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Obsidian Entertainment, a subsidiary of Microsoft Corp.’s Xbox, has canceled multiple projects and will begin working on a new game in the popular Fallout franchise as part of the division’s broader restructuring, according to people familiar with the matter.

The video-game studio, based in Irvine, California, also laid off around a quarter of its workforce, said the people, who asked not to be identified because they were not authorized to speak to the press.

As part of the shake-up, Obsidian has canceled a planned sequel to the 2025 roleplaying game Avowed along with other unannounced projects.

Under the new plan, studio design director Josh Sawyer will lead a new title in the Fallout universe — a series of roleplaying games that take place in an alternate history in which the U.S. has been ravaged by nuclear war. The emerging strategy is still in flux, the people said, and could still change.

Previously, Sawyer had been directing a roleplaying game that was similar structurally and thematically to Fallout but was not part of the franchise.

An Xbox spokesperson declined to comment.

The shifts take place as Xbox Chief Executive Officer Asha Sharma executes what she has called a “reset” of the organization. On Monday, Sharma announced plans to cut 3,200 jobs and divest five studios. She’s said she’ll invest more in the company’s biggest franchises, including Fallout, which has sold tens of millions of copies and led to a hit show from Amazon.com Inc. that is currently filming its third season.

Despite its critical and commercial success, the Fallout video-game series has not seen a new entry since 2018’s online title Fallout 76 because its primary developer, Xbox’s Bethesda Game Studios, has been focused on other projects. Bethesda has also regularly updated and created new content for Fallout 76, which has reached more than 23 million players.

The only Fallout game in the last two decades to not come from Bethesda was 2010’s Fallout: New Vegas, developed by Obsidian and directed by Sawyer. Although New Vegas has become a fan favorite, Bethesda has maintained control over the franchise. The Rockville, Maryland-based studio will work with Obsidian on the new project, the people said.

Obsidian released three games last year, two of which did not meet sales expectations, including Avowed, the company told Bloomberg Businessweek. The studio had been hoping to build on Avowed by developing a sequel in a shorter timeframe using the world and technology that it had already created.

Progress on the sequel was going well, and it was on track to be announced within the next year. But in the end, it did not fit into Sharma’s overall strategy, according to people familiar with the game’s development.

Some Obsidian employees will continue working on the Avowed sequel as they wait for new projects such as Fallout to be ready, perhaps in hope of one day reviving the game, the people said.

Obsidian will also continue to develop downloadable content for last year’s The Outer Worlds 2, the people said, and will also still work on its live-service multiplayer survival game, Grounded 2.

Schreier writes for Bloomberg.

Entertainment power couple Margaret Qualley and Jack Antonoff have reportedly gone their separate ways for now.

“The Substance” and “Maid” star Qualley, 31, and Taylor Swift and Lorde collaborator Antonoff, 42, split and are going through a “rocky” time in their relationship, a source confirmed to People on Wednesday. Neither representatives for Qualley nor Antonoff immediately responded on Wednesday to The Times’ request for comment.

Speculation about the pair’s split began late Tuesday, with internet sleuths noting that Qualley — daughter of actor Andie MacDowell and Paul J. Qualley — apparently scrubbed photos featuring the Bleachers frontman from her Instagram page. Qualley in March shared photos from her A-list marriage to Antonoff to promote his upcoming song “Dirty Wedding Dress,” according to a social media page dedicated to the “Once Upon a Time … in Hollywood” actress. Those intimate black-and-white images are no longer visible on the actor’s page.

Reports of the Qualley-Antonoff split also come less than a week after Antonoff attended Taylor Swift and Travis Kelce’s lavish, but secretive, wedding bash in New York City sans Qualley. In addition to Antonoff, his fashion designer sister Rachel Antonoff and his ex-girlfriend Lena Dunham, models Gigi Hadid and Karlie Kloss, Sabrina Carpenter, Ashanti and Nelly were also in attendance at the Madison Square Garden spectacular.

Notably, Dunham in her latest memoir “Famesick” — released in April — wrote about Antonoff’s alleged romance with a “teen pop star” during their own romance. Many pop fans suspect the pop star, whom Dunham did not identify — to be “Melodrama” artist Lorde. When the rumors of the relationship publicly surfaced in 2018, Antonoff denied “seeing anyone” and dismissed the chatter as “dumb hetero normative gossip.”

Qualley and Antonoff tied the knot in August 2023, a little over a year after they got engaged in May 2022. Their nuptials at Parker’s Garage on Long Beach Island counted Cara Delevingne, Lana Del Rey, then-item Zoë Kravitz and Channing Tatum and Swift among the attendees.

Qualley and former fun. member Antonoff were first romantically linked in August 2021 when they were spotted kissing while on a date in Brooklyn, People reported. Their relationship gradually entered public consciousness, between Instagram posts, joint appearances at red carpet events and tidbits about their romance in various interviews.

