design

Mexican officials say sportswear giant took design idea from Indigenous community in country’s southern Oaxaca state.

Mexico’s government is seeking compensation from Adidas, accusing the sportswear giant of cultural appropriation for launching a new shoe design strikingly similar to traditional Indigenous footwear known as huaraches.

Adidas’s new Oaxaca Slip-On was created by United States fashion designer Willy Chavarria, who has Mexican heritage.

But the footwear has drawn strong pushback from officials in Mexico’s southern state of Oaxaca, who say no authorisation was given by the Indigenous community, in the village of Villa de Hidalgo Yalalag, behind the original design.

“It’s collective intellectual property. There must be compensation. The heritage law must be complied with,” Mexico’s President Claudia Sheinbaum said during her regular news conference on Friday.

“Big companies often take products, ideas and designs from Indigenous communities,” Sheinbaum said.

“We are looking at the legal part to be able to support them,” she said.

The government said that Adidas representatives had agreed to meet with Oaxaca authorities.

In a public letter to Adidas, Oaxaca state governor, Salomon Jara Cruz, criticised the company’s design – which has a sneaker sole topped with the weave of huarache sandals – saying that “creative inspiration” is not a valid justification for using cultural expressions that “provide identity to communities”.

“Culture isn’t sold, it’s respected,” he said.

Mexican news outlet Periodico Supremo said the country’s National Institute of Indigenous Peoples will launch a legal challenge over the Adidas design, and asked followers on social media: “Are you going to buy them?”

🔴 Están “padres”….🩴

Gobierno de #México defiende propiedad intelectual indígena, en contra de la reconocida marca ADIDAS (@adidas)

El INPI (@INPImx) reclamará legalmente el uso indebido del diseño tradicional de guaraches originarios de Villa Hidalgo Yalálag, #Oaxaca

¿Vas a… pic.twitter.com/KPtrfZMLGC

— PERIÓDICO SupreMo 🔴 (@Diario_Supremo) August 8, 2025

Translation: The government of Mexico defends Indigenous intellectual property, against the well-known brand ADIDAS. The INPI will legally challenge the improper use of the traditional design of huaraches originating from Villa Hidalgo Yalalag, Oaxaca. Are you going to buy them?

The controversy is the latest instance of Mexican officials denouncing major clothing brands or designers using unauthorised Indigenous art or designs from the region, with previous complaints raised about fast fashion juggernaut Shein, Spain’s Zara and high-end labels Carolina Herrera and Louis Vuitton.

Mexico’s Deputy Culture Minister Marina Nunez confirmed Adidas had contacted Oaxacan officials to discuss “restitution to the people who were plagiarised”.

Neither Adidas nor the designer Chavarria, who was born in the US to an Irish-American mother and a Mexican-American father, immediately responded to requests for comment from reporters.

Chavarria had previously told Sneaker News that he had intended to celebrate his cultural heritage through his work with Adidas.

“I’m very proud to work with a company that really respects and elevates culture in the truest way,” he said.

Handicrafts are a crucial economic lifeline in Mexico, providing jobs for about half a million people across the country. The industry accounts for approximately 10 percent of the gross domestic product (GDP) of states such as Oaxaca, Jalisco, Michoacan and Guerrero.

For Viridiana Jarquin Garcia, a huaraches creator and vendor in Oaxaca’s capital, the Adidas shoes were a “cheap copy” of the kind of work that Mexican artists take time and care to craft.

“The artistry is being lost. We’re losing our tradition,” she said in front of her small booth of leather shoes.

Chip Gaines had a few select words after Samaritan’s Purse founder Franklin Graham publicly criticized his and wife Joanna’s new HBO Max show for casting a same-sex couple with twins among the three families who are featured.

Graham, who is the son of evangelist Billy Graham, wrote Saturday on X that he found it “very disappointing” to hear that Jason Hanna, Joe Riggs and their boys, Ethan and Lucas, were included on “Back to the Frontier,” produced by Magnolia Network. Chip and Joanna Gaines created Magnolia and are executive producers on the show.

“I hope this isn’t true, but I read today that Chip and Joanna Gaines are featuring a gay couple in their new series. If It is true, it is very disappointing,” Graham wrote. “While we are to love people, we should love them enough to tell them the truth of God’s Word. His Word is absolute truth. God loves us, and His design for marriage is between one man and one woman. Promoting something that God defines as sin is in itself sin.”

The American Family Assn. — which bills itself as a “pro-family organization” and was formerly known as the National Federation for Decency — chimed in first, posting a statement from Vice President Ed Vitagliano saying, “This is sad and disappointing, because Chip and Joanna Gaines have been very influential in the evangelical community. Moreover, in the past, they have stood firm on the sanctity of marriage regardless of the personal cost that has entailed. We aren’t sure why the Gaines have reversed course, but we are sure of this: Back to the Frontier promotes an unbiblical view of human sexuality, marriage, and family — a view no Christian should embrace.”

Chip Gaines, who with his wife belongs to the evangelical Antioch Community Church in Waco, Texas, fired off what seemed to be a reply on Sunday.

“Talk, ask qustns, listen.. maybe even learn. Too much to ask of modern American Christian culture. Judge 1st, understand later/never,” he wrote on X. “It’s a sad sunday when ‘non believers’ have never been confronted with hate or vitriol until they are introduced to a modern American Christian.”

Matt Walsh, a conservative filmmaker, political commentator and podcast host at the Daily Wire, fired back at Chip Gaines with a response that said, “Maybe you should endeavor to understand the basic moral teachings of your own alleged religion before you give lectures to other people about their lack of understanding.”

Two hours after his “sad sunday” post, Gaines wrote that his family was off to worship, reposting a 2016 tweet in which he said, “In times of trouble.. you’ll find the gaines family at church.”

Meanwhile, on her Instagram on Tuesday, Joanna Gaines was promoting all the Magnolia Network shows nominated for Daytime Emmys.

