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DEL MAR — Umberto Rispoli waited nearly 11 months to ride Journalism again and then, well, let track announcer Larry Collmus describe it:

“They’re off in the San Diego Handicap and Journalism brushed the gate just as it opened, and he’s left behind the field. Journalism has been left behind about five lengths. … A disastrous start for the big favorite Journalism.”

“I won’t tell you the swear (word) that I throw out there,” Rispoli said.

“It just kind of took the starch out of everything,” said Aron Wellman, managing partner of Eclipse Thoroughbred Partners, co-owner of the 4-year-old colt.

Fortunately for Rispoli, Wellman and anyone else associated with Journalism, including the fans who bet him down to 1-5 odds Saturday at Del Mar Racetrack, this story ended much happier than it began.

Rispoli patiently guided Journalism back into close contact with the other four horses in the 1 1/16-mile race, swung him outside entering the stretch and the son of Curlin cruised to a victory — his first since the same Saturday a year ago in the Haskell at Monmouth Park.

In the ensuing 12 months, Journalism started four times and finished between second and fourth each time. He didn’t run poorly in any of the races; in fact, of the seven horses who beat him, five were Breeders’ Cup winners and a sixth won the Kentucky Derby and Belmont.

But when your resume includes not only the Haskell but also the Santa Anita Derby and Preakness, sometimes close isn’t good enough.

“Frustrating for sure,” Wellman said earlier in the week.

The San Diego presented the weakest field Journalism had faced since at least the 2025 Preakness, and his task seemed to get easier when Full Serrano, the Breeders’ Cup Dirt Mile winner here in 2024, was withdrawn Saturday morning because of recurring foot issues.

But as Rispoli noted, “You can’t go in a race and think of course he’s (1-5). You have to respect everybody in the field. Because you see, everything can happen in horse racing.”

Including your horse starting to move forward just before the gate opens, then hitting the side of the stall and spotting the field several lengths.

“I was concerned [with] the bad start, obviously,” Rispoli said. “But it wasn’t the first time I was in that situation. I know what I have underneath myself. I know what’s he’s capable of.”

The official margin was three-quarters of a length over the Cal-bred Shea Brennan, who was the longest shot in the short field at 23-1. Iron Man Cal, like the runner-up trained by Phil D’Amato, was third, with The Goat fourth and pacesetting Mirahmadi fading to last.

The final time was 1:42.65 and Journalism, who paid $2.40 for his seventh win in 14 starts, earned $180,000 to push his career total to $4.77 million.

“Umberto did a good job of getting him to recover and his class won out,” winning trainer Michael McCarthy said.

And, given what Rispoli has been through, maybe Saturday was supposed to be difficult. The Italian jockey only recently resumed riding a few weeks ago after missing five months beacuse of a fall in January at Gulfstream Park. He sustained a fractured right fibula and tibia as well as a displaced ankle and torn ligaments.

“I was in severe pain,” Rispoli said of his rehab, which included time spent at a specialist in Spain. “The first two weeks [in Spain], I said to myself, this is gonna be hard to do it. You know, I’m almost 38, first time a very hard accident happened to me. It was really bad.

“But this is what gave me the strength, horse racing. And I know I have a job incomplete … so I have to come back for this guy.”

When you walk into a room with Los Primos del Este, the happy-go-lucky guys immediately make you feel like part of the family. What they first cultivate with silly banter and lighthearted ad-libs eases into a more vulnerable, introspective atmosphere, comparable to a cathartic therapy session.

When I met the norteño-sax band in at Interscope Records — the major label that signed them in early 2023 — it was just a couple of hours before the official release of Los Primos’ new album, “Dulce Amargo,” on Thursday.

For a young band of players in their early 20s, they play it cool; “Dulce Amargo” is their eighth LP to date. The project feels thoroughly chiseled to their refined sonic tastes (influenced by Julión Álvarez, Legado 7 and Remmy Valenzuela) inflected with raw, sentimental lyricism and a wailing saxophone that commands each track with the spirit of an electric guitar.

“Play it back to back and actually start understanding the sound more and realize there’s new sounds being created,” said lead vocalist Geovanni Flores. “Because a lot of people get stuck in their old ways.”

Made up of five members — Flores, bassist and supporting vocalist Ariel Jesus Lopez, accordionist Juan Luis Hernandez, drummer Alejandro Tellez and saxophonist David Tellez — the group has built a steady momentum in the música mexicana genre. They’ve championed the resurgence of norteño-sax, a subgenre that fuses the accordion sounds of norteño music with an invigorating alto saxophone, made popular by legendary groups like Conjunto Primavera.

Since forming in 2017, the North Carolina-based band has gained over 2 million listeners on Spotify through catchy norteño-sax songs like “No Es Mentira (Version Norteña),” “Poema” and “Mami” — drawn together by a polka-like beat that has made them a staple of Mexican dance venues.

