The San Diego Padres are in the playoff picture this season despite both the lineup and rotation falling short of expectations. While big moves won’t come until the summer, there are some swirling MLB trade rumors about two of the club’s targets in July.

USA Today‘s MLB insider Bob Nightengale reported over the weekend that the Padres are looking around the league for bullpen help and “have their eyes on” Boston Red Sox closer Aroldis Chapman and Colorado Rockies reliever Antonio Senzatela.

Padres general manager A.J. Preller has already demonstrated how much of a priority he places on the bullpen. San Diego gave up one of the top prospects in MLB, Leo De Vries last summer to acquire All-Star closer Mason Miller. One season later, San Diego could strengthen its pen again.

It’s not as if it’s a weakness for the team. Heading into MLB games today, the Padres’ bullpen has the fifth-lowest ERA (3.13) in MLB. That’s even with Jeremiah Estrada struggling early and then spending a few weeks on the IL.

As of now, Boston hasn’t seemingly shown much interest in selling at the MLB trade deadline. While the club is still eight games below .500 entering play on Tuesday, reports have suggested the team wants to add hitting. Chapman does have a mutual option for the 2027 season worth $13 million, which will likely be guaranteed since he’s well on pace to reach the 40-inning incentive.

• Aroldis Chapman stats (ESPN): 0.51 ERA, 0.85 WHIP, 23-7 K-BB, .235 batting average allowed

Senzatela is an intriguing option. A former starter, the 31-year-old reliever is owed $12 million this season with a $14 million club option for 2027. Across 32 innings of work this year, Senzatela boasts a 1.13 ERA with a 0.78 WHIP and a .157 batting average allowed.

The Padres could still add a starting pitcher this summer, but strengthening the bullpen would allow them to effectively shorten games and be better suited for competing in October. One promising thing: with new ownership coming in, shedding payroll won’t be a mandate this summer.

The magic of movies may still be present, but the way audiences experienced them in early San Diego was very different.

In the opening decades of motion pictures, films didn’t originate locally — they arrived.

Before Hollywood’s studio system fully consolidated, movies were distributed as physical reels and moved through regional film exchange networks.

These exchanges supplied theaters across the West Coast, including San Diego, with a steady rotation of new titles. Prints would arrive from distribution hubs in Los Angeles, play brief local runs, and then continue onward to the next city. San Diego was part of the circuit, rather than a production center.

By the early 1900s and into the 1910s, downtown theaters and vaudeville houses quickly adapted to motion pictures as they grew in popularity.

Programs were mixed: silent shorts, live music, vaudeville acts, and newsreels sharing the same stage. Film was not yet a standalone cultural industry — it was part of a broader night of entertainment.

San Diego’s growing downtown and busy port helped sustain this system. Sailors, travelers, and military personnel created a steady audience base, and films rotated frequently enough to keep programs changing week to week.

Films also did not arrive everywhere at once. A title might open in Los Angeles first, then reach San Diego days or weeks later as part of the same distribution circuit. Early cinema was a staggered experience—shared nationally, but consumed locally at different moments in time.

Film historians, including those from the Library of Congress and the American Film Institute, note that these exchange systems were essential to standardizing early American film culture, allowing motion pictures to reach cities far beyond production centers.

Within this broader California film landscape, early directors often worked quickly and flexibly. William Bertram, for example, operated in a fast-moving production environment shaped by outdoor locations and rapid shooting schedules rather than permanent studio infrastructure.

Directors with direction

Allan Dwann, whose career stretched from the silent era into the sound age, represents a later stage of that evolution. A prolific filmmaker, he eventually settled in La Jolla, where he lived for many years until he died in 1981. His presence in coastal San Diego reflects the period when the film industry had become firmly rooted in Southern California life.

San Diego’s role in early cinema was not as a production hub, but as a receiving point — its downtown theaters and vaudeville houses acting as stops along a larger national distribution route.

In that sense, early film culture here was defined less by creation than by circulation: reels arriving, audiences gathering, and the city sitting along the path movies traveled as they moved across the country.

Read more history stories here, and do you have a story to tell? Send an email to DebbieSklar@cox.net.

Sources:

Library of Congress — motion picture history and early film distribution/exchange systems.
American Film Institute (AFI) Catalog — silent-era exhibition and industry context.
San Diego History Center — early 20th-century urban development and cultural life.
Eileen Bowser, The Transformation of Cinema, 1907–1915 (MoMA film scholarship)
Other historical references.

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