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Hands-on experiences dominate the new Samuel Oschin Air and Space Center, where encountering artifacts that highlight aerospace history is on equal footing with learning about its future.

The many interactive exhibits that dot the new building’s 200,000 square feet of gallery space are geared to entice and educate people of all ages. But kids will be especially intrigued. The center’s leaders, including Science Center President and Chief Executive Jeffrey Rudolph and Ken Phillips, curator of aerospace science, said during a recent tour that in many ways the museum is meant for kids. It’s not a childish place, but it does produce childlike wonder. It’s hard to remain cynical when you’re surrounded by physical evidence of the vast nature of the universe.

The sheer scale of it hits you all at once. It’s easy to get overwhelmed when you step into the museum, with its planes hanging from the ceiling and its rockets jutting through the floors. This list of the best interactive exhibits on offer will help you plan a successful visit in advance. Just be sure to brace yourself for your children’s inevitable wails when you try to pull them away.

And expect lines — these experiences are likely to be in high demand.

McALLEN, Texas — The Ford Expedition rumbled to a stop and Cindy Banda’s bedazzled flip-flops landed on the asphalt of the Houston cancer center’s vast parking lot. She threaded through the rows of cars, a tally of patients who gather here to sit with chemotherapy needles or lie on radiation machines.

The elevator dinged open. A year ago in this building, surgeons removed Banda’s right breast, and she still didn’t know whether treatment had expunged the cancer from her body. Doctors had told her it would be tough to beat.

“I’m more of a positive person myself,” Banda said, now sitting with a white wristband in a dim waiting room. But the bills are harder to dismiss, and the single mother with six children in her care repeated something like a mantra. “Keep the house. Keep the cars. And just keep the kids stable.”

That’s true for many Americans, as rising healthcare costs leave more families with a sinking feeling after seeing the bill for surgery or medication. Heading into the Nov. 3 midterm elections, about half of registered voters said healthcare costs are a major problem for them and their families, up from a little more than one-third four years ago, according to a Fox News poll from September.

With party control of Congress at stake, registered voters are nearly twice as likely to say they trust Democrats over Republicans to handle healthcare, according to an Associated Press-NORC Center for Public Affairs Research poll from the same month. Those frustrations, combined with broader concerns over rising prices, have sapped support for President Trump and his Republican Party.

Banda knows how that feels. She backed Trump in each of his three campaigns, motivated by her opposition to abortion. But when cancer came, the ensuing scramble to make ends meet was painful enough to rearrange her priorities, and she started to think about voting Democratic for the first time.

The 46-year-old was ushered into a sterile room for her appointment, her phone lighted up with a text. “Please contact TD Auto Finance.”

“This one’s $1,300,” she said of the car payment bill. “I have to go back to work.”

She had been on sick leave for a year from her job selling internet service, and she needed the income to support her three children and three more she had taken in after her sister’s death.

The doctor said her reconstruction surgery could be scheduled early next year. “I was hoping for maybe December,” Banda said, “only because I’ve met my deductibles.” Come January, she would have to pay down the $7,500 again. Earlier may be possible, the doctor replied, if the skin around her surgical scar loosens.

The evening had cooled slightly by the time she walked back through the rows of parked cars, their ebb and flow marking the tide of sickness, survival and death in a small corner of a colossal healthcare industry that saves lives while taking in over $5 trillion every year.

Banda paid $8 for parking as she left.

Confronting death and debt

Two weeks later, Banda was back at work, making door-to-door rounds to sell Spectrum’s Wi-Fi in McAllen, her city along the U.S.-Mexico border in the Rio Grande Valley. Banda, holding blue fliers, walked along a row of storefronts, some that closed since she last was in the area.

She hadn’t had a sale and commission since October of last year, after the biopsy and diagnosis.

The doctor who gave her the news had hugged Banda, and she sobbed even though, she says, she never really sobs in front of other people. During chemo, her children took turns buzzing off her wispy hair. When her 9-year-old daughter’s hand quivered, a teenage cousin helped guide the clipper over her mother’s scalp.

Banda’s first impulse was to maintain normality, stability, for the children.

But that requires roughly $7,000 a month for utilities, mortgage, car payments and groceries, along with the two water leaks. Then, even with insurance through her job, the surgeries, chemo and radiation added up to over $25,000 that she’s been paying off, making Banda one of tens of millions of other people in the United States in medical debt.

