About 20 women are lying blindfolded on yoga mats in an airy structure in the Joshua Tree desert. Some are partially dressed in loungewear or lingerie; others are fully nude. Sexy indie folk music blasts from the sound system and outside, through the open double doors, the wind kicks up, rustling the fragrant desert scrub brush, pomegranate trees and ponderosa pines.
Their bodies are layered with a collage of fresh fruit, feathers, cucumber slices, smooth stones and velvety flower petals, among other things. Facilitators quietly tiptoe around the room, gently placing more and more items onto their chests, arms and legs until their skin is barely visible. One woman lies with lemon slices on her nipples, a large strawberry in her open mouth and a bouquet of long-stem pink roses, in full bloom, on her pelvis.
Facilitators adorn women’s bodies with colorful objects during an exercise about receiving pleasure and feeling beautiful.
(Joyce Lee / For The Times)
The exercise is meant to help the women connect with their bodies by stimulating them with a spectrum of sensations: the cool slickness of a polished river stone or the prick of a pineapple rind. It’s about receiving pleasure and feeling beautiful — no matter your age, body shape or perceived limitations.
“The biological clock may be finite, but your sexuality — arousal — is infinite,” says the event’s host, Pamela Madsen, scattering rose petals on one attendee’s thighs.
Pamela Madsen, Back to the Body’s founder.
(Joyce Lee / For The Times)
Welcome to Back to the Body, a sexual wellness retreat helping participants — all women — access their erotic selves. In this group, attendees are straight or bisexual and range in age from mid-30s to mid-70s. They’re mostly from around California, but some have traveled from North Carolina, Florida and Connecticut. They’ve come to overcome intimacy issues or body shame, to process trauma, to learn how to better orgasm or otherwise improve their sex lives. Some are therapists themselves looking to expand their knowledge of “sexological bodywork,” a form of body-based sex therapy that Madsen practices. Others simply want to be in community with like-minded women who are also exploring their sexual selves.
The two-night retreat, which costs $550 to $2,000 depending on accommodations on the sprawling multi-villa property, includes mindfulness exercises, journaling, expert-led seminars, group discussions and meals by a private chef. It also features a preview of a “bodywork session” that one might experience at Back to the Body’s longer, weeklong retreat: a live “pleasure demonstration” at the event’s, um, climax — but more on that later.
Madsen guides participants in a “Lotus Lift Meditation,” meant to help them clarify their intentions for their lives.
(Joyce Lee / For The Times)
An unlikely high desert sex educator, Madsen, “60-something,” is a brash, outspoken New York transplant who oscillates between frank asides (“I like to say ‘f—’ — get used to it”) and welling up with tears (“I’m sorry, I’m just getting emotional, this is important stuff”) as she proselytizes about the power of erotic energy. She believes that “when a woman reclaims her arousal, she reclaims her aliveness.” Put another way: Pleasure isn’t just a component of your life — it’s a tool for transformation.
“I’ve seen women changing, improving their lives,” Madsen says of past participants, her voice cracking with emotion. “They start taking control of their finances, they start to care about how they’re spending their time.”
Sitting on the porch of the “big house,” a midcentury modern ranch home where the retreat meals are served, attendee Mandy Manuel, 39, a sex therapist from Connecticut, says that she found love — for herself and with a partner — after attending several Back to the Body retreats.
Back to the Body’s midcentury modern ranch home.
(Joyce Lee / For The Times)
“I’ve been in a large body my whole life. And the world will tell you ‘you’re not good enough, you’re not pretty enough, you’re not deserving of sex and romance,’” she says. “I totally bought into that story. And I wanted to challenge that. So I came and it was life-changing. Just recognizing ‘Oh, wow, I can receive.’”
Manuel eventually started dating online and met her current partner a year and a half ago (and is now facilitating a Back to the Body retreat in 2026). “My standard for dating shot way up. Previously it was: ‘I’m just going to accept whoever wants me’ and now it’s ‘who do I want?’”
Sexual wellness is a long-established sector of the medical establishment that, today, encompasses everything from contraception and safe sex practices to organic lube, tantric breathwork, couples counseling and the latest Magic Wand Rechargeable vibrator. It adds up to big business: the global sexual wellness market is projected to reach $48.2 billion by 2030, according to Global Industry Analysts Inc.
A participant in the “art of adoration” exercise.
(Joyce Lee / For The Times)
Somatic (or body-based) sex therapy, a subset of sexual wellness, is also not new in the medical field. Individuals struggling with sexual issues have for decades turned to sexual surrogates, or trained professionals who specialize in “experiential learning” and who work in tandem with a client’s sex therapist when talk therapy isn’t enough.
Whereas sexual surrogacy is interactive, mimicking partnership, sexological bodywork employs “one-way touch.” In Back to the Body’s private, one-on-one bodywork sessions that means certified sexological bodyworkers, trained in Madsen’s approach, are always clothed and focus attention on the consenting client without reciprocity. A session may involve breathwork, intimacy coaching, sensual touch, sound and movement, including dance. It’s a “body first” approach to healing, in which physical sensations inform thoughts, as opposed to talk therapy.
But hands-on sex education is controversial.
“I don’t endorse it with my clients,” says UCLA emeritus professor Dr. Gail E. Wyatt, a licensed clinical psychologist and board-certified sex therapist, “because I don’t trust [that] the individuals who are assigned [to touch clients] have the boundaries to see this as a professional act and not as an opportunity. Vulnerable individuals may end up in a situation where they’re being taken advantage of.”
Madsen acknowledges that sexological bodywork is edgy but stands by the modality.
“We cannot heal, expand or awaken our sexuality through words alone,” she says. “We must touch the body to hear it speak — and that terrifies people.”
The retreat includes journaling exercises as well as mindfullness activities and group discussions.
(Joyce Lee / For The Times)
Sexological bodyworkers are not doctors and there’s no national certification for the profession. Practitioners do, however, adhere to a code of ethics upheld by the Los Angeles-based Assn. of Certified Sexological Bodyworkers. While sexological bodywork falls into a legal gray area, the state of California first recognized it as a profession involving sex education in 2003 when it approved training at San Francisco’s the Institute for Advanced Study of Human Sexuality (the school closed in 2018 and no additional state-approved schools have emerged). Nonetheless, somatic sex education appears to be growing: two Back to the Body practitioners offer sexual wellness retreats through their own companies: Court Vox leads one for queer men through his the BodyVox and Cosmo Meens leads one for straight men through his Himeros Project.
“There’s a great need for education about sensuality and the body that we don’t get in school or at home, typically speaking,” says Regena Thomashauer, author of “Pussy: A Reclamation,” which explains that we live in a culture that teaches women to turn off their power.