Separate from the online back-and-forth, Jason Hanna and Joe Riggs have been posting about their family on their @2_dallas_dads Instagram account since the arrival of the twins in May 2014.

“When our boys were born — our twin boys were born via surrogacy in 2014 — we faced some legal challenges, and so we’ve always felt it it to be important that we try to be an example for same-sex couples,” Hanna told Queerty in a story published last week. “And so we’re super honored that, when they were choosing three modern day families, they did choose the same[-sex] couple as a modern-day family — because we are; we’re your neighbors, and your coworkers. And so it was this amazing opportunity to [continue to] normalize same-sex couples and same-sex families.”

“Back to the Frontier” throws three families — from Alabama, Florida and Texas — into an eight-week scenario that recalls the 1880s. Living on the “frontier,” the families have to reinforce their own shelters, raise livestock, collect food and manage their supplies. The goal by the end of the show is to gather enough resources to make it through winter. But don’t worry — the families are all back in modern air-conditioning right now.

“Through this immersive experience, the families will have to reflect on their relationships and navigate the challenges that come with an 1880s lifestyle,” HBO Max said in a release. The show premiered Thursday.

HBO Max did not reply immediately to The Times’ request for additional comment Tuesday.

Chip and Joanna Gaines were caught up in a different conflict over LGBTQ+ issues in May 2023 after Target, which carries the couple’s Magnolia Home line among its household items, came under fire for carrying transgender-targeted items as part of its seasonal Pride Month selections. Some critics also hammered Target’s recognition of Pride Month at all. A boycott was urged among right-wing conservatives. They also called for a comment from the couple.

“No one doubts that Chip and Joanna are good people, kind, moral, and aligned with American values,” Fox News host Rachel Campos-Duffy said at the time when she was subbing as host of “Jesse Watters Primetime.” “But if I had a line at a company and my name was on it and that brand partnered with a trans Satanist that makes tuck ‘em bikinis for kids, I would feel compelled to speak up.

“Now, maybe they’re raising questions internally. Of course, that’s possible, but why aren’t they doing so publicly?”

The person whom Campos-Duffy — wife of Transportation Secretary Sean Duffy — called a “trans Satanist” is London designer Erik Carnell, who is trans and whose Abprallen line had partnered with Target until the retailer ended the relationship under pressure from the boycott. Carnell’s full line included a design that said “Satan respects pronouns.” That design was never available at Target, according to CNN.

Conservative activist Benny Johnson also posted a video of himself in a Target store at the time, touring the Pride Month section, then walking what he said was “10 steps” to the Magnolia Home display. He referred to Joanna Gaines and her family sarcastically as “the paragons of Christian entrepreneurs and family values.”

“I’ve been tweeting about how Christian influencers Chip & Joanna Gaines have not disavowed Target’s Satanic child grooming despite the backlash,” he said. “What I didn’t know is the Gaines Section of Target is directly ACROSS from the Groomer section. Not cool.”

Chip and Joanna Gaines did not speak out during that controversy.

The Mayan, a popular music venue and nightclub in downtown L.A., announced Monday morning that it will be closing under its current management after a 35-year run.

“It is with heavy yet grateful hearts that we announce The Mayan will be closing its doors at the end of September, after 35 unforgettable years,” read a statement from the venue’s Instagram page. “To our loyal patrons, community and friends: thank you for your unwavering support, your trust and the countless memories we’ve created together. You made every night truly special.”

The announcement also called on longtime and potentially new patrons to celebrate the club’s final months in fashion, with weekly Saturday dance nights through Sept. 13.

It is currently unknown what, if anything, the historic venue will be used for after the Mayan shutters.

The Mayan did not immediately respond to The Times’ request for information.

The Mayan Theater — located at 1038 S. Hill St., next door to the Belasco — first opened Aug. 15, 1927, with a performance of George Gershwin’s Broadway musical “Oh Kay.” As its name alludes to, the theater is one of the best known examples of the Mayan Revival architectural movement that took place in the U.S. during the 1920s and 1930s, which drew inspiration from pre-Columbian Mesoamerican structures.

As The Times reported in 1989, the giant bas-relief figures on the venue’s exterior are of the Maya god Huitzilopochtli seated on a symbolic earth monster. The three-tiered chandelier in the theater — rigged for red, blue and amber lights — is a replica of the Aztec calendar stone found near Mexico City. The design of tapered pillars was inspired by the Palace of the Governors at Uxmal, a Maya ruin on Yucatán Peninsula dating from AD 800.

Mexican anthropologist and sculptor Francisco Cornejo assisted the architects to craft a building that was based on authentic designs of pre-Columbian American societies.

During the Great Depression, the theater was rented out to the Works Projects Administration, which operated it as an Actors Workshop theater. In 1944, Black producer, director and entrepreneur Leon Norman Hefflin Sr., staged a production of the popular and well-reviewed musical “Sweet ‘N Hot,” which starred Black film and stage icon Dorothy Dandridge.

The Fouce family gained ownership of the theater in 1947 and shifted the venue’s programming toward Spanish-language film screenings and performers. By the early 1970s, Peruvian-born filmmaker and actor Carlos Tobalina gained ownership of the theater and changed the programming to focus on pornographic and X-rated films.

In 1990, the Mayan was brought under new management and inhabited its current form as a nightclub and music venue. The city has since declared the building as an official L.A. Historic-Cultural Monument.

The Mayan has been used as a shooting location for many film productions, including the 1992 box-office smash “The Bodyguard,” starring Kevin Costner and Whitney Houston; the 1998 skit-to-feature film “A Night at the Roxbury;” the 1979 Ramones-led musical comedy “Rock ‘n’ Roll High School;” and, most recently, the Netflix wrestling-themed series “GLOW.”

In recent years, the Mayan has played host to the cheeky lucha libre and burlesque show called Lucha VaVoom de La Liz and has held concerts by acts such as Jack White, M.I.A. and Prophets of Rage.

