child

WASHINGTON — Iran’s new supreme leader, Mojtaba Khamenei, vowed retaliation Thursday against the United States and Israel and signaled that Tehran will continue to choke off the world’s most critical oil route, as the war strained global energy markets and raised new security concerns in the United States.

In his first public remarks since U.S.–Israeli strikes killed his father, former Supreme Leader Ayatollah Ali Khamenei, Mojtaba Khamenei swore revenge. The new leader, notably, did not appear in person for the televised statement. Instead, his written words were read aloud on Iranian state media.

“We will never retreat and vow to avenge the blood of our martyrs,” he said. “Our revenge will be never ending, not only for the late supreme leader, but also for the blood of all of our martyrs. … Those who killed our children will pay the price.”

The new leader expressed condolences to families who lost children in a strike on a girls school in Minab that killed more than 165 people, many of them children. He also warned that the war could expand, declaring that the continuation of the conflict “depends on the interests of the parties.”

The Associated Press, citing two sources, reported that outdated intelligence likely led to the United States carrying out the deadly missile strike on the elementary school. U.S. Central Command relied on target coordinates for the strike using outdated data provided by the Defense Intelligence Agency, according to a person familiar with the preliminary finding.

Khamenei indicated that Tehran would maintain its blockade in the Strait of Hormuz, a key choke point through which 20% of the world’s oil supply is shipped. He also said he believes in friendship with his country’s neighbors, but that attacks on U.S. military installations in the region will continue. He described maintaining pressure on the passage as a necessary part of Iran’s war strategy.

His remarks came as attacks continued to disrupt shipping and energy infrastructure across the Persian Gulf. The war sent oil up 10% Thursday as hostilities in Iran drag on.

Reports from the region said Iranian forces have intensified strikes on vessels attempting to pass through the Strait of Hormuz, leaving hundreds of ships stranded at its entrances and rattling global oil markets.

Two oil tankers were struck by explosives in Iraqi waters near the port of Basra. The Islamic Revolutionary Guard Corps claimed responsibility for the attacks, which killed at least one crew member and set both vessels ablaze, according to the Associated Press. A third unnamed vessel was reported to have been struck by an “unknown projectile” near Dubai and Jebel Ali, causing a small fire, the United Kingdom Maritime Trade Operations reported.

The latest incidents come after drone strikes targeted fuel storage facilities across the Gulf, including at energy sites in Bahrain and at the port of Salalah in Oman, an important hub for tankers seeking to bypass the Strait.

“They will pay the price. We will destroy their facilities,” Khamenei said. “It is necessary to continue our defensive activity, including continuing to close the Strait of Hormuz.”

There’s a hidden door in Downtown Disney. Only this one isn’t meant to be walked through.

Flanking a stage near the monorail station, you’ll find a glistening white tower, the work of artist and activist Nikkolas Smith, who has adopted the term “artivist.” At first glance, the tower — one of Downtown Disney’s most striking works — appears to be a nod to Disneyland’s Midcentury art, for its curved lines and space-age optimism wouldn’t be out of place in Tomorrowland.

That’s there, says Smith, but there are also a number of more subtle inspirations.

The tower is a nod to five Black architects, trailblazers whose creations sometimes went unnoticed or overlooked. And that’s why at the base of the structure is a looping opening meant to signify a half-open doorway.

Downtown Disney’s Legacy Tower touches on the styles of different Black architects as it rises into the sky.

(Gary Coronado / For The Times)

Smith shares a distressing anecdote. “They had to learn how to read drawings upside down, because they weren’t allowed to sit next to the white clients,” Smith says, adding they also had to endure unequal pay. “So I was incorporating things like the half doorway to symbolize their struggle.”

Officially designated as the Legacy Tower, Smith himself fixates on that word — “legacy.” The term, he says, represents a thematic constant across his work. A regular collaborator on a number of Walt Disney Co. projects and a former architect with Walt Disney Imagineering, the division of the company focused on theme park experiences, Smith is something of a connector. His canvas art, full of fast-moving brush work, is often rooted in the past while urgently seeking to draw links to the present.

Artist Nikkolas Smith went viral for his portrait of Martin Luther King Jr. in a hoodie, a tribute to slain teenager Trayvon Martin.

(Nikkolas Smith)

His 2025 children’s book, “The History of We,” tells the story of how humanity can trace its roots to Africa. And one of his best-known pieces is of Martin Luther King Jr. in a hoodie, meant to evoke the image of Trayvon Martin, the slain 17-year-old whose death inspired a social justice movement. The work went viral in 2013 while Smith was still working for Imagineering. It altered his career trajectory.

“It was like, ‘I cannot just make art about churros and rides right now,’” Smith says. “There’s a time for that, and there’s also a time to talk about this.” He references his portraits related to the killings of Black men, many at the hands of police officers, such as Philando Castile and Michael Brown.

“At the end of the day, Disney understood that,” Smith adds. “They understood that I needed to make art that was extremely important at the moment, about justice or the lack of justice.”

Smith left Disney in 2019 after 11 years but has maintained a close relationship with the company, so much so that Imagineering called upon Smith to design the tower, which opened in 2023.

Artist Nikkolas Smith, left, chats with guests Ricky Yost and Martina Yost of Aubrey, Texas, who recognized Smith from a recent Disney cruise excursion.

(Gary Coronado / For The Times)

As the Legacy Tower spirals toward the sky, its patterns and and lattice work nod to the likes of James H. Garrott, Robert A. Kennard, Roy A. Sealey, Ralph A. Vaughn and Paul Revere Williams. All were active in Los Angeles — Williams, for instance, was a pivotal designer on the LAX Theme Building — and Smith interlaces decorative flourishes in varying styles that twist around one another to work up the Legacy Tower’s pointed spheres.

The door of the Legacy Tower symbolizes perseverance, Smith says. “They made it through, despite all of the obstacles they had to go through.”

Smith had studied the architects while a student at Hampton University, and has documented on his Instagram their various stylings, which range from restrained to whimsical to ornate. A section referencing Vaughn is modern minimalism, whereas an area dedicated to Sealey is full of jagged, pointed linework. All of it is held together via a coiling design that feels full of movement.

The patterns of the Legacy Tower are nods to the likes of James H. Garrott, Robert A. Kennard, Roy A. Sealey, Ralph A. Vaughn and Paul Revere Williams.

(Gary Coronado / For The Times)

“How can I show humanity’s interconnected future? That’s the idea,” Smith says. “There’s this African theme of Sankofa. If we look toward our future, we have to look at the past and value and appreciate the past. I thought it would be great if I could really commemorate some Black designers and architects as the foundation and backstory of the tower. And I was also thinking about these breezeway block patterns that you see in Leimert Park.”

And yet it also feels like something that belongs in the park. Smith says he looked at some Tomorrowland designs.

“A Midcentury Modern vibe was Walt,” Smith says, referring to park patriarch Walt Disney. “That was Walt’s thing. It all connects. I love that people can hopefully now connect both things. You can connect Tomorrowland and Walt with Paul Revere Williams.”

It’s clearly Smith’s favorite design of his for Disney, although it’s not the only space at the resort that features his artistry. During his decade-plus with Imagineering he regularly worked on teams that focused on projects at Disney California Adventure, which this year is celebrating its 25th anniversary. He was heavily involved, he says, in the evolution of Avengers Campus, contributed to a small promenade stage in Pixar Pier and helped envision the facade of Guardians of the Galaxy — Mission: Breakout!, which transformed the former Tower of Terror into a sci-fi structure.

Nikkolas Smith says elements of Downtown Disney’s Legacy Tower symbolize perseverance.

(Gary Coronado / For The Times)

Smith looks back fondly at his years at Imagineering, specifically calling out his time on the Guardians project. The former fake hotel is now full of glistening bronze pipes, a retro futurist look that former Imagineer Joe Rohde, who led the design, has said takes influence from the high-tech aesthetic of architect Renzo Piano, who worked on France’s Pompidou Centre.

“How much can we add to it? How much can we get away with gluing onto this thing?” Smith says of the Guardians facade. “What is the right amount of ‘Guardians of the Galaxy,’ without being too much? Without scaring people on the freeway?”

Today, Smith continues to focus on social justice work, and has also collaborated with filmmaker Ryan Coogler, such as completing concept designs for his Oscar-nominated film “Sinners.” Smith’s 2023 children’s book “The Artivist” documents the importance of creating art that’s in conversation with the world, believing it’s not only a source for education but for empathy. Smith’s weekly paintings speak out often against the current administration, and Smith has been particularly vocal on the ICE raids.

A selection from “The Artivist,” an illustrated book from Nikkolas Smith.

(Nikkolas Smith)

“Some people say that all art is activism, but I feel that some of the best art that is created is art that has a message,” Smith says. “And hopefully that message has to do with the humanity of all people, and for me, I like to focus on marginalized communities, and how we can value the humanity of everybody. That’s why I make picture books about the origins of humanity and the origins of this country.”

The Leimert Park resident says his wife and young son regularly visit the Disneyland Resort. And when he does, Smith says, he always takes a moment to stop by the Pixar Pier stage that he contributed to, which is often used for character meet and greets.

“They were team projects, and I do go up to them with so much pride,” he says. “I go up to the Pixar Pier promenade stage, and I just go up to it and touch it. … The beautiful thing about Disney is these creations are usually around for a lifetime.”

It turns out you can take the artivist out of Disney, but you can’t fully take the Disney out of the artivist.

One of the biggest takeaways from the biography “Judy Blume: A Life” may not be in the story itself but in its author. Because of her frank talk about puberty and sexual awakenings, Blume’s work is usually associated with young female readers. Her biographer, Mark Oppenheimer, is a middle-aged father of five.

