year

There’s an alternate universe where Taylor Tomlinson is a young adult fantasy author holed up in a cabin miles from civilization.

“ I don’t know if you have some sort of backup career or backup life that you go to in your head when you’re overwhelmed or fed up with your career or whatever process you’re in,” she asks in the lobby of the Four Seasons Hotel Denver ahead of a two-show night. “That was in the back of my head, [I was] like, ‘Well, I could just move to the woods and write books.’”

In this world, she’s a 32-year-old comedian with four Netflix stand-up specials and a two-season stint as the host of late-night game show “After Midnight.”

Her manager told her that people would probably be more interested in her memoir before a series centering on magic and dragons, so she started writing her own story two years ago.

A self-diagnosed workaholic, Tomlinson spent 10 years constantly moving. From a combination of mold exposure and severe burnout from filming “After Midnight” on weekdays and performing in different cities on weekends, she fell ill for months and was forced to take a break.

In that time, she wrote “Actually, Nevermind.” Coming out Tuesday, the autobiographical essay collection delves into the aspects of life that she changed her mind about since her mother died when she was 8 years old.

“Actually, Nevermind” opens with an eclectic mix of three quotes from “Anne of Green Gables” by Lucy Maud Montgomery, celebrated writer Joan Didion, and the 2001 Anne Hathaway-led comedy film “The Princess Diaries.” Tomlinson wanted a combination of funny and serious excerpts capturing grief, but also a quote about evolving as a person.

In the classic coming of age novel “Anne of Green Gables,” a young Anne Shirley states, “I’m not a bit changed — not really. I’m only just pruned down and branched out. The real me — back here — is just the same.”

That’s the essence of Tomlinson’s realizations in her book — she’s growing into herself but that girl who started performing stand-up shows on the church circuit at 16 is still in there.

Tomlinson has a bit from her first Netflix special “Quarter-Life Crisis” about your 20s being a period to “fish trash out of the lake before it freezes over.” She asks how I’m enjoying my 20s, to which I bluntly reply, “It’s a nightmare.”

“ My 20s were a nightmare, too, and I was waiting to be 30, and I was like, ‘When I turn 30, I’m going to be solidified and great.’ And then I turned 30, and it was like the last two years I have probably changed just as much, if not more, than I did in my 20s,” she says. “It’s been much rockier than I anticipated.”

In speaking with her friends, she realized they also felt a disconnect between the lives they envisioned for themselves and their realities. Tomlinson channeled that uncertainty into a jumping-off point for her book.

She reflected on when she began questioning the trajectory of her life and traced it back to her mother’s death.

“ I didn’t know if I was even going to write about my mom at all when I first got the book [deal] because I was like, ‘Well, I talked about it in ‘Look At You,’ and I’ve talked about it in interviews,’ but that’s the thing about losing a parent or any big traumatic grief event is you’re always getting hit by waves of it, and then you’re always untangling it,” she says.

In creating “Actually, Nevermind,” Tomlinson pored through her mother’s diary, deciding to include a few excerpts in the finished book. For most of Tomlinson’s life, she regarded her mother as a flawless, devout Christian whom she desperately yearned to impress.

Drawing on her mother’s diary, estrangement from her father and complex sibling bonds, Tomlinson confronts impossible standards, relinquishes parentified guilt and reframes what family means after loss.

(Sela Shiloni)

Her mother married young, so she tried to hit that milestone, too.

“I didn’t manage it and self-sabotaged a lot,” she says. “Now, I’m grateful that I didn’t get married young, but at the time it was all I wanted because I wanted to fit in and I wanted to be someone she would’ve liked, someone she had things in common with.”

Through reading her mother’s diary entries, Tomlinson began to heal from the impossible standards she set for herself to follow in her mother’s footsteps.

“ She was sort of this perfect, infallible character in my brain for so much of my childhood, so it was helpful to read about her being like, ‘I’m nervous about getting married. We got pregnant on accident,’” Tomlinson says. “There’s stuff I didn’t include about arguments she had with my dad in college. It was just very human, and it was very encouraging to go, ‘Oh, it wasn’t like this perfect frictionless decision for her.’ It’s not like she just nailed it and did everything perfectly.”

One of Tomlinson’s largest shifts in perspective was no longer feeling parental responsibility toward her three younger siblings.

“ I went from their sister to a weird half parent figure when I was still a kid,” she says. “And I made all these missteps because I was also a kid. And then young adulthood was confusing because I had been waiting for everyone to get old enough to be friends with me.”

Now, Tomlinson’s siblings all take care of each other in their own ways. She refers to them as her “soul mates” and feels guilty wishing for a romantic partner when she already has three lifelong best friends.

While Tomlinson remains close with some of her mother’s relatives, she has been estranged from her father for five years. She writes about the sadness of not speaking to someone you feel so alike, but she doesn’t go into extreme detail about cutting ties.

“ There’s some things you just want to keep for yourself, you know?” she says. “You don’t want every painful private detail about who you are and what’s happened to you available to Google because it just makes you feel like you’re a raw nerve walking around, and you can’t get it back once you’ve shared it.”

“And you want something to say on a fifth date,” she jokes.

After processing the heartache of losing another parent in a different way, Tomlinson allowed herself to miss the good memories with her father and assuage any longing for revenge.

In her essay “I’m Gay Now,” Tomlinson explores her bisexuality and the transition from chasing male validation to feeling comfortable in herself. She came out at around 28 years old. Part of what took her until then was feeling the need to prove that she deserved to identify as queer.

In essays on sexuality, faith and ambition, she trades the pursuit of perfection for hard-won self-acceptance, exposing a more vulnerable offstage self still learning to do her best.

(Sela Shiloni)

“ I think that’s just a theme throughout my entire life,” she says. “I felt like I needed to earn the label of comedian. I felt like I needed to earn the label of queer. I needed to earn love.”

Her brother helped her understand that she didn’t have to achieve the title — she’s always been gay.

With all of her adulthood realizations, Tomlinson also reflects on what she wishes she could tell her younger self.  Talking to a 16-year-old Taylor, she writes, “The most valuable thing about us cannot be all the things we haven’t done.”

“ So much of my childhood was like, ‘Don’t drink, don’t do drugs, don’t have sex. Don’t step out of line,’” she says. “I wanted to experience things more than I wanted to be this pure version of myself that was performing for the Lord.”

“Actually, Nevermind” is a reflection of Tomlinson when she puts down the microphone, and she is nervous for readers to see that side of her.

“ I feel pretty good about me on stage. Me in the room, I feel really insecure about,” she says. “I’ve gotten to a place where I feel pretty confident about taking up like 45 minutes to an hour and a half of your time. Eight hours, I think, is what the audiobook is. I’m like, ‘Eight hours is a lot more than that.’ So it’s been a real test of confidence.”

After years of chasing perfection, Tomlinson says she finds comfort in knowing that she may never be the world’s greatest anything.

“ In my 20s, I think I was always trying to be the best,” she says. “And now I’m like, ‘I’m going to do my best.’”

Sept. 22, 2026 3:02 AM PT

A few years ago, I received a call I’ll never forget. Jeanette Epps, an astronaut aboard the International Space Station, Zoomed into my living room from 250 miles above Earth. During our conversation, she told me that one of the reasons she chose her career was a television show my father created in 1966.

She wasn’t alone. I’ve heard versions of that same story from countless people over the years. Engineers. Scientists. Astronauts. People who saw possibility on a television screen before they ever saw it in the real world.

They credit “Star Trek” for showing them a future they wanted to help build. That’s an extraordinary thing for a television series to accomplish. It didn’t just entertain millions of people. It gave many of them a direction.

And I don’t think that was because of the ships, the gadgets or the aliens. It was because, underneath all of it, was a profoundly human belief that we are capable of becoming something better.

There was a time when science fiction made a bet on humanity. A bet that humanity was worth rooting for. We need storytellers willing to make that bet again.

I don’t think we have an innovation problem. We have an inspiration problem.

We talk a lot about what we’re leaving the next generation. The debt. The climate. The geopolitical mess. But there’s another inheritance we don’t talk about enough: what we show them is possible.

Today, many visions of the future are dominated by collapse, dystopia and fear. Those stories can have value. But conflict doesn’t always have to come from destruction. It can come from discovery. Two minds encountering an idea neither had considered. A crew facing the unknown with curiosity instead of fear. That kind of conflict doesn’t leave you feeling like the world is ending. It leaves you feeling like it’s just beginning.

Most storytelling holds a mirror up to who we are. Our flaws, our failures, our contradictions. But there is another kind. Stories built around characters a step or two ahead of where humanity is. Not perfect. But people who have learned how to cooperate, how to lead, how to stay curious and how to put something larger than themselves first. Characters you don’t just recognize. Characters you want to become one day.

That distinction changes what a story asks of you. And what you walk away believing is possible.

This year, “Star Trek” celebrates its 60th anniversary.

That’s not a milestone you reach by accident. Franchises built on spectacle fade. Ones built on something people actually needed tend to stick around.

The engineers who built Silicon Valley, the astronauts who went to space, the scientists pushing the edges of medicine and artificial intelligence — many of them trace a line back to this show. That wasn’t the plan. Nobody set out to build an innovation pipeline out of a television series. But that’s exactly what happened. When you give people a future worth believing in, they go build it — or sometimes they get inspired to imagine other hopeful destinations and lead us toward them. That’s not nostalgia. That’s a model.

One thing my dad understood that I think gets overlooked: “Star Trek” wasn’t going out into the galaxy to find aliens that looked different. It was going out to find aliens that thought different.

Diversity of perspective is how a species grows. My father gave that idea a name: IDIC. Infinite Diversity from Infinite Combinations. It didn’t mean you had to abandon your own point of view. It meant staying open to someone else’s. Because that’s how you grow. That idea has never been more relevant. And it has never been more achievable.

For the first time in history, a creator anywhere in the world can tell a story that reaches everyone, and now it can come from anywhere. The future belongs to everyone. The stories that shape it should too.

That astronaut who called me from space didn’t just watch a television show. She saw a future worth dedicating her life to.

Every generation needed something to build toward before they ever picked up a tool. A vision. A direction. A story that made the future feel worth the work. And right now, we’re not building enough of that.

We need stories that don’t just entertain us, but also become our compass. We need the kind of storytelling that doesn’t ask what could go wrong, but asks what could go right.

Rod Roddenberry, founder of the Roddenberry Foundation and son of “Star Trek” creator Gene Roddenberry and actor Majel Barrett Roddenberry, is an executive producer on current “Star Trek” television shows.

NEWBERRY SPRINGS, Calif.  — Four decades ago, the cult hit “Bagdad Cafe” was filmed at a ramshackle diner in the Mojave Desert.

The tale of two women in the lonely landscape — a hardworking, rifle-wielding cafe owner and a stranded German tourist with a suitcase full of lederhosen — captivated viewers, particularly in Europe and Japan.

Busloads of international tourists rolled up to the actual Bagdad Cafe on a cracked, sunbaked stretch of Route 66.

Real-life proprietor Andrea Pruett, a sweet but steely Southerner who kept her own gun behind the counter, greeted them in French and German, then fed them buffalo burgers and omelets.