In 2024 alone, the subgenre grew by 39% in both the U.S. and Mexico, per Spotify.

Los Primos del Este formed in 2017 out of North Carolina.

(Arwen Clemans / Los Angeles Times)

The band took a few years to find its groove. Its 2020 debut album, “PDE,” experimented more with the prickly, sad sierreño sound popularized by acts like Eslabon Armado and DannyLux — as well as trap-infused corridos tumbados with a thumping tololoche. Still, this was music one could bop their head to, even if dance parties were limited during the global pandemic. With norteño-sax, the group could incorporate contemporary dating themes into songs that bring people physically closer to one another on the dance floor.

“There’s been a sense of maturity that’s happened within the group. In the past, we would just make music to make music and release it,” said Flores. “ We thought about every single detail now, even down to the album cover.”

Before getting into the thick of their recent music catalog, Los Primos del Este quickly unfurled details of the album cover, which shows the group sprawled across the flatbed of a white truck. The image was inspired by Alejandro Cartagena, a Dominican Republic-born Mexican creative who photographed carpooling laborers on the flatbeds along a highway in Monterrey, Mexico, in 2012. The project was a visual representation of how everyday people — often marginalized individuals — navigate transit in a sprawling suburban area.

Such an open stance on community issues appears to be a norteño-sax speciality. In 2000, their forefathers Conjunto Primavera previously told The Times that they make music for working-class audiences: “Wealthy people don’t like what we do.”

“Personally, I found myself in the bed of a truck at one point, low-income, trying to make something out of nothing,” said Lopez. “That’s the world I grew up in, and that’s the world I wanna show everybody. It’s not all sweet, you know?”

The band also nods to injustices faced by immigrant communities — including the recent fatal shootings of 52-year-old Lorenzo Salgado Araujo and 26-year-old Johan Sebastian Duran Guerrero by Immigration and Customs Enforcement agents in Texas and Maine, respectively.

“We’re willing to take the heat,” said Lopez, referring to the band’s pro-immigrant stance. “The community looks at us as a negative presence, but in reality, we’re hard-working, dedicated family people.”

It is both that honesty and vulnerability that are etched into the 14-track LP “Dulce Amargo,” which translates to “bittersweet” in English. The band shared that each member contributed details of his own personal experience to the brainstorming sessions — a process they likened to therapy.

“We were comfortable enough with each other to let [our] stories be heard,” said Lopez. “In the Latino community, there is kinda like that stereotype [that] you have to be strong.  I think this message goes out to everybody — if you’re feeling something, specifically the men, it’s OK to just let it out.”

(Arwen Clemans/Los Angeles Times)

The hazy love melody “Tremenda,” for example, underscores an intense yearning for connection. Written after Lopez was starstruck by a woman, its first lyrics begin in wondrous marvel: “Tal vez fue tu mirada,” or, “Perhaps it was your gaze.”

“What’s the first thing you do when you look at somebody? I look at the eyes,” said Lopez. “They say the eyes are the doors to the soul.”

Alejandro Tellez’s contribution came with the punchy “Linda Sonrisa,” that pleads for someone to realize the realities of the mistreatment they’re facing with another lover.

“How many times are you gonna let him do you wrong until you realize that you have the right guy in front of you?” said Alejandro Tellez in a sing-song twang. “That’s a story that I went through in high school.”

For Flores, the EDM-fused, echoing melody “Mejor Sin Ti,” struck a personal chord; could a relationship be the only thing standing in your way to personal success? “Some people do hold you back, some people tie you down — that’s what I felt,” said Flores.

Hernandez gets a bit teary-eyed when talking about his favorite song, “Sentimientos,” a whirling polka-driven ballad about an avoidant situationship, he said. “To me, it’s like we both kinda love each other already, but we’re kind of afraid to say it,” he explained. “A lot of people are afraid of falling in love again, so that song hits close to home.”

The concept behind “Mereces Mejor,” a trance-inducing ode with floating melodies that implores a loved one to recognize their self-worth, was inspired by David Tellez’s own experience with unrequited love: “She’s trying to go to the bad guy, and I’m over here giving everything I got.”

As the five artists prepare to take their new album on the road — including an upcoming performance at the Lone Star State’s Truck Show Texas Fest on July 25 — they want to make clear that norteño-sax is not a stagnant subgenre. Like most of música mexicana, it, too, is evolving, both in sound and lyricism, encapsulating today’s complex dating culture. Their emotional vulnerability is welcome in a field flooded with artists that may otherwise shrink away from such honesty — perhaps due to the stigma of mental health issues in the Latino community, especially among men.

“We understand that changing the sound may not be for everybody, but we’re making music for the next generation,” said Lopez. “Who knows? Maybe their parents might end up liking this too.”