He says he received minimal pushback on the idea that a man should be allowed to write Blume’s definitive life story. If the whole point of her books is that there should be no shame in body awareness, what service does it do to say only a woman has the authority to write her story? Plus, although her books aren’t selling as well as they used to — who’s are? — Oppenheimer’s biography points out that there are still plenty of parents who will throw a copy of her seminal “Are You There God? It’s Me, Margaret.” at their kids rather than have the menstruation talk or risk any misinformation that may be online.

“No good writer should be ghettoized,” Oppenheimer says during a recent Zoom call with The Times. “If you’re a good writer, you shouldn’t be marketed just to girls or just to boys or just to white people or just to straight people. Good art should be for everyone.”

It is intrinsic and impossible not to parlay Blume’s stories of sibling rivalries, first loves, friends and frenemies, and (most famously) puberty with what was going on in your life when you read them. Books like “Deenie” and “Superfudge” and “Margaret” are also remarkably malleable enough so that, even if a kid picks them up decades after their release or cannot relate with a parallel experience, they can become placeholders and explainers for what must be going on in the minds of their classmates. Last year, TV creator Mara Brock Akil adapted “Forever,” Blume’s 1975 story of the kind of mutually shared devotion that feels like it will last eternally, into a miniseries set in 2018 Los Angeles.

“I think for many of us, Judy’s books are our first crush or our first love and they do hold a special place that no book we read in our world-weary, cynical 40s can hold,” says Oppenheimer.

Some of this can be attributed to time and brain space. Oppenheimer discovered Blume’s work when he was a child. He’s now a parent, with a career and all the other time-sucks that come with adulthood.

“The books I read as a child imprinted on me in a way that books today don’t,” he says. “I probably remember more plot points of the first Judy Blume books that I read than I do of any book I’ve read in the past five years.”

But what of Blume herself? Can America’s mom also be a three-dimensional person who makes her own mistakes? Discovering her four adult novels — especially “Wifey,” a book about a gilded-caged suburban housewife that even Oppenheimer describes as “a very salacious, one might say, smutty, adult novel” that even some of Blume’s collaborators wanted her to publish under a pseudonym — or watching documentaries about her like 2023’s “Judy Blume Forever,” in which she is seen joking about masturbation with employees at her Key West, Fla., bookstore, can seem as evasive and dangerous as reading your mom’s diary.

Author Mark Oppenheimer

(Lu Arie)

There have been other books about Blume and her work, most notably Rachelle Bergstein’s 2024 deep-dive “The Genius of Judy: How Judy Blume Rewrote Childhood for All of Us.” But Oppenheimer’s biography is a more straightforward tracing of Blume’s life and career. He starts with her childhood when she was encouraged to read Philip Roth at home and went to sleepovers at friends’ houses that were more about body awakenings. He discusses her stifling first marriage, which gave her the last name she carries with her to this day and her two children but is also where she hung her college diploma and another award over her washing machine as reminders of her intellect. There’s talk of her second marriage, which Blume has always been reluctant to discuss, as well as the two abortions that resulted from it. And there are details on her life with her third husband, the polymath George Cooper.

Oppenheimer relied on past news stories about Blume, as well as a collection of her work and professional correspondences that are archived at Yale’s Beinecke Rare Book & Manuscript Library and, probably most informatively, his own interviews with Blume and her friends and family. (Although Blume did agree to speak with Oppenheimer for his book, she declined our request to interview her for this story about that book).

“I think that the difficult subjects are sometimes the ones that make her more relatable,” Oppenheimer says of his subject. “I think most of her fans will find it interesting and admirable that she speaks so candidly about her abortions, about especially her divorce from her first husband, which came as she was getting involved in the [second-wave] women’s movement, about her early same-sex experiences, about masturbation as a girl; these are things we would expect Judy Blume to be candid about.”

Oppenheimer matches how these life events correspond with the ones of Blume’s characters because, for better or for worse, she almost always was an author who wrote what she knew even if her fandom transcended it. What her books lack in character diversity, they make up for in specificity. And that, in turn, also makes them relatable.

“Judy found incredibly compelling human drama in books about the New Jersey suburbs, and that’s a testament to her strength as an artist,” Oppenheimer says.

Writer Judy Blume at her nonprofit bookstore Books and Books on March 26, 2023, in Key West, Fla.

(Mary Martin / Associated Press)

Examining and reexamining Blume’s work as an adult also gave Oppenheimer a better perspective of her writing style. Blume didn’t begin to try to write professionally until she was a married mother of two and some have criticized her work for not being as flowery and polished as others’.

“All of her books tend to take a fairly tight focus on the characters,” Oppenheimer says. “They don’t tend to pull back and look at large societal forces or changes going on in the country or the world. And that’s fine. You know, the same could be said of Jane Austen.”

Perhaps the best example of this is Blume’s own religious foundation. Her most autobiographical novel, “Starring Sally J. Freedman as Herself,” has a protagonist who is paranoid that she sees Adolf Hitler on park benches and whose life is imprinted with stories of a relative who followed her mother into the concentration camps and the neighbors sitting shiva (a time of mourning) for their daughter who got pregnant with her non-Jewish boyfriend. And yet, Oppenheimer notes, Blume is not always immediately thought of as a Jewish writer. Nor have most of her readers been Jewish.

“I think that her Judaism is there, if you know where to look,” says Oppenheimer, who spends the early part of his biography looking at how the synagogue and religious community were a normal part of a young Blume’s life. He adds that “she is somebody who speaks really, really well across religious, cultural and racial differences, and that’s partly why she has sold tens of millions of books.”

Oppenheimer acknowledges that Blume’s characters may not be diverse enough by today’s standards; that they don’t usually discuss “gender identities or sexualities; children of multiracial backgrounds; children who have disabilities.” They can also feel like time capsules to other dimensions; his 12-year-old daughter was scandalized by how normative bullying was after she read “Blubber,” Blume’s 1974 novel about tween mean girls and body shaming.

He adds that some of today’s bestselling young adult novels, like Rick Riordan’s Percy Jackson series about a teen demigod or Suzanne Collins’ dystopia-set “Hunger Games” books, are “contemporary realism [that] focus on extraordinary or unusual circumstances.” And while he’s happy for these books’ popularities, he says that some subjects may be better told by kids who also aren’t tasked with saving the world. (I am pretty sure I learned more about male puberty from Blume’s 1971 story “Then Again, Maybe I Won’t,” which is as much about wealth divides and questionable friend choices as it is about a 13-year-old boy’s inner monologues about her awkward adolescence).

“If what you’re looking for is realism that isn’t focused on obvious external differences, but rather on interiority,” Oppenheimer says, “then Judy Blume still remains one of the premier novelists that you would want to read.”

Friedlander is a pop culture and entertainment journalist based in Los Angeles who hates coffee but loves Coke Zero.

Naledi Raptou has joined Channel 4 soap Hollyoaks as Kathleen-Angel McQueen replacing actress Kiara Mellor

A Hollyoaks teenager is set to played by a new actress.

Naledi Raptou has joined the cast of the Channel 4 soap and has been already filming with Jorgie Porter and Danny Mac as she takes on the role of Kathleen-Angel McQueen, the daughter of Theresa McQueen and the late Calvin Valentine.

In the coming weeks, Theresa (Jorgie Porter) will find herself navigating the realities of raising a rapidly maturing teenager when her sixteen-year-old daughter Kathleen-Angel has unprotected sex with her Ant Hutchinson (Brook Debio).

Naledi’s first episode on Hollyoaks will air on Tuesday (March 17). Actress Kiara Mellor had previously played the role since 2021. Theresa also shares a daughter, Myra-Pocahontas, with now boyfriend Dodger Savage (Danny Mac).

Talking about joining Hollyoaks, Naledi said “I’m really grateful for the opportunity to join the cast of Hollyoaks, it’s a great place to work and a very nurturing environment to grow.

“It’s been a pleasure to play Kathleen-Angel as she develops into a young adult. We’re learning new things about her and I’m excited to be able to present a different side of her.”

Naledi has previously appeared in an episode of ITV’s Significant Other as Chloe in 2023.

Hollyoaks spoilers for next week reveal the Hutchinson teens decide to bunk off school for the day in upcoming scenes.

Kathleen-Angel decides to join them but she’s caught sneaking out by Dodger who ends up covering for her.

At the park, Kathleen-Angel tries to find out if Ant still likes classmate Trina (Sadie Williams) but berates him in the process and he leaves.

Back at the flat, Ant is playing computer games when Kathleen-Angel arrives. Tension rises between the teens when they both call out each other’s behaviour. Ant tells Kathleen-Angel to leave if he’s such an awful person but she refuses.

Uncle Dom Reilly (John Pickard), who is looking after the kids while Tony and Diane Hutchinson are in London seeking a second opinion following her cancer diagnosis, later learns the teens have bunked off school.

He finds Ant at home who claims he is unwell and admits Ro and Dee Dee are at the park. As Dom leaves, Kathleen-Angel emerges from the bedroom and it’s revealed the pair discover they have slept together.

The following day, In need of the morning after pill, Kathleen-Angel goes to text Dee Dee Hutchinson (Chloe Atkinson) for help but startled when Ant comes up behind her and she accidentally sends it Dodger.

Not wanting her mum to find out, Kathleen-Angel returns home and tries to delete the text from Dodger’s phone but he catches her and reveals he’s already read the text.

The teen pleads with him not to tell her mum and Dodger says he won’t because she must. Coming into the room, Theresa catches the end of the conversation.

Theresa is devastated to learn that her daughter has slept with someone and Kathleen-Angel pleads with her mum not to make a scene as she really likes Ant.

The mum is horrified to learn who her daughter slept with given his past behaviour but Dodger encourages Theresa to listen to her daughter.

