“He never deserved to be up on that pedestal,” said Levar Stoney, the mayor of Richmond, Virginia.

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True crime is a bit of a weird genre. There’s a lot to be gleaned from learning about the abuses, failures, and corruption of our various systems. Finding out how police coercion works or bearing witness to full-on criminal activities by the police teaches lessons many of us need to learn right now. On the opposite end of the spectrum, you have the voyeuristic side to true crime that’s almost a celebration of crime — especially white male serial killers. It’s weird but often hard to turn away from.

All of that makes finding the “best true crime documentaries” a balancing act between the teachable moments and thriller-esque viewing pleasure. For this list, we’re going to try and skip the more sensational pieces of My-Favorite-Murder bait and focus on stories that expose, not celebrate crime. The 12 true crime documentaries below touch on several sectors of society — police discrimination, our broken justice and penal systems, ingrained bigotry, sexism, and highlight some bizarrely evil crimes. Hopefully, instead of stoking fear, these docs will help to educate and illuminate the world we live in.

Strong Island (2017)

Run Time: 107 mins. | IMDb Rating: 6.4/10

In April 1992, William Ford was shot dead at an auto shop. The 24-year-old black man was murdered by a 19-year-old white man, Mark P. Reilly, over complaints Ford had with the quality of work at the auto shop. He was unarmed and shot dead for it. Of course, this being a story of white-on-black violence in the United States, the story doesn’t end there. An all-white grand jury gave the white Reilly the benefit of the doubt and decided his murder was an act of self-defense.

The Oscar-nominated documentary walks us through the murder and the bafflingly-yet-familiar aftermath wherein the police and judicial systems failed Ford’s family in bringing his murderer to justice. The ending of this doc is too familiar to spoil and will leave you ready to take to the streets.

Bikram: Yogi, Guru, Predator (2019)

Run Time: 86 mins. | IMDb Rating: 6.7/10

Bikram Hot Yoga is a fad that doesn’t seem to be going anywhere. Its founder — who has made tens-of-millions of dollars off the practice — is an at-large predator who spent decades sexually assaulting and raping his students, predominately women of color. Yet he’s still not in prison. In fact, he’s living the high-life with his millions still intact.

The documentary follows Bikram Choudhury’s rise to fame in the U.S. throughout the 1970s and 1980s and then takes a turn into the very dark side of his power. There’s a clear feeling of cult leader behavior as Choudhury abuses his female students psychologically, physically, and sexually. Perhaps most amazingly, after Choudhury fled from arrest in the United States, he continues to attract people to his Bikram training seminars in Europe and Mexico to this day, adding to the cult-leader vibe.

Abducted in Plain Sight (2017)

Run Time: 91 mins. | IMDb Rating: 6.8/10

Wow. Where to begin with this documentary? Jan Broberg was abducted twice by the same family friend in her teens. The kicker, the parents of Broberg knew what was going on and let it happen, even dropping charges for the first kidnapping.

That’s only the tip of the shit-show iceberg of this story. The twists and turns this documentary takes in telling the story of how one man could convince two parents that his kidnapping and raping of their 12-year-old daughter — twice — was not a crime has to be seen to be believed and helps illustrate how society’s ingrained trust of the “charming man” continues to fail women and girls.

One of Us (2017)

Run Time: 95 mins. | IMDb Rating: 7.1/10

One of Us follows two former members of Brooklyn’s Hasidic community as they adjust to life outside the neighborhood they grew up in. On the surface, that doesn’t really sound like a true-crime documentary.

But once the documentary dives into why the protagonists left, it becomes clear that heinous crimes are lurking just under the surface. Memories of domestic violence and child sexual abuse emerge and drive a further wedge between those trying to leave the community and those who are trying to keep it together.

Holy Hell (2016)

Run Time: 100 mins. | IMDb Rating: 7.1/10

Speaking of cults, Holy Hell is a bizarre look at the Buddhafield cult and the abuse doled out by its leader, Jamie Gomez, or “Michel” as Gomez prefers his followers to call him. The film is fairly straightforward in how it depicts the cultish behavior. Gradually, as with so many of these stories, Gomez becomes a monster. He starts emotionally abusing his female followers and sexually assaulting his male followers.

The ripple that makes this a unique watch is the insider view of the cult thanks to footage shot by Will Allen, Buddahafield’s main videographer for 22 years. The film offers a sort of behind-the-scenes glimpse inside the everyday life of a very active cult.