A memorial announcement for owner Andrea Pruett is seen at the Bagdad Cafe on Route 66 in the Mojave Desert.

As Pruett aged, her grip on reality loosened. But she refused to leave.

Now, the Bagdad Cafe is in limbo. Though T-shirts and tchotchkes are still for sale, the kitchen is closed. And Pruett’s family is figuring out what comes next.

Buses full of Europeans still come. So, too, do the roadtrippers celebrating Route 66, which turns 100 this year.

“We don’t get any locals, and we don’t cook any food right now,” said Mark Bradley, the cafe’s gruff but genial manager. “But we’re definitely on the map to see … it’s magic that takes place here.”

The cafe is a cacophony of color in an expanse of desert brown. Flags from all over — France, Brazil, Japan, New Zealand, Canada — hang from low ceilings. The walls are covered floor to ceiling by visitors’ passport photos and dollar bills with Sharpie signatures. “We’ve been here three times!” an Italian visitor raved in a guest book.

Pruett is still there, too. An urn holding her ashes sits by the front door.

A drone image shows the remote Bagdad Cafe on Route 66 in Newberry Springs.

In 1995, eight years after the movie’s European premiere, Pruett and her husband, Harold, stopped for burgers at what was then called the Sidewinder Cafe in Newberry Springs, 20 miles east of Barstow. They had just bought 640 acres for an ostrich ranch, which ultimately didn’t work out, though they kept some of the birds as pets.

The owner told them the A-frame, wood-shingled diner was for sale. “My husband looked at me and I said, ‘Don’t even think about it,’ ” Pruett told The Times in 2003.

But their son, actor Harold P. Pruett II — who was 26 and starring that year in a campy erotic horror flick called “Embrace of the Vampire” — declared the cafe “cool,” and that was that.

The Pruetts promptly rechristened it Bagdad Cafe, following German filmmaker Percy Adlon’s lead.

The exterior of the Bagdad Cafe.

Nearby Bagdad was a railroad town named in the 1880s by Southern Pacific Railroad officials after the Middle Eastern metropolis — without the H — because of the desert terrain.

Bagdad became a stop for steam-powered trains whose engines needed more water every eight miles or so in the desert climate, said Scott Piotrowski, past president of the California Historic Route 66 Assn.

The bustling little town was also a hub for gold, silver and copper mining camps.

Mining eventually faded, but cars on Route 66 overheated easily and often limped into town for water. A restaurant named, naturally, Bagdad Cafe, owned by a woman named Alice Lawrence, was the only place for miles with a dance floor and jukebox.

When Interstate 40 opened in 1972 about 10 miles north — taking most traffic and tourists away from Route 66 — it was the death knell for Bagdad, where all that remains today is a single scruffy cedar tree.

Thierry Farion, left, from France, and Aziz Khechine, right, from Tunisia, look at memorabilia inside the Bagdad Cafe.

At Pruett’s Bagdad Cafe, she embraced the movie. The two female characters, initially wary of each other, are both on a hiatus from their husbands, and the German tourist eventually draws big crowds by performing magic tricks.

“When people came in, it was like a director saying, ‘Action!’ ” said Pruett’s grandson, Greg Landers, 47, of Glassell Park. “She would just go right into welcoming people and telling them to sit down, answering their questions.”

A petite bottle-blonde who spoke with the laid-back drawl of her native Arkansas, Pruett showed off memorabilia signed by the “Bagdad Cafe” director. She got a yellow thermos like the one in the film, which, miraculously, never seems to run out of java, even when the coffee pot is busted.

A guest book displays messages at the Bagdad Cafe.

She kept the jukebox on the movie’s Academy Award-nominated theme song, “Calling You,” recorded by R&B singer Jevetta Steele and covered by Celine Dion, Barbra Streisand, George Michael and others.

The lyrics immortalized the Bagdad:

A desert road from Vegas to nowhere
Some place better than where you’ve been
A coffee machine that needs some fixing
In a little café just around the bend

Pruett’s place drew desert eccentrics, including a gravelly-voiced man dubbed General Bob who sniped at customers who doubted his claims that he designed the Pentagon, built the Golden Gate Bridge, was a brain surgeon and was 109. (“Actually, he’s 83 years old, and if he wants to be older, I let him,” Pruett told NPR in 2003.)

Monaco’s Prince Albert II stopped in once. So did actress Renée Zellweger, who told Jay Leno on “The Tonight Show” that there was a “little old guy, he’s been sitting there for, I think, maybe 45 years on the same barstool. We had chicken fried steak together.”

When Huell Howser popped in unannounced for a 2001 episode of his California road trip show, General Bob, perched at the bar with a fedora atop his long silver hair, proclaimed he was 98 years old and “a real general, not a f—up.”

Marian Box, left, works the counter and talks to visitor Jaelene Kleckner.

For all the joy, desert life brought plenty of hardship.

One night in the 1990s, not long after Pruett bought the place, she was closing out the cash register when a man walked in, slammed a wooden 2-by-4 on the counter and ordered her to put all the money in a bag.

“She actually had a shotgun under the counter, and she pulled it out and said, ‘Stop,’ and cocked it,” said Landers, her grandson.

The man threw his hands up and said his family was in the car. They had been traveling and ran out of money. Pruett ushered them inside, fed them and sent them away with some cash — after making them wash their own dishes.

Pruett, who gave birth to Landers’ father, Corky, at 15, had a tough and impoverished youth. But she was “kind almost to a fault,” said Landers, a contractor who lived with her for a spell in his 20s and worked in the cafe. People who just about everyone else had given up on — she’d give them a place to stay and work to do.

In February 2002, the younger of Pruett’s two sons, Harold the actor, died of an accidental drug overdose. Her husband died two months later.

Pruett’s love for her customers kept her going, said Bradley, who has been around the cafe for 26 years as a frequent visitor and employee.

“She would have them crying as they left, but happy crying,” he said. “She could do that to people by giving them a hug and in just the few minutes that they were here. She had a magic to her.”

In 2016, Sarah Jane Woodall — a former nude model who posts popular desert travelogues on YouTube under the moniker Wonderhussy — stopped for breakfast and shot a video.

The cafe was quiet and grimy. She loved it.

“It was just, like, a lovable hot mess,” said Woodall, an Army kid who lived for a time in Germany, where people were obsessed with the movie.

The COVID-19 pandemic lockdowns devastated the Bagdad Cafe — and Pruett, who turned 80 in the summer of 2020.

The Europeans disappeared. Vandals busted the windows. Pruett let go of her waiters. Her kitchen closed and never reopened.

A sign for a former motel next to the Bagdad Cafe on Route 66 in Newberry Springs.

In 2021, her house burned down. She slept in the cafe, her thin frame curled up in a red vinyl booth.

That summer, Léa De Carmo, an aspiring actress, was driving back to Los Angeles from Las Vegas with a friend and, after a night of partying, craved a cup of coffee. They pulled into the Bagdad Cafe, where — as in the movie — the coffee pot was broken.

De Carmo, a native of Paris who had never seen the film, was stunned when she opened the door and “saw French flags and soccer team stuff everywhere.”

“It seems like all the French are led there for one reason or another,” said De Carmo, 29, who talked to Pruett that day for over two hours.

“She had essentially lost everything — her business, her house — but she just had this incredible energy and warmth and humor,” De Carmo said. “There was also this very deep loneliness.”

For the next four years, De Carmo drove from L.A. to Newberry Springs dozens of times, filming Pruett for a just-finished documentary called “The Keeper of Bagdad Cafe,” about her final years in the crumbling diner.

In the film, friends help Pruett move into an RV in the parking lot. As a woman gently washes her white hair with bottled water behind the cafe counter, Pruett says she can’t remember where she’s from.

“One thing she never forgot was the cafe,” De Carmo said. “She always knew where she was and that it was the place she wanted to be.”

Landers said his father, who died in 2022, asked her to move in with him in L.A., but she didn’t want to leave the Bagdad.

“It was just hard,” said Landers, who added that she might have fared better, physically, at least, in a dementia care facility. But she repeatedly said, “No, this is my place. This is where I want to be.”

Pruett’s friends in the desert stepped up. Bradley took care of her and the cafe, opening it each day for tourists to come in and take photos.

In 2023, Tropical Storm Hilary pummeled the diner’s old roof. Water poured in.

Woodall returned at the cafe’s request, filming the stained, decaying ceiling and the water-catching buckets and coffee pots on the floor. The YouTuber’s fans raised more than $25,000 — enough for a new roof.

In the video, Pruett stood by, smiling, quiet, a little confused.

For the next three years, she stayed at the Bagdad, even as her memory continued to fade. She died this January at 85.

On a Friday morning this summer, with the outside temperature already 115 degrees, Matt Parker stood behind the worn green Formica counter, setting a smart TV to the movie and preparing to make Nescafé instant coffee — a favorite of Europeans.

On a good day, they get three tour buses, he said.

Parker, 53, moved from L.A. County to Newberry Springs — where he used to camp with his dad and ride dirt bikes as a kid — a few years ago and fell in love with the cafe.

“You can’t recreate this,” he said. “We’re just caretakers of it. It’s a museum and church, in a sense, with all this stuff. Mrs. Pruett really focused on protecting it, protecting these people’s stuff — their mark.”

Andrea Pruett’s urn near the entrance of the Bagdad Cafe, which she ran for three decades.She died in January.

Landers said that, while the family figures out what to do with the cafe, he asked Bradley to keep it open like his grandma did.

Though her urn remains in the place she loved most, Landers hopes, someday, to bury her ashes in the Hollywood Forever Cemetery next to her youngest son.

Since her death, he can’t help but think of a scene from the movie. The German woman — forced to leave after her tourist visa expires — is gone and the bustling restaurant quiet again. A customer walks in and asks where the magic shows went.

A snoozing employee sits up and says: “The magic? It’s gone.”

In the end, the German returns to the Bagdad Cafe. And so do the crowds.

Former child star Bobb’e J. Thompson, who acted in “That’s So Raven” and “30 Rock,” has been sentenced to more than two years in federal prison.

Thompson was arrested last fall after police said he was driving 104 mph — more than 30 mph over the speed limit — in Cerro Gordo County, Iowa. A news release issued by U.S. attorney’s office of the Northern District of Iowa said an officer stopped the vehicle and spotted Thompson and the passenger switching seats. The officer reported that, when he approached the car, there was a smell of marijuana coming from the vehicle.

Officers searched the vehicle and, according to the news release, found a backpack holding bags of dispensary-bought marijuana and a .40-caliber handgun that was fully loaded with a 15-round magazine. Police said the gun had been reported stolen from a car in Kansas City, Mo.

Actor Bobb’e J. Thompson speaks at Spike TV’s 2009 Guys Choice Awards at Sony Studios in Culver City.

(Kevin Winter / Getty Images)

The “Role Models” and “Tyler Perry’s House of Payne” actor was also convicted of battery and assault in 2020. Then in 2022 he was convicted of possession of a firearm, which was prohibited because he was a felon.

In April, Thompson pleaded guilty to possession of a firearm, and last week he was sentenced by an Iowa district judge to more than two years in prison.