Banda tries not to dwell on death and debt.

“It’ll consume you,” she says. She smothers those thoughts beneath her bubbly demeanor and avoids being alone. But that truce, between her insistence on positivity and the fears that it covers, is brittle.

Certain thoughts still arrive uninvited. Banda’s late sister, Melissa, didn’t have life insurance. Banda makes sure it’s a payment she never misses.

“Sometimes I think, and I shouldn’t think like this, but I’m worth more gone than here,” she said one day. “Obviously, the goal is not that, the goal is to beat it,” she continued, “to keep the house and keep the cars.”

So far she has, with the help of others.

On top of child support, the father of Banda’s 9-year-old often pays $400 a week for a nanny to help with the kids. Banda’s own father sent her $700 before for her recent Houston appointment, one of his many cash infusions. Her high school classmates, whom she hadn’t been in close touch with in decades, fundraised by selling grilled chicken, rice and beans from a roadside tent. Two GoFundMe fundraisers collected nearly $30,000, and Banda rented her late sister’s house while putting her own in forbearance.

But months of insecurity takes its own, sleepless toll. She needed to sell some internet services to catch up.

After sticking the Spectrum Wi-Fi fliers onto empty storefronts, she drove to pick up her kids from school. The following day she had a morning meeting at a barbershop for what would be her first sale back at work.

Turning on Trump

A lifelong Christian, Banda had voted her antiabortion stance in past elections. When her sister was kidnapped and murdered by her ex-husband in 2020, Banda retreated from religion. The cancer brought her back to church with an apology to God, but it also made her rethink her politics.

She voted for Trump in 2016, and his first four years seemed steady, she said, so she voted for him again in 2020. President Biden’s tenure, including a global pandemic and related inflation, felt like bedlam, so she voted for Trump to return to the White House in 2024.

But two years later and fighting an expensive disease, she had found no respite from high prices.

So when James Talarico, a Presbyterian seminary student running for U.S. Senate as a Democrat, visited one of Banda’s fundraisers — speaking about his diabetes and his work in the Texas Statehouse to lower the price of insulin — it moved her. “Imagine if he can do that for the cancer,” she said.

Talarico and his Republican opponent, state Atty. Gen. Ken Paxton, have different approaches to healthcare. Talarico wants all Americans to be able to join Medicare; Paxton proposed a $25,000 tax deduction for out-of-pocket medical expenses.

Talarico also supports a law guaranteeing abortion access nationwide, which Banda has voted against for years. But after she slid into debt to stay alive, after her grocery bills mounted and the high school had to comp the kids’ soccer gear she couldn’t afford, Banda’s antiabortion concerns have been superseded by worry about costs.

“Because it’s what I’m living,” she said. “I’m living it.”

Banda cast an early ballot for Talarico. “Never voted Democrat before today!!” she wrote in a text with blue heart emoji.

Awaiting news

Banda had just started a new cancer-targeting medication that cost $16,000 a month, reduced to $500 by insurance. By the afternoon, she was nauseated and fatigued, unable to eat. The malaise would keep her home the next day. She would miss the meeting with the barbershop to close her first deal since getting sick, though she felt confident it was in the bag.

But Banda pushed through the discomfort one evening to join her family as they replaced the flowers at her sister’s tomb.

She drove past the headstones and oak trees in the evening’s slanting light, and the family gathered around Melissa Banda’s tomb in an open-air mausoleum. There was no speech. Their eulogy was her father, Fidel Banda, methodically clipping and arranging the flowers for his daughter.

Banda walked along the wall of tombs. She will find out on election day whether the cancer is in remission or whether it’s spread to her organs.

“This one’s for me,” she said, pointing to a blank tomb next to her sister’s.

“Mom!” said her daughter with the huffiness of a 9-year-old. “Why would you say that?”

Banda smiled and added, “in a hundred years.”

Bedayn writes for the Associated Press.

Sean and Heidi Cripe will never forget the call from their son’s high school saying Davis was being taken to the emergency room.

“He chugged an energy drink — like, just trying to be cool,” said Sean Cripe, recounting the day nearly a decade ago.

