American

Under the hot lights of the Crypto.com Arena in Los Angeles, the five members of Santos Bravos stood center stage, ready to stake their claim to international stardom. It was the first night of KCON — a three-day festival of Korean pop culture, held every year since 2013 — and on Aug. 14, Santos Bravos became the first Latin American act ever to grace the bill.

Despite the band having debuted less than a year ago, the crowd was buzzing with excitement, but its energy heightened as the slashing knife sounds of “Hooligan,” a song off BTS’ latest hit album, “Arirang,” began to ring out. Because of their popularity, BTS songs are frequently covered by groups at KCON, but newcomers Santos Bravos, who are under the same parent label, Hybe, had more to prove to this audience.

Santos Bravos, a Latin American boy band based in Mexico City, performs on the Artist Stage on Aug. 14 at KCON at the Los Angeles Convention Center.

(Arwen Clemans / Los Angeles Times)

“Hooligan” was produced by Spanish producers Fakeguido and El Guincho (who worked on two records with Rosalía), as well as South Korean producer Ghstloop and American producer Jasper Harris. The multicultural song, with lyrics in both Korean and English, was an apt choice for Santos Bravos — between the five members, they speak and sing in three languages and represent several Latin cultures.

For BTS fans, nothing less than near the performance level of the superstar group is acceptable. But as Santos Bravos sang the opening verses in English, the crowd roared with approval — especially as lead vocalist Kauê Penna, who hails from Brazil, slid onstage to take on the high parts of BTS lead Jungkook.

While artists from different backgrounds working together is nothing new, Santos Bravos, like the Hybe x Geffen girl group Katseye, are part of an effort to bring K-pop training, marketing methods and fandom culture to other regions of the globe.

Fans watch as members of Santos Bravos walk off the stage and into the crowd during a performance on Day One of KCON.

(Arwen Clemans / Los Angeles Times)

Off the global success of BTS, Hybe evolved from a mid-sized label into one of the biggest music and entertainment players in South Korea. Santos Bravos operates under a division called Hybe Latin America, which is based out of Mexico City, where the band calls home. They are the first Hybe group to be based in a region outside of the United States or Asia.

Selected from 17 finalists on a 2025 competition reality show called “Santos Bravos — La Serie,” the contestants had vied to become part of Santos Bravos. Along the way, they received feedback and coaching from Song Sun-deuk, BTS’s longtime former choreographer and performance director. They also worked closely with Miami-based Cuban American choreographer Cultura, who has previously worked with Maluma, J Balvin, and Karol G, among others.

The final five debuted as a group at the show’s finale in October of 2025, where they performed before an audience of 10,000 at the Auditorio Nacional Mexico. Santos Bravos’ members are Penna, 19, from São João de Meriti, Brazil; Kenneth Lavíll,16, from Veracruz, Mexico; Gabi Bermúdez, 21, from San Juan, Puerto Rico; Alejandro Aramburú, 22, of Lima, and Drew Venegas, 26, from L.A. County.

The selected members were no starry-eyed amateurs: Both Lavíll and Aramburú were professional actors in their countries, while the honey-voiced Penna won the fifth season of “The Voice Kids, Brasil” in 2020. Bermúdez, the effusive mood-lifter of the group, was gunning for a career as a soloist when he entered the ring. Venegas, a dance specialist who had performed as a backup dancer for BTS, had a brief stint as a member of the Future X, a co-ed group formed by Simon Fuller that featured members of the queer community.

Not even a year into their formation, Santos Bravos topped Billboard’s new Latin music poll. In January, they performed alongside Mon Laferte and Feid in Willy Chavarria’s Paris Runway show, “Eterno.” In June, their debut EP, “Dual,” made it as high as No. 17 on the Billboard Top Latin Pop Albums chart. That same month, the group won its first award, the fan-voted artist duo or group at the 2026 Premios Tu Música Urbano Mix.

“We’re very disciplined,” said Venegas, who called West Covina home before joining the band. I met the band inside the Los Angeles Convention Center on Saturday, after their KCON breakout moment.

“One day of training was equivalent to one week of training,” he added. “I think combining all of our cultures together, then keeping our Latin essence with the K-pop methodology, [brings] something very new and very fresh for the eye.”

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Santa Monica , CA – August 17: Drew Venegas of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times)  (Ronaldo Bolanos/Los Angeles Times)

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Santa Monica , CA – August 17: Kaue Penna of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times)  (Ronaldo Bolanos/Los Angeles Times)

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Santa Monica , CA – August 17: Ale Aramburu of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times)  (Ronaldo Bolanos/Los Angeles Times)

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Santa Monica , CA – August 17: Kenneth Lavill of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times)  (Ronaldo Bolanos/Los Angeles Times)

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Santa Monica , CA – August 17: Gabi Lopez of Santos Bravos at Hybe America on Monday, Aug. 17, 2026 in Santa Monica , CA. (Ronaldo Bolanos / Los Angeles Times)  (Ronaldo Bolanos/Los Angeles Times)

Although the group doesn’t perform in Korean — unless it’s for fun — they cater to K-pop fans, which is easy to do since they too are K-pop fans. They’ve paid a visit to the Hybe headquarters in Seoul, collaborated with bands like Le Sserafim and BoyNextDoor and livestreamed to fans via Hybe’s proprietary social platform Weverse. They’ve even performed on Korean television.

But for the members of Santos Bravos, the cultural exchange goes beyond marketing.

“In Mexico,” Venegas said, “when you’re eating we say, ‘Buen provecho,’ which is like ‘Enjoy your food,’ No matter who it is, no matter who you’re walking by. Food is a big part of acknowledging somebody, and that’s what we have in [common with Korean culture].”

Mostly talking to each other in Spanish — both Venegas and Penna learned to speak it as a second language — they occasionally forget which language they are speaking to each other in.

“Sometimes I find myself talking to Kenneth or Kauê in English when I don’t need to,” interjected the soft-spoken Aramburú, who plays the guitar — and, in between his shifts as a pop star, is finishing up his music degree at USC.

“The fact that we learn so many languages opens so many doors for us,” Aramburú said. “Personally, wherever we go, I love to learn the language. I’m on Duolingo learning Korean right now.”

Penna sees language as a way to not only open doors for Latin artists, but also reach people through their music.

“Thank God Latin America is being watched,” said Penna. “You know, people can see what we’re doing, and people also are interested in in our languages, in our culture. And in every country we [visit], we try to learn as much as possible about the culture. Now we’re focusing on Portuguese” — a language they test-drove in the song “Velocidade” — “and of course, English.”

Venegas has found that his experience as a Mexican American who didn’t grow up speaking Spanish resonates with some people.

“There were a couple of fans who came up to me who were of Mexican descent, but they didn’t get the chance to learn like me growing up,” he said. “And immediately, they were at a loss for words and kind of filled with emotions. I started getting emotional because I can feel the heartache and … feeling scared, like you don’t belong … and that’s what I felt like. Being able to speak with them and hear what they say made me feel like I’m not alone and like I do matter. Hearing, ‘OK you didn’t grow up getting spoken to in Spanish, but you were still called mijo like I was called mijo.’ ”

Asked why some people struggle to grasp multiracial Latino identity — Cardi B is brought up as an example — Penna weighed in.

“Being in Santos Bravos as an Afro Latino is something so important to me,” said Penna. “I feel like this ‘thing’ of being this or being that… It’s just cultural differences. I’m also working to understand how another culture sees me. As Brazilians, we are very mixed. Of course, I have my Afro side, my mom’s side, I have my Indigenous side… but of course, I am very open and very proud [with] what I’m representing in Santos Bravos.”

“People in general like to categorize,” said Bermúdez, who grew up idolizing Puerto Rican singer Chayanne. Raised in Puerto Rico by parents with both Boricuan and Cuban heritage, Bermúdez bristles at attempts to divide Latinos.

“We as Santos Bravos want to transmit to the world that Latin America is one,” he said

Santos Bravos

(Ronaldo Bolanos / Los Angeles Times)

On the Monday after KCON, I met up a second time with the members of Santos Bravos, who were milling about in the Hybe America offices in Santa Monica. Venegas scrolled through his phone while Penna shuffled past us to grab a drink from the office fridge. I ask whether he’s tired. “A little” he replies, but he’s good.

Upstairs, walking past a large poster of BTS, I met with Juanse Arenas, president of Hybe Global Label Services, who promotes artists outside of their home markets. He said the company looked closely at data and research when conceptualizing the group.

“Mexican regional music became really big, Bad Bunny himself went global,” Arenas said. “You have Karol G, J Balvin, all these massive artists who come from our countries. Latin music is no longer just Latin; it’s global, right? Now, there is a methodology that exists in K-pop that has produced very successful groups. But you can’t just apply that methodology blindly to new regions and to new places — you have to [consider] where the members are coming from, what makes them tick, what drives them and the audience they’re speaking to.”

After posing for individual promo portraits, they gathered for a group photo before singing an acapella version of the uptempo ballad “MHM” for social content. They also greeted their fans on the Weverse livestream, where they expressed sadness over leaving L.A.

“Nos vamos pronto de L.A., mi gente,” said Lavíll to fans. “Y estamos tristes.”

In this week’s episode of The Envelope podcast, the Welsh actor joins The Envelope for a conversation about his Emmy-nominated roles in “Widow’s Bay” and “The Beast in Me.”

Kelvin Washington: Hello, and welcome to this week’s episode of The Envelope. Kelvin Washington, Yvonne Villarreal and Mark Olsen here. We’ve been talking about it now for the last couple of weeks, but we’re less than a month away from the Emmys. Mariska Hargitay is gonna be the host. I’m looking forward to that because who’s living a better life than her? She’s nominated, of course. She’s hosting. And her Knicks won the NBA championship — she’s at this point an honorary Knick. I mean, it’s like she’s on the team.

Yvonne Villarreal: And she went to the Taylor Swift wedding.

Washington: That’s a good point.

Villarreal: Don’t forget that. And starring on Broadway.

Washington: So she is living her best life, yeah.

Villarreal: She’s living a better life than I am.

Washington: So I’m going to answer the question first. I’m gonna ask you, what are you looking forward to [at the Emmys]? Maybe some things you’re excited for. For me, it’s just seeing this culmination of all these things for her and just having a big moment there. I think she’s gonna own that space and I think everybody’s gonna enjoy it as well. What are you looking forward to?

Villarreal: I’m really, really excited to see my beloved Philip and Elizabeth Jennings as nominees — Matthew Rhys and Keri Russell. Not to be parasocial, but I just love that they’re both nominated. I just want a magical night for them both.

Mark Olsen: I don’t want to be a bring-down bummer here, but, you know, I find that the Emmys in particular, even more than the Oscars, kind of play favorites, and the same winners can happen again and again. It’s not as bad as it may once have been, but I’m always rooting for new blood, first-time nominees, people that it’s exciting to see them kind of get this platform. So nothing against your beloved, but I would be excited to see an underdog or somebody kind of an outsider. Say, for example, the rest of the cast of “Widow’s Bay,” which as you’ve said before, really came out of nowhere, [and] it’s become a bit of a favorite this season. And there’s some other performers there, Dale Dickey, Stephen Root, Kate O’Flynn, and I think any of them winning would be really exciting.

Villarreal: I won’t argue with that.

Washington: I was waiting on an argument.

Villarreal: We fight off camera.

Washington: And by the way, Mark, I mean, can good be good? Or great be great? If I’m great 10 years in a row, can I just be great 10 years in a row and win? You’re putting limitations on my victories.

Olsen: Yeah, but at some point, your shelf is full.

Washington: That’s true. Don’t worry about what’s going on in my mantle, all right?

That being said, we got Matthew Rhys, who you had a chance to speak to. Double nominee here, “Widow’s Bay” and “The Beast in Me.” Tell me a little bit more about your conversation.

Olsen: Just a rare double nominee, lead actor in a comedy series with “Widow’s Bay,” and then lead actor in a limited or anthology series or movie with “The Beast in Me.” And I think what’s exciting here is that these are just two very different performances. He’s this manipulative, maybe psychopathic real estate developer in “The Beast in Me,” and then this kind of harried, put-upon single dad and mayor of a small, cursed New England island in “Widow’s Bay,” and I think both of these roles show new sides of Matthew to audiences. But then when you take them together, it just feels like something else entirely.

Washington: All right, well let’s take a look. It’s M&M — Matthew and Mark — here now.

Matthew Rhys.

(Ebru Yildiz / For The Times)

Mark Olsen: For the Los Angeles Times and The Envelope, I’m Mark Olsen. I’m here today with Matthew Rhys, who is nominated for an Emmy for lead actor in a comedy series for “Widow’s Bay” [and] lead actor in a limited or anthology series [or movie] for “The Beast in Me,” and another nomination as executive producer on “Widow’s Bay.”

Matthew Rhys: I forgot about the executive producer part. It’s an exciting time.

Olsen: And now being nominated for these two performances, which are very different performances —

Rhys: [whispers] They’re not really.

Olsen: Now tell me about that. You don’t think they are?

Rhys: Look, I think I was about to speak for a number of actors and I shouldn’t. I can only speak for myself. Sometimes there’s seemingly or feels like there’s very little difference in them. I’m not, I don’t pretend to be an enormously transformative actor, hunting for the “chameleon” praise.

