An audience member was arrested at the Britain’s Got Talent semi-final on Saturday night, just hours after all the drama unfolded during the I’m A Celebrity final
22:05, 26 Apr 2026Updated 22:05, 26 Apr 2026
Britain’s Got Talent descended into chaos on Saturday night(Image: ITV)
Britain’s Got Talent was left in chaos as an audience member was arrested on Saturday night. ITV’s weekend schedule had already got off to a dramatic start with the I’m A Celebrity…South Africa final, which saw contestants like Gemma Collins and Sinitta walk off stage as the row between Adam Thomas, Jimmy Bullard and David Haye reached breaking point.
During Saturday’s semi-final of the long-running competition series, which was broadcast live from The Hammersmith Apollo in West London, ITV security teams had to get involved and remove a woman from the building.
The Sun claims that the ‘screaming’ audience member was held outside the building by the crew and after cops arrived was handcuffed and taken away in a police van.
Singer Alexandra Burke, who won The X Factor in 2008 and enjoyed major success with hits like Hallelujah and Broken Heels before going onto a career in musicals, was also outside the theatre where she was having a photoshoot done prior to taking to the stage herself.
The outlet claims that the star, who has also previously appeared on Strictly Come Dancing and served as a guest judge on The X Factor and RuPaul’s Drag Race, was rushed inside for her own safety.
The evening was not without its drama elsewhere, either, as Ant and Dec were back in full force to carry out their hosting duties following the events of the night before. As the first semi-final got underway, head judge Simon Cowell took aim at Dec. Dec tried to wrap up the judges’ feedback for magician Fraser Penman after the act and the commentary went on a bit long.
Dec was heard shouting out: “Thank you judges, thank you very much”, calling for an end to the speaking, wanting to move on with the live show. But fans noticed Simon “rudely” hit back at this.
He told Dec: “I’m still talking!” Dec appeared taken aback by this. While Simon was pointing out he hadn’t finished what he had to say, fans didn’t think it was very fair, especially after the chaos the hosts had faced the night before.
Taking to social media one fan said: “I’m still talking? F**k off Simon.” A second fan said: “‘I’m still talking’ Simon I think Ant and Dec have had enough attitude for this weekend.”
A third fan posted: “Wow @SimonCowell is a little rude I’m still talking!” Another viewer said: “‘I’m still talking’ God he’s such a d**k. Pack it up Dec, you don’t need the money.”
Another viewer said: “I’m still talking lol,” as a final post read: “Omg I couldn’t tell if he’d said that or ‘I’ll stop talking’, poor Dec, hasn’t he been through enough?”
Britain’s Got Talent 2026’s live shows air Saturdays at 7PM on ITV1 and ITVX.*
Lionsgate’s “Michael” is on track to unseat “Straight Outta Compton” as the king of musical biopics.
Early returns suggest the Antoine Fuqua-directed film will surpass the $60-million opening weekend box office record set by the N.W.A biopic in 2015, with the studio expecting an opening that could reach $70 million.
“Michael Jackson is one of the most influential artists in human history. His impact on music, fashion, dance, film and business has withstood the test of time,” said Adam Fogelson, the chair of the Lionsgate Motion Picture Group.
“All of those things together seem to have created a profound response from audiences of all ages,” he added.
“Michael,” starring the legendary pop star’s nephew Jaafar Jackson, hits 3,900 screens nationwide on Friday.
That film remains the highest-grossing documentary of all time with nearly $270 million in global ticket sales.
The stakes may be higher for “Michael,” not just because of its roughly $200-million cost, but also its circuitous journey to the big screen.
Early development on the motion picture began in 2019, but frequent changes — both in the storyline and production — forced delays. The original idea was to encapsulate Jackson’s life from childhood fame with the Jackson 5 to his solo commercial peak during the ’80s and end with the child sex abuse allegations he faced in 1993.
That version of the film was well underway when the production was forced to go back to the drawing board due to a legal issue. The Jackson estate, which is in support of the project, reportedly discovered the early draft of “Michael” violated a $15-million settlement with the accuser in that case. Part of the agreement stipulated that the alleged victim would never be pictured or mentioned in a dramatization of Jackson’s life.
Production reconvened for 22 additional days and the Jackson estate took on tens of millions of dollars in additional reshoot costs.
The current version of “Michael,” hitting theaters this weekend, is set between the 1960s and 1988. It closely follows the controlling relationship between Jackson and his father, Joe Jackson, played by Colman Domingo, and tracks the king of pop’s peak stardom. Janet Jackson is notably absent from the storyline.
Depending on how the movie performs, there are plans for a potential sequel. The follow-up would tell the second half of Jackson’s career, where much of the scrapped footage could be used. Lionsgate has done advanced work to ensure that a significant amount of the previously captured footage could be included.
So far, the movie is receiving mixed reviews. As of Friday morning, the critic’s consensus on Rotten Tomatoes was less than favorable, with a score of 40%. But Lionsgate remains confident the film will resonate positively with average moviegoers and Jackson fans, both domestically and globally.
“The audiences that are now starting to watch the movie in early previews have been euphoric,” Fogelson said. “Audiences are speaking loudly and clearly about how much they appreciate the final product.”
Even outside of theaters, Jackson’s story continues to find success. “MJ,” the jukebox musical based on his life, is in its fourth year on Broadway and has had both national and international showings. Michael Jackson’s estate has also collaborated with Cirque du Soleil for several acrobatic productions since 2011. The “Michael Jackson ONE” show, which first premiered in 2013, recently extended its run on the Las Vegas Strip until 2030.
Tiffany Naiman, the director of music industry programs at UCLA, said the sustained interest in the pop icon speaks to his loyal fan base and place in American cultural history.
“He represents not only extraordinary artistic achievement, but also the contradictions of fame at its most amplified,” Naiman said in a statement. “That tension — between brilliance and controversy, innovation and scrutiny — is precisely what continues to draw audiences back, and what will likely shape both the film’s reception and its broader cultural impact.”
In central London, a construction digger unearths an unexploded World War II bomb, and it starts to tick. The blast radius could be a half-mile wide. Outside the cordon, Chief Supt. Zuzana (Gugu Mbatha-Raw) oversees the evacuation of thousands of residents to Hyde Park. Inside the cordon, a military explosives expert, Maj. Tranter (Aaron Taylor-Johnson), marshals his squad to disarm the weapon. Also inside the cordon, a heist crew headed by thieves Karalis and X (Theo James and Sam Worthington, respectively) uses the dangerous distraction to rob a bank.
Three skilled teams, three goals. Meanwhile, a displaced neighborhood resident named Rahim (Elham Ehsas) is cooling his heels in Hyde Park very aware of an evening flight that his family is supposed to be on. His clan will factor into the plot too, although his wheelchair-bound father flusters, “Nobody ever tells me what’s going on.” Join the club, old man.
“Fuze” was one of my favorite treats at last fall’s Toronto International Film Festival, although unlike many of the other films it premiered alongside, it has no pretensions of being an awards contender. (Mackenzie’s 2016 modern western “Hell or High Water” did make a moderate Oscar splash.) This is just quality popcorn filmmaking that spins the audience in circles as we watch experts do their jobs. I left the theater feeling giddily put through the wringer by its contrarian depictions of heroes and fiends.
A mechanical exercise more than a character piece, the script by Ben Hopkins (of the 2023 Willem Dafoe existentialist art burglar drama “Inside”) functions like an elaborate contraption. First, you’re impressed by the scale. Then, it reveals how its small moving parts fit together — and at the very end, just when you think you’ve clinched it, there’s a surprise coda that makes you unpack everything again to reassemble the story from a completely different perspective.
It’s a film with a few strong opinions about how the world is being run. Yet, they’re rarely said out loud. Everyone on-screen is a person of action, not words — particularly Taylor-Johnson’s major, a veteran of the War on Terror, who is so calm under pressure that he’s introduced sniping a bull’s-eye at Lord knows how many meters. He’s the sort of character who tends to come across either bland or unconvincingly cocky-funny. Here, he’s compellingly focused on the task at hand and, like all the leads, never pauses to fill in the audience on exactly what he’s doing.
The performances are all from the grip-and-grin school of acting: neat and precise with a minimum of bluster. “Fuze’s” version of a joke is when an anxious underling pipes up to ask for permission to speak. “No,” Tranter snaps, and his gruffness is so confident that it makes you chuckle. Yet even he has a boss, Gen. Minton (Iain Fletcher), who storms into one scene to yank on Tranter’s chain of command and disrupt the power balance again.
Instead of bothering much about dialogue, “Fuze” is a blueprint of how stress and deference exert themselves upon a workplace. The robber clique turns out to have its own bosses, too, as well as the most visible fractures in their unit. You’d be correct to guess that within their grand scheme lurks at least one or two self-interested ruses run by either James’ Karalis or Worthington’s X. The other crooks don’t have names worth learning, but the actors playing them, Shaun Mason and Nabil Elouahabi, do have memorable faces.
There are no flourishes onscreen other than Matt Mayer’s editing, which is relentless. Mackenzie barely gives the audience a pause to ask questions, although he does get around to answering them (mostly). All this competence puts us in a strange state — a suspenseful trance — in which you feel on edge while also relaxing into the idea that the characters have things under control. Unpredictable twists are afoot. But the pace moves so fast that you can only observe, not outguess, the surprises, putting us in the same fix as a heavy, played by Dragos Bucur, who moans that he knows he’s getting screwed over, “but I don’t know how.”
Coming at cross purposes, some of these people will fail. One unit — it would be a spoiler to specify which — evaporates toward the climax and, oddly, isn’t missed. While the outro feels tacked on, upon reflection, it’s the missing piece that transforms the movie from a puzzle into a proclamation on group cohesion. Only afterward does it hit us that Mackenzie has really made a thriller about trust. Each of these groups (and shadow groups) is united by either duty, blood or circumstance. Of those factors, one proves more adhesive than the rest.
“Fuze” does smack a bit of an excellent episode of TV. Everyone in the cast is a little too pretty for their jobs. Likewise, the score by Tony Doogan leans too heavily on generic electronic thuds, the kind that segue into a commercial break cliffhanger and an ad for blood pressure medicine. When his techno beats kick in during the most fraught sequences, however, the effect is dynamite. As the closing credits kick in, Mackenzie lets off some well-earned steam with an apropos punk rock anthem, the Clash’s cover of “Police & Thieves.”
Inside the ornate Bovard Auditorium, Larry David kept a full audience in stitches as he discussed the creation and legacy of his improv hit, “Curb Your Enthusiasm,” which concluded in 2024 after 12 seasons.
In a conversation with Lorraine Ali — who wrote “No Lessons Learned: The Making of Curb Your Enthusiasm,” which retraces the show’s long run with cast interviews, episode guides and behind-the-scenes material — David reflected on the separation between himself and the abrasive on-screen persona he adopted for more than two decades.
“I wish I was that Larry David,” he said.
David spoke about the outrageous audition process for “Curb,” wherein actors tried to navigate a brief written scenario without any dialogue to guide them as David lambasted them in character. Out of this process came iconic one-liners and beloved characters, such as Leon, played by J.B. Smoove.
“People bring out certain things, and when I would act with them, some of them would make me seem funny,” David said. “I go, ‘Oh, that’s good — let’s give him a part.’”
David cited “Palestinian Chicken” as one of his favorite episodes of the show. In the episode, David is caught between a delicious new Palestinian chicken restaurant, a Palestinian girlfriend and an outraged inner circle of Jewish friends.
He also spoke briefly about his upcoming episodic HBO series, “Life, Larry and the Pursuit of Happiness,” a historical spoof that will retrace United States history for the country’s 250th founding anniversary. The series will premiere on Aug. 7.
“A lot of wigs, costumes, beards — fake beards,” David said. “Nothing worse than fake beards.”
The controversial ending of “Seinfeld,” which David co-wrote with comedian Jerry Seinfeld, was polarizing among fans when it was released, David said. After a recent rewatch, however, David said he thought it was “pretty good,” to a round of applause from the audience.
Near the end of the panel, an audience member asked a question some definitely had on their mind: Will “Seinfeld” ever get a reunion?
Paramount Skydance Chief Executive David Ellison made his case directly to theater owners Thursday, pledging to release a minimum of 30 films a year from the combined Paramount and Warner Bros. Discovery company during a speech at the CinemaCon trade convention in Las Vegas.
“I wanted to look every single one of you in the eye and give you my word,” Ellison said in a brief on-stage speech, adding that Paramount has already nearly doubled its film lineup for this year with 15 planned releases, up from 8 in 2025.
He also said all films will remain in theaters exclusively for 45 days, starting Thursday. Films will then go to streaming platforms in 90 days. The amount of time that films stay in theaters — known as windowing — has been a controversial topic for theater owners, as some studios reduced that period during the pandemic. Theater operators have said the shortened window has trained audiences to wait to watch films at home and cuts into theater revenues.
“I have dedicated the last 20 years of my life to elevating and preserving film,” said Ellison, clad in a dark jacket and shirt with blue jeans. “And at Paramount, we want to tell even more great stories on the big screen — stories that make people think, laugh, dream, wonder and feel — and we want to share them with as broad an audience as possible.”
Ellison’s CinemaCon appearance comes as more than 1,000 Hollywood actors and creatives have signed a letter opposing Paramount’s proposed acquisition of Warner. Supporters of the letter have said the deal would reduce competition in the industry and “further consolidate an already concentrated media landscape.”
Some theater operators have also questioned whether the combined company could achieve its goal of releasing 30 films a year, particularly after the cost cuts that are expected after the merger closes.
“People can speculate all they want — but I am standing here today telling you personally that you can count on our complete commitment,” Ellison said. “And we’ll show you we mean it.”
The speech came after a star-studded video directed by “Wicked: For Good” director Jon M. Chu that was shot on the Paramount lot on Melrose Avenue and showcased directors and actors including Issa Rae, Will Smith, Chris Pratt, James Cameron and Timothée Chalamet that are working with the company.
The video closed with “Top Gun” actor Tom Cruise perched atop the Paramount water tower.
“As you saw, the Paramount lot is alive again,” Ellison said after the video. “And we could not be more excited.”
Alice Oseman’s fictional world, where LGBTQ+ teenagers freely explore love, friendship and identity, expanded first to graphic novels before being turned into a hugely popular Netflix series.
The rom-com, which debuted in 2021, is part of a growing portfolio of young adult book adaptations that have flooded streaming platforms in recent years. Hulu’s college drama “Tell Me Lies” and HBO Max’s hockey romance “Heated Rivalry” have become pop culture sensations, joining hits like Amazon Prime Video’s “The Summer I Turned Pretty” and the “To All the Boys” trilogy on Netflix.
“We really thought it was going to be quite a niche show that was seen by a specific group of people,” Oseman said of “Heartstopper.” “It kind of blasted up beyond our expectations.”
After three seasons on the streaming giant, the British coming-of-age series will conclude with a film later this year.
Corinna Brown and Kizzy Edgell starred in Alice Oseman’s queer romance “Heartstopper.”
(Teddy Cavendish / Netflix)
These adaptations often tell tales as old as time of young love and emotional turmoil, but it’s the diverse representation that draws audiences in, said Yalda T. Uhls, founder and chief executive of UCLA’s Center for Scholars & Storytellers.
Audiences gravitate toward authenticity, Uhls added. Young people increasingly want to see stories that reflect their lives, according to a survey administered by Uhls’ nonprofit last year.
“It has to resonate and feel authentic to the time,” Uhls said. “This generation really sees stereotypes pretty quickly … they’ll see inappropriate behavior quickly, and they will call it out.”
Viewers are hungry for diverse casting and storylines across Hollywood. Last year, audiences showed up to the theater at higher rates for movies that had people of color in the cast, according to the annual UCLA Hollywood Diversity Report, released in March.
Netflix’s focus on YA adaptations has paid off, driving more than 1.2 billion total views worldwide in 2025. Audiences are drawn to the platform’s fresh and inclusive interpretations of the genre, said Jinny Howe, Netflix’s head of scripted series for the U.S. and Canada.
“It is still harder to get marginalized stories sort of made and seen by people, but ‘Heartstopper’ is part of that journey,” said Oseman, who also serves as series creator and executive producer.
Lovie Simone plays track star Keisha Clark in “Forever,” a reimagining of Judy Blume’s 1975 novel.
(Elizabeth Morris / Netflix)
“Forever,” a reimagining of Judy Blume’s 1975 book that debuted on Netflix last year, follows two young Black protagonists who fall in love in Los Angeles. The audience had “such a fervent passion for that story, I think, because of the specificity of those perspectives,” Howe said. “Los Angeles was really seen through these eyes.” The show’s second season will reportedly start filming in May.
Young adult adaptations are at the core of the platform’s broader efforts to champion diversity in storytelling, said Peter Friedlander, Prime Video’s head of global TV.
“We’re always looking for shows that give a reflection or a window into other people’s stories,” said Friedlander, also former head of U.S. and Canadian scripted series at Netflix. “This business has been building for a long time, and it’s exciting to see what’s coming out of it.”
Representation in these shows, however, is still far from perfect, said Nicholas Rickards, a doctoral candidate at Brock University in Ontario, Canada, whose research focuses on YA adaptations. Many shows that center a woman of color often still feature white male love interests, he said.
“Studios aren’t totally prepared to tell that story yet,” he said.
Filling a YA void
Streaming platforms’ focus on YA adaptations came as cable TV, which previously dominated the genre, tapered off.
Then the entertainment landscape changed. Social media and streaming became preferred modes of content consumption for young audiences, paving the way for platforms like Netflix, Prime Video, Hulu, Disney+ and HBO Max. Diverse storylines, coupled with the global reach of streaming platforms, have reignited an explosion of YA adaptations, and it’s a race that isn’t slowing down.
Younger generations are often difficult to attract, and YA reimaginings are just one way platforms are trying to break into the teenage demographic, said Jennifer Hessler, an assistant professor of cinema and media studies at the University of Southern California.
Lola Tung’s Belly is in a love triangle with Gavin Casalegno’s Jeremiah and Christopher Briney’s Conrad in “The Summer I Turned Pretty.”
(Erika Doss / Prime Video)
Netflix’s initial breakout success in the genre came with the release of “To All the Boys I’ve Loved Before,” a movie trilogy adapted from books written by Jenny Han, who’s also behind “The Summer I Turned Pretty.” The movies became massive hits and continue to drive viewership, drawing more than 55 million views globally last year, nearly eight years after the first film’s release, according to Netflix.
Younger generations are the target demographic of YA series at Prime Video, but the shows attract audiences of all ages, Friedlander said. Identifying and helping cultivate fresh storylines driven by relatable characters are integral to that success.
“If you really make the best version of a story, it can ripple out among different fandoms,” Friedlander said. “I do think that’s the ability of what streaming platforms can achieve as well, because you can really introduce the narrative to wider audiences.”
Made for streaming
Netflix doesn’t have a formula for a breakout success, Howe said, but strong voices that feel universal must be at the show’s core.
Jeff Norton, whose work focuses on book-to-screen adaptations, said he looks for characters he can fall in love with when choosing books to pitch for development.
“That’s the most important thing — to find a main character or a set of characters that I think the audience will resonate with,” said Norton, who is an executive producer of Netflix’s “Geek Girl,” which was greenlit for a second season.
The structures of young adult novels “lend themselves really nicely” to short TV series, Howe said, because it allows fans “to have more time as they’re living inside of these worlds and these experiences — it’s just that much more enriching.”
Streaming platforms usually release shorter seasons, often with six to 10 episodes — about half the episode order of a typical cable TV series.
Balancing the expectations of a book’s existing fandom while trying to attract a new audience is a major component of Friedlander’s role, he said, adding that “the television medium will often demand that you do change some of the journey along the way so it fits the rhythm.”
Norton, the showrunner of Netflix’s “Finding Her Edge,” said much of that show’s plot diverges from Jennifer Iacopelli’s novel. However, he focused on maintaining the book’s tone and found “the readership is actually very forgiving if you keep the characters whole and intact, but give them more to do.”
Oseman’s shift from novelist to TV writer — and now screenwriter — came with a steep learning curve. The growing pains were worth it, she said, because her story reached audiences who might never have picked up her books. Visual media has been crucial in bridging that gap.
“I want young queer people to be able to see themselves in the stories that they’re consuming,” she said. “I really hope that the existence of ‘Heartstopper’ will encourage people who are commissioning TV and movies … to take a chance.”
A few years ago, some were predicting the demise of Spanish-language television.
Most of the Latino population growth over two decades has come from U.S. births, outpacing the arrival of immigrants. The thinking was that because most U.S.-born Latinos speak English and can consume a wide array of media, Spanish-language TV would recede in relevance.
But Telemundo has defied such forecasts to become one of the nation’s hottest news outlets.
Last year, Telemundo increased its audience for its evening news, anchored by Julio Vaqueiro, by 11% over the previous year, according to Nielsen data. Its Los Angeles station, KVEA Channel 52, has surpassed entrenched giants Walt Disney Co.’s KABC and Univision’s KMEX, attracting more viewers for its local evening and late-night newscasts.
The Miami-based division has a strong social media presence. Its Telemundo Noticias (News) account boasts 16 million followers on TikTok, topping ABC News, CNN and Fox News.
Cultural and demographic shifts have helped fuel Telemundo’s rise. After more than a decade of immigration declines, border crossings surged during President Biden’s tenure — a tide that turned with President Trump’s return to the White House. Instead, Trump brought a torrent of significant news events, including immigration raids that reverberated through Latino communities.
“We are growing because we are telling the stories that are important to our audience,” Gemma Garcia, Telemundo’s executive vice president for news, said. “We are very audience-driven.”
When U.S. military forces seized Venezuela’s then-president Nicolás Maduro in January, Telemundo quickly flew its main news anchor, Vaqueiro, to report from Colombia, which borders Venezuela. The network interrupted its usual Sunday night fare for a news special that scored solid ratings.
The younger journalist brings a softer tone to his reports. He was promoted to Telemundo’s main news anchor in 2021 after several assignments, including working at KVEA in L.A. He loves stepping out from behind the anchor desk in Miami to cover big stories.
“We’re very focused on being out there and reporting on the ground,” Vaqueiro said in an interview. “Being close to our audience, that’s a big part of what we are doing at Noticias Telemundo.”
Another key to Telemundo’s momentum has been its commitment to the Spanish language.
Media companies a decade ago raced to engage young, bilingual Latinos by launching start-ups, including a joint venture between ABC News and Univision called Fusion that flopped.
“With Bad Bunny’s rise and the Super Bowl, it felt like a shift in values towards the Spanish language,” said Mark Hugo Lopez, Pew Research Center’s director of race and ethnicity research. “It has become a source of cultural pride … and it seems to be impacting the ways in which English-speaking Latinos also think about their identity.”
Bad Bunny performed the Super Bowl halftime show in Spanish in February.
(Eric Thayer / Los Angeles Times)
That increased affinity suggests that Spanish isn’t going away anytime soon.
“Our data has shown that Latinos say it’s important that Latinos in the future speak Spanish here in the United States,” Lopez said.
A slow build to a news leader
Telemundo’s rise was a slow build, coming nearly a quarter-century after NBC bought the network for nearly $2 billion.
Years of effort took root after NBCUniversal agreed in 2011 to spend big for the U.S. Spanish-language media rights to the FIFA World Cup, dethroning Univision, which had long televised the prestigious soccer event. This year, Telemundo is poised “to deliver the largest coverage in Spanish-language media history,” the network said in a statement.
It will provide live coverage for all 104 matches, including on the Telemundo and Peacock streaming apps.
NBCUniversal integrated its English and Spanish-language news units at its television stations. In Los Angeles, KVEA’s newsroom is in the same building on the Universal lot as KNBC-TV Channel 4. The same managers run both divisions.
“All of these things have evolved,” said Millie Carrasquillo, a Hispanic media consultant and former Telemundo research senior vice president. “It’s an alignment of the audiences, an alignment of how technology is evolving — and also the way that news is being delivered.”
Telemundo’s national newscast, anchored by Vaqueiro, averages 1.2 million viewers, its largest audience in years.
But audiences, particularly younger ones, are less likely to watch TV news, so network executives have tapped the potential of TikTok, Instagram and YouTube to boost their reach.
On TikTok, Telemundo reporters broadcast live from outside the U.S. Supreme Court last week as justices heard oral arguments on Trump’s push to end birthright citizenship for babies born to parents who are in the country unlawfully. Telemundo featured live coverage of the traditional Easter egg roll at “La Casa Blanca” (the White House) and frequent reports about NASA’s Artemis II mission, which scored millions of views.
“Radio and television hasn’t gone away,” said Mari Castañeda, University of Massachusetts Amherst’s Commonwealth Honors College dean. “But Telemundo has recognized that [cellphones] are where most of their audience is located and they leaned into that.”
Social media posts are easy to share, serving as a viral expansion of the network’s audience.
“Telemundo has emerged as a leader because it has modernized,” added Castañeda, a native of La Puente in Los Angeles County.
The U.S. Latino population nearly doubled between 2000 and 2024, rising from 35 million to 68 million, according to the Pew Research Center. Since the Great Recession, the growth has largely come from U.S. births, and the median age of U.S.-born Latinos is about 21.
The trend line bent during the Biden years as U.S. births roughly equaled the arrival of immigrants, Lopez said.
“Immigrants are still a very large part of the Latino story,” he said.
Noticias Telemundo anchor Julio Vaqueiro talks to a child living in a makeshift migrant camp along the Rio Grande near the Ciudad Juarez-El Paso border on Feb. 28, 2024.
(Telemundo)
‘This is a country we really love’
Telemundo’s brightest star — Vaqueiro — was born in San Juan del Río, north of Mexico City and came to the U.S. when he was 26 with his wife, who was also born in Mexico.
“We have three American kids,” Vaqueiro said. “All we know as a family is the U.S. This is a country that we really love and we’re grateful to it.”
In many ways, Vaqueiro’s journey is the story of U.S. Latinos.
“He’s Mexican but he’s also a U.S. Latino and he understands the context and issues that communities are feeling,” said Castañeda. “There’s a sense of authenticity and care that comes through.”
Vaqueiro wrote a book, “Río Bravo. México, Estados Unidos y el regreso de Trump, (Rio Grande: Mexico, the United States, and the Return of Trump),” to explore the political mood during a period of tumult and often tense relations between the countries.
Telemundo strives to stay out of the political fray, Garcia said.
“We don’t think about politics,” Garcia said. “We cover what is happening within our community, and now more than ever, we are on top of our community’s stories.”
Vaqueiro added: “We have to be very careful reporting the facts and verifying every information that comes to us.”
Political divisions course through Latino communities, including in South Florida where Telemundo is headquartered.
“We’ve always known that Latinos are not a monolith,” Vaqueiro said. “This is a complex community that is constantly growing. It’s diverse: geographically, culturally and generationally.”
Interest in news has swelled since Trump began his second term. Ratings are also up for ABC’s “World News Tonight with David Muir,” which is drawing 8.4 million viewers per telecast this season, outpacing NBC, Fox News and CBS.
In national news, Univision still tops Telemundo. In local news, Telemundo’s KVEA has continued to build on its lead this year, although KMEX remains competitive and Disney’s KABC remains dominant among English-language stations.
“I just hope that we meet the moment,” Vaquerio said. “This is a critical moment for Latinos who are navigating very difficult times under a lot of pressure.”
He has another goal, too.
“I want to lift Latino voices who are moving forward — opening new businesses and graduating from college,” Vaqueiro said. “I want to talk about the positive side of this community that brings huge contributions to the United States.”
WASHINGTON — Former Vice President Kamala Harris said Friday she was considering running for president in 2028, offering the clearest signal yet that she could seek to lead Democrats back to the White House.
“I might, I might,” she told an audience in New York. “I’m thinking about it.”
Harris was asked about her plans by the Rev. Al Sharpton during a conversation at a convening of his civil rights organization National Action Network, where several other likely Democratic hopefuls also were appearing this week. Some in Harris’ audience chanted “Run again!” before Sharpton asked whether she might do so.
“I served for four years being a heartbeat away from the presidency of the United States,” Harris said. “I know what the job is and I know what it requires.”
Harris’ loss to President Trump in 2024 was gutting for Democrats, who have faced persistent questions about the party’s direction and what type of candidate would be best positioned to retake the presidency.
Democrats have notched some wins against Republicans in recent state-level races as Trump’s popularity has declined and have set their sights on gains in this year’s midterm elections. Even if the party’s popularity rises, however, the 2028 race likely will be a tooth-and-nail fight as the country determines who will succeed Trump.
“Democrats can win in the midterm through protest votes against [Trump’s] direction of the country, but they’ll clearly need a vision for 2028 and beyond to win the presidency,” said Thad Kousser, a political science professor at UC San Diego.
The number of Democrats vying to put forth that vision is set to be high. Other potential 2028 candidates, including Gov. JB Pritzker of Illinois, Gov. Josh Shapiro of Pennsylvania, Sen. Mark Kelly of Arizona and former Transportation Secretary Pete Buttigieg, also spoke or were scheduled to speak with Sharpton before the conference ends Saturday.
California Gov. Gavin Newsom, who is considering a presidential run, was not on the convention schedule. A recent poll found that Newsom would have a wide lead over Harris among Democratic voters in California for the party’s next nominee.
Whether Harris would seek the nation’s highest office again after a fast, truncated 2024 campaign following former President Biden’s withdrawal from the race has been the subject of speculation for months.
She announced in July that she would not run for California governor — leaving the door open for a presidential run or something else — then published a book in September rehashing her campaign.
Voters’ familiarity with Harris gives her both a strength and a liability — her name recognition and experience have helped put her at the top of recent national polls, Kousser said, but voters often turn to fresher faces by the time primary elections come around. Her loss to Trump also could cause voters to balk ahead of an election that will be largely a referendum on his leadership.
At a time when Democrats are in particular need of a bold vision, that ultimately could give Harris a challenge, Democratic strategist Joe Caiazzo said.
“Elections are about the future, and I think it’s really tough for people who are part of our past to make that case. There’s a yearning for something fresh, new, exciting,” he said.
On Friday, Harris said she was considering who could do the best job for the American people.
SACRAMENTO — Every morning, Jack Kavanagh brews himself a cup of coffee or tea, pads down a short hallway, past the dining room, and turns left into his small home office, where he brings California to the world.
It’s been his routine for decades, through all manner of upheaval and events — social, political, natural and man-made.
Kavanagh, a somewhat-retired former TV newsman, has documented the policy and personalities behind those developments one curated paragraph at a time, complete with links, so others can follow his trail, feel the pulse of the state and take away what they will.
California: Unbiased and unvarnished.
What began as a summary for colleagues at a television station in Sacramento has developed a worldwide following, an achievement noteworthy not just for its duration — Kavanagh’s catalog may be the state’s longest-running news aggregator — but for all the things his website is not.
There are no flashy graphics on Rough & Tumble. No eyeball-grabbing videos, no partisan commentary or agenda, and none of the edge or snark that greases the gears of the perpetual-political-outrage machine.
There are just headlines and short summaries, presented as simply and unadorned as the plain-spoken Kavanagh himself. “The bottom line,” he said, “is trust” — vouching that an article is credible and worthy of a reader’s time.
“It all comes down to that. And now, with the age of AI fakes and all the other social media and stuff like that, it’s even more important. It’s even more unique.”
Kavanagh, 78, is a New Englander by birth and Californian by choice.
He grew up in Providence, R.I., and by his own account was aimless until his 21st year. One night, in June 1968, Kavanagh watched the small black-and-white television in his bedroom as live coverage of Robert F. Kennedy’s assassination unfolded. Captivated, he knew from that moment on what he wished to do with his life.
A low-level job at a local radio station led to an on-air position at its TV affiliate, where Kavanagh’s big break came in 1978 when a massive blizzard hammered the Northeast. His marathon coverage garnered national notice and, two years later, an offer to move to a larger market in Milwaukee. He was prepared to go, when another offer came from a TV station out West.
“Do you know many nanoseconds it takes,” Kavanagh asked rhetorically, “to make a decision between Milwaukee, Wisc., and Sacramento, Calif.?”
Two Emmys for television reporting adorn Jack Kavanagh’s home office in Sacramento.
(Sara Nevis/For The Times)
Kavanagh had never set foot in the state and part of his steep California learning curve was devouring as many newspapers — back when they abounded — as he could. He noticed a large stack that sat untouched each day in the newsroom; most of his colleagues, he said, were simply too busy to dive in. So he began typing up a summary of the top headlines and stuffing copies in people’s mailboxes.
When the internet was still in its infancy — Kavanagh guesses the year was 1994, or so — he began putting his compendium online, so those working at the station’s Stockton bureau could partake as well.
There wasn’t much interest. But people in the capital began noticing. Kavanagh’s daily wrap-up developed an audience among political insiders — lawmakers, lobbyists, legislative staffers — and then a following that grew to include other reporters and, eventually, readers throughout California and beyond.
Rough & Tumble — the name captures the sweat and grit of politics — has continued without interruption for 30-plus years. In that time, Kavanagh has missed only a few days here and there.
That includes in 2004, when he underwent quadruple bypass surgery. Another time, when Kavanagh was suffering ulcerative colitis, he brought his laptop and worked from a hospital bed. (The laptop also accompanies Kavanagh and his very indulgent wife of 42 years on their vacations.)
Kavanagh typically starts each morning scanning dozens of news sites. He posts the big headlines of the day. He also looks for trends and stories that connect the dots, which are collected beneath subheads — AI, water, housing, education and the like.
“I want it to be a tip sheet for anybody who is in a Fortune 500 company, or who is a kid on a scholarship in a high school somewhere,” Kavanagh said over lunch at a favorite Mexican restaurant. “I want them both to be able to zoom through this and figure out what’s going on and move onto something else.”
Mindful of his global audience, he updates his site with fresh headlines starting in the late afternoon. (Analytics allow Kavanagh to watch as the world wakes up and readers from as far away as Russia and China, represented by a blue dot, begin showing up on his computer monitor.) In all, he said, he devotes four to five hours a day to his one-man enterprise.
Rough & Tumble gets about 1.1 million page views a year, Kavanagh said, and while it’s not a huge moneymaker, the business allows him to write off his many subscriptions. A small amount of advertising also helps pay for the occasional trip.
Years after leaving the television business and a brief career as a media coach, Kavanagh runs the site as a kind of public service and a way to stay engaged and keep mentally fit. He’s still captivated by his adopted home state. “Every day,” he said, “I learn something new about California that I didn’t know yesterday.”
Kavanagh has no succession plan. He said Rough & Tumble will end the day he does — or sooner, if artificial intelligence renders Kavanagh and his role as host, news-gatherer and California guide obsolete.
One of the hottest tickets for the events surrounding Super Bowl LX in February was a party thrown at the Cow Palace in San Francisco by Sports Illustrated, where attendees could hang with Justin Bieber, Kevin Hart and Travis Kelce.
The magazine’s logo and a team of models from its latest annual swimsuit issue were present at another pre-game bash at the Michelin three-star restaurant Quince.
Sports Illustrated journalists were getting requests from peers looking to score invites to the gatherings, which symbolized a turnaround at the 72-year-old title. Just two years earlier, many of its writers were told their jobs were being eliminated.
But Authentic Brands Group, the New York-based company that purchased Sports Illustrated in 2019 for $110 million, says the title is now thriving after reducing its reliance on advertising and circulation revenue. The privately held firm — which expects $38 billion in global retail sales this year, up from $35 billion in 2025 — does not break out the finances for its businesses but says SI is highly profitable after a rocky period. Less than half of SI’s revenue comes from its media business.
“It took us a little while and we had a couple of bumps along the way,” Daniel W. Dienst, executive vice chairman for Authentic, said in a recent interview from his New York office, where a photo of baseball legend Hank Aaron taken by acclaimed SI photographer Neil Leifer hangs on the wall behind his desk.
For decades, SI was where every sports journalist aspired to work, hoping to become the next Frank DeFord or Gary Smith, whose 32-year career at the magazine is highly revered. Cover images of Muhammad Ali, Michael Jordan and other superstars are emblazoned in the memories of fans who eagerly awaited the title to arrive in the mail each week. For athletes and sports institutions, the cover remains a coveted honor.
“You go to LeBron James’ office in Akron, it’s got his 30 covers on the walls,” Dienst said. “You go to USC, they’ve got 21 covers with their athletes and coaches all over their athletic department.”
Now a monthly magazine, the flagship business of Sports Illustrated is no longer the first stop for fans looking for game analysis or profiles of athletes, many of whom have asserted greater control over their images through social media and podcasts.
Like other print magazines, SI has seen a sharp falloff in its circulation, currently at 400,000, down from 3 million in 2010. Authentic says SI has 52 million users a month on its web site and 21 million social media followers. ESPN had 229 million digital users in November.
But the famous SI name still resonates with generations of consumers and Authentic has sought ways to capitalize on it, from selling replica covers to opening branded resort hotels in Chicago and Nashville. International editions of the magazine have been launched in Germany, China and Mexico, with plans to launch in France and the U.K.
In January, Sports Illustrated launched its own free ad-supported streaming TV channel called SITV that features live shows with its journalists and includes films and shows from an archive stocked with documentaries and swimsuit issue specials going back decades.
The channel, which along with the other SI assets is managed by New York-based Minute Media, will also carry live sports coverage including college basketball. While Minute Media did not reveal early viewership figures, the company said the audience for the channel has grown 60% since its launch.
Cincinnati Bengals quarterback Joe Burrow on the cover of Sports Illustrated.
(Clay Patrick McBride)
The streaming channel is a major media initiative for brand that has seen more activity in other sectors.
In 2023, Authentic put the SI name on Lunatix, a sputtering ticket marketplace. Now called Sports Illustrated Tickets, the business has signage deals with 13 venues around the world including a New Jersey-based stadium — the home of the New York Red Bulls soccer team. The service expects to generate $500 million in revenue this year.
Authentic also uses Sports Illustrated-sponsored events such as the ones held at the Super Bowl to entertain clients for its other businesses and makes tickets available to the public. SI will host an event for Authentic at the Masters golf tournament in Augusta this week and has a permanent high-end, track-side hospitality space at Churchill Downs in Kentucky called Club SI.
Authentic specializes in acquiring and investing in famous retail properties that have foundered. The firm has acquired such names as the outerwear retailer Eddie Bauer, Brooks Brothers and Reebok, and in January took a 51% share in the fashion brand Guess.
ABG enlists outside operators to run the brands. Those operators pay an ongoing license fee to ABG, which also takes a cut of the revenues.
That was the plan when Authentic bought Sports Illustrated from Meredith Corp., now known as People Inc.
After the purchase, Authentic entered a $15-million-a-year licensing agreement with Arena Group (at the time known as Maven) to run Sports Illustrated. A New York-based digital media company, Arena operated such well-known titles as Men’s Journal, Parade and TheStreet. But the partnership unraveled when Arena used AI for sponsored content on Sports Illustrated’s website, which sounded alarm bells at the esteemed publication.
Sports Illustrated’s 2026 Super Bowl party at the Cow Palace in San Francisco.
(Sports Illustrated)
The Arena Group acknowledged it hired an outside firm to create product reviews that used fake bylines. The scandal coincided with the termination of its chief executive, Ross Levinsohn, who once held a leadership role at the Los Angeles Times.
The relationship with Authentic worsened when Arena’s majority owner, Manoj Bhargava, took over as interim chief executive. The founder of 5-Hour Energy, Bhargava tried to fire Sports Illustrated’s unionized editorial staff and renegotiate a lower licensing fee from Authentic. He also used the magazine’s editorial pages and website to promote his energy drink business.
The SI media business was unprofitable under Bhargava and Arena missed a payment to Authentic on its licensing deal. In March 2024, Arena announced it was shutting down the print edition of SI.
Around the same time, Authentic hired Minute Media, which runs the digital sites Fansided and Players’ Tribune, to take over Sports Illustrated. Bhargava didn’t go quietly; according to legal filings, he threatened to delete Sports Illustrated’s archive of intellectual property.
Authentic sued Arena for breaching the SI licensing agreement, which was settled. Many of the title’s laid-off journalists were rehired.
The experience with Arena was a harsh lesson for Authentic, which never had owned a media property before.
“The minute I make that phone call or anybody perceives that Authentic could control the newsroom, forget it, game over,” Dienst said, referencing Bhargava. “We had to move on.”
Minute Media has gotten high marks from the SI staff for its repair work on the media side of the business.
“It’s been a long time since we felt like we had an operator and support from the very top to not just grow what we’re doing day to day, but to grow what Sports Illustrated is going to look like 10 years down the road,” said Steve Cannella, editor in chief of Sports Illustrated.
SI’s union representing editorial employees praised Minute Media when it took over, and is close to agreeing on a new contract deal with the company.
Minute Media is aiming to expand the SI brand‘s reach across other media platforms to make up for the time lost under previous regimes.
“I’ve asked, ‘guys, what are all the things you wanted to do that you haven’t been able to do?’ ” said Minute Media President Rich Routman. “If we’re not trying new stuff, we’re failing.”
Some sports media types believe SI is largely a nostalgia play in a landscape where young fans go elsewhere for game highlights and turn to provocative hosts such as Pat McAfee on YouTube. But awareness goes beyond the audience of baby boomers and Gen Xers who grew up with the brand.
Lisa Delpy Neirotti, who leads the sports management program at George Washington University, recently conducted a study with her students on their media consumption habits. She said she was surprised to see high recognition of Sports Illustrated with the Gen Z crowd, and credits SI for Kids, the spin-off publication for younger readers launched in 1989.
“They would remember getting it in the mail, and it was the first thing that got them interested in sports,” Neirotti said. “There are a lot of positive memories that keep the brand alive.”
Dienst said the audience for SI has gotten younger under Authentic’s ownership. But he doesn’t disregard the oldsters who grew up with it.
“They’re very affluent and they’re super loyal,” he said.
This story contains spoilers for “The Super Mario Galaxy Movie.”
Everybody’s favorite fearless and super capable princess is back for another adventure — along with the denizens of her kingdom and a pair of New York plumber brothers — in “The Super Mario Galaxy Movie.”
Now in theaters, the follow-up to the 2023 blockbuster “The Super Mario Bros. Movie” sees Princess Peach, Mario, Luigi and Toad joined by some new yet also very familiar faces as they try to thwart yet another evil plan by a member of the Bowser clan. The result is some intergalactic travel and family-friendly action.
Directed by Aaron Horvath and Michael Jelenic, who also helmed the first film, “The Super Mario Galaxy Movie” formally introduces into Nintendo’s movie universe the cosmically powerful Rosalina and her flock of star-shaped Lumas, Bowser’s ambitious mini-me, Bowser Jr., the insatiable dinosaur-like Yoshi, ace pilot Fox McCloud and more video game fan favorites. (That includes Mr. Game & Watch, one of Nintendo’s earliest playable characters.)
These introductions, of course, don’t stop when the film’s main story ends.
Much like the first installment, “The Super Mario Galaxy Movie” features a couple of bonus scenes that are shown after the credits begin to roll. The first is a mid-credits scene that involves a breakout character from “The Super Mario Bros. Movie,” and the second, shown after the credits end, introduces another Nintendo royal.
Many Lumas appear in “The Super Mario Galaxy Movie.”
(Nintendo and Illumination)
The mid-credits scene is justice for Lumalee
Lumalee quickly won audiences over in “The Super Mario Bros. Movie” with his cheerfully nihilistic one-liners while imprisoned by Bowser. The blue Luma doesn’t appear during the main story of “The Super Mario Galaxy Movie,” but the star-shaped creature steals the mid-credits scene.
The bonus scene takes place sometime after the movie’s main story ends at the prison where Bowser and Bowser Jr. have been locked up. After Fox teases a possible sequel or “Star Fox” spin-off by mentioning he is finally “heading home” as he approaches his ship, audiences get a glimpse of what’s in store for the Bowser duo’s foreseeable future.
Peace may not be an option, because their prison guard is former Bowser captive Lumalee. And the role reversal — complete with uniform — doesn’t appear to have changed Lumalee’s outlook on life in any way.
The blue Luma said it best in the first “Mario” movie: “Life is sad, prison is sad, life in prison is very, very sad.” Just how sad things might get for the Bowsers will be up to Lumalee.
Peach fights off some Ninjis in “The Super Mario Galaxy Movie.”
(Nintendo and Illumination)
The second post-credits scene introduces a new princess
The final bonus scene in “The Super Mario Galaxy Movie” is more of a teaser for what could come in a future “Mario” installment.
This stinger takes place back at the hub known as the Gateway Galaxy. The mischievous thieving monkey Ukiki is once again trying to make off with the belongings of a passerby when he is stopped by another traveler: Princess Daisy.
Daisy is a character that first appeared in the 1989 Game Boy game “Super Mario Land.” Much like Peach in the first “Super Mario Bros.” video game, Daisy was the princess players were trying to rescue. She has since become a Nintendo regular, being featured as a playable character in “Mario”-related titles including in the “Mario Kart,” “Mario Party” and “Super Smash Bros.” series of games as well as the latest main series installment, “Super Mario Wonder.”
Although Daisy does not have any lines in the film, the video game incarnation of her is known to be energetic and feisty.
This brief glimpse of Daisy is another indication that there is more to come in the Mario movie franchise. Audiences will have to wait to see if (or when) a third movie is officially announced.
• The Academy Awards will move from the Dolby Theatre to L.A. Live in downtown Los Angeles beginning in 2029 under a new agreement with AEG that runs through 2039.
• The shift to L.A. Live will place the ceremony within a larger, campus-style complex, allowing the red carpet, show, press operations and post-show events to be staged in a more centralized footprint with increased capacity.
• The move will coincide with the Oscars’ shift to YouTube, part of a broader reset for the ceremony as it looks to expand its global reach after years of declining television viewership.
The Oscars are leaving Hollywood — or at least Hollywood Boulevard.
Beginning in 2029, the Academy Awards will move from the Dolby Theatre, their home for nearly a quarter century, to L.A. Live in downtown Los Angeles, the Academy of Motion Picture Arts and Sciences and AEG announced on Thursday. The ceremony will be held in the theater currently known as the Peacock Theater, which is expected to be renamed before the Oscars arrive as part of a new naming rights deal.
The new agreement runs through 2039. Discussions about the move have been underway for the last couple of years, according to people familiar with the planning who were not authorized to speak publicly.
The change in venue comes as the Oscars are also moving away from their traditional home on broadcast television. Earlier this year, the Academy announced that the ceremony will begin streaming live worldwide on YouTube in 2029, ending a five-decade run on ABC.
Since 2002, the show has been closely associated with Hollywood Boulevard, where the red carpet runs alongside the Walk of Fame and, for one night a year, the area becomes the symbolic center of the film industry. The Dolby Theatre sits at the corner of Hollywood and Highland, inside a retail and entertainment center near the TCL Chinese Theatre and the El Capitan.
L.A. Live offers a more centralized, campus-style setting, with venues and event spaces clustered together. The complex is adjacent to Crypto.com Arena and the Los Angeles Convention Center and is part of a larger sports and entertainment district developed and operated by AEG that regularly hosts concerts, sporting events and awards shows, including the Emmys and the Grammys. AEG has recently proposed adding a new hotel, residences and additional entertainment space to the complex, part of a longer-term expansion of the site.
In some ways, the move out of the Dolby is less a break than a return: The ceremony was staged for years in downtown L.A. at the Dorothy Chandler Pavilion and at the Shrine Auditorium before settling at the Dolby.
At the Oscars’ new home, the red carpet, ceremony, press operations and post-show events can all be staged within a compact footprint that includes the adjacent JW Marriott hotel and its ballroom. The theater itself is expected to undergo upgrades to its stage, sound and lighting systems, allowing it to be configured more specifically around the show. The move is also expected to increase capacity, a growing consideration as the academy’s ranks have expanded significantly in recent years, now numbering more than 11,000 members.
At the Dolby, space has long been tight. Each year, multiple blocks of Hollywood Boulevard are shut down for days at a time, rerouting traffic and turning the area into a heavily secured zone — conditions that were even more restrictive this year with security tightened further amid the war in Iran, including a one-mile police buffer around the theater.
The Academy had been looking for a venue that offered greater control over how the show is staged, including how the audience is arranged and how the room is used for both the broadcast and the live event. The new venue is expected to provide more room for press areas, green rooms and backstage operations, along with upgraded technical infrastructure for staging the ceremony.
Early design renderings released by the academy suggest that, for viewers at home, the Oscars may not look all that different. The stage retains the sweeping, curved proscenium that has defined the Dolby Theatre era, suggesting a similar visual approach at a larger scale, with expanded screen space and a more immersive ceiling design.
For both the academy and AEG, which owns and operates the complex, the appeal is in keeping everything in one place — arrivals, ceremony, the Governors Ball and afterparties — rather than spreading events across multiple locations. The setup also creates new opportunities for hospitality and sponsorship tied to the broader campus.
“L.A. Live was built to host the moments that define culture and there is no greater global stage than the Oscars,” said Todd Goldstein, AEG’s chief revenue officer. “Together, we will create an environment that celebrates creativity, honors excellence and delivers an unforgettable experience for movie fans everywhere.”
Taken together, the changes amount to a significant reset for the Oscars, which have seen their audience decline from more than 40 million viewers in the late 1990s to 17.9 million this year, down 9% from the previous year. Moving to YouTube offers a way to reach a broader, more global audience at a time when traditional television viewership has declined.
The Oscars will remain at the Dolby through the 100th ceremony in 2028 before making the transition the following year.
“For the 101st Oscars and beyond, the Academy looks forward to closely collaborating with AEG to make L.A. Live the perfect backdrop for our global celebration of cinema,” Academy Chief Executive Bill Kramer and President Lynette Howell Taylor said in a statement.
This is the question on everyone’s mind of “The Bachelorette’s” producers, ABC, Hulu and the Disney legal team.
On Thursday, ABC announced that the heavily promoted new season of “The Bachelorette,” scheduled to premiere Sunday, would not be moving forward “at this time.” Why not? Well, the Bachelorette in question, “The Secret Lives of Mormon Wives” star Taylor Frankie Paul, was the subject of a second domestic assault investigation as a damning video from her first, in which she pleaded guilty to aggravated assault, made the rounds courtesy of TMZ. Filming for Season 5 of “Mormon Wives,” which Paul executive produces, was also abruptly halted.
The disturbing video is hard to watch. Not so much because Paul puts on-again, off-again partner Dakota Mortensen into a headlock and then pelts him with metal bar stools — sadly, this is a scene that would not be out of place on many reality shows — but because a small child is in the room. After one of the stools bounces toward the camera, Paul’s then-5-year-old daughter Indy begins crying and Mortensen later says “help your child.” Even as the child cries “Mommy,” Paul continues on her rampage. When Mortensen belatedly attempts to help Indy, Paul screams at him to “get away from my child.”
And while “Bachelorette” producers and Disney lawyers may not have seen the video, which was introduced in the 2023 court case, the police report makes it clear that Indy was injured during the incident, noting a “goose egg” on the child’s head. Paul was charged with aggravated assault, child abuse and domestic violence in the presence of a child. Paul, who said she had been drinking before the incident, pleaded guilty to one count of aggravated assault, a third-degree felony. The other charges were dismissed and Paul, who was put on probation, submitted a plea of abeyance. In August 2026, a court will review the assault charge and, if Paul complies with the terms of her probation, could lessen it to a misdemeanor.
Should a new criminal charge be made after the current investigation, all bets are off.
So was it the emergence of the video or the possibility of a felony conviction that caused ABC to put this season of “The Bachelorette” on ice? Does the reason matter?
ABC knew that Paul had been charged in a domestic violence incident that led to the injury of her child and somehow thought she would make an excellent Bachelorette anyway.
What were they thinking?
“The Bachelorette” Season 22 billboard starring Taylor Frankie Paul is seen on Thursday — the day her season was axed.
(HIGHFIVE / Bauer-Griffin / GC Images via Getty Images)
They were thinking that audiences like messy “authenticity,” and it doesn’t get any more authentically messy than 31-year-old Paul, who climbed to social media fame by founding MomTok, a TikTok community of married Mormon women dancing, joking and pushing against the traditions and restrictions of their faith. Pretty and profane, funny and frank, Paul amassed a large following. After Paul discussed the “soft swinging” she and her husband engaged in with other Mormon couples, the group went viral and led to the creation of “The Secret Lives of Mormon Wives,” the first episode of which was titled “The First Book of Taylor.”
Chronicling the fallout from the “soft-swinging” scandal, the first season built on Paul’s frank discussions of her chaotic life; it was Hulu’s most-watched unscripted season premiere of 2024. The subsequent three seasons, in which the MomTokers deal with the pressures of fame, their romantic relationships and all manner of internal “Mean Girls” drama, have continued to grow the show’s audience even as ratings for “The Bachelor” franchise flagged.
To the algorithm, or a numbers cruncher, the hopes that Paul could bring some of the “Mormon Wives” magic to “The Bachelorette” might make sense.
Except Paul isn’t magic; she waves her red flags high and proud, and the good folks at ABC, Hulu and Disney charged at them with the oblivious desperation of so many trapped, maddened bulls. (It usually does not end well for the bulls either.)
The “soft swinging” led to her divorce from first husband, Tate Paul, with whom she has two children, including Indy. As chronicled on “Mormon Wives,” she began her turbulent relationship with Mortensen, with whom she shares a young son, Ever. Her 2023 arrest was a storyline — she called it one of the rock bottoms of her life, though in a recently resurfaced TikTok video, she brags about throwing things and being arrested — and in Season 4 she was found in bed with Mortensen, with whom she had allegedly broken up, on the morning she was supposed to fly to L.A. to film “The Bachelorette.” (She caught a later flight.) The season finale ended with the possibility that Paul might be pregnant.
Reality cross-pollination has become so increasingly popular — ABC’s “Dancing With the Stars” couldn’t live without it, and Peacock’s hit show “The Traitors” is built on it — that there seems to be little thought given to the apples-versus-oranges fact that not every reality show is the same. “Bachelorette” producers not only ignored the misgivings voiced by their own fans, many of whom did not think Paul would be approaching the show as a truly single woman searching for love, they reportedly extended her many freedoms denied other participants, including unmonitored use of her phone during filming.
They clearly wanted the ratings miracle that Paul’s unvarnished wildness had lent “Mormon Wives.”
Casting for maximum drama is a driving force in many reality shows. Even if one accepts that perfectly reasonable people are happy to live in a bubble with strangers for months in hopes of achieving love, fame or a cash prize, someone inevitably is cast to bring the crazy, er, conversation-sparking personality. And like all of television, reality is facing splintered and waning audiences so the decibel level of that conversation-sparking is often dialed way up.
Hence the ascendancy of Taylor Frankie Paul, queen of MomTok and “Mormon Wives,” a woman known for her lack of filter and habit of putting it all out there. For the purposes of our entertainment.
There is, of course, no point in mentioning the many past, and often show-derailing, scandals of the genre — the suicides, the racism, the sexual assault, homophobia, bullying, pedophilia, infidelity and just general ghastliness that has arisen from the popularity of people sharing their “real” lives. Audiences connect with these shows, the messier the better.
But, as it turns out, some messes are too big to leverage even for forgiving eyeballs of reality fans.
“The Bachelor” franchise should have known better. It’s been around for almost a quarter-century and has suffered its fair share of scandals during those years. But drafting a woman who was convicted of assault in an incident that harmed her own child, well, “The Bachelorette” knew it was playing with fire.
Clearly they hoped she would rekindle the dying embers of the show.
There’s still nine months to go before audiences can return to Arrakis. Until then, Warner Bros. has released a trailer to hold us over.
“Dune: Part Three,” which takes place nearly two decades after the events of the sequel, promises more political upheaval, introduces a ruthless new villain and teases Paul and Chani’s future child, according to a trailer released Monday.
“Dune” stars Zendaya and Javier Bardem joined Denis Villeneuve to preview the trailer for the conclusion to his famed sci-fi trilogy. New cast members Anya Taylor-Joy and Robert Pattinson were also in attendance at the AMC event while Timothée Chalamet, Florence Pugh and Jason Momoa sent video messages.
“It’s a trailer launch? It looks like a premiere,” Villeneuve said during the event, which included a Q&A with the cast and was met by thunderous applause from the audience.
Zendaya, who stars in the films as Chani, a Fremen warrior, expressed excitement about the upcoming film, saying the “movies have meant so much to me over the years. I’ve literally been able to grow up in my entire 20s doing them, and so they have such a special place in my heart.”
Here’s everything to know about “Dune: Part Three.”
What is ‘Dune 3’ about?
The trilogy’s final installment picks up 17 years after the second movie, though the trailer hints at continued war and political turmoil in Arrakis and beyond.
Paul Atreides, played by Chalamet, is dealing with the consequences of defeating the Harkonnens and becoming emperor, struggling with his role as the Fremen’s messiah.
The trailer hints at a possible future child between Paul and Chani. The pair, who are introduced as potential love interests in the first movie, were split up at the end of the second film, with Paul marrying Princess Irulan, played by Pugh, in a political move to ensure his ascension to the throne.
In the trailer, Chani asks Paul, “If we have a girl, what will we name her?” hinting at a possible reconciliation. In a pre-recorded video played during the event, Pugh addressed the love triangle, and asked Zendaya what her character thinks of Irulan’s marriage to Paul.
“You guys will just have to see for yourself what happens, because it’s quite the journey,” Zendaya said during the event.
At the heart of the third movie, Villenueve said, is a love story, adding that “the heartbeat of the film is still the relationship between Paul and Chani,” according to Deadline.
The trailer also offers a sneak peek at continued battles in the universe, even years after Paul, the “chosen one,” becomes emperor.
Jason Momoa returns as Hayt in “Dune: Part Three,” a clone of Duncan Idaho.
(Warner Bros. Pictures)
When will ‘Dune 3’ be released?
The final installment of the trilogy will hit theaters Dec. 18.
“Dune: Part Three” is inspired by “Dune Messiah,” the second novel in Frank Herbert’s “Dune” series. The first two films were adapted from the first novel.
Villeneuve had planned to temporarily step away from the “Dune” universe, but “felt a responsibility to finish the story” after seeing audience excitement for the second film, which was released in 2024, he said during the trailer launch. The first two movies were box-office hits, collectively grossing more than $1.1 billion worldwide. “Part Two” won two Oscars, and the first film earned six Oscars out of 10 nominations, primarily in the technical categories.
“It’s a good idea to come back to those worlds, not by nostalgia, but by urgency,” he said. “If the first movie was contemplation — a boy exploring a new world — and the second one is a war movie, this one is a thriller. It is action-packed and tense. More muscular.”
Robert Pattinson plays shape-shifting villain Scytale in “Dune: Part Three.”
(Warner Bros. Pictures)
What have ‘Dune’ stars said about the film?
The trailer’s exclusive screening was introduced via a video message by Chalamet, who said Villeneuve’s third film is “a true act of cinema.”
“This film would not exist without the master of cinema, the great artist that is Denis Villeneuve,” Chalamet said. “I’m not alone in saying thank you to Denis for his dedication in bringing the ‘Dune’ films to life — and now the ‘Dune’ trilogy to life.”
Momoa, who starred in the first film as Duncan Idaho before his character was killed off, will be back in the third installment, he announced in a video at the event. Taylor-Joy, who had a brief cameo in the second movie, will return as Paul’s younger sister Alia.
Pattinson will take on the role of shape-shifting villain Scytale. Pattinson said he got the job just months after he asked Zendaya how he could join the “Dune” cast while on set filming their black comedy “The Drama.” (The A24 movie opens April 3.)
“Everybody wants to work with Denis. He’s a master,” Pattinson said during the event. “When you see the scope and scale and ambition of these movies, like on set, you get why they feel like this on the screen. It’s just extraordinary.”
The Bird Cage Theatre has stood inside Knott’s Berry Farm for 72 years — albeit not always soundly. Long framed by a tin roof and a tent, the theater had a reputation for discomfort, as it was a source of punishing heat and the occasional mouse sighting.
“It was hot, it stunk and it was dirty,” says Payden Adams, the park’s VP of entertainment.
Still, though it has long felt like an endangered species, the Bird Cage Theatre is one of Southern California’s most historic revival houses, a place for vaudeville-style, fourth-wall-breaking shows that deviate from the expected theme park fare. To quote the theater’s most recent production, its entertainment can be “flirtatious and a little bit saucy.”
Knott’s Berry Farm’s Bird Cage Theatre is modeled after a historic venue in Tombstone, Ariz.
(Kyusung Gong / For The Times)
Opened in 1954, the Bird Cage Theatre has specialized in vaudeville-style melodramas.
(Knott’s Berry Farm)
And now, against all odds, the Bird Cage is getting a second life. Knott’s Berry Farm recently completed a renovation designed to keep it thriving for another 72 years. Gone is the tarpaulin roof: The Bird Cage is now a fully enclosed, soundstage-like structure. And blessedly, it has modern air conditioning.
The theater reopened this past weekend with “The Great Bank Robbery,” a 30-minute-plus show in which audiences are encouraged to boo, hiss and swoon over the characters, a Bird Cage tradition since 1954. Characters are caricatures, be it a villain that feels plucked from a cartoon western, complete with a purring raccoon for a sidekick, to a greedy wannabe politician of a bank manager. Though set in Ghost Town with period garb, there are modern flourishes, such as tongue-in-cheek nods to the theme park’s attractions and a damsel in distress who ultimately proves to be anything but.
Though it once operated as a daily theater, the Bird Cage is today most active during holidays and seasonal events, such as the park’s annual Boysenberry Festival, which also began this weekend. Popular summer show “Miss Cameo Kate’s Western Burle-Q- Revue” is a 20-minute cabaret-style performance, complete with a torch song and a slightly risqué cancan finale.
When it’s running, the Bird Cage is a must-see attraction. Live theater in theme parks can feel like a moving target, as conventional wisdom often argues that today’s smartphone-addled guests are after thrills and more attention-grabbing, interactive experiences. But when it works, such as during the over-the-top silliness of “The Great Bank Robbery,” or at Universal Studios’ “Waterworld”-themed stunt show, it can offer guests some of the most memorable, personal moments at the parks.
The Bird Cage Theatre reopened this past weekend with the show “The Great Bank Robbery.”
(Kyusung Gong / For The Times)
“You’re not wrong, especially when it comes to attention spans. We experience that,” says Adams, who oversaw the theater’s restoration. “The way we’ve pivoted and navigated is just ensuring our shows are tight and clean. It might be a little over 30 minutes, but audiences are engaged. In melodramas, we ask the audience to participate, and we can train them how to participate beforehand. When you see characters, even when they’re heightened or over-the-top, people still connect with them.”
The Bird Cage Theatre first opened in the summer of 1954, its facade a near-replica of the original Bird Cage in Tombstone, Ariz. That the family-focused Knott’s would nod to the Arizona locale is an oddity in and of itself, as the actual theater had a bawdy reputation. Stories today speak of a place that initially opened with grand ambitions but eventually succumbed to gambling and prostitution.
At Knott’s, the theater was built around existing structures, although park founder Walter Knott, according to the book “Knott’s Preserved” by Chrstopher Merritt and J. Eric Lynxwiler, often talked about completing it as a full tribute to the Arizona space. That never really happened.
Knott’s re-created the original wallpaper of the Bird Cage Theatre for its remodeling.
(Kyusung Gong / For The Times)
And yet over the years the Bird Cage won over audiences thanks to programming from Vaudeville veterans. Early on, students from nearby colleges would appear at the space, including Steve Martin, whose signed photograph graces a celebrity wall in the Bird Cage’s introductory hall. Donna Mills and singer Rick Nelson have graced the Bird Cage’s horseshoe-shaped stage, as have Dean Jones and Skip Young.
It was, to say the least, a quirky place to perform. “Knott’s Preserved” tells of a show in which a mouse once sat at the base of the stage, and quotes Martin as reminiscing over performances affected by the weather. “When it rained, no one could hear each other because the rain was beating so hard on that tarp,” Martin said.
None of that should be a problem anymore, although returning guests will likely feel they’re in a familiar space. Though the Bird Cage has been outfitted with modern lighting capable of new theme park tricks and projections, the rig is hidden among curtains designed to re-create the look of the original tent. Lights, in bird cage enclosures, still hang above the audience seating area, which has room for about 250 guests.
The Bird Cage Theatre at Knott’s Berry Farm now has a properly enclosed roof and air conditioning.
(Kyusung Gong / For The Times)
And along the way a few discoveries were made. Adams says that when they began stripping away wooden walls added sometime in the 1970s, they found the Bird Cage’s original wallpaper, a scarlet-red strip that surrounds the space with flower-adorned bird cages. Not all of it could be salvaged, so Knott’s meticulously re-created the look. With the new-old wallpaper intact, Adams estimates that guests can count about 11,055 bird cages throughout the theater.
The original pieces will be preserved in the park and gifted to important Bird Cage players. Adams jokes, “If you have a mailing address for Mr. Steve Martin, I have a gift to send him.”
In one of his latest missives on social media, President Trump complained that he wasn’t getting enough credit for “totally destroying the terrorist regime of Iran, militarily, economically, and otherwise.”
“We have unparalleled firepower, unlimited ammunition, and plenty of time,” he wrote of a war that has crippled the global supply of oil, sharply increased gas prices, cost U.S. taxpayers billions, left thousands dead and wounded, and so far defied Trump’s own “short term” timetable.
“Watch what happens to these deranged scumbags today,” Trump added. “They’ve been killing innocent people all over the world for 47 years, and now I, as the 47th President of the United States of America, am killing them. What a great honor it is to do so!”
Again and again in recent days, Trump and other top officials in his administration — notably Secretary of Defense Pete Hegseth — have projected confidence and power in Iran in a coarse and triumphant tone that is unprecedented for U.S. wartime presidents and their Cabinet members, according to experts in presidential rhetoric and propaganda.
They have consistently described the war in terms of how hard the U.S. is hitting Iran, rather than why it must do so. They’ve talked of destroying the Iranian navy and air force, wiping out its leadership and making the U.S. “more respected” globally than it has ever been, including by showing no mercy.
“This was never meant to be a fair fight, and it is not a fair fight. We are punching them while they’re down, which is exactly how it should be,” Hegseth said.
Missing is the solemnity of past wartime leaders facing dead U.S. soldiers, a recalcitrant enemy and a precarious tactical position, replaced by a message of U.S. mercilessness — of contempt for Iran rather than concern for its civilians or a focus on the American ideals that U.S. presidents have long tried to rally the world around, especially in times of war.
“At a time when people can see the effects of the war when they fill up their gas tank, and when there have been American casualties, the triumphalist tone is just not something a president normally does,” said Robert C. Rowland, a professor of rhetoric at the University of Kansas and author of the book “The Rhetoric of Donald Trump: Nationalist Populism and American Democracy.”
“Many presidents wouldn’t have that tone for personal moral reasons,” Rowland said, “but they also know that it can backfire when things don’t go well.”
James J. Kimble, a communication professor and propaganda historian at Seton Hall University, said U.S. presidents have “by and large” struck a respectful tone in wartime, though there are some exceptions. President Truman, justifying dropping atomic bombs on Japan, wrote that “when you have to deal with a beast, you have to treat him as a beast,” while the U.S. produced World War II posters designed to “demonize and dehumanize the German enemy,” he noted.
Still, Trump’s messaging — including his “expressing glee at the death of foreign combatants” — has been “much coarser,” Kimble said.
“It’s moving beyond the idea of defeating the enemy on the field of battle, and more into a kind of defeat as humiliation — intentional humiliation,” he said. “It’s schoolyard bullying, along with the physical violence.”
Asked about Trump’s rhetoric, Anna Kelly, a White House spokeswoman, said Trump “will always be proud to recognize the incredible accomplishments of our brave service members.”
“Under the decisive leadership of President Trump, America’s heroic war fighters are meeting or surpassing all of their goals under Operation Epic Fury,” she said. “The legacy media wants us to apologize for highlighting the United States military’s incredible success, but the White House will continue showcasing the many examples of Iran’s ballistic missiles, production facilities, and dreams of owning a nuclear weapon being destroyed in real time.”
Trump has built his political career around blunt rhetoric, and his messaging on Iran has drawn applause from his supporters. Polling has shown the public is heavily divided on the war — drawing far less public support than past wars, but broad support from Republicans.
White House Press Secretary Karoline Leavitt has accused the media of ignoring “clear” objectives that the president and others have set for the war effort, including wiping out Iran’s missile systems, preventing it from developing a nuclear weapon and stopping what Trump had a “feeling” was a coming attack on the U.S.
However, Trump and Hegseth have themselves strayed from that framework with their brash rhetoric, and their focus on the killing of Supreme Leader Ayatollah Ali Khamenei and other Iranian leaders.
Trump has dismissed reports that the U.S. bombed an Iranian school full of children by suggesting that Iran may actually have been responsible, despite reported findings by U.S. intelligence that it was an American attack.
Hegseth has added to concerns about careless U.S. bombing by expressing disdain for wartime rules designed to limit civilian casualties, calling them “stupid rules of engagement.”
“Our war fighters have maximum authorities granted personally by the president and yours truly,” Hegseth said. “Our rules of engagement are bold, precise and designed to unleash American power, not shackle it.”
