be happier.

By not extending his contract a summer ago, they made it clear: They were ready to move on. And they have. They found their way to a front-line center and got a whole lot younger. And get this: They got better. In the long run and probably in a sprint too.

Maybe it seems sacrilegious to suggest they’ve improved by parting ways with the greatest player of all time and trading for a fifth-year pro who missed all but five games last season with the Utah Jazz after suffering a torn labrum.

It’s not. Not when Walker Kessler was the missing piece for these Luka Doncic Lakers.

Maybe you’re finding it hard to get fired up about the new guy with no playoff experience. And you’re used to the Lakers collecting the biggest names — not guys whose games are unfamiliar. Giannis, say. Not … Walker.

But please, stop and consider the tankathon Utah has been running; the last thing the Jazz wanted was Kessler on the court winning games for them.

You also still might be experiencing sticker shock on the Lakers’ behalf. They’re getting Kessler on a $130-million, four-year deal after completing a sign-and-trade that sent out a 2031 first-rounder, 2033 first-rounder and first-round pick swaps in 2028 and 2030.

But position, position, position is to the NBA what location, location, location is to real estate — and if this fit proves as fun as Doncic seems to believe, then Kessler’s contract is going to feel like a real fair trade on the hot center market.

Because, defensively, the Lakers’ new 7-foot-2 center is a shot-blocking, space-eating deterrent in the post. That’s invaluable when you’re going with Doncic and Austin Reaves on the perimeter.

Offensively, Kessler has good hands and good handoff timing. You can call for him to screen all day. He has a radar for the rim, sixth in the NBA in dunks per game in 2024-25.

And Kessler is a blessing on the glass, the king of second chances. His 4.6 offensive rebounds per game in 2024-25 led the NBA.

Also: LeBron is going to turn 42 this season; Kessler is 25.

Walker Kessler was a big presence in the paint for the Jazz before he got hurt last season.

(Frank Franklin II / Associated Press)

Age and experience count for a lot in life. But increasingly, today’s NBA is proving a young man’s game — and check ball, the Lakers are now in it.

Out went Deandre Ayton (28 years old), Rui Hachimura (28), Luke Kennard (30) and Marcus Smart (32). Jaxson Hayes (26) too, the only departing rotation player younger than 28.

In come Quentin Grimes (26), Sandro Mamukelashvili (27), Collin Sexton (27), Ziaire Williams (24), Jaden Hardy (24) and rookie summer league sensation Cameron Carr (21). Also, Kevon Looney, who will be Kessler’s backup big, and Matisse Thybulle, a proven defender on the wing, who are 30 and 29, respectively, and the only additions not younger than Doncic (27) and Reaves (28).

Still, I get it. You’re not wowed by the incoming group.

Were you wowed when the Dodgers acquired Max Muncy, Justin Turner or Chris Taylor? Probably not. But those guys went on to help the club win World Series titles.

Were the Dallas Mavericks banking on lob threat Derrick Jones Jr. — on a minimum contract — being a catalyst for their run to the 2024 NBA Finals? Do Lakers fans remember Doncic’s 17 assists to guys like Dante Exum, Tim Hardaway Jr. and Grant Williams in a 2023 victory over LeBron and Anthony Davis?

Doncic is manning the Lakers’ elevator now; it’s his job to lift his teammates to new heights. He can do it. He better do it.

Because the margins can be major, but they don’t account for most of the Lakers’ offseason grade this summer.

So give them a B+.

Not an A. No, because not every assignment has been completed.

There’s the minor matter of a starting five. The Lakers don’t appear to have one of those just yet.

They might yet add Jonathan Kuminga at forward. Or perhaps someone already rostered — hello, 22-year-old, skyscraping Adou Thiero — is waiting to wow us all in that role?

Normally, not having an answer to the most basic of questions at this point in the summer would fail you.

But this year is different.

Filling the hole at center was weighted so heavily among the Lakers’ priorities — and landing Kessler earned them so much extra credit — it bumps their grade almost all the way up.

Of course, this was only the introductory course.

The real tests for this fresh new roster — down an all-time talent but so much more solid in the center — come when the season begins. Or, really, when the postseason does.

And expecting that opponents won’t have an easy time coming up with answers for Doncic and his new dominant defensive center, the Lakers are now set up to score well there too.

“Furious,” which premieres Monday on Hulu, is technically a serial killer story, since there are multiple murders committed by a single character, but happily that is the least of it.

Broadly speaking, these kinds of stories — powered by a stop-them-before-they-kill-again clock, making their antagonists out to be finicky geniuses or horror movie monsters instead of opportunistic mediocrities — strike me as a low form of fiction. But “Furious” is as much relationship drama as procedural, animated by a quartet of excellent performances, with some things to say about abuse, exploitation and love along the way.

Although “Furious,” created by Elizabeth Meriwether (“New Girl,” “Dying for Sex”), acknowledges an inspirational debt to the 1987 Theresa Russell-Debra Winger film “Black Widow,” all it really preserves are a couple of names, the idea of a female serial killer and an emotional relationship with the woman hunting her. The killer is Catherine (Lola Petticrew), a petite young woman who goes about in a variety of wigs, under a variety of names, careful to mask in public. Her murdering is not a compulsion but a mission, like Jeanne Moreau in “The Bride Wore Black.”

Her nemesis is Alice Black (Emmy Rossum), a former police detective now answering phones for the FBI. She became persona non grata in the NYPD after identifying her detective boyfriend (Jake Lacy as Marshall) as the person who put her in the hospital, because, you know, cops. One day a request comes from former colleague Danny Kelly (Scoot McNairy) to assist him in investigating the homicide we see Catherine commit at the top of the series.