Thompson’s “That’s So Raven” co-star Kyle Massey told TMZ on Monday that he loved his former co-star no matter what.

“Free Bobb’e J., man, that’s my brother,” he said. “We love you, we support you, we got your back, whatever you need, man, we’re gonna take care of you. It just always sucks to see one of your friends or someone that you love go through something hard like that. So we’re just gonna be rooting for him no matter what.

“Keep your head up, we’re here and we love you,” he added. “We love you so much, bro. No matter what.”

The Los Angeles freeway system has its downsides, especially during traffic-jammed weekdays, but the Rams are absolutely looking forward to commuting from their Woodland Hills facility to SoFi Stadium for Monday night’s game against the New York Giants.

After traveling about 16,000 air miles round trip for their season-opener in Australia — and suffering a humiliating loss to the San Francisco 49ers — the home opener requires only a 28-mile journey and offers a chance for a reboot.

And the embarrassed-but-still-Super-Bowl-favorite Rams are eager for the opportunity.

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Aaron Donald will play for the Rams against the New York Giants on Monday, but will Puka Nacua be on the field?

“An eternity,” coach Sean McVay said when asked about the 11-day wait between games. “It has been forever. We’re excited to compete again.”

In the 27-7 defeat by the 49ers, the Rams’ offense never established a rhythm, the defense gave up three touchdown passes and special teams gave up a long kickoff return.

Veteran receiver Davante Adams cautioned about overreaction.

“Everybody’s freaking out, which I understand,” he said. “We didn’t put together the greatest showing out there. But you’re a fool if you think that that’s what it’s going to look like every single week.”

The Rams will be without edge rusher Myles Garrett, who is on injured reserve for at least four games following knee surgery. Star receiver Puka Nacua is listed as questionable because of a hip injury.

But defensive lineman Aaron Donald is expected to give Rams a much-needed boost.

Donald, 35, ended a two-year retirement when he returned to the team a few weeks ago. The three-time NFL defensive player of the year did not travel to Australia for the opener, but McVay is happy to have him available for the first time since 2023.

“Aaron is a stud, and he’s been at the forefront of setting the foundation of everything that we’re about here,” said McVay, who is in his 10th season as Rams coach. “I remember my interview process included meeting with him and he’s looking at me like, ‘This is the guy that they’re thinking about hiring?’”

One of the reasons Donald returned was to play alongside Garrett, a two time NFL defensive player of the year who amassed an NFL season-record 23 sacks last season.

Now that combination — which boasts a combined 236½ sacks — is on hold.

The double- and triple-team schemes Donald thought he had put behind might once again be in full effect.

“You think they’re going to double/triple team me [after] not playing for two years?” Donald quipped when asked about the prospect. “They ain’t worried about me, man. They don’t have to be worried about me.

“They don’t have to worry about me at all. No man, they don’t have to worry about me.”

But does he anticipate getting that kind of attention?

“I don’t know what they’re going to do out there,” he said of opponents. “I don’t know what I’m going to get. All I can know is I got a game plan. I’m going to go out there, execute it, and just try to play ball. That’s it.”

The Giants, under new coach John Harbaugh, are coming off a 28-20 victory over the Dallas Cowboys.

Second-year quarterback Jaxson Dart, receiver Malik Nabers, tight end Isaiah Likely and running back Cam Skattebo lead the offense, outside linebacker Brian Burns the defense.

Rams players have said that they quickly put their performance against the 49ers behind and were focused on the Giants.

Quarterback Matthew Stafford, the reigning NFL most valuable player, passed for only 155 yards, with an interception, against the 49ers.

“You get trained, whether it’s a game or a play. Good, bad, and different, move on to the next,” said Stafford, an 18th-year pro. “Don’t think too much about it. Don’t harp too much about it. Just be honest with yourself, play in and play out, game in and game out.”

That next game is here.

The Rams will be “primed and ready,” Adams said, “at the right time.”

Marvin Reid can’t say how many pedestrians he’s seen get hit while trying to brave the North Hollywood intersection of Magnolia Boulevard and Tujunga Avenue. He gave up keeping count long ago.

One afternoon last spring, he watched a man get run over while walking toward a 7-Eleven on the corner. Fortunately, the man popped to his feet “like nothing ever happened” and hustled into the store, Reid said. A week or two prior, he said, an out-of-control motorist nearly plowed into the statue of Amelia Earhart that sits next to a library bearing the famous aviator’s name.

“This is really a bad spot,” said Reid, who has helped run a Jamaican food pop-up at the busy street corner for the past five years. “It doesn’t matter if it’s an old lady crossing the street with a walker.”

The number of Angelenos who die in traffic crashes now regularly outpaces those killed by homicide. From 2016 to 2023, the annual traffic death toll rose nearly 29% overall, and pedestrian deaths jumped roughly 54%. Fatal crashes fell slightly last year, but deaths still exceeded 300 in each of the last three years.

The city is rolling out 125 speed cameras in school zones, known street-racing corridors and places where speeding has contributed to a high rate of collisions — including Reid’s intersection.

But for him, the cameras aren’t a replacement for police traffic enforcement, which he said seems virtually nonexistent.

Even though LAPD squad cars are posted up outside the library “everyday,” he says, they rarely do anything about the drivers who come careening off the exit ramps from the nearby 170 Freeway.

Similar complaints are being echoed around the city. Historically, Los Angeles — like other places across the U.S. — has relied on police stops to produce road safety. But in recent years, public pressure has compelled city leaders to think more critically about whether enforcement can continue without the historical harms that has come along with it.

LAPD data show the department is far less proactive than it used to be.

In 2019, LAPD officers made about 713,000 stops across the city; by 2025, that number had decreased to roughly 308,000 — a roughly 57% decline. A Times analysis of police stop data found that the drop-off was especially pronounced in the Central, West Valley, 77th Street and Southeast police divisions.

In some ways, the decline in stops is unsurprising. Other large U.S. cities have seen similar changes in enforcement strategies by police since the pandemic. As the department continues to shrink, LAPD commanders say they have fewer resources to devote to traffic duty. Officials have been under pressure to curb the use of so-called “pretext stops,” in which officers use a minor violation — a broken turn signal, say, or a cracked windshield — as justification to stop someone in order to investigate whether a more serious crime has occurred.

Reform activists and some city leaders argue the stops are fishing expeditions that lead to police abuses — while failing to deliver safer streets.

The practice of pulling over random vehicles, often based on little more than a hunch, has been a cornerstone of the city’s crime-fighting strategy for decades. The tactic is especially prevalent among the department’s elite Metropolitan Division and anti-gang units, several of which have come under investigation in recent years for failing to document the stops and improper searches.

Since 2019, when a Times investigation found significant racial disparities in LAPD crime suppression tactics, officials have slowed — but never abandoned — the practice of flooding neighborhoods with tactical officers to pull people over and search their vehicles.

Four years later, stops for minor violations began dropping again after LAPD overhauled its policies to limit the circumstances under which officers can make pretext stops, joining law enforcement agencies in cities like Philadelphia, Seattle and Berkeley, Calif.

Yet a report published last year found that officers are still disproportionately targeting Black and Latino drivers.

LAPD Chief Jim McDonnell and other department leaders have fought against more restrictions, arguing they risk losing an essential weapon against serious crime.

But in May, the Los Angeles City Council passed a measure urging the Police Commission, the LAPD’s policy-making body, to further limit arbitrary pull-overs for non-moving traffic violations.

Commission officials said they would wait for the results of a pair of audits by the inspector general’s office before making any further policy changes. The first report suggested that problems with the department’s gang officers were far more widespread than the department has publicly let on.

While LAPD officials had acknowledged issues in a handful of police divisions, the latest audit found that gang units citywide routinely flouted the department’s rules on pretext stops, including by often failing to obtain proper consent to search the vehicles they stopped. The inspector general’s office also found that gang officers didn’t always turn on their body-worn or dashboard cameras as required during these encounters and at times failed to properly log who they were stopping — resulting in an undercount of “both the number of detentions and the enforcement actions taken,” the report said.

The review, based on a sample of 300 stops as well as interviews with current and former gang officers, also highlighted ongoing confusion about what the department expects its officers to do when pulling someone over.

The findings of the second report — which reviewed pretext stops by officers from other units in January — are expected to be presented at an upcoming commission meeting.

The Los Angeles Police Protective League, the union for rank-and-file officers, and other proponents of pretext stops argue that elected leaders don’t grasp the consequences of doing away with the tactic, which the U.S. Supreme Court has deemed lawful.

Reform advocates have fought to deploy unarmed civilians instead of LAPD officers for traffic enforcement — as the city has already started doing for certain mental health-related calls — but the union has warned that the work is too dangerous. A state bill that would have allowed trained civilian workers to make traffic stops failed to make it through the state assembly.

With the death toll from speeding on the rise, more enforcement is needed, not less, department leaders say. The city, they argue, can’t afford to wait on alternative programs that require study, money and public buy-in that could take years.

Amid the debate over how to proceed, LAPD enforcement hasn’t vanished completely.

Even though the department no longer dispatches officers to the scenes of minor accidents, LAPD statistics show that enforcement the department’s 308-member traffic bureau has gone up. As of July, the number of traffic tickets issued had climbed 44% from the same time last year — increasing to more than 14,600 from around 10,100. Citations for impaired driving have also risen, and the department continues to crack down on street takeovers.

Still, progress toward new, non-police approaches to traffic enforcement has been frustratingly slow in Los Angeles, advocates say.

Advocates have pointed to mounting research in other cities that showed road improvements along high-injury street corridors were more effective than police at changing driver behaviors, ultimately reducing the number of traffic-related deaths and serious injuries more than the threat of being ticketed.

Supporters of so-called “self-enforcing” roads say narrowing lanes can lead to a considerable decline in crashes as drivers reduce their speed and move more cautiously than when the road is less wide. Such changes also reclaim space for protected bike lanes, public transit lines, or safer walkways — after long prioritizing convenience for cars, advocates say.

Car accidents are dangerous for everyone involved, but they have become even more hazardous for pedestrians and cyclists.

Experts cite speeding and cellphone distractions as two of the biggest problems.

Another factor is the proliferation of larger vehicles — a phenomenon known as “autobesity” — which have bigger blind spots and more likely to seriously injure a pedestrian or bicyclist.

Andres Ramirez, executive director for the transportation advocacy nonprofit People for Mobility Justice, said he’s cautiously optimism that the mayor’s promise of a “No Car” 2028 Olympic Games will help fast-track some of the most pressing road safety projects.

“The streets needs to be a lot safer for pedestrians, for bicyclists, different modes,” Ramirez said. “The most obvious way is ensuring that infrastructure projects are prioritized in communities that have long been ignored.”

Sept. 21, 2026 12:58 PM PT

The Queen of Country is being honored with a special day on Californians’ calendars.

Gov. Gavin Newsom signed legislation Sunday that establishes Sept. 25 as Dolly Parton Day. The date’s significance may be obvious to fans of the late country legend: 9-2-5 references Parton’s hit single “9 to 5” from the soundtrack of the 1980 comedy film of the same name that starred Parton, Jane Fonda and Lily Tomlin.