Olsen: But do you consider yourself versatile? It’s so interesting to me to hear you say you don’t see these roles as that different.

Rhys: I wouldn’t say I’m versatile in that chameleon-like way or transformative way, I just try to work from a place… We’re already into it.

Olsen: That’s what we’re here for.

Rhys: I know. It always makes me nauseous. I do try to live in a place that feels real to me and that what we talk about, working from your center. So when I move away from that, things start to feel insincere, so I tend not to.

Olsen: With “Widow’s Bay,” a lot of the coverage around it has been talking about how it’s been a real surprise hit. And I’m just wondering, what is it that you think that audiences are responding to?

Rhys: You know, timing is everything. I do think there was a place that was ready for “Widow’s Bay,” whereby nothing of the sort had been around for a while. You hadn’t had “Twin Peaks,” although we were kind of slightly “The Office,” “Twin Peaks,” sprinkling of “Northern Exposure” maybe, but nothing I think of that sort had been for a while. So I think people were just ready for something different, and then we’re certainly different.

Olsen: Betty Gilpin, your co-star on the show, she is also a nominee, in a recent interview said that she feels like it’s as if audiences are rejecting this idea of a really sort of safe, algorithm-approved show. And do you feel the same?

Rhys: Absolutely, and it’s wildly refreshing to know that people are going, “No, we want something different. And we are intelligent enough to deal with it. So give it to us.” And that I found very, very inspiring, very encouraging — that television and film should be pushing itself continually for that original material and not relying on remakes.

Olsen: When did you realize that the show was connecting in the way that it is? I’ve seen in some other interviews you say that even when you were shooting it, you weren’t totally sure, didn’t totally think that it would connect with people.

Rhys: No, none of us — a lot of us were like, “Are we getting the tone right? Is this right? Is this going to work?” It was a swing. It was an absolute swing. A kind of beautiful one, nonetheless. But we were all concerned — not concerned, maybe just intrigued — as to how it would be received. And it was a little bit more word of mouth. Friends were saying, “Oh, I’ve seen your show.” And then throughout my career, it’s probably the job I’ve been stopped most for. And I’m not saying that happens often. But at least twice I’ve been stopped for it. So that’s been refreshing.

Olsen: And people are really talking a lot about this mix of tones. It’s a horror-comedy that’s both very much funny and scary. What was the challenge of getting that mix right?

Rhys: Making both real, ultimately. I know that sounds very obvious and stupid, but it’s true. And also Katie Dippold spoke to this, the creator and writer, where she said she kind of thought one can almost relieve the other. When there’s incredible tension from horror, when the laugh comes in, it’s almost a big laugh because it’s the relief of being allowed to laugh. So she says sometimes that can pay off in a way. It’s much harder the other way around, but it also works the other way around where you catch an audience off guard because they’re laughing and then you hit them with horror. So I think both bizarrely can help each other.

Olsen: I’m thinking about something like the episode that’s mostly on a boat, that gets very sort of slapstick-y at moments, but then there’s still something very terrifying about what’s happening there.

Rhys: Yes, we’ve hit the nail on the head. That kind of tone I found very hard. There are these borderline farcical moments of wrestling with a man who’s 400 years old and it becoming kind of very comedic physically and yet it has to remain that there’s this element of danger or threat that’s very real and palpable. And so those are the moments you try and ground in a way so that the extreme elements can also live in a real place.

Olsen: Because you mentioned a man who’s 400 years old, the mythology of the show gets more complicated as it goes along, right up until the very last episode. Were there moments where you had to sort of step aside and ask people to explain it to you?

Rhys: No, because I think the chronology is laid out beautifully throughout the series and you’re kind of led in a way where it unfolds very organically. So I was very relieved that to be the case that there’s no kind of, “Wait, where are we? What’s, who’s this?” So that I thought was kind of beautifully executed. And because of that, because of the detail in the backstory, then the story I think pays off far greater.

Olsen: The final episode really lands it so well as far as being both funny and scary and also the way that it sets up a next season, which happily is happening. The finale promises even more murder and mayhem for Season 2. I know the writers room is already hard at work. Do you have any insights on what at least you would like to see happen?

Rhys: No, I’m desperately intrigued as to what she has in mind because I wouldn’t have the first clue as to where to start Season 2. I’m very assured that the warped mind of Katie Dippold will helm us into a giddy storm.

Olsen: One thing I have to ask about “Widow’s Bay” is simply, in preparing to play this small-town mayor who’s very concerned about tourist season, did you refer at all to maybe the most famous other small-town mayor played by Murray Hamilton in “Jaws”?

Rhys: Well, I would like to say yes because “Jaws” is an enormous favorite of mine, but he’s a very different mayor, if you look at his mayor. He’s very assured. He gets a little frustrated with Brody, but he’s not that kind of cortisol-burning, wild-eyed panic that Tom Loftis is. He is far more assured of what he should be doing for the municipality than Tom is. I even said at one point, I said, “Can we get away with the jacket, you know, the anchor jacket?” And they were like, no, because that would be too obvious.

Olsen: I like that you had the impulse.

Rhys: A lot of my performances have some reference to “Jaws,” regardless of the piece, because I’m usually Quint. So I was very upset in the boat scene you referenced when obviously myself, Stephen Root and Hamish Linklater sat around and said, OK, Stephen Root, you are obviously Quint, what does that make Hamish and myself? Who’s [Richard] Dreyfuss and who’s Roy Scheider in this? And Hamish went, “Well, I’m Dreyfuss.” I was like, “I am not Brody.” They’re like, “You’re wearing the life jacket. Of course you’re Brody!” This is the kind of thing actors talk about.

Olsen: But you weren’t happy with that?

Rhys: I’ve always wanted to be Quint. I love Brody, but my heart lies with Quint

Olsen: Now, I came to realize that “Brothers and Sisters,” it goes back 20 years now that you were on that show. And I’m just so curious, working steadily in TV for 20 years now, how has the job of being an actor on TV changed in that time?

Rhys: I don’t think it’s changed, per se. From a personal point of view, it’s been incredible to play the wide variety that I’ve been allowed to. I think the scope of television has changed wildly in 20 years and the length and breadth of the variety there is kind of remarkable at times. And sometimes you wonder if it’s sustainable. If anything, it’s offered more opportunities, I think, for actors, but the kind of core fundamentals I think are still the same.

Olsen: Do you yourself watch a lot of TV?

Rhys: Yes, yes. I never watch myself, but yes. I tend to lean towards more documentaries than anything else. Fiction, I’m always like, “Oh, that’s the day job.”

Olsen: Because I know you’ve talked a lot about your interest in boats, and is there a lot of boats-and-restoration content out there?

Rhys: What, fiction or documentary-wise?

Olsen: I wonder what your algorithm is like.

Rhys: I don’t do much with Instagram but my algorithm is generally older men showing you how to kind of spile a garboard plank next to a keel, things like that.

Olsen: And are there a lot of documentaries about boats and restoration?

Rhys: There’s a lot on YouTube, none of which really hold your attention. What I think is like, where is the kind of “Chef’s Table” of boat restoration? That’s what I’m waiting for.

Olsen: I think you maybe have to be the one to make that show.

Rhys: I might have to, but I worry about the breadth of audience we’d have there. Or how to make boat restoration interesting to the masses. Therein lies the challenge.

Olsen: Well, they say niche markets sometimes …

Rhys: You can capture a zeitgeist moment.

Olsen: With your work on television, you have a really strong track record between “Brothers and Sisters,” “The Americans,” “Perry Mason,” now with “Widow’s Bay,” and also with “The Beast in Me.” For you, what goes into choosing a role?

Rhys: This is the real luxury of having a degree of choice. It’s not always choice, but more often than not, a project comes along that I’ll read and there’ll be a number of things. I’ll be like, “Ooh, I’ve never done it.” Like “Widow’s Bay,” I read it and I went, “The scripts are fantastic and I have never done anything like this in my life.” “Beast in Me,” the same, the writing’s so strong, but also that role is something I’d never done before. And the same, obviously, for “The Americans” and “Brothers and Sisters.” So if there’s an opportunity to try something very new, to me, it’s the ultimate luxury. And so that’s been a real driving force. And strong stories, the want of knowing how it ends, just simple storytelling.

Olsen: Do you find that your instincts have changed over the years? Are you looking for the same things that you feel like you were when you were starting in television 20 years ago?

Rhys: No, not necessarily. I always wanted, if I was fortunate enough, to do something that would challenge me, that would push me, that I hadn’t done, that’d scare me, that’d make me nervous every day on set, which a lot of these projects have done. I thought that would be all that I’d want.

Olsen: Because your character in “The Beast in Me,” again, I have to come back to this idea that you think these two roles are kind of similar, because your character on “The Beast in Me” seems so self-assured, like he has a confidence that Loftis does not have.

Rhys: Yes, that is very true and it was the observation of the wealthy that kind of led me there and especially uber-wealth, where there’s a real assurance of not having to try almost because there’s no need and this innate feeling that you will absolutely get your own way and people will bend to your will purely because of wealth.

Olsen: And now playing that role, getting a little taste of that, like, is that a nice place?

Rhys: What, self-assured?

Olsen: Is that a good position to be in, that people do what you want.

Rhys: Oh, I’m sure it’s great. I’ve never tasted it. It’s something I aspire to by the hour. And being riddled with all the cliched insecurities that every other actor, when you’re playing it, you go, “God, this feels great. To not even have to try with people must be so wonderful.” I’ve no desire to kind of glean the kind of affirmation from the person I’m talking to. Almost quite the opposite.

Olsen: “Widow’s Bay” has such a big ensemble, and then in “The Beast in Me,” really most of your scenes are just you and Claire Danes in this series of escalating conversations. Did you like that distinction? For “The Beast in Me,” did you like the pared-back intimacy of those scenes that the two of you have?

Rhys: Absolutely. I think that was the big draw of the piece, these two people who are kind of, they’re like two magnets in a way, they’re so drawn, they are so repulsed, they’re kind of images of each other’s shadow self, they see so much of each other while [being] polarizingly different. That to me was part of the great draw of that piece, with these two people and how they connected or seemingly didn’t.

Olsen: I don’t think you’ve worked with Claire Danes before?

Rhys: Prior to that, no.

Olsen: Because just in a practical sense, what is it like for two actors when you have so many of your scenes together? Like you sort of have to feel out not only how the characters are, but also how you as performers, as work colleagues, get through the day. What is that process like?

Rhys: I mean, look, with Claire, having known and watched her body of work, [I knew] she’s like a powerhouse and kind of brings that to set. And from day one of rehearsals, I kind of sat up and went, “Oh God, right, come on, let’s focus here,” because she has that laser that is on a switch. And when it’s switched, it’s on. And woe betide you if you haven’t prepared as well as she has. So that was very quick. The ascent of going, “Right, yes, A-game at all times, please.” Which is fantastic. It’s everything you want in a scene partner. It’s someone who kind of scares you and kind of raises your game and demands, you know, a kind of a better tennis game, although I’ve never played tennis. I’m sure it’s great.

Olsen: Do you feel like you’re that kind of actor too?

Rhys: No. I’m the one making fart jokes and then kind of going, “Will you concentrate?” I don’t think I have that kind of prowess, that kind of switch [that] is so alarmingly kind of night and day. I creak into it.

Olsen: Because there’s an intensity to your performance here. I mean, it goes big at times, there’s the “Psycho Killer” dance —

Rhys: The Achilles’ heel. I begged them to remove that scene because anywhere I see the scene direction “He dances” or “[Character] dances,” I can taste the vomit in my own mouth.

Olsen: And now did you choreograph that ahead of time?

Rhys: Nope, I just went for it. In fact a very charming woman came up to me on the street and she goes, “I love ‘The Beast in Me’ and I loved how camp your dancing was.” And I went, “Oh, it wasn’t meant to be necessarily camp.” Well, clearly it was to her. And also playing drunk, drunk and dancing, I was like, “Oh, some vicious planets are aligning.”

Olsen: And do you have a trick to drunk acting?

Rhys: Yes, I get drunk. It’s a very simple trick that most actors overlook. You just drink and then you’re drunk. The only time I venture into Method acting.

Olsen: But then about how many takes do you have in you?

Rhys: Two. No, no, I didn’t get drunk. I got tipsy. No, no it’s very different. It’s hard, it’s hard. That’s always a hard one because also we shot that over the entire day. So it started at like 8 a.m.And to be perfectly honest, sometimes you’ll do a take and it’s like, the drunk acting is too apparent. Let’s bring it back. Claire Danes nailed drunk acting from take one. And I was like, god— it! I mean, she’s done it again.

Olsen: And then also the chicken scene, how many chickens did you have to eat?

Rhys: I come into my own. Eating on screen is not and never has been a problem for me. I will take down any amount of food and I will not ask for a spit bucket. They were like, “Oh, we have a spit bucket.” I think, “No, I’m not spitting up perfectly good chicken” — and it was really good chicken. I think I went through about three chickens. What I loved about that scene, and this is what I love about all good writing, is when a brief element, usually it’s wordless, can say so much about a character or what the character is trying to do to the person in the room through a very simple action. So I loved that from what it did in that moment. He’s doing it overtly to try and intimidate her. It’s something which says so much about him and the way he does it, I thought it was an incredibly beautiful and shrewd piece of writing.

Olsen: Over the course of the series, how did you modulate how crazy to seem?