Various elements of the crime bring to mind an earlier killing; Alice believes they’re connected and might have something to do with sex trafficking or, eventually, a Jane Doe cold case. This brings her to the desk of Nora Washington (Quincy Tyler Bernstine), who also happens to be running the very FBI department Alice has been hoping to join. “You requested my squad,” says Nora. “Why do you want to work in the basement on sex crimes and crimes against children — do you hate yourself?” Maybe she does — she orchestrates internet dates where foreplay is a fistfight, and has some relevant trauma in her past.

Catherine (Lola Petticrew), a petite young woman whose murdering is not a compulsion but a mission.

(Sarah Shatz / Disney)

Sharing scenes with the other principal characters, intense or sensitive as the moment requires, Alice is the hub around whom the series revolves and hurtles forward. Danny, who found himself isolated in the department when he said he believed her, is her only friend. (“But here’s the crazy s—. You don’t … talk to me anymore, either.”) Nora, who has a hard edge and a drinking problem, has a few things to teach her, sometimes with a quote from Balzac (“Laws are spiderwebs through which the big flies pass and the little ones get caught”) and Beckett (the dead “make a noise like feathers”) or a tale from Greek mythology. (“I’m not a former cop. I went to a fancy school, and I’m very smart,” she says, very drunk.)

As to Catherine, she is a mix of a sly fox and a wounded bird. She may be manipulative and murderous, but as we’re given reasons to dislike her victims, a collection of rich white people — with one sad exception — and because Alice feels connected to her in some way, and because she’s had a terrible life, there is not a little of the protagonist in her antagonist. There are some sad ironies stitched into the plot, and an upsetting late twist, though the show doesn’t wallow in it. We understand that Catherine has her reasons, and in a strange way we want to see her carry out her mission. She may be a killer, but she isn’t the villain.

It’s not perfect. We are not surprised at least as much as we are. Some of the plot points strain credulity. There are some old-school jurisdictional clashes between the police and the FBI (as in every fourth episode of “The Closer”), and a heaping helping of professional jealousy within departments.

But the show stays fascinating less for the plot than for the performers. Rossum attacks her role as if playing a Greek tragedy. (The hair redoubles the impression.) McNairy, one of TV’s most likable actors, brings warmth. Petticrew evokes broken innocence. Bernstine finds new notes in a role that typically runs to cliche.

I also want to mention the great Hope Davis as the sister of a victim, the son of a well-connected mogul with something to hide, and especially Steve Way, as Alden (“Ramy”), a force for good in Catherine’s life, and for humor in the series; born with muscular dystrophy, he manages some excellent physical comedy in his motorized wheelchair. The direction (Brian Kirk helmed the first two episodes) is crisp and matter of fact, staying out of the way, which is all you can ask when the writing is good and the actors are too.

Twenty-five years after “Is This It,” the Strokes are as big as they’ve ever been — and not just among old heads eager to relive the wasted glamour of the early-2000s garage rock revival. Go to a Strokes gig these days — they’re playing arenas and headlining festivals like next month’s Just Like Heaven in Pasadena — and you’ll find teens and twentysomethings in the audience; open up Instagram and there’s frontman Julian Casablancas dispensing viral hot takes on the New York City subway. On Spotify, the band’s most-streamed song isn’t the Giuliani-era “Last Nite” but “The Adults Are Talking,” which came out at the beginning of the COVID-19 pandemic — a feat of cultural endurance unmatched by any of the Strokes’ Gen X or millennial peers.

So what better time to drop a new album full of arcane jokes, baffling vocal affects and light conspiracy theorizing?

The group’s first LP since 2020’s Grammy-winning “The New Abnormal,” “Reality Awaits” is easily the nuttiest entry in the Strokes’ catalog, with a spooky opening track, “Psycho S—,” in which Casablancas, his voice slathered in AutoTune, ushers the listener “past the hall of judging dead into the bed of nightly dread.” (Sexy!) “Falling Out of Love” is a lilting robo-country ballad about dancing alone under acid rain; “Liar’s Remorse” is a voice-and-guitar lament about submitting to artificial intelligence that Casablancas croons for some reason in a terrible Caribbean accent.

Then there’s “Lonely in the Future,” in which Casablancas name-drops John Legend and Josh Groban, appears to ding Harry Styles for cribbing the beat from the Strokes’ “Hard to Explain” and informs Anthony Fantano, the popular internet music critic, that he “would not recognize art in any age.”

Philosophically, “Reality Awaits” feels less like a Strokes album than like a Casablancas solo record or an effort by his other band, the Voidz, which he’s used for the last decade or so as a kind of finsta for his harder-edged sociopolitical musings. “Going Shopping,” the LP’s lead single, casts a condescending eye on anyone insufficiently troubled by what the singer views as the creeping tyranny of a super-rich ruling class: “The worse reality gets, the less you want to hear about it / Solidarity can be difficult when you got cool stuff to lose.” That “Going Shopping” is the album’s jauntiest cut — with a music video that restages Paul Simon’s “You Can Call Me Al,” no less — only sharpens the critique.

Yet every now and then the Strokes, who absolutely ripped at Coachella in April, lock into a groove with the springy precision that’s been the band’s signature since the beginning. “Dine N’ Dash,” “Going to Babble On,” “Lonely in the Future” — it’s pure pleasure to hear the guitars in these songs slashing away over a rhythm section as crisp and nimble as this one. For all they’ve absorbed from their forbears, the Strokes don’t sound like anybody else, even when they seem to be trying to, as in “The Fruits of Conquest,” which suggests early Maroon 5 having a go at the Rolling Stones’ “Miss You.” (Obviously, I mean this as a compliment.)

You can view the indelibility of the Strokes’ style as the reason the band makes so many wacky decisions on “Reality Awaits”; looked at differently, the band is taking advantage of its persistent success to spend a bit of creative capital. Either way, Casablancas doesn’t actually seem worried at all in “Going Shopping” when he voices some anxiety about how long he can continue to matter. “I’ve been thinking about what I want to say,” he sings, “But I’m an old man now — at least that’s what they tell me anyway.”