“Dolly Parton was an icon,” Newsom said in a video accompanied by his wife, Jennifer Siebel Newsom, announcing the bill’s passage. “Dolly was larger than life with big hair and a bigger heart. People around the world have been touched by her music, by her philanthropy, and by her humor.”

Parton died Aug. 25 at 80 years old following a battle with cancer. The beloved songwriter, recording artist, actor and businesswoman was an honored musician, earning 10 Grammy Awards and 10 Country Music Assn. Awards, as well as two Academy Award nominations and a Primetime Emmy. She was the recipient of the National Medal of the Arts in 2005 and the Kennedy Center for the Arts Award in 2006. Parton was also inducted into the Country Music Hall of Fame in 1999 and the Rock & Roll Hall of Fame in 2022.

“Her legacy goes well beyond her music,” Sen. John Laird (D-Santa Cruz), who co-authored the bill with Sen. Shannon Grove (R-Bakersfield), said in a statement. “Through the Imagination Library, she put books into the hands of millions of children, and throughout her life she led with kindness, acceptance, and a belief that everyone deserves to be treated with dignity and respect. She was also no stranger to the Central Coast, where she performed for packed crowds and spent time over the years. Now, every 9-2-5, California gets to celebrate Dolly and the remarkable legacy she shared with all of us.”

The Clippers hired John S. Gibson as interim CEO and governor on Monday, taking over the roles previously held by team owner Steve Ballmer, who is serving a one-year ban by the NBA.

Ballmer recently said he won’t fight the league’s salary-cap circumvention punishment in a reversal of the team’s initial defiance and vow to fight against what it called “a heavily biased investigation.”

The league suspended Ballmer for one year, fined the team $30 million and forced it to forfeit five first-round draft picks. Ballmer said the team has paid the fine.

Gibson will immediately oversee the team’s basketball and business operations and represent the Clippers in league voting matters. He’s a long-time Clippers season ticketholder.

“I am honored to take on this responsibility and grateful for the opportunity to serve an organization I have supported for many years,” Gibson said in a statement. “My focus will be on supporting our people, providing steady leadership, and helping the organization continue moving forward.”

Gibson spent the last six years as a trial lawyer and litigation partner at DLA Piper in Los Angeles, where he co-chaired the firm’s U.S. Business & Commercial Litigation practice. He previously advised and represented major corporations, technology and health care companies, pro sports organizations and business leaders.

Dolly Parton — the “queen of country,” benevolent ruler of Dollywood and America’s true sweetheart — died at age 80 last month. But she lives on forever at home in our living rooms, in the warm echo of a Tennessee twang from the speaker and, perhaps surprisingly (although that shouldn’t be so), in the flickering glow of our television screens.

Parton got her start on the small screen, appearing on the “Cas Walker Farm and Home Hour” when she was 10. Eleven years later, she had a down-home breakthrough on the widely syndicated “Porter Wagoner Show.” There were multiple interviews with Barbara Walters, “Tonight Show” appearances with Johnny Carson, two successive variety shows and many a guest spot, including on “Hannah Montana,” “Designing Women” and “Reba.”

At the Emmys on Monday, Reba McEntire sang a soulful tribute to Parton with a cover of her 1983 song “Appalachian Mountains,” one of McEntire’s all-time favorites. Before that, though, came a heartfelt speech by Sally Field, Parton’s co-star in “Steel Magnolias.”

“If there are truly angels on Earth, then we just lost one: Dolly Parton,” Field said. “It was my great good fortune to have worked with Dolly in a film called ‘Steel Magnolias.’ And over the years, I never stopped loving her, though we lived very far apart. I adored her from Day One; how could you not? She was genuine and humble, supportive and blisteringly funny, with a bawdy sense of humor that would send any rude guy looking for a place to hide.

“I couldn’t see then what a real giant Dolly was — not just as an artist, but as a human,” she added. “She was a humanitarian whose contributions have made a profound difference in the lives of so many in her home state of Tennessee, and across our country. God bless you, Dolly Parton, my friend. I am not the only one on Earth that will love you forever and ever.”

Then came an archival clip of Parton introducing “Appalachian Mountains” the year it came out. “I’m very, very proud of the fact that I had the kind of parents that I did, and grew up in the Smoky Mountains, the Appalachian Mountains,” she said. “And I have written a song that touches me very deep, and I’m sure that, in your own way, that you certainly will relate to this. This song, like I say, is very important to me, and I hope you like it. And if you don’t like it, well, if you don’t mind, I would rather not hear about it later, OK? It’s a song that I call ‘Appalachian Mountains.’ ”

California Atty. General Rob Bonta and Paramount Skydance Chief Executive David Ellison have reached an agreement to end the state’s antitrust fight, paving the way for Ellison to complete his $111-billion purchase of Warner Bros. Discovery, said a person familiar with the matter.

The two sides have agreed to resolve antitrust claims that Bonta and 11 other state attorneys general brought in late July, said the source, who was not authorized to comment publicly on the settlement.

As part of the deal, Paramount agreed to pay a penalty if the company fails to make good on a promise to distribute 30 films per year in theaters and to spend $1.5 billion on film production in Hollywood over the next five years, said the source who was not authorized to comment.

Representatives of Paramount and Bonta did not respond to a request for comment.

A federal judge must approve the agreement. Paramount would then be poised to quickly finalize its purchase of Warner Bros. Discovery — a blockbuster combination that will reshape Hollywood by collapsing two historic film studios with rights to Batman, Harry Potter, “Top Gun,” and Bugs Bunny and by combining the HBO Max and Paramount+ streaming services.

In addition to CBS, Paramount would own dozens of cable television channels, including CNN, TBS, HGTV, Food Network and Comedy Central.

The road to a resolution was fraught. Bonta abruptly canceled a negotiation session with Paramount in late August after potential deal terms leaked. Then, after talks restarted and the settlement began taking shape, several powerful Bonta allies, including New York Atty. Gen. Letitia James and Connecticut Atty. Gen. William Tong, signaled their displeasure with proposed deal terms.

They felt the deal points didn’t go far enough to mitigate the potential clout Paramount would wield over the film and television industries if it was allowed to swallow its larger industry rival, according to three people familiar with the matter but not authorized to comment.

Ellison’s goal had long been to complete the Warner takeover by the end of September — before midterm Congressional elections and prior to a key deadline for Paramount to increase its payout to Warner Bros. Discovery shareholders. Ellison received a boost from California Gov. Gavin Newsom, Los Angeles Mayor Karen Bass and Xavier Becerra, the Democratic nominee for California governor, who pressed Bonta to end the dispute rather than take the case to trial in Oakland in March.

Newsom said he took “seriously” Paramount’s threat to leave the state. He advocated for a settlement behind the scenes, according to two people close to the matter who were not authorized to comment.

State Attorney General Rob Bonta in 2025. (Genaro Molina/Los Angeles Times)

(Genaro Molina/Los Angeles Times)

Ellison was highly motivated to strike a deal because his company’s expenses will soon accelerate. Beginning Oct. 1, Paramount is on the hook to pay Warner investors a “ticking fee” of 25 cents per quarter, per share until the deal closed. That obligation is expected to add $7 million a day to the cost of the $31 a share that Paramount agreed to pay Warner shareholders when it won the bidding war back in February.

Paramount’s takeover will be heavily leveraged. The company’s bankers have lined up nearly $80 billion in debt to finance the merger. Ellison’s father, billionaire Larry Ellison, late last year agreed to backstop the $47-billion in equity needed to complete the acquisition. Royal families from Saudi Arabia, Qatar and Abu Dhabi have agreed to chip in $24 billion for an equity stake by assuming some of Ellison’s financial commitments.

Late last week, the Federal Communications Commission approved Paramount’s request to allow the foreign investors to own nearly 50% of the merged company. The Ellison family, however, will retain its voting control.

Paramount has promised Wall Street that it would make more than $6 billion in cost cuts. A recent Los Angeles County economic report predicted the merger could lead to an estimated 4,500 workers in the Los Angeles region losing their jobs as Ellison works to combine the two companies.

The truce comes after Paramount received clearances from regulators around the world, including the European Commission, Canada and the U.S. Justice Department.

But despite those approvals, Paramount spent weeks over the summer wrangling with Bonta and applying political pressure. Ellison threatened to move his studio from its historic Melrose Avenue address to Texas or Tennessee.

Larry Ellison separately announced plans to switch the headquarters of his software behemoth Oracle to Nashville from Austin, Texas (after Oracle relocated from Silicon Valley six years ago).

Paramount also enlisted major Hollywood unions, the Directors Guild of America and the International Alliance of Theatrical Stage Employees, and prominent cinema chains to drop their opposition to the deal.

Bonta’s suit had leaned heavily into potential harms to theatrical distribution and lawyers for the states had been banking on theater executives’ testimony at trial.

The parties also were facing a key court hearing Thursday. Paramount was poised to ask U.S. District Judge Araceli Martínez-Olguín in Oakland to make the states and the Writers Guild of America post a $1.88-billion bond that would cover some of Paramount’s delay-related deal costs should the company eventually prevail.

The states and the WGA, which also sued to block the merger, have balked at the request, which was designed by Paramount to create fissures within the coalition of states by raising doubts about the strength of their case.

Paramount’s high-profile lobbying campaign reached a crescendo in late August after Paramount called out activist-actor Mark Ruffalo, accusing him of resorting to “antisemitic tropes” to argue against the merger.

Prominent Jewish groups rushed to Paramount’s aid. Ruffalo, who frequently works with HBO, denied the allegation, saying he had a 1st Amendment right to speak against the deal as well as Oracle’s business ties to Israel. Numerous Jewish artists came to Ruffalo’s defense, saying his free speech rights were being squelched.

Bonta abruptly canceled a settlement conference, accusing Paramount of leaking confidential information.

“If you want to have an adult, legitimate, serious settlement discussion — no problem,” Bonta said during an Aug. 25 appearance in Los Angeles. “But if you want to play games, we’ve got better things to do.”

The states’ 37-page lawsuit, filed in the U.S. District Court for Northern California, claimed the Paramount-Warner combination would violate the U.S. Clayton Act, a century-old antitrust law to prevent mergers that weaken competition and raise costs for consumers.

The states, which also included Nevada, Colorado, Oregon, Washington, New Jersey and New Mexico, had argued the tie-up of two legacy movie studios would give Paramount-Warner too much marketshare in two categories — wide-release movies and potential blockbusters.

Paramount Skydance CEO David Ellison has pressed to get his blockbuster deal done before his company must make higher payouts to Warner Bros. Discovery shareholders and before the mid-term elections, which could change the makeup in Congress.

(Mark Schiefelbein / Associated Press)

The states also said Paramount-Warner would control nearly 30% of the cable television channel space with more than 50 networks.

Paramount has been facing a June 4 deadline to complete the deal — or owe Warner Bros. Discovery a $7-billion breakup fee. Paramount has already paid $2.8-billion to cover a termination fee paid to Netflix after the streamer withdrew from the auction in February.

Over the years, the concept of the “song of the summer” has been well-contested: Is it merely based on statistics? Is it the song that has become so omnipresent that many have become sick of it? Does this mean that “Happy” by Pharrell Williams and “Fancy” by Iggy Azalea count?