To be clear, Madsen stresses, arousal is not just about orgasming, or even physical pleasure, but about agency. Erotic energy — desire — is a powerful, “life-changing tool” every woman has access to, she says — it connects you to your passion and creativity, to your intuition and voice.
“When women are in touch with their arousal, they start being able to see themselves, they start being able to express themselves, Madsen says. “They find their voice, they’re able to speak their desires.”
Addressing the group in the living room, Madesn elaborates on the empowering, if political, nature of Back to the Body’s work.
Madsen believes that “when a woman reclaims her arousal, she reclaims her aliveness.”
(Joyce Lee / For The Times)
“Women have only had the right to vote for just over 100 years,” she says. “You [often] couldn’t have a checking account or credit card until 1974 without a man. Why is this work important? Because we’ve been taught not to trust ourselves, not to trust our bodies. That we are vehicles for birth, that we are vehicles for sex, vehicles for entertainment, vehicles for service — we are not sovereign. What does this work do? It creates sovereign women.”
What’s more, Madsen says, it takes time for women to reach a state of arousal — and many women experience premature penetration during sex.
She breaks into song: “I want a man with a slow hand …” she croons, belting out the Pointer Sisters’ early ‘80s pop hit. Laughter erupts around the room.
A private chef, pictured in the background, prepares farm-to-table meals for participants.
In the book, Madsen documents her search for “sexual, personal and spiritual wholeness.” As part of that journey, she became certified as a sexological bodyworker in 2007 through the Institute for Advanced Study of Human Sexuality. She founded Back to the Body in 2011, adding her own spin on sexological bodywork. While most practitioners offered one-off sessions, she says, she launched multi-day immersive retreats, stressing the importance of being “away from the noise of the world.”
Back to the Body had no physical home initially and held retreats virtually or around the U.S. and internationally.
Several Back to the Body participants have gifted the retreat with artworks, now scattered around the property.
(Joyce Lee / For The Times)
“But then we found this place,” Madsen says while touring the Joshua Tree property, onto which she moved in July 2024. She strides across the land, more of a swagger, wearing a white flowy dress, white cowboy hat and cowboy boots, her long black hair cascading down her back and her curvaceous bosom occasionally spilling out of her dress.
“This is the house that women built,” she says, sweeping one hand across the horizon and tucking a runaway boob back into her dress with her other. “I couldn’t have afforded this place without help — investments and donations — from participants. This work changed their lives, and they wanted to give back.”
Previous attendees also gifted artworks or ephemera now scattered around the property: large crystals around the pool or a granite statue, outside the main house, of a woman bracing against the wind.
Late in the afternoon, the women settle into the community room for a 45-minute demonstration of what a bodywork session might look like. Madsen, dressed in aqua lingerie, is the client in this scenario; practitioner Cosmo Meens, a buff and barefoot 45-year-old with thigh tattoos and a salt-and-pepper beard, is her certified sexological bodyworker. There is sexy music; there is playful slow dancing; there is laughter. “Louder!” Madsen says of the music, laying down on what looks like a massage table. There is also a shelf of accouterments nearby — coconut oil, a vibrator, a feather — to stimulate pleasure or bring her to orgasm.
The women sit in a circle around the demonstration table, rapt.
Afterward, Madsen sits up, hair mussed and cheeks flushed. There’s a short question-and-answer session. Then Madsen hard-sells the weeklong retreat, which runs from $8,000 to $18,000, depending on programming, accommodations and location (some retreats are international). There are just 30 spots left for 2026, she tells the crowd; and for those who register today, there’s a $1,000 discount.
15 of the 20 women sign up.
Participants during the “Lotus Lift Meditation.”
(Joyce Lee / For The Times)
To some, the marketing pitch might have a transactional feel: Is this cutting-edge somatic sex education or the commodification of the orgasm, of pleasure?
“It’s inaccessible,” says Betsy Crane, a retired professor of human sexuality at Widener University, who sees value in the retreat’s work but balks at the pricetag. “I understand why they have to charge as much as they do — it’s staff intensive, they include food, nice venues — but it’s not affordable for most women, that’s the inequality of the world that we live in. If it were more accepted, it could become less expensive because it could be available locally.”
Madsen says the price is in line with today’s economy.
“Travel is expensive, experiences are expensive,” she says. “What I know is: that I’m not getting wealthy, that it’s hard to keep the ship running. That women get done in a week here what costs them 15 years in talk therapy.”
The end goal? Madsen hopes her retreat will change the world “one vulva at a time.”
Sitting on the porch, Deb Morris, 63, a retired business owner who lives outside of Denver, says she’s been on more than a dozen Back to the Body retreats over the past decade. (Do the math.) But the investment of time and money has been “life changing.”
Attendees enjoy downtime between retreat activities.
(Joyce Lee / For The Times)
“How I show up at 63 is so much more vibrant and committed to life,” she says. “I stay in, sexually — my beingness, how I dress, staying healthy in the gym, having a more vibrant friend group. All of those things definitely have been affected by doing this work from my mid-50s to my mid-60s.”
She looks out at the view, a vast desert landscape. Then adds: “I feel alive.”
“It’s f— World War III out there,” says Gilberto Martinez Jr. as he skateboards while holding on to a car partway through Paul Thomas Anderson’s acclaimed crime drama “One Battle After Another,” about a group of revolutionaries being hunted by the U.S. government.
Driving the vehicle is Sensei Sergio St. Carlos (Benicio del Toro), who enlists the help of Mexican American “vato skateboarders,” the neighborhood watch, to guide his friend Bob (Leonardo DiCaprio), as he tries to escape the authorities during a chaotic protest when a sanctuary city comes under attack.
Gliding through tight indoor spaces and nimbly jumping across rooftops under the night’s sky, the courageous skating quartet is composed of El Paso natives cast locally: Martinez (34), Luis Trejo (30), Elijah Joseph Sambrano (27) and Julian Corral (29). That Anderson included them in this searingly political narrative as a heroic force felt validating.
“As skateboarders we’ve kind of always been the underdogs, seen as the outcast or the rebels,” says Martinez during a recent video interview with the whole squad gathered. “But in a way we’re showing freedom, we’re not trying to be put in a box, we express ourselves through this skateboard. We’re trying to give hope to other kids like us.”
Their skill set on the board landed them the part, but their presence influenced the production beyond their screen time.
“We all speak Spanish, and we were helping them on set to translate a lot of the things that they needed,” Martinez said.
Martinez and Trejo, who’ve been “homies” for a decade, learned about the opportunity from a mutual friend, Mark Martinez, involved in the El Paso film industry. Sambrano found out from a bartender pal, while Corral got word from the owner of the tattoo shop where he works. The four of them knew each other from hanging around the border town.
The group first met with casting director Cassandra Kulukundis, who read them their lines and asked them to recite them back to test their memorization skills.
