Just a little over a year after an all-time performance as “Saturday Night Live” host (one of the best of that season, truth be told), Ariana Grande returned again to show off some of her talents: mimicry and comic timing, dance moves, and, of course, a spectacular singing voice.
But she also showed a lot of grace by ceding the spotlight to her “Wicked” co-star Bowen Yang, who confirmed before this week’s episode that he is exiting “SNL” midway through his eighth season. At several turns of this week’s show, particularly in a closing sketch about a retiring Delta Sky Club employee that served as Yang’s emotional goodbye, it was clear that Grande understood the assignment: this was Yang’s night, not hers.
Which isn’t to say Grande wasn’t great. She started strong with an “All I Want For Christmas” takeoff in her monologue, played an Elf on the Shelf who’s been cut in half in a support group sketch, exchanged a costume soul patch with Marcello Hernández as one of two dramatic dance instructors, and perhaps most memorably in this outing, played Macaulay Culkin‘s character Kevin in an extremely bloody parody of “Home Alone.”
But in his last show as a cast member, Yang got to appear in nearly every sketch as well, from a brief appearance in the “Home Alone” sketch to playing Yoko Ono in the Peacock special skit to reprising his Trend Forecaster character on “Weekend Update” with former cast member Aidy Bryant.
If Grande wasn’t as locked in as last time (she broke character laughing a few times), it didn’t matter much because she was as funny, energetic and eerily accurate in all her impressions. It felt very much like Grande was there less to promote the new “Wicked” movie than to help a friend say goodbye.
Not surprisingly, President Trump (James Austin Johnson) had a lot to say in a holiday address to the nation while also hugging a Christmas tree (“Remember when I did this with flag? I’m hugging tree now.”) and reading his stage directions out loud, an interesting new wrinkle to Johnson’s masterful impression. Trump reminded the country that “Arctic immigrants are coming in through our chimneys and stealing our milk and cookies” and discussed the recently voted on name change to the Kennedy Center, now “The Trump-Kennedy Center for the Performing Arts No Homo,” saying it is just the beginning. His name will be on the Trump Washington Monument, the Trump Lincoln Memorial and “Big Elphaba,” his name for the Statue of Liberty. Why so many names on things? “We had to take it off so many files,” he said, a reference to the much-redacted, newly released Epstein Files. Johnson’s impression is getting slurrier and even more meta, but continues to deliver on random pop culture references, which this week included the Indigo Girls, “The Hunger Games” and the videogame “Metal Gear Solid.”
Grande’s monologue briefly touched on the idea of bringing back old sketches such as “Domingo” from her last appearance before declaring cheekily, “When something is perfect, it doesn’t need a sequel.” She talked about how hard it is to find gifts for people she doesn’t know well, like her cousin’s boyfriend, Steve, which led to a whole music number to the tune of “All I Want for Christmas,” including Yang and other cast members giving suggestions on gifts like back massage coupons or a box of raw oysters. The lyrics weren’t all easy to understand unless you had captions enabled, but Grande sang the heck out of the Mariah Carey song.
Best sketch of the night: Take a bow, Bowen
Was it the funniest sketch of the night? No, that would probably be the Elf on the Shelf support group or the “Love is Blind” reunion. But Yang’s last sketch, about an elderly Delta Sky Club worker passing out eggnog and working his last shift, was heartfelt and sweet. Even a casual fan of Yang and “SNL” would be hard pressed not to get choked up by Yang talking about his time on the show to his wife (Grande), who replied, “All the egg nog you’ve made over the years. Some of it was great. Some of it was rotten.” “And a lot of it got cut,” he replied. Bowen broke down a few times while expressing his love for the people who work on “SNL” and sang through tears a version of “Please Come Home for Christmas” with Grande. “Egg nog is kind of like me — it’s not for everyone, but the people who like it are my kind of people,” he said to riotous applause. When he said he wanted to go out on top, she responded, “Oh, everyone knows you’re a bottom.” The capper to the sketch: Cher appearing as his Delta boss to tell him, “Everyone thought you were a little too gay. But, you know what? You’re perfect for me.”
Also good: The holiday duets you didn’t know you needed
When you’ve got Grande on board, it’s hard to resist falling back on lots of celebrity impressions, especially if they involve singing. For this piece, random performers are paired up for duets to try to replicate the magic of David Bowie and Bing Crosby’s “Little Drummer Boy” to varying degrees of success. Grande and Johnson were paired up twice: as Katy Perry and Bob Dylan and then again to close the sketch as Andrea Bocelli and Celine Dion. It’s impossible to overstate how good Grande is at mimicking other singing voices, but the surprise here is how well Johnson keeps with her as Bocelli. Other standouts: Hernández as Bad Bunny, a backflipping Benson Boone (it was likely a stunt person and not a cast member, we never see his face) and Veronika Slowikowska as Bjork.
‘Weekend Update’ winner: Mistletoe, you are on watch!
Kam Patterson did well as Michael Che’s 12-year-old nephew Tyson, who goes back and forth between being a sweet kid and threatening Santa Claus for not bringing him a bike for Christmas last year. And this year’s holiday joke swap was weirdly one-sided with only Michael Che writing heretofore-unseen jokes for “Update” co-host Colin Jost to read. But Bryant returning to reunite with Yang for their arch Trend Forecasters bit won the week. They targeted mistletoe, musical intros that go “1, 2, 3, 4!” and in Chinese Trends, orange chicken. The duo repeated their catchphrase, “Go to bed, b—!” to each of these outgoing trends before declaring that waving pride flags, Marge Simpson hair and Michael Che are out. Of course, a stunned Michael Che was shown with a big blue wig and little pride flags in his hands.
After Friday afternoon’s practice, USC football coach Lincoln Riley said he had no update on D’Anton Lynn, who has been the target of Penn State’s defensive coordinator search.
Penn State showed interest in Lynn last year before he received a contract extension from USC. Lynn was hired by the Trojans after a successful season as the defensive coordinator at UCLA.
“This is what happens this time of year, especially when you have a really good staff and are doing a lot of positive things,” Riley said. “We’re excited about having the opportunity to keep continuity but if there is turnover, not just with that position but any position, these are coveted jobs. It’s just part of the world we live in.
“Obviously, D’Anton has done a really good job here and we’ll see how it turns out.”
Being prepared for change is a must in the current college football climate, Riley said.
“Contingency plans for coaches, players, staff, everyone because so much can and does change,” Riley said. “Our job is to be prepared and have flexibility. You can’t always predict everything that’s going to happen but you have to be ready to adjust. Yeah, every team goes through it on some level and you try to handle it as well as you can.”
Riley has liked what he has seen in practice as USC (9-3) prepares for its Alamo Bowl matchup against Texas Christian on Dec. 30.
“We’ve done a really good job the last couple of years of going to work and we’re not thinking about what players or coaches are here or aren’t here,” Riley said. “It’s all about trying to maximize this time and build for the future.”
USC announced Tuesday that redshirt junior quarterback Jayden Maiava had re-signed for the upcoming season and is not joining Makai Lemon and Ja’Kobi Lane — USC’s two best receivers — in declaring for the 2026 NFL draft.
“It’s great. Anytime you can get a returning guy like that who has played a good amount of football, it’s important,” Riley said of Maiava. “He’s also become a good leader in this program and I’d expect that to continue to improve. The majority of this team has already re-signed, we know those guys are going to be here and it’s cool for those guys to show how much they believe in this place and what we’re doing.
“The exciting thing is you look ahead and you start to imagine pairing what we have coming back with what’s going to be walking through the door here in three weeks or so, but it starts with your veterans who have been through the fire and we have a lot of them back.”
Maiava, one of the last players to leave the practice field Friday, made it clear why he chose to stay.
“Coach Riley,” Maiava said. “Of course, the staff too and my brothers. I’m super grateful to be back out here. I’m focused on a day at a time, staying level-headed, making the right decisions and just taking care of the ball.”
Maiava is happy for Lemon, who won the Biletnikoff Award as college football’s top receiver after catching 79 passes for 1,156 yards and 11 touchdowns as a junior this season.
“It was awesome, everybody was there in the lobby when we found out … it’s well-deserved,” Maiava said. “He and Ja’Kobi set the standard for everyone. He won the award, so I’d say we had pretty good chemistry even off the field going out to eat and places. I had to do my job, but he did his job, too, as best he could.”
Defensive end Braylan Shelby also is grateful to be back with the Trojans for another season.
“I always knew I wanted to be here, he said. “Bowl games mean a lot and it’s a time for the team to put it all together and play together one last time.”
Regarding the new NFL model for announcing re-signings, Shelby said: “Some people love it, some hate it. … USC is a step ahead of the game and I think it’s the right step. In this NIL era, it helps fans know who’s returning.”
Having re-signed, junior safety Christian Pierce is excited about being a potential starter next fall.
“The bowl game is a huge start going into next season in terms of building the culture,” Pierce said. “My focus is on trying to understand the defense even more and the skills and techniques I’ll need to get better at. The talk after re-signing was more on the coaching staff and the program.”
Riley praised offensive lineman Tobias Raymond on his willingness and ability to play multiple positions on the front line.
“He was one of the most important players on the entire team,” Riley said. “His toughness was off the charts, his versatility with all the different lineups we played, being able to physically and mentally handle that. He was just a steadying presence. He’ll be a huge key coming back as a captain, a leader and a player. As many of those guys as you can have in a locker room — you’ll be a lot closer to winning.”
Much to his coach’s liking, Raymond has embraced his leadership role.
“I’ve just tried to be more vocal, set an example and hold other people to the standard our coaches have put out for us,” said the 6–foot-6, 315-pound redshirt sophomore out of Ventura. “Pick people up when things are low and when things are high making sure we’re keeping level-headed.”
Regarding the transfer portal, Riley said he plans to be less reliant on it than in previous years.
“The number we’re talking about is so much less than before, so moving forward we’ll be able to zero in on what we’re going to go after. So the picture is starting to become clearer on what we’ll be targeting.”
Keiko Agena likes to create moments of coziness — not just on Sundays, but whenever she possibly can.
“Oh, there’s my rice cooker,” she says when she hears the sound in her Arts District home. “We’re making steel-cut oatmeal in the rice cooker, which by the way, is a game changer. I used to have to baby it and watch it, but now I can just put it in there and forget it.”
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
The 52-year-old actor, who played music-loving bestie Lane Kim in the beloved series “Gilmore Girls,” delights in specific comforts like a bowl of warm oats, talking about Enneagram numbers and watching cooking competitions with her husband, Shin Kawasaki.
“It sounds so simple, but I look forward so much to spending time on the couch,” Agena says with a laugh.
It is time that she’s intentional about protecting, especially amid her kaleidoscope of projects. Over the last couple of years, Agena starred in Lloyd Suh’s moving play “The Chinese Lady” in Atlanta, acted in Netflix’s “The Residence,” showcased her artwork in her first feature exhibit, “Hep Tones” (some of her ink and pencil drawings are still for sale), and performed regularly on that L.A. improv circuit. And her work endures with “Gilmore Girls,” which turns 25 this year. Agena narrated the audiobook for “Meet Me at Luke’s,” a guide that draws life lessons from the series, and is featured in the upcoming “Gilmore Girls” documentary “Drink Coffee, Talk Fast.”
She shares with us her perfect Sunday in L.A., which begins before sunrise.
5 a.m.: Morning solitude
I like to be up early-early, like 5 a.m. I like that feeling of everything being quiet. I’ll go into the other room and do Duolingo on my phone. I am a little addicted to social media, so the Duolingo is not just to learn Japanese, but also to keep me from scrolling. Like, if I’m going to do something on my phone, this is better for me. I think my streak is 146. Shin is Japanese, from Oyama. So I’ve been meaning to learn Japanese for a while. For him and his mom.
Then I’ll do [the writing practice] Morning Pages. I don’t know when I learned about Julia Cameron’s book [“The Artist’s Way”] — probably around 2000. I know a lot of people do it handwritten, but I’m a little paranoid about people, like, finding it after I die. So if I have it on my computer and it’s password protected, I can be really honest.
Then a lot of times, I’ll go back to bed. Shin, as a musician, works at night, and so he wakes up a lot later. So I’ll fall back asleep and wake up with him.