The teen’s heart soon fell out of rhythm and he died. While such deaths are rare, doctors across the country have warned for years that energy drinks contain high levels of caffeine that can seriously harm children, causing problems such as abnormal heartbeats, increased heart rate, sleep disturbances, dehydration, agitation, high blood pressure and seizures.

A newly formed coalition of doctors is highlighting these risks in the wake of a sponsorship deal between Monster Energy and the Big 12 Conference college athletic organization. The group has asked conference leaders to pause the sponsorship and the NCAA to review energy drink marketing to youths in general, citing the deaths of three children including Davis, a 16-year-old from South Carolina.

The doctors stress that they’re not just concerned about Monster but all energy drinks and any similar partnerships.

“Kids are going to see energy drinks now promoted by the universities and the athletes that they admire and want to emulate,” said Dr. Matthew Nelson, an Idaho cardiologist involved with the effort. “The kids will think of them as sports drinks, which they’re not.”

Too much caffeine can harm kids in many ways

Various medical groups, including the American Academy of Pediatrics, say children and teens should avoid energy drinks altogether. Yet many are not. According to the latest results of the federally funded Monitoring the Future survey, run by the University of Michigan, 23% of 12th-graders, 20% of 10th-graders and 18% of eighth-graders reported consuming energy drinks daily.

Depending on the product, caffeine content can range from 80 to 300 mg per serving. By comparison, a typical 8-ounce coffee contains about 80 to 100 mg and some sodas contain 50 mg or less. Overall, the pediatrics academy recommends children ages 12 to 18 limit caffeine to 100 mg a day. Younger kids are discouraged from consuming any caffeine.

Caffeine and other stimulants increase heart rate and the reactivity of the nervous system — basically “how fast things go in the body, which can create an overload of the system,” said Dr. Tamara Hannon, an Indiana pediatrician who chairs the academy’s nutrition committee.

She likened it to running a blender until the motor heats up too much. “The same thing can happen when you deliver stimulants to people,” she said. “The heart can wear out, the nervous system can go haywire and you can have really serious consequences.”

Mixing different types of caffeine can be risky

Children with preexisting conditions such as high blood pressure are at especially high risk, Hannon said, but even healthy children who get too much of a stimulant can have serious problems. That includes young athletes.

Another consideration: Kids often drink various types of caffeinated beverages. That was the case with Davis Cripe, who died in 2017. According to the coroner at the time, Davis had no prior heart condition and drank a Mountain Dew and a latte from McDonald’s earlier in the day. He experienced arrhythmia after having the energy drink.

It wasn’t the first time Davis drank one, although he didn’t consume them regularly.

“We had talked to him and let him know that they weren’t healthy,” Sean Cripe said. “We didn’t understand they could be deadly.”

Trade group says the energy drink industry tries to protect kids

The American Beverage Assn. — which includes Monster and other companies comprising 94% of the energy drink category — said members voluntarily disclose caffeine totals on product labels, which carry advisories such as: “Not intended for children, pregnant or nursing women, or persons sensitive to caffeine.” Members also don’t sell or market energy drinks in K-12 schools.

Monster Energy said in a statement that caffeine and other drink ingredients are found in a broad variety of food products. “Mainstream energy drinks have been marketed worldwide for more than 30 years and more than 100 billion energy drinks have been sold and safely consumed globally,” the company added.

The deal between Big 12 and Monster calls for a co-branded logo on football and basketball jerseys, fields and courts, and across digital and social media channels.

“The energy drink category is not new to collegiate athletics,” the Big 12 Conference said in a statement, adding that beverage companies are always looking for ways to reach sports fans.

The NCAA doesn’t have the authority to regulate conference or school sponsorship agreements, Dr. Deena Casiero, the association’s chief medical officer, told the doctor group in a letter. She said the association offers schools educational resources on caffeine and student-athlete health, and caffeine has been a topic of interest for an NCAA committee, which recently commissioned a cardiac advisory group.

How to educate kids about excess caffeine

To protect children, teachers and coaches can educate them about the dangers of too much caffeine and the difference between energy drinks and sports drinks, according to the U.S. Centers for Disease Control and Prevention. Sports drinks are designed to help replace water and electrolytes lost through sweating after activity.

Parents and other adults can also model good behavior by not consuming energy drinks in front of kids.

