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For more than three years, the ‘Magnificent Seven’ or ‘Mag 7’, which includes Nvidia, Apple, Microsoft, Alphabet, Amazon, Meta and Tesla, carried Wall Street.

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Then came June 2026.

Nvidia dropped over 5%, Microsoft fell about 17%, its worst monthly performance since December 2000, Alphabet declined nearly 6%, Amazon lost roughly 12% and Meta dropped around 11%.

As for Apple and Tesla, the companies had directionally different but equally volatile monthly moves.

Apple made a new all-time high closing price of $315.2 on the second day of the month but subsequently declined more than 10% from that peak.

On the other hand, Elon Musk’s company dropped more than 6% in the first week of June but clawed most of that back by the close of the month, ending roughly flat.

Taken together, the ‘Magnificent Seven’ erased about $2.3 trillion (€2tn) in market value in a single month.

What made the selloff remarkable was its breadth. Usually one or two stocks stumble while the others hold up. This time, nearly every member of the group moved lower.

The Roundhill Magnificent Seven ETF (MAGS), which holds all seven companies, fell about 13% from its late May record high.

So what happened to Wall Street’s favorite technology stocks? And why are investors backing away?

Growing pains and spending

The MAGS ETF bled more than $700 million (€615mn) over the month, its worst outflow since it launched in 2023, according to TradingView data. For a fund that had become the simplest way to bet on the US tech boom, the reversal was striking.

One name outside the club had it even worse. Oracle, a hyperscaler not included in the ‘Magnificent Seven’, crashed around 35%, its steepest month since September 1990, after alarming investors with a surge in AI spending and debt.

The fall wiped roughly $100 billion (€87.9bn) off the fortune of co-founder and billionaire Larry Ellison. The market punished the biggest AI spenders, and the numbers explain it.

The five largest hyperscalers are set to spend more than $700 billion (€615bn) on AI infrastructure this year. Microsoft alone is heading towards roughly $190 billion (€167bn), according to estimates from the Bank of America.

The bank said that hyperscaler capital spending has jumped from about 70% of operating cash flow in 2025 to nearly 100% in 2026.

The translation is simple: far less capital left over for share buybacks and dividends, and an increasingly larger bill that will need to be justified with future revenue as costs are climbing too.

The ‘Magnificent Seven’ are the biggest buyers of the memory that feeds AI data centres, and those chips have become scarce and expensive.

Micron Technology, one of the main memory chipmakers, reported earnings per share of $24.67 for its latest quarter, up from $1.68 a year earlier, close to a fifteenfold jump.

Prices for DRAM, the memory inside almost every device, rose as much as 98% in the first quarter alone, a surge some in the industry have nicknamed “RAMageddon”.

A quieter shift beneath the surface

While the biggest technology stocks struggled, the rest of the market continued to rise.

LPL Financial chief equity strategist Jeff Buchbinder points to that trend. Excluding the ‘Magnificent Seven’, the remaining S&P 500 companies grew earnings by 17.5% in the first quarter, helped in part by semiconductor and memory producers.

Buchbinder expects that figure to exceed 20.5% in the second quarter. Meanwhile, the earnings growth projection for the ‘Magnificent Seven’ will be lower than that.

In other words, the other 493 companies are now growing earnings faster than the market’s biggest stars, and investors have noticed.

By late June, the S&P 493 – which excludes the ‘Magnificent Seven’ – had climbed 13.7% for the year. In contrast, the ‘Magnificent Seven’ basket was down 6.6%, while the broader S&P 500 posted a more modest 7.4% gain.

According to veteran investor Ed Yardeni, investors are beginning to show signs of AI fatigue, questioning whether unprecedented spending on infrastructure will ultimately generate attractive returns as cheaper open source models proliferate and AI token prices continue to decline.

Are the ‘Magnificent Seven’ still “magnificent”?

The ‘Magnificent Seven’ still delivered an estimated 29% earnings growth in the first quarter, and they are unlikely to lose their leadership positions anytime soon.

Yet, the debate has shifted.

Investors are no longer asking whether AI will transform the economy. They are asking when hundreds of billions of dollars in AI investment will begin producing meaningful returns.

June may have offered the first clear answer.

The AI trade is no longer a one way bet on seven companies. The ‘Magnificent Seven’ created the AI boom, but they are no longer the only way to invest in it.

Another former bombshell has apologized for past use of a racist slur that got her ousted from the villa.

Fired “Love Island USA” contestant Alannah Keyser posted a video to TikTok on Saturday addressing a past video that showed her using the N-word as she sang along to the Roddy Ricch song “The Box.” On Friday, Peacock confirmed to The Times that Keyser had been dismissed from the hit reality dating show after the resurfaced video began circulating online.

“I do want to begin by addressing the video of me singing along to a Roddy Ricch song that contains a racial slur,” Keyser says in her video. “I’m sorry to whoever has seen that video and has been offended by it; that was never my intention. The video is from six years ago, and that word is just not in my vocabulary anymore.”

A USC film student from Miami, Keyser also addressed some of the other social media chatter about her that had been making the rounds prior to her dismissal. Included were accusations of racism due to screenshots of her alleged use of the racist slur on Snapchat and Instagram as well as observations that alleged she had interacted less with Black men on the show.

She said those screenshots had been “falsified.”

“What has been shared does not reflect the truth, and it’s never been in my character to discriminate against anybody’s skin color,” Keyser said. “I do want to say directly that I do not support racism or discrimination of any kind, and I never have.

“When I first found out that these things were going around online, it really broke my heart, and I couldn’t do anything about it. But this has definitely been a learning lesson for me, and it sucks that I didn’t get a chance to really show my personality and who I am,” she added.

In the caption of her TikTok video, Keyser wrote that “reality tv is HEAVILY edited & [her] chats/kisses with the other boys were unfortunately not aired.”

Keyser was the second “Love Island USA” contestant who was dismissed from the show this season after video of them using the N-word surfaced on social media. Earlier this month, Peacock axed Oregon-based beauty technician Vasana Montgomery just days after it announced its slate of Islanders for the show’s eighth season. She has since apologized, saying, “There is no excuse” for her use of the slur.

Last year, contestants Cierra Ortega and Yulissa Escobar were dismissed from the show for their use of racist slurs. Ortega had been caught repeatedly using a derogatory slur for Chinese people (and Asian people in general) on social media, while Escobar had used the N-word in a couple of podcasts. Both have since apologized.

BBC viewers paid tribute to Dame Penelope Keith, following her death aged 86, as the broadcaster aired a special episode of The Good Life.

BBC viewers have been left “heartbroken” as they paid tribute to an iconic actress.

In a change to scheduled programming, the broadcaster made the decision to honour Dame Penelope Keith with a classic episode of The Good Life on Monday, June 29.

Dame Penelope, star of the 1970s British sitcom, died aged 86, with her family releasing a statement.

They said she “died peacefully whilst living with cancer at her home in Surrey”.

As fans mourned the To the Manor Born actress and friends paid tribute, the BBC confirmed the Margo Leadbetter actress would be remembered with the episode airing on BBC Two.

From the third series of The Good Life, it followed war breaking out between the Goods and the Leadbetters, “proving there is nothing like a good fight over the fence to cement relationships”.

Jon Petrie, Director of BBC Comedy said: “All of us at BBC Comedy are deeply saddened to hear of the passing of Dame Penelope Keith. She was one of the defining figures of British television comedy.

“Her iconic performance as Margo in The Good Life remains one of the nation’s most beloved sitcom roles and continues to delight audiences today.

“We send our heartfelt condolences to her family, friends and all of those who had the privilege of working with her.”

Watching the repeat episode, one person wrote on X: “Just watched #TheGoodLife on bbc as a tribute to Penelope Keith. Still very good!”

Another said: “Lovely to watch #thegoodlife. it brings back memories of when I was a kid. RIP Penelope Keith.”

A third wrote: “Genuinely had something in my eye as soon as the theme tune came on #TheGoodLife #DamePenelopeKeith Thank you BBC2.”

Someone else said: “I’m indulging in some pre-dinner #TheGoodLife on #BBCTwo in honour of #PenelopeKeith RIP.”

Paying their respects, one person said: “I am shocked and now, heartbroken. … Absolutely love this lady. I’ve watched #TheGoodLife so many times, over the years and it just becomes even more funny each time I watch it – seeing/hearing something that I’ve missed previously… I think another “binge-watch” of “The Good Life” is now due. In honour of the beloved #DamePenelopeKeith.”

Someone else wrote: “Pleasing to see BBC 2 scheduling an episode of The Good Life at 7 this evening, by way of tribute to the wonderfully talented Penelope Keith. Hopefully there will be more in the coming weeks. A Penelope Keith night on BBC 4?”

The statement from Dame Penelope’s family read: “We are deeply saddened to announce that Dame Penelope Keith died peacefully whilst living with cancer at her home in Surrey where she had lived for more than 50 years.

“The family is grateful for the care and support she received throughout her treatments, and ask that their privacy be respected at this time.”

The Good Life is available to watch on BBC iPlayer.

It seems “Love Island USA” producers pulled one bombshell aside for a chat, one that has led to her firing from the hit reality dating series.

Contestant Alannah Keyser’s time in Fiji has officially come to an end as she faces backlash for apparently using a racial slur in a video and social media comments that recently resurfaced on social media. “Love Island USA” streamer Peacock confirmed to The Times on Friday that Keyser, a film student at USC from Miami, will no longer appear on the series. She is the second contestant Peacock dismissed this season over a racial slur scandal.

Keyser made her “Love Island USA” debut last week as one of the six women hopeful to strike up a connection with the male contestants in Casa Amor, testing the men’s relationship with their partners back in the villa. Keyser appeared to pair up with contestant Zach Georgiou. In her debut episode, she informed Georgiou she had a brief romance with his older brother Charlie, a previous “Love Island USA” contestant.

“Love Island USA” parted ways with contestant Alannah Keyser after she used a racial slur in social media comments and posts.

(Ben Symons / Peacock)

She faced allegations of racism amid her first “Love Island USA” episode when a social media user surfaced screenshots of Keyser allegedly using the N-word on Snapchat and Instagram. A user on X (formerly Twitter) also published video of Keyser seemingly saying the slur as she sings along to Roddy Ricch’s “The Box” at a party. Some viewers — and other contestants on the series — also observed that Keyser interacted less with the Black men on the series in her debut episode.

A source familiar with “Love Island USA” production said the controversial video and posts only became public on social media after Keyser’s first episode and that the posts were not viewable during the series’ vetting process. Peacock confirmed Kesyer’s firing hours after the U.S. Sun reported her exit and minimized screen time. “Producers were disappointed and embarrassed that this has become another mishap,” a source told the outlet.

Keyser did not immediately respond to a request for comment via social media.

Keyser is the fourth “Love Island USA” contestant in two years to face scrutiny for her past use of racial slurs. Earlier this month, Peacock pulled beauty technician Vasana Montgomery from its Season 8 lineup before the season started. Last year, contestant Cierra Ortega prematurely left the villa as she faced criticism for her past social media posts that included a slur for Chinese (and, more generally, Asian) people. A month before that, contestant Yulissa Escobar was dismissed by the season’s second episode amid social media outcry over her use of the N-word.

