lost

When I think of the solidarity of musicians, I recall an iconic scene from the film “Titanic.”

It’s the one where a quartet plays “Nearer, My God, to Thee” as the great, “unsinkable” ship sinks into the North Atlantic Ocean.

They attempted to offer calm amid a sea of panic as passengers and crew feverishly boarded lifeboats. The events were based on a true story and historians note that the body of the Titanic band leader Wallace Hartley was found floating in the ocean “with his music case strapped to it.”

Even in tragedy, we seek music to bring us solace.

Much closer to home, musicians from Pacific Palisades, Altadena and other affected areas have been challenged to keep the music going after losing instruments, studio equipment and business along with their homes in the January 2025 fires that claimed the lives of 31 people.

One organization, Altadena Musicians, launched the app Instrumental Giving to connect donors who can spare an old piano or a gently used cello with those who lost similar instruments.

KC Mancebo, an Altadena Musicians advisor, spoke with The Times about the group’s mission and success.

The campaign’s genesis

It started with composers Brandon Jay and his wife, Gwendolyn Sanford, who saw their Altadena home, music studio and several instruments destroyed by the Eaton fire.

Shortly after the fire, Jay posted about the lost equipment and what each piece meant to his family.

He said the response from that post — hundreds of people offering their instruments and other types of aid — left him “overwhelmed and gobsmacked.”

He called friends and helpers from throughout the music industry, including Mancebo, chief executive of the event production and talent booking agency Clamorhouse, hoping to offer to others the same help he received.

Mancebo had been helping homeowners navigate fire insurance paperwork and processes.

“Brandon Jay asked, ‘Why don’t we start gathering instruments for our friends,” Mancebo said. “We had 25 friends in the Palisades and 15 friends in the Eaton fire that lost everything, so we and others got involved.”

How’s it going so far?

The organization has passed out around 3,500 instruments to 1,200 families since the first donations in late January 2025, Mancebo said.

The donations range from ukuleles to Steinway & Sons pianos.

“We’re providing instruments to anyone from children who lost their first instruments to people who lost their entire studio,” she said. “The need is great.”

The gifts have come from individual donors and corporate benefactors such as JBL, which has provided speakers and equipment, as well as guitar makers Fender and Gibson, among others.

Rebuilding from the ashes

Mancebo lost her Westside home eight years ago because of a defective dryer that caught fire, she said.

“I went through the whole process of insurance, permitting and rebuilding and we didn’t have FEMA or anyone to help,” she said. “I want to provide that help to those in a similar situation.”

Mancebo said it took eight years to recover and rebuild her home.

“No one is fine after the first year,” she said. “Everyone needs help.”

Brentwood resident Amy Engelhardt, a singer/songwriter, composer, lyricist and playwright, donated her Kawai Upright Piano to the Altadena Musicians organization on March 10, 2026.

(Courtesy of Amy Engelhardt)

One person’s goodbye is another’s hello

Brentwood resident Amy Engelhardt, a singer/songwriter, composer, lyricist and playwright, loved her Kawai upright piano she purchased through a PennySaver ad in 2000.

“It was a deal for the starving artist,” she said. “I paid so little and I always considered it a gift.”

Since then, Engelhardt said she has written all of her music on that piano. She didn’t, however, play it while recording her Grammy-nominated vocal group, the Bobs.

Still, she donated her piano this week to a woman who lost her home. The instrument would not be making the permanent move with Engelhardt back to New York, where her playwriting services are in demand.

“I did get emotional about it, but it’s OK,” Engelhardt said. “It’s comforting knowing that someone else will love it and create their own memories.”

Those interested in donating can check out https://altadenamusicians.org.

The week’s biggest stories

(Hiro Komae / Associated Press)

War with Iran

Oscars on Sunday

Television and entertainment news

Dangerous situations

What else is going on

Must reads

Other meaty reads

For your downtime

Going out

Staying in

L.A. Timeless

A selection of the very best reads from The Times’ 143-year archive.

Have a great day, from the Essential California team

Jim Rainey, staff reporter
Hugo Martín, assistant editor, fast break desk
Kevinisha Walker, multiplatform editor
Andrew J. Campa, weekend writer
Karim Doumar, head of newsletters

How can we make this newsletter more useful? Send comments to essentialcalifornia@latimes.com. Check our top stories, topics and the latest articles on latimes.com.

European stock markets turned early gains into losses by early afternoon, following a rally in Asian markets, as investors searched for direction nearly a week after the United States and Israel launched strikes on Iran that sent global markets on a rollercoaster.