Audrie & Daisy (2016)

Run Time: 95 mins. | IMDb Rating: 7.2/10

This documentary should leave you shaken to the core. The rapes of teens Audrie Pott in California and Daisy Coleman and Paige Parkhurst in Missouri, 15, 14, and 13 respectively at the time of their attacks, highlights pretty much everything wrong with, well, everything.

The documentary looks at how a community and social media bullying turned against the young rape victims to protect the perpetrators of these horrific crimes. It’s absolutely baffling. The vitriol and bullying these teens and their parents went through will make your blood boil. One of the most disturbing moments comes when the mayor and sheriff of Coleman’s town says on camera that “Girls have as much culpability” in their own rapes. The horridness doesn’t end there.

Remastered: The Two Killings Of Sam Cooke (2019)

Run Time: 74 mins. | IMDb Rating: 7.2/10

Sam Cooke’s murder was played as a simple robbery by the white authorities at the time. That white-police narrative has become harder and harder to swallow every day since the icon’s untimely death.

This doc takes a deep look at Cooke’s amazing rise to stardom and how he was parlaying his fame into life as an activist for Black rights in America alongside leaders like Malcolm X. If you don’t know anything about Cooke, this is a great look at his life and very dubious murder.

The Death and Life of Marsha P. Johnson (2017)

Run Time: 105 min | IMDb: 7.2/10

Marsha P. Johnson was one of the loudest voices for gay and trans rights in America. The untimely death and possible murder of Johnson after 1992’s Pride parade was written off by police as a suicide due to clear and deeply-rooted bigotry against the black community, the gay community, and the trans community in New York (and across the country). Eventually, the case would be reopened and investigated as a murder, adding a clear true crime element to this doc.

As much as the murder acts as a hook, the backbone of this documentary is really Johnson’s life as an activist who lived through big moments in LGBTQI history from the Stonewall Inn Raids and following riots to the AIDS crisis. The doc will leave you in awe of Johnson and the massive amount of bravery it took to keep up those fights while also feeling enraged that her death was written off so quickly by the police.

Dream/Killer (2015)

Run Time: 106 mins. | IMDb Rating: 7.4/10

It’s almost unbelievable that a person could be tried for murder and sentenced to 40 years in prison based on a witness’ dream. Yet here we are. Dream/Killer looks the case of Ryan Ferguson, who received that sentence for a murder he had nothing to with. However, he was implicated in it based on a ridiculously coerced confession to the police.

The backbone of the film follows Ryan’s father, Bill Ferguson, as he spends nearly ten years trying to prove his son’s innocence. If you don’t know the case, go in without knowing how it all ends.

The Fear of 13 (2015)

Run Time: 96 mins. | IMDb Rating: 7.7/10

If you still hold the very flawed idea that everyone in prison is there because they deserve it, you need to watch this doc from the U.K. The story is about Nick Yarris who spent 22 years on death row fighting for his freedom. He didn’t get that freedom until DNA evidence proved his innocence and he was circulated back into society.

The film’s draw is its unique style. The narrative is told with Yarris taking a stage, so-to-speak, and monologuing over atmospheric reshoots of his experiences. It’s an engaging way to flip the script visually on the usual true-crime style, and it’ll hook you right away.

Blackfish (2013)

Run Time: 83 mins. | IMDb Rating: 8.1/10

If you haven’t seen 2013’s Blackfish, you might want to do that now. The film has become the seminal testament to the horrors of for-profit captivity of large mammals in amusement parks.

The film follows the story of the captive orca, Tilikum, and the three deaths the orca caused while in captivity at Sealand on the Pacific. The film also features interviews from SeaWorld employees and lays bare the tactics of captive orca breeding. Thankfully, this doc was single-handily responsible for waterparks like SeaWorld losing massive ticket sales. When you watch the doc, you’ll understand why.

LA 92 (2017)

Run Time: 114 mins. | IMDb Rating: 8.2/10

This documentary from National Geographic feels more relevant than ever right now. It takes an un-polished look at how police violence and systemic racism has been tearing Los Angeles — and the nation — apart for a long time before the police beat Rodney King and got away with it.

