wednesday

WASHINGTON — The narrow victory of progressive doctor Abdul El-Sayed in Michigan’s bitterly fought Democratic Senate primary sets up a defining test of the party’s progressive wing in one of the highest-stakes U.S. Senate contests of the midterms.

Whether El-Sayed, a former public health official, can carry swing voters in a battleground state could both determine the outcome of a Senate seat viewed as crucial to determining control of Congress and have broader ramifications on the Democratic Party’s struggle for its identity.

El-Sayed, a 41-year-old epidemiologist, defeated U.S. Rep. Haley Stevens, a moderate Democrat, by a narrow margin Wednesday after a long and intense campaign that was seen as a proxy for the party’s fissures.

The race was far closer than some polls had indicated. El-Sayed was leading Stevens by 15,000 votes, about 1 percentage point, with 99% of votes counted Wednesday, according to the Associated Press.

El-Sayed will face former Rep. Mike Rogers, a Republican, in the general election. The winner will succeed retiring Democratic Sen. Gary Peters, whose seat Democrats see as critical to retain for the party to have a chance at flipping the Senate.

“We’ve got an opportunity to bring ourselves back together, to come together around a movement, to take our democracy back,” El-Sayed said Wednesday on MS NOW’s “Morning Joe.”

El-Sayed’s victory will put to the test in a swing state the broader strength of the progressive movement, which has found success in deep-blue places like New York City, where Zohran Mamdani was elected mayor last year, and Los Angeles, where City Councilmember Nithya Raman is locked in a tight race mayoral contest with incumbent Karen Bass. Both Mamdani and Raman are democratic socialists.

As Democrats struggle over the party’s post-2024 identity and grapple with how to win back voters, the divide between the party’s progressive and centrist wings has been on display in primary fights. Both camps have notched victories: Many of the leftist wins have come in intensely blue districts, such as in New York, while more moderate districts have chosen centrists, as in Iowa.

On Tuesday, two progressive congressional candidates in Michigan beat out establishment Democrats in House races — in one case, ousting an incumbent. But in Missouri, democratic socialist and former Rep. Cori Bush lost to incumbent Rep. Wesley Bell, a moderate, for a key House seat.

In California, a handful of progressive candidates are on the November ballot, including the challengers to Rep. Doris Matsui (D-Sacramento) and Rep. David Valadao (R-Hanford). In the Aug. 18 runoff to fill the vacant seat of former Democratic Rep. Eric Swalwell, progressive state Sen. Aisha Wahab is battling it out with fellow Democrat and BART board president Melissa Hernandez.

Progressive leaders celebrated El-Sayed’s win on Wednesday. Sen. Bernie Sanders (I-Vt.), who backed El-Sayed, argue that his working-class-centered politics are more likely to have mass appeal.

“If you’re a working-class Republican in Michigan, I think you’re going to listen to what El-Sayed says,” Sanders told NBC’s “Meet the Press” on Sunday. “I think many of them will end up voting for him, independents as well, of course.”

Throughout the campaign, Stevens argued that El-Sayed would not be able to defeat Rogers, a refrain some moderates repeated Wednesday. El-Sayed vowed to unite Democrats around defeating Rogers, who previously served seven terms in Congress, saying that he and Stevens would be focused on “bringing the party back together.”

Rogers on Wednesday portrayed El-Sayed as an “extremist,” saying in a statement that the election is “about deciding whether Michigan has a future built on common sense — or whether we hand the keys to the most fringe extremists in the nation.”

El-Sayed, a former city and county health official, focused on opposing money in politics and pushing for Medicare for All, among other issues. His opposition to Israel’s war in Gaza and Stevens’ support for Israel became a major issue in the campaign. AIPAC, the pro-Israel lobbying group, spent millions in support of Stevens.

Early in the primary race, El-Sayed sought to temper some of the concerns around his progressive agenda by presenting himself as a Michigan-first, working-class-focused candidate, said John Barry Ryan, a University of Michigan professor of political science.

But as excitement over his campaign began to mount among progressives on a national level, Ryan said, El-Sayed’s public posture swung to a middle ground.

“The signal he’s trying to send is, I’m not a moderate, but I’m also not an extremist,” Ryan said.

Whether El-Sayed can effectively sell his message to undecided voters against Rogers now becomes a key question of the general election, said Corwin Smidt, a politics professor at Michigan State University.

“[Rogers] has experience. He has credentials,” Smidt said. “El-Sayed doesn’t have that. But I do think he’s got the skill and the right language to get him over.”

At least two key Michigan Democrats signaled a desire to move past the primary’s fights. Late Tuesday, Mallory McMorrow, a Michigan state senator who launched her own bid for the seat but suspended her campaign in early July, released an endorsement of El-Sayed.

“Whatever differences there were between the candidates in this race, those differences are nothing compared to the contrast in November,” McMorrow wrote on X. “The only way we get there is together.”

After conceding, Stevens sent a similar signal in a statement:

“We need to win this Senate race,” she said.

Four years ago, Knott’s Berry Farm was faced with a decision.

Its 1978 ride Montezooma’s Revenge was the first-ever coaster built with a flywheel launch system — a large, highly visible, circular drum-like mechanism with a cable attached to it — and an important piece of the theme park’s history.

But the coaster was in need of refurbishment and they don’t make things like they used to. The flywheel design, once an advanced piece of machinery that allowed Montezooma’s to go from zero to 55 mph in less than five seconds, was no longer in vogue. Replacement parts weren’t going to be easy to come by, if possible at all.

So would they attempt to reimagine Montezooma’s Revenge, or use its footprint for another attraction?

“Nobody else really attempted a full-speed, ground-level launch until later in the ‘90s,” says Jeremy Thompson, who writes coaster analysis on his website Roller Coaster Philosophy and worked for a decade at theme park design firm Thinkwell. “It was way ahead of its time.”

It would have been a shame, roller coaster historians argue, to lose Montezooma’s Revenge. Thankfully, Knott’s Berry Farm agreed, and after four years and a $20-million investment, Montezooma’s, now rebranded as Montezooma: The Forbidden Fortress, is set to soft open in the coming days. A grand opening media event, postponed from last month, is slated for Aug. 14.

The entrance to the newly remodeled Montezooma: The Forbidden Fortress.

(Jess Boyer / Knott’s Berry Farm)

“We thought quite a bit about, ‘If we take this out, what would we put in there?’” says Knott’s Berry Farm Park President Raffi Kaprelyan. “But the answer we always came back to was, ‘Why would you do that?’ This is a perfectly unique ride.”

He adds: “An iconic ride like this, you want to maintain as long as possible.”

The coaster was planned to be named Loco Motion, but it was rebranded as Montezooma’s Revenge after a popular band with the same name that would regularly perform at the park, says Nicholas Laschkewitsch, a coaster historian and documentary producer with nonprofit American Coaster Enthusiasts. At the time of its opening, it was the tallest roller coaster in the world, thanks to 148-foot spikes. It’s also the oldest looping shuttle coaster in its original location, a shuttle coaster being a ride without a complete circuit, meaning here guests are propelled out of the launch station in a linear path through a loop and then backward through the whole course.

The loop on Montezooma: The Forbidden Fortress.

(Jess Boyer / Knott’s Berry Farm)

”A shuttle coaster is certainly not as novel as it once was,” says Laschkewitsch, who also works as a designer at experiential art firm Meow Wolf. “But I think it’s very much a part of the DNA of Knott’s Berry Farm. It’s most people’s first looping coaster who grew up in Southern California. They deserve a lot of credit for investing in [a type of] ride a lot of other parks have thrown out.”

Designed by coaster mastermind Anton Schwarzkopf, Laschkewitsch says there’s only one remaining Schwarzkopf-created flywheel coaster using its original launch system in existence, and it’s in Japan at Nagashima Spa Land. Schwarzkopf was also behind the Great American Revolution at Six Flags Magic Mountain, which opened in 1976 as the world’s first modern vertical looping roller coaster.

“He was a genius as far as how to bank track, and how to physically manufacture track,” Laschkewitsch says. “His rides were as smooth as glass. The fact that he was able to do this without computer technology is incredible.”

The Knott family rides Montezooma’s Revenge on its opening day in 1978.

(Knott’s Berry Farm)

So what’s changed in the refurbishment? Montezooma’s has been remade with new cars, enhanced thematic touches lightly inspired by Maya designs, and boasts both a brand new track as well as a refreshed launch system. It now blasts out of the station with electromagnetic propulsion, technology, says Thompson, that is found on virtually all modern launch coasters (see Disney California Adventure’s IncrediCoaster, which also jolts from zero to 55 mph in five seconds).

That means there will be a difference in “feel” at the launch. Thompson compares it to riding in a modern electric vehicle versus, say, a 1970s hot rod. “You’re losing something there,” he says.

Namely the instantaneous tension, says Laschkewitsch, which will now be smoothed out. “There’s just something special about how that flywheel launch really kicked you in the face,” he says.

A look at the reimaged Montezooma: The Forbidden Fortress.

(Jess Boyer / Knott’s Berry Farm)

The coaster in its initial form lasted just 38 seconds. That won’t necessarily change with Montezooma: The Forbidden Fortress, but Kaprelyan says the new ride system will allow the park to offer different ride profiles. The electromagnetic track, for instance, can jolt guests forward, and then tease them by reversing course, lending a linear coaster a sense of surprise.

Those changes are coming down the road, but probably not until the ride has been open for about a year. “The ride will maybe take you up to the front a little bit, and then shoot you back up the hill, and then shoot you forward again,” Kaprelyan says. “There will be different sequences.”

And overall just a different tone. When all is working properly, the coaster will launch through a haze of fog effects. And it’s blessedly no longer associated with an unsavory name that potentially had some negative cultural implications. Understandable, and the right call says Thompson, but “it kind of loses that zany ‘70s humor.” Prepare to hear fewer potty jokes at Knott’s Berry Farm.

This week in SoCal theme parks

A dementor puppet moves through the train in “Harry Potter: A Hogwarts Express Adventure.”

(David Fouts / For The Times )

• ‘Fast & Furious’ coaster watch, 2026. The big theme park story last week was the unexpected soft launch of Universal Studios Hollywood’s Fast & Furious: Hollywood Drift. The ride is operating in “technical rehearsals,” meaning it doesn’t yet have a formal opening date. Think of it as a final testing phase. Wait times have often stretched beyond two and a half hours, with some reporting lines closer to four hours. Heads-up, though, if you’re thinking of heading to the park this week, as according to notices given to park neighbors in Toluca Lake, the coaster is not expected to be welcoming guests Tuesday through Friday.
• Take a magical train ride. The Southern California Railway Museum in Riverside County is now allowing guests to experience history with a bit of mysticism, as it has temporarily turned into Platform 9 3⁄4 to host “Harry Potter: A Hogwarts Express Adventure.” A one-hour theatrical experience, expect wands, house sorting and, instead of a drink cart, a larger-than-life demonic puppet. Like all things Potter in 2026, the event has attracted some detractors due to J.K. Rowling’s anti-trans rhetoric and political funding. The Times’ Emily Tarinelli has the details.
• Changes afoot at Knott’s Soak City. The Orange County water park is welcoming two brand new attractions next year that will be replacing the current Shore Break slide complex. Look out for Coral Craze, a saucer-like attraction that boasts five riders per slide and is designed to mimic a ski course. Joining it will be Kelp Kraze, also a five-person experience, but this one more of a raft-like slide.
• The ‘Prince of Darkness,’ resurrected. Universal Studios Hollywood has rounded out its haunted house lineup for Halloween Horror Nights with a maze dedicated to the late Ozzy Osbourne. Dubbed Ozzy Osbourne: Prince of Darkness, the haunt will focus on bringing to life imagery from Osbourne’s solo career. The park has previously created a house inspired by the work of Osbourne’s Black Sabbath. Halloween Horror Nights begins Sept. 3.
• ‘It,’ reimagined. Inglewood’s Cosm is embracing horror for its next all-encompassing, wrap-around production. The venue, which boasts a high-definition spherical screen that stretches above, below and ever-so-slightly behind viewers, will on Aug. 28 begin showing 2017’s “It,” the Andrés Muschietti film based on the novel by Stephen King. Like past Cosm screenings, the venue will create CGI imagery to complement the core film.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

My least favorite theme park topic to cover is price increases, as parks are already an investment to visit. Yet the Disneyland Resort keeps making affordability a story. Even more food price hikes have hit the resort, after an earlier round just a couple weeks ago. I’m sad to say they’re increasingly egregious, including, as Disney Food Blog noticed, a $3 increase to $31 on a so-so cheeseburger at Trader Sam’s Enchanted Tiki Bar. Sigh.