Hollyoaks airs Monday to Wednesday on E4 at 7pm and first look episodes can be streamed Channel 4 from 7am

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

REALITY TV star Paul Preece Jr who won the Netflix survival show Outlast has been charged with raping a child.

The 51-year-old was arrested in Tennessee on Friday and booked into Knox County Jail.

Jail records show Preece has also been charged with aggravated sexual battery and attempted rape of a child, The Daily Mail reports.

The age of the victim has not yet been released.

Preece is currently being held on a $150,000 bond and will be required to wear a GPS tracker upon release.

His arrest comes after a capias warrant was issued, according to TMZ.

The court-ordered warrant is typically used when a person fails to appear in court, violates bond conditions, or neglects to pay court-ordered fines or child support.

Preece rose to prominence after competing on the first season of Outlast in 2023.

The gruelling reality show sees a group of contestants trying to survive remote Alaskan terrain in punishing conditions for a chance at a $1 million prize.

Sixteen participants are dropped by parachute into the wilderness before being divided into teams.

Season one was filmed on the Neka River on Chichagof Island, while series two moved south of Petersburg to Little Duncan Bay.

Unlike many competition shows, contestants cannot compete alone.

Participants are allowed to switch teams throughout the competition.

The only way to leave the game is to quit.

Preece won the inaugural season alongside teammates Seth Lueker and Nick Radner.

Season two landed in the Global Top 10 in 22 countries.

Two Texas men, Drake Vliem II and Drew Haas, won the million-dollar pay-out in the second series.

The series was renewed for a third season in February 2025.

CHICAGO — A day after former presidents, sitting governors and local Chicago residents alike attended a vibrant, televised celebration for the late Rev. Jesse Jackson Sr., the family and friends who knew him best hosted a more intimate gathering Saturday to grieve the civil rights leader at his organization’s headquarters.

The final memorial service at the Rainbow PUSH Coalition’s headquarters on the South Side of Chicago included a few hundred attendees, most of whom were family members, allies and confidants. The event served as a capstone to a week of services and a call to action.

In a series of speeches, the late reverend’s children, civil rights leaders and two presidents of African nations said the best way to honor Jackson’s legacy is to continue his advocacy for universal human rights and economic justice.

“It is appropriate that we respect this season of grief,” said Yusef Jackson, one of Jackson’s sons and president of the Rainbow PUSH Coalition. “However, it is also appropriate to honor him by stepping up, to step out, and continue his work by answering his call to serve.”

The younger Jackson said that the Rainbow PUSH Coalition recently honored Jackson by deepening partnerships with activists in Minnesota, which saw mass protests after the Trump administration launched a massive immigration crackdown in the state.

U.S. Rep. Jonathan Jackson, an Illinois Democrat and a son of the late reverend, said his father taught him “that any society that will not support the many who are poor will never be able to save the few who are rich.” He said that his father’s relentless activism and charisma were rooted in a Christian call to service.

“For the children on the reservations, in the barrios, in the ghettos, he was speaking to you,” said the congressman. “My father was attacked for speaking about diversity. He was vilified for his stand on equality, and had the people who wanted to kill him had their way, we would have never seen a rainbow coalition.”

Marc Morial, president of the National Urban League, said that ambitious politicians should emulate the political strategy Jackson championed during his two presidential bids.

“Let the word go out that anyone who would like to be president of the United States in 2028, you’d better study this concept of the rainbow coalition,” Morial said.

Public visitors greet family, world leaders

In a move meant to reflect Jackson’s ethos, some members of the public who gathered outside the PUSH headquarters were allowed to enter the private service.

“Dad’s theology was rooted in the belief that every human being carries inherent worth,” said Ashley Jackson, the late reverend’s youngest daughter. “He fought for that truth in places that most people never saw, people whose names never made the news across decades and continents and causes.”

The service included musical performances by Stevie Wonder, Opal Staples, Terisa Griffin, Kim Burrell and others. Comedian Chris Tucker added some levity to the solemn services with a stand-up set.

South African President Cyril Ramaphosa thanked the late reverend for his work to end South Africa’s apartheid system. Jackson was a close friend of Nelson Mandela, South Africa’s iconic anti-apartheid leader and its first Black president.

“He told the world that the struggle for dignity in the United States was inseparable from the fight against apartheid and injustice in South Africa,” said Ramaphosa, who said his nation claimed the late civil rights leader as one of their own.

“When Jesse Jackson reminded the United States that its strength as a nation lies not in exclusion, but in the beautiful diversity of its people — Black and white, rich and poor, urban and rural, workers and farmers, immigrants and the forgotten — we were hugely inspired by his message,” said Ramaphosa, who was a key negotiator in the process to the end the apartheid system.

Felix Tshisekedi, president of the Democratic Republic of the Congo, praised Jackson as a peacemaker and humanitarian.

“Your mourning is also ours. You have lost a father, a husband, a brother. The world has lost a pastor, a champion, a mender of bridges. Africa has lost a faithful, loving son,” Tshisekedi said.

Since his death last month, Jackson’s family and allies have honored the late reverend with commemorations, community service and demonstrations in an effort to continue his work.

Mourners first honored Jackson as he lay in repose in Chicago last month. The late reverend then lay in state at the South Carolina Capitol. Jackson grew up in segregated Greenville, S.C. As a high schooler, he led fellow students into a protest that desegregated a local library, starting a lifetime of civil rights leadership.

Services honoring Jackson in Washington were postponed after a request for him to lie in honor at the U.S. Capitol was denied. House Republican leadership cited the precedent that only former presidents and senior generals typically receive the privilege.

Jackson’s allies have emphasized the forcefulness of his message and convictions.

“He maintained an intense relationship with the political order, not because presidents were white or Black, but the demands of our message — the demands of speaking to the least of these, those who were disinherited, the dispossessed, the disrespected — demanded not Democratic or Republican solutions, but demanded a consistent, prophetic voice,” said Jesse Jackson Jr., the reverend’s eldest son and a former congressman seeking to win back his seat in this year’s elections.

Fraternity brothers

Jackson’s mentees also organized efforts to continue his civil rights activism.

“We’re in a global moment where peace in the world is in jeopardy, where we just have bombs being dropped carelessly, killing children, innocent victims of political actions,” said the Rev. Janette Wilson, a longtime senior advisor to Jackson and executive director at the Rainbow PUSH Coalition. “When the government cuts SNAP benefits and you have millions of children and families who will be food insecure, I think you have to tell them that we’re fighting for you.”

On Thursday, the headquarters hosted a series of events that celebrated Jackson’s life, including a memorial service for several hundred members of Omega Psi Phi Fraternity Inc., of which Jackson was a member. That same night, the chamber hosted a reunion for Rainbow PUSH alumni to commemorate Jackson and his years of activism.

They celebrated Jackson’s life and reminisced about his 1984 and 1988 presidential bids, his globe-trotting activism as an anti-apartheid activist and hostage negotiator, and his evangelism for a Christianity that emphasized justice for all and support for the downtrodden.

Jackson family expected at voting rights march

On Sunday, members of the Jackson family and many of Jackson’s mentees will travel to Selma, Ala., to commemorate the “Bloody Sunday” protest marches when civil rights activists were beaten by police on the Edmund Pettus Bridge in 1965.

The Rev. Jackson often attended the same anniversary march.

“Selma has always stood for the basics of what civil rights is, what we are debating in policy,” said Jimmy Coleman, a longtime aide to Jackson and native of Selma. “He was always focused on what we needed in terms of policy in any given political moment, and that’s what the march represents.”

Brown writes for the Associated Press.

Four siblings who were part of Michael Jackson’s secret “second family” have filed a lawsuit revealing the depths of the alleged sexual abuse they suffered as children, including claims that the singer molested one of the boys at the homes of Elton John and Elizabeth Taylor.

The lawsuit, filed against Jackson’s estate in California’s Central District Court on Friday, accuses the late singer of grooming, drugging, raping and sexually assaulting four of the Cascio children — Edward, Dominic, Marie-Nicole and Aldo — over the course of more than a decade, beginning when some of them were as young as 7. A fifth sibling, Frank Cascio, is not a plaintiff in the lawsuit.

The pop icon used code phrases such as “Can I have a meeting,” “Yogi Tea,” “Neverland,” and “Go to Disneyland” to encourage the children to engage in “extreme sex acts” with him, the suit alleges. He plied them with wine — “Jesus Juice” — and hard liquor — “Disney Juice “ — and used drugs to make them more compliant, according to the lawsuit.

The “Thriller” singer’s connection to the Cascio family began in the 1980s when he met their father, Dominic Cascio Sr., at a luxury hotel in New York where the father worked.

The lawsuit accuses Jackson of “insinuating himself” into the Cascio family by using “obsessive attention, lavish gifts, access to his celebrity lifestyle, and declarations that he loved and needed each of them.” He invited them to travel around the world with him and celebrated Thanksgiving, Christmas and his own birthday with them. He often spent long periods of time at their New Jersey home, where he also brought his own children, according to the complaint.

The chart-topping artist is accused of raping and molesting Edward “Eddie” Cascio at Elizabeth Taylor’s house in Switzerland as well as at Elton John’s home in the United Kingdom. Representatives for Jackson’s estate, Taylor’s estate and John did not immediately respond to a request for comment.

The complaint alleges that the late singer abused the four siblings at international and national tour stops as well as at his Santa Barbara County estate, Neverland Ranch. That property became a central focus of the 2019 documentary “Leaving Neverland,” in which two of Jackson’s accusers, Wade Robson and James Safechuck, detail the abuse they suffered as children.

The complaint states that Jackson’s staff would help conceal and normalize his abuse of the Cascios; employees would deliberately book the parents hotel rooms away from their children, the suit says, so they could not tell how much time Jackson was spending with them.