The film looks at the L.A. Riots of 1992 using archival footage with voice over from actual reports, police scanners, activists, politicians, and people at the time. The doc takes you right there and is so visceral you can feel the heat from the fires and the anger of the people on the streets. This is what happens when the cops and the justice system are the ones committing the crimes and the people just can’t take it anymore.

The Punisher may never appear on TV screens again. This might be for the best, considering that the Netflix show developed an identity crisis, perhaps as a response to a premiere pushback due to the 2017 Las Vegas mass shooting. Writers attempted to move former Marine Frank Castle beyond his core vigilante function by softening him, which only further muddied the waters of what should be a pretty straightforward comic book character. None of that explains the already wild misappropriation of the antihero’s logo by law enforcement and members of the military. Really though, if one takes the character and contextualizes him against the past five years or so of current events, it’s a solid time to put The Punisher to sleep.

Maybe it’s not time to lose him forever (as some suggested when Netflix’s TV series debuted), but placing Frank, comics and everything, into hibernation mode could be a powerful tool. I’m suggesting that move in light of a growing fan-based movement (amid protests against police brutality) for Disney, which acquired Marvel Entertainment in 2009, to sue police departments that have co-opted the character’s telltale skull logo.

First, let’s run down a few quick examples of cop-and-military fascination with Frank Castle. Those who are sworn to protect us, well, they tend to idolize the guy:

– In 2011, a watchdog report detailed “a gang” of rogue officers (also referring to themselves as the Punishers) within the Milwaukee PD, who (according to their police academy supervisor) “represented a danger that warranted further investigation and action by the department.” The group affixed The Punisher stickers to their gear.

– American Sniper, the 2014 Best Picture Oscar nominee starring Bradley Cooper, is filled to the brim with The Punisher imagery due to Chris Kyle’s fixation with Castle. His platoon went so far as to call themselves the Punishers while painting the logo all over their uniforms and equipment.

– In 2019, the British SAS flat-out told soldiers to stop using The Punisher logo. Officially, the stated reason was that the logo was reminiscent of the “Totenkopf” symbol used by the Nazi SS. Yet the fact remains that there were enough soldiers using the symbol that it needed to be addressed at all.

– Earlier this year, Fox News’ Sean Hannity (who, in recent days, accused Black Lives Matter of starting a militia against police to upend the social order) wore a stars-and-stripes-themed version of the logo as a lapel pin on air.

– And last week, Detroit cops were photographed while apparently wearing The Punisher logo on their uniforms while they arrested those who protested police brutality. Here’s an officer walking through a crowd of protesters with a “Detroit Police” patch that includes the skull.

That last example appears to be the last straw for comic book fans, who’ve had enough, but a lawsuit probably isn’t the best way to go here.

These fans are pushing for Disney to sue police departments for twisting the logo’s meaning, which initially makes sense for a few reasons: (1) Disney’s not afraid to put its foot down when it doesn’t want, say, a family to use a Spider-Man logo on a child’s gravestone; (2) Disney has pledged $5 million toward nonprofit organizations (including $2 million for the NAACP) geared towards advancing social justice.

What better way to unite the above two Disney interests than by making a larger gesture (in lawsuit form) against police brutality? Disney doesn’t shy away from lawsuits against copyright and trademark infringement, but there’s a not-so-small issue here: the effort would likely fail, as it did in 2017 when the conglomerate battled a “knock-off business” that “provides unlicensed and poor quality appearances and performances” by actors dressed as “iconic characters for themed events, such as children’s parties.” The argument there, beyond the company profiting from dressing up people as not-Loki and un-Elsa, was that the “shoddy” portrayal of characters, even under different names, was “likely to damage customers’ positive associations with Plaintiffs’ marks.”

Well, a court refused to indulge Disney’s argument, shutting down a summary judgment motion and denying the trademark infringement claim, so the case went nowhere. That’s bad news because such a trademark infringement suit — revolving around defamation, since Disney can’t argue that these PDs are profiting from the logo — would have been the ideal argument against cops using the symbol. Sorry, Marvel fans!

So, where to go from here?

For its part, Marvel has declared (to io9) that it is “taking seriously” any unlicensed usage of its imagery but is sticking with the following statement (also posted to the Disney+ and Star Wars accounts) from last week on their Twitter account.