Those three contestants have since publicly apologized for their posts.

Love Island viewers missing the ITV series this Saturday should tune into this other hit show

Love Island has once again vanished from our telly schedules, but we’ve got just the programme to fill the void in its absence.

ITV viewers will be aware that the reality series broadcasts fresh episodes every Sunday through to Friday, with a blooper-style edition appearing on our screens each Saturday.

While the Unseen Bits episode has become increasingly popular over the years, it doesn’t always deliver the same dramatic impact as the main programme. So those craving a new fix of reality TV drama might well be searching for an alternative.

They’re in luck because Are You The One? is presently available to stream on Paramount Plus.

Branded as ‘unhinged’ by audiences, the dating programme first launched on MTV in 2014, before transferring to streaming platform Paramount in 2023, reports OK!.

Audiences follow a group of men and women who have been secretly paired with their ‘perfect partner’ by a matchmaking algorithm. They are then placed under one roof and must attempt to discover their other half.

If the participants successfully identify all of the perfect couples, they secure a prize fund of up to $1 million. The contestants are free to pursue any romantic connections within the house, much like in Love Island.

However, they have the distinctive option to consult the ‘Truth Booth’ to confirm if they are genuinely a match.

While the American series falls into the same category as Love Island, some audiences believe it compels contestants to genuinely pursue authentic romantic connections rather than coasting in friendship pairings until the finale.

Heading to Reddit, one enthusiastic viewer shared their thoughts: “I just watched the two seasons on Netflix and it’s what I always wanted Love Island to be. People actually mixing, doing things, partying,… Instead of policing people if they dare talk to a person, they’ve been ‘coupled up with’ for a day.”

They went on to say: “I think LI need to look at shows like that and apply some things. Give them incentive to not just pick a person at the start and then chill for weeks.”

Viewers have also posted glowing write-ups, with one social media user writing: “I love drama and cat fights so if you love to entertained I would watch it. Couples being broken up and people getting jealous it’s so interesting.”

Another enthusiastic fan declared: “Just binge watched season 1 of [Are You The One]!!!! ABSOLUTELY LOVE IT! HOW IS THIS SHOW NOT MORE POPULAR!?”

Are You The One? is streaming now on Paramount Plus

When David Jacks published a biography of Peter Asher in 2022, the veteran record producer and manager expressed surprise that anyone would have deemed his life worthy of the treatment. Four years later, he’s no less baffled to have become the subject of a new documentary, “Peter Asher: Everywhere Man,” directed by the filmmakers Dan Geller and Dayna Goldfine.

“It just seemed to me,” he says, “that I wouldn’t be that fascinating.”

The movie, in theaters now, argues otherwise: A child actor alongside his two younger sisters, the bespectacled Asher became an unlikely pop star during the British invasion as half of the duo Peter & Gordon, whose debut single, “A World Without Love” — written by Paul McCartney — hit No. 1 on Billboard’s Hot 100 in 1964. (McCartney offered the song to Asher while the Beatle was dating Asher’s sister Jane.) In 1968, the Beatles made Asher head of A&R at Apple Records, where he signed James Taylor; the two soon moved to Los Angeles and turned Taylor into music’s biggest heartthrob folkie.

Asher went on to shepherd Linda Ronstadt to stardom and to produce records by Diana Ross, Cher, Bonnie Raitt, Randy Newman, Neil Diamond and 10,000 Maniacs, among many others. And at 82 he’s still at it: Last year he produced Barbra Streisand’s latest duets album — they’re due to start work on a new Streisand solo LP, he says — and he’ll perform a show of his own July 19 at the Grammy Museum. Asher, who broke his leg in a recent fall, spoke about it all the other morning at his home in Malibu, where he walked into the kitchen using a cane before sitting down at a table set with pastries and several of the day’s newspapers.

What unites the jobs of musician, producer, executive, manager? What’s the through line?
Love of music and admiration for the people who do it. They’re very different jobs, and I came at them from very different perspectives. Record production was something I set out to do once I understood what a record producer did. Hire musicians much better than yourself and tell them what to do? That’s a cool job — how do I get in on that racket? Whereas I never had any ambitions to be a manager. It’s just that when James and I decided to go out on our own and try to put a career together, we didn’t know who we trusted to do it, so I kind of went, I’ll do it.

What’d you discover about the job of management?
The ingredients are common sense, not being a crook and having a great client.

Which is the hardest of those three?
The last one. I got to induct the first managers inducted into the Rock & Roll Hall of Fame: Brian Epstein and Andrew Loog Oldham — the Beatles and the Stones. That’s the hard part. The only thing that would tempt me back into management would be lightning striking for a third time — to see James, to see Linda, then to see somebody comparably brilliant, which I occasionally do. But usually they have a manager already.

What’s the last new act that knocked you out?
Ed Sheeran.

Was that just because he looks like he could be your grandson?
That certainly crossed my mind.

As a producer, your records helped define the sound of rock in the ’70s.
The so-called California sound.

Then the zeitgeist shifted.
One became aware of that. Pop music got very electronic, which I loved.

Was there a place for you in that style?
I didn’t consciously try to make records in that style because I don’t think I could have — not as well as they were being made anyway.

What’s a record from the early ’80s that made you think that?
“Sweet Dreams (Are Made of This).” I couldn’t do that.

Back to the ’70s: The doc is filled with pictures of James looking —
Like a movie star. With the cover of “JT,” I finally went all the way and said, “We’re doing the the glamour shot.” Then we did “Flag,” which everyone hated.

With the maritime flag. A truly perverse album cover.
I loved it. James loved it. Everyone thought we were crazy.

How crucial do you think James’ good looks were to his whole proposition?
I don’t know.

Oh, come on.
I really don’t. I mean, how would you gauge that? There’s probably girls who fell in love with him without listening to the record.

I think you just gauged it.
If he was ugly, would he be as big a star? Probably not.

(Evan Mulling / For The Times)

Same applies to Linda, right?
When I first saw Linda, it was stages of realization. Someone said to me, “You’ve got to go down and see this girl at the Bitter End.” I walk in and she’s singing so well — unspeakably good. Then she looks incredibly great — barefoot, short-shorts. Oh, my God, my heart. Then you meet her, and it turns out she’s a remarkably brilliant woman — extremely well read. You just kind of go, “All these things together — how can it be?” It’s the same thing talking about the Beatles: If you cast it like the Spice Girls, you still couldn’t have gotten four to fit together so perfectly.

Did you like the Spice Girls?
Terrific. “Tell me what you want / What you really, really want” — it’s a smash. And yet none of them are particularly good singers, which is kind of the point.

I went to an event not long ago where Paul McCartney played his new album for a small group of fans. It was fascinating to see the spell McCartney casts over people.
He’s had to get used to it — to admit to himself that he can’t meet people who aren’t amazed that they’re meeting him. Even as someone who’s known him off and on for a long time, you still get the wave of: Holy s—.

You’re still amazed to be around him?
Of course. I get it less — I’m ready for it. But you can’t pretend he’s not Paul McCartney. And he’s gotta live with that his whole life.

You grew up a member of the upper crust, I think it’s fair to say.
I don’t think we were that crusty. But upper, probably, yes.

I wondered how that situated you to live and work among artistic types.
If anything, the upper crust have more time to be artistic — less preoccupied with getting a job and making a living. But my parents worked incredibly hard — we weren’t upper crust in the sense of inherited wealth. My father was a doctor, my mother was a professor of music. But I never struggled, to be honest. I had a comfortable allowance, and then I went to school and worked hard. Everyone talks about sharing a flat with a million people, living on borrowed sandwiches — I skipped that phase.

Did that shape you in any meaningful way?
I don’t know. But I think when people do struggle, it becomes a meaningful part of their lives to get away from it. With someone like James, the struggle was a struggle with drugs. Now he says the worst thing about drugs is they’re a complete waste of time — you waste time doing nothing except looking for drugs. And I think that made him anxious to succeed and to be taken seriously.

I’m sure you saw the New York Times’ list of the 30 greatest living American songwriters.
You knew it was gonna be silly. Randy Newman, for God’s sake — you just cannot not include him.

No Neil Diamond either.
Insane.

And no Billy Joel.
[Shrugs].

How’s your health?
High blood pressure, high cholesterol, need to work out more — old man stuff. Other than that and a broken leg, great.

You’re OK with the cane?
It’s a considerable upgrade from the wheelchair. I like the cane — it’s kind of elegant.

What seems scarier: the body going or the mind going?
The mind going. And it is, slightly. I had a stroke, and bits of my brain aren’t quite working right. But compared to other people I know, I’m fine.

We’re at a moment when a lot of foundational rock ’n’ roll figures —
Are dying. It’s all the rage.

What’s it feel like to see your friends and colleagues go?
Better them than me.

Couple more for you: You managed Courtney Love for a spell.
I met her here in Malibu. I also managed Pamela Anderson for a while because she was a neighbor and asked me to help.

What, you put a shingle out?
“Manager for hire.” I’m trying to remember how I first met Courtney — I think Merck Mercuriadis was talking to her about publishing and Kurt stuff. I liked her. Very smart. I like smart women.

She’s easy to work with? Hard to work with?
Impossible to work with.

What’s James Taylor’s best album?
“JT,” maybe.

What’s Linda Ronstadt’s best album?
“Heart Like a Wheel.” With Linda, it’s unfair because they’re so radically different. How do you compare that to a mariachi record and then to Nelson Riddle?

Working with Riddle on those albums must have been a thrill.
He told us all these incredible stories about Frank Sinatra, who he didn’t like although he admired him enormously. It was John David Souther who originally suggested Nelson. Linda had tried doing the album a different way — did some versions with Jerry Wexler and it didn’t work out. So we had a meeting with Nelson: Would he consider doing a couple of arrangements for us? He went, “No.” We said, “What?” He said, “I’ll do an album, though.”

“A World Without Love” was one of eight songs to top the chart in 1964 with “love” in the title. What’s that say about pop music in the mid-’60s?
Same thing it says about pop music of all time: It’s either “I love you” or “She loves you” or “Why don’t you love me?” Weird Al pointed out to me that when you’re looking for a parody of a song, any song that has “love” in the title, substitute “lunch” and it’s funny. “A World Without Lunch” — I mean, who would want to live in such a place?

Tennis legend Chris Evert is battling ovarian cancer for the third time and will not attend Wimbledon this year, the 18-time Grand Slam champion and longtime ESPN analyst said Thursday on Instagram.

“This past weekend, after undergoing CT and PET scans, I learned that my ovarian cancer has returned,” Evert, 71, wrote. “I have already undergone surgery as the first step in my treatment and recovery, and will begin chemotherapy in the coming weeks.

“Because of this, I will not be attending Wimbledon this year, and I will step back from my professional commitments over the next few months to focus on my health.”

Evert was first diagnosed with ovarian cancer in December 2021. Two years later, she revealed her cancer had returned.