The entertainer showed the siblings pornography and photos of naked children to desensitize them, the complaint alleges. He told them that his life, their lives and that of their family members would be destroyed if people knew what was going on.

“He told them to stay away from therapists and to avoid women, who he told them were ‘evil,’ ‘sneaky,’ ‘liars,’ and could ‘smell’ if something sexual had happened,” the complaint states.

For decades after the initial 1993 sexual assault claim against Jackson surfaced, the Cascio family did not speak up against the singer.

The performer convinced the parents to withdraw Aldo Cascio and Marie-Nicole Cascio from school on two occasions to “prevent disclosure of the abuse and gain more access to them,” the complaint alleges. The second time was shortly after authorities raided Neverland Ranch in 2003.

The Cascios’ longtime relationship with the superstar became known to the public when they appeared on Oprah in 2010.

During the appearance, they were billed as Jackson’s secret “second family” and said that they were reluctant to come forward but wanted to “show the world who Michael really was.” At the time, the family said that the siblings were never abused and that they didn’t believe the accusations against Jackson.

As the four siblings aged and exposés such as “Leaving Neverland” came out, their statements about their childhood relationship with the pop star shifted. In 2019, several members of the Cascio family entered a confidential settlement agreement with Jackson’s estate agreeing to remain silent about their relationship to the singer.

That agreement provided for Jackson’s estate to pay each sibling five annual payments of about $690,000 as compensation “for the many years that Jackson abused each of them and that the Jackson Organization enabled and covered up the abuse,” according to the complaint. The Cascios say that this amount is “wholly inadequate,” noting that the singer reportedly paid $25 million in 1994 to settle the abuse allegations made against him in 1993.

Now, the four siblings are challenging the agreement as part of their recently filed lawsuit, alleging that they were coerced into signing it without understanding their rights.

“Buried within the Document’s legalese was a purported release of the Estate from liability for Jackson’s crimes, and language that prohibited Plaintiffs from reporting Jackson’s crimes to law enforcement or anyone saying anything negative about Jackson, or holding the Estate accountable in court for its and Jackson’s wrongdoing,” the complaint alleges.

Marty Singer, an attorney for Jackson’s estate, decried the lawsuit as “a desperate money grab” in a statement to People. A representative for Singer did not immediately respond to The Times’ request for comment.

“The family staunchly defended Michael Jackson for more than 25 years, attesting to his innocence of inappropriate conduct,” Singer told People. “This new court filing is a transparent forum-shopping tactic in their scheme to obtain hundreds of millions of dollars from Michael’s estate and companies.”

The four Cascio siblings are asking a jury to award them financial damages — including some potentially tripled damages because they were abused as children — over their allegations of sexual abuse and cover-up. They are also asking the court to throw out the 2019 agreement they say was used to silence them and are also seeking a ruling that the estate cannot force their claims into private arbitration.

WASHINGTON  — The Supreme Court revived a San Diego judge’s order Monday and said parents have a right to know about their child’s gender identity at school.

The decision came in a 6-3 order granting an emergency appeal from lawyers for Chicago-based Thomas More Society.

They said the student privacy policy enforced in California infringes parents’ rights and the free exercise of religion.

“The parents object that these policies prevent schools from telling them about their children’s efforts to engage in gender transitioning at school unless the children consent to parental notification,” the court said. “The parents also take issue with California’s requirement that schools use children’s preferred names and pronouns regardless of their parents’ wishes.”

The judge’s injunction “does not provide relief for all the parents of California public school students, but only for those parents who object to the challenged policies or seek religious exemptions,” the justices added.

The six conservatives were in the majority, while the three liberals dissented.

Religious liberty advocates hailed the decision.

“Parents’ fundamental right to raise their children according to their faith doesn’t stop at the schoolhouse door,” said Mark Rienzi, president of the Becket Fund for Religious Liberty. “California tried cutting parents out of their children’s lives while forcing teachers to hide the school’s behavior from parents. We’re glad the Court stepped in to block this anti-family, anti-American policy.”

The 9th Circuit Court of Appeals had put on hold a late December ruling by U.S. District Judge Roger Benitez, who held that the student privacy rules enforced by California school officials were unconstitutional.

“Parents and guardians have a federal constitutional right to be informed if their public school student child expresses gender incongruence,” Benitez wrote. “Teachers and school staff have a federal constitutional right to accurately inform the parent or guardian of their student when the student expresses gender incongruence.”

Escondido public schoolteachers Elizabeth Mirabelli and Lori Ann West, who described themselves as “devout Catholics,” sued in 2023, and they were later joined by parents in Pasadena and Clovis.

The Supreme Court’s ruling refers only to the parents.

The parents who brought the case “have sincere religious beliefs about sex and gender, and they feel a religious obligation to raise their children in accordance with those beliefs,” the court said.

The court added: “Gender dysphoria is a condition that has an important bearing on a child’s mental health, but when a child exhibits symptoms of gender dysphoria at school, California’s policies conceal that information from parents and facilitate a degree of gender transitioning during school hours.”

“This is a watershed moment for parental rights in America,” said Paul M. Jonna, special counsel at Thomas More Society. “The Supreme Court has told California and every state in the nation in no uncertain terms: you cannot secretly transition a child behind a parent’s back.”

The 9th Circuit had agreed with the state’s attorneys who said the judge had misstated California law.

“The state does not categorically forbid disclosure of information about students’ gender identities to parents without student consent,” they said in a 3-0 decision.

“For example, guidance from the California Attorney General expressly states that schools can ‘allow disclosure where a student does not consent where there is a compelling need to do so to protect the student’s wellbeing,’ and California Education Code allows disclosure to avert a clear danger to the well-being of a child.”

In their parents’ rights appeal to the Supreme Court, attorneys said school employees are secretly encouraging gender transitions.

“California is requiring public schools to hide children’s expressed transgender status at school from their own parents — including religious parents — and to actively facilitate those children’s social transitions over their parents’ express objection,” they told the court.

“Right now, California’s parental deception scheme is keeping families in the dark and causing irreparable harm. That’s why we’re asking the U.S. Supreme Court to intervene immediately,” Jonna wrote in his appeal. “Every day these gender secrecy policies stay in effect, children suffer and parents are left in the dark.”

California state attorneys had urged the court to put the case on hold while it is under appeal.

They said the judge’s order “appears to categorically bar schools across the State from ever respecting a student’s desire for privacy about their gender identity or expression — or respecting a student’s request to be addressed by a particular name or pronouns—over a parent’s objection.”

They said the order “would allow no exceptions, even for extreme cases where students or teachers reasonably fear that the student will suffer physical or mental abuse.”

LAREDO, Texas — A month after ICE agents sent the young Ecuadoran mother and her 7-year-old daughter to a sprawling detention center 1,300 miles from their Minnesota home, they were finally free.

But when the bus pulled up to a migrant shelter in the Texas border city of Laredo, dropping off a half-dozen families lugging bags stuffed with belongings, the stress of recent weeks tracked mother and daughter like the long shadows on that mid-February afternoon.

Night after night inside south Texas’ Dilley Immigration Processing Center with hundreds of other families, the grade-schooler wept and pleaded to know why they were being held.

“She would tell me, ‘Mom, what crime did I commit to be a prisoner?’ I didn’t know what to tell her,” said the 29-year-old, who spoke on condition of anonymity for fear being identified could negatively affect their immigration case. Her husband was deported to Ecuador soon after they were taken into custody.

Many Americans were alarmed last month when photos circulated showing U.S. Immigration and Customs Enforcement agents in Minneapolis detaining a 5-year-old boy wearing a bunny hat and carrying a Spider-Man backpack. The concern followed Liam Conejo Ramos and his father when they were sent to Dilley, surrounded by chain-link fences on a dusty plain about 75 miles south of San Antonio.

But Liam was hardly an outlier. ICE has been holding hundreds of children at Dilley — many for months.

“We are all Liam,” Christian Hinojosa, an immigrant from Mexico, said by phone from Dilley, where she and her 13-year-old son were held for more than four months. They were released this month and allowed to return home to San Antonio, where she works as a health aide.

She noted that Liam and his father were released from Dilley after 10 days, after members of Congress and a judge intervened.

“My son says, ‘That’s unfair, Mama. What’s the difference between him and us?’”

Ramping up family detentions

When the Obama administration opened Dilley in 2014, nearly all families detained there had recently crossed the border from Mexico. Detentions at the facility were scaled back by the Biden administration in 2021, before it was closed three years later.

Since being reopened by President Trump’s administration last spring, life inside Dilley — a compound of trailers and other prefabricated buildings — has been shaped by three decisive changes.

The number of detained families has risen sharply since last fall. The government is holding many children well beyond the 20-day limit set by long-standing court order. And many detainees have lived in the U.S. for several years, with roots in neighborhoods, workplaces and schools, according to lawyers and other observers.

“Just imagine that you’re a child and you’re taken out of your surroundings,” said Philip Schrag, a Georgetown University law professor and author of “Baby Jails: The Fight to End the Incarceration of Refugee Children in America.”

Suddenly you’re in “a completely strange environment with the doors locked and guards in uniform roaming around,” said Schrag, who counseled Dilley detainees as a volunteer lawyer during the Obama administration.

ICE booked more than 3,800 children into detention during the first nine months of the new Trump administration, according to an Associated Press analysis of data from UC Berkeley’s Deportation Data Project. On an average day, more than 220 children were held, with most of those detained longer than 24 hours sent to Dilley. More than half of Dilley detainees during that period were children.

Nearly two-thirds of children detained by ICE were eventually deported, and almost 1 in 10 left the country when their parents accepted voluntary departure, according to an AP analysis of the latest comprehensive data. About a quarter were released in the U.S., requiring their parents to check in regularly with ICE as their legal cases proceed.

