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Cardi B, who wonders “Am I the Drama?” on her upcoming album, now faces a different question from curious fans: Did she split with Stefon Diggs?

The Grammy-winning “Bodak Yellow” rapper sparked breakup chatter this week after eagle-eyed followers noticed she had taken down photos featuring NFL star Diggs from her Instagram page. Cardi B, 32, and Diggs, 31, hard-launched their relationship during the NBA Playoffs in May and made things Instagram official in June.

Representatives for Cardi B and Diggs did not immediately respond to The Times on Tuesday.

In June, Cardi B flaunted her relationship with the New England Patriots wide receiver, sharing very intimate photos from a steamy boating trip in a since-removed Instagram carousel. “Chapter 5 ……Hello Chapter six,” Cardi B captioned the collection of photos, which is no longer publicly visible on her profile.

Cardi B and Diggs first sparked dating rumors in February, when TMZ published video of the pair arriving at a Miami hotel during Valentine’s Day weekend. In April, they were spotted together again partying it up at a Manhattan nightclub. Photos of the rapper dancing on the athlete’s lap spread online and even got a thumbs-up from the musician’s estranged husband, Migos rapper Offset.

Cardi B reportedly filed to divorce Offset in 2024. Since then, their relationship has been far from friendly as the pair — who share three young children — continue to spar on social media.

While Cardi B’s Instagram does not currently feature any photos of Diggs, it’s worth noting that they still follow each other on the app. Cardi B and Offset, on the other hand, are no longer Instagram mutuals.

Speculation about the status of Cardi B’s romantic life surfaced as she arrived at Paris Fashion Week sans Diggs. She appeared at the Schiaparelli showcase at Petit Palais wearing a body-hugging gown with a dramatic neckline and fringe. A live crow was perched on the “W.A.P.” artist‘s right hand, evoking imagery from her forthcoming album.

Cardi B revealed in late June that her long-anticipated sophomore album, “Am I the Drama?,” is set to drop Sept. 19, seven years after her debut, “Invasion of Privacy.” Her social media announcement included a look at the theatrical album cover: She wears an abstract red body suit and matching fishnet stockings, grabbing one heel as a dark bird rests on her shoe and more of them swarm around her.

Before the announcement, Cardi B reflected in a teaser on “seven years of love, life and loss” and trading in grace for hell.

“I learned power’s not given. It’s taken,” the Bronx native says in the video. “I’m shedding feathers and no more tears. I’m not back. I’m beyond.”

José Soriano pitched 6⅔ strong innings and Logan O’Hoppe hit a pair of two-run shots to end a long home run drought and help the Angels beat the Houston Astros 9-1 on Saturday night.

Soriano (5-5) struck out 10 and allowed one run on three hits and three walks. He has allowed just two runs in his last three starts covering 20⅔ innings with 28 strikeouts. He hasn’t allowed a home run since April 22 — a span of 11 starts.

O’Hoppe hit his 15th homer and first since May 22 in the third inning to give the Angels a 6-0 lead. The catcher capped the scoring with his second of the game in the seventh.

Jo Adell reached with a one-out infield single off Astros rookie Brandon Walter (0-1) in the second and Luis Rengifo followed with his fourth home run for a 2-0 lead.

Nolan Schanuel was hit by a pitch and Mike Trout singled and scored from first on a double by Taylor Ward for a 4-0 lead.

Jose Altuve walked and scored on a two-out single by Christian Walker in the fourth for the Astros, but the Angels answered in their half when Zach Neto doubled with two outs and scored on Schanuel’s single for a 7-1 lead.

Walter allowed seven runs on nine hits in six innings in his fourth career start.

Key moment: The Angels never looked back after Rengifo homered in the second.

Key stat: Houston is 3-2 against the Angels this season and leads the overall series 133-85. That includes a 65-45 record at Angel Stadium.

Up next: Astros rookie RHP Ryan Gusto (4-3, 4.31 ERA) will start Sunday’s rubber game against Angels RHP Kyle Hendricks (5-6, 4.79).

SAN JOSÉ — The U.S. hopes a blowout win over the world’s 100th-ranked team can start to lessen the pessimism created by the Americans’ longest losing streak since 2007.

Malik Tillman scored twice and Diego Luna had a pair of assists in a 5-0 rout of Trinidad and Tobago on Sunday in the Americans’ CONCACAF Gold Cup opener.

“Really important I think to cut a little bit this — I don’t say negativity, but, yes … but it’s really important now to start the competition with a good feeling,” U.S. coach Mauricio Pochettino said.

Victory in the Group D opener ended a four-game losing streak and came after days of controversy over Christian Pulisic’s desire to rest during the Gold Cup and Pochettino not including the star in a pair of pre-tournament friendlies the attacker offered to play in.

Tillman scored in the 16th and 41st minutes for his first two international goals, both following giveaways by Alvin Jones, and Patrick Agyemang scored his fourth international goal in the 44th when Luna’s shot deflected off a foot.

“It was in our hands to show a reaction and I think we’ve done it today,” Tillman said. “We played a good game and it was nice to bounce back, have a good start to the tournament.”

Brenden Aaronson added his ninth goal in the 82nd and Haji Wright his fifth just 1 minute, 13 seconds later for the 16th-ranked Americans, who drew just 12,610 to PayPal Park.

“Malik is a talented player. It’s obvious that everyone can see,” Pochettino said. “October, November, when we met for the first time I think it was difficult to create this relationship that the player need(s) and the coach need(s) to trust and to trust each other. … I think now after a few weeks together I really start to understand him and he starts to understand us. And he’s very special, a very special talent and a very special kid.”

Luna, a 21-year-old who impressed Pochettino during his debut in January when he insisted he stay on the field with a broken nose, was playing not far from where he grew up and said he had gotten tickets for about 30 family and friends.

“Just an honor, right, to be able to dream about this day,” he said. “[To] start off a tournament like this back in my home city is awesome.”

Luna ran onto Jones’ back pass, dribbled down the left flank and crossed to Tillman for the second goal, then shot from just inside the penalty area for the goal that glanced off Tillman for a 3-0 lead.

“His performance was really good. He showed his character,” Pochettino said.

The Americans have won their group in 16 of 17 Gold Cups, along with a second-place finish behind Panama in 2011, and improved their group stage record to 41 wins, one loss and five draws. They play invited guest Saudi Arabia on Thursday at Austin, Texas, then close group play on June 22 against Haiti at Arlington, Texas.

Matt Freese was in goal in place of Matt Turner, who had started 14 consecutive competitive matches for the U.S. and 23 of 24 dating to the 2022 World Cup. The lone exception was a Gold Cup group stage game against St. Kitts and Nevis in 2023.

Pochettino said he wanted to create competition for Turner, who didn’t get into a Crystal Palace match after March 1. The coach said Turner told him he was disappointed with the decision but understood it and would compete to get playing time.

The month is just four days old, but for the Dodgers the June swoon is already getting old.

On Wednesday, they lost for the third time in four games with a pair of Pete Alonso home runs lifting the Mets to a 6-1 victory. The loss was the 10th in 18 games for the Dodgers, who are just four games over .500 since their season-opening eight-game winning streak.

Right-hander Tony Gonsolin (3-2) took the loss although he really only had one bad inning.