When Journalism enters the Del Mar Racetrack starting gate shortly after 5:30 p.m. Saturday, 363 days will have passed since he last won a race.

Anyone who watched the colt win six of eight starts — including the Santa Anita Derby, Preakness Stakes and Haskell Stakes — during the eight months leading up to July 19, 2025, might find that unthinkable.

Imagine being his primary owner.

“Yeah, it’s pretty hard to believe that a horse like him hasn’t won a race in a year,” said Aron Wellman, managing director of Eclipse Thoroughbred Partners, which co-owns the 4-year-old son of Curlin. “Frustrating for sure.”

It’s not like Journalism has been disgraced during his four-race winless streak. Two of the races came when he was a 3-year-old facing older horses. His speed figures have ranked among the highest of his career. And five of the seven horses who finished ahead of him have won Breeders’ Cup races while a sixth captured two legs of the Triple Crown.

“You can understand how he might have found it hard to make his way into the winner’s circle,” Wellman said. “But it’s not for lack of ambition or lack of trying, or I don’t think any deterioration in his form, really. It’s just been a matter of circumstance, and hopefully he can get back in the win column on Saturday.”

Journalism, with jockey Umberto Rispoli, crosses the finish line to win the 150th Preakness Stakes in 2025.

(Rob Carr / Getty Images)

There’s no guarantee Journalism, the even-money favorite on the morning line, will win the $300,000, Grade 2 San Diego Handicap. But even with another past Breeders’ Cup winner (Full Serrano) among his five opponents in the 1 1/16-mile race, it’s unarguably the weakest field he will have faced since winning the Haskell last July at Monmouth Park.

In the last year he finished second behind Fierceness in the Pacific Classic; fourth behind Forever Young, Sierra Leone and Fierceness in the Breeders’ Cup Classic; third behind White Abarrio and Sovereignty in the Oaklawn Handicap, and third behind Nysos and Knightsbridge in the Met Mile.

Even with those defeats, as well as his runner-up showings last year behind Sovereignty in the Kentucky Derby and Belmont Stakes, he has six wins, three seconds and three thirds in 13 starts, with earnings of nearly $4.6 million. Nothing to apologize for, but there’s also no question Journalism’s star has dimmed. He no longer is ranked among the top 10 older horses in the National Thoroughbred Racing Assn. weekly poll.

Wellman, though, believes Journalism is not done writing his story. A good performance Saturday, one in which he shows what the owner calls “the explosivity that we’ve seen in the past,” surely would make him one of the favorites for next month’s Pacific Classic. And his connections would like to give him another chance to win the Breeders’ Cup Classic, scheduled for Oct. 31 at Keeneland, before he goes off to stud next year.

“We haven’t lost any faith in him,” Wellman said. “I mean, he’s a horse that’s inspired confidence from Day 1, and put together a campaign last year for the ages. You don’t see many modern-day horses string together the type of races that he did, travel back and forth across the country multiple times, take on all comers and maintain elite performance, race in and race out.

“So, are we frustrated by the fact that he hasn’t won in some time? Absolutely. But when you compete at this level, you can’t play scared. You’ve got to continue to take on the best of the best, and no matter how much any horse or human has accomplished in this game, or in any sport, I think the best and the most driven athletes, equine or otherwise, feel as though you’ve constantly got to prove yourself.”

Perhaps reuniting with the jockey who was aboard Journalism during a streak of eight straight wins or runner-up finishes will provide a boost. Umberto Rispoli was replaced by Jose Ortiz before the Breeders’ Cup Classic, but the 37-year-old Italian is returning to the saddle Saturday. Rispoli, the leading jockey at last fall’s Del Mar meeting, has had his own rough stretch, missing five months of action after breaking his right ankle and leg in a January spill at Gulfstream Park.

“It was a difficult, difficult situation,” Wellman said, “considering the success that Umberto had on Journalism. It was hard on everybody for a lot of reasons. But the relationship speaks for itself between (trainer) Michael (McCarthy), our group, and Umberto.

“Obviously, Umberto holds Journalism himself in the highest regard and maintains an incredible rapport with the horse. It’s great to see Umberto coming back so strong off a serious injury, and we’re delighted to give him the opportunity to get back on Journalism. Hopefully they can find that magic again with the camaraderie that they share for one another.”

Del Mar underway

Del Mar’s annual eight-week summer meeting opened Friday, with racing normally held Thursday through Sunday. Post time is at 2 p.m. every day except closing weekend, Sept. 5-7, when it shifts to 1:30. Daily coverage is available on FanDuel TV.

Storied norteño group Los Tigres del Norte announced Tuesday that they are teaming up with departing L.A. Philharmonic conductor Gustavo Dudamel for a special performance Aug. 21 at the Hollywood Bowl.