9 a.m.: Gimme that bread
I don’t do coffee anymore because it’s a little too tough for my system, but I’ll walk with Shin to Eightfold Coffee in the Arts District. It’s tiny but very chill. Then we’re going to Bliss Bakery inside the Little Tokyo Market Place. We get these tapioca bread balls. If you make any kind of sandwich that you would normally make, but use that bread instead, it ups the game. It’s life-changing. The Little Tokyo Market Place is not fancy or anything, but it has everything that you would want. There’s Korean food. They have a little sushi place in there. You can get premade Korean banchan and hot food in their hot food section. They also have a really good nuts section. It’s just one big table with all these nuts, just piles and piles.
10 a.m.: Nature without leaving the city
We’ll go to Los Angeles State Historic Park near Chinatown. I like that place just because it’s very accessible. Like, they have accessible bathrooms and I’m always checking out whether a place has good bathrooms. We call it Flat Park because it’s a great walk. Like, you’re not really out in nature, but there’s a lot of greenery. You can take your shoes off and at least touch grass for a second.
11:30 a.m.: Lunch and TV cooking shows
One of my favorite salad-sandwich combos is at Cafe Dulce in Little Tokyo. A Korean cheesesteak and a kale salad. That’s always like a — bang, bang — good combo. So we might go there or Aloha Cafe, though it’s not fully open on Sundays. But I love it because I grew up in Hawaii. They have this great Chinese chicken salad and spam musubi and other Hawaiian food that is so good.
We’ll bring home food and watch something. Cooking competition shows are my cream of the crop. My favorite right now is “Tournament of Champions” because it’s blind tasting. To me, that’s the best way to do it. “The Great British Bake Off” is Shin’s favorite. He loves the nature and the accents as much as the actual cooking. He just loves the vibe, the slow pace of the whole thing.
I’m such a TV girl. I love spending time on the couch and eating a meal and watching something that’s appetizing with my favorite person in the world. I’m lucky because I get to do that a lot.
2 p.m.: Browse the aisles
I’ll go to this bookstore called Hennessey + Ingalls. I love art and architecture and design, but you can’t always buy these massive books. But you can go into this bookstore and look at them and it’s always chill.
If I have time, I’ll walk around art supply stores. Artist & Craftsman Supply is a good one. I’ll look at pens, pencils, stickers, tape, washi tape, different kinds of paper, charcoals. In my art, I try to find things that aren’t meant for that particular purpose, like little things in a hardware store that I’ll use it in a different way.
5 p.m.: Downtown L.A. in its glory
We really love to walk the Sixth Street Bridge. It’s architecturally beautiful and they’re building a huge park over there, so we’ll walk around and check it out, like, ‘Which trees are they planting? Can you see?’ We sort of dream about how it’s coming together. But the other beautiful thing about that walk is that if you go at sunset and you walk back toward downtown, it’s just gorgeous. Los Angeles doesn’t have the most majestic skyline, but it’s so picturesque in that moment.
6:30 p.m.: Cornbread and Enneagrams
I’ll head to the Park’s Finest in Echo Park. It’s Filipino barbecue. It’s just so savory and rich and a special hang. Their cornbread is really good. Oh, and the coconut beef, but I’m trying to eat less beef. They have a hot link medley. Oh my gosh, just looking at this menu right now, my mouth is watering. OK, I’ll stop.
One of my favorite things to do is ask friends about their Enneagram number. So the idea of sitting with friends over a good meal and asking them a bunch of personal questions about their childhood and what motivates them and what their parents were like and what their greatest fear is and then figure out what their Enneagram number is? That is top-tier activity for me.
9 p.m.: Rally for improv
Because I get up so early, if 9 o’clock, I’m ready to go to sleep. But I am obsessed with improv, so on my ideal day, there’d be a show to do. There’s this place called World’s Greatest Improv School in Los Feliz. It’s tiny and they just opened a few years ago, but the vibe there is spectacular.
Then there’s another place where my heart is so invested in now called Outside in Theatre in Highland Park. Tamlyn Tomita and Daniel Blinkoff created it together and not only is the space gorgeous — I mean, they built it from scratch — they have interesting programming there all the time. They’re so supportive of communities that are not seen in mainstream art spaces. It’s my favorite place. Sometimes I’ll find myself in their lobby till 12 o’clock at night. The kind of people I like to hang around are the people that hang out in that space.
11 p.m.: Turn on the ASMR and shut down
I am firmly an ASMR girl and I have been for years. I have to find something to watch that will slow my brain down. Then it’s pretty consistent. I don’t last very long once I turn something on. My eyelids get heavy and it chills me out.
De Los recently did a team huddle to determine our personal list of best albums, as well as our favorite songs released in 2025. This is not another garden variety Latin genre list, but a highlight reel of 2025 releases that showcases artists from Latin America and the diaspora.
20. Selena Gomez and Benny Blanco feat. the Marías, “Ojos Tristes” Released months before their highly-publicized wedding in September, “I Said I Love You First,” the album by multi-hyphenate superstar Selena Gomez and hit songwriter-producer Benny Blanco, was first conceived from nights spent perusing each other’s vintage record collections. Gomez resonated with the spectral 1982 ballad “El Muchacho de Los Ojos Tristes,” as originally recorded by the O.G. sad girl en español, Jeanette. After seeing the Marías in concert, the couple hit up the band to further maximize their joint slay — and revamp the classic as a bilingual dream-pop track, simply named “Ojos Tristes.” It not only topped the Billboard Hot Latin Songs chart, but it introduced a new generation to Jeanette’s timeless allure. —Suzy Exposito
19. JR Torres, “Desde Abajo Vengo” It never fails: True to its ever reliable, unassuming ethos, the genre of música mexicana invariably delivers some of the year’s most gorgeous tunes. The melody on this two-minute single by Culiacán, Sinaloa, native JR Torres is a pearl of astounding purity, a theme developed alternately by the accordion and vocal line, and one that — like so many norteño hits — conveys an ocean of longing. The lyrics belong to the himnos de superación canon: a self-taught man outlines his road to success, paved with honesty, resilience and hard work. But it is the music itself that cements “Desde Abajo Vengo” as a Mexican classic for the ages. —Ernesto Lechner
18. Juana Rozas, “WANNA HOTEL” Juana Rozas understands the emerging queer Latin underground, in all of its swirling genre hodgepodge, better than most. Her album “TANYA” is an unrestrained porteña whirlwind, rapidly shifting between industrial, electroclash, and doom metal, with all of these disparate influences coalescing on the highlight track “WANNA HOTEL.” The song splits the difference between atmospheric trap heaven and hardstyle hell, placing you squarely in a warehouse mosh pit. It’s vertigo-inducing sonic whiplash, complete with thumping techno and copious nose drugs. You can try to head to the hallways for a breather, but it feels better to be in the depths of Rozas’ debauchery. —Reanna Cruz
17. Macario Martinez, “Sueña Lindo, Corazón” There isn’t a better feel-good story this year than Macario Martínez’s unexpected rise to fame. The Mexico City native and now former street sweeper went viral in January after uploading a TikTok video that showed him riding in the back of a sanitation truck at night. Soundtracking it is a snippet of “Sueña Lindo, Corazón,” a tender, stripped-down folk lullaby for a wounded heart. The clip included the following caption: “Life asks for a lot and I’m just a street sweeper who wants you to listen to his music.” Listen they did. The video has been viewed tens of millions of times and was shared by the likes of Harry Styles. turning Martínez into one of the most promising rising talents in Latin music. —Fidel Martinez
16. Dareyes de la Sierra, “Frecuencia” The opening line of “Frecuencia” — “Yo sé que voy a morirme por eso bien loco vivo” (“I know I’m going to die, that’s why I live crazily”) — hits a little bit different once you learn that singer José Darey Castro survived an attempt on his life in 2004. Don’t let the usage of traditional música Mexicana instruments fool you; the cadence of this braggadocious track about hedonistic excess and indulgence is closer to hip-hop. With “Frecuencia,” and the album it comes from (“Redención,” which translates to “Redemption”), the regional veteran with more than two decades of experience under his belt proves that it’s never too late to reinvent yourself. —F.M.
15. Cuco, “Ridin’” For his third studio album, “Ridin’,” Cuco said he wanted to embody the timelessness of Chicano soul without being derivative. “I wanted to go for more natural sounds with the soul sound, but I think it’s just inevitable for me sometimes,” the 27-year-old multi-instrumentalist from Hawthorne told De Los this summer. “I’m just going to end up doing some psychedelic parts with the music because that’s what I’ve always been.” This happy marriage of influences is most apparent in the LP’s titular track, which starts off feeling like you’re cruising with your sweetheart down a Southern California highway in a 1964 Chevy Impala before taking off into space. —F.M.
14. Mon Laferte, “Las Flores Que Dejaste En La Mesa” Recently, Mon Laferte told me that she was especially proud of a verse in this song where she rhymed the description of a former lover’s erection with the word architecture. The juxtaposition of poetic wordplay with graphic sexuality is one of the Chilean singer’s favorite devices — here, it adds a frisson of decadence to a lush orchestration reminiscent of John Barry’s 007 themes. A key track off Laferte’s noirish “Femme Fatale,” “Las Flores Que Dejaste En La Mesa” takes off with the quiet longing of bossa nova, boils into unhinged bolero territory, then incorporates the icy electro loops of trip-hop icons Portishead. Still, the heart of the song is Laferte’s vocal performance — wounded and incandescent. —E.L.
13. Planta Industrial, “Oi” Hilariously named “Punkwave Sin Barreras” — a nod to the ESL learning series “Inglés Sin Barreras” — the debut EP by the Bronx Dominican duo Planta Industrial is a generous helping of punk rock, darkwave and dembow fusion. The project is powered by high school friends turned rappers, who go by the names A.K.A. The Darknight and Saso (recently featured on the song “Caribeño” with Rauw Alejandro). On “Oi,” a clever stand-in for the word “hoy,” the duo deploy frenetic breakbeats, Ramones-style gang vocals and a touch of Toño Rosario freakness to demand their dues from a cheapskate boss. “F— you, pay me, “ chant the MCs. “Mañana, no — oi oi oi!” —S.E.
12. Six Sex feat. MCR-T, “Bitches Like Me” This year, Argentina established itself as the Latin rave epicenter, with Six Sex leading the charge. Alongside Berlin-based club DJ MCR-T, and a propulsive synth line from Kylie Minogue’s “Can’t Get You Out of My Head,” the Buenos Aires baddie crafts one of the chicest earworms of the year. The beauty of using one of the best pop melodies of all time is that it’s already engineered for success, so MCR-T keeps it simple and silly with the addition of a thumping, four-to-the-floor beat. It plays out like a drunken freestyling session in your coolest friend’s apartment — with lines like “you are not that bitch” delivered with a heavily-accented affectation that feels seductive, but more importantly, unbothered. —R.C.
11. Rosalía feat. Yahritza Y Su Esencia, “La Perla” Although the Spanish singer would be ineligible for this list on her own, Rosalía’s diss track “La Perla” — a scathing, ranchera-style ballad dedicated to a certain pretty boy ex with a sizable collection of other women’s bras — shines bright among her otherwise sparkling collection of orchestral pop songs in “Lux.” Rosalía wisely recruited the swooning Mexican American sierreña trio, Yahritza Y Su Esencia, to help her better emulate a Paquita La Del Barrio dress-down of a lover gone astray. The spirit of “La Perla” articulates not what it sounds like to be loved Mexicanly, but to be loathed Mexicanly — á la Catalana. —S.E.
10. Netón Vega, “Me Ha Costado” Netón Vega’s sprawling debut album “Mi Vida Mi Muerte” makes a formidable attempt to define the rapidly-shifting sound of corridos tumbados, courtesy of one of the genre’s eminent songwriters. On “Me Ha Costado,” Vega, who hails from Baja California Sur, combines blown-out 808s with a G-funk whine to create a pan-Californian posse track. There’s an overload of shot-calling swagger dripping from every section here, from Alemán’s bouncing hook to Victor Mendivil’s shoutouts to San Andrés and Mazamitla. If you close your eyes, you could see the trio’s lowrider rolling down Whittier Blvd, with all three mischief-makers hanging out the windows. —R.C.
