If defense wins championships, then unbeaten Mission Viejo High is a far greater threat in Southern Section Division 1 than many people believe when you consider Santa Ana Mater Dei is 10-0 and heavily favored to win a third consecutive title.

To dream about the possibility of an upset, all you need to do is watch and listen to 6-foot-5, 240-pound senior defensive end Lance Keneley, who has a 4.7 grade-point average and 10 sacks this season for the 10-0 Diablos.

Asked about defensive success, Keneley said, “One of the most important is the role each individual player plays with the defense. If you try to be a playmaker for extra stuff that’s not in your job description, you can hurt a team. The important part is as long as everyone understands and plays to their role, we’ll be a fine defense.”

No opponent has scored more than 14 points in any game against the Diablos going into a Friday night showdown against visiting Anaheim Servite (7-3) in the opening round of the eight-team Division 1 playoffs.

A standout as a junior, Keneley received lots of attention this season from opponents trying to neutralize him, but the development of outstanding teammates around him has helped create opportunities for others — as long as they fulfill their roles.

“We have a great coaching staff that understands the ins and outs of football,” Keneley said. “As long as we trust our coaches and trust their knowledge, we’ll do fine.”

Coach Chad Johnson was a longtime assistant at Bellflower St. John Bosco running the Braves’ offensive attack until taking over at Mission Viejo last season. He knew the players up front are decisive in Division 1 football, and the Diablos’ defensive line has received universal praise all season. Former UCLA football player Chase Moline coaches the line.

“It was a blessing we have people around him,” Johnson said.

Defensive end Logan Schwenke, who is 6-3 and 240 pounds, has seven sacks. Defensive tackle Keanu Tanuvasa, 6-4 and 270 pounds, has five sacks. Juniors Micah Carreron (6-1, 275) and Roee Lachmish (6-3, 230) are also part of the rotation.

Keneley, 17, comes from a family of football players. His father Matt and uncle Todd played on the defensive line at Mission Viejo and USC.

“Going into high school, I just wanted to be the kind of players they were,” Keneley said.

USC has yet to offer Keneley a scholarship, unlike UCLA and Stanford along with Washington, Boise State and Ivy League schools. He’s being patient and trying to show integrity in a recruiting process where players commit and decommit and coaches make dozens of offers that may or may not be serious.

“Through this whole thing, I’m just trying to be a genuine player and kid and try to be as upfront as I can be,” he said. “When you get into this and sort of scheme your way, ‘How can I get this offer?’ That’s not the kind of person I was raised to be. I am who I am and this is how I’m going to approach things and hopefully people can accept that.”

He certainly has come close to perfection in the classroom with mostly A’s.

“It’s something my parents have always stressed,” he said. “They’ve stressed striving for greatness in all aspects: sports, academics, religion. To be the best version of ourselves.”

It’s that kind of attitude that will be required to overcome the notion that Mater Dei and St. John Bosco are a lock meet in the championship game for a fourth consecutive season.

“The most important thing is being the best player I can be for my team and putting my nose into the grindstone every time,” he said. “I want us to run deep into the playoffs.”

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Colin Kaepernick has waited the better part of three seasons for an NFL workout.

But when he finally received notice Tuesday that one had been set up for Saturday — just four days later — in Atlanta, the former San Francisco 49ers quarterback tried to get the date pushed back twice to allow more team representatives to attend, according to multiple media reports.

Kaepernick found out about the scheduled workout at 10 a.m., according to ESPN, and multiple outlets have reported that no teams had prior knowledge of the plan as well.

NFL workouts typically take place on Tuesdays, when teams often have off days and head coaches and general managers have a better opportunity to attend. In an apparent effort to ensure those big bosses could make it, Kaepernick reportedly asked if the workout could be moved to Tuesday. The league insisted it take place on a Saturday, ESPN reported.

So Kaepernick reportedly tried getting the workout postponed until the following Saturday, to give teams a little more time to make arrangements. That request was also denied by the NFL, according to multiple media reports.

Kaepernick ultimately agreed to the schedule but asked to be alerted to which executives and coaches would be on hand, according to multiple media reports. The Ringer reports that the league agreed to provide such a list on a “rolling basis.”