He got off to a rough start, hitting Francisco Lindor in the right foot with his second pitch, and the inning went downhill from there. Brandon Nimmo followed with a potential double-play ball that went through second baseman Kiké Hernández and after Nimmo stole second, Lindor scored on a ground out.

Alonso followed with a towering two-run home run to right-center to give the Mets a 3-0 lead.

Gonsolin settled down after that and though he didn’t allow another run, New York had runners on base in each of the five innings he worked. He exited after 90 pitches, having given up three hits and two walks while striking out six.

After a pair of hitless innings from the Dodger bullpen, Alonso put the game away in the eighth, following a hit batter and a walk from reliever Ryan Loutos with a majestic three-run homer to left. It was Alonso’s first multi-homer game of the season, and it gave him a season-high five RBIs.

The Dodgers’ only run came on Andy Pages’ solo home with one out in the ninth. The hit was Pages’ third of the night — half his team’s total. He also had a second-inning infield single and a seventh-inning double, extending his hitting streak to a season-high nine games and raising his average to .290.

Mets starter Griffin Canning (6-2) cruised through his six innings, facing just four batters over the minimum. The former Angel gave up three hits, walked one and struck out seven in his best outing of the season, winning for the first time in nearly a month.

Mookie Betts fields a grounder in the first inning.

(Gina Ferazzi / Los Angeles Times)

Etc.

Switch-hitting utility man Tommy Edman could be headed to the injured list after tweaking his right ankle earlier this week, aggravating an injury that forced him to spend three weeks on the IL earlier this season. Edman came off the bench in Tuesday’s win but was out of the lineup Wednesday. Speedy outfielder Esteury Ruiz was summoned from triple-A Oklahoma City as a precaution and would probably take Edman spot on the roster if he goes on the IL.

Relievers Kirby Yates (hamstring) and Michael Kopech (shoulder) both threw short simulated games Wednesday, and manager Dave Roberts said both are close to being activated.

“As long as he feels good tomorrow, then there’s certainly a good possibility to be activated this weekend,” Roberts said of Yates, who last pitched May 17 against the Angels.

Kopech gave up 11 runs in 6.1 innings while on a rehab assignment in Oklahoma City, but Roberts seemed unconcerned.

“Obviously you’re in rehab mode, you’re not around. So to get back to your teammates and the coaches, they might be able to kind of detect some things or clean some things up mechanically,” he said. “To be here tonight, last night to watch a game, that’s very that’s helpful and productive. With him it is just kind of getting command more dialed in.”

Kopech’s last appearance came in the fifth and deciding game of last fall’s World Series.

Baseball isn’t boring and the CW isn’t stupid, at least when it comes to the Savannah Bananas, the Georgia-based team that has rewritten the rules around the classic American pastime. The network has picked up rights to broadcast the July 27 Bananas game at Citizen’s Bank Park in Philadelphia.

“Banana Ball” incorporates humor, gymnastics, lip syncs and snappy dance choreography in a minor league baseball game with rules that definitely don’t match those of Major League Baseball — though many of the players once had MLB aspirations. This year the team has sold out 18 major league ballparks, plus three football stadiums with capacities of more than 70,000.

The CW in recent years has been leaning into live sports coverage, which has generally been delivering ratings results in a rapidly changing TV-viewing landscape. The network has the NASCAR Xfinity Series, WWE NXT on Tuesday nights, Grand Slam Track, AVP beach volleyball on summer Saturdays, ACC and Pac-12 football games in the fall and, starting next year, PBA professional bowling.

The Savannah Bananas come with a built-in audience earned via posts on TikTok, Facebook Reels and the like. The team has 10 million followers on TikTok alone.

The Savannah Bananas, a minor league baseball club, went on their first ever “World Tour” this year, taking their unique brand of baseball to various cities across America.

“We’ve always been very clear about our goal,” Bananas owner Jesse Cole told The Times in 2022. “We exist to make baseball fun.”

“It’s all about energy. We want to give people energy, delivering it every second, from the moment we open the gates at two o’clock until the last fan leaves at 11,” he added over the weekend, when the team played to a sellout crowd at Anaheim Stadium.

There’s definitely an audience appetite for the Savannah team: There are tickets available for games in August and September, but only through a lottery — and the wait list for the lottery is more than 3 million names long. Last season’s games drew a million fans total.

On Friday, the only way into the Anaheim game was through the resale market. Hours before the first pitch, the lowest price (fees and taxes included) for a pair of Bananas tickets on StubHub was $209.52, while it took a mere $171.72 to snag a pair of tickets to the Yankees-Dodgers series opener at Dodger Stadium the same night.

Who needs Shohei Ohtani and Aaron Judge anyway: Banana Ball has the Savannah team facing rival outfits the Texas Tailgaters, the Firefighters, the Party Animals and the Visitors.

And while Ohtani and Judge can be counted on for multiple home runs, only the Bananas deliver baby races, a dancing umpire and backflips before balls are caught in the outfield. Plus the games are limited to two hours max, something even the much-loved MLB pitch clock can’t deliver.

“The Savannah Bananas have taken the sports world by storm through their high-energy blend of baseball and entertainment that connects with viewers of all ages,” Mike Perman, senior vice president of CW Sports, said in a statement Tuesday.

“We are thrilled to partner with them for their broadcast television debut, and we cannot wait to bring our audience every unpredictable play in front of what promises to be an electric atmosphere in Philadelphia.”

“Banana Ball on The CW is a no-brainer,” Bananas owner Cole added in that news release. “After seeing their recent commitment to sports, we knew this could be a great partnership. With the speed and entertainment of Banana Ball, we look forward to creating new fans together in the years to come.”

Times staff writer David Wharton and Times fellow Anthony De Leon contributed to this report.

IT’S the most glamorous fixture on the football calendar – but the glitziest stars will be the ones cheering on from the sidelines.

As Paris Saint-Germain prepare to take on Inter this evening, the players’ stunning WAGs will be getting dressed up to the nines as their partners prepare for potential Champions League glory.

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While PSG’s roster has included superstars including Lionel Messi, Kylian Mbappe and Neymar in recent years, this year’s team is full of young, hungry talents ready to make their own names on the world stage.

The likes of Ousmane Dembélé and Achraf Hakimi will be testing themselves at the Allianz Arena in Munich against Inter‘s equally impressive side, which boasts stars including Lautaro Martínez and Marcus Thuram.

But away from the pitch, which of these names are scoring in their love lives too?

From doctors to lawyers and even fellow players – as well as a dramatic cheating scandal – we reveal all about PSG and Inter’s top WAGs.

Paris Saint-Germain F.C.

Nitsa Tavadze and Khvicha Kvaratskhelia

Brainy Nitsa Tavadze, 23, wife of Khvicha Kvaratskhelia, 24, studied medicine while her relationship with the Georgian star blossomed.

In 2023, they tied the knot at the historic Samtavro Monastery in Mtskheta, celebrating with Georgian traditions, attire, and customs. 

Although the couple were introduced by a mutual friend in 2021 sparks didn’t fly until a month later.

Due to Nitsa’s demanding studies, the pair would write to and call each other, and would meet up during their time off or when Kvaratskhelia was on an international break.

When Nitsa didn’t have lectures to attend, she would go to Naples and attend matches at his former team, Napoli.

They made their first appearance at a basketball game between Italy and Georgia and by 2022 they were official. Now, they share a son, Damian, one.