There are many dedicated figures devoted to Chicano empowerment in America. But in the arts, playwright-director-impresario Luis Valdez — the migrant farmworkers’ son behind the defiantly consciousness-raising El Teatro Campesino and the historic hits “Zoot Suit” and “La Bamba” — holds a singular place, achieved with remarkable perseverance. It’s a trajectory that the immensely appealing, rollicking documentary “American Pachuco: The Legend of Luis Valdez” tracks with a vitality and purpose befitting its subject.

Anchored by Valdez himself, now in his 80s and filling the camera frame like a grandfatherly lion, the film supplements his vivid biographical details with rich archival footage and testimonials from family members, collaborators and peers. There’s also the bold but sneakily effective narrator choice in Edward James Olmos, reviving his snarling, star-making El Pachuco growl from “Zoot Suit” to remind us of one of Valdez’s essential contributions to the theatrical canon. (Olmos is also an interviewee, as is Cheech Marin, Taylor Hackford, Lou Diamond Philips and labor leader Dolores Huerta.)

Born in Delano, Calif., and drawn to literature and language as a way to combat racist assumptions about a Mexican American’s destiny, Valdez found his gifts sharpened by puppet shows, school plays and finally, the union movement in his hometown. Valdez saw that pointed, raw satire was not only necessary but a recruitment tool for the fight. We hear the underdog aesthetic term rasquachismo used to describe these early impromptu performances: essentially a colorful funkiness, “so funky that nothing can undermine you,” Valdez says. As if something earthier and stronger had been harvested in the fields with all those valuable grapes.

After the labor battles of the Vietnam War era, Valdez took El Teatro Campesino’s mission nationwide. Excerpts from a televised adaptation of his play “Los Vendidos (The Sellouts)” — about a shop selling automatons representing Chicano stereotypes — underscore the continuing tensions of assimilation, a trap disguised as acceptance. But the piece also reflected feelings Valdez had about his long-estranged brother Frank, an engineer whose alienating efforts to deny his own background and fit in formed a heavy undercurrent in Valdez’s life.

“Zoot Suit,” an ambitious, musicalized, slang-flavored staging of the violent injustice behind L.A.’s notorious 1943 Zoot Suit riots, became a smash in 1978 (its narrow-minded New York reception notwithstanding). The story of how the Ritchie Valens biopic “La Bamba” came to be — a delicate mix of legacy tending and savvy casting — is similarly rousing and illuminating, even if it seems like an omission not to dig into why, after such a big hit, more movies didn’t follow. (Although, since this is Hollywood, we can guess the reasons.)

There’s so much to chew on in David Alvarado’s portrait of life, art and activism that “American Pachuco” plays like a joyful challenge to those searching for their own voice or meaning. As engaging a chronicler of his own life as Valdez is, his lessons in how to be seen and heard — and how to stay that way — feel especially timely. In our demonizing present, the story of such a pioneering truth-teller speaks powerfully to the needs of our blended American future.

After an 18-month closure prompted by the Palisades fire and subsequent damaging floods, Temescal Gateway Park reopened Friday, restoring access to beloved trails in the Santa Monica Mountains.

Hikers can walk along Temescal Creek, crossing a few charming wooden bridges, or take one of the steep ridge line trails to gape at the ocean as they gasp for air. But the popular Temescal Canyon Trail, which takes hikers to Temescal Falls, remains closed.

In this edition of The Wild, our weekly outdoors newsletter, I will quickly outline what you need to know about returning to Temescal Canyon. My visit Friday was actually my first, but given the serenity I found in this coastal alcove, I will absolutely return. (Note: As of this morning, Google Maps still showed the park was closed; that is inaccurate.)

The Michael J. B. Allen memorial bench sits on a nice overlook in Temescal Canyon.

(Jaclyn Cosgrove / Los Angeles Times)

Temescal Gateway Park is a 141-acre expanse in Pacific Palisades that features a babbling brook, oak and sycamore canyons and trails that zigzag up the mountains, providing views of the Pacific Ocean and its coastline. It is owned by the Santa Monica Mountains Conservancy but managed by the Mountains Recreation and Conservation Authority.

From the park, you can hike into Topanga and Will Rogers state parks, although some state park trails remain closed. Those include:

People who frequented Temescal Canyon before the Palisades fire will notice the inevitable changes that come after a fire. Trail crews removed several fire-damaged trees, including multiple mature oaks, as dead trees can and do fall unexpectedly, according to the Mountains Recreation and Conservation Authority. The agency plans to continue reforestation projects in the park as money becomes available.

You can easily enter the park through its entrance off Sunset Boulevard. Upon entry, you’ll need to pay the $12 day-use fee at one of the machines stationed around the parking lot if you’re parking on the property. (And it’s not something to roll the dice on — I saw at least one couple get ticketed.)

A burned wayfinding sign on the Temescal Ridge Trail, which was left from the Palisades fire.

(Jaclyn Cosgrove / Los Angeles Times)

I parked under a large coast live oak and headed northwest onto the Temescal Ridge Trail, which is exposed and has minimal shade but offers multiple options for day hikes, including:

• A quick out-and-back up Temescal Ridge Trail to one of the route’s popular lookout points.
• A 3.1-mile lollipop loop, taking Temescal Ridge Trail about 1.4 miles north to Bienveneda Trail, which loops you back around to the Temescal Ridge Trail at 2.3 miles into your journey.
• Or even farther up, as Temescal Ridge Trail leads to other longer trails in the Santa Monica Mountains.

A hiker heads up Tesmescal Ridge Trail in the Santa Monica Mountains.

(Jaclyn Cosgrove / Los Angeles Times)

I huffed up the trail and was pleased with how quickly I could see the ocean. Several burned trees and shrubs remain, but they’re surrounded by an abundance of plant life coming back, including cliff aster and laurel sumac.