There’s head-scratching high prices throughout the resort, including a bump on a relatively small square of churro toffee, which now sells for nearly $10. It’s tasty, but I’m here to tell you it’s not worth it. I stopped buying the delectable when it topped $8, as it was no longer a respectable value at that price point. Instead, support a local bakery.

Do you think the Rams have a tracker at their headquarters for how many days it’s been since Puka Nacua’s last embarrassing incident?

They might. Because we all remember how frequently the self-inflicted damages were occurring during that bizarre and jarring stretch starting late last year.

We had the biting incident and alleged antisemitic comments on New Year’s Eve. Before that, we had the Rams’ star receiver making antisemitic gestures on a livestream with a couple of controversial streamers.

We also had him publicly calling out NFL officials on a stream and in a social media post sent from the locker room, and getting fined $25,000 by the league for that. We had his weird post on X — a laughing emoji and “sam darnold” — after the Seattle Seahawks’ quarterback led his team to the Super Bowl LX championship on Feb. 9, when Nacua also was recorded stumbling and dancing in a San Francisco street after the game.

We had this all within just a couple of months. So we had to replace the image we previously had of Nacua as a jolly, smiling football star with a new one: a picture of teeth marks on a woman’s skin.

Ick.

Rams receiver Puka Nacua signs autographs during training camp at Loyola Marymount University on Sunday.

(Robert Gauthier/Los Angeles Times)

Nacua said Wednesday that he’s trying to be better, to do better.

“Definitely trying to take accountability for the things that I know that I can continue to change,” the 25-year-old said at Rams’ training camp at Loyola Marymount.

We should all hope so.

There’s enough at stake, don’t you think?

For Nacua, there’s the proverbial bag to secure. For the Rams, there’s the Super Bowl at SoFi Stadium, which everyone believes should be theirs for the taking. And there’s what winning will mean for the franchise’s stature in L.A., a city that’s impressed by little that’s short of championships.

Don’t mess this up, Puka.

No one wants the distraction of bizarre and disturbing behavior, of internet idiocy or civil lawsuits. (Nacua’s attorney, Levi McCathern, said the alleged bite was the result of “horseplay” and the Los Angeles city attorney’s office indicated last week that the matter was on track to be resolved through a program that allows eligible defendants to avoid criminal prosecution and jail time.)

No one wants to wonder what could have been if it turns out quarterback Matthew Stafford can’t count on Nacua getting open and punishing defenders downfield.

And no one should want to see the Rams’ sure-handed wide receiver let generational wealth slip through his fingers.

Nacua is one of those athletes who you trust on the field to make the play, but all his off-field shenanigans gave the Rams reason to doubt him, to make him skip his turn at the big payday.

He was up for a contract extension that could have paid him as much as $160 million over four years, instead he’ll be earning $5.8 million this season. He’ll have to prove himself to the Rams as a reliable investment.

But that’s OK, Nacua said. He’s happy to be back at work.

Rams receiver Puka Nacua tries to slip past defensive back Trent McDuffie during training camp at Loyola Marymount University on Sunday.

(Robert Gauthier/Los Angeles Times)

“There have been things outside of my control that I think have impacted the way I’ve been able to kind of focus and enjoy this game of football,” he said. “But coming out here and seeing that jersey No. 12 hung up in my locker is something that I don’t take for granted … the level of connection that I feel like I have with all the guys out there, [it] has never crossed my mind that I don’t want to be out here.”

One of the Rams’ primary weapons on offense, a barefooted Nacua went on the charm offensive after practice Wednesday, opening his media scrum by joking with reporters, asking how his hair looked and whether he had any boogers visible in his nose.

He looked fit, like he’s been taking care of himself. He said he was mostly laying off McDonald’s, seeing a therapist and appreciating football as a safe space. The dad of a baby boy, he spoke about that too.

He said he’s closed his “circle of trust” and expressed regret for actions that, he said, “haven’t been the truest reflection of the person I feel like I am, and how my mother raised me.”

“There’s definitely been conversations with her to apologize, but also for her to say that she supports me,” Nacua said of his mom, Penina, who brought up Puka and his five siblings as a single parent after her husband, Lionel, died in 2012.

“And also my brothers are, I think, my biggest critics as well,” Nacua said. “So there were some intense conversations, but loving conversations, in order to see improvement.”

Nacua is one of the Rams’ best players and absolutely their most popular. The loudest roar at Wednesday’s practice was when he showed up on the sideline with fellow receiver Davante Adams. When it was over, the sound of children shrieking “Puka!” reverberated off the bleachers.

The Rams are fans, too. Nacua isn’t tolerated for his talent; he’s adored for his spirit.

Coach Sean McVay loves the guy, a fifth-round draft pick out of BYU who broke a 63-year-old record for the most receiving yards by a rookie in NFL history: “You know how much I love him and the heart that he has,” McVay said Wednesday. “And I’ve been really proud of what he’s been doing and how he’s taking accountability for some of the things that we can learn from.”

Nacua said he was buoyed by messages from teammates during this turbulent offseason, in which he checked himself into a Malibu rehab facility to, as attorney McCathern said, “focus on his health, personal growth and overall development.”

We all know how valuable Nacua is on the field, but now we’re going to find out how much he values this opportunity, getting to take another rep to repair his reputation.

We’re going to find out if this man of many routes can run straight-and-narrow. Whether the slow-moving train wreck can get back on track. Whether he can keep stacking incident-free days.

Nacua says he can. “I feel,” he said, “very confident about that.”

CHICAGO — In the nearly nine months since he was hired as head coach at UCLA, Bob Chesney has won over a lot of hearts and minds with his unwavering sense of belief.

First, he won over his star quarterback, Nico Iamaleava, who opted to stick with the Bruins after a 3-9 season a year ago. He won over 45 new transfers, who came to UCLA as part of the portal’s 11th-ranked class and seems to be winning over recruits, too, with UCLA currently ranked in the top 10 among 2027 classes. He even won over once-dormant Bruin donors, who, according to the school’s athletic department, have now poured over $41 million in private support into UCLA athletics over the past fiscal year, an increase of 80% from the previous year.

“It’s his energy, man,” Iamaleava said. “He brings a different type of energy.”

At this point, the only thing it seems Chesney hasn’t won yet at UCLA is an actual football game.

He couldn’t do anything about that Wednesday from the podium at Big Ten media days. Though, as far as first impressions go in this conference, Chesney certainly had a leg up on his predecessor, who stumbled through his own opening address two years ago.

But as the season draws nearer and a new era of Bruin football begins, all the enthusiasm does beg the question: What does a successful debut actually look like for Chesney at UCLA?

Chesney said Wednesday he had no interest in setting those expectations or “in putting artificial limits on ourselves.”

“Outcomes have to be earned,” he said. “And I think in the end, potential is a gift, right? The work is becoming. That’s the work.”

Considering UCLA’s recent history, you can understand why Chesney wouldn’t want to wade too far into setting expectations. Hope, after all, may be his most valuable resource at the moment.

The Bruins are coming off a season in which they won just three games, their fewest in more than 54 years. They’ve reached the nine-win mark once in the past decade. And just two UCLA coaches in a half-century — Jim Mora and Terry Donahue — have clocked a winning campaign in their debut seasons with the Bruins.

“There’s no better place I’d rather be at this moment in time,” Chesney said. “I strongly believe in the power of what UCLA is.”

The collective Big Ten media seems less convinced, having voted the Bruins to finish 13th in their preseason conference poll. That’s exactly where they finished last season.

But there are some things working in Chesney’s favor. For one, a schedule that includes just four opponents picked to finish in the top half of the Big Ten.

It doesn’t hurt, either, that his quarterback got a full spring and summer under his belt as a Bruin. Iamaleava didn’t join the program until late in the process last season after his transfer portal drama dragged out through the spring and summer. Then once he started to find his bearings, UCLA’s coach was fired.

There was no such uncertainty this offseason, as Chesney moved to quickly retain Iamaleava.

“It was a matter of making sure he understood we had a plan,” Chesney said. “That was the most important thing we could do to make sure he stuck around and he did.”

Not only was Iamaleava impressed with his plans to prepare him for the NFL, but he found himself right away swept up in the coach’s personality.

“When you first talk to him,” Iamaleava said, “it kind of sounds like you’re talking to a poet or something, the way the words roll off.”

Chesney is counting on Iamaleava to make things move smoothly for UCLA’s offense this season. But the most marked difference for the Bruins on that side of the ball should be the ground game.

The Bruins boasted one of the least dynamic rushing attacks in the Big Ten a season ago, as Iamaleava led the team with just 505 rushing yards. Their lead running back, Jalen Berger, rushed for a meager 364 yards over the course of the season.

Meanwhile, at James Madison, Chesney had three running backs with as many yards last season. The Dukes rushed for the fifth-most yards (3,381) of any Football Bowl Subdivision team.

Their lead rusher, Wayne Knight, followed Chesney to UCLA and should step in as one of the best backs the Bruins have had in years. Of the 30 backs in college football with over 200 carries, Knight averaged the most yards per carry last season (6.63).

“There’ll be a commitment to playing that style of football,” Chesney said.

The rest is mostly just a projection, a fact that Chesney openly acknowledges.

“Everything here is ultimately conceptual,” he says.

But one change has already taken hold, if you ask Iamaleava. One that might appear unrecognizable from recent history at UCLA.

“He’s definitely changed the mindset in there, just how you feel. I don’t know how to explain it,” Iamaleava said.

“When Ches walks into a room, he just brings that winning mentality.”

Dodgers president of baseball operations Andrew Friedman all but confirmed Wednesday that the team would be in contact with the Tigers to gauge their asking price for reigning AL Cy Young winner Tarik Skubal.

“There just aren’t that many star-level players in the game,” Friedman said Wednesday afternoon when asked how aggressive the Dodgers would be in pursuing big-name players. “Any time one is available, we’re always going to participate in those conversations. We’ve shown to be very aggressive in the past. … We’ve traded a lot of really talented young players.

“But we’re able to be in those conversations because of the incredible work by our scouts and our front office and our player development group that has our farm system in such a strong spot to be able to talk to any team basically about any player.”

All that was expected. Checking in is simply due diligence.