9. Cardi B, “Bodega Baddie” I am tired of celebrities pretending that they go to the bodega for street cred: “if you know, you know.” One thing about Cardi B, though? I believe she remembers where she came from. “Bodega Baddie” is a bilingual ode to the Bronx’s Dominican enclaves where Cardi From The Block spent her childhood. It’s less than two minutes long, but moves at such a breakneck pace that if you close your eyes, you’re transported outside a deli on Dyckman on a hot summer day — where the fire hydrants are open, 808s are shaking storefront windows, and the whole block is outside. It’s some of the most electric mise-en-scène this year, anchored by a sample of Magic Juan’s “Ta Buena (Tipico)” merengue. —R.C.
8. Kali Uchis, “Sugar! Honey! Love!” The Colombian American soulstress has played many roles in her songs: a baddie, a psychic, a woman adrift at sea in a yellow raincoat. But in the making of her 2025 album “Sincerely,” she explored the profound vulnerability of becoming a mother — and her sighing revelations in “Sugar! Honey! Love!” melt most beautifully into the hazy pop ether. “I was already an emotional person, [but] since my pregnancy I’ve been able to feel a lot deeper,” she told De Los in May. “When your child is born, you’re reborn in a lot of ways. It’s a death and a rebirth of yourself. But I think a lot of joy and hope comes with that.” —S.E.
7. Adrian Quesada feat. Angélica Garica, “No Juego” At the start of “No Juego,” we hear the sound of tape being rewound, as if to suggest that we’re about to listen to something from a different era. Sure enough, the psychedelia of the keyboard, guitar and drums transports us to the late 1960s, only to be brought back to the present by the self-assured delivery of vocalist (and El Monte’s own) Angélica Garcia. “No vine pa’ pedir permiso,” she briefly raps (“I’m not here to ask for permission”), before throwing theatrical vocal daggers at a former lover who couldn’t stay true. She’s letting us know that we’re in her world and she’s not playing around. “No Juego” is easily the crown jewel of “Boleros Psicodélicos II.”—F.M.
6. Ca7riel y Paco Amoroso, “#TETAS” Sometimes a song is only as successful as its concept. On “#TETAS,” the Argentine trickster gods Ca7riel y Paco Amoroso try to reverse-engineer a pop anthem, ChatGPT buzzwords and all. A flippant listener could dismiss “#TETAS” as just a winking novelty song — after all, what “serious” track contains a character named Gymbaland, the lyrics “let me be your Chad,” and a post-chorus counting dabs? The thing is, though, between the slinking bass line, the massive 80’s Yamaha pianos, and a final key change that soars through the ceiling, the song becomes the exact pop anthem that they’re trying to satirize. “This is a f— smash,” go the final lines of the song. We’re inclined to agree. —R.C.
5. Silvana Estrada, “Como Un Pájaro” As we compiled the songs for this list, we struggled selecting just one track off Silvana Estrada’s stunning second album. At 28, the singer-songwriter from Veracruz informs her work with a level of maturity that most artists won’t achieve in a lifetime. Like most of the cuts in “Vendrán Suaves Lluvias,” “Como Un Pájaro” draws from the wisdom of the trova movement; enamored with the immediacy of stringed instruments, chronicling the process of healing using metaphors from the natural world. The song’s climax — Estrada’s lustrous voice intertwined with a swelling orchestral arrangement — will probably bring tears to your eyes. Fun fact: In concert, she reproduces the lilting whistled interlude to perfection. —E.L.
4. Astropical, “Fogata (Leo)” Following a memorable performance at the Hollywood Bowl last summer, it became apparent that Astropical, the supergroup formed by members of Colombia’s Bomba Estéreo and Venezuela’s Rawayana, will probably never reconvene again. We’ll always have “Fogata,” though — a song about holding on to the precious moments of bliss when confronted with the ephemeral nature of… well, everything. The track combines the warmth of a beachside bonfire with slick, Afrobeats-soaked grooves. The stars of the show? The honeyed harmonies of Li Saumet and Beto Montenegro, now intertwined until the end of time. —E.L.
3. Isabella Lovestory, “Telenovela” Who among us hasn’t thought — whether it be ironically or authentically — “my life is a movie?” Isabella Lovestory takes it one further: her sexcapades, in all their glamour and drama, are worthy of their own telenovela. Much of her sophomore album “Vanity” has main character energy, and Lovestory’s “Telenovela,” with its extended metaphors of Barbarella bad bitches, “tragica erotica,” and using “su lengua pa cambiar el canal” is the descriptive centerpiece. If it doesn’t bring a flush to your cheeks, you’re not listening hard enough; the way she coos “uy-uy-uy” will linger the next time things get a little hot and heavy. —R.C.
2. Fuerza Regida, “Marlboro Rojo” If I sit on the porch of my Boyle Heights home for 15 minutes, I guarantee you that a pickup truck will eventually drive by playing a corrido at a window-rattling volume. For the last six months, the song of choice blasting from the blown out speakers of these mamalonas has been “Marlboro Rojo.” I get it. The track is so unapologetically — ugh, cringe word, I know — Mexican. What better way to announce your presence than with the boom boom of the sousaphone? 2025 was a marquee year for música Mexicana and no one was more on top of their game than Fuerza Regida. My personal favorite version of this song is from the Apple Music Live concert taped earlier this summer at Mexico City’s GNP Stadium. Hearing the tens of thousands of fans singing the chorus back to JOP gives me chills. — F.M.
1. Bad Bunny, “Baile Inolvidable” Is there a Bad Bunny record that’s not a love letter to his native Puerto Rico? His 2025 juggernaut, “Debí Tirar Más Fotos,” however, goes far beyond the usual motherland worship; the album’s greatest takeaway is to cherish not just the place, but the people you call home, too. Invoking the feverish, tropical melodrama of salsa titans past and present, Bad Bunny delivers one of his most tremendous vocal performances — powered by his enduring love for a woman he used to know, comparing her to an unforgettable dance. But it’s just like Benito to cut through the gravitas of his own song by lauding an ex for her sexual prowess — namely, her boquita — but his magic as a hit songwriter is most potent in verses that oscillate between the sacred and profane. —S.E.
A group of entertainment industry workers launched a new coalition that aims to advocate for the rights of creators amid the growing AI industry.
The group, called Creators Coalition on AI, was founded by 18 people, including writer-director Daniel Kwan, actors Joseph Gordon-Levitt and Natasha Lyonne and producer Janet Yang, former president of the Academy of Motion Picture Arts and Sciences.
Gordon-Levitt said the group is not limited to Hollywood luminaries and is open to all creators and the skilled workers around them, including podcasters, digital content creators and newsletter writers.
“We’re all frankly facing the same threat, not from generative AI as a technology, but from the unethical business practices a lot of the big AI companies are guilty of,” he said in a video posted on X on Tuesday. “The idea is that through public pressure, through collective action, through potentially litigation and eventually legislation, creators actually have a lot of power if we come together.
The coalition’s formation comes at a time when Hollywood has been grappling with the fast growth of artificial intelligence tools. Many artists have raised concerns about tools that have used their likenesses or work without their permission or compensation.
The tech industry has said that it should be able to train its AI models with content available online under the “fair use” doctrine, which allows for the limited reproduction of material without permission from the copyright holder.
Some studios have partnered with AI companies to use the tools in areas including marketing and visual effects. Last week, Walt Disney Co. signed a licensing deal with San Francisco-based ChatGPT maker OpenAI for its popular Disney characters such as Mickey Mouse and Yoda to be used in the startup’s text to video tool Sora.
Kwan told The Hollywood Reporter that when Disney and OpenAI’s deal was announced many people felt “completely blindsided.”
“On one hand, you can say that this is just a licensing deal for the characters and that’s not a big deal, and it won’t completely change the way our industry works,” Kwan told THR. “But for a lot of people, it symbolically shows a willingness to work with companies that have not been able to resolve or reconcile the problems.”
There has also been lawsuits filed against some AI companies. Earlier this year, Disney, Universal and Warner Bros. Discovery sued AI business Midjourney accusing it of copyright infringement.
The Creators Coalition on AI said it plans to convene an AI advisory committee “to establish shared standards, definitions, and best practices as well as ethical and artistic protections for if and when AI is used.” Some of the principles the group lists on its website include the importance of transparency, consent, control and compensation in the use of AI tools, sensitivity to potential job losses, guardrails against misuse and deepfakes and safeguarding humanity in the creative process.
“This is not a full rejection of AI,” the group said on its website. “The technology is here. This is a commitment to responsible, human-centered innovation.”
“This is not a dividing line between the tech industry and the entertainment industry, nor a line between labor and corporations,” the group said . “Instead, we are drawing a line between those who want to do this fast, and those who want to do this right.”
The idea for the coalition was sparked by Kwan, who produced a documentary about AI, which comes out next year, Gordon-Levitt said in his video. He said work on the group began in the middle of this year. Already the collective has many signatories, including actors Natalie Portman, Greta Lee, Kirsten Dunst and Orlando Bloom.
Welcome back to the Times of Troy newsletter where the final days of the college football season are upon us. I’ve spent the past week trying to catch up on shopping for Christmas, which — checks notes — is only 10 days away??
So what better time to consider what USC might need for the year to come and put together a transfer portal wishlist of sorts, with portal season fast approaching.
Fight on! Are you a true Trojans fan?
5. Offensive line
Returning starters: LT Elijah Paige, LG Tobias Raymond, C Kilian O’Connor, RG Alani Noa, RT Justin Tauanuu
Other expected returners: Elijah Vaikona, Aaron Dunn, Alex Payne, Kaylon Miller
Notable newcomers: OT Keenyi Pepe, OG Esun Tafa
Offensive line coach Zach Hanson did a great job this season with the hand he was dealt. USC had injuries up and down its line, as Paige and O’Connor missed half the season. With most of last year’s line potentially returning, and a lot of young linemen entering Year 2, USC should have more depth to work with up front.
That said, it could stand to upgrade on the interior. USC pursued a transfer center to start over O’Connor last year and struck out on J’Onre Reed. Could they take another swing at that spot? As this season proved, there’s no such thing as having too many capable linemen.
4. Wide receiver
Returning starters: Tanook Hines
Other expected returners: Zacharyus Williams, Corey Simms
Makai Lemon is on his way to the NFL, and my expectation is that Ja’Kobi Lane will follow him. That leaves USC with just one returning starter at receiver, albeit one with a lot of promise.
Hines has the ability to be the Trojans’ No. 1 wideout, but he won’t be able to hold down the passing attack alone. USC will need to add at least one starter to the mix to fill out a receiving corps that is suddenly quite thin. Fortunately, USC has never had trouble finding a transfer for that purpose.
Zacharyus Williams seemed primed to contribute in 2025, but injuries derailed his start to the season. He could step into a bigger role. Several freshmen could see opportunities early, too, the most intriguing to me being Mosley, whose shiftiness reminds me of Lemon.
3. Cornerback
Returning starters: Marcelles Williams
Other expected returners: Chasen Johnson, Alex Graham, RJ Sermons, Kevin Longstreet
Notable newcomers: Elbert Hill, Brandon Lockhart
Injuries decimated this group last season and made it difficult for the secondary to find its stride. Now the room will have to be mostly rebuilt, with several corners out of eligibility or leaving in the portal.
Marcelles Williams should be better. Chasen Johnson was primed to start in 2025 and should be expected to step into that spot in 2026, while other young players, like Alex Graham and RJ Sermons, could take a huge step in Year 2.
But if there’s a lockdown outside corner in the portal, USC needs to do whatever it can to get them to L.A.
2. Interior defensive line
Returning starters: Devan Thompkins, Jide Abasiri
Other expected returners: Jahkeem Stewart, Floyd Boucard, Jah Jarrett
USC was supposed to be much improved on the interior in 2025, and that simply wasn’t the case, especially against the run. Experienced tackles like Keeshawn Silver and Thompkins, who entered the season with a lot of hype, never lived up to expectations. Jarrett was a disappointment before getting hurt, and Abasiri was inconsistent.
Stewart and Boucard both showed glimpses of major potential in spite of injuries, and both need to be on the field more next season. But this group is in need of a game-wrecker against the run, a stopper who can clog up the interior and hold his own in the Big Ten.
Those tackles don’t grow on trees, unfortunately. USC has tried to find them — and failed — on multiple occasions, the latest being Silver. But unless USC wants to rely heavily on its youth at defensive tackle next season, it’s going to need to find reinforcements from the transfer portal, no matter what.
1. Linebacker
Returning starters: Desman Stephens
Other expected returners: Jadyn Walker, Ta’Mere Robinson, AJ Tuitele
Notable newcomers: Talanoa Ili, Shaun Scott
This group was rough in 2025, and it’s set to lose its leader in Eric Gentry. Stephens felt miscast as a middle linebacker this season, and Walker, while dynamic, was still trying to figure things out in his first full season.
Walker and Stephens should be better with another offseason under their belt. But would anyone feel good going into next season with both as the primary starters at linebacker? I doubt it.
USC has already been linked to North Carolina linebacker Khmori House, and I doubt he’ll be the last linebacker that’s talked about as a possible Trojan. USC may bring in multiple linebackers and also have no choice but to count on a few of its young guys making the leap. Ili, in particular, is intriguing as a top-100 recruit.
Where does Makai Lemon’s season rank?
Makai Lemon
(Eric Thayer/Los Angeles Times)
Makai Lemon’s coronation as college football’s top receiver in 2025 was made complete last week as he became the second Trojan wideout to be awarded the Biletnikoff.
The only other Biletnikoff winner in the award’s 30 years of existence was Marqise Lee, who finished the 2012 season with an NCAA-leading 118 catches, 1,721 yards and 14 receiving touchdowns. Lemon had 39 fewer catches and 565 fewer yards this season.
That’s largely a reflection of how prolific Lee was in 2012. But the fact that Lemon’s Biletnikoff-winning performance doesn’t rank in the top 10 statistically in any category in USC history shows just how many great receivers USC has had in the last quarter century.
Five USC receivers have caught over 100 passes in a season, four of which came in the last 15 years. Drake London would have made it six — and won his own Biletnikoff — if he hadn’t injured his ankle in 2021.
Lemon’s 79 catches rank 13th in USC history, his 11 touchdowns are tied for 11th.
That’s not to take away from what Lemon has done this season. His ability to create yards after the catch is perhaps unlike any other receiver in school history. But in the annals of great seasons for USC receivers, Lemon may never look quite as impressive on paper as it felt in person.
Lindsay Gottlieb
(Eric Thayer/Los Angeles Times)
—Waymond Jordan will return to USC in 2026. And that’s huge news for USC’s rushing attack, which will now be able to deploy one of the Big Ten’s most dynamic 1-2 punches with Jordan and King Miller. Jordan didn’t play the second half of the season after suffering an ankle injury that required surgery. Had he continued his pace from the first half of the season, Jordan probably wouldn’t be coming back to USC in 2026 … because he’d be on his way to the NFL. I don’t think it’s an exaggeration to say that Jordan comes into next season as arguably the best returning back in the Big Ten. If USC hopes to hold up during its gauntlet of a conference slate, the run game will have to lead the way.
—Notre Dame is losing its scheduling leverage. The tides have really started to turn on the Irish ever since they declined a bowl invite following their College Football Playoff snub. That didn’t sit well with the rest of the college football world. Neither did the news that Notre Dame, according to Yahoo’s Ross Dellenger, negotiated a deal for preferential playoff access starting next season. In fact, according to Dan Wolken, also of Yahoo, it has led athletic directors in other leagues to threaten to freeze Notre Dame out in the future. We’ll see if anyone actually follows through on that threat — I have my doubts — but it does seemingly give USC an upper hand when it comes to getting a deal done soon … if it wants one. It’s probably no coincidence that athletic director Pete Bevacqua now appears optimistic about getting a deal done quickly, after blaming USC for the hold-up. Bevacqua told The Echoes podcast last week that he thought the two schools would come to an agreement on a short-term extension, potentially with a gap in the series after that. That’s the deal that USC has been trying to sell Notre Dame on since August.
—USC did add a non-conference matchup to its 2026 slate. Louisiana will come to the Coliseum on Sept. 12, 2026, to face USC for the first time in program history. USC will pay the Ragin’ Cajuns $1.3 million for the rights to what should be an easy non-conference victory. The Trojans now have 11 of 12 games scheduled for 2026, with one very glaring opening remaining.
—Chad Baker-Mazara is leading the Big Ten in scoring and exceeding all preseason expectations. The sixth-year senior came to USC in search of a bigger scoring role, and with Rodney Rice out, he’s made the most of his opportunity. Baker-Mazara is averaging 25 points per game over USC’s last four, in the wake of Rice’s injury, and shooting the lights out, hitting 53% of his shots during that stretch. Even beyond his offensive output, Baker-Mazara’s energy has been an important part of USC’s identity early on. If he can keep scoring efficiently when Rice and freshman Alijah Arenas return from injury, USC could be a legitimate threat come March.
—Nike did a cool thing to honor Gigi Bryant during what would’ve been her freshman year at Connecticut. During Saturday’s USC-UConn matchup, every player on the court wore a different pair of Kobe’s. Even players who didn’t play wore different pairs of Kobe’s. Nike says that’s the first time it has ever done that in a college basketball game.
—I’ve always appreciated Lindsay Gottlieb’s willingness to be vulnerable. And she showed that part of herself again Saturday, in response to a mass shooting at her alma mater, Brown. She addressed the shooting before talking about USC’s loss to UConn and was clearly shaken by the situation. She said a former teammate at Brown was waiting to hear from a kid who was hiding in the basement of a library. Gottlieb didn’t pull any punches: “It’s the guns,” she said. “We’re the only country who lives this way.”
Poll results
We asked, “Which of these five options would you put at the top of USC’s transfer portal wish list?”
After 402 votes, the results:
Reinforcements at linebacker, 40.7% A run stopper on the interior, 39.7% A shutdown cornerback, 10.1% A standout edge rusher, 7.9% A No. 1 wide receiver, 1.6%
Top 5 … restaurants in L.A.
In honor of one of my favorite things we do at The Times — our 101 best restaurants list — here’s my take on the five best fine dining establishments in L.A. …
5. Funke. Really, I could choose any of Evan Funke’s restaurants in this position. Mostly because the focaccia bread, so deliciously dripping with olive oil, requires recognition.
4. Bavel/Bestia. Cheating, I know, but I love both of these restaurants equally. The Peruvian scallop crudo at Bestia is one of the best appetizers I’ve ever had. Meanwhile anything involving lamb at Bavel is out of this world.
3. Republique. It’s the most breathtaking setting of any restaurant in L.A., built into an old church, and the pastries and bread are unforgettable. Any trip requires ordering pan drippings on a baguette, as strange as that may sound.
2. Providence. The ultimate special occasion spot. I still think about the 12-course meal I had there 10 years ago.
1. Dunsmoor. This is a new top restaurant for me within the last year, but I was absolutely blown away by Dunsmoor. The cornbread is an all-time dish for me, and there’s just something about eating your entire meal from a hearth that does it for me. It was so good that I had to mention it in a previous newsletter, and here I am, writing about it again.
It’s not often these days that a show delivers a story so unexpected that I have no idea where it’s headed. But “Pluribus” is one of those shows. Maybe I shouldn’t be surprised given that Vince Gilligan, the writer and showrunner, is a master of storytelling.
The story follows Carol, played by Rhea Seehorn, whose world is turned upside down suddenly by a humanity-altering event that mysteriously does not affect her. Seehorn is terrific as always, and the story has been genuinely gripping so far.
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 ryan.kartje@latimes.com, and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.
The sale of Warner Bros. — whether in pieces to Netflix or in its entirety to Paramount — is stirring mounting worries among Hollywood union leaders about the possible fallout for their members.
Unions representing writers, directors, actors and crew workers have voiced growing concerns that further consolidation in the media industry will reduce competition, potentially causing studios to pay less for content, and make it more difficult for people to find work.
“We’ve seen this movie before, and we know how it ends,” said Michele Mulroney, president of the Writers Guild of America West. “There are lots of promises made that one plus one is going to equal three. But it’s very hard to envision how two behemoths, for example, Warner Bros. and Netflix … can keep up the level of output they currently have.”
Last week, Netflix announced it agreed to buy Warner Bros. Discovery’s film and TV studio, Burbank lot, HBO and HBO Max for $27.75 a share, or $72 billion. It also agreed to take on more than $10 billion of Warner Bros.’ debt. But Paramount, whose previous offers were rebuffed by Warner Bros., has appealed directly to shareholders with an alternative bid to buy all of the company for about $78 billion.
Paramount said it will have more than $6 billion in cuts over three years, while also saying the combined companies will release at least 30 movies a year. Netflix said it expects its deal will have $2 billion to $3 billion in cost cuts.
Those cuts are expected to trigger thousands of layoffs across Hollywood, which has already been squeezed by the flight of production overseas and a contraction in the once booming TV business.
Mulroney said that employment for WGA writers in episodic television is down as much as 40% when comparing the 2023-2024 writing season to 2022-2023.
Executives from both companies have said their deals would benefit creative talent and consumers.
But Hollywood union leaders are skeptical.
“We can hear the generalizations all day long, but it doesn’t really mean anything unless it’s on paper, and we just don’t know if these companies are even prepared to make promises in writing,” said Lindsay Dougherty, Teamsters at-large vice president and principal officer for Local 399, which represents drivers, location managers and casting directors.
Dougherty said the Teamsters have been engaged with both Netflix and Paramount, seeking commitments to keep filming in Los Angeles.
“We have a lot of members that are struggling to find work, or haven’t really worked in the last year or so,” Dougherty said.
Mulroney said her union has concerns about both bids, either by Netflix or Paramount.
“We don’t think the merger is inevitable,” Mulroney said. “We think there’s an opportunity to push back here.”
If Netflix were to buy Warner Bros.’ TV and film businesses, Mulroney said that could further undermine the theatrical business.
“It’s hard to imagine them fully embracing theatrical exhibition,” Mulroney said. “The exhibition business has been struggling to get back on its feet ever since the pandemic, so a move like this could really be existential.”
But the Writers Guild also has issues with Paramount’s bid, Mulroney said, noting that it would put Paramount-owned CBS News and CNN under the same parent company.
“We have censorship concerns,” Mulroney said. “We saw issues around [Stephen] Colbert and [Jimmy] Kimmel. We’re concerned about what the news would look like under single ownership here.”
That question was made more salient this week after President Trump, who has for years harshly criticized CNN’s hosts and news coverage, said he believes CNN should be sold.
The worries come as some unions’ major studio contracts, including the DGA, WGA and performers guild SAG-AFTRA, are set to expire next year. Two years ago, writers and actors went on a prolonged strike to push for more AI protections and better wages and benefits.
The Directors Guild of America and performers union SAG-AFTRA have voiced similar objections to the pending media consolidation.
“A deal that is in the interest of SAG-AFTRA members and all other workers in the entertainment industry must result in more creation and more production, not less,” the union said.
SAG-AFTRA National Executive Director Duncan Crabtree-Ireland said the union has been in discussions with both Paramount and Netflix.
“It is as yet unclear what path forward is going to best protect the legacy that Warner Brothers presents, and that’s something that we’re very actively investigating right now,” he said.
It’s not clear, however, how much influence the unions will have in the outcome.
“They just don’t have a seat at the ultimate decision making table,” said David Smith, a professor of economics at the Pepperdine Graziadio Business School. “I expect their primary involvement could be through creating more awareness of potential challenges with a merger and potentially more regulatory scrutiny … I think that’s what they’re attempting to do.”
An exciting Sunday for Aparna Nancherla is a Sunday without much excitement. “My cortisol runs high without anything happening, so I’m trying to get it down,” she says.
Eliminating stress was part of the reason the comedian moved back to Los Angeles in 2023, after over a decade in New York City, where she wrote for “Late Night With Seth Meyers” and “Totally Biased With W. Kamau Bell,” appeared in TV series like “Search Party” and burnished her stand-up comedy career.
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
“I’m a little bit of a hermit, and just wanted some more trees and a little more space,” Nancherla says.
Nancherla’s book of essays, “Unreliable Narrator: Me, Myself and Impostor Syndrome” was also released in 2023. In it, she examined her emotionally fraught relationship with stand-up. After a break, she recently brought her understated approach back to the form and her new special, “Hopeful Potato,” is available on the comedy streaming service Dropout starting Dec. 15.
She likes to spend her Sundays mostly engaging in familiar routines, though she’ll pursue a little bit of discovery around town.
This interview has been lightly edited for length and clarity.
10 a.m.: Late riser
I would like to be someone who wakes up around 7 to 8 a.m., but I am waking up probably in the 9 to 10 a.m. vicinity. I would wake earlier, but I think in a past life I was a two-toed sloth or something because I’m nocturnal and I move very slowly. It takes me a lot of time to ease into a different state of being — sleep to wake, wake to sleep. Pretty much any transition I’m bad with.
Being a stand-up doesn’t help. A lot of my job is oriented toward night, but even before comedy, something about the night called to me. It’s not necessarily the healthiest behavior, but thus far I haven’t been able to change my ways.
10:15 a.m.: Morning rituals
I’m someone who falls into doing rituals for a while, almost obsessively, until I replace them with different ones. Lately my ritual is as soon as I get up and brush my teeth and wash my face, I will put on a song and dance to it and do some stretching. I tend toward depression and anxiety, so dancing is an easy way to immediately get your endorphins and it doesn’t feel like as much of a demand as going for a jog.
It’s literally three minutes of a song and then I will try to meditate. My mom recommended doing 20 minutes of meditation, but I feel like 10 is where I’m landing. My attention span is so bad lately that it really is just me closing my eyes and composing emails that I’ll forget to send rather than attuning to some higher power.
11 a.m.: Chasing waterfalls
I’m lucky in that I live near three botanic gardens, so I really have my pick, but I got a membership to the Arboretum because I like that they have peacocks.
They also have a giant waterfall. I’m trying to form a walk where I will eventually end up there. They have a few really nice spots where you can chill out near the waterfall, so I’m probably just sitting, maybe journaling, kind of enjoying the ambience.
I don’t know if there’s a word for someone who’s in love with waterfalls, but I really like them. Apparently there is among [the cable channel] TLC’s vast array of offerings, a program where people are in love with inanimate objects, like cars and bridges, and they want a romantic, sexual relationship with these things. I just want to say that that’s not how I approach a waterfall, but I do deeply care for them as a friend.
1 p.m.: Aspiring regular
I really like Lemon Poppy Kitchen in Glassell Park. Every time I’ve been there, I’ve seen the same people, so I don’t know how many times it takes for you to become a regular, but I guess I’m an aspiring regular there. They have a scramble I really like. It’s not too crazy, it’s a Cali scramble. They also have some Eastern European-y things. They have some kind of polenta dish with eggs. It has a little bit of sauerkraut. I like what they’re doing with their brunch direction.
3 p.m.: Reading is fundamental
I’m a big books person. There are so many independent bookstores I want to mention. I really like North Figueroa Bookshop in Highland Park. They feature a bunch of independent presses.
I love Sierra Madre. It’s such a walkable neighborhood. They have a bookstore called Fables and Fancies. They have a tree inside — who doesn’t like that?
There’s also one called DYM Books & Boba in North Pasadena. The owner, Desiree [Sayarath], is so sweet. It’s not a huge bookshop, but they feature a lot of authors of color and queer authors. Then it’s got a full coffee menu, and you can add boba to pretty much anything. They have gulab jamun-flavored matcha, which I have never seen anywhere else. Gulab jamun is this Indian dessert. It’s like a rose water and cardamom flavor.
4 p.m.: Gifts for the unknown
I would love to go to a craft fair. There’s one in Pasadena called the Jackalope Art Fair that’s there periodically. I already buy things that I maybe don’t need, but I do like a craft fair because you’re making eye contact with the creator as you’re buying their thing and it feels like you’re getting extra dopamine from that.
The worst thing is that I’m like, “This will be a great gift for someone later.” I have bags of gifts for people, and I don’t know who these people are, but someday they’re going to be getting a bag of buttons.
6 p.m.: Feeding schedule
At 6, I have to feed my cats. They’re very strict about their mealtime. They eat at 6 and 6. My partner feeds them at 6 in the morning, but I feed them at 6 p.m.
They’re sisters. They’re 5 years old. They’re pretty demanding in general. They’re pretty vocal about what they want and when they need it.
6:30 p.m.: Fitness to fight depression
Lately, I’ve been doing a lot of workouts at home. I’ll do a kickboxing thing or yoga Pilates. I tried to get into the gym and, I don’t know, something about the gym environment really bums me out.
I’m not like a Peloton girlie. I’m joining some of your more avant-garde platforms. I don’t think they think of themselves as avant-garde, but there’s this platform of African dance called Kukuwa these women in Africa started and I love their workouts. Then there’s free stuff. There’s Move With Nicole, which is a Pilates account on YouTube that I do a lot. I’m looking for your smaller businesses.
As I’ve gotten older, my mental health has plummeted for various reasons. I feel like exercise is one of the only things that helps regulate it to some extent, which I hate saying because when you say you’re depressed, people are like, “Just go for a walk.” And it’s not like the walk cures depression, but it does help to get some vitamin D or just be like, “Oh yeah, I have these muscles, I should probably sometimes use them.”
7 p.m.: A new dish
I don’t mind a dinner in, but I feel like given the chance, it’s always nice to eat at the restaurant. I discovered this vegan place in Highland Park that does vegan sushi that’s pretty new called Tane Vegan Izakaya. I’ve also been meaning to check out this vegetarian place in Echo Park called Men & Beasts that I keep hearing about.
I like trying a new place, but then once it works for me, I’m probably hitting that up a bunch of times. If a restaurant clicks where the food is great, the service is great, the atmosphere is great, then I’m happy to support them as much as possible.
9 p.m.: Puttering toward bed (eventually)
I’ll come home and watch something. I’m trying to scroll less on my phone, so maybe I’ll watch “The Great British Bake Off” or something that’s not too taxing on the brain.
I usually make myself a big cup of ginger tea at night because my stomach has been more temperamental as I’ve gotten older, but what usually happens is I make the big cup of tea and then I forget about it, and it kind of watches me while I scroll on my phone.
Every day, I want to be in bed by 12:30, and then it ends up being 2 a.m. and I cannot account for how that happened. I think I’m just a serial putterer, in that I putter around and I don’t know what I’m doing a lot of the time.
Have you ever wondered what movie might draw praise from Jacob Elordi and Benicio Del Toro for its cinematic reverie?
When you gather six actors from some of this year’s most acclaimed films, a thoughtful discussion about their roles and the craft is to be expected. But in kicking off The Envelope’s 2025 Oscar Actors Roundtable, the talent reminded us that they’re movie fans like the rest of us, picking the films they wish they could experience again for the first time.
“I’d like to watch ‘The Dark Knight’ again in the exact same circumstance that I watched it,” Elordi said, referring to Christopher Nolan’s dark retelling of Batman’s battle with the Joker. “I was 11 and I was with my dad. I’d been told by my mother that I wasn’t allowed to see it because there’s a horrific sequence with a pencil and a magic trick. My dad — when my mum was away — took me to the cinema to see it. I remember the first time I saw Heath [Ledger, as the Joker] onscreen and really feeling just totally moved by something.”
Then Del Toro chimed in with his pick, “Papillon,” Franklin Schaffner’s 1973 prison film starring Dustin Hoffman and Steve McQueen: “I saw it when I was a kid. We got in late in the movie, and it was a scene where they’re trying to get a gator. And they’re running around the crocodile. I’ve always really enjoyed that film.”
“And you really see Steve McQueen do more in that movie than ever before,” Elordi says. “When he starts going mad in that cell.”
Jesse Plemons is more sheepish when coughing up his selection.
“Everyone’s listing serious movies. The movie that popped into my head was ‘Nacho Libre.’ In life, some things just give you simple pleasures that aren’t necessarily elevated or high art. But that movie makes me very happy, guys.”
There was no judgment. An atmosphere of friendly sharing and mutual understanding was felt throughout the conversation, which brought together Elordi, who portrays the misunderstood and abused Creature in Guillermo del Toro’s “Frankenstein”; Plemons, in his turn as Teddy, a conspiracy theorist who is convinced that aliens live among us in “Bugonia”; Benicio Del Toro, who plays Sergio St. Carlos, a karate sensei and revolutionary immigration activist in “One Battle After Another”; Will Arnett, who stars as Alex Novak, a middle-age suburbanite whose crumbling marriage inspires him to try stand-up comedy in “Is This Thing On?”; Wagner Moura, who portrays Marcelo Alves, a teacher trying to escape the Brazilian dictatorship in “The Secret Agent”; and Stellan Skarsgård, who plays Gustav Borg, a veteran film director and absentee father who decides to make a movie about his family in “Sentimental Value.” Read on for excerpts from our discussion.
These roles take you to intense places — emotionally, physically, mentally. But what’s the furthest you’ve gone to book a role because you really felt like it was something you were meant to play?
Moura: “Narcos” was a crazy adventure for me because I was cast to play that part that had nothing to do with me. I was a skinny Brazilian guy who didn’t speak Spanish at all. So I had to go through a very intense thing. I had to learn a language in order to play a character. That was crazy. That was the the furthest I’ve [gone] to play a part.
Plemons: Those early weeks are a lot of fun, right? The beginning. It’s like Christmas every day.
Moura: The beginning is always like, “What am I doing?” And you go to bed and go like, “Jesus Christ, this is … There’s no way I can pull this off.” At the same time, I remember going to bed and thinking, “Have I done everything I could?” And then I was like, “Yeah, go to bed. Sleep.”
Arnett: Did you ever think about quitting, about not doing it?
Moura: No. I had to go ahead and do it. That director trusted me, and he was like, “You can do it.” I didn’t want to disappoint him.
Have you gotten to that point, Will? Wanting to quit something because it felt like too much?
Arnett: All the time. Doing [“Is This Thing On?”], I felt like I was at the bottom of a mountain. Every day, I thought, “There’s no way I can do it.” I would come home and just think, “That was probably the worst day that anybody’s ever filmed a scene,” then just have to let it go.
With “Is This Thing On?,” you did a stand-up act in front of people, and they were tourists. Some of them didn’t know who you were. And you bombed a few times, right? Place me in that moment, and what does that do for your performance.
Arnett: I had them introduce me by my character name. So the people who did know who I was, we were saying that [they] thought I was probably having a midlife crisis or something, which I was, but for different reasons. I’d never done stand-up before, so going up and doing this in front of people and bombing was super vulnerable. There’s nowhere to hide, and you can’t just walk off. There was one time where I’d done a set at the Comedy Cellar, in the main room, and it was great. And went around the corner, like five minutes later, onto a different stage, with the same material, and it was dead silent. And the only person laughing was Bradley. I could see him laughing, and [I was] thinking, “Can I just walk off stage right now?” That was ego-stripping. It becomes kind of absurd. You end up kind of laughing at yourself, at the absurdity of it. It’s not out-of-body, but you separate yourself from the words as they’re coming out.
Stellan, “Sentimental Value” is, in some ways, about how the choices a parent makes in the service of their job or their art shape the lives of your children. How did it make you reflect on the choices you’ve made in your career and the impact it had on your family?
Skarsgård: I thought it had nothing to do with me. This was a good escape. But my second son, he called me and said, “You recognize yourself?” And I went, “Uh, no.” And of course I don’t recognize myself because he’s a different kind of man. He’s an old-fashioned man in a sense, a 20th century man. And I’m a 21st. [Laughs.] But it reminded me — since I stopped at the Royal Dramatic Theatre [in] 1989, I spent four months a year in front of the camera and eight months a year changing diapers and wiping asses. I don’t think I’ve been away a lot, but it made me think about, “Have you been present?” Not really. I have eight kids, which means there are eight different personalities, and some kids need a lot of attention and some don’t. You’re imperfect, but I’m sort of settled with that. My kids have to settle with it too. They’re not perfect either.
We often hear from the women who are mothers, how they balance their work with their careers. Many of you are fathers. How have you learned to navigate it?
Moura: For me, it’s the most difficult thing ever. I was thinking the other day, “What are the things that really define me as a human being?” Being a father is the strongest one, but being an artist is almost there. It’s hard because with our job, we have to travel a lot, and you’re not always able to bring your kids with you. They have school, and they have their own lives and their own things. I kind of think this is sort of an impossible perfect balance. But like Stellan said, it is what it is. And when I’m with them, I try to be with them. But being aware that, of course, there will be parts of their lives that I won’t be able to be there for them and sort of accept that.
Arnett: It’s funny, I’ve been traveling a lot doing this stuff. I’ve been back for a couple of days, but I’ve been busy. I’ve been going out all day, doing work and doing these things, and my 15-year-old said to me — I checked in on him. He’s doing his homework. I said, “How are you doing?” He said, “Good,” and he said, “I miss you.” And I was in the same place with him. I don’t even know if this is appropriate for this forum, but it really struck me. Him saying that stayed with me all day. And I woke up thinking about [that] this morning, and even this [round table], and saying, “Hey, we’re gonna have dinner tonight.” I had those moments of thinking, “Am I that guy?” Now I’m saying, “Let’s have dinner after … I gotta go do this thing.” It weighs on you. It is the most difficult balance.
Del Toro: I’ve tried to include my daughter in the process sometimes, you know? Sit her down, bounce lines with her, go see the movie when I’m done with the movie. Make her part of it too.
Jacob, so often when you’re talking to an actor, at least on my end, there’s curiosity about the research process and what you’ve had to learn to prepare for a role. But in playing the Creature in “Frankenstein,” this amalgamation of parts, your character’s really in a process of discovery. Did you have to unlearn things? How did you approach that?
Elordi: The nature of the character actually gives you an excuse to be absolutely free because he’s sort of the first man, in a lot of ways. You can really draw from everything and anything, like a smell or light, because he hasn’t felt the sun on his face. But there’s so many things that you can go back on and reconsider. A lot of the process was just closing the world off for the time of filming — not eating a cheeseburger when I wanted to eat a cheeseburger or just little stuff that made me feel Other. But strangely enough, because he’s made of so many different parts, and you get to go from being born to finding consciousness to the death of consciousness at the end, it’s like shooting fish in a barrel. You can’t really miss because everything is happening to him all the time. It’s interesting because you say you want to ask someone about the process, but the process is so f— boring.
Plemons: You studied some form of Japanese dance or movement?
Elordi: Guillermo had this idea to study Butoh. It’s a movement thing, like you’re in drama school again where [the instructor]’s like, “Imagine fire in your fingertips and a hurricane in your lungs, and your foot is a steam train.” And then you walk around the room for 40 minutes … I remember being in drama school, and I had to carry a stick that was called my Intellikey for two hours. It was a piece of bamboo. And move around the room as if that stick was a part of my soul or something. Something completely f— absurd. It was a similar process to that, but it was actually helpful because I had something to apply it to that was sort of physically not so human.
Do any of you have a thing that really helped you find your way into a character? Jesse, I feel like you have gone to some dark places.
Plemons: I guess the most curious is I do dream work. There are symbols and whatnot that you are gifted with that may not make sense on a conscious level, or they may. That’s something that’s hard to talk about. Anything that makes me feel like I’m just following my curiosity and I’m not working; I’m just following some trail that I don’t necessarily know where it’s leading — it’s hard to describe because the way I like to work is where anything goes.
Elordi: You kind of know when you get onto that thing too. When a dot does connect. Something happens, then, all of a sudden, you’re six hours down this little road on this sound that you heard in a song or something like that. You also know when it’s not working. But to be conscious about it can mess it up as well, if you’re like, “I’m gonna do this kind of thing and this. And this is gonna go to this voice.”
Does the work need to feel hard in order for you to feel like you’re challenging yourself?
Skarsgård: No. [I need] to not be afraid and not to be blocked; I need to feel safe. And I need [for] everybody on the set, they want me to be good, and I feel it. Then I can be free. I’m with you [Jesse], you have to be in a state where anything is possible. I don’t do backstories for my characters, ever, because it reduces the possibilities. Then you have to follow the backstory — so he couldn’t do that. You, as an actor, say to the director, “No, my character wouldn’t do that.” “How do you know?” Your character might be more interesting than you are.
Plemons: And this thing doesn’t exist yet, this moment —
Moura: There’s no better thing than being in a scene with another actor, and you look at the other guy or the other actors, and you go, like, “This can go anywhere.” Because these other guys, or this other actor, she’s ready to do whatever, to take this wherever. This is the thing that really moves me in a scene. It’s really hard when you work with an actor or with a director that sticks with the thing that they want the scene to be, that thing they thought at home, that they prepared for, and you can’t really move into that space.
Benicio, you really know how to make a character memorable and leave a lasting impression. With Sensei Sergio and what we see onscreen, what were you working with on the page and how much came from you in collaboration with Paul [Thomas Anderson, the film’s director]?
Del Toro: I just asked questions. Paul wants to hear what the actors have to say. I just bombard him with questions. Paul was very flexible … He’s very quick, and if he likes something, he would jump on it. My character was introduced by killing someone in my dojo. So, I asked him, “OK, so I killed this guy in the dojo … I’m not gonna drive Leo anywhere. I have to get rid of the body. And we’re gonna have to clean the dojo or set it on fire. And why am I doing that?” So, from there, it evolved into, like, “We’re not killing anybody.” I approach it a little bit like that — common sense. Logic. But every character is different and every story is different, and every director is different. I’ve been in movies where you just have to find yourself in there. And those are challenging, and they make you better.
“The Secret Agent” really explores how brutal a dictatorship can be on regular people. Wagner, your character Marcelo is not trying to overthrow the government. He’s just a man who’s trying to stick with his values. Tell me about portraying a person in that situation.
Moura: The dictatorship in Brazil was from ’64 to ’85. I was born in ’76, so the echoes of the dictatorship were still there. I remember my parents speaking like [mimics whispering] because they didn’t want people to hear what were they talking about. It’s important that Brazilian cinema is going back there to look at that big scar in our country. I directed a film [2019’s “Marighella”] about a freedom fighter, a guy who wanted to overthrow the government. But this one is different. Like you said, it’s just someone who’s trying to stick with the values that he has. And I think that this is a reality in many different parts of the world, where just the fact that you are who you are makes your life difficult or puts your life in danger, just by the color of your skin or your sexual orientation. You see the dictatorship and and what a dictatorship can do, but not in a obvious way.
Do any of you read reviews?
Skarsgård: Yes, sometimes. I prefer to read the good ones.
Has there been a bad review that propelled you or motivated you or helped you?
Skarsgård: Once I read a theater review that was really bad and that pointed out a grave mistake I made in the show, so I corrected it afterwards. But otherwise —
Elordi: You took the advice?
Skarsgård: Yeah.
Arnett: I did this show for Netflix like 10 years ago, and this guy wrote this review, and I’m embarrassed to say I wrote a point-for-point rebuttal email. I sent it as a draft to Mark Chappell, my partner, and he said, “Oh, hold on. Don’t send it. I’m gonna come over. Let’s talk for a minute.” And I didn’t send it.
Plemons: I’ve got one journalist — I am not gonna say their name — but …
Arnett: Who’s got it out for you?
Plemons: In a way that wasn’t even that intense, but said it [a performance of mine] was “misguided” — which, is just like, “What?” And then I started reading more of his reviews, and everything’s “misguided” to this guy. It’s like, “What do you mean?” So, I’m trying to be less misguided.
Can I jump in with a question for anyone? Talking about that balance between preparation — in certain cases, it’s necessary — then your experience where you rethink all of that. Given the fact that we’re not machines, that on any given day there are a number of variables that influence your mood and influence your mind and influence your ability to relax and do the scene, I’ve thought a lot about that ideal baseline place of being fully relaxed and in your [element]. I wish acting teachers had told me that when I was younger, that that’s like over half of the battle. I’m curious if you have any —
Top row, from left to right: Will Arnett, Wagner Moura and Jesse Plemons. Bottom row, from left to right: Benicio Del Toro, Jacob Elordi and Stellan Skarsgård.
Skarsgård: Tips?
Plemons: No, routines or [an] approach, anything you do to get yourself into a place where you feel like you can leave the preparation and [just be].
Skarsgård: The preparation can serve that purpose. You feel that you’re doing something because it’s a f— strange business, what we’re doing. You don’t know what it is, really, but you feel that, “OK, I’ve done this preparation. I’ve done three months of baking because I’m [playing] a baker.” You feel that you’re prepared, so you feel safer. But, personally, I make sure that the set is safe. I’m first on set. I come in early and, while they’re setting up, I’m gonna see what they’re doing. I’m making sure that I know what all the sound guys, the prop guys, what they’re doing at the same time. So, I feel a part of the unit. That’s my way of feeling safe.
Plemons: Yeah, I find that too. Any time you try and block anything out, you’re missing it. I know that’s sort of a cliche, but the times when I’ve felt maybe the best, I wasn’t blacked out. I was aware of everything.
Elordi: Key to the whole thing is you practice.
Plemons: Yeah, I was looking at the DP I had.
Elordi: That’s when I feel, like, the most comfortable, is when you feel like you are in a dialogue with the operator and the lighting guard and your director, and you’re all in the scene working towards [the same thing]. It’s not like, “Everyone, shut the f— up now. I need complete silence.” Complete silences are unnerving to me on a set. It’s like you’re all trying to reach this point for cut, and then you’ve got that piece of the thing. That makes me feel comfortable when it’s technical and not actually getting lost in this thing of like, “I need complete silence. My body needs to be supple and ready.”
When the Dodgers are on the field, Shohei Ohtani dominates the headlines with his base running, his slugging and his pitching. But off the field, his actions also resonate.
In a recent interview with Japanese media, Dodgers manager Dave Roberts told a story of when the two-time World Series champion helped relief pitcher Gus Varland’s mother get cancer treatment by making a “very, very big contribution.”
“Shohei does a lot of great things, but a lot of what he does is on the down low, quiet, so people don’t talk about it,” he said.
Varland made seven relief appearances with the Dodgers during the 2024 season — including pitching in the season-opening series in South Korea against the San Diego Padres — and posted a 4.50 earned run average in six innings of work before he was designated for assignment in July of that year.
Roberts said he ran into Varland’s mother during the World Series against the Toronto Blue Jays because his brother, Louis, pitched for them. Roberts said the mother told him she was cancer free.
Ohtani helped the Dodgers win their second consecutive World Series title after hitting 55 homers with a batting average of .282 and an ERA of 2.87 in 2025.
The press has often labeled Mon Laferte a “femme fatale” — a seductive woman who inflicts distress upon her love interests.
Nearly two decades into her singing career, the Chilean singer-songwriter has learned to embrace the old-fashioned trope of the wizened seductress in “Femme Fatale,” her ninth studio album, which she released in October.
“I came to the conclusion that there’s a perception of me as a woman who is really liberated — that’s why it’s dangerous. [She’s] a person who is sure of herself and that generates a lot of insecurity in other people,” said Laferte in a Zoom call, just after she attended the 2025 Fashion Awards with designer Willy Chavarria in London. (“I went to Camden and took a photo next to [Amy Winehouse’s] statue,” she noted, citing inspiration in the late R&B star.)
Laferte reckons with her dangerous womanhood on “Femme Fatale:” a compilation of jazzy, cabaret pop ballads, elevated by the roaring theatrical vocals she made famous in such past hits as “Tu Falta de Querer” and “Mi Buen Amor.” Prior to releasing the album, Laferte notably starred as Sally Bowles in a Mexico City production of the famous American musical “Cabaret.” It was a crash course on theater — which heavily influenced Laferte’s now most penetrating record to date.
Each song in “Femme Fatale” feels like a descent into a speakeasy. It tells stories of loves past — which at times feel nauseating for the 42-year-old singer, born Norma Monserrat Bustamante Laferte in Viña del Mar, Chile.
Among them is “Otra Noche de Llorar,” in which she mourns an unrequited love; then there’s “El Gran Señor,” in which she scorns a cowardly abuser of women. The record climaxes with “1:30,” a briskly improvised tune, in which Laferte balances stories of abuse, self-pleasuring and fake orgasms with historical themes — like the global industrial revolution, as well as Pinochet’s Caravan of Death in 1973.
“The song is really political and everything is my own story,” said Laferte, who admits that even she finds her song difficult to listen to. “The last part is the hardest — where I talk about a conquest — to the point where I can’t listen to that song. It’s really uncomfortable. It’s hard to talk about something so shamelessly.”
“Femme Fatale” is a deeply personal journey that leads to Laferte making peace with her past. The record concludes with the lively orchestral number “Vida Normal,” in which she grapples with the revelation that she’s turning into her mother — especially after giving birth to her first child in 2022 with husband Joel Orta, guitarist for Mexican band Celofán.
“It was a really honest way of saying that, after everything, I just want a normal life,” said the five-time Latin Grammy winner.
But before the Chilean femme fatale can settle into a vida normal, she will first embark on the 2026 Femme Fatale tour, which includes dates in Latin America and later the United States. Laferte’s first stop will be in her hometown of Viña del Mar for the International Song Festival. “It’s like returning home,” she said.
This interview has been edited and condensed for clarity.
Mon Laferte is a five-time Latin Grammy winner.
(Mayra Ortiz)
You were just in London for the Fashion Awards with Willy Chavarria, who was nominated for designer of the year. How was that experience? I came as a guest of Willy’s. We had dinner and saw a lot of super fashionable people, many artists with their super cool looks. Fashion has always been interesting to me ever since I was a little girl, outside of singing, dancing and playing the guitar. I liked to draw women and their outfits, dresses, things like that… Perhaps that’s where my dreams began to be a designer. Aesthetically in my last album, “Autopoiética,” it was all baroque — I was a bit like Marie Antoinette, I wore large dresses in my shows. This time in “Femme Fatale,” [the style is] bohemian, with sequins and makeup running.
“Femme Fatale” is intense and sexy. Why did you decide to go with that phrase for the album title? ”Femme fatale has a bit of a negative weight to it. You think of a scornful woman that always brings misfortune and does evil things. And it’s a name that the press has given me: La Femme Fatale Chilena.
And I liked it. I like this title because I like to play with the concepts of a dangerous woman. I like that it’s dramatic, because I like music that is theatrical and dark. It doesn’t mean that I am that woman who is secure and free — I have been in various moments in my life, not all the time. But I like that people label me in that way.
How would you describe the musical style? I wanted to take [the album] into the world of jazz so that it could sound nocturnal, so it could sound melancholic. In the last couple of years I’ve been listening to a lot of jazz, so why not make an album that I like to listen to? When I was a little girl, I listened to jazz in my home because of my mom, but I felt like it was boring. Later when I was in my teens I was like: “This is elevator music.”
But as I kept growing, I got rid of that prejudice. When I began to listen to jazz without any judgment, I began to find poetry and a lot of madness as well. I think it’s the improvisation aspect; you have to be very daring to enter the void, because your improv is coming and it’s to the death. That’s something that I’m passionate about. I think it’s demented and poetic at the same time.
This fall you were in a production of the musical “Cabaret” in Mexico City. How was that experience and did it inspire your music for “Femme Fatale”? Yes! I feel like they complemented each other. I feel that my role as Sally Bowles in the theater fed that universe of “Femme Fatale.” There’s a song in the album, “Vida Normal,” that is a song that could go in a musical and that was the intention. My experience with theater was wonderful and I had a lot of fun and learned a lot in the intensive process.
I wanted to talk about the song, “Vida Normal.” You hint at becoming more like your mother and living a normal life, which feels a bit at odds with the “Femme Fatale” theme. Was that intentional? Totally. Because the first song, “Femme Fatale,” describes me up to the present: I always bring chaos, I always destroy what I love, I’m an expert in self-sabotage. But I have been letting those things go with time, thankfully. With the songs in “Femme Fatale” I went deeper into my past, in order to kill that persona.
[“Vida Normal”] is really honest and represents me in the present. I look in the mirror and I don’t recognize myself when I’m barefaced or before getting in the shower — my body changed, especially after motherhood. It’s true that I see my mother’s face and it’s hard to recognize that. I’m getting old. I’m at that age where I don’t recognize myself as either young, or old, in my 40s. It appeared beautiful to close that album that way. It was a really honest way of saying that after everything, I just want a normal life.
One song that caught my attention was the jazz song “1:30.” You talk about fantasies that women don’t often talk about. What was the thought process behind this song? I think those have been the hardest lyrics I’ve ever written. I touch on a lot of microtopics — masturbation, fake orgasms — I think many of us have gone through that. I talk about abuse, sexual abuse, the Caravan of Death that occurred during the dictatorship of Pinochet in Chile. The song is really political and everything is my own story. The last part is the hardest, where I talk about a conquest, to the point where I can’t listen to that song. It’s really uncomfortable. It’s hard to talk about something so shamelessly.
I talked with my musicians and told them that I wanted this to be fast, almost desperate, almost like the bass being the protagonist so that it gives you a sense of urgency, like [we’re] fleeing in a way. We played together like 8 times and I liked that take.
The album also features Natalia Lafourcade and Silvana Estrada on “My One and Only Love.” What was it like to work with these different voices that are often compared to each other? As all three of us sang, I realized that we are so different, each our own universe. I guess we relate to being singer-songwriters but we are distinct universes. I think that [comparison] has to do with us being women; there’s so many male-led bands that one can say are similar too.
We’re all good friends. I’ve known Natalia for many years now and we love each other and they’re all talented women. All three voices sound very beautiful together and I love harmonizing. It was precious to sing together in a song that I find to be the most beautiful in the album. It’s sweet and honest. It talks about the difficulties between partners — and it describes me and my husband. At the end of the day we love each other and continue to be present.
Before Stuart Scott, the phrase “Boo-yah,” was used to express joy. When he made it one of his catch phrases on ESPN, the expression entered the sports vernacular.
Director Andre Gaines explores the impact Scott had on the media landscape in his 30 for 30 documentary for ESPN, “Boo-Yah: A Portrait of Stuart Scott,” premiering Wednesday.
“He can easily be reduced down to a number of different things, maybe his catchphrases, maybe his style,” he told The Times. “All of these types of things are very reductive and have the ability to sort of diminish his legacy, but the reality is that broadcasting, prior to Stu, looked very different than it did after Stuart.”
The Times spoke to Gaines about the emotional journey he had making the film and capturing the “grit and perseverance” that made Scott a staple of journalism. The following interview has been edited for length and clarity.
How did you decide to open the film with a Stuart Scott quote about his dreams?
Gaines: It really had to do with one of the main themes, conceptually, of the film — the fact that Stuart truly believed that you could manifest your own destiny. It was part of his belief when he tried out for the Jets, was part of his belief when he became the icon that he was. It was something that he really saw, and we had this proof of this through his video journals that he kept over the course of his life that we try to showcase very heavily in the film. So, I wanted to start the film off with a quote from him that was exemplary of that.
Why did you decide to use Scott’s voice throughout the documentary?
Gaines: I always try to tell my stories from the perspective of the subject. I don’t want other people dominating the story or telling the story on behalf of the subject. I want the lead character to be the person to narrate their own story, to narrate their own journey, and for Stuart, this proved to be a bit of a challenge, just because he, for so long, was the interviewer and not the interviewee, and there wasn’t, particularly in the early years of his life, there weren’t a lot of interviews to cut a glean from. But after some heavy research, and digging, we were able to find those little gems, either from his own personal archive, of footage that he shot or from interviews that he conducted, or interviews that he was the subject of the interview with other folks, and able to tell that story. I really wanted to give him the platform to carry us through the entire film and be kind of our spirit guide that takes us through his journey and let him be the leader of his own show.
Black sports reporters only make up less than 34%, according to a report by The Institute for Diversity and Ethics in Sports. How do you hope this film changes the landscape of sports journalism?
Gaines: The third of the landscape in the first place, we have Stuart to thank for a lot of that. He was very cognizant of the shoulders of the giants that he stood upon, and understood his place, and once he realized the level of authenticity that he was bringing to a very stilted medium, he took on that burden by just continuing to be himself. My hope is that those numbers just continue to grow. The closer that we get to equity, I think is honoring Stuart’s legacy in the best way possible. Yes, we have this tribute to him. We have this opportunity to see his life in pictures, and really understand his legacy from the ground up, and where it began, but at the end of the day, there’s always gonna be more work to do.
Many athletes want to be rappers, many rappers want to be athletes, Scott managed to smash both worlds together by incorporating some of the language into his reporting. How different is the collaboration between these two worlds because of Scott?
Gaines: What was needed was a glue, something to admonish and recognize both of those realities and how to bring them together. And that was Stuart. That was one of the many things that set him apart. When you look at what Stuart had to endure as a newbie at ESPN 2, and the reason why they ended up hiring him is the same reason why they ended up trying to squash him. The same reason why they were discriminating against him and being prejudiced against him. But he was there as a spirit guide for these two things to come together in such a clear and cohesive and harmonious way. We do have him to thank for so many of the television personalities that we have today as a result of that. He gets a lot of credit for his celebrity. He gets a lot of credit for bringing personality to a very buttoned up and scripted media. But he doesn’t get a lot of credit for being the excellent journalist that he was.
You managed to get a lot of good stories from athletes and his co-workers. What was a story that didn’t make the final cut but still wanted to get out there in the public?
Gaines: There was definitely a really interesting story about a very, very competitive game of pickup basketball between Stuart Scott and Dan Patrick that was pretty incredible, but ended up getting cut for time. There’s another story about a flag football league that they had at ESPN, and they’re playing against some local news stations and guys. Jay Harris tells a story about how Stuart showed up in full pads like this was a real football game. Full pads and goggles and knee high socks and gloves. It was that level of competitiveness that was baked into his soul that showed us what a real fight against cancer actually looks like. He was physically fighting cancer, physically fighting what it was doing to his body, and trying to defeat it through diet and exercise and just a rigorous workout routine. There were a couple of those tidbits that if we had more time, I would love to add in there, but the essence of what those stories are did make the film ultimately.
You really captured his essence in the film. What does he mean to you as a Black filmmaker?
Gaines: For me, he was always a North Star. I started my career in journalism, I should say, went to school for journalism at Northwestern University, and Stuart was also a member of my fraternity Alpha Phi Alpha. There were a couple of the dots that were connected already there for me. So when ESPN called to ask me to do this, it was a thousand times yes. I never got the opportunity to meet him, unfortunately, but I always looked at him as a symbol. It was just an honor to be able to memorialize this incredibly beloved cultural figure in a way that it will live forever, that people can watch again and again, and come back to relive some of the great moments that we all know and love, and learn a whole hell of a lot about the real human being behind it at the end of the day, someone who had trials and triumphs and difficulties and successes just like all of us do. He just had to experience those things on a display as a public figure.
There is an original song by Common in the end-credits. How did that song come about?
Gaines: Common and I have known each other for quite some time. We were working on a TV show several years ago, and he’s just a wonderful human being, an incredible artist, also someone who’s touched so many. I wanted to interview him for the film, because I knew that he had some relationship with Stuart. We talked, and he said, yeah, you know, I’d love to do a song. And I said, you really read my mind. [The song] was just perfectly fitting for what it is that we needed for the end of the film, both solemn and sublime and uplifting at the same time. And that’s a special sauce that he really has among so many musicians.
What do you hope people take away after watching this documentary?
Gaines: I really hope that they’re inspired. I wanted the movie to be so much more than Stuart being defined by the last battle of his life. I wanted it to be defined by his perseverance through his life. Prior to the battle with cancer, he had a series of different challenges that he had to overcome. And so when cancer showed up, I don’t think, uh, he or his family or anybody around him felt that this wasn’t a hurdle that he was going to not overcome, just like he did anything else in his life. But what he showed us all was what real grit and perseverance looks like.
What will be Scott’s legacy in sports journalism?
Gaines: His legacy really should be looked at through that lens as somebody who changed media, somebody who changed broadcasts, news, for the better. Because now we take someone’s having that level of personality on screen, we take that for granted, but that just wasn’t something that existed prior to him.
Prepare for lots of tears this weekend at the CIF state championship football games in Orange County.
“No doubt,” Ventura High quarterback Derek Garcia said.
Seniors are playing in their final high school football games. Others will never play again unless it’s intramural football. And others are heading off to college in a matter of days as scholarship athletes, so win or lose, change is coming, which will challenge emotions when reality sets in.
“It’s been a great feeling all week knowing this will be my final high school game because most of the time you go in it’s up in the air,” Garcia said. “Win and you keep going or lose and you go home. It’s a great feeling we made it this far and we’re in the last possible game to play. We’re ready to go.”
Garcia has been playing for his father, Tim, Ventura’s head coach, for years. Now it will end on Friday in a Division 3-AA final against San Francisco St. Ignatius at 8 p.m. at Fullerton High before heading off to Nevada Las Vegas.
“It’s hard sometimes, but it’s been able to bring us so many memories and so many great times together,” Garcia said. “It’s been an awesome journey and wouldn’t want it any other way.”
Some of the teams in state championship games are playing in their 16th game in a long, memorable season.
“It’s been cool to still be playing,” Garcia said.
On Jan. 18, he moves into his UNLV dorm, driving his truck and relying on his parents to help him move. But will his mom let him leave the family nest?
“We’ll see when the day comes,” he said.
Yes, it’s that time for tears from football players and their parents.
There’s a tripleheader on Saturday at Saddleback College that should produce memorable games.
Open Division
De La Salle (12-0) vs. Santa Margarita (10-3), 8 p.m.
A Northern California team has not won in the state’s highest division since 2015. De La Salle’s speed could produce some big plays against the state’s best defense, particularly if 100-meter record holder Jaden Jefferson gets room to run. But Santa Margarita has its own big-play weapon in Trent Mosley, who had 10 catches for 292 yards two weeks ago against Corona Centennial. The pick: Santa Margarita.
Division 1-A
Oxnard Pacifica (15-0) vs. Fresno Central East (13-1), 3:30 p.m.
This is a battle of junior quarterbacks. Pacifica’s Taylor Lee has has passed for 3,742 yards and 51 touchdowns. East has passed for 4,298 yards and 56 touchdowns. If you like offense, this could be the most entertaining game. The pick: Pacifica.
Division 2-A
Rio Hondo Prep (15-0) vs. Sonora (14-0), 11:30 a.m.
This is the game where small schools finally get the spotlight. Both love to run the ball, so the game might get completed in less than two hours. Sonora rushed for 340 yards in its regional final. Rio Hondo Prep had 263 yards rushing and attempted one pass. The pick: Sonora.
Division: 3-AA
Ventura (13-2) vs. San Francisco St. Ignatius (8-6), 8 p.m., Friday, at Fullerton High
Garcia has passed for 3,360 yards and 36 touchdowns and has rushed for 750 yards and 12 touchdowns. The Cougars also have Oregon-bound linebacker Tristan Phillips. St. Ignatius is on a six-game winning streak after getting more consistent play at quarterback. The pick: Ventura.
Unflinching in his belief that he could elevate UCLA to win at the highest level, Bob Chesney sounded a brazen, fearless tone Tuesday during his introduction as the Bruins’ football coach.
“We don’t need to be the other school in town,” Chesney said inside the Luskin Center on campus, “we need to be the school in this town and I promise you that will happen very soon.”
Chesney said the success he’s had in two seasons at James Madison, which will open the College Football Playoff against Oregon on Dec. 20, could translate to his new job after agreeing to a five-year, $33.75-million contract that will pay him an annual salary of $6.75 million.
“Those same dreams,” Chesney said of what he’s done with the Dukes, “are the exact dreams we will have here.”
Bob Myers, the former Golden State Warriors general manager who served on the search committee, said UCLA had committed to providing him with resources that would rank in “the top third, maybe top quartile” of the Big Ten in a bid to give Chesney what he needed to compete with conference heavyweights.
The challenge is a big one. UCLA has not won a conference championship since 1998 and is coming off back-to-back losing seasons, including a 3-9 record under predecessor DeShaun Foster and interim coach Tim Skipper. None of that could dissuade Chesney from becoming the first sitting head coach to abandon his job to join the Bruins since Pepper Rodgers made a similar move in 1971.
“I believe in the power of UCLA,” Chesney said.
Chesney met with his new players earlier in the day, impressing them with his vision and exuberance.
“He has a lot of energy and cares about this place,” freshman linebacker Scott Taylor said, “and that’s what a lot of people want to see.”
Mixing humor with personal anecdotes in his remarks, Chesney joked that he was country singer Kenny Chesney’s first cousin and that the other Chesney would be at every game. He said his first coaching salary was $5,000. When it came to his coaching tree, Chesney said he had learned from many but wanted to embrace his own style.
“I don’t want to be anyone else,” he said. “I want to be me.”
Chesney said he also believed in accountability and would personally conduct class checks. What’s his style? Chesney said he embraced toughness and competitiveness. He also said he believed he could replicate his success at lower levels after having won at the Division III, Division II and Football Championship Subdivision levels before arriving at James Madison.
“There is zero doubt,” Chesney said, “that we can win here at UCLA.”
Check back soon for updates on this developing news story.
Welcome back to the Times of Troy newsletter, where we’re left wondering if anyone will remember the Alamo (Bowl) after this bowl season.
USC will face Texas Christian in its first trip to the Alamo Bowl on Dec. 30, the night before the quarterfinals of the College Football Playoff kick off. Throw in the fact that the Horned Frogs finished in seventh place in the Big 12, and you don’t exactly have a marquee, made-for-TV matchup.
But for USC’s coach, the Alamo Bowl should carry a certain significance — if only for the fact that it’s where his reputation as a budding offensive mastermind was born.
Fight on! Are you a true Trojans fan?
Sixteen years ago this December, Lincoln Riley was on his way to a team meeting ahead of Texas Tech’s bowl game, when defensive coordinator Ruffin McNeill pulled him aside. Mike Leach, the Red Raiders’ head coach had been suspended for the bowl for allegations of player mistreatment — and would be fired days later. McNeill, the interim coach, wanted Riley to call plays for him.
Riley was 26, and reeling from the news about his mentor.
“An opportunity arose out of a not-very-positive situation,” Riley said Sunday.
It turned out to be a life-changing one for the Red Raiders’ receivers coach. McNeill already knew that Riley was a savvy young coach. But right away, McNeill told me in 2022, his sense of how to lead in such an adverse situation was special.
“I just remember him very confidently taking over the duties,” McNeill said. “He was the youngest guy on the staff, and he had to galvanize the staff immediately. He was the youngest guy on staff, and he did it with no hesitation.”
Then came the game. It was the first time Riley had been on the sideline for a game, having spent most of his time for Texas Tech in the booth. But his confidence came across right away, McNeill said.
After a chaotic few weeks in which Texas Tech could have unraveled, the Red Raiders instead put up 571 yards, its second-highest output of the entire season. Trailing midway through the fourth quarter, Texas Tech mounted two touchdown drives in the final eight minutes. On the second, Riley convinced McNeill to go for it twice on fourth down to ice the game. They converted both.
Years later, McNeill was still in awe of Riley’s performance that night.
“I wish I would’ve recorded the play-calling he did that night,” McNeill said. “I’ve heard him call a lot of games. But that night was amazing to me.”
Years later, with Riley set to return to the scene of his special night, it wasn’t lost on him how every step he’s taken since as a coach started in San Antonio.
“If you’re fortunate enough to get some pretty cool opportunities in this business,” Riley said Sunday, “you have to have some nights like that where you look back and say, you know, if this didn’t happen, would we have gotten these opportunities? Would we have coached at some of these places or experienced what we have?
“That’s definitely one for me that I still remember, like it was just yesterday.”
Texas Christian … by the numbers
TCU quarterback Josh Hoover.
(Eric Christian Smith / Associated Press)
Weeks of bowl projections went out the window when the Alamo Bowl picked TCU with its Big 12 selection. So what should you know about the Horned Frogs?
242.8. The number of passing yards allowed per game by TCU this season.
3,472. The number of passing yards from TCU quarterback Josh Hoover this season, sixth-most in the nation.
This game is shaping up to be a barnburner through the air. The Horned Frogs have been even worse defending the pass down the stretch, having allowed at least 280 passing yards in four of their past six games. Of those six teams only one (Baylor) has a passing attack anywhere near as dynamic as USC.
Both quarterbacks could put up huge numbers. Jayden Maiava threw for 41 fewer yards than Hoover this season, but also five fewer interceptions.
3.93. TCU’s yards per rush attempt this season, which ranks 97th nationally. USC’s biggest vulnerability has been defending the run, but that shouldn’t be a problem in the bowl game. TCU bookended its season with two big games on the ground — 258 yards against North Carolina and 238 against Cincinnati. But during the 10 games in between, the Horned Frogs averaged just 109.5 yards rushing per game, which would rank in the bottom 15 in college football.
9. The number of rushing touchdowns allowed by TCU this season. While the Horned Frogs have struggled to defend the pass, they’ve been stout against the run. Only 10 teams in college football have allowed fewer rushing scores.
The Biletnikoff case for Lemon
Makai Lemon makes a catch while under pressure from Iowa defensive back Zach Lutmer.
(Mark J. Terrill / Associated Press)
The nation’s top receiver will be named next Friday, and while I wouldn’t begrudge anyone for suggesting fellow finalist Jeremiah Smith of Ohio State is the better pro prospect — objectively, he is — I think it’s quite clear Makai Lemon has had a better overall season than any pass-catcher in college football.
Let’s start with the basic numbers, even though those only tell part of the story: Lemon had 79 catches to lead the Big Ten, seven more than Smith and 15 more than any other conference wideout before the Big Ten championship game. He had 1,156 yards — 214 more than Smith, who was third in the Big Ten, and 11 receiving touchdowns, which tied with Smith for the conference lead.
The deeper you go into the details, the more the numbers favor Lemon. No one is more dangerous with the ball in his hands as he averaged 6.4 yards after the catch per reception this season. That’s almost two full yards more than Smith.
Lemon outperformed Smith on contested catches, pulling down 66% compared to just 46% for Smith. He was also harder to bring down, forcing 20 missed tackles to Smith’s 13.
It’s no disrespect to Smith, who will be a top-10 NFL draft pick soon enough. But Lemon has been the better receiver on the field this season. And he should get the hardware to prove it.
Bishop Fitzgerald scores a touchdown after intercepting a pass against the Missouri State Bears.
(Luke Hales/Getty Images)
—Notre Dame was left out of the Playoff. So now what? Before we consider what this means for the rivalry, I should note that I think it was the wrong decision for the committee to keep the Irish out of the field after Alabama had just been trounced in the SEC title game. But now that it has happened, you can imagine the feelings of schadenfreude around USC. The snub of the Irish only proves how much they need a non-conference opponent like USC, as my colleague Bill Plaschke pointed out before the final CFP rankings. If only there was a collective of similar teams that Notre Dame could have joined to help boost its strength of schedule. Oh well.
—The Big Ten media voted five Trojans onto the all-conference team. Lemon was obviously on the first team, as was safety Bishop Fitzgerald. Tight end Lake McRee made the second team after his best season yet at USC, and wideout Ja’Kobi Lane made the third team despite dealing with injuries through a large chunk of the year. Kicker Ryon Sayeri also made the third team after coming out of nowhere as a walk-on. Any one of USC’s running backs would’ve made the top three teams, if they’d started the full season. Maybe there was a case, at one point, for Maiava; though, the top three of Julian Sayin, Fernando Mendoza and Dante Moore are pretty competitive at quarterback. Otherwise, it seems like no Trojans had much of a case that they were left out.
—After the Miller brothers, King and Kaylon, were standouts of the 2025 season, USC is adding a third brother to the mix. Kayne Miller, a running back at Calabasas High, signed last week with USC as a preferred walk-on, starting from the bottom just like his brothers did. King and Kaylon should be getting scholarships come January, and Kayne will have the perfect blueprint to follow in their footsteps.
—Penn State hired Iowa State’s Matt Campbell as its head football coach after a roller coaster search process that tiptoed along the edge of disaster. But after all that, the Nittany Lions actually ended up with the guy who likely would’ve been USC’s coach, had Riley turned the job down in 2022. Now we’ll get to see how Campbell translates to the Big Ten after all.
Olympic sports spotlight
Aside from a loss to No. 1 Nebraska last month, USC women’s volleyball hadn’t lost a match since Oct. 11 — nearly two full months — when the fourth-seeded Trojans welcomed Cal Poly to Galen Center in the second round of the NCAA tournament last week.
But the Trojans immediately dropped their first two sets Friday. And despite winning the next two, the hole they’d dug proved to be too deep.
The upset defeat put a damper on what was an otherwise strong season for the Trojans, who finished 25-7 and 15-5 in the Big Ten.
Portal polling
Transfer portal season is fast approaching, and while USC is planning to be more selective in this cycle, there are still spots to fill with portal players.
With those needs in mind, I want you to tell me what you think: Which of these five options would you put at the top of USC’s transfer portal wish list?
Sarah Snook, left, and Dakota Fanning, who star in the Peacock miniseries “All Her Fault.”
(Victoria Will / For The Times)
If you’re looking for twists and turns this holiday season, look no further than Peacock’s “All Her Fault,” a show whose plot you could not possibly have seen coming from the pilot episode. The show, which stars Sarah Snook of “Succession,” follows a wealthy family in the wake of their young son being kidnapped. But nothing, as you might imagine, is exactly as it seems.
Credit goes to my wife, who first recommended it and nudged me at every mention of the mental load mothers deal with on a daily basis, which the show points to often.
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 ryan.kartje@latimes.com, and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.