“Ovarian cancer is relentless, but I will stay optimistic and determined in continuing to fight this battle,” Evert wrote. “I am deeply grateful to my medical team, my family, friends and everyone who has reached out with kindness and encouragement. I look forward to seeing everyone again soon.”

Evert was one of the most dominant women’s tennis players of the 1970s and 1980s, winning a record seven French Open titles to go with six at the U.S. Open, three at Wimbledon and two at the Australian Open. She won at least one Grand Slam for 13 consecutive years (1974-1986) and retired in 1989 with a career record of 1,309-146.

Her on-court rivalry with Czech American tennis great Martina Navratilova during that period is legendary, with Navratilova beating Evert in six of their 10 Grand Slam finals against one another and 43 of their 80 overall matches as opponents. They also won the French Open in 1975 and Wimbledon in 1976 as doubles partners.

A new Netflix documentary, “Chris & Martina: The Final Set,” covers their history together, which also includes a decades-long friendship and support for each other through numerous battles with cancer (Navratilova was diagnosed with early-stage breast cancer in 2010 and stage 1 throat cancer and breast cancer in January 2023; she announced she was cancer-free in June of that year).

Navratilova was one of the first people to comment on Evert’s Instagram post.

“My friend Chrissie is a champion of champions and as such she will slay this monster again,” Navratilova wrote. “We are all pulling for you, and know you will come out on the other side cancer free again- lots of love, m.”

Other former on-court rivals and fellow International Tennis Hall of Fame members also offered their heartfelt support in the comment section of Evert’s post.

“You beat me 18 straight times, therefore you can beat cancer 19 straight if you have to,” wrote Pam Shriver, who lost 19 of her 22 career matches against Evert. “Much love and respect to one of the greatest competitors ever, Pammie”

Billie Jean King, who lost 19 of her 26 matches against Evert, wrote: “You are a champion and a fighter, and you will beat this. Sending love and prayers from both of us for a strong recovery.”

The Associated Press contributed to this report.

As La Cruz continues to break down barriers for the LGBTQ+ community in reggaeton, the rising Venezuelan star enjoys living out his gay fantasies in his music videos. Take the sultry video for his 2023 breakthrough single, “Quítate La Ropa,” which sees shirtless men perreando (twerking) before him in a locker room.

But at the same time, La Cruz has come to understand that his platform as a gay reggaeton artist coincides at a time when conservatism is sweeping the globe — and queer rights are receding.

“It fills me with happiness to represent a community that has been denigrated, treated badly and pushed into a corner for many years,” a bedheaded La Cruz says over Zoom from his New York City hotel room. (He had just performed at a Pride event the night before.)

“It’s a fact that [LGBTQ] rights are becoming progressive, but they’re rolled back even faster than they advance,” he adds. “This is very painful and concerning. This is happening in every country in different ways. During these difficult times, I’m going to keep putting my heart into my music more than ever.”

La Cruz is the stage name of Alfonso La Cruz. The native of La Guaira, a coastal city in Venezuela, pursued a music career after relocating to Spain in 2015. Following a brief stint on the singing competition “Operación Triunfo” three years later, La Cruz was closeted and found his momentum stifled. In 2022, he took the brave step of singing about his affection and lust for other men in his debut album, “Hawaira.”

Venezuelan reggaeton singer La Cruz released his new EP, “El Nene, Vol. 2,” on June 11.

(Maria Camila Pinzon)

Backed by the beats of reggaeton, a genre that had historically excluded the LGBTQ+ community, La Cruz found both his groove and his tribe with hits like “Te Conocí Bailando” and “Quítate La Ropa.” Early supporters included Colombian superstar Karol G, as well as Mexican American R&B singer Omar Apollo.

Alongside Puerto Rican provocateurs like Young Miko and Villano Antillano, La Cruz has continued to queer the heteronormative urbano space. He has also pushed his sound to broader horizons in his new EP, “El Nene, Vol. 2,” which includes “Sírveme,” a Brazilian funk banger with drag pop star Gloria Groove — and “Te Perdí,” a touching tribute to the victims and survivors of the 2016 Pulse nightclub shooting in Orlando, Fla.

La Cruz’s EP dropped on June 11, the day before the 10th anniversary of that tragedy, which largely impacted the queer Latino community. In an interview with The Times, he opened up about being a gay reggaetonero and “Te Perdi,” his tribute to the 49 people lost at Pulse.

It’s been three years since you first went viral with “Quítate La Ropa.” What have you learned about yourself during that time?
There are songs that have brought me a lot of love and I’m thankful to my fans that consider that song to be a classic. It’s brought me a lot of blessings. At this moment, I feel like I have the best opportunities in my life. However, I feel like the industry is a bit uncomfortable with an artist that’s openly gay and wants to be a part of this. That hasn’t stopped me at all. It’s the gasoline in my motor. It’s what pushes me to keep working hard. My fans are what’s building my career and I won’t let them down. I’m sticking with this until the end.

You connected with Karol G early in your career. Did she give you any advice when you met her?
I want to say publicly that I would love to open for her concerts on her Viajando Por El Mundo Tropitour. I’m very close to her. I love her so much. She has always treated me with so much love. I hope that something between me and her can happen sometime. I know everything happens in due time. I told her that I love the way she is and how she connects with her fans. When I see her singing and performing, I feel like she’s a sister to me. A big piece of advice that she gave me and that I’ll always carry with me is to never lose the humility and closeness that I have with my fans. The key to success is humility. I never want to be out of reach. I want people to see me and say, “I want to achieve my dreams like he has.”

How did your collaboration “Sírveme” with Gloria Groove come together?
I love her so much! I’ve always been a big fan of hers. I’ve gotten close to a lot of artists in Brazil and Gloria has been one of them. We didn’t think twice about making this song. Gloria was coincidentally traveling to the amusement parks in Orlando. I told her: “Baby, let’s go! I’m ready for you in Miami.” She told me: “Baby, I’m going to Miami!” We met one afternoon to create this song. She paused her vacation to go to the studio with me. It was very beautiful. I love my Brazilian fans.

With “El Nene, Vol. 2,” why was it important for you to also shed a light on the 10th anniversary of the Pulse nightclub shooting?
In 2016, when I recently arrived in Spain and my brother recently arrived in the U.S., we had a call with our family. My brother said, “There was a shooting close to where I live and it was in a gay club.” My family has supported me since I first told them about my sexuality. I thought that that could’ve happened to me.

I’m following up on this tragedy because it shaped my life. As the years go on, information about this attack has faded away. Each day people are talking less about it. It’s a tragedy that’s super important to remember, like 9/11 and the [2017] Las Vegas shooting, because it’s one of the worst attacks in U.S. history. Why are we not talking about it anymore? We have to keep talking about things so that they don’t happen again.

What inspiration did you pull from the Pulse tragedy for your song “Te Perdí”?
On this path, I’ve gotten to know the stories of people that survived that shooting. For example, there was a boy with his mother that lost her life and he survived. There’s a lot of stories of love from that club that have [since] come out. When I went to the studio, I was inspired by loss, or a love that’s gone away, with respect and love for the community that supports me. It is my gift, to be a voice for this situation that should never be repeated. There are people that don’t know about this tragedy and I want to let the world know that this happened. I hope that the victims’ families and the people that survived are living lives of peace and calm.

The Owens family curse strikes again — and this time it’s here for the next generation.

In the new trailer for “Practical Magic 2,” released Wednesday, Sally’s (Sandra Bullock) daughter Kylie (Joey King) learns about her family’s legacy and curse after her paramour is involved in an accident.

“It’s true, we’re witches and the curse is real,” Sally tells a tearful Kylie, who along with her sister (Maisie Williams) grew up being told stories where everyone who fell in love died. But the siblings didn’t believe they were actually cursed.

“I will never trust you again,” Kylie responds.

Directed by Susanne Bier, the sequel of 1998’s “Practical Magic” will follow Sally and Gillian (Nicole Kidman) as they chase after Kylie who has set off to “fix the curse,” which will put her on a dark path. Along the way, the sisters encounter a mysterious “scholar of the craft” played by Lee Pace.

The trailer also offers a glimpse into Sally and Gillian’s present lives — with the latter teasing the former’s apparent lack of love life. It seems Sally is uninterested in tempting the fates since for generations those who have fallen in love with members of the Owens family have been cursed to die. Even after things take a turn with the tragic accident, it’s clear that their sisterly bond remains strong. While Sally seems worried about her daughters inheriting her powers, the clip also hints that there might be some happier times ahead.

Also returning for the sequel are Dianne Wiest and Stockard Channing, who play Sally and Gilly’s aunts Jet and Franny Owens. In the original film, Jet and Fran are the witchy, eccentric aunts who took in their nieces after their parents died. The “Practical Magic 2” cast also includes Xolo Maridueña, who plays Kylie’s seemingly ill-fated love interest, and Solly McLeod.

Written by Akiva Goldsman, Georgia Pritchett and Kelly Marcel, “Practical Magic 2” is based on the 2021 novel “The Book of Magic,” the fourth and final installment of author Alice Hoffman’s “Practical Magic” series.

“Practical Magic 2” will hit theaters Sept. 11.

MAYA Jama’s ex-boyfriend Ruben Dias appears to be moving on from their split as he sets his sight on a new romantic interest.

And the Manchester City footballer, 29, controversially seems to be pursuing a connection with a fellow star from within the Love Island family.

This week Ruben followed Joanna Chimondes on Instagram, the season 5 stunner who appeared on screens back in 2019 and returned for All Stars in 2024.

Tellingly, Joanna, 29, has followed the Premier League player back on the social media platform – so watch this space.

The Sun has reached out to representatives of Ruben and Joanna for comment.

Joanna is earned a spot in the Love Island history books when she stole the affection of scouser Michael Griffiths during Casa Amor – when he was coupled up with Amber Gill.

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The fireman returned to the main villa with Jo, much to Amber’s disgust who branded her villa rival ‘a dead ting’ upon learning of the betrayal.

Joanna and Michael’s romance didn’t go the distance though, as she was booted from the villa separately with Michael controversially deciding to stay.

It seems Ruben has a thing for Love Island stars having dated stunning host Maya, 31, for 18 months before The Sun exclusively revealed their split last month.

The pair first began dating in December 2024 after meeting at the MTV Europe Music Awards in Manchester the month prior.

Their relationship is understood to have ended before Maya jetted off to Scotland to film Celebrity Traitors and ahead of all new Love Island.

Ruben was accused of following women online whilst loved-up with Maya Jama and sending seedy late night requests to influencers on Instagram.

Known as “toe dipping” – fans allege Ruben has a habit of following a woman in the evening, then unfollowing them the next day.

Post break-up, the football ace has also been linked to his actress ex Daniela Melchior.

In May the defender was cheered on by Daniela in the crowd of Portugal‘s World Cup qualifier with Chile, winning 2-1.

He’s also liked snaps of his ex online – cuddling an inflatable alien, and wearing a sexy leopard print dress.

A Southern California music festival featuring only women musicians and created by Olivia Rodrigo? That’s not such a bad idea.