The show is part of a series titled “Celebrating Gustavo at the Bowl,” which looks to send off Dudamel in style as he transitions into his new role as the music and artistic director of the New York Philharmonic. The “Jaula de Oro” artist’s appearance is part of “Gustavo’s Fiesta,” which will also feature performances by other prominent Latino artists.

The norteño act has sold 37 million albums and recorded 500 songs over a career that’s spanned five decades. They have seven Grammy Awards, eight Latin Grammys and have had 66 songs land on Billboard’s Hot Latin Songs chart, the most of any Latin music act ever.

In 2018, Los Tigres del Norte became the first norteño act to headline at the Hollywood Bowl.

Recently, the “La Puerta Negra” hitmakers were immortalized in U.S. pop culture history when its members appeared in animated form in a December 2025 episode of “The Simpsons” and performed an original corrido about the escapades of Homer Simpson and Pedro Chespirito (also known as the Bumblebee Man).

Also featured on the Aug. 21 lineup are Grammy-winning singer Lila Downs, the all-female Mariachi Reyna de Los Ángeles, the explosive cumbia group La Sonora Dinamita and the legendary Mexican bolero trio Los Panchos.

The show will serve as Dudamel’s third-to-last performance as the music and artistic director of L.A. Philharmonic. On Aug. 22, he will be in concert with Foo Fighters. His farewell weekend will conclude Aug. 23 and will serve as a benefit for his homeland of Venezuela, which suffered catastrophic losses from twin earthquakes in late June.

Donations will benefit Dudamel’s Earthquake Recovery to Support Venezuelan Communities fund, in partnership with the United Nations Development Programme and the Development Bank of Latin America and the Caribbean fund.

In 2015, musician Roberto Carlos launched Boleros de Noche, an annual concert series held in Los Angeles that aimed at preserving and showcasing the Latin American bolero music genre.

This year, the event is celebrating its 10th anniversary with performances at the Ford on Aug. 1 by Puerto Rican singer and former Calle 13 member iLe and L.A.-based bolero trio Voz Bohemia

On Friday, the city of L.A. honored the series’ decade-long run and legacy of uplifting bolero music by declaring Aug.1 “Día del Bolero.”

Boleros are ballads noted for their slow tempo and romantic lyrics accompanied by a crooning vocal style. Though the genre originated in Cuba, it quickly gained popularity across Latin America, with each culture putting their own spin on it. In the early 20th century, the evolving sound of boleros was shaped by the Cuban group Trio Matamoros, Mexican composer Agustín Lara, Puerto Rican artist Rafael Hernández and Ecuadorian singer Julio Jaramillo.

The genre saw a resurgence in popularity in the 1980s and ‘90s when famed Mexican artists Juan Gabriel and Luis Miguel embraced the bolero sound. In recent years, the bolero movement has been modernized and electrified by artists such as Mon Laferte, Romeo Santos, Adrian Quesada and Kali Uchis. In the last five years, Quesada has released two bolero albums, “Boleros Psicodélicos” and “Boleros Psicodélicos II,” that mix the genre’s classic sounds with elements of psychedelic rock.

“Over the past decade, Boleros de Noche has presented numerous concerts featuring both local and international artists, has brought together thousands of people across the city to bask in the lush orchestration of this music,” said City Councilmember Nithya Raman, who presented Carlos with the honor. “For so many in the Latino community and beyond, this isn’t just music, it’s memory, it’s home, and perhaps most importantly, it’s heritage being carried forward.”

Raised in L.A. County by parents who immigrated from the Mexican state of Oaxaca, Carlos says he first fell in love with live performance and bolero music in his midteens, when he would frequent the now-defunct Teatro los Pinos in South Gate.

He yearned for that same level of comfort and awe at music and wanted to share that with a larger audience. The first iteration of Boleros de Noche took place in 2015 at an art gallery in Echo Park.

“Over the years, I have heard countless stories from audience members who tell me how this music reminds them of their parents, grandparents, first loves and family traditions,” Carlos said Friday at City Hall. “Ten years ago, bolero was rarely part of our city’s cultural conversation, and today bolero programming can be found across Los Angeles, and I’m honored that Boleros de Noche has been a driving force behind its growth.”

Boleros de Noche has sold out shows at the Ford over the last few years and has featured artists such as Gaby Moreno, Marisoul and the legendary trio Los Panchos. In 2025, the event made its debut at Chicago’s historic Symphony Center.

The bolero genre’s popularity and cultural significance has been spotlighted outside of L.A. in recent years as well.

On Dec. 5, 2023, UNESCO, the United Nation’s agency aimed at safeguarding social and cultural foundations, recognized the musical genre as an Intangible Cultural Heritage of Humanity.