“I am so happy that I found my person,” Qualley told Harpers Bazaar in September 2023. “And it’s real. It’s amazing. It’s the best feeling in the world. I’m so excited and so at ease all at once.”

On my way through Skid Row to meet up with Estela Lopez, things looked pretty much as they did when I spent time there more than 20 years ago and first heard the promises that things would be better soon.

Tents lined some of the sidewalks, making them unpassable. Some people wore the damage of physical or mental disease, addiction, poverty, or all of the above. Outreach workers with ID lanyards strode through the trash-strewn landscape like lifeguards working against endless tides of fresh emergencies.

When I arrived at Lopez’s office in the 700 block of Crocker Street, where she runs a business improvement district on behalf of 600 or so beleaguered merchants, she had just completed a tour of the neighborhood with John McKinney, a candidate for city attorney.

She held a note card in her hand and shared some numbers, telling McKinney that by her latest count, 131 of the 702 streetlights in the district were out, 27 children were living on Skid Row, and 72 RVs were parked in the area.

“I came out here because I think this symbolizes the greatest failure in government,” McKinney said. “I think it’s the result of bad law and bad policy. I think it’s the result of a lack of leadership and indifference to the way people are living out here. To me, it’s completely untenable.”

But will anything ever change?

It’s a question two people in particular need to address, and I’ll get to that in a minute.

A lot of people I trust and admire work tirelessly to make a difference on Skid Row, and they’re always eager to share the success stories of those who move through and move on. (I’ve got a column on that coming up soon.)

The long-standing problem is that Skid Row is both a social service center and a mecca of drugs and other vices, with traps on every block. And so it’s a neighborhood at war with itself, with some viewing Skid Row as one of the largest recovery centers in the country while others see a snapshot of social collapse.

Estela Lopez has reached out to me several times over the years. About illegal dumping. Typhus. Calls to City Hall that don’t get answered. About the relentless plague of fires, overdoses and assaults.

“Can you imagine, in 24 years, how many people I’ve seen dead on these streets?” Lopez asked me near her office last week.

Estela Lopez runs a business improvement district on behalf of 600 or so beleaguered merchants.

(Genaro Molina / Los Angeles Times)

When the local post office closed recently in part because of security issues, Lopez told The Times’ Melissa Gomez that “we have reached a point in this city where we are unable to address criminal activity. … It’s surrender.”

We walked to the corner of 8th Street, where paramedics had just pulled away from a medical emergency. Cars and pedestrians stopped at tents for brief transactions, leaving little doubt as to the nature of the business being conducted.

We passed a caged dog and saw a puppy on a short leash being loaded into a vehicle. There’s a lot of talk about dogs being bred and sold, and Lopez said she’s seen evidence of animals being mistreated.

On 7th Street we passed the charred residue of a recent fire. A half block east, four men were slumped on the sidewalk, hitting pipes. Lopez gets calls from exasperated merchants dealing with vandalism and with people blocking their storefronts.

“I’ve never seen so many people overdose right here,” said Sergio Moreno, who runs a check-cashing business and said his family has been in business going back to the ‘70s. He said he’s seen paramedics use naloxone to revive opioid users, only to see the same people go down again just days later.

“How can you run a business?” asked Moreno, who chairs the board of the business improvement district Lopez runs. “This business is our life. This is how we got through school, this is how we put our kids through school.”

And yet despite paying city taxes and BID fees, Moreno said, problems persist and his customers fear for their safety.

Dr. Susan Partovi, a street medic for 22 years, has been advocating for more proactive intervention for those in obvious distress. Partovi told me she recently saw a man rise from a gutter, pull down his pants and defecate in front of her. She called to get help for him but said neither paramedics nor police determined him to be gravely disabled.

Lopez walks past residents of Skid Row last week. By her latest count, 131 of the 702 streetlights in the district were out, 27 children were living on Skid Row, and 72 RVs were parked in the area.

(Genaro Molina / Los Angeles Times)

“We have become complacent with having people lying in the gutter, having diarrhea, speaking nonsensically and putting their lives at risk,” said Partovi, whom I once accompanied as she administered long-acting anti-psychotic injections, arguing that people need clear heads to make better choices.

One sore point for Lopez is the Skid Row Care Campus in the 400 block of Crocker Street, which opened a little more than a year ago and offers all sorts of social services, meds that reduce drug cravings, and supplies that allow for safe use of drugs.

Lopez said she understands the theory of harm reduction: Engage people with a goal of getting them into treatment and back on track. But she wonders how successful such programs are, and argues that they become magnets for lawlessness.

As we talked, a young man approached and told Lopez he’d seen her airing her grievances on TV news.

“I’m wondering, what would be your solution?” he asked.