On a related topic, Harvard Medical School experts say there’s no scientifically valid evidence behind the common belief that caffeine can stunt a person’s growth.

At well visits, parents should talk with pediatricians about all the beverages their children are consuming, said Hannon, who often advises families to “Rethink your drink.”

Sean Cripe said sharing stories like his could also help children understand that energy drinks are not for them.

Ungar writes for the Associated Press.

The minuscule yet distinctly humanoid figure of a fairy flaps its wings as it flies into the ancient ruins of a bygone kingdom. Guiding a young heroine to meet a mysterious faun, for a moment, the fantastical creature looks as though it might cross the threshold of the screen.

It is in that instant that Guillermo del Toro — wearing 3D glasses while sitting at the Academy Museum of Motion Pictures’ imposing David Geffen Theater for a tech check — chuckles with pride as if to say, “Look at that.” Later that night, almost 1,000 fans were transported into his entrancing 2006 masterwork, “Pan’s Labyrinth,” (a.k.a. “El Laberinto del Fauno”) at the premiere of the new 3D version.

Back in theaters across the country on Friday (which is also Del Toro’s 62nd birthday), “Pan’s Labyrinth” is celebrating its 20th anniversary with a new 4K restoration, available in both 2D and in the aforementioned 3D transfer that Del Toro himself oversaw.

Doug Jones, left, plays the faun that beckons to Ofelia, right, played by Ivana Baquero in “Pan’s Labyrinth.”

(Scott A. Garfitt / Andreea Alexandru / Invision / AP)

As brutal as it is spellbinding, the Mexican filmmaker’s modern classic unfolds during the Spanish Civil War — more precisely, in 1944 — as young Ofelia (Ivana Baquero) and her pregnant mother move into the camp run by the ruthless Capt. Vidal (Sergi López).

Amid the bloodshed, Ofelia discovers an underworld of magical entities, including the alluring faun (Doug Jones), who convinces her that she is a princess who must reclaim her royal status.

By winning three Academy Awards and being nominated for two more — one for Del Toro’s screenplay, the other for foreign language film, representing Mexico — “Pan’s Labyrinth” signified an artistic watershed moment in Del Toro’s career. These accolades came after he directed two comic-book adaptations for Hollywood studios: “Blade II” and “Hellboy.”

Beyond the recognition, the experience felt spiritually transformative for the Guadalajara native; not the least because of the hurdles he overcame to bring it to fruition.

“‘Pan’s’ marks a big divide in what I did before and what I did after. I became invested in a different way in filmmaking,” Del Toro tells me. “I don’t know how to describe it, but filmmaking became a religion, as opposed to something that I could do. It fused with me.”

Though the film is now regarded as one of the greatest works of the 21st century, when Del Toro set out to make it, the industry was not receptive to his ideas.

“Everything I thought I wanted to say about war in ‘Devil’s Backbone’ seemed obsolete, because we had gone through 9/11 and the world had changed,” Del Toro recalls. “I didn’t want to do an American movie. I was being offered a lot of comic- book movies and said, ‘I got to do a companion piece for “Devil’s Backbone” no matter what.’ But nobody wanted to do the movie.”

One key objection was the mature tone of the narrative, in which the child protagonist is directly confronted and endangered by the evils derived from fascist ideologies.

“They said, ‘If it’s a fairy tale then it should be a family movie,’ because I’d been offered ‘Narnia’ a year before by [former Walden Media chief executive] Cary Granat,” Del Toro tells me.

“He said, ‘Why don’t you do ‘Narnia’?’ And I said, ‘Because I want to do my own version of a fairy tale where the lion doesn’t resurrect and it’s about a pitiless world against a boundless imagination.’”

Del Toro’s interest in stories where the woes of children are taken seriously was spurred by ‘Los Olvidados,’ Luis Buñuel’s classic from 1950, about a group of neglected children surviving a harsh reality in the streets of Mexico City.

“When I saw ‘Los Olvidados,’ I was in my early teens,” says Del Toro. “I thought every time somebody told a story about a child that was unsentimental and that was a little brutal — it could be ‘The Spirit of the Beehive’ or ‘Los Olvidados’ or ‘The Red Balloon’ or even Bobby Driscoll in ‘The Window’ — whenever you saw a child in real danger, a child in jeopardy, a child in moral dilemma, like ‘The Fallen Idol,’ I really was transported.”