The onetime Super Bowl quarterback sent out an enthusiastic tweet about the upcoming event but made it clear he was hoping to see “head coaches and GMs” in attendance.

Kaepernick hasn’t played in the NFL since the 2016 season, when he sparked controversy by refusing to stand during the national anthem as a protest against social injustice. In February, the league settled a grievance filed by Kaepernick and former teammate Eric Reid.

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A body was found Tuesday in an aqueduct near Highway 138 in Pearblossom, according to authorities.

The California Highway Patrol responded to the 34000 block of 116th Street East in the unincorporated area of the Antelope Valley after receiving a call at 1:51 p.m.

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The Los Angeles County Fire Department confirmed that one person was found dead, but no details about the person’s identity or cause of death has been released.

Officers were still at the scene as of 5:30 p.m. The CHP will handle the recovery of the body and ensuing investigation.

Two people were arrested Tuesday near an unincorporated area of Sonoma County after an officer found, among other things, a check stolen from a mailbox during the Kincade fire evacuation.

About 8 a.m., a deputy with the Sonoma County Sheriff’s Office was dispatched to a “man down” call near Highway 1 and Annapolis Road.

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When he arrived, the deputy found a red Ford truck parked on the side of the road with the driver’s door open.

Latisha McCloud, 35, of Stewarts Point, was sitting in the driver’s seat as 47-year-old Jason Bean, of Gualala, laid on her lap, passed out from being intoxicated, according to the Sheriff’s Office.

Bean told the deputy that he had a firearm in the truck. The deputy found a bolt-action rifle under the backseat with a “large silencer attached to the barrel,” the officer said. Bean said he used the rifle to hunt deer to feed his children and that the silencer was to keep it quiet.

Upon further search, the officer found a business check inside McCloud’s purse that didn’t belong to her. The deputy spoke to the owner of the check, who told him that it was stolen out of a mailbox in Geyserville during the Kincade fire evacuation. The blaze started Oct. 23, burning almost 78,000 acres and destroying 374 structures. It prompted the evacuation of nearly 200,000 people.

Bean was arrested on suspicion of public intoxication and possession of a silencer. McCloud was arrested on suspicion of possession of stolen property.

Bean’s bail was set at $25,000, and he has since posted bond, according to the Sheriff’s Office. McCloud remains in custody in lieu of $5,000 bail.

The email arrived near midnight Saturday. USC President Carol Folt informed the campus community about a recent series of student deaths.

She said she wanted to keep the university informed but also clear up rumors and misinformation.

“People are searching for answers and information as we attempt to make sense of these terrible losses,” Folt said. “There is a great deal of speculation about the causes of these deaths and most are being attributed to suicide. This is not correct.”

Faced with the deaths of nine students since Aug. 24, USC administrators are engaged in a delicate balancing act as they notify students, attempt to quell rumors, offer mental health resources and also try to avoid triggering students who may be in the midst of a mental health crisis.

A campus of 47,500 students, USC experiences four to 15 student deaths in a typical school year, officials said. Last year, six were reported.

Officials have confirmed that three students this year died by suicide. In some cases, the cause of death is undetermined; in others, families did not want details disclosed, they said.

Universities don’t have rule books, nor is there any scientific research, about how to navigate addressing multiple student deaths and suicides, said Dr. Paul Nestadt, a Johns Hopkins University psychiatry professor. Officials are likely acting out of an abundance of caution so as not to prompt a suicide contagion, he said. The effect is defined by the federal Department of Health and Human Services as an increase in suicidal behavior following exposure to such a death within a family or peer group.

“They are in a bind for sure,” Nestadt said.

Student Body President Trenton Stone, a junior originally from Salt Lake City, said all eight members of his executive board, including himself, knew at least one of the people who had died over the last three months. The first death, of an 18-year-old freshman, was reported in late August, two days before classes began.

“It’s definitely been a really tough semester for us,” Stone said. “There’s a lot going on, and everyone’s asking the same question: What can we be doing?”

University officials have sent at least five emails to students about the deaths. Emails shared with The Times showed the entire student body received notices on Sept. 4 and Nov. 9. Three were also sent to students in the same school as the deceased.