Last year, it was likely somewhere between Sabrina Carpenter’s “Manchild” and “Luther” by Kendrick Lamar, featuring SZA. Just based on numbers, it was Alex Warren’s “Ordinary,” but this is a strong case for why metrics don’t always matter.

On Sept. 23, the autumn equinox will arrive, officially bringing an end to the summer season and countless attempts at giving it an anthem. This year, there was a plethora of choices. So much so that we couldn’t narrow it down to a definitive tune.

However, you can find our potential picks below.

“The Peace,” underscores

“I don’t speak unless I’m spoken to / And I won’t smoke unless you’re smoking too.”

Underscores, the artist that you are. After “U” dropped in March, “The Peace” was one of the first tracks to go viral across social media. It’s since maintained its cultural relevancy, with the artist performing it as part of her DIY pop-up sets, staged from the back of a U-Haul truck.

Historically, underscores hasn’t written much about her personal life, opting for conceptual work. However, “The Peace” offers a rare, intimate glimpse into the artist’s love life and the feeling of sacrificing basic boundaries in order to satisfy someone else.

Beyond its storytelling, the song’s melody and chopped vocal riff are unforgettable on this track, standing out from the rest of the album. This isn’t a jab at the project — “U” is an incredible album and the song is just that good.

“stupid song,” Olivia Rodrigo

A song from Olivia Rodrigo’s third album, “You Seem Pretty Sad for a Girl So in Love,” was always going to make this list, given the strong reception it’s received and its incredible replayability. As further evidence of this, within weeks of its release, the song hit 300 million streams.

The album’s third single, “stupid song,” just makes it in over “the cure,” its second single. Though the latter has one of the best bridges of the year, its undeniably melancholic and macabre nature is what put it out of contention.

Though “stupid song” has its somber moments, it’s easier to scream in a crowd without catching concerned glares. This call for catharsis is ever-present in Rodrigo’s discography, but this last album is the artist in full stride.

“Dance…,” Slayyyter

Speaking of artists in full stride, Slayyyter has been the breakout act of the summer, which is incredible considering that her debut mixtape released in 2019. She’s got skin in the game but hasn’t really been able to crack the mainstream until the release of “Worst Girl in America” and a subsequent, viral Coachella set.

“Dance…” is the opening track of that album and also arguably the best song on it. After about a full minute of pensive, progressive, electronic buildup, listeners get a taste of bliss, sewn-in synths and heavy bass.

When one individual made the bold claim on X that it was “one of the best album intros ever,” Slayyyter was quick to respond with a simple “TRUE.” Shortly after its release, it went viral on Instagram reels and TikTok as creators used the song in a trend where they’d act fatigued before bursting into motion on beat.

“Caught in a Jam,” Portraits of Tracy

This is easily one of the most fun, captivating tracks of the summer — it’s funky, bouncy, buzzy and everything in between. Solidifying its cool is the reassuring note at the end of the music video description: “No generative AI was used at any stage in the production of this material.”

It features — without a doubt — one of the best bridges and refrains of the year, and perhaps onward. Not to mention, its lyrics are equally as enjoyable as the production.

“Oh, something changed in me, I felt it instantly / I had to hit the club so they could all see / Now I’m the dancing queen / F-f-f-far far from 17”

“Caught in a Jam” would an impressive feat from any artist, but it’s exciting to hear it coming from a 22-year-old. Hopefully, the future is bright and groovy for Portraits of Tracy. Reception of the artist’s latest EP, “Q: From Where Do Our Primal Instincts Originate? A: MTV! EP,” has been overwhelmingly positive, with Pitchfork placing it a 7.6 rating.

“BbY Wow,” Karol G, Judeline, rusowsky

The 2026 Coachella headliner is back at it again. This time around, Karol G released “BbY Wow” at the tail end of July, allowing it just enough time to seep into the brains of all its listeners.

Realistically, it needed no time at all. It didn’t take long for the song to hit No. 1 on Spotify global charts, receiving over 3 million streams within a week of its release.

The song is a masterclass in production, pulling and syncopating a sample from iconic dance hall tune “Coolie Dance Riddim,” released by Jamaican producer Cordel Skatta Burrell in 2003. In this, a lot of the heavy lifting is done, and all three artists are left to ride the smooth beat.

Naturally, Karol G really shines here, but Judeline and rusowsky provide an interesting dynamic to the song, making it an instant hit.

“Girl Like Me,” PinkPantheress

“Girl Like Me” is an odd entry for potential song of the summer. The track was released back in May 2025 as part of her second mixtape, “Fancy That.” However, it didn’t receive much buzz until April 2026, when PinkPantheress performed at Coachella.

Not long after, she released the official music video for the song, which blew up almost as soon as it landed on YouTube. The video, made in collaboration with faceless director Lauzza, features buildings shuffling on beat and other excerpts of British culture.

It would soon witness the same treatment on streaming, garnering a 165% increase in streaming activity over a four-week period, Billboard reported.

But it’s not all about numbers in the world of music and, thankfully, “Girl Like Me,” delivers sonically, as well. The song flips both “Romeo” and “Always Be There” by aughts-defining electronic duo Basement Jaxx and turns it into a thumping dance pop tune.

“Dine N’Dash,” the Strokes

As plainly stated in our coverage of the Strokes’ appearance at Just Like Heaven in August, the band is “currently riding the high” of its first Coachella performance in 15 years. “Reality Awaits” is an incredibly polarizing album. What’s dividing fans is Julian Casablancas’ insistence on using Autotune, as many prefer his raw vocals.

However, Autotune or not, “Dine N’Dash” is reminiscent of the best of the band, confirming that they’ve still got the juice to make hits 25 years after their debut. The chorus is the key here, as its smooth riff pauses for Casablancas to softy wail out “We could never afford it / So we dine and dash / I would always go last.”

Hello, 2001!

“brand new chanel$,” Slayyyter

It’s always difficult to give an artist a double entry on a list, but in the case of Slayyyter, it was mandatory. “Brand new chanel$” is poised to be a song off of a potential upcoming project, which is expected to be an inverse, “brother album” to “Worst Girl in America.”

In that, it completely lives up to her promises, taking the route of a more traditional pop song, while still delivering on all fronts. Notably, her vocal ability really shines through on this track, as she belts out “I‘m holding it alone just for tonight / I wonder if you / got her in your room / I call you on the phone to start a fight” during the chorus.

The song’s outro is equally as intoxicating, referencing the lyrics and melody of its apparent brother track, “Beat Up Chanel$.”

Like “Dance…,” the song was quick to go viral on social media, and the artist revealed that the song was made to process romantic trauma. Just two days before “WGIA” dropped and during rehearsals for her Coachella set, Slayyyter found out she had been cheated on by her then-boyfriend.

“Choosin’ Texas,” Ella Langley

It’s been 22 weeks since Langley’s “Choosin’ Texas” first appeared on top of the Billboard 100, tying Mariah Carey’s seasonally ubiquitous “All I Want for Christmas Is You.” Whether you like the song or not, its appeal is officially undeniable.

On Spotify, it’s racked up more than half a billion streams and on YouTube, nearly 100 million. Not to mention, it’s impossible to crawl into any dive bar in the country without being ambushed by “She’s from Texas, I can tell by the way / He’s two steppin’ ‘round the room,” delivered in a Southern drawl.

Is it the “Happy” or “Fancy” of 2026? We leave that with you to decide.

In Philippe Caland’s semi-autobiographical 2003 film “Hollywood Buddha,” his mother, Huguette Caland, plays herself. Wearing her signature white smock, inscribed with a flurry of painted swirls, circles, letters and cross-stitches, the Lebanese artist makes precise gray-blue lines on a canvas spread across her dining room table as her son laments a fickle movie industry.

Filmed in her Venice home, the scene, her three children agree, was true to life. Caland worked constantly: on stretched canvas, on fabric folded in her lap, on a children’s menu, on the wall of her kitchen, or the sleeve of her smock. Whatever was at hand.

“Of course it could be frustrating,” said her daughter Brigitte, an elegant, soft-spoken scholar of Semitic languages who has managed Caland’s estate since her death in 2019.

Brigitte Caland, right, and Charley Caland — the daughter and granddaughter of the Lebanese-born painter, sculptor and fashion designer Huguette Caland — stand in Caland’s former L.A. home and studio.

(Robert Gauthier / Los Angeles Times)

Sitting in that very home, which Caland had built in 1997, Brigitte recalled the many times her mother invited her over only to continue working as they talked. “I’d go to leave, and she’d put the canvas away, beg me to come back, and as soon as I did, she’d start painting again.” Still, from early on, Brigitte understood the compulsion as evidence of her mother’s resolve. “She had this incredible drive to create.”

“Huguette Caland: A Life in a Few Lines,” opening Sunday at the Hammer Museum, traces that relentless drive across nearly 150 paintings, drawings, sculptures, garments and tapestries. Organized by the Museo Nacional Centro de Arte Reina Sofía in Madrid in collaboration with the Deichtorhallen Hamburg, the show comes to Los Angeles as the largest Caland survey in the country to date. Spanning five decades and installed chronologically, it features work from the 26 years she spent immersed in Venice’s creative community even as her practice was largely ignored.

It was Caland’s generous hospitality and boisterous wit that made her custom château a gathering place for a vibrant Westside art circle. Ed Moses, who lived around the corner, visited several times a week; Larry Bell, Frank Gehry, Robert Wilhite and others joined her for long meals and even longer parties. Her work surrounded them, and her studio, the grandest space in the house, stood open just beyond the living room. Yet her guests remained uninterested. “No one,” Brigitte said, “would walk the 10 steps.”

Huguette Caland in Stone Doorway, France, 1970.

(Huguette Caland Estate)

Curator Hannah Feldman sees that tension as central to Caland’s California years. “Instead of supporting and bolstering her as a creative in their midst, she became their salon host,” she said. The lack of recognition, Feldman argues, reverberates through Caland’s heavily impastoed portraits of Moses and her enigmatic late abstractions such as the rectilinear paintings in the “Silent Letter Series.”

“To draw a line is a way to contain one’s emotion, one’s anger, one’s anguish,” wrote Caland of her challenging relations with fellow artists in “Sketchbook 2” (1990-91). “My lines tell the story of my life, of people encountered along the path, people I loved, and found and even lost.”

Caland is perhaps best known for her cheeky, erotic paintings of fulsome body parts and for a biography too often reduced to cliché: the libertine daughter of Lebanon’s first post-independence president who left her husband and children in Beirut to pursue an art career in a less repressed Paris.

Huguette Caland, “Self-Portrait in Smock,” 1992

(Huguette Caland Estate)

Feldman hopes the exhibition, which spans fine-line drawings of entangled lovers and radiant topographical tapestries, will complicate that familiar account. “There’s joy, and there’s sex,” she said, “but there’s also pathos, vulnerability. The search for autonomy is not an easy one; it comes with conflict, strife.”

Caland’s freedom was no doubt hard-won. She first picked up a brush as a married mother of three in her thirties, and only after her father’s death. In her first painting, alternately titled “Soleil rouge” and “Cancer” (Red Sun/Cancer) (1964), hazy concentric circles gather in a crimson orb at the center of the monochromatic plane. Simultaneously a tumor and a light source, the refulgent motif holds grief and release.

