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The idyllic Welsh seaside town of Rhos-on-Sea is home to a remarkable landmark – a tiny chapel that holds the title for being the smallest in the British Isles

This picturesque seaside town in Conwy, Wales provides a far more tranquil coastal retreat for those seeking respite by the shore – whilst also being home to a remarkable UK landmark.

Nestled discreetly along a coastal path boasting breathtaking vistas of the Welsh coastline, sits a diminutive chapel in Rhos-on-Sea, so minute that it claims the distinction of being the smallest throughout the entire British Isles.

St Trillo’s Chapel is so compact that it can accommodate merely six worshippers at once, and astonishingly, communion services continue to be held there.

The chapel takes its name from St Trillo, a 6th-century saint who is believed to have constructed his cell on this very site.

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History

When St Trillo established his cell, research indicates it was probably fashioned from timber and wattle, with the possibility that the saint collected and erected a stone barrier to shield it from harsh winds.

However, it was the natural spring within the chapel, furnishing the saint with fresh water, which rendered this location ideal for his dwelling. The well persists to this day, positioned before the altar, and is believed to possess considerable historical significance.

This very spring subsequently provided water for countless baptisms throughout the mediaeval parish of Llandrillo and is regarded as possessing curative properties.

The water is thought to flow westward underneath the floor straight from the well, which ‘carries the blessed soul’ from the altar towards the congregation.

While we have a good understanding of its structure today, there’s no specific date attributed to the chapel due to numerous repairs carried out over the centuries. Despite its diminutive size and stone roof, it retains the essence of the saint’s original space.

Present day

St Trillo’s Chapel is nestled next to Marine Drive, a scenic route that stretches from Colwyn Bay along the tranquil seafront. From the road, the chapel is almost hidden from view, but a small signpost will guide you to its location.

The most convenient place to park would be Trillo Avenue, located on the inland side of Marine Drive. From here, you can stroll back to Marine Drive and make your way towards the chapel. It’s just a few metres north of the junction and is accompanied by a small garden, overlooking the sea.

One visitor shared their experience on TripAdvisor, writing: “Stumbled across this as I was walking along the promenade. It was so cute, and I was surprised to see it was open.

“It was quite cold outside, so it was a relief to get out of the wind. Very peaceful inside with two candles burning, and it was well kept. Useful sign nearby detailing its history.”

Another visitor added: “I have been fascinated with this tiny little chapel ever since I read about it on TripAdvisor. Took ages to find but so worth it.

“I could of sat there for ages as it had a comforting and peaceful atmosphere. It is wonderful that it’s kept open for visitors and so well looked after. The little garden is beautifully kept. A magical place on the beach.”

The beach

Beyond the iconic chapel, visitors find themselves surrounded by the stunning scenery of Rhos-on-Sea Beach. A well-loved promenade for walkers and cyclists curves along the golden sands, dotted with numerous cafes, pubs and other establishments perfect for enjoying refreshments whilst overlooking the ocean.

The beach sits within easy reach of the town centre and forms part of the considerably longer three-mile Colwyn Bay coastline. Boasting sweeping sea vistas, it proves particularly popular with families during the summer months who flock here to sunbathe, paddle in the waves or enjoy various water sports.

One recent visitor described it as a “traditional seaside town”. They wrote: “Lovely traditional seaside resort. Clean beach, plenty of car parking, plenty of little cafes and little ice cream and gift shops, like seaside resorts used to be.”

Bear in mind that whilst parking spaces line the promenade, charges do apply. Additionally, dog walking restrictions are enforced on specific sections of the beach during the period between May and September.

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Thousands of vehicles make the crossing every day.

A bridge so steep it’s been dubbed the ‘rollercoaster bridge’ is located in Japan and sees thousands of vehicles cross it daily. Often regarded as one of the steepest in the world, the Eshima Ohashi bridge links Matsue, in the Shimane Prefecture, with Sakaiminato in the Tottori Prefecture.

People say they have ‘nightmares’ after seeing photographs and footage of this bridge, which cost an eye-watering £119m to construct. In some images, it looks as though vehicles must climb at an extremely sharp angle.

It’s approximately 1.1 miles long, rising to 147 feet as it spans the Nakaumi Lake.

The bridge was constructed between 1997 and 2004, replacing a drawbridge that previously existed there. That structure, however, had some significant design flaws.

For instance, it could only handle 4,000 vehicles daily. Today, roughly 14,900 vehicles make the journey across in a 24-hour period, reports the Express.

It was also blocked by ships for approximately eight minutes at a time, and only vehicles weighing under 14 tons were permitted to use it.

In terms of its gradient, it measures approximately 6.1% on the Shimane side, which is where it’s often photographed from. On the opposite side, it’s marginally lower at 5.1%.

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Images and clips of the bridge frequently cause a stir on social media, sparking discussion about its ‘terrifying’ appearance. One individual shared their thoughts on Reddit, saying: “One of my lifelong reoccurring nightmares involves bridges that look like this.”

Another wrote: “Oh. My. God. I get terrified shivers just looking at these pictures. Massive phobia of heights, I don’t think I’d do well on that bad boy.”

However, it’s important to bear in mind that photos of this bridge are often captured using a telephoto lens, which tends to make it appear far more dramatic than it truly is. It’s still quite steep, and extra caution is needed during the winter months to prevent it from becoming blanketed in ice and snow.

According to the Japan National Tourist Organisation, it’s frequently named one of the ‘craziest’ or ‘scariest’ bridges. Even if you’re without a car, you can walk or cycle across it, and it offers an excellent backdrop for photographs.

Additionally, telescopes and binoculars are available for tourists to gaze out across the lake when the weather permits.

The administration of United States President Donald Trump has broadened its prosecution of the protesters involved in a church demonstration to 39 people, up from nine.

The demonstration was part of a backlash to Trump’s deadly immigration surge in the midwestern state of Minnesota, but officials have sought to frame the protest as an attack on religious freedom.

Attorney General Pam Bondi announced the expanded indictment on Friday in a message posted to social media.

“Today, [the Justice Department] unsealed an indictment charging 30 more people who took part in the attack on Cities Church in Minnesota,” Bondi wrote. “At my direction, federal agents have already arrested 25 of them, with more to come throughout the day.”

She added a warning to other protesters who might seek to disrupt a religious service.

“YOU CANNOT ATTACK A HOUSE OF WORSHIP,” Bondi said. “If you do so, you cannot hide from us — we will find you, arrest you, and prosecute you. This Department of Justice STANDS for Christians and all Americans of faith.”

Appealing to Christian voters

Since taking office for a second term, Trump has sought to appeal to Christian conservatives by launching initiatives, for example, to root out anti-Christian bias and prevent alleged acts of Christian persecution, both domestically and in countries like Nigeria.

But critics have accused his administration of attempting to stifle opposition through its prosecution of the Minnesota protest attendees.

Some of those indicted deny even being a part of the January 18 protest. Defendants like former CNN anchor Don Lemon and reporter Georgia Fort say they attended in their capacity as journalists.

Both have pleaded not guilty to the charges and have publicly questioned whether their prosecution is an attempt to curtail freedom of the press.

The superseding indictment, filed on Thursday, levies two counts against the 39 defendants, accusing them of conspiracy against the right of religious freedom and efforts to injure, intimidate or interfere with the exercise of religious freedom.

“While inside the Church, defendants collectively oppressed, threatened and intimidated the Church’s congregants and pastors by physically occupying the main aisle and rows of chairs near the front of the church,” the indictment reads

It also describes the protesters as “engaging in menacing and threatening behavior” by “chanting and yelling loudly” and obstructing exits.

A magistrate judge on January 22 initially rejected the Justice Department’s attempt to charge nine attendees who were at the protest.

But the department sought a grand jury indictment instead, which was filed on January 29 and made public the next day.

A reaction to Trump’s immigration surge

The protest, dubbed “Operation Pullup”, was conceived as a response to the violent immigration crackdown that had unfolded in Minnesota.

Many of the enforcement efforts centred on the metropolitan area that includes the Twin Cities: St Paul and Minneapolis.

Trump had repeatedly blamed the area’s large Somali American population for a welfare fraud scandal involving government funds for programmes like Medicaid and school lunches.

In December, the Trump administration surged federal immigration agents to the region, nicknaming the effort Operation Metro Surge. At its height, as many as 3,000 agents were in the Minneapolis-St Paul area.

But the effort was plagued by reports of excessive violence towards detainees and protesters alike. Videos circulated of officers breaking the car windows of legal observers, pepper-spraying protesters and beating people.

Officers also engaged in the practice of entering homes forcibly without a judicial warrant, which advocates described as a violation of the Fourth Amendment of the Constitution. Cases of unlawful arrests were also reported.

But a turning point came on January 7, when an agent with Immigration and Customs Enforcement (ICE) was caught on camera shooting into the vehicle of 37-year-old mother Renee Good. She died, and her killing sparked nationwide protests.

Operation Pullup took place at Cities Church in St Paul less than two weeks later.

It was intended as a demonstration against the church’s pastor, David Easterwood, who serves as a local official for ICE.

Several protesters have indicated that they are prepared to fight the government’s charges over the incident, citing their First Amendment rights to free speech.

Some also said that they intended to remain vigilant towards government immigration operations, even after Trump administration officials announced Operation Metro Surge was winding down in mid-February.

“This is not the time to be Minnesota Nice,” one protester, civil rights lawyer Nekima Levy Armstrong, wrote on social media last week. “It’s time for truth, justice, and freedom to prevail.”

Every relevant person travelling must obtain an ETA, including babies and children

Travellers frequently face changing regulations when crossing international borders. Now, Heathrow Airport has issued a reminder about some essential new requirements now in effect.

Under the changes, an Electronic Travel Authorisation (ETA) has become a legal necessity for certain people from this month. This £16 charge permits travellers to enter the UK for tourism, family visits and other purposes for up to six months.

On X, formerly Twitter, the major airport announced this week: “Starting tomorrow, 25 February, whether your final destination is the UK or are connecting via Heathrow, eligible visitors will need an ETA (Electronic Travel Authorisation).

“Find out more on http://GOV.UK.” It then also stressed: “From 25 February, you can’t legally travel without an Electronic Travel Authorisation. Exemptions apply.”

Whilst most UK visitors will require an ETA or visa to enter the UK, this depends on your nationality and purpose of travel. For example, an ETA is usually necessary if you’re arriving from Europe, the USA, Australia, Canada and selected other countries.

Every person travelling must obtain an ETA, including babies and children. Therefore, for a family of four, you’ll probably need to pay £64 altogether, whilst a family of six will generally pay £96. Visitors may apply for an ETA on behalf of others.

Anyone holding a British or Irish passport, or who has permission to work, live, or study in the UK, won’t need an ETA. According to official Government advice, other exemptions include:

It’s important to remember that having an ETA does not guarantee entry to the UK. Those with a criminal record or who have previously been denied entry should consider applying for a Standard Visitor visa instead.

Beyond this, the UK Government highlights exactly what can and can’t be done with an ETA. For instance, the ETA allows:

Meanwhile, these five things are not permitted with an ETA:

• Staying in the UK for longer than six months
• Doing paid or unpaid work for a UK company or as a self-employed person, unless you’re doing a permitted paid engagement or event or work on the Creative Worker visa concession
• Claiming public funds (benefits)
• Living in the UK through frequent or successive visits
• Marrying or registering a civil partnership, or giving notice of marriage or civil partnership – a Marriage Visitor visa is needed

Travellers can apply for the £16 ETA online or via the UK ETA app. To complete this, they’ll need a passport, an email address, and a payment option, including Apple Pay and Google Pay.

The fee is non-refundable after an application has been submitted. For further details,head to GOV.UK here.

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One UK mum who is raising her kids in Spain has shared the ‘things no one warns you about’. She shared the three big differences she’s noticed since moving her family abroad

Many people are prepared for a few culture clashes when they move abroad. However, one UK mum who is raising her kids in Spain has shared the ‘things no one warns you about’. Jodie, known as @jodiemar1ow on Instagram, shared details about her new life in Spain with her 6,400 followers on the app. In one of her latest reels, she shared the three big differences she’s noticed when it comes to raising her kids abroad.

Diving into the first issue, Jodie said it was bedtime. She explained: “Bedtimes… they just aren’t a thing. We have been to parties until 10pm, in fact Jayden had a party that was going to end at 12am.