Friedman avoided showing his hand when asked the odds of the Dodgers acquiring a player like that at the deadline.

“I don’t know,” he said. “I’m not in the handicapping business.”

Part of the calculation, with the Tigers on a skid that could push them to sell at the deadline, will be the health of the Dodgers’ pitching staff, which is steadily improving. So, instead of trying to fill specific holes, the Dodgers have the luxury of reading the market and being “a little bit more selective and opportunistic.”

Before the Dodgers’ game against the Mariners on Wednesday, they activated closer Edwin Díaz and designated left-hander Charlie Barnes for assignment. Right-handed starter Tyler Glasnow (back spasms) threw two innings of live batting practice, and right-handed reliever Blake Treinen (right elbow inflammation) threw one simulated inning.

Over in Class-A Ontario, left-hander Blake Snell (arthroscopic elbow surgery) was set to make what could be his last rehab start before being reinstated from the IL, although Friedman said the team was still talking through the next steps.

Two-way star Shohei Ohtani’s timeline back to the mound is the biggest unknown, but Friedman insisted that his lingering knee injury didn’t change the Dodgers’ evaluation of its rotation heading into the deadline.

“I don’t think it puts it in an acute need at all,” Friedman said. “We’re confident he’s going to come back. Again, if there was something structural, then we would be much more concerned with that. But there’s not. And the fact that it does keep improving suggests that we’re on the right path and feel very confident that he will be back.

“And then that’s also where it gets to the depth that we have and the talented arms that have stepped up with some of our injuries, that we feel like deserved an opportunity to keep going. So it just doesn’t fall into acute. That being said, we’re always open-minded to different things.”

Friedman also offered some insight on Ohtani’s right biceps injury, which he first publicly acknowledged on July 3 and that he said Tuesday night was not 100%. Ohtani hasn’t pitched in a game since that July 3 start, when the biceps issue flared in his last at-bat.

“If it weren’t for the knee, he would be pitching right now, he would be making his regular turn [in the rotation],” Friedman said. “We kept the arm going. Does he feel 100% in his arm? No. But neither does any pitcher in late July. But this is around the knee and making sure that we can get it to a place where there’s just no compensation. So exactly when that is, I’m not sure. But I feel confident that relatively soon, he’s going to start getting out and start ramping up for catch play and bullpens and getting him back.”

Ohtani’s timeline, however, hasn’t progressed the way the Dodgers initially expected since receiving an Orthovisc injection to lubricate his knee at the beginning of the All-Star break. They’d hoped he’d return to the rotation in its first turn out of the break. Instead, he threw a bullpen in Philadelphia last week, and then his throwing program stalled.

It’s also unclear what version of Ohtani the Dodgers will get when he returns to the mound.

“There’s no question it got significantly better,” Ohtani said in Japanese of the effects of the injection. “But after talking with the doctors, I don’t think it’s realistic to expect the pain to be zero. That may end up being something that has to wait until the offseason. In the meantime, I’ll keep working through my rehab program and try to get it as close to zero [pain] as possible.”

While playing through the knee injury, and searching for a mechanical adjustment to take some pressure off it, Ohtani’s execution has wavered. He had a 4.38 ERA in his last four starts, compared to 0.74 in his first 10.

“I think it speaks to the knee and the delivery and just the challenge of repeating it over and over and over again,” Friedman said, “and more speaks to why we are doing this and making sure that we get it calmed down and in a good spot so he can repeat. Then I’ll bet on him to execute.”

On the heels of the trailer reveal for the big-screen adaption of “Children of Blood and Bone,” the book’s author is claiming in a new video that an on-set ordeal traumatized her — and fans have been left with more questions than answers.

On Wednesday, Tomi Adeyemi upped the ante when discussing the ongoing behind-the-scenes drama that’s overshadowed the new film. Although the author, in her latest video on the falling-out, hinted at a painful ordeal that unfolded on set, fans are still scratching their heads as to what exactly happened and who was involved.

“I’m gonna post this so ideally I won’t have to talk about this anymore,” she said in a five-minute, 40-second video posted to social media. “And what I’m about to share is not a secret to the people involved. It’s a reality that I’ve had to live with for about a year and a half, and everyone involved, at least at the highest level, has been made aware of this reality, and they haven’t done anything to make it better. If anything, they’ve only antagonized me, and I accept that, but I also accept if I don’t say something, I think it’s just going to be worse.

“I’m not gonna speak on what I endured to make it through the young adult trilogy, and I’m not going to speak about everything that I also suffered through to make the adaptation a reality,” she continued. “I’m actually only going to speak about what happened after I left that set of my own film adaptation, hyperventilating and sobbing, and there are many witnesses, so it’s not really a secret.”

The author continued that, when she returned to America from an overseas filming location, she suffered “such severe somatic pain and so many panic attacks” that she knew she would never be able to watch the film.

“But as it is being marketed, and as I am still being antagonized behind the scenes, which is where I hoped all of this would stay, it’s become apparent to me that reality needs to at least be made known so that you guys can understand how this film — which I worked on to make it a little better for us to be alive — is also the worst thing I have ever had to live through, and I don’t wish to speak on it anymore.”

Adeyemi concluded that she never wants to hear about the film adaption again, and then she seemingly threw shade at director Gina Prince-Bythewood, whom she co-wrote the screenplay with, saying, “I don’t have anything to say about the people who made it. I do not care anymore. I’m trying to move on. This video might make it worse, but I don’t know how it can be any worse.”

Representatives for Prince-Bythewood and Paramount Pictures did not immediately respond to The Times’ request for comment.

Earlier this month, the Nigerian American author posted a since-deleted video on TikTok that also left her followers puzzled in which she said there was a reason she stopped promoting the forthcoming film. Although she didn’t spell out the reason, she posted a screen shot of a February 2025 text exchange with one of the film’s stars, Amandla Stenberg, in which she told the actor not to use her name in interviews and then blocked her.

Stenberg, who is African American and Danish, had been at the center of a casting controversy due to claims that colorism was at play when she landed the role of Princess Amari. (Read more about the controversy here.)

On Monday, Paramount held a “Children of Blood and Bone” trailer launch event at the Brooklyn Academy of Music in New York City. In a discussion moderated by “Master of None” actor Lena Waithe, Prince-Bythewood and the A-list cast talked about the making and almost-not-making of the film, and Prince-Bythewood seemed to reveal her stance on the fallout over Stenberg’s casting.

The director said her big-screen adaptation was “beautifully inspired by Nigeria and also inclusive of the whole diaspora. We wanted all of us to be able to see ourselves within this, just our complete and utter humanity, all the beautiful hues.”

In the comments section under Adeyemi’s Wednesday video, frustrated fans asked the author to be more transparent while others suggested maybe a non-disclosure agreement was hindering her ability to offer any specifics on the incident.

“Children of Blood and Bone” is slated to hit theaters Jan. 15.

MADISON, Wis. — Wisconsin voters who have already returned their absentee ballots for the state’s primary are not allowed to void those and request a new one, a judge ruled Wednesday.

The ruling deals a blow to Democrats, who filed a lawsuit seeking to give voters a do-over because of a chaotic party primary in the governor’s race.

The ruling is almost certain to be appealed with voting already underway in the state’s primary for governor. It creates another level of uncertainty in the waning days of a primary season that saw Lt. Gov. Sara Rodriguez, who had been seen as a Democratic front-runner, drop out on July 17. A day later, Milwaukee County Executive David Crowley, who had bowed out on July 8, reentered the race.

Rodriguez’s name remains on the ballot, along with former state economic development director Missy Hughes, who dropped out in June.

More than 117,000 absentee ballots had been returned by Wednesday. Democrats were concerned that many of those might have been cast for Rodriguez.

The attorney for voters who filed the lawsuit with support from the Wisconsin Democratic Party argued in a Tuesday hearing that state law allows voters who have submitted absentee ballots to change their mind before those ballots are counted on election day.

“Voters across Wisconsin will be disenfranchised” if not allowed to do that, attorney Eduardo Castro argued before Dane County Circuit Judge David Conway.

The bipartisan Wisconsin Elections Commission had voted on July 9 to distribute guidance to clerks saying absentee voters cannot change their ballot after it has been returned. The rarely used process is known as ballot spoiling.

But Conway on Wednesday ruled that “the unambiguous language of the statute does not allow a voter to spoil an absentee ballot after it is returned.” He said the guidance issued by the elections commission to the roughly 2,000 clerks who run elections at the local level was consistent with the law.

The judge declined to issue a temporary restraining order sought by Democrats. They had wanted the judge to order the state elections commission to rescind its guidance.

Spokespeople for the Wisconsin Democratic Party and the state elections commission did not immediately return messages seeking comment on the ruling.

Ballot spoiling was the subject of a 2022 lawsuit brought by a Republican group. In that case, a Waukesha County judge agreed that the elections commission must rescind its guidance that allowed voters to cast a second ballot. But the state appeals court earlier this year vacated that ruling on technical grounds and did not rule on the merits.

The winner of the Democratic primary will advance to November’s general election, most likely against Republican U.S. Rep. Thomas P. Tiffany, who has only token opposition in his party’s primary. Democratic Gov. Tony Evers is not seeking a third term.

Democrats hope to keep the governor’s office and flip both chambers of the Legislature to gain full control of state government for the first time since 2010.

Bauer writes for the Associated Press.

COLUMBIA, S.C. — The Washington powerbroker Sen. Lindsey Graham returned home to South Carolina for the last time Wednesday for his funeral and burial.

After Graham was eulogized Tuesday in the nation’s capital as an indefatigable dealmaker by the president, vice president and others, mourners in Columbia prepared to remember him Wednesday as the son of pool hall owners who never forgot his roots.

Graham seemed to know every small-town mayor and police chief and the location of every Chick-fil-A across South Carolina. His PAC made sure Republicans had money to run in legislative and local elections across the state.

Graham died suddenly on July 11 at his home in Washington, likely of an aortic tear, according to preliminary findings. He had just returned from a whirlwind trip to a NATO summit in Turkey, where he celebrated his 71st birthday, and a visit to Ukraine as he negotiated punishing sanctions against Russia. Senators voted late Tuesday to advance the package as a final gesture for their colleague.

Wednesday’s funeral was at First Baptist, the giant downtown church where his predecessor Republican Sen. Strom Thurmond was honored 23 years ago.

Graham’s body was first brought to the South Carolina Statehouse, where he started his political career in 1993, for a law enforcement ceremony and a flyover by military jets. A horse-drawn caisson then carried his casket to the church, where his family followed members of his family carrying it inside.

Graham’s burial Wednesday near his home in Pickens County was planned as a private ceremony.

On Tuesday, Graham’s flag-draped casket was at the U.S. Capitol, where the Republican spent more than 30 years talking and laughing and badgering his colleagues into action.

President Trump then joined foreign leaders at the Washington National Cathedral, a testament to Graham’s stature on the global stage.

Trump called Graham “a giant of the United States Senate, a true American original who left us much too soon.”

Graham’s death has created opportunities for change in South Carolina. Graham had already won the Republican nomination as he ran for a fifth term. Gov. Henry McMaster named his younger sister Darline to hold his seat until January. Darline Graham then surprised many by deciding to run for the full six-year term herself.

State law has Republicans holding a special primary in two weeks to decide the new nominee. Eight others are competing, including former Gov. Mark Sanford and U.S. Reps. Ralph Norman and Russell Fry.

Kinnard and Collins write for the Associated Press.