“I would hope that people could return to life in sobriety,” Lopez responded.

The man said he is “trying to elevate” himself, but that he’d been on a waiting list for housing for six months.

Lopez is tired of being on a waiting list, too.

“If something is working down here,” she told me, “you can’t prove it by me.”

Progress is undeniable, said Sieglinde von Deffner, a social worker and Skid Row coordinator for the Los Angeles County Department of Homeless Services and Housing. But given the “highly vulnerable” nature of the population, “the need is colossal,” she said.

A man stands among his belongings along 7th Street in Skid Row in downtown Los Angeles.

(Genaro Molina / Los Angeles Times)

“I have not yet met someone here who doesn’t want housing of some kind. We just don’t have enough affordable housing for everyone,” Von Deffner said, and long-term homelessness makes people harder to reach. “Now, if we could just stop the inflow.”

Dennis Culhane, a University of Pennsylvania professor who researches homelessness and served as an L.A. County consultant, said there are other ways to get people indoors than investing billions of dollars in new housing that takes years to build. Culhane said single adults who are not veterans, including the elderly and disabled, constitute a majority of the homeless population. But assistance is scarce.

“It’s like you have a famine, and you’ve only got food for 15% of the people,” Culhane said.

Rapid rehousing is critical for the newly homeless, he said. But it can take two years for them to qualify for Social Security disability, and once they do, the $1,000 a month “is completely deficient in the face of rising rents.”

Culhane recommends faster approval of SSI benefits and supplementing that income with additional sources of rental assistance. He believes there are enough vacancies at the low end of the housing market to make a sizable dent in homelessness without new construction.

Judy Mauricio, 65, who has been homeless for nine years, rests inside her tent next to her walker. She says her drug addiction has kept her on the street. She receives state disability funds and says she has cancer.

(Genaro Molina / Los Angeles Times)

As campaign season warms up, I’d like to know if Mayor Karen Bass and her challenger, Councilmember Nithya Raman, agree.

The mayor of L.A. is limited by a power split with the City Council, and the county oversees most addiction and mental health services. But Skid Row sits just a few blocks from the seat of city authority, and nobody has more power or responsibility to address the decades-long human catastrophe on Skid Row than the mayor.

Estela Lopez and the merchants deserve better. The people on the street deserve better. Thousands of housed residents deserve better.

Does Bass have a plan other than what’s currently in place? Does Raman have a better one?

If so, I’d like to hear the details, and I’m available.

steve.lopez@latimes.com

My dinner course is served. It is a Campbell’s-inspired soup can, lightly angled so strands of broccoli are peeking out. I lift the can to uncover a slow-braised short rib and mashed potatoes. An American dish to represent an American artist, here Andy Warhol.

The room is overtaken with projections, scenes of bustling New York traffic paired with bachelor-pad-like guitar riffs. Shown on a wall above a dinner table is a selection of Warhol silkscreens. It’s a Friday night in West Hollywood, and I’m surrounded by a mix of out-of-towners and those celebrating an anniversary. And while this is a special occasion, we’re urged to get a little messy with our food — to use our hands, to paint with a salad, to draw on a cookie.

The main course: A tomato soup can? “7 Paintings” is an immersive event that occasionally hides dishes in artist-inspired presentations.

(Christina House / Los Angeles Times)

Play is the primary side dish at “7 Paintings,” a tech-infused dinner theater that aims to be a crash course in fine art. That selection of veggies paired with multiple mini cups of colorful dressings? Guests are encouraged to mix and match the vinaigrettes into a mess of hues, a nod to abstractionist Jackson Pollock. And yellowfin tuna with dashes of avocado and taro chips? That’s an edible tribute to Banksy, of course. What does raw fish have to do with stenciled street art? It’s bold, heavily angled and has a short shelf life? Maybe? Perhaps don’t overthink it.

Even the paper is edible.

(Christina House / Los Angeles Times)

“Have you ever eaten a painting before?” says Nadine Beshir, the Dubai-based creator of “7 Paintings.” “We try to get people out of their comfort zones and eating paper. I want to bring out the child in them.”

“7 Paintings,” held at Sunset House L.A. through the end of August, is the latest example of immersive dining to arrive in this city. These experiences often involve guest participation and are accentuated with advanced multimedia technology and sometimes theatrical elements.

Worldwide, there have been standouts. For instance, Eatrenalin at Germany’s Europa-Park, a dining room-meets-ride where participants are whisked around the space on trackless “floating chairs,” has just received a coveted Michelin star. Ibiza’s Sublimotion has similar haute ambitions, pairing 12 diners together in a room that will come alive with otherworldly projections and performers. At times, diners will win don virtual reality headgear.

But tech-driven immersive dining experiences have never quite taken off in Los Angeles as a trend. Last year, the Gallery, where fantastical cityscapes and projections surrounded downtown L.A. diners, stood just a couple months before the concept was abandoned.