Along the route, I was pleasantly surprised by the exuberance of my fellow hikers. Multiple people stopped me — a fun experience for a reporter — to just share how wonderful they felt being back in the park. “Isn’t this great?” one hiker shouted to me as she headed up the ridge line. A couple from Minnesota told me they’d flown in the day before and were eager to get back to Temescal Canyon, their favorite spot to hike in L.A.

A burned tree with native plants growing up and around it.

(Jaclyn Cosgrove / Los Angeles Times)

My next stop was along the Sunset Trail, a 0.4-mile trail that runs along Temescal Creek. While I marveled at the gnarled and twisted old oak trees along the trail, I met a 14-year-old Parson Russell terrier named Finnegan. She seemed just as happy to be back as the people I encountered, especially on this shady trail next to running water.

Workers have installed three wooden bridges that cross over the creek, giving this short jaunt a whimsical feel. It ends near the road, and I turned back north, taking the sidewalk past picnic tables and rock shelters in a sycamore grove.

The Sunset Trail along Temescal Creek.

(Jaclyn Cosgrove / Los Angeles Times)

I would have loved to visit the Temescal Canyon Trail to see Temescal Falls, but as I mentioned, that trail remains closed.

Isabela Noriega, a project manager at the Mountains Recreation and Conservation Agency, said the agency will work with California State Parks officials to begin restoring the route, as only a portion of the trail is within the boundaries of Temescal Gateway Park and the rest is on state land.

“You’ll remember the fires happened Jan. 7, and then we got storms in February,” Noriega said. “So there was a lot of erosion [and] dirt debris that washed out the trails. [It’s] two disasters piling up on top of each other that we’re working to deal with.”

Instead, the third trail option you’ll have is the Rivas Canyon Trail, a fun jaunt up the hillside that features several sets of wooden stairs. You can access the trail at either of its trailheads (see map).

I started at its southern trailhead, which is behind a few buildings and near some machinery and felled trees. From there, I walked north along a wide path shaded by oak trees before taking the first set of stairs up.

One of multiple sets of stairs along the Rivas Canyon Trail.

(Jaclyn Cosgrove / Los Angeles Times)

You’ll continue up the stairs, the views of the ocean growing better as you gain elevation. I was able to spot four sailboats as I hiked.

Although the trail is well maintained, there was a short stretch that was thick enough with cliff asters to make me grateful I wore pants. There were also a few spots where I paused to lightly stomp because low-lying branches of native shrubs covered the trail. These shady sites are great nap spots for rattlesnakes, which are common to the area.

Burned trees surrounded by native plants growing back after the Palisades fire scorched the hillside.

(Jaclyn Cosgrove / Los Angeles Times)

About half a mile in, you’ll reach the Michael J. B. Allen memorial bench, built in honor of a UCLA professor and avid hiker. This is a nice spot to take a break and have a snack.

Right after this first bench, the trail is speckled with rocks that reminded me of dinosaur eggs or little bits of the moon. These moments always make me wish I’d paid far more attention in geology class, as I can generally only provide such riveting commentary as “Look at that pretty rock” or “Hey, is that a geode?” (It’s never a geode.)

Stairs lead to the overlook point where there’s a memorial bridge for local trail legends Rob and Mary Ann Webster.

(Jaclyn Cosgrove / Los Angeles Times)

I continued east to the second memorial bench, built in honor of Ron and Mary Ann Webster, two beloved advocates of the Santa Monica Mountains. It’s often said that, if you’ve hiked in the Santa Monicas, you’ve likely stepped foot on a trail Ron designed.

The view from Rivas Canyon Trail in Temescal Canyon.

(Jaclyn Cosgrove / Los Angeles Times)

I decided to end my day on the Websters’ bench. The self-care app I use had recommended I spend 15 minutes outside that day reading, and this felt like a fine spot to finish a fascinating piece about how to properly measure a mountain.

I paused, though, first to take in the view.

All around me, there were reminders of both the fire and its aftermath — burned-out trees and plants. But past the hillsides dotted with native plants returning in force, I saw the wooden frames of several houses being rebuilt. It was a reminder that this park’s reopening is another signal that nature, ourselves included, will continue onward.

3 things to do

A stargazer calibrates a telescope to look at the Orion Nebula during a star party hosted by the Los Angeles Astronomical Society in L.A.

(Carlin Stiehl / For The Times)

1. Savor s’mores and the stars in Chinatown
Los Angeles State Historic Park, a 32-acre expanse of public land in Chinatown, will host a “Park After Dark” event with the L.A. Astronomical Society from 7 to 9 p.m. Friday. Telescopes will be set up, and park workers will help guests make s’mores around a community campfire at the park’s roundhouse bridge. Learn more at the park’s Instagram page.

2. Doddle along the dunes in Santa Monica
The Santa Monica Helping Hub and the Coastal Alliance will co-host a dune walk from 9 to 11 a.m. Sunday in Santa Monica. Conservation biologist Ashley Oelsen, the alliance’s founder, will lead guests through the dunes and share why the stretch of beach is ecologically significant, serving as important habitat for threatened shorebirds and native coastal plants. Register at eventbrite.com.

3. Bend under the Buck Moon in L.A.
We Explore Earth, a local outdoors nonprofit, will host a full-moon hiking experience from 6 to 8:30 p.m. Wednesday in Elysian Park. Attendees will start meeting at 5:45 p.m. before heading on the hike at 6:25 p.m. After taking the Elysian Park west trail, participants can continue the evening with yoga, live music and stargazing with telescopes. Free, but donations of $5 to $10 are appreciated. Register at eventbrite.com.

The must-read

Crowds hike their way up the Mist Trail, one of the more popular trails in Yosemite National Park.