The concrete walls of the David Geffen Galleries were still bare Thursday evening. The landscaping outside was still settling in, and pockets of construction were still visible. But the minute the music poured out of the upstairs entryway, it finally hit: The new LACMA was actually here.

After five years of construction, so much debate about its scale, design and ambitions, the Los Angeles County Museum of Art held its first event Thursday night inside the Peter Zumthor-designed building. A sprawling, immersive concert by composer and SoCal jazz hero Kamasi Washington called for multiple bands, each with about a dozen musicians, to play site-specific arrangements throughout the empty galleries before art has been installed. A woodwind ensemble overlooked Park La Brea through floor-to-ceiling glass; a choir stacked harmonies that floated over the span of the structure as it crossed Wilshire Boulevard.

Hundreds of VIPs and members of the media took it all in. The project has its skeptics, including how the museum’s permanent collection will function in it. But for now, museum members could slink about the echoing halls of L.A.’s newest landmark and ponder the possibilities.

Guests at the sneak peek inside the new building Thursday cross a glass-lined expanse that crosses over Wilshire Boulevard.

LACMA Director Michael Govan addresses members of the media assembled for the first public peek inside the empty building, which still needs to complete some construction details and install the art before opening, targeted for April 2026.

The design of the museum has morphed over the years, from a dark, curvaceous amoeba-like form that echoed the nearby La Brea Tar Pits to a design that retains the curves up top but shifts to rectilinear glass on the galleries level below.

The preview event Thursday featured musicians staged throughout the building.

Preview events give museum members a chance to view Zumthor’s design before art is installed. One of the lingering questions is how the concrete walls will fare given the museum’s new plan to shift from permanent collection displays to ever-rotating exhibitions — and all the rehanging of artworks that will be required.

The setting sun casts long shadows from visitors looking out toward the rooftop of Renzo Piano’s Resnick Pavilion and, off in the distance on the left, the Academy Museum of Motion Pictures’ domed terrace.

Artist Tony Smith’s installation “Smoke” has a new home outside the David Geffen Galleries. The museum recently announced the addition of a forthcoming Jeff Koons’ sculpture, “Split-Rocker.”

When the new building opens in April 2026, LACMA has said, the ticketing process will be handled at kiosks on the ground level.

Inside another one of the galleries. Some of the architecture-circle speculation about the building has centered on the finish of the building’s concrete, inside and out.

The view from the David Geffen Galleries as it crosses Wilshire Boulevard.

Times art critic Christopher Knight, who won a Pulitzer Prize for his early analysis of the LACMA building plan, and Times music critic Mark Swed attended the preview concert event Thursday. Check back for their first impressions of the new space.

June 24 (UPI) — The international architecture firm Foster + Partners was announced as the winner of a multi-million-dollar competition to design a national memorial to the late Queen Elizabeth II in London.

Norman Foster‘s firm beat out five other finalists with its pitch for a new cast-glass bridge inspired by Elizabeth’s wedding tiara as part of a commemorative garden in St. James’ Park, with spaces for visitors for quiet reflection.

The proposals also feature a statue of Elizabeth on horseback and a cast of her and her husband of 73 years, Prince Philip, who died in 2021, at a new Prince Philip Gate.

“We showed them together and, in a way, there was this inseparable quality which we sought to convey,” Foster said.

“Our design reflects Her Majesty’s love of history and tradition, while introducing a gentle, unifying intervention that respects the park’s nature and legacy.”

Foster added that the concept also recalled the informality the queen was known for in her interactions with people.

He stressed that the project would have minimal impact on the nature and biodiversity of the park and that the work would be conducted in phases, allowing the public to continue enjoying the existing amenities.

The new memorial will be built close to the statues of Elizabeth’s mother and father, the Queen Mother and King George VI, and not far from the statue of Queen Victoria in front of Buckingham Palace.

“Foster + Partners’ ambitious and thoughtful masterplan will allow us and future generations to appreciate Queen Elizabeth’s life of service as she balanced continuity and change with strong values, common sense and optimism throughout her long reign,” said Lord Robin Janvrin, head of the Queen Elizabeth Memorial Committee Chair.

The project is expected to open to the public in April in what would have been Elizabeth’s hundredth year. She died in September 2022 at the age of 96.

Famous and iconic designs of Norman Foster around the world include the Reichstag building in Berlin, “The Gherkin” building in the City of London, the Hong Kong and Shanghai Bank building on Hong Kong Island and the Hearst Building on Eighth Avenue in Manhattan.

The Lucas Museum of Narrative Art, rising on what used to be a parking lot in Exposition Park in downtown L.A., is devoted to visual storytelling: the comics of Charles M. Schulz (“Peanuts”) and Alex Raymond (“Flash Gordon”), movie concept art by Neal Adams (“Batman”) and Ralph McQuarrie (“Star Wars”), paintings by Frida Kahlo and Jacob Lawrence, photography by Gordon Parks and Dorothea Lange, illustrations by Norman Rockwell and N.C. Wyeth.

So when George Lucas and wife Mellody Hobson chose Mia Lehrer and her L.A. firm, Studio-MLA, to design the 11 acres of landscape around — and on top of — MAD Architects’ swirling, otherworldly, billion-dollar building, the driving forces behind the Lucas Museum made it clear that the landscape had to tell a story too.

Lehrer and her team studied how directors, illustrators and painters use topography to help amplify, among other things, emotion, sequence and storyline.

A long stretch of park space extends from the Lucas Museum of Narrative Art, which sits next to the Los Angeles Memorial Coliseum.

(Myung J. Chun / Los Angeles Times)

“We looked at the landscapes of myths and movies,” said Kush Parekh, a principal at Studio-MLA. “How do you take someone on a journey through space? How does the terrain change the story — and how can it be the story?”

The result — which feels surprisingly grown-in even though the museum won’t open until next year — is a sinuous, eclectic landscape that unfolds in discrete vignettes, all promoting exploration and distinct experience. Each zone contains varied textures, colors, scales and often framed views. A shaded walkway curls along a meandering meadow and lifts you toward a hilly canyon. A footbridge carries you above a developing conifer thicket. A plant-covered trellis, known as “the hanging garden,” provides a more compressed moment of pause. The environment, like a good story, continually shifts tone and tempo.