“She pulled out her iPhone and we just started skating around her and giving her the lines,” Martinez recalls. “That’s pretty much what she showed Paul. And that’s when he was like, ‘These are our guys.’” [Laughs].
Though they had heard rumors that DiCaprio and Del Toro were in town, they couldn’t know for certain. “I was like, ‘It’s not true,’ just so I would not be so nervous about it,” Martinez said. It was only after signing nondisclosure agreements that they were made fully aware of the artists involved.
“They took us up to Sensei’s apartment to get an idea of the perimeter and what everything looks like,” says Martinez. “That’s when we first saw P.T.A. with his Adidas shoes and we were like, ‘Whoa.’”
Shot over the course of 11 days, their scenes took place in downtown El Paso, just a few minutes from Ciudad Juarez, Mexico, on the other side of the border. “Every single day was just magic,” says Trejo, who is also a musician. “This movie made us feel like we’re part of something on a big scale. It blew our minds that each of us had his own purpose in it.”
The “vato skateboarders,” as the production referred to them, recall speaking with stunt coordinator Brian Machleit ahead of their scenes. “He was very honest with us and said we needed to take this seriously,” Martinez says. “We really focused, and we weren’t playing around.” They practiced their stunts during the daytime, so that they could be prepared for shooting at night.
Anderson, they say, asks for multiple takes — often around 10 — changing his direction to have plenty of options to choose from when editing.
“Paul is always experimenting,” Trejo said. “He’s like a scientist, and he’s doing his poetry.”
Martinez revealed that his big moment, when he skates holding onto Sensei’s vehicle, transformed as they filmed it.
“My direction at first was to do it scared towards Sensei, like asustado,” he said. “After watching the dailies, Anderson came in with new notes.
“Paul’s like, ‘Hey Gil, this sounds like a zombie apocalypse. It’s not a zombie apocalypse, it’s a riot. Pretend like you’re going to go grab a beer and drink it on a rooftop, and then just say some s— like, ‘It’s f— World War III out here.’ And I was like, ‘Yeah, I like that. That sounds more me.’”
To personalize his close-up, Martinez had a suggestion of his own. “I was like, ‘Can I add some Spanish?’”
“Paul really let us use our lingo,” Martinez adds. “Leo was like, ‘Hey, how do I say ‘brothers’?’ And we told him, ‘Carnalitos,’”
In the film, DiCaprio’s Bob refers to the skaters as such.
Throughout the conversation, the group often refers to DiCaprio and Del Toro by their characters’ names: Bob and Sensei. Sharing the screen with A-listers they’ve grown up watching on screen was shocking at first, but then grew to feel a genuine closeness.
“I’d freak out when I got home,” Martinez said. “But on set, the first couple days you had to show them that you were like a brother to them. You can’t be like, ‘Hey man, we got to take a picture.’ It was more like, ‘We’re here to do our job.’ I never called him Leo. I always called him Bob. We just stayed in character. And then he’d be like, ‘What’s up bros?’”
Corral recalls a day when his foot hurt, and the production sent him to rest for a bit on his own. “Next thing you know, they put the other vatos in there and then they put Leonardo in there and we are just like, ‘How should we break the ice?’” Corral says. “And he did. He is like, ‘So what’s good around here to eat?’”
A musician like Trejo, and once involved with El Paso Kids-N-Co, a nonprofit community theater, Sambrano recalled sharing a moment with Del Toro.
“Benicio was like, ‘You play music? What kind of music is it? And I was like, ‘Alternative.’ And he said, ‘Oh, like the Mars Volta.’ And I thought, ‘Oh he knows of the culture, the Mars Volta is from El Paso.’”
Sambrano explains they were allowed to wear their own clothes on set. Early on, he happened to be wearing a T-shirt he got from Goodwill emblazoned with the image of the late wrestler Eddie Guerrero, also an El Paso native, and his nickname, “Latino Heat.”
“They were bouncing off each other, improvising,” Sambrano says. “And that’s when Benicio was like, ‘What if I just say Latino Heat?’ And then they were like, ‘OK, that’s the shirt he’s going to wear.’”
For the “vato skateboarders,” seeing their hometown depicted at the forefront of the resistance in such a high-profile film has strengthened their pride. “We’re from a frontera, a border city, and I’ve lived here my whole life. The community is amazing, people are friendly,” Sambrano said. “And seeing them highlight that is pretty awesome.”
And it’s not lost on them that immigration, and the relationship between the U.S. and Mexico, especially in a place like El Paso, are key subjects in Anderson’s film.
“Paul did do justice to how real life is in a comedic way so that maybe it reaches a different type of audience that is not tapped into these situations,” Trejo said. “The movie touches on things that a lot of people are afraid to talk about. They are afraid to get too political.”
The four skaters watched “One Battle After Another” for the first time at a cast and crew screening in El Paso at the Plaza Theater. “It was really special to watch it in a historic building in El Paso,” Martinez Jr. says. “And having our friends and family there to watch it a week before the movie came out was a beautiful moment for all of us.”
The friends wish to continue acting, and they already have other projects lined up, thanks in part to Jacob Cena, a location assistant on “One Battle After Another,” who is pushing them to seize this breakthrough.
For now, however, they’ve been diligently studying Anderson’s work. “We got pretty obsessed; these are all his movies,” says Martinez Jr. with a smile holding up a stack of the director’s movies on physical media.
CAPE TOWN, South Africa — President Trump says that his government will boycott the Group of 20 summit this month in South Africa over his claims that a white minority group there is being violently persecuted. Those claims have been widely rejected.
Trump announced Friday on social media that no U.S. government official will attend the Nov. 22-23 summit in Johannesburg “as long as these Human Rights abuses continue.” South Africa’s Black-led government has been a regular target for Trump since he returned to office.
In February, Trump issued an executive order stopping U.S. financial assistance to South Africa, citing its treatment of the Afrikaner white minority. His administration has also prioritized Afrikaners for refugee status in the U.S. and says they will be given most of the 7,500 places available this fiscal year.
The South African government — and some Afrikaners themselves — say Trump’s claims of persecution are baseless.
Descendants of European settlers
Afrikaners are South Africans who are descended mainly from Dutch but also French and German colonial settlers who first came to the country in the 17th century.
Afrikaners were at the heart of the apartheid system of white minority rule from 1948-94, leading to decades of hostility between them and South Africa’s Black majority. But Afrikaners are not a homogenous group, and some fought against apartheid. There are an estimated 2.7 million Afrikaners in South Africa’s population of 62 million.
Afrikaners are divided over Trump’s claims. Some say they face discrimination, but a group of leading Afrikaner business figures and academics said in an open letter last month that “the narrative that casts Afrikaners as victims of racial persecution in post-apartheid South Africa” is misleading.