Océane Toussaint and Warren Zaire-Emery

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French goalie Océane Toussaint, 21, has been in a relationship with her fellow PSG star Warren Zaire-Emery, 19, since 2024.

They were first papped together at a Louis Vuitton event in January and later confirmed their relationship at a gala in May.

Océane was the first goalkeeper to win the Titi d’Or – a fan award for PSG’s most promising academy player – in 2023 and took to social media to share her success with fans.

She wrote: “Very proud to be the first Titi gold keeper, thank you again for all your messages.”

During their short time together so far, Océane and Warren have already jetted off for glamorous holidays and were seen visiting Zoomarine in the Algarve.

Madalena Aragão and João Neves 

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Portuguese television and film star Madalena Aragão, 19, has been in a relationship with João Neves, 20, since 2024.

Madalena made her acting debut in 2016 when she was just 10 years old in the soap opera Rainha das Flores.

The talented actress is also a popular blogger and creator of a YouTube channel, where she shares her thoughts on teenage life and growing up. 

Since embarking on her new relationship with João it’s been go go go. She even moved to Paris to be with him after his move from Benfica to the French giants.

The pair have also been quite active on social media, sharing several adorable pics together.

In response to one of Madalena’s recent Instagram posts, Portuguese actor and model Diogo Amaral replied: “My favourite couple.”

Carol Cabrino and Marquinhos

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Influencer Carol Cabrino, 32, carved out a successful singing career before her marriage to Brazilian centre back Marquinhos, 31.

After he proposed to her underneath the Eiffel Tower, the pair had a civil wedding in June 2016.

Together they share three children – Maria, eight, Enrico, six, and Martina, 3 – but tragically, Carol recently opened up about losing her fourth child after suffering a miscarriage.

Taking to Instagram to share the distressing news in March, she said: “I’m going to talk about something that is not very good.

“But I’ve accepted what happened to me and I’ve come to share it with you.

“I can’t get on with my life if I don’t come here and explain to you a little of the things that have been happening in my life for a while now.”

Alessia Elefante and Gianluigi Donnarumma

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Italian bombshell Alessia Elefante, 27, is the fiancée of Gianluigi Donnarumma, 26, and the couple have been together for over seven years.

Alessia is an interior designer and mum to one-year-old Leo, whom she shares with Gianluigi. The Italian pro footballer proposed to her a month after their son was born.

They also share a dog named Coco that Alessia has referred to via her Instagram as her “favourite baby boy” and “a prince” – before her son was born, of course!

Alessia also stands 39cm shorter than her partner who reaches a whopping 6ft5inches.

Despite such a significant height difference, the couple seem super loved up and often share photos together on social media.

Another little known fact about Alessia is that she’s a twin. On May 27, 2024, she took to Instagram to share a birthday pic with her sister Daniela.

The caption wrote: “Since 1998. Love you.”

Shocked fans were quick to spot the similarities between the pair. One person wrote: “I thought there was a mirror in the 1st pic.”

Inter Milan

Agustina Gandolfo and Lautaro Martinez

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Model Agustina, 29, has two children with Inter’s star striker Lautaro, 27, Nina, four and Theo, two.

Agus has developed a career as a mumfluencer in recent years, with her candid posts about the realities of motherhood.

Alongside her personal updates, she has launched her own lifestyle brand, Coraje, as well as partnering with trendy fashion and fitness labels like Cloter Official and Tropical Sweat.

She met her Argentine husband around 2016 when he was playing for local club Racing, at a party hosted by fellow stars Mauro Icardi and Wanda Nara.

They were initially pals but later fell in love. They had their first child, a daughter named Nina, in 2021 and had a son in 2023.

The pair had a lavish wedding in Villa d’Este on Lake Como Italy in 2023 with 120 guests.

Agus has three tattoos: one of birds flying on her upper back, a heart on her arm and a quote on her ribs.

She also made headlines in 2021 after claiming a Milan restaurant had handed her a menu that didn’t have any prices on during a romantic meal out with her man.

She claimed on her Instagram story that the practice is sexist – because it assumes the man is going to pay for the meal, not the woman.

Kleofina Pnishi and Benjamin Pavard 

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Kosovo-born actress and model Kleofina, 30, was elected Miss Provence 2017 and ran in the Miss France competition the following year.

But life hasn’t always been easy. When she was just five years old, her family fled their homeland due to the war and arrived in France in 1999.

She graduated from the School of Journalism and Communication of Aix-Marseille, before meeting Benjamin Pavard, 29, with the pair getting engaged in July last year.

Benjamin got down on one knee on the coast of Saranda, Albania, in a beautiful, romantic proposal made special with flowers and candles. 

Federica Schievenin and Nicolò Barella 

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Stunning sports scientist Federica Schievenin, 35, met childhood sweetheart Nicolò, 28, over a decade ago.

Like her beau, she has had a passion for sports since a young age thanks to thanks to her dad, who was into motocross.

She earned a PT CFT3 certification from the International Sports Scientists Association in 2019 and is now said to be studying nutraceuticals and naturopathy.

The pair tied the knot in 2018 and are now parents to four children: daughters Rebecca, eight, Lavinia, five, Matilde, four and a baby son, Romeo.

Federica keeps her children’s faces hidden on social media, usually with an emoji.

Claudia Scarpari and Francesco Acerbi 

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Claudia Scarpari, 38, is the wife of defender Francesco Acerbi, 37, who she met in early 2020.

Speaking of their early romance, the glamorous lawyer said she found it “enchanting” to watch him play, but admitted she didn’t follow football before they met. 

However, since falling in love with the defender, Claudia has revealed she had never missed a match, and will always be cheering on her partner.  

Claudia already has a daughter and a son from a previous relationship, and has had more children with Francesco.  

Their daughters are named Vittoria, four and Nala, two.

On top of being a supportive WAG, Claudia is a successful lawyer and has spoken of the similarities between the couple’s careers, explaining they are both “defending and protecting what we believe in”.

The couple married in early 2025 in Cassina Rizzardi, Italy.

Sinem Gündoğdu and Hakan Çalhanoğlu

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Hakan Çalhanoğlu, 31, and Sinem, 30, grew up together in Turkey before tying the knot in 2017, but their relationship has not always been plain sailing. 

In 2018, the midfielder sensationally announced the decision to divorce his wife after a “very serious and unforgivable situation occurred”.

Sinem’s response was speedy, and came with another bombshell, as she announced: “I never cheated on you. By the way, I’m pregnant.”

Fortunately, the couple appear to have resolved their issues and now seem better than ever. 

Together they have three children: Liya, six, born in 2019, Ayaz, four, born in 2021 and Asil Can, two, born in 2023.

Christopher Boyce and Andrew Daulton Lee were childhood friends, altar boys raised in the Catholic pews and prosperous suburbs of the Palos Verdes Peninsula.

By the mid-1970s, Boyce was angry about the Vietnam War and Watergate. He was a liberal, a stoner and a lover of falcons. Lee, a doctor’s adopted son, was a cocaine and heroin pusher who was spiraling into addiction.

How they became spies for the Soviet Union is a story emblematic of 1970s Southern California, where the state’s massive Cold War aerospace industry collided with its youthful anti-establishment currents.

Everyone agrees it should never have been possible.