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By 2 p.m. CET, Germany’s DAX was down by 0.2%, similar to the CAC 40 in Paris and Britain’s FTSE 100.

Madrid’s IBEX stood out by gaining 0.3% as the European benchmark European Stoxx 600 was down by a few points.

Before noon, European trading followed strong gains in Asia, where South Korea’s Kospi jumped by more than 9%, recovering much of Wednesday’s 12.06% fall.

“A decent showing on Wall Street last night and a solid performance from Asia on Thursday helped to spur part of Europe into a higher gear,” said Dan Coatsworth, head of markets at AJ Bell, commenting on the morning trade.

Uncertainty about the war in the Middle East has continued to rattle financial markets, with investors closely watching movements in the oil price.

Crude prices continued to rise. US benchmark WTI was trading 3% higher at around $76.8 a barrel, while the international benchmark Brent crude was up 2% after 2 pm CET.

“Brent crude continued to move higher, nudging above $83 per barrel and stoking fears that energy bills will go through the roof,” Coatsworth said.

“Oil is so important to the world economy and to see the price rise so quickly in just a week could leave investors feeling dazed and confused.”

He added that the situation in the Middle East was unfolding rapidly, making it difficult for investors to judge whether markets were facing a prolonged energy crisis or “just a short, sharp shock”.

Meanwhile, US futures slipped as Iran launched more missiles at Israel on the sixth day of the conflict.

The latest escalation included Iranian attacks on Israeli and American bases. Iran warned the United States would “bitterly regret” torpedoing an Iranian warship in the Indian Ocean, while a religious leader called for “Trump’s blood”.

Israel said it had begun a “large-scale” attack on Tehran.

On Wednesday, US stocks rose as oil prices steadied, albeit temporarily.

Investor sentiment was also supported by a report showing growth in US businesses in the real estate, finance and other services sectors accelerated last month at the fastest pace since the summer of 2022.

The S&P 500 rose 0.8%, erasing much of its losses since the conflict with Iran began.

The Dow Jones Industrial Average added 0.5%, while the Nasdaq Composite climbed 1.3%.

Another report suggested US private-sector employers increased hiring last month, a potentially positive signal ahead of a broader US government labour market report due on Friday.

Investors remain concerned about how long the conflict could last, how much inflation may rise due to higher oil prices, and what impact that could have on corporate profits.

Gains in major technology companies also lifted Wall Street.

Amazon rose 3.9%, while Nvidia added 1.7%. As two of the largest companies in the US market by value, their movements have a significant impact on the S&P 500.

Wednesday’s strong economic data was also welcome news for the Federal Reserve, which is trying to keep the labour market strong while bringing inflation under control.

However, the jump in oil prices could complicate that task by pushing inflation higher.

In other dealings on Thursday, gold trade was slightly down by early afternoon, losing 0.3% and traded at $5,120 an ounce.

The US dollar traded at 157.64 Japanese yen, while the euro slipped to $1.1623 from $1.1636.

Analysts said the dollar has strengthened partly because the US is seen as facing less direct risk from the conflict than other countries.

Tariffs: The most beautiful word in the dictionary, as Donald Trump says, or unlawful?
The Supreme Court has ruled that the president cannot use emergency powers to impose them.
It’s a significant check on his power and a major setback to his second-term agenda.
But despite the ruling, Trump has already found new ways to keep his trade barriers in place.
Tariffs remain central to his economic policy, both to boost US manufacturing and generate revenue.
The court may have disarmed one of Trump’s trade weapons, but the turn towards protectionism is far from over.

From Chuck Schilken: Lindsey Vonn says her left leg almost needed to be amputated following her horrific crash while competing at the Milan-Cortina Olympics this month.

In a video posted to Instagram on Monday, the U.S. ski racing legend said she has been released from the hospital more than two weeks after suffering a complex tibia fracture and other damage that led to compartment syndrome in the leg.

Vonn credited Dr. Tom Hackett, an orthopedic surgeon who works for Vonn and Team USA, for saving the leg. She also gave indirect credit to the complete rupture of the anterior cruciate ligament in her left knee that occurred during another crash on Jan. 30, just a week before the start of the Winter Olympics.

“I always talk about everything happens for a reason,” Vonn said. “If I hadn’t torn my ACL … Tom wouldn’t have been there. He wouldn’t have been able to save my leg.”