Winston Crisp, the university’s vice president for student affairs, said he and other administrators decided to move quickly, with as much transparency as possible, to quell rumors about the deaths, as well as to remind students that resources are available if they need help. But the lack of specifics about the deaths has prompted speculation among parents and students alike.

Crisp said that some students who had not known about the deaths said recent information and uncertainty on details have been emotionally triggering. Some families have expressed gratitude after receiving the emails. Others think that the details provided have made matters worse.

“Each time something happens, I get an email from the office of the president offering empty condolences,” said Morgan Spencer, a USC junior. “I would like to see more response from the new president’s office, figuring out why there have been at least three student suicides.”

Suicide is the second leading cause of death among people aged 10 to 24, according to the U.S. Centers for Disease Control and Prevention. The suicide rate among this age group increased 56% between 2007 and 2017, according to a CDC study published in October.

“We as a nation are in the midst of a suicide problem,” said Hopkins’ Nestadt, who said the number of suicides at USC this semester is in line with national statistics.

On Tuesday afternoon, 13 students were in the waiting area at the university’s counseling and mental health center. Approximately 30 counselors and two psychiatrists were on hand. The center works by appointment unless a student has an urgent need. Non-urgent appointments take place within 48 hours, a staff member said.

The staff member at the center said there are 45 counselors and four psychiatrists on staff. He said there’s been an increase in students seeking services since USC’s email addressing the recent deaths.

Jonathan Singer, an associate professor at Loyola University Chicago and the president of the Washington, D.C.-based American Assn. of Suicidology, said that when officials notify students of deaths, they must ensure that there are enough resources on campus to meet the demand for mental health services.

Unlike high schoolers, who may be covered under their parents’ health insurance, college students often receive health services through the university itself. Even a small fraction of USC students seeking mental health care would likely overwhelm the counselors and other resources available, he said.

“You have to have the infrastructure in place, and they probably don’t,” Singer said. “What campus would?”

Sunday Smith, a student in the School of Cinematic Arts, said she and others have had trouble sleeping and focusing, unable to catch a break with school work and other demands. In the last two weeks, students have been notified of two deaths in the cinema school, she said.

At the end of a class last week, one teacher allowed students to talk about how they were coping with the deaths. Smith said sharing her feelings was a welcome release.

“Obviously you can’t move on if you can’t take the time to grieve,” Smith said. “There’s been a lot of death around me.”

If you or someone you know is having thoughts of suicide, you can call the National Suicide Prevention Lifeline at (800) 273-8255. A caller is connected to a certified crisis center near where the call is placed. The call is free and confidential.

Cabaret was once considered somewhat seedy. In Germany between the world wars, it was, in the words of Betty Buckley, “a gathering place for fantasy and escape, with a sense of the subversive.”

Today, it’s still a place to escape the world for a few hours, but otherwise it has little in common with the aesthetic of the musical “Cabaret.” It’s more likely to take you to a place of domestic bliss — or at least a facsimile thereof.

“Ultimately, we want to make it feel like you’ve stumbled into our living room,” said Megan Hilty, who will perform this week at Segerstrom Center for the Arts with a band that includes her husband, Brian Gallagher.

Laura Benanti, who brings her act to California twice in early 2020 — Walnut Creek in January and Costa Mesa in April — echoed Hilty’s sentiment: “I want people to feel like they’re in my living room, and I’m singing them songs and telling them stories.”

So put down the knitting and find yourself a spot on the sofa.

For the performers, the real question is how do you make a 300-seat theater feel like home? Five world-class cabaret singers produced a consensus answer: authenticity.

“I don’t see the point of doing cabaret if you’re not willing to make yourself vulnerable and share a part of yourself,” said Cheyenne Jackson, who will costar with Hilty at the Wallis Annenberg Center for the Arts in February.

Veteran vocalist Lillias White agreed. “If I’m moved by a lyric or a melody, the audience will be as well.”

That said, a personal connection is the first of many considerations when choosing songs for a cabaret act. Working closely with their music directors, some singers constantly tweak their set lists, while others start from scratch on a regular basis.

“It takes months for me to put a show together,” said Buckley, who has been singing cabaret since 1982 and puts together a new show every year. “I’m a kind of portrait painter. I think of each as my new gallery show.