“It’s episodic,” Parekh said. “Each biome reveals something new, each path hints at what’s ahead without giving it away.”

A key theme of the story is the diverse terrain of California — a place that, in Lehrer’s words, “contains more varied environments in a single day’s drive than most countries do in a week.” Foothills and valleys, groves and canyons, even the mesas, plateaus and plains of the Sierra and the Central Valley — Lehrer calls all of it a “choreography of place.”

Lucas Museum staff and design team stand under the trellis of “the hanging garden.”

Another, more subtle, layer of this narrative is time. Plantings were laid out to bloom in different seasons and in different places. Bright yellow “Safari Goldstrike” leucadendron, edging the meadow and canyon, come alive in late winter and early spring. Tall jacarandas, spied from a foothills overlook, emerge then quickly disappear. “Bee’s Bliss” sage, lying low in the oak woodland, turn lavender blue in the early summer. Something is always emerging, something else fading.

“Every month, every visit, feels different,” Parekh said.

Even the alpine-inspired plantings cladding the museum’s roof — colorful wildflowers, long sweeping grasses and coarse scrubs, all chosen for their hardiness, lightness and shallow roots — follow this rhythm.

“They’re alive. They change. They move with the climate,” Lehrer said.

The landscape creates the illusion that some plantings run right up to the museum. Here, the black void on the underside of the building is the opening for a giant waterfall that will cascade to a pool below.

(Jason Armond / Los Angeles Times)

The grounds include the terraced seating of an amphitheater.

(Jason Armond / Los Angeles Times)

The plant palette includes low-water selections.

(Jason Armond / Los Angeles Times)

Amazingly, the rest of the landscape is a kind of green roof as well, sitting atop a 2,400-spot underground parking structure — available to those visiting the Lucas or any of Expo Park’s other institutions. Wedged between the greenery and the parking are thousands of foam blocks, mixed with soil and sculpted to form the landscape while minimizing weight on the building below.

“I wish I had invested in foam before we started this,” joked Angelo Garcia, president of Lucas Real Estate Holdings. “It’s everywhere. These mountains were created with foam.”

“It’s full-scale ecology sitting on top of a structural system,” noted Michael Siegel, senior principal at Stantec, the museum’s architect of record, responsible for its technical oversight and implementation.

“That’s how the best storytelling works,” Lehrer added. “You don’t see the mechanics. You just feel the effect.”

Foam blocks buried in the soil shape the terrain while minimizing weight on the parking structure below.

(Jason Armond / Los Angeles Times)

As you make your way through the rolling landscape, it becomes clear that it’s also crafted to meld with MAD’s sculptural design — a hovering, eroded form, itself inspired by the clouds, hills and other natural forms of Los Angeles.

“There’s a dialogue,” Garcia said.

Paths bend instead of cut; curving benches — cast in smooth, gently tapering concrete — echo the museum’s fiber-reinforced cement roofline. Bridges arc gently over bioswales and berms. Ramps rise like extensions of the building’s base. Paving stones reflect the color and texture of the museum’s facade.

“It was never landscape next to building,” Lehrer said. “It was building as landscape, and landscape as structure. One continuous form.”

Closer to the building, where a perimeter mass damper system that the design team has nicknamed the “moat” protects the museum from seismic activity, landscape nestles against, and seemingly under, the structure’s edges, further blurring the barrier between the two. Rows of mature trees being planted now will help soften the flanks. Vines will hang from the Lucas’ floating oculus, right above its entry court.

The building’s oculus eventually will have vines hanging from it.

(Jason Armond / Los Angeles Times)

The Lucas Museum of Narrative Art rises in Exposition Park, its rooftop clad with solar panels and gardens, the skyline of downtown Los Angeles rising behind it.

(Myung J. Chun / Los Angeles Times)

A worker on the green rooftop of the museum.

(Jason Armond / Los Angeles Times)

The topography was designed to minimize environmental impact. Hundreds of plants, mostly native to the region, are drought-tolerant (or at least require little watering). A rain-harvesting system captures water for irrigation. And on the north edge of the museum will be “The Rain,” a waterfall that doubles as a passive cooling system, replacing traditional air-conditioning infrastructure. (Dozens of underground geothermal wells provide additional cooling.)

In this part of South L.A., park space is egregiously scarce, a remnant of redlining and disinvestment. This space — set to be open to the public without a ticket, from dawn to dusk — is a game changer, as is a massive green space on Expo Park’s south side that also replaces a surface parking lot and tops an underground garage. (That latter project has been delayed until after the 2028 Olympics.)

“It’s hotter, it’s denser and it’s long been overlooked. We wanted to change that,” Lehrer said of the area.

What was once a walled-off asphalt lot is a porous public space, linking Expo Park to the rest of the neighborhood via its four east-west pathways and opening connections on the north side to Jesse Brewer Jr. Park, which the Lucas Museum has paid to upgrade. The museum also funded the creation to the south of the new Soboroff Sports Field, which replaces a field that was adjacent to the site’s parking lot. The Lucas’ circular plaza and amphitheater with seating for hundreds, have the potential not only to host museum events but also to become popular community gathering spots.

Kush Parekh, left, and Mia Lehrer of Studio-MLA.

(Jason Armond / Los Angeles Times)

Treetops rising along the museum’s curvaceous silhouette.

(Jason Armond / Los Angeles Times)

For Lehrer, the landscape is a convergence of civic and ecological ideas that she’s developed throughout her career — really ever since a chance encounter with the intricate original drawings for Central Park while she was studying at the Harvard Graduate School of Design spurred her to pivot from planning to landscape architecture. At this point, she’s created arguably more major new public spaces in Los Angeles than any other designer, including two vibrantly didactic landscapes at the adjacent Natural History Museum of Los Angeles, downtown’s 10-acre Vista Hermosa Park and the artfully layered grounds and lake surrounding SoFi Stadium.