Meanwhile, writer Gerry Conway, who brought Frank Castle and his logo (along with John Romita Sr.) to life nearly 50 years ago, continues to speak on the subject. Conway has been vocal for years about Castle’s distaste for cops and military members using the logo for their own ends. Castle is driven by trauma, vengeance, and grief to be a one-man, extrajudicial killing machine who operates outside legal boundaries. Castle can do so because he’s a friggin’ comic book character, not an idol to be emulated.

As Conway explained, police have misinterpreted Castle’s purpose. He actually “represents a failure of the Justice system.” Further, Castle is an indictment of “the collapse of social moral authority and the reality [that] some people can’t depend on institutions like the police or the military to act in a just and capable way.” He simply isn’t written to be a role model for law enforcement or military forces. Last year, The Punisher #13 comic pointedly set out to illustrate this point by including a story of cops fanboy-ing all over Castle, who ripped up their logo-sticker and told them to get lost:

“I’ll say this once. We’re not the same. You took an oath to uphold the law. You help people. I gave all that up a long time ago. You don’t do what I do. Nobody does. You boys need a role model? His name is Captain America, and he’d be happy to have you.”

Here’s the comic book panel of this moment:

Gerry Conway recognizes that the current moment could harness some energy, so he has invited young comic book artists of color to step up for the cause. In a series of tweets, he’s asking artists to help raise funds for Black Lives Matter in a project aimed toward The Punisher. He also noted that this symbol “must *not* be… a symbol of oppression,” and he wants to claim the logo for BLM.

The question remains, though: would BLM activists even want to repurpose the logo for their cause? It’s difficult to imagine them embracing a symbol that’s worn by cops who are arresting them. Even if Conway could rechannel The Punisher‘s energy for the pursuit of justice with his project, I’d argue that it’s too soon for BLM to associate itself with the logo. A stronger statement would be for Marvel Entertainment to actually shut down The Punisher comic — forgoing those profits for a limited time and asking fans to donate that money to BLM instead. It’s not like Marvel hasn’t done something this drastic before. Remember when they killed Captain America? Steve Rogers was reborn a few years later, and there’s no reason why The Punisher can’t take the same route.

Seriously, put Frank Castle on ice. That would be a powerful stance to take against police brutality, by shutting down their misplaced fanboy-ism. Then get through 2020, and bring the comic back with a Black Lives Matter story arc. Oh, and make a Disney+ limited series to match. People would watch the heck out of that show. Let’s do this.

The Black Lives Matter movement has not just made its presence felt through protests of police brutality and systemic racism within the American law enforcement and justice system, but also the world of business, as vast issues regarding a lack of diversity within some of the country’s biggest and most powerful companies have been viewed under a microscope.

Many companies were quick to issue statements supporting protests and condemning racism, often in vague terms and without mentioning the police and what the protests were really trying to express. Nike was among those that issued statements and created ads with some of its most prominent Black athletes, also pledging financial contributions — including the $100 million pledge with Michael Jordan through Jordan Brand — to support programs fighting racial injustice. On Thursday, Nike’s CEO John Donahoe announced some internal steps Nike will take to continue their promise to support Black culture.

Donahoe sent an internal memo noting Juneteenth will become a paid company holiday, and that they will start a diversity education program for employees as well as making sure leadership is held accountable for ensuring there is proper representation within the company, per Newsweek.

“For more than 40 years, our brand has celebrated incredible Black athletes and inspired millions of people all over the world by amplifying their excellence,” he said. “When we say that Black Lives Matter, it applies to the world outside of Nike and, importantly, it applies to our Black teammates within Nike. Simply put, we need to hold ourselves to a high standard given the heritage of our company and our brand.”

Juneteenth — which celebrates June 19, 1865, the day slavery became fully abolished in the U.S. — becoming a more widely celebrated day is important here in the United States, and Nike joins the likes of Twitter and Square in making similar announcements recently. What will be most important is that they follow through on the promise to increase representation of the Black and Latinx community within the company, particularly at the executive level, and that’s certainly something worth watching in coming years to see if they indeed take strides in that area.

If you’ve been watching Monday Night Raw and Friday Night Smackdown during quarantine and though the dramatic differences between the two brands was WWE’s biggest creative failing — one is red and the other is blue, it’s like night and day — don’t worry, your concerns have been heard. You weirdo.