Afrikaners’ Dutch-derived language is widely spoken in South Africa and is one of the country’s 12 official languages. Afrikaners are represented in every aspect of society. Afrikaners are some of South Africa’s richest entrepreneurs and some of its most successful sports stars, and also serve in government. Most are largely committed to South Africa’s multiracial democracy.
Trump claims they’re being ‘killed and slaughtered’
Trump asserted that Afrikaners “are being killed and slaughtered, and their land and farms are being illegally confiscated.” The president’s comments are in reference to a relatively small number of attacks on Afrikaner farmers that he and others claim are racially motivated.
Trump has also pointed to a highly contentious law introduced by the South African government that allows land to be appropriated from private owners without compensation. Some Afrikaners fear that law is aimed at removing them from their land in favor of South Africa’s poor Black majority. Many South Africans, including opposition parties, have criticized the law, but it hasn’t led to land confiscations.
Trump first made baseless claims of widespread killing of white South African farmers and land seizures during his first term in response to allegations aired on conservative media personality Tucker Carlson’s former show on Fox News. Trump ordered then-U.S. Secretary of State Mike Pompeo to look into the allegations, but nothing came of any investigation.
South Africa rejects the claims
The South African government said in response to Trump’s social media post that his claims were “not substantiated by fact.” It has said that Trump’s criticism of South Africa over Afrikaners is a result of misinformation because it misses the context that Black farmers and farmworkers are also killed in rural attacks, which make up a tiny percentage of the country’s high violent crime rate.
There were more than 26,000 homicides in South Africa in 2024. Of those, 37 were farm murders, according to an Afrikaner lobby group that tracks them. Experts on rural attacks in South Africa have said the overriding motive for the violent farm invasions is robbery, not race.
Other pressure on South Africa
Trump said it is a “total disgrace” that the G-20 summit — a meeting of the leaders of the 19 top rich and developing economies, the European Union and the African Union — is being held in South Africa. He had already said he wouldn’t attend, and Vice President JD Vance was due to go in his place. The U.S. will take on the rotating presidency of the G-20 after South Africa.
Trump also said in a speech last week that South Africa should be thrown out of the G-20.
Trump’s criticism of Africa’s most developed economy has gone beyond the issue of Afrikaners. His executive order in February said South Africa had taken “aggressive positions towards the United States and its allies,” specifically with its decision to accuse Israel of genocide against Palestinians in Gaza at the United Nations’ top court.
U.S. Secretary of State Marco Rubio boycotted a G-20 foreign ministers meeting in South Africa in February after deriding the host country’s G-20 slogan of “solidarity, equality and sustainability” as “DEI and climate change.”
The California Supreme Court rejected a 1st Amendment challenge to a state law that protects the rights of gay and transgender people in nursing homes and forbids employees of those sites from using the wrong pronouns to address a resident or co-worker.
The ruling, handed down Friday, holds that violations of the LGBT Long-Term Care Residents’ Bill of Rights are not protected by the 1st Amendment because they relate to codes of conduct in what is in effect a workplace and a home.
“The pronouns provision constitutes a regulation of discriminatory conduct that incidentally affects speech,” the court ruled.
The opinion reversed an appeals court ruling that held provisions in the 2017 law relating to patient pronouns and names could impede an employee’s freedom of speech. Five justices signed on to the main opinion; two signed on to a concurrence. There were no dissents.
“All individuals deserve to live free from harmful, disrespectful rhetoric that attacks their sense of self, especially when receiving care necessary for their continued well-being,” Atty. Gen. Rob Bonta said in a written statement commending the ruling. “State law prohibits discrimination and harassment in the workplace. I am glad that the California Supreme Court agrees with us on the importance of these protections and has affirmed their constitutionality.”
The group challenging the law, Taking Offense, asserted in its lawsuit that the provision mandating that long-term care facilities use people’s chosen pronouns amounts to “criminalizing and compelling speech content.”
Taking Offense described itself in court documents as a group opposing efforts “to coerce society to accept transgender fiction that a person can be whatever sex/gender s/he thinks s/he is, or chooses to be.”
The court ruled that the LGBT Long-Term Care Residents’ Bill of Rights “will be violated when willful and repeated misgendering has occurred in the presence of a resident, the resident hears or sees the misgendering, and the resident is harmed because the resident perceives that conduct to be abusive.”
The LGBT Long-Term Care Residents’ Bill of Rights is enforced by a section of California’s Health and Safety Code. Penalties can range from civil fines to criminal misdemeanor prosecutions — the potential for criminal penalties was a major element of Taking Offense’s argument. The court’s decision noted that other protections for long-term care facility residents have long carried both civil and criminal penalties.
“It seems apparent that the Legislature does not intend for such criminal penalties to be imposed except as a last resort, in the most egregious circumstances,” wrote the decision’s author, California Chief Justice Patricia Guerrero.
The opinion made comparisons to other free-speech decisions with similar elements, such as the 1995 U.S. Supreme Court decision holding that the the Irish-American Gay, Lesbian and Bisexual Group of Boston could not force St. Patrick’s Day parade organizers to include them.
“By contrast, the present case does not involve any analogous creative product or expressive association,” Guerrero wrote, concluding that the California law is instead regulating people’s conduct.
Armed group piles pressure on the landlocked Sahel country and its military government.
Fighters affiliated with al-Qaeda have blocked fuel deliveries to Mali’s capital for two months, bringing the city of Bamako to a standstill.
They’ve sealed off the highways that tankers use to transport fuel from neighbouring Senegal and the Ivory Coast. This has put pressure on the landlocked Sahel country and its military government.
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The scale of the blockade, and its impact, show just how much influence the armed group wields. So, are al-Qaeda-linked fighters trying to take power in Mali? And what does that mean for the battle against armed groups in the Sahel region?
Presenter: Nick Clark
Guests:
Moussa Kondo – Executive director of the Sahel Institute
Oluwole Ojewale – Coordinator for West and Central Africa at the Institute for Security Studies
Nicolas Normand – France’s former ambassador to Mali, Senegal and the Republic of the Congo/Congo-Brazzaville
CHICAGO — A judge heard testimony Tuesday about overflowing toilets, crowded cells, no beds and water that “tasted like sewer” at a Chicago-area building that serves as a key detention spot for people rounded up in the Trump administration’s immigration crackdown.
Three people who were held at the building in Broadview, just outside Chicago, offered rare public accounts about the conditions there as U.S. District Judge Robert Gettleman considers ordering changes at a site that has become a flashpoint for protests and confrontations with federal agents.
“I don’t want anyone else to live what I lived through,” said Felipe Agustin Zamacona, 47, an Amazon driver and Mexican immigrant who has lived in the U.S. for decades.
Zamacona said there were 150 people in a holding cell. Desperate to lie down to sleep, he said he once took the spot of another man who got up to use the toilet.