The number of detainees at Dilley has risen sharply since the period covered by the data, nearly tripling between fall and late January to more than 1,300, according to Relevant Research, which analyzes immigration enforcement data.

“We’ve started to use 100 days as a benchmark for prioritizing cases because so many children are exceeding 20 days,” said Leecia Welch, the chief legal director at Children’s Rights, who visits Dilley regularly to ensure compliance. In a visit this month, Welch said she counted more than 30 children who had been held for over 100 days.

The increased detention of children comes as the Trump administration has gutted a Department of Homeland Security office responsible for oversight of conditions inside Dilley and other facilities.

“It’s a particular concern that family detention is being increased,” said Dr. Pamela McPherson, a child and adolescent psychiatrist contracted by Homeland Security from 2014 until last year to inspect and investigate conditions at Dilley and other ICE facilities holding children. “Just who’s providing that check and balance now?”

Rep. Tony Gonzales (R-Texas), who represents the congressional district where Dilley is located, said multiple visits have convinced him criticism of the center is unfair.

He said he’d been impressed by Dilley’s facilities and the professionalism and dedication of staff. “They’re not doing policy. They’re just fulfilling a duty,” Gonzales said.

The Homeland Security Department did not respond to detailed questions about Dilley submitted by the AP. But both Homeland Security and ICE objected to allegations of poor care and conditions there.

“The Dilley facility is a family residential center designed specifically to house family units in a safe, structured and appropriate environment,” ICE Director Todd M. Lyons said in a statement this week. Services include medical screenings, infant care packages and classrooms and recreational spaces, he noted.

But concerns about Dilley are personal for Kheilin Valero Marcano, a Venezuelan immigrant detained with her husband and 1-year-old daughter, Amalia, in December and held for nearly two months.

When the child got a high fever, Valero Marcano said Dilley staff told her it was just a virus. Two weeks later, Amalia started vomiting, then losing weight. Valero Marcano said she took her to the Dilley doctor’s office at least eight times, and was offered only Tylenol and ibuprofen.

The baby was eventually sent to two hospitals, where doctors diagnosed COVID-19, bronchitis, pneumonia and stomach virus, she said.

ICE disputed Valero Marcano’s account, saying in a statement the baby “immediately received proper medical care” at Dilley before being sent to the hospital. Back in Dilley, “she was in the medical unit and received proper treatment and prescribed medicines,” it said.

The family’s return to Dilley coincided with a measles outbreak there. They were released earlier this month after their lawyers petitioned the court.

“I’m so worried for all the families who are still inside,” Valero Marcano said.

A teen in distress

After more than two months in a cramped room at Dilley with three other families, the 13-year-old girl’s depression turned increasingly dark.

The eighth-grader stopped eating after finding a worm in her food, family members said. Staff sometimes withheld medications she’d long been prescribed to keep her anxiety in check and help her sleep.

When a total lockdown was imposed, a guard blocked the teen from leaving the crowded room to join her mother and sister in the bathroom. She spiraled into crisis, and used a plastic knife from the cafeteria to cut her wrist.

“She said she didn’t want to live anymore because she preferred to die rather than having to keep living in confinement,” her mother, Andrea Armero, told the AP in a video call from Colombia, where the family was deported this month. The AP generally avoids identifying people who attempt or die by suicide.

The girl’s struggles began before she arrived at Dilley. Soon after starting middle school in Colombia, she learned a family member had sexually abused her younger sister. Armero said she saw no option but to leave, and in early 2024 she and her daughters traveled to the U.S.-Mexico border and applied for asylum.

Living with family in Florida, the 13-year-old was doing well in school but sometimes experienced panic attacks about being sent back to Colombia. Under a psychiatrist’s care, she was prescribed anti-anxiety and anti-depression medications and regularly saw a therapist. Then, in December, ICE agents detained Armero and her daughters during a routine check-in.

At Dilley, the 13-year-old calmed herself by drawing, producing haunting pictures of a girl locked inside gates. But when she and other detainees took part in a protest after 5-year-old Liam and his father got to Dilley, guards took away drawing materials and ordered everyone to stay inside.

The teen’s mental health collapsed. She tried to harm herself with the plastic knife, Armero said, and repeatedly hit her head. The family was put into isolation without seeing a doctor, then deported to Colombia on Feb. 11 after a judge ordered them removed, she said.

Dilley discharge documents described “active problems,” including a “suicide attempt by cutting of wrist” and “self-harm,” in addition to a “history of post-traumatic stress disorder” and “history of anxiety.” AP also spoke with detainees and attorneys who independently described the girl’s suicide attempt.

Responding to questions from AP, a Department of Homeland Security official acknowledged there had been “a case of self-harm” inside the facility, but did not specify what had happened, or how staff handled the incident. When AP asked for details, the department did not respond to follow-up questions.

“No child at Dilley … has been denied medical treatment or experienced a delayed medical assessment,” said Ryan Gustin, a spokesman for CoreCivic, the for-profit prison company that operates the facility under contract with ICE. Gustin declined to answer specific questions about the 13-year-old girl, citing privacy rules.

Detention weighs on children

On a phone call from inside Dilley, 13-year-old Gustavo Santino-Josa introduced himself to a reporter by name and the nine-digit identification number ICE assigned him when he was taken into custody with his mother.

“Until today I don’t know what we did wrong to get detained,” Gustavo said. “I’ve seen my mom cry almost daily, and I ask God that we can go out and go home soon.”

He worried they might never be released.

“My mom says that as long as there is hope it is worth fighting for,” Gustavo said before handing the phone to his mother, Christian Hinojosa, the healthcare aide originally from Mexico.

“All his friends have left already,” his mother said. “Some were deported. Some got released recently. And it hurts. It hurts to see people leaving and you’re staying here.”

Dilley was built to hold 2,400 people, housed in clusters ICE calls “neighborhoods.” Bunk beds are arranged side-by-side for up to four families, frequently putting parents with young children in close quarters.

Once in full operation, Dilley is expected to generate about $180 million in annual revenue for CoreCivic, according to the company’s recent filing with securities regulators.

In a video on its website, CoreCivic says Dilley’s “open campus layout allows residents to move freely and unescorted throughout the day.”

It does not mention that parents and their children are locked inside.

In response to questions from the AP, CoreCivic’s Gustin said the staff at Dilley includes a pediatrician, pediatric nurse practitioner and other trained medical professionals and mental health services workers to “meet the needs of children and families in our care.”

In talks with parents of children held at Dilley, however, the same problems come up repeatedly, said Welch, the children’s rights lawyer.

Kids cry often and don’t get enough sleep, in part because lights are on around the clock, she said. The water tastes terrible and causes stomachaches and rashes, so some families stick to what they can buy in the commissary.

Their children don’t eat enough and have lost weight, Welch said. There are classrooms, but instruction is limited to an hour daily, mostly filling out worksheets.

A 14-year-old girl, identified in court papers by the initials NVSM, reported there were tensions with up to 12 people sharing their room. At night when she and her mother tried to sleep, others insisted on turning up the TV.

“I feel very sad and stressed to be here,” the teen said in an account filed with the court that oversees a binding settlement governing detention and release of children. “My nerves are so high. I don’t know what is happening. My muscles will twitch because I’m so nervous and on edge.”

Concerns about oversight

As the government’s detention of parents and their children came under scrutiny in 2014, an ICE official claimed that family detention centers, equipped with basketball courts and medical clinics, were “more like a summer camp.”

The characterization irritated McPherson, the child psychiatrist who, along with another physician, was retained in 2014 by Homeland Security to inspect family detention centers. Their contracts were not renewed by the Trump administration last year after Homeland Security announced sweeping staff reductions.

“Having a clean place to sleep, having food, that’s not the same thing as having family and community,” McPherson said.

The doctors’ investigations of family detention centers exposed consistently inadequate staffing and disregard by administrators for the trauma caused by detention, concerns they reported in 2018 to a Senate caucus set up to hear from whistleblowers.

At Dilley, the doctors noted a persistent shortage of pediatricians and the inability to hire a child psychiatrist from the time they began their inspections until they alerted senators.

Employees unsure how to deal with 2-year-olds biting and hitting one another placed the children and their parents in medical isolation for days, McPherson and her colleague told senators. Without supervision, a nurse at Dilley gave adult-strength hepatitis A shots to about 250 children in 2015, the American Immigration Lawyers Assn. reported.

Homeland Security responded to many of the findings by making changes before a special committee recommended in late 2016 that the government discontinue family detention except in rare cases. The first Trump administration increased family detention before the Biden administration began phasing it out in 2021.

That the Trump administration is again holding families at Dilley after so many warnings feels “dystopian,” McPherson said.

“The decision to knowingly traumatize children and subject them to chronic stress, I just have no words for it,” she said.

Worries even after release

Huddled around picnic tables at the Laredo migrant shelter, parents released from Dilley searched anxiously for flights back to the homes they left behind. They called relatives, friends, teachers, anyone who might help with money to get there.

The young Ecuadoran mom talked of returning to Minneapolis, where her 2-year-old daughter, born in the U.S., was staying with a friend. With her husband deported, parenting will be entirely her responsibility.

That means getting her 7-year-old back in school. Then the woman, who had a work permit and a job in a Minneapolis restaurant before being detained, needs to keep her children fed.

“Let’s go home, Mom, but don’t go back to work because ICE is going to pick you up again,” the little girl said. Her mother tried to reassure her.

That won’t happen, she said, because now they have a special paper telling ICE to leave them alone.

She hopes that’s a promise she can keep.

Burke, Geller and Gonzalez write for the Associated Press. AP data reporter Aaron Kessler in Washington contributed to this report.