Children, Del Toro believes, are often invisible to adults. They are “cartoons” in the eyes of “regular adults.” Thus, when his mother started reading child psychology books to better understand a young Del Toro, he read them as well, so that he could try to manipulate her.

Del Toro laughs mischievously as he remembers his antics. “I would do exactly what the book said, and I realized I could work within that preconception and make my grandma buy me horror comic books or make my mom allow me to miss school,” Del Tor recalls. “Ofelia is very strong. That was the point of the movie for me. I wanted to see the clash of wills between a young kid and a fascist captain, and I wanted to see the kid win.”

(Teresa Isasi / Picturehouse)

Del Toro’s mother, Guadalupe, died in 2022. But she lives on in cinema, thanks to the 1985 landmark queer Mexican film “Doña Herlinda and Her Son,” by director Jaime Humberto Hermosillo, where she played the titular Doña Herlinda.

And if you look closely, you’ll also find Del Toro in the movie, which was filmed in Guadalajara.

“I have a cameo with my ex-wife in it. Lorenza. She’s the receptionist and I appear dancing in Chapala, but I’m super thin, so you can never recognize me,” he says. “I’m dancing with a girl that I liked, but I was already in the throes of dating the one who became my wife, Lorenza.”

Then there was the question of the picture’s language. Del Toro wouldn’t waver on making “Pan’s Labyrinth” in Spanish.

“Many of them said, ‘We’ll do it if you do it in English — set in Spain, same ending, the girl dies, no problem, but in English.’ And I said, ‘I can’t. It’s not true to the movie.’ I’m not saying you can never do that, but it’s always this ‘Zorro’ thing like, ‘Are you in a hurry, señor?’ or ‘Come to the hacienda,’” he says, doing a funny, exaggerated accent on the Spanish words.

“If you’re trying to contrast reality versus fantasy, the reality has to be in its language, in its location,” Del Toro adds, emphasizing his resolve to make the movie in his native tongue. “I thought, ‘This is about the reality clashing with the fantasy. I have to make the reality stylized, but I don’t want to do it in English, because then everything is a construct. Everything is just an idea.’”

In 2026, the film’s bilingual appeal is a major component of the marketing strategy that Cineverse — the entertainment company that Del Toro approached to handle the restoration and rerelease of “Pan’s Labyrinth” — is implementing to reach audiences across the country.

“A lot of our messages are in English and in Spanish. The messaging around the making of the 3D — Guillermo likes to say ‘F— AI,’ but we positioned it as ‘Made for humans, for humans. Hecho por humanos, para humanos,’” says Yolanda Macias, chief motion pictures officer at Cineverse. “That’s a really strong message that has resonated with our fans.”

A Mexican American woman whose parents emigrated from Jalisco, Macias sees “Pan’s Labyrinth” as a timeless movie that’s as relevant today as it was two decades ago.

“We are not ignoring a very important segment of the audience, which is the Latino population who have always, in my experience, shown an interest in creators from Mexico or from Latin America,” Macias says. “And we are so proud of Guillermo for being that person for this audience.”

When first envisioning “Pan’s Labyrinth,” Del Toro found himself grappling with existential concerns related to the meaning and relevance of what each person leaves behind when they are gone. Can anything we mortals create stand the test of time? Does it matter?

(Gina Ferazzi / Los Angeles Times)

“One of the things I was going through was I thought, ‘Is making movies worth it? You give them years and years and years, and then they just move down the current into the oblivion of the culture,’” Del Toro says. “A central theme in the film is, ‘Can we give our lives to something that doesn’t change the world?’ That’s why the movie ends with a little flower blooming in a dried tree. That’s all that is left of her story in the real world.”

His films will one day too become flowers left not only as proof of his time on earth, but perhaps as messages for those to come who have the sensibility to appreciate them.

“You can say, ‘Ofelia lived in the other kingdom,’ but in the real world, there’s only one tiny flower. And that’s why it says, ‘For those that know where to look.’ Because that’s what we do as filmmakers. When you ‘discover’ a filmmaker, you say, ‘I discovered this guy Fellini.’ Well, he’s been there for a while, but sure. Or you discover Miyazaki or Mamoru Oshii … They’re continents, but they are only in maps that are very secret. I like that image.”