“This brings everything together,” she said. “Design, ecology, storytelling, infrastructure, community. It’s the fullest expression of what landscape can be.”

Lehrer credits Lucas with not just permitting her to explore these ideas but encouraging her to push them further. Lucas supported the rare — and costly — installation of mature plantings. Usually the landscape is the last part of a building to emerge.

The progress in the grounds is a bright spot for the museum, which has been grappling with construction delays, the surprise departure of its executive director and, most recently, the layoffs of 15 full-time and seven part-time employees, part of a restructuring that a museum official said was “to ensure we open on time next year.”

As the new building accelerates toward that opening, the vision outside is becoming more clear.

George Lucas, center, wife Mellody Hobson and then-Mayor Eric Garcetti as the Lucas Museum began construction in 2019.

(Robert Gauthier / Los Angeles Times)

“To have an open-minded client, who gets landscape and also appreciates creativity, it’s rare,” Lehrer said. Lucas, who grew up on a farm in Modesto, has been developing the vineyards, gardens and olive groves of his Skywalker Ranch in Northern California for decades.

“I have always wanted to be surrounded by trees and nature,” Lucas said. “The museum’s backyard is meant to provide a respite in a hectic world.”

SALT LAKE CITY — The 39-year-old man shot and killed at a weekend “No Kings” protest in Salt Lake City was a successful fashion designer and former “Project Runway” contestant who devoted his life to celebrating artists from the Pacific Islands.

Arthur Folasa Ah Loo was killed when a man who was believed to be part of a peacekeeping team for the protest shot at a person brandishing a rifle at demonstrators, accidentally striking Ah Loo. Ah Loo later died at a hospital, authorities said.

Detectives don’t yet know why the alleged rifleman pulled out a weapon or ran from the peacekeepers, but they charged him with murder and accused him of creating the dangerous situation that led to Ah Loo’s death, Salt Lake City Police Chief Brian Redd said at a Sunday news conference.

The “self-taught” fashion designer from Samoa, known to many as Afa, was deeply connected to his culture and community, according to the website Creative Pacific, a nonprofit organization he co-founded to support artists from the Pacific Islands. Ah Loo’s designs, which often featured colorful geometric patterns, were inspired by his Samoan heritage.

Ah Loo leaves behind his wife and two young children, according to a GoFundMe for his family that raised over $100,000 in 48 hours.

He was a founder of Utah Pacific Fashion, an organization that celebrates artistic heritage from Oceania. Recently, he designed a garment for the star of the Disney Channel animated movie “Moana 2,” Hawaiian actor Auliʻi Cravalho.

Cravalho wore the outfit to the film’s red carpet premiere in Hawaii in November. She said in an interview with Vogue at the time that the design combined traditional and modern aesthetics from her culture. Ah Loo strung individual white dovetail shells into a cape-like shape reminiscent of Hawaiian ʻahu ʻula — a feather cloak worn by ancient Hawaiian royalty, according to Vogue.

“This was the first time I was so active in helping to design a custom look, and Afa surpassed what I had envisioned,” Cravalho told the magazine at the time.

Whether soaring through the sky or sharing a playful moment with his human bestie Hiccup, Toothless, the dark-hued dragon with a friendly face and an injured tail, disarms you with his endearing nature.

It’s no surprise that he’s become the emblem of the “How to Train Your Dragon” animated movies, the first of which arrived in 2010. (There have since been two sequels, three separate TV series and five shorts.) A fan favorite among Gen-Z viewers, Toothless now returns to the big screen in a new hyper-realist iteration for the live-action remake, now in theaters.

And in an unprecedented move, Dean DeBlois, who directed all three “Dragon” animated films — as well as 2002’s original “Lilo & Stitch,” along with Chris Sanders — was asked to helm the live-action reimagining. It was his priority to preserve Toothless’ essence.

“He is our most recognizable dragon within the entire assortment,” DeBlois says on the phone. “And he has a lot of sentience and personality that comes through. And so much of it is expressed in this face that’s quite Stitch-like with the big eyes, the ear plates and the broad mouth.”

In fact, the entire live-action endeavor hinged on whether Toothless could be properly translated as a photorealistic dragon among human actors and physical sets, while retaining the charm of the animated movies.

An image from the original 2010 animated “How to Train Your Dragon.”

(DreamWorks Animation LLC)

According to Christian Manz, the new film’s visual effects supervisor, when Peter Cramer, president of Universal Pictures, initially considered the project back in 2022, he wasn’t convinced Toothless would work. His touchstone for a fantastical creature that successfully achieved believability was the Hippogriff, a winged four-legged creature seen in 2004’s “Harry Potter and the Prisoner of Azkaban.”

To test the viability of a new Toothless, DreamWorks enlisted British visual effects and computer animation outfit Framestore to spend three months trying to create a “realistic” version of Toothless. Framestore has had some popular successes to its name: Paddington Bear in the film series, Dobby from the “Harry Potter” universe and Groot and Rocket Raccoon from the Marvel movies.

“We always knew that we weren’t aiming for a real dragon, as in a ‘Game of Thrones’ dragon,” says Manz, via video call from the U.K.

Toothless’ design, particularly his facial features, presented a challenge for Manz and the team at Framestore. If they made his eyes or his mouth too small or if they tried to drastically reshape his head with more naturalism in mind, he quickly lost his personality.

“His big, expressive face with eyes that are larger than any animal in the animal kingdom, including the blue whale, had to remain because, without them, we felt like we were going to be delivering a lesser version of Toothless,” says DeBlois.

A stage show based on the first film called “How to Train Your Dragon: Live Spectacular,” which toured Australia and New Zealand in 2012, radically changed the design — to a mixed response. “Toothless was too creature-like and it just wasn’t as appealing and as charming,” says Simon Otto, head of character animation for all three animated movies, via Zoom.