“I actually did pick him up at 11pm because I was like he’s 6-years-old. This is so late.”

She added: “Kids are playing on the street until 11pm is just normal. Bedtimes just don’t exist. What is bedtime?”

The second issue she raised was that kids in Spain finish school at 5pm. She said: “It makes no sense to us Brits that they finish at 5pm, and for their dinner breaks they have 2.5 hours to have their food and play.

Like they have a sit down three course lunch at lunch time. If I did that, I’d be done for the day. I can not do a three-course lunch.

“People in Spain find it mad I just have a sandwich, it’s crazy.”

Jodie said that if ever kids then do after-school activities they finish even later.

The third thing the mum had noticed is that her kids are ‘definitely more Spanish’ than her.

“If you ask them they’ll say they’re Spanish-English,” she said.

“They correct me now if I say things in Spanish wrong and they’re basically fluent.

“I wasn’t prepared for all these correction and how they pronounce things [so well].”

Many people could relate to Jodie in the comments, as one person wrote: “I’m a Canadian living in Spain, so nice to meet you! The lunch is insane, haha I mean I love it for my son but I was blown away by it.”

While another added: “Taking Iyla to her friends soft play party at 5yrs I was in shock. I said, ‘I’m leaving now as Iyla has bedtime’. Everyone was looking at me weird haha.”

A third chimed in: “I’m in Alicante with a 6 month old baby and everything is baffling me already. Sensory classes for babies simply don’t exist, wild.”

However, one other person wrote: “Our school day has always finished at 2, both primary and secondary school. I think it depends on area.”

For the trendiest tenants in Hollywood office buildings, it’s the latest fad that goes way beyond designer furniture and art: mini studios

To capitalize on the never-ending flow of stars and influencers who come through Los Angeles, a growing number of companies are building bright little corners for content creators to try products and shoot short videos. Athletic apparel maker Puma, Kim Kardashian’s Skims and cheeky cosmetics retailer e.l.f. have spaces specifically designed to give people a place to experience and broadcast about their brands.

Hollywood, which hasn’t historically been home to apparel companies, is now attracting the offices of fashion retailers, says CIM Group, one of the neighborhood’s largest commercial property landlords.

“When we’re touring a space, one of the first items they bring up is, ‘Where can I build a studio?’” said Blake Eckert, who leases CIM offices in L.A.

Their studio offices also serve as marketing centers, with showrooms and meeting spaces where brands can host proprietary events not open to the public.

“For companies where brand visibility is really important, there is a trend of creating spaces that don’t just function as offices,” said real estate broker Nicole Mahalka of CBRE, who puts together entertainment property leases and sales.

Puma’s global entertainment marketing team is based in its new Hollywood offices, which works with such musical celebrity partners as Rihanna, ASAP Rocky, Dua Lipa, Skepta and Rosé, said Allyssa Rapp, head of Puma Studio L.A.

Allyssa Rapp, director of entertainment marketing at Puma, is shown in the Puma Studio L.A. The company keeps a closet full of Puma products on hand to give VIP guests. Visits to the studio sanctum are by invitation only, though.

(Kayla Bartkowski / Los Angeles Times)

Hollywood is a central location, she said, for meeting with celebrities, stylists and outside designers, most of whom are based in Los Angeles.

The office is a “creation hub,” she said, where influencers can record Puma’s design prototyping lab supported by libraries of materials and equipment used to create Puma apparel. The company, founded in 1948, is known for its emblematic sneakers such as the Speedcat and its lunging feline logo, and makes athletic wear, accessories and equipment.

Puma’s entertainment marketing team also occupies the office and sometimes uses it for exclusive events.

“We use the space as a showroom, as a social space that transforms from a traditional workplace into more of an experiential space,” Rapp said.

Nontraditional uses include content creation, sit-down dinners, product launches, album listening parties and workshops.

“Inviting people into our space and being able to give them high-touch brand experiences is something tangible and important for them,” she said. “The cultural layer is really important for us.”

The company keeps a closet full of Puma products on hand to give VIP guests. Visits to the studio sanctum are by invitation only, though. There’s no retail portal to the exclusive Hollywood offices.

Puma shoes are on display in the Puma Studio L.A.

(Kayla Bartkowski / Los Angeles Times)

Puma is also positioning its L.A studio as a connection point for major upcoming sporting events coming to Los Angeles, including the World Cup this summer, the 2027 Super Bowl and 2028 Olympics.

In-office studios don’t need to be big to be impactful, Mahalka said. “These are smaller stages, closer to green screen than a massive soundstage.”

Social media is the key driver of content created by most businesses, which may set up small booth-like stages where influencers can hawk hot products while offering discounts to people watching them perform.

Bigger, elevated stages can accommodate multiple performers for extended discussions in front of small audiences, with towering screens behind them to set the mood or illustrate products.

Among the tricked-out offices, she said, is Skims. The company, which is valued at $5 billion, is based in a glass-and-steel office building near the fabled intersection of Hollywood Boulevard and Vine Street.

The fashion retailer declined to comment on the studio uses in its headquarters, but according to architecture firm Odaa, it has open and private offices, meeting rooms, collaboration zones, photo studios, sample libraries, prototype showrooms, an executive lounge and a commissary for 400 people.

Pieces of a shoe sit on a workbench in the Puma Studio L.A.

(Kayla Bartkowski / Los Angeles Times)

The brands building studios typically want to find the darkest spot on the premises to put their content creation or podcast spaces, Eckert said, where they can limit outside light and sound. That’s commonly near the center of the office floor, far from windows and close to permanent shear walls that limit sound intrusion.

They also need space for green rooms and restrooms dedicated to the talent.

Spotify recently built a fancy podcast studio in a CIM office building on trendy Sycamore Avenue that is open by invitation-only to video creators in Spotify’s partner program.

“Ambitious shows need spaces that support big ideas,” Bill Simmons, head of talk strategy at Spotify, said in a statement. “These studios give teams room to experiment and keep pushing what’s possible.”

A British man who moved to France has spoken about the emotional journey he went on before the making the life changing decision to leave the UK behind two years ago

Although there are now more barriers in place for Britons, the lure of living and working in Europe is still incredibly strong. As a result, every year there are stories of people leaving the UK to live and work in the European Union, sometimes temporarily, sometimes permanently.

One man who moved to France from the UK has opened up about how the working culture in London led him to struggling with burnout. Liam Rondi, 30, and his husband Xavier Rondi, 33, eventually moved to Montpellier, France, in 2024.

Now, nearly two years on, Liam, a freelance copywriter, has talked about the anxiety and stress he experienced whilst living and working in central London.

Liam, originally from Medway in Kent, said: “I was watching the state of the country deteriorate in many different ways. I used to struggle a lot financially and I think the general mood of the country started to sour and I could really tell it started to wear on me.

“I was very anxious. In the mornings before work I would often be crying and be on the Tube bordering on a panic attack. I was exhausted and I couldn’t keep up with the work that was being set.”

Liam said that one of the turning points for him was when he visited his husband’s family in France and saw how people seemed “to be a lot friendlier and happier”. This, in turn, has shaped his opinion on how he views people working nine to five jobs in the UK and his belief that the “UK government is gaslighting people”.

He explained: “I think people in the UK pretend to be happy with the 9-5 lifestyle. I think a lot of people are very good at just keeping calm and carrying on – but for me that wasn’t a life that I wanted to live.”

Liam says he’s now decided to prioritise happiness over money, even if it has meant that the area he’s moved to has fewer career opportunities for him. He said: “The downside [to living in France] is I feel like the career opportunities aren’t as plentiful.

“I don’t think I’ll ever earn as much here as I could have done in the UK but I’ve realised over time that money isn’t the thing I’m most bothered about, it’s more happiness.”

Liam now encourages other people to at least consider moving somewhere else, even if it’s only to try it out, after saying he won’t return. He explained: “I can’t see myself ever moving back. France feels like home already because of the way of life. I definitely encourage people to consider it at least, just remember that it’s possible.”

Furthermore, Liam has also shared a video on TikTok detailing some of his experiences, one which has gone viral with around 294,000 views, likes, shares, and comments.

Liam’s story of experiencing burnout isn’t a new one, with data showing that more and more Britons are suffering from it.

Last year, a STADA Health Report showed that one group particularly affected was British women with 56 percent of women between the ages of 18 and 24 and 44 percent of those between the ages of 35 and 44 saying they had experienced the phenomenon.

Men were also shown to experience burnout with 43 percent of 18 to 24-year-olds and 36 percent of 35 to 44-year-olds experiencing symptoms.

Speaking about the matter to the Mirror, GP and TV doctor Dr Anisha Patel said: “I myself have suffered from burnout and as clinicians, we’re seeing more and more people at breaking point mentally, which can also impact their physical health and it’s clear that our mental health services need not only more investment, but cultural change.

“What’s striking is how stigma continues to hold us back. Despite widespread experiences of burnout, the UK still reports low levels of people taking sick leave for mental health reasons compared to other European countries.”

For emotional support, you can call the Samaritans 24-hour helpline on 116 123, email jo@samaritans.org, visit a Samaritans branch in person or go to the Samaritans website.

Matthew Lillard has been campaigning for a while.

He wanted to get back into the “Scream” franchise. Of course his character, Stu Macher, could survive a television being dropped on his head (though it’s said that he was electrocuted). Lillard even thought about dropping an actual TV on his head to prove that it was possible. Luckily, he didn’t go through with it, becausea lot of TV figuratively dropped on his head anyway.

The “Scooby-Doo” actor has been cast in several high-profile projects. He’s on “Cross,” the Amazon Prime show starring Aldis Hodge as a homicide detective and forensic psychologist. He will be in the eight-episode “Carrie” miniseries — yes, that Carrie — developed by filmmaker Mike Flanagan for Amazon MGM Studios. He’s dipping his toes in the Marvel cinematic pond with a role in Netflix’s “Daredevil: Born Again.”

On the big screen, he’s prepping for a third “Five Nights at Freddy’s.”

And his campaign paid off: He’s in the newest chapter of the popular “Scream” franchise — which just released its final trailer earlier this week.

All of this from an actor whom Quentin Tarantino (speaking on “The Bret Easton Ellis Podcast”) “doesn’t care for.” Lillard has answered questions about and commented on Tarantino’s viral comments often in the last few months. An actor for almost four decades, Lillard says he has built up a thick skin, but the comments were hurtful.

He talks about those comments, along with his recent projects, working with friends and his constant desire to say “F— ICE.”

So. Tarantino said some things about your (and Paul Dano’s) acting prowess …

Look, candidly, it was a weird moment. It was a bummer. It was a drag at the beginning. But I’ll say this — I have never felt so seen by this industry. My entire career, I felt like a blue-collar working-class actor trying to be in the best movies and do the best work I possibly can. In that moment, along comes an industry that I’ve served now for 35 years, rising up and saying really lovely things. I said, in the past, it felt like I was living through my own wake. You don’t normally see that outpouring of love until after somebody passes. At the end of the day, it ends up being a really beautiful moment for me.

It’s not like I’m this fragile little thing. I’ve been around a long time. Did it suck? Sure.

This Quentin Tarantino thing … I’m good. I love his films. It also sucked because I was like, “Oh, I would love to get in there and kick ass for him.” But whatever. It is not about the box office wins that week. It’s about a body of work, a community of friends, and longevity that really defines. Which is the goal, and it defines a life well spent.

You mentioned longevity, and a quick IMDb search shows that Shaggy is your world! There’s so much “Scooby–Doo.” Straight-to-video. Live-action. Video games.

Yeah. Isn’t that crazy?

Looking back, how did you approach doing the voice work and being in the movies, and what was your thought process when that first came to you?

My first thought process was, “I’m getting that job.” I’m like, “I will kill that.” The way I got into the voice was that I would have to scream myself hoarse. I’ll never forget coming down and being in the car, an empty Warner Bros. lot, screaming to prepare my voice for the audition, and having Chuck Roven, the producer, walk by and knock on the window and be like, “Dude, are you OK?”

The first movie was so successful that I felt like I was launched. James Gunn and I went in and pitched “Plastic Man” at Warner Bros. I felt like, “Oh, I’m now an option to be No. 1 on a call sheet.” Then “Scooby-Doo 2” came out, didn’t do great, and started a reset of my career that took a couple of years.

I look back now at 56 years old and think, without that, I wouldn’t be in this career. I don’t know if I would have been around long enough to get this comeback that I’m in the middle of and enjoying.