“7 Paintings” pairs food with art and music. It’s “fun dining, not fine dining,” says its founder.

(Christina House / Los Angeles Times)

Bartender Luca Famulari shakes a cocktail at the immersive dining event.

(Christina House / Los Angeles Times)

“The economics of a restaurant are not the same as the economics of theater and the challenge of combining the two lies in thinking outside the box with respect to pricing and cost structure, such that the customer perceives high value from both the food and the experience,” says the Gallery co-founder Daren Ulmer.

Entrepreneurs keep aiming for that careful balance. “Le Petit Chef and Friends” is currently running at Tangier at downtown’s Hotel Figueroa, an event in which a fully animated film is projected on our plates and tables. Long-running pop-up event Fork N’ Film leans more dinner and movie, pairing dishes directly inspired by what is happening on screen. Upcoming films include “Ratatouille” and “Lilo and Stitch.”

The field comes with challenges. “The costs are very high,” says Joanna Garner, an immersive designer and former creative director with experiential art firm Meow Wolf. Garner has been experimenting herself with communal, immersive dinner events, and her next, the flirtatious “Please Open Your Mouth,” is set for July 11. (No tech there, as Garner is after a more sensual, adult-focused gathering.) Tickets for her event are $150 and a spot in the “7 Paintings” dining room runs $175, priced on par with a number of city’s most acclaimed restaurants.

There is also the reality that all public dining is in some fashion immersive, usually requiring varying combinations of engagement, communication and presentation. And then, are all these added elements distracting?

An animated Mona Lisa sits on the wall as guests enjoy their meals. Throughout the dinner, the painting provides factoids on various artists.

(Christina House / Los Angeles Times)

Throughout “7 Paintings,” for instance, an animated Mona Lisa, situated on the wall next to the main dinner table, will provide brief biographical details of each artist represented.

“Being able to nail the food, and nail the story, those are two very difficult threads to weave,” Garner says. “I do think, ultimately, people come to a dinner table to talk to the people at the table and to have intimate experiences. To have an experience where you’re constantly being taken away from the food, I’m not so sure if that’s what people are looking for.”

Food is framed as a star of “7 Paintings” but tasting it is just one component. At one point, we must uncover a cheese course in a tiny treasure chest, the code for the lock hidden in the projections (don’t stress, it’s not a hard puzzle). Beshir highlights the Pollock-inspired salad course, which is accentuated with a jazz soundtrack, as the thesis of the evening.

1

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1. A guest uses a silicon brush to apply sauces onto an entree, a nod to abstractionist Jackson Pollock. 2. Projections fill up the dining table during meals.

“This course is really about getting people to free their minds from preconceived ideas,” Beshir says. “Like, you have to eat with a fork and knife, or the salad comes and then the dressing. No, the dressing comes and then the salad, and it’s trying with big brushes to paint the way he did. A lot of people do not understand Abstract Expressionism, and they think it’s people just splashing colors around. But when you understand the link between the rhythm of the music and painting, you live it. We give you time to paint with your salad dressing.”

In L.A., Beshir has partnered with nightlife impresario Kim Kelly, who is plotting a “Sleep No More”-inspired walk-around theatrical show for the Sunset House venue later this year. “7 Paintings,” however, is fully seated, and purposefully a little silly. Beshir and Kelly have been evolving it during its L.A. run, recently adding a stronger painting component by giving guests their own canvas to work on throughout the evening. Each night crowns a winner.

“Everyone comes over to look at their art,” Kelly says. “It just kind of changed the whole thing, to be honest. People are now being creative throughout the entire evening. Instead of just watching and occasionally painting, you’re now painting the whole time.”

As for what, perhaps, soba noodles with edamame and mushrooms have to do with Pablo Picasso, or why Salvador Dali gets an unexpected dessert course of a white chocolate potato souffle, Beshir clarifies the goal of the evening. While the animated Mona Lisa will provide backstories on each painter, this isn’t an educational night. “It’s fun dining, not fine dining,” Beshir says.

And by the end of my night, strangers were socializing, showing off their painted cookie creations, sharing Banksy tidbits and asking for recommendations on various vinaigrette combinations. Ultimately, it’s an evening of discovery, packed with surprises like finding an entire course hidden under a canvas.

Darryl Mayes of Charlotte, N.C., left, and Taylor Smith of North Hollywood, right, uncover their course.

(Christina House / Los Angeles Times)

“We try not to have too much sophistication, like fried ants or something. I’m personally very adventurous in how I eat, but if I want to have this in 100 cities around the world, I cannot be too meticulous.”

And Beshir has big goals.

“I want this be your movie and dinner thing,” Beshir says. “I want people to be waiting for our next show, and to be able to afford to come every couple months.”