Today it’s an Italianate apartment building wedged between an Indian restaurant and a Target. But what stood half a century ago at 1454 5th Street in downtown Santa Monica was the Beach Boys’ Brother Studio, a former porn theater turned recording complex where the preeminent American rock band of the 1960s sought to coax its resident genius, Brian Wilson, back into the fold after a long stretch in the wilderness.

Nobody would consider the albums the Beach Boys made at Brother in the mid-70s — among them “15 Big Ones,” “The Beach Boys Love You” and the long-shelved “Adult/Child” — the band’s most successful. (Well, nobody except for Wilson, who frequently cited the synthed-up “Love You” as his fave.) A decade after 1966’s “Pet Sounds,” which so blew the Beatles away that they had to answer with “Sgt. Pepper’s Lonely Hearts Club Band,” the burly, bearded Beach Boys were far from the center of pop music; Wilson, in particular, had largely withdrawn from public life as he struggled with the effects of drugs and his fragile mental health.

Yet Brother offered the setting for a creative reflowering — arguably the band’s final moment of unity before the start of years of more serious infighting.

“It was like we all got back together and became Beach Boys again,” says Al Jardine, who founded the group in suburban Hawthorne in 1961 with Wilson, Wilson’s brothers Dennis and Carl and the Wilsons’ cousin Mike Love. Now, eight months after Brian Wilson’s death in June at age 82, a new box set looks back at the era as an expressive outpouring led by the band’s rejuvenated visionary.

“We Gotta Groove: The Brother Studio Years” collects 73 tracks from 1976 and ’77, including outtakes, demos, a remastered version of the “Love You” LP and the first official release of the widely bootlegged “Adult/Child,” which puts Wilson’s touchingly emotive singing amid orchestral arrangements in a glossy big-band style. Among the set’s highlights are a voice-and-piano rendition of “Still I Dream of It,” which, according to legend, Wilson wrote in the hopes that Frank Sinatra would perform it, and a majestic take on “You’ve Lost That Lovin’ Feeling” that shows how brilliant a record-maker Wilson remained despite all the well-documented turmoil.

“Brian was healing from his personal life, and he was ready to go in the studio again,” says Jardine, 83, whose latest tour with the members of Wilson’s road band will stop Friday night at L.A.’s United Theater on Broadway for a complete performance of “The Beach Boys Love You.” With quirky but heartfelt tunes about Wilson’s daughter Carnie (“I Wanna Pick You Up”) and Johnny Carson (uh, “Johnny Carson”) — not to mention the propulsive “Honkin’ Down the Highway,” on which Jardine sang lead — “Love You” has become something of a cult classic among Wilsonologists.

Says Jardine of the LP: “Brian’s spirit — his songwriting soul — is really strong on that one.”

The Beach Boys opened Brother Studio around 1974 near the corner of 5th Street and Broadway, just a few blocks from the beach. They’d traveled to the Netherlands to record their most recent album, “Holland”; before that, they cut several records at Wilson’s home on Bellagio Road in Bel-Air, though the group’s erstwhile mastermind spent as much time upstairs in his bedroom as he did recording music with his bandmates.

Wilson’s retreat after the flameout of his notoriously ambitious “Smile” project made space for the other Beach Boys to shape the band’s music, as on 1970’s fondly remembered “Sunflower.” But the lack of hits eventually took its toll: With a laugh, Love, 84, says one reason they started up Brother was that Wilson’s wife, Marilyn, eventually “threw in the towel after years of having her house flooded with people” to less-than-spectacular returns. “It was sort of like a self-preservation thing,” he adds.

The Beach Boys backstage at New York’s Central Park in 1977.

(Richard E. Aaron / Redferns)

In “We Gotta Groove’s” liner notes, engineer Stephen Moffitt, who designed Brother after working earlier at L.A.’s Village Recorders, recalls clearing out “all the porn crap” from the building and installing a circular stained-glass window to establish the right vibe. A vintage magazine ad boasts of the studio’s high-end gear as well as its “large screen video lounge” and “a playroom with pong, pinball and bumper pool.”

“It was a respite,” Love says. “A place to go and be creative.”

Just as the band was getting Brother up and running, the Beach Boys scored an unexpected smash with 1974’s “Endless Summer,” a double-LP compilation of the group’s early material — “Surfin’ Safari,” “Don’t Worry Baby,” “California Girls” — that topped the Billboard album chart on its way to sales of more than 3 million copies. A similar hits collection issued in the U.K., “20 Golden Greats,” did just as well there. “An enormous success,” says Love. “One in every five families had it.”

Suddenly, having more or less ignored group-minded efforts like “Holland” and “Carl and the Passions — ‘So Tough,’ ” the world remembered what it loved about the Beach Boys, and that was songs written and produced by Brian Wilson.

The band got to work at Brother recording “15 Big Ones,” which featured a mix of Wilson originals and covers of oldies like “Chapel of Love” and “Blueberry Hill.” The first Beach Boys album since “Pet Sounds” to carry a solo production credit for Wilson, it came accompanied by an aggressive marketing campaign known as “Brian Is Back!”; Wilson appeared on the cover of Rolling Stone — “The Healing of Brother Brian,” the cover line read — and took part in a Beach Boys television special that showed his return to the concert stage at Anaheim Stadium.

Earle Mankey, an engineer at Brother in the mid-70s, says “15 Big Ones” was less Wilson’s attempt to relight the flame than it was “everyone else’s attempt to relight the flame.” He recalls Wilson looking like a “scared rabbit” when he walked into the studio to find some of the session musicians who’d worked with the Beach Boys back in the old days. (This was the time of Wilson’s first dalliance with the psychologist Eugene Landy, who would reenter Wilson’s life to much controversy in the early ’80s.)

Fans watch the Beach Boys perform at Anaheim Stadium on July 3, 1976.

(Tony Korody / Sygma via Getty Images)

Even Love admits that “Brian Is Back!” was a little overblown. “Brian was back to some degree,” Love says now. “One hundred percent? Perhaps not.”

Yet the campaign worked: “15 Big Ones” went to No. 8 on the Billboard 200 — the highest for a Beach Boys studio album in more than a decade — while the LP spun off the band’s first Top 5 single since “Good Vibrations” with a rendition of Chuck Berry’s “Roll and Roll Music.”

More important, the commercial success set up Wilson for a true artistic comeback with “The Beach Boys Love You,” which can still startle you with the purity of its emotion and the strange textures of Wilson’s production. Check out the beautifully lopsided groove of “Mona,” which Dennis sings with a bleary smoker’s rasp, or the lonely-sounding electric-guitar lick floating over the Wilson brothers’ harmonies in “The Night Was So Young”; listen to Brian and Marilyn trading marital assurances in their almost painfully guileless duet, “Let’s Put Our Hearts Together.”

“Of all Brian’s stuff, I’d say it’s his most personal album after ‘Pet Sounds,’ ” says Darian Sahanaja, who played with Wilson for the last couple of decades of his life. “Maybe even more than ‘Pet Sounds,’ because Tony Asher wrote most of the lyrics on ‘Pet Sounds’ and Brian wrote most of the lyrics on ‘Love You.’ The Brian that I knew is very much living and breathing in these songs.”

Unlike “15 Big Ones,” “Love You” was not a hit, peaking at No. 53 — even lower than “Holland.” As much as he adores the album, Sahanaja finds it amusing that anyone in the Beach Boys’ camp might have expected Wilson to try to give rock fans what they wanted.

“He wasn’t listening to the Top 40 at the time,” he says. “He just wrote whatever came out of him. There was no, ‘I wonder what Fleetwood Mac’s up to…’ ”

Indeed, Wilson went even further out with “Adult/Child,” for which he commissioned orchestral arrangements by Dick Reynolds, who’d worked in the ’50s with Wilson’s beloved Four Freshmen. Both Love and Jardine say they can’t quite remember why the album didn’t come out; Love says “it may not have suited the record company at the time” and points out that even “Pet Sounds” got the group’s A&R rep wondering “if maybe we could do something more like ‘I Get Around.’ ”

Whatever the case, “Adult/Child’s” mothballing led to another withdrawal by Wilson, who had far less to do with the band’s next few records and who eventually turned to a solo career. In 2012, Wilson produced a so-so Beach Boys reunion record — minus Dennis, who died in 1983, and Carl, who died in 1998 — but for much of the ’00s he and Jardine toured under Wilson’s name while Love toured as the Beach Boys. (Love’s band will play three shows at the Hollywood Bowl in July.)

Asked what it’s been like performing with Wilson’s band since his death, Jardine says, “I just feel like he’s still around.” Sahanaja says he’s seen Jardine tear up as they’ve been working up songs from “Love You” on the road ahead of Friday’s show. But he’s also been gratified to see the excitement among younger fans regarding what he views as the Beach Boys’ last great album.

“The reaction has been more insane than I’ve ever seen for any of the shows we ever did with Brian,” he says. “It’s like they feel they found this secret thing that they really identify with.” He laughs. “I’m telling you, these kids are freaking out — jumping up and down, singing along to all the words. They’re, like, pogo-ing.”

Lauren Chapin, the former child actor best known for portraying Kathleen Anderson in the 1950s series “Father Knows Best,” has died. She was 80.

The actor’s son, Matthew Chapin, announced on Facebook that his mother succumbed to her “long hard fought battle” with cancer after five years. He did not disclose additional details about her death or her condition. He said in his post he is “at a complete loss for words right now.”

“Please keep my sister and family in your thoughts and prayers as we go through this incredibly tough time,” Matthew Chapin added.

Lauren Chapin, a Los Angeles native born on May 23, 1945, began her screen career in the 1950s with a minor role in 1954’s “A Star Is Born” starring Judy Garland and James Mason, appearances in TV including the anthology series “Lux Video Theatre” and the family sitcom “Father Knows Best.”

