way

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.

WASHINGTON — The U.S. Department of Justice civil rights division was created in 1957 with an initial focus on combating racial inequality and protecting voting rights.

But in the first two years of President Trump’s second term, its mission has been reimagined.

Now, the division is focused on combating diversity initiatives, rolling back pro-transgender policies and rooting out allegations of election fraud.

It had for decades investigated police departments for using excessive force. Now it investigates police departments with excessive delays in approving gun permits.

California has served as the division’s laboratory for all of these changes, or, as one former civil rights staffer put it, its “punching bag.”

The civil rights division has been involved in twice as many cases in California as in any other state, according to a Times analysis of cases brought by the Justice Department.

And an examination of press statements by the civil rights division shows that California has accounted for a higher proportion of actions in the second Trump administration than during the same time period in the Biden administration.

The division is led by Harmeet Dhillon, a Californian and a conservative legal crusader, who made her name bringing legal challenges against many of the state’s institutions and once served as the chair of the San Francisco Republican Party.

More recently, she was a leading legal figure in challenges to COVID-19 mandates and has shown steadfast support for Trump; her firm represented him in his successful 2024 fight to remain on the ballot in Colorado.

The Times spoke with a dozen former attorneys in the division, nearly all of whom said that the division has taken on a more partisan approach under Dhillon’s leadership and that the changes in the second Trump administration are far more dramatic than anything that occurred during Trump’s first term.

“It is an ideological civil rights division in a way that we’ve never seen before,” said Regan Rush, the former chief of the division’s special litigation section, which largely focused on investigations into police departments and prisons.

Rush is now director of the Red Line for Civil Rights at Democracy Forward, a nonprofit group that tracks the division’s activities.

In response to questions from The Times, Dhillon wrote that the division’s actions aren’t political.

“This Department speaks plainly and directly when we identify violations of federal law. Being clear about violations of federal civil rights law isn’t political or combative — it’s transparent,” Dhillon said. “I stand behind the work we’ve done since I took over the Civil Rights Division.”

While California produced President Reagan — a hero on the right who as governor frequently sparred with UC Berkeley, as Dillon does today — the state has now become, in conservative circles, a symbol of everything wrong in America.

“If there’s any state that is the antithesis of the Trump administration, it’s California,” said Erwin Chemerinsky, dean of the law school at UC Berkeley.

Dhillon said the division brings cases wherever it sees violations of federal law.

“California is where some of the most significant violations of federal civil rights law have occurred, as our enforcement actions demonstrate,” she said.

Former attorneys in the division said the desire to target California was obvious to them.

As one example, the division has announced more than a dozen actions involving universities in California, largely focused on allegations of antisemitism — the subject of an earlier Trump executive order — at University of California campuses and alleged racial preferences in hiring in the UC system and in the admissions practices at several medical schools in the state.

The division concluded that the medical schools at UC Davis and UCLA racially discriminated against white and Asian applicants and that UCLA failed to adequately respond to complaints of antisemitic harassment of Jewish and Israeli students. Other investigations are ongoing.

A pro-Palestinian encampment at UCLA in 2024.

(Michael Owen Baker / For The Times)

“We were never explicitly told that California institutions are of a particular interest, but it was something that was very easy to notice,” said Ejaz Baluch, a former Justice Department attorney who worked on the employment litigation team that looked into allegations that antisemitism at UC campuses had created a hostile work environment.

Trump’s priorities

Dhillon told podcast host Michael Malice in May that she was in “constant contact” with the White House on a “daily, sometimes several-times-a-day basis.”

That represents a major shift from how the division previously operated, said her predecessor, Kristen Clarke, who was the assistant attorney general overseeing the division during the Biden administration.

“There was a fairly sturdy and necessary wall between the Justice Department and the White House,” Clarke said. “This is a complete 180.”

Dhillon has said she sees her job as enforcing civil rights law through the lens of Trump’s executive orders, which took aim at diversity, equity and inclusion efforts, immigration and pro-transgender policies, among other conservative priorities.

She said that while the division “operates within the administration’s law enforcement priorities … investigative and prosecutorial decisions, including which matters to pursue and how, are made by the Division based on the law and the facts.”

Sen. Adam Schiff (D-Calif.), a former federal prosecutor in Los Angeles, said that the division’s changes under Dhillon represent a stark shift from how it operated in the past.

“It is now very much the anti-civil rights department,” Schiff said. “We’re living in this upside-down world where departments that were set up for one purpose are acting in a way that’s antithetical to the purpose of the department.”

Dhillon said that under her leadership, the division “enforces federal civil rights laws evenhandedly, on behalf of all Americans.

“That includes protecting religious liberty, Second Amendment rights, and women’s and girls’ spaces, standing against illegal race-based policymaking and DEI, and defending parents’ fundamental right to direct their children’s upbringing and education.”

Her reorientation of the division led to a mass exodus of career staff — nearly three-quarters of the roughly 400 attorneys who were there at the beginning of 2025, by Dhillon’s telling.

That’s far more departures than in the first Trump administration.

“I said, ‘My way or the highway,’ and my way isn’t my way, it’s President Trump’s way,” Dhillon told Malice.

Dhillon told The Times that the division has added 100 new lawyers and staff in the last 15 months and plans to hire 100 more.

Prisons and police

As the division has shifted its focus to align with the priorities laid out in Trump’s executive orders, it has shut down a number of cases brought during prior administrations.

Former attorneys in the division worry that other preexisting cases are languishing.

In March, the division opened an investigation into two women’s prisons in California — California Institution for Women in Chino and the Central California Women’s Facility in Chowchilla, 35 miles northwest of Fresno — over whether they had violated the rights of other female inmates by housing transgender women in the facilities.

“There have been allegations of sexual assaults, rape, voyeurism and a pervasive climate of sexual intimidation due to the presence of males in the women’s prison,” the Justice Department said in announcing the investigation, misgendering transgender inmates.

Former attorneys in the division said that leadership also sought to open an investigation into the impact of transgender housing policies on juvenile institutions in California, but didn’t find sufficient evidence to warrant opening an investigation.

The investigation into transgender inmates at the women’s prisons came as a prior investigation into the same two prisons remains unresolved over reports from hundreds of women that they had been sexually abused by guards, even as evidence supporting the allegations mounts.

Separate from the civil rights investigation, one of the former guards at the Chowchilla facility was found guilty in January 2025 of more than 60 counts of sexual abuse of inmates and sentenced to 224 years in prison.

“We haven’t seen any kind of relief,” said Megan Marks, former deputy chief in the division’s special litigation section and the deputy director and managing editor for the Red Line for Civil Rights at Democracy Forward.

Dhillon said both investigations into the two women’s prisons are “being pursued vigorously and simultaneously.”

For the last three decades, the division has investigated allegations of police misconduct, authority it was granted by Congress after the 1991 beating of Rodney King by Los Angeles Police Department officers.

But in the second Trump administration, the division has closed a number of active police investigations and moved away from what Dhillon characterized to Malice as a “standing order to persecute police departments and impose nonsense restrictions on them.”

Instead, the division has brought actions against law enforcement agencies deemed to have failed to protect the rights of gun owners.

California was the first target.

The division filed a first-of-its-kind lawsuit in September 2025, alleging that the Los Angeles County Sheriff’s Department had systemically denied people their 2nd Amendment rights because of long delays in approving concealed carry permits.

Last month, it filed a second gun rights lawsuit in California, this time against the state and Atty. Gen. Rob Bonta, over the state’s ban on Glock pistols, which acting U.S. Atty. Gen. Todd Blanche characterized as a “blatant trampling of our rights by the California government.”

Changing tone

Former attorneys in the civil rights division say the pugnacious tone in press releases, such as the one announcing the lawsuit opposing the Glock ban, and in numerous social media posts by Dhillon announcing her intent to open investigations, represents a major shift from how the department has operated in the past.

“What really stands out more than any other civil rights division is how much they demonize and personalize,” said Christy Lopez, a former attorney in the division who is now a professor at Georgetown Law. “We tried to build rapport with the jurisdiction.”

Dhillon defended the approach she and the division have taken.

“Our job is to enforce the law and ensure compliance,” Dhillon said. “That includes public messaging to ensure the public is both aware of what the law requires and knows when others violate the law. We’ve designed our messaging strategy with this goal in mind, and we are pleased with the effect it’s had.”

Numerous former lawyers in the division also said that the current leadership has put its thumb on the scale at the outset of investigations.

“We were basically fed an answer before we conducted an investigation, which is the total antithesis of how these investigations are supposed to be conducted,” said one former Justice Department attorney who worked on the investigation into allegations of antisemitism in the UC system and requested anonymity for fear of reprisal.

Attorneys visited UC Berkeley and UC Davis, but found enough evidence only at UCLA to bring a lawsuit on claims that antisemitism created a hostile work environment.

One of Dhillon’s early top deputies, former Huntington Beach City Atty. Michael Gates, denied that politics played a role in decision-making in his time in the division.

“We evaluated every case on a case-by-case basis,” he said. “There was nothing about politics that influenced any of that.”

Gates, who left the department in November, is now the Republican candidate challenging Bonta to be state attorney general.

Dhillon said to The Times that she is “proud of the record we’ve built” and believes the division has been “active and effective.”

But its former leaders worry that with the exodus of attorneys and the changing nature of the division’s approach, it has lost the ability to fulfill its mission.

“Where does it leave the division today?” said Clarke, its former leader. “It’s a broken agency not able to adequately stand up and defend the civil rights of all Americans.”

Dodgers pitching coach Mark Prior was worried. But how worried? He couldn’t say at first.

The team had taken major steps to address Shohei Ohtani’s lingering left knee condition, presenting him with a plan to skip his last start before the All-Star break and have his knee drained that Sunday. And he’d co-signed it.

The swelling in Ohtani’s knee, however, had been more persistent than the team expected. And pitching seemed to irritate it.

“I would say, moderately concerned,” Prior eventually said in a conversation with The Times last weekend. “But no more concerned than I probably am with anybody else who’s had to deal with aches and pains. Hopefully, this break and this rest will get it to calm down a little bit, and then we’ll see where we’re at next weekend.”

Coming out of the All-Star break, the Dodgers face the most pressing question for their second half: Will they be able to manage Ohtani’s knee condition?

Of course, plenty of other questions loom: What approach will the Dodgers take at the trade deadline? Will the pitchers coming off the injured list in the second half provide enough depth? Can they maintain the best record in the majors?

But naturally, Ohtani’s health is tangled up in all those answers.

The Dodgers have enough star power and enough of a lead in the division to still make the playoffs without Ohtani replicating his first half on the mound (8-2, 1.79 ERA). And they showed last year that they can win a World Series even if their postseason path begins with a wild-card series.

They’d prefer, however, to take a different route, with a strong second half that ensures home-field advantage all the way through the postseason.

“At the end of the day, it’s just trying to expect the best of your ballclub,” manager Dave Roberts said before the break. “And with the talent that we have, we expect to have the best record in baseball, and so that’s our standard. And so, what falls out of it is X, Y and Z. So that’s what we’re playing for.”

That’s also what they need a healthy Ohtani for.

Workload is part of the equation, and an aspect that’s garnered plenty of attention in Ohtani’s first full season balancing two-way duties since 2023.

“I’ve been much more open and watching … his workload, and not just taking for granted that he can be a two-way player, take every at-bat, pitch like a normal pitcher,” Roberts said. “I think that would be unfair. So for me, if anything, it’s just, keep having those conversations with him, bringing them to him, and saying, ‘Hey, this is what we see. This might be a different option, a better option for your best interest and our best interest.’ And I think that with that, he’s responded really well.”

That approach will continue in the second half. But refining Ohtani’s mechanics also will be vital to keeping his knee from becoming an issue again.

Ohtani said it himself, through interpreter Will Ireton, last week: “I have to kind of find a way to adjust my mechanics so that my knee doesn’t get affected.”

He’s been trying to do so since the swelling in his knee first cropped up.

“I think we’ve identified the issue,” Prior said. “Sometimes the fix isn’t always the easiest, especially with a guy who doesn’t spend probably the same amount of time on the mechanics of it.”

As a two-way player, Ohtani doesn’t have the “physical bandwidth,” as Prior put it, for things like multiple bullpen sessions between starts, even if they are a week apart. He has to keep the long, grueling season in mind when he’s also in the lineup every day.

Looking back at Ohtani’s pitching start against the Pittsburgh Pirates last month, the day before he exited the series finale because of inflammation in his knee, the Dodgers observed his right leg landing a little farther across his body in his delivery, probably putting extra strain on that plant leg as he moved around it.

“He fixed it, and then I’m wondering if it got aggravated just in-game,” Prior said. “These guys are extreme compensators, and in the moment they don’t necessarily know what they’re doing, but they’re finding other ways to pitch, and then afterwards you find out that things are a little sore.”

Ohtani had a dominant first half, but, whether because of the knee condition or mechanics or some combination of the two, he wasn’t quite as sharp in his last four starts (4.38 ERA).

“If he can fix the delivery, then he can fix a little bit more of the execution,” Prior said.

But will the delivery adjustment, All-Star break intervention and attention to workload fix Ohtani’s knee at least through the postseason? The Dodgers’ second-half trajectory will be tied up in the answer.

It’s a rare day when you cannot hike somewhere in Los Angeles.

But as I write this, L.A. County is under an extreme heat warning through Thursday evening. California recently saw its first storms of monsoon season, which I learned is the reason I found myself earlier this week whining about the humidity. We’ve now entered the period of summer when you need to plan your trips with heat in mind.