In the summer of 1974, Boyce, a bright but disaffected 21-year-old college dropout, got a job as a clerk at the TRW Defense and Space Systems complex in Redondo Beach. He won entree through the old-boys network: His father, who ran security for an aircraft contractor and was once an FBI agent, had called in a favor.

In this series, Christopher Goffard revisits old crimes in Los Angeles and beyond, from the famous to the forgotten, the consequential to the obscure, diving into archives and the memories of those who were there.

Boyce made $140 a week at the defense plant and held down a second job tending bar. TRW investigators had performed only a perfunctory background check. They skipped his peers, who might have revealed his links to the drug culture and to Lee, who already had multiple drug busts and a serious cocaine habit — the white powder that would inspire his nickname.

In “The Falcon and the Snowman,” Robert Lindsey’s account of the case, the author describes Boyce beginning the day by popping amphetamines and winding down after a shift puffing a joint in the TRW parking lot. Falconry was his biggest passion. “Flying a falcon in exactly the same way that men had done centuries before Christ transplanted Chris into their time,” Lindsey wrote.

Boyce impressed his bosses and was soon cleared to enter the steel-doored fortress called the “black vault,” a classified sanctum where he was exposed to sensitive CIA communications pertaining to America’s network of espionage satellites. The satellites eavesdropped on Russian missiles and defense installations. Among the goals was to thwart a surprise nuclear attack.

Reading CIA communiques, Boyce didn’t like what he saw. Among its other sins, he decided, the U.S. government was deceiving its Australian allies by hiding satellite intelligence it had promised to share and meddling in the country’s elections.

“I just was in total disagreement with the whole direction of Western society,” Boyce told The Times many years later. He attributed his espionage opportunity to “synchronicity,” explaining: “How many kids can get a summer job working in an encrypted communications vault?”

Soon he made his life’s “biggest, dumbest decision.” He told his buddy Lee they might sell government secrets to the Soviets. Lee talked his way into the Soviet Embassy in Mexico City, where Russians fed him caviar and bought classified documents with the toast, “To peace.”

Lee’s KGB handlers devised protocols. When he wanted to meet, he would tape an X to lampposts at designated intersections around Mexico City.

For more than a year, thousands of classified documents flowed from the TRW complex to the Soviets, with Boyce sometimes smuggling them out in potted plants. In exchange, he and Lee received an estimated $70,000.

At parties, Lee showed off his miniature Minox camera and bragged that he was engaged in spycraft. In January 1977, desperate for money to finance a heroin deal, he flouted KGB instructions and appeared unannounced outside the Soviet Embassy. Mexican police thought he looked suspicious and arrested him.

He held an envelope with filmstrips documenting a U.S. satellite project called Pyramider. Under questioning, Lee revealed the name of his co-conspirator and childhood friend, who soon was also under arrest. Boyce had just returned from a hawk-trapping trip in the mountains.

The espionage trials of the two men presented special challenges for the U.S. attorney’s office in Los Angeles. The Carter administration was ready to pull the plug on the case if it meant airing too many secrets, but a strategy was devised: Prosecutors would focus on the Pyramider documents, which involved a system that never actually got off the ground.

Joel Levine, one of the assistant U.S. attorneys who prosecuted Boyce and Lee, said only a fraction of what they sold to the Soviets ever came out at trial.

“I was told these other projects should not be revealed. It’s too costly to our government, and you can’t base a prosecution on them either in whole or in part,” Levine said in a recent interview. “You just gotta stay away from it.”

For federal prosecutors in L.A., hanging over the case was the memory of a recent humiliation: the collapse of the Pentagon Papers trial, as a result of the Nixon administration’s attempt to bribe the presiding judge with a job. It had caught prosecutors by surprise.

“We were afraid it would ruin our reputation forever if something like that were to happen,” Levine said. “So we made it very, very clear right from the get-go that if we smelled something like that was afoot, we would walk into court and have the case dismissed on our own.”

The defendants had sharply different motives. Lee was in it for the money, Richard Stilz, one of the prosecutors, said in a recent interview. But “Boyce was totally ideology. He wanted to damage the United States government,” Stilz said. “He just hated this country, period.”

The defendants got separate trials. A rift that had been growing between them deepened with their mutually hostile defenses. Lee’s defense: Boyce had led him to believe he was working for the CIA, feeding misinformation to the Russians. Jurors convicted Lee of espionage, nonetheless, and a judge gave him a life term.

Boyce’s defense: Lee had blackmailed him into espionage by threatening to expose a letter he had written, while stoned on hashish, alleging secret knowledge of CIA malfeasance. Jurors convicted Boyce as well, and a judge gave him 40 years.

In January 1980, at a federal prison in Lompoc, Boyce hid in a drainpipe and sprinted to freedom over a fence. He was on the run for 19 months. He robbed banks in the Pacific Northwest until federal agents caught him outside a burger joint in Washington state.

He was convicted of bank robbery and got 28 more years. In 1985, the same year a popular film adaptation of “The Falcon and the Snowman” was released, Boyce testified on Capitol Hill about the despair attending a life of espionage.

“There was no thrill,” he said. “There was only depression, and a hopeless enslavement to an inhuman, uncaring foreign bureaucracy…. No American who has gone to the KGB has not come to regret it.”

He spoke of how easily he had been allowed to access classified material at TRW. “Security was a joke,” he said, describing regular Bacardi-fueled parties in the black vault. “We used the code destruction blender for making banana daiquiris and mai tais.”

Cait Mills was working as a paralegal in San Diego when she read the Lindsey book and became fascinated by the case. She thought Lee had been unfairly maligned, and she spent the next two decades fighting to win him parole.

She got letters of support from the prosecutors and the sentencing judge attesting that Lee had made strides toward rehabilitation. He had taken classes in prison and become a dental technician. He won parole in 1998.

She turned her attention to freeing Boyce, with whom she fell in love. She wrote to the Russians and asked how much value there had been in the stolen TRW documents and received a fax claiming it was useless. He got out in 2002, and they married. They later divorced but remain close. Both live in central Oregon.

Stilz maintains the damage to America was “enormous.”

“In a murder case, you have one victim and a person dies,” Stilz said. “In an espionage case, the whole country is a victim. We were so far advanced over the Russians in spy satellite technology. They leveled the playing field. That’s probably the most important point.”

He gives no credence to the Russian government’s claim that it derived no value from the secret information. “Of course they’d say that,” Stilz said. “What do you think they’d say? ‘Oh yeah, it allowed us to catch up with the United States in terms of spying.’ They’re not gonna say that.”

Cait Mills Boyce said that Boyce and Lee, childhood best friends, no longer speak, and that the silence between them wounds Boyce.

“He said, ‘I love that man; I always loved him. He was my best friend.’ It hurt him so badly.”

She said Boyce, now in his 70s, lives a solitary life and immerses himself in the world of falconry. “His entire life, and I kid you not, is falconry,” she said. “He will die with a falcon on his arm.”

Part of what pushed him into the world of espionage, she thinks, was the challenge. “I think his uncommon smarts led him down a whimsical path that ended up being a disastrous path, not just for him but for everybody involved,” she said.

Who knows if Kendrick Lamar will sit for a formal deposition in Drake’s ongoing defamation lawsuit against Universal Music Group, after Lamar flambéed him on “Not Like Us.” But at SoFi Stadium on Wednesday, Lamar and his co-headliner SZA had a great recurring bit imagining what might happen.