Per an announcement made on WWE.com on Thursday afternoon, the creative teams for both Raw and Smackdown will be consolidated into one unit under Bruce Prichard. Like Smackdown? Have two Smackdowns! If you’re wondering where Paul Heyman’s supposed to end up under this new deal, the news blurb mentions that he’ll be concentrating on his role, “as an in-ring performer.”

In an effort to streamline our creative writing process for television, we have consolidated both teams from Raw and SmackDown into one group, led by Bruce Prichard. Paul Heyman will concentrate on his role as an in-ring performer.

Maybe Heyman and Brock Lesnar are going to make a run at the Raw Tag Team Championship.

It was around this very time last year when WWE announced they were getting their shit together, so to speak, and promoting both Paul Heyman and Eric Bischoff to Executive Director roles. By October Bischoff was out and Bruce Prichard was in, and now Prichard’s managed to take both of those positions.

Smackdown is dead. Long live Smackdown.

Major League Soccer’s return got confirmed earlier this week, when the league announced the aptly-named “MLS is Back Tournament” for July 8. All 26 of the league’s squads will head to Orlando for an event at Disney’s Wide World of Sports complex, with clubs participating in group play before moving onto a knockout tournament.

Of course, in order to put on a tournament that features group play, you need teams separated into groups. That occurred on Thursday afternoon, when the clubs were broken up into six groups based on their conferences — all but one have four teams, with Group A including six Eastern Conference clubs. Here’s how it all breaks down, via ESPN:

GROUP A
1. Orlando City SC
2. Inter Miami CF
3. New York City FC
4. Philadelphia Union
5. Chicago Fire
6. Nashville SC

GROUP B
1. Seattle Sounders
2. FC Dallas
3. Vancouver Whitecaps
4. San Jose Earthquakes

GROUP C
1. Toronto FC
2. New England Revolution
3. Montreal Impact
4. D.C. United

GROUP D
1. Real Salt Lake
2. Sporting Kansas City
3. Colorado Rapids
4. Minnesota United

GROUP E
1. Atlanta United
2. FC Cincinnati
3. New York Red Bulls
4. Columbus Crew SC

GROUP F
1. LAFC
2. LA Galaxy
3. Houston Dynamo
4. Portland Timbers

The MLS season came to an abrupt halt in March due to the COVID-19 pandemic after only two weeks worth of games. As such, these matches will contribute to regular season records, with the tournament’s winner automatically earning a spot in the CONCACAF Champions League. Group play will begin on July 8, the knockout rounds will kick off on July 25, and the tournament’s final will occur on August 11.

The Star Wars franchise — especially the original trilogy — has by now been picked to death, its every secret made public, its every plot point and character and gizmo discussed to death. Or has it? Turns out there are some Star Wars tidbits we’ve never known before. For instance, do you know what Ewoks look like without fur? Have you ever thought to wonder that? Well, prepare yourself, because here’s what that nightmare looks like:

This comes from Jake Lunt Davies, a concept designer and storyboard artist whose credits include Tim Burton’s Charlie and the Chocolate Factory, 10 Cloverfield Lane, the forthcoming Venom sequel, and four different Star Wars titles, including The Rise of Skywalker. He’s deep in the franchise, though the image he produced — of what looks like a full-body plaster caster of Shrek, but with scarier teeth — is actually from the extras on the TROS Blu-ray.

Ewoks, of course, are among the most contentious elements of the Star Wars-verse, especially when it was revealed the original concept for Return of the Jedi was much, much darker. At least everyone can agree they’re cute, though. Except now that we know what’s going on underneath, maybe not so much anymore.

(Via EW)

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In 1998, I had just graduated from the University of Missouri and didn’t have a job yet. Frankly, it was a kind of aimless year in my life where I didn’t know what I was supposed to do. That summer, I spent a lot of time at Busch Stadium in St. Louis, which pretty much anyone who was living in St. Louis did because there’s really not that much else going on there, ever. Oh course, this turned out to be the year Mark McGwire and Sammy Sosa embarked on a then magical, now controversial home run chase that had never been seen before or, really, since.

On Labor Day, 1998, I was seated in left field when McGwire came up to bat, sitting on 60 home runs. He belts one high and deep, over my head. I’m sitting in an aisle seat and I instinctively start running up the steps. The ball ricochets off the Stadium Club glass and careens back down, right where my seat was. I’m not 100 percent sure I would have caught it. I had a glove. It would have probably been 50-50. But that day has haunted me for 22 years. Now, in A.J. Schnack’s new documentary, Long Gone Summer (which airs Sunday on ESPN), I got to relive the whole anguishing experience, as there’s footage of the whole thing.