“Scream 7” revisits one of the most successful horror franchises ever. How did you feel about being approached to come back? Can you say much about your role?

Ghostface in Paramount Pictures and Spyglass Media Group’s “Scream.”

(Brownie Harris / Paramount Pictures / Spyglass Media Group)

I’m not going to lie, I was over the moon. At some point, right before I got the offer, probably three or four months before I got the offer, [“Scream” franchise creator] Kevin Williamson put it out in the world that the “Scream” franchise does not need Matthew Lillard. I remember reading that and thinking to myself, “Why don’t you just leave me alone? I’m planning on getting back in.”

[Film producers] Radio Silence had set up in [the fifth and sixth films] the potential or the whisperings that Stu was still alive. So I was like, “We’re trending in the right direction here. Why is Kevin Williamson kicking me in the teeth?” And the funny thing is, he called me in the middle of the afternoon and he’s like, “Are you interested in coming back?” I was super excited. And … there’s not a lot I can say about the movie, for obvious reasons. But I think that people are going to be really excited.

You’re continuing in the horror field with “Carrie.” No release date yet, but what can you say about it?

I had a small scene [in “Life of Chuck”], but the scene’s great and the movie’s beautiful. I saw Kevin Williamson at [“Life of Chuck” and “Carrie” producer] Mike Flanagan’s house because we were playing a game of “Mafia.” I was doing “Five Nights at Freddy’s” and I was sitting talking to Mike and he was talking about doing “Carrie” and everything he’s got coming up. After he and I did “Life of Chuck,” he’s like, “Well, congratulations. You’re now in the Flanafam.” He works a lot with the same actors.

I finally got up the courage to say, “Hey, listen, what is that? I mean, if I’m in the Flanafam, what does that mean? How does that work? Am I supposed to tell you my schedule?” He’s like, “Oh, no, no, no. I have a part for you in ‘Carrie.’ I want you to come and do ‘Carrie’ if you’re interested.”

Everyone knows the story. Carrie, pig blood, all that. But that De Palma version only uses certain specific aspects of the book. The thing I’m excited about is that Mike Flanagan pulls in elements of the book that are not necessarily in the first film, and then adds headlines ripped from today’s day and age in terms of bullying and things we’re seeing in social media and all of that. So he’s giving it a new lens to look at what bullying looks like for kids today. I saw the first three episodes — the entire cast gathered at a screening room — and it blew me away.

Summer Howell plays Carrie, and she’s incredible, and Sam Sloyan plays her mother. There’s three basic parties. There’s the kids, there’s the parents, and then there’s the faculty. I play the principal at the school, watching the entire thing fall apart around them.

You’re also dipping your toes in the world of Marvel with “Daredevil: Born Again.”

I can talk about “Daredevil” a little. I played Dungeon & Dragons with three incredible showrunners. Dario Scardapane, who runs “Daredevil,” Matt Nix, who’s doing the new “Baywatch,” and then Elwood Reid, who does “Tracker.” I’m their dungeon master. We play with Abraham Benrubi, this beautiful actor (“ER,” “Buffy the Vampire Slayer”), a dear friend of mine. … Dario brought me in to play Mr. Charles [on “Daredevil: Born Again”], who’s like a CIA spook. He’s a guy that controls power from afar. He helps nations rise and fall, but he’s very clandestine. He is not impressed by the powers of [Vincent] D’Onofrio’s character [Kingpin] at all. He and I get into this really delicious struggle over power. It’s good. It’s fun.

Matthew Lillard taps “Scream” vibes with Ghost Face Vodka, whose release will coincide with the seventh installment of the film franchise.

(Andreas Branch)

You’ve combined storytelling with alcohol for your lines of whiskey, vodkas and the like. How did you decide to mix the two?

I started a Dungeons & Dragons company six years ago now called Beadle & Grimm’s. Somebody approached me about building a spirits company around Dungeons & Dragons.For me, what I heard in that was like, “Hey, build a luxury item for niche communities that people don’t always respect and know and understand.” My experience with Beadle & Grimm’s was very clear. They will come out and support it.

So we created Quest’s End Whiskey. Quest’s End is a 16-bottle drop over four years. Each bottle is a different character class, but each bottle delivers a new chapter of an ongoing saga. We sold out in the first two weeks. In a week, we had 25,000 people on the waiting list to purchase that first bottle.

I know the impact that “Scream” [has] had on the horror community. I realized that if we could license the [intellectual property] of [film villain] Ghostface that we could make something super badass that fans would go crazy for. It took us a while to secure those rights. But once we did, we built Ghost Face Vodka.Our hope was to sell 2,000 units of a collector’s edition. We had 40,000 people sign up for early access in the first 72 hours.

Ghost Face Vodka has a game on the back, a QR code. When you sit down, all your people can hit that QR code with their smartphones and load an automated game of “Mafia.” It’s a communal game. It’s like two or three of you are Mafia members, and you have to figure out who that is. And it’s super fun. Again, trying to build community. Our hope is that, launching around “Scream 7,” it’s going to catch the zeitgeist and blow up.

Lastly, we have “Cross,” your most current TV project.

Matthew Lillard in “Cross.”

(Ian Watson / Amazon MGM Studios Prime Video)

I’m in love with that creative team and Aldis Hodge and everything he represents. I don’t think people understand that that show did 40 million views in the first 20 days for Amazon. It is unapologetically a Black show that … it feels like it’s being ripped from the headlines. I think Aldis Hodge and the creative team do an incredible job representing a man who is a Black man as a detective in this world. The relationships, the friendships, the bonds he has with his community — just being around that creative team has been really inspiring, and [show creator] Ben Watkins is an incredible storyteller.

I think the thing about “Cross” is that it really challenges you, especially given what we’re living through in this moment. I have to say it — politically speaking, we’re in a s— storm. I went viral a month ago about saying, ‘F— ICE.’ But … f— ICE.

Could you describe your character?

Another dubious character. He’s a billionaire named Lance Durand, and he’s out to solve world hunger. Sometimes, a billionaire has very questionable scruples as to the best ways to go about things. Solve world hunger, kill all the people. That’s how you do it.

The whole series opens up with a bunch of middle-aged white men on an island doing horrible things to girls. So when I say “ripped from the freaking headlines” … It’s, like, crazy.

A small hilltop town in Italy is home to stunning panoramic views and a wealth of history – but many tourists are flocking to it for something quite different

For those who want a challenge, there’s an alleyway is a gorgeous town in Italy that stands at just 43 centimetres wide – but amazingly that’s not the world’s narrowest.

The incredibly slender street is in Ripatransone, a small village in the province of Ascoli Piceno in the Marche region in central Italy, known for its breathtaking views and medieval, renaissance and baroque style buildings.

And, of course, famous for the incredibly narrow alleyway at Via Francesco Lunerti, 14 which has gained significant notoriety as a result of social media and has people flock from far and wide to see it. The narrowest part is only 38 centimetres wide before it widens, funnel-like, to 43 centimetres.

The alleyway received official certification from the local Tourism Office and has a dedicated tourism sign so visitors can find it easily, near Piazza XX Settembre and Via Margherita.

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Originally a service passage between two medieval houses, over time planning modernisation meant the space between the properties was reduced as a result of building expansion – paving the way for it to become Ripatransone’s main attraction.

However, the beautiful village is more than just a small walkway. A hilltop village situated between the valleys of the Menocchia torrent and the Tesino rover, Ripatransone has a stunning panoramic view of its surrounding landscape and boasts a rich historical and artistic heritage.

As one of the oldest and most important centres in the province of Ascoli Piceno, the historic centre is medieval in its layout with buildings from 19th Century and noble palaces which run lengthwise from north to south for about one kilometre.

READ MORE: Spain holiday island warning as threat of plague grows worse

The neighbourhoods sport a myriad of narrow streets and alleys which open out onto small squares with characteristic nooks and crannies.

Of course, none of the alleys are quite as narrow as the 43 centimetres-wide space which actually took the title as Italy’s narrowest from Via Baciadonne in Citta della Pieve in the province of Perugia in central Italy which stands at 53 centimetres. It was given the title in 1968 which Professor Antonion Giannetti surveyed all the alleyways in the historic centre.

However, despite its incredibly slight size, the alley in Ripatransone does not hold the world record for the narrowest. That belongs to an alleyway in the hilltop town of Gassin in the heart of the Saint-Tropez peninsula in southeastern France.

At its narrowest point, that alleyway is only 29 centimetres wide and National Geographic has dubbed it the narrowest alley in the world. As for streets officially registered in the land registry, the narrowest in the world is Spreuerhofstraße in Germany which sits at 31 centimetres wide.

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Manila, Philippines – “Bongbong is our principal worry. He is too carefree and lazy,” then-President of the Philippines Ferdinand Marcos Sr wrote in 1972.

Marcos Sr was referring to his only son and namesake by the child’s moniker, Bongbong.

He was concerned about what the future would hold for the young Marcos.

“The boy must realise his weakness – the carefree wayward ways that may have been bred in him,” his father further warned in his diary.

Half a century later, his son – Ferdinand “Bongbong” Marcos Jr – would be sworn in as the 17th president of the Philippines, following a landslide victory in the 2022 polls.

The rise of Marcos Jr to the presidency marked his family’s dramatic rehabilitation after the mass street protests that forced Marcos Sr from power and the family into exile in 1986.

In his inaugural speech, Marcos Jr invoked memories of his late father’s presidency – though he skipped the years of brutal dictatorship and reported plunder of state resources – to project hope for “a better future” for 110 million Filipinos.

“You will get no excuses from me,” Marcos Jr said as he took his oath of office.

“You will not be disappointed.”

But three years into his term in office, Marcos Jr’s popularity has withered.

His political alliance with Vice President Sara Duterte has shattered, and his administration is ensnared in a multibillion-dollar corruption scandal that has plunged the country into a period of uncertainty.

The president who ran on a platform of unity is now struggling to lead a divided nation that is deeply disappointed over his lacklustre performance.

On the 40th anniversary of the People Power Revolution that ousted his father, Marcos Jr seems unable to escape history as some political factions in the opposition are calling for his removal – an ending that befell his father on the fateful date of February 25, 1986.

‘No plan’

Political analyst and economist Andrew Masigan pulls no punches. Masigan said what is happening in the Philippines is a consequence of an electorate choosing the “entitled son of a dictator” over a more competent candidate.

“[Marcos Jr] campaigned under the slogan and promise of unity. Economists and political pundits all assumed that there was a plan behind it. We’ve been waiting, and it has been three years. No such thing exists,” he said.

“His plan was to be president. It was a self-serving plan. It’s a presidency about Bongbong Marcos for Bongbong Marcos,” he added.

“He just wanted the opportunity to whitewash the tainted Marcos name,” he added.

As president, Marcos Jr has “squandered” the demographic advantage of the Philippines, Masigan continued, pointing to the country’s youth, who make up almost half of the population. Given such a youthful and dynamic society, the country’s economy should have been growing 7 to 8 percent annually by now, Masigan said.

Instead, the economy posted a sluggish 4.4 percent growth in 2025, well below the government target of 5.5-6.5 percent, he added.

Susan Kurdli, an assistant professor at De La Salle University in Manila, said the first three years of Marcos Jr’s six-year term were “indeed a period of missed opportunities”.

Kurdli said the “vague direction” the Philippines is heading was only to be expected, “as Marcos Jr never ran on a clear policy ticket”.

“He won the election largely by relying on the tried and tested tactics of tribalism, name recognition and alliance building,” she said.

Foreign investment has also declined by half from $9.42bn in 2024 to $4.7bn in 2025, its sharpest fall in five years, according to the Philippine Statistics Authority (PSA).

Unemployment rose at the same time from 3.8 percent in 2024 to 4.2 percent in 2025, PSA data showed. In 2025, only 172,000 jobs were added to the overall labour market, making it the fifth-worst year in job creation in 25 years, according to the think tank IBON Foundation.

A lack of economic opportunity and unemployment are the top risks for the Philippines in the next two years, the World Economic Forum (WEF) 2026 Global Risks Report notes.

If the weak economic figures have left Filipinos disgruntled, allegations of corruption have left them seething with anger.

“The scandal allegations surrounding him and his family have particularly hit a nerve with voters,” Kurdli of De La Salle University told Al Jazeera.

“They have definitely impacted the perceived legitimacy of Marcos Jr as a national leader.”