In this week’s edition of The Wild, our weekly outdoors newsletter, I will highlight three hikes around L.A. where, if you go early, you can enjoy a quick, shady jaunt in nature. But first, let’s talk summer trail safety.

How to hike safely in L.A. in summer

• ⌚Avoid hiking in the hottest part of the day. This will vary by day and region, but I typically plan to leave the trail by 11 a.m. in summer, or hike in the evenings, around 6 p.m.
• 🫗Pack more water than you normally need. Dehydration is a major reason that adventurers out on a day hike need to be rescued. It’s generally recommended to drink at least 1 quart every two hours (the amount in your typical Nalgene bottle). In summer, you will need to increase that. During summer, I also like to carry electrolyte powder and gummies.
• 🌤️ Check the weather forecast of where you’re heading. If headed to Angeles National Forest, which includes the San Gabriel Mountains, take a look at the “Current Conditions” tab to find relevant weather information. The Santa Monica Mountains National Recreation Area has a similar page here. If hiking in an L.A. park, remember that, because the region has several microclimates, temperatures can vary widely across the county.
• 😎 Wear sun protection. This includes a sun hoodie, wide-brimmed hat and sunglasses. I also recently started regularly carrying the hiking umbrella that I reviewed in last year’s Times Gift Guide.
• 🥵 Know the signs of heat illness. Heat cramps can be the first signal from your body that something is amiss, usually presenting as painful spasms in your legs and/or abdomen. Next comes heat exhaustion. Symptoms include clammy skin, nausea, cramps, vomiting and headache. “Don’t ignore a headache when hiking in hot weather!” the American Hiking Society cautions. “This is serious stuff. Stop. Drink. Rest.”
• 📲 Tell someone where you’re going. Complete this form (or something similar) and share it with a friend or family member. Place an additional copy on your vehicle’s dash if driving to the trailhead. The last thing you want is to be injured without anyone knowing where you are.

3 shady hikes around L.A.

As I’ve said many times, the best hike is where you are. The three hikes below all feature early-morning shade, but if they’re farther than you can drive or reach by transit, check out this guide I wrote about how to find shady hikes near you. I returned to it when writing this piece to remind myself of my own tips!

OK, let’s imagine the air blowing from your office fan or air conditioner is actually a light mountain breeze as we explore these three great hikes. Adventure awaits!

Sycamore trees cast shade over a trickling creek in Sullivan Canyon near Brentwood.

(Jaclyn Cosgrove / Los Angeles Times)

1. Sullivan Canyon Trail

Distance: 8.8 miles out and back
Elevation gained: 1,200 feet
Difficulty: Moderate
Dogs allowed: Yes
Nearest to: Brentwood and the Pacific Palisades
Accessible alternative: Inspiration Loop Trail at Will Rogers State Historic Park

The Sullivan Canyon Trail is an 8.8-mile out-and-back trek along a seasonal creek, shaded by tall sycamores (easy to identify because of their mottled bark) and thick old coast live oaks. There are a few options to explore the canyon, including a loop, but that will include a more exposed route.

To start the most shaded option, you’ll walk past a green gate on Queensferry Road and head down a short, steep paved road. (The walk back up will be the hardest part of the entire hike.)

After about a fifth of a mile, you’ll head northwesterly onto the trail, a wide dirt and gravel road. I immediately felt like I’d been transported into a fairy-tale scene where someone in a carriage would come heading down the trail toward me. Instead, it was a mountain biker, which was less enchanting, but fine nonetheless.

Quickly, I noticed there’s a tree swing builder who loves this canyon. I spotted two swings, one of which I stopped and enjoyed because, why not?

I was surprised to see that the Sullivan Canyon creek, which is about 6.2 miles and starts (per this map) near San Vicente Mountain Park, was still flowing. You will cross the creek and its offshoots a few times, an easy enough task in the summer months when the water is lower.

As you navigate the creek, you’ll notice tadpoles swimming about. I was charmed when I noticed one of these larval amphibians use a leaf to camouflage its movements as it darted to and fro in a shallow pool. That’s one way to trick a bird looking for a snack!

A gopher snake lounges on the trail in Sullivan Canyon.

(Jaclyn Cosgrove / Los Angeles Times)

I was admiring the chaparral growing up the canyon walls and the late-blooming wildflowers when I gasped. A few feet ahead, a snake sunned itself on the trail. I used iNaturalist, a citizen science app, to photograph the reptile. The app AI identification system informed me it was 82% sure this was a gopher snake. I laughed to myself, thinking about telling the rescuers after I was struck, “I was 18% sure it wasn’t a rattlesnake!” I passed without issue, but will note that both species are common sights in the canyon.

You do not have to hike the entire length of the trail to enjoy Sullivan Canyon. Because the first 2 miles in are fairly flat, this is a great hike for when you’d like to walk and talk with a friend. Or you could bring a child who needs to frolic, as there are multiple large old trees with thick branches low to the ground, tempting even an older millennial outdoors journalist to try to climb them.

The only downside to this hike is the parking situation. When I arrived, I quickly realized my first task would be to solve a bureaucratic riddle. There were signs noting parking was prohibited from 7 a.m. to 7 p.m. and then other signs with just arrows pointing in various directions.

Puzzled, I asked a driver in an REI shirt who was standing nearby, as I figured they were probably outdoorsy. They confirmed that amid the arrows, there were gaps where people are allowed to park. As I packed up my bag to head on the hike, feeling semi-confident that my car wouldn’t be towed, a mountain biker pulled up next to my car and asked where he could park. I laughed to myself, suddenly a newfound expert on where to park on Queensferry Road! (And if you want the history of how and when these parking restrictions went into place, you can read this 1998 Times story.)

But even with the parking headaches, Sullivan Canyon remains a treasure worth exploring for the shade, light breeze and beauty it offers to early-morning hikers.

Left, Millard Creek runs alongside this hike to the Dawn Mine; and right, a view of the San Gabriel Valley and beyond from the Millard Canyon area.

(Jaclyn Cosgrove / Los Angeles Times)

2. Dawn Mine Trail

Distance: About 6 miles out and back
Elevation gained: About 1,550 feet
Difficulty: Moderate
Dogs allowed: Yes
Nearest to: Altadena
Accessible alternative: Gabrielino Trail near NASA’s JPL

This 6-mile jaunt to the Dawn Mine offers hikers a shade-lined path along Millard Creek where it’s common to spot California tree frogs and newts, along with a host of native shrubs and trees.

To begin your hike, you can either parallel park near Nuccio’s Nurseries, taking care to obey all parking signage, or if those spots are all taken, park nearby and order a rideshare to drop you at the trailhead. I had cell reception with Verizon here, so it should be possible to order a ride back to your vehicle.

Millard Creek in Angeles National Forest.

(Jaclyn Cosgrove / Los Angeles Times)

From here, you have two options to reach the Dawn Mine trailhead.

1. Follow Chaney Trail road for a mile until you reach Mt. Lowe Motorway (called Mt. Lowe Road on some maps), where you’ll turn east. Chaney Trail road offers limited shade, so start early.

2. Walk about half a third of a mile north from Nuccio’s, and then near a bend in the road you’ll take the Chaney Trail, a winding dirt path north, for about half a mile where it’ll meet up with Mt. Lowe Motorway. (This option is also about a mile, although distance will depend on where you park.)

Headed northeast-ish on Mt. Lowe Motorway, you will walk just over a third of a mile before heading off the pavement and onto a trail. You’ll reach Millard Creek in about two-thirds of a mile.

You’ll head east and northeast until reaching Dawn Mine, which former Times outdoors writer John McKinney noted was a literal gold mine from 1895 through the 1950s. These days, it’s a figurative gold mine for local history buffs or those who want to take a cool selfie.

Millard Creek in the San Gabriel Mountains near Altadena, as seen in January.

(Jaclyn Cosgrove / Los Angeles Times)

It is not safe to enter the mine, but you can enjoy the frigid breeze coming out of its mouth. Mountain air-conditioning!

I’d advise turning around from here. You might notice on your map that it’s possible to make a loop, and although that route offers great views, it’s exposed and not ideal on the hotter days of summer.

Franklin Canyon Reservoir north of Beverly Hills.

(Jaclyn Cosgrove / Los Angeles Times)

3. Franklin Canyon Park loop

Distance: 1.2-mile loop with options to extend (see map)
Elevation gained: About 200 feet
Difficulty: Easier end of moderate
Dogs allowed? Yes
Nearest: The hillsides between Beverly Hills and Studio City
Accessible alternative: Franklin Canyon Drive loop

Franklin Canyon Park is 605 acres of public land north of Beverly Hills that features chaparral and oak woodlands. The park has three bodies of water: the 3-acre Franklin Canyon Lake, Heavenly Pond and Wild Pond.

To reach the park, you’ll enter through either the northern or southern gate. (The northern gate was closed for months while the L.A. Department of Water and Power completed a project.)

Take good care as you drive into the park, as there are a few tight corners with low visibility.

Upon arrival, I’d recommend taking a 1.2-mile loop, which I’ve mapped out here, that will take you past the lake and ponds and up into the park’s hillsides. Whenever I’ve visited the park, I’ve found it to be cooler than the nearby neighborhoods, thanks to its water and abundant shade provided by oaks, sumac and other trees.

To begin your hike, you’ll park in the large dirt main parking lot. Head south on Franklin Canyon Drive, where you’ll quickly find a trail entrance with wooden steps that lead down near Franklin Canyon Reservoir. I hope you’re greeted by the sound of quacking waterfowl like I was!

Continue in the southerly direction, appreciating the gnarled coast live oaks and sound of shy red-eared sliders plopping off their logs into the water. This short trail will lead you back up to the road where you’ll walk south for just a bit before turning onto the gentle path that loops around Heavenly Pond. This is an especially good spot to find turtles and ducks.

A turtle rests on a hunk of wood in the Heavenly Pond in Franklin Canyon Park.

(Jaclyn Cosgrove / Los Angeles Times)

From Heavenly Pond, continue south on the paved road, following it past the private residence to the wooden steps at the reservoir’s southern end. Take these stairs down onto Chernoff Trail. You’ll quickly spot toyon and pine trees, among other natural delights. Soon, you’ll bear right (or northeast) to take stairs onto the road. Cross the road and continue northeast onto the trail. Take the next set of steps up past thick bunches of black sage.

Continue north on Blinderman Trail, following as it bears east before it loops back around west. Along the way, you’ll pass well-maintained benches and bridges. If it’s already sunny out, please consider shortening your jaunt up these steeper trails in Franklin Canyon and consider repeating your excursion around the ponds.

At any point you need to refill your water bottle, there are water fountains near the Eugene and Michael Rosenfeld Auditorium, which is just southeast of the main lot.

***

Wild writer Jaclyn Cosgrove takes a turn on a tree swing attached to a sturdy coast live oak branch in Sullivan Canyon.

(Jaclyn Cosgrove / Los Angeles Times)

We are so lucky to have an abundance of public land tucked throughout L.A. I hope you find blissful shade, trickling streams and the experience you need out there!

3 things to do

Hikers talking and connecting on a previous Better Future Club hike.

(Amanda Sayeg)

1. Make new friends on a hike in L.A.
The Better Future Club will host a short hike at 9:30 a.m. Saturday in Griffith Park. Participants will gather at the Trails, a cafe in the park, before heading out. Register at luma.com.

2. Chill out with the mountain chickadees near L.A.
The Antelope Valley Audubon Society will host a birding field trip from 8 a.m. to noon Saturday at Chilao Visitor Center in Angeles National Forest. All experience levels welcome. Society members will bring extra binoculars, but guests are encouraged to bring their own if they have a pair. Register at eventbrite.com.

3. Saunter down Santiago Creek in Orange
The Santiago Creek Greenway Alliance will host a five-mile community bike ride from 1 to 3 p.m. Sunday in Orange. Riders will meet at the Sports Center at Grijalva Park parking lot (368 N. Prospect in Orange). The group will take the Santiago Creek Bike Trail to the Santiago Park ECO Center in Santa Ana. Register at eventbrite.com.

The must-read

The Hansen Dam Aquatic Center in Lake View Terrace is said to be the largest pool in America. The center features public swimming, its own beach, pedal boats, a large water slide and fishing.

(Kayla Bartkowski / Los Angeles Times)

I personally love “Gray May” and “June Gloom,” the times when Los Angeles is overcast for several days in late spring and early summer. It makes choosing a hike easy, as I don’t need to exclude every single exposed path or fire road from the possibilities of where I will go on a particular day. We are now entering what I’ve laughingly dubbed, mostly in my head, “You Fry July!” Although the L.A. temperatures are nothing like what my friends and family back in Oklahoma are experiencing, our dry heat is getting hotter as we move more fully into summer. That’s why, instead of hiking, consider taking a dip at one of these 24 affordable L.A. pools. Or take a dip after a morning hike. Either way, stay cool, stay hydrated and stay safe, friends!

Happy adventuring,

P.S.

Two weeks ago, I wrote about great first-come, first-served campgrounds near L.A. where you can often find a spot, even when arriving last minute. A reader later commented on my story that Google Maps had taken them on a harrowing back road to reach Horse Flat Campground. My heart dropped, as I worried I had sent a Wild reader into danger. I quickly checked which route Google Maps was recommending — and I got big mad. Google Maps was showing that Angeles Crest Highway was closed just east of Red Box Picnic Area, which was inaccurate. I contacted Google (crickets from them) and the California Department of Transportation, who quickly corrected the route to accurately portray where the highway is actually closed. The best way to know about closures along Angeles Crest Highway is to check the California Department of Transportation’s QuickMap tool. Please be safe out there!