(William Hale Irwin/For The Times)

I am seemingly always planning my next adventure, including frequently pondering how soon I can return to Yosemite National Park. I last went in August and swam in the Merced River, hiked to Taft Point, saw Tunnel View at sunset and even went skydiving. But this past summer, that itch has felt more like a siren’s call as, like many outdoors lovers, I’ve been saddened by reports of serious overcrowding at one of America’s crown jewels. Over the past few weeks, I spoke to park-goers who’ve been to Yosemite this season, and I asked them: “Is it possible to still have fun there?” The answer, as I wrote in this story, was essentially, “Yes, but only if you plan accordingly.” Thankfully, they shared some tips on how to do that.

Happy adventuring,

P.S.

A bald eagle believed to be Jackie, one half of the celebrity raptor couple in Big Bear, was taken to a wildlife rehabilitation center in Ojai after being rescued this past weekend. Times staff writer Lila Seidman reported that a team with the San Dimas Raptor Rescue arrived around 1:30 a.m. Saturday in Big Bear Lake and found a weak and tired eagle on the lake’s shoreline. The eagle was then transported to the Ojai Raptor Center, where the reason for her deterioration remains unknown. “Queen Jackie is in the best of care! And will be able to return soon!” one YouTube user wrote Tuesday evening in the livestream’s chat. “Sending all our love & prayers to her and the kiddos and her amazing hubby super Shadow holding it down!”

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.

A year after racking up more miles than any team in the NFL, the Chargers are homebodies.

For the first time in their 10 seasons in Los Angeles, they will open with back-to-back games on their home field — against Arizona and Las Vegas.

What’s more, one of their away games will be at SoFi Stadium, against the host Rams on Nov. 1.

Who knows if less time in an airplane will make a difference, but a franchise that hasn’t won a postseason game since the 2018 season will look for anything to change that trajectory.

It’s worth noting that Jim Harbaugh got his team to the playoffs in each of his first two seasons, and he has a history of turning around franchises in college football and the pros.

And, as they’ll show in training camp, the 2026 Chargers have made some significant changes.

Here are five things to watch in training camp:

Justin time

Chargers offensive coordinator Mike McDaniel speaks at a news conference on June 17.

(Eric Thayer / Los Angeles Times)

It’s the seventh season for Justin Herbert, and the star quarterback is on his fifth offensive coordinator. Will former Miami Dolphins coach Mike McDaniel be the play-designing architect to push him over the top and get him that elusive first playoff victory?

Already, McDaniel has done some tinkering and fine-tuning, tweaking Herbert’s footwork out of the shotgun formation to allow him to get the ball out of his hands a fraction of a second earlier. That should allow his receivers more time to turn up the field and bump up their yards-after-catch numbers.

The ball is coming out even before the receivers have turned their heads for it, and McDaniel has warned them the ball could hit them in the face if they’re not ready. It’s a way to neutralize the pass rush, too.

“If you’re getting the ball out quickly, there’s really nothing they can do about it,” Herbert said of defenders. “You’ve got to find a way to slow them down, and I think that’s just [McDaniel’s] way of taking them out of the game.”

Herbert has absorbed a lot of hits over the years, and he has leaned heavily on his arm strength too.

“In years past, you rely on your arm strength to put the ball exactly where you need to,” he said, “instead of trusting it and just throwing it to a spot and letting them go and get it.”

Next man up

Chargers defensive coordintor Chris O’Leary speaks at a news conference on June 17.

(Eric Thayer / Los Angeles Times)

Jesse Minter did such a solid job as defensive coordinator of the Chargers that he was hired as head coach of the Baltimore Ravens. So in steps his protege, Chris O’Leary, who coached under him at Georgia State and Notre Dame before spending the 2024 season coaching Chargers safeties. Then it was off to Western Michigan for O’Leary last season, where he was defensive coordinator — a year of experience in that job before returning to replace the departing Minter for the Chargers.

If it ain’t broke, don’t fix it. That’s expected to be the philosophy of O’Leary, who tutored his Western Michigan players by showing them tapes of the Chargers.

That said, he’s probably not going to follow Minter to the letter. He likely will have the same coverage schemes and rely just as much on All-Pro safety Derwin James, but his defenses might blitz more than Minter’s (the Chargers were near the bottom of the league in that category in 2026) and will look to turn first-round pick Akheem Mesidor into a pass-rushing star.

Odafe Oweh, acquired during the 2025 season in a trade with Baltimore, will play for the Washington Commanders this season. Mesidor, a linebacker who played collegiately at West Virginia and Miami, was selected 22nd overall.

It’s all on the line

Chargers offensive tackle Joe Alt participates in a drill at minicamp in June.

(Eric Thayer / Los Angeles Times)

The Chargers have huge draft capital invested in their offensive line — including spending first-round picks on bookend tackles Rashawn Slater and Joe Alt — and that was supposed to be a strength of the team last season. That went off the rails early, however, with the team losing Slater to a season-ending injury in training camp and Alt soon after the season started.

The line wound up being a disaster with a reshuffled cast virtually every week. One of the few fixtures was center Bradley Bozeman, who Pro Football Focus rated 40th out of 40 players who qualified at that position. He retired after the season.

The Chargers have a new center in Tyler Biadasz, who was released by the Commanders in a cost-cutting move, and Alt (ankle) and Slater (knee) are cleared and ready to go. If this unit can stay healthy, it will look a lot different — and a lot better — than the 2025 version.

Beginning of the ends

Chargers tight end David Njoku speaks during a news conference on May 19.

(William Liang / Associated Press)

In the not-too-distant past, the Chargers had one of the NFL’s premier tight ends in Antonio Gates, enshrined in the Pro Football Hall of Fame last summer. Since, the team has had more downs than ups at the position, although it saw some flashes last season from rookie Oronde Gadsden II, a talented pass catcher.

The Chargers got another infusion of promising tight ends in the offseason, acquiring free agents David Njoku and Charlie Kolar, both of whom thrived elsewhere.

Njoku was a gifted receiver and blocker in Cleveland, catching 81 balls and scoring six touchdowns in 2023. His numbers dropped off last season, though, as the Browns cycled through five different quarterbacks.

Kolar was more blocker than receiver in his four years with the Ravens, and he did that very well. When he did see passes thrown his way, he did a good job of reeling those in.

Oh my, Omarion

Chargers running back Omarion Hampton speaks at a news conference during minicamp on June 17.

(Eric Thayer / Los Angeles Times)

The rookie grade for running back Omarion Hampton? Incomplete. The 2025 first-round pick from North Carolina got off to a good start, including a 128-yard rushing performance at the New York Giants in Week 4, before sustaining a fractured ankle the following week that sidelined him for two months.

In his sophomore season, he should be running behind a far better line and playing for an offensive coordinator with a history of coaching running backs to breakout seasons. Look what De’Von Achane did under McDaniel in Miami, where he ran for 1,350 yards and caught 67 passes last season.

If Hampton can come close to that, he’ll be a popular fantasy pickup.

When a pitcher purposely throws high and inside, the batter has four choices.

He can stare down the pitcher. He can charge the mound. He can get revenge by walloping the next pitch for a hit.

Or he can ignore the intimidation tactic and continue as if nothing happened.

The last choice is the wimp’s way out, since the batter will lose his teammates’ respect, while opposing pitchers will consider him a pushover and fire more brushback pitches at him.

Ever since the Dodgers visited the White House last spring to commemorate their 2024 World Series win, President Trump has launched a barrage of metaphorical fastballs trying to hurt Los Angeles — in the courts, in speeches and on social media, but especially via his deportation deluge that’s starting to simmer again.

So how have the Boys in Blue responded in defense of the metropolis they wear on their jerseys and the community that has sustained them for nearly 70 years, making Dem Bums one of the most valuable franchises in baseball?

They’re scheduled to visit the White House today so Trump can use them as a photo op and bask in their 2025 championship.

That’s like staying in the dugout during a bench-clearing brawl after a pitcher plonks a batter, then offering the offender a handshake the next inning.

Winning back-to-back titles and blazing through this season has brought Angelenos much-needed happiness during a terrible stretch for the city — but winning is what the Dodgers are supposed to do. They’re also supposed to do more.

This is the team of pioneers like Jackie Robinson and Sandy Koufax, Glenn Burke and Fernando Valenzuela. The squad whose mythology insists it’s a franchise apart from the rest of professional sports because the Dodger Way is kinder, braver and more willing to take moral risks that transcend baseball and make society better.

And yet manager Dave Roberts told Times sports columnist Bill Shaikin in February that he would gladly accept another White House invitation “to continue to try to do what tradition says and not try to make political statements, because I am not a politician.”

Well, thank God the Dodgers broke baseball’s longstanding tradition of segregation long before Roberts, who is Black and Japanese American, was born!

Manager Dave Roberts of the Los Angeles Dodgers looks on from the dugout during a 2025 game against the San Diego Padres at Petco Park in San Diego, California.

(Sean M. Haffey/Getty Images)

Most of the Blue Crew fans I know — who are mostly Trump haters, by the way — roll their eyes every time a wokoso member of Dodger Nation complains about the team’s White House visits or the failure of players, coaches and executives to speak out more forcefully against Trump’s anti-immigrant campaign. Politics have no place in baseball, my friends and family members will say.

But standing up for L.A. by snubbing Trump or calling out his war against us isn’t political at all.

Angelenos need a champion on the Dodgers to say what needs to be said: The City of Angels is wonderful, and Trump is wrong to target it. If you can’t stand up for the simple belief that we don’t deserve to be Trump’s personal piñata, then you have no place playing for the Dodgers.

Only two players have announced they’re not going to the White House: superstar Mookie Betts and fan favorite Kiké Hernández. The latter, a native of Puerto Rico, endeared himself to the Dodger faithful last year during the height of the immigration raids with an Instagram post that read, “I cannot tolerate watching our community continue to be violated, attacked, abused and separated. ALL people deserve to be treated with respect, dignity and their human rights.”

This time around, Hernández told the Times that he’s not going so he can focus on a rehabilitation stint in the minors. When pressed by reporter Maddie Lee, he said, “I’d rather take a day off than do team activities.”

Nice way to rhetorically strike out, Kiké.

Betts, meanwhile, said he wants to spend time with his newborn child — as legitimate a reason as any. But then he sat down for a short interview with Fox News.

“I don’t know why the world sees athletes as political figures or these people that can make change,” Betts said. The future Hall of Famer, who like Roberts owes a lot to Robinson for paving the way for him and other Black players, hemmed and hawed as if he didn’t quite believe what he was saying.

Dodgers past and present haven’t been averse to political stands — they just usually happen to be of the conservative variety.

After his retirement, Robinson campaigned for Richard Nixon’s unsuccessful 1960 presidential bid but left the GOP eight years later, accusing Nixon of “prostituting himself to the bigots in the South” to win the presidency.

Other Dodger legends, from former owner Peter O’Malley to Steve Garvey to Tommy Lasorda, were proud, vocal Republicans as well. Reliever Blake Treinen pitched in a game with “Charlie Kirk” written on his hat after the assassination of the far-right commentator — you know, the guy who lambasted L.A.’s response to Trump’s immigration hammer as “open rebellion to American sovereignty and authority … in a corrupt blue city.”

Treinen — who skipped the Dodgers’ 2021 White House visit when Joe Biden occupied the Oval Office — was at it again this year when he and teammate Alex Call declined to wear Pride Night-themed caps, choosing instead to play with the standard-issue one. They followed the example of Dodgers titan Clayton Kershaw, who wore a Pride cap last year but adorned it with a verse from the Book of Genesis commandeered by MAGA Christians to accuse LGBT+ people of appropriating rainbow colors to celebrate their supposedly wicked ways.

Dodgers management didn’t browbeat Treinen and Call, and that’s fine — ballplayers should be entitled to share their personal thoughts, however noxious. I even understand why the team might want to ham it up with Trump this week — that’s what multimillionaires seem to want to do these days, after all.