Rhys: Because it’s kind of present from the get-go. And that was a heavy reliance on the directors. We had some incredible directors on that. Antonio Campos, who kind of began and ended us, we had a little bit of a dial, and he was like, “Bring it back a bit” or “I think it needs a little more.” He was very good at truly kind of conducting in that moment. And we had the luxury of being able to do a few takes where he’s like, “Bring it up a bit” or, “OK, that’s good, let’s take it down a bit.”

Olsen: Were you happy with how that ended up?

Rhys: I don’t watch it. I haven’t watched myself in about 10 years. I get stuck on the wrong things. I become too concerned about the way I use my hands or how strange my walk is or the weird kind of idiosyncrasy of my mouth. So then when I’m doing it next, I’m like, “I am not going to do anything with my hands and I’m going to change my walk.” And then the director is like, “What is wrong with your walk and why are you sitting on your hands?” So I tend not to watch myself.

Olsen: You said 10 years ago. Did something really make you be like, “I’m not doing that anymore?”

Rhys: In fairness, it was more than 10 years ago. It was “Brothers and Sisters.” I started watching that and I was like, “Oh my God. Why has no one said anything? Look at my posture.” And then you become obsessed with sitting with better posture. And then everyone’s like, “Why are you sitting weirdly?” I was never clever enough to take from it a kind of positive critical foundation. I was taking the wrong things, usually physically attributed, that would get in my head when I was acting. And then that’s all I could think about while I was doing it, and I was on a road to ruin.

Olsen: So often you’re doing an American accent or a voice that is not your own and I know for myself I feel like I wouldn’t be able to think about anything but that, that’s all I would be able think about while I was performing.

Rhys: The accent is strange because I think in one way such an enormous part of my head is always working on the next sound to come out of my mouth. I think it stops you in a way from kind of acting, if that makes sense. It takes the self-conscious element out of you because you’re so busy working on something else. My acting teacher from drama school would always say, “Give yourself something to do to stop yourself acting.” It’s like you’re spending so much time thinking about the way you sound, it can relax you in a different way because you’re not thinking about acting.

Olsen: And then is it also a big challenge for you to try to make different American accents? How hard is it for you to do those different American sounds?

Rhys: It depends on the accent. I mean, sometimes the more extreme sounds are easier to hook into, like, you know, the Southern states or Boston or New York. Then you get, you know, California’s kind of softer, so it’s harder. It doesn’t have that extreme hook to find. And then there are just simply words in the American dialect that can take me down, like “murderer” or “world,” sometimes “girl” is tricky. But “murderer.” Which is unfortunate, because I played lawyers, spies who kill people. I’ve had to say it a lot. So I always go, “Can I say ‘killer’?” I just sound like I run out of battery.

Olsen: Do you find that living in America, has it helped you?

Rhys: Oh, without question, because going into a job, a couple of weeks before, I’ll be doing it — not at home, because it drives the kids crazy. They’re like, “He sounds so fake.” And then they’re like “Oh, here he is, he’s doing that again.” I’m like, “I’m not Dick Van Dyke, so I don’t know who you’re impersonating.” So yeah, you can go into the bodega and pretend to be American.

Olsen: On the day that Emmy nominations were announced, you did an interview with my colleague, Yvonne Villarreal, and you told her that you were meeting your partner, Keri Russell, also an Emmy nominee, at a mystery location. Would you mind completing that story? Where did you go?

Rhys: We went to the U.N. No, we didn’t, but I wish I could say that. We went to the Armory in New York with, oh God, I can’t remember the name of the exhibition. It was an incredible exhibition where three enormous tanks of water were filled with water and ceramic bowls and a current was introduced and then these ceramic bowls would clank into each other to make different noises in this incredible space. It was wondrous. Now, if the artist, for some unknown reason, watches this and goes, “I can’t believe he didn’t remember my name or the name of the exhibition,” I apologize profusely. But it was incredible.

Olsen: That sounds like a great way to spend the day.

Rhys: Yeah, it was. It was fantastic. And then we had a great dinner and celebrated and said, you know, “This is the high point, it’s downhill from here on out.”

Olsen: Well, the two of you were recently referred to as television’s first couple.

Rhys: I said that.

Olsen: And I’m wondering, I can only imagine you don’t walk around thinking of yourself —

Rhys: Oh, no, I do. I have a badge and a T-shirt, but no one believes me.

Olsen: But what does that make you think of when you hear yourselves referred to in that way?

Rhys: It kind of makes me laugh. You go, “Oh, God.” And also — and I hate to sound like I’m some bitter old fool, but I am — we’ve done it a long time. We’re of a certain age. You kind of know tomorrow there’s another first couple. So you go, “We’re today’s first couple, and it’s great. And we’ll take it and we’ll enjoy it.”

Olsen: Do you find, especially in the way that your personal and professional lives are intertwined, is it good that you have each other to keep yourselves in check?

Rhys: Yes, it also helps that you have a partner that fully understands what you do, because it’s a mad circus life and sometimes, you know, it’s hard, I think, for partners who don’t quite understand how crazy it is. So it is great in that respect that you fully understand what the other one is doing.

Olsen: And is that also part of where your interest in boats comes from? Is it something that’s totally separate?

Rhys: So she could kick me out of the house is why she bought me the boat.

Olsen: There’s something just totally separate from your work life.

Rhys: Absolutely, absolutely. And it’s something so other. … Opinions can vary so wildly, you know, critics can contradict each other in certain criticisms. The kind of more simple aspect, especially when I was restoring the boat, was that it felt a lot purer and simpler. That you can, at the end of the day, you look back at this piece of wood you’d be working on and go, “There we are, I did that.” And there’s no one saying, “Well, you could have done it this way.” You know what I mean? I always enjoyed the satisfaction it gave me in that sense.

Olsen: Wait, how many boats do you have?

Rhys: I only have one. She’s for sale, if anyone’s interested.

Olsen: Do you want to now find another boat to do this all over again?

Rhys: I don’t, because my wrists have given up. It was much harder than I thought it was going to be. It was an incredible journey, and it was kind of inspired by Hemingway, in a way, it was the same class of boat that he had. So I had all these giddy, kind of rose-tinted romantic notions of what I was doing until I was knee-deep in fiberglass, going, “Why did I think this was a good idea?”

Most documentaries urge you to not turn away from the horrors they chronicle, but few make that request as explicitly as “American Doctor.”

Near the start of her despondent film, director Poh Si Teng spends time with Mark Perlmutter, a North Carolina surgeon who, like Teng’s other subjects, volunteers in Gaza, treating the many who have been severely injured in the ongoing Israeli-Palestinian conflict. Furious at the attacks on innocent Palestinian children, Perlmutter shows Teng photos of dead bodies. She says she may need to blur them for the movie. Perlmutter becomes indignant: “You’re not doing them a service by not showing them,” he says. “You have the responsibility, as I do, to tell the truth.”

Teng does reveal those stark faces and much more — not just the terrible human toll of Israel’s shelling of the Palestinian territories but also the strain on the doctors fighting to save lives while spreading the word about the atrocities they’ve witnessed.

Perlmutter, who is Jewish, is one of three American physicians at the center of Teng’s documentary. The other two are Thaer Ahmad, a Palestinian, and Feroze Sidhwa, who is Zoroastrian. Each of them resides in the U.S. but is drawn to lending a hand at Gazan hospitals — that is, when they’re actually allowed entry into the region. (Because of Ahmad’s Palestinian heritage, he’s been barred by the Israeli government.) As part of their humanitarian efforts, Perlmutter and his colleagues go on Western media, such as CNN, to decry the conditions of the Palestinian people. They are often met with resistance, if not outright hostility. The casualties keep piling up, and nobody outside the walls of the hospital seems to care.

Teng, who produced the 2019 Oscar-nominated documentary short “St. Louis Superman,” a portrait of a local Black activist, once again ponders how much any one person can do to bring about change. She gracefully balances between a three-pronged character study and a larger examination of the unending war. We come to admire Ahmad, Perlmutter and Sidhwa, but Teng provides just enough shading so that subtle cultural tensions between the men start to emerge.

That strain is particularly evident during the bighearted but strident Perlmutter’s impolitic media appearances, in which he brandishes impassioned criticism of Zionism that angers the Palestinian Ahmad. “We’ll be guilty by association and we’ll just get crushed for it,” he worries. It’s a documentary with a paucity of inspirational moments. Teng and her subjects are embedded in a world of tough choices and grim conditions.

With Ahmad largely sidelined in the U.S., though still advocating for the Palestinian people, Sidhwa ultimately becomes “American Doctor’s” most striking figure. Armed with an eloquent, righteous fury, he speaks to journalists with a stirring moral authority. Teng mostly avoids on-camera interviews with her subjects, preferring to watch them interacting with patients or in the operating room. In the process, we come to know Sidhwa, who projects a calm confidence, even when he’s nearly killed by a missile.

But his self-assurance is intriguingly undercut during an unguarded exchange in which he acknowledges that no prospective romantic partner has been comfortable with his desire to keep returning to Gaza. “I think I’m just probably a hard person to get along with,” he admits, laughing. “I wish I could blame the fact that no woman can put up with me on the Israel-Palestine conflict, but I don’t think that’s the issue.”

There are myriad ways to document the violence in Gaza, and it’s telling that Teng includes only a very brief news clip of President Trump and Israeli Prime Minister Benjamin Netanyahu, the phantom figures hovering far above the film’s unfolding tragedy, even though they are among its chief architects. Instead, “American Doctor” focuses on the micro, giving voice to the doctors and caregivers who traditionally have been spared during armed conflicts, as laid out by the Geneva Conventions. In defiance of such norms, though, Israel’s government seems to be targeting hospitals, creating psychic wounds alongside mass casualties.

A closing text card indicates that more than 1,700 healthcare workers have died in Gaza, laying culpability at the feet of Israel and the United States. But it’s a testament to the physicians featured in “American Doctor” that none of them would suggest that this is the greatest crime occurring in the region. We observe them lamenting how powerless they feel: Their medical skills can do some good, but not nearly enough. And when they reluctantly return to America, they agonize over their guilt at not being able to do more — and what of Gaza will remain when they eventually get back.

Aug. 22 (UPI) — President Donald Trump on Friday said he now considers the Strait of Hormuz to be “an American territory.”

“We don’t even know if we won, because I view the Strait of Hormuz as an American territory right now,” he told a crowd of supporters during a campaign event in South Carolina.

Trump first floated the idea of claiming the waterway last week, saying he would wait until the conclusion of the war in Iran to declare the strait a territory of the United States.

Then on Tuesday he posted an image on Truth Social showing the strait with the label “New U.S. Territory.”

He took his threats further on Friday during a campaign rally for Sen. Darline Graham, R-S.C., as she attempts to fill her late brother Lindsey Graham‘s Senate seat.

“It’s an American territory,” he said.

Iran’s deputy foreign minister, Kazem Gharibabadi, had previously called the president’s remarks “fanciful delusions.”

“The Strait of Hormuz has been Iranian, is Iranian, and will remain Iranian,” he said.

Trump this week said he would launch “economic warfare” against Iran as efforts to end the war continue to fail.

On Saturday, Iran’s foreign minister, Abbas Araghchi, said the economic operation was “bound to fail.”

“We have seen this movie before,” Araghchi wrote in a statement on X. “Same bull. Different bullies.”

As part of his economic warfare threat, Trump said institutions or governments providing any support to Iran would face “tremendous” consequences.

Esmaeil Baqaei, a spokesman for Iran’s Ministry of Foreign Affairs, said Trump’s move “is an assertion of extraterritorial sovereignty over every independent member state of the United Nations.”

“The end result would be the complete erosion of sovereignty as the foundational basis of the UN-based inter-State system, and a recipe for an abysmal return to full-scale classic colonialism,” he added in a statement on X.

The series has been called an “understated masterpiece”, comparing it favourably to Yellowstone

For many people BBC iPlayer has become a great destination for drama, evolving far beyond its original role as a simple catch-up service for television. One of its biggest strengths is its extensive box-set offering, allowing viewers to binge entire series rather than waiting for new episodes to air weekly on the BBC.

The BBC has also continued to expand its selection of returning dramas, with previous seasons increasingly available to watch in full. Some of the most popular dramas listed on there include Happy Valley, Taboo, Wolf Hall and Normal People.

However, one drama series has caught the attention of viewers and it is essentially a revenge story, love story and Western epic rolled into one,

Set in 1890, the BBC series follows Lady Cornelia Locke (Emily Blunt), an Englishwoman who journeys to the American West in pursuit of the man she believes is responsible for her son’s death.

Her journey brings her into the path of Eli Whipp (Chaske Spencer), a former cavalry scout and member of the Pawnee Nation seeking to claim land promised to him for his military service. As their paths converge, the pair form an unlikely alliance while navigating the violence and lawlessness of the American frontier.

The English is created and directed by Hugo Blick’s which transports you to the dying days of the Old West for six hours, reports the Express.

Audiences have described the drama as an underappreciated gem alongside American Primeval and Yellowstone.

The English, aired on BBC Two and Amazon Prime in late 2022, and comprises of six episodes that have earned acclaim from traditional western devotees and those discovering the genre.

Westerns are enjoying a resurgence, fuelled by the popularity of shows such as Yellowstone, American Primeval, and 1923.