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

WASHINGTON — The Senate unanimously approved a measure Tuesday that would make daylight saving time permanent across the United States next year.

The bipartisan bill, named the Sunshine Protection Act, would ensure Americans would no longer have to change their clocks twice a year. But the bill still needs approval from the House, and the signature of President Biden, to become law.

“No more switching clocks, more daylight hours to spend outside after school and after work, and more smiles — that is what we get with permanent daylight saving time,” Sen. Ed Markey (D-Mass.), the original co-sponsor of the legislation, said in a statement.

Markey was joined on the chamber floor by senators from both parties as they made the case for how making daylight saving time permanent would have positive effects on public health and the economy and even cut energy consumption.

“Changing the clock twice a year is outdated and unnecessary,”said Sen. Rick Scott (R-Fla.).

“I’ve said it before and I’ll say it again: Americans want more sunshine and less depression — people in this country, all the way from Seattle to Miami, want the Sunshine Protection Act,” added Sen. Patty Murray (D-Wash.).

Nearly a dozen states across the U.S. have already standardized daylight saving time.

Daylight saving time is defined as a period between spring and fall when clocks in most parts of the country are set one hour ahead of standard time. Americans last changed their clocks on Sunday. Standard time lasts for roughly four months in most of the country.

Members of Congress have long been interested in the potential benefits and costs of daylight saving time since it was first adopted as a wartime measure in 1942. The proposal will now go to the House, where the Energy and Commerce Committee had a hearing to discuss possible legislation last week.

Rep. Frank Pallone (D-N.J.), the chairman of the committee, agreed in his opening statement at the hearing that it is “time we stop changing our clocks.” But he said he was undecided about whether daylight saving time or standard time is the way to go.

Markey said Tuesday: “Now, I call on my colleagues in the House of Representatives to lighten up and swiftly pass the Sunshine Protection Act.”

ARLINGTON, Texas — In a World Cup boasting a galaxy of stars, a lunch-bucket team of blue-collar everymen may wind up outshining them all.

Spain punched its ticket to the final Tuesday by smothering France 2-0 at AT&T Stadium, running its unbeaten streak to 37 games while eliminating a team that had run roughshod through the tournament.

And it wasn’t even close. France came into the game with 16 goals, second only to Argentina in the tournament, then failed to put a shot on goal in the first 81 minutes

It had Kylian Mbappé, who is tied with Lionel Messi for the scoring lead this summer and was the Golden Boot winner four years ago in Qatar. He was all but invisible until, frustrated, he felled Spanish keeper Unai Simón with a cheap shot in the final minutes, drawing a well-deserved yellow card.

France couldn’t even score into an open net, with Desire Doue lining a low shot right at a rapidly retreating Simón, who had come well off his line and left the goal unattended. For Simón, Tuesday’s clean sheet was his sixth in seven games in this tournament.

Spain will meet the winner of Wednesday’s second semifinal between England and reigning champion Argentina on Sunday at MetLife Stadium in East Rutherford, N.J.\

France’s Kylian Mbappé reacts after losing to Spain during a World Cup semifinal in Arlington, Texas, on Tuesday.

(Julio Cortez / Associated Press)

“Whoever comes, comes,” teenage center back Pau Cubarsí said in Spanish. “I don’t think I want any of them. Let it be God’s will. We’re going to New York and then we’ll figure out who needs to come.”

Winning with defense may not be attractive, but it’s certainly been effective. And for Spain, the approach certainly fits with its team-first mentality.

“There was some talk that our defense and goalkeeping weren’t up to par. But I think we’ve silenced a lot of critics,” Cubarsí said. “We’ve only conceded one goal and we’re in the final.

“This is a team effort, both those who play and those on the bench.”

Added right back Pedro Porro: “We’re just continuing to work with humility. We’ve been doing things right and building on our strengths. We’ve also been correcting the things we haven’t done well. We’re just taking it step by step.”

It wasn’t so much that France played poorly, although they did. It was that Spain forced them to play that way.

France had never trailed in the tournament, but it fell behind in this one on Mikel Oyarzabal’s successful penalty shot in the 22nd minute. Lucas Digne was called for the foul when he chested down an errant pass from Spain’s Marc Cucurella on the edge of the 18-yard box, then reached out his left boot to control it, only to catch the leg of Spain’s Lamine Yamal who was charging in from the blind side.

Salvadoran referee Iván Barton immediately pointed to the spot and Oyarzabal stepped up and obliged, beating French keeper Mike Maignan into the side netting at the right post for his fifth goal of the tournament. The score was the first Maignan had allowed in the knockout rounds, snapping a 360-minute scoreless streak and it would be all Spain would need to get to the final for the first time since 2010, when it won its only World Cup.

Spain goalkeeper Unai Simon makes a save in front of France’s Theo Hernandez during a World Cup semifinal in Arlington, Texas, on Tuesday.

(Jessica Tobias / Associated Press)

Maignan didn’t do any better on the second shot he faced, this one coming 13 minutes into the second half when Porro came in alone on the keeper, then used his right foot to flick the ball by the goalkeeper to double Spain’s lead.

“My son couldn’t come today because he’s feeling a little under the weather with a fever,” said Porro, who dedicated his goal to the boy. “It was a mix of emotions because he couldn’t be here, and then his dad scored a goal.

“I wanted to look out at the stands and the only people there were my partner, my father-in-law and my physical therapist.”

For Porro, the goal was a measure of redemption as well. There were doubters when coach Luis de la Fuente named him to the World Cup team and those critics grew louder when De la Fuente made him a starter.

But those critics fell notably silent Tuesday.

“I don’t have to prove anything to anyone,” Porro said. “Obviously, I never imagined — not even in my wildest dreams — that I’d be playing in this World Cup the way I am.

Spain’s Pedro Porro celebrates after beating France during a World Cup semifinal Tuesday in Arlington, Texas.

(Florencia Tan Jun / Getty Images)

“But it’s also thanks to my teammates, and thanks to the coach for the confidence he’s shown in me from the very beginning.”

Spain hasn’t lost a game in the knockout phase of a World Cup since 2006 — when it fell to France — playing to draws in the round of 16 in the last two tournaments before being eliminated both times on penalties. They didn’t let it come down to that this time.

“We’re in a final. It’s a once-in-a-lifetime experience,” said Cubarsí, 19. “Maybe I’m still too young for everything I’m going through right now. But soccer is something to be enjoyed. Opportunities will come your way if you’re willing to make sacrifices and all that.”

For French coach Didier Deschamps, meanwhile, the loss marked his penultimate game with a team he’s taken to two World Cup finals in 15 years as coach. He had earlier announced he would be stepping aside after the tournament. Instead of capping raucous Bastille Day celebrations in France with a trip to the World Cup final, Deshamps and his squad will travel to Miami to play in the third-place game.

Some players knelt at the final whistle, head down, staring at the turf.

“There’s obviously a lot of disappointment,” Deschamps said. “The players are devastated because we had high hopes. Even so, we have to be realistic and acknowledge that today we were a step behind technically against a team that played very well.

“It’s our fault, first and foremost.”

Well, not really. The credit should go to Spain.

“Writers are always selling somebody out,” Joan Didion once wrote. She was talking about journalists, but it can be just as true of novelists. Whether the genre is romantasy or autofiction, making up stories often demands making up stories about real people — exploiting them — to serve a narrative purpose.

Cali Adeline’s debut novel, “People Watching in the Desert,” gives this thorny ethical business an impressively complex treatment for a book that comes on like a beach read. Sonny, its hero, has checked into Sanctuary, a spendy Phoenix-area resort, for an extended stay. She’s 25 and unemployed, and it’s unclear at first how she acquired the funds to splurge on an on-site cottage with a pool, 90-minute massages, and various forced-fun adventures. It’s also unclear why she chose a five-star resort for the splurging, given her discomfort with everything from the menu on down. Sitting down for dinner alone, she “discreetly googled some of the words on her phone under the table: cotija, calabacitas, tabbouleh, bisque.”

Adeline lays out a breadcrumb trail that eventually reveals that Sonny has lugged some especially heavy personal baggage to Sanctuary. Her neglectful, addict mom died when she was a child, only to be replaced with a repressive, overprotective grandmother who stomped on her every ambition. Early adulthood has been defined by failed relationships and uninspiring work. People are to be feared: She’d sooner indulge in croquettes at the resort’s cocktail party than make small talk with other vacationers, and when she braves the world outside her cottage it’s usually with a notebook in her hand.

The early pages of “People Watching” weave Sonny’s perspective with brief sketches of her fellow resort-goers, which usually open with godlike authority: “Allana was ten feet tall and beautiful.” “Chloe and Mark had been married for seven blissful years.” “Dale was invisible. He had that way about him.” The odd bluntness of these statements, combined with their touches of surreality (“ten feet tall”?), makes clear that these mini-bios are scribblings from Sonny’s notebook. Terrified of the world, but determined to better understand what she’s been excluded from for so long, she’s determined to imagine her way into reality.

Sonny’s Walter Mitty-like imaginings do some valuable double duty in the novel. For one thing, they offer some necessary conflict in a setting that’s all about relieving tension. Resorts are, almost by definition, boring, but as Sonny hangs out poolside or does yoga or endures a singing bowl, her mind (and the novel) is reeling with imagined infidelities, deaths, gambling debts and other domestic dramas. Second, her sketches serve as character-defining examples of projection on Sonny’s part, as her observations of others reveal her own concerns about love, sex, money and rejection.

And, of course, she’s deflecting, too — better to make up drama about others than confront her own. The memories Sonny eventually surfaces are more potent than anything she makes up. But they’re also crueler, and you can understand why she’ll think and write about anything but. She recalls a time as a child when she was neglected for days on end and braved a trip to a neighbor for help. “The woman asked Sonny when the last time she took a bath or changed her clothes was and Sonny didn’t know the answer. Her only response was, ‘I’m four,’ as she proudly held up five fingers,” Adeline writes. “She was three.”

Remember the words “beach read” up there? It’s not difficult to predict how Sonny’s arc will curve: It’s a Walter Mitty story, but also an Ugly Duckling story. That notebook full of mini-dramas becomes a source of drama in itself. Say, that bartender is pretty cute, isn’t he? And Sonny eventually integrates with a few of her fellow resort-goers, and learns there’s more to them in reality than her imaginings. As one character gently chastises her, “People can surprise you, Sonny, but you have to let them.”

The pat-ness of Sonny’s Sanctuary journey makes her yet another entry in an evolving genre you might call “Is This Character Concussed?” In these novels, the main character has been so absurdly addled by a (late-revealed) trauma that everyday human interactions are wildly aglow with (at first) terror or (later) manic-pixie wonder. Prime examples include Gail Honeyman’s “Eleanor Oliphant Is Completely Fine,” Sayaka Murata’s “Convenience Store Woman,” and multiple characters in the oeuvre of Sally Rooney and Ottessa Moshfegh. (Women are the most common character in these books, but guys can play too: See Fredrik Backman’s “A Man Called Ove.”) Socially awkward characters offer an opportunity for dry humor and deadpan prose. Because these stories have to dramatize a search for normalcy, its leads tend to be awkward in ways that strain credulity.

But you don’t have to wholly buy into the idea of a character like Sonny to find something intriguing about what Adeline is saying about storytelling throughout “People Watching.” In Sonny’s notebook, every observation is a moral choice, a mini-essay about what proper conduct is, what failure is, how you might get past it, and what our responsibilities to others might be. A notebook is a place of wish fulfilment, and a place for vengeance. Sonny explains at one point that she only started to get free of her grandmother’s clutches once she was capable of imagining her violently erased:

“I wrote a story. About her. And how one day while I was at work the house caught fire. Which wasn’t that far-fetched because the whole place really was a fire hazard. And … and … well, she was asleep inside the house, in the story, and didn’t make it out. I didn’t mean it. I was angry. And it was a story.”

Adeline stresses the word “story” three times in one brief passage. Sonny wants to reassure everybody that she was just making it up. But no writer is, not entirely.

Athitakis is a writer in Phoenix and author of “The New Midwest.”

Walt Disney Co.’s “Moana” lost its way at the box office this weekend as the company’s latest live-action remake opened to a sluggish $43 million in the U.S. and Canada.

The domestic haul for “Moana” underperformed studio expectations, which ranged from $60 million to $65 million. Globally, the film brought in a total of $95 million on a production budget of about $250 million.

Despite its lackluster debut, the film still came in first at the box office during a weekend where it had few new competitors in the family film space.

The “Moana” franchise has been a box-office and streaming juggernaut. The original 2016 animated movie brought in more than $643 million worldwide and is the most-watched movie on Disney+, while a 2024 sequel grossed more than $1 billion at the global box office. On the merchandise side, more than 22 million “Moana”-themed toys have been sold. “Moana” also appears in the Disney theme parks.

But the theatrical reception for the live-action film may signal that audiences think there’s been too much “Moana” in just 10 years. (The 2024 film sequel was originally set to be a streaming series before it was moved to Disney’s theatrical calendar.)

Most of Disney’s previous live-action remakes have come decades after the original animated movie, such as 2025’s “Lilo & Stitch,” which arrived 23 years after its animated predecessor and grossed more than $1 billion in worldwide box office receipts.

The theatrical haul for the latest “Moana” may also have suffered from poor reviews — the film got a 34% on aggregator Rotten Tomatoes, with several critics highlighting its nearly frame-by-frame similarity to the original film. The audience score on Rotten Tomatoes, however, was 90%.