Soon after, Caland enrolled in art classes at the American University of Beirut, relinquished much of her constricting couture wardrobe, and adopted a uniform of loose, flowing kaftans, which she would later turn into works of art in their own right. Archival photographs show a glamorous Caland arriving at an event in a floor-length garment bearing painted breasts, a belly button and a triangle of curly pubic hair.

Huguette Caland, “Bribes de corps,” 1973

(Huguette Caland Estate)

Caland moved to France in 1970, leaving her children (then 15, 13 and 12) in Beirut with their father, a French-Lebanese lawyer named Paul Caland. In paintings from that decade, Caland’s imagery of bodies swell, split, meld and dissolve. In “Enleve ton doigt” (Remove Your Finger) (1971), lipstick-red lips receive a pale finger reaching out from a crush of fantastical profiles; two years later, in “Self-Portrait” (Bribes de corps), Caland dispersed a sensual body across a pale pink field interrupted at the lower edge by a slight, shadowed cleft — either buxom cleavage or buttocks.

The distance from her children produced another kind of line: text. Philippe recalled receiving illustrated letters almost every week, filled with drawings, doodles and notes of affection. Most of these were later destroyed when the family house was bombed during the Lebanese Civil War of 1975. “I always knew my mother loved me,” Philippe said. “The family was not torn apart. She took a break, and in the end made a home for us in Paris, where we all landed when the war was raging.”

After the death of her lover, Romanian sculptor George Apostu, whose rough-hewn wood sculptures still populate the house’s patio, Caland’s children encouraged yet another departure. Her eldest son, Pierre, a businessman and former Olympic swimmer, paid for a stay at a friend’s Venice bed-and-breakfast, all but forcing his grieving mother out of Paris and to sunny L.A. Her initial reluctance gave way to affection. The light, arid climate and mountains sloping into the sea reminded her of Lebanon. “She liked that California land sounded like Caland,” Brigitte said.

Huguette Caland works at her home and studio in Venice, date unknown.

(Huguette Caland Estate)

After making Venice her primary residence, Caland collaborated with architect Neil Kaufman on the design for her enclosed château. Its towering, mostly unbroken face and narrow swimming pool suggested a rampart and a moat, but behind the concrete exterior, Caland eliminated every door save the guest bathroom. Long vertical windows opened onto a courtyard shaded by a sprawling olive tree. Art crowded the steep stairwell; it accumulated on scattered plywood and Formica tables and unraveled across the kitchen in an intricate mural composed of tessellated marks that recall Byzantine mosaics and tatreez, a form of traditional Palestinian embroidery.

“There was no distinction for her,” Brigitte said, between the home and the studio, art and life. Caland once described her “very, very mixed media” as including “every single exchange, a look, a smile, a brief encounter.”

That original interior survives in “Hollywood Buddha” and archival photographs. Philippe now lives in the house with his family, and although the concrete exterior remains intact, the rooms and the courtyard have been remodeled around their own aesthetics and routines. Along with the technicolor mural, Caland’s singular sensibility persists in scattered drawings, a bouquet of her preferred 30-inch paintbrushes and a pair of stiff-backed pews. Her presence, too, is felt in the people who now inhabit the space, like her granddaughter Charley, 25, whose easy warmth recalls qualities long ascribed to the matriarch.

The former Venice home and studio of the Lebanese-born painter, sculptor and fashion designer Huguette Caland. The home is still occupied by Caland’s family and no longer looks how it did when she was alive, but her spirit lives on in small details.

(Robert Gauthier / Los Angeles Times)

When the Hammer selected Caland for “Made in L.A. 2016,” the honor brought some measure of the local attention that had long eluded her. “If you had to pick one critical turning point for her career,” Pierre said, “it was the inclusion of her work in that show.” For the family, the coming survey fulfills one of her long-held ambitions.

“She told me, ‘Live your life day by day and plan it on a thousand years,’” Philippe said. Only later did he understand that the advice described her own life. “Today, her work is here,” he added. “She continues with it.”

Huguette Caland, “Le grand bleu,” 2012.

(Huguette Caland Estate)

The final painting in the exhibition, an oceanic large-format canvas titled “Le Grand Bleu” (The Great Blue) (2012), once hung high above the central hearth in the Venice house. Surrounded by undulating circles, spots and stripes, red-roofed Lebanese abodes and white-masted schooners traverse an unsettled horizon line. From the dining table below, where a young Charley often helped her grandmother fill blank planes with delicate dots, Caland could look up and see how far her line had taken her.

The In Memoriam segment at the 78th Emmy Awards opened with a tribute to Catherine O’Hara from her movie and TV kids — Macaulay Culkin, Annie Murphy and Dan Levy.

“There are all kinds of words I could use to describe Catherine,” Culkin said as he took the stage with the “Schitt’s Creek” stars. “She was encouraging, she was warm, she was funny, but the word that I think of is ‘mama.’”

O’Hara, of course, played Culkin’s mother in “Home Alone” and “Home Alone 2.”

“She wasn’t just a wife and mother to [husband] Bo and [sons] Matthew and Luke. She was my mom. She was our mama,” Culkin said, looking toward Murphy and Levy. “And by extension, she’s all of our mama…. She may have forgotten me twice, but we will always remember her.”

Murphy and Levy also shared personal anecdotes about their TV mom. Murphy spoke about O’Hara’s laugh, and the many interactions she’s had with fans “that remind [her] how profoundly Catherine has impacted the world … because she brought us joy.” Levy shared what it was like to work with O’Hara and how she taught him to “always say yes.”

Singer-songwriter Noah Kahan performed a cover of Simon & Garfunkel’s “Bridge Over Troubled Water” as images of actors, writers, directors and other industry figures who died this year were projected onto the stage.

Among those honored in the segment were James Van Der Beek, Hayden Panettiere, Eric Dane, Vincent Pastore, Hal Williams, Tim Curry, Shelley Fabares, Isiah Whitlock Jr., Anthony Head, Diane Ladd, Sid Krofft, Ted Turner and Bob Mackie.

The segment closed with tributes to James Burrows and Rob Reiner from Jamie Lee Curtis.

“For over 1,000 episodes of television, the great James Burrows set a standard of comedy directing that will be cherished and studied for generations to come,” Curtis said. “And sadly, last year, we lost another cherished legend. Our beloved Meathead, Rob Reiner.”

Reiner won a posthumous Emmy for guest actor in a comedy series for his work on “The Bear” earlier this month. Curtis said Reiner broke the record set by his father, Carl Reiner, for the longest gap between acting Emmys.

“He was generous and kind and funny as hell and a friend to all,” Curtis said. “We all miss Rob and Michele [Singer] and all those we lost this year.”

The ceremony also featured a tribute to Dolly Parton earlier in the evening with Sally Field and Reba McEntire.

Only the Pirates and Cubs have met more often than the Dodgers and Giants, who faced off for the first time in 1889. And over all that time, the Dodgers are just two games better, with 1,294 wins to the Giants’ 1,292.

The Dodgers and Giants have also won more pennants, made more World Series appearances and have more players wearing their caps in the Hall of Fame than any other National League teams, all of which fueled a rivalry that was once among the most visceral and passionate in American sports.

But that was then and this is now.

After Sunday’s 3-1 victory over the Giants, the Dodgers’ 14^th win in their last 17 games, the team could finish a season with 100 wins for the fourth time in six years. The Giants have had just one winning record in that time.

The Dodgers (96-60), who have won five straight division titles, are headed to the postseason for a record-tying 14^th consecutive year. The Giants will miss the playoffs for a fifth straight season.

So is the rivalry dead? That depends on who you ask.

“It’s always a rivalry,” Giants pitcher Logan Webb. “We’d like to make it a little closer when it comes to the standings. But I definitely feel it when I throw against them.”

But then Webb, who is from Northern California, grew up with the rivalry and, as the longest-tenured Giant, pitched against the Dodgers in games that mattered. Giants coach Ron Washington, who made his major league debut with the Dodgers when the rivalry was still a thing, said many players on San Francisco’s roster don’t know that background.

“It should be a rivalry. But I don’t think the young kids we got know anything about a rivalry. They’re not history buffs.”

Webb said it’s the responsibility of the veterans on both sides to keep that history alive by explaining the enmity to the young players.

“I think there are still guys that came up in the system that know what it’s like,” he said. “It’s my job to kind of hype these guys up to play a game like this.”

Dodgers manager Dave Roberts, who played for the Dodgers and Giants during his 10-year career, agrees the rivalry now exists more in the history books than the current standings, where the Giants have been overtaken by the San Diego Padres, who will finish second to the Dodgers in the N.L. West for the fourth time in five seasons.

“It’s certainly a rivalry in the sense of the history, the fan bases,” Roberts said. “But obviously it’s about relevancy. The Padres have been successful the last handful of years, and so it’s certainly built some momentum. The geography lends itself to that too.

“But Dodgers-Giants is always fun.”

It hasn’t been so much fun for the Giants lately. San Francisco hasn’t won the season series with the Dodgers since 2021 and has lost more than 90 games this year for the first time in nine seasons.

On Sunday they went in front three batters into the game with Johan Cox working Dodger opener Jack Dreyer for a leadoff walk, then making his way around the bases on Dreyer’s throwing error, a stolen base and a one-one single by Victor Bericoto.

San Francisco would get just one more hit — a single by Jung Hoo Lee with one out in the sixth.

That allowed the Dodgers to tie the score in the bottom of the sixth on Tommy Edman’s seventh home run of the season just inside the right-field foul pole. An inning later they went ahead to stay when Max Muncy singled under a sliding Cox at second, moved to third on a single by rookie Josue De Paula and scored on Kiké Hernández’s double to center.

Josue de Paula hits a double in the fifth inning Sunday.

(Ronaldo Bolaños / Los Angeles Times)

A two-out single by Muncy, his second of the game, scored Teoscar Hernández, who also had two hits, in the eighth inning with the final run.

Even the slumping Freddie Freeman contributed to the Dodgers’ 11-hit attack, ending an 0-for-11 slide with a broken-bat single in the fourth then singling again in the eighth.

Sunday’s result helped clarify the Dodgers’ once-muddy playoff picture. With six games left in the regular season, the Dodgers lead Atlanta by four games in the race for the second seed in the National League playoffs, which would give them a first-round bye and the homefield advantage in the division series.

The team’s postseason roster may be getting clearer as well. Right-hander Emmet Sheehan, who made 22 starts this season, came out of the bullpen for the first time Sunday and was brilliant in his audition for the playoffs.

“If there is a role in the postseason, it will be out of the [bull]pen,” Roberts said of Sheehan, who gave up just a hit and walk, striking out nine — one off his season high — in 5 1/3 innings.

De Paula, meanwhile, whose third multihit game extended his modest hitting streak to four games, appears to have secured a job as the team’s left-handed bat off the bench while utility player Hyeseong Kim, who has spent the last four months in the minors, will rejoin the Dodgers after the triple-A playoffs and be considered for a roster spot as a pinch-runner and late-inning defensive replacement.