Rodrigo, fresh off the release of her junior album, on Monday unveiled her Daisy Chain Fields music festival and the roster of all-women artists set to take over Irvine’s Great Park on Aug. 29. The lineup will include Rodrigo, Chappell Roan, Katseye, Mitski, Doechii and special guests Karen O, Sarah McLachlan and Stevie Nicks.

The 23-year-old Grammy winner and vocal advocate for women’s rights said in her post that her dream festival has finally become a reality and that earnings from the spectacular will go to charities benefiting women and girls.

“The lineup is truly insane and full of my heroes and friends,” Rodrigo said in her announcement. “I firmly believe that joy, community, and music can be the drivers of meaningful change and I’m hopeful this festival will be just that.”

Artists Bikini Kill, Die Spitz, Eli, Garbage, Not for Radio, Quiet Light, Rachel Chinouriri, Santigold and the Breeders are also set to perform. Fans hoping to snag tickets can sign up for pre-sale access on the festival’s website.

Rodrigo’s Daisy Chain Fields comes to Irvine a month before the former Disney Channel star kicks off her massive Unraveled tour, promoting her latest release “You Seem Pretty Sad for a Girl So in Love.” She will take over Inglewood’s Intuit Dome for four nights in 2027: Jan. 12, 13, 16 and 17.

In his album review, Times pop music critic Mikael Wood writes that Rodrigo’s latest release sees the singer-songwriter approach romance and heartbreak with “new wisdom, drawing sophisticated conclusions about why people in love do the things they do (and don’t do the things they don’t).”

Netflix’s brand new romantic comedy has one of the streamer’s best needle drops for a minute, but who features in the soundtrack?

Jill and Isabelle’s favourite song is an absolute pop banger.

Voicemails for Isabelle is currently Netflix’s number one film in the UK as fans flock to the streamer’s latest romantic comedy.

Starring Zoey Deutch and Nick Robinson, this rom-com features a devastating twist that pulls at the heartstrings as much as it will make you laugh and swoon.

In fact, plenty of viewers have admitted they were left emotionally wrecked by the new release.

This is partly thanks to a pitch perfect soundtrack that features enough upbeat tunes to get fans dancing in their living rooms, as well as some poignant ballads that have them reaching for the tissues.

As Voicemails for Isabelle is poised to become one of Netflix’s biggest hits of 2026, let’s take a look at all the iconic songs featured in the soundtrack.

Voicemails for Isabelle’s full soundtrack

The new Netflix film depicts an inspiring romance between aspiring chef Jill (played by Zoey Deutch) and estate agent Wes (Nick Robinson), who becomes her secret admirer.

When Jill’s sister Isabelle (Ciara Bravo) tragically dies, she continues to call her number to leave her voicemails. However, she doesn’t realise that her new crush Wes was reassigned Isabelle’s number and has been listening in. Will his secret tear their relationship apart?

Such a gripping premise certainly deserves a soundtrack for the ages and Voicemails for Isabelle delivers in spades. Here’s the track list in full:

1. Dancing On My Own – Robyn
2. Almost Happy – LACES and Butch Walker
3. To Build A Home – The Cinematic Orchestra and Patrick Watson
4. JOYRIDE. – Ke$ha
5. Walking at a Downtown Pace – Parquet Courts
6. Hey Daddy (Daddy’s Home) – USHER
7. El Cielo Azul – Mirna Orozco & Francisco Cendejas
8. Electric Love – BØRNS
9. Boys Wanna Be Her – Peaches
10. marjorie – Taylor Swift
11. De Primeras Veces (De la Banda Sonora de la Obra “Compost de primeras veces”, de Katia Mora) – Ceshia Ubau
12. something like this – Cil
13. San Francisco Blues (Remastered) – Peggy Lee
14. (I Left My Heart) In San Francisco – Tony Bennett
15. Cherish You – Mikky Ekko
16. Waking up Slow (Piano Version) – Gabrielle Aplin
17. And I See You Now – Matthew Szlachetka
18. Beige – Yoke Lore
19. Ride the Storm – GoldFord
20. Show Me Love (Radio Version) – Robyn
21. New Year’s Day (Taylor Swift)
22. Beautiful Things – Benson Boone
23. New Touch – Caveboy
24. I’m Waiting Now – New Constellations

Music supervisor Season Kent revealed to Tudum how the film’s most prominent track, Robyn’s Dancing On My Own, is not only an uplifting tune that will get viewers dancing, but it also perfectly serves the narrative as a tribute to Jill’s sister Isabelle.

“The song becomes completely through Izzy’s point of view — watching Jill ‘from across the room’,” she explained.

“It’s heartbreaking and beautiful. It has the full package of a timeless song that you can feel in your soul.”

The film also features an original score by Este Haim and Amanda Yamate, who used an incredible blend of piano, guitar, synth, and even their own voices to craft Voicemails for Isabelle’s unique sound.

These tracks are called:

1. If You’re A Bird I’m A Bird
2. Chef Bastien Groupies
3. Talk About Boundaries
4. Intercut Dates
5. Hair In The Tart
6. Wes Laughs At Voicemail
7. Midnight Scroll
8. This Party Sucks Without You
9. Good Thing I Wasn’t A Boyscout
10. Chicken Pot Pie
11. Wes’s Speech
12. Wes Caught
13. Phone Reset
14. Jill & Izzy’s
15. No Customers
16. Zella To The Rescue
17. Lonely Christmas Wes
18. Lightbulb Moment
19. Wes Trades His Holy Grail
20. Wes Runs
21. Last Voicemails
22. Credits 1
23. Credits 2
24. Lights (Donna Missal Cover)

Voicemails for Isabelle is available to stream on Netflix.

LOVE Island fans have been left terrified by “lying” Samraj’s behaviour as he continued to string along Priya.

The 25-year-old has been juggling both Mica and Priya over the last week but fans have noticed the Islander isn’t being honest about his feelings.

He told Mica, 21, a few episodes ago that business development manager Priya was “giving him the ick,” and she was his first choice.

But, he hasn’t let Priya privy to that information as he continued to act as if they’re relationship is flourishing.

During last night’s instalment of the famous ITV2 dating show, Samraj left fans taken aback by his “unfair” treatment of Priya, 25.

After returning from a chat on the terrace with Mica, Priya asked him if they were getting back together – which he denied.

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Priya hugged him saying: “I actually quite missed you, I wanted to speak to you…

“I feel like you hate me today.”

Samraj replied: “No, I don’t hate you. My mind is just in a really weird place, I swear.”

“You’re head,” Priya questioned.

He continued: “Not about us it’s just about like I think Sam going was just like the icing on the thing but I really do appreciate you being so concerned about me.”

Priya then tried to get Samraj to open up on his cheeky terrace rendezvous.

However he quickly shut it down, saying: “No we were just speaking because we were downstairs we got, not by you, but interrupted twice before and I was upstairs and Mica was like ‘Oh lets finish our conversation.’”

Poor Priya explained she was asking because things change so quickly in the villa and it was clear she didn’t want to waste her time if the feelings weren’t reciprocated.

Love Island fans were left fuming as Samraj lied to face her face repeatedly and strung her along.

One fan wrote: “Samraj is the reason why I don’t trust men #LoveIsland”

“Samraj, tell Priya you don’t like her This is not fair at all,” added a second fan.

Another viewer penned: “Samraj, why you lying?”

Meanwhile, a fourth fan said: “Why is Samraj lying like this HAAAAAA men can lie I’m so scared????”

Later on Samraj carried on his ruse, telling Priya he fancies her more and “wouldn’t be sharing a bed with her otherwise.”

But, during the previous episode fans watched on as Samraj told Mica he hasn’t said anything because Priya “will be mad.”

Speaking to the camera in the beach hut, Samraj confessed: “I can’t knock Priya because she’s given me everything I wanted and asked for. I feel like if I sit here and say ‘Everything is going swimmingly, it’s amazing… I’d be lying.’

“I don’t want to spend loads of time with her.”

Love Island continues tonight at 9:00pm on ITV2 and ITVX.

Voicemails for Isabelle’s Zoey Deutch is dating a fellow comedy star – here’s what we know about their secretive relationship

Zoey Deutch is captivating audiences once more, this time starring opposite Nick Robinson in Netflix’s unmissable romantic comedy Voicemails for Isabelle.

The heartfelt rom-com follows Deutch’s driven young baker Jill, who relocates to San Francisco for an opportunity to work under renowned but tyrannical Chef Bastien (portrayed by Nick Offerman), who transforms her professional life into a waking nightmare.

Meanwhile, her sister Isabelle (Ciara Bravo) has battled cancer throughout most of her existence. Following her sudden death, Jill processes the devastating bereavement by continuously calling her phone number and recording voicemails.

Yet these recordings are actually reaching real estate agent Wes (Robinson) after he acquires a new mobile, and he starts developing feelings for the enigmatic woman on the other end.

With Voicemails for Isabelle poised to become another enormous Netflix success this weekend, here’s what we’ve discovered about Deutch’s romantic life beyond the camera, reports Wales Online.

Who is Zoey Deutch dating?

The 31 year old Deutch is well-versed in romantic comedies, having secured her breakthrough performance alongside Glen Powell in 2018’s Set It Up.

She’s also Hollywood royalty as the daughter of Pretty in Pink director Howard Deutch and Back to the Future actress Lea Thompson.

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Deutch has been romantically involved with actor and comedian Jimmy Tatro, 34, since 2021.

Following his breakthrough performance in Netflix’s mockumentary series American Vandal, viewers may spot him from recent productions Theater Camp, You’re Cordially Invited and Scream 7.

In September 2025, the couple revealed they had been secretly engaged for three months through a joint Instagram post.

Posting a charming photograph from the proposal, which took place during a sunny beach getaway, they captioned it: “three months engaged to the love of my life”.

Their engagement appears to remain intact, as Deutch featured images of them together in a carousel posted to her account in April this year, with the caption “one less lonely girl”.

Prior to her romance with Tatro, Deutch was in a five-year relationship with actor Avan Jogia, whom she met at the 2012 Kids’ Choice Awards.

Although they parted ways in 2017, the former couple went on to appear alongside each other in The Year of Spectacular Men and Zombieland: Double Tap, indicating they maintained an amicable split.

Following her separation from Jogia, Deutch had a brief romance with Dylan Hayes, also an actor.

Details about their relationship remain scarce, although they were photographed attending several public events as a couple.

Voicemails for Isabelle is available to stream on Netflix.

The Icelandic Nordic noir thriller follows police officer Aníta as she investigates dark secrets

Black Sands is returning for a second series on U.

The Icelandic crime thriller, which devotees of ITV’s Broadchurch ought to appreciate, resumes 14 months following the startling events of the opening season, with the small coastal town of Glerársandar still grappling with the revelation that a serial killer had been concealed in plain sight amongst its inhabitants.

Central to the new series is police officer Aníta, who is adapting to life as a new mother while wrestling with a powerful urge to return to work.

Her world is thrown into turmoil when a woman perishes in what seems to be a suspicious car crash. Driven to unearth the truth, Aníta becomes embroiled in the investigation alongside her friend and colleague Fríða, who is heading up the official police inquiry.