Still, as the last of this summer’s major animated films, “Moana” could see a longer tail in theaters, particularly with many children still on break from school. Disney’s live-action “Mufasa: The Lion King” opened in 2024 to a middling $35 million, but ended up grossing more than $722 million globally through the holiday season.

Universal Pictures and Illumination’s “Minions & Monsters” came in second at the domestic box office this weekend with $20.5 million. Disney and Pixar’s “Toy Story 5” continued its strong run with an $18.5-million haul, enough for third place and contributing to a total global gross of $879.1 million.

Warner Bros.’ “Evil Dead Burn” ($13.7 million) and Angel Studios’ “Young Washington” ($6.4 million) rounded out the top five.

Also notable this weekend: Lionsgate’s musical biopic “Michael” crossed $1 billion in worldwide box office revenue, the first time that the studio has reached that milestone and the second film this year after “The Super Mario Galaxy Movie” to hit that mark.

It’s a Tuesday evening, just before sunset, and I am in a meadow thrashing an air guitar with a dozen strangers in Griffith Park.

We take the lyrics to Prince’s “Let’s Go Crazy” literally as we gyrate and bend to the song’s iconic guitar solo, which lasts almost 45 seconds. Huffing and puffing, we leave the meadow, laughing together at the beautiful end of the hourlong “silent disco” hike we completed along one of the park’s dirt trails.

I stay for an extra 45 minutes, talking to two other dancers whom I hope become future friends — and that we all dance together again soon.

That night, I participated in Dance Quest’s silent disco hike, a new way to experience Griffith Park where participants shimmy and shake on a trail alongside L.A. improviser and comedian Kristen Smith.

For a suggested donation of up to $25 — Smith emphasizes that no one will be turned away for lack of funds — participants don headphones and hike as they listen to a playlist that Smith has curated. That Tuesday night’s playlist included Donna Summer, Madonna and Carly Rae Jepsen (whom Smith unapologetically stans).

Smith plans to host at least two night hikes a month, but will schedule more if those events sell out. She’s taking a brief pause, though, because her wife gave birth to their second child last Thursday.

Dance Quest leader Kristen Smith pumps her fists in the air on an overlook along a trail in Griffith Park.

(Jaclyn Cosgrove / Los Angeles Times)

I’m kind of an experiential purist when it comes to hiking — never headphones, never music. I love putting my phone away and just being there with the trees and bees. I couldn’t help but wonder: Would this silent disco ruin or enhance the outdoors experience?

I was pleasantly surprised by the answer, but I think it largely depends on who leads the dancing.

Smith, a tribal member of the Chickasaw Nation who identifies as two spirit and uses she/they pronouns, said they were inspired to start Dance Quest while on a trip to Scotland in 2024 to celebrate their mother’s 70th birthday.

Kristen Smith of Dance Quest leads hikers on a silent disco trek through Griffith Park.

(Jaclyn Cosgrove / Los Angeles Times)

While out and about, Smith and her mom spotted Guru Dudu, a character created by Melbourne-based performer David Naylor, leading a silent disco through the streets of Edinburgh.

“That looks fun,” Smith’s mom said.

They both signed up for a tour, led by Dudu, who wore a purple sequin jumpsuit.

“We danced through the very crowded streets of Edinburgh, and it was the most fun I’d had in such a long time,” Smith said.

L.A. artist Heidi Neilson, center, dances alongside other silent disco hikers in Griffith Park.

(Jaclyn Cosgrove / Los Angeles Times)

Smith, who’d spent years performing on stages throughout L.A., had been stuck inside and away from people for much of the COVID-19 pandemic.

In summer 2021, just as vaccines were becoming available and it was becoming safer to gather with groups indoors, Smith was diagnosed with follicular lymphoma, a type of non-Hodgkin lymphoma.

Smith’s summer was soon full of surgeries and tests until they started chemotherapy that September, receiving a dose every three weeks until early 2022, when their doctors switched Smith to chemotherapy every three months.

Smith’s treatment was going well, but that didn’t mean an immediate return to normalcy was on the horizon. Her doctors said Smith and her family needed to assume Smith’s COVID-19 vaccine didn’t give her immunity to the virus.

As Smith watched her friends return to a semblance of their pre-pandemic lives, she worked inside at her Nickelodeon job, grateful for health insurance and employment in the entertainment industry, but missed the joy and connection that comes with performing.

Kristen Smith of Dance Quest is surrounded by silent disco dancers in Griffith Park.

(Jaclyn Cosgrove / Los Angeles Times)

Smith kept wondering how they could find a way to remain active and connect with others. Plus, being outside remains the safest option for Smith to be around people, as the type of cancer they have is not considered curable and is managed like a chronic illness.

“I know that one of the things that I offer to the world is joy and sparkly effervescence,” Smith said. “I was like, ‘What can I do to be my own boss, is something that’s of service to people in this time of darkness and is also good for me as well?’”

During the silent disco in Edinburgh, Smith realized as they danced alongside others that they felt like they were performing and letting go in a way they hadn’t been able to do in a long time. “When we finished, I was like, ‘I can do this,’” Smith said.

Smith told their mentor at Nickelodeon about their idea to start Dance Quest and they immediately encouraged them to give it a shot. Smith bought the equipment the next week and launched Dance Quest, her company that hosts the silent disco hikes, earlier this year. After doing a test run with friends and family, they started hosting events in the park.

When I arrived to the silent disco, I quickly met my fellow dancers, a welcoming group of people ages 5 and older. I liked that I could adjust the volume on my headphones rather than listen to music all at the same volume.

Holly Gray, an L.A. event planner, throws her arms in the air alongside other dancers in Griffith Park.

(Jaclyn Cosgrove / Los Angeles Times)

We took a wide dirt path in the park that’s not as popular as other routes, which allowed us to spread out and really do whatever we wanted. I quickly realized this was primarily going to be a lot of frolicking to a good beat, which was exactly what I wanted.

Along the way, Smith pointed out invasive plants like black mustard and native plants and animals that live in the park. Whenever a hiker headed our way, we made a tunnel of “spirit fingers” for them to pass through, which I detected 95% of people actually enjoyed. In today’s fast-paced and often negatively focused world, it’s kind of nice to turn a corner and find strangers cheering for you.

Smith, who taught improv to children, teenagers and business professionals, will not force participants to dance. That isn’t the purpose of Dance Quest.

Kristen Smith of Dance Quest, center, leads two children along a dirt path in Griffith Park.

(Jaclyn Cosgrove / Los Angeles Times)

Rather, it’s to find joy with others and escape the harsh political environment that queer and BIPOC people face on a daily basis.

“When you put on the headphones, you forget how you look, and hopefully I provide a no-pressure environment where, however your body tells you to move, you move that way,” Smith said. “And there’s strength in numbers with the silent disco.”

3 things to do

Families play volleyball at an L.A. County overnight camping event at a local park.

(Los Angeles County Department of Parks and Recreation)

1. Camp with family and friends around L.A.
Los Angeles County Parks and Recreation will host family campouts on weekends in July and August at five of its parks. That includes campouts at Castaic Lake Recreation Area at 6 p.m. Friday; Frank G. Bonelli Regional Park in San Dimas at 6 p.m. Friday; Kenneth Hahn State Recreation Area at 6 p.m. July 17; and 6 p.m. July 24 at Santa Fe Dam Recreation Area. Those parks, along with Whittier Narrows Recreation Area, will host additional family campouts in August. General admission is $15. Children age 13 and younger are free. To register, visit anc.apm.activecommunities.com.

2. Clear out streambeds in L.A.
Friends of Griffith Park needs volunteers from 8:30 to 11 a.m. Saturday in the park’s Fern Dell hiking area. Participants will clean streambeds and trails, yanking weeds and restoring habitat. Learn more at friendsofgriffithpark.org.

3. Kayak the L.A. River near Van Nuys
L.A. River Expeditions will host a two-hour kayak tour at multiple times Saturday through the Sepulveda Basin, a lush area of the Los Angeles River. Paddlers will move through the tree-lined, mud-packed riverbanks, observing local fish and birds. Trips are at 9 a.m., 12:30 p.m. and 3:30 p.m. Tickets are $53.74. Register at eventbrite.com.

The must-read

Mary Saba Tehran takes part in a Mindful Archery class at the Woodley Park Archery Range in Van Nuys.

(Eric Thayer / Los Angeles Times)

Times staff writer Deborah Vankin recently learned via a bow and arrow the importance and freedom that can come with literally letting go. Vankin wrote about her experiencing at Mindful Archery, a course led by spiritual counselor and archer Angie Fadel at Woodley Park Archery Range in Van Nuys. Fadel said her goal is to help female and BIPOC participants release something holding them back or take aim at a goal. “An archery range can be a very white, male-dominated space,” she said. “And the stance, with a bow and arrow in your hand, shooting — it’s very male. And [men] don’t have any problem, most of the time, taking up space. So it is a practice to remind ourselves, as a queer woman, a trans person, nonbinary person, anybody that’s kind of othered in our society, to be able to take up space. To adopt a power stance and be, like, ‘I’m allowed to be here.’”

Happy adventuring,

P.S.

Great news! State lawmakers have selected the California State Library park pass to receive ongoing funding in future budget cycles. Previously, lawmakers had to approve funding every year for the program to be added into the state’s budget, according to the California State Parks Foundation. This development means Californians will be able to check out a state parks pass for free at their local library for the foreseeable future, unless a governor or the Legislature announces otherwise. In L.A. County, participating parks include the Antelope Valley California Poppy Reserve, Leo Carrillo State Park, L.A. State Historic Park and Malibu Creek State Park. You can find out which library near you offers the pass by visiting this interactive map. Have fun out there!

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

Justin Bieber better be a fast singer.

The World Cup final halftime show already was going to feature three superstar acts with 121 Billboard Hot 100 hits, 20 No. 1 singles and 12 Grammy Awards among them.

Somehow that must not have been enough star power, because another performer with 123 hits, eight chart toppers and two Grammys has been added to the lineup.

Bieber was announced Wednesday as the fourth co-headliner for the July 19 intermission extravaganza at MetLife Stadium in East Rutherford, N.J., joining South Korean boy band BTS, U.S. pop culture icon Madonna and Latin music superstar Shakira.

Four gigantic worldwide acts might seem like a lot to cram into an 11-minute (!) show, but apparently curator Chris Martin doesn’t see it that way. In addition to the quartet of headliners, Martin also has lined up Nigerian Afrobeats performer Burna Boy, soon-to-be-departing Los Angeles Philharmonic conductor Gustavo Dudamel and Staten Island elementary school choir the PS22 Chorus (which will be performing with Martin’s band Coldplay).

Oh yeah, the Muppets will be there, too. Bieber will be lucky if he gets a chance to sing a bar or two from a list of hits that includes “Peaches,” “Sorry,” “Love Yourself” and “Daisies.”

Nonetheless, he seems happy to be part of the festivities, which will support the FIFA Global Citizen Education Fund, weeks after attending the U.S.-Paraguay game at SoFi Stadium, where he gave a surprise performance of his song “Yukon” in a backstage area.

“The FIFA World Cup brings the world together in a way nothing else can,” Bieber said in a statement. “I’m grateful to be part of this Halftime Show, and even more grateful knowing it’s already helping expand access to education for children around the world.”

One song that is sure to be featured during the set is this year’s World Cup anthem, “Dai Dai,” by Shakira and Burna Boy. The two acts already performed the song during the tournament’s opening ceremony in Mexico City.

Speaking of hit collaborations, Madonna recently charted with “Bring Your Love,” a duet with Sabrina Carpenter. Not to start any rumors, but surely they can squeeze one more pop superstar onto that stage, right?

The fatal shooting of a Houston man by a federal immigration officer Tuesday marks at least the eighth death during the Trump administration’s immigration enforcement campaign, and the first fatality amid a newly intensified push by the administration to carry out its mass deportations agenda.

Department of Homeland Security officials said in a statement that Lorenzo Salgado Araujo, a Mexican national, ignored commands while trying to evade arrest during an enforcement operation. They say he attempted to ram his car into an agent, who opened fire in self-defense.

Araujo’s family said he was on his way to work at a construction job. He died on the way to the hospital.

The fatal shooting drew immediate criticism from immigrants rights groups and some Democrats who called for an independent investigation and for all footage, communication and evidence to be preserved.

Video footage in several previous shootings has contradicted the accounts of federal officers. No immigration officers have been charged in those fatal encounters.

Man shot during vacation trip traffic stop

A fatal late-night traffic stop in Texas in March 2025 marked the earliest deadly shooting by federal officers during the nationwide immigration crackdown. It took almost a year for records in the fatal shooting of the 23-year-old U.S. citizen to be disclosed.

A Homeland Security Investigations team was conducting an immigration enforcement operation with local police when agents stopped Ruben Ray Martinez, who was on his way from San Antonio to South Padre Island. Family members said he had just turned 23 and was with his best friend on his way to celebrate.

DHS officials said Martinez was told to exit the vehicle, but he refused and instead “intentionally ran over” an agent. Another agent fired shots through the open driver’s window, striking Martinez, who died at a hospital. The HSI agent was treated for an undisclosed knee injury.

Martinez’s mother said she was contacted by investigators with the Texas Rangers who told her there was video that contradicted the account given by federal agents. Federal and state authorities have declined to comment on potential discrepancies.