While they may be too subtle for an untrained viewer to notice, certain design changes have been made that differentiate the live-action Toothless from his animated counterpart.

“He’s now bigger, his head’s smaller, his eyes are actually smaller,” says Manz. The nuanced reshaping of his head and his body was intentional: an effort to make him blend into a photorealistic world.

“The interesting thing is that when people see the live-action movie, they say, ‘Oh, it’s Toothless, like he stepped out of the animated movie,’” says DeBlois. “But in truth, if you put them side by side, you’ll see quite a few differences.”

The texture of Toothless’ body needed to be more intricate for the live-action version, so he would feel more convincingly integrated within the environments.

“In the animation, he’s quite smooth,” says Manz. “We tried very snake-like skin, but it just made him look very unfriendly. You wouldn’t want to put your hand on his forehead.”

Mason Thames in “How to Train Your Dragon.”

(Universal Pictures)

Both on-screen versions of Toothless were crafted using essentially the same digital technique: computer animation. The difference here is that the one meant to share space with a flesh-and-blood world, with distinct aesthetic concerns. Even if seeking realism in creatures that only exist in our imagination might seem counterintuitive, the goal is to make them feel palpable within their made-up realm.

“One of the things I don’t like about live-action remakes is they seem to try to want to replace the animated source, and I find myself very protective of it,” says DeBlois with refreshing candor. “We tried to create a version that lives alongside it. It follows the beats of that original story, but brings new depths and expanded mythology and more immersive action moments and flying. But it’s never trying to replace the animated movie because I’m very proud of that film.”

Toothless as we now know him originated expressly for the screen. The Toothless in Cressida Cowell’s originating book series is tiny and green (a design that can be seen in the first animated movie in the form of a minuscule dragon known as Terrible Terror).

But when DeBlois and Sanders came aboard, 15 months before the 2010 release, replacing the previous directors, their first major change was to make Toothless a dragon that could be ridden.

It was the screensaver of a black panther that first inspired the look of Toothless in the animated films. Otto, one of the designers who knows Toothless best (he drew the original back in 2008), recalls his real-world animal references.

“He is a mix between a bird of prey, like a peregrine falcon, with extremely streamlined shapes — of course a feline but also a Mexican salamander called an axolotl,” Otto says. Sanders’ design for Disney superstar Stitch, namely his large almond-shaped eyes, ears and pronounced mouth, also influenced the design.

“There’s a little bit of a design influence from Stitch in Toothless’ face that makes them feel like they’re distant cousins,” says DeBlois.

He believes that making Toothless more closely resemble a mammal, rather than a reptile, and giving him pet-like qualities were the keys for him becoming so memorable.

“[We] spent a lot of time on YouTube looking at videos of dogs and cats doing funny things,” he says. “And we would try to incorporate a lot of that behavior into Toothless with the hopes that when people watched the movie, they would say, ‘That’s just like my cat’ or ‘My dog does that.’ We wanted him to feel like a big pet. Ferocious and dangerous at first, but then a big cuddly cat after.”

Mason Thames interacts on set with the puppet version of Toothless.

(Helen Sloan)

On the set of the live-action movie, Toothless and the other dragons existed as large puppets with simple functions, operated by a team of master puppeteers led by Tom Wilton, a performer who had worked on the “War Horse” stage play.

Using puppets was meant to provide the actors, especially Mason Thames, who plays Hiccup, a real-world scene partner. The Toothless foam puppet had an articulated jaw and articulated ear plates that allowed for a subtle, interactive performance.

“There’s a performance that Dean can direct and that Mason and the other actors could act against, so that the interaction is utterly believable,” says Manz. “[The puppets] are obviously removed from the frame in the end, but it just means you believe that connection.”

As for the impressive flight sequences, in which Hiccup rides Toothless, the production created an animatronic dragon placed on a giant gimbal that moved on six different axes to simulate the physics of flying.

“If the dragon was diving or ascending or banking and rolling, Mason would be thrown around in the saddle, like a jockey on a racehorse,” says DeBlois. “And it married him to the animal in a way that felt really authentic.”

Mason Thames rides the flying Toothless on an animatronic model.

(Helen Sloan)

For all his success in the animated realm, DeBlois has never directed a live-action film until now.

“I do commend Universal for taking a risk on me knowing that I had not made a live-action film, but also recognizing that I knew where the heart and the wonder was, and I was determined to bring it to the screen,” he says.

Otto, the designer who trained Toothless before anybody else, candidly says he would have “peed his pants” if he knew the drawings he did back in 2008 would spawn a franchise and a theme-park attraction (a re-creation of the films’ Isle of Berk opened at Universal Studios Florida earlier this year).

“The most critical choice they made for the live-action was making sure the audience falls in love with Toothless,” he adds. “And that you understand that if you have a creature like that as your friend, you wouldn’t give up on it.”

US electronic design automation software makers were told via letters to stop supplies to China, the FT reported.

United States President Donald Trump’s administration has ordered US firms that offer software used to design semiconductors to stop selling their services to Chinese groups, the Financial Times has reported, citing people familiar with the move.

Electronic design automation software makers, which include Cadence, Synopsys and Siemens EDA, were told via letters from the US Commerce Department to stop supplying their tech, the report, which was published on Wednesday, said.

A spokesperson for the Commerce Department declined to comment on the letters but said it is reviewing exports of strategic significance to China, while noting that, “in some cases, Commerce has suspended existing export licenses or imposed additional license requirements while the review is pending”.

Shares of Cadence, which declined to comment, closed down by 10.7 percent, while shares of Synopsys fell by 9.6 percent.

Synopsys CEO Sassine Ghazi said in a call with analysts that the company had not received a letter, nor had it heard from the Commerce Department’s Bureau of Industry (BIS) and Security, which enforces export controls.

“We are aware of the reporting and speculations, but Synopsys has not received a notice from BIS. So, our guidance that we are reiterating for the full year, reflects our current understanding of BIS export restrictions as well as our expectations for year-over-year decline in China. We have not received a letter,” Ghazi said.