“Father Knows Best” aired from 1954 to 1960 — bouncing between networks CBS and NBC — and starred Robert Young as the patriarch of the middle-class Anderson family. Chapin’s Kathleen, also “Kathy” and nicknamed “Kitten,” was the youngest of Jim Anderson Sr. (Young) and Margaret Anderson‘s (Jane Wyatt) three children. Her screen siblings were played by Elinor Donahue and Billy Gray.

The Emmy-winning sitcom, which ran for more than 200 episodes over six seasons, comprised the bulk of Chapin’s screen career. Chapin followed up her time on “Father Knows Best” with a single appearance on “General Electric Theater,” and nearly two decades later a role in 1976’s “The Amorous Adventures of Don Quixote and Sancho Panza” and two “Father Knows Best” reunion specials. In 1980, she appeared alongside Gary Coleman in the film “Scout’s Honor.”

She would not return to the screen until the late 2010s, starring as an elderly school bus driver in the YouTube series “School Bus Diaries” from 2016 to 2017, according to IMDb.

Off-screen, Chapin was an evangelist who shared her faith through public speaking, ministry and outreach, according to her website. She also concerned herself with various charitable efforts and work as a talent agent, channeling her experience to guide rising stars, including a young Jennifer Love Hewitt. Chapin’s website notes her accolades, including five Junior Emmy awards for child actress and “Honorable Mayor” titles from Oklahoma, Texas and Florida for her charity work.

In 1989, she penned “Father Knows Best: The Lauren Chapin Story,” which chronicled her time on the beloved sitcom but also illuminated the emotional and sexual abuse she allegedly endured from several family members off-screen. The memoir also concerned itself with Chapin’s post-”Father Know Best” life, including struggles with drug addiction, suicide attempts, troubled marriages and legal trouble.

“Lauren Chapin’s story reminds us that while fame may introduce a person to the world, it is perseverance, honesty, and compassion that define a life well lived,” says the description on Chapin’s website.

She is survived by her son, her daughter Summer and her brother Michael Chapin, according to the Hollywood Reporter.

Before the onset of YouTube, U.S. parents had very limited options when it came to video programs that helped teach their children Spanish.

There was, of course, the ever-popular Nickelodeon show “Dora the Explorer” and before that, the PBS show “Amigos,” that looked to instill the basics of Spanish into kids across America.

These programs — while useful, innovative and entertaining — never allowed for full-on Spanish-language immersion for viewers, relying heavily on English as their primary tongue.

Now, kid-friendly videos for language acquisition can be found on all corners of the internet with YouTube playing host to the lion’s share of the market, ranging from partially in Spanish to only in Spanish.

The Times spoke to three of the most viewed Spanish-language educators for children on YouTube to see what goes behind creating highly engaging children’s content.

Isa Muñoz — “Aprende Peque”

Isa Muñoz, 33, had known from a young age that she wanted to become a teacher.

Growing up in the Baja California city of Mexicali, Muñoz’s parents worked as teachers, as did many of her aunts and uncles. Seeing how fulfilling her family members’ careers were, she dedicated her life to educating young children.

After graduating with a bachelor’s degree and master’s in special education, she worked as a preschool teacher and a private tutor before one day receiving a call from veteran program producers Alexandra Cohen and Karen Garzon.

Born and raised in Venezuela, but now raising children in Miami, Cohen and Garzon were disappointed after scouring the internet for video tools to help them make learning Spanish fun and effective for their respective children and finding few helpful resources.

To fill this gap in the market, the duo teamed up with their lifelong friend Jessica Rutenberg to create the Spanish-only educational YouTube channel “Aprende Peque.”

As the idea came into fruition, the team searched for the perfect person to be the face of their channel — specifically someone who had experience working with kids and understood how to efficiently communicate with them.

That’s where Muñoz came in.

As part of the auditioning process, she flew out to Miami from Mexicali to try out for the role. The trip resulted in two days of filming which produced three full episodes of the program that included 21 featured songs.

In the almost three years since “Aprende Peque” launched, the channel has gained 1.05 million subscribers on YouTube and posted more than 500 videos, which have amassed more than 500 million views.

The thumbnail of each video features Muñoz’s ever-emotive face, as well as her signature orange-and-white outfit and large orange head bow. More than just adding an energetic face to the videos, she also integrates elements from the latest studies on child education into each episode.

Interwoven between Muñoz’s warm, patient and interactive lessons are musical numbers that range from nursery range to rock to folksy with visuals that fluctuate between grounded and fantastical.

While Muñoz had always envisioned herself as an educator, she wasn’t as ready to be known for singing.

Muñoz works closely with the program’s musical director, Pablo Estacio, to craft the songs featured in each video. The Venezuelan native has served as the bassist and songwriter for the band Bacalao Men for over 27 years and earned a bachelor’s degree in music production and engineering from the lauded Berklee College of Music.

“Pablo has helped me tune, refine and shape my voice to the point that it’s at right now,” she said.

Those musical detours are crucial to breaking up the episodes into distinct sections and provide renewed points of interaction in videos that often last between 40 minutes and an hour.

The process of crafting such long and engaging videos often takes between three and five weeks, Muñoz noted.

“It takes about a week to write one script,” she said. “After that, we film the episode, which takes about 12 hours. Then comes the part that requires the most amount of time, which is editing and integrating any necessary animations.”

The team aims to complete two to three episodes monthly in order to have a constant stream of content year-round.

While making “Aprende Peque” episodes is creatively exhilarating, Muñoz said it’s the fan reaction and interaction that mean the most to her.

“We’re so lucky that our audience has so much love to give and that they send that love through their messages,” she said. “I personally get motivated by knowing that this whole project is actually helping children.

“For a person to reach a point where they believe that the program has worked so well that they feel compelled to write in to thank us is so wonderful,” she said. “That’s something that we’re so thankful for and something that inspires us.

On a personal level, Muñoz has also experienced moments of deep connection with her family thanks to “Aprende Peque.”

“My mom has joined me on several occasions at meet and greets and I’ve seen her shed tears of joy when she sees the impact that the program has had on kids,” she said.

Liz De León — “Spanish with Liz”

In contrast to Muñoz, Liz De León, 39, never really thought of entering the education space before kick-starting her YouTube channel “Spanish with Liz.”

The native Texan was born in El Paso, but spent the first few years of her life just across the Mexican border in Ciudad Juárez. She moved back to Texas for middle and high school before ultimately settling in California for work.

De León was inspired to start her YouTube channel after having kids of her own.

“Once my kids were born, I wanted them to grow up with my culture and my language and the roots that I value so much,” she said.

At first, De León thought she would be able to find plenty of helpful of educational videos online. But much like Cohen and Garzon, she soon found that many of the visual resources out there came up short when it came to teaching fundamental elements of Spanish.

“A lot of it was catered toward only grabbing the attention of the child with a lot of ice cream and candy and sweets and high energy,” she said. “It didn’t teach the true fundamentals of things moms worry about.”

De León’s husband was the one who first suggested that she record herself singing songs that she created to teach her kids. She began to consider it more seriously after a relative told her that her teaching style was similar to the uber-popular kids’ YouTuber Ms. Rachel.

“That’s when I was first introduced to an educator on-screen that I felt aligned with when it came to teaching — with clear pronunciation, a storyline, making sure everything that was spoken was foundational and root words,” she said. “I really liked her format and thought, ‘She’s just a regular person like me and she did it.’ So I just did it.”

Filmed in front of a green screen in one of the rooms of her San Diego home, De León’s videos aim at helping young children learn vocabulary for specific real-life situations.

Donning her signature pink T-shirt and rocking a slicked-back ponytail, she attempts to minimize the stress of things like going to the airport or a dentist visit by introducing kids to the many elements that factor into those experiences. She creates levity in the videos by having colorful animated backgrounds, through the use of puppets and by singing songs throughout.

Raised in a household that put a premium on education, De León had looked at life through the eyes of a student — which proved particularly helpful as a registered nurse specializing in anesthesia.

“If you ask any medical person, they are teachers. Half of your job is education and teaching people how to stay healthy and to take care of themselves,” De León said. “You have to learn to cater to what’s developmentally appropriate to each person. You learn about child behavior, child psychology and the formation of the brain and how they learn.”

Each episode is crafted with two very important subjects in mind for De León: her two kids, who are 4 and 5. As the kids develop, so does the show.

“They are now understanding the episodes at a deeper level,” she said. “For example, we just watched the Halloween episode a couple of months ago and they now understood that October is a month within the year.”

Her children are also her first round of critics and help her understand what works and what doesn’t. Perhaps most importantly, they are De León’s gauge for how engaging her songs are.

“They help me with the music, actually,” she said. “If they don’t learn it and it doesn’t stick with them I know it’s not good enough. Then I redo it. They’re very much my little co-creators.”

One of the reasons “Spanish with Liz” has reached more than 18 million views on YouTube is the obvious care and research that goes into every video. Being a nurse and having a physician husband, De León has extensive access to medical professionals that let her borrow tools and inform her on what they’ve seen be effective methods for working with children.

“Something unique about our channel, is that we’ve thought about the storyline, how we’re gonna say things, the phrases, what works, what doesn’t work, what kids are afraid of and how we’re gonna tackle all that,” she said. “ So much purpose goes into each episode and then we try to borrow the equipment that’s actually going to be used so they can see it.”

And when she doesn’t have an expert on a topic immediately at her disposal, De León seeks out professionals who can thoroughly inform her. For example, when working on an episode about potty training, she took a class from two potty training experts.