Despite its parallels to Yellowstone, devotees of The English have queried why it doesn’t attract the same recognition as other contemporary shows, despite being “Western in all the right ways”.

“Instantly, The English has made my top 10. I have seen a lot of movies and series over the many many years I’ve walked this earth. And seldom have I been struck so profoundly,” one IMDB reviewer described in a 10-star review.

“Every scene, every word, each gesture, to a person reaches out, aiming for the heart. Relentlessly uncovering a story that weaves beauty and horror in equal measure.”

“It never waits for you to catch up. But rather pulls you along as you follow- never really knowing what will happen and carefully doling out what has happened.”

“Fans of American Primeval should watch The English. Both are great Westerns featuring a strong female lead,” Emily Long writes for Screen Rant, adding “Though each of the shows have their own stories and unique characters, The English and American Primeval are surprisingly similar. Both shows centre on a woman trying to make her way across the American West with a travelling partner, encountering numerous challenges along the way.”

The show has also won over the hearts of Reddit’s 67,000-strong r/Western community, with one user, apswim22, remarking, “This was an amazing under-the-radar series. One of the better Western series in a while.”

Hundreds have applauded the series’ storyline, with BeautifulDebate7615 telling the Western subreddit, “We did not see the twist coming but kept wondering why things weren’t developing the way we expected. Then the twist perfectly explained things.”

Both Chaske Spencer and Emily Blunt earned nominations for Best Actor at the British Academy Television Awards and Outstanding Performance by a Female Actor in a Television Movie or Limited Series at the Screen Actors Guild Awards, respectively.

Stephen Rea earned an Irish Film and Television Award for his portrayal of Sheriff Robert Marshall.

Beyond the exceptional acting on display, Arnau Valls Colomer’s breathtaking cinematography is wonderfully complemented by Federico Jusid’s classical score, together creating an utterly compelling atmosphere.

Some critics have taken issue with the show’s tempo, with the opening episode labelled something of a slow burner, though such gripes quickly fade once the second episode hits its stride.

The English is available to stream on both BBC iPlayer and Amazon Prime.

The arrest comes after an attack on activist Nadia Beller, who says she was targeted for her opposition to conservative reforms and corruption.

Bolivia has arrested a prominent adviser to several right-wing political leaders in Latin America on suspicion of plotting a murder.

Fernando Cerimedo was arrested on Tuesday following an attack on lawyer and political activist Nadia Beller. The consultant has worked on political campaigns for Argentina’s President Javier Milei, former Brazilian President Jair Bolsonaro, and Bolivia’s President Rodrigo Paz.

The Argentinian national was arrested in Bolivia at an airport, trying to travel to his home country.

Security videos captured Beller standing in front of a hotel in Santa Cruz when two men dressed as delivery drivers walked up the stairs, shot her from close range, took some of her belongings, and left her behind as she lay on the ground.

Beller, who was four weeks pregnant, believes she was targeted for her opposition to a pack of unconstitutional laws under Decree 5503, which were being prepared by Cerimedo and the government, and for witnessing high-level corruption.

Decree 5503 introduces radical economic reforms, such as eliminating state fuel subsidies, that target policies put in place under Bolivia’s former socialist government.

Beller is also understood to have had a romantic relationship with Cerimedo. She admitted to her relationship with him in a video appearance from her hospital bed, and highlighted Cerimedo’s significant political influence.

She said she decided to speak out as she believes that “until I speak directly to the Bolivian people, they are going to finish what they attempted to do. They are going to end up taking my life”.

Bolivian Vice President Edmand Lara said the attack “threatens life, democracy, and freedom of expression” in a news conference where he called for an impartial investigation “without any kind of favoritism”.

Aug. 17 (UPI) — An American Airlines jet blew two tires while landing at Chicago O’Hare International Airport on Monday afternoon, according to federal investigators.

No injuries were reported.

The Federal Aviation Administration said in a statement that the incident involving Flight 386 occurred at around 2 p.m. CDT.

Passengers deplaned from the Boeing 737-800, which had departed from New York City’s LaGuardia Airport, via stairs and were bused to the terminal, according to the FAA, which said it was investigating.

American Airlines said in a statement the flight experienced “a tire issue” after landing, resulting in first responders meeting the aircraft “out of an abundance of caution” and in accordance to procedures.

“The aircraft has been taken out of service to be inspected by our maintainance team,” American Airlines said.

“We apologize to our customers for their experience.”

On Friday night at the SoFi Stadium, there was nothing random about the songs that played just before Karol G took the stage for the first of three evenings at the venue. We can safely assume that the Colombian superstar selected the cuts herself — the perfect tropicoqueta mix to set up the mood.

First, a shadowy “Bésame Mucho”; Elvis Crespo’s merengue smash “Suavemente”; the Afro-Cuban nugget “El Manisero”; and two life-affirming hits by the Queen of Salsa herself, Celia Cruz: “La Vida Es Un Carnaval” and “La Negra Tiene Tumbao.”

These carefully curated gems share a common element: They managed to transcend the stylistic contours of their respective genres and become something bigger — the kind of irresistible, it-takes-a-village anthems that will lure everyone to the dance floor, even if they don’t understand the lyrics.

And that is exactly what Karol G — la bichota, the South American Cleopatra, the woman with the billion-dollar smile — has been doing for global pop since the release of “Tusa,” her imperial duet with Nicki Minaj, back in 2019.

(Jill Connelly / For De Los)

Karol is currently the 42nd-most-streamed artist on Spotify, and her albums “Mañana Será Bonito” (2023) and “Tropicoqueta” (2025) helped reinvent the sound of contemporary Latin. She emerged from the reggaeton thunderstorm that hijacked the planet, but then guided it smoothly into a different aesthetic territory, far away from the movement’s misogynistic toxicity. Her ongoing collaboration with producer Ovy On The Drums — they’re the same age, 35, both from Medellín — was transformative, combining clanging, tribal beats with liquid textures and a refined, champagne-like lightness.

Part of the massive “Viajando Por El Mundo Tropitour,” Friday’s performance confirmed the singer’s stature as one of the most vital and charismatic Latin artists of the 21st century. More than a conventional concert, it felt like a stark, delirious fantasia, a relentless cinematic mosaic of decadent dance numbers and hyper-popped fragmentation presented in five acts, unified by a tropical visual motif: lush vegetation; a blue lagoon where cleansing erotic rituals take place; plumes of purifying fire to expiate the aftertaste of all those failed romances.

(Jill Connelly / For De Los)

Beginning with the wicked reggaeton beat of “Latina Foreva” — an existential jam about curves and pleasure, the freedom of the flesh — Karol ignited a deafening roar of adoration from the full-capacity crowd. For a moment, I got a taste of what Beatlemania must have sounded like in the 1960s.

As the cameras followed her closely, projecting every playful grimace and flirtatious wink onto the giant video screens, the complexity of her artistic persona became increasingly transparent: an indomitable woman who is deeply connected with primal joy and sensuality, but also vulnerable enough to get her heart broken on the way to the red carpet (and still embrace the experience). In the world of Karol G, what doesn’t kill you makes for an international hit.

Admittedly, it was the aggressive, in-your-face numbers that worked best. Karol sounds even better when surrounded by half-naked dancers — “Gatúbela” and “Ojos Ferrari” were highlights in that respect — and the choreography evoked the sweaty rapture of a full-blown Roman orgy.

(Jill Connelly / For De Los)

But she’s also smart enough to alternate the futurism of neo-reggaeton (the cutting-edge territory where her work with producers like Ovy On The Drums and Tainy has given us some astonishing records) with an affectionate nod to the past glories of Afro-Caribbean lore: the 20th century cultural bubble where Colombian families listened to the “14 Cañonazos Bailables” compilations during the Christmas season.

On the title track of “Tropicoqueta,” she draws an imaginary line that connects her current sexual emancipation to the frisky downbeats of 1950s mambo and the early 2000s movement that jazzed up the Afro-Caribbean classics with a digital bounce. On Friday, she salsified “Provenza” and added the riff of Willie Colón’s “La Murga” as an intro to “Tusa.” Her visual recreation of the “Tropicoqueta” album cover onstage was one of the show’s wittiest moments.

At one point after the success of “Mañana Será Bonito,” Karol must have realized that her newly acquired diva status gave her the chance to voice some valuable thoughts on the merits of Latin American culture.

In between songs, Karol spoke with compassion about the recent earthquakes affecting Colombia and Venezuela — the latter of which is where her poised opening act, Elena Rose, also hails from — but her pan-Latino ideology seeped into the music as well. Her face was covered in tears after she performed “Ese Hombre Es Malo” backed by female mariachi players. At the end of the show, a stunning reading of “Si Antes Te Hubiera Conocido” revealed the instinctive ease with which she can navigate the sweet, syncopated phrasing of Dominican merengue.

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Elena Rose opens for Karol G at SoFi.  (Jill Connelly/For De Los)

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Inglewood, CA., Aug. 14, 2026. – Opener Elena Rose performs during the first of Karol G’s three nights headlining the SoFi Stadium for her Viajando Por El Mundo Tropitour. (Jill Connelly / For De Los)  (Jill Connelly/For De Los)

A few tracks from her recently released sixth studio album,”No Me Arrepiento De Sentir Tanto,” displayed a more introspective side. On the dreamy ballad “Después de Ti,” she was joined on guitar by Greg Gonzalez of Cigarettes After Sex, reenacting their performance together from April, when Karol headlined Coachella.

The deafening volume at SoFi was the only aspect of the show that got in the way. The sound stage felt bludgeoned into submission throughout, as the intense distortion of bass, percussion and guitars made the instrument separation within the mix almost inaudible.

That said, the overall experience transcended the sonic elements, as Karol is clearly using the Tropitour as a good reason to celebrate her extraordinary achievements with the fans (she even hugged a security guard).

Somewhere in the venue, a young Latina girl must have been dazzled by this extravagant spectacle and perhaps dreamed of one day following in the footsteps of Carolina Giraldo Navarro: a gifted singer and composer, a woman intelligent enough to cherish the emotional value of dancing the night away.

And that is one solid role model to have.

AMERICAN Pie sex symbol Shannon Elizabeth has revealed the staggering amount she’s raking in from OnlyFans – after quitting Hollywood.

Actress Shannon – who is best known for her role as exchange student Nadia in the American Pie franchise – has opened up about joining the adult site and having ‘a lot of fun’.

The 52-year-old told Variety: “I think I was one of the first actors to have one.

“The only people who had websites at the time were porn stars. That was it.

“So, everyone thought, ‘Why are you putting a website up?’ But we thought that was the next step in the evolution of things.”

The actress launched her account on the subscription site back in April to show off her ‘sexy’ side. 

BIG SLICE OF PIE

American Pie’s Shannon Elizabeth rakes in $1M payday on OnlyFans in a week

MY, MY…

American Pie star, 52, joining OnlyFans to ‘show off sexy side’ after hubby split

“I crossed $1 million (£74k) in nine days,” she shared. “It was really surprising, and I was honoured that my fans came out and supported me.

“I had no idea what to expect, and the response has been really amazing. I’m chatting with people all the time and it’s been a lot of fun.

“There are a bunch of actors that have recently gotten on and we’re starting to pull it back to what it was meant to be,” Elizabeth added.

“It doesn’t have to be only for adult entertainment. It can be whatever you want it to be.”

“I was going through a divorce here in South Africa and was chatting to my manager Joe about what’s next and how to restart things in my life.

“I had really neglected a lot of things, and he brought it up as an option. I wasn’t sure and didn’t know much about it, and we looked into it, and I thought, ‘Yeah, why not?’” explained Elizabeth.

The brunette beauty returned to the American Pie franchise for the fourth and final instalment American Reunion in 2012 – but hasn’t acted since 2024.

Shannon currently lives in South Africa and recently opened up about being cast in her breakout role, explaining how working as a model prior to American Pie was a big help. 

She continued: “For the last ten years I’ve been living off of my savings for the most part because I haven’t been as focused on work.

“To be able to get myself back to the point where I’m not struggling and am able to choose projects because I like them and not because I need the money — it’s definitely giving me more freedom to do that.”

When the movie first came out 18 years ago, Nadia became infamous for her scene with character Jim Levenstein (Jason Biggs) where he was streamed over webcam trying to seduce her.

Before American Pie, Nadia worked as a model before landing a small part in the killer snowman flick Jack Frost in 1997.

But starring as Nadia led to roles in Scary Movie, Jay and Silent Bob Strike Back – along with several magazine shoots.

The keen animal activist, vegan and environmentalist has also been in a number of TV shows including Just Shoot Me!, That ‘70s Show, The Twilight Zone, Punk’d and Dancing With The Stars (US).

In her personal life, Shannon was married to actors Joseph D. Reitman from 2002 to 2005.

After her stint on Dancing with the Stars, she dated her dancing partner Derek Hough for over a year, until August 2009, but the pair later split.

Vietnam’s sovereign AI relies heavily on open-weight models developed in the United States. However, as Washington and Beijing are moving to restrict access to these technologies, Hanoi’s bamboo diplomacy offers little protection to its AI ambitions.

In mid-July, Vietnam approved its National Digital Transformation Strategy for 2026-2030 under Decision 1266/QD-TTg, and the National Data Strategy under Decision 1308/QD-TTg. Both strategies aim for national digital sovereignty, domestic self-reliance and state-level data governance on the assumption that artificial intelligence (AI) models would remain a public good. Within days, the United States (U.S.) and China signalled their readiness to restrict access to those models.