And the water? Zamacona said he tried to drink from a sink but it “tasted like sewer.”
A lawsuit filed last week accuses the government of denying proper access to food, water and medical care, and coercing people to sign documents they don’t understand. Without that knowledge, and without private communication with lawyers, they have unknowingly relinquished their rights and faced deportation, the lawsuit alleges.
“This is not an issue of not getting a toilet or a Fiji water bottle,” attorney Alexa Van Brunt of the MacArthur Justice Center told the judge. “These are a set of dire conditions that when taken together paint a harrowing picture.”
Before testimony began, U.S. District Judge Robert Gettleman said the allegations were “disgusting.”
“To have to sleep on a floor next to an overflowing toilet — that’s obviously unconstitutional,” he said.
Attorney Jana Brady of the Justice Department acknowledged there are no beds at the Broadview building, just outside Chicago, because it was not intended to be a long-term detention site.
Authorities have “improved the operations” over the past few months, she said, adding there has been a “learning curve.”
“The conditions are not sufficiently serious,” Brady told the judge.
The building has been managed by U.S. Immigration and Customs Enforcement for decades. But amid the Chicago-area crackdown, it has been used to process people for detention or deportation.
Greg Bovino, the Border Patrol commander who has led the Chicago immigration operation, said criticism was unfounded.
“I think they’re doing a great job out there,” he told the Associated Press during an interview this week.
Testifying with the help of a translator, Pablo Moreno Gonzalez, 56, said he was arrested last week while waiting to start work. Like Zamacona, he said he was placed in a cell with 150 other people, with no beds, blankets, toothbrush or toothpaste.
“It was just really bad. … It was just too much,” Moreno Gonzalez, crying, told the judge.
A third person, Claudia Carolina Pereira Guevara, testified from Honduras, separated from two children who remain in the U.S. She said she was held at Broadview for five days in October and recalled using a garbage bag to clear a clogged toilet.
“They gave us nothing that had to do with cleaning. Absolutely nothing,” Guevara said.
For months advocates have raised concerns about conditions at Broadview, which has drawn scrutiny from members of Congress, political candidates and activist groups. Lawyers and relatives of people held there have called it a de facto detention center, saying up to 200 people have been held at a time without access to legal counsel.
The Broadview center has also drawn demonstrations, leading to the arrests of numerous protesters. The demonstrations are at the center of a separate lawsuit from a coalition of news outlets and protesters who claim federal agents violated their First Amendment rights by repeatedly using tear gas and other weapons on them.
Fernando writes for the Associated Press. AP reporters Sophia Tareen in Chicago and Ed White in Detroit contributed to this report.
1 of 4 | Farmers for Free Trade sets up on the National Mall lawn to conclude its two-month tour, hosting farmers and organization leaders in Washington on Tuesday. Photo by Bridget Erin Craig/UPI
WASHINGTON, Nov. 4 (UPI) — Farmers for Free Trade, a nonprofit group that advocates for lower tariffs and expanded global market access, wrapped up its “Motorcade for Trade” tour Tuesday in Washington to urge policymakers to ease trade tensions and support struggling producers.
Dozens of farmers joined at different points along the route to participate in town halls and farm stops, contributing to discussions on trade priorities, export markets and challenges.
The organization has prioritized five issues, including tariff reductions, exemptions for agricultural necessities, such as fertilizer and equipment, and a timely review of the U.S.-Mexico-Canada Agreement.
The caravan began Sept. 5 in Dorchester, Neb., with a cooperative event between farmers and Rep. Adrian Smith, R-Neb. The next three stops included sessions with Reps. Dusty Johnson, R-S.D., Zach Nunn, R-Iowa, and Jim Baird, R-Ind.
Although the Farmers for Free Trade team did not live in its RV, the group named it Ruth after driving more than 2,800 miles with it, spending many hours inside planning and being interviewed with their furry companion, a dog named Huckleberry.
“It’s really about getting information from farmers throughout the Midwest to understand what impact the administration’s trade and tariff policies have had on individuals,” said Brent Bible, an Indiana grain farmer. “It’s had an individual impact, not just on producers, but on communities throughout rural America,”
The caravan made 10 stops — in Nebraska, South Dakota, Iowa, Indiana, Michigan, Wisconsin, Minnesota, Ohio, Pennsylvania and Washington.
“We hosted events throughout the Midwest — everything from meetings with members of Congress to farmer roundtables and tariff town halls,” said Brian Kuehl, the Farmers for Free Trade executive director.
Between the fourth and fifth stop, Kuehl said, it became increasingly difficult to set a schedule.
“Our No. 1 one priority was to meet with members of Congress, and a lot of times you wouldn’t know their schedule until a few days in advance. Then, in the middle of the tour, we had the government shutdown. A bunch of members we had events with canceled because they had to be in D.C.,” Kuehl said.
His team then pivoted to hosting listening sessions and trade talks with farmers, along with visiting the Ohio Chamber of Commerce, the World Dairy Expo in Wisconsin and various farms.
Despite some adjustments, Kuehl shared his team’s optimism for the tour.
“One of the things that’s so cool about agriculture is how diverse it is throughout the United States,” he said. “In the Midwest, you’re looking at soybean and corn farms. As we moved east, we saw more dairies and hog farms. We even visited a winery in Pennsylvania. Pretty much the trade disruptions are impacting them all negatively.”
In Indiana, Bible said, “Our input costs have gone up dramatically because of tariffs on imports — fertilizer, equipment, steel, aluminum. If we need a replacement part or a new tractor, all of those things are impacted. We’re getting squeezed at both ends, and when that happens, there’s nothing left in the middle.”
In Ohio, corn, soy and cattle farmer Chris Gibbs said, he’s felt that squeeze firsthand. After more than 40 years in agriculture, he described 2025 as “a cash flow and working capital crisis,” noting that he’s paying well above production costs for major crops.
“We’re about $200 per acre under the cost of production for corn and about $100 under for soybeans,” Gibbs said.
Because of the shutdown — now the longest in history — the U.S. Department of Agriculture “is essentially not functioning,” Gibbs said. “They normally release reporting information that the market relies on, but that hasn’t been occurring. Farmers are having to make major business decisions without the data we depend on.”
Gibbs added: “I’ve been farming almost 50 years, and I’m struggling, If I’m having to move money around just to stay afloat, what happens to the young farmers who don’t have savings yet? They’re hanging on by a thread.”
Farmers strategically planned the finale of their motorcade to be in Washington this week in alignment with the Supreme Court of the United States’ schedule. The high court plans to hear oral arguments Wednesday on whether the International Emergency Economic Powers Act authorizes President Donald Trump to impose tariffs to the extent he has.