Federal agents stage outside Gate E of Dodger Stadium on June 19, 2025.

(Myung J. Chun / Los Angeles Times)

What offends me most is that Dodgers owner Mark Walter knows what Trump is doing to L.A. is wrong, even if he’ll never publicly say anything.

Last June, the team announced that it had prevented Immigration and Customs Enforcement agents from entering the Dodger Stadium parking lot — the feds denied that this happened. The Dodgers also announced they would donate $1.1 million to nonprofits to assist people affected by the immigration raids — a response to community disgust about video of federal agents in front of a Dodger Stadium gate with people who had been detained at a nearby Home Depot.

Soon after, the Dodgers were hit with a federal civil rights complaint, filed by a legal group co-founded by Stephen Miller, accusing them of discrimination because of their diversity, equity and inclusion initiatives. This year, Walter’s investment firm rid itself of all shares in GEO Group, which runs immigrant detention centers on behalf of the federal government.

Yet now, the Dodgers are going to the White House.

Enjoy the trip, fellas. Hey, maybe one of you will shake Trump’s hand and tell him that multicultural, immigrant, Dodgers-blue Los Angeles is all right.

Hey, maybe the Angels will win the pennant.

Freelance writer and editor Lucy Schiller bumped up against the issues of aging, eldercare and loneliness through her grandmothers. When the family pulled her maternal grandmother, Mary Ann, from assisted living during the pandemic, Schiller became her primary caregiver. Her paternal grandmother, Anita, was less fortunate; she contracted COVID-19 from a home healthcare aide and died in a hospital.

As she relates in “Aging Out,” the shock of Anita’s death was a factor in Schiller’s abrupt relocation from a central New York college town to Pittsburgh, where she knew no one. Schiller calls the move “a half-desperate plan to simply change the background scenery of my life for the millionth time.”

While grieving, scrambling to make a living, taking long walks with her dog and wrestling with her chosen solitude, Schiller embarks on a quest to understand the institutions and attitudes that shape old age in America. “What was the relationship between personal fear of oldness and the ways in which oldness was structured in society?” she asks.

The resulting book, a deliberately meandering account of her Steel City sojourn, weds memoir, travelogue, philosophical rumination and journalistic investigation. Schiller, an MFA graduate of the University of Iowa and now an assistant professor of nonfiction at Texas Tech University, is a fluid writer. But most of what she covers is well-trod ground.

It’s worth asking whom she envisions as her audience. Most older readers know this territory; younger ones have other, more pressing concerns, including how to afford life in the here-and-now.

Perhaps Schiller, a millennial in her 30s, hopes they will identify with her personal struggles. But her loneliness seems largely self-imposed, perhaps compounded by what she describes as “a severe strain” of obsessive-compulsive disorder. “It turns out, laughably, that an interest in privacy, and staying quiet about internal feelings, are hallmarks of this condition,” she writes, offering a partial explanation for her wariness of company.

Pondering the American way of aging, Schiller initially adopts a posture of ignorance and naivete so extreme that it seems like a pose. She puzzles out the distinctions among nursing homes, assisted living facilities and continuing care retirement communities, as well as home healthcare. And she underlines the fact that, when it comes to long-term care in the United States, only the relatively well-off have good choices. This isn’t exactly news.

Another Schiller inquiry involves the familiar complexities of Medicare. She notes that, as a public program for seniors, it is so inadequate that it requires private options, such as Medigap and Medicare Advantage, to paper over coverage gaps. Picking the best plan for one’s needs can be a daunting option, requiring trained help or careful study. Schiller attends an informational seminar by a broker for Medicare Advantage plans and decides, unhelpfully, that they are neither “a solution or a problem.”

Schiller’s reporting methods rely, to some extent, on serendipity. “I tended toward … a kind of diffuse sallying through the world, staying open to the coincidence, digression, and movement,” she writes. She calls the method “antinarrative.”

All that sallying takes her down some unexpected byways. She returns to a western Pennsylvania town called Harmony, where she once had “a horrible, endless date over crepes,” to investigate a strike over pay and working conditions at a troubled nursing home. That leads to a long discussion of the use of restraints on the elderly.

At one point, Schiller finds a company called Papa that employs younger “Pals” to assist older adults. With the backing of health insurance companies, the Pals provide companionship, transportation, housecleaning services and more. Schiller tries something similar as a volunteer for a health insurance company, reaching out to an elderly Black woman by phone. They stumble over time into an unlikely friendship.

One problem with all these efforts to mitigate old-age loneliness, Schiller notes, is that the loneliest generation is actually Gen Z. And the loneliness surveys themselves, she suggests, may be suspect.

Schiller delves, inevitably, into the history of AARP, an organization that even in its earliest days was entangled with the health insurance industry. And consumer advocate Ralph Nader, for whom she does some editing work, tips her to the story of activist Maggie Kuhn, founder of the Gray Panthers.

Kuhn, Schiller writes, understood “the tension between the social so-called nothingness of old age and its vibrant realities.” Which brings Schiller to the intersection of aging and disability, and to Programs for All-Inclusive Care for the Elderly (PACE), which provide community-based care as an alternative to nursing homes.

In the end, Schiller has a go at parsing her own motivations. “I had descended into the strange subterranean structures of aging, almost as a way to avoid the contemporary world … ,” she writes. “Age … was a helpful distancing tool: older people’s vulnerabilities, including those of my own grandparents, helped to distract me from my own present and future. … I still did not know how to seal over the gaping wound of the pandemic, how to move forward.”

For all her verbiage, she can find no easy fix, nor even a complicated one. “It was not possible for me to imagine a solution to the level of fragmentation, pain, and dysfunction I saw,” she writes, leaving readers without much justification for having followed her rambling, idiosyncratic quest.

Klein, a cultural reporter and critic in Philadelphia, has been a three-time finalist for the National Book Critics Circle’s Nona Balakian Citation for Excellence in Reviewing.