Vonn has won 84 World Cup races and three Olympic medals, including gold in the downhill at the 2010 Vancouver Games. She returned to competitive skiing last year after a six-year hiatus. Vonn did not allow the torn ACL to prevent her from competing in what she has called her “fifth and final Olympics.”

Despite completing multiple test runs, Vonn lasted 13 seconds in the Feb. 8 downhill race before she crashed. She was airlifted from the Olimpia delle Tofane course in Cortina d’Ampezzo, Italy.

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U.S. Olympics hockey hero Jack Hughes’ immediate future includes dental implants

Kyle Tucker is ready to contribute

From Jack Vita: There are expectations surrounding new Dodgers right fielder Kyle Tucker — not surprising for someone with a four-year, $240-million contract.

But first things first.

“Last year I got one hit in spring, so hopefully I get more than that,” Tucker said, sharing a laugh with reporters after grounding out and walking in two plate appearances in his Cactus League debut Sunday. “So, that’s the goal. But I mean, just feeling comfortable.”

In a clubhouse full of superstar players, the feeling seems mutual with his teammates.

“I’m glad he’s with us,” Dodgers catcher Will Smith said, adding: “There might be other superstars on this team, but it’s not really anyone’s focus here. It’s all about getting in every day, working hard, helping us win a ballgame that day and working toward the ultimate goal of winning the World Series.”

Continue reading here

Mayweather-Pacquiao II

From Chuck Schilken: Floyd Mayweather Jr. vs. Manny Pacquiao made boxing history in 2015. More than a decade later, the two legends are hoping to do it again.

The aging greats will have their rematch Sept. 19 live on Netflix in the first boxing match held at the Las Vegas Sphere.

Mayweather defeated Pacquiao by unanimous decision on May 2, 2015 in the “Fight of the Century” at the MGM Grand Garden Arena in Las Vegas. That fight generated 4.6 million pay-per-view buys and a live gate of $72 million, both of which are records.

It was a long-awaited matchup between two of the biggest names in the boxing world that ultimately earned Mayweather the World Boxing Council, World Boxing Assn. and World Boxing Organization welterweight titles.

“I already fought and beat Manny once,” Mayweather said in a statement released by Netflix. “This time will be the same result.”

Continue reading here

This day in sports history

1960 — Bill Cleary’s four goals lead the United States to a 9-1 victory over West Germany in the hockey championship round of the Winter Olympics in Squaw Valley, Calif.

1967 — Wilt Chamberlain of Philadelphia shoots 18-for-18 from the field against the Baltimore Bullets, an NBA record for field goals in a game without a miss.

1978 — Kevin Porter of the New Jersey Nets sets an NBA record with 29 assists in a 126-112 victory over the Houston Rockets.

1980 — The United States hockey team wins the gold medal with a 4-2 victory over Finland at the Winter Olympics in Lake Placid, N.Y.

1982 — Wayne Gretzky scores NHL-record 78th goal of season en route to 92.

1985 — Jim Kelly of the Houston Gamblers passes for a USFL-record 574 yards and five touchdowns in a 34-33 comeback-win over the Los Angeles Express. Kelly completes 35 of 54 passes, including three for touchdowns in the final 10 minutes.

1988 — An unprecedented winner of the 90-and 70-meter individual events, Matti Nykanen becomes the Winter Olympics’ first triple gold medalist in Nordic skiing when Finland wins the new 90-meter team ski jumping event.

1993 — Steve Yzerman of the Detroit Red Wings scores his career point with two goals and two assists in a 10-7 loss to Buffalo Sabres.

1994 — Lipscomb’s John Pierce becomes college basketball’s career scoring leader with 33 points in his regular-season finale, a 119-102 win over Cumberland. Pierce’s 4,110 points break former roommate Phil Hutcheson’s record of 4,106.

2002 — Svetlana Feofanova breaks the pole vault indoor world record for the fourth time this month, clearing 15 feet, 6 1/2 inches at the Gaz de France meet.

2002 — Canada beats the United States 5-2 for the gold medal in men’s hockey at the Winter Olympics. It’s the seventh time Canada has won the gold in its national sport, but the first since 1952.

2006 — Julia Mancuso earns a stunning victory in the giant slalom to salvage a disappointing Olympics for the U.S. women in their final Alpine event of the Turin Games. Mancuso gives the American women their first Olympic Alpine medal since Picabo Street’s gold in the super-G at the 1998 Nagano Games.

2012 — Missy Parkin becomes the first woman to reach the match play finals in the 69th U.S Open at Brunswick Zone-Carolier. Shafer, a 25-year Professional Bowlers Assn. Tour veteran, completes the 26-game qualifying portion of the U.S. Open with a total of 5,825 pins, averaging at a 224.04 pace.

2018 — Ester Ledecka wins the second leg of an unheard-of Olympic double, taking the gold medal in snowboarding’s parallel giant slalom to go with her surprise skiing victory in the Alpine super-G earlier in the games. The Czech star is the first to win gold medals in both sports.

2018 — The United States wins the Olympic gold medal in men’s curling in a decisive upset of Sweden. John Shuster skips the United States to a 10-7 victory for only the second curling medal in U.S. history.

2020 — Memorial service for NBA star Kobe Byrant held at the Staples Center in Los Angeles.

Compiled by the Associated Press

Until next time…

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.

Lindsey Vonn says her left leg almost needed to be amputated following her horrific crash while competing at the Milan-Cortina Olympics earlier this month.

In a video posted to Instagram on Monday, the U.S. ski racing legend said she has been released from the hospital more than two weeks after suffering a complex tibia fracture and other damage that led to compartment syndrome in the leg.

Vonn credited Dr. Tom Hackett, an orthopedic surgeon who works for Vonn and Team USA, for salvaging the limb. She also gave some indirect credit to the complete rupture of the anterior cruciate ligament in her left knee that occurred during another crash on Jan. 30, just a week before the start of the Winter Olympics.

“I always talk about everything happens for a reason,” Vonn said. “If I hadn’t torn my ACL … Tom wouldn’t have been there. He wouldn’t have been able to save my leg.”

Vonn has won 84 World Cup races and three Olympic medals, including gold in the downhill at the 2010 Vancouver Games. She returned to competitive skiing last year after a six-year hiatus. Vonn did not allow the torn ACL to prevent her from competing in what she has called her “fifth and final Olympics.”

Despite completing multiple test runs, Vonn’s Feb. 8 downhill race lasted 13 seconds before she crashed. She was airlifted from the Olimpia delle Tofane course in Cortina d’Ampezzo, Italy.

In addition to the previously reported complex tibia fracture, Vonn said Monday that she also fractured her fibular head and tibia plateau on her left leg during the crash.

“Just kind of everything was in pieces,” said Vonn, who added that she also broke her right ankle during the accident.

Vonn said that all the trauma in her left leg caused a condition called compartment syndrome, which involves excessive pressure building up inside a muscle, either from bleeding or swelling, and can restrict blood flow and possibly lead to permanent injury.

“When you have so much trauma to one area of your body that there’s too much blood and it gets stuck, and it basically crushes everything in the compartment so all the muscle and nerves and tendons, it all kind of dies,” Vonn said.

“And Dr. Tom Hackett saved my leg. He saved my leg from being amputated. He did what’s called a fasciotomy, where he cut open, like both sides of my leg, and kind of filleted open, so to speak, let it breathe. And he saved me.”

At one point since the crash, Vonn said, she received a blood transfusion to raise her hemoglobin levels.

“I can’t tell you how painful it’s been,” she said.

Vonn still has a long road to recovery. She said she’s “very much immobile,” confined to a wheelchair for the time being and then on crutches for at least two months.

“It will take around a year for all of the bones to heal and then I will decide if I want to take out all the metal or not,” Vonn wrote in the Instagram post, “and then go back into surgery and finally fix my ACL.”

She added in the video: “We have to take the punches as they come, so I’ll do the best I can with this one. It really knocked me down, but I’m like Rocky. I’ll just keep getting back up.”

The Associated Press contributed to this report.

Darkness engulfs me right before I step into a dream. The Oscar-winning Mexican filmmaker Alejandro González Iñárritu guides me from a pitch-black hallway into an open space, where beams of light and smoke, interspersed with sounds from the streets of Mexico City, create a vortex into a unique cinematic experience.

Inside the Los Angeles County Museum of Art, Iñárritu is giving me a tour of his new installation “Sueño Perro:” a sensorial celebration of his 2000 debut film, “Amores Perros,” in honor of its 25th anniversary. The only physical elements on display are six film projectors and the celluloid that contains frames of unreleased footage, which are shown on screens of different sizes around the room. Detached and unburdened by the need of a narrative, the images simply exist.

“I love doing installations,” Iñárritu says in Spanish. “It’s like playing a game with your friends. And it’s liberating for me, because I don’t have to think about selling tickets.”