And to come home not with leftovers, but perhaps a painting of their own.

This World Cup has made unlikely international stars out of a plucky Cape Verde squad, further catapulted the status of gargantuan Norwegian striker Erling Haaland and firmly planted Lionel Messi as the greatest player of his generation.

But the players on the pitch haven’t been the only ones catching the eyes of soccer viewers.

Another legend among legends has also cemented his legacy during this run: Aurelio Casillas — the fictional drug kingpin and protagonist at the heart of the long-running Telemundo series “El Señor de los Cielos.”

The 10th season of the program finds Casillas reemerging to recover his narcotics empire after disappearing from his family’s radar. Familial drama ensues as betrayal runs rampant and Casillas embarks on a vengeful crusade against his enemies to regain and avenge the death of his love interest.

The image of Casillas, portrayed by veteran Mexican actor Rafael Amaya, has been plastered all across Telemundo’s World Cup coverage.

In the ads leading into games, Casillas is there. During most commercial rejoins, hosts spotlight the “El Señor de los Cielos” final season‘s Tuesday premiere.

The promotion has gone beyond what most U.S. audiences might be accustomed to as the network has cleverly implemented in-game ad reads that seem to flow freely into match coverage.

If Haaland coordinates a strike that helps Norway regain power in the game, a Telemundo game announcer might point out that decorated drug trafficker Casillas has also been known to schedule timely strikes to help him regain power in the dangerous world of narco warfare.

The incessant and cheeky ad reads served as more than just a gimmick as social media users have taken note of Telemundo’s marketing strategy. Many have joked about capitulating to the network’s advertising and giving the show a try. Others have humorously pondered about the contents of the program, while some have defiantly proclaimed that they will never fall for the series’ propaganda.

Hate it or love it, people can’t stop talking about it.

During halftime of Friday’s high-octane Argentina-Cape Verde Round of 32 match, Telemundo sportscaster Adriana Monsalve nodded to the online chatter the show has generated.

“We’ve read your messages on social media,” Monsalve said. “Between those who have said they’ve been convinced and those who admitted that they will be watching ‘El Señor de los Cielos,’ all we have to say is thank you. We await you all this Tuesday at 9 p.m./8 p.m. Central on Telemundo and Peacock.”

This type of over-the-top promotion model has long been used by the network as a way to convince advertisers that running commercials on its airways is worthwhile, noted University of Oregon advertising professor Christopher Chávez.

“They’ve really had to scrap it out over the years and so their product placement has always been overt, whereas in English-language media, there’s at least some attempt to make it creative or artistic,” Chávez, who also serves as the director of his school’s Center for Latina/o and Latin American Studies, told The Times. “There’s just this history of announcers and creatives really just going all in on marketing and almost not disciplining themselves, and because you have this global platform, people are just taking notice and they’re having fun with it.”

Telemundo’s executive vice president of marketing and creative strategy, Claudia Chagui, told The Times that the company had a game plan for how to approach the moment for “El Señor de los Cielos.”

“We had a very clear strategy going into the World Cup,” Chagui said. “We knew what we wanted to do in terms of how to protect our core fans and how to attract English-leaning Hispanics and maybe even general market fans to come and watch it in Spanish and all of that happened. We knew that this launchpad for ‘El Señor’ was going to be the strongest platform we could have.”

Chávez remarked that the Telemundo likely put a lot of stock in engaging Latinos online in the hopes that they would have fun with the marketing rollout.

“[Telemundo] knows that Latinos are younger and tend to be more proficient users of social media and more likely to share content,” Chávez said. “They’re very aware of that kind of market research, so whatever they put out there, hopefully it’s going to be meme-able or it’s going to be shareable. I think they’re pretty much banking on that.”

Chagui said that while much of the viral online chatter is beyond the control of the network, Telemundo’s social team has been locked in to the conversations regarding the show.

“We have our ‘El Señor’ account and even our Aurelio account — who is commenting on some of these conversations — and we’re making sure that our community feels like they’re being heard,” Chagui noted. “There is a real fan community around this IP and we take that very seriously. We want to take care of our fans.”

The show has been able to have such reach this World Cup cycle because more U.S. viewers are opting to tune in to Telemundo’s coverage than ever before.

In a recent social media post, Telemundo said that nearly half of all World Cup viewers stateside are watching its coverage.

NPR reported that 20% of Telemundo’s soccer audience speaks English as their primary language. Telemundo Deportes leadership told the outlet that the network’s telecast numbers have increased by 122% since the 2022 World Cup in Qatar.

“It’s so much better when we’re watching it on Telemundo, because the announcers are not simply announcing the game, they’re engaging with the audiences themselves,” said Mari Castañeda, University of Massachusetts Amherst’s Commonwealth Honors College dean. “They’re really leaning into a more Latino aesthetic that is much more loose, open, joyful, kind of like a party atmosphere that changes the vibe and makes it become more celebratory, which it should be. The World Cup is meant to bring people together and it really seems to be doing that.”