As part of Friday’s ceremony, Carlos and his bolero group Los Rebeldes Románticos performed several tunes, including the Mexican bolero classic “Sabor a Mí.”

Last year, Carlos spoke with The Times about his ambitions for Boleros de Noche and the mentality that drives the event series.

“At Boleros de Noche, [I want] for us to speak in Spanish, to feel recognized, to do this music as a celebration for all these artists that unfortunately became background music for a lot of like weddings and quinceañeras,” he said. “How about if we celebrate them and give them recognition? How about if, through my events, I can take people back to the 1940s to my experience at Teatro los Pinos?”

Given recent attacks on Latinos on the local and national levels, Carlos said he hoped his events would create a safe and welcoming gathering place.

“It’s about bolero music. It’s about community. It’s about people. It’s about the musicians,” he said. “Many of the musicians were undocumented. They brought this music to L.A. through their hometowns.”

A VHS tape of 1993’s “The Nightmare Before Christmas” introduced brothers Roy and Arturo Ambriz to the tactile whimsy of stop-motion, an animation technique where physical objects are manipulated and photographed frame by frame to achieve the illusion of life.

Realizing that the characters on screen were figures in real sets shocked the Mexican filmmakers’ young minds and set them on an arduous path to craft their own worlds.

“If there’s something we’ve loved our whole lives it’s toys: collecting them, modifying them, playing with them, creating dioramas for them,” said Roy, 36, from under his dark shades during a recent interview at Netflix Animation Studios in Burbank.

“And for us, the most sublime moments in life are when we’re doing something artistic, whether that’s painting, drawing or sculpting. And stop-motion animation combines all of that.”

The culmination of years of tireless work and financial stress for the Ambriz siblings is the breathtaking period fantasy “I Am Frankelda,” Mexico’s first-ever stop-motion feature, which is now streaming on Netflix.

“Thankfully, no one put it into our heads that it was impossible to do this,” said Arturo, 38. “That’s why we don’t like going around saying that this is extremely difficult, because maybe if young people hear that, they might not want to do stop-motion. Don’t tell them!”

A lavish musical, “I Am Frankelda” follows Francisca Imelda (voiced by Mireya Mendoza), a young aspiring writer living in 19th century Mexico and struggling to publish her stories. Meanwhile, in the Realm of Spooks, an alternative reality that’s home to all of the fictional characters Francisca has written, Herneval (Juan Pablo Monterrubio), a winged prince, must save his parents and his kingdom. The creatures in this world live off of human fear, so they create our nightmares.

Herneval crosses into the human world to bring Francisca with him to the Realm of Spooks, so that she can write new nightmares that actually scare people. Humans have become difficult to terrify. By this point, a frustrated Francisca has decided to change her name to Frankelda (a reference to “Frankenstein” author Mary Shelley, who inspired the character). Frankelda and Herneval sing of the relationship between fiction and reality. One can’t exist without the other.

Frankelda was first introduced as part of the 2021 series “Frankelda’s Book of Spooks,” which HBO Max commissioned. In the show, the heroine shares nightmarish tales alongside Herneval, who appears not as a prince but a sentient book. The film “I Am Frankelda” is a prequel that explains the relationship between these characters.

Last month, “I Am Frankelda” screened at the Los Angeles Latino International Film Festival, where Guillermo del Toro moderated the post-screening Q&A. A longtime mentor of the Ambriz brothers, Del Toro first supported them by donating to a Kickstarter campaign to finance their ambitious 2016 short film inspired by cubist art, “Revoltoso,” about a one-eyed boar living during the Mexican Revolution.

“In that moment, it was incredibly validating to realize that if Guillermo liked what we were doing, then it made sense to keep on doing it,” Roy said.

Two years apart in age, Roy and Arturo both studied filmmaking at the Centro, a university in Mexico City. Yet directing together wasn’t always the plan.

“I said, ‘We have to co-direct,’ because the situation naturally lent itself for me, being the older one, to take on the role of director while Roy would serve as production designer. But at a certain point, I realized that the hierarchy was wrong, and that if we wanted something sustainable for the rest of our lives, it had to be a 50/50 split between us. And I mean, 50/50, Roy!” said Arturo, playfully chastising his younger brother.

“It’s more like 60/40, with me having 60% of the power,” Roy added laughing.

In 2011, not long after graduating, Arturo found himself ridden with anxiety. Over the course of his education, he’d focused on artistic excellence but hadn’t much thought about how to actually make a living out of his and his brother’s shared passion. That’s when he decided they should create their own studio, Cinema Fantasma, so as to have control of the projects they took on. Their productions for hire include the Adult Swim show “Women Wearing Shoulder Pads,” which was produced entirely at their company in Mexico City.