The latest corruption perceptions index conducted by Transparency International (TI) reflects that assessment.

According to the anticorruption body’s latest report, the Philippines has slipped six notches lower, ranking 120th out of 182 territories covered.

In response to the TI report, presidential spokesperson Claire Castro said Marcos Jr “has not lost interest” in fighting corruption, and is working to strengthen government institutions.

‘Ghost projects’

It was in the middle of last year when allegations first emerged that Marcos Jr had abused his authority by approving three consecutive national budgets riddled with questionable infrastructure projects amounting to billions of dollars.

Among those implicated in the alleged scheme was Ferdinand Martin Romualdez, the once-powerful speaker of the House of Representatives and a first cousin of Marcos Jr, who oversaw the drafting of the national budget.

He was accused by opposition congresspeople of manipulating the budget. An investigation by a Philippine news website also linked him to multimillion-dollar homes in the Philippines and the United States that are allegedly not listed in his government disclosure forms. He has since relinquished his post but has not been called to account despite massive protests and political pressure.

Also accused of cornering millions of dollars in public funds for pet projects were the president’s sister, Senator Maria Imelda Marcos, and his son, Ferdinand Alexander Marcos, a congressman.

Combined, the three Marcos relatives secured government projects worth at least $560m in the last three years, according to public works department data and the National Expenditure Program listed in the budget. They have all denied wrongdoing related to the awarding of the lucrative projects.

Private contractors and government bureaucrats were also linked to the scandal.

Some were reported by the news media to have spent their newfound wealth on Bentley and Rolls-Royce vehicles and gambling sprees. One mid-ranking official, whose monthly salary was the equivalent of $1,250, admitted during a congressional inquiry that he owned a GMC Denali SUV worth $200,000, a Lamborghini Urus worth between $500,000 and $700,000 and a Ferrari estimated at $1m.

Further investigations revealed several nonexistent government infrastructure initiatives, described as “ghost projects”, worth millions of dollars. Marcos Jr himself discovered an abandoned flood control project estimated to be about $1m in Baliwag, a city just north of Metro Manila.

In Quezon City in Metro Manila, the local government reported that 35 flood control projects were missing out of the 331 listed, with a total budget of almost $300m.

According to estimates by the Department of Finance, alleged corruption in flood control projects cost taxpayers approximately $2bn between 2023 and 2025.

The scale of the corruption allegations has reminded some Filipinos of the time when Marcos Sr and his wife, Imelda, ruled the country in what historians have described as a “conjugal dictatorship”.

During their two decades in power, the Marcos couple were accused of emptying the Philippine treasury of up to $10bn.

Masigan, the political analyst and economist, said despite all efforts to distance himself from the ongoing scandal, it is difficult for the current president to do so.

“The three budgets were authored, presided over and approved by the president himself. He signed it,” Masigan said.

“Everything leads to him.”

‘Give Marcos some credit’

Jan Credo, political science professor at Silliman University in Dumaguete City, Philippines, said despite the fierce criticism of the president, Marcos Jr should still get some credit for his role in highlighting the massive corruption scandal during his annual State of the Nation Address last year.

“President Marcos, in fact, started the expose when he chastised members of Congress and told them, ‘Shame on you’, for their involvement in the alleged massive bribery,” Credo told Al Jazeera.

“What this has generated is the consciousness among the public about the issue that led to the crystallisation of the social movement against corruption,” he said.

“If you ask me, Marcos Jr does not have anything to do” with the corruption, Credo said, blaming his close allies instead.

Credo also did not believe that the ongoing scandal would cost Marcos Jr the support of one of the country’s most powerful institutions, the military. Over the last four decades, two Philippine presidents, including Marcos Sr, were forced out of office in popular revolts backed by the military. Two other presidents faced coup attempts.

“Marcos Jr may be in survival mode now. But he is also fortunate to have a military that is highly professionalised and no longer politicised,” Credo said.

“The recent calls by retired military officers to withdraw support from Marcos Jr have not gained traction, because we have learned their lesson,” he explained.

Political analyst Masigan agreed, saying a move by the military was “out of the question”, noting that while there were some whispers for Marcos Jr’s removal, “nothing is being seriously considered”.

“As far as the military is concerned, they are loyal to the constitution; there is no movement to oust the president and have a caretaker government,” he added.

Securing a legacy

With just about two more years left in office, Marcos Jr still wields enough power to change the narrative of his administration, restore the Marcos name and implement policies that help Filipinos, political observers who spoke to Al Jazeera said.

But the president must act fast before the narrowing window of opportunity closes on him, and he becomes a “lame duck” leader, they added.

Major legislation that needs to be addressed includes government transparency, education, energy and investment reforms, as well as an overhaul of the transport and manufacturing industries, said Kurdli of De La Salle University.

But the most urgent policy reform that Marcos Jr has to address is the passage of a law banning political dynasties, which is the main culprit of corruption in the country, Masigan and Credo said.

“If he really wants to have an impact, he must get the antipolitical dynasty law passed,” Masigan said of the president.

In the Philippines, political dynasties have dominated about 80 percent of seats in the Senate and the House, according to a 2025 analysis by the Anti-Dynasty Network.

At the Philippine Senate, for instance, there are four sets of siblings occupying a third of the 24-seat chamber. At least eight other senators have close family members in the House.

President Marcos Jr comes from a dynasty himself. He has one sibling in the Senate, a son and two cousins in the House, and several relatives elected as town and provincial executives.

Vice President Duterte, who is the daughter of former President Rodrigo Duterte, is no different. Her brother, nephew and a cousin are serving in Congress. Another brother serves as the mayor of the Duterte stronghold, Davao City, while a nephew serves as the vice mayor.

While political dynasties are prohibited under the 1987 Philippine Constitution, Congress has failed to pass a supplementary law that spells out what a ban should look like.

For Credo, getting the antipolitical dynasty law passed is “a tall order” for Marcos Jr, given that a vast majority of legislators come from dynasties, guaranteeing fierce resistance.

“But if he can get it done, that would be a major achievement on his part. He will be able to secure his place in the history books,” Credo added.

Masigan said, given the Marcos family history, it is really up to the Filipino citizenry to keep the pressure on and demand real reforms from the government.

“I’ve seen how the Marcoses operate since the 1970s. They are fond of creating a semblance of reforms and giving people hope. But it will never come to fruition,” Masigan said.

“I hope this time it’s different. But I am not holding my breath.”

Neve Campbell helped cement the “Scream” franchise’s legacy in the horror genre, which is why stepping away from the sixth movie was a difficult decision.

But it’s one the actor stands by, she told “CBS Mornings” on Tuesday, adding that she “didn’t think I could live with myself walking on set.”

Campbell, the original “Scream” queen, declined to return for the sixth film following a pay dispute.

“I just didn’t feel right. I just knew that my value to this franchise was bigger than what had been offered,” Campbell told the morning show. “For me, I needed to make that choice.”

However, the actor is now back for “Scream 7” after securing a nearly $7-million deal, according to Variety.

The seventh installment is expected to open to a franchise-high $45 million to $50 million in North America this weekend, according to Variety.

But the film’s journey to the big screen wasn’t easy. Melissa Barrera and Jenna Ortega led the sixth movie in lieu of Campbell, both of whom subsequently left the franchise in 2023. Director Christopher Landon also exited the movie shortly after.

Barrera was fired from the seventh film in late 2023 after sharing on social media pro-Palestinian statements regarding the Israel-Hamas war. Ortega then exited the film, citing her conflicting filming schedule for Netflix’s “Wednesday.”

In “Scream 7,” Sidney Prescott is now a mom living a quiet family life; a “pretty bold choice” for the character, Campbell told “CBS Mornings,” “considering what happens to most of the people she loves, but she’s decided not to let her past dictate the way she’s going to live her life now.”

Campbell’s co-stars from the original film, along with fans of the franchise, were quick to voice their support for the actor’s decision in 2022. Matthew Lillard, who starred opposite Campbell, tweeted that the decision was “straight up sexism.”

“When I spoke out about it, it wasn’t really to sort of rally everybody,” Campbell said. “It was really just my truth at the time and the fact that people sort of got behind me, I got lovely support and that was really nice.”

Nexstar Media Group is slashing personnel from its TV stations, including several on-air veterans at Los Angeles outlet KTLA.

Glen Walker and Lu Parker, anchors of KTLA’s late morning and midday newscasts, are out along with meteorologist Mark Kriski, according to people briefed on the moves not authorized to speak publicly.

Kriski had been with KTLA since 1991, while Walker has been at the station’s anchor desk since 2010. Parker joined KTLA in 2005.

A representative for Nexstar said the company does not comment on personnel issues, adding it is “taking steps necessary to compete effectively in this period of unprecedented change.”

The layoffs are part of a company-wide cost reduction across Nexstar’s stations. The Irving, Texas-based media giant, which recently agreed to a $6.2-billion merger with station group Tegna, is looking for savings as traditional TV viewing declines and puts pressure on ad revenue as consumers continue to move to video-streaming platforms.

Television station groups have been lobbying the government to lift restrictions that limit them to 39% coverage of U.S households. They say lifting the cap will enable them to better compete with technology companies that have no such restrictions.

Nexstar is the largest TV station ownership group in the U.S. It also operates the cable network NewsNation, which has been slow to make significant inroads against established channels CNN, Fox News and MSNBC since it launched in 2020.

Nexstar has been chipping away at the staff of its Chicago station WGN, which produces 12 hours of local news daily. A total of 21 people have been cut in recent weeks, including nine reporters and anchors on Monday.

Known locally as “Chicago’s Very Own,” WGN has long been a source of civic pride in the city. Insiders at the station say they have been deluged with emails and texts expressing dismay over Nexstar’s moves, which eliminated a number of staffers with decades of experience and institutional knowledge.

Among those let go is Dean Richards, WGN’s longtime entertainment reporter and critic who has been a fixture at Hollywood press junkets.

At New York’s WPIX, Nexstar eliminated at least three on-air positions, including weekend anchor and reporter John Muller and afternoon anchor Arrianee LeBeau, who covered transit for the morning newscast.

SAG-AFTRA, which represents employees at KTLA and WGN, issued a statement blasting the cuts.

“By laying off journalists across the country, Nexstar is eroding the resources and talent that local communities rely on for trusted news,” SAG-AFTRA President Sean Astin said. “These actions highlight the risks of media consolidation and underscore the urgent need for regulators and the company to prioritize the public interest and the professionals who serve it.

KTLA, WGN and WPIX have been part of Nexstar since 2019, when the company completed its acquisition of Tribune Broadcasting.

It was the Los Angeles Hispanic Republican Club’s potluck party for President Trump’s State of the Union address, but there was a problem:

Not many Hispanics showed up. Or people, period.

About half of the the 20-some folks who trudged into the club’s Woodland Hills offices were Latino. Four of them were chairman David Hernandez and his family.

“People are sick, hurt, or fed up with politics,” the soft-spoken 77-year-old told me with a laugh before the speech began.

It was a dramatic turn from three years ago, when Trump reclaimed the White House with 48% of the Latino vote, the highest percentage ever captured by a Republican presidential candidate. A record number of California Latinos won legislative seats. The Hispanic Republican Club opened chapters in Ventura and Orange counties. Rodriguez now sits on the California Republican Party board of directors along with former Cudahy mayor and fellow club member Jack Guerrero.

How the quesadillas have flipped. CNN poll released earlier this week showed Latino support for Trump went from 41% last February to just 22% right now.

“It’s the visuals of those raids,” Hernandez acknowledged with a sigh. “It only makes sense that people will feel afraid. Some of our supporters and friends, they’re suffering.”

He turned to his vice chair, Tony Barragan, who reviews restaurants for the club’s weekly radio show. Near them, a table hosted three clipboards fat with paperwork for new members to fill. It had a total of one name. “How many of the places you’ve visited are feeling the crunch?”

“Half,” Barragan replied. His father came to the United States from Mexico illegally then became a pioneering Mexican restaurateur in Los Angeles.

“We gotta win the Hispanic vote. I hope that he [Trump] changes his approach and remembers that all men are endowed by their Creator with certain unalienable Rights.”

Fat chance of that, Tony.

The cheers were muted as the State of the Union pageantry kicked off. When Trump claimed early on that “inflation is plummeting, incomes are rising fast, the roaring economy is roaring like never before,” only one club member offered a golf clap.

Maybe the audience knew that was just too big of a whopper.

No one seemed particularly animated in the beginning except Rolando Salmerón. He sat in the front cheering and fist-pumping and chanting “USA! USA!” every time Republicans gave Trump a standing ovation.

Los Angeles Hispanic Republican Club chairman David Hernandez hosts a political radio talk show at the studios of AM Radio 870 in Glendale in 2022.

(Luis Sinco / Los Angeles Times)

The electrical engineer, who gave his age as “over 1,000,” came to the United States from El Salvador illegally in 1975 but was now a citizen. He told me during dinner that Trump had done “more good in one year than Democrats ever did in 30” and especially supported his deportation deluge because MS-13 members assaulted and bullied his son during his high school years.

“Trump deported three million people — Obama deported way more,” said Salmerón. He wore a hat emblazoned with “FIGHT” over the famous photo of a bloodied Trump raising his fist just after a would-be assassin’s bullet grazed his ear. On the bill was an embroidered version of the president’s signature. “Unfortunately, the media that we have — including the L.A. Times — doesn’t say the truth.”

I mean, I think the truth is Trump’s deportation machine might not hesitate to hassle Señor Salmerón over here, like it has other Latinos, if he was in the wrong place at the wrong time.

We watched Trump’s speech on Fox News, which kept cutting to unflattering shots of conservative scapegoats like Rep. Ilhan Omar and Sen. Elizabeth Warren. Those prompts uncorked snide comments from members — “Traitor!” someone yelled when the television flashed an image of Supreme Court Justice Amy Coney Barrett — that turned the atmosphere in the room from reserved to suddenly rollicking.

Hernandez, however, stayed silent.

While Trump bloviated about tariffs, the Hispanic Republican Club chair nibbled on dessert. As the triumphant U.S. men’s hockey team made a cameo, Hernandez was looking at his smartphone. Taxes, illegal immigration, foreign policy — nothing seemed to move Hernandez even as his fellow members got rowdier and rowdier. When Rep. Brad Sherman appeared on the screen, Hernandez finally said something: “There’s our congressman!”

But once Trump began to attack his enemies, Hernandez began to whisper comments with a smile to his daughter, who sat at the lonely check-in table. He laughed after the president gestured to the Democrats sitting glumly before him in the House of Representatives chambers and growled, “These people are crazy.” When Trump announced the awarding of Medals of Honors to a Korean War fighter pilot and a Marine who helped to capture former Venezuela dictator Nicolás Maduro, Hernandez — a Navy veteran — finally applauded.

I thought Trump’s speech, the longest State of the Union address ever, was a giant, xenophobic bore. So did viewers — a CNN survey found it was his worst-received State of the Union address ever and ranked even lower than any of Joe Biden’s attempts. But at the Hispanic Republic Club bash, we skeptics might as well been living in a different dimension.

“I liked the personal touch,” Hernandez told me after. “We need more of that. This is a marathon, not a sprint.”

“It was beautiful,” said 68-year-old Ricardo Benitez, who’s running for a state assembly seat in the San Fernando Valley and greeted Salmerón with a “¿Entonces, cipote? [What’s up, man?] — the only Spanish I heard all night. The Salvadoran immigrant was impressed by “how our president acknowledged victims of crime and how he freed Venezuela…He’s doing a good job regardless of what his enemies are saying.”

Benitez scoffed when I asked if he thought Trump’s immigration raids would cost Republicans Latino support in this year’s midterms.

“Democrats don’t know anything. They think the immigration raids will stop people from voting. That’s not true. Deportations have always happened. Obama deported more people.”

Various political flyers for various republican candidates sit on a table at the offices of L.A. Hispanic Republican Club on Tuesday in Woodland Hills.

(Ronaldo Bolanos / Los Angeles Times)

Nearby, Lani Kane helped to clear tables. “I like that [Trump] honored civilians and our military,” said the 50-year-old, whose T-shirt identified her as a daughter of a World War II veteran. “But in a way, I understand why Democrats don’t like him. The speech was all ‘I, I, I.’”

The Sylmar resident stayed quiet when I asked if she thought Latinos would stay with the GOP for the midterms and beyond.

“If Republicans can continue to promote our values and protect our youth and lower taxes, I hope they do,” Kane finally said.

But did she think they would? This time, Kane nodded vigorously.

“I think Hispanics are starting to wake up.”

Well, I agree with her there. But I don’t think they’re waking up the way Kane thinks.

When myself and a Times photographer thanked the group and left, the number of Latinos at the Los Angeles Hispanic Republican Club State of the Union potluck, already small, dropped by a quarter.

Feb. 25 (UPI) — The Treasury Department’s Office of Foreign Assets Control announced sanctions Wednesday on more than 30 people, entities and vessels that it said are “enabling illicit Iranian petroleum sales and Iran’s ballistic missile and advanced conventional weapons production.”

The sanctions are part of the federal government’s pressure campaign against Iran.

The vessels targeted are part of Iran’s “shadow fleet,” which the department said in a press release “serve as the regime’s primary source of revenue for financing domestic repression, terrorist proxies and weapons programs.”

“Iran exploits financial systems to sell illicit oil, launder the proceeds, procure components for its nuclear and conventional weapons programs and support its terrorist proxies,” said Secretary of Treasury Scott Bessent in a statement. “Treasury will continue to put maximum pressure on Iran to target the regime’s weapons capabilities and support for terrorism, which it has prioritized over the lives of the Iranian people.”

The vessels sanctioned are: Hoot, Ocean Koi, North Star, Felicita, Ateela 1, Ateela 2, Niba, Luma, Remiz, Danuta 1, Alaa and Gas Fate.

The organizations sanctioned are: Poros Maritime Ventures S.A., Ocean Kudos Shipping Co Ltd., Mistral Fleet Co Ltd., Vast Marine Inc., Behengam Tadbir Qeshm Shipping and Maritime Services Company, Paros Maritime S.A., Wansa Gas Shipping Co., Goldwave Maritime Services Inc. and Ithaki Maritime and Trading S.A.

OFAC also targeted the following entities based in Iran, Turkey and the United Arab Emirates that have aided in the purchase of precursor chemicals and sensitive machinery for Iran. They are Iran-based Oje Parvaz Mado Nafar Company; Turkey-based Utus Gumrukleme Gida Tekstil Ithalat Ihracat Dis Ticaret ve Sanayi Limited Sirketi, Turkey-based Arya Global Gida Sanayi ve Ticaret Limited Sirketi, Turkey-based Altis Tekstil Makina Ticaret Limited Sirketi (Altis), Iran-based Adak Pargas Pars Trading Company and UAE-based Mostafa Roknifard Prime Choice General Trading LLC.

Four people being sanctioned are Iran-based Mohammad Abedini, Mehdi Zand, Mehrdad Jafari and Ebrahim Shariatzadeh. They are allegedly employees of Iran’s Qods Aviation Industries, which was sanctioned in 2013.

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President Trump headed into Tuesday night’s State of the Union speech projecting confidence in his personal power to “Make America Great Again,” despite the woes he says he’s been saddled with by his Democratic predecessors.

He also stood in a uniquely precarious position — facing some of his lowest approval ratings ever, plummeting support on his signature issue of immigration, unrelenting pressure from the slow rollout of the Epstein files, a sluggish economy, mounting international tensions and looming midterm elections in which Democrats appear poised to make gains, possibly even retaking control in Congress.

Trump remains popular among his base and remarkably infallible in the eyes of his loyalist administration and still commands extraordinary deference from many leaders in his party. Many of his supporters share his confidence and suggest polls showing slipping support are bogus.

“This is what ‘America first’ looks like,” said Paul Dans, former head of the conservative Project 2025 playbook, which Trump has largely adopted. “The last year has been phenomenal. He has done more in one year than most presidents would accomplish in a whole term.”

Nonetheless, political observers see a landscape of vulnerabilities for the second-term president heading into the 2026 elections.

“He stands at a moment of rapidly declining political capital,” said Rob Stutzman, a Republican consultant in California. “From a historical perspective, a president in year six, heading into what looks like a rough midterm, is probably not going to rise any higher again, in terms of their political equity — so he’s probably past his peak of power.”

Trump is in “about as weak a position” as any president heading into a State of the Union address in recent memory, agreed Bob Shrum, a longtime Democratic strategist and director of the Dornsife Center for the Political Future at USC. “I don’t think the country sees Trump as the solution to anything at this point.”

At the same time, however, Trump is not acting like other weakened presidents, Shrum noted.

Instead of taking stock and turning away from unpopular policies, including on immigration and the economy, he is signaling that he simply won’t accept major midterm losses for his party — which leaves the nation in “completely uncharted waters,” Shrum said.

“We have a president who by all traditional standards has been weakened seriously, but who acts as though he had maximum strength,” he said. “We have a president who is deeply unpopular, who by every measure should see his party do very poorly in the midterms, but who seems determined to interfere in the midterm elections in any possible way that he can.”

In the polls

A Washington Post-ABC News-Ipsos poll released Sunday showed 60% of Americans disapprove of Trump’s job performance, with 39% saying they approve. The last time Trump fared so poorly in that poll was shortly after the Jan. 6, 2021, attack on the U.S. Capitol.

A CNN poll by SSRS released Monday found that Trump’s job approval rating stood at 36%, with a 19-point drop in approval among Latinos in the last year, an 18-point drop among Americans younger than 45, and a 15-point drop to just 26% approval among political independents — the lowest it has ever been during either of his terms.

Shrum said such sharp declines in support among Latino and independent voters do not bode well for Trump or for other Republicans on the ballot in November — especially given that the president, who often dismisses polling not in his favor, does not appear inclined to alter his policies.

Dans, who is running for Senate in South Carolina against Republican incumbent Sen. Lindsey Graham, dismissed Trump’s slumping polling numbers as “fake or engineered,” and said if anything, the president should “go full Trump” — doubling down on his agenda.

On immigration

Trump has polled well on immigration in the past. But his heavy-handed crackdown — with Immigration and Customs Enforcement and other federal agents arresting people without criminal records, detaining U.S. citizens and legal immigrants and killing U.S. citizens in Minneapolis — has shifted that. The Washington Post-ABC News-Ipsos poll found 58% of adults disapprove of his handling of immigration.

Stutzman said Trump and his team obviously realize their approach has rubbed voters the wrong way, which is why they recently shuffled the leadership team in Minneapolis. But the broader policy has remained in place and “the numbers are still cratering on them,” he said.

Shrum said that if Trump “were intent on improving his situation, he would change the way ICE behaves, and might put some different faces on the effort that he’s making, and might focus on people who are actually convicted criminals,” but instead, he and other administration officials “seem determined to plow ahead.”

Dans said Trump received “a clear mandate in 2024 with respect to the mass migration, and it was to reverse and end that flow,” and that’s what he’s doing. “Everyone is going back home.”

On Epstein

Trump has repeatedly denied any wrongdoing involving the late disgraced financier and convicted sexual abuser Jeffrey Epstein, a onetime acquaintance. However, questions about Epstein’s ties to Trump and other powerful men have persisted as evidence from multiple investigations into Epstein’s abuses continue to be released.

Republicans in Congress broke with the president and joined Democrats to pass a bill requiring the records’ release last year. Justice Department officials have slow-walked the release by redacting and withholding records, further dragging it out.

The records contained unproven accusations of wrongdoing by Trump, which he has denied. Democrats and Republicans alike have argued more records need to be released.

On the economy

Trump was dealt a blow last week when the U.S. Supreme Court blocked a sweeping set of tariffs he’d imposed on international trading partners.

Trump has said his administration will use other legal authorities to impose similar or even stiffer tariffs, despite polls showing his tariffs are unpopular.

The Washington Post-ABC News-Ipsos poll, which was taken before the court ruling, found that 57% of respondents disapproved of Trump’s managing of the economy, and 64% disapproved of his handling of tariffs.

Dans said that Trump has already tempered inflation and that “the economy is ready to take off like a rocket ship,” especially if Congress gives the president the space to continue rolling out policies aimed at returning jobs to the U.S. that long ago went overseas.

“We’re really focused on reindustrialization,” Dans said. “This isn’t going to happen overnight, but all the building blocks are being put in place.”

Looking ahead

Stutzman said there is already evidence that Trump “doesn’t quite have a grip on Congress” like he used to, given recent votes on the Epstein files and tariffs, and that the conservative-leaning Supreme Court is still willing to rule against him, as it did on his tariffs.