Nurse shot during Minneapolis protest

A Border Patrol officer shot and killed Alex Pretti, a 37-year-old nurse, during a Jan. 24 protest against the Metro Surge immigration operation in Minneapolis.

Federal authorities immediately described Pretti, a U.S. citizen, as an armed agitator who was a threat to officers. But bystander video showed Pretti was on the ground and had been holding a cellphone during the interaction with officers.

The video showed an officer appearing to pull a gun from Pretti’s waistband and step away before the first shot was fired by another officer, followed by more shots. Pretti had a permit to possess a firearm.

State and local officials pushed back against the federal officials’ initial characterizations of Pretti, with Gov. Tim Walz calling the comments “despicable.”

Driver shot behind the wheel of an SUV

Renee Good, a U.S. citizen, was repeatedly shot by an Immigration and Customs Enforcement officer in Minneapolis on Jan. 7. Videos show she was turning the wheels of her car away from an officer, Jonathan Ross, when he opened fire. Trump administration officials have repeatedly defended Ross, claiming his life was at risk from the moving vehicle.

Good’s death caused a firestorm across the country. The U.S. Justice Department said it wouldn’t share information on the shooting with state authorities.

State and local officials subsequently sued to try to stop the immigration sweeps. Protesters with whistles trailed officers who, in response, deployed tear gas and other chemical irritants.

Cook from Mexico shot during a traffic stop

ICE agents fatally shot Silverio Villegas González during a traffic stop Sept. 12 in suburban Chicago. Relatives said the 38-year-old line cook from Mexico had dropped off a child at daycare that morning.

At the time, DHS officials said agents were pursuing a man with a history of reckless driving who was in the country illegally. They alleged Villegas González evaded arrest and dragged an officer with his vehicle.

Homeland Security said the officer opened fire fearing for his life and was hospitalized with “serious injuries.” However, local police videos showed the agent walking around and dismissing his injuries as “nothing major.”

DHS has said the death remains under investigation.

Farmworker fell from greenhouse roof during ICE raid

Authorities were arresting dozens of farmworkers July 10 at Glass House Farms in Camarillo when Jaime Alanis fell from the roof of a greenhouse and broke his neck. The 57-year-old laborer from Mexico died at a hospital two days later.

Relatives said Alanis had spent a decade working at the farm. During the raid, Alanis called family to say he was hiding. Officials said he fell about 30 feet from the greenhouse roof.

Homeland Security said Alanis was never in custody and was not being chased by immigration authorities.

Man struck on California freeway after running from officers

A man fleeing from immigration officers outside a Home Depot store in Monrovia died after being hit by an SUV as he tried to cross a freeway on Aug. 14.

Monrovia police said ICE agents were conducting enforcement operations when the man was hit while running across the eastbound lanes of the 210 Freeway.

The man, identified by the National Day Laborer Organizing Network as Carlos Roberto Montoya Valdez, 52, of Guatemala, died at a hospital.

Homeland Security said Montoya Valdez wasn’t being pursued by immigration authorities when he ran.

Gardener from Honduras killed on Virginia interstate

A pickup truck fatally struck Josué Castro Rivera on a highway in Norfolk, Va., as he tried to escape authorities during a traffic stop on Oct. 23.

Castro Rivera, 24, of Honduras, was heading to a gardening job with three passengers when ICE officers pulled over the vehicle, according to his brother, Henry Castro.

State and federal authorities said Castro Rivera ran away on foot and was hit by a pickup truck on Interstate 264.

Homeland Security said Castro Rivera’s vehicle was stopped as part of a “targeted, intelligence-based” operation and that Castro Rivera had “resisted heavily and fled.”

Bynum and Lauer write for the Associated Press. Bynum reported from Savannah, Ga. Lauer reported from Philadelphia. AP reporters Ed White in Detroit; Sophia Tareen in Chicago; and Michael Biesecker in Washington contributed to this report.

Louise Lasser, the star of “Mary Hartman, Mary Hartman,” Norman Lear’s satirical soap opera, has died. She was 87.

Lasser’s friend Susan Charlotte confirmed to the New York Times the actor’s death on Monday in Manhattan.

Lasser was born in New York City on April 11, 1939, to parents Sol Jay Lasser, a tax specialist, and Paula Lasser, a designer. She attended Brandeis University, where she majored in political science and performed in musicals and cabaret. She dropped out her senior year to pursue acting.

“My career started almost too easy,” she told the Times in 1975. “In New York the first agent I met sent me on my first audition, and I was signed for a show-stopping part [a replacement for Barbra Streisand in ‘I Can Get It for You Wholesale’]. After that there was a flood of offers.”

She told the Times that she found it frightening to hit it big with such little training.

“I had to feel prepared,” she said. So, she studied under actor and acting teacher Sanford Meisner and worked hard.

“I feel so strongly that what is worth doing is worth doing the very best you can. But it’s so important to know what you want to do. How you can develop your potentials to the highest, live your life to the richest and fullest.”

Lasser joked in a 1976 article in the Times that her role as Mary Hartman might merit identification beyond being Woody Allen’s ex-wife. The two met in 1962 on a double date — with other people — but their chemistry was potent, and they began working together on various projects, including in her first project for television, “The Laughmakers,” an unaired pilot penned by Allen.

“When we met, I was seeing a friend of his. It was one of those things, well if you think you’re complicated, you should meet so-and-so. And it was Woody,” Lasser told the Toast in a 2013 interview. They “were meant to be in the same playpen,” she said. “Immediately we just connected. He was with somebody … oh, he was married, that’s right. … So, I met him, and it was so clear the whole night the four of us were there, and neither of us are talking to anyone else, do you know what I mean? … We really understood what the other was saying.”

The two were married from 1966 to 1970. Lasser acted in Allen’s “Take the Money and Run” (1969), “Bananas” (1971) and the 1972 film “Everything You Always Wanted to Know About Sex (But Were Afraid to Ask).”

Through the early ’70s, she appeared in various TV movies and television shows including “The Bob Newhart Show” and “The Mary Tyler Moore Show.” Somewhere along the way, the biggest producer in television caught wind of Lasser’s chops and wanted her for his pet project, a parody of sudsy daytime dramas called “Mary Hartman, Mary Hartman.”

During an interview featured in an oral history of American TV by the Television Academy Foundation, Lear said he’d brought the script for the series to a colleague, and they read it and said, “You can’t do this without Louise Lasser.”

“She came in my office, started to read the lines, and forget it,” Lear said. “There’s only one Louise Lasser.”

Lasser, put off by the soap opera nature of the show, turned down the role five times.

“I kept saying, no, it’s just not right,” she said during a 2000 reunion for the show. “I had no job, no money. … I just was that way, so after the fifth meeting, I said to my manager, ‘You mean he’s not going to call again?’

“Then my friend said, ‘You know, I think you really don’t want to say no.’ So I thought to myself my rationalization was, well, maybe it’d be really good for me to work for 52 weeks out of a year.”

Lasser starred as Hartman in 315 of the show’s 325 episodes over the course of an 18-month run.

Happy Birthday, America!

You turned 250 on Saturday and, honestly, you don’t look a day over 249. (Ha ha.)

Seriously, it’s perfectly understandable why there’s more gray on your scalp and deeper worry lines on your face. This last year has been another challenging one, to say the least. (And we thought the one cataloged 12 months ago in this space was rough.)

The country is caught up in an unpopular, on-again, off-again war with Iran that was recklessly launched by President Trump with far more swagger than foresight. In an utterly predictable move, Iran choked off the the Strait of Hormuz, a vital passageway for the world’s oil, sending gasoline prices skyrocketing. Though they’ve fallen since the announcement of a shaky ceasefire agreement, the cost of filling up is still significantly higher than a year ago.

Of course, costlier oil means virtually everything else has become more expensive. Trump was reelected in good part because he vowed to tame inflation on his very first day in office. Instead, it’s reached a three-year high.

The ground beef served up at many July 4 cookouts costs 75 cents a pound more than it did a year ago. A package of hamburger buns is up 15 cents. The price of hot dogs and other picnic staples have also increased, along with just about every other item at the grocery store.

Chew that over with your corn on the cob. (Up roughly 2.5% from July 2025.)

Meanwhile, Trump enriched himself to the tune of $2.2 billion during his first year in office alone. Treating the U.S. treasury like his personal cash cow, the president has lavished hundreds of millions of taxpayer dollars on vanity projects such as a personally kitted out Air Force One — a “gift” from Qatar that Trump plans to keep after retirement — and a gilded White House ballroom, rising where the demolished East Wing used to stand. Plans are underway for a grand, marble arch in Washington celebrating, well, you know who.

At the same time, Trump has squandered money and resources pursuing political vendettas, persecution of his enemies and fruitless investigations like the one probing “theft” of the 2020 election and “vandalism” at the algae-clogged Reflecting Pool he promised and failed to rehab.

All this while millions of Americans have lost healthcare coverage and/or federal food assistance, all thanks to the One Big Billionaire Bounty bill that Trump signed into law a year ago.

It’s all a bit unnerving isn’t it, America? You’re on edge in a way you haven’t been in at least a generation.

In Minnesota, in the dead of winter, two of your citizens were gunned down by federal officers as they engaged in that most American of exercises, registering dissent against the policies of their government. From sea to shining sea, innocent Americans have been arrested — and sometimes shipped abroad — and immigrant communities cower in fear of federal agents who often seem bent more on meeting deportation quotas than meting out justice.

You’re divided, America, in ways no one alive has ever seen.

It starts at the very top. Trump acts as though he’s president of a favored rump group — his political supporters — rather than the nation as a whole. He’s used your 250th birthday not to celebrate those many grand and glorious things that hold us together as Americans but to bask in the tanning-bed glow of his immeasurable self-regard.

But, heck, if it’s any consolation on this star-spangled holiday weekend, the country has been through worse. Much worse. And you, America, have not only survived but in many ways grown stronger by surmounting obstacles, facing down your flaws and overcoming some knee-buckling, soul-crushing challenges.

Slavery. Civil war. Racist exclusionary laws. Genocide against indigenous peoples. Two worldwide conflicts. Depression. Financial crises. And too many deadly natural disasters — fire, floods, earthquakes, hurricanes — to enumerate.

Your treatment of some Americans, it should be said, hasn’t always been fair and just. It still isn’t.

People are despairing over the Supreme Court and its genuflecting deference to the president. The justices of its conservative majority have done just about everything short of handing Trump a crown and scepter to reign as a virtually untouchable, imperial president.

But it’s worth noting that earlier court majorities held that Black Americans — “beings of an inferior order,” in the words of the wretched Dred Scott decision — could be denied citizenship, that racial segregation was constitutional and that compulsory sterilization based on eugenics was perfectly fine from a legal standpoint.

That ugly, sordid history won’t necessarily make anyone feel better about the current state of affairs, nor should it. But it does offer some perspective and, with it, hope.

This weekend is best celebrated honoring the country’s many good things and the bright, shining place that America aspires to be, with liberty and justice for all. So chin up! Have another slice of birthday cake, America, and don’t worry about the calories — you really do look terrific for 250!

Going forward it’s up to us, your citizens, to keep working toward that more perfect union mentioned in the preamble to the Constitution. Whatever ails you, America, the remedy resides with we the people and the power we hold, particularly at the ballot box.

Unhappy with the wrecking crew that’s heedlessly chain-sawed federal programs and allowed Trump to money-grub with both fists, defile the White House and undermine our rule of law? Send a message and vote ‘em out, starting in November’s midterm election. And bear in mind the damage that’s been wrought come the 2028 presidential race.

Don’t stop believing that, as dark and difficult as things may seem right now, better days lie ahead.

That undimmed and abiding faith is what makes America great.

As Dodgers third baseman Max Muncy moved fluidly through a chopper at the edge of Camelback Ranch’s infield grass and made a running throw to first, his offseason work started to snap into place.

He wasn’t thinking about the angle he took to the ball, or how to get into the right position to throw — or anything, really. He was just moving instinctively.

“That’s how I like to field it in my work, is not necessarily traditionally,” Muncy told The Times on Thursday. “I like to field it one-handed, sometimes off the wrong foot, sometimes off balance, and that’s what works for me really, really well. I just couldn’t get that into the game. And finally getting those first couple of balls [this spring] to go that way just made everything click in my head and gave me the freedom to know that I can do it when it matters.”

Muncy has put together an impressive all-around first half. His .871 OPS through Thursday leads NL third basemen. He’s on pace for his highest slugging percentage (.513) in five years. But he’s most proud of the work he’s put in on the defensive side.

“I felt like I would show flashes of this, but never the consistency,” Muncy said. “And so to be able to just do it on the consistent daily basis that I’ve been doing this year, that’s easily what I’m most proud of.”

Now, with that well-rounded body of work, he’s in position to claim the third All-Star selection of his career and first since 2021.

Muncy entered Stage 2 of All-Star fan voting this week as the favorite to claim the starting nod at third base, up against fellow finalist Alec Bohm. But voting totals reset, adding some unpredictability to the process. The All-Star starters are set to be revealed Saturday at 4:30 p.m. on Fox.

“In total, the player, the defense, the hitting, the slugging, I think this is the best version of Max,” manager Dave Roberts said. “I’m so happy that he’s leading the All-Star voting.”

Not only is this shaping up to be Muncy’s best offensive season since 2021, it’s the best defensive season of his career, regardless of position.

Entering this weekend’s series against the Padres, he had a fielding run value of plus-five runs, tied with the Giants’ Matt Chapman for the highest mark among third basemen, according to Statcast.