So long as they are found, Del Toro doesn’t worry that much about how people encounter them.

“[Films] live on to a certain degree. Like when we were shooting ‘Frankenstein,’ I said, ‘We will live forever in the Netflix queue,’” he recalls, trying not to laugh. “Theatrical is the best. There’s no comparison. But I remember my childhood, I saw all the Universal monster movies on TV, and they were monumentally important for me. There’s something to be said about accessibility that is also important.”

I agree with him — and mention that some of the most revelatory movie-watching experiences for me as a young cinephile happened thanks to bootleg DVDs, which I would buy as a teen in Mexico City.

“I love the pirate DVDs in Mexico,” says Del Toro with a laugh. “I’ll tell you a little story: We went to promote ‘Hellboy’ in Mexico City, and we were having coffee. A guy came in and said, ‘You want to buy movies?’ And he had ‘Hellboy’ already, opening week … and it didn’t have a cover either!”

Another distinction that “Pan’s Labyrinth” holds is that it was the last film in Spanish that Del Toro directed. But that could change, he says; he still has another project he’d like to make in Mexico.

“I actually have an idea that I would love to shoot, but I want to make it a drama. I don’t want to make it a fantasy movie,” he explains. “I have a great story that I want to shoot one day. It’s a kidnapping scene from three points of view. The victim, the people doing the pickup, and another component that I will not reveal.” (Del Toro’s late father, Federico, was famously kidnapped in Guadalajara in the late 1990s.)

The thought of Del Toro making another Mexican film in the future, reminded me that the original screenplay for his period ghost story, “The Devil’s Backbone,” was set in Mexico, but a lack of funding forced him to shift the production to Spain, with the help of Pedro Almodóvar’s company El Deseo.

“It was about a traveling circus during the [Mexican] revolution with a mother, a father and a boy. It was full of jarred fetuses. The boy was a clown, and the father was a magician. I was trying to do Bergman’s ‘Hour of the Wolf’ or ‘The Magician’ — modest but creepy,” he explains. “But it was very different. I had the orphanage, I had the legend of the fetuses and a ghost; and I had the devil live in the monastery.”

In any language, Del Toro is a fierce advocate against the use of generative AI in artistic creation. He believes that anything touched by humans has a better chance to endure. The love audiences still hold for “Pan’s Labyrinth” is a testament to this sentiment.

“[Pan’s Labyrinth”] is very truthful to who I was. And whenever you are able to be truthful, people feel that it matters to you,” Del Toro says. “And when you think it matters to someone, you cherish it.”

Nicole Brown Simpson wore a long-sleeved cover-up by the beach, despite the warm weather. “We kept telling her, ‘C’mon, get in the water.’ She wouldn’t,” Denise Brown recalls of a Hawaiian vacation with her sister, Nicole, and the rest of her family, including her brother-in-law, O.J. Simpson. “We didn’t know it then, but he’d beaten the [hell] out of her the night before in the hotel room. We found out later, after she was killed, when we were reading her diaries.”

The incident is one of many chronicled in Brown’s new memoir, “For My Sister Nicole: Love Shouldn’t Hurt.” The book chronicles who Nicole was — from her happy SoCal childhood to meeting beloved celebrity and football star Simpson at the age of 18 (he was 30) to the physical and mental abuse she suffered over seven years of marriage. Brown also reveals the troubling incidents she witnessed behind the scenes, and pairs them with the knowledge she has now of what could have been done to help her sister.

(Blackstone Publishing, Inc.)

Nicole and her friend Ronald L. Goldman were murdered outside her Los Angeles home in Brentwood in June 1994. The brutal homicides set off a media frenzy, and overnight, Brown became the voice for her slain sister.

Images of an angry and sobbing Brown became the media’s hallmark of grief during the criminal trial, particularly when Simpson was acquitted in 1995. He was found guilty in a subsequent civil trial, yet still awarded custody of the divorced couple’s two children.

Now, 69, with sleek silver hair and a voice raspy from the many speaking engagements tied to her advocacy work, Brown has devoted her life to raising awareness about domestic violence. “It’s too late for Nicole,” says the former model who moved from her native Southern California to Florida decades ago. “I want this book to help others avoid what happened to her.”