“My expectation is that Hyeseong will be here during the off week and potentially be a conversation for the postseason because he has the ability to run, play defense, and steal a base,” Roberts said.

After Monday’s off day, the final break of the regular season for the Dodgers, the team is expected to activate Andy Pages, Roki Sasaki and Shohei Ohtani from the injured list during its three-game series with the Padres.

“We’ll get Andy back on Tuesday, which will be great, and then shortly thereafter we’ll get Shohei back. So yeah, things are starting to come together,” Roberts said. “We’re in a good spot.”

Presley Gerber, the son of supermodel Cindy Crawford and her husband, businessman Rande Gerber, died Sunday at a rehab facility at age 27, according to the Los Angeles County medical examiner.

Few details were available late Sunday.

Gerber worked as a model, including in 2018, at age 18, as the face of Calvin Klein Jeans’ global advertising campaign, along with his sister, Kaia Gerber.

A year later, he was arrested and charged with driving under the influence, according to USA Today. He was sentenced to three years’ probation and ordered to complete a DUI program, TMZ reported.

Kaia, left, and Presley Gerber in Paris in 2017.

(Kamil Zihnioglu / Associated Press)

The death was confirmed to the Associated Press by Allie Jenkins, a representative for Crawford and Rande Gerber, who were married in 1998.

“The family is asking for privacy during this very difficult and painful time,” Jenkins said.

In an Aug. 11 interview with Vogue, sister Kaia, a model and actor, spoke of her older brother struggling with drug addiction, which he described in a since-deleted Instagram video in December.

She told the magazine that she was proud of him.

“My parents … were very, very private,” she said. “Now we have this absolute teacher, my brother, who said, ‘I’m gonna be very human for everyone.’”

Frankie Muniz had a vulnerable moment on social media Friday, revealing he’s hit rock bottom following the announcement of his split from wife Paige Price.

The “Malcolm in the Middle” star announced he and Price were calling it quits after seven years of marriage in July, and now the actor is revealing he’s experienced some painful introspection in recent weeks.

“The last 6 weeks of my life have been a nightmare I’m praying to wake up from,” he wrote on Instagram. “Everything felt heavy, unclear, and like it was falling apart at the same time. I wouldn’t wish this season on anyone.”

He continued that despite the painful experience, “the unexpected gift in the middle of it is that I’ve had nowhere to hide.”

The actor-turned-race car driver said he’s spent the last several weeks reflecting and can now see the areas of his life where he thinks he can improve.

“I want to become a better version of me. Not the polished version I show the world … the actual one,” he wrote.

“I read that sometimes hitting rock bottom is the thing that wakes you up. It forces the changes you needed to make all along so you can live the best life possible. That idea has been sitting with me. In five years I believe I’ll look back at this exact low point and feel grateful for it, because the high I’ll be standing on then only exists because I went through this.”

He told his followers that this period isn’t the end of the story, but the catalyst for change.

“It’s the part where I start doing the work … the uncomfortable, unglamorous, necessary work. I’m choosing to treat this season as the foundation, not the finish line.”

Shortly after Muniz’s post, Price posted an Instagram story with a message that some followers speculated may be a response to the actor’s admission.

“Life is all about perspective. If you ask the grass, the zebra is the monster and the lion is the protector,” Price wrote.

Muniz is best known for his titular starring role in the beloved Fox sitcom “Malcolm in the Middle,” which ran for seven seasons in the early aughts. In April, the series returned for a four-episode reunion arc on Hulu starring returning fan favorites Bryan Cranston as Hal, Jane Kaczmarek as Lois and a couple of Malcolm’s TV siblings.

In 2006, when “Malcolm in the Middle” wrapped, Muniz transitioned away from acting and pursued race car driving.

Tens of thousands of people walk in and out of Dodger Stadium on any given night, paying scant attention to the trees, plants, and other foliage surrounding it on all sides. Chaz Perea made his peace with that a long time ago.

“Getting to Dodger Stadium is not a small thing,” said Perea, 41, the stadium’s landscape manager. “You’ve got to park in this monster,” he said, motioning to the acres of asphalt around him, “and then go find your seat in that monster.”

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1. The agave garden sits outside Lot B at Dodger Stadium on Friday. (Gina Ferazzi/Los Angeles Times) 2. Dodgers fans walk past vibrant plants behind photos of former Dodgerss outside center field at Dodger Stadium on Friday. (Gina Ferazzi/Los Angeles Times) 3. A group visits agave island during a tour of Dodger Stadium’s botanic garden on Tuesday. (Christina House/Los Angeles Times)

For the past 17 years, Perea and his four-person crew have been responsible for every bit of stadium landscaping that isn’t the field itself. That’s roughly 300 acres, encompassing the parking lots, the hillsides meeting the 110 Freeway, and 149 concrete planters nicknamed “martinis” for their glass-like shape. The planters are original to the stadium’s 1962 construction, and many had crumbled badly enough over the decades to need painstaking repair.

The landscaping isn’t just about plants and planters. Behind a fence beyond the iconic orange 76 ball in the parking lot once sat a hidden garden. Its centerpiece was an eight-foot-tall stone lantern given to then-Dodgers owner Walter O’Malley by Japanese sports columnist Sotaro Suzuki and his wife, Toku, who had attended the stadium’s grand opening in 1962. Suzuki commissioned the 3,921-pound Kasuga-style lantern, which arrived in five pieces in late 1965 and became the centerpiece of a garden that also featured a small wooden bridge and a collection of rocks.

“For years, it was maintained by our gardener with great pride,” said former Dodgers owner Peter O’Malley, Walter’s son. “But it was remote, and fans couldn’t really get up there easily to see it or sit in the garden. And it got neglected for a few years. Some years later, I forget how many, we had to fence in the whole property.”

In 2024, shortly after the Dodgers signed two-way sensation Shohei Ohtani, the club moved the lantern to a place of prominence outside the top-deck gates, overlooking the downtown skyline. The move was an elaborate, delicate production. Bundled and boarded up, the lantern inched across the parking lot on the back of a flatbed truck that climbed a ring road steep enough to cause concern.

“It was like they were moving the Ark of the Covenant,” Perea said.

No one exhaled until the cargo was unloaded, unswaddled, and confirmed to be in one piece.

An 8-foot-tall stone Kasuga-style lantern is displayed at Dodger Stadium on Tuesday.

(Christina House/Los Angeles Times)

Perea’s crew works out of a large metal shed at the far end of a parking lot, a shop they affectionately call “the Oasis.” Much of what’s inside was retrieved from a dumpster, or scavenged before it landed in one. Perea, who describes himself as a bargain shopper, is passionate about repurposing whatever he can; many of the succulents at the stadium came from his own clippings.

“My general philosophy is I don’t treat the Dodgers like I’m salaried management,” he said. “I treat them like I’m a contractor that they don’t want to get rid of. So I manage the expenses and the labor as such.”

He doesn’t have much interaction with players and executives, though he’s occasionally been called to their homes to help with landscaping problems. One visit stands out.

“Vin Scully is the coolest one I’d stake a claim to,” he said of the legendary play-by-play man. “He was an unbelievable class act. He had a tree issue. He had us out, and was so attentive and appreciative, it was just stunning to me.”

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1. Landscape manager Chaz Perea gives a tour of Dodger Stadium’s botanic garden. (Christina House/Los Angeles Times) 2. A ceramic dog and monkey sit on a golf cart inside the Dodger Stadium landscape team’s shed on Tuesday. (Christina House/Los Angeles Times) 3. A photo of Jim Lefebvre, Dodger player from 1965-1972, is surrounded by plants at Dodger Stadium on Tuesday. (Christina House/Los Angeles Times) 4. Adolfo Hinojosa checks on the planters near center field at Dodger Stadium on Tuesday. (Christina House/Los Angeles Times)

On the hillside above the shop is an open-air lunch area, its seating made from wooden bleachers salvaged from the old right-field pavilion. Peek through the bushes and the stadium is visible in the distance. Inside the shop, the walls are lined with neatly organized shovels, pickaxes, and ladders. Above them hang paintings, art being another of Perea’s passions, most of them made by his friends.

Perea freely admits he’s an odd fit for the job. He’s not a baseball fan; he prefers beach volleyball and mixed martial arts. He had a rough upbringing in Arizona, dropped out of high school, and got by on $6.75 an hour doing golf-course maintenance, supplementing it with landscaping gigs he ran out of his pickup truck before eventually returning to school.

He came back to the classroom with a purpose, not only finishing high school but going on to earn multiple advanced degrees and, ultimately, a Ph.D. He’s now a professor of horticultural science and co-chair of agricultural science at Mt. San Antonio College.

But it’s his day job that draws clusters of Dodger fans willing to pay $52.25 each for his 90-minute botanic garden tour of the grounds. They explore “Agave Island” near the main entrance, a wedge of land planted with nine palm trees to match the number of players on a baseball field, and the planters outside the club-level entrance, where the crew grows chilies (jalapeños, serranos, habaneros), along with basil, mint, tomatoes, onions, and garlic. That garden spawned an annual salsa competition, in which club employees harvest their own ingredients from the planters, make salsa at home, and bring it back to be judged. Perea and his crew make handmade tortillas and quesadillas for the event.

Landscape manager Chaz Perea gives a tour of Dodger Stadium’s botanic gardens on Tuesday.

(Christina House/Los Angeles Times)

Two more planted islands are devoted entirely to tequila agave. It takes nearly a decade for the plant to mature, and about 110 pounds of its core to yield a single liter of tequila through processing. Perea and his crew hope to eventually try making some themselves, as an in-house project rather than a commercial one.

The landscape looked very different before Perea arrived. He describes the old look as Disneyland-esque: heavy on lawns and flowers, constantly in need of replacement, and thirsty for water. About two years into the job, he began swapping annual flower beds for drought-tolerant succulents. When one executive noticed and ordered the flowers put back in a particular spot, Perea complied there, then made the same swap a little farther down the hillside, out of view.

Turnover among executives and ownership gave him repeated openings to make wholesale changes, a shift that coincided with California’s drought crisis. Within a few years, he had planted 10,000 cuttings and stripped every flower bed from the property.

“A lot of people look at this as the last unpainted canvas in Los Angeles,” Perea said.

Chaz of Chavez Ravine, perpetually painting the corners.