“He’s always been a hitter,” first-base/infield coach Chris Woodward told The Times. “And I think he took it upon himself to say, ‘I’m going to prove to everybody that I’m a really good defensive player,’ which he has been in his time here, but he’s just never had the opportunity to play one position.”

Though Muncy is in his 11th major-league season, and has played all around the infield for most of it, 2022 marked his first season making the majority of his appearances at third base. And 2023 was his first season moving there full time.

He was also limited by injuries in that span. For years, he still felt the effects of the elbow injury he suffered toward the end of 2021. And he strained his right oblique in each of the last two seasons.

“Third base was just a new position for me, and it just took time to learn it,” Muncy said. “And so just trying to get my work to translate into the game is a tough thing to do, and that’s kind of the secret to every aspect of baseball.”

Each infield position is unique, with its own quirks in footwork, angles and timing. Each has plays — like a slow-roller up the third baseline that requires a quick throw across the diamond — that no other position will encounter.

“When a righty gets around the ball, it comes off the bat a lot different than when a lefty gets around the ball,” Muncy said. “And it’s weird how that works, and it’s hard to explain, but that’s just the way it is.”

For much of Muncy’s baseball life he played on the right side of the infield, fielding pull-side contact from left-handed hitters and opposite-field contact from right-handed hitters. That was second nature.

“You have to completely flip that,” Muncy said of playing third base, “and understand which way it’s going to bounce, how it’s going to bounce, how it’s going to get to you. It just took years of experience to finally get to that point.”

Dodgers shortstop Mookie Betts, left, and third baseman Max Muncy congratulate each other coming off the field after a defensive play against the Baltimore Orioles on June 19.

(Gina Ferazzi/Los Angeles Times)

Woodward has always been impressed by Muncy’s agility, surprised when the Dodgers first promoted him in 2018 (as he returned to the big-leagues for the first time since being released by the A’s the previous spring) and by how he moved at second base, despite an atypical build for a middle infielder.

Now, after an offseason with a new diet and training program, he may have leveled up that part of his game — even at 35 years old.

“In the past it was a good first step, and he couldn’t sustain his speed,” Woodward said. “And this year I think he can sustain the speed through the ball.”

Said Muncy: “I’m still beating the age curve for now.”

Woodward also noted how good Muncy is at staying on top of the mental side of the game, knowing how specific pitches to different types of hitters should change his positioning. That, along with regular communication, are some of the details that make the Dodgers infield look like it’s moving as a unit — or, as Woodward put it, an “NFL defense” because of the way they swarm to the ball.

The Dodgers’ infield defense as a whole has improved even from last season (No. 6 in fielding run value) to sit in the No. 3 spot in the majors (plus-17 runs) a little past the halfway point of the season.

Muncy unlocking even more potential in the hot corner is a big part of the Dodgers raising their defensive ceiling. That’s helped the Dodgers, who own the best record in the majors, create separation in the standings. But it’ll be even more vital in the postseason, when the margin for error is at its thinnest.

In All-Star voting, defense won’t be the determining factor. Muncy’s increased power at the plate is the far flashier aspect of his case to start the Midsummer Classic. But a well-rounded resume doesn’t hurt.

Muncy can picture it: his three children — Sophie Kate, who turns 5 this month, Wyatt James, 3, and Macie Grace, who was born in January — taking in All-Star weekend in Philadelphia, watching their dad represent the National League.

“Being able to have my kids experience the whole ordeal with me would mean everything to me,” Muncy said. “My oldest is kind of old enough now to remember these types of things, and so I think it’d be really special to just share that moment with them.”

In an era hallmarked by what experts call a “sex recession,” Six Sex is a symbol of liberation.

The Argentine baddie fashions herself as a baby-voiced, bikini-clad fembot, beamed in from the clubs of Buenos Aires — and has become known for cheeky, instructive celebrations of desire. Her songs are designed to galvanize like-minded club rats into Dionysian revelry, or, in the case of the song “How to Make Your Ass Bigger,” squats.

To a certain subset of the Latine underground, she represents a pure-hearted hypersexuality. Yet, for the artist behind the persona, Francisca Agustina Cuello, this wasn’t always the intention.

“I don’t know if it was because I still had to keep my innocence or what, but I didn’t envision the project that way,” she said, calling from a hotel room in Barcelona. “That response sort of came about from the people, towards me. So, I said OK, I’m making it my own.”

In doing so, Cuello has churned out six thumping EPs as Six Sex, a campy character that she describes as a “fable” — a mix of “fantasía y hedonismo.”

That dynamic is taken to extremes on her debut album, “Ultra”, released June 6. It’s a dark and propulsive journey through decades of electronic dance music, best described by its own opening words portending “ultra terrorific fantasy.” (The phrase conjures up images of grandeur, but really, it evokes that “Blades of Glory” quote: “no one knows what it means, but it’s provocative.”)

“I feel like nothing I say is all that serious,” she said about her lyrics. “It’s a thing about my personality to be silly and goof around.”

“Ultra” centers Cuello’s winking, suggestive sense of humor. “Not Your Mom” features a conversation with a garbled, omnipotent voice akin to the parents in Charlie Brown; “FUchi!” features schoolyard taunts about “low dickie energy;” the album ends with “No More Porn,” a playful yet powerful subversion of sexual expectations.

“At the same time, for me, that acts as a filter,” she added with a laugh. “Weeding out the people who get scandalized by it, and identifying the people who get it and say: ‘Yas, yo también quiero tener cuatro novios.’”

Earlier this year, Cuello took the stage at Don Quixote, performing in front of a sold-out crowd for her Los Angeles debut. The smell of sweat permeated the air as she ripped through several of her hits — including collaborations with Reysha Rami and German producer MCR-T. Every single one of her signature ponytail flips sent the room into hysterics. The audience screamed every word at the top of their lungs; it was the loudest, most raucous show I’d been to in years.

Cuello took a breather in the middle of her world tour to chat with De Los over Zoom about all things Six Sex: her new record, her writing style and how it feels to connect with fans spun into febrile intensity.

This interview has been condensed for clarity and was translated from Spanish to English.

“[I’m] weeding out the people who get scandalized,” says Six Sex of her provocative music.

(Catalina Jacobo)

I was really taken by the “Ultra” album cover. You’re wearing a white bikini and in this “come to Jesus” pose. What was the goal?
[laughs] It was hard, because I wanted the cover to represent what the entire journey of the album meant to me. I was looking for something strong and heavy in visual terms, because with “Ultra”, this is the first time I’ve finished a long, heavy project and I see the start of something. It’s like something new was unlocked. I found a new way to convey feelings, and a new way to create as well. It’s not like I just finished, and it is what it is. Rather, it is the beginning of something bigger.

Is there an element of separation at all between the artistry and you as a person?
I think they’re pretty close. It’s as if Six Sex was sort of a fable, or like a hentai or comic [version of] my life. It’s also happened that things I wrote as a joke later became reality. But generally, I draw inspiration from things that actually happened to me.

Is it weird to put those intimate experiences on an album?
No, not for me. Because I’m not speaking so seriously, I don’t feel exposed. Even though my persona and my character are very close to one another, I don’t have to prove anything to anyone. I’m not trying to make you believe in something. The songs stop being about me as soon as someone else listens to them. There are certain things we can all see ourselves represented in, and I think my music aims for that, too.

I want to ask about your performance style. I saw you live in Los Angeles and was really taken by the energy exchange between yourself and the crowd. How do you approach live performance?
Nowadays, I’m in a balance between performance and being a human being that connects with people and can pause to look in the eyes of the audience to register how they feel. I like being in a showgirl role, and at the same time, knowing when to step out of it.

Sometimes I go up there after having a crappy day, thinking that I’m gonna screw it up. And when I get up there and connect with the people, everything flows in a perfect way.

Does the music transform when it’s performed live, versus on a record? A lot of your music seems designed to be played in the club.
I think it’s very personal. For me, I’m a bit autistic; sometimes when I’m at a show, I get different sensations. It really depends on the person. I like seeing people’s reactions live when I start playing these songs for the first time. People were super hyped. They were enjoying them and jumping around a lot. It feels really fresh.

You reference ‘90s club classics all over “Ultra,” including by U.K. band the Prodigy on “Bitch Up.” How did these sounds come into your life?
These sounds evoke a special kind of nostalgia for me. Even though I hadn’t been listening to them lately, they sounded like something I wanted to bring back to the table — songs my uncle used to listen to when I was really young. Like a CD [of] pirated songs that somehow ended up at my house, and at the time I was like, “Wow, what is this music?”

There’s an element of Six Sex that gives “fembot,” like a female, sexy robot. I’m curious if you feel that playing out in your work.
[laughs] I didn’t know about the fembot thing. I don’t use Twitter. I [keep] a bubble… against some things that I don’t know. But I’ve always liked the idea that people have that perception of me, to some extent.

How do you feel about the rise of AI as a musician, especially considering your persona adopts that perception?
I mean… I don’t have a formed opinion on the matter. I do think that, I don’t know, it’s all very relative. For one thing, I obviously feel like it strips away the human value, but at the same time, it’s also a tool for humans. So it’s kind of contradictory. I feel weird about it…. I don’t know.

Zooming out, I’ve noticed Argentina has been having a musical moment over the last few years between yourself, Ca7riel y Paco Amoroso, Juana Rozas… How do you feel Argentina being represented or even challenged in your music?
I feel that culturally, Argentina is a very rich country. However, I do feel like, over generations, a paradigm was broken, and new sounds have been created that don’t necessarily abandon the roots of our music, but were created out of counterculture.

That same kind of counterculture is what makes Argentina be in such turmoil. It’s also the context of our country. Economic, political, social. The key Argentinian figures we refer to nowadays are constantly changing. And that allows you to listen to a variety of genres from Argentina, from people doing different things, and at the same time raising the flag and saying: “Yo soy argentino.” And we love that.

Cut to a seedy alley behind a Chinese restaurant in Rome: A dozen mobsters menace a slight young man who suddenly pulls out a pair of nunchucks. He swings the traditional stick-and-chain weapons and makes quick work of his enemies, who fall one by one, groaning in pain.

The comedic, legendary action scene is from the 1972 film “The Way of the Dragon,” written, directed and starring Bruce Lee. The martial arts star was a trailblazer, allowing Asian Americans to see themselves represented in a strong, positive light on-screen.

And now he has secured a place in California history, becoming the first Chinese American in state history to have a day designated in his honor.

Lee was born in 1940 in San Francisco. His mother was of European descent and his father was a Cantonese opera star who was on tour in the city, affording his son birthright citizenship.

Lee grew up in Hong Kong, where he followed his father’s path as a performer, acting in more than a dozen films as a child and studying the close-quarters southern Chinese martial art Wing Chun.

On May 17, 1959, an 18-year-old Lee returned to San Francisco and eventually made his way to Hollywood. He went on to influence an industry that was at the time bereft of Asian American talent, and helped to popularize the genre of martial arts films and ignite Western interest in Hong Kong action cinema.

In recognition of his contributions, state Assemblymember Matt Haney (D-San Francisco) introduced a bill designating May 17 as “Bruce Lee Day” in California. The bill, signed into law Tuesday by Gov. Gavin Newsom, encourages schools and communities to honor Lee’s life and cultural impact.

Haney has described Lee as a “symbol of pride, resilience and possibility for generations who rarely saw themselves reflected with strength and dignity.”

Lee, who saw himself not only as an actor but also as a poet and philosopher, encountered repeated barriers. Up for the main role in the 1970s television series “Kung Fu,” for example, he was rejected in favor of white actor David Carradine.

In 2020, filmmaker Bao Nguyen sought to show how Lee dispelled anti-Asian sentiment and long-held stereotypes of emasculated Asian men in his ESPN documentary “Be Water.”

“The Asian male was the face of the enemy to many Americans,” Nguyen told The Times in 2020. “It was this vicious cycle of society reflecting media and culture, and media and culture reflecting society. There had to be some kind of intervention there and Bruce, in a way, was that intervention. He was the hero that we hadn’t seen before.”

Lee learned much about the systemic oppression that Black Americans faced from his first student, Jesse Glover, who had been a victim of police brutality.

And scholars have pointed out that, although his films had far-from-perfect politics, they touched on themes of fighting oppression. The 1971 movie “The Big Boss” showed Lee battling alongside laborers. “Fist of Fury” saw him opposing Japanese colonialism and discrimination.

Lee died young in 1973, at age 32 — before he was able to witness the full extent of his stardom. He died just one month before the release of “Enter the Dragon,” which was a box-office sensation and is considered a masterpiece of martial arts filmmaking.

It’s the 250th birthday of the United States of America and how better to celebrate than with a big-screen hagiography of America’s first president, George Washington? “Young Washington” arrives in theaters just in time for the Fourth of July with a chiseled, hot young actor in the lead role and the sheen of a prestige HBO drama, though the result isn’t really big-screen spectacle or appointment television. It feels more like something to be watched on the AV rig in a middle school social studies class. At least there won’t be a quiz at the end.

But there could be, because the plot of “Young Washington” plays out with all the thrill of a textbook chapter. It takes place mostly around 1753-55, at the advent of the French and Indian War. We open in medias res when the 23-year-old Col. Washington (William Franklyn-Miller) lurches from a dysentery-riddled nap directly into battle in the Pennsylvania woods, his battalion on the back foot, surrounded by gore and gunpowder. Another officer describes how dire the situation is while George ponders saving his men and asks, “What could be worth the risk?” Washington steels his gaze and we cut to black. You can almost hear the eagles scream, guitars riff and engines rev.