This interview has been edited for length and clarity.

We’re meeting today in downtown L.A., very close to the courtroom where the trial happened, and to the former LAPD headquarters Parker Center where Simpson was booked after Nicole’s death. Is it difficult being here? Should we have done this somewhere else?

No. This is where it all happened, so it’s OK for me to be here to talk about [the book]. It should start here. And I’m glad it’s with the L.A. Times because Nicole was here in Los Angeles, as was all the chaos. Everything started here.

Denise Brown.

(Ronaldo Bolaños / Los Angeles Times)

It’s been 32 years since your sister’s murder, yet this is the first book you’ve written about what happened.

I had a [previous] book deal, but I wasn’t ready.

It was really hard going back because you think about all the things that should have been, that could have been, that she missed out on, especially with her kids. And everything was so public. It was so out in the open, with everybody looking at you. If you were too happy and laughing, it was, “Oh God, she doesn’t even know how to grieve.” If you’re crying, it’s, “My God, can’t she just get over it?”

I understand why people make these kinds of comments now, because if you’ve never been through something so horrific, you don’t know how to act. You don’t know how you’d respond.

Aside from raising awareness about domestic abuse issues, you haven’t spoken much about your sister’s life or murder until the 2024 Lifetime docuseries, “The Life & Murder of Nicole Brown Simpson.” It was the first production that included interviews and involvement from you and your sisters, which is stunning because there have been so many docs and dramas about the case.

I know. And without asking Nicole’s family, can you really make a good documentary?

A girlfriend of mine who is a producer wanted to [make a documentary] at the 10-year mark, and I just wasn’t ready. Then she asked me at the 20-year mark. I said, “No, this doesn’t feel right yet.” Then on the 30th, I asked my sisters [Tanya, Dominique and Wendy], “Do you guys want to do this?” And it was “Yes, let’s humanize Nicole. Let’s bring her back because she was lost in all of this.” Ron and Nicole were both lost. The trial has been done and saturated. Let’s humanize her, get videos of when we were kids. Stuff like that. So that’s what we did.

In the book you write that the docuseries provided new revelations about Simpson.

What I found out all these decades later shocked me. I learned after Simpson moved down to Florida with the kids, there were 17 calls to 911. There was an FBI raid. I don’t know what it was for, but the police came to the house 17 times?! I was friggin’ livid when I heard that. Where were the advocates? Where were the people protecting those children out there? They would have been protected by my mother and father, by all of us. Coming off that, I thought that it’s time to write a book.

We know so much more about recognizing the signs of domestic violence now than we did in the 1990s. The progress is of course welcome, but it also has to be hard applying that knowledge in hindsight to your sister’s case.

Back then I saw. I was privy to. I was there. I was involved. But I didn’t know it was domestic violence, and that’s what I want people to understand. Don’t read this book like it’s something that I knew about all along because I didn’t. I thought [the fights] were isolated incidents because they didn’t happen every single time I saw Nicole. They were years apart. I learned about domestic violence patterns after the murder.

Can you talk about what was in the diary you found in her home after she was gone?

A couple of months after her murder, my dad was reading her diaries, and I saw him lying on the bed, just broken. He said take a look at these, and it was Nicole’s writing and about the things that were happening. And I sat there like, “Oh my God. We were there.” We were there when this happened, like on a vacation in Hawaii. But we were not in the room with them.

Nicole wrote in her journal of that trip that once they were in their hotel room alone, he beat her and threatened to hang her off the balcony. But the diary wasn’t admissible in court. And maybe it wouldn’t have even made a difference given the lack of awareness about domestic abuse patterns.

Domestic violence, the jurors didn’t really understand it. They thought if you’re not dead after he’s finished strangling you, it’s not domestic violence. Jurors even said, “This is not a domestic violence trial. This is a murder trial.” Well, lo and behold, the ultimate form of domestic violence is murder.

Your passionate statement to a reporter during pretrial hearings marked the first time a member of your family publicly expressed doubt regarding Simpson’s innocence. From then on the press made a point of painting you as the furious, avenging sister.