As the case progresses, sinister secrets from the town’s past start to surface. The investigation traces back to a former foster home with connections to Aníta’s own family, revealing decades of concealed trauma and lingering questions, reports Wales Online.

What at first appears to be a tragic accident quickly evolves into a considerably more intricate mystery, with startling revelations and devastating ramifications for those caught up in it.

Throughout the eight-part series, viewers can anticipate twists as long-buried truths emerge, relationships are put to the test, and suspicion descends upon numerous residents. As the pressure intensifies, Aníta grapples with both the investigation and her own personal demons, paving the way for a dramatic finale.

Season two of Black Sands arrives on U on 20 June, with all episodes available to stream from launch day.

Fans who have already delved into the crime thriller have offered mixed verdicts on the programme, though it has garnered acclaim from critics.

Reviewer Kelly Luchtman commented: Black Sands is a very satisfying series with fantastic acting, especially by Steinunn Ólína Thorsteinsdóttir, who has mastered the dangerous charm of Elín’s character.

“We can feel the oppressive sadness of the town, and empathize with Aníta, even if it’s her own bad decisions that are the impetus for her return. People have criticised the running time of the series and the agonising slowness of solving the crime. I agree it could have been 6 episodes instead of 8, but I still binged it.”

Black Sands series two is available to watch on U.

Daiki Kaneko had only 24 hours before his World Cup journey took him to Dallas, where his home country’s squad will take on Sweden.

The Japanese soccer fan was making the most of it on Tuesday in Inglewood, snapping pictures of SoFi Stadium before taking in a different kind of monument: a space-age, two-story branch of the chicken chain Raising Cane’s, complete with a 308-square-foot screen, a mirrored dog sculpture and a massive halo hovering around the exterior.

For Kaneko, 25, who lives in the Tokyo suburbs, it was the perfect encapsulation of American grandeur.

“All this for chicken,” he said. “I love America.”

Inglewood is already diverse — most residents are Latino or Black, and nearly a third are immigrants. But during the World Cup, it’s looking more like the United Nations. English, Japanese, Swiss, Iranians, Paraguayans, Bosnians, Belgians and others are flocking to the city of about 102,000, where eight matches are being played at SoFi Stadium.

Though visitors from abroad may not have heard of Inglewood until now, they’re soaking up the vibes of a city that has long been a major sports and entertainment hub, home to venues such as the Kia Forum and Intuit Dome, and a crucible of Black culture, immortalized in hip-hop songs by artists such as Tupac Shakur and Dr. Dre.

“We’re an international city now,” Mayor James Butts said.

Butts said locals were already proud of what the city has become, but the World Cup has put the celebratory feelings over the top.

“We have people from so many different countries migrating to Inglewood, and there’s an explosive sense of community pride,” he said.

Bartender Elijah Gonzalez, left, mixes a drink at the Nile Bar in Inglewood while customers watch a World Cup soccer preview.

(Allen J. Schaben / Los Angeles Times)

City officials are doing everything they can to embrace the spirit of the tournament, including speeding up permits so small businesses and neighborhoods can hold World Cup gatherings and watch parties, Butts said. During the U.S.’s opening match against Paraguay on June 12, the city hosted the Wood Cup, a block party on Market Street that brought in more than 5,000 people.

Businesses across the city are embracing the tournament as well, vying for a piece of the roughly $17 million the city expects to haul in. For a few weeks, concerns about skyrocketing housing costs and gentrification, brought on by the city’s increasing popularity as a place to settle down, are taking a back seat to the sheer fun of international soccer.

The supersized Raising Cane’s had its grand opening on June 11, the first day of the tournament. During the USMNT’s opening match, Cinepolis, a luxury movie theater down the road from SoFi Stadium, turned into a global sports hub, according to CEO Luis Olloqui.

Maddy Daversa, a bartender at the Meeting Spot, a restaurant near the stadium, said 2,000 people poured in when the Americans played Paraguay.

“I was selling beers for five hours straight,” she said. “It was crazy.”

Daversa said the restaurant is usually closed on Mondays but opened in hopes of getting some spillover fans from the Iran-New Zealand game at SoFi.

“Every table was full,” she said. “We’re taking advantage.”

Tuesday was an off day for Inglewood, with no games at SoFi. But the energy was still palpable, with locals sporting soccer jerseys and tourists popping up across the city.

“I just want to be where the fans are,” said David Meier, a Swiss fan in town for his home country’s match against Bosnia-Herzegovina on Thursday.

Meier, 45, plans to explore L.A. via bars, restaurants and watch parties, taking in every game that his schedule will allow before heading north of the border to Vancouver, where Switzerland will face Canada on June 24.

“Everyone has been so kind,” he said. “Soccer and beer turns strangers into friends.”

Flags from countries competing in the World Cup are on display at Manchester Boulevard and South Market Street in Inglewood.

(Allen J. Schaben / Los Angeles Times)

The energy carried over to Market Street, a historic shopping district about a mile from SoFi Stadium. Businesses set up signs, posters and international flags to lure locals and tourists alike, while the Miracle Theater hosted a watch party for the match between France and Senegal.

Owen Smith, who co-owns the theater with his wife, Mariana, said a Senegalese friend who grew up in France asked if he would be willing to show the game on the big screen. A day later, fans of both teams assembled inside, snapping photos in front of a giant inflatable World Cup trophy in the lobby.

“The Miracle is a cultural event theater. It’s about accommodating the community,” Smith said.

Benyam Woldegiorgis, who co-owns the Nile Bar on Market Street, is showing every single World Cup match — all 104 of them.

“It brings in business,” he said. “Usually it’s just football, basketball and baseball, but now we’re adding soccer to the mix.”

Dionte Johnson, owner of the streetwear store Kingsrowe, partnered with Adidas to hold a watch party for the U.S. team’s opener and said the turnout was massive, bringing in loads of Mexico fans who are local residents, even though their team had already won their opener the day before.

“The downside of the World Cup is that tickets are so expensive, so a lot of locals can’t go check out the games themselves. That’s why we’re hosting events,” Johnson said. “The games are in our backyard, so this is something people have had on their calendar for a long time.”

Homeowners are cashing in as well, with some renting out their places on Airbnb for a small fortune, figuring that crashing on a friend’s couch or booking a hotel room elsewhere is well worth the lofty payouts brought by World Cup demand.

Across L.A., hotel demand lagged compared with initial expectations, but short-term rental prices still jumped 56% compared with typical rates, and more than 70% of rentals were booked by December 2025.

In Inglewood — especially for rentals walkable to SoFi Stadium — prices became dizzying.

David Orenstein and his wife, Peggy, run an Airbnb across the street from SoFi Stadium. It usually rents for $400 per night, but for the U.S. team’s opening game, it went for $3,000.

(Robert Gauthier / Los Angeles Times)

Peggy Orenstein and her husband, David, own a home steps from the stadium that typically rents for $400 a night on Airbnb. For the U.S. team’s opener, the nightly rate shot up to $3,000.

For other matches, the four-bedroom house is going for $1,200 to $1,500 a night. Orenstein said the high demand and international crowds are a teaser for what’s to come.

“Next up is the Olympics,” she said. “This is a great learning lesson for what we can expect.”

Welsh TV presenter Gethin Jones has opened up about his love life over the years

Gethin Jones is a much-loved Welsh TV presenter.

The 48-year-old played rugby union while studying at Manchester Metropolitan University and, upon graduating, kicked off his television career on Welsh language channel S4C, where he hosted children’s shows including Popty, Mas Draw and Uned 5.

In 2005, Gethin became the 31st presenter of the BBC’s beloved children’s programme Blue Peter. Then in 2020, he took on the role of host on the BBC’s weekday magazine show Morning Live, which is broadcast from studios in Salford.

He regularly appears on the programme alongside Helen Skelton, Michelle Ackerley, Gaby Roslin, and Janette Manrara.

That’s not all, as Gethin has also featured on Celebrity MasterChef, comedy drama Stella, and even took to the Strictly Come Dancing dance floor during season 5. What may come as a surprise to some fans is that Gethin once had a very well-known ex-fiancée, so here’s everything you need to know about the star’s romantic history, reports Wales Online.

Who is Gethin Jones’ famous ex-fiancée?

Gethin had a serious romance with Welsh opera singer Katherine Jenkins after the pair first crossed paths in 2007, while he was competing on Strictly.

The couple announced their engagement in February 2011. However, by December of that same year, both confirmed they had decided to part ways.

Reflecting on the break-up, Gethin previously opened up on Tom Bryant’s Outdoors in Mind podcast, saying: “I was engaged and then breaking up, afterwards, or even during that period, it was just awful… I definitely had a bad bout of depression during that time.” He continued: “It was horrible… a lot of what I read about myself wasn’t right.”

Gethin notably sought counselling in a bid to work through his emotions, explaining: “I saw someone, I had therapy for a couple of years and I still do my homework on that.”

Katherine has since moved on with American painter Andrew Levitas, with the pair tying the knot in 2014 and going on to have two children together.

Past romances and rumours

Three years after his separation from Katherine, Gethin enjoyed a brief romance with former TOWIE star Lucy Mecklenburgh. The pair reportedly began dating in August 2014 after crossing paths at a Give Me Sport event.

Lucy later confirmed the relationship was short-lived, saying: “We went out a few times a while ago but it was bad timing for both of us.”

Gethin also dated model Katja Zwara in 2017, and was rumoured to have been linked to First Dates waitress Cici Coleman – though neither have confirmed a relationship.

There has also been considerable speculation in recent years surrounding a potential romance between Gethin and his Morning Live co-star Helen Skelton, though both have firmly denied they are dating.

When addressing the speculation in December 2025, Helen moved to quash the rumours, saying: “We just work together, we are not together. No, no, no. We are just work friends. They printed pictures of us at work and that we’re together because we are at work together.”

Speaking candidly about his friendship with Helen last year, Gethin revealed to The Sun: “We are very supportive of each other, we like to look out for each other. I think that’s fair to say on and off camera. You sometimes could get… you might need a little pep talk every now and then. Because she’s very passionate.”

Morning Live airs weekdays on BBC One at 9.30am

But the love affair here has gone way beyond baseball, this has been a glorious embracing of two cultures. A point underlined by the news Boston Mayor Michelle Wu has declared a sister city application with Glasgow.

Fittingly, she did so in a Scottish pub wearing a Scotland football jersey.

Tens of thousands of football fans swarming to a city for a major tournament is nothing new, but it is the manner of the revelry here that has set it apart.

At the time of writing, there has not been one arrest of a Scotland fan either in Boston or Providence, another nearby stronghold of the Tartan Army.

The ground work for this Boston bash was laid two years ago in Bavaria. At the last European Championships, Marienplatz felt like it held more Scots within it than Motherwell.

Again, Scotland fans were lauded for their behaviour, generosity and patter.

Alas, the football did its best to ruin the party.

That is perhaps one key difference to this shindig, apart from the obvious step up in excitement from a Euros to their first World Cup in 28 years.

What mood the Tartan Army would have been in if the opener against Haiti had turned into a disaster we will never know. Although, I would say it would not have made a dent.

The team on the pitch have done their bit to keep the party in full swing and a point against Morocco on Friday could trigger a tidal wave of celebration flooding back into Boston that night the likes they have never seen.

The best way to describe it is this has been the trip of a lifetime for people who are still in their 20s. There is a genuine appreciation from Scotland fans that they have waited this long to see their team at a World Cup, that it may be another three decades before it happens again.

And, even if it did, nothing could rival the week in Boston they’ve just had, regardless of what Miami holds.

For near enough a week, Scotland had the city to itself. Now it has become a tapestry of nations settling into one of the warmest, most welcoming place on the Charles River they could have hoped to visit.

Who knows, they may be back here if they are one of the best third-placed teams.

What will be the Tartan Army’s Boston legacy as the sporrans are soon to get packed away and the online check-ins start for flights to Miami?

Their generosity? Their good spirit? Their ability to alert some locals to the fact the World Cup is even happening?

Perhaps all of the above. Just not a haggis supper.

LOVE Island Australia’s Gabby McCarthy, the reality star with the show’s biggest ever boobs, has almost fallen out of her skin-tight dress.

The buxom lass, 22, took to Instagram to share a series of pictures from her night out as her grey and white dress struggled to contain her 34G chest.

She took pictures of herself sitting on a hotel bed as well as standing in front of a luggage trolley.

Gabby posed up a storm as her boobs glistened, thanks to the oil she put on them.

The zip on her dress went up as far as it could go as she nearly had a nip-slip.

In one snap, Gabby got on her knees on the bed as she stared seductively into the camera.

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Love Island’s Gabby with show’s ‘biggest ever boobs’ almost bursts out of bikini

She captioned the post: “In your dreams.”

Her followers flocked to the comments section as one gushed: “SHE THE BADDEST AND SHE KNOWS IT!!! Stunning as per Queen Gabs.”

Another person commented: “Ooh I’m obsessed.”

Somebody else said: “You are not from this Earth I swear.”

Yet another asked her: “You just get hotter?”

While a fifth added: “Actually unreal,” with love heart eyes emojis.

This isn’t the first time she’s threatened to spill out of her dress and it certainly won’t be the last.

Back in February, she left little to the imagination in a short black dress.

She posted the sizzling pic which accentuated her natural curves.

Gabby accessorised with shades, silver jewellery and knee-high boots to complete her look.

She shot to fame on the seventh series of Love Island Australia which aired last year.

She appeared as the very first bombshell on day one and immediately caused a stir with her confident personality.

The content creator was enjoying a connection with Jotham Russell but after their relationship fell apart, she decided to quit the show.

While on the show, she was accused of lying about surgery after claiming her boobs were natural.

Fans of the programme spotted old photos of her modelling trainers and lingerie and began doubting her chest was as natural as she claimed.

One person wrote on Reddit: “I thought they were natural until I saw pictures of her a few years ago being a b-c cup at best.

“Unpopular opinion, but I believe she has teardrop implants. Natural boobs jiggle and move a lot when you’re walking and running but hers are way more ‘stiff’. Her surgeon did an amazing job making them look natural though.”

Another wrote: “I admit I was searching for the truth on her boobs, only cuz she claimed they were natural. Sparked a bit of debate amongst friends.

“Hard one to call. They look fake to me and don’t believe weight gain caused them to grow.”

During her introduction video, she said: “My name is Gabby, I’m 21 years old and I’m from the Gold Coast.

“I get this question every single day of my life, my boobs are natural guys!

“If I want a guy, then I always get him. I’ve got the teeth, I’ve got the face, I’ve got the body, and I’ve got the boobs.”

In this week’s episode of The Envelope podcast, Rachel Sennott discusses finding the voice of “I Love L.A.” — and finding her footing as series creator — during a tumultuous time in her life.

Kelvin Washington: Welcome to The Envelope, Kelvin Washington alongside you know who, Yvonne Villarreal, Mark Olsen. Always great to have you two here and spend some time with you. We talked about it earlier, we had Emmy season — a few weeks ago we discussed it. But now Emmy nominations are on the way. Yvonne, I’ll start with you, just maybe someone, a show, a couple of things you’re looking at saying, “Hey, I would love to see this or that person nominated.”

Yvonne Villarreal: I wanna give some shout-outs to the women right now. I was really frustrated when Rhea Seehorn didn’t get love until the final season of “Better Call Saul,” and I’m hoping — and I do have a lot of hope — that she will be recognized for “Pluribus.” [I] was a really big fan of “The Comeback” this season. I would like to [see] Lisa Kudrow get in there. Show-wise, I would like to see “The Testaments” in there. I don’t know how much of a dark horse that one is, but that’s my pick for show.

Washington: You’ve been riding “The Testaments.” What about you, Mark?

Olsen: I’m sort of leapfrogging over nominations, and I’m just thinking about what would be exciting on the show. And last year, I remember Stephen Colbert won for talk show kind of right after his show had been canceled, and that seemed like a very exciting moment. And so this year, with Jimmy Kimmel, where this is the first Emmy cycle since he had his suspension last year, and really has been in the news, I just think if he were to be nominated and then to win, that just would be such an exciting moment at the show. What’s he gonna say? I just would really love to see that.

Washington: Yeah, he seems like he would have some things to say, right? Because just kind of the nature of who he is. We’ll have to wait and see. And just for me, a couple of people. Just a fan of this particular person, Janelle James is hilarious to me. She plays in “Abbott Elementary.” She plays that role great. And then this one is no real surprise, probably 50-plus-year career, but Martin Short. Every time I see him, he’s amazing, steals the scene. So those are folks that just jump off on the radar for me.

All right, I’ll get to you, Mark. You had a chance to sit down with Rachel Sennott of “I Love L.A.,” creator and star of it. Tell me a little bit more about that.

Olsen: She’s been kind of a real, like, bright light on the comedy scene for the last few years in films like “Shiva Baby,” “Bodies Bodies Bodies” and “Bottoms,” and, you know, she also was like a writer as well as a performer. And so with “I Love L.A.,” which is a look at sort of like the young creative class in Los Angeles, she is the star of the show, she created the show, she writes on the show, she’s executive producer, she actually made her directing debut with one of the episodes. And so it’s just exciting to see her sort of really like come into her voice and come into her own with this new show.

Washington: Kind of reminds me a little bit of, you know, now maybe a decade ago Issa Rae’s surge in L.A. and comedy creating, and then Riz Ahmed, who you spoke with last week — same thing creating and starring and stuff. Seems like that’s the energy [we’re] getting from a lot of the young talent. Well, here is Mark and Rachel now.

Rachel Sennott, creator and star of HBO’s “I Love L.A.”

(Evan Mulling / For The Times)

Mark Olsen: We’re here with Rachel Sennott, creator, executive producer, writer, star, and for the first time, director on the show “I Love L.A.,” as well as co-creator and writer on “Big Mistakes.” That’s a lot.

Rachel Sennott: When you say it like that, I’m like, “Oh, my God.” And I’m also a friend, daughter, let’s not forget girlfriend. Yeah, those are all things that I am doing. And I am so grateful and having so much fun doing that.

Olsen: Hopefully this isn’t something that just I get a kick out of, but we’re here at the L.A. Times offices in El Segundo, and the Randy Newman song “I Love L.A.,” one of the first lines in the song is “Rolling down the Imperial Highway.” And we are in fact on Imperial Highway.

Sennott: We’re here right now. We’re living it.

Olsen: Tell me about the title of the show, its relationship to the song and what was it that you liked about having the show called “I Love L.A.”

Sennott: We were between two titles for a while, “I Love L.A.” and “Climbers,” and the reason we went with “I Love L.A.” is because in the process of making the show, I moved here from New York and I had a hard time when I was first here. And in the process of filming the pilot, I really fell in love with L.A., and I think getting to make something here, I all of a sudden saw L.A. through this lens where everything was like a movie. I would go on my walks that I usually go on. I would walk through my neighborhood, I would go to my spots, and I just saw it through this different lens, and I was really falling in love with it in the process of making the show. And I think with “Climbers,” that title fell a little bit — it was a double meaning of like social climbers and then also, being the age that I am, where I feel like ever since I got to college, ever since I became an adult, there’s been this chaotic energy in the world and uncertain ground where things never felt expected. It was always unexpected events. Graduating into COVID and then there was a strike and everything. So I feel like Sisyphus, where you’re always pushing the rock up the hill and it’s never enough. But we were worried that “Climbers” would seem too negative … We didn’t want to set people up already judging the characters.

Olsen: And then what has it been like for you learning to be a showrunner in making “I Love L.A.”? It’s funny, your co-showrunner Emma Barrie, she mentioned how you were very organized, but she was struck that you had everything in a pink binder with horses on it. So it was you trying to learn this new thing while also holding on to your essence.

Sennott: I feel so grateful for everyone who works on the show with me. I learned a lot from Emma. I learned from Lorene [Scafaria], who inspired me so much as a director. Aida [Rodgers], our producer, Amy [Gravitt] and Allie [Wasserman] at HBO; Max [Silvestri], who’s one of our EPs and writers. Showrunning is a million different jobs, and some of the jobs I’d done before, some of them I hadn’t, and I felt like I got to see different people shine in certain things, people who are more talented or more skilled at structure than me, people who have directed before, people who understand shots and basically learn from everyone and see that everyone wants the show to be the best it can be. They’re bringing stuff to the table. And so I benefited from everyone else’s skills and talents and just being like, “If you know how to do this better than me, I’m gonna learn from you and watch you and hopefully take from that so I can do my job better.”

Olsen: In a lot of the press as you’ve been talking about the show, you’ve been talking a lot about the concept of the Saturn return and this sort of chaotic period people have in their late 20s. You yourself now are 30 —

Sennott: Yes, I made it. I literally just finished. I was relieved, but my Saturn return was the process, getting the show picked up and the first season of the show. That was my Saturn return.

Olsen: Can you already feel that something has settled or things are different somehow?

Sennott: Yes, a thousand percent. My Saturn return, the dates that it was the strongest were the month around when the show got picked up. Making the pilot was so amazing and I learned so much. And then I was in this moment where I had to pick — basically, I couldn’t take on acting jobs because I was gonna hopefully do the show, but I didn’t know if the show was picked up yet or not. And so I had to say no to certain things and kind of take this leap. At the same time I went through a breakup, and then I got arrested for having CBD in the Cayman Islands. And it was just a very chaotic month of my life where I was like in jail for six hours on a break with my boyfriend, so he, like, had no idea where I was, and I was like, I don’t even know if I have a show, I just said no to this other thing. I just felt like I didn’t know what was happening. I’m someone who it’s hard for me to take risks sometimes, and that was a big risk and leap into what I thought I should be doing. And then the rest of it was learning for the first season how to do a job I’d never done before. Obviously, I still have more to learn, but I think that was a big Saturn return for me, the roller coaster of it.

Olsen: It’s so interesting to hear you say that you think of yourself as a person who’s afraid of risk, because that’s not my impression of you.

Sennott: You’re like, “Stop taking risks. Chill on the risks, every second.” No, I think it’s more [that] I didn’t necessarily believe in myself as a creator on my own, and that was really scary for me. That was the risk, I think.

Olsen: Because especially in building up to making “I Love L.A.,” in your career, I feel like you’ve created this comedic persona for yourself. What is the biggest distinction between the Rachel I think I know and like the actual you?

Sennott: You mean the characters that I play? Or like the persona?

Olsen: These sort of hard-charging, very ambitious, but maybe not always understanding of themselves characters, and you. I’m just interested in how you see the distinction between that persona and the actual you.

Sennott: Well, I hope that the characters that I’ve played have been somewhat different from each other. I think “Shiva Baby,” that character, was a little bit more anxiety-inward. Alice in “Bodies” was way more outward and kind of no filter, said every inside thought. Maia on “I Love L.A.,” I think, is kind of bitter in the beginning of the first season and is pinning her failures, blaming them, on her friend. All of those characters, I always draw on some element of myself. I think all actors, you have to find some connection to the character. But I think I’m hopefully more grounded and balanced and mature than the character. I hope.

Olsen: You’ve talked about how “I Love L.A.” really explores the foibles and challenges that people have leading these very, like, online lives and the way that people nowadays are really sort of tethered to their phones all the time. Is that something that you feel like you grapple with yourself? Is it something you yourself have had to kind of get over?

Sennott: I would say I started my career on the internet, and I grew up on the internet, and basically, I created a different sort of persona on the internet that was based in truth of a time when I was in my early 20s in New York, and it was a lot more messy and a little chaotic, and I was just going through things in my life at that time [that inspired] — I say “writing,” but like the tweets, the jokes, the videos, whatever, that were coming out of me. And then I felt I changed, but I still wanted to kind of project that character. And so I actually ended up putting that character into Tallulah [played by Odessa A’zion]. And I think Maia was a little bit more the version of myself when I first moved to L.A. and I felt isolated and it was during COVID, and I felt I was kind of gripping onto my friends in a codependent way. And so I think the show is sort of dealing with, whether or not you’re an influencer or person online, anyone who’s grown up on the internet is projecting some sort of version of themselves. So I think it was that I was trying to explore.

Olsen: You mentioned that the character of Tallulah is this version of you that you used to be. So what was it like for you creating this character that was almost like your id unleashed?

Sennott: It felt like I was separating myself from her. At first, [it] maybe could have felt like a caricature. And then when we cast Odessa, who is so talented and just, as an actor, she has such depth and range, and I think she asked questions and brought so much to it. Then it actually made me sever myself from the character, and the character became its own thing that she brought to life.

Olsen: Your character, Maia, in some ways is the audience surrogate, she’s kind of the most “normal” character on the show. And considering that in “Bottoms” or “Bodies Bodies Bodies” you often were the outrageous character, what has it been like for you to play this character that’s a little more self-contained?

Sennott: It’s been fun. I think we sort of found her during the first season. I feel that Episodes 6 through 8 are really where the show finds its footing and where we find what’s the comedy of Maia. It takes a little for her to kind of crack open, what’s funny about her as a character, but also I think Tallulah is almost like an agent of change for her — Maia was set in her ways and sort of struggling and depressed, and I think Tallulah puts her on track, and she’s going through her Saturn return and all that stuff. And so I think we get to see at the end of the season and just having been writing Season 2, I think that we get see her do a lot more fun stuff.

Olsen: It’s funny, as viewers, a lot of times people say, “Oh, you know, there’s this show you should watch, it really gets going on like Episode 3” or whatever. And I don’t think I’ve ever heard a creator say before, like, “Oh, 6, 7, and 8, we figured it out.” Do you feel you knew that in the moment, or has that only come to you as you’ve been working on Season 2?

Sennott: I think as we were editing the first season. Tone is something that you can say, like, “We want it to be like, this needs this, and it’s that and that and the tone of that.” But tone is what you find in the edit. I think you shoot different versions of a line, of a scene, and then you piece it together. And I think for me, that’s when I felt like, “This is the tone of the show. This is the world of the show.” And in writing Season 2 as well, just living more in that world.

Olsen: You kind of touched on this, but the characters on the show, they kind of skirt this line between being endearing and annoying. What is it that you like about that?

Sennott: Because I think that’s how people are. I am not interested in seeing perfect people or people who are flawed in a way that’s not actually real. So I love all the characters. I think Alani [played by True Whitaker], for example, is someone where you could really easily be like, “Oh, a nepo baby, she’s so privileged, whatever.” I think she’s the character with the biggest heart. She’s the best friend out of the whole group. She cares for everyone. She’s so deeply sensitive. And she’s actually been through a lot of s— and she drops these little things, these clues where you’re like, “Gee, she went through something crazy but is choosing to look at life half-full,” and I think that’s fun. I like the characters who make you feel or expect something of them and then show you another side. Charlie [played by Jordan Firstman] I think does that as well, where you meet him and you think he’s a little acerbic, he’s a little judgmental, and then he goes through loss and grief when Lukas, spoilers, Lukas Landry dies, RIP Lukas. That’s really hard for him. I’ve been friends with Jordan for so long, and I love him so much. I think he’s so talented. But I think he showed a totally new side of himself with the character.

Olsen: I agree. I found those scenes very touching. There’s an emotion there that’s kind of unexpected. Another moment that I really like in the show is Odessa’s character, she wants to change a dinner reservation to five people at 8 o’clock. And then you have to spend hours trying to make that happen. And I really appreciated how it’s something that sounds like it should be simple, and for some people it’s no big deal. But then for other people, it’s the biggest hurdle imaginable. Did you like that the show explores this sort of proximity to ease? Sometimes you end up at this party in a big, big house, but it’s not your house. Was that something you wanted to explore about life in L.A.?

Sennott: Totally. There’s also something specific to L.A. and specific to the industry we’re exploring — which is the internet as opposed to Hollywood — that I would say is relatable to me, to anyone in their late 20s, early 30s. When you’re in your early 20s, everyone’s sort of grouped together or feels like they’re in the same bucket. It’s like, “Oh we’re all doing this same thing, we’re all roommates, we’re all in school together, we’re all whatever.” But people make decisions that you don’t even see. I feel like the first time I found out that one of my friends had a SEP IRA, I was like, “When did we all decide that we’re getting SEP IRAs?” And it was a friend who loves to party, and I was thrown. Now I’m panicking I didn’t do that. Or who’s getting in a serious relationship, whatever. People start making decisions in their late 20s, all of a sudden everyone’s off on different paths. It’s like, “Wait, you’re getting married, but you’re still partying the way that we did when we were in college.” This person is moving, this person is changing their career path. And so you all of a sudden feel a little bit betrayed or on your own, and it’s isolating, and that is something that, yes, we’re doing it through a specific lens of L.A. and this world and these characters, but I think it’s really relatable to people at that age.

Olsen: I’ve heard you describe yourself as a zillennial cusp.

Sennott: Yeah, I’m cusp, and I feel like I relate to a little bit of both.

Olsen: But do you feel a pressure for the show to feel like some sort of a generational statement, to capture these kind of big-picture things?

Sennott: No. Ayo [Edebiri] and I were texting each other because there’s always an article that’s like, “Turns out these b— are 30. Yeah. They’ve been lying the whole time. They said they’re Gen Z.” I’m like, “I didn’t say anything. I was born in ’95. I’m 30.” Call me what you want, but I was just writing to what I feel at the time. I think people who grew up on the internet in the way that I did will relate to it, but I think you can relate too if you’re older or you’re younger.

Olsen: As people are writing about the show, they very frequently are referencing “Girls,” “Insecure,” “Sex and the City.” But I’ve heard you reference “Entourage” quite a bit. Could you explain that?

Sennott: “Girls” and “Sex and the City” and “Insecure,” all of those shows, all HBO shows, are formative to me as an artist. I remember watching “Girls,” I was in high school and looking at colleges with my dad and we went and toured [New York University], and in the hotel room that night, he was like, “I heard so much about this new show, ‘Girls,’ we should watch it. And it was the episode with Patrick Wilson where they f— in his nice apartment the whole time, and we turned it on and my dad was like, “OK, you can watch this later on your own, this is for you.” And I remember going to bed being like, “I’ve gotta go to New York, like whoa, this is crazy.” I think naturally those were already gonna inspire me. “Entourage” and “Atlanta,” those were two references that I mentioned a lot when we were making the show. “Entourage” because I feel I got to come up in this industry with my friends, and when I’m with my friends I feel completely invincible, and so there was that aspect. It was like, “I wanna see ‘Entourage’ but from a different point of view and perspective and a slightly different industry.” And then “Atlanta,” there is already having a family relationship and friendship on top of managing. Like how [Earn] manages Paperboi. And then I think “Atlanta” did such a great job of capturing a city that has almost magical realism elements to it. And L.A., a lot of the time, there’s things that happen here that are crazy, that feel almost unreal, but they are real. So that was a big inspiration for the show as well. Like the opening of the show, sex during an earthquake. That’s happened to me, but it also feels a little ridiculous, but it happens in L.A.

Olsen: You mentioned earlier that in waiting for the show to come around, you felt you were having to turn things down or you were really having to sort of change your mindset in a way. Can you talk a little more about that? With the show “Big Mistakes” that you created with Dan Levy, is that one of the things that you had to step away from or readjust how you were gonna be involved because of the fact that you were going to have “I Love L.A.”?

Sennott: I was more talking about acting roles. When you step into a creator role, it’s a different mindset than acting jobs and you have to commit to a longer time period. When you’re just acting in things, you can pop in, pop out and you leave set and you’re like, “I love you guys so much. I’ll see you in a year at the premiere,” which is fabulous too — love doing that. But when you are creating something, you’re in it from beginning to end, and you really wanna give your all to it. So I think I was more talking about just, like, betting on myself as a creator, as opposed to just acting.

Olsen: And how has that felt now that you’re on the other side of it, with one season of “I Love L.A.” made? How do you feel about having made that decision, having bet on yourself like that?

Sennott: I think it’s changed me, in a way where I’m so happy I did it. And it’s sometimes harder and there’s more parts to it, but I feel more in myself creatively than I ever have before, I think.

Olsen: It changed you how?

Sennott: Just because you all of a sudden see all the different parts of the process of making something and all these different jobs that maybe I wasn’t as aware of before. And I think there’s also something beautiful about popping into something and acting and just being like, “I am present as my character. This is what I am thinking about. I’m thinking about what does the character want.” And that’s amazing too. But I feel so lucky to have been able to experience other parts of making something.

Olsen: What was it like learning how to switch hats, especially during production? I would imagine you have a producer brain, you have an actor brain, then for one episode you have a director brain.

Sennott: I had to like sort of take it day by day. There are days where it’s a lighter scene for me and I can be on the side approving locations, taking meetings during lunch. There was a day where I had two sex scenes, for Episodes 6 and 7. So we shot the end of 7, the fight scene with me and Josh [Hutcherson], and the sex scene where it’s Maia and Dylan but she’s fantasizing about Ben. It was a lot. And so I was like, to Emma and Max and Aida, “Let’s not do any other meetings today in the middle of the day,” and they were like, “Totally got you.” That day I was more focused. I really needed to be present in the scene and have this be my main focus. And then on a day where I’m shooting like, “you’re texting on your phone” and “you’re walking on your walking treadmill,” I can do other stuff. So I think it was just taking each day as it comes and having so much support from the rest of the team.

Olsen: It’s wild to think of just one day providing all this material for the show. Just a single day could be so pivotal.

Sennott: Yeah, totally. A lot can happen in a day and then other days you’re like, “I’m just opening doors.” You never know.

Olsen: How did you come to conceive of how you kind of wanted to depict the online world, how people text, whether they’re FaceTiming and things like that? The show obviously exists with that world, as part of it, but you didn’t spend a whole lot of time animating texts. How did you come to conceive of how to depict people’s online life?

Sennott: I wanted it to feel how it does in the real world, which is the internet is just a big part of everyone’s life, but people aren’t explaining it to each other all the time. So we wanted to have the internet feel like the real internet, but our own internet. We didn’t want to ever reference anything that would date us because the internet moves so fast. So, like, Coke Larry, for example, when Dylan gets made into a meme, whatever, that’s our own thing, but it moves the same way as the internet does. And we tried not to have too much phone screens, texting, whatever. Like for example you [just] see snippets of Tallulah making videos or posting or whatever. In “Entourage,” you don’t really see that much of Vince acting. You see all the stuff around it. So that was sort of our model for the show.

Olsen: You directed the final episode of the season. Do you expect to be directing more in Season 2?

Sennott: Yeah.

Olsen: And how did you find the experience? What did you like about it?

Sennott: I loved it. You’re just in every aspect of the process. You are thinking about everything, and it was so engaging and exciting, and afterwards I felt fried, and I like crawled onto the edit couch and I was like limp and it took a lot out of me. People describe it like giving birth. And then you’re like, “I gotta do it again.” So that’s kind of how I felt on the other end.

Olsen: Can you talk a little about that final episode? The show is called “I Love L.A.” You send the main characters to New York for the final episode, which has turned into kind of a controversial decision. A lot of people have talked about that. Can you talk just a little about deciding to end the season in New York?

Sennott: I think it was because it was sort of addressing the fact that these girls went to school in New York together. They lived in New York and they chose to move to L.A., and I think when you do that there’s always going to be the push and pull of the two cities, and going back to New York, it was almost like getting a chance to get back together with your ex and being like, “You know what, there’s a reason it didn’t work out.” And they end the episode with, “I miss L.A.” So I think that’s kind of what we were aiming to do.

Olsen: And then before we wrap up, I should be sure to ask, is there anything that you could tell us about Season 2? What can people look forward to?

Sennott: It’s sort of what we were talking about earlier, Episodes 6 through 8, I think, I just feel we’ve locked in to our tone, we get to see other sides of characters we haven’t before, we go deeper on certain characters. And I think there’s some fun stuff that we set up in the finale that we get to explore.

Actor and racing driver Michael Fassbender is returning this month as CIA Agent Martian in season two of The Agency. He talks sociopaths and obsessive preparation on set.

Leading a double life is nothing new for Michael Fassbender, who is returning as CIA agent Martian in season two of spy thriller The Agency. An actor and a professional racing driver, Michael, 49, has reached an optimum level in both careers. Yet, despite this enviable skill set, achieving success and fitting in perfectly in two very different worlds, it would not mean he would make a perfect spy.

For that, according to a real life agent, who he spoke to while researching his role, Michael would need to be a sociopath. He says of this revelation: “That was a real gateway into the character for me.”

The Agency, starring Michael as Brandon Colby, codenamed Martian; Jodie Turner-Smith as his lover Dr Samia Fatima and Richard Gere as CIA chief James Bradley, launches season 2 on Saturday June 21 on streaming service Paramount+. A dramatic trailer for the series hears Martian saying: “I betrayed my country, did I cause harm? Yes. I lied to my friends, my colleagues. I sacrificed people. I deserve my fate. If I had to do it again, I wouldn’t hesitate.”

Season one saw CIA covert operative Martian being suddenly ordered to abandon his long-term undercover assignment in Ethiopia – where he fell in love with Samia – and return to London. In Africa he was working under the false identity – known in the world of espionage as a ‘legend’ – of Paul Lewis.

Michael picks up the story in season two, saying: “Then she [Samia] arrives in London. Then he meets up with her, which he shouldn’t do and then he compromises her. She gets captured and his new objective is to basically get her to safety. But by doing that, he becomes a double agent and betrays his country, becomes a traitor and the walls are closing in on him.”

Born in Heidelberg, Germany, Michael’s mum, Adele, hailed from County Antrim, Northern Ireland, while his dad, Josef, was a chef, who had worked at The Savoy in London. Together with his older sister, Catherine, now a neuropsychologist, the family moved to Kilarney in County Kerry when he was two, where his parents ran a local restaurant, West End House.

A Catholic altar boy when he was young, Michael says this trained him to perform to an audience. And, after initially harbouring ambitions to be a heavy metal guitarist – growing his hair and listening to thrash metal – aged 17, he appeared in a local play and changed direction.

Relocating to London, aged 19, he enrolled at the Drama Centre, but dropped out before completing his third year to start his professional career in a touring production of Three Sisters by Anton Chekhov. Launching his film career in 2001 in Steven Spielberg’s Band of Brothers, his credits since include Hunger (2008) Shame (2011) 12 Years a Slave (2013) – for which he was nominated for a best supporting actor Oscar – and X-Men (2011).

He was also nominated for a best actor Oscar for playing the Apple co-founder in the 2015 movie Steve Jobs. Married to Swedish actress Alicia Vikander, 37, the couple and their two young sons live in Lisbon, Portugal, but retain strong ties with London, where they spent many years.

Known to completely immerse himself in a role – for example, losing 40 lb to play an IRA hunger striker in Hunger – when preparing for the role of Martian, he also met up with two genuine spies. Speaking on The Arts Hour, he says: “The first guy I talked to, I felt like I wasn’t going to need dirt or negative aspects, let’s say. Then I spoke to another guy. We were going through the character and I was like ‘is this guy a sociopath?’ And he was like ‘well let’s go through the characteristics of a sociopath.’”

Clinically diagnosed as antisocial personality disorder, sociopaths have a persistent disregard for the rights, feelings and safety of others – feeling neither empathy, nor remorse. Returning to his conversation with the spy, Michael continues: “We went through the list [of characteristics] and he was like ‘we’re ticking a lot of boxes here.’ I was like ‘yes, ok, so he is.’ And he was like ‘well, it’s a good thing to be in that job.’”

In the new season of The Agency, Martian will be seen desperately trying to claw back some semblance of humanity after being out on his own, as a covert operative, for 7 years. Michael explains: “A lot of spies work in the embassy, so if the heat comes on them, they have a passport and they can get out. But a non-official covert doesn’t have that.”

Describing Martian’s relationship with Samia and with his daughter in London, who he hasn’t seen for many years, he continues: “It’s sort of his fight for humanity. He’s been in the business for about 20 years, so he’s quite jaded. He’s crossed a lot of moral lines he didn’t think he’d do at the beginning of his career.”

As for his own career, for 10 years, Michael has pursued parallel interests in racing driving and acting. Between 2019 and 2023, he stepped away from Hollywood, pursuing a serious career as a professional sports car racer. Joining a development programme with Porsche back in 2018, his greatest racing achievement has been completing the 24 Hours of Le Mans endurance classic in 2022.

The 2023 documentary Road to Le Mans follows his journey. Michael has said of racing: “My first dream has always been to go racing. Even before acting.” Someone who doesn’t do anything by halves, it is unsurprising that Michael would never have been content to keep racing as a hobby. His desire to give everything his personal best applies both to racing and acting.

Reputed to have read the script for Shame around 350 times, so he could get inside the head of a sex addict, he claims to have reined in his obsessive preparation for The Agency. He laughs, saying he read the script “150 times.” He says: “I try and do it 10 times a day.”

Explaining the need for this degree of intensity, he shrugs: “I’m a slow learner! It’s just something I’ve always done. If I keep reading it, I feel like the dialogue is seeping into the bones and I’m thinking about the character as I’m reading.”

Hugely professional, Michael adds: “I just don’t want to turn up on set unprepared. A lot of things can fall through the cracks that are out of my control, but the worst thing is if I leave set and I’m ‘oh I messed up because I didn’t do my homework.’“ An anathema to the average sociopath, this sense of duty and consideration for others would probably make Michael a lousy spy.

*This interview has been adapted from The Arts Hour on the BBC World Service, available on BBC Sounds.

The “Love Island USA” production team is mourning the loss of executive producer James Barker, who died last week while on set in Fiji.

“Love Island USA” producers ITV America and Peacock confirmed Barker’s death in a media release shared with The Times on Monday. The announcement said that Barker died after “an unexpected medical emergency” but did not provide additional details, including the day of his death and a cause of death. Barker was 40.

“James’ unimaginable loss has been deeply felt across not just the entire Love Island USA production, but throughout all of ITV and Peacock,” the television companies said in a joint statement. “He was a beloved and greatly valued member of our collective family whose kindness, talent and dedication left an indelible mark on all of us and everyone who had the privilege of knowing and working with him. We extend our heartfelt condolences to James’ family, friends and colleagues.”

Barker began his tenure on “Love Island USA” in 2020, first working as a story producer. He has worked as an executive producer on the series for the last three seasons and was also a member of the producing team on “Love Island” companion series “Love Island Games” and “Love Island: Beyond the Villa.”

Barker, according to Monday’s statement, also oversaw the hit series’ pop soundtrack. For an interview with Rolling Stone in 2025, Barker recalled watching the original British “Love Island” series and how pop music supplemented the on-screen romances and heartbreak: “I think that is where my brain immediately said, ‘One, this is amazing, and more shows should be like this.’ And two, ‘How do I work on “Love Island”?’”

Barker also noted in the interview that he drew inspiration for the “Love Island USA” villa sound from his pre-TV career as a nightlife DJ and spoke about the process of hand-selecting music from established pop acts and up-and-coming artists.

“In the past, there was such a stigma about reality shows that a lot of artists didn’t want their music associated with reality shows. And that’s starting to turn around now,” Barker told the outlet. “[Artists are] more and more seeing, well, one, the financial aspect of having your music synced in these kind of shows, and also just the wide reach of viewers.”

Before “Love Island USA,” Barker was a producer on reality series “Pawn Stars,” “Counting Cars” and “Forged in Fire.” He later served as a story producer on “Queer Eye,” “Cosmic Love” and “Are You My First?” Outside of his TV work, Barker often performed as DJ Chaotic at gay bar C’mon Everybody in Brooklyn.

“Love Island USA,” which began its eighth season earlier this month, will pay tribute to Barker in Tuesday’s episode.

He is survived by his mother Malinda.