Before arriving at LACMA, his “Sueño Perro” mesmerized audiences in Milan, Italy, and in his hometown of Mexico City. LACMA previously hosted Iñárritu’s intense and immersive project “Carne y Arena,” which allowed visitors to put themselves in the shoes of a person crossing the U.S.-Mexico border on foot.

In Milan and Mexico City, “Sueño Perro” occupied labyrinthine spaces with multiple rooms. Contained within a single room, the L.A. iteration is the “paranoic version,” Iñárritu says. Once inside, there’s no respite to the barrage of images and the soundscape that surround you. He aptly describes the projectors’ beams of luminosity as “light sculptures.”

Curiously, he notes, people have such reverence for these hypnotic streams of light that they duck to avoid disturbing them rather than crossing in front of them. Iñarritu wishes they would, in fact, disrupt the light, so their shadows can enter the frame and transform it.

Never-before-seen footage from “Amores Perros” projects from 35mm projectors across the walls at LACMA, Wednesday, Feb. 18, 2026.

(Sarahi Apaez / For De Los)

The projected footage is material that didn’t make it to the final cut of “Amores Perros”: a gritty, visceral drama following three different stories across different social classes in a chaotic Mexico City during the turn of the millennium. Back in 2018, Iñárritu learned that all his dailies (raw takes) from that shoot, which in most productions are thrown away, were preserved at Mexico’s National University (UNAM).

“It was like looking through an album you haven’t opened in 25 years, which smells of dust,” he says. “Because of the distance, the images actually evoked a beautiful nostalgia in me.”

And that album was substantial. Iñárritu recalls that he and cinematographer Rodrigo Prieto shot an immense amount of footage, nearly 1 million feet of film.

Gael García Bernal from a scene in “Amores Perros,” released in 2000.

“It’s like the placenta that’s thrown away when a baby is born. Suddenly, that discarded material, rich in DNA, which was already dead but was once part of a living being, has a life of its own,” Iñárritu explains vividly. “I didn’t know that these fragments, this dead material could be resurrected, but light has given new life to something that was forgotten.”

Critically acclaimed and Oscar-nominated for international feature film (foreign-language film back then), “Amores Perros” marked a watershed for the Mexican film industry, as an ambitious production that captivated both local and international audiences while unflinchingly portraying the country’s social ills from a humanistic standpoint.

“Look at Gael! He was 19 then. That’s a beautiful image of him,” Iñárritu says of “Amores Perros” lead García Bernal, whose shaved head is projected on one of the installation screens. The actor made his feature film debut in “Amores Perros” and has since had an extraordinary career.

At one point, three of the six projectors go dark — and the three remaining show the pivotal car crash that connects the film’s three narratives. Iñárritu and Prieto shot the imposing accident with nine different cameras. Seeing all nine different angles unspool in “Sueño Perro” provides a new understanding of the moment’s challenging orchestration.

Such a sequence evinces that “Amores Perros” was the work of an artist in his mid-30s willing to put it all on the line, uncertain whether he would get to make another film.

“I’ve changed a lot as a filmmaker, but I’m still the same idiot I’ve always been. That’s the bad news,” Iñárritu says laughing. “The other bad news is that I couldn’t make a film like that anymore, because of the number of shots and setups, and the energy behind each of those shots.”

The passage of time, in tandem with the film’s anniversary, allowed an opportunity for Iñárritu and screenwriter Guillermo Arriaga (who wrote “Amores Perros,” “21 Grams,” and “Babel”) to reconcile after a long-standing falling out. The two mended their bond in public last year during an event in Mexico City.

“It was very important for me to close this chapter,” Iñárritu explains. “There was something so special about our friendship as people — and our children were also very close. I truly missed him as a friend. As you get older, you realize that grudges and animosity are the worst investment; it’s like having a disease inside you and not wanting to let it go.”

While most exhibits celebrating a film’s legacy feature artifacts or costumes that appeared on screen, Iñárritu ultimately decided to opt out of that route. Initially, he admits, the director was tempted to find the scraps of the wrecked car that belonged to García Bernal’s character in the film, a black Ford, and place it at the center of the installation. But it was LACMA’s CEO Michael Govan who persuaded him to preserve the purer approach.

“Michael loved the idea of the projectors, of the light and memory. And he wisely told me, ‘Perhaps the material object will be distracting. This work is ethereal, and maybe something solid will create a knot.’ I thought it was a great reflection, and I said, ‘That’s true. I’m going to try for this exhibition to exist without physical matter, because it’s about the analogous, but also the immaterial, which is light and time.’”