“Young Washington” is produced and distributed by Angel Studios, the faith-based movie studio that churns out films based on true stories that either feature freak accidents, strange illnesses or, more recently, unique stories from the past in which faith in God is a factor. Apparently, our nation’s founding also falls under this umbrella.

The film is directed by Jon Erwin, one of the in-house Angel Studios mainstays, who also helmed “Jesus Revolution,” “I Still Believe” and “I Can Only Imagine.” Erwin gives the whole project a kind of gritty, visceral approach — very “Game of Thrones” in red coats. It’s violent, muddy, the contrast is high and too many drone shots soar over the forest treetops.

Though it opens with a bang, this 1755 battle framing device gives way to the George origin story, starting with his father’s death 12 years earlier, when the 11-year-old George is bereft that he’ll have to sacrifice his education in order to become a tenant farmer and provide for his family including his mother, Mary (Mary-Louise Parker, doing a bizarre accent).

His older half-brother Lawrence (John Foss) takes him under his wing and teaches him, and the young George grows into a smart, bright, ambitious young man, whose dreams of becoming a British officer are dashed because he doesn’t have formal education, a fortuitous marriage or his own land. But he’s bootstrapped himself into intelligence and with savvy networking and know-how, he becomes indispensable to the British, volunteering as a major to survey land and negotiate treaties with the Native tribes and French army. It’s all a bunch of politicking and petty disputes until it escalates into all-out war thanks to an ill-advised ambush.

Sir Ben Kingsley, Kelsey Grammar (who starred in “Jesus Revolution”) and Andy Serkis play the British officers who begrudgingly, at times, believe in George and his capabilities, though a lot of the film is about a young man getting rebuffed by snobbish British officers.

He’s the kind of character who always makes the noble choice, does and says what’s right, and sees everyone as equals (including enslaved African men and Native American allies). He inspires his brother and others that the world can change and takes inspiration from his mother, who encourages him to continue his path and do it as God’s servant.

Unfortunately, this doesn’t make for a character that’s in any way complex or interesting at all. Franklyn-Miller is certainly pretty, serving as a fine face for this story, but the screenplay (by Erwin, Diederik Hoogstraten and Tom Provost) flattens his character into a basic cookie-cutter hero. Audiences, including the middle school social studies students, deserve better and more nuanced stories about this country and the values it was built upon.

“Young Washington” is propaganda in the form of a history lesson wrapped in a summer blockbuster. If only it were even slightly entertaining — maybe they’ll tackle that in the inevitable sequel.

Like many outdoors lovers, I love a last-minute camping trip.

There’s a special kind of magic when the stars align, you snag a reservation and realize you’ll soon be sleeping under the stars in a place you’ve never been.

But given the popularity of California’s campgrounds, is it really possible to book a campsite on short notice? In this edition of The Wild, our weekly outdoors newsletter, I will explain not only how you can but also where you will be more likely to find open spots (even, if lucky, on a holiday weekend).

L.A. sits within a quick drive to both the San Gabriel and Santa Monica mountains, two expansive ranges that offer multiple opportunities.

But first, I want to share what I learned in my conversation with Mike Lee, owner of Campsite Tonight, a website and app that monitors campgrounds throughout California for cancellations so its users can book sites.

One of the expansive views of the San Gabriel Mountains that can be found at Chilao Campground.

(Jaclyn Cosgrove / Los Angeles Times)

I’ve long been a skeptic of using private websites to book a campsite on public lands. But given Lee is an avid camper, dad and Californian running the site on his own, I wanted to hear him out.

Lee was motivated to take over Campsite Tonight a few years ago after finding himself frequently frustrated with how challenging it was to book campsites at state and national parks in California at times when his busy family could take a vacation.

Campsite Tonight frequently scans several websites throughout California and several other states (including Utah for those dreaming of a trip to Zion National Park). His site checks the popular campgrounds every 12 seconds for cancellations while less popular campgrounds are scanned often but less frequently.

He also offers data for popular campsites too, so users can learn more about when to look. For example, at Yosemite’s Upper Pines Campground, Lee includes that 11 a.m. Pacific is the peak hour when cancellations appear (and about 31% of reservations there are booked within seven days of arrival).

A tent in the evening light at Upper Pines Campground in Yosemite National Park.

(William Hale Irwin / For The Times)

Lee’s app offers limited-but-still-useful features to free users, including some ability to search for open sites, and is $29.99 a month or $59.99 a year for advanced features, including the option to more rapidly book a campsite at a national park by essentially linking your Campsite account with your Recreation.gov account.

Running the website has “taught me, as I’ve looked at the data more and more, that last-minute camping is actually pretty achievable,” Lee said while sitting inside a tent in a campground near Yosemite. “The biggest thing is being flexible. Before, if I didn’t book it in advance or if I didn’t get [a site when I wanted], I would never look again. Now I look more.”

Lee said he’s noticed fewer cancellations on long weekends, although there will still be families that can’t make their trips. After we initially spoke, Lee built a page specifically to scan for campsites available over Fourth of July weekend. I was surprised by just how much remained open.

Leo Carrillo State Beach.

(Mike Cilantro / For The Times)

Scanning the page on Tuesday, I noticed a spot at Leo Carrillo State Park. Although it was for Wednesday night, I was tempted. Multiple campsites remained open in Los Padres National Forest, even over the weekend. A random campground in Sequoia National Forest made me look at just how far of a drive it would be from my apartment. And I noticed there was even a spot free at a Big Sur campground on Sunday evening. “No, you can’t, er, you shouldn’t drive that far for one night of camping,” I told myself. (Should I, though?)

That said, there are several first-come, first-served campgrounds near L.A., especially in Angeles National Forest, for those who’d like to stay closer to home or can’t find something online.

Here is a quick guide to what I recommend trying to snag. Given it’s a holiday weekend, it will still be more challenging, but if you can leave early Friday, I don’t think it’ll be impossible to camp at one of these spots.

For those looking for simple car camping (beginner)

A campsite at Chilao Campground with a large campfire ring.

(Jaclyn Cosgrove / Los Angeles Times)

Each of these campgrounds are in Angeles National Forest, offer piped water and vault toilets, and have sites with picnic tables, parking spots and campfire rings.

• Chilao Campground: A large campground with 84 sites spread over two loops, Little Pines and Manzanita. Its landscape features large boulders, sweeping views and pine trees (especially the eponymous loop). Piped water is available, although it is at times turned off, so please check the campground website before heading out. The Chilao Visitor Center, open on the weekends, is nearby.

A campsite in Chilao Campground shaded by several pine trees.

(Jaclyn Cosgrove / Los Angeles Times)

• Crystal Lake: A 120-site campground north of Azusa. It sits at 5,539-feet elevation and features great views of nearby peaks, including Mt. Islip and Windy Gap. Visitors can fish in Crystal Lake when it’s deep enough and find a hot meal at Crystal Lake Cafe and General Store.
• Monte Cristo: A campground with 19 individual drive-in sites, including some with large shady sycamore trees. A small seasonal creek runs through the middle of the campground and has small pools in spring and early summer. (Note: Because of its proximity to L.A., this one can fill up quickly.)

For adventurers willing to plan just a bit, even last minute (intermediate)

Oak Flat Campground.

(Jaclyn Cosgrove / Los Angeles Times)

These sites offer their own escape, but because they lack potable water (unless otherwise noted) and are farther away from L.A., they require more planning than those on the “beginner” list. Each site has picnic tables and campfire rings. The campgrounds below are in Angeles National Forest unless otherwise noted.

• Horse Flats: A shaded 26-site campground that offers easy access to nearby trails, including Mt. Hillyer and the Silver Moccasin Trail.
• Oak Flat: A campground north of Castaic just off the 5 Freeway with 20 sites situated around a nice small meadow shaded by several oak trees.
• Musch Trail Camp: This small-but-charming backpacking campground in Topanga State Park features flush toilets and sinks and requires only a one-mile hike in, a trek that’s on the easier end of moderate.
• Sawmill: A rustic eight-site campground whose main challenge, outside of its lack of water, is just reaching it, as campers must take a steep gravel road off Pine Canyon Road (see website for information on road closure).

For experienced trekkers looking for quick escapes (expert)

One of a handful of sites at the Valley Forge Trail Camp in Angeles National Forest.

(Jaclyn Cosgrove / Los Angeles Times)

These backpacking sites offer backcountry adventures for those with the time and the right gear.

• Glenn Camp: A 10-site forested haven next to the West Fork of the San Gabriel River that’s reached via a seven-mile paved road that can be hiked or biked; no restrooms available, so campers will need to follow Leave No Trace principles.
• Valley Forge: Reachable via 2.4-mile hike along the Gabrielino Trail from Red Box Picnic Area, this six(ish)-site campground has picnic tables, campfire rings, vault toilets and is a sylvan refuge of mighty pines next to the pristine West Fork of the San Gabriel River.
• Cooper Canyon: A backcountry campground shaded by towering old pine trees with about five sites, offering vault toilets, campfire rings, klamath stoves, large picnic tables and bear-proof boxes. Because of the Angeles Crest Highway closure, you will need to reach the site either by walking the closed road or Pacific Crest Trail.

Regardless of where and when you go, I hope you have a wonderful time enjoying our public lands. Please remember to practice the Leave No Trace principles and, in short, leave it cleaner than you found it!

3 things to do

A volunteer waters plants in the nursery at North East Trees in Ascot Hills Park in El Sereno.

(William Hallstrom)

1. Restore native plants in Ascot Hills
North East Trees, a climate resiliency nonprofit, needs volunteers from 9 a.m. to noon Saturday at its native plant nursery in Ascot Hills Park (4371 Multnomah St.). Participants will get hands-on experience working with native plants as they help water and restore habitat. Learn more at the group’s Instagram page.

2. Sketch plankton in Playa del Rey
Nature Nexus Institute, an environmental equity nonprofit, will host two beach ecology sketching events: an online option Tuesday from 6:30 to 8 p.m. and then an in-person event on July 12 in Playa del Rey. Learn more at the group’s Instagram page.

3. Check out the birds in Calabasas
Two National Park Service volunteers will host an easy bird walk from 8:30 to 10 a.m. Saturday at King Gillette Ranch in Calabasas. Participants will walk less than a mile at an easy pace, stopping often to observe the birds. Children are welcome. Register at eventbrite.com.

The must-read

A visitor walks on the Redwood Canopy Trail at Trees of Mystery in Klamath.

(Andrew Cullen / For The Times)

If you’re sitting there, daydreaming over your next adventure, consider this California wildlife factoid: Our state is home to 139,000 acres of protected public lands where nearly half of the world’s remaining old-growth redwood forests live. The allure of walking beneath these giants is what drew writer Edwin Goei to head to Humboldt County. Goei maps out a guide for The Times of how an Angeleno can make the long-but-worthy trip there (including how to snag an $80 round-trip flight). “I learned that Humboldt County — including the cities of Eureka, Arcata and Ferndale — is full of treasures beyond its abundance of the Earth’s tallest trees,” Goei wrote.

Excuse me while I go research flights there.

Happy adventuring,

P.S.

You have until Monday to snag a free California State Parks Historian Passport. In honor of both Juneteenth and the 250th anniversary of the signing of the Declaration of Independence, the state is offering the pass — which typically costs $50 — to anyone who registers for it through ReserveCalifornia.com, but just for a few more days. The pass will be good through the rest of 2026 and will allow unlimited entry for up to four people to state historic parks and museums that charge a per-person admission fee or a vehicle day-use fee. I was amazed that it took less than 10 seconds once I was logged into my ReserveCalifornia account to secure my pass. Enjoy!

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

Early in “Romería,” the film’s main character, Marina, is asked by some children if she’s ever seen the Santa Compaña, a collection of ghosts who, in Spanish legend, supposedly wander in a pack across the landscape. Humoring the kids, Marina says she hasn’t. That’s good, one of the girls responds. “They’re spirits that can’t die.”

As it happens, Marina is actually on a journey of sorts to connect with the dead — and so is Spanish writer-director Carla Simón, whose third feature is an autobiographical tale about her own quest to make peace with her late parents. Slender but flecked with magical touches, “Romería” is so gentle it never quite qualifies as haunting. Nonetheless, Simón stirs up the ineffable sadness that comes with wanting answers to the mysteries of your family — and then, like it or not, receiving them.

Newcomer Llúcia Garcia plays Marina, an 18-year-old aspiring filmmaker. It’s July 2004, and she’s traveled to the picturesque port city of Vigo to obtain government paperwork that will make her eligible for a university scholarship. She never knew her father Alfonso, who died in 1987. For some reason, there are no records indicating that she was his daughter. Hence the trip to Vigo to see her paternal grandparents for the first time so she can authenticate her ancestry.

Simón, whose previous features “Summer 1993” and “Alcarràs” also grappled with family matters, follows along with Marina on the way to this anxious meeting. Marina’s mother died only a few years after Alfonso, making Marina an orphan. But the mom’s parting gift, a diary, provides opaque glimpses into her life with Alfonso in the mid-1980s. Before Marina arrives at her grandparents’ home, though, she must run a gauntlet of uncles, aunts and cousins, their reactions to her existence varying from warm to wary. Repeatedly, Marina is told she looks just like her mom, but the comment occasionally contains a trace of bitterness. Many of these new faces view her as an unwelcome reminder of a past they’d prefer to forget. When they see Marina, it’s like they’re looking at a ghost.