Being that making videos is her third job behind being a nurse and a mom, time is a fleeting asset for the YouTuber. Because of that, each video takes about two months to create from start to finish with De León serving as the writer, director, songwriter and preliminary editor. She is aided by her husband who helps record and occasionally functions as a puppeteer, an additional editor, a composer, a designer and a babysitter, whose help allows her the time to record.

But having a team like that doesn’t pay for itself and that’s where De León’s more than 78,000 YouTube subscribers come into play.

According to the content creator, all the money made from the channel goes into paying for the fees associated with production and the rest goes to donating to three different charities — one that helps immigrant families in the U.S.; another is an orphanage in Mexico; and the final one is World Central Kitchen, which provides food relief in response to humanitarian, climate and community crises.

De León still often finds herself shocked that she’s able to have a platform that helps empower people to achieve new goals and that she’s touched so many lives through her videos.

“Isn’t it crazy that YouTube can change someone’s life?” she asked. “I think of all the artists that came up from putting their music out there on YouTube. I feel like it’s a place the whole world can tap into, mostly for good.”

Miss Nenna — “Spanish for Minis”

From her early days of growing up in the L.A. area, Miss Nenna, 32, felt a deep connection to the universal language of math. So profound was her interest that she obtained a bachelor’s degree in civil engineering and now works at a utility firm in the San Diego area.

As an eighth grader, when she served as a math tutor, Miss Nenna thought about what went into becoming an effective teacher.

“I thought about how I could help someone learn to understand it and make it fun,” she said. “So it was always really fun trying to figure out what worked for some students and what what didn’t work for others.”

She has since taken that ethos and turned it into the YouTube channel “Spanish for Minis,” which has 289,000 subscribers and has amassed over 31 million views. As is popular in the genre, her videos are broken into segments that involve a mix of direct instruction, interactive conversation and exceedingly catchy sing-alongs.

Just like with De León, Miss Nenna first got into the video-making game based on a suggestion from her husband made back in 2022.

“He saw a lot of potential in me because I have a bubbly personality around kids,” she said. “He mentioned I should try teaching Spanish and science to kids and added that it would benefit our child.”

It wasn’t until the couple’s 16-month-old son was diagnosed with speech delay that she really got serious about making videos so that her son could interact with her when she was away.

When the project first began, Miss Nenna had no experience with shooting and editing videos.

“I just sat with my husband and we’d watch videos on how to edit, how to use different graphics, how to make sure it’s OK for us to use certain songs,” she said. “So a lot of trial and error and a lot of research, since it’s just the two of us.”

“Spanish for Minis” videos are filmed at the couple’s residence in front of a green screen and each episode takes about 40 hours to complete.

“None of it is ever scripted. I kind of just set the camera myself and all the lighting,” she said. “I get a basket and I put a bunch of toys in it from my kids’ playroom, then I walk into a room and I record myself.”

While filming, Miss Nenna imagines that she is speaking directly to her almost-4-year-old son or 1-year-old daughter in order to make sure she’s in the right headspace.

The topics of the videos aim to evolve with the ever-changing needs of her son. Most of the earlier “Spanish for Minis” videos were focused on babies and now they have transitioned into content for toddlers.

Production on Miss Nenna’s videos has slowed down in recent months as she has focused her time on raising her children, but she has goals to put out two videos each month in 2026.

One of the more rewarding aspects of “Spanish for Minis” is the interactions that Miss Nenna has with parents and children who watch the program.

“I get messages every day, and I try my best to respond to as many as I can because I love connecting with the parents online,” she said. “I also have Cameo where I make personalized videos. Those are a lot of fun because I always message the parents and it’s like, ‘Hey, give me every single detail about what your kid loves. I want to make sure this is a really personalized video and that they enjoy it.’”

This is the Year of the Fire Horse in the Chinese zodiac — but for the White House, it’s more like the Year of Babies.

No, not the ones in the Trump administration. Actual babies.

Parents can take advantage of a larger child tax credit. July 5 will see the launch of $1,000 stock investments funded by the Treasury Department for children born in this country during President Trump’s reign. He has mulled offering $5,000 “baby bonuses” and creating a “National Medal of Motherhood” for women who have six or more children.

All this is happening even as birthrates have plummeted in this country for decades, reaching their lowest point ever in 2024. A reduced population tends to relegate countries to economic and demographic doom — look at Japan and Russia. That’s why one of Trump’s big campaign promises was to Make America Fertile Again.

“I’ll be known as the fertilization president and that’s OK,” he boasted last spring during a women’s history event at the White House.

But even as this administration urges families to grow and single people to marry and welcome little ones into their lives, it’s persecuting children in the name of Trump’s deportation deluge.

While the president told a crowd last October, “We want more babies, to put it nicely” while announcing cheaper in vitro fertilization drugs, the New York Times found his administration was keeping an average of 175 children a day in immigration detention — a 700% increase from the end of the Biden administration.

As Vice President JD Vance bragged during a March for Life rally in January that he “practices what he preaches” by expecting a fourth child this year, 5-year-old U.S. citizen Génesis Ester Gutiérrez Castellanos was adjusting to life in Honduras along with her deported mother.

On the same day last month that Transportation Secretary Sean Duffy posted on social media, “My greatest job is being a dad to my nine kids and family will always come first,” a federal judge ordered the release of 5-year-old Liam Conejo Ramos, an Ecuadorean preschooler grabbed outside his Minneapolis home along with his father in what the jurist described as a “perfidious lust for unbridled power.”

Just last week, Alaska resident Sonia Espinoza Arriaga and her sons, ages 5 and 16, were dumped in Tijuana by la migra even though the family had an active case to determine whether they qualified for asylum. And Trump’s campaign against undocumented children is just beginning on multiple fronts.

Ayaan Moledina protests against Immigration and Customs Enforcement as they march toward the South Texas Family Residential Center on Jan. 28 in Dilley, Texas.

(Joel Angel Juarez / Getty Images)

The Supreme Court has scheduled hearings in April for Trump’s lawsuit seeking to end birthright citizenship for people born to parents who aren’t citizens or permanent residents. U.S. Atty. Gen. Pam Bondi is suing to end policies that protect immigrant children in custody.

Thousands more agents are expected to storm our streets in the coming weeks while the Department of Homeland Security spends billions of dollars to build or retrofit warehouses to stuff with the people they grab. Reports are already emerging from the South Texas Family Residential Center an hour south of San Antonio, which ICE uses to house children slated for removal from this country, of rancid food and overcrowded cells.

Trump’s apologists will claim there’s nothing racist or heartless about removing youngsters in this country illegally — or if their parents are in the U.S. without documentation — while asking citizens to have bigger families, even as the main proponents of the so-called pronatalist movement are white conservatives while nearly all of the kids la migra are booting are Latinos.

But an administration that can’t treat these children humanely shouldn’t be trusted with taking care of even American-born children. And one can’t separate Trump’s supposed pro-baby policies from what this country has historically inflicted on Latino families.

American authorities forced U.S.-born children to leave for Mexico with their parents during the Great Depression, arguing they would become a welfare burden at the expense of white children. Doctors were sterilizing Latinas without their consent in the name of population control as recently as the 1970s. Popular culture ridiculed large Latino families as backward and destined for poverty.

I grew up in a California where politicians railed against Mexican American kids like myself for supposedly overwhelming schools, parks, medical clinics and streets with our numbers. We were supposedly the ground troops in a nefarious conspiracy called Reconquista that sought to return the American Southwest to Mexico.

By the time I reached high school in the 1990s, voters began to pass laws that sought to make life miserable for undocumented immigrants like my father and other relatives, with a special punitive focus on their progeny. The infamous Prop. 187, which passed in 1994, would’ve banned undocumented children from attending California public schools from kindergarten to higher education. Five years later, the Anaheim Union High School District, whose schools I attended, passed a resolution seeking to sue Mexico for $50 million for educating the children of undocumented immigrants.

Board president Harald Martin — who migrated to this country from Austria as a 2-year-old — appeared on NPR to justify his actions by comparing the students he was in charge of to Tribbles, furry little aliens that starred in a famous “Star Trek” episode when they bred in such numbers that the Starship Enterprise was overwhelmed.

“They were so cute and fluffy, nice little things when there were four or five of them,” Martin said. “Then it got to the point down the road when it wasn’t so nice. They were getting in the way because there now were thousands of them on the ship.”

Martin’s example was not only wildly racist, it ignored the reality that Latinos were on the same road to assimilation as other previous immigrant groups ridiculed for their large families. While a March of Dimes study released last year shows Latinas had more children than any other ethnic group in this country as of 2023, the Latina birthrate declined by a third since 2003 — by far the largest drop of those groups.

I’ve seen this play out in my own family. I have 16 aunts and uncles who lived to adulthood and am the oldest of four children born to my parents — but my dad has just one grandchild and probably isn’t getting any more. I agree with Trump, Vance and the rest of them that children bring magic and vitality to communities — but what Latino family would want to raise a family where everything is far more expensive and the threat of deportation is never far away?

In this photo released by U.S. Rep. Joaquin Castro (D-Texas), Adrian Conejo Arias and his son, 5-year-old Liam Conejo Ramos, are seen in San Antonio on Jan. 31 after being released from the Dilley detention center.

(U.S. Rep. Joaquin Castro)

Fatherhood wasn’t in the cards for me, but I love being Tío Guti to my nephew and the children of my friends. That’s why my heart breaks when I hear them say that their classmates left the United States and my blood boils when I hear Vance, Trump and others urge Americans to have more kids. Trumpworld isn’t looking to increase the number of people who look like my loved ones — and that’s something that should frighten us all.

Palestinian boy Nidal Abu Rabeea died in Gaza after waiting 14 months for Israel to allow his medical evacuation, despite having the necessary clearance. Thousands of Palestinians are blocked from seeking urgent medical care through the partially reopened Rafah crossing.