The objects or “archaeological remains of a film,” as he calls them, cause Iñárritu great sadness. To him those relics are akin to looking at a collection of lifeless butterflies preserved in a box. “When I see the shoes that so-and-so wore or the dress that so-and-so wore, they seem to me like butterflies that once flew and now they’re dead,” Iñárritu says. “Objects that once appeared in film lack life afterwards. They’re like skeletons.”

(Sarahi Apaez / For De Los)

For young people who have mostly watched movies on their electronic devices, Iñárritu thinks witnessing “Sueno Perro” could spark great curiosity about the way cinema existed for most of its history: on film. It will allow them to think of cinema in a primal manner.

“We are organic beings, and our capacity for understanding and our development involves all our organs, and digital screens have forced us to perceive everything only on an intellectual level,” he says. Entering the installation, he hopes, will resemble the feeling of entering a womb or a cave. “The flickering light from the lamps in the projectors is reminiscent of the fire in caves when people gathered and shared stories,” he adds.

Sonically, “Sueño Perro” envelops attendees not in lines of dialogue or a musical score, but the sounds of life in Mexico City — from street vendors to a marching band — recorded over the years and brought to L.A. with the help of sound designer Martín Hernández, who’s worked on every single Iñárritu film since “Amores Perros.” And while some of those aural elements still exist today, “Amores Perros” also serves as a time capsule of a city that has evolved and mutated incessantly.

“I still recognize the city when I watch the film, but it makes me laugh so much to see the cars and the clothes of the time,” he says. “It now looks like the Paleolithic era. And I think, ‘I’m so old!” But yes, it was definitely a different city back then.”

(Sarahi Apaez / For De Los)

Like Iñárritu, I still lived in Mexico City, then known as Distrito Federal, when “Amores Perros” was released. In those days, international tourists often feared visiting the metropolis for fear of being kidnapped. To see Mexico City become a trendy, sought-after destination for “digital nomads” from the U.S. and elsewhere feels jarring.

“People from the U.S. have for so long been snobbish about Mexico, and now they go and say, ‘F—, this is a city with incredible cultural depth,’” Iñárritu says. “They realize that their snobbishness came from a misconception, based on propaganda they’ve been fed, which portrays us Mexicans only as “sombrerudos.’”

What’s so bewitching about Mexico City, and the country at large, Iñárritu thinks, is the people’s worldview and how they confront their realities.

“There’s no other country that has that kind of vitality, because despite all of its problems, and there are many — like how violence and corruption have become so normalized — the people have an energy, a joy, a vitality that’s very hard to find in any other city around the world,” he says.

On the subject of the ingrained issues that still plague his home country, Iñárritu recalls that those in power were not pleased with how “Amores Perros” addressed them on screen.

“The Mexican government was ashamed of the film,” he says. Whenever the film would win an award at an international festival, the Mexican ambassadors or diplomats in any given country would decline invitations to celebrate the accomplishment.

“They said it was a bad representation of Mexico, that what the film showed wasn’t Mexico,” Iñárritu recalls. “They said it showed too much violence. Give me a break, as if I were the secretary of Tourism.”

Aside from promoting this latest stop in the “Sueño Perro” installation’s journey, Iñárritu is in the post-production stage of his upcoming film “Digger,” starring Tom Cruise. Besides that, he’s also working on a project to honor Mexican American artist Judy Baca.

Baca is best known for the mural “The Great Wall of Los Angeles,” which extends for over half a mile along the Tujunga Wash and depicts the complex history of California. Iñárritu and cinematographer Emmanuel Lubezki shot a piece on this major work that will be screened at Walt Disney Concert Hall on March 7, alongside a special concert put together by Gustavo Dudamel and Gabriela Ortiz, and featuring several guest composers.

“I want to showcase the work of Judy, a Chicana who was 50 years ahead of her time and told the story of California through her eyes. I want it to be a landmark in Los Angeles. I want people to say, ‘You can’t go to L.A. and not see this mural.’”

As part of the ongoing celebration of “Amores Perros,” MACK has published a book featuring essays, behind-the-scenes photos, and storyboards. A double vinyl compilation including Gustavo Santaolalla’s score, plus tracks by generation-defining Mexican rock bands like Control Machete and Café Tacvba, has also been recently released.

Iñárritu hadn’t seen the film in a theater in many years. But when he saw it again at the Cannes Film Festival last year, he was pleased to realize it maintains its potency.

“I was struck by how well the film holds up. And it’s not just because I made it. It still has a rhythm and a muscle. It hasn’t aged badly at all. On the contrary, it’s like a young old soul,” he says with a laugh.