After the market closed, Synopsys reaffirmed its revenue forecast for 2025. Its shares and those of Cadence bounced back 3.5 percent in trading after the close.

Siemens EDA did not immediately respond to a request for comment.

The software of these firms is used to design both high-end processors as well as simpler products.

While the scope of the policy change described in the report was not immediately clear, any move to strip the software makers of their Chinese customers could deal a blow to their bottom line and to their Chinese chip design customers, which heavily rely on top-of-the-line US software.

“They are the true choke point,” said a former Commerce Department official, who added that rules restricting the export of EDA tools to China have been under consideration since the first Trump administration, but were ruled out as too aggressive.

Synopsys relies on China for about 16 percent of its annual revenue, while China accounts for about 12 percent of annual revenue for Cadence.

Synopsys, which partners with chip companies such as Nvidia, Qualcomm and Intel, provides software and hardware used for designing advanced processors.

Just north of Magic Mountain’s roller coasters, hidden within the vast, anonymous industrial parks of Valencia, lies the secret lab where the murderous doll M3GAN was born.

“Born” is putting it a touch dramatically — but only a touch. Though she’s taken on a prankish life of her own since the 2022 runaway horror hit made her dance moves iconic, M3GAN is a product of several teams, primarily the animatronic makeup and design company Morot FX Studio, but also a human actor, 15-year-old Amie Donald, several puppeteers and a swarm of technicians performing in concert like a group of modern dancers.

And while the nondescript row of beige offices I pull up to doesn’t scream “secret lab,” that’s not far off either. Just last night, Christian Bale was here, testing out some face-changing prosthetics for his forthcoming role in “Madden,” about the Oakland Raiders football legend. Nicolas Cage dropped in a day earlier. Both will be returning in the days ahead.

“You want a popcorn?” asks Adrien Morot, 54, the shop’s boyish proprietor in a baseball cap. It’s a Saturday in April — the only available time he has in a typically job-crammed week to show us some of the new work he’s done on “M3GAN 2.0,” due in theaters June 27.

There’s a noticeable pride Morot takes in touring me around his geek’s paradise: a two-level office crammed with shelves of scowling latex heads, furry creatures and a pair of giant gators overlooking it all. You see posters for horror movies like Eli Roth’s “Thanksgiving” as well as more elegant, perhaps unlikely gigs: Darren Aronofsky’s “mother!” and the Bale-starring “Vice,” for which the actor was transformed into Dick Cheney. (Morot’s task: turning Steve Carell into Donald Rumsfeld.)

At Morot FX Studio, makeup jobs from the company’s past productions are displayed.

(Carlin Stiehl / Los Angeles Times)

Scattered pizza boxes left on workbenches lend to the air of dorm-room fantasy but Morot is quick to open one up: no leftover slices, only delicate pieces of fabricated skin applications. Pizza boxes are perfect for those.

“I have to admit that, especially for somebody like me that grew up just doing this — this was my hobby, really — there’s never a day where you don’t come into the shop feeling: This is so cool,” Morot says.

Once upon a time, he was a kid in Montreal, horror-obsessed, making his own creations. “F/X,” the deliriously fun 1986 thriller about a special-effects man on the run, is one he watched as a “dumb 16-year-old, very cocky, like a teenager thinking that I was better than everything,” but also a movie he can recount beat for beat.

Also picking her way through the shop is Kathy Tse, Morot’s longtime creative partner and wife. Soft-spoken, with a mind for specifics that complements and protects Morot, her presence immediately makes the space feel more like a serious studio shared by two contemporary artists. She explains that Valencia was “family-friendly” and a better real-estate value.

“Because we have good chemistry — we have trust — we work well together,” Tse, 44, says. “That is so important when you are under duress, under stress. And because of that, they always end up calling us back.”

Morot puts the finishing touches on Brendan Fraser for “The Whale,” work that won his team an Oscar.

(Niko Tavernise / A24)

Hollywood has called back, noticing them in a big way. The Oscar they won for the fleshy organic work they did with Brendan Fraser on “The Whale” is nowhere to be seen. It’s in a closet somewhere, Morot admits, sheepishly.

“Winning an Oscar has never been in the list of accomplishments that I was seeking, truly ever,” he says. “My only goal that I was really dying for was to have one of our creations on the cover of Fangoria magazine. That’s the only thing.” (They line the shop’s business office.)

Tse steers us around to the notion of a certain intimacy they like to work at, a realist aesthetic that might be called the Morot house style.

“What was great about the Oscar that year was how Brendan and Adrien really bonded,” she adds. “They were like brothers, with the constant support and dirty jokes and texts going back and forth. I think that was such a nice, beautiful relationship. To this day, they still text.”

“That’s always how we saw our work,” Morot says. “We’re there to help the actor if we can with what we produce — to help them find the character.”

And with that, the pair take me up to the second level of their shop, followed by their border terrier, Jasper, and there she is, the girl of the hour.

Allison Williams and an animatronic M3GAN in a scene from the movie “M3GAN 2.0,” directed by Gerard Johnstone.

(Universal Pictures)

“M3GAN 2.0” is exactly the sequel fans will be wanting. It embraces the essential ridiculousness of the concept — a vicious AI in the robotic body of a pissed-off tween — as well as the folly of tech bros who would move fast and break things before heeding some fairly obvious warnings.

It’s more of a comedy. The laughs are constant (yes, M3GAN sings another of her awkward songs). Also, reading the room, the filmmakers realize that we’ve come to love her and want to root for her. To that end, she’s been turned into something of a force for good, drafted into doing battle against a military-grade AI called Amelia, also built into the body of a young woman.

For the sake of our visit, Morot and Tse have set up two full-size M3GANs, one from the first movie, another from the upcoming film, the latter more muscular and a good several inches taller. That change was motivated by the realities of their human actor.

“Amie, she keeps growing so quickly and within a year grew over two inches,” Tse says. “The first one she was yay high and then six months later, she grew. We had to readjust all of our dolls.”

Says Morot, “She is such a joy to work with — a real trouper. And I think that everybody was enamored with her and it just made sense to bring her back in the second movie. So I think that the script was altered or adapted to make sure that she would fit within the story.”

One of the several M3GAN masks at Morot FX Studio.

(Carlin Stiehl / Los Angeles Times)

When M3GAN is running or doing one of her viral swirly-arm dances, it’s performed by Donald, a young actor from New Zealand, wearing a mask designed by Team Morot. He shows me the mold. “That’s her face on the inside,” he says. “That’s a negative impression of her face. It’s quite heavy, actually.”

But when it’s a medium shot or close-up, you’re seeing an animatronic puppet operated by several people. Usually Morot is working the mechanisms in the eyes and lubricating them — he can speak excitedly at length about “eyeball pivot” — while Tse is manipulating arms and doing a fair amount of hand-acting.

“In my naiveté, I never quite understood just how much this was basically an elevated Muppet movie,” says “M3GAN” director Gerard Johnstone, calling from the editing suite at Blumhouse’s post-production facility in Koreatown, where he’s finalizing the sequel’s cut. He remembers learning about Morot and Tse’s skills in 2019 before the pandemic hit and being convinced by their commitment to lifelike illusion.

“I found that hugely inspiring,” the director says. “I thought, Why are we making something that looks like a toy when these guys can make things that look human? Wouldn’t that be really fun if we went further into the uncanny valley than we’ve ever gone before? And Adrien and Kathy were the perfect people to partner up with on that.”

Tse’s M3GAN designs, these days rendered by a phalanx of digital printers (a single head can take up to 50 hours), became proof of concept and helped green-light the first film, not an everyday occurrence.

In the room with us in Valencia, the dolls eyes’ are hypnotic, carrying a trace of malevolence. “There’s a presence,” Tse offers.

“I thought, Why are we making something that looks like a toy when these guys can make things that look human?” says “M3GAN 2.0” director Gerard Johnstone. “Wouldn’t that be really fun if we went further into the uncanny valley than we’ve ever gone before?”

(Carlin Stiehl / Los Angeles Times)

Watching them finesse each strand of M3GAN’s hair, every neck tilt and eye motion for our photo shoot, Morot and Tse look like nothing more than devoted stage parents, grooming a promising theater kid. It’s a natural thought that begs an obvious question.

“Oh, for sure,” Tse agrees, owning up to parental affection for her creations. “Look how we care about our dolls. There’s so much pride and you’re protective of making sure that they look good, that they’re well cared for.”

The pair have a 20-year relationship, tying the knot around the time they were working on the first “M3GAN,” a watershed moment for them.

“I was a young flower at the time when we first met,” Tse says without a trace of sarcasm. “He was doing a film and I was just graduating from university. I was working in banking and we met that way. So he was already working in film and he brought me into it, actually.”

“I could have went into banking,” Morot cracks.

Morot and Tse operating animatronics on the set of the first “M3GAN.”

(Geoffrey Short / Universal Pictures)

In each other, they found kindred spirits of perfectionism, going on to corner the Montreal makeup market, which was then booming with Hollywood shoots. Years of work came without days off or vacations.

But they knew a relocation to Los Angeles was inevitable. In the 1990s, Morot had given the town a shot, apprenticing with other designers, learning his craft and drinking in the city until he needed to move back to Canada for family reasons.

“I was really bummed when I had to move back,” he says. “For me, L.A. always felt like home. When I landed here at 21, I was like, oh, my God, everything is here.”

It’s not lost on them that their specialty has come to represent something increasingly rare: an actual craft with an emphasis on real-world tactility in a moment when digital spurts of blood are becoming the norm. Prosthetic makeup effects have become a last stand, a bastion of the old ways.

“This is a massive extinction of the entire movie industry,” Morot says, alarmed. “We’re losing the human process behind it. That’s going to be a tragedy because we’re going to lose the communal experience of movies. We’re already there with all the streaming platforms and YouTube, where people are all on their own, silo-watching. There’s no longer the watercooler discussion about what show is in right now because everybody’s watching their own thing.”

Tse strikes a more pragmatic tone. “I think you have to in a way embrace it,” she says of AI. “Some parts of the industry will unfortunately lose work, but then you’ll have to find your way into another area.”

Morot, right, and Tse prepare a metallic M3GAN for action in “M3GAN 2.0.”

(Geoffrey Short / Universal Pictures)

“M3GAN” and “M3GAN 2.0,” for all their enjoyable sci-fi nuttiness, are expressly about these questions of AI’s prominence. They may be horror movies with training wheels, but they’re also teaching PG-13 audiences to maintain a healthy skepticism about the future. Their lineage goes back to “2001: A Space Odyssey” and the prescient 1970 nightmare “Colossus: The Forbin Project,” about two AIs that take over the world’s nuclear arsenal, a plot that reemerges in the new “Mission: Impossible — The Final Reckoning.”

“The reason I did ‘M3GAN’ was out of frustration as a parent,” says Johnstone. “I was bringing my children up in this age of devices and trying to figure out where the balance lies and seeing everyone around me kind of accept it and thinking, Wait, there’s got to be a middle ground here. Why aren’t schools having a conversation?”

If Morot and Tse, both at the bleeding edge of their field, end up making AI palatable for a younger generation, with M3GAN as their mascot, they’re at least doing it the old-school way, with tools that inspired them from the start. They’ve brought out a mechanical head for me to see — it’s actually the first doll they ever built (just without the skin) and it has a rather large speaking cameo in the new movie: an unsettling scene about rebuilding in an underground bunker and saving the world before it’s too late.

“We were lucky,” Tse says — by which she means, lucky that they saved this prototype for the moment. The glistening jawline and lidless eyes are giving unmistakable Terminator vibes. Morot cradles the head, still that boy dreaming of Fangoria covers.

It’s the kind of thing you hold onto in a lab in Valencia.