“I’m not really into nostalgia,” she added. “I’m not interested in constantly presenting songs that I’m particularly known for. What I enjoy is seeking out new material — or at least new to me. Songs that resonate in the time period in which we’re living.”

Hilty said she’s changing constantly, so her show changes constantly too. She agreed that new material is essential, arguing that “otherwise, it’s like, ‘I can see all this on YouTube.’”

Benanti sees cabaret as a way to express her eclectic taste in music.

“I think people know they’re going to hear musical theater songs, but I hope they’re pleasantly surprised when they also hear Joni Mitchell and Harry Chapin or Tori Amos,” she said.

Benanti chats with the audience between every song; she calls her approach “very conversational.” In contrast, Buckley and White have cut back on their banter over the years.

“I’m always looking for the most succinct way to talk to an audience, so I don’t waste their time with my long-windedness,” Buckley said with a laugh. “That is always a challenge for me.”

“I actually have several different stories to introduce most of my songs,” Hilty said. “I’ll choose one over another depending on how I’m feeling in the moment and how it connects to what we just said. If I feel I’m losing an audience, I’ll cut the banter altogether.

“I want everybody to be on kind of an energy ride. There are certain spots in the set that need a certain type of song. With attention spans being what they are, I feel ballads need to be earned. If you do too many, people won’t listen to the lyrics. They’ll just tune out. I want people to really hear them. So I’m very selective about what ballads I do, where they’re placed, and when I think the audience is ready to hear them.”

Buckley, who is similarly careful about sequencing, sees her mission in spiritual terms.

“It’s about bringing people into that remembrance of their spirit, their soul,” she said. “To the degree I’m capable of doing it, that’s my mission: to remind people we’re all in this together, and to move the stress of the moment off their hearts. You pick stuff that will allow people to have some kind of catharsis, whether it’s a release of sadness or joy.”

Much of that “stress of the moment” can be traced to our nation’s intense polarization, but all the performers tread lightly when it comes to making political statements. Both Buckley and Jackson sing the song “Hope,” which Jason Robert Brown (“The Last Five Years,” “Parade”) wrote just after the 2016 election in a poignant attempt not to give in to despair.

For her part, Hilty performs “a couple of songs that aren’t overtly political but you can hear them that way, such as Don Henley’s ‘The Heart of the Matter.’ Although they were written 30 years ago, those lyrics resonate today in a subtle but powerful way.”

White, who admitted that television news sometimes brings her to tears, went in a different direction: Her current show “Get Happy” is designed to lift spirits during depressing times. In a similar spirit, Benanti places her emphasis on comedy and warmth.

“Cabaret can be thought of as stuffy or archaic, but it doesn’t have to be,” she argued. “There are opportunities for humor and heart, improvisation and connection. I feel the highest compliment I have been given is when people say to me, ‘I want to be your best friend.’”

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The lead of “Jojo Rabbit” looks like a tiny rock star, cool blue eyes and blond shock of asymmetrical mad-artist — or electrical-socket-toucher — hair … though he admits his mother chose his “Yellow Submarine” T-shirt. And it’s his first professional acting gig.

“Well, I played an extra in a school play. I played a tree,” says Roman Griffin Davis, with a deadpan delivery beyond his 12 years. “I took a lot of acting experience from that.”

The Londoner was 11 when he stepped into the demanding role of Johannes “Jojo” Betzler. Jojo is a wide-eyed Hitler Youth whose wacky imaginary friend is … Adolf Hitler (played by director Taika Waititi). The part requires unusual emotional availability for a child actor, and he’s in almost every scene.

Davis had to research the Hitler-Jugend for the film: “I thought it was interesting how these kids were manipulated and their life was drained.”

Waititi said, “The thing about Roman is he cares so deeply about other people. He’s extremely sensitive and extremely kind. The character wasn’t born a Nazi. The things that make you fall in love with Roman exist in Jojo; they’ve just been covered over by this other thing for a while. So that’s what you’re aiming for; getting back to the kid you fell in love with.”

After he was cast, Davis binged all of Waititi’s movies.