In a fake video montage played between set changeovers, Lamar responded to mock-questioning like, “When you said you want the party to die, was that a metaphor or are you serious?” and “Don’t you think disappearing is a form of attention-seeking?” by blowing him off and phoning in a big order of takeout. SZA then lighted up an enormous joint in the lawyer’s office.

The pair’s Grand National Tour is a triumph of the unbothered. Wednesday’s set — the first of a three-night SoFi stand — was a bountiful, meticulous three-hour show that centered on the camaraderie between two of the most important acts in contemporary music. They had a wicked sense of humor about the performance too. At one point, SZA seduced a giant, slicked-up praying mantis dancer. If only we all had the same leeway when deposed.

Lamar, coming off a pair of Grammy wins for “Not Like Us” and a gleefully petty Super Bowl halftime show, is at perhaps the peak of his career. So it’s worth noting how inspiringly egalitarian this hometown show was — a hierarchy-free split with former TDE labelmate SZA, often fully meshing their sets together for their on-record collaborations. The format brought new energy and understanding into their catalogs, all while the pair gassed each other up as virtuoso live performers.

Kendrick Lamar and SZA at the 2016 Grammys.

(Lester Cohen / WireImage)

On Wednesday, SZA arguably made the most of the stadium-sized opportunity. SZA is a powerhouse vocalist and musical omnivore with a stoner’s comic timing (most recently seen in the charming comedy film “One of Them Days”). But she’s now honed her stagecraft to be on par with any pop royalty. Between “Snooze” and “Crybaby,” she was lifted on wires, revealing a gauze train in the shape of a chrysalis, to spellbinding effect. It took some real mettle to then perform her ballad “Nobody Gets Me” midair.

A surprise cameo from Lizzo paid alms to their long friendship, and a bawdy slice of her verse from Drake’s “Rich Baby Daddy” proved she can own even a nemesis’ material with her charisma. When she spun “Garden (Say It Like Dat)” into “Kitchen,” the dancers’ delightfully goopy, insectoid costumes and monolithic ant sculpture felt like H.R. Giger taking mushrooms on a warm afternoon in Kenneth Hahn State Recreation Area.

When she and Lamar shared the stage, as on the Oscar-nominated “All the Stars,” “30 for 30” and their respective solo cuts “Doves in the Wind” and “LOVE.,” there was an alchemy between two superfans, their physical presence across the diamond-shaped catwalks reinvigorating this long-beloved music.

At this point, Lamar’s case for being the best rapper alive is fully closed. Of course he is. Even if you thought the title was a little wobbly after the knotty, skeptical “Mr. Morale & the Big Steppers,” the acid-bath of “Not Like Us” and the L.A-embodying surprise release “GNX” slammed the debate shut as it spun off hit after hit. Who else could make a pitch-perfect indictment of the current American political climate onstage at the Super Bowl halftime show, while needling his most loathed enemy and spinning off memes with just a quick grin in bootcut jeans?

At SoFi, a few miles from his old Compton backyard, he drew from that monumental catalog and recontextualized it for this club-ready, venom-streaked era. The show’s format covered more than 50 songs between the two artists, so even when he only got to a verse or two, there was always something new or bracing. Here, “m.A.A.d. city,” one of his hardest and cruelest street cuts, became a meta-R&B number that made the song even more eerie. On “Humble.,” he was flanked by female dancers posing in vicious geometric forms, physically embodying the ego-check of the song’s chorus.

The Drake flame-war material was delicious fun, from the shots-fired kickoff verse on “Like That” to the relentless, merciless taunts on “Euphoria.” But the “GNX” segments, like the Tupac-conjuring “reincarnated” and the ice-cold “peekaboo” (and, obviously, the great Mustard-y howl of “tv off”) made the case for how this album will continue to reveal new textures and resonate in L.A. lore. There wasn’t room for a five-times-reprised “Not Like Us” like at his history-making 2024 “The Pop Out: Ken & Friends” set. But when he did play it, it was less about his archenemy than about L.A., a city with a new song in the canon, a definitive “Us” who were all alike in screaming it.

It felt poignant that Lamar and SZA reunited again for the set’s closers, the unexpectedly relentless Hot 100 fixture “luther” (now at 13 weeks at No. 1) and “gloria,” Lamar’s bait-and-switch about his complicated relationship to his own writing process. With SZA as his Greek chorus, he ended the night on a note about how all this relentless work was worth it to arrive at real self-understanding. An ally that will never fail, no matter who out there is deposing you.

JOSH TAYLOR takes on Ekow Essuman in a Scottish homecoming fight THIS Saturday!

Taylor is looking to rectify back-to-back defeats as he takes on 36-year-old Essuman.

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‘The Tartan Tornado’ Taylor comes into the clash off the back of two losses, having been beaten by Teofimo Lopez before losing his rematch to Jack Catterall in May 2024.

Ekow ‘The Engine’ Essuman comes into the bout with a record of 21-1-0, with eight of his 21 victories coming by KO.

Essuman’s only defeat came at the hands of Harry Scarff in 2023, losing by unanimous decision in Manchester, meaning Taylor will look to be the first man to KO Essuman to get back to form.

The Engine in turn looks to be the first man to KO Taylor, with both of his defeats coming by unanimous decision, with whoever can score the victory becoming the WBO international welterweight champion.

When is Josh Taylor vs Ekow Essuman?

• Josh Taylor vs Ekow Essuman is LIVE on Saturday, May 24.
• Coverage of the card starts at 7pm BST on DAZN.
• The fight takes place at the SSE Hydro in Glasgow.
• Ringwalks for Taylor vs Essuman are expected at around 10pm BST.
• Tickets are still available on Ticketmaster.

*Please note that StubHub and similar secondary ticket resale sites may list tickets above face value.

How to watch Josh Taylor vs Ekow Essuman and is there a live stream?

• The bout will come live to fans on DAZN to over 200 countries.
• An annual DAZN subscription costs £119.99 or £14.99 for monthly.
• There is also monthly flexible pass – which can be cancelled at any time – for £24.99.
• The broadcast is on DAZN TV or can be live streamed via the website or app.
• SunSport will blog all the action from the card as it happens.

Full card

• Josh Taylor vs Ekow Essuman; Welterweight
• Nathaniel Collins vs Lee McGregor; Featherweight
• Aloys Junior vs Davie Jamieson; Cruiserweight
• Moses Itauma vs Mike Balogun; Heavyweight
• Luke McCormack vs Samir Cuentas; Light welterweight
• Alex Arthur Jr vs Robbie Chapman; Super middleweight

CHRIS Hughes’ brother Ben has broken his silence on the star’s budding romance with JoJo Siwa after their cosy display.

The pair shared a series of intimate snaps with one another after reuniting in Mexico and Florida to celebrate JoJo turning 22 – three weeks on from their Celebrity Big Brother stint.

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They have continued to keep tongues wagging over the status of their VERY close friendship ever since leaving the house.

It appears that Chris’ brother Ben has also given them his seal of approval.

He left a very telling comment under Chris’ Instagram post all about JoJo.

Ben wrote to his brother: “Nice to see a smile on your face.”

He followed it up with two blue love heart emojis as he appeared to throw his full support behind the budding connection.