That level of involvement from the commentators was something that Telemundo’s marketing team made sure to instill in its talent pool, Chagui noted.

“We work with our sports team and say, ‘These are the things that are top priorities for us from a promotional perspective,’ and our team creates all those mentions for those commentators and we work hand-in-hand with the sports team to make sure that there’s time within the games for them to be able to make those mentions,” she said.

“We tweak that messaging along the way to make sure that it doesn’t become too repetitive, that people don’t get tired of it. And now when the season starts, you’ll see that those mentions are going to be even more organic and will be more related to what’s happening on the show at the time.”

An unexpected added element that fell into Telemundo’s lap was the dream run of Mexico’s national team in the tournament.

“We prayed for that, but it’s been tremendous,” Chagui said. “[The Round of 32 game against Ecuador] had over 17 million viewers, so talk about a dream promotional platform. We really couldn’t ask for more.”

Chávez saw this current cultural moment as a great time for “El Señor de los Cielos” to potentially add a slew of new viewers, especially among English-first audiences.

“One of the things that streaming platforms like Netflix has done is that you’re starting to now see preferences change,” he said. “American audiences are starting to consume Korean dramas, for example, or Spanish-language dramas … [these] platforms have changed people’s comfort levels with consuming content that is not necessarily in English.”

Chagui also credited Telemundo’s streaming home, Peacock, as an important driver of popularity for “El Señor de los Cielos.”

“Now everybody watches content in any language, so I think the partnership with Peacock has been tremendous, because we know a lot of consumers don’t watch linear television anymore, and so if you’re not available on the streaming platforms, then you already hit a brick wall … we have to be available where our audiences are consuming content,” Chagui said.

If you’re one of the many people intrigued by the series, but find the idea of doing nine seasons of catch-up viewing daunting — there’s no need to fear, Telemundo has got you covered.

Seizing on the show’s newfound increase in popularity, the network created a special episode of “El Señor de los Cielos” that recaps all nine seasons of the series in under two hours.

“We needed a catch-up strategy because core fans are going to want to catch up before the premiere of the new season, but we’re going to bring in all these new eyeballs with the World Cup, and so we had to have something that is easy for them to understand what the series is about so they can hit the ground running,” Chagui said. “That’s where we had this idea to do this 90-minute recap of all nine seasons and so since we launched that on Peacock and the consumption has been off the charts.”

But the appeal of the “El Señor de los Cielos,” which began airing back in 2013 and is inspired by the real-life escapades of Mexican drug lord Amado Carrillo Fuentes, goes beyond just the viral marketing.

“I think for a lot of the folks that were not watching it, but that now are interested and fascinated by the show, [the appeal] is that it’s based loosely on a true story,” Castañeda said. “That’s one of the things that in talking to some of the elders in the community is what connects them to the story itself, it feels like it’s something relevant and contemporary because it’s based on the potential of a true story that’s taking place.”

Castañeda added that the program’s high production value and explosive action scenes make “El Señor de los Cielos” seem like “a fun show to watch.”

Amaya’s turn as the sinister yet family-focused Aurelio Casillas has drawn comparisons to James Gandolfini’s portrayal of mob boss Tony Soprano — a distinction the actor dubbed an “honor” as “The Sopranos” is one of his favorite series.

In a conversation with The Times, Amaya embodied the corporate synergy that has piqued interest in his show.

“Our World Cup are TV series and I think that we’ve scored a bunch of goals during the decade that we’ve been telling a story that always been buzz-worthy and that has passed from generation to generation,” Amaya said. “All that is thanks to the viewers and to the characters who have evolved and remained relevant.”

In addition to the plethora of ads, the “El Señor de los Cielos” lead actor contributed to Telemundo’s World Cup coverage through a special program titled “Diarios de Fútbol con Rafael Amaya.” The show follows Amaya around L.A. as he speaks with soccer legends about the transformative power of the sport.

When asked what new viewers of the show should expect, Amaya kept it simple.

“They’re obviously going to see a series filled with adrenaline, betrayal, unexpected turns,” Amaya said. “In this 10th season there are a lot of changes, and I think it’s the best season yet.”

The Lakers got their backup big man when Kevon Looney signed a one-year, $3.9-million deal on Tuesday, people not authorized to speak publicly told The Times.

The 6-foot-9 Looney won three championships with the Golden State Warriors, in 2017, 2018 and 2021. He played last season with the New Orleans Pelicans. Looney, 30, is an 11-year veteran who went to UCLA. He’s a strong rebounder, very good defender and sets solid screens for teammates.