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“I liked how he had a specific style,” says the young actor. “It’s an interesting and funny and personal style that has a lot of good energy and life in it. I like him because it’s very personal, his work.”

Davis has always been around the industry – his father, Ben Davis, is a cinematographer and his mother, Camille Griffin, is a writer-director.

“When I went on sets I was always like, ‘Yes, I want to eat all this chicken … and gravy.’ But yes, I was influenced by my parents.”

When not acting, Davis likes to “paint a lot. I’m a big fan of an artist called Cézanne. And Lucian Freud. My mum’s also an artist.”

“Jojo” won the People’s Choice Award at the Toronto International Film Festival, besting such heavyweight contenders as “Marriage Story” and “Parasite.” Davis notes of the vote announcement, “I was with my mom [mimes her on her phone]: ‘You can stop refreshing it. “Joker’s” won, Joaquin deserves it. I can’t take that away.’ I remember my aunt refreshes it and goes, ‘Whoa!’

“I kind of understood [the film’s win] because at the Toronto premiere, everyone’s laughing at the same bits and everyone’s crying at the same bits. That shows you they’re understanding the message and such.”

Sitting at a table near the snack bar at the Alamo Draft House for an interview, Julia Butters waits patiently, but not for any chaperone help. As the 10-year-old Butters, who’s been a working actress since the age of 4, explains, “[My mother] doesn’t sit in.”

It’s this same air of self-possession she brings to her performance in Quentin Tarantino’s “Once Upon a Time … in Hollywood”: As Trudi Fraser, a child actor on a TV western, Butters commands her brief time onscreen, much of it buoying her dejected has-been co-star Rick Dalton (Leonardo Dicaprio).

Recently, on a break from her ABC sit-com, “American Housewife,” Butters talks of loving stunt-work, Tarantino’s showbiz advice, and what she learned from Trudi. “I’m not super Method — I don’t have people call me by my character’s name,” she says. “But Trudi taught me to be more focused.”

What sort of preparation goes into holding your own in a scene with Leonardo DiCaprio?
I learned lines with my parents and went to my acting coach. Then [Leo] invited me over to his house to run lines. We read it a couple of times. Sometimes he’d give me direction. For example, [the scene] when I’m comforting him when he’s crying? Before I was like [glibly] “It’s OK, it’s OK.” And Leo said, “I feel like you should treat me like a baby.” So then it was like, [low, soothing voice] ‘It’s OK, it’s OK.’”

In a saloon scene, Leo hurls you to the floor. That was his idea, right?
Yes. He said, “I feel like my motivation in this scene would be to just chuck the little girl.” I was thinking, “Oh, yeah!” I love doing stunts. Zoe Bell, the stunt coordinator, really took care of me. She had hip pads, knee pads, even wrist pads and after we’d cut she’d come over with ice packs for my hands so they wouldn’t ache in the morning from taking a fall.

You write short films.
Yes. I actually wrote a script for [Quentin] and Zoe. After I printed it out, they took the script home and actually memorized the scene. And they showed up to work and performed it. That was great. I was blown away. It was called “An Old Town Deep in the West.” It’s a Western.

Did Quentin give you any pointers on filmmaking?
He’d say, “Julia, Lorelei” – that’s my mom – “Come here, I want to show you something.” He’d pick me up and say, “What do you think about this? Do I get a fellow director’s approval?” And I’d always say “Oh, yes you do.” [laughs]

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Back to acting. Did you give Trudi a backstory?
Yes! A couple of years before, Trudi was on a family sit-com with a bunch of kids. One day the kids were like, “Hey, do you want to damage the set?” Trudi didn’t want to be excluded so she tagged along. They wrecked the set. Then they heard people coming back from lunch and they all scattered. Trudi was the only one left, just standing there like a deer in the headlights. She was instantly fired. Her mom was a very nice person but she got so upset. She convinced Trudi that it’s always [best] to be professional, focused. Trudi thought, “OK, this is what I gotta do if I don’t want to get fired again.” She used to be a super normal, playful girl then she turned into this low-profile, very professional girl. That’s her side of the story.