WASHINGTON — Dr. Anthony Fauci on Wednesday invoked the Fifth Amendment and declined to answer questions from senators in a Republican-led committee hearing about his handling of the COVID-19 pandemic.

The move injects new drama into the lingering tensions between Fauci and Republican lawmakers over his handling of the coronavirus pandemic and accusations he lied about the origins of COVID-19, which he denies.

Fauci was set to answer lawmakers’ questions after being subpoenaed by Republican Sen. Rand Paul of Kentucky, who has long had a fraught relationship with the now-retired infectious-disease expert and led the charge seeking that he testify, again, under oath about his role in containing the pandemic.

Fauci’s decision to invoke the Fifth, at least for now, sidesteps calls for his prosecution if he is accused of lying at Wednesday’s hearing, part of a yearslong campaign for his arrest spearheaded by some Republicans in Congress. But it may also further inflame partisan divides that have festered for years about the origins and handling of the pandemic, which was declared by the World Health Organization in March 2020.

Fauci, who helped lead the nation’s COVID-19 response, has become a target of those frustrations. But to his supporters he is an emblem of sound scientific expertise.

In his opening statement, Fauci said Paul has an “obvious obsession with calling for my prosecution.”

“The only conclusion I can reach is that the sole reason he is calling me before this Committee is to prompt me to say something, anything, that could vindicate his repeated public pledges that I end up, in his words, ‘behind bars,’” Fauci said, adding that while it pains him to do so, he is following his attorney’s advice by taking the Fifth.

Paul releases some of Fauci’s diary

Paul in his opening statement sought to build the case that Fauci helped produce the COVID-19 pandemic by approving funding of research on virus mutations and then covered up his complicity.

“Instead of an apology, you have for years avoided responsibility,” Paul said.

Democratic Sen. Gary Peters of Michigan, the committee’s ranking member, said that Paul’s hearing was a partisan exercise and that the hearing was looking backward instead of focusing on current national security challenges.

Leading up to the hearing, Paul released more than 1,000 pages of Fauci’s personal diary covering the pandemic years. Pointing to some notes about early efforts at understanding how the virus emerged, Paul wrote on the social media platform X that what Fauci “wrote privately and what he told the country are two different stories.”

Some of the diary entries – including Fauci’s uncertainty in the pandemic’s earliest days as scientists around the world raced to understand the new virus and how best to curb it before vaccines could be created – already were reflected in a 2024 memoir and in interviews at the time.

But they have nonetheless drawn attention from people who blame Fauci for mask mandates, school closures and other policies they believe infringed on their rights as hundreds of thousands of people were dying.

Ahead of the hearing, President Trump wrote on social media that he stopped relying on Fauci over the course of the pandemic because he felt Fauci made bad decisions on masks, shutdowns and other issues.

In a statement, Fauci’s attorney David Schertler said Paul’s accusations are “false and disgraceful, and we will examine all options to hold him accountable.”

Health Secretary Robert F. Kennedy Jr., a longtime anti-vaccine activist before he entered public office, said Monday that his department gave the diary entries, which were created on a government computer, to the committee. He told a Fox News Channel host that he thought Fauci might lie before the committee, opening him to perjury prosecution despite his preemptive pardon from then-President Joe Biden, a Democrat.

Scientists scrambled to Fauci’s defense ahead of the unusual hearing — the second time the longtime National Institutes of Health scientist has been back before Congress to discuss pandemic origins since leaving the government in 2022. While the COVID-19 pandemic introduced him to millions of Americans, he talked the nation through numerous outbreaks over decades, including HIV, Ebola and the 2001 anthrax attacks, while advising seven presidents.

Some disease experts criticize the accusations against Fauci

In a public letter, more than 150 infectious-disease experts and other scientists wrote that “no credible evidence has been produced to support these absurd charges” and that they are “urging our elected representatives in Congress stop these witch-hunts.”

The expected crux of Wednesday’s hearing was whether NIH-funded research in China may have played a role in how the pandemic started.

Many scientists believe the virus most likely emerged in nature and jumped from animals to people, coming to light when it spread at a wildlife market in the Chinese city of Wuhan. There’s no new scientific information supporting that the virus might instead have leaked from a laboratory, a theory Paul champions. A GOP-led subcommittee that studied the question in 2024 did not find any evidence linking Fauci to wrongdoing.

Fauci has long said publicly that he was open to both theories but that there’s more evidence supporting COVID-19’s natural origins, the way other deadly viruses including coronavirus cousins SARS and MERS jumped into people.

Republicans also have accused Fauci of lying about whether his agency funded what’s known as gain of function research — the practice of enhancing a virus in a lab to study its potential real-world impact — at a lab in Wuhan.

The NIH for years gave grants to a New York nonprofit called EcoHealth Alliance, which used some of the funds to work with a Chinese lab studying coronaviruses commonly carried by bats. But the definition of gain of function covers both general research and especially risky experiments to enhance the ability of potential pandemic viruses to spread or cause severe disease in humans. Fauci has previously stressed he was using the risky experiment definition and that “it would be molecularly impossible” for those bat virus experiments to have turned into the pandemic virus.

Trump, a Republican, last year paused some federally funded gain of function research, and on Tuesday his administration announced new rules to tighten oversight.

Neergaard and Swenson write for the Associated Press. Swenson reported from New York.

After 4 million tickets sold and maybe a million more headaches, the Olympic ticket booth opens again this week.

LA28 sold a record number of tickets during its first drop in April, signaling unprecedented interest in the Olympics as they return to Southern California for the first time since 1984. High prices, service fees and unavailable seats frustrated fans but did not deter them. In fact, interest in the Games has only grown since April’s first drop.

LA28 announced Wednesday that more than 12 million people from more than 200 countries have registered for tickets, a dramatic increase from the 5 million registrants the organizing committee boasted in late February before the first ticket drop.

Sports from the traditional standbys (artistic gymnastics) to the newest additions (flag football, lacrosse and squash) all sold through their first-drop availability. The second drop that begins Wednesday offers “refreshed inventory across all Olympic sports,” LA28 said.

Here’s what to know about the next ticketing phase:

Halfway through a ride on Universal Studio Hollywood’s new coaster, I didn’t know whether to laugh or scream.

The track turned, angled so my car was completely vertical to the ground, a cliff below me. And then my ride vehicle ever so slightly started to twist, to drift as if banking around a tight curve in a video game. Straight down from me was rocky terrain, but if I looked up and beyond the tracks, I had perhaps the best view of the Valley I’ve ever seen.

Granted, it was fleeting. But I was alternately in awe and fearful of what Fast & Furious: Hollywood Drift was presenting before me. I held onto my lap bar, gripping it tighter as I lifted out of my seat, and I couldn’t help but smile at my predicament. I was in a mini, expertly re-created Toyota Supra, hanging over a bluff. I was soaring, the sensation of a car careening off a canyon, only here, my life, thankfully, wasn’t at risk. And I didn’t want it to end.

Fast & Furious: Hollywood Drift is intense, yes, but more important, it’s a delight. It’s a roller coaster not just full of thrills but of surprises, of wondering where and when a coaster vehicle will be spin, careen or accelerate. Every turn, twist, flip will leave you guessing. And it’s the smoothest coaster I’ve ever been on, a feeling that lends it a sense of approachability not typically found in rides of this speed and unpredictability.

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It is also a ride that will forever change the tone and tenor of Universal Studios Hollywood, a destination that just two decades ago was largely a behind-the-scenes showcase dedicated to movie-making magic. No more. Universal Studios Hollywood is one of the foremost theme parks in the nation, home to the Wizarding World of Harry Potter, Super Nintendo World and now one of the strongest thrill rides in Southern California, changes that haven’t always been met with approval by the park’s neighboring Toluca Lake residents.

Fast & Furious: Hollywood Drift surprise-opened to guests Monday afternoon. The ride is in technical rehearsals, a soft opening, more or less. That means it’s still in a testing phase and may not always be running. If getting on the coaster is a priority for you, it’s best to wait until Universal gives it a grand opening.

A look at Fast & Furious: Hollywood Drift careening over the park’s escalators.

(Todd Martens / Los Angeles Times)

The coaster — designed by Universal, manufactured by Intamin — has long been circled as the most important theme park attraction of 2026, a feat of engineering nestled on a steep hill between the park’s upper and lower lots that was 10 years in the making. Boasting 4,100 feet of track, two towering inverted loops as well as a pretzel loop and the ability to reach 72 mph through four individual launches, Fast & Furious: Hollywood Drift is full of unique attributes, including its ability to go above and under the park’s famed escalators.

But those not attuned to coaster speak need not be overwhelmed. Know only that at times you’re upside down, at times you’re on your side, some moments you’re facing the ground, others you’re glancing at the horizon, and then you may suddenly be flipped backward. And before you have time to worry about it, you’ll be rocketing forward.

The four cars, all expertly themed to storied vehicles from the film franchise in which the coaster takes its name, can rotate 360 degrees. The choreography is sudden, but not jolting and never gratuitous. I’ve gotten motion-sick on other coasters that can rotate, ones specifically in which designers have opted to move the vehicles in time to a soundtrack, but here, the movement is cleverly attuned to the track. If we spike upward at an angle, the cars twirl as if taking off in flight. A dive downward, and we may hear braking noises as the cars lock in a side-facing position. In short, the vehicles feel forever aligned with the designed course. I rode Fast & Furious: Hollywood Drift twice with no issues.

Unversal Studios’ Hollywood’s Fast & Furious: Hollywood Drift features expertly created mini cars.

(Todd Martens / Los Angeles Times)

And those cars! They are not small. I’m 6-foot-2 and more than 200 pounds and I had ample leg room. And I know those bigger than I am have had no issues riding this new coaster, which seats four per vehicle. Modern coasters aren’t always known for their accessibility, but Universal has created a ride that should be accommodating for many. The ampleness of the cars, coupled with the smoothness of the track, allows Fast & Furious: Hollywood Drift, I believe, to alternately appease those seeking high thrills while not freaking out those who may be more coaster cautious. The goal here is fun, not to terrify.

Universal has crafted some spectacular coasters in recent years: Florida’s Jurassic World VelociCoaster, Stardust Racers and Hiccup’s Wing Gliders, among them. Fast & Furious: Hollywood Drift is not just a worthy addition to that portfolio, but a ride that many, I bet, will declare their favorite. Universal Creative, the division of the company responsible for theme park experiences, and especially the Universal Studios Hollywood team led by Jon Corfino, have accomplished what, just 10 years ago, would have been unthinkable. A high-speed outdoor coaster, in a landlocked studio tour park? Far-fetched, at best.

But instead, it’s a reminder that theme parks are where we go to imagine the impossible.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Mr. Todd’s Wild Ride typically comes out every Tuesday, but we occasionally publish special editions (like this one!) when we have breaking theme park news. Make sure you’ve signed up to be the first to know.

Universal Studios Hollywood surprise-opened its flashy new high-speed roller coaster Fast & Furious: Hollywood Drift on Monday. After much hype and anticipation — and even some unfounded rumors that the coaster would not hit its promised summer launch — Hollywood Drift is at last ready for its close-up.

Billed as one of the most intense roller coasters in Universal Studios’ global ride portfolio, Fast & Furious: Hollywood Drift can reach speeds of 72 mph while taking guests through multiple inversions in vehicles that can rotate 360 degrees. It is the fastest coaster that Universal Creative, the division of the company responsible for theme park experiences, has designed.