“Sueño Perro” will be open to the public from Feb. 26 until July 26.

A charming fishing village on the coast of one of the UK’s most beautiful regions is the epitome of rural tranquillity – and it’s a true hidden gem

Whilst Cornwall’s reputation for harbouring breathtaking villages is well established, with each seemingly more enchanting than the next, one particular hidden treasure manages to shine even amongst the county’s most impressive offerings. This delightful fishing village, nestled within the Lizard Peninsula between The Lizard and Coverack, is a picture-perfect hamlet cradled by a stunning shingle cove, with roots stretching back to medieval times when it consisted of little more than a handful of fish cellars.

Celebrated for its charming and historic character, the village appears “lost in time” – a quintessential fishing settlement where little has altered through the decades. It features picturesque clusters of thatched cottages and a modest yet impressive fleet of colourful and vibrant fishing boats that are hauled up onto its shingle beach and remain in active use.

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Famous for its rugged coastline, golden beaches, picture-perfect villages and rich maritime heritage, Cornwall is one of the most-visited corner of the UK. Sykes Cottages has a large number of holiday homes to choose from, with prices from £36 per night.

History of this coastal treasure

The village’s name derives from the Cornish term for “a thicket” and literally means “battle of trees”, most probably owing to the densely wooded valley in which it sits.

Originally known as Porthcaswydh, which later evolved into Por Cadjwydh, this gorgeous fishing hamlet is now called Cadgwith, reports the Express.

Developing from its modest fish cellar beginnings, the 16th century witnessed Cadgwith welcoming permanent residents, whilst fishing continued to be the primary occupation for those who lived there.

Homes, cellars, lofts, and capstan houses were gradually constructed using local stone and cob walls, whilst the distinctive thatched rooftops were erected along the shoreline and hillsides of the valley, lending Cadgwith its unmistakable “Cornish fishing village” charm.

Breathtaking scenery and terrain

Nestled within the Cornwall Area of Outstanding Natural Beauty (AONB), rebranded in 2023 as National Landscapes, Cadgwith boasts two beaches divided by a headland known as The Todden, which visitors are free to explore on foot.

The shingle beach, the larger of the pair, sits to the north-east and is widely recognised as Cadgwith Cove – a bustling hub where local fishermen are known to ply their trade.

The second beach, a blend of sizeable boulders and sand, lies to the south-west and goes by the name of Little Cove or Little Beach – an unspoilt retreat beloved by residents and holidaymakers alike for swimming, snorkelling, rock pooling, and diving.

Such is the breathtaking beauty of Cadgwith’s coastal scenery that it served as a backdrop for the 2003 film Ladies in Lavender, starring Dame Judi Dench and Dame Maggie Smith. More recently, it was revealed that HBO’s upcoming Harry Potter TV series will be shooting scenes at Cadgwith Beach and its beloved local watering hole, Cadgwith Cove Inn, in October 2025.

What to see and do in this coastal gem

No trip to this stunning Cornish hamlet would be complete without a visit to the much-loved Cadgwith Cove Inn. This charming 300 year old watering hole exudes a wonderfully warm and welcoming ambience, regularly hosting folk music evenings featuring the renowned Cadgwith Singers, making it the ideal spot for weary travellers seeking a wholesome Cornish meal and a refreshing pint.

Dishing up the freshest seafood – hardly surprising given its coastal location – this cherished establishment has garnered glowing praise on Tripadvisor. One delighted regular commented: “Cadgwith has a special magic about it, and its heart is the Cadgwith Cove Inn. I guess you’d call us regulars – we try to get here a couple of times every year, and have done for the last six years or so. If only it could be more often! Cadgwith has a special ability to make the troubles of life melt away when you drive down the hill into the village, and the Inn is truly special at the heart of that magic.

“Fridays see the Cadgwith Singers do their things with their sea shanties, and it is truly the best start to a week down here. But any day of the week this place has a special blend of people and place which is truly unique. The beer is great, and the food is better. What more could you ask for?”

Another essential stop in Cadgwith is The Old Cellars Restaurant, hailed as “a true Cornish treasure” positioned directly on the village’s fishing beach. This family-run café also offers alcoholic beverages and has earned its reputation for outstanding seafood offerings, particularly prawn sandwiches, locally sourced crab, fresh lobster, and hot paninis.

Boasting a delightful cobbled courtyard with breathtaking sea vistas, The Old Cellars Restaurant has become a local favourite. One reviewer says of the joint: “What an absolutely beautiful little gem in a stunning village, we had a traditional cream tea and it was delicious, lovely courtyard seating and friendly and welcoming staff, well worth a visit.”

During the summer season, Cadgwith draws plenty of visitors, with its swimming beach providing the perfect location for a cooling plunge whilst the fishing beach offers an excellent vantage point to observe fishermen in action as they land their daily haul. It’s important to note that whilst dogs are welcome throughout most of the year, four-legged friends are prohibited from Little Cove between July 1 and August 31 from 10am to 6pm.

The South West Coast Path winds through Cadgwith, and just a short distance north of the hamlet lies The Devil’s Frying Pan – a massive 100-metre deep crater in the cliffs created when a sea cave’s roof caved in, leaving behind the breathtaking rocky arch jutting into the ocean. Whilst this dramatic coastal spectacle alone justifies a journey to Cadgwith, the village is fortunately packed with numerous other attractions.

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At one of the most popular tourist destinations, which dates back more than 5,000 years, visitors throw coins into a toilet in what they believe is a wishing well

The UK’s ‘lost city’ has been attracting tourists from around the world – but most of them want to toss pennies into a toilet.

Skara Brae, on the Orkney archipelago in Scotland, is a preserved Neolithic village that was inhabited by a farming community around 5,000 years ago. It stands as one of the finest-preserved farming settlements across the British Isles and is known as the “Scottish Pompeii”.

The village was inhabited between 3100 and 2500 BC, and its close proximity to the sea allowed its residents to easily hunt for fish while also growing crops and tending to their various animals. It isn’t exactly clear why Skara Brae was abandoned, but it’s thought to have become uninhabitable due to climate change and severe weather.

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It was left largely untouched until a storm in 1850 uncovered the site, revealing its fascinating past and prehistoric dwellings. Following a dig at Skara Brae, remnants of the community were further uncovered, including stone dressers and box beds, along with artefacts such as tools, gaming dice, pots and jewellery.

Together with a substantial chambered tomb (Maes Howe) and two ceremonial stone circles (the Stones of Stenness and the Ring of Brodgar), the settlement now forms part of the “Heart of Neolithic Orkney” collection of monuments, designated a UNESCO World Heritage Site in 1999.

Dating back thousands of years, the site remains one of the island’s most popular tourist attractions, drawing crowds near and far. In a long-standing tradition, superstitious visitors have frequently thrown pennies into an ancient hole in the ground of the preserved Neolithic village, believing it to be a wishing well.

However, it’s actually a toilet – and not everyone realises. Experts have outlined that the hole in the ground is merely an “old sewer” and a network of well-constructed drains and substantial cisterns.

Local tour guide from Orkney Uncovered, Kinlay Francis, previously shared on Facebook: “For years, people have been throwing money down a subterranean hole in the Skara Brae ground, thinking they are throwing money down a well to make a wish.

“I have great delight in telling my clients and anybody who throws their money down there that they are, in fact, throwing money down a toilet.

“This is the old drain/sewer from the Skara Brae site. It is not, and I repeat, not a wishing well. So don’t go there to spend a penny.”

The post quickly amassed over 2,000 reactions and nearly 150 comments, as people couldn’t believe the hilarious mix-up. One person remarked: “Oh! So! Priceless!”, while a second said: “Really a p*****g well not a wishing well then”.

A third commented: “It’s not a wishing well…it’s a s******g well.” Yet, not everyone was prepared to ditch their beliefs, as one noted: “Still…maybe brings good luck”, and another stated: “Where there is muck, there is brass!”

The confusion hasn’t stopped visitors from marvelling at the Neolithic village, and it’s received outstanding praise on TripAdvisor. One traveller shared: “Skara Brae Prehistoric Village is a must-see if you are in the Orkney Islands. Such an interesting place. You will be blown away by how well-preserved this 5000-year-old site is.”

A second commented: “This was my second time to Skara Brae and it was just as wonderful as the first. The setting of this village is spectacular, and on this visit, the weather was outstanding. On my first visit, the rain was blowing sideways. It is fantastic to view the site and then visit the reconstructed house to see how these people lived. Not so different from us – pretty pots, stone dressers and reasonably comfortable beds with skins as duvets!”

One more noted: “A must-see bucket list experience older than the Giza pyramids. Although the museum is small, the recreated room really brings alive the site. They even had plumbing. Once you are at the site, you can tour the homes from the walkway, which shows the genius of the ancient culture. Plentiful parking with a good gift shop/cafe.”

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