“We’re in a commodity business,” Bible said. “If we have a truly free, functioning market, we can be competitive. But that hasn’t been the case. Prices have been artificially manipulated by policy decisions and retaliation from other countries.”
A wall shows the phrase “No stealing in the community,” signed by the criminal gang CV, or “‘Comando Vermelho” at the entrance to the community in the Vila da Barca neighborhood in Belem, Brazil, on Friday. Photo by Sebastiao Moreira/EPA
Nov. 4 (UPI) — Indigenous communities in the Yurúa district, on the remote border between Peru and Brazil, have raised the alarm over the growing presence of members of Brazil’s Comando Vermelho criminal organization in their territory.
They say the group is exploiting what they describe as a “state vacuum” that leaves those living there unprotected against the advance of organized crime.
The armed Brazilian group has been crossing from Brazil into the Peruvian Amazon, taking part in drug-trafficking routes, illegal logging and other illicit activities that threaten the physical, cultural and territorial integrity of the Amazonian peoples, according to reports.
Those reports come from the Interethnic Association for the Development of the Peruvian Rainforest, the Regional Organization AIDESEP Ucayali and the Association of Native Communities of the Yurúa-Sheshea District.
In the Yurúa and Breu river basins, residents have reported sightings of small planes landing on improvised airstrips in the early morning hours, establishment of unfamiliar camps inside Indigenous reserves and movement of boats carrying cargo without government oversight.
The situation has reinforced perceptions that Comando Vermelho and allied criminal networks are operating with relative impunity in the region.
After a large-scale operation at the end of October against organized crime in Rio de Janeiro, the Comando Vermelho’s main base of operations, alarms sounded over possible attempts by senior members of the criminal organization to seek refuge in neighboring countries.
Indigenous organizations are not only denouncing the problem but also demanding immediate and coordinated action from the Peruvian government, La República reported.
To that end, they have outlined five key areas for response: maintaining a permanent security presence, coordinating efforts between the Interior and Defense ministries, protecting Indigenous leaders, promoting alternative development for local communities and granting legal recognition to a “Transborder Indigenous Guard” to monitor the frontier with Brazil.
Former Interior Minister Rubén Vargas warned in an interview with Radio Exitosa that Comando Vermelho is conducting criminal operations in Peru, mainly along the Amazon River route, reinforcing community warnings in Yurúa and surrounding areas.
And the reach of this criminal network has expanded into the regions of Pasco and Huánuco, in the area known as Puerto Inca, a hub for drug trafficking and illegal mining.
“There are two businesses that interest Comando Vermelho: cocaine and illegal mining,” Vargas said.
Although press reports dating to 2019 have documented the activities of the criminal organization in Peru’s Amazon territories, many details about Comando Vermelho’s operations along the Peru-Brazil border remain unclear because of the region’s inaccessibility, lack of disaggregated official data and clandestine nature of the networks.
MIAMI BEACH — South Florida is seeing a wave of new cars, but they won’t add to traffic or lengthen anyone’s commute. That’s because the cars are made of marine-grade concrete and were installed underwater.
Over several days late last month, crews lowered 22 life-size cars into the ocean, several hundred feet off South Beach. The project was organized by a group that pioneers underwater sculpture parks as a way to create human-made coral reefs.
“Concrete Coral,” commissioned by the nonprofit REEFLINE, will soon be seeded with 2,200 native corals that have been grown in a nearby Miami lab. The project is partially funded by a $5-million bond from the city of Miami Beach. The group is also trying to raise $40 million to extend the potentially 11-phase project along an underwater corridor just off the city’s 7-mile-long coastline.
“I think we are making history here,” Ximena Caminos, the group’s founder, said. “It’s one of a kind, it’s a pioneering, underwater reef that’s teaming up with science, teaming up with art.”
She conceived the overall plan with architect Shohei Shigematsu, and the artist Leandro Erlich designed the car sculptures for the first phase.
Colin Foord, who runs REEFLINE’s Miami coral lab, said they’ll soon start the planting process and create a forest of soft corals over the car sculptures, which will serve as a habitat teeming with marine life.
“I think it really lends to the depth of the artistic message itself of having a traffic jam of cars underwater,” Foord said. “So nature’s gonna take back over, and we’re helping by growing the soft corals.”
Foord said he’s confident the native gorgonian corals will thrive because they were grown from survivors of the 2023 bleaching event, during which a marine heat wave killed massive amounts of Florida corals.
Plans for future deployments include Petroc Sesti’s “Heart of Okeanos,” modeled after a giant blue whale heart, and Carlos Betancourt and Alberto Latorre’s “The Miami Reef Star,” a group of starfish shapes arranged in a larger star pattern.
“What that’s going to do is accelerate the formation of a coral reef ecosystem,” Foord said. “It’s going to attract a lot more life and add biodiversity and really kind of push the envelope of artificial reef-building here in Florida.”
Besides the project being a testing ground for new coral transplantation and hybrid reef design and development, Miami Beach Mayor Steven Meiner expects it to generate local jobs with ecotourism experiences such as snorkeling, diving, kayaking and paddleboard tours.
The reefs will be located about 20 feet below the surface of the water and about 800 feet from the shore.
“Miami Beach is a global model for so many different issues, and now we’re doing it for REEFLINE,” Meiner said during a beachside ceremony last month. “I’m so proud to be working together with the private market to make sure that this continues right here in Miami Beach to be the blueprint for other cities to utilize.”
The nonprofit also offers community education programs, where volunteers can plant corals alongside scientists, and a floating marine learning center, where participants can gain firsthand experience in coral conservation every month.
Caminos, the group’s founder, acknowledges that the installation won’t fix all of the problems — which are as big as climate change and sea level rise — but she said it can serve as a catalyst for dialogue about the value of coastal ecosystems.
“We can show how creatively, collaboratively and interdisciplinarily we can all tackle a man-made problem with man-made solutions,” Caminos said.
Fischer writes for the Associated Press. Associated Press videojournalist Cody Jackson contributed to this report.
Elliot Zwiebach was 62 years old when he sang in front of a live audience for the first time.
The retired reporter had always loved show tunes, but he’d never considered singing in public before.
“I sang for my own amusement, and I wasn’t very amused,” he said recently.
But one night, after attending a few open mic nights at the Gardenia Supper Club in West Hollywood as a spectator, he got up the nerve to step onto the stage and perform a tune backed by a live band.
For his first song, he picked the humorous “Honey Bun” from the Rodgers and Hammerstein musical “South Pacific.” It was frightening and he didn’t sing well. And yet, the following week he came back and did it again.
Newbie Ian Douglas, left, and longtime singer Elliot Zwiebach look over a sign-up sheet at the Gardenia’s long-running open mic night.
Sixteen years later, Zwiebach, now 78, is a core member of what the event’s longtime host Keri Kelsey calls “the family,” a group of roughly 25 regulars who sing jazz standards, show tunes and other numbers from the Great American Songbook at the longest-running open mic night in L.A.