There is some fine print.

Fast & Furious: Hollywood Drift has still not announced its official grand opening. The ride is operating in what Universal is calling “technical rehearsals.” Think of this as a soft opening.

What that means: Fast & Furious: Hollywood Drift is not guaranteed to be running if you visit the park. It’s still, for all intents and purposes, in a testing phase, and can be closed down at any time. If you’re thinking about rushing to the park to be one of its first riders, proceed with caution. Until Universal gives the coaster a proper opening — and expect some sort of gala to go with it — Hollywood Drift may not be fully operational.

Technical rehearsals help ensure that when a ride does receive a formal opening, it can operate, in theory, without any issues or prolonged downtime. My advice: Visiting a theme park is an investment, and if experiencing Hollywood Drift is vital to your day at Universal Studios, it would be safest to wait until the coaster gets its date. At this point, it should be a matter of weeks, if not days.

A view of Fast & Furious: Hollywood Drift when it was still in testing mode.

(Kayla Bartkowski/Los Angeles Times)

But I certainly understand that theme park FOMO.

Hollywood Drift has long been circled as the most important theme park attraction opening in North America in 2026. The ride has been about 10 years in the making, and has many unique attributes. Not the least of which is its location, as the coaster is built on a steep hill between the park’s upper and lower lots, meaning at times it will go over and under its famed escalators.

“It wouldn’t be your first choice,” says Jon Corfino, Universal Studios Hollywood’s lead creative, of the topography. “But in a way, it makes it more dynamic that we were able to do it.”

Meanwhile, the ride has also raised eyebrows among the community surrounding Universal Studios Hollywood. The park’s neighbors in the adjacent Toluca Lake neighborhood have been none too pleased with some of the rider screams that emanated from the coaster on a day of testing earlier this summer. I talked to several residents as well as Universal and representatives from Los Angeles County for a story published last week, “Fast & Furious’ coaster screams rattle quiet neighborhood: ‘Like someone is getting murdered.” Whether those concerns fade, or how that issue is ultimately resolved, will be but one of the storylines that will follow the attraction.

Fast & Furious: Hollywood Drift on a test-run. The coaster has been the most anticipated theme park opening of 2026.

(Todd Martens / Los Angeles Times)

Yet most guests will simply be concerned with how it rides. While other coasters can rotate 360 degrees, they don’t do it at this speed and through this many twists, turns and loops. And then there’s the design. Hollywood Drift puts riders in mini cars, each one heavily detailed and with unique engine and breaking noises. Of course, the ride may simply move too fast to pay attention to all that.

“It’s a high level of intensity, absolutely, for sure,” Corfino says.

Stay tuned to Mr. Todd’s Wild Ride for detailed impressions of Fast & Furious: Hollywood Drift.

This week in SoCal theme parks

A glass slide from the Medusa portrait in Disneyland’s Haunted Mansion is going up for auction.

(Matt Roppolo / HA.com)

• Bid on a piece of Disneyland history. I have mixed feelings on auctions involving Disneyland artifacts. And by mixed, I mean mostly negative, as they tend to inflate prices for the fans who care about the items most, and many of these treasures belong in a museum rather than someone’s private collection. But if you’ve ever wanted a mummy prop from Indiana Jones Adventure, or — gasp — an original glass slide from the Haunted Mansion’s changing Medusa portrait, now’s your chance. The Disney Experiences Auction — Rare and Remarkable Finds is part of next month’s all-things Disney fan convention D23, and is hosted by Heritage Auctions. The live auction is Aug. 16, but online bidding is open.
• A Halloween Horror Nights original. Spooky season is now just a few weeks away, and Universal Studios Hollywood’s lineup for Halloween Horror Nights is mostly set. The latest addition to the event, which begins Sept. 3, is an exciting one, as it’s a brand new haunted house not based on any existing film or television properties. The maze, Dead, Deader, Deadest, is set in a funeral home, based on a plot involving a “miracle drug” that can restore the features of the deceased without embalming. Halloween Horror Nights mastermind John Murdy revealed on socials that it connects to past original haunted houses at the park, for those deep into Halloween Horror Nights lore.
• Hope you like Kraft Mac & Cheese, Disney fans. Times Business writer Samantha Masunaga reports on a deal between the Walt Disney Co. and Kraft Heinz. As part of the agreement, more Kraft Heinz products will be available in Walt Disney Co.’s U.S.-based theme parks and on cruise ships, including Heinz, Philadelphia cream cheese and Kraft Mac & Cheese.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

Hunter Dobbins scattered six hits over six innings, JJ Wetherholt hit a home run in the sixth and the St. Louis Cardinals held on for a 1-0 victory over the Angels on Wednesday at Angel Stadium.

Dobbins, recalled from triple-A Memphis for Wednesday’s start, struck out five and walked none to help St. Louis snap a four-game losing streak and end the Angels’ three-game win streak.

Luis Gastelum threw a scoreless seventh, George Soriano had a 1-2-3 eighth and closer Riley O’Brien struck out Oswald Peraza with an 80-mph sweeper and Josh Lowe with a 98-mph sinker with two on in the ninth for his 26th save.

Dobbins (2-1) escaped a first-and-third, two-out jam in the second, a two-on, one-out jam in the third and a first-and-third, two-out jam in the fourth.

That inning ended with Cardinals third baseman Blaze Jordan reaching into the third-base dugout to snag Tyler Heineman’s popup.

Angels starter Reid Detmers (3-7), expected to be a top target of contenders looking to acquire starting pitching before the Aug. 3 trade deadline, blanked the Cardinals on one hit through five innings despite walking two to open the fifth.

The left-hander escaped the fifth with the help of third baseman Vaughn Grissom, who made a backhand diving stop of José Fermín’s grounder, scrambled to the bag for a forceout and threw to first to complete a double play.

Jordan struck out to end the inning.

But with one out in the sixth inning, Detmers (3-7) left a fastball up to Wetherholt, who lined his 15th homer of the season over the wall in center field to break the tie and knock Detmers out of the game.

Up next: Cardinals RHP Michael McGreevy (4-7, 2.92 ERA) will oppose Arizona RHP Brandon Pfaadt (4-1, 4.58 ERA) Thursday night in St. Louis. For the Angels, RHP Grayson Rodriguez (3-3, 8.23 ERA) will face Giants RHP Logan Webb (5-7, 3.87 ERA) Friday night in San Francisco.

WASHINGTON — The House on Wednesday passed a defense policy bill that incorporates President Trump’s request for a historic $1.15 trillion in spending for national security and would designate the Department of Defense as the Department of War.

It also would provide for a pay raise next year ranging from 5% to 7% for service members, depending upon their rank.

The National Defense Authorization Act is generally one of the more bipartisan bills that Congress takes up on an annual basis. That’s not the case this year. The vote was 216-212.

Democrats took issue with steep spending increases for the Pentagon as Republicans attempted to cut numerous non-defense programs through other bills. They also opposed some of the conservative social policy riders that were included.

For example, the bill includes a prohibition on gender-related medical care under the military health program known as TRICARE. It also eases hurdles for service members to carry a privately owned firearm on base, following Defense Secretary Pete Hegseth’s lead on the issue.

Republican leaders’ decision to attach Trump’s elections overhaul bill to the defense bill upon its passing also amplified the partisan divide. Speaker Mike Johnson is working to accommodate Republican lawmakers who are angry that the Senate won’t pass the SAVE America Act and are insisting that it be included in must-pass bills until the Senate relents.

House bill tests a normally bipartisan process

Rep. Mike Rogers of Alabama, the Republican chairman of the House Armed Services Committee, said he knows there were areas of disagreement, but emphasized that Wednesday’s vote was a step in a long process. He promised to work in a bipartisan manner on a final product that can pass both chambers and be signed into law.

Rogers said the United States needs to reverse decades of underinvestment and neglect in the nation’s armed forces and defense industrial base.

“This bill will do that and much more,” he said. “It will build the ready, capable and lethal fighting force we need to deter China and other adversaries.”

Rep. Adam Smith of Washington, the ranking Democratic lawmaker on the Armed Services Committee, said the defense spending the administration has asked for this year is approaching $1.6 trillion including separate efforts to pay for the war in Iran and boost weapons stockpiles.

“The American people are struggling to pay their bills and we’re going to put $1.6 trillion into the defense budget. It’s not a reasonable thing to ask,” Smith said.

Smith also expressed concern about the war with Iran and that in supporting the defense bill, lawmakers are “de facto supporting this war with no end in sight.”

“We are in an incredibly, incredibly dangerous time,” Smith said. “I want to maintain the bipartisan nature of this bill. I do. And I know that the chairman does. But if we’re going to do this, we’re going to need some Republicans to stand up to the president of the United States and say, ‘No. No, we’re not going to get you $1.6 trillion. No, we’re not just going to give you a blank check for a war that is totally out of control.‘”

White House backs parts of the legislation

The spending increases authorized in the bill would not take effect until Congress follows up with a separate defense appropriations bill. The Senate has not yet approved its version of the defense measure. It’s possible a final product won’t be ready until after the midterm elections.

The White House applauded the spending levels authorized in the House bill and the Department of War designation that it says recognizes the “willingness to fight and win wars on behalf of our nation.”

The president issued an executive order last year renaming the Defense Department, but it’s up to Congress to make the change official. The Congressional Budget Office has projected that the renaming could cost taxpayers as much as $125 million.

The White House’s statement also said that the administration has a number of concerns with certain provisions in the bill and would work with Congress before a final bill is presented to the president. Among those concerns was a section of the bill it said would limit or undermine the president’s ability to name military installations and property.

In 2023, during a national reckoning on issues of race in America, seven Army bases’ names were changed because they honored Confederate leaders. Last year, those bases reverted to their original names, but with different namesakes who share Confederate surnames. The Army found other service members with the same last names to honor.

Freking writes for the Associated Press.

Pat McAfee knows just what the world needs in 2026.

More Pat McAfee.

The former Indianapolis Colts punter and kicker already is seemingly everywhere — as the host of his own show every weekday on ESPN, as an analyst on “College GameDay” and guest on a number of other shows on the network, as a commentator/participant with WWE until earlier this year, as host of multiple podcasts, etc.

McAfee has not, however, released an album full of songs written and sung entirely by the two-time Pro Bowl selection himself.

That situation will be rectified in a matter of weeks.

McAfee announced Wednesday that he would be dropping his debut record, “The Diary of a Polarizing Figure,” on Aug. 14, a musical collaboration with country singer-songwriter Ernest.

“For as long as I can remember my mere existence has made people hate my guts,” McAfee wrote in an X post announcing the project. “I’ve been writing songs about it for 20yrs & it’s time to let them aht.. A LOT of headlines & narratives.. if I was to die, I’d like my kids to know exactly who their dad is.”

Although McAfee definitely has his detractors, it’s interesting that he’s putting out an album focusing on the haters, considering his current popularity is such that he is reportedly in talks for a contract extension with ESPN that would pay him more than $60 million a year.

Some online commenters have criticized McAfee for the timing of his announcement, which comes a day after a number of his ESPN colleagues were laid off by Walt Disney Co. McAfee reposted one such complaint on X and commented simply, “The Diary of a Polarizing Figure, August 14th, 2026.”

He said Wednesday on “The Pat McAfee Show”: “A lot of things are being said about me at this exact moment. [People] are going to hear my responses through these songs because these types of situations have been happening to me throughout my entire life. … Literally since elementary school I’ve had people that just don’t like me because I’m too loud and everything like that.”

In December, McAfee released a country-rock single called “Dookie,” also a musical collaboration with Ernest. A news release at the time stated that the single marked “a new partnership between McAfee and DeVille Records / Big Loud Records.”

Ernest told Whiskey Riff early this year that he and McAfee had recorded eight or nine songs together.

“Any EA Sports game should have a Pat McAfee song on it,” Ernest said in describing the former West Virginia standout’s musical style. “It’s locker room hype s—.”

Many athletes have attempted musical careers, with varying degrees of critical and commercial success. It would seem far fewer sports broadcasters have tried the same crossover, with John Tesh probably being the best-known example after his stint covering athletic events for CBS and NBC in the mid-1980s.

If he wants advice from a peer, perhaps McAfee might seek it from Terry Bradshaw, the four-time Super Bowl champion and longtime NFL analyst who also has released a number of country/gospel albums and even had a top 10 country hit with a cover of “I’m So Lonesome I Could Cry” in the 1970s.

McAfee said on his show that he “wrote this entire thing over the last 20 years or so in the notes section” of his phone.

“A lot of very personal stuff in here,” he said. “Finding my singing voice has been fun. That has been a blast. Then [to] all the incredible people in Nashville who have assisted and kind of helped me piece all this together, I’m so grateful and thankful.”

My theme park day begins with gunfire. A jailbreak! But shortly after, I‘m attending a wedding. Next I’m on a mission, helping the local postmaster justify his uncontrollable desire to open everyone’s packages, and trying to find a way to do so without telling a lie.

This is just another Sunday morning at Knott’s Berry Farm’s “Ghost Town Alive!,” a now-10-year-old interactive show — live-action role-playing game is more accurate — that has become the best summer offering at any theme park, and not just in SoCal but in America. There’s a daily story, including three editions of a single-page newsletter that are updated every day. There’s also lots of improv. Over the years, I’ve found myself on the prowl for mysterious elixirs, playing matchmaker, collaborating on group stories in a schoolhouse, doing police work, participating in a mustache contest or flashing a press badge.

“Ghost Town Alive!” ultimately is the promise of theme parks fulfilled, that is that we can enter a fantasy world and play as cartoonish, or maybe even idealized, versions of ourselves.

It’s a rarity, an event with 46 actors — about 30 of whom appear each afternoon — who lead guests through scavenger hunts, puzzles or just conversations about life in Calico, the fictional town of Knott’s Berry Farm’s Ghost Town area. The cast ranges from those just out of college to those in their mid-70s, and no character is ever played by more than one actor. This gives Calico a sense of life, an illusion that it’s actually populated, but also allows actors to fully develop a personality and let their characters evolve.

Before creative director Andy Crocker was working on “Ghost Town Alive!,” she was visiting it as a fan. Crocker, an experiential designer who has worked on projects for companies as wide-ranging as the Los Angeles Public Library and Walt Disney Imagineering, specializes in particular on guest-to-actor interactions.

“Ghost Town Alive!” unfolds like a live-action role-playing game. But expect plenty of silliness.

(Allen J. Schaben / Los Angeles Times)

“I will never forget the first time I saw it as a guest,” Crocker tells me. “I came with my husband, and we did not bring our kid. We walked in, and I saw a little girl in a pink cowboy hat with a painted-on mustache following an outlaw off to jail. That outlaw was giving a gritty HBO performance. Wasn’t patronizing. Wasn’t talking down. He was giving her a hero moment, and I burst into tears. I didn’t know this was possible to do on this scale with such an institution. The empowerment that performer gave to that guest, I will never forget.”

To make a theme park feel personal is no easy feat. In fact, designers have long been trying to solve this problem, whether by creating interactive attractions that feel responsive to the guest, or short-lived experiments such as the late but great Star Wars: Galactic Starcruiser, colloquially known as the Star Wars hotel.

Crocker says others have asked for the “secret sauce” to “Ghost Town Alive!” They’ve tried — and are trying — but she’s not so sure the magic can be replicated. One, Knott’s is blessed with a real, 100-year-old Ghost Town. That allowed for the investment to be solely in the cast and performance rather than infrastructure. And yet actors, of course, aren’t cheap.

A single-page newspaper is printed three times a day during “Ghost Town Alive!”

(Todd Martens / Los Angeles Times)

“The amount of people that we have, that’s tough for a lot of places,” Crocker says. “They try to do it with less, and it doesn’t quite work.”

Speaking on a panel hosted by trade group the Themed Entertainment Assn., Jeff Tucker, Knott’s Berry Farm’s show writer, says one early mistake Knott’s made was thinking everyone who works in Ghost Town could partake. That meant, for instance, taping dialogue cues to cash registers in the saloon in the hopes that bartenders could become a character. The concept failed. “It’s a logistical nightmare,” he says. The lesson: Hire actors to perform. Let bartenders be bartenders and retail staff be retail staff.

Another reason Crocker tells me “Ghost Town Alive!” is so rare, and will remain so: It doesn’t rely on intellectual property, or a known franchise, which has become the lifeblood of modern theme parks. “With things that are heavy IP, it’s very tricky to control your IP and to allow for real play, guest agency, and, honestly, artist agency,” she says.

Evan Battle, center, who plays Deputy Chester Davenport, at Knott’s Berry Farm’s “Ghost Town Alive!” in 2024. The interactive theatrical experience allows guests to mingle with about 30 actors.

(Allen J. Schaben / Los Angeles Times)

That’s important, as “Ghost Town Alive!” can shift with the whims of the guest. There’s a core storyline this year. A rich, Beverly Hills-like family is revealed to be the true owners of Calico, and how the residents respond is the key narrative of the day. But there are multiple tales to uncover, including hidden factions (check out the Calico Historical Society) and who is taking who to the 4 p.m. hoedown, which ends each daily game of “Ghost Town Alive!”

But Crocker has also seen it get rather heartwarming.

“My mom came to see it,” she says. “She has some health concerns. There was a character who was in a crazy mix-’em-up and said he would not make it to the hoedown and that this would be his last day on Earth. This character and my mom ended up having this conversation about how if you know you don’t have a lot of time left, what would you do with your time? I was surprised by that pivot.”

It helps, Crocker says, that she’s noticed one commonality among the “Ghost Town Alive!” staff. They play — or were weaned on — tabletop role-playing games such as “Dungeons & Dragons,” which at their best allow for an anything-goes approach designed to follow the direction of the players rather than a strict script.

Tucker on the panel said there was one rule the crew lives by that defines the success of “Ghost Town Alive!”: “It’s not real,” he said. “We can do whatever we want.”

This week in SoCal theme parks

Not yet ready for prime time, Knott’s Berry Farm has delayed the opening of Montezooma: The Forbidden Fortress.

(Todd Martens / Los Angeles Times)

• Montezooma is not yet zooming. Knott’s Berry Farm initially intended to launch its reimagined Montezooma’s Revenge, now known as Montezooma: The Forbidden Fortress, this week. Late Thursday, the park delayed its public unveiling, with a spokesperson citing additional fine-tuning that surfaced during its final days of testing. The delay is not expected to be a prolonged one. “We appreciate everyone’s understanding and look forward to welcoming media and guests in the coming days when we can showcase the attraction exactly as intended,” read a statement from the park.
• A monthlong Lego celebration. Carlsbad’s Legoland likes to describe its Lego Festival, which started Monday and runs through Aug. 30, as a child’s first fest. Expect lots of characters and an assortment of play-focused areas. One is dedicated to music, another is a free-run creative zone and a third is a Lego garden designed to soothe. New this year is a game-heavy center dedicated to the Pokémon franchise, as well as a challenge-filled F1 installation.
• It’s now more expensive to eat at Disneyland. Price hikes, unfortunately, are a yearly-occurrence at the Disneyland Resort, and this summer, like every summer, hundreds of food items have ever-so-slightly increased in cost. Most are in the range of a dollar or so — give or take a quarter or two — but expect to pay $7, up from $6.50, for a scoop of popcorn. I admittedly do not keep a database of Disneyland food prices, but sites like Mickey Visit or Theme Park IQ have tracked the most egregious price bumps. Looking at their data, you may want to think twice about dining at Disneyland’s Rancho del Zocalo Restaurante, where prices have been increasing even as portions over the years have been declining.
• Where is Fast & Furious: Hollywood Drift? We’re now in midsummer, and Universal Studios Hollywood’s Fast & Furious: Hollywood Drift still does not have an official opening date. While sources familiar with the coaster’s operations point to routine mechanical issues that have arisen during its test and adjustment phase, one thing is certain: It’s not delayed due to noise complaints from neighbors, as rumors suggested last week. A Universal spokesperson pushed back on the notion that the coaster is delayed, stating it would still open this summer, which lasts into late September.

The best thing I ate at the parks

The hearty cottage pie from Downtown Disney’s Gordon Ramsay at the Carnaby.

(Todd Martens / Los Angeles Times)

I’ve been eagerly anticipating the opening of Gordon Ramsay at the Carnaby at the Disneyland Resort’s Downtown Disney, the latest concept in which the celebrity chef has agreed to lend his name. This one is an upscale gastropub, and while I’ll leave the full cuisine analysis to the professional food writers, as a parkgoer I do believe it fills a void in Disneyland’s shopping and entertainment district, bringing the area an adult-focused space with upscale (read: expensive) twists on old favorites like fish and chips ($33) and cottage pie ($38). And after reading breathless press release-like articles and posts from my theme park peers (“utter perfection,” proclaimed one) I couldn’t have been more excited to dine there this weekend.

Let’s start with the vibe, which I found to be rather confused. I was seated in the tiny, uncomfortable indoor bar, a place that felt like an afterthought and leaned airport terminal drinking hole, as it’s situated at the top of a stairwell and serves primarily as a thoroughfare into the dining hall. That a pub, especially one with an extensive cocktail menu (I did love my $22 cotton candy-infused Old Fashioned) would treat its introductory bar as a throwaway rather than a centerpiece of the experience was disappointing (an outdoor bar is significantly more enticing). The core dining space leans contemporary more than a traditional, wood-infused pub, feeling cafe-like with its ‘60s rock posters and framed portraits of those in mod outfits. More theme-ing would have been welcome, as I read it as slightly cold and corporate rather than homey and intimate. Instead of, say Pasadena’s Lucky Baldwins, this felt like a nice break room at a major record label.

But my dish was delightful. I had my heart set on the cottage pie, this one infused with a hearty portion of short rib. I probably should have taken leftovers, because it’s heavy, but in the best way possible. The potato-rich top felt creamy and buttery, while the meat was equally soft. The whole thing felt invitingly plush. I walked away mixed. No complaints on my entrée, and I’m eager to come back and try the fish and chips, and yes, that viral sticky toffee pudding dessert, but longing for a more welcoming atmosphere, especially at this price point.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Drowned Out Productions’ “The Shoebox Museum” explores love and loss.

(Drowned Out Productions. )

There’s a show running Saturday and Sunday in Los Angeles that I believe theme park fans should make time for. “The Shoebox Museum,” at North Hollywood’s After Hours theater, is a walk-through immersive experience at its most thoughtful. It’s short, at around 30 minutes, but it stayed with me for hours after it concluded.

“The Shoebox Museum,” from Drowned Out Productions’ Jackson Mancuso, who does theme park design by day, is a mediation on heartbreak, asking what we want to leave behind, and take with us, as we explore our grief. It’s meticulously designed, as we follow light cues through byzantine rooms filled with everyday ephemera — the type of stuff that only holds meaning to those who were in love. It’s a show about how an once broken heart, even mended, still finds ways to haunt us.

WASHINGTON — The Trump administration has filed a first-ever petition to a secretive and dormant court created 30 years ago to consider government requests to deport “alien terrorists” from the United States.

The Alien Terrorist Removal Court was established in 1996 but had never received a petition until Wednesday, when the Justice Department filed an application seeking the removal of an individual whose name is withheld from the single-page document posted on the court’s website.

The chief judge of the five-member court, Joan Ericksen, said in a written response to the petition that a hearing was held Thursday during which the court had “questions about the nexus that the government alleges between the actions of the respondent and the specific sections and subsections it invokes with respect to those actions.”

“The answers persuaded the Court that the Government could benefit from the opportunity for more thoughtful consideration,” wrote Ericksen, a federal judge in Minnesota.

She directed the Justice Department to provide more information by Wednesday.

The court’s authorities emerged from the Antiterrorism and Effective Death Penalty Act of 1996, which permits the attorney general to file under seal applications for the deportation of a suspected “alien terrorist.” If an application is granted, the court must hold a public hearing at which the government has the burden to prove that the individual satisfies that definition. Applications must be approved by the attorney general or deputy attorney general.

Federal law says that an individual could qualify as an “alien terrorist” by, among other factors, having “engaged in a terrorist activity,” endorsing or espousing terrorist activities and by belonging to a political or social group that encourages terrorist activity.

The court has been dormant since its creation, having received — until last week — no applications and conducting no hearings, according to a summary posted on the Federal Judicial Center website. It comprises five judges selected by Chief Justice John G. Roberts Jr.

The Trump administration has moved aggressively over the last year to carry out deportations, including invoking a 1798 wartime law, the Alien Enemies Act, to remove Venezuelan migrants who officials accuse of being part of a terrorist gang. During a hearing in that case last year, the Washington judge presiding over it, James Boasberg, indicated that the Alien Terrorist Removal Court would be the natural forum to consider a request for deportation on national security grounds.

“In fact, Congress has an answer for us, doesn’t it? Because they created the Alien Terrorist Removal Court,” he said. “So if there’s a national security concern with having these hearings … you can always go to the ATRC, which would be a first, but that’s what it’s there for, right?”

The petition was first reported by Court Watch, an independent news site.

Tucker writes for the Associated Press.

Hardly anyone walking up Peppertree Lane notices the Hollywood Bowl Museum on the way to the amphitheater entrance. The overlooked museum, however, has been refreshed with an enchanting new exhibition. Well-timed, it provides an excellent primer on changing L.A. mores seen through the history of the Bowl over the past century.

Change is again upon us. As Angelenos have evolved, so have our ideas about the Bowl. A concert was a concert and audiences of yore dressed for the Los Angeles Philharmonic, indoors or out. Men wore coats, ties and fedoras. I have a photo of my mother at the Bowl on a chilly 1940s evening sporting, like other ladies around her in the inexpensive bleachers, her mink stole.

The Bowl was said to boast, before the construction of the Hollywood Freeway, a natural acoustical, well, bowl. Even so, sonic adventurers, beginning with Leopold Stokowski in the 1930s, experimented with amplification in an obsessive, seemingly quixotic effort to locate a mythical sonic grail on the Cahuenga Pass. Boys with their toys, thought The Times’ feisty critic Isabelle Morse Jones.

We now have it with a spectacular new sound system along with the old caveat: Beware of what you wish for.

The Bowl, of course, remains the Bowl. Last week when the Los Angeles Philharmonic opened its summer season in the venue it built and has managed for over a century, there were all the familiar alfresco and musical pleasures: convivial picnicking, fine weather, inimitable atmosphere, a white-jacketed orchestra on an iconic stage. The museum’s panorama of ageless ambience is this summer enhanced by increased yet snappy security and a handsome “John Williams Stage” plaque honoring L.A.’s beloved composer.

The newly designed white French loudspeakers suspended over the Bowl stage along with ground-level white cubes of super-effective subwoofers have clean, unobtrusive lines that well fit the shell. Their unobtrusive placement complements their immersive musicality, hitherto only possible outdoors with high-end earphones or headphones connected to sophisticated digital acoustic conversion equipment costing a bundle. For the first time, a dollar seat (there are still a few for the L.A. Phil) strives for such sonic bliss.

It feels miraculous. You are in an excellent concert hall-like acoustical environment while in the great outdoors. Our earbuds have already trained us to think of music as a private escape from reality. Even so, to be in that environmentally exclusive sonic world while sharing music with thousands of others in a special setting, ironically begins to feel more artificially escapist than a crummy sound system that reminds you of where you are.

Will we — should we — learn to love it and find anything less artificial? Car audio systems creating concert hall conditions suggest we will. Audiophiles well know that you get used to new equipment, no matter how revelatory it first sounds, very quickly.

A few years ago, when I heard a demonstration of a souped-up, hi-res recording in surround Dolby Atmos of excerpts from Wagner’s “Die Walküre” on a 32-speaker Burmester audio system crammed into a fancy Mercedes SUV, I was scared out of my wits. “Apocalypse Now” on the 405 is not for the faint of heart.

Yet I’ve spared no expense on what I find a more refined sound system in my Volvo, which I now use more and more for audio books than music. The richer, more human quality of a recorded voice is like having a virtual companion reading to you. I’m less in a hurry. It’s nice to have a pal at rush hour.

It is far too soon to say what ways the fabulous new Bowl sound system, which happens to be AI-endowed, might become friend and/or foe. In the first two L.A. Phil classical concerts, the white speakers brought out wonders and caused problems. But the minimal Bowl rehearsal time allows little opportunity to fine-tune.

One big change in Bowl priorities has been the rise of pop as king. Not that long ago, the L.A. Phil’s opening night was the Bowl opening night, suitable for conspicuous socialite picnicking. Not only has the Bowl opener been turned over to star pop performers (who bring in bigger bucks), this year there wasn’t even a first L.A. Phil Tuesday. That date became yet another money-maker with private event — a screening of “Moana” with live orchestra, luckily before the disappointing reviews and box office performance. The first L.A. Phil concert of the season was moved to Wednesday and poorly attended.

The back-to-back Wednesday and Thursday night programs featured music composed and performed by Americans. Each included a short new work commissioned by the L.A. Phil. On Wednesday, moonlighting Hollywood Bowl Orchestra music director Thomas Wilkins led the premiere of Shaina Taub’s “Suffs” Song Cycle — orchestrations of four songs from her recent musical about women’s suffrage that played just down the road at the Pantages last year. The next evening, Tito Muñoz made a strong L.A. Phil debut in a program that included the premiere of “The Art of the Goal,” celebrating Los Angeles Football Club, and that was credited jointly to filmmaker Josh Kahn and composer Adam Schoenberg.

Both premieres were reminders that the sound system will have many purposes. In “Suffs,” stalwart amplification emphasized the predictability of forthright lyrics and score. AI is supposed to make voices stand out, but it is not helpful to singers’ limitations. On the other hand, is brought out the sumptuous quality Alex Newell’s voice potently making the adamant “Keep Marching” keep marching.

Muñoz’s program was titled “The Classical World Cup,” with music by Argentine composer Alberto Ginastera, Mexican composer Silvestre Revueltas and U.S. composers Samuel Barber and Aaron Copland along with Schoenberg. As it turned out, Mexico and the U.S. were already out of World Cup competition, and “Art of the Goal” came across as an eight-minute advertisement for the L.A. footballers. They’re in the dressing room revving up and, on the field, revved up, sped up, cut up with music that excites and far too many shots of a soccer field lined with advertisements, just the kind of branding we hope to escape at the Bowl.

Then again, even though “Goal” was shown only on video monitors, the Bowl with its new sound system worked brilliantly as the grandest cinema on the planet. Hollywood may be hurting, but let the Bowl now save the day by inspiring Hollywood to reinvent, in its backyard, film with live music.

As for regular orchestral music, the sound system was hit and miss. On Wilkins’ program, Valerie Coleman’s dark “Fanfare for Uncommon Times” brought a listener inside brass and percussion. Leonard Bernstein’s lavish orchestrations of his “Three Dances from ‘On the Town’” and Ellington’s “Harlem” benefited from Wilkins’ low-key conducting, offering ease and freedom to the players.

Muñoz’s program was bookended by dance scores — Ginastera’s “Four Dances from ‘Estancia’” and Copland’s ballet “Billy the Kid” — that evoke the prairie and the people in it in both viscerally and spiritually. The new sound system and eager performances made the prairie feel close. In between, violinist Randall Goosby brought richness to Barber’s Violin Concerto and the L.A. went in for gripping weirdness in “Sensemayá.”

But who did what? Were balances the conductors’, the sound engineers’, AI’s? While the amplified soundstage is now as huge as the Bowl, attention was increasingly drawn to individuals, heightened by video closeups. A horn flub (and horns flub) stands out. The sound is not just big and bold, but scrubbed clean by AI with the goal of maddening perfection. Will such scrutiny, in the end, make players uptight or liberate them? It’s well to remember that in the early days of synthesizing instruments, violins with perfect vibrato sounded especially fake, until tiny errors generated by chance were added to the sine waves.

The Hollywood Bowl has created a beast. If humanized, the Bowl could serve as antidote to a worrisome AI future. But the question remains whether we can change AI or the newly potent sound waves only make matters worse.

Son Heung-min scored his first goal of the season, Denis Bouanga continued his scoring streak in El Tráfico, and LAFC beat the Galaxy 3-0 on Friday night at Dignity Health Sports Park following an international break for the World Cup.

LAFC (8-5-3) evened the all-time series with the Galaxy at 10-10-7. The Galaxy (5-6-5) entered unbeaten in their last three meetings with LAFC.

Mark Delgado, who played for the Galaxy from 2022-24, opened the scoring in the 26th minute. Delgado’s initial header was blocked but it came right back to him for a shot past goalkeeper Novak Micovic.

Bouanga made it 2-0 in first-half stoppage time on a penalty kick that Micovic got a hand on. Bouanga has scored 11 goals in 10 matches against the Galaxy across all competitions and has scored in the last seven meetings, the longest streak in the rivalry’s history.

LAFC forward Denis Bouanga does a flip after scoring on a penalty kick against the Galaxy in the first half Friday.

(Ronaldo Bolaños / Los Angeles Times)

Son scored in the 57th after getting a pass back from Delgado.

Up next for LAFC: Hosts Real Salt Lake on Wednesday.

Up next for the Galaxy: Host St. Louis on Wednesday.

LONDON — The British government on Thursday urged FIFA to investigate Argentina’s team after players posed with a banner claiming sovereignty over the contested Falkland Islands.

Argentina beat England 2-1 in a World Cup semifinal on Wednesday in Atlanta.

During post-match celebrations, Argentine players held a banner handed over by fans in the stands, reading “Las Malvinas son Argentinas” — “The Malvinas are Argentine.”

Argentina refers to the Falkland Islands as Islas Malvinas. They were invaded in 1982 under orders from Argentina’s then-military dictatorship, triggering a 10-week war won by Britain.

“The World Cup might not be ours, but the Falkland Islands definitely are,” a spokesperson for Prime Minister Keir Starmer said Thursday. “Self-determination rests with the islanders and our commitment to the Falklands will never waver.”

Starmer supported calls for FIFA to investigate, the spokesperson said, after U.K. Business Secretary Peter Kyle said the players’ behavior was “entirely inappropriate.”

FIFA can prosecute Argentina’s players and soccer federation because its disciplinary code prohibits at stadiums any “message that is not appropriate for a sports event” including those of “a political, ideological, religious or offensive nature.”

The FIFA fines for political messaging are $5,000 to $20,000.

FIFA was approached for comment Thursday.

A FIFA disciplinary case under previous leadership banned a South Korea player for two 2014 World Cup qualifying games because he held up a similar banner about a territorial claim against Japan at the 2012 London Olympics. Park Jong-woo took a fan banner with the slogan “Dokdo is our territory” after South Korea beat Japan in the men’s bronze medal game.

On Wednesday, Argentina player Lisandro Martínez was asked if the banner could have stirred deep emotions and tears for a veteran of the Malvinas conflict.

“We couldn’t let the Argentine people down” said Martínez, who has played in England for the past four years with Manchester United.

Argentina-England soccer rivalry

The sporting rivalry between the two countries is heightened by political tensions over the South Atlantic archipelago. It is a British overseas territory with a population of around 3,500 people located about 8,000 miles from the U.K. and 300 miles from Argentina.

Argentina argues that the islands were illegally taken from it in 1833. Britain, which says its territorial claim dates to 1765, sent a warship to the islands in 1833 to expel Argentine forces who sought to establish sovereignty over the territory.

The war in 1982 killed 649 Argentine troops, 255 British service personnel and three islanders.

That conflict ended during the 1982 World Cup in Spain where Argentina, England, Scotland and Northern Ireland all played. British television networks declined to broadcast Argentina playing in the tournament’s opening game, when the defending champion lost to Belgium.

“Sadly, it is a sad part of our history,” Argentina player Leandro Paredes said in Atlanta about the banner, “for everyone involved in that chapter of, I repeat, our history. And it hurts. We knew we were playing for them, too.”

Politics in soccer

British government minister Kyle told the BBC “politics needs to be separate from football.”

“In fact, the World Cup has one of its central tenets that politics is separate from football,” he said. “That is now a matter for FIFA.”

FIFA’s statutory political neutrality has been questioned at this World Cup after its president, Gianni Infantino, and disciplinary process — which could now judge Argentina — seemed to cave to pressure from U.S. President Donald Trump in allowing United States forward Folarin Balogun to play Belgium in the round of 16.

Balogun was shown a red card in the previous round and FIFA disciplinary rules mandated he should be banned from his team’s next game. FIFA deferred that suspension for one year of probation, provoking an all-time controversy in modern World Cup history. Belgium beat the U.S. 4-1 to advance to the quarterfinals.

Infantino is expected to sit with Trump and Argentina President Javier Milei, who are political allies, at the World Cup final Sunday. Argentina plays Spain in East Rutherford, New Jersey.

Previous cases

Argentina players showed the same “Las Malvinas son Argentinas” slogan at a warmup game in June 2014 in Buenos Aires for the World Cup that started days later in Brazil.

FIFA’s disciplinary panel ruling in that case was published after the tournament finished and fined the Argentina federation $37,000.

In the 2012 London Olympics case, FIFA’s ruling said the conduct of the South Korea player “cannot be tolerated.”

At the 2022 World Cup, FIFA fined the Serbia federation 20,000 Swiss francs ($24,800) for hanging a political banner about neighboring independent state Kosovo in the locker room before playing Brazil.

It showed a map of Serbia that included the territory of Kosovo, which has been an independent state since 2008, and the slogan “No Surrender.”

Lawless and Dunbar write for the Associated Press. Dunbar contributed to this report from Geneva.

WASHINGTON — A Republican senator whose support will be necessary to advance Todd Blanche’s nomination for attorney general said Thursday that Blanche must meet with accusers of convicted sex offender Jeffrey Epstein to earn his vote.

Sen. Thom Tillis had indicated during Blanche’s confirmation hearing Wednesday that he was leaning toward backing the acting attorney general’s nomination. But after an Epstein accuser testified a day later, Tillis said he expects a meeting to occur before he’s “willing to vote out of this committee.”

Epstein’s case and the Justice Department’s handling of millions of files related to his sex trafficking investigation have been a persistent political headache for the Trump administration.

After missteps by then-Atty. Gen. Pam Bondi that enraged President Trump’s base, Blanche as deputy attorney general oversaw a massive review and release of millions of files related to the investigation into the disgraced financier with connections to wealthy and powerful people.

Shortly after Tillis’ remarks, Blanche arrived at a Senate office building, where Blanche told reporters he had hoped to meet with Epstein accusers but “it didn’t work out.” Blanche said they were trying to find another time later Thursday or another day to schedule the meeting.

“The Department of Justice will always meet with victims or their representatives, and if those victims or their representatives have evidence that anybody committed a crime — whether it has to do with Jeffrey Epstein or anybody else — we will of course move forward and investigate and prosecute,” Blanche said.

Without Tillis’ support, Blanche’s nomination won’t make it through the Senate Judiciary Committee, which questioned Blanche for hours on Wednesday about the Epstein files as well as the creation of a fund to compensate Trump’s allies, a tax immunity deal for the president and a slew of other issues.

Another Republican on the committee who says he has not made up his mind on whether to support Blanche, Sen. John Cornyn, conveyed concerns that the Trump administration has yet to commit in writing that the fund is dead and that it could therefore conceivably be resurrected.

One Epstein accuser, Dani Bensky, told lawmakers earlier Thursday that women harmed by Epstein repeatedly asked to meet with Blanche “through multiple channels and he never responded.”

“We deserve to be heard directly, not dismissed and ignored,” Bensky said.

Blanche has pushed back on suggestions that the Justice Department has been dismissive of the late financier’s accusers, saying Wednesday that officials have spoken with more than 30 representatives of the women over the course of its sweeping review of the files.

Blanche has also defended the department’s staggered release of the Epstein files, a process beset by problems, including redaction errors that left exposed nude photos showing the faces of potential victims.

Blanche said during his confirmation hearing Wednesday that he takes responsibility for mistakes that were made, but noted that department lawyers were given a “herculean task” to quickly review millions of files for release. Blanche said department lawyers took pains to protect the women involved, and quickly fixed any errors that were found.

“I am sorry that in about 1% of the documents, mistakes were made,” Blanche said Wednesday. “But what I will say on top of that is we put tons of resources to rectifying those mistakes immediately, including pulling down documents within minutes of being informed that there were mistakes.”

The political firestorm over the Epstein files dogged the Trump administration for much of last year, with lawmakers eventually passing a measure that compelled the release of a massive trove of documents in the government’s possession related to its investigation.

The Justice Department began releasing the documents in late December, which included photos, call logs, grand jury testimony and interview transcripts. The release did little to tamp down skepticism from conspiracy theorists and online sleuths, who have long pushed allegations of a government cover-up, without evidence.

Richer and Cappelletti write for the Associated Press.

ATLANTA — The jury is still out on whether Lionel Messi is the greatest soccer player ever. But there should be no doubt he’s the greatest to ever play in a World Cup.

And you don’t need the records, the wins or the goals to prove that — although he certainly has enough of those. You just need to see Messi at his most magical, as he was Wednesday, setting up a pair of game-changing goals in a seven-minute span to lift Argentina to a 2-1 win over England and into Sunday’s World Cup final with Spain.

“It’s really hard to speak right now, but I’m going to try not to cry,” Lautaro Martínez, who scored the winning goal two minutes into stoppage time, said in Spanish. “I’m already overwhelmed inside. It’s incredible. Everything we’ve achieved is just incredible.”

Like their 13-game World Cup unbeaten streak, dating to the opening game of the 2022 tournament in Qatar. Or back-to-back trips to the final, which gives them a chance to become the first repeat champion in the men’s tournament since Brazil in 1962.

Argentina’s Lautaro Martinez scores his team’s second goal in front of England goalkeeper Jordan Pickford (1) and fellow England players Ezri Konsa (2) and John Stones (5) during a World Cup semifinal in Atlanta on Wednesday.

(Erik S. Lesser / Associated Press)

But it hasn’t been easy. Eleven of Argentina’s 19 goals — including both scores in Wednesday’s semifinal — have come after the 75th minute. They trailed in the 80th minute or later in two of their last three knockout games, only to rally both times.

And Messi has either scored or assisted on three of the four goals that rescued Argentina.

“This group, in the face of adversity, keeps going, keeps going, and never gets tired,” Martínez said. “And we have the best in the world as our example.”

On Wednesday that meant heartache for England, which was as close to a World Cup final as it has been in six decades, leading 1-0 on Anthony Gordon’s second-half goal with just five minutes left in normal time.

But after taking the lead, England turned strangely conservative, dropping all 11 players behind the ball at times, daring Argentina to score. Eventually it did, with Enzo Fernández curling a right-footed shot from about 20 yards past England keeper Jordan Pickford and in at the left post to tie the game.

It was a pass from Messi that found Fernández in space at the top of the box, earning the Argentine captain his record 11th World Cup assist.

“The opponent doubted themselves,” Argentine coach Lionel Scaloni said. “We smelt blood and went for it. We all felt it. “

The tie didn’t last for long though, with Messi threading a perfect cross from the right wing to Martínez, who found space between English defenders John Stones and Ezri Konsa at the far post. Messi’s pass just cleared the leaping Stones, then dipped to Martínez, who nodded it home.

England’s Harry Kane and England’s Jude Bellingham are dejected after losing to Argentina during a World Cup semifinal on Wednesday in Atlanta.

(Jeff Roberson / Associated Press)

When the ball hit the net, the sellout crowd at Atlanta’s massive Mercedes-Benz Stadium erupted.

“Once again, despite falling behind, we managed to turn the game around in stoppage time. That speaks volumes about this group, about this team that never settles, always wants more, always strives for more,” Martínez said.

It also gives Messi a chance to strive for more in Sunday’s final. He has already played in more World Cup games, scored more World Cup goals and had more World Cup assists than any man in history. With a win over Spain, he can join another elite group of men: those who have won back-to-back World Cup titles.

History will eventually decide if it was Messi’s brillance or the tactical surrender of England coach Thomas Tuchel that truly turned the game around. Tuchel, however, said he had no regrets.

“We played the matches how they were,” he said. “We overcame every obstacle. We were very, very close today. It’s not a moment now to analyze the full tournament because we lost a crucial match.”

His captain, Harry Kane, who lost in the semifinal of a World Cup for the second time in three tournament, was also not interested in second-guessing.

Argentina’s Lionel Messi sits on the shoulders of a teammate and celebrates after beating England in a World Cup semifinal on Wednesday in Atlanta.

(Rebecca Blackwell / Associated Press)

“We had a lot of good moments in this tournament, a lot of good games,” he said. “We talked about knocking on the door. We’re close, we just have to find that missing piece in the final stage of the tournament.”

They may be closer than they think: England is the only team this century to score the first goal in a World Cup semifinal but not reach the final, according to the OptaJoe statistical service.

Argentina’s team, meanwhile, is missing nothing — except maybe a second title,

“The people of Argentina should celebrate being in a final,” Scaloni said. “This group of players is difficult to describe in words. They are so special. I’m getting emotional. They fight for everything.

“We’re going to try to win the final. But what else does this team need to do? There isn’t much else to say. I’m eternally grateful to this group of players.”

Sports editor Iliana Limón Romero contributed to this report.