Why wouldn’t I be angry? My sister was slaughtered, for God’s sake. I became the spokesperson for our family after I went upstairs to the press room [during the hearing] and said to a reporter: “If O.J. so innocent, why is he trying to suppress all the evidence?!” I couldn’t sit there and watch the so-called Dream Team [Simpson’s defense] constantly berating Nicole and belittling her and turning her into something that she wasn’t.

Before testifying in criminal court, you testified before Congress in 1994, urging lawmakers to fully fund programs and shelters supported by the Violence Against Women Act.

It was a bipartisan act from Orrin Hatch and Joe Biden, who were both senators at the time. Bill Clinton signed it into law after Nicole’s murder. I went to Washington and spoke before Congress because the funding was all [tied up ] in state appropriations. I was the first one to speak. I thought I was going to die. But it all worked out [laughs].

How did you deal with such an immense loss in private?

I ran every day for like an hour and a half until I collapsed because there was so much anger in me. My mom said, “Denise, I’m really worried about you because you’re just so angry,” and I said, “Why wouldn’t I be?!” She said, “I know, but you need to be able to deal with it.” So she invited our pastor over to the house who was a friend of the family. He said to me, “Denise, this is not God’s doing. This is the evil of man.” And as soon as he said that, there was something that just came off my shoulders. I could breathe again. You’re right. This is the evil of man. So I was the one who kept saying from the very beginning that I knew who did it: Simpson.

Nicole emerges as a whole person in this book, which after all these years feels long overdue.

Nicole was a wonderful person. Even when he gave her a Ferrari for her birthday, she didn’t give a s— if there was French fries in the gear shelf. Her kids, her friends, her people meant everything to her, and that was taken away from her by a f—ing monster. She was the best wife. All she wanted was her two kids, a white picket fence. The American family. So for her to put up with everything that she went through, it just breaks my heart because she was such a good person. Stubborn as all hell, but that’s OK. You don’t get murdered because you’re stubborn.

And people ask, “Why didn’t you just grab her by the hair and take her out [of that marriage]?” Well, because she was an 18-year-old girl who knew what she wanted, and she wanted him. She was totally in love with him, and she was not going to listen to her sister.

Your sister did eventually leave. She had been divorced for two years before she was killed. During that time, she wrote in her diaries that Simpson stalked her at the gas station, the supermarket, when she ate out, and your family witnessed it.

She did get away — for two years, and he couldn’t handle it. His ego could not handle it. His narcissistic behavior couldn’t handle it.

He was there for every move she made. She’s with a boyfriend having dinner, and he’s there, plopping his ass down at the table and having dinner with them. And at the supermarket?! C’mon, he doesn’t shop.

People [like him], they’re just so obsessed with control. And they’re narcissists. I don’t believe she could have ever gotten out of her situation because [of all the support he had]. He was so loved.

Why do you think she kept the abuse from you?

I asked [a family friend] why they think she hid the abuse. They said she was trying to protect her family and her friends, and to me that made all the sense in the world because that’s exactly what a victim does. The abuser will threaten the family. That’s their MO. I’m going to kill you. Your family. The dog. Our kids. Something you love will get hurt, and you’re the only one that knows about it. You’re the only one who knows how bad and how mean he can actually be.

Simpson died in 2024. What has that meant to you?

I don’t have to look over my shoulder. Actually, the funny thing is, I was never afraid. There was never a fear of running into him. But is there a relief that he’s gone? I didn’t even know he was sick, and I hope he suffered the way Nicole did. I wish it would have been longer. You can quote me on that.

Is there ever any closure for you?

You try to move on. You never forget. It’s always there. So to go back, it just ripped my heart out. In 32 years I’ve not told my sister I love her, like we did every single phone call, every single time we left each other. It was always, “I love you. I’ll see you later.” But it was never goodbye. We never said goodbye to each other because that’s so final. It was always, “I’ll see you later.”

What impact do you hope this book has on readers?

I just really want your readers to know, if it can happen to Nicole, it can happen to you. It can happen to anybody: rich, poor, Black, white, gay, Democrat or Republican.

At the end of the book, I say that I think Nicole was put on this earth to be the person that shines the light on domestic violence. The 24-hour national domestic violence hotline didn’t exist before Nicole. The Violence Against Women Act didn’t exist before Nicole. There weren’t a lot of shelters. There wasn’t a lot of education. There weren’t PSAs. She changed that.