The strongest component of Garcia’s doe-like performance is the way it captures someone in the midst of shedding her adolescence, gingerly trying on adulthood. Over the course of a few days, this bashful teen, always armed with her camcorder and far less free-spirited than her cousins, will be beset by her father’s feuding family. Silently observing the passive-aggressive maelstrom, Marina will receive an intense immersion in what her life might have been like if he’d lived.

But she quickly realizes that their memories of the man are far from perfect. No one can decide exactly where Alfonso lived in Vigo. And, more troublingly, Marina’s belief that he died in 1987 is contradicted by relatives, who insist that it was five years later. If Marina has that information wrong, what else does she not know?

“Romería” is hardly the first film in which an impressionable soul goes on the hunt for the parents she never had. Likewise, viewers will not be startled when Marina eventually discovers painful secrets about her mom and dad that cause her to reconsider those phantom figures.

Simón, who undertook a similar odyssey at the same age, never allows this delicate story to succumb to self-indulgence or an inflated sense of its own importance. Instead, her film is suffused with a rich, casual immediacy. Simón and her star bracingly recall the electricity of youth as Marina prepares for life as an artist. The movie, in part, is about how she finds her voice.

Simón’s films favor naturalism and “Romería” leaves ample room for Spain’s seaside beauty and glorious sunshine. The calming locales both complement and contradict the plot’s revelations, which are hardly bombshells but do speak to how well-to-do families labor to shove inconvenient skeletons into the closet. If anything, Marina will be more shocked by her grandparents (José Ángel Egido and Marina Troncoso), whose fiercely icy demeanor suggests this teenager should consider herself lucky not to have grown up around them.

Because “Romería” is a coming-of-age story, Marina will be tempted by cute boys; she’ll also begin to display a rebellious streak. As the picture rolls along, Garcia shows a more assertive side, relishing her character’s emergence from her shell. But this modest saga saves its biggest surprise for its final reels, when the narrative folds in on itself beguilingly, allowing Marina to relate to her mom and dad in ways she never had before. Maybe we can never truly know our parents, but if we’re lucky, we can gain the maturity to one day see them in ourselves.

Josh Lowe‘s first career grand slam was all the offense the Angels needed Sunday in a 4-1 victory over the Athletics at Anaheim Stadium.

Lowe was 10 for 33 with 27 RBIs with the bases loaded during his six-year career, but had managed only two extra-base hits in those situations prior to going deep off starter Aaron Civale in the second inning.

The center fielder fouled off a pair of 1-2 pitches before sending a high cutter 403 feet to the right-field corner for his first homer since May 20.

Angels starter Sam Aldegheri (3-3) allowed one run and five hits in five innings, striking out four. José Fermin threw two scoreless innings and Samy Natera Jr. got four outs for his first major league save.

Joey Meneses drove in Jeff McNeil with a sacrifice fly in the fifth for the A’s, who finished with six hits. They went 0 for 8 with runners in scoring position and left eight on base overall.

The A’s threatened to cut into the lead after two straight walks to open the eighth, but Ryan Zeferjahn struck out the next two batters before giving way to Natera, who retired Nick Kurtz on a fly ball.

Civale (5-5) permitted seven hits in five innings, striking out two. José Suarez tossed two scoreless innings in relief.

Up next: Angels RHP Ryan Johnson (1-2, 8.84 ERA) starts Monday night in Seattle against RHP George Kirby (6-7, 3.94) to begin a three-game set.

The 1970s were thick with New Age spiritual fads and movements, from the benign (crystals) to the unspeakably toxic and cultic (Jonestown). Somewhere in the middle of that woo-woo spectrum lies the work of Carlos Castaneda. A UCLA anthropology grad student turned self-appointed guru, Castaneda became a counterculture icon with the publication of his first book, “The Teachings of Don Juan: A Yaqui Way of Knowledge,” in 1968, purporting to find enlightenment via psychedelic mushrooms, peyote and the cryptic musings of Don Juan, an Indigenous spirit guide.

That book, and the stream of his that followed, seduced millions of readers, plenty of them no doubt hoping that with the proper dosage they, like Castaneda, might also transform into a crow and soar across the purple skies of the dusty Southwest. That Castaneda’s books were largely flimflam isn’t in dispute. But Ru Marshall’s hefty biography, “American Trickster,” reveals the depth of his deception — and, just as potently, how easily people can be taken in by it.

“He didn’t lie out of convenience or opportunism,” Marshall writes. “He lied because he loved to. Lying was, for him, an art, and he did it exceptionally well.” This is a 1970s story, but anybody in the present can relate.

Born in Peru (not Brazil, as he often claimed) in 1925 (not a decade later, as he often claimed), Castaneda demonstrated no particular intellectual promise. But in the mid-1950s, first at L.A. City College and later at UCLA, he developed an affection for writing, philosophy and history. While pursuing a graduate degree in anthropology in the ’60s, he grew enchanted with Buddhism, Theosophy, existentialism and Native American spirituality — all key elements of the spiritualist goulash he would eventually cook up for his books. His timing was impeccable: From Timothy Leary’s LSD experiments to transcendental meditation, non-Christian religion and drugs fueled the zeitgeist. And Castaneda’s manuscript of “The Teachings” spoke effervescently about both.

Author Ru Marshall

(Allen Frame)

It hardly seemed to matter that the book also demonstrated his ignorance of both: He had little understanding of psychoactive drugs (you don’t smoke shrooms, dude), and there was nothing meaningfully Yaqui about Don Juan. Still, the book — and their follow-ups “A Separate Reality” and “Journey to Ixtlan” — were massive bestsellers. Castaneda made it to the cover of Time magazine. His work provided George Lucas with more than a little inspiration for his master-and-student space opera, “Star Wars.” And he became a target for parodists, the surest sign of fame. Donald Barthelme satirized him in his story “The Teachings of Don B.: A Yankee Way of Knowledge.”

That the ’70s American psyche, brutalized by Watergate and Vietnam, found solace in Castaneda’s sophistry isn’t surprising. More shocking is that the academic establishment tolerated it too: UCLA awarded him a PhD in anthropology with “Ixtlan” serving as his dissertation. Castaneda, Marshall writes, made an end run around the department’s Yaqui expert, with the other committee members overly impressed by his au courant melange of fieldwork and gauzy ruminations, despite the fact that his timelines and grasp of mycology didn’t make sense. “If we stop telling ourselves that the world is so-and-so, the world will stop being so-and-so,” Don Juan mused. Perversely, Castaneda’s success proved him right.

“American Trickster,” at more than 600 pages, is at once more information about Castaneda than any reader needs, and not nearly enough. Marshall (who in 2006 published a novel, “A Separate Reality,” inspired by Castaneda), has gone to ground on every element of his subject’s life, from his upbringing in Peru to his celebrity (he’d find his way into the orbits of former Gov. Jerry Brown, Federico Fellini and Oliver Stone at various points), to the years before his death of liver cancer in 1998. By that point he’d focused his attention on Tensegrity, a modified martial arts practice demonstrated at pricey workshops, and gathered a host of followers, mostly women, who he played against each other and psychologically abused in various ways.

But who did this guy think he was? How did he come to invent such a strange spiritual system, and develop the nerve to sell it both to mainstream publishers and the academic establishment? Why did he keep a box of knives under his bed? “Carlos acted in the zone where the trickery of the cult leader and that of the literary hoaxer (and the anthropological hoaxer) overlap,” Marshall writes. But all the biographical detail brings us no closer to what made him such a successful triple threat of eyewash.

Perhaps a book that couched Castaneda’s story more deeply in the context of the ’70s counterculture and the nature of cults past and present would make his story clearer. But perhaps not — his tale is inevitably something to wonder at, evidence of humans’ capacity to spin a yarn that flatters our egos and urge to understand our spiritual selves, and to buy into what’s spun.

Maybe it’s unsurprising that one of the first people to publicly sound the alarm about Castaneda was a novelist. In 1972, Joyce Carol Oates wrote a letter to the New York Times Book Review questioning a credulous review of Castaneda’s books. (The New York Times had spiked a more skeptical one, Marshall reports.) “It is quite possible that Don Juan represents a ‘non-ordinary’ reality so strange to me that I cannot accept it, and must try to reason my way out of believing,” she wrote. “But I don’t think so… I’d be very interested in whether other readers share my bewilderment.” No doubt others did. But what if bewilderment was exactly what they were seeking?

Athitakis is a writer in Phoenix and author of “The New Midwest.”

For a long time, the lifestyles and foibles of the modest bourgeoisie were a mainstay of art-house cinema, with urbane, upscale audiences happy to turn out to see versions of their own lives depicted on the screen. But more recently, as ideas about what middle age looks like have shifted, along with the changing demographics of viewers, these films have largely disappeared. Which is what makes the seriocomic “The Invite” feel both fresh and something of a throwback — a movie for those who worry about losing their edge.

Directed by Olivia Wilde, “The Invite” was a clear standout when it premiered at the Sundance Film Festival in January and now arrives in theaters as one of the best dramas of the year so far. It feels daring for how it wants to actually examine the emotional costs of contemporary grown-up life, bringing wincing laughs of recognition.

The film begins with married couple Angela and Joe, played by Wilde and Seth Rogen, checking back in at their home in San Francisco at the end of the day. He has been at the teaching job he resents and she has been frantically preparing for the dinner party she may not have told him about. Their daughter is away at a sleepover for the evening and it seems they no longer fully know how to relate to each other. As they bicker and jab, their quiet dissatisfaction with their lives stops being so quiet.

Angela has invited over their neighbors from the apartment upstairs, who they do not know well and who often have loud sex. That couple, Piña and Hawk, played by Penélope Cruz and Edward Norton, seems more assured, self-possessed and adventurous, the kind of people you can absent-mindedly invent stories about, assuming their lives are much cooler than your own.

Things go in ways both expected and unexpected, the two couples warily feeling each other out as they wait to spring their own private agendas. Over the course of the evening, things will be alternately tense, flirty, vulnerable and revelatory as surprisingly little food is eaten. (Other substances get ingested instead.)

An adaptation of Cesc Gay’s 2020 Spanish film “Sentimental,” the screenplay is credited to Rashida Jones and Will McCormack. In an unusual step, the script was further workshopped and developed with the cast during rehearsals. Rogen came up with some of the biggest laugh lines and Norton wrote the deeply earnest monologue he delivers late in the film. (The popular Belgian psychotherapist Esther Perel is also credited as a consultant.)

This American version expands upon the characters more than Gay’s original film while consistently returning to the disappointment of Angela and Joe’s lives in terms both big and small. Neither of them are the people they once thought they might become. Whether two people who are each unhappy can make it as a couple becomes the overriding theme of the film.

This is Wilde’s third movie as a director and it is, by far, her most cohesive and accomplished, both contained and expansive. Her debut, 2019’s charming end-of-high-school tale “Booksmart,” had a throw-everything-at-the-wall quality, as if she wanted to get out every idea and try every trick in case she never got another chance to direct. Wilde’s follow-up, the 2022 psychodrama “Don’t Worry Darling,” became mired in behind-the-scenes gossip and tabloid speculation that overshadowed what was intended as a stylized portrait of female rage and discontent.

Her latest fulfills and exceeds the promise of those earlier movies. Shot on 35mm film by cinematographer Adam Newport-Berra, the action of “The Invite” is almost entirely confined to Angela and Joe’s apartment, which thanks to a recent renovation has plenty of rooms to explore. All four players are exceptional in their roles, playing smartly off their screen personas while exploring the nuances of the characters and their intersecting dynamics.

Wilde’s Angela is expressive and antic; Rogen’s Joe is sullen and snarky. Cruz is alluring and watchful, while Norton turns out to be the film’s secret weapon. He has a low-key comic energy and helps guide the story through a few of its trickier emotional turns. At one point he simply rises from behind a couch and it plays like a punchline.

Skip the next two paragraphs if you want to hold onto the film’s purest pleasures. Those noises from upstairs have been Piña and Hawk hosting group sex parties and they are now cruising Angela and Joe for some extramarital couples’ fun. Here, the movie pivots from passive-aggressive party conversation into farce, as Angela and Joe try to process the idea anyone else might find them desirable, as they have long since given up on seeing themselves in that way.

Wilde in particular lights up during this section, Angela’s mind racing at possibilities she never considered for herself while fumbling over the practicalities of protocols and just how this would work. Before pushing the film into its final forlorn section, the excitement that something sexy might happen charges the actors. It is very likely that streams of Sade’s seductive “By Your Side” will skyrocket.

But the focus stays very much on the struggles of married life. One of the biggest strengths of “The Invite” is the way it keeps evolving as the night progresses so it never feels claustrophobic or repetitive. There is a sense of visual invention and imagination to the film that continues all the way through, such as a moment when Wilde crouches down to check on a doomed soufflé in the oven and addresses the camera directly, looking up as if talking to Rogen. The viewer is frequently placed in an adjacent POV to the different characters, as if you are there in the room too.

The film has a propulsive rhythm to it, a relentlessness, even as Wilde and editors Yorgos Mavropsaridis and Anthony Boys know when to ease off the throttle and take it easy for a bit. The film breathes in a dynamic way, the last few beats taking a startling turn toward a somber wistfulness. The ending is just enigmatic enough to have audiences talking it through as they make their way out of the theater.

The end credits include a handwritten dedication, “For Diane,” a nod to Diane Keaton. The live-wire wit and idiosyncratic verve that she embodied in “Reds” and “Something’s Gotta Give” are very much on display here. Early in the story, Norton dryly notes, “We love a contentious environment.” Thanks to Wilde’s confident direction and the ensemble’s unpredictable performances, audiences will too.