Looney will be the backup behind starter Walker Kessler, who was acquired in a trade from the Utah Jazz and agreed to a four-year, $130-million deal. The Lakers traded last season’s starting center, Deandre Ayton, and backup Jaxson Hayes signed with the Jazz.

The Lakers now have a 14-man roster and have room for another player.

Jonathan Kuminga is a player the Lakers are after, according to people with knowledge of the situation who said L.A. is looking at a two-year, $20-million deal for Kuminga, the sort of athletic wing player the Lakers need to start at small forward.

He has the size (6-7) and is young (23). He averaged 12.2 points and 5.6 rebounds and shot 33.3% from three-point range last season while playing for the Warriors and Atlanta Hawks.

Dallas Cowboys defensive end Marshawn Kneeland had early-stage chronic traumatic encephalopathy when he died by suicide at age 24 in November, according to test results released by his family Tuesday through the Concussion & CTE Foundation.

“While this diagnosis does not change the tragedy of his passing, it provides important context about some of the struggles he may have been facing,” Kneeland’s family, including girlfriend Catalina Mancera, said in a statement.

CTE is a degenerative brain disease that has been found in people who experience repetitive head trauma and can be diagnosed only after death.

“We share this information to help people understand what NFL and other high contact sport athletes might be struggling with,” the family said. “Raising awareness is important to us. We continue to remember Marshawn with compassion for the person he was, rather than defining him by the final moments of his life. One Love.”

Frisco, Texas, police said Kneeland didn’t stop when state Department of Public Safety troopers tried to pull him over on Nov. 5 for a traffic violation. The 2024 second-round draft pick was pursued by authorities in his vehicle and then on foot before being found “deceased with what appeared to be a self-inflicted gunshot wound,” Frisco police said in a statement at the time.

Police-dispatch audio from the incident revealed that Kneeland had sent out a group text to say goodbye to his family.

Researchers at the Boston University CTE Center analyzed Kneeland’s brain tissue and determined that the athlete, who started playing tackle football at age 7, was in stage one of four of CTE.

“Unfortunately, I was not surprised to find CTE in the brain of Mr. Kneeland, because we have found this progressive brain disease in nearly half of the athletes we’ve studied who have died before the age of 30,” Dr. Ann McKee, the center’s director, said in a statement.

“Thanks to the generosity of our brain donor families, we now better understand the earliest stages of CTE, and it is bringing us closer than ever to diagnosing it during life. My team and I are fully dedicated to finding effective treatments and a cure for CTE.”

The Associated Press contributed to this report.

John Slattery was jet-lagged in Budapest late one night after a day of shooting the 2025 drama “Nuremberg” when his old “Mad Men” co-star and friend Jon Hamm texted him with the kind of pitch that would send many actors sprinting in the opposite direction.

Would he be willing to play an out-of-work version of himself who hadn’t had a gig in a decade and was shamelessly coasting on his “Mad Men” fame?

Reading the script for “Gail Daughtry and the Celebrity Sex Pass” through the haze of fatigue, Slattery fixated on that one detail: “Hasn’t worked in 10 years, huh?” he recalls by phone from his home in New York. “I had to go: Wait a second. Let me IMDb myself.”

As it happens, the 63-year-old Slattery — best known for his four-time Emmy-nominated turn as the silver-haired ad executive Roger Sterling on “Mad Men” — has racked up some 30 film and TV credits since that show ended in 2015. Still, he says he was happy to detonate his cool, unflappable persona in the latest comedy from “Wet Hot American Summer” and “Role Models” filmmaker David Wain.

The gleefully unhinged “Gail Daughtry,” which premiered earlier this year at Sundance and opens Friday, casts Slattery as a washed-up version of himself who is enlisted by a Midwestern woman (Zoey Deutch) who flies to Los Angeles determined to cash in on a celebrity sex pass with Hamm after discovering her fiancé cheated on her with Jennifer Aniston.

For Slattery, what begins as an exercise in comic self-demolition gradually becomes the movie’s biggest surprise, with the actor turning a desperate, delusional version of himself into its most unexpectedly lovable character.

From left, Miles Gutierrez-Riley, John Slattery, Ben Wang, Ken Marino and Zoey Deutch in the movie “Gail Daughtry and the Celebrity Sex Pass.”

(Sundance Institute)

Speaking with The Times, Slattery reflected on cheerfully becoming the butt of the joke, why broad comedy is anything but easy and what it’s like navigating Hollywood at a moment when fading away feels a little less far-fetched than it once did.

Actors spend years building a certain cool image, but within seconds of appearing onscreen in this movie, you’re whining, farting and generally making an ass of yourself. What appealed to you about that?

I never considered it risky. Not that it was foolproof, but it was just such a silly idea and I was a fan of David Wain and those guys anyway. These kinds of comedies take skill and experience. I mean, you have to be really smart to make a movie this stupid.