If Democrats win back control in the midterms, Trump will see his influence wane even further as “the next two years turn into a quagmire,” with Democrats stymieing his agenda and launching one investigation after another, Stutzman said.

Dans said people standing in Trump’s way, including in Congress, need to clear out, because they’re “flouting” the will of the electorate. “It’s always about what the people want, and that’s what he’s going to deliver.”

Shrum said Trump trying to avoid losing power by interfering with the vote, including through the handling of mail-in ballots, is a major concern, as is Trump entering the U.S. into an armed conflict overseas in a “Wag the Dog” move — a reference to a 1997 movie of the same name in which an unpopular president uses a foreign war to salvage an election.

However, Shrum said he doesn’t think the latter would actually benefit Trump — “I don’t think that at this point another foreign incursion would make any president more popular” — and that, interference or not, a Republican drubbing in November is likely.

Trump, then, “will just try to govern by executive order,” will get sued and will have his agenda mired in court battles straight through the end of his presidency, Shrum said — a product, in part, of his confident despite all indications, “my way or the highway” approach to governing.

One year ago, Rebecca Kutler was promoted to president of the cable news network then known as MSNBC.

Taking the helm at a major news organization is the pinnacle of a journalist’s career. But a lot changed after Kutler landed the job.

In August, MSNBC announced it was dropping its name of nearly 30 years to become MS NOW — as its now-former owner NBCUniversal wanted a clean break from the channel, which was spun off to be part of a new media company called Versant.

The spin-off, which NBCU parent Comcast initiated because its cable networks are considered slow-dying properties that weighed down its stock price, was hardly a vote of confidence in the business. Losing the moniker that had decades of brand equity among its politically progressive viewers was not going to help.

At a recent lunch near her Washington office, Kutler, acknowledged the circumstances were less than ideal. But with more than 20 years in the TV news business where she began as a production assistant at CNN, she understood the audience’s connection to her channel begins with the people on-screen, and not the logo.

“I was pretty confident the audience wouldn’t really blink because when they turn on the their television, they see Rachel Maddow, they see Jen Psaki, they see Joe Scarborough,” Kutler, 46, said. “The fact that two letters change does not change any of those audience habits.”

Still there was work to be done. Kutler no longer had the resources of NBC News at her disposal. Instead of paying $60 million annually for its newsgathering services, she chose to have MS NOW build its own newsrooms in Washington and New York. The operation was tested Tuesday as President Trump’s State of the Union address was the first major event MS NOW covered as a freestanding entity.

Kutler has some big professional challenges, but none as daunting as the one that emerged in October when she was diagnosed with breast cancer. Kutler found herself watching the newly rechristened MS NOW on a TV in a hospital room as she received chemotherapy treatments every few weeks.

“If anything it just made me appreciate and love what I do even more,” Kutler said.

As she works through her recovery, Kutler’s spirits have been buoyed by data that prove her point about MS NOW’s audience loyalty. From Nov. 15 — the date of the rebrand — through Feb. 14, MS NOW’s average daily audience has grown to 613,000, up 25% compared to the same period a year ago, according to Nielsen. Weeknight prime time is up 27% to 1.2 million viewers, still a distant second to conservative-leaning Fox News but well ahead of CNN.

There was an audience exodus from MSNBC in the months following President Trump’s election in 2024 as viewers unhappy with the results typically tune out after a presidential campaign. But anxiety over the activities of the second-term Trump White House sent them back into the familiar tent to hear Maddow, Lawrence O’Donnell, Ari Melber and others weigh in.

Lawrence O’Donnell and Rachel Maddow at an MSNBC fan festival in New York City in October 2025.

(MSNBC)

When the name change to MS NOW was announced in October, the network’s internal research showed 31% of viewers found the idea somewhat unappealing or very unappealing, a warning light for what might be ahead. Two months later, that figure dropped to 17%, while the percentage of viewers who found it very appealing or somewhat appealing jumped from 30% to 44%.

A $20-million promotional campaign that focused on the network’s personalities helped. “We made sure the audience knew that it was just a name change, not a strategy change,” Versant Chief Executive Mark Lazarus said.

Programming moves Kutler implemented ahead of the switch helped. Longtime evening host Joy Reid was replaced with an ensemble program “The Weeknight,” with Symone Sanders-Townsend, Michael Steele and Alicia Menendez, and the audience level rose by 30% in February compared to a year ago.

Kutler moved Psaki, the former press secretary to President Biden, to the 9 p.m. Eastern slot Tuesday through Friday, where viewership is up 41%.

At CNN, Kutler had a strong reputation as a producer and in talent development. She was being groomed for a top job at the network before jumping to MSNBC as an executive vice president in 2022. Agents have been impressed with her swift decision-making.

“They have exceeded expectations in an especially challenged environment,” said Bradley Singer, a partner at William Morris Endeavor whose clients include Sanders-Townsend and “The Weekend” co-host Eugene Daniels. “And I would argue that Rebecca is the right leader for this moment because she’s willing to move quickly to try new things. And the business doesn’t really have time to spare.”

Jen Psaki is the host of MS NOW’s “The Briefing.”

(MS NOW)

Psaki credits Kutler for guiding her transition into TV news. “I wasn’t hired because I spent 20 years as a local news anchor, right?” Psaki said in a recent telephone interview. “I could learn those skills, but Rebecca helped me really start the task of figuring out how to ask the questions that needed to be asked, while also sharing my unique perspective as somebody who’s worked in government and politics.”

MS NOW did have to fill a major hole when political data guru Steve Kornacki chose to stick with NBC after the spin-off. Kutler tapped Ali Velshi, the network’s versatile chief correspondent, to take over the number-crunching during election nights and other big events.

While Kutler can point to ratings increases, she is aware of the long-term doomsday scenario that faces the cable TV industry as more viewers turn to streaming. The people who still have cable like MS NOW a lot — the network has three times as many viewers today as it did 20 years ago when there were far more pay-TV subscribers. But Versant needs to become less dependent on traditional TV as subscriber numbers are sliding every year.

Wall Street will get its first look at Versant’s financial performance when the new company delivers an earnings report next week, expecting to show $6.6 billion in revenue last year. While there have been declines in revenues because of cord-cutting, the company, which includes USA Network, SYFY, CNBC, Golf Channel, E! and Oxygen, says it still delivers double-digit profit margins.

MS NOW President Rebecca Kutler at Vesant’s investor day in New York on Dec. 4.

(MS NOW)

By early fall, MS NOW will launch a direct-to-consumer subscription product aimed at people who don’t have a pay-TV package. CNN launched such a service last year, while Fox News, the perennial ratings leader in cable, is available as part of Fox One, which also offers Fox Corporation’s broadcast network and sports channels.

Kutler said MS NOW‘s direct-to-consumer service will be part of a broader digital offering that can serve as a community for progressives. She describes subscriptions as “memberships.”

“We’re trying to build a product that meets the needs of people who love news, care about democracy and want to come together in a shared space,” she said.

MS NOW already has a strong presence on YouTube. In January, the network had 339 million views of its content, second only to Fox News (466 million) among cable and broadcast TV news outlets.

Mika Brzezinski and Joe Scarborough on the set of MS NOW’s “Morning Joe.”

(MS NOW)

MS NOW also stepped up its podcast business, scoring 140 million downloads last year. The long-form interview program “The Best People with Nicolle Wallace” has been a top download onApple Podcasts, and a new entry, “Clock It” with Sanders-Townsend and Daniels, launched this month.

Kutler also is looking at outside podcast companies to supply programming. Last week, MS NOW announced a deal with Crooked Media to produce a weekly compilation of its podcasts, including “Pod Save America,” which will air Saturdays at 9 p.m. Eastern.

“If there’s content our audience is interested in, we should find a way to bring it to them,” she said.

Overall, the moves at MS NOW show a willingness to invest in growing the business, a situation that did not exist under NBCU, which has been focused on building its Peacock streaming platform. “Liberating us from that was part of the strategy of the entire spin because we now need to do all of those things in order to create a growth company,” Lazarus said.

Kutler even had the green light to enter talks with Anderson Cooper — one of the highest-paid on-air talents in TV news — about joining MS NOW before he decided to re-sign with CNN.

Kutler had her final chemo session last Friday, and doctors say her health prognosis is good. She draws inspiration from her mother, a Philadelphia-area lawyer who raised Kutler as a single parent and successfully battled the disease in her 60s.

“My hardest day would have been my mom’s easiest day,” said Kutler, who is married with three teenaged children. “I was born watching somebody power through stuff. The idea of doing a job that’s busy and demanding and loving your kids and making them a priority is the only thing I ever knew.”

It wasn’t easy to go into Lazarus’ office to break the news about her condition after just six months on the job and a massive task ahead. But Kutler said he didn’t flinch, and the new company has been “1,000%” supportive.

“She’s a tremendous leader and an example of resilience and strength,” Lazarus said.

WASHINGTON — To defend an increasingly unpopular immigration crackdown during his State of the Union speech, President Trump highlighted the victims of crimes perpetuated by undocumented immigrants.

But as Democrats pointed out, the president’s lengthy speech made no reference to the U.S. citizens, including Renee Good and Alex Pretti in Minneapolis, who were killed by immigration agents.

Recent polls show public approval of Trump’s immigration policies has fallen to record lows level since he returned to the White House. One poll, released Feb. 17 by Reuters and the market research firm Ipsos, showed just 38% of respondents felt Trump was doing a good job on immigration.

Another poll, published last month by Fox News, showed 59% of voters say U.S. Immigration and Customs Enforcement is “too aggressive.”

“As President Trump brags about his immigration enforcement at tonight’s State of the Union, I can think only of Renee Nicole Good, Alex Pretti and the three dozen people who have died in ICE custody since Trump took office,” Rep. Mark DeSaulnier (D-Concord) wrote on X.

Within the first few minutes of his address on Tuesday night, Trump highlighted “the strongest and most secure border in American history, by far.” He also offered — at least momentarily — a softer tone, adding that “We will always allow people to come in legally, people that will love our country and will work hard to maintain our country.”

In reality, the administration has restricted legal immigration. It has revoked humanitarian benefits for hundreds of thousands of people, and an indefinite pause on all asylum applications filed with U.S. Citizenship and Immigration Services.

Guests invited by various lawmakers to attend Trump’s speech offered dueling visions of the administration’s mass deportation effort.

Rep. Randy Feenstra (R-Iowa) said he would bring the father and brother of Sarah Root, who was killed in 2016 after a drunk driver, who was in the U.S. illegally, crashed into her vehicle. Trump held an event Monday for “angel families,” those with a relative who was killed by an undocumented immigrant, and signed a proclamation honoring such victims of crimes.

Democrats, meanwhile, invited immigrants, family members of those detained or deported, and U.S. citizens who were violently arrested by immigration agents.

Rep. Mike Levin (D-San Juan Capistrano), for example, said he was bringing the daughter of a Laguna Niguel couple deported last year to Colombia after their arrest during a routine check-in with ICE. And Rep. Jesus Garcia (D-Ill.) invited Marimar Martinez, a Chicago woman shot five times by Border Patrol Agent Charles Exum.

On X, the Department of Homeland Security shot back at Democrats with immigrant guests, saying the lawmakers are “once again prioritizing illegal aliens above the safety of American citizens.”

On Tuesday morning, Rep. Maria Elvira Salazar (R-Fla.) held a news conference on “the state of immigration,” flanked by Christian pastors, in which she touted her Dignity Act, which would provide permanent legal status to immigrants who meet certain benchmarks.

“Throughout the Scripture, there are two kinds of leaders: those who persecute faith communities and those who protect them,” she said.

California Sen. Adam Schiff was among the Democrats to boycott Trump’s speech, and he cited immigration enforcement as one reason for his absence.

“I have not missed the State of the Union in the 25 years I’ve been in Congress, but we have never had a president violate the Constitution, the laws every day with seeming impunity,” Schiff told Meidas Touch outside the Capitol. “We’ve never had masked armed, poorly trained agents, victimizing our cities, demanding to see people’s papers.”

Trump repeated claims about immigration that have been debunked, such as his assertion that President Biden’s immigration polices allowed millions of people to pour into the U.S. from prisons and mental institutions.

Trump also highlighted a figure he has often turned to — that Democrats let in “11,888 murderers.” That number, an inaccurate description of federal data, refers to immigrants who, over the course of decades (including the first Trump administration) were convicted of homicide, usually after their arrival in the U.S. Those immigrants are listed on ICE’s “non-detained docket” typically because they are currently serving their prison sentences.