It comes as JoJo gave Chris a shoutout live on stage in another moment which continues to fuel romance rumours.

During her latest gig, JoJo was singing the famous song Bette Davis Eyes.

In a VERY telling moment, JoJo could be seen looking to the side of the stage where Chris, who had previously been spotted backstage, was believed to be standing.

Instead of singing, “she’s got Betty Davis eyes”, the YouTube star sang; “Chris Hughes‘ eyes”.

The crowd could be then be heard cheering their approval.

The smitten star posted the clip on Instagram, and her fans went wild.

Chris, 32, made the 12-hour trip from the UK on the weekend to support JoJo, 22, as she performed to screaming fans in Mexico City.

JoJo Siwa and Kath Ebbs’ relationship

We look back at JoJo Siwa’s romance with Kath Ebbs:

JoJo Siwa went public with hers and Kath Ebbs’ relationship in January 2025.

The Dance Moms star had been introduced to 27-year-old Australian content creator Kath by a mutual friend called G-Flip six months earlier.

JoJo had split with her girlfriend Dakayla Wilson in November 2024 and it is believed she hooked up romantically with Kath soon after.

Speaking in March at the 36th Annual GLAAD Media Awards, JoJo said of her relationship: “I am so happy. I am in a very mature relationship, and it’s beautiful. It’s taught me so much about life.

“It’s taught me so much about love and respect, and it’s a beautiful thing.

“It’s different in more ways than I can count. I wouldn’t even know what to say the biggest is ‘cause just everything is so different and special.”

Kath even claimed they had talked about marriage together.

However, JoJo’s romance with Kath abruptly hit the skids on April 25, 2025, at the Celebrity Big Brother wrap party.

JoJo dumped Kath at the bash after spending 19 days in the CBB house – where she had grown close to Love Island star Chris Hughes.

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About 80 years ago, guitarist and inventor Les Paul built a home recording studio in his Hollywood garage on North Curson Avenue and began developing his “new sound,” which incorporated cutting-edge recording techniques such as overdubbing, close miking, echo and delay.

Dissatisfied with the quality of the day’s commercial recordings, Paul, who’d worked with pop stars including Bing Crosby and the Andrews Sisters, and was a guitar virtuoso and bandleader, endeavored to push the practice forward — to make recording a kind of erudite art form. His instrumental single “Lover” became the first commercial pop record to incorporate multiple layers of music, all of which were performed by Paul’s dexterous fingers. “Sextuplet guitar-ing,” Billboard magazine declared in its Feb. 21, 1948, review, “… technique so good it’s ridiculous.”

Today, a new studio in Hollywood celebrates the former Angeleno’s legacy as a recording pioneer. Over the last three years, the Les Paul Foundation and a team of engineers have gone to extraordinary lengths to build the Les Paul Recording Studio, housed in United Recording on Sunset Boulevard. The facility includes Paul’s original equipment, such as the first-ever multitrack Ampex tape machine and multitrack recording console, as well as a selection of Paul’s customized guitars, including his namesake model for Gibson.

Paul’s recording equipment is monumental for its historical value but also because it still works. “We have the Wright Brothers’ plane in there and it actually flies,” said Michael Braunstein, executive director of the Les Paul Foundation, by way of comparison. The new studio is essentially a rare hands-on museum where students and commercial artists may study and perform the same techniques Paul employed, using his tools.

Los Angeles-based musician Dweezil Zappa interviewed Paul on MTV in 1987, which created a fondness between the pair. During a phone call from the road — Zappa was on a tour celebrating his father’s album “Apostrophe” — he explained the importance of Paul’s innovations. “He was so far ahead of the game in so many ways, not only as a great guitar player, but also how he figured out ways to record music live,” he said. “The foundation of the sound capture is still better than anything else that you would find today. The products that were put into use and the way that it was machined … it’s unmatched.”

Zappa says he’s visited the new studio and intends to use it to record some of his own music after his tour concludes. The studio also has an educational mission.

“This is also a real opportunity for students to learn about analog recording from the master,” said Steve Rosenthal, a Grammy-winning producer who serves as the head archivist and music producer for the Les Paul Foundation. Rosenthal’s also known for his Manhattan recording studio the Magic Shop, which closed in 2016, where he worked with David Bowie, Lou Reed, Sonic Youth, Ramones and many others.

Tom Camuso, director of audio engineering at the Les Paul Recording Studio, is photographed in Hollywood on May 15.

(Christina House / Los Angeles Times)

Groups from Carnegie Mellon University and Syracuse University have already participated in seminars at the studio led by Rosenthal and Tom Camuso, a Grammy-winning engineer who’s also the Les Paul Foundation’s director of audio engineering. “The console looks like it’s from a battleship, and we let students record on it and see how hard it is compared to today’s digital audio workstations,” Camuso explained. “The connection they make is that this is where it started, this is the first of all of it.”

The idea for the studio began in 2022 amid Rosenthal’s quest to source, organize, curate and restore Paul’s vast catalog of music from the Library of Congress archives. “It became clear to me that the best solution would be to mix the music on Les’ original gear,” he said. He brought in Camuso, a longtime associate who’d worked at the Magic Shop, and the pair endeavored to repair the eight-track recording console nicknamed “The Monster” that Paul built with engineer Rein Narma, which featured leading-edge in-line equalization and vibrato effects.

They also retrieved Paul’s Ampex 5258 Sel-Sync multitrack tape machine, familiarly known as the Octopus, which sits alongside the console, and was the first-ever eight-track. The studio also has a three-track machine that was in Paul’s home in Mahwah, N.J., which he used to play tapes recorded at other studios. At the time, Paul was the only person with eight-track capabilities. “That was his way of communicating with the outside world, so to speak,” Camuso said.

The first-ever multitrack tape machine, called “The Octopus,” resides at the Les Paul Recording Studio in Hollywood.

(Christina House / Los Angeles Times)

The equipment was in varying stages of disrepair, and there was no documentation accompanying it. Many of the recording console’s wires had been cut, and some of its modules were missing. Camuso and a group from Thump Recording Studios in Brooklyn spent 10 months replacing and repairing pieces that were missing or had failed, without changing anything about the way the machine was originally made. “We had to source old stock parts from the ’50s,” Camuso said, “and there were little plastic pieces that had disintegrated. The team would drum scan those and then 3D print them in their original form.” An Ampex expert from Canada broke down the tape machines and then rebuilt them from the ground up, exactly as they were when Paul used them.

Before he used the multitrack tape machine and recording console, Paul’s early experiments with overdubbing, or what he called “sound on sound,” involved two recording-cutting lathes, a record player, a mixer and hundreds of blank wax discs, all of which he used to layer tracks manually. In 1948, Bing Crosby gave Paul his first mono Ampex recorder, to which Paul added a second playback head, which enabled him to record multiple tracks on the same reel of tape. He and his second wife, Mary Ford, took this machine on the road, recording their songs in hotel rooms and in apartments.

Ford was a skilled singer with perfect pitch who could execute lead vocals and harmonize with herself in very few takes using Paul’s early version of multitracking, which was revolutionary but primitive and didn’t allow for mistakes. Given the analog nature of Paul’s setup, she had to sing everything live and unmanipulated. The pair recorded a string of 28 hit singles between 1950 to 1957, beginning with a cover of the jazz standard “How High the Moon.” They were so popular that Listerine sponsored a widely syndicated television show, “Les Paul & Mary Ford at Home,” during which they performed their intricate songs live.