What’s funny is, that week in Sports Illustrated, there’s a shot of the crowd and it caught me right when I realized I had made a terrible mistake. That’s me in the hat and bad shirt.

But what I liked most about Schnack’s film is that it really recaptures what that summer was like. Yes, there was a price to pay later. It wasn’t quite as “real” as we all hoped, and the film gets into the fallout from the steroid era. But, mostly, it concentrates on just how fun that summer really was. I’ve had conflicted feelings about the whole thing, but this film really helped me realize that summer was a great experience and, regardless of what came of it, it was still magic.

I spent a lot of time at Busch Stadium that summer. So, as I’m watching this, I see archive footage of myself from 1998…

Oh, that’s amazing. Which footage? Do you know?

Oh, yeah, I know. I almost caught 61.

Oh, wow!

I’m in that shot of the crowd diving for the ball. It’s kind of haunted me my whole life, and then I got to see it again right there in your film.

Memorialized now.

What’s interesting about your film is that, yes, you dive into the PED scandal, but the focus is on the home run chase itself. It reminded me just how fun that summer was.

Yeah, I really just want to put everybody back in that moment and feel the way people felt. I grew up outside St. Louis, also went to Mizzou. I was a Cardinal fan. That summer really reconnected me with my childhood experience of enjoying sports and enjoying baseball, driving around with my dad, listening to Jack Buck and Mike Shannon on the radio. And when that summer happened, I’d moved to L.A. I was starting to work in film, and it just reconnected me with all of those feelings and the emotions and the excitement that I felt about baseball. So I felt like, yes, we now know that that summer took place in baseball’s steroid era. But, first, especially for people younger than us, I want to just say this is what that felt like, to be in the middle of that summer.

I remember back then if someone called the local St. Louis sports radio station and even mentioned steroids, they were cut off and the subject was dropped.

The fact that Major League Baseball and the Player’s Association put out a joint statement that speculated about McGwire’s use of something was inappropriate? I think people forget that not only was the era, now we know, steroids, but the whole culture of this kind of gym culture took over baseball. The fact that you have Biggio and Brady Anderson and those clips in the film where they’re talking so openly about their use of creatine. And then, when it starts to become real with the whole BALCO investigation, it’s almost as if maybe people felt let down because they had willingly subscribed to the disbelief, but a lot of it was there if you wanted to see it.

Yeah, Brady Anderson. He was the first one where I remember even I was thinking, “That’s weird.” Out of the blue he went from 16 home runs to 50. And it’s just like, “Oh yeah, I guess he’s just having a really good season.”

I think my first time of thinking anything was going on was, in the midst of it, or right after, then I saw some highlights from the ’80s Cardinals, the Whitey Herzog Cardinals. Looking at those teams and being like they’re all like the size of toothpicks. They’re just so tiny.

I saw highlights of Jack Clark recently and he’s this skinny guy. At the time I remember him being huge.

Yeah, he was our slugger. Yeah, they were all so skinny. They could all fit in a Volkswagen together.

What was your approach to interviewing both McGwire and Sosa? Because McGwire has been pretty open about things and Sosa hasn’t really as much.

For both of them, I sat down with them without cameras. McGwire a few times, just to make sure they knew what I wanted to do and to get them comfortable with me and asking questions and talking about the season. So, by the time we sat down with Mark, I don’t think he’s done a long-form interview in 20 years…

He did the one where he kind of admitted what he did. Right? I think that’s only one.

Right. Yeah. That hour with Costas. When he started telling me stuff that I’d never heard before, I was really excited. I was like, oh, he’s serious about having this conversation with me, which was very exciting.

What’s an example of that, something you were really surprised he said?

I mean, I think him talking about being in therapy is something that he’s never talked about publicly before, certainly to the extent that he does in the film, so that was pretty early on in our first conversation. And then I was like, oh, so that’s what this is going to be. Great. We can really talk about everything.

How did that compare to Sosa?

Getting to Mark, once you’re with Mark, you’re only communicating with Mark. With Sammy, you’re going through a few people. And so, some of the opportunities I had to talk with Mark in advance, I didn’t have with Sammy aside from our sit-downs before. I think with him, I wanted to know if he was going to still be the guy from ’98 who was like, “Everything is great and I’m just happy to be here. This is wonderful.” So, I was happy with him, because he seemed to be more purposeful in wanting to claim his legacy as somebody who didn’t just have one or two good years. He wanted to make sure that he spoke to the fact that he was the first Cub to be a 30-30 player. And he did that more than one. He was a top home run hitter in the National League for many years, even before ’98. And that he was a big reason why people came to Wrigley for a good half-decade. I was happy and excited to see him kind of take ownership of those things and not just be like someone who’s just talking about how happy he is in his situation.

McGwire is in the Cardinals Hall of Fame. He was the hitting coach of the 2011 World Series-winning Cardinals team. I think we, as fans, were disappointed at first, but I think we still pretty much love that guy. But then Sosa hasn’t been back to Wrigley. What do you make of that dichotomy between these two players and their relationship with their team today?

I mean, I wish we even had more time to sort of dig into all of that. And Mark has had an almost decade-long run as a coach and everybody has nothing but positive things to say about him as a coach and his relationship to players. And players like Albert Pujols and David Freese and others have certainly talked to the influence they feel that McGwire has had over them. The positive influence, so that’s great. And, yeah, you’re right, he’s been welcome back to the Cardinals. Not just as a coach, but as a member of the team’s Hall of Tame, a member of their family. And it doesn’t mean that some people still don’t have some conflicted feelings about that summer, but they have welcomed Mark back. The Giants have welcomed Bonds back. And the Reds have put a statue of Pete Rose right outside their stadium. I don’t know why the Cubs have decided to make this harder than it needs to be.

That’s a great way to put it.

I do understand that Sammy, there were some complicated years at the end of his career with them. And hard feelings. I get it, but I don’t know of another situation in baseball where a superstar legacy player for a team has not been welcomed back, particularly now that we’re getting into more than 15 years since he left. And I really think it’s on them. A lot of people said like, well, Sammy has to say the magic words, whatever magic words they want them to say. I kind of feel like it’s on the organization to figure out how to get one of their legendary players back as part of their family.

You can contact Mike Ryan directly on Twitter.

Friday is a big day for Bill Burr. The comedian and actor has two things hitting Netflix: the Pete Davidson vehicle The King of Staten Island, in which he has a plum role, and his new comedy special, F is For Family. And last week his wife had a baby! Everything’s coming up Bill Burr, including a pretty decent anecdote, supplied to Variety, about what it’s like to fake-beat up the young SNL star.

Directed by Judd Apatow (who co-wrote it with Davidson and Dave Sirus), The King of Staten Island stars the star as a Davidson-like twentysomething, albeit one minus an SNL gig. Burr plays a firefighter who starts dating Davidson’s character’s mom (played by Marisa Tomei), and at one point they get into it in, of all places, a kiddie pool.

Fight scene, even ones with Pete Davidson for Judd Apatow, aren’t easy to stage. But just because Davidson is a scrawny guy doesn’t mean you should underestimate him. Here’s what Burr told Variety:

Because it was a fight scene, you really have to work out who’s gonna do what so you don’t get hit. Pete was pretty amped up, and also young, so there were a couple of times we clashed heads. I can’t even tell you how light he was. I have a bad shoulder and I was worried, but he felt like he weighed, like, 130 pounds. He’s like 6-foot-2 or 6-foot-3. But he has heavy hands. They’ll knock you out.

You can see the results of their tussle on Friday, when the film drops on Netflix. Meanwhile, Burr was also asked about whether or not it’s too soon to be making Covid-19 jokes, even if we’re still very much in the middle of a seismic pandemic. “No, nothing is too soon,” he replied. He added:

It’s all how you go about it, it’s all how you carve the turkey. You’re not going to make fun of the fact that somebody’s grandparents died, but you can make fun of the person who thinks they’re too good to wear a mask. Or the person with no medical degree that’s talking to you as though they do have one. Or somehow the CDC hasn’t figured out this virus, but this guy here, somehow he knows about it. I was in New York right after 9/11, and we were doing 9/11 jokes right out of the gate. You weren’t making fun of the people that died, but you made fun of the fear, the paranoia — and being in New York and actually having to be nice to people.

You can read our own interview with Burr right here.

(Via Variety)