Made in America

Vietnam’s current AI systems are modified versions of foreign tech. On the ground, Viettel, the state military telecom giant spearheading Vietnam’s AI goals, announced its VT-Super-120B-A12B Vietnamese language model had matched the accuracy of major global models of similar size. It was built by adapting Nemotron, Nvidia’s freely downloadable model family, to Vietnamese data. Viettel’s earlier model was also built on Meta’s Llama 3, trained with Nvidia tooling, and run on a cluster of 22 DGX B200 supercomputers at its Hoa Lac centre.

Moreover, VNG’s GreenNode subsidiary introduced GreenMind-Medium-14B-R1, the first open-source Vietnamese reasoning model built to run on Nvidia’s software and a single Nvidia H100 graphics chip. Meanwhile, FPT Corporation committed $200 million to build its AI factory powered by Nvidia hardware.

At the state level, Vietnam’s Ministry of Science and Technology met with senior executives from Qualcomm in Hanoi on July 17. Deputy Minister of Science and Technology Hoang Minh and Qualcomm’s Executive Vice President Durga Malladi discussed expanding cooperation in AI semiconductors, research and development, and workforce training.

While Vietnam has made its bets on the U.S. for its AI ambitions, other Southeast Asian countries are leaning towards China. Indonesia’s Indosat Ooredoo Hutchison partnered with AIonOS on DeepSeek-powered services, and Malaysia’s Communications Ministry launched a sovereign full-stack AI ecosystem running on Huawei hardware.

Outside Two Blocs

AI governance is dividing into two blocs. One bloc is the U.S.-led Pax Silica initiative, which coordinates trusted supply chains for semiconductors, critical minerals and AI infrastructure with 24 signatories. Singapore, the Philippines, India, Japan and South Korea are among them. The Philippines converted membership into commitments by agreeing in April 2026 to a 4,000-acre economic security zone in the Luzon economic corridor designated as the initiative’s first AI-native industrial hub.

The other is the Chinese-backed World Artificial Intelligence Cooperation Organization, signed into existence in Shanghai on July 16 by 29 governments. The membership also includes Russia, Belarus, Cuba, Venezuela and most of Central Asia, alongside Vietnam’s neighbours Laos, Cambodia and Myanmar.

Membership in either bloc could offer access to supply chains, technical assistance and software distribution during a diplomatic crisis.

However, Vietnam belongs to neither group because of its long-standing bamboo diplomacy, a policy of balancing relations between Washington and Beijing without taking sides. This leaves Hanoi in an awkward position. Vietnam depends heavily on American technology, but enjoys none of the guarantees or protections of one.

Weaponising Access

Export controls on chips work because processors are physical goods, subject to customs enforcement. On May 31, the Bureau of Industry and Security extended licensing requirements to any China-parented buyer worldwide, closing loopholes in Singapore and Malaysia.

AI models do not behave the same way. Access to a closed system can be revoked instantly by flipping an application programming interface (API) key. For example, on June 12, Anthropic suspended access to its Fable and Mythos models to comply with U.S. Commerce Department export controls, restoring access only on July 1 after those controls were lifted. Such events largely explain why governments prefer AI models they can host locally.

In contrast, an open-weight model, once downloaded, cannot be recalled by any foreign regulator. Instead, global superpowers exert control by forcing major tech companies and code-sharing platforms to block downloads from specific regions or countries. They can also pressure developers to restrict future model updates to dodge penalties from Washington or Beijing.

This fight over AI access is now an open battle. On July 16, Chinese startup Moonshot AI unveiled Kimi K3, a 2.8-trillion-parameter model that independent evaluators say matches top American models at a fraction of their operating cost. On July 21, Treasury Secretary Scott Bessent signalled that Washington could sanction Chinese tech firms, citing American-model watermarks found inside Chinese ones. Days later, China’s Ministry of Commerce called the investigations groundless, threatened countermeasures, and began consulting Alibaba, ByteDance and Z.ai on export controls covering model weights, training data and chip designs.

Why It Matters

For years, nations have built digital capacity cheaply and quickly by customising open-weight AI models. Kimi K3 seemed to promise that era would continue. Instead, the geopolitical fallout exposed the fragility of relying on superpower goodwill.

For Vietnam, the real threat is getting left behind. Washington or Beijing cannot delete the AI models already sitting on Vietnamese servers. What they can block is future releases. If both superpowers restrict open-weight models, Vietnam’s AI ecosystem gets stuck using today’s tools while the rest of the world moves forward. A national tech stack built on frozen updates decays one generation at a time. States that have not localised model weights face an even harsher reality. Their access relies on live connections and downloads that can vanish overnight with a new policy.

At its core, this is a problem of time. Vietnam’s bamboo diplomacy relies on having time to adapt. Trade deals and defence agreements move slowly, giving Hanoi room to bend without breaking. AI access, however, moves instantly as access disappears with a revoked key or a blocked download link.

Diplomatically, Vietnam tries to stay neutral at all costs. However, its technology does not try to do so. All of its major AI models are built on American weights, run on American chips, and improve when American companies release new ones. Vietnam acts as if it can delay picking a side, but with every new AI update or blocked release, the cost of delay becomes more expensive. In the past, diplomatic pressure moved slowly through international summits. Today, that pressure speeds up with every new model release.

Mérida, August 11, 2026 (venezuelanalysis.com) – Venezuela concluded a successful performance at the XXV Central American and Caribbean Games in Santo Domingo, Dominican Republic.

The Caribbean nation’s delegation finished fourth in the overall medal table, securing 216 medals: 49 gold, 70 silver, and 97 bronze, finishing just two gold medals behind third-place Cuba. Mexico topped the standings with 407 medals, followed by Colombia with 266 medals. The competition lasted from July 24 to August 8 and featured athletes from 37 countries.

The Venezuelan athletes, with a mix of veterans and up-and-coming talents, enjoyed success across multiple disciplines. Olympic medallists Julio Mayora and Keydomar Vallenilla dominated their respective 73kg and 96kg weightlifting divisions, while 19-year-old phenom Mauricio Loaiza earned a breakthrough gold medal in the 110kg division. Venezuela racked up 11 weightlifting gold medals.

In aquatic events, open-water swimmer Paola Pérez successfully defended her regional title by taking gold in the 10-kilometer individual race, while swimmers María Yegres and Manuel Díaz won the 400-meter freestyle and 100-meter butterfly, respectively.

Combat sports also delivered critical victories. Venezuelan judokas Anriquelis Barrios and Karen León delivered dominant performances to secure two of the team’s three judo golds.

In women’s boxing, Omailyn Alcalá, Krisandy Ríos, and Maryelis Iriza achieved a historic three-gold sweep. Venezuelan fencers likewise maintained their regional dominance, winning their fifth consecutive title in men’s sabre and second in women’s epee, bolstered by gold in women’s foil by Anabella Acurero.

Rodolfo Monacelli secured first place in bowling, and chess grandmasters Vicmary Pérez and Félix Ynojosa captured top honors in their respective individual events. 19-year-old pole vaulter Ricardo Montes de Oca continued his promising career by soaring to victory in track and field.

Venezuela also achieved a gold medal in modern pentathlon, and surfer Rafael “Nono” Pereira edged out fellow countryman José Joaquín López in an all-Venezuelan shortboard surfing final at Encuentro Beach.

A major highlight of the South American nation’s performance came on the pitch, where Venezuela’s under-20 soccer team captured the gold medal by defeating a heavily favored Mexican squad in the final. The victory marked Venezuela’s third ever gold medal in men’s soccer at the Central American and Caribbean Games.

Venezuelan Acting President Delcy Rodríguez issued an official statement praising the national team’s performance at the games.

“The medals won reflect the strength, discipline, passion, and love for this land. My recognition goes to every athlete and coach who gave their all; they fought and dreamed to bring great joy to our people,” she said. 

Following the strong performance, the country’s best in eight years, Venezuela is set to host the XXVI Central American and Caribbean Games in 2030. Sports Minister Franklin Cardillo announced that Venezuela’s candidacy was officially ratified during the closing ceremony in Santo Domingo.

Cardillo affirmed that Venezuelan authorities and regional athletic federations are already coordinating logistics to prepare world-class facilities and host a successful edition of the Games in 2030. Venezuelan athletes will next represent the national tricolor flag at the upcoming South American Games in Argentina starting on September 12.

Edited by Ricardo Vaz in Caracas.

THERE are a few villages in the UK that give an insight into old England, let alone destinations from across the pond.

There’s a city in North Carolina that has a hint of British about it as they speak “Elizabethan English”.

Ocracoke is a village on Ocracoke Island, part of North Carolina’s coastal Outer Banks region.

It’s a 16-mile long barrier island – which is a long long sand ridge parallel to the mainland coast, separated by a shallow body of water like a bay or lagoon.

The island, considered the ‘Pearl of the Outer Banks’ is home to around 800 people of whom who have their own unique way of speaking.

One visitor described the locals’ accent as being “Elizabethan English”.

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Brian Carlton told the BBC: “People here just have their own way of speaking: it’s like someone took Elizabethan English, sprinkled in some Irish tones and 1700s Scottish accents, then mixed it all up with pirate slang.”

He even made a remark about being called a “dingbatter”.

The dialect is called ‘Hoi Toider’, which is a rare mix of English, Irish, and Scottish accents mixed with early maritime slang.

It’s almost only spoken on the Outer Banks islands in North Carolina.

Residents all live in the central Ocracoke Village which is also where visitors will find shops, restaurants and bars – but none that you would have seen before.

It has strict regulations about preserving its small town charm, so only independent, regional brands are allowed.

Every shop, hotel, and restaurant on the island is locally owned and operated.

Standing high in the town is its 75ft tall lighthouse which is the oldest operating light station in North Carolina.

Being an island, there are lots of beaches along a 16-mile stretch – one called Ocracoke Village Beach is one is just beyond the main town.

On Tripadvisor, one visitor called it the “Best Beach on the Outer Banks”

Another said: “Beautiful beaches on Ocracoke and always special. When you look around you on the beaches, you see and feel peace.”

Along the shore, a second beach is South Point which is a popular fishing spot and where visitors are likely to find a a Scotch Bonnet which is the rare state shell of North Carolina.

The island has rich history too as it was once a popular hideout spot for notorious pirate, Blackbeard.

The shallow waters around the island provided ideal cover and Ocracoke Inlet allowed him to trap merchant ships.

Ocracoke Island was actually the site of Blackbeard’s final battle in the 1700s.

The best way to get to the island now is also by ship, but luckily, it’s much safer.

The most frequent is the Hatteras Ferry which takes around two hours and it’s completely free.

Others involve getting a ferry from Cedar Island of the Swan Quarter.

For those wanting to fly, the airport is so small there aren’t any commercial flights.

Instead travellers will have to charter a flight, or arrive in their own plane.

Growing up, filmmaker Fernando Eimbcke didn’t get to watch the scene in “The Breakfast Club” where the teenage characters smoke marijuana. That moment was removed from the VHS copy of the 1980s classic he’d rented because of strict censorship in Mexico at the time.

Drug use or not, that John Hughes movie, as well “Ferris Bueller’s Day Off,” impacted him profoundly. “Those were movies that spoke to young people, and in Mexico there wasn’t much cinema aimed at teens,” Eimbcke tells me in Spanish on a video call from Mexico City.

From his indie trench, Eimbcke, 55, has tried to fill that void in Mexican cinema — starting with his 2004 acclaimed debut “Temporada de patos” (Duck Season), about two teen boys spending a day without adult supervision. Since then, in films like “Lake Tahoe” (2008) or “Club Sandwich” (2013), the woes of adolescence have dominated his purview.

With “Olmo,” in theaters Friday, Eimbcke has adapted his career-long interest on the youth’s preoccupations to a story on this side of the Mexico-U.S. border for the first time.

Set and filmed on location in Las Cruces, N.M., his bilingual coming-of-age dramedy follows the titular Olmo (played by Aivan Uttapa), a charismatic Mexican American 14-year-old boy in the 1970s, whose bedridden immigrant father requires around-the-clock care.

The tightly written and humorously bittersweet narrative (co-penned by Eimbcke and Vanesa Garnica) unfolds over the course of a fateful Saturday. Nina Sandoval (Melanie Frometa), Olmo’s crush, invites him and his boot-wearing best friend Miguel (Diego Olmedo) to a party, with the condition that they bring a stereo. But Olmo has also been tasked with looking after dad Nestor (Gustavo Sánchez Parra), while his mother works.

Olmo must decide between fulfilling his duty or pursuing his age-appropriate impulse for fun.

Fernando Eimbcke’s new coming-of-age dramedy “Olmo” follows a charismatic Chicano teen in 1970s New Mexico.

(Andrew Bohn / Olma 2023 LLC)

It was during the six years that Eimbcke lived in Germany that Plan B, the American production company behind titles like “Moonlight,” reached out with an idea for him to write a screenplay about a Mexican American character. That project didn’t come to fruition, but Eimbcke took advantage of their initial interest to create his own story.

Eimbcke had long been interested in stories of migration, and in the dynamics that occur within “bicultural” families. His experience living abroad heightened this curiosity.

“I’m surprised to see the fear that governments and society have regarding migration today. It’s one of the best things that can happen to a culture,” Eimbcke says. “Everyone is talking about Christopher Nolan’s ‘The Odyssey,’ and the story of Odysseus is a story of migration.”

Among the key inspirations that shaped how Eimbcke and Garnica (who have been friends since they were 14 years old) conceived “Olmo” were Dominican American author Junot Díaz’s work, as well as Kevin Bubriski’s photography book “The New Mexicans: 1981-83.”

“He photographed Mexican Americans in the 1980s in New Mexico, and that gave us many ideas,” he says. “He has some incredible, truly beautiful photos of Mexican Americans.”

While scouting locations in New Mexico, the production interacted with local Latino families. In those households, Eimbcke witnessed immigrant parents speaking Spanish to their children who replied to them in English. Similar exchanges happen in “Olmo.”

“If communication is already difficult within a family when everyone speaks the same language, the idea of a family speaking two languages struck me as absolutely fascinating. Rather than an obstacle, I saw it as an opportunity to explore their relationship,” he explains. “Language isn’t always that important. When Olmo and Néstor argue over the stereo, you never really know if they actually understand each other through words or not.”

The complex intricacies of language manifested on Eimbcke’s first bilingual set.

During a scene where Olmo and Miguel finally fix the stereo and begin dancing, Eimbcke wanted a more rambunctious reaction. He started yelling, “More caos. More caos.” The assistant director looked puzzled, thinking the director was asking for “cows.” Eimbcke meant “chaos,” but pronounced it Spanish, which sounds like the farm animal in English.

“It was very difficult for me, because my English is far from perfect, it’s actually quite imperfect,” Eimbcke says sincerely.

For Uttapa, 17, these interactions seemed authentic; he is a second-generation Mexican American whose grandmother came to the U.S. from Mexico, while his mother was born here.

“My grandma speaks fluent Spanish, and she talks to me, my brothers, and my sister in Spanish, and we answer in English,” says Uttapa on Zoom. “That dynamic and that detail in the movie really did make it real to me.”

Fernando Eimbcke’s new coming-of-age dramedy “Olmo” follows a charismatic Chicano teen in 1970s New Mexico.

(Andrew Bohn / Olma 2023 LLC )

Based in Las Vegas, the fresh-faced Uttapa started acting at 12. He shared his interest in performing with his parents, who enrolled him with acting coach Frank Parillo. “I remember telling my mom, ‘I just want to entertain. I just want to be relatable and make an impact on people.’ If you can impact one person, then it pretty much is worth it,” he says.

Eimbcke cast him solely based on his self-tape after a long search for the right actor to become Olmo, primarily in Los Angeles and New York.

Since shooting “Olmo” when he was 14, Uttapa has appeared in the latest season of the hit medical drama “The Pitt,” playing Grady Barnhill, who has an asthma attack, in two episodes. Still, playing Olmo remains the highlight of his short but burgeoning career.

“I’ve gotten some auditions here and there about Mexican American or Latino characters, but if I’m being honest, none of them really clicked to me as much as it did with Olmo. I really felt a connection with the character,” Uttapa notes.

That Eimbcke set “Olmo” in the ’70s — based on his memories of watching “Saturday Night Fever” as a child and being enamored by disco music — helped Uttapa connect with the character. At several points in their adventure, Olmo and Miguel break out their best dance moves.

His mother, Uttapa says, thinks of him as an “old soul,” given his eclectic taste in music, from Elvis Presley and Del Shannon to AC/DC and Led Zeppelin.

“I was already familiar with cumbia, because my mom would always teach me,” Uttapa says. “The disco dancing wasn’t really that hard for me because I grew up loving ’70s music, so I’d always dance in my room to it. And being able to show it on screen was really special.”

Eimbcke says he has no secret technique to obtain wonderful performances from his teen stars; the only strategy that works is to lean into fun. “Teenagers are very willing to play. They are willing to take risks,” the director adds. “And I always love combining two schools of acting: the professional and the nonprofessional.” The actors who play Olmo’s parents, Gustavo Sánchez Parra and Andrea Suárez Paz, are seasoned Mexican thespians.

And while Eimbcke may very well be the Mexican John Hughes, there are certainly uniquely Mexican, and perhaps unexpected, references that were foundational for him as an artist.

“I also grew up watching a lot of telenovelas. They were really formative for me, specifically, the telenovelas on the local Channel 2,” Eimbcke confesses. “I remember there was one I followed religiously called ‘Quinceañera,’ starring Thalia. I loved it.”

MORE cheap flights to the US could soon be launching from the UK.

The airline has revealed it could be adding even more flights to some very popular cities after rise in demand after the World Cup.

Norse Atlantic Airways revealed that as a result of cutting back capacity by almost a third in July due to rising fuel prices, it could actually add more flights to its roster.

Chief executive Eivind Roald said in a statement that the airline was considering adding more flights to New York and Orlando due to a rise in demand.

It comes after the low-cost airline ran special flights to the World Cup in the US for Norway and England supporters.

New York City is famous across the globe but it is popular with Brits as it can be reached in seven hours.

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In October, a round-trip to New York City from London Gatwick starts from £327pp.

Visitors can see New York City on a budget too with its $1 pizza slices, buying a CityPass to avoiding cabs.

For more tips, Assistant Travel Editor Sophie Swietochowski has lots on how to save in one of the most iconic cities in the world.

Orlando is of course home to major theme parks like Walt Disney World and Universal Orlando Resort.

For more tips on how to do the theme parks on a budget – one reporter who has been over 40 times reveals their insider secrets.

There are also lots of other places to explore including its many neighbourhoods like Mills 50 which has Asian American and Pacific Islands influences.

Streets are cobbled and there are lots of historic houses and moss-draped oak trees.

Then there’s the Milk District with plenty of street murals and lakeside neighbourhood Winter Garden, with its clutch of museums on Plant Street.

When it comes to eating in Orlando, the city has more than 50 Michelin Guide restaurants.

Round-trips to Orlando from London Gatwick starts from £343pp.

Chief executive Eivind Roald of Norse said: “Our airline on demand strategy enables us to respond quickly to market changes.

“With fuel prices slowly trending downward and demand remaining strong, we see an opportunity to increase capacity on our own network in the coming months, which may include adding more US flights to New York and Orlando.”

What’s it like to fly with Norse Atlantic Airways?

Head of Sun Travel (Digital), Caroline McGuire, flew with Norse and revealed exactly what she thought…

“On a recent trip to Cape Town I flew with Norse – it allowed me to do the 11-hour overnight stint in Premium Economy for the same price as a rival company in Economy seats.

“To give you an idea of price, return fares for two adults and one child in premium economy cost £3,583 to Cape Town next March, while return fares in Premium Economy on a rival airline cost £5,000.

“Keen to test it out, we flew to the South African city in their posh Premium seats and returned in Basic Economy. So what do those Premium Economy seats get you on an 11-hour Norse flight? Well it starts with a priority lane at check-in.

“Norse doesn’t do online check-in – everyone checks in at the airport. And Premium passengers are given their own lane, so we waited about five minutes before dropping off our bags and getting our tickets.

“You get a small handbag, a cabin bag and a checked suitcase included in the price of a Premium ticket.

“You also get priority boarding, which I’m not normally a fan of given I have a young child who needs to let off steam before a flight, but given our seats were massive, it was worth it. 

“he chairs are very roomy. With a very decent recline that allowed my whole family to get a decent night’s sleep. My son pretty much slept uninterrupted from 10pm to 7am, while I snatched a manageable 5ish hours, which is far more than I’ve ever done before in Economy on a long haul flight. 

“Crew hand over ear plugs, eye masks, pillows and blankets at the start of the flight, as well as headphones for the TVs (you have to pay £5 for these in Economy). 

“Two meals are also included – I had a decent tortellini, side salad and cheesecake-type evening meal with complimentary wine, and a hot cooked breakfast, plus a croissant, yogurt and mini fruit salad.

“All in all, we disembarked from the flight at 8.30am feeling so well-rested that we managed a whole day at the beach in Cape Town, followed by an evening meal.”

Aug. 7 (UPI) — An American was evacuated from Antarctica to a New Zealand hospital last week for medical treatment, officials said Friday.

The rare mid-winter operation was conducted July 31 by the Australian Antarctic Division, the Australian government agency responsible for running the Australian Antarctic Program, with aviation partner Skytraders, an Australian specialist aviation operator, AAD said in a statement.

The extent of the medical emergency was not immediately clear. UPI has contacted the U.S. Antarctic Program, which requested the evacuation, for comment.

Skytraders told UPI in an emailed statement that it deployed an Airbus A319 Long Range aircraft from Hobart, Tasmania, after receiving an urgent request for assistance.

The plane, known as Snowbird 1, departed Hobart at 2:44 a.m. AEST on July 31 during what Skytraders called “a narrow weather window” during the Antarctic winter, and landed in the dark at McMurdo Station five-and-a-half hours later.

Skytraders said its flight crew and operational support and medical teams worked in temperatures as low as -45.4 degrees Fahrenheit to transfer the patient to the plane, which departed before conditions deteriorated further.

The aircraft landed in Christchurch, New Zealand, on the afternoon of July 31, it said. AAD said the American was “now receiving medical treatment.”

“Every Antarctic mission demands absolute precision, but winter operations raise the complexity significantly. The conditions we encountered were right on the edge of even the most specialized aircraft capability,” Capt. Al Wallach, Snowbird 1’s pilot for the mission, said in a statement.

“Our focus throughout the mission was the safety of the patient and our crew. Our thoughts remain with the patient and we wish them a full recovery.”

WASHINGTON — The American Dream may not be dead for many Black Americans, but it is further away than at any point since the Civil Rights Movement, warns a report by the National Urban League.

Released on Thursday, the annual “State of Black America” report grimly describes Black Americans ‘ economic and political prospects as having worsened due to policy changes from President Trump’s administration, according to a copy obtained by the Associated Press.

The report contends that the challenges it highlights for Black communities are warning signs for the prosperity of all Americans.

“It may be the focus is us, but the impact is not just us,” said Marc Morial, president and CEO of the National Urban League. “While they have targeted and focused on Black Americans, these attacks are going to impact broadly working Americans, poor Americans, aspirational middle-class Americans, and this is what this report points to.”

Tracing the arc of American history, the Urban League describes Black Americans’ struggle for emancipation from slavery and equal economic and political rights as a gruesome but optimistic part of the American story.

Now, the report says, the Trump administration is at odds with the goals and achievements of the Civil Rights Movement, citing the overhaul of the Justice Department’s Civil Rights Division and the Equal Employment Opportunity Commission, as well as the president’s focus on overhauling voting laws through the Safeguard American Voter Eligibility Act, as examples of rollbacks of long-sought civil rights policies.

The report’s authors offer policy and strategy recommendations for civil rights groups aiming to combat the Trump administration.

“The civil rights community must consolidate its legal resistance and turn courtroom wins into durable policy,” the report says. “The movement must build economic infrastructure that doesn’t depend on the goodwill of any one administration.”

The AP reached out to the White House for comment on the report.

Report contributors include a potential Democratic presidential contender

This year’s report includes contributions from members of Congress, and policy and legal experts, as well as some media personalities.

U.S. Senators Angela Alsobrooks, Lisa Blunt Rochester and Raphael Warnock all contributed to the report, as well as Maryland Gov. Wes Moore and Baltimore Mayor Brandon Scott. Minneapolis Mayor Jacob Frey contributed a video message to the report.

Moore, who is widely viewed as a potential 2028 presidential contender, submitted an essay focused on closing the racial wealth gap and Black Americans’ history of economic advancement in the face of adversity.

“With wisdom and grit, my mom was able to lift me and my family to a higher rung on the economic ladder. But too often wisdom and grit aren’t enough,” Moore wrote.

He later called closing the racial wealth gap “a matter of moral clarity” but cautioned that “government alone cannot close the racial wealth gap. It’s going to take all of us,” referencing the private sector and civil society.

Report blasts ‘economic assault’ on Black Americans

Whether corporate America and major nonprofits are still willing to participate is an open question. The report condemns the Trump administration’s efforts to roll back diversity initiatives and economic advancement projects in the private sector, and expresses frustration with companies that cooperated with an “economic assault” on Americans, especially Black Americans.

“This has been a campaign of coercion and oppression directed at these institutions who have been out here working hard to, if you will, change America,” Morial said. “The important thing about companies is that every company has not bent the knee. Some may have done some cosmetic changes. Some have been in full and complete retreat.”

The DEI rollbacks are a jarring reversal for the Urban League, which held sway in the Biden White House on economic and social policies. The report lauds President Biden’s administration for signing a sweeping COVID-19 stimulus package, as well as laws supporting minority small businesses and a bipartisan infrastructure bill.

“Not every promise was kept, and the current administration is pushing to roll our wins back, but these wins serve as a blueprint for what is possible through sustained advocacy and a clear vision,” the authors write. The agenda, the Urban League declares, was “the most consequential federal investments in Black America since the Great Society.”

The organization and its civil rights allies now find themselves in a strikingly different political environment under the Trump administration.

“Looking at our current political landscape, the calls for racial healing and righting of this nation’s wrongs in the aftermath of the murder of George Floyd feel like a fever dream,” the report reads.

But the study also acknowledges that Black Americans have overcome more dire and discriminatory moments.

Latest Black America report is the Urban League’s 50th edition

The Urban League’s inaugural 1976 report on the state of Black America was described by the New York Times at the time as “a profoundly depressing document” that laid out the persistent disparities between the economic outlooks of Black and white Americans, a decade after the Civil Rights Movement’s crowning achievements were signed into law.

The report was established as a response to that year’s State of the Union address by President Ford and the Democratic response, neither of which mentioned the economic outlooks for Black Americans. The report offered policy recommendations on crime, education, housing, social services and general economic policy.

“It is a document that does not attempt to cover up the seriousness of the situation black people find themselves in,” the authors wrote at the time. Several of its recommendations were later taken up by President Carter, who was elected to the White House months after the report’s release.

This year’s 50th anniversary document echoes the frustration found in the inaugural report. While Morial acknowledged that the Urban League’s assessments may lead to pessimism, he urged Americans concerned about civil rights and economic progress to respond at the ballot box and with their pocketbooks.

“We cannot be dejected. We cannot be cynical. We must act,” Morial said. “We have to fight to make sure that those that are really trying to kill the essence of the American dream don’t win.”

Brown writes for the Associated Press.

WASHINGTON — Sen. Lindsey Graham, the son of pool hall owners who rose to become one of his generation’s more influential U.S. politicians at home and abroad, is being eulogized Tuesday as a “swashbuckling” public servant and “true American original” during memorial services in Washington.

Graham’s remains arrived at the U.S. Capitol, where the Republican served for more than 30 years as an indefatigable dealmaker who talked and laughed and badgered his colleagues into action. His flag-draped casket was carried inside by an armed forces team, in recognition of his military service.

Later, a funeral will be held at Washington National Cathedral with lawmakers and foreign leaders, a testament to his stature on the global stage.

“Lindsey was a towering figure,” said Senate Majority Leader John Thune, adding there was “no one more capable of cracking up a room.”

“I look forward to the days when you make us all laugh again,” said Thune (R-S.D.), choking back tears.

President Trump is expected to deliver remarks at the cathedral, alongside Fox News Channel’s Sean Hannity and other conservative leaders.

Israel’s Benjamin Netanyahu and Ukraine’s Volodymyr Zelenskyplan to be in attendance, a nod to Graham’s role as a foremost believer in the power of the U.S. and its military to intervene in the world’s problems.

It’s the start of two days of services, with burial Wednesday in Graham’s home state of South Carolina. Joint Base Charleston will be renamed in his honor, the White House said.

Graham died suddenly on July 11 at his home in Washington of a likely aortic tear, according to preliminary findings. He had just returned from a whirlwind trip to a NATO summit in Turkey, where he celebrated his birthday, and a visit to Ukraine. He was 71.

A place of honor to ‘say our final goodbyes’

The morning service in the Capitol Rotunda provided a place of tribute where former presidents and military leaders and other prominent Americans have been memorialized.

Vice President JD Vance along with several Cabinet officials and former senators, including Markwayne Mullin, the Homeland Security secretary, were in attendance, as was acting Atty. Gen. Todd Blanche, who faces a rocky Senate confirmation for the job.

Vance described Graham as a “swashbuckling” figure — “who swashbuckled into the Senate” with his suit jacket open — and was impossible not to like.

“A true American original,” Vance said.

First elected to Congress in the 1994 Republican revolt that swept the GOP to power, Graham was part of a new era of conservatives to take their seats in the House — and among the first Republicans from his Southern state since Reconstruction.

Mascaro, Kinnard and Jalonick write for the Associated Press. Associated Press writer Michelle L. Price contributed to this story.

There are many dedicated figures devoted to Chicano empowerment in America. But in the arts, playwright-director-impresario Luis Valdez — the migrant farmworkers’ son behind the defiantly consciousness-raising El Teatro Campesino and the historic hits “Zoot Suit” and “La Bamba” — holds a singular place, achieved with remarkable perseverance. It’s a trajectory that the immensely appealing, rollicking documentary “American Pachuco: The Legend of Luis Valdez” tracks with a vitality and purpose befitting its subject.

Anchored by Valdez himself, now in his 80s and filling the camera frame like a grandfatherly lion, the film supplements his vivid biographical details with rich archival footage and testimonials from family members, collaborators and peers. There’s also the bold but sneakily effective narrator choice in Edward James Olmos, reviving his snarling, star-making El Pachuco growl from “Zoot Suit” to remind us of one of Valdez’s essential contributions to the theatrical canon. (Olmos is also an interviewee, as is Cheech Marin, Taylor Hackford, Lou Diamond Philips and labor leader Dolores Huerta.)

Born in Delano, Calif., and drawn to literature and language as a way to combat racist assumptions about a Mexican American’s destiny, Valdez found his gifts sharpened by puppet shows, school plays and finally, the union movement in his hometown. Valdez saw that pointed, raw satire was not only necessary but a recruitment tool for the fight. We hear the underdog aesthetic term rasquachismo used to describe these early impromptu performances: essentially a colorful funkiness, “so funky that nothing can undermine you,” Valdez says. As if something earthier and stronger had been harvested in the fields with all those valuable grapes.

After the labor battles of the Vietnam War era, Valdez took El Teatro Campesino’s mission nationwide. Excerpts from a televised adaptation of his play “Los Vendidos (The Sellouts)” — about a shop selling automatons representing Chicano stereotypes — underscore the continuing tensions of assimilation, a trap disguised as acceptance. But the piece also reflected feelings Valdez had about his long-estranged brother Frank, an engineer whose alienating efforts to deny his own background and fit in formed a heavy undercurrent in Valdez’s life.

“Zoot Suit,” an ambitious, musicalized, slang-flavored staging of the violent injustice behind L.A.’s notorious 1943 Zoot Suit riots, became a smash in 1978 (its narrow-minded New York reception notwithstanding). The story of how the Ritchie Valens biopic “La Bamba” came to be — a delicate mix of legacy tending and savvy casting — is similarly rousing and illuminating, even if it seems like an omission not to dig into why, after such a big hit, more movies didn’t follow. (Although, since this is Hollywood, we can guess the reasons.)

There’s so much to chew on in David Alvarado’s portrait of life, art and activism that “American Pachuco” plays like a joyful challenge to those searching for their own voice or meaning. As engaging a chronicler of his own life as Valdez is, his lessons in how to be seen and heard — and how to stay that way — feel especially timely. In our demonizing present, the story of such a pioneering truth-teller speaks powerfully to the needs of our blended American future.

Over the weekend, the Academy Museum announced that it will honor Mexican and Mexican American film history in an upcoming exhibition titled “Cinelandia: Celebrating Mexican American Cinema.”

Currently scheduled to open in September 2027 — likely to coincide with the onset of Hispanic Heritage Month — the showcase will span from the silent film era to the present day and examine movies from both sides of the border.

The idea for the exhibition was first discussed back in 2019 and work on it officially began in late 2022, Academy Museum associate curator Sophia Serrano told The Times.

“It grew from a previous research and programming project we did as part of the Getty Foundation’s Pacific Standard Time: Los Angeles x Latin America initiative, before we opened the Academy Museum in 2021,” Serrano said.

The display will focus mostly on Mexican American cinema, but examines those films in conversation with Mexican features and other Spanish-language movies, made both in Hollywood and internationally.

Films included in the exhibit will be Day of the Dead flicks like “The Book of Life” and Disney’s “Coco” — as well as the Spanish-language version of the 1931 horror classic “Dracula,” plus director Luis Valdez’s “La Bamba” and “Zoot Suit.” Three groundbreaking works by Gregory Nava will also be honored: the Oscar-nominated “El Norte,” “My Family/Mi Familia” and the Jennifer Lopez-led biopic “Selena.”

Among the classic Mexican films included are the 1932 film “Santa,” which was the first Mexican narrative sound movie, as well as 1946’s “Enamorada.” Features from Mexico’s Oscar-winning “three amigos” of cinema — Guillermo del Toro, Alfonso Cuarón and Alejandro Iñárritu — will also be highlighted.

Along with curator Serrano, “Cinelandia” is guided by a 12-person advisory panel: cartoonist  Lalo Alcaraz; UC Santa Cruz professor emeritus Rosa-Linda Fregoso; LACMA curator and head of contemporary art Rita Gonzalez; animator-director Jorge R. Gutiérrez; writer-director Cristina Ibarra; Pitzer College professor Jesse Lerner; director-writer Carlos López Estrada; University of Arizona assistant professor Orquidea Morales; director Gregory Nava; UCLA professor Chon Noriega; University of Texas at Austin professor Charles Ramirez Berg; and USC professor Laura Isabel Serna. 

Given that L.A. County’s population is almost 50% Latino, Serrano noted that part of the exhibition’s aim is to connect to the millions of Latinos in the county and show how they’ve been critical in informing the cultural landscape of L.A.

“Mexican American cinema is … a big part of Los Angeles’ history,” Serrano said. “We want this exhibition to connect with the broader Los Angeles community, as well as illuminate the history behind many of the beloved films from Mexican American and Mexican filmmakers. The exhibition is designed to offer something for everyone and bring people of all ages and backgrounds together to celebrate this important cultural heritage.”

As with previous exhibitions centered on minority populations, the Academy Museum won’t be shying away from the uncomfortable truths around Latinos in Hollywood — from the demographic’s stereotypical portrayals in film to its underrepresentation in the industry that continues to this day.

“Many of the films and artists featured in the exhibition draw attention to or push against these challenges in a variety of ways,” Serrano said. “A guiding principle of the exhibition is foregrounding the voices of film artists themselves via interviews, written quotes, and guest curations and collaborations alongside the hundreds of original objects that will go on display, and this aims to tell an earnest and engaging story about this history.”

“We are also aiming to show how vast the contributions of Mexican American artists are, and these histories are often unknown or underrecognized. It’s essential that the exhibition celebrates these moments of impact and influence in a dynamic and educational manner.” 

“Cinelandia” isn’t the museum’s first foray into identity-based exhibitions centered on underrepresented populations. In 2022, the museum opened the “Regeneration: Black Cinema 1898-1971” exhibition which highlighted the work of Black creatives from filmmaking’s early days through the civil rights movement. The showcase — which closed in April 2023 — tackled such themes as the representation of Black people in early cinema (1897-1915), the era of “race films” made by Black filmmakers for Black audiences (1910s-1940s), musical films and stories born of the civil rights movement.

The museum’s ongoing showcase titled “Hollywoodland: Jewish Founders and the Making of a Movie Capital,” explores the stories of the Jewish filmmakers and studio founders who helped cement the L.A. area as the world capital of entertainment.

On stage at Red Rocks Amphitheatre in Colorado, a far cry from the sweaty basement punk shows of the band’s early days, Jimmy Eat World played breakthrough power pop hit “The Middle” as the sold-out crowd sang along with the final chorus that “everything will be all right, all right.”

“It really is incredible to us to think about everyone who bothered to spend time with this record and made something of it for themselves over 25 years. This is your guys’ record as much as it’s ours, really,” singer-guitarist Jim Adkins said from the stage.

The band, which has generally shied away from nostalgia plays over its 30-plus year career, is performing the platinum-selling “Bleed American” album in its entirety on tour this summer, including a stop at Warped Tour in Long Beach on Saturday, a matching bookend to the band’s original promotion of the album.

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“It solidified us as, ‘This is what we do. Let the day job go.’ It turned into full-time rock and roll. And that moment only happens once, so it felt appropriate to honor it at 25,” bassist Rick Burch said backstage before the band’s Brooklyn tour stop in June.

Released on July 24, 2001, “Bleed American” was one of the last great rock records of the monoculture, arriving months before Apple’s iPod launched and made shuffle the default and 15 years before streaming became the dominant way to consume music.

“When ‘Bleed American’ took off it was right at the transition of the internet,” says Jim Adkins.

(Evelyn Freja / For The Times)

A hit with Hollywood roots

Just over a quarter of a century ago, four guys from Mesa, Ariz., came to L.A. to record their fourth album.

Jimmy Eat World’s Adkins, Burch, drummer Zach Lind and guitarist Tom Linton earned recording money between tours by working construction, driving around car dealership customers and selling art supplies and auto parts.

The band had cut ties with Capitol Records after 1999’s “Clarity” — a sweeping, lush and highly influential work highly regarded by their contemporaries that would inspire third-wave emo superstars including My Chemical Romance, Fall Out Boy and Paramore — that the major label had no idea how to market, even after “Lucky Denver Mint” got pickup on L.A.’s alt rock tastemaker KROQ-FM.

“If that song would have been on ‘Bleed American,’ that would have been a No. 1 song,” said Jim Suptic, of Kansas-based second-wave emo band the Get Up Kids, who have been on the “Bleed American” anniversary run. Suptic said that he was inspired to start the band after seeing Jimmy Eat World live in the mid-’90s.

With the band’s tight budget, producer Mark Trombino, who produced “Clarity” and predecessor “Static Prevails,” worked with the band for free in L.A., banking on the future success of the album. After recording drums at Cherokee Studios, the band relocated to Harddrive Analog & Digital Recording in North Hollywood to make the bulk of “Bleed American.”

“The studio was so small, it didn’t have a lounge,” Lind recalled.

But there was a bus stop outside they used instead, where they would hang out with “an assortment of characters,” Adkins said.

He and Lind commuted to the Valley from Redondo Beach, where they crashed on the floor of Lind’s brother’s place. Linton fondly remembers the great food in the city and hanging out with friends in other bands while Burch spent downtime skateboarding in L.A.

Even without the cash or support from a label, recording “Bleed American” didn’t feel like a do-or-die moment for the band’s future.

“We just kind of figured we might have to go out and just release this ourselves. Let’s just do the best job we can, and be happy with what we put out,” Linton said.

But with the buzz growing around the new music, record labels came calling.

‘The Middle’ meets the moment

By the time the album dropped in July 2001, the guitar-heavy snarling title track of “Bleed American” had already been in regular rotation on alt-rock stations for a month.

After a stint on the Warped Tour, Jimmy Eat World set out on a U.S. headlining tour in the fall, with Hey Mercedes opening.

“I remember that tour in particular, them sort of really finding their confidence in their voice and their shows and their performance and the whole package. And this was before ‘The Middle’ really broke, but I could tell that they were really firing on all cylinders,” said Hey Mercedes singer-guitarist Bob Nanna, whose influential emo group Braid first played with Jimmy Eat World in 1998.

The album landed on the Billboard charts three weeks after its release, and while its peak position was 31, it remained on the chart for 70 weeks. (A couple of months after the Sept. 11, 2001, attacks, the name of the album was changed to “Jimmy Eat World” on pressings before reverting to the original title in 2008.)

“When ‘Bleed American’ took off it was right at the transition of the internet,” Adkins said.

By 2002, “Bleed American” was taking off due to the popularity of the song “The Middle.”

(Scott Gries / Getty Images)

The media landscape hadn’t yet transformed. Rock music magazines like Spin, NME, Alternative Press and Kerrang! were thriving. The band made the rounds on the late-night talk shows as “The Middle” video clip played on MTV’s popular show “Total Request Live.”

“Things hadn’t splintered out into a zillion niche locations just quite yet,” Adkins said.

By March 2002, “The Middle” had hit the Billboard charts, where it climbed to No. 5 by the summer and spent 33 weeks on the Hot 100.

“They were a real band that had a radio hit, and not a radio band reverse engineered,” the Get Up Kids’ Suptic said.

The success was surreal for the band members as they heard the song on the radio, in restaurants and the gym. Today, you can still summon an entire generation with the opening guitar melody.

“I understand why that song has resonated,” Lind said. “I think there’s a few themes in the album that resonate with people in times when things are going tough. You know, ‘The Middle’ is definitely one of those songs that so many people have found encouragement from, whether they’re dealing with a breakup or going through cancer.”

“It seems like one of those songs that people have used to feel better and I think that’s obviously really powerful.”

“It solidified us as, ‘This is what we do. Let the day job go.’ It turned into full-time rock and roll,” says bassist Rick Burch about the success of “Bleed American.”

(Evelyn Freja / For The Times)

Here we are now

But the fans selling out the tour dates around the U.S. know much more than the hits, singing along to the deep cuts after traveling hundreds of miles to get to the show, in some cases.

Fans traveled from states like Michigan and Texas for the tour kickoff at Red Rocks in Colorado.

Robie O’Donnell took the train up to New York from the Washington, D.C., area to take his 12-year-old daughter to her first Jimmy Eat World show. The Brooklyn show was his 25th after he discovered them in the late ‘90s from a recommendation on the Get Up Kids’ website.

Behind him in line hours before doors opened was Jane Kung, who was only 8 when “Bleed American” was released and got into it when she was in high school. She didn’t want to miss the chance to hear it live.

“The fact that so many people wanted to come see this is something I didn’t expect,” Adkins said about the tour.

The fans get a chance to geek out over the rarely-played deep cuts from the album, like “Your House,” which required a revamp because of the studio work on the song, and the live debut of “(Splash) Turn Twist,” which was on the Japanese import of the album. Even louder than the sing-along to “The Middle” is the call and response from the crowd on the album’s second-biggest hit, “Sweetness.”

“Having this piece that we’ve created be embraced by so many is a very accomplished feeling,” Burch said.

Nanna even ventured into the crowd after Hey Mercedes opened the Brooklyn show, singing along to “A Praise Chorus,” the band’s crunchy guitar-filled love letter to rock music, among others.

“The world is a tough, s— place now and to have these moments where everybody can sing along to something that’s just pure joy was really soul enriching,” he said.

In a speech to the nation Thursday evening, President Trump said Americans deserve secure elections, and he claimed to be using federal authority to prevent them from being “stolen.”

In fact, one of the strongest security features of U.S. elections is the fact that they aren’t conducted at the federal level. America votes in more than 10,000 different election jurisdictions, each with different rules set by state and sometimes local governments.

That structure makes the nation’s elections extraordinarily complicated — and also safe from widespread fraud. And when misconduct does happen — rarely — security protocols frequently catch it.

Decentralized elections date back to the nation’s founding

America’s highly decentralized system of voting exists because the nation’s Founding Fathers gave authority over elections to the states, rather than the federal government. While Congress has the power to regulate elections — and has used that authority to pass such laws as the Voting Rights Act — the Constitution makes clear that states have primary authority to set the “times, places and manner” for elections.

There also is no national election agency that administers the presidential contest, something that’s different from many other countries. And when it comes to doing the day-to-day work of running an election, the responsibility falls to officials at the local level — usually a clerk or election supervisor — with help from staff and volunteers.

While differences in election laws can get confusing, election security experts say this structure is a strength. That’s because to pull off stealing a presidential election — as Trump falsely claims was done to him in 2020 — it would require large numbers of election workers in the most competitive counties across the country who are willing to risk prosecution, prison time and fines while working with officials from both parties willing to look the other way. And everyone somehow would have to keep quiet — a highly unlikely scenario.

There are also shared practices and security measures in place across the country that together work to ensure that only eligible voters can cast a ballot and only one ballot is counted for each.

Voter fraud can happen, but it’s rare and there are safeguards to catch it

Most Americans by now have probably heard stories about someone casting multiple ballots, or voting in the name of dead relatives, or stealing mail ballots from mailboxes.

When these incidents happen, they are often caught and prosecuted.

Voting more than once, tampering with ballots, lying about your residence to vote somewhere else or casting someone else’s ballot are crimes that can be punished with hefty fines and prison time. Non-U.S. citizens who break election laws can be deported.

For anyone still motivated to cheat, election systems in the United States are designed with multiple layers of protection and transparency intended to stand in the way.

For example, for in-person voting, most states either require or request voters provide some sort of identification at the polls. Others require voters to verify who they are in another way, such as stating their name and address, signing a poll book or signing an affidavit.

For absentee voting, all states require a voter’s signature, and many states have further precautions, such as having bipartisan teams compare the signature with other signatures on file, requiring the signature to be notarized or requiring a witness to sign.

That means even if a ballot is erroneously sent to someone’s past address and the current resident mails it in, there are checks to alert election workers to the foul play.

AP review found there was too little voter fraud to tip the 2020 election

Trump has spent six years insisting he won the 2020 election, a campaign he lost to former President Joe Biden.

An Associated Press review in 2021 dug into every potential case of voter fraud in the six battleground states that Trump disputed. It found fewer than 475 cases — a number that would have made no difference in that race.

Allegations from Trump of massive voting fraud have been refuted by a variety of judges, state election officials and an arm of his own administration’s Homeland Security Department. In 2020, then-Attorney General William Barr, a Trump appointee, told the AP that no proof of widespread voter fraud had been uncovered. “To date, we have not seen fraud on a scale that could have effected a different outcome in the election,” he said at the time.

Swenson writes for the Associated Press.

They were Mexican immigrants, both named Lorenzo.

They came to this country without papers as teenagers. Lack of legal status didn’t stop them from building beautiful lives — a wife, a home, a loving dog. A blue-collar job that paid the bills, weekend carne asadas with friends and family, children who followed their father’s example of hard work.

The Lorenzos enjoyed the fruits of their labor in their adopted land, even as they battled to become American citizens while politicians demonized immigrants as invaders and worse.

Lorenzo Arellano arrived in the United States in 1968 and didn’t get his citizenship until nearly 30 years later. Back then, the path to naturalization was far easier.

Lorenzo Salgado Araujo arrived in the early 1990s, when those opportunities were becoming severely limited.

Lorenzo Arellano is my father, a happily retired truck driver living in Anaheim.

Lorenzo Salgado Araujo, 52, who ran his own construction crew, was on his way to a job with his brother and two other men when an Immigration and Customs Enforcement agent shot him dead on July 7 in Houston.

When I see a photo of Salgado Araujo beaming in front of a cake with the number 52 on it at the well-kept home he built with his own hands, I’m reminded that we’ll be celebrating my father’s 75th birthday next month. When I see video of Salgado Araujo’s feet twitching on the ground with two ICE agents next to him as he bleeds out and moans for help, I weep.

Only geography, age and Donald Trump separated the Lorenzos. Even their children — he had three boys, while my father had two boys and two girls — are similar. The Salgado Araujos, like the Arellanos, are college-educated. The eldest son, Ronaldo, is a teacher like my sisters. He wears glasses like me and is now telling the story of his father to the nation, as I have for decades.

I write about my Papi as the puckish personification of immigrant America.

Ronaldo is eulogizing his dad way too soon.

“He wanted nothing else in life but to provide for his wife and see his sons become great people,” Ronaldo said proudly at a news conference the day after his father’s death — words I’ve always said about my Papi. “He did not deserve to be reduced to a headline of ‘Mexican man shot and killed by ICE’” — words I hope to never utter but can sadly see as a possibility given la migra’s unapologetic shoot-first approach and indiscriminate targeting of anyone brown.

Salgado Araujo’s killing came as part of the Trump administration’s newest deportation surge — the New York Times reported that the feds have arrested nearly 2,000 people a day since the end of June. The rate is higher than ICE’s campaign of terror last summer, yet it hasn’t drawn the same attention, fulfilling the promise of newish Homeland Security Secretary Markwayne Mullin that la migra would operate far more quietly and efficiently than under his reckless predecessor, Kristi Noem.

Those quiet times are over.

Ronaldo Salgado, son of Lorenzo Salgado Araujo, dries his tears while talking at a news conference on July 8 in Houston. His father was shot and killed by ICE agents the day before.

(David J. Phillip / Associated Press)

Vigils are popping up across the country in Salgado Araujo’s name. Stories about his life and death have replaced those about Mexico’s World Cup run on my social media timelines. They are heartbreaking, infuriating and a baleful reminder for Mexican Americans that these last five weeks of soccer, as joyful as they were, didn’t change our precarious status in this country under President Trump.

“He deserved to live a quiet life as a husband, a father and a job creator for dozens of men who also wanted the American dream,” Ronaldo said at the news conference through tears as his younger brother, Lorenzo Jr., comforted him. That their father never will — that the Department of Homeland Security is now smearing his name by claiming he “weaponized” his van by trying to run over an agent, even though video evidence proves no such thing — is the latest indictment against the Trump administration’s cruelty toward the undocumented.

Salgado Araujo wasn’t even the target of ICE’s operation. His family said he had applied for a work permit and was on his way toward finally obtaining legal status.

We should heed Ronaldo’s words about his father. As people protest and seek justice, we should also hail the life of Lorenzo Salgado Araujo the way we one day will hail the life of Lorenzo Arellano — as Mexicans who made it, challenges be damned. And we should continue to fight for immigrants who remain in legal limbo, afraid for their lives more than ever.

I called my father to ask how he felt about a tocayo — someone with the same first name — losing his life to la migra.

“I put myself in his place and lament that ese [that] Lorenzo couldn’t get the citizenship that I could,” Papi said in Spanish.

He remembered how immigration agents “did it with respect” when they caught him living in this country illegally in the 1970s and 1980s.

“They asked you for your papers, and if you didn’t have them, they put handcuffs on you, you got deported and that was that. None of these beatings or shootings that are happening now under Trump,” he said. The worst it ever got was when he said he was going to Los Angeles, and an agent snapped that he was going to L.A. but now had to return to Mexico.

Papi asked me what justification ICE has offered for killing Salgado Araujo.

“I hope they put those people who killed him in prison for many years,” he said with disgust. “Will they?”

I replied that probably wasn’t going to happen. ICE has shot and killed 11 people during Trump’s second term, both citizens and noncitizens, and scores more have died in immigration detention. No agents have faced charges for any of these deaths. The agents involved in Salgado Araujo’s killing didn’t even have dashboard cameras or body cameras, a convenient oversight that a Department of Homeland Security spokesperson blamed on “multiple government shutdowns.”

“Pues, Dios sabe que todo se paga en la vida,” my dad responded. Well, God knows you reap what you sow.

Ronaldo Salgado and Lorenzo Jr., sons of Lorenzo Salgado Araujo, hold a photograph of their father during a news conference July 8 in Houston.

(David J. Phillip / Associated Press)

Nothing can bring Lorenzo Salgado Araujo back to his loved ones. But I hope they find solace in his namesake, St. Lawrence. Tradition has it that Roman authorities roasted the Spanish deacon to death after Emperor Valerian demanded that he turn over the treasures of the Church. Instead, Lawrence presented the emperor with the city’s poor and maligned, insisting that he confront the oppression he had forced on them.

May we remember Lorenzo Salgado Araujo as a modern-day martyr, killed because our government refused to give him and so many others a chance at living in this country without fear.

May his name resonate through the ages as embodying the promise and tragedy of the American dream.