“It’s very much like a community,” Zwiebach said on a recent evening as he prepared to sing “This Nearly Was Mine,” another song from “South Pacific.” “Everyone knows everyone.”
For 25 years, the small, L-shaped Gardenia room on Santa Monica Boulevard has served as a musical home for a diverse group of would-be jazz and cabaret singers. Each Tuesday night, elementary school teachers, acting coaches, retired psychoanalysts, arts publicists and the occasional celebrity pay an $8 cover to perform in front of an audience that knows firsthand just how terrifying it can be to stand before even a small crowd with nothing more than a microphone in your hand.
“You are so vulnerable up there with everyone staring at you,” said Kelsey, who has hosted the open mic night for 24 years and once watched Molly Ringwald nervously take the stage. “But it’s also the most joyous experience in the world.”
Director and acting coach Kenshaka Ali sings “Goodbye Pork Pie Hat” by Rahsaan Roland Kirk.
The singers are backed by a live, three-piece band led by guitarist Dori Amarilio. The rotating group of musicians — a few of them Grammy winners — arrive not knowing what they will be playing that night. Some singers bring sheet music, others chord charts. And there are those who just hum a few bars and allow the musicians to intuit the key and melody enough to follow along. Poet Judy Barrat, a regular attendee, usually hands the evening’s piano player a copy of the poem she’ll be reading and asks him to improv along with her.
“It’s totally freeform,” said Andy Langham, a jazz pianist who toured with Natalie Cole and Christopher Cross and often plays the Gardenia. “I read the stanzas and try to paint pictures with the notes.”
Keri Kelsey, singing “Mack the Knife,” has hosted the Gardenia’s open mic night for 24 years.
The Gardenia, which opened in 1981, is one of the few venues in L.A. specifically designed for the intimacy of cabaret. The small, spare room has table service seating for just over 60 patrons and a stage area beautifully lit by an abundance of canned lights. Doors open at 7 p.m. on Tuesday nights, but those in the know line up outside the building’s nondescript exterior as early as 6 p.m. to ensure a reasonable spot on the night’s roster of singers. (Even though there is a one-song-per-person limit, the night has been known to stretch past 12 a.m.) Nichole Rice, who manages the Gardenia, takes dinner and drink orders until the show starts at 8:30 p.m. Then the room falls into respectful silence.
Pianist Andy Langham and guitarist Dori Amarilio perform live music accompaniment for each open mic participant at the Gardenia.
“This is a listening room,” said singer-songwriter Steve Brock, who has been attending the open mic night for more than a decade. “I’ve been to other rooms where I’m competing with tequila or the Rams. Here, when anyone goes up in front of that microphone, everyone stops.”
On a recent Tuesday night, the show began as it always does with an instrumental song by the band (a piano, guitar and upright bass) before an opening number by Kelsey. Dressed in a black leather dress and knee-high boots, she had this time prepared “Mack the Knife.” “This may be one of the loungiest lounge songs ever,” she said. “Maybe that’s why I really like it.”
People begin to line up outside the Gardenia at 6 p.m. to get a spot for the Tuesday open mic night.
The first singer to take the stage was Trip Kennedy, a bearded masseur who performed “The Rainbow Connection” in a sweet tenor. When he finished, Kelsey shared that she was cast as an extra in “The Muppets Take Manhattan.”
“It was the most ridiculous thing,” she said, filling time as the next singer consulted quietly with the band. “I was a college student who dressed up as a college student for the audition.”
Dolores Scozzesi, who sang at the Hollywood Improv in the ’80s between comedy sets, performed a moody arrangement of “What Now My Love.” “This is a [chord] chart from 2011,” she told the audience before she began. “I want to try it because these guys are the best.”
Monica Doby Davis, an elementary school teacher, sings the jazz standard “You Go to My Head” at the Gardenia.
Zwiebach performed a medley of two Broadway hits, “I’ve Grown Accustomed to Her Face” (which he altered to “his face”) and “This Nearly Was Mine,” easily hitting all the notes. After, his young friend Ian Douglas, a relative newbie who started attending the open mic night in the spring, sang the jazz standard “You Go to My Head.” Zwiebach praised the performance.
“I know that song very well and you did a great job,” he said.
Monica Doby Davis, who once sang with the ’90s R&B girl group Brownstone and now works as an elementary school teacher, also performed “You Go to My Head.” Although she had left the entertainment business decades ago, she said finding the Gardenia open mic night 13 years ago “brought music back to my life.”
Tom Nobles, left, sings alongside bassist Adam Cohen, center, and pianist Andy Langham at the Gardenia.
There were many beautiful, intimate moments that night, but perhaps the best was when Tom Nobles, an actor and retired psychoanalyst in a purple knit cap and thick plastic glasses, forgot the words to “Lost in the Masquerade” by George Benson.
He stumbled for a moment, a bit perplexed, before turning to his friends for help.
“Whoever knows the words, sing it with me,” Nobles said to the crowd.
Quietly at first and then louder and stronger, the whole room broke out into song.
We’re lost in a masquerade. Woohoo, the masquerade.
Universal Music Group said Wednesday it has reached licensing agreements with artificial intelligence music startup Udio, settling a lawsuit that had accused Udio of using copyrighted music to train its AI.
Users create music using Udio’s AI, which can compose original songs — including voices and instruments — from text prompts.
Udio has agreed with UMG to launch a new platform next year that is only trained on “authorized and licensed music,” and will let users customize, stream and share music.
“These new agreements with Udio demonstrate our commitment to do what’s right by our artists and songwriters, whether that means embracing new technologies, developing new business models, diversifying revenue streams or beyond,” Lucian Grainge, UMG’s chairman and chief executive, said in a statement.
Udio declined to disclose the financial terms of the settlement and licensing agreements. UMG did not immediately return a request for comment on the terms.
Artificial intelligence has brought new opportunities as well as challenges to the entertainment industry, as AI startups have been training their models on information on the internet, which entertainment companies say infringes on their copyrighted work.
In the music industry, music businesses have accused New York City-based Udio and other AI music startups of training on copyrighted music to generate new songs that are based on popular hits without compensation or permission.
UMG, Sony Music Entertainment, Warner Music Group and other music businesses sued Udio last year. In the lawsuit, Udio was accused of using hits like The Temptations’ “My Girl,” to create a similar melody called “Sunshine Melody.” UMG owns the copyright to “My Girl.”
“A comparison of one section of the Udio-generated file and ‘My Girl’ reflects a number of similarities, including a very similar melody, the same chords, and very similar backing vocals,” according to the lawsuit. “These similarities are further reflected in the side-by-side transcriptions of the musical scores for the Udio file and the original recording.”