You’re always looking for something that’s different and this was such a funny way to depart from myself — ironically, by playing myself. It seems like the wildest character I’ve played in a while, and it’s me. I thought: What kind of research am I supposed to do? Am I supposed to watch myself and imitate myself? But there was really nothing to do. You just learn the lines and show up.

Was there ever a moment where you thought: This is either going to be really funny or the end of my career?

I didn’t have that feeling on this. There’s nothing funnier to me than a confident moron. My favorite thing in the world to watch or try to do is somebody who has full confidence in their idiocy.

I’m not somebody who dives into the deep end right away. First I want to know I can trust the people in charge of what I’m about to deliver to them. If I do all this, whose hands am I leaving it in? With David, that wasn’t even a consideration. He’s just so good at what he does, and that gives you permission to just go all in.

Have you always been able to laugh at yourself or is that something that’s gotten easier as you’ve gotten older?

I come from a large family of piss-takers. They’re all really good at ball-breaking and really funny. My mother had six kids, and all her brothers had five or six kids. I had a million cousins, and they will shred you. Somebody would always knock your feet out from under you if you took yourself too seriously.

John Slattery and Jon Hamm in a scene from the AMC drama “Mad Men.”

(Frank Ockenfels / AMC)

Every successful actor probably has a nightmare that one day the phone stops ringing and you’re coasting on fading glory. Did you ever have that feeling after “Mad Men” ended?

After going through COVID and the strike and directing an independent movie [2023’s black comedy “Maggie Moore(s)”], which doesn’t pay very well, I hadn’t acted in a while. I was like: Oh, I wonder if this is going to continue. I don’t know.

The business has contracted. It seems like there’s an endless list of titles on every streaming menu, and yet they’re making less and people are struggling. So I’m glad to be working. I’ve had a pretty lucky run of late and I’m not taking it for granted.

At this point in your career, what makes you say yes to something?

Money. [laughs] No, it’s really the same as it’s always been. You always want a big, fat, juicy part, but sometimes it’s just a functioning part in a really good story.

You kind of roll with the punches. You do something, you have some success with it and then you get a lot of offers for things that are a lot like that. If that’s all that comes in, you pick the best one and keep going. People say, “Well, it’s not ‘Mad Men.’” And you go, “Well, what do I need to do that again for? I did that.”

This is a perfect example of something that’s every bit as interesting and fun in a completely different way. If they could all be like this one, I could die tomorrow. You want them all to be this fun, because they’re not. Sometimes you’re stuck in a courtroom all day and it’s pretty dry. This was anything but that.

Hollywood feels like a deeply anxious place right now. You’ve worked through a lot of different eras of this business. How does this moment compare?

I have a job coming up, so that’s always hopeful. Having just come off something, and knowing you’re about to do something else, gives you a sense of security. But there’s definitely a palpable anxiety. You hear it when people get jobs: “Thank God.” Or, “It’s about time.” Or, “I don’t care what it is, I’m going to do it.”

I was listening to Taylor Sheridan recently talking about how people who don’t tell stories are governing the telling of stories. That’s more than disconcerting. And now AI is the overlord of all that. It’s very strange.

It’s always been a youth-oriented business. There are definitely more movies about people who are 27 than people who are 63. Maybe it all kind of shakes out. I don’t know. Sometimes I wish it were 1943 and I was in a suit playing a detective.

I would watch that movie. Meanwhile, Hollywood doesn’t make many broad theatrical comedies like this anymore. Why do you think that is?

I don’t know why the studios have given up on comedies in movie theaters. They used to be the thing, right? Those big Will Ferrell movies were huge moneymakers.

Maybe this will turn the tide. When you think about the condition of the country right now, and how pissed off and divided everybody is, you roll out this silly, smart-but-stupid comedy, and it seems like the perfect amelioration of everybody’s anxiety. Go get some popcorn and laugh your ass off. You’ll feel better.

Gustavo Dudamel’s farewell to Los Angeles will also function as a benefit for his homeland of Venezuela, which suffered catastrophic losses from twin earthquakes in late June.

Dudamel and the Los Angeles Philharmonic announced Monday that the beloved composer’s final Hollywood Bowl performance as the orchestra’s music and artistic director, originally programmed as “Celebrating Gustavo at the Bowl: A Musical Legacy,” will instead be called “A Concert for Venezuela.” Still scheduled for Aug. 23, the show will raise funds for communities affected by the earthquakes.

“Venezuela will always be my home, and every moment, my thoughts are with the families whose lives have been forever changed by this tragedy,” Dudamel said in a statement. “The suffering is immense, but so is the strength and resilience of our people. This concert at the Hollywood Bowl is an invitation to stand together and transform our compassion into action.”

A full program and special guests will be announced later. Dudamel and the musicians will contribute their time and services free of charge.

Donations will benefit Dudamel’s Earthