Chad Smith remembers the night in 2003 when the Red Hot Chili Peppers played for an audience of 80,000 or so amid the rolling hills of the Irish countryside.
After a somewhat fallow period in the mid-’90s, the veteran Los Angeles alt-rock band resurged with 1999’s eight-times-platinum “Californication” and its 2002 follow-up, “By the Way,” which spawned the chart-topping single “Can’t Stop.” To mark the moment, the Chili Peppers brought a crew to document their performance at Slane Castle, where they headlined a full day of music that also included sets by Foo Fighters and Queens of the Stone Age, for an eventual concert movie.
“Everything’s filmed now, but back then it was a big shoot,” Smith, the band’s drummer, recently recalled. “You can get a little self-conscious. At the beginning, I f— something up — nothing nobody would know, but we would know — and Flea kind of looked at me,” he said of the Chili Peppers’ bassist. “We gave each other this ‘Oh s—’ look. We laughed it off, and I don’t think I thought about it after that because the crowd was so engaged. The energy was incredible.”
Twenty-two years later, the Chili Peppers are bringing that 2003 gig to screens again — only this time they’re string puppets.
“Can’t Stop” is director David Fincher’s re-creation of the band’s rendition of that tune at Slane Castle. Part of the just-released fourth season of the Emmy-winning Netflix anthology series “Love, Death + Robots,” the animated short film depicts the Chili Peppers — Smith, Flea, singer Anthony Kiedis and guitarist John Frusciante — as dangling marionettes onstage before a veritable sea of the same. As the band rides the song’s slinky punk-funk groove, we see Flea bust out some of his signature moves and Kiedis swipe a fan’s cellphone for a selfie; at one point, a group of women in the crowd even flash their breasts at the frontman.
The puppets aren’t real — the entire six-minute episode was computer-generated. But the way they move looks astoundingly lifelike, not least when one fan’s lighter accidentally sets another fan’s wires on fire.
So why did Fincher, the A-list filmmaker behind “Fight Club” and “The Social Network,” put his considerable resources to work to make “Can’t Stop”?
“A perfectly reasonable inquiry,” the director, who executive produces “Love, Death + Robots,” said with a laugh. “First and foremost, I’ll say I’ve always wanted a Flea bobblehead — it started with that. But really, you know, sometimes there’s just stuff you want to see.”
Why did David Fincher turn the Chili Peppers into puppets? “First and foremost, I’ll say I’ve always wanted a Flea bobblehead — it started with that. But really, you know, sometimes there’s just stuff you want to see.”
(Netflix)
Fincher, 62, grew up loving Gerry Anderson’s “Thunderbirds” series featuring his so-called Supermarionation style of puppetry enhanced by electronics. But the Chili Peppers project also represents a return to Fincher’s roots in music video: Before he made his feature debut with 1992’s “Alien 3,” he directed era-defining clips including Paula Abdul’s “Straight Up,” Madonna’s “Express Yourself” and “Vogue” and George Michael’s “Freedom! ’90.” (Fincher’s last big music video gig was Justin Timberlake’s “Suit & Tie” in 2013.) In addition to “Thunderbirds,” he wanted “Can’t Stop” to evoke the ’80s work of early MTV auteurs like Wayne Isham and Russell Mulcahy — “that throw 24 cameras at Duran Duran aesthetic,” as he put it.
Fincher said he knew his puppet concept would require “a band you can identify just from their movement,” which seems like a fair way to describe the Chili Peppers. He recalled first encountering the band around 1983 — “I think it was with Martha Davis at the Palladium?” he said — and was struck by a sense of mischief that reminded him of the “elfin villains” from the old Rankin/Bass TV specials.
“I feel like Finch got the spirit of me,” said Flea, 62, who’s known the director socially for years. The bassist remembered discussing “Can’t Stop” with Fincher at a mutual friend’s house before they shot it: “I was talking about how I still jump around onstage and my body still works really good. But I used to dive and do a somersault while I was playing bass — like dive onto my head. And now I’m scared to do it.” He laughed. “Some old man thing had happened where I’m scared to dive onto my face now. Finch went, ‘Well, Puppet Flea can do it.’”
Sketches of Red Hot Chili Peppers drummer Chad Smith and bassist Flea as puppets in Vol. 4 of Netflix’s “Love, Death + Robots.”(Netflix)
After doing a day of motion capture with the band at a studio in the Valley, Fincher and a crew of animators from Culver City’s Blur Studio spent about 13 months working on “Can’t Stop.” Fincher said the hard part was giving the marionettes a feeling of suspension.
“With the mo cap, you’re capturing the action of a character who has self-determination,” he said, referring to a human Chili Pepper, “then you’re applying that to an object that has no self-determination,” meaning a puppet controlled by an unseen handler. “It’s so much trickier than it looks. But that was kind of the fun, you know? I mean, not for me,” he added with a laugh.
Asked if the production involved any use of AI, Fincher said it didn’t. “It’s Blur — it’s a point of pride for them,” he said. But he also shrugged off the idea that that question has become a kind of purity test for filmmakers.
A digital rendering of the Chili Peppers as puppets.
(Netflix)
“For the next couple of months, maybe it’ll be an interesting sort of gotcha,” he said. “But I can’t imagine 10 years from now that people will have the same [view]. Nonlinear editing changed the world for about six weeks, and then we all took it for granted.
“I don’t look at it as necessarily cheating at this point,” he continued. “I think there are a lot of things that AI can do — matte edges and roto work and that kind of stuff. I don’t think that’s going to fundamentally ruin what is intimate and personal about filmmaking, which is that we’re playing dress-up and hoping not to be caught out.”
As he reportedly works on an English-language version of “Squid Game” and a sequel to Quentin Tarantino’s “Once Upon a Time … in Hollywood,” did making “Can’t Stop” lead Fincher to ponder the state of the music video now that MTV is no longer in the business of showcasing the form?
“Well, the audience that MTV aggregated — in retrospect, that was time and a place,” he said. “Remember, the Beatles were making music videos — they just called it ‘Help!’ There was no invention at all on MTV’s part.
“What I do miss about that — and I don’t think we’ll ever see it again — was that I was 22 years old and I would sketch on a napkin: This is kind of the idea of what we want to do. And four days later, $125,000 would be sent to the company that you were working with and you’d go off and make a video. You’d shoot the thing in a week, and then it would be on the air three weeks after that.
“You make a television commercial now and there’s quite literally 19 people in folding chairs, all with their own 100-inch monitor in the back. The world has changed.” He laughed.
“I started my professional career asking for forgiveness rather than permission, and it’s been very difficult to go the other direction.”
Spice Girl’s Mel B is set to marry her soon-to-be husband Rory McPhee, at the historic London landmark three years after their engagement, but fans are wondering how they landed the swanky booking
Mel B will be having a wedding fit for a princess, at the same venue as the royals (Image: officialmelb/Instagram )
Melanie Brown, better known as Mel B, is head over heels for her soon-to-be husband as they plan to tie the knot at none other than St Paul’s Cathedral in the centre of London. The America’s Got Talent judge has already revealed some insight into her wedding planning, and she confirmed on TODAY that they will be exchanging vows at the iconic cathedral.
It’s the same spot that the late Princess Diana and Prince Charles’s royal wedding took place, back in 1981. While many people dream of hosting a wedding at the sought-after spot, Mel B revealed the VIP treatment that allowed her to secure the gig.
She explained that it’s thanks to her MBE title (Member of the Most Excellent Order of the British Empire) that she can be wed in the historic building.
The couple got engaged in October 2022(Image: officialmelb/Instagram )
On TODAY, she shared: “I got an MBE for all my charity work that I’ve been doing. It was actually Prince William that gave me my little honorary badge. And it’s quite a big deal.
“I didn’t realise how much of a big deal it was until I started reading about it, and then I started getting really nervous. It was really lovely. So because of that, I am going to get married in the same church as Princess Diana.”
While the date of the wedding is unknown, it’s thought that St Paul’s only hosts a small amount of weddings each year, and so the couple is on the waiting list. Although one thing already ticked off the list is the ever-important wedding dress, which she has had designed by her fellow Spice Girls member.
Victoria Beckham will be designing both Mel B’s dress and her mother’s. The pop star revealed that it was an “honour” to receive it.
Princess Diana walked down the same isle on 29 July 1981(Image: Getty Images)
“I don’t think it would be fair to just have one [wedding dress]. Just have as many as you want — at least three, right?” she added. “One to actually get married in, which is the proper ceremony, very proper at this church, St Paul’s. And then maybe I want to change out of that.”
Her partner Rory McPhee is a hair stylist and businessman from Leeds and was a “family friend” of Mel’s way before the two started dating. It’s thought that the famous couple have been an item since 2018, but he popped the question back in 2022.
Thanks to his hairdressing skills, which Mel B grew fond of during her time spent in the UK, they were able to bond on a deeper level.
She confessed on TODAY: “So when I went back to England, he would come over and give me hair treatments and get my natural curls back. And as he was nurturing my curls back, I guess he was nurturing my trust and belief in a relationship.”
On a spring afternoon in 2005, the members of OK Go dressed up in tacky suits, gathered in front of a video camera and awkwardly danced their way into history.
The band’s DIY single-shot clip for its song “A Million Ways” — in which the brainy rock quartet moves through three and a half minutes of intricate choreography on the patio behind singer Damian Kulash’s Los Angeles home — became one of music’s first viral videos, racking up millions of downloads (remember those?) and helping to establish a new way for acts to connect with fans as the internet began to supplant MTV and Top 40 radio.
“As soon as the treadmill thing happened, it was like: Holy s—, we’re pop culture now,” Kulash said the other day of “Here It Goes Again,” which won a Grammy Award for best music video and has been viewed more than 67 million times on YouTube.
Twenty years after “A Million Ways,” the mechanics of cultural connection have transformed again thanks to social media and TikTok, where what you encounter as you scroll is guided by the invisible hand of data analysis.
Said OK Go bassist Tim Nordwind with grinning understatement: “The algorithm has become a bit more powerful.”
“Not a big fan of the algorithm as an arbiter of art,” Kulash added. “It’s sad to see optimization in a space that was once the Wild West.”
Yet OK Go is still at it: Last month the group released its latest one-shot video for the song “Love,” for which Kulash and his co-directors installed dozens of mirrors on powerful robotic arms inside an old Budapest train station to create a kind of kaleidoscopic obstacle course.
The band’s methods have grown more sophisticated since “A Million Ways,” and these days it seeks out corporate sponsors to help bring Kulash’s visions to life. But an adventuresome — and touchingly personal — spirit remains key to its work.
“What I love about the ‘Love’ video is the humans in the room,” Kulash said as he and Nordwind sat outside a Burbank rehearsal studio where OK Go was preparing for a tour scheduled to stop Friday and Saturday at L.A.’s Bellwether. (The group’s other members are guitarist Andy Ross and drummer Dan Konopka.) “The robots are only there,” the singer added, “to move the mirrors so that we can experience that magical thing — so simple and beautiful — of two mirrors making infinity.”
A wistful psych-pop jam inspired by Kulash’s becoming a father to twins — his wife, author and filmmaker Kristin Gore, is a daughter of former Vice President Al Gore — “Love” comes from OK Go’s new album, “And the Adjacent Possible,” its first LP since 2014. It’s a characteristically eclectic set that also includes a strutting funk-rock tune featuring Ben Harper, a glammy rave-up co-written by Shudder to Think’s Craig Wedren and a woozy existentialist’s ballad about discovering there’s no “no deus ex machina working away in the wings.” (That last one’s called “This Is How It Ends.”)
“We’re old people who listen to sad ballads,” said Kulash, who’ll turn 50 in October. “That’s what happens when you become an old person, right?”
Wedren, who’s known Kulash since the latter was a teenage Shudder to Think fan in their shared hometown of Washington, D.C., said that “part of the beauty of OK Go is that they’re so musically omnivorous — that all these things that wouldn’t seem to go together always end up sounding like OK Go.” In Wedren’s view, the band “doesn’t get enough credit for how exploratory they are as musicians — maybe because of the genius of the videos.”
If that’s the case, Kulash doesn’t seem especially to mind. He knew nearly two decades ago that the viral success of the treadmill video — which the band recreated onstage at the 2006 MTV Video Music Awards between performances by Justin Timberlake and Beyoncé — threatened to make OK Go “a one-hit wonder whose one hit was an exercise equipment stunt,” as the singer put it. “Or it could be the opening to an opportunity to do more and weirder things.”
Among the weird things the group ended up doing: the 2014 clip for “I Won’t Let You Down,” in which the members ride around a parking lot in Japan on personal mobility devices under the eye of a camera on a drone.
“I remember hearing that Radiohead didn’t play ‘Creep’ for 10 or 15 years because they were too cool for that,” he said. “Had we taken the path of being too cool for treadmills and homemade videos, I can look back and say —”
“We’d have had a much quieter career,” Nordwind chimed in.
There’s a way of looking at OK Go’s emphasis on visuals that depicts the band as a harbinger of an era when “musician” is just another word for “content creator.”
“It’s weird to think about a life in the vertical as opposed to the horizontal,” Nordwind said with a laugh, referring to the respective orientations of videos on TikTok and YouTube.
“What’s difficult about social media is the question of volume — the volume and quality balance is off to me,” Kulash said.
Creators, he means, are expected to churn out content like little one-person factories.
“Day after day,” Nordwind said. “We like to take our time.”
“Also: When I fall in love with a song, I want to hear that song over and over again,” Kulash said. “I will listen to ‘Purple Rain’ until I die. Do people go back and search someone’s feed to replay the TikTok they first fell in love with?
“The relationship that I think people have to their favorite YouTube star or TikToker,” he added, “feels much more like a relationship to celebrity than it does a relationship to art.”
OK Go at its rehearsal studio in Burbank.
(Robert Gauthier / Los Angeles Times)
For Kulash, who made his feature debut as a director (alongside his wife) with 2023’s “The Beanie Bubble,” the pursuit of art is bound up in ideas of effort and limitation, which is why AI doesn’t interest him as a filmmaking tool.
“When everything is possible, nothing is special,” he said. “The reason we shoot our videos in a single shot is not purely for the filmmaking heroics. It’s because that’s the only way to prove to people: This is real — we did the thing.”
OK Go’s dedication to costly and time-consuming practical effects has led to partnerships with a number of deep-pocketed brands, beginning with State Farm, which spent a reported $150,000 to finance the band’s 2010 “This Too Shall Pass” video with the Rube Goldberg machine. (Meta sponsored the “Love” video and in return got a prominent spot in the clip for its Ray-Ban smart glasses.)
Kulash said that kind of product placement was “scary as s—” back in the late 2000s, when the fear of being perceived as sellouts haunted every rock band.
“Now, of course, it’s like a badge of honor,” he added, among influencers eager to flaunt their corporate ties.
To explain his position on the matter, the singer — whose band walked away from its deal with Capitol Records in 2010 to start its own label, Paracadute — tried out an extended metaphor: “On the other side of the planet, tectonic plates are moving and the hot magma of corporate money is coming out of the ground. That’s why the MTV Awards exist, that’s why the Grammys exist, that’s why everything you think of as a celebration of high art exists. It’s all advertising dollars, every last bit of it. You’re protected by these continents of middle-people, which let you feel like you’re marking art. But if you can manage to be one of those microbes at the bottom of the sea that gets its energy directly from the thermal vents of the hot magma money, then you get to make something other people don’t.” He laughed.
“There’s no record label in the world that would ever be like, ‘Hey, why don’t you go to Budapest for three weeks and spend a ridiculous amount of money to make this music video at a time when there’s not even a music video channel anymore?’
“But brands know that’s worthwhile, and we know that’s worthwhile,” he said. “You just have to make sure you don’t get burned by the magma.”
Halle Bailey secured a temporary restraining order Tuesday against rapper DDG, alleging that the father of their son Halo was abusive throughout their two-year relationship and has continued to behave badly since they broke up last year.
The “Little Mermaid” star, 25, and the rapper-blogger, 27, whose real name is Darryl Dwayne Granberry Jr. split up in October, declaring at the time that they were “still best friends.” Son Halo was born in December 2023 after Bailey worked hard to keep her pregnancy off the radar.
“Throughout our relationship and continuing to date, Darryl has been and continues to be physically, verbally, emotionally, and financially abusive towards me,” she said in court documents reviewed by The Times. “I am seeking orders to protect myself and our son Halo from his ongoing abuse.”
The TRO was granted by a Los Angeles County Superior Court judge. Bailey indicated in court documents that she was concerned for her safety and that of their son, Halo Saint Granberry, and asked that DDG be ordered to stay away from both of them. No advance notice was given to DDG because Bailey was afraid he would retaliate with violence or by taking Halo out of the area, the documents said.
DDG appeared to find out about the restraining order Tuesday in the middle of a profanity-laden livestream, prompting his co-streamers to decry what appeared to be a phone alert as fake news.
“That can’t even be real,” DDG said, staring at his phone.
He is temporarily prohibited from approaching Bailey and his son or contacting them through any means including electronic.
In her declaration, Bailey accused DDG of “badmouthing” her to his millions of fans on Twitch and YouTube whenever he “wants to cause upset.”
“He claims I am withholding our son and that I am with other men. As a result, I then receive threats and hate on social media. He seems to try to set up drama for his fans. He goes ‘live’ ranting about me and alleges that I am keeping Halo from him. This is false. I have requested a set schedule, which he refuses.”
She also said he frequently calls her “b—” and says she is “evil.” She also detailed one physical altercation from January of this year.
DDG went to Bailey’s house on Jan. 18, she said in the declaration, to pick up Halo. She said she asked DDG when he would return the child and alleged he wouldn’t give her an answer.
“The discussion continued as I walked with him outside to assist to put Halo into the car seat. I was buckling the baby into his seat and physically got into the back seat to adjust the car seat. I had left my front door open and was not even fully dressed as I was not even wearing shoes. Darryl kept repeating ‘Get out of my car, B—.’ Halo was crying.”
Bailey said she was nervous leaving the baby with her agitated ex and repeatedly pleaded with him to stop calling her a b—. Then the argument escalated, she said.
“The next thing I knew, things got physical between us. We fought each other, wrestling and tussling. At one point, Darryl was pulling my hair. He then slammed my face on the steering wheel, causing my tooth to get chipped. I then stopped fighting back as I was in a lot of pain,” Bailey wrote.
“I wanted to get out of the car with Halo but was now stuck. Darryl then said that since I would not leave the baby in the car, he would take me with them. He drove quickly towards his house. When we arrived at his house, I was crying and told his family what happened. I begged his family who were there to help me figure out a schedule with him. They said just leave Halo and go. I left hysterical. I had bruises over my arms and a chipped tooth.”
Bailey also detailed a violent incident on March 7 that ended up with her filing a police report. She and Halo were home sick with RSV when DDG came over to see his son, whom Bailey didn’t want to leave the house because of his illness. That angered DDG, she said, and he started yelling and calling her names.
“He then saw that the Ring camera was recording; he unplugged the Ring camera, opened the side door, and threw the Ring camera out of my home. I went outside to retrieve the Ring camera. He then locked me out of my house,” Bailey said in the declaration.
“I went around the back and came into the house through another entrance. I plugged the camera back in and called my family member for help. With her on the phone line, I repeatedly asked Darryl to please leave. I told him that he was being rude, and I was too sick to deal with him. He would not leave. When he realized that my family member was on the phone line, he became enraged. Around this same time, I noticed that he also saw the Ring camera was back on so he smashed the camera. I have this recorded and will bring the recording to the hearing.”
Halle Bailey and DDG, who share son Halo, broke up last October.
(Scott Garfitt / Invision / Associated Press)
She said DDG then grabbed her phone and hung up on her relative while she managed to get Halo away from him.
“Darryl then ran out of the house with my phone. I followed, begging to please give my phone back. He got into his car and closed the car door on me while I was holding Halo. Darryl then drove off and threw my phone out the window and yelled ‘GO GET IT B—.’ As a result of this incident, I filed a police report.”
Both parties have been ordered to participate in a May 30 mediation teleconference to determine custody or visitation if the two fail to come up with a plan before then using online court tools. A court hearing is scheduled for June 4.
In her Tuesday declaration, Bailey said that their relationship “ended in 2024 because of Darryl’s temper and lack of respect towards me. There have been numerous incidents of physical abuse, even before Halo was born.”
The document contains other alleged acts, including DDG declaring on social media that she was with another man on Mother’s Day. She said she was not, then mentioned that he had riled up his fans so that they accused her online of withholding the child and sleeping with other men. She also said DDG has never paid child support and she has never asked him to do so.
Bailey is also asking the court to allow her to take Halo to Italy for eight weeks while she is filming a movie.
“This is not child-centered,” she said of the conflicts between them, “and Halo is only being used to further his fan base and online presence.”
That’s a far cry from the rosy picture she painted in interviews while they were a couple.
Bailey and DDG first sparked romance rumors in January 2022, then made things red carpet official at the 2022 BET Awards that June. Speaking to Essence in August 2022, Bailey said she had been aware of DDG since 2015 from his YouTube channel. Their relationship began with private messages on social media, she said.
“I grew up being on YouTube and would always see the young Black creators and was constantly inspired by them,” she told the magazine. “He was one of them.”
When the magazine asked Bailey whether she was in love with DDG, she replied, “Yes. For sure I am.”
But shortly after the live-action version of “The Little Mermaid” premiered in May 2023, DDG released the song “Famous.”
In the explicit song, he raps, “Hardest things I did was fall in love with a famous b—.” If that wasn’t enough of a nod to his girlfriend, DDG’s lyrics also seemingly hint at Halle’s Ariel falling for co-star Jonah Hauer-King’s Prince Eric (“Filmin’ a movie now you kissing dudes”) and their time on the press tour (“Why is y’all holdin’ hands in the photo?”).
DDG, and his relationship with Bailey, quickly drew criticism online. One X user slammed DDG and his “embarrassing antics,” while another said “the whole song is the nastiest thing he could’ve done” to his girlfriend.
Amid the backlash, DDG said Halle heard the song, and said, “It’s just music.”
Bailey seemed to recover after that drama. “You know, you have puppy love experiences, you think that’s love,” she told Cosmopolitan in September 2023. “But this is my first deep, deep, real love.”
Times staff writers Carlos De Loera and Alexandra Del Rosario contributed to this post.
This story contains spoilers for “Andor” Season 2, including Episodes 10 through 12.
When Elizabeth Dulau first heard what showrunner Tony Gilroy had planned for her character in Season 2 of “Andor,” she burst out laughing.
“I just couldn’t believe what he was saying,” says the actor, who portrays the aloof and steadfast rebel spy Kleya Marki in the “Star Wars” series. “And then my first thought was: I need to keep this a secret now for years. How on Earth am I going to do that?”
Kleya plays a pivotal role in the final three-episode arc of “Andor.” After Imperial intelligence officers finally uncover Luthen Rael’s (Stellan Skarsgård) ties to the Rebellion, the antiques dealer attempts to kill himself before he can be captured and interrogated. When Luthen fails, it’s left to Kleya to tie up his final loose end and then deliver vital information to the rebels on Yavin.
Dulau, who didn’t even know if she would be called back for Season 2, learned of Kleya’s storyline in 2023 when Gilroy called to tell her he wanted her to return.
“I’m glad he told me then because it gave me a long time to really ponder how to prepare for that scene,” Dulau says. “He said, ‘We want her to be the one that kills him, and we want it to be additionally heartbreaking because she doesn’t have time to say goodbye.’”
“Andor’s” final episodes sees Kleya utilize the skills she’d honed as Luthen’s closest and most trusted associate as she infiltrates a heavily guarded hospital to reach him. But rather than breaking Luthen out to save him, Kleya’s only option is to unplug him from the machines that are keeping him alive. Then, she has to make sure the information Luthen died for is delivered to the Rebellion.
“We do not have a bad moment of film of her in our cutting room,” says Gilroy, comparing Dulau to Meryl Streep. “She’s unbelievable.”
Elizabeth Dulau says it boggles her mind that Kleya’s story ties into “Star Wars’” famous Death Star plans.
(David Reiss)
“Andor” marks Dulau’s first acting job after graduating from the Royal Academy of Dramatic Art in London. While the audition came to her as a role in an “untitled Disney+ project,” she’d heard on the down-low that it was for a “Star Wars” project. She has since been cast in shows including “All the Light We Cannot See,” “Gentleman Jack” and the upcoming “House of Guinness.”
“The beautiful thing about Kleya in Season 1 is that she’s such a mystery,” Dulau says. “You can tell that she’s important, but she’s sort of on the peripheries. There’s so many question marks, so it’s such a delight that a lot of those questions get answered this season.”
That Kleya ultimately plays a role in helping the Rebel Alliance get the Death Star plans needed for them to eventually defeat the Empire also “boggles my mind,” she says.
“It’s not lost on me that Tony has literally written me into Star Wars history with that storyline,” Dulau says. “That blows my mind because it’s so iconic and I have a teeny, tiny little corner of that now.”
Dulau, in a conversation edited for length and clarity, discusses Kleya and Luthen’s relationship, her character’s commitment to the Rebellion and working with Stellan Skarsgård.
There is so much that happens in Episode 10, but how did you approach that final moment where Kleya has to unplug Luthen from life support?
Tony made it very clear to me that he didn’t want her to totally break down in that scene. That breakdown, for Kleya, comes afterward because she’s still in action mode. In that scene, I really wanted to connect with all the love that had grown between her and Luthen, against both of their better judgment, but also all the hate. When Luthen and whatever team of men came to the community she lived in and destroyed them when he worked for the Empire, Kleya was not so young. She would remember her mom and dad. She would remember if she had siblings, any best friends. Luthen is not innocent on that day. He was brave enough to save Kleya, but we don’t know what happens outside of his ship.
Then they spend the next 15 years protecting each other and continuing to save each other. So against their better judgment, love grows between them. I think they’re constantly being pulled apart by that. It’s too scary to acknowledge the fact that they’ve come to really care for each other because this awful thing is there. I wanted to try to condense that and make it as clear as possible in that scene when I go to kill him.
I spent a lot of time leading up to shooting on that day daydreaming. I use daydreaming a lot in my process. And I daydreamed about that day — what happened, what Kleya saw and what she did not see when Luther and his men came to destroy her people. I daydreamed completely made-up scenes in my head, like the day when Luthen made Kleya laugh for the very first time, or happy memories between them. I imagined that those actual flashback scenes were memories of hers that just were intrusive thoughts as she was trying to focus on her mission.
What was your initial take on Kleya and Luthen’s dynamic?
In Season 1, what really fascinated me was that he sets a lot of importance to Kleya’s words. He really listens to her and trusts her and allows himself to be seen by her in a way that he doesn’t let himself be seen by anyone else. So what’s the power dynamic? It’s not the classic father-daughter thing. It’s not like he’s the boss and she’s just the assistant. There’s a real equality, and that’s quite rare, I think, to see between an older man and a younger woman. I was just fascinated by that and had a lot of fun in Season 1 trying to square up to Stellan Skarsgård and tell him what to do. That was intimidating, but really fun.
Then when I found out their backstory, so much about Kleya made sense. It just really broke my heart. In another life, Luthen would have just been this antiques nerd. In hardening himself to what he has to do, he also hardens this young girl, Kleya. It helped me realize that underneath all that hard exterior, at the very core of who Kleya is, actually is something extremely tender and extremely loving. That’s why she is so tough on the outside because there’s something very painful that she’s protecting deep down. She doesn’t let herself have any friends or fall in love or any of that. She makes herself as lethal a weapon as possible. But against her best judgment, love grows for Luthen, care grows between them, and all of that is what they have to lose. But neither of them are ever willing to admit that.
So much of “Andor” is about the sacrifice everybody makes. But for Kleya, we see that her sacrifice has been ongoing.
Yes. “I don’t have lately, I have always,” she says. She has stripped her life of anything that makes her vulnerable. Joy and love and friendship are some of the the most worthwhile things that a human being can have in their life, but it also makes you vulnerable, in a way. And Kleya just cannot afford to be vulnerable. She tells herself, “I have nothing to lose. Everything is for the Rebellion.” [But] she’s lying to herself. She doesn’t really know until Episode 10 that, actually, Luthen is the thing that she has to lose. And she’s willing to do it. She’s willing to sacrifice.
It seems like the closest Kleya has to a frenemy of sorts is Vel, but how do you see their dynamic?
Vel really gets under her skin. Even though Vel is such a tough character as well, she has those relationships. She allows herself to have that relationship with Mon Mothma, her cousin, and with Cinta. She allows herself to fall in love and Kleya just cannot wrap her head around it. How could you let yourself be this vulnerable? But also, maybe for Kleya, there’s a bit of jealousy there as well that Vel has those things.
Kleya has made herself “as lethal a weapon as possible” for the Rebellion, says Elizabeth Dulau.
(Lucasfilm Ltd.)
How did you see Kleya’s trip to Yavin and seeing what she and Luthen had been working for? Because things aren’t quite over for her yet.
I always thought she sees it as her final job, getting the information about the Death Star to Cassian and just getting that information to Yavin. Because you see Cassian have to convince her to come with him to Yavin. She doesn’t want to go there. I don’t know how much she feels she has left to give at that point. She is overwhelmed by grief for Luthen and that grief makes her realize just how much actually she’s come to love him. So she’s in this place of this immensely painful realization about the man who did this awful thing and wiped out her people. How does anyone reckon with that? That’s the space that she’s in when she’s trying desperately to convince Cassian to go without her to Yavin.
Then, once she’s on Yavin and she sees Vel, that tiny little conversation with her, as short as it was, it’s monumental for Kleya because it helps shift her perspective enough that she maybe starts to see a future for herself there amongst that community.
That final shot actually is her looking at the people of Yavin doing their morning routines and seeing the culmination of all of her and Luthen’s work for all those years. I think it’s a feeling of immense satisfaction and sadness that they pulled it off, but also that he’ll never see it.
What was it like working with Stellan Skarsgård?
My final audition actually was with Stellan. I remember my agent calling me to say, “Your recall went well. The note is, for your final audition, just try not to be too nervous. Walk into that room like you’ve been doing this for years.” Then she said, “Your final audition is going to be at Pinewood Studios. You’re going to be reading opposite Stellan Skarsgård. But don’t let that make you nervous.” And I just burst out laughing. Like, this isn’t real. This isn’t happening.
He met with me for coffee 10 minutes before the audition because it was a chemistry read and he wanted to not do it cold. Stellan has this wonderful magic to him that after 10 minutes of chatting with him for the first time ever, I really felt like I was walking into the room with a friend and that I had someone in my corner that was rooting for me.
Stellan has had such a long and rich career, so I don’t know what this job is for him, but this is such a huge job for me and Stellan has been such a huge part of that. I always looked forward to having another scene with Stellan. It was like going home again, having another scene with him, because he was my anchor throughout the whole thing. He knew that it was my first job, so I could ask him all the questions about what was happening, acting techniques for screen, all of that stuff. I could have those conversations with him and he was always so willing to talk about it. He really took me under his wings big time and I will always be so grateful to him for that.
They said in a joint statement: “After much thoughtful consideration, Gabby and Casey have decided to go their separate ways romantically.
“This decision was mutual, and they both remain on good terms as friends with a shared respect for each other.”
“Gabby is grateful for the memories they’ve created together and wishes Casey nothing but the best as they both move forward on their individual journeys.
Love Island star Gabby reveals she is FINALLY Casey’s girlfriend two months after winning show
A source said: “Both have confided in quite a few friends about this and so it’s not really a secret in their circles, but they’ve made the decision to part ways this week.”
They added: “They had a really good relationship and enjoyed each others’ time but the reality is that they are focusing on different things and they both have realised that.
“Neither of them have parted ways badly but they just knew it wasn’t going to work anymore.”
The beautiful Greek island of Ithaca is known as the home of Odysseus, the hero of Homer’s epic poem, the Odyssey – and it’s the perfect spot for a romantic getaway
The island of Ithaca isn’t as popular with tourists(Image: free3yourmind / 500px via Getty Images)
The enchanting Greek island of Ithaca is steeped in myth and legend, boasting charming villages, idyllic beaches, and verdant landscapes. As the second tiniest of the seven principal Ionian islands, reaching Ithaca involves a flight to Kefalonia followed by a swift 25-minute ferry crossing.
Famed as the homeland of Odysseus, the protagonist of Homer’s renowned epic ‘the Odyssey’, Ithaca symbolises steadfast love and yearning for home, as it was here that Penelope loyally awaited her husband’s return from the Trojan War for two decades. Ithaca’s allure lies not just in its literary ties but also as an ideal spot for romance, embodying the essence of homecoming and familial bonds.
In a piece for The Telegraph back in 2016, children’s author Anthony Horowitz was captivated by its beauty, remarking, “My first impression was that it was far more beautiful than anywhere I’d been in Greece.”
He regretted his brief stay, saying, “I spent just two days there before moving on to Kefalonia but I wish I’d stayed longer.” TripAdvisor reviews echo this sentiment, with visitors hailing Ithaca as “Paradise on Earth” and praising it as “a perfect harbour village”.
One traveller’s experience at Gedaki Beach was glowing: “One of the most beautiful beaches of Ithaca. Great blue close to Vathi. You will fully enjoy it with a boat.”
Houses and church precariously perched above the deep blue waters of Afales Bay in Ithaca (Image: David C Tomlinson via Getty Images)
Vathy, the capital since the 16th century, is a picturesque tapestry of cream, yellow, and pink buildings, reconstructed after the devastating 1953 earthquake that shook many Ionian islands.
Thanks to aid from Europe and the US, Ithaca saw a significant restoration, reports the Express.
The enchanting medieval village of Anogi and the storied Monastery of Kathara are must-sees. Nestled on the southeastern summit of the legendary Mount Nirito, facing the bay of Ithaca’s harbour, the monastery ensures its steeple can be spotted from all over the south side of the isle.
Sadly, the bell tower fell victim to earthquakes but has since been reconstructed. Ithaca boasts a serenity that outshines its larger neighbour Kefalonia, offering minimal nightlife with just a handful of tavernas and relaxed bars scattered about.
Described poetically by Discover Greece: “Symbolic of the promised land for which everyone is searching, magical Ithaca fills you with inspiration on a journey through rich history, majestic scenery and beautiful beaches.”
Just as Ellie (Bella Ramsey) and Dina (Isabela Merced) find themselves cornered by numerous infected inside an abandoned warehouse in the latest episode of “The Last of Us,” their reliable friend Jesse arrives in the nick of time to save them.
But mutant fungal zombies are not the only roaming threat in the world in HBO’s postapocalyptic thriller, and the trio immediately find themselves trying to evade attacks from the local militia as well as a mysterious cult.
Over a couple of video calls — including one in which he was surrounded by what looked like the lush natural world of the show — actor Young Mazino discussed his character Jesse’s rescue mission to Seattle as well as how “The Last of Us” has further propelled his rising profile in Hollywood. As for what happens in Episode 5, Mazino sums up the usually laid-back Jesse’s feelings as Ellie and Dina pepper him with questions about his unexpected arrival: “He’s pissed.”
“He’s really pissed off that they’re there to begin with,” Mazino says in a video call. “He knows the stakes. He knows how serious it can get. There’s a lot of s— on his mind but … for him, it’s about getting everyone to safety, surviving and then the emotions come later. Then we can hash it out.”
A patrol coordinator in their Jackson, Wyo., settlement, Jesse has an on again, off again relationship with Dina — “a situationship,” as Mazino calls it. After the horde of infected attacked Jackson, he became a member of the council that leads the community.
Jesse has come to the rescue, but “he’s pissed,” says Young Mazino.
(Liane Hentscher / HBO)
Mazino describes Jesse as “a pretty happy-go-lucky guy” in the earlier episodes of the season, as well as “a bit of a Boy Scout.” But as audiences see in Episode 5, he’s also a capable fighter proficient in firearms and equipped with key survival skills. Mazino says co-star Gabriel Luna (who plays Tommy) joked that Jesse is a “gentle monster.”
“I couldn’t agree more,” says Mazino. “For these people to survive up to that point, you do have to have a bit of that savagery and be able to turn that on. It’s just a matter of being able to switch it back off.”
Much like Jesse, Mazino exudes a quiet, gentle spirit through the screen of a video call. He references the stories of Anton Chekhov, the artistic philosophy of Pablo Picasso and anime like “Jujutsu Kaisen.” (“If ‘Vinland Saga’ existed in this world, Jesse would really f— with that manga” because of its themes, Mazino says.) He’s as game to discuss a dream blunt rotation among the Jackson community members as he is to contemplate the Asian diaspora in a postapocalyptic world.
“He’s so chill and mellow,” Ramsey says of her castmate. “I got to know him quite well and he’s so perceptive and so thoughtful about everything. I feel really lucky to have gotten to know him more than just the chill, mellow guy that everyone sees on the surface.”
The respect is mutual. Mazino calls Ramsey “an extraordinary individual” whose work ethic is No. 1 on the call sheet. One vivid memory: standing underneath some PVC pipes with Ramsey on set and enjoying a moment in artificial rain together.
“I was soggy and wet every day for hours on end,” Mazino says of filming the show’s Seattle-set episodes. “And as soon as you’re about to dry, they wet you down again. What helps is having someone like Bella Ramsey, who maintains this levity. So despite being wet and soggy and miserable all day, being miserable with someone that’s just as miserable and wet as you really helps.”
“The Last of Us” marks Mazino’s highest-profile project yet. After years of trying to make it as an actor, Mazino got his breakout role in the 2023 limited series “Beef,” where he portrays a slacker who falls for his older brother’s road-rage nemesis. His performance earned him an Emmy nomination.
His familiarity with “The Last of Us” initially stemmed from watching YouTube videos of the game’s story scenes. But before meeting showrunners Craig Mazin and Neil Druckmann for the project, Mazino bought a used PlayStation 4 to play through the key moments of Jesse’s story.
Young Mazino calls “The Last of Us” a rare opportunity.
(Jennifer McCord / For The Times)
“When I told Craig I played through the game hoping he would be pleasantly surprised, he was like, ‘I wish you actually didn’t play the game at all,’” Mazino says.
Preparation for the role included going “crazy at the gym for a few months,” Mazino says. He also received weapons training and learned to ride a horse.
“I’ve been on many sets in the last 10 years and I’m aware of how rare this kind of opportunity is,” Mazino says. “My expectation for writing and storytelling became very high after ‘Beef,’ and I wasn’t sure if I’d be able to find something to match that. But ‘The Last of Us’ came my way and I love getting to explore different facets of myself through character.”
Jesse has a soft spot for Ellie, whom he initially meets as a prickly outsider cut from similar cloth, Mazino says. Both are loners who’d rather avoid the spotlight — particularly at parties. But Jesse also recognizes Ellie’s inner fire and potential.
“Jesse finds Ellie so interesting and amusing and endearing,” Mazino says. “To be this small, petite girl and have so much vitriol and fire and angst. I think Jesse wants to help Ellie harness all that intense energy that she has and put it to good use.”
The pair also share an attraction to Dina, who is a bit more social and warm and seemingly carefree. And though Jesse did not seem to mind Ellie and Dina sharing a drunken kiss at a party in an earlier episode, the couple’s relationship has since grown more romantic and intimate.
Mazino believes Jesse has been fully aware that Ellie and Dina have been dancing around their feelings for each other.
“I think Jesse’s the type of person that understands that love is love, and it’s not something you can cage or latch on to,” Mazino says. “I think the healthy form of love is to allow it to flourish. .… Love is a spectrum … and maybe he recognizes that Dina is not somebody he may necessarily want to be exclusively with forever together. But there is love.”
Mazino insists that Jesse cares less about Ellie and Dina’s developing romance than he does the fact that Dina has followed her lover into a war zone.
“Love eludes common sense and rationality a lot so he’s just trying to be the level-headed one through and through,” says Mazino.
Jesse (Young Mazino) and Ellie (Bella Ramsey) have different opinions about revenge.
(Liane Hentscher / HBO)
Jesse clearly opposes the Ellie revenge tour that has brought them to Seattle, and Mazino says their differing philosophies stem from Jesse’s appreciation for the community of Jackson. Because he was able to find a home in Jackson, Jesse’s response to loss is to grab onto what remains.
“I think he serves as a perfect reflector off of [Ellie for] how one copes with death and murder and violence,” Mazino says. “Some people, all they see is red and they want the revenge. But the other side of that choice is savoring what’s remaining and what’s precious to you.”
Ellie, he adds, is “all about revenge, revenge, revenge for someone she lost. But Jesse wants the opposite of that. He wants to maintain what they still have, knowing how fleeting it is to be alive in this world.”
While the world of “The Last of Us” is bleak, Mazino and his castmates found ways between takes to escape the heaviness. One form of relief: a shared love of music. Mazino, Luna, Merced and Ramsey all play guitar.
“We all brought a guitar without even telling each other,” Mazino says. “There was always a guitar on set or we would steal one from the set and get in trouble. We’d have jam sessions. Somebody would be playing some tune or a song, and if we knew it, we join in [or] we’d learn it.”
Mazino says that they all had eclectic tastes and traded songs “like Pokémon.” (Mazino’s contributions included Daniel Caesar, Frank Ocean and “some R&B stuff.”)
“It’s so difficult to maintain a heavy energy for 12 to 16 hours a day,” he says. “It really helps to have people that are able to laugh and crack jokes and be light and to play music … so a guitar is a lifesaver on a set like that.”
Young Mazino says Jesse is a “person that understands love is love.”