The White House has also pushed out a wave of wartime propaganda on social media, often striking the same irreverent, bullish tone, experts noted.
One video interspersed movie clips of superheroes and soldiers with real footage of Iranian targets getting blown up, under the words, “JUSTICE THE AMERICAN WAY.” The clip drew condemnation, including from the actor Ben Stiller, who objected to the inclusion of footage from his film “Tropic Thunder,” saying, “War is not a movie.”
Hegseth’s bravado has also been caricatured on “Saturday Night Live,” which opened two weeks in a row with a satirical portrayal of him as angry, dimwitted and hyped up on the violence of war.
All of it has come against a backdrop of Islamophobic remarks from members of Congress on X, with Rep. Andy Ogles (R-Tenn.) writing that “Muslims don’t belong in American society” and Sen. Tommy Tuberville (R-Ala.) posting a picture of the 9/11 terrorist attack next to an image of New York City Mayor Zohran Mamdani, who is Muslim, and writing “the enemy is inside the gates.”
Certainly Iranian leaders have expressed similar contempt for the U.S. for years. Khamenei, killed at the start of the war, was known for stoking anti-American sentiment, speaking to crowds amid chants of “death to America.”
However, U.S. presidents have traditionally spoken with more reserve. They have slammed U.S. enemies, but often by drawing a contrast between them, the U.S. and the values the U.S. purports to defend globally. They have expressed confidence in past U.S. missions, but been wary of taking a celebratory or triumphant tone — especially at the start of a war, amid intense fighting, as American troops are still dying.
Not so with Trump, who on Wednesday said, “You never like to say too early you won. We won. We won … . In the first hour, it was over.”
He also said, “Over the past 11 days, our military has virtually destroyed Iran,” and “they don’t have anything.”
On Thursday, six U.S. service members were killed when a refueling aircraft crashed in Iraq. On Friday, the U.S. military announced it was sending 2,500 Marines and an additional U.S. warship to the conflict.
Kimble said there are several ways to view Trump’s war rhetoric. One is “through the lens of PSYOPS, or psychological operations” — or intentional messaging aimed at discouraging the enemy, akin to the U.S. dropping leaflets in World War II telling foreign combatants that they must surrender or die. In that view, Trump is speaking directly to the Iranians, trying to get them to “perceive victory as impossible.”
Another is to view Trump and Hegseth as projecting a tough image for their MAGA base, their Democratic rivals and any other nations they might be preparing to challenge, such as Cuba.
Rowland said Trump “always has to be the big dog in the room,” and his war messaging should be viewed in that context.
“A lot of the rhetoric is performative cruelty,” Rowland said. “It’s more about him coming across as dominant than it is about making a case that the war has been good for the U.S. and the region and the West and the world.”
Universal Pictures will now keep its new films in theaters for at least five weekends, a reversal from the studio’s previous policy of at least 17 days that was set during the pandemic.
The change takes place immediately, the studio said Thursday. That means it will apply to its newest film, the Colleen Hoover romance “Reminders of Him,” which is out in theaters this weekend. Other upcoming films include Christopher Nolan’s “The Odyssey,” which will be released in July.
“Our windowing strategy has always been designed to evolve with the marketplace, but we firmly believe in the primacy of theatrical exclusivity and working closely with our exhibition partners to support a healthy, sustainable theatrical ecosystem,” Donna Langley, chair of NBCUniversal Entertainment, said in an email to the New York Times, which first reported the news.
Focus Features, Universal Pictures’ specialty film arm, will keep its existing theatrical exclusivity policies, which vary on a case-by-case basis. Chloé Zhao’s “Hamnet,” for instance, was in theaters for 99 days, while 2024’s “Nosferatu” played for 58 days. The minimum is 17 days.
That debate ramped up during the pandemic, when some studios shortened theatrical exclusivity periods in order to move films to release for video on demand or streaming.
Prior to the pandemic, those windows could be as long as 90 days. Now, the average is around 30 days.
Theater owners have argued that shorter windows cut into box office profits and train audiences to wait to watch a movie at home. Distributors have countered that a one-size-fits-all approach doesn’t necessarily work for smaller or mid-budget films, which may find a bigger audience via at-home viewing.
At last year’s CinemaCon trade conference, top theater lobbyist Michael O’Leary called on distributors to establish a minimum 45-day window, arguing there needed to be a “clear, consistent starting point” to set moviegoers’ expectations and affirm commitment to theatrical exclusivity.
The debate has become even more fierce as box office profits still have not recovered from the pandemic. Last year, theatrical revenue in the U.S. and Canada totaled about $8.87 billion, just 1.5% above 2024’s disappointing $8.74-billion tally.
“undertone,” a muted, personal and static microbudget horror debut by Ian Tuason, takes place in the writer-director’s actual childhood home where he tended to both of his parents before they died. Both hospice and inspiration, it’s a stifling place decorated with floral wallpaper and crucifixes. The pain and exhaustion and grief are so real and oppressive, the camera never dares set a foot outside.
Upstairs, Evy (Nina Kiri), watches over her own terminally ill mother (Michèle Duquet). Tuason funneled his emotional gloom into this movie; Evy co-hosts a horror podcast with her overseas best friend Justin (voiced by Adam DiMarco). “This is the only thing keeping me sane right now,” she says. They’re words she’ll regret within the week.
Kiri and DiMarco have the comfortable, convincing chemistry of two old pals who have done a show for a while. One snippet seems to be an episode on Elisa Lam, the real-life tourist found dead in the rooftop water tank of Los Angeles’ Cecil Hotel. There’s also a reference to a website with a red-faced ghoul who hypnotizes victims into cutting off their ears. The latter may be Tuason seeding his idea for a sequel.
Here the central story is that Justin, who lives in London, has received an email with 10 audio files recorded by a couple named Mike and Jessa (Jeff Yung and Keana Lyn Bastidas) who are trying to understand what she’s saying in her sleep. The sender is unknown. (Possibly an evil spirit hoping for the exposure of a mattress ad?) Justin, the believer, is instantly alarmed by how these eerie tapes escalate from cute banter to ghostly crying babies and backward incantations. Evy is the skeptic who dismisses the noises as either an online hoax or bad plumbing.
Due to the time zone differential, Evy and Justin record their show just before he heads out to work in the morning, which for her is 3 a.m. Most of the movie takes place in that witching-hour window, an airlessly silent time where an at-home podcaster doesn’t worry about being interrupted by a leaf blower, an ice cream truck or a dog. Sound-designed by David Gertsman, “undertone” is so quiet that a tea kettle sounds like a fire alarm. Story-wise, it’s equally inert. One of the biggest action shots in the first hour comes when — eek! — a sink turns on.
I’d love to understand why horror films that I find excruciatingly dull give others the heebie-jeebies. My working theory is that they tap into audiences with a preexisting suspicion that the world is wicked — they prove paranoia to be well-founded. My mental default is that the world is neutral-good, and that may be why I prefer movies with active villains scaring me out of my complacency. I spent “Paranormal Activity” and “Skinamarink” restlessly admiring the production design; here, my main thrill came from the soundscape, like when a vibrating cellphone made my chair rattle like it was a tractor, or a noise that can only be described as death-rattle ASMR.
When Evy slips her on headphones, she’s so focused making sense of the latest scary tape, playing it forward, reversed and slowed-down, that she’s oblivious to the bumps in the night in her own house, upstairs near her comatose mother’s bedroom. I suspect Tuason deeply relates to Evy, to the disassociation of living with death every day, and uses her resistance to explore denial. She refuses to admit that the supernatural is real, even as she repeatedly takes a break to steady herself and, as she puts it, “get back into character.” Her stifled panic makes it obvious that fear is taking over.
The screenplay also has a passing reference to Evy’s useless, off-screen boyfriend Darren (voiced by Ryan Turner). Their miserable dynamic is compelling but overall comes off like a plot point Tuason stuffed in his pocket and never got around to using. Our one peek into it comes when Darren phones Evy to pressure her to ditch her mom and come to a party. He claims he’s throwing a kegger to cheer her up. (A frozen lasagna on the doorstep would be better, dude.)
Evy does reluctantly leave the house — we don’t follow her there — and that one moment says as much about crossed-signals communication as anything else in the movie. It’s bullseye-accurate about how isolating it is to lose a parent earlier than your peers.
The film is so committed to its rigors — the two-person cast, the glacial camera pivots, the moody lighting — that it teeters on the line of becoming monotonous. When Tuason eases up a bit, say in a scene in which Evy pops on a sleep podcast that begins by describing a babbling brook and rapidly becomes a nightmare tale of bobbing corpses, he finally shows you that he has the potential for range.
But “undertone” is rooted in that slow-and-still horror discipline that holds its breath waiting for something to happen. It requires the audience to bring their own bad vibes to shots of religious icons on the wall and long takes of Evy clacking on her laptop, unaware of a flickering light behind her. (Rumor is Tuason has already signed on to shoot the next “Paranormal Activity” sequel.)
Mostly it puts the audience in the position of watching a protagonist so passive that chunks of the running time are watching her sit at a table waiting for Justin to look up things for her on Wikipedia. Like amateur detectives, we learn alongside them as they click around pages about Sumerian devils, Catholic saints and the origin of the nursery rhymes “London Bridge” and “Baa, Baa, Black Sheep.”
As visuals go, “undertone” is so far removed from anything resembling the cinematic experience that I left with a fresh appreciation for campfire storytelling. At least then the listener gets to use their own imagination. But production designer Mercedes Coyle does dig up two satisfyingly creepy props: one, an antique speaking doll, the other, a small white statue that appears to be the Virgin Mary until we get a better look at her mouth, deformed by a hungry scream.
Despite my quibbles with how her character reacts when things really go awry, Kiri’s Evy has a clarity of purpose that holds our attention despite not having that much to do. In her strongest sequence, she and Justin take a few live callers on their podcast, some of whom bear bad news about Mike and Jessa, and another who phones up in the middle of a crisis that’s too big for these self-positioned experts to handle. Real violence is coming and these armchair ghosthunters are totally out of their depth. Yes, everyone is into podcasts. Maybe they shouldn’t be.