When you went back to “American Housewife” did you get grilled for info?
One of the writers came to me and grabbed me and was like, “How hot was Brad Pitt?” And I was thinking, “I’m 10! I don’t have the mind to think, ‘Oh, wow. Now that’s a fine man.’”

Did Quentin ever tell you how you caught his eye?
Yes. He likes to have the TV on when he’s writing and he looked up and saw [me]. I was in a school restroom telling a story to all these kids. And he thought, “Wow, I should audition her.” Recently, I came into that restroom on the [“American Housewife”] set, the same one where [that scene was shot]. But I sat there just looking around thinking, “This is where my life changed.” I even have a picture of me just sitting there. Nobody else gets it except for me. They’re all probably like, “Why is she sitting there all nostalgic about a bathroom, the one that smells like a dead gopher?”

London — 

“The thing that scares me in my life is that I will never have enough time to be all the different versions of myself and do all the different things in the world,” says Noah Jupe, an up-and-coming actor far wiser than his 14 years. “This job really gives me insight into all the aspects of all the different people in the world.”

Today Jupe is in London for the BFI London Film Festival, which is showcasing his latest films, “Honey Boy” and “Ford v Ferrari.” The actor, who has built up a strong resume over the past five years, including films like “A Quiet Place” and “Wonder,” shot both projects in California last year. They were made so close together that Jupe says the movies feel “almost like one experience” despite the remarkable contrast between the two.

In “Honey Boy” Jupe plays 12-year-old Otis, a fictionalized version of Shia LaBeouf, who wrote the screenplay based on his experiences as a young actor. Although Lucas Hedges stars as Otis at an older age, Jupe is responsible for much of the story’s emotional heft.

“I was nervous and excited,” Jupe says of being cast. “I’ve been playing a lot of children and kids before this. This was the first time, really, that I got the weight of a part of the movie on my shoulders. Which was scary, but also what I do this for. It was definitely a perfect project for that point in my career.”

To prepare, the actors rehearsed for three months with director Alma Har’el. The actual filming took place in only two weeks, with lots of improvisation, particularly from LaBeouf, who plays Otis’ father. Jupe found it intense, but describes the set as one of the calmest he’s ever been on, which gave him space to try new things and play around. Not everything was easy, especially a tense scene where Otis confronts his father in their hotel room and gets slapped in response.

“It all got built up to this day where there’s this scene you’ve been practicing for like three months and now you’ve got to pull it off in an hour at the end of the day,” Jupe remembers. “It was the last shot of the day and I think it was one of the last shots of the shoot. It was scary, but we got there. I wouldn’t have been able to do it if I hadn’t had my mum there. And Alma was really helpful.”

To decompress at the end of the long shooting days Jupe would go home and watch “Even Stevens,” LaBeouf’s Disney Channel series that aired from 2000 to 2003 (Jupe wasn’t familiar with any of LaBeouf’s work before filming “Honey Boy”). Har’el suggested he watch one episode as research, but Jupe ended up watching the entire series – plus the TV movie. Becoming Otis made Jupe consider the positives and negatives of being a young actor, an experience he has so far enjoyed.

“I think me and Otis are very different in terms of where we are in stages of our career and the team that surrounds us,” Jupe says. “Obviously, I have a really supportive family and I feel really safe on set. I really respect my normality and my reality, and I love going home and chilling out afterward and having a place to go back and be myself after all this craziness of Hollywood. I feel like he doesn’t have that place to go back to. He feels that he’s more safe on set with these fake people.”

He adds, “That’s probably the one thing I learned from this movie, to keep that reality and keep those people who you trust and care about as close as possible. It gets tricky when you’re all alone in this world.”

Jupe found another kindred spirit on “Ford v Ferrari,” in which he portrays Peter, the son of racing driver Ken Miles, played by Christian Bale. The two spent a lot of time together, just hanging out and talking, to help make their close father-son relationship feel real onscreen, and Jupe found Bale’s experiences growing up in Hollywood relatable.

“How I feel about creating a relationship with someone to make it seem like you’ve known each other for years is that it’s about time spent,” Jupe notes. “We just spent so much time together. It developed that trust on set. It let me feel safe around the other actors. It’s about listening, too. Listening to him and what he has to say, and him listening to me. I think that’s really what creates that kind of chemistry onscreen.”