A look at the top 25 high school football teams in the Southland after Week 4:

Rk. School (record) result; Next game; last week’s ranking

1. SANTA MARGARITA (5-0) def. Norco, 34-0; vs. Mater Dei, Oct. 2; 1

2. ST. JOHN BOSCO (4-1) def. Honolulu Saint Louis, 63-21 ; vs. JSerra, Oct. 2; 2

3. SIERRA CANYON (4-0) def. Orange Lutheran, 28-10; vs. Oxnard Pacifica, Friday; 3

4. CORONA CENTENNIAL (2-2) def. Rancho Cucamonga, 41-7; vs. De La Salle at Cal, Saturday; 6

5. MATER DEI (4-1) lost to Las Vegas Bishop Gorman, 25-8; vs. Santa Margarita, Oct. 2; 5

6. MISSION VIEJO (3-1) def. Pittsburg, 42-35; vs. Huntington Beach Edison, Oct. 2; 7

7. ORANGE LUTHERAN (3-2) lost to Sierra Canyon, 28-10; vs. Servite, Oct. 2; 4

8. SAN CLEMENTE (4-0) did not play; at Murrieta Valley, Friday; 8

9 . CHAMINADE (5-0) def. St. Bonaventure, 27-24; vs. Sherman Oaks Notre Dame, Oct. 2; 9

10. PALOS VERDES (5-0) def. Wilmington Banning, 34-0; vs. Long Beach Millikan, Oct. 2; 10

11. JSERRA (4-1) def. Bishop Amat, 37-28; vs. St. John Bosco, Oct. 2; 11

12. SERVITE (2-2) did not play; at Damien, Friday; 13

13. CORONA DEL MAR (5-0) def. La Serna, 30-24; at Villa Park, Oct. 2; 14

14. BISHOP AMAT (4-1) lost to JSerra, 37-28; at Gardena Serra, Oct. 2; 15

15. LA SERNA (4-1) lost to Corona del Mar, 30-24; at Warren, Oct. 2; 21

16. CREAN LUTHERAN (3-2) def. Oakdale, 38-21; at Tustin, Oct. 2; 16

17. CARSON (4-1) def. North Torrance, 50-28; vs. Gardena, Oct. 2; 18

18. OXNARD PACIFICA (4-0) did not play; at Sierra Canyon, Friday; 19

19. GARDENA SERRA (3-2) def. Oaks Christian, 41-0; vs. Bishop Amat, Oct. 2; 20

20. TUSTIN (4-1) def. Westlake, 28-21; vs. Crean Lutheran, Oct. 2; 24

21. LA HABRA (5-0) def. Orange Vista, 36-7; at Capistrano Valley, Oct. 2; 25

22. HUNTINGTON BEACH (5-0) def. Yorba Linda, 29-25; vs. El Modena, Oct. 2; NR

23. YORBA LINDA (4-1) lost to Huntington Beach, 29-25; at San Clemente, Oct. 2; 12

24. SAN JACINTO (4-0) def. Great Oak 40-28; at Aquinas, Friday; NR

25. ORANGE (5-0) def. Etiwanda, 35-28; at El Dorado, Oct. 2; NR

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

UCLA offensive coordinator Dean Kennedy stressed that his offense needed to come out swinging Saturday against Purdue after going scoreless in the first half against San Diego State last week.

And the Bruins heeded the advice, scoring 21 first-quarter points before pulling away in the second half to take a 52-38 win in their Big Ten opener Saturday night at the Rose Bowl.

UCLA improved to 3-0 and matched its 2025 win total with its first 50-point game against a Power Four program since November 2022. Bob Chesney joined Terry Donahue and Jim Mora as the only coaches to start their UCLA tenures 3-0.

Fifth-year tailback Wayne Knight spearheaded the offensive outburst, rushing for 177 yards and two touchdowns for a Bruins team that had 369 yards and four touchdowns on the ground via an average of 7.7 yards per carry. Knight has eight touchdowns in three games, matching the Bruins’ total output for rushing touchdowns last season.

“The biggest thing for us was to just put it all together. And I think that we stepped up to that challenge — what we did on the ground, in the air,” Knight said. “But the guys up front, no matter who is in there as guys are rotating all the time, whoever is in there is going to put up front. They are working as a team.”

While Chesney made sure to acknowledge his running backs — with all three starters reaching the end zone — he made a point to recognize the man under center, highlighting senior quarterback Nico Iamaleava’s resiliency.

After posting two interceptions to zero passing touchdowns through the first two weeks of the season, Iamaleava completed 19 of 31 passes for 276 yards and three touchdowns while rushing for 55 more. Iamaleava looked much more comfortable and confident in the pocket, despite playing through multiple injuries.

UCLA defensive players celebrate after defensive lineman Sahir West (15) recovers a fumble against Purdue Saturday at the Rose Bowl.

(Ronaldo Bolanos/Los Angeles Times)

“Last week, I told you it wasn’t his greatest game. We watched him go out here today, and I think he was near perfect for a stretch in the beginning of that game, finding all kinds of different receivers and being able to carry the ball himself a little bit,” Chesney said. “And just what a warrior, because he was pretty nicked up out there in moments, and he just wanted to keep fighting.”

Iamaleava found security in senior wideout Semaj Morgan, who hauled in four passes for 72 yards and two touchdowns. In three years at Michigan, Morgan had just four receiving touchdowns. Outside of Morgan, fifth-year wide receiver Leland Smith caught three passes for 59 yards despite playing just one snap across the previous two weeks, potentially giving Iamaleava and Kennedy a big target to look to going forward.

James Madison transfer Landon Ellis, who returned to the field for the first time since going down with a head injury in the beginning of the second half against California, scored his first touchdown as a Bruin. And South Carolina transfer Brian Rowe Jr. caught two passes for 65 yards despite getting targeted eight times, including a deep shot from Iamaleava in the end zone that bounced off his chest.

Although UCLA’s offense turned in 645 yards of total offense, its defense struggled to hold back a Purdue team that lost its 19th consecutive conference game.

UCLA quarterback Nico Iamaleava passes during the first quarter Saturday against Purdue.

(Ronaldo Bolanos / Los Angeles Times)

While the Bruins held Aztec signal caller Jayden Denegal to just 45 passing yards, the secondary found itself facing a different beast in Boilermaker quarterback Ryan Browne, who completed 19 of 30 passes for 378 of Purdue’s 488 total yards, with a touchdown and an interception. Xavier Townsend had 162 yards receiving and two touchdowns.

“I felt like the pressure mounted a little bit and we were not as clean in our technique as we needed to be,” Chesney said. “We can’t put ourselves in panic mode, which might have hit us a little bit throughout today. But when we needed it the most, we were able to get a stop.”

Chesney said the UCLA defense has the personnel and ability to compete with anyone, but penalties and a fake punt that resulted in a first down allowed the Boilermakers to get within one score and added unnecessary pressure.

Fortunately for the UCLA secondary, linebacker Sammy Omosigho put the defense on his back.

Omosigho led the team in tackles with 12, but more important, he had two sacks and two forced fumbles. He has four forced fumbles in three games.

“That’s his third game in a row forcing a fumble. There’s other things he’s going to want to clean up in there too and other schematic things that he can do better,” Chesney said of Omosigho. “But at the same point in time, the one play that stuck out to me was a running back, and it looked like he was going to go and get the edge, and Sam just put out one arm and just crumbled this kid with one arm. The strength he has, the poise he plays with, the toughness he plays with and the strength to be able to execute and finish on those tackles, are things that are pretty impressive.”

UCLA running back Anthony Woods is hoisted up by offensive lineman Julian Armella after scoring a touchdown against Purdue at the Rose Bowl on Saturday.

(Ronaldo Bolanos/Los Angeles Times)

James Madison transfer Sahir West recovered both of Omosigho’s takeaways — the Boilermakers’ first two giveaways this season — and they set up UCLA touchdowns.

While Purdue (1-2) kept up with UCLA for most of the game, its hopes of a comeback ended when senior defensive back Rodrick Pleasant picked off Purdue quarterback Ryan Browne with less than six minutes left.

Despite the Bruins’ difficulty thriving on both sides of the ball during the same game, Chesney said he is confident in his team’s ability to compete going forward.

“We heard the guys on defense saying thanks for getting our back,” Chesney said. “The offense struggled last week, we’re going to need them at some point. The defense is going to need that at some point, and then we’re all going to need the special teams at some point. We haven’t played the perfect complementary game yet, but there’s one in there and I’m looking forward to seeing that day because it exists. There’s fibers in here of a really high level football team.”

Days before the Lucas Museum of Narrative Art officially opens, protesters from the Fair Games Coalition — wearing Jedi robes and Jar Jar Binks masks and carrying lightsabers — rallied together outside the new museum.

Dozens of people from the group fighting for better worker protections during major sporting events were loudly blowing horns, banging drums and chanting, “Sí se puede,” directly across from Exposition Park’s newest museum. The group was at the museum’s private opening party Saturday night to take a stance against museum co-founder Mellody Hobson‘s recent resignation from the Los Angeles Olympics organizing committee, LA28.

“We launched the campaign with some real, reasonable demands,” said Jessica Durrum, the director of the Fair Games Coalition, for the Los Angeles Alliance for a New Economy. “If the Olympics are coming to town, we want to make sure there are lasting benefits for our communities.”

The Fair Games Coalition, which is made up of over 80 organizations, formed to fight for better labor deals during major events like the Super Bowl and the Olympic and Paralympic Games. Some of the unions in the coalition include United Teachers Los Angeles, National Union of Healthcare Workers, United Food and Commercial Workers Local 770, United Farm Workers and various community groups.

Ahead of these events, the group is asking that employers provide union and living wage jobs, funding for 50,000 units of housing for working families, a moratorium on short-term rentals and protections for immigrant workers.

Gladys Avyla marches in a Fair Games Coalition protest outside the Lucas Museum of Narrative Art.

(Jonathan Alcorn / For The Times)

Gladys Avyla, a member of Unite Here Local 11, has worked as a cleaner at the W Hotel in Hollywood for the last 14 years. Several years ago she had to move to Victorville when her rent in L.A. got too high. Avyla said that with these major sporting events coming through town she’s worried the cost of living will continue to rise as her work gets busier and busier.

“Rent is very high, and everything is expensive. It’s hard living here. We need a wage increase for the Olympics because everything costs so much,” Avyla said in Spanish. “We need help for all workers. We’re human beings, but, honestly, we aren’t treated like human beings.”

Hobson, who co-founded the billion-dollar museum alongside her husband, George Lucas, resigned from LA28 earlier this week. She reportedly stepped down from the position due to the demands of running the Lucas Museum.

But the Fair Games Coalition claims she responded to their requests to meet and discuss their concerns by resigning. The 35-person board led by Casey Wasserman, who was recently under heat for his ties to Jeffrey Epstein and Ghislaine Maxwell, is meant to help plan and execute the upcoming Olympic Games.

“That’s how you hide your head in the sand. But we’re not giving up. She still has clout and still has a lot of power in the city of Los Angeles with the Olympic Committee,” said the Rev. Gary Bernard Williams from St. Mark United Methodist Church, a member of the coalition. “There’s going to be a lot of money flowing at the top. Very little money will be trickling down to the workers who need it the most.”

Demonstrators at a Fair Games Coalition protest at the Lucas Museum of Narrative Art.

(Jonathan Alcorn / For The Times)

LA28 and the Lucas Museum did not immediately respond to a request for comment.

During this year’s World Cup, where several games were hosted in L.A., Unite Here Local 11, the union which represents workers including dishwashers, concession workers, bartenders and servers and SoFi Stadium’s food-service operator Legends Global, came to a tentative agreement days before the first match. Pastor Bridie Roberts, who works as the community organizing director at Unite Here Local 11, said having the Fair Games Coalition’s support was helpful during the negotiations.

“Our members face serious, critical decisions every single day about how to make ends meet and they work with some of the biggest tourism companies in the world that will profit in the billions of these games,” said Roberts. “We feel that the games have potential to bring real outcomes for working people, but only if we fight for them.”