If Oxnard to you is just a freeway sign on the way to Santa Barbara or Ojai, you’re missing out on a few things. Like an extensive harbor with none of the traffic or showy affluence of its southern cousins. Miles and miles of white sand where you won’t find another family right next to you as soon as you lay down a towel. A diverse, chilled city with an energetic subculture (Nardcore, anyone?) and some pretty decent tacos.

There are a bunch of ways to spend your time here. Take an architecture tour around Heritage Square, perhaps, or taste your way around September’s Chowderfest at the Maritime Museum. On the water, you can paddleboard ‘til you drop, commune with whales on a boat excursion or skip off to the Channel Islands on a whim.

It’s the only California Cultural District in Ventura County, an honor bestowed by the California Arts Council, which says that “from Guelaguetza and Fiestas Patrias to Juneteenth celebrations, Nardcore punk shows, lowrider cruises, fandangos, and Ballet Folklorico, the district’s cultural life is exuberant and deeply rooted in community.” Rapper/producer and Oxnard native Anderson .Paak named his third album after the city and has hosted the .Paak House music festival in the region.

And Oxnard is a summer home to Netflix darlings the Dallas Cowboys Cheerleaders. For two decades, the Cowboys have held their training camp in the city, and this time around, the cheerleaders will join the scene for Oxnard Fan Night on July 31, the opening ceremony Aug. 1 and toa dance clinic Aug. 2.

Oxnard may not be overly polished, which of course adds to its charm. To get to know the community, you’ll have to veer a few miles off the 101 — but the detour makes for a vibrant SoCal weekend.

Waving a Mexican flag with a vaquero sombrero on, El Malilla made history at Coachella last year as the first reggaeton Mexa act on the lineup.

To keep the momentum going, the rising Mexican star had planned for his first U.S. tour to take place last summer. After the Trump administration ramped up the ongoing ICE raids around the same time, El Malilla decided to put the safety of his fans first and postpone the tour.

“With what was happening with Mexicans and immigrants — the big problem being ICE — I decided to pause the tour, because I didn’t feel comfortable exposing my fans to that kind of situation,” El Malilla says over Zoom from his home in Valle de Chalco. “For me, it was important to bring this tour to the U.S., but in a safe way without putting anyone in harm’s way.”

After wrapping up the Mexican leg of his “Tu Maliante Bebé” Tour, El Malilla, who was born Fernando Hernández Flores, is now preparing to bring his show to the states. The 19-show trek will kick off July 24 in Palm Springs, followed by a concert at The Novo in Los Angeles the next day.

Mexican artist El Malilla.

(Joss Andreu)

“The Novo is very important for me because it’s going to be my biggest venue for this U.S. tour,” he admits. “To see how Los Angeles has adopted me, embraced me, and shown me love, I’m going to feel like I’m home.”

Following his Coachella debut, El Malilla has pushed reggaeton from Mexico into the mainstream. He imbues the genre with Mexican swagger, slang and sex appeal in his explosive hits such as “B de Bellako,” “Mami Tú” and “Balenciaga” featuring corrido singer Luis R. Conriquez.

Since then, El Malilla has expanded the scope of reggaeton Mexa following collaborations with Puerto Rican pioneers such as Jowell y Randy and Colombian superstar J Balvin. The perreo heartthrob is also tapping into new genres for his upcoming sophomore album. In an interview with The Times, El Malilla opened up about leading the reggaeton Mexa movement and what to expect from his tour.

How do you feel about representing Mexican culture and reggaeton Mexa with this tour in the U.S.?
I feel very happy to bring a bit of our culture, our slang, our sound and our essence to the U.S. for my fans that haven’t had a chance to see a show of mine. Something that’s very crazy for me is when I performed in Chicago last year, there were people with signs that said they were from different places in Mexico like the State of Mexico. It made me very nostalgic to know that I’m also from the State of Mexico and we’re here. It’s important for me to represent our roots. Get ready, because I’m coming with perreo sucio. [Laughs.]

What do you think when you fans always ask for you to take off your shirt at your concerts?
It makes me laugh because when I sing “Rodillas,” people start screaming for me to take off my shirt. My show lasts like two hours and that’s barely the first song. I enjoy it, because I consider El Malilla to be a showman. I love to be onstage and have fun with my fans. Though some people might see me as a sex symbol, I don’t see myself that way, but to each their own.

What does it mean for you to be breaking down barriers for reggaeton Mexa?
It makes me very happy. I’ve been thinking about that recently. When would you think that an iconic pop star like Danna would collaborate with an iconic chacalón [Mexican slang for “bad boy”] like myself? That never crossed my mind before, but now in 2026, our reggaeton, our essence and our sound has become important in Mexico and even more so on a Latino level. Now everything is possible. There [are] no longer barriers for reggaeton Mexa, or for Mexican singers. Today, your biggest dream is possible.

Who else would you love to collaborate with in the future?
Lately, I’ve spent more time in the U.S. and I’ve been soaking up more English music. I discovered that I really like The Weeknd. A collaboration with him would be crazy! I returned to Coachella this year to sing with Cachirula & Loojan … and to be able to see Justin Bieber live was incredible. I would love to collaborate with him. On the Latin side, I would love to collaborate with Nsqk, De La Ghetto, Ñengo Flow or a reggaeton pioneer like DJ Blass.

What’s the process been like working on your next album?
I spent a year and a half working on this album. I enjoyed that process so much. Music has given me so much that this album is my way of repaying music for all the blessings it’s given me. You’ll be surprised at what I’m capable of. This is a Malilla that’s now 26 and a little more mature. It’s a more experimental and professional Malilla. I had never made a bolero song and I dared to do that this time. I did my research by listening to Luis Miguel, José José and singers and genres that I wasn’t used to listening to. I found love for those genres and singers. It was a very fun and cool way for me to explore different genres.