Jupe has since moved from Manchester to Chiswick, an area of London, and shot two more notable projects, recently wrapping production on the sequel to “A Quiet Place,” which will arrive in theaters next March, as well as “The Undoing,” an HBO series from David E. Kelley that also stars Hugh Grant and Nicole Kidman.

He’s particularly excited for people to see “A Quiet Place: Part II.”

“I think, honestly, it’s quite needed, the story they’re going to tell,” he says. “It’s weird to think of the first movie as being a stand-alone movie anymore because of shooting this second one. They work so well together. I think that’s going to be cool to see the two of them side by side as a collection. I just loved the whole thing. And going back to a character I already know and have spent time with was great.”

Going forward, Jupe hopes to make his own films (he’s dabbled in the process with friends) and to continue to pick projects that open his eyes to all those different aspects of the world he’s so afraid of missing. He’s also very clear on why he wants to be an actor at all.

“Someone asked me earlier how I choose which movie to do and I will always only choose jobs that excite me,” Jupe says. “If they didn’t, what would be the point of doing them? I’m not in it for the money, or whatever. I want to do what I’m passionate about and keep doing it for the rest of my life.”

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The weekend event lineup includes lantern art in Arcadia, snowfall in L.A. and outdoor volunteering in Palos Verdes.

Arcadia

The Moonlight Forest Magical Lantern Art Festival returns to the Arboretum with new exhibits, including lantern penguins and sled dogs at Polar Dreams and a giant illuminated shark at Ocean Visions. Food trucks, music and acrobatic performances will also be on hand. Make a day of the festival by signing up for other Arboretum events, such as forest bathing, ceramics classes and docent-led walking tours.

When: Lantern festival: 5:30 p.m. Nov. 9- Jan. 12. Check the Arboretum website for other event times and information

Cost, info: Festival admission $20-$28. Family friendly. Only service dogs permitted at the festival. (626) 566-3711, bit.ly/moonlightlanternfest

Palos Verdes

Saturday with the Palos Verdes Peninsula Land Conservancy includes two family-friendly activities. Kids and parents can plant seeds, care for native plants and track butterflies at an outdoor volunteer day at George F. Canyon Preserve and Nature Center. If you’d rather hit the trails, sign up for a walk through White Point Nature Preserve, where you’ll learn how early Tongva inhabitants used native plants for survival.

When: Both activities start at 11 a.m. Nov. 16

Cost, info: Free. Family friendly. Dogs OK. (310) 541-7613, bit.ly/familyeventsPV

Burbank

The Burbank Winter Wine Walk and Holiday Street Fair starts with crafts vendors and live music along San Fernando Boulevard. In the evening, Wine Walkers can taste wine and craft beer at participating locations in downtown Burbank, then head back to San Fernando Boulevard for performances, festive lighting and snowfall.

When: Street fair at noon and Wine Walk at 4 p.m. Nov. 16

Cost, info: Free for street fair and snowfall; from $50 for Wine Walk. Street fair is family friendly; Wine Walk is for ages 21 and older only. Dogs OK at street fair but not recommended for Wine Walk. (805) 628-9588, burbankwinterwinewalk.com

Orange County

Leave the car at home for at Meet on Beach, an open-streets event taking place in seven Orange County communities (La Habra, Buena Park, Anaheim, Stanton, Garden Grove, Westminster and Huntington Beach) along Beach Boulevard. Sign up to get a free OC Bus day pass to get from healthy food in La Habra to a party on the sand at Huntington Beach, with performances, workshops and other pedestrian- and bike-friendly activities in between.

When: 9 a.m. Nov. 17

Cost, info: Free. Family friendly. Dogs OK. (213) 365-0605, meetonbeach.com

Los Angeles

Snow will fall, fireworks will light the sky and Santa will open his house to visitors at the 18th tree lighting at the Grove. Watch the 100-foot-tall white fir come to life with 10,000 ornaments and 15,000 lights, followed by performances by surprise guests.

When: 7:30 p.m. Nov. 17

Cost, info: Free. Family friendly. Dogs OK, but event will be very crowded. (323) 900-8080, bit.ly/LAgrovetreelighting

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