A photograph of Les Paul inside his recording studio in New Jersey is displayed at the Les Paul Recording Studio in Hollywood.

(Christina House / Los Angeles Times)

“Their discs sell like dimes going for a nickel,” Florabel Muir reported in the Los Angeles Mirror in January 1952. The pair’s “Vaya Con Dios” spent 11 weeks at No. 1 on the Billboard Best Sellers in Stores chart (which was discontinued in favor of the Billboard Hot 100 in 1958). Paul and Ford’s sultry version of “Smoke Rings,” released in 1952, features in Todd Haynes’ 2015 film “Carol.”

“The only singer I’ve encountered in my life who can compare to Mary is Aretha Franklin,” said Gene Paul, Les’ son from his first marriage, who became a recording engineer for Atlantic Records. “Neither one of them ever hit a bad note. You couldn’t pay them to.” The younger Paul learned about recording in his father’s home studio in Mahwah and played drums in his touring band from 1959 to 1969. “It took me years after my dad died to realize he was a genius,” he added. “Yes, he had a studio in his house, and built his own guitar and his own eight-track, but I thought every dad did this.”

Rosenthal and Camuso are in the process of restoring Paul’s original recordings, including his hits with Ford. The pair is using demixing and speed correction software to create new stereo mixes of the songs, which don’t have any of the crunchiness or distortion that were a byproduct of Paul’s original experiments in multitracking. It’ll be the first time any of Paul’s music has been released in stereo. The project has created a library of multitrack stems, which is another singular feature of the new studio. “Lana Del Rey could come in and sing with Mary Ford, or she could sing ‘A Fool to Care’ with the original Les Paul guitar parts,” Rosenthal said.

Guitars on display inside the Les Paul Recording Studio in Hollywood.

(Christina House / Los Angeles Times)

Camuso says a number of famous musicians have already expressed interest in using the new studio. “There’s lots of people who would be in your record collection for sure,” he said. Its historical significance and superior sound quality is a major draw, but the Les Paul Recording Studio also provides a chance for musicians to work more intentionally. Though its equipment was once cutting-edge, by today’s digital standards — in which there are unlimited tracks and effects and every mistake is erasable — Paul’s console and tape machines are limited. To work with them, musicians must think about what they want to record ahead of time. “The average person may not know what they’re hearing, but they will feel it because the performances will be better,” Zappa pointed out.

He views the new studio as a welcome counterpart to the too-perfect sonic monotony that can occur from every commercial recording artist using the same software. “There’s just so much music that’s disposable today,” Zappa added. “We’ve never had as many amazing tools to make stuff, and then have it be used in the lamest way possible.”

Shepherd, who has played 37 ODIs and 53 T20s, will be replaced in the squad by left-arm seamer Jediah Blades.

He has played four matches for Royal Challengers Bengaluru in the IPL, including a 14-ball 53 not out in his most recent innings.

Rutherford has played in nine matches for current IPL leaders Gujarat Titans this season.

He will be replaced by top-order batter John Campbell for the Ireland leg of the tour while Shimron Hetmyer will take his place for the matches against England.

Hetmyer is another West Indies player at the IPL but his Rajasthan Royals side are already eliminated. He was originally left out of the Windies ODI squad after a poor run of form.

Seamer Shamar Joseph is at the IPL but has not featured for his side Lucknow Super Giants and remains in the West Indies squad.

The Windies play three ODIs in Ireland from 21 May before a three-match series in England from 29 May.

Three T20s against England follow from 6 June but the tourists are yet to name a squad for that contest.

Just north of Magic Mountain’s roller coasters, hidden within the vast, anonymous industrial parks of Valencia, lies the secret lab where the murderous doll M3GAN was born.

“Born” is putting it a touch dramatically — but only a touch. Though she’s taken on a prankish life of her own since the 2022 runaway horror hit made her dance moves iconic, M3GAN is a product of several teams, primarily the animatronic makeup and design company Morot FX Studio, but also a human actor, 15-year-old Amie Donald, several puppeteers and a swarm of technicians performing in concert like a group of modern dancers.

And while the nondescript row of beige offices I pull up to doesn’t scream “secret lab,” that’s not far off either. Just last night, Christian Bale was here, testing out some face-changing prosthetics for his forthcoming role in “Madden,” about the Oakland Raiders football legend. Nicolas Cage dropped in a day earlier. Both will be returning in the days ahead.

“You want a popcorn?” asks Adrien Morot, 54, the shop’s boyish proprietor in a baseball cap. It’s a Saturday in April — the only available time he has in a typically job-crammed week to show us some of the new work he’s done on “M3GAN 2.0,” due in theaters June 27.

There’s a noticeable pride Morot takes in touring me around his geek’s paradise: a two-level office crammed with shelves of scowling latex heads, furry creatures and a pair of giant gators overlooking it all. You see posters for horror movies like Eli Roth’s “Thanksgiving” as well as more elegant, perhaps unlikely gigs: Darren Aronofsky’s “mother!” and the Bale-starring “Vice,” for which the actor was transformed into Dick Cheney. (Morot’s task: turning Steve Carell into Donald Rumsfeld.)

At Morot FX Studio, makeup jobs from the company’s past productions are displayed.

(Carlin Stiehl / Los Angeles Times)

Scattered pizza boxes left on workbenches lend to the air of dorm-room fantasy but Morot is quick to open one up: no leftover slices, only delicate pieces of fabricated skin applications. Pizza boxes are perfect for those.

“I have to admit that, especially for somebody like me that grew up just doing this — this was my hobby, really — there’s never a day where you don’t come into the shop feeling: This is so cool,” Morot says.

Once upon a time, he was a kid in Montreal, horror-obsessed, making his own creations. “F/X,” the deliriously fun 1986 thriller about a special-effects man on the run, is one he watched as a “dumb 16-year-old, very cocky, like a teenager thinking that I was better than everything,” but also a movie he can recount beat for beat.

Also picking her way through the shop is Kathy Tse, Morot’s longtime creative partner and wife. Soft-spoken, with a mind for specifics that complements and protects Morot, her presence immediately makes the space feel more like a serious studio shared by two contemporary artists. She explains that Valencia was “family-friendly” and a better real-estate value.

“Because we have good chemistry — we have trust — we work well together,” Tse, 44, says. “That is so important when you are under duress, under stress. And because of that, they always end up calling us back.”

Morot puts the finishing touches on Brendan Fraser for “The Whale,” work that won his team an Oscar.

(Niko Tavernise / A24)

Hollywood has called back, noticing them in a big way. The Oscar they won for the fleshy organic work they did with Brendan Fraser on “The Whale” is nowhere to be seen. It’s in a closet somewhere, Morot admits, sheepishly.

“Winning an Oscar has never been in the list of accomplishments that I was seeking, truly ever,” he says. “My only goal that I was really dying for was to have one of our creations on the cover of Fangoria magazine. That’s the only thing.” (They line the shop’s business office.)

Tse steers us around to the notion of a certain intimacy they like to work at, a realist aesthetic that might be called the Morot house style.