“It’s been very difficult because we are filmmakers by vocation, but we are businesspeople by necessity,” said Arturo. “Developing that side of things has been the hardest part, but both are indispensable.”

To wrap up the “Frankelda” series, HBO Max requested a 30-minute special. Instead of accepting that offer, Roy suggested they use the proposed budget allocated to partially fund a full-length feature film. HBO Max agreed with the caveat that the brothers would have to come up with the rest of the money needed on their own.

To finance “I Am Frankelda,” Roy and Arturo mortgaged two homes. They are losing one of them to pay off their debts, so it helps that their dream of animation is a family affair. Their parents are executive producers on “Frankelda”; Roy’s wife, Ana Coronilla, worked as production designer; and Arturo’s spouse, Irene Melis, as a director of photography.

That “I Am Frankelda” is a musical is due in great part to Roy’s love of musical theater.

“At first, Arturo wasn’t sure, but using my 60% share of the power, I convinced him that it should be a musical,” Roy said. Yet it’s Arturo who wrote the lyrics to musical numbers. Each track starts as a poem that composer Kevin Smithers transformed into songs.

A fantastical stop-motion musical period piece, “I Am Frankelda” is far from an easy sell, and that’s what makes its existence all the more astonishing. The Ambriz brothers’ creative pursuit of the unpopular and the unfeasible has bonded them with Del Toro.

Mexican filmmaker Guillermo del Toro, pictured, interviewed “I Am Frankelda” directors Roy and Arturo Ambriz on May 30 during the film’s screening at the TCL Chinese Theatre as part of the Los Angeles Latino International Film Festival.

(Jill Connelly / For De Los)

“He is our most important mentor and the person we admire most in the world, and we also share many of the same interests,” Arturo explained. “That’s why when we saw ‘Pan’s Labyrinth,’ it was like when the glass slipper fits Cinderella. It was exactly what we loved: monsters, war, the cruelty of the human spirit, fairies and period settings.”

“Did you just call yourself Cinderella?” Roy interjected with the mischievous smirk typical of a younger brother trying to ruffle some feathers.

“Yes!” Arturo said quietly but without hesitation.

Every time they hear Del Toro speak about his interests, the Ambriz brothers discover a new well of references and “cultural protein,” from authors to painters.

“Guillermo is someone who actively champions the work of others, which I believe is the right way for an artist to be,” Arturo said.

When they finished “I Am Frankelda,” the brothers sent it to Del Toro, eager to hear his thoughts. As soon as he watched it, Del Toro called them.

“We spoke with him for hours, and he told us everything he saw, obviously with great tact, sharing both the good and the not-so-good,” Roy recalled. “But most importantly, he kept telling us that we had created something unprecedented. He insisted that we would pull through, even though we had ended up with a lot of debt.”

The version of “I Am Frankelda” that premiered at film festivals in 2025 is not the same one that will be available on Netflix. Based on Del Toro’s thorough feedback, the filmmakers recut the film and even animated new scenes. They playfully refer to this new cut that audiences will see globally as “The Grandfather Cut,” to honor Del Toro’s influence.

That “I Am Frankelda” was picked for distribution by Netflix is also Del Toro’s doing, the brothers said. It was the veteran director who suggested the film to the streaming company.

“I Am Frankelda” debuted in Mexico last October to an incredible reception, in part thanks to the fandom the characters had amassed via the episodic series.

“We receive fan art and fan fiction every day. People send us photos cosplaying the characters or of their ‘Frankelda’-themed quinceañeras. We’ve even bought bootleg merch at Mexican markets and on Temu or AliExpress too,” Roy said.

“We’ve bought ‘Frankelda’ socks from there that are of terrible quality, but all the more beautiful because of their bad quality,” he added.

“Of course, there are haters, too, but a large segment of the audience really identified with Frankelda as someone who perseveres, as someone who refuses to let her detractors hold her back. It’s been really beautiful watching that fandom grow,” Arturo said.

Another conviction where they align with Del Toro is their disinterest in engaging with artificial intelligence.

“AI is the antithesis of stop-motion. We’re not even remotely interested in it, because we do stop-motion to enjoy the artistic processes,” Roy said. “We created the studio for painting, drawing, sculpting and writing. Whatever happens with AI doesn’t really matter to us.”

Their second feature, “The Ballad of the Phoenix,” a medieval fantasy, is already in the works.

A HISTORIC lido with stunning sea views is reopening today, just in time for the good weather.

Located on the edge of a scenic area dubbed the UK’s Costa del Sol, this pool is the perfect place to cool off in the summer sun.

Dating back to the 1930s, Brightlingsea in Essex is one of the last remaining lidos in the area.

The site boasts an Olympic-size outdoor pool, along with a heated toddler pool as well as sun loungers, changing rooms, and a cafe.

Summer sessions will run from 7am until 5pm, with the first three hours allotted for relaxed lane swimming.

Aquacise and “little dipper” sessions for younger swimmers are also available.

MAKE A SPLASH

All the UK lidos opening this bank holiday weekend as temps set to hit 28C

MAKE A SPLASH

Massive new ‘floating’ lido to open in the UK next month

The lido first opened in 1932 as a tidal salt pool, eventually converting to freshwater in the 1970s.

Nowadays, the popular site is run by volunteers who saved it from closure in 2017.

General entry costs £7.50 for adults and £5.50 for children aged two to 18 and seniors over 65.

Toddlers under the age of two can enter for free.

Cheaper rates are available for lane swimming, quiet sessions, and aquacise, with more information available on the lido’s website.

The site will be open from 7.30am until 7.15pm until Monday, August 31.

Brightlingsea is much quieter than its neighbouring towns such as Clacton but is still known for its shingle beach.

The area is perhaps most recognisable for its line of colourful beach huts on the promenade.

One visitor described the area as “very unspoilt, family oriented, beautiful beach. Traditional town back in the 50’s.”

Brightlingsea is on the UK’s Sunshine Coast, which one person said is like “going back in time to seaside holiday of the past.”

Another visitor told The Sun: “I was on the Sunshine Coast of Essex, which is often compared to Spain thanks to it being one of the sunniest, driest spots in the country.

“What I really loved about exploring the Essex seaside is the sheer variety of experiences on one relatively small stretch of coast, bookended by Brightlingsea in the south and Harwich in the north.”

Out in the high desert city of Barstow stand three Del Tacos that bill themselves as better than their corporate cousins.

They’re the last ones owned and operated by Ed Hackbarth, the founder of the Mexican fast food chain. Two of them feature the word “Original” under their marquees, even though that’s historically inaccurate — Hackbarth opened the first Del Taco in the nearby town of Yermo in 1964.

That hasn’t stopped thousands of devotees — myself included — from trekking to these Cal-Mex shrines to buy memorabilia, gawk at historical photos and gorge on hard shell tacos, burritos and bun tacos that they insist are tastier than the ones at regular Del Tacos.

Among those visitors was Republican gubernatorial candidate Steve Hilton.

He stopped by the Original Del Taco off 1st Avenue on Saturday after a town hall with lieutenant governor candidate and Barstow native Gloria Romero. His campaign posted a short video on social media of him standing outside the spot — the oldest operating Del Taco — while holding something that looked like a melted Frisbee.

It was what the place calls a Barstow Taco: ground beef, a few strips of lettuce, a blizzard of bright yellow cheese and a thick red tomato slice on top, all inside a hard taco shell.

Hilton gleefully wielded the crunchy mass with one hand as he pointed to the Original Del Taco sign with the other.

“My Barstow street taco, I’m going to enjoy,” he concluded in an accent from his native England, while giving a thumbs-up. “See you soon.”

He didn’t take a bite.

The social media blowback exploded like a digital Montezuma’s revenge. Haters ridiculed Hilton for visiting a Mexican restaurant in what seemed like an attempt to attract Latino voters — if he was going to do that, why on Earth pick a multimillion-dollar empire founded by a gringo? Others noted that “street tacos” are made with corn tortillas and bought from a food truck or street stall. As the author of a book about the history of Mexican food in the United States, I pointed out that this Del Taco isn’t actually the original, despite what the marquee says.

A humble man would have immediately owned up to his mistakes. Hilton is not a humble man.

To someone who pointed out that “Barstow street taco” is a misnomer, Hilton shot back, “It’s what they call it!” To someone who accused him of supporting bland corporations instead of mom-and-pop shops, Hilton responded that he went there because Romero once worked there.

“Not everything in life has to be turned into a political argument!!” he whined.

Hilton and his followers are treating Del Taco-gate as much ado about nada — and yet it tells voters everything they need to know about the man.

Three hard shell beef tacos from Mitla Cafe, the San Bernardino restaurant that indirectly served as the inspiration for Taco Bell and Del Taco.

(Jenn Harris / Los Angeles Times)

Endorsed by President Trump, he has consistently topped the polls this year, mainly because the many Democratic candidates have split the vote. Hilton has outperformed his main Republican rival, Riverside County Sheriff Chad Bianco, by promoting a message of positivity with weak-salsa slogans like “Make California Golden Again” and “Califordable.”

During debates, the former Fox News host has relied on his dry wit and posh tone to make his answers sound stronger than they are. He has especially focused on selling himself to Latinos. Months before announcing his run, we sat down at my wife’s restaurant in Santa Ana as he tried to pick my brain about this crucial swing vote, asking questions I kept telling him I had already answered in my columna.

Hilton is no pendejo. But I have to wonder about his judgment after that Del Taco video.

I have no problem with Hilton campaigning at a Mexican restaurant — it’s a political trope practiced by candidates of all persuasions. It’s unfair to expect a British immigrant who’s been in California only since 2012 to be fully versed in taco culture, as essential to the state as it is. And people shouldn’t bash him for highlighting a California culinary institution that’s one of the better legacy fast food chains out there, even though the Barstow Taco is, well, whatever. (Del Taco’s half-pound bean and cheese burrito, on the other hand, is as silky as a Luther Vandross slow jam.)

A proper hard shell taco is a beautiful thing. Just head out to San Bernardino’s Mitla Cafe, where Hackbarth’s former boss, Glen Bell, learned to make the tacos that turned the two of them into millionaires. But bragging about enjoying a hard shell taco nowadays is like showing up to a street takeover in a horse buggy.

As relevant to modern-day California as tamale pie, hard shell tacos are a reflection of Hilton’s pitch to voters: Instead of offering a bold vision for the future, he offers a return to a past that will never happen again and that wasn’t as great as people make it out to be.

I’ve tried to be as open as possible to Hilton’s campaign. California could benefit from a governor who didn’t emerge from the Sacramento swamp. It might even benefit from a Republican, as in the 2000s when Arnold Schwarzenegger forced Democrats to fight instead of fester.

But Hilton disappoints again and again. He launched his campaign in Huntington Beach, enamored of politicians there who seek to silo their city from the rest of California and humiliate liberals at every opportunity. His embrace of Trump‘s endorsement and refusal to admit that Joe Biden legitimately won the 2020 presidential election expose him as a toady. Hilton’s ongoing boast that he is the candidate for legal immigrants disqualifies my father, who originally came to this country without papers yet has contributed more to the California experiment (and is now a U.S. citizen) than Hilton ever has.

I’ll even be gracious and excuse Hilton for wrongly calling the Del Taco he visited the original one — the background is admittedly confusing. But his Barstow street taco flub is a stand-in for his campaign, which will flop come November if he doesn’t get his Mexican meals straight.

Hilton told me over the phone that it was his first time eating at a Del Taco (he enjoyed the Barstow Taco off-camera but felt their fish taco was better). He didn’t stop by “for the food, frankly,” but rather for its meaning to Romero and to California entrepreneurship.

“The idea of going to the first location of a business that ends up going big is actually pretty cool,” the former restaurateur said, noting that he had shot a video at the San Bernardino location of the first McDonald’s, which is now a museum.

He didn’t get defensive when I told him the Del Taco wasn’t the first one and that what he ordered wasn’t actually a street taco — “I would say I’m learning, and I love learning and I love food, and exploring places and community through food, and I really would love to learn more, for sure.”

Hilton said he does enjoy “real” tacos but couldn’t name any places he favored. He asked for recommendations. I suggested we go get some tacos with my dad, and he immediately agreed.

“So you can explain to him how you’re the candidate of legal immigrants,” I added. “My dad came to this country in the trunk of a Chevy.”

Hilton stayed silent for a second. “OK, let’s have that conversation,” he said.

Dear reader: Where should we eat?

A BEACHFRONT lido in a pretty seaside town is set to reopen this month.

Brightlinsea in Essex is one of the last remaining lidos in the county, dating back to the 1930s.

Along with a 50m outdoor pool, there is also a smaller toddler pool as well as sunloungers, changing rooms and a cafe.

Set to open from May 23, sessions will run from 7am until 5pm, with the first three hours for relaxed lane swimming sessions.

Other sessions include aquacise and ‘little dipper’ ones for younger swimmers.

Having first opened in 1932 as a tidal salt pool, it is now a freshwater pool.

MAKING WAVES

7 heated UK lidos open now, including ‘Olympic’ pool – is there one near you?

SPLASH OUT

UK lido that’s ‘like being on holiday’ with pool and slides reopens this month

It nearly closed in 2017, only to remain open thanks to a group of volunteers who still run it now.

One previous visitor wrote: “The atmosphere at the Lido has to be mentioned it felt like you were on holiday, everyone chatting and smiling.”

During the summertime, Brightlingsea is much quieter than its neighbours such as Clacton.

However, it’s shingle beach is recognisable thanks to its line of colourful beach huts on the promenade.

One said: “Very unspoilt, family oriented, beautiful beach. Traditional town back in the 50’s.”

Brightlingsea is on the Sunshine Coast, which one mum said is like “going back in time to seaside holidays of the past.”

Mum Catherine Lofthouse told The Sun: “Because I was on the Sunshine Coast of Essex, which is often compared to Spain thanks to it being one of the sunniest, driest spots in the country.

“What I really loved about exploring the Essex seaside is the sheer variety of experiences on one relatively small stretch of coast, bookended by Brightlingsea in the south and Harwich in the north.”