Turning to Minnesota, Trump said Somalis have defrauded $19 billion from American taxpayers and referred to them derogatorily as “Somali pirates.”

Trump went beyond Somalis to disparage many immigrants, saying “there are large parts of the world where bribery, corruptions and lawlessness are the norm, not the exception.”

“Importing these cultures through unrestricted immigration and open borders brings those problems right here to the USA, and it is the American people who pay the price,” he said.

Trump also highlighted the case of Dalilah Coleman, 6, of Bakersfield who was left with a traumatic brain injury after a 2024 car crash in California.

He called on Congress to pass the Dalilah Law, which would bar states from granting commercial drivers licenses to immigrants without lawful status. He said, without proof, that “most illegal aliens do not speak English and cannot read even the most basic road signs.”

A year after Dalilah’s accident her family met with Partap Singh, the detained Indian immigrant responsible for the crash, at the Mesa Verde ICE Processing Center in Bakersfield. Marcus Coleman, her father, told Fox26 News that the focus shouldn’t be on Singh’s legal status because similar accidents happen every day.

Also present Tuesday night were the parents of Sarah Beckstrom, the West Virginia National Guard member shot and killed in Washington, D.C. by an Afghan immigrant, as well as Andrew Wolfe, who was also shot and survived.

Trump awarded Wolfe and Beckstrom the Purple Heart. He called Rahmanullah Lakanwal, the man charged in the shooting, a “terrorist monster.” Lakanwal legally entered the U.S. from Afghanistan through a Biden administration program in 2021 and his asylum application was approved under the Trump administration last April.

Turning his attention the fall’s midterm elections, Trump warned his supporters that if allowed back into power, Democrats would reopen the borders “to some of the worst criminals anywhere in the world.”

Trump then invited legislators to stand if they agreed with him that “the first duty of the American government is to protect American citizens, not illegal aliens.”

Republicans stood, offering one of the longest standing ovations of the night. Democrats remained seated.

Trump told Democrats they should be ashamed for not standing up.

“You have killed Americans!” Rep. Ilhan Omar (D-Minn.) yelled from the audience. “You should be ashamed.”

Venezuela’s National Assembly says thousands of people have regained freedom under a new amnesty law.

A special commission of Venezuela’s National Assembly reports that more than 3,200 individuals have been granted full release from prison since the country’s amnesty law took effect last week.

The figures, announced on Tuesday, include former prisoners and individuals who were previously held under house arrest or subject to other restrictive judicial measures.

Lawmaker Jorge Arreaza, head of the commission overseeing implementation of the amnesty, said during a news conference that authorities had received a total of 4,203 applications for amnesty since the law was passed on February 20.

Arreaza said after evaluating these requests, 3,052 people previously under house arrest or other restrictive measures were granted full freedom. Additionally, 179 individuals who were in prison have also been released.

Last week, Venezuela’s interim President Delcy Rodriguez signed the amnesty legislation into law after it was unanimously adopted by the National Assembly, which authorities said is intended to ease political tensions, promote reconciliation and accelerate the release of political prisoners.

During its signing, Rodriguez said the law showed that the country’s political leaders were “letting go of a little intolerance and opening new avenues for politics in Venezuela”.

Opposition figures have criticised the amnesty, which appears to include carve-outs for some offences previously used by authorities to target former President Nicolas Maduro’s political opponents.

Critics say the law explicitly does not apply to those prosecuted for “promoting” or “facilitating … armed or forceful actions” by foreign actors against Venezuela’s sovereignty.

The law also excludes amnesty for members of the security forces convicted of terrorism-related charges.

Hundreds of detainees had already been granted conditional release by Rodriguez’s government since the deadly US raid that led to the abduction of Maduro last month.

United Nations human rights experts welcomed the amnesty with “caution”, stressing that it must apply to all victims of unlawful prosecution and be embedded in a comprehensive transitional justice process consistent with international standards.

Hundreds, perhaps thousands, of Venezuelans have been jailed in recent years over plots, real or imagined, to overthrow the government of Maduro, who was flown to New York after his abduction by the US military.

Venezuela-based prisoners’ rights group Foro Penal said on Tuesday that it has verified only 91 “political releases” since the amnesty law took effect on February 20.

The organisation added that it has requested a review of 232 cases currently excluded from the amnesty, and that nearly 600 people remain in detention.

A strange quirk at San Quentin state prison is that most of those incarcerated behind its towering walls are unable to see the San Francisco Bay that literally laps at the shore a few yards away.

That changed recently with the completion of new buildings — holding among other accouterments a self-serve kitchen, a library, a cafe and a film studio — and third-floor classrooms that look out over that beautiful blue expanse, long a symbol of freedom and possibility.

In the new San Quentin Rehabilitation Center, along with learning job skills and earning degrees, incarcerated men can do their own laundry, make their own meals, and interact with guards as mentors and colleagues of sorts, once a taboo kind of relationship in the us-and-them world of incarceration.

“You want to clothes wash? You wash them,” said Gov. Gavin Newsom, debuting the new facilities, including laundry machines, for reporters last week. “You want to get something to eat. You can do it, whenever.”

“All of a sudden, it’s like you’re starting to make decisions for yourself,” he said. “It’s called life.”

Listen closely, and one can almost hear President Trump’s brain exploding with glee and outrage as his favorite Democratic foil seemingly coddles criminals. A cafe? C’mon. Bring on the midterms!

March 2024 of the East Block of San Quentin’s former death row.

(Robert Gauthier/Los Angeles Times)

But what Newsom has done inside California’s most notorious prison, once home to the largest death row in the Western Hemisphere, is nothing short of a remarkable shift of thinking, culture and implementation around what it means to take away someone’s freedom — and eventually give it back. Adapted from European models, it’s a vision of incarceration that is meant to deal with the reality that 95% of people who go to prison are eventually released. That’s more than 30,000 people each year in California alone.

“What kind of neighbors do you want them to be?” Newsom asked. “Are they coming back broken? Are they coming back better? Are they coming back more enlivened, more capable? Are they coming back into prison over and over?”

When it comes to reforming criminals, “success looks like more and more people gravitating to their own journey, their own personal reform,” Newsom said, sounding more like a lifestyle influencer than a presidential contender. “It’s not forced on you, because then it’s fake, man. If it’s coerced, I don’t buy it.”

Of course, coming back better should be the goal — because better people commit fewer crimes, and that benefits us all. But coming back over and over has become the norm.

Traditional incarceration, a lock-’em-up and watch-them-suffer approach, has dramatically failed not only our communities and public safety writ large, but also inmates and even those who guard them.

Incarcerated people come out of prison too often in California (and across the country) with addictions and emotional troubles still firmly in place, and no job or educational skills to help them muddle through a crime-free life. That means they often commit more crimes, create more victims and cycle back into this failed, expensive, tough-on-crime system.

Still, it’s a favorite trope of Trump, and the justification for both his immigration roundups and his deployment of National Guard troops in Democratic cities, that policies such as Newsom’s are weak on crime and have led to the decline of American society.

This narrative of fear and grievance goes back decades, recycled every election by the so-called law-and-order party because it’s effective — voters crave safety, especially in a chaotic world. And locking people up seems safe, at least until we let them go again.

But, as Chance Andes, the warden of San Quentin, pointed out last week, “Humanity is safety,” and treating incarcerated people like, well, people, actually makes them want to behave better.

Here’s where the tough-on-crime folks will begin composing their angry emails. Why are we paying for killers to have a view? Why should I care if a rapist has a good book to read? Our budget is bleeding red, why are tax dollars being used for prison lattes? (To be fair, I do not know whether they actually have lattes.)

But consider this: The prison guards back Newsom.

“Done right, it improves working conditions for our officers and strengthens public safety,” said Steve Adney, executive vice president of the California Correctional Peace Officers Assn., the union that represents guards, of the California model, as Newsom calls his vision.

Faced with high rates of suicide and other ills such as addiction, corrections officers have long been concerned about the stress and violence of their jobs. A few years ago, some union members traveled to Norway to see prisons there. I tagged along.

A correctional officer at Halden prison in Norway checks out the ice cream freezer in the grocery store inside the facility.

(Javad Parsa/For The Times)

The American officers were shocked to see Norwegian prisoners access kitchen knives and power tools, but even more shocked that the guards had built relationships with these criminals that allowed them to do their jobs with far less fear.

Rather than jailers, these corrections officers were more like social workers or guides to a better way of living. Of course, the corrections officers aren’t dumb. That only works with vetted inmates, such as those at San Quentin, who have proved they want to change.

But when you have officers and incarcerated people who are able to coexist with respect and maybe a dash of kindness, you get a different outcome for both sides.

“If we are capable of building this at San Quentin, then we are capable of making the workplace safe for every officer who walks in the gates,” said CCPOA President Neil Flood, a startling statement in favor of radical reform from a law enforcement officer.

But in a moment when most Democrats with ambitions for national office (or even an eye on replacing Newsom) are backing away from criminal justice reform, it would be naive to think the California model won’t be used to bludgeon Newsom in a presidential race, and provide further fuel to the dumpster-fire narrative about the state.

Soon — before the midterms — many expect Congress to move forward on Trump’s expressed desire for a crime bill that would empower police with even greater immunity for wrongdoing, create longer sentences for crimes including those involving drugs and further erode criminal justice reform in the name of public safety.

Trump is going hard in the opposite direction, toward more punishment, always the easier and more understandable route for voters fed up with crime (even though crime rates have been declining since President Biden was in office).

The California model is “a political liability in this environment,” said Tinisch Hollins, a victims advocate who worked on the San Quentin transition and heads Californians for Safety and Justice.

But she retains faith that “the majority of people don’t believe that shoving everyone into prison is how we resolve the problem.”

Newsom deserves credit for standing by that position, when simply backing away and dropping the California model would have been the simpler and safer route — it’s complicated and messy and oh-so-easy to make it sound dumb.

I refer you back to the cafe. If construction had been cut at San Quentin, the budget cited as the reason, no one would have noticed and few would have complained.

Instead, sounding a bit like Trump, Newsom said he “threatened the hell out of them if they didn’t get it done before I was gone.”

“This is not left or right,” he said. “This is just being smart and pragmatic and you know, I just … I believe people are not the worst thing they’ve done.”

Politically at least, San Quentin is a legacy for Newsom now, the best or worst thing he’s done on crime, depending on your personal views of second chances.

But it is undeniably a vision of public safety starkly at odds with Trump, one Newsom will carry into his next political fight — where it is certain to cause him some pain.

For casting director Gabriel Domingues, putting together the ensemble of “The Secret Agent” meant materializing characters inspired by director Kleber Mendonça Filho’s recollections.

“It’s not that he was showing us a picture and saying, ‘They must look like this.’ They were ideas of memories that could change,” Domingues says of the Brazilian period thriller about a father on the run during an interview at The Times newsroom. One of the nominees for this year’s inaugural Academy Award for casting, Domingues appreciates how politically charged Mendonça Filho’s films are. His narratives are often fertile ground for an eclectic mix of performers.

And there are no throwaway roles in “The Secret Agent”: “Even the small characters represent ideas about Brazilian life and its contradictions,” Domingues adds.

To honor his large cast, a “panorama” of his country’s people, Mendonça Filho includes a montage at the end of the film in which each actor is acknowledged individually. The director thinks of this as the cinematic equivalent of a curtain call or final bow at the end of a stage production.

“Gabriel tries to find an interesting mix of experienced actors and people that we can discover,” says producer Emilie Lesclaux about Domingues, with whom she’s worked on multiple projects. He first collaborated with Mendonça Filho and Lesclaux on “Aquarius” as a casting assistant.

Domingues believes working on “Aquarius” was instrumental in developing his casting method, which involves searching for the least obvious option to cast the character. He prides himself on doing the shoe-leather work of looking for fresh, compelling faces in cities where others might not think to look — those without a prominent arts scene, for instance.

Gabriel Leone as Bobbi/Abdias  (Victor Juca)

Hermila Guedes as Claudia  (Victor Juca)

Luciano Chirolli as Henrique Ghirotti  (Victor Juca)

Roberio Diogenes as Euclides Cavalcanti  (Victor Juca)

Tânia Maria as Dona Sebastiana  (Victor Juca)

Joalisson Cunha as Frentista  (Victor Juca)

Isabel Zuaa as Tereza Victoria  (Victor Juca)

Kaiony Venancio as Vilmar  (Victor Juca)

That’s not to say the entire cast was discovered. Mendonça Filho had lead Wagner Moura in mind from the outset, while others sprung to mind as he wrote the screenplay: Maria Fernanda Cândido, a famous soap opera actor, as a crucial ally to Moura’s character; and the late Udo Kier, who had previously appeared in the director’s blood-soaked film “Bacurau,” as a German Jewish immigrant who lived through World War II.

The filmmaker admits that envisioning parts with a specific person in mind is “dangerous.” “I can write a character thinking of you, but I never know if you will want to make the film,” says Mendonça Filho. “And I grow attached to the image.”

Among the other supporting roles, the most challenging to cast, the team agrees, was that of Euclides, the sleazy police chief. Though the character is “repulsive,” it also required an edge of charisma to make him more emotionally layered. Eventually, they came across actor Robério Diógenes. “Robério has studied the clown art in the theater, and he’s a very funny guy, so he adds a component of ridiculousness to this character,” Domingues says.

For Vilmar, an impoverished man hired as a subcontractor for a murder, Mendonça Filho had in mind a real-life contract killer he’d seen in a 1970s TV program. The actor had to convey a certain ambiguity not often afforded to people of a lower social class. There’s no doubt Vilmar is acting out of necessity, but he is not entirely without agency since he negotiates his payment. Domingues found the ideal embodiment of this complex character in Kaiony Venâncio, an actor from the city of Natal who had mostly worked in short films.

Then there’s the scene-stealing Tânia Maria, who plays the endearing, chain-smoking Dona Sebastiana. The 79-year-old talent first appeared in “Bacurau” as an extra. “I just could not help thinking of her,” says Mendonça Filho about casting her in his latest film. “I even pre-ad-libbed many of her lines knowing what she might say.”

Before finding her way onto the screen, Tânia Maria has long made a living as an artisan handcrafting rugs. “I never thought about being an actress. I only thought about sewing,” she says with an endearing smile. “All of this came as a surprise.”

Igor de Araujo as Sergio  (Victor Juca)

Joao Vitor Silva as Haroldo  (Victor Juca)

Robson Andrade as Clovis  (Victor Juca)

Maria Fernanda Candido as Elza/Sara Gerber  (Victor Juca)

Alice Carvalho as Fatima  (Victor Juca)

Thomas Aquino as Valdemar  (Victor Juca)

Licinio Januario as Antonio  (Victor Juca)

Udo Kier as Hans  (Victor Juca)

And though she’s still sewing, her acting prospects look bright. She’s already appeared in another film, “Yellow Cake,” premiering at the Berlin International Film Festival this month. That Tânia Maria also recently starred in humorous local commercials for Burger King and Heineken is proof of her current status in Brazilian pop culture — as are the Dona Sebastiana costumes that have become popular during this year’s Carnival.

“I can’t go out on the street without people stopping me. They ask me for autographs, for photos, they want to talk to me, they ask me questions,” she says in Portuguese via an interpreter while on a video call from her home. “I make time for everyone, and I’m enjoying all of it.”

Undaunted by what she calls the most challenging aspect of acting — memorizing the lines — Tânia Maria is eager to continue exploring this unexpected new facet. “I don’t want to stop because I’m not old! I’m waiting for more invitations to move forward in acting,” she says.

The success many of the actors have found thanks to “The Secret Agent” very much pleases the filmmakers, but it also has a major downside.

“That’s all that we want for the people that we work with, that the film is good for them and their career,” says Lesclaux. “But for us, it also makes things more complicated for the next film because we will want to work with them, and they might not be available.”

When Jared Snow goes to the hospital, he’s usually in serious pain, which he hopes will be assuaged soon. But living with sickle cell disease as a Black man in America often tests this hope.

The Compton born stand-up comedian and actor has been living with sickle cell disease since he was a child. Hospital visits and pain have always been part of his life. But now he’s using his latest project, a documentary film called “You Look Fine,” to show the world how he copes as an entertainer with living with sickle cell disease in an industry steeped in image and perception.

Alongside actor-comedian Marlon Wayans, Snow wanted to make the film to raise awareness about the realities of sickle cell disease and how it impacts Black communities.

In the United States, sickle cell disease affects about 100,000 people, with more than 90% of cases being among Black people, according to the U.S. Centers for Disease Control and Prevention. Sickle cell disease occurs in about one out of every 365 Black or African American births. People living with sickle cell disease have red blood cells that are crescent shaped due to a gene mutation. Because of this, the red blood cells can block blood flow to the rest of the body and can cause chronic pain, strokes, lung problems, infections and kidney disease.

The nearly 90-minute documentary has Snow filming himself inside small hospital rooms, nurses trying to find a vein in which to stick needles, and even him trying to work on material as he lies in hospital beds. The film also includes interviews with his friends.

Snow was adamant about showing the blood and needles in the film as well as footage of himself writhing in pain on hospital beds and the frustration of waiting hours for doctors to provide adequate dosages of pain medication that can help him. He cracks jokes during his hospital stays, but in between you get a front-row look at how tiring, tearful and emotionally devastating his illness can be. Interspersed within such footage are clips from his stand-up shows and him trying to live his best life by traveling, skydiving and even experiencing New York City snowfall.

The Times caught up with Snow and Wayans to talk about the film, vulnerability, Black men’s health, and finding levity through the pain.

J. Snow in the hospital in “You Look Fine”

(J. SnowPro)

I was struck by the handwritten notes with title ideas. Tell me where “You Look Fine” comes from?

J. Snow: It’s just something I hear a lot. It’s something I’ve heard a lot during my life. It’s cultural Black gaslighting is what it is. When you’re in pain, sometimes you look fine. When you are telling people, “I’m not fine,” they’re like, “Your hair is nice.” I can’t go to the hospital with gold. I had gold beads. Sometimes you go there looking too nice. Sometimes I got to dress down just to try to get the help. But if I dress too far down, I look homeless, and they really won’t be open to helping me. So you got to find the balance. But that’s kind of where it comes from. … I wanted to throw it back into people’s face. This is something that a lot of sickle cell warriors, and people with chronic illnesses in general hear, people with mental illness hear, and so I think it’s important to highlight how that literally is gaslighting.

What was your motivation to do this documentary now?

J.S.: I wanted to show that humor lives within this and that a lot of resilience and strength are also within this, and that was really the motivator. Also, just growing up with it, not having a lot of information, not seeing a lot of men talk about it. I wanted to be different, you know.

Marlon Wayans: For me it fits on brand for several reasons. One is because I love taking the dark things in life and finding some humor in it. And I think I try to do that with my comedy. I try to do it with my specials. I try to do it because I think we need to all find smiles no matter what your situation is; laughter is always healing and always necessary. Being African American, I grew up when sickle cell was like a prominent disease, and in our culture I know even when it came to dating, my mother would ask “Who you dating? You know, because if she got the trait, and you got the trait, you know, what could happen.” So I’ve always been aware of it, and I’ve lost now four friends to sickle cell. I just lost two in the last year. It’s a long fight, and so I’m here to support them and our culture and the awareness. And you know, Jay is a friend, and you know, I want him to see fame.

For Jared, in the film, you say, “I just want to see what my body can do.” I thought that was just so deeply profound. What is your relationship like with your body now, compared with the moment you were filming that?

J.S.: When somebody sees me eating a salad, and they’re like, “Oh, you eating salad?” I’m like, “This could save my life.” When I’m stretching and doing yoga, it’s not because I want to be a yogi. It’s because it literally gets oxygen into the joints that are suffering without oxygen. It stretches my hips and I want the longevity. I see what happens in sickle cell warriors and people without sickle cell who just age without moving frequently.

J. Snow walks through the halls of a hospital while dealing with issues from sickle cell.

(Courtesy of J. SnowPro)

Black people, especially for Black men, don’t have their pain taken seriously — be it their physical pain or their emotional pain. What has it been like for you to publicly show that pain?

J.S.: It’s been challenging. It took awhile for me to get to the point where I could even talk about this publicly, especially being in entertainment and trying to maintain a certain persona and image in entertainment where like your ego clashes against your vulnerability and you feeling like you’re weak. That’s the stigma that comes with people who admit that they have illnesses and stuff like that, especially in entertainment. It makes people not want to work with you. I’ve suffered through that. I’ve lost jobs while in the hospital because of this. And so it got to a place where it just was unavoidable. The pressure built so much and the frequency of the hospital visits became so crazy that it was like, you’re either going to be viewed as this very lazy, sometime-y person, or you’re going to come clean about what you’re actually dealing with and just face it.

M.W.: I live in the pain. I live in the vulnerability. I think that’s why I create my best work. You know, my parents died. I thought it was only appropriate to talk about that thing that hurts me so much. I think part of it takes courage, but at the same time, I know it’s necessary.

What was going through your mind when you first saw that footage of [Snow] in the hospital?

M.W.: “This [man] is crazy. Why you filming?” He made sure he had a GoPro on his foot and set cameras up — dude really wants to make it. Forget this disease. He may be faking it just to make it bigger. I was proud, right? That’s because I love the resilience, I love that you still have a passion, that you still have a thing that you want to do, and you have this art and this vessel and this expression, and I know that even though he’s hurting, that he’s healing at the same time, at least, you know, emotionally and spiritually. Because to put art out there at the time that it’s happening, that you’re in pain, that takes a lot of courage from the artist, and so I was proud. That’s why I stand behind it, because I think it’s something I’ve never seen, and I think it’s something that’s necessary for the culture.

How has this film changed your relationship to your understanding of masculinity and strength?

M.W.: For me, it’s just on theme. It hasn’t changed, it just enforced how I feel. You know, I’ve never been one to hide my feelings. I go to therapy. I have two therapists, I go on my walks. I talk to God. I’m reading my Bible. I understand that life is a long journey of suffering, and you need these outlets, and this movie and art are part of that. I have the stage. I always have this thing that I’m expressing because it helps me reconcile all that’s going on with me, especially when I take this pain and make other people laugh or are entertained by it, then I go, all right, I did something good with that thing that was bad. And so this enforces what I want people to feel. I want people to watch this. That’s why I stand behind this, because it’s on theme spiritually for me.

J.S.: I think when you stand outside of that vulnerability and you’re afraid to really go into it, I don’t know, I feel like that’s orbiting your true power. The most masculine thing you can do is face your highs and lows head on and own them. And that’s where you find out who you really are. This is where you find out what you can really bring to the table for yourself, for others, and where you become fearless. And that’s exactly what this showed me, was that I can do anything, I can conquer a lot of things. I walk around with a new energy because I’ve done this. I literally had a film on hard drives, and I sat for 11 months and edited it relentlessly, and now I have my first feature film because I was fearless enough to at least try to do it and not feel, what are people going to think, or what are people going to say? That didn’t matter to me. Also with this clock over my head, you don’t got time to think about stuff like that. It’s like, what do you want to do while you’re here? And what I wanted to do was make movies, make people laugh and inspire others to do things that they want to do too. And that took letting go of whatever this masculine image was that was blocking me.

J. Snow on stage at the Hollywood Laugh Factory

(Brianna Joseph)

The whole film is endearing, but I found those moments of levity so well- timed and so thoughtful and funny. How do Black people find those moments of levity, oftentimes, during these moments of pain?

M.W.: Because Black people have been through so much trauma before we get into family trauma, just as a people. We have suffered the most trauma from being separated from our family, slavery — we’ve been through it — and yet, and still, we find that funny. And that has been, I think, our saving grace is our sense of humor. It’s been a lifesaver. It’s been a raft in a really rough ocean for us. And I think it’s beautiful that we can. I will always promote laughing when you’re in your most pain to find the funny, because that takes a little pressure off. You’re laughing and crying at the same time. It’s like the best feeling.

J.S.: It’s like oxygen, like when the air is being sucked out of the room by your circumstances, your trauma, your pain or whatever. That little laugh is like a little breath of oxygen. It gives you something to keep going forward, to continue to think, “OK, like, where’s another solution from here? What else can I do here?” It gives you that breath that you need.

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

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

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

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

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

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

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

(Sarahi Apaez / For De Los)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(Sarahi Apaez / For De Los)

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

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

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

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

(Sarahi Apaez / For De Los)

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

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

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

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

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

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

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

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

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

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

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

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

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

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