“What was great about the Oscar that year was how Brendan and Adrien really bonded,” she adds. “They were like brothers, with the constant support and dirty jokes and texts going back and forth. I think that was such a nice, beautiful relationship. To this day, they still text.”

“That’s always how we saw our work,” Morot says. “We’re there to help the actor if we can with what we produce — to help them find the character.”

And with that, the pair take me up to the second level of their shop, followed by their border terrier, Jasper, and there she is, the girl of the hour.

Allison Williams and an animatronic M3GAN in a scene from the movie “M3GAN 2.0,” directed by Gerard Johnstone.

(Universal Pictures)

“M3GAN 2.0” is exactly the sequel fans will be wanting. It embraces the essential ridiculousness of the concept — a vicious AI in the robotic body of a pissed-off tween — as well as the folly of tech bros who would move fast and break things before heeding some fairly obvious warnings.

It’s more of a comedy. The laughs are constant (yes, M3GAN sings another of her awkward songs). Also, reading the room, the filmmakers realize that we’ve come to love her and want to root for her. To that end, she’s been turned into something of a force for good, drafted into doing battle against a military-grade AI called Amelia, also built into the body of a young woman.

For the sake of our visit, Morot and Tse have set up two full-size M3GANs, one from the first movie, another from the upcoming film, the latter more muscular and a good several inches taller. That change was motivated by the realities of their human actor.

“Amie, she keeps growing so quickly and within a year grew over two inches,” Tse says. “The first one she was yay high and then six months later, she grew. We had to readjust all of our dolls.”

Says Morot, “She is such a joy to work with — a real trouper. And I think that everybody was enamored with her and it just made sense to bring her back in the second movie. So I think that the script was altered or adapted to make sure that she would fit within the story.”

One of the several M3GAN masks at Morot FX Studio.

(Carlin Stiehl / Los Angeles Times)

When M3GAN is running or doing one of her viral swirly-arm dances, it’s performed by Donald, a young actor from New Zealand, wearing a mask designed by Team Morot. He shows me the mold. “That’s her face on the inside,” he says. “That’s a negative impression of her face. It’s quite heavy, actually.”

But when it’s a medium shot or close-up, you’re seeing an animatronic puppet operated by several people. Usually Morot is working the mechanisms in the eyes and lubricating them — he can speak excitedly at length about “eyeball pivot” — while Tse is manipulating arms and doing a fair amount of hand-acting.

“In my naiveté, I never quite understood just how much this was basically an elevated Muppet movie,” says “M3GAN” director Gerard Johnstone, calling from the editing suite at Blumhouse’s post-production facility in Koreatown, where he’s finalizing the sequel’s cut. He remembers learning about Morot and Tse’s skills in 2019 before the pandemic hit and being convinced by their commitment to lifelike illusion.

“I found that hugely inspiring,” the director says. “I thought, Why are we making something that looks like a toy when these guys can make things that look human? Wouldn’t that be really fun if we went further into the uncanny valley than we’ve ever gone before? And Adrien and Kathy were the perfect people to partner up with on that.”

Tse’s M3GAN designs, these days rendered by a phalanx of digital printers (a single head can take up to 50 hours), became proof of concept and helped green-light the first film, not an everyday occurrence.

In the room with us in Valencia, the dolls eyes’ are hypnotic, carrying a trace of malevolence. “There’s a presence,” Tse offers.

“I thought, Why are we making something that looks like a toy when these guys can make things that look human?” says “M3GAN 2.0” director Gerard Johnstone. “Wouldn’t that be really fun if we went further into the uncanny valley than we’ve ever gone before?”

(Carlin Stiehl / Los Angeles Times)

Watching them finesse each strand of M3GAN’s hair, every neck tilt and eye motion for our photo shoot, Morot and Tse look like nothing more than devoted stage parents, grooming a promising theater kid. It’s a natural thought that begs an obvious question.

“Oh, for sure,” Tse agrees, owning up to parental affection for her creations. “Look how we care about our dolls. There’s so much pride and you’re protective of making sure that they look good, that they’re well cared for.”

The pair have a 20-year relationship, tying the knot around the time they were working on the first “M3GAN,” a watershed moment for them.

“I was a young flower at the time when we first met,” Tse says without a trace of sarcasm. “He was doing a film and I was just graduating from university. I was working in banking and we met that way. So he was already working in film and he brought me into it, actually.”

“I could have went into banking,” Morot cracks.

Morot and Tse operating animatronics on the set of the first “M3GAN.”

(Geoffrey Short / Universal Pictures)

In each other, they found kindred spirits of perfectionism, going on to corner the Montreal makeup market, which was then booming with Hollywood shoots. Years of work came without days off or vacations.

But they knew a relocation to Los Angeles was inevitable. In the 1990s, Morot had given the town a shot, apprenticing with other designers, learning his craft and drinking in the city until he needed to move back to Canada for family reasons.

“I was really bummed when I had to move back,” he says. “For me, L.A. always felt like home. When I landed here at 21, I was like, oh, my God, everything is here.”

It’s not lost on them that their specialty has come to represent something increasingly rare: an actual craft with an emphasis on real-world tactility in a moment when digital spurts of blood are becoming the norm. Prosthetic makeup effects have become a last stand, a bastion of the old ways.

“This is a massive extinction of the entire movie industry,” Morot says, alarmed. “We’re losing the human process behind it. That’s going to be a tragedy because we’re going to lose the communal experience of movies. We’re already there with all the streaming platforms and YouTube, where people are all on their own, silo-watching. There’s no longer the watercooler discussion about what show is in right now because everybody’s watching their own thing.”

Tse strikes a more pragmatic tone. “I think you have to in a way embrace it,” she says of AI. “Some parts of the industry will unfortunately lose work, but then you’ll have to find your way into another area.”

Morot, right, and Tse prepare a metallic M3GAN for action in “M3GAN 2.0.”

(Geoffrey Short / Universal Pictures)

“M3GAN” and “M3GAN 2.0,” for all their enjoyable sci-fi nuttiness, are expressly about these questions of AI’s prominence. They may be horror movies with training wheels, but they’re also teaching PG-13 audiences to maintain a healthy skepticism about the future. Their lineage goes back to “2001: A Space Odyssey” and the prescient 1970 nightmare “Colossus: The Forbin Project,” about two AIs that take over the world’s nuclear arsenal, a plot that reemerges in the new “Mission: Impossible — The Final Reckoning.”

“The reason I did ‘M3GAN’ was out of frustration as a parent,” says Johnstone. “I was bringing my children up in this age of devices and trying to figure out where the balance lies and seeing everyone around me kind of accept it and thinking, Wait, there’s got to be a middle ground here. Why aren’t schools having a conversation?”

If Morot and Tse, both at the bleeding edge of their field, end up making AI palatable for a younger generation, with M3GAN as their mascot, they’re at least doing it the old-school way, with tools that inspired them from the start. They’ve brought out a mechanical head for me to see — it’s actually the first doll they ever built (just without the skin) and it has a rather large speaking cameo in the new movie: an unsettling scene about rebuilding in an underground bunker and saving the world before it’s too late.

“We were lucky,” Tse says — by which she means, lucky that they saved this prototype for the moment. The glistening jawline and lidless eyes are giving unmistakable Terminator vibes. Morot cradles the head, still that boy dreaming of Fangoria covers.

It’s the kind of thing you hold onto in a lab in Valencia.