Udio said on its website at the time that it stands by its technology and that its AI model learns from examples, similar to how students listen to music and study scores.
“The goal of model training is to develop an understanding of musical ideas — the basic building blocks of musical expression that are owned by no one,” Udio had said in a statement. “We are completely uninterested in reproducing content in our training set.”
On Wednesday, Udio’s CEO and co-founder, Andrew Sanchez, said he was thrilled at the opportunity to work with UMG “to redefine how AI empowers artists and fans.”
The collaboration is the first music licensing agreement that Udio has reached with a major music label.
“This moment brings to life everything we’ve been building toward — uniting AI and the music industry in a way that truly champions artists,” Sanchez said in a statement. “Together, we’re building the technological and business landscape that will fundamentally expand what’s possible in music creation and engagement.”
Udio said that artists can opt in to the new platform and will be compensated, but declined to go into the specifics or the artists involved.
Udio, launched in 2024, was co-founded by former Google DeepMind employees. Udio’s backers include music artist will.i.am, Instagram co-founder and Anthropic’s chief product officer Mike Krieger and venture capital firm Andreessen Horowitz.
Udio said millions of people have used Udio since it launched in 2024. Users can access the platform through its app or website. The company did not break out specifically how many downloads or website users it has.
Udio has had 128,000 app downloads in Apple’s App Store since its app was released in May, according to estimates from New York-based mobile analytics firm Appfigures.
On Thursday, UMG also announced a partnership with London-based Stability AI to develop music creation tools powered by AI for artists, producers and songwriters.
The marriage between Arcade Fire’s indie-rocker spouses Win Butler and Régine Chassagne has flamed out.
The longtime collaborators and romantic partners split “after a long and loving marriage,” the Canadian “Reflektor” group announced Thursday in a statement shared on social media. Butler, 45, and Chassagne, 49, married in 2003 and will “continue to love, admire and support each other as they co-parent their son,” the band said.
Four people came forward about their alleged experiences with Butler in a report published by Pitchfork in August 2022. Three women alleged they were subjected to sexual misconduct between 2016 and 2022 when they were between the ages of 18 and 23. The fourth, gender-fluid accuser alleged Butler sexually assaulted them in 2015 when they were 21 and he was 34.
Amid Pitchfork’s report, Butler denied the misconduct allegations in a statement and said he “had consensual relationships outside my marriage.” Chassagne, who gave birth to her son with Butler in 2013, remained firm in her support for her now-estranged husband in 2022. The “Sprawl II” singer said, “I know what is in his heart, and I know he has never, and would never, touch a woman without her consent and I am certain he never did.”
She added at the time: “He has lost his way and he has found his way back. I love him and love the life we have created together.”
Arcade Fire rose to prominence in the 2000s for its anthemic rock, cementing its place in the Montreal indie scene with its Grammy-winning 2010 album “The Suburbs.” The group has been nominated for 10 Grammy Awards and has played some of music’s biggest stages including the Coachella and Lollapalooza music festivals. The group released its seventh album, “Pink Elephant,” in May.
Thursday’s statement clarified that Butler and Chassagne’s “bond as creative soulmates will endure, as will Arcade Fire.” The estranged spouses will also continue their charity work in addition to caring for their child.
“The band send their love and look forward to seeing you all on tour soon,” the statement said.
Times staff writer Stacy Perman contributed to this report.
Good Morning Britain star Kate Garraway has revealed which of the Celebrity Traitors stars opted not to be a part of the WhatsApp group after filming had finished
Kate Garraway has revealed which Celebrity Traitors star refused to be part of the WhatsApp group(Image: BBC)
Kate Garraway has revealed which of the Celebrity Traitors stars has refused to join the WhatsApp group. The Good Morning Britain host, 58, is one of several who signed up to the first ever celebrity edition of the hit BBC game show, and while she’s still in touch with the likes of Tom Daley, Charlotte Church, and Alan Carr, one famous face from the programme doesn’t appear to want to chat.
The journalist explained that the chat is currently ‘popping off,’ as the celebrities react to themselves on screen and learn of various fates after their own time on their programme. Last night, viewers watched as Jonathan Ross became the first Traitor to be banished from the castle, and the former talk show host admitted on Friday’s Halloween special of Loose Women that he had no idea what was coming next.
But Kate has now revealed that the star who declined an invitation to join the WhatsApp group chat is someone who has been integral to the format of the show.
The former GMTV host explained that it was Claudia Winkleman, who has been the host of the whole programme since it first aired on BBC One three years ago. Kate explained: “The WhatsApp group is popping off all day and night, actually. It’s brilliant. We invited Claudia to join the group because we all adore Claudia obviously. But she said no.”
Kate explained that the Strictly Come Dancing host was insistent that the contestants needed a place that was ‘just for them’ now that filming is done and they are getting to see the things they didn’t see whilst the series was in production as all the action plays out on screen.
Speaking to The Sun, she added: “She said you need a place that’s just for you guys now that you’re out and you know what’s going on. Because obviously, you know, there’s so much that I didn’t know that I’ve learned by watching it – all the comments that are made when you’re not in the room.”
Early on in the series, Alan Carr ‘murdered’ singer Paloma Faith in shock scenes and rumours have swirled that the pair are no longer on speaking terms, but Kate insisted that she ‘doesn’t really know’ what is going on thee.
What’s more, Jonathan was said to have come to blows with actress Ruth Codd behind the scenes, but Kate explained: “We’ve had one time where we’ve all got together – not everybody could make it – but Jonathan and Ruth were there together and seemed fine to me.”
When it comes to former Chatty Man host Alan, who is a traitor alongside singer Cat Burns, he recently spoke out about the current status of his friendship with New York songstress Paloma during the latest episode of his Life’s A Beach podcast.
He was joined by DJ Norman Cook, better known as Fatboy Slim, who directly asked him: “Aren’t you mates with Paloma?” before Alan replied: “Well, I was…”
Alan then explained that the pop star, 44, disregarded him as a ‘real friend’ when he killed her off, but he had to remind her that that as the whole point of the show to began with He added: “She said, ‘If you were a real friend, you wouldn’t have killed me.’ But I said, ‘I’m the Traitor! The show’s called The Traitors – it does what it says on the tin!'”
Alan then spoke of the fan reaction to the viral moment, and reminded them as well that he was doing as he was supposed to. He added: “There’ve been a few little TikToky things where she says I’ve let her down because I killed her in plain sight. It’s like going on Naked Attraction and being told, what, I have to take my knickers off? You know what you’re signing up for!”
Despite the apparent fall out, Alan then revealed that he is going to make it up to Paloma. He said: “I’m going to take her out for dinner. I love her. I’m such a big fan of her and she’s the best – but no one wants to be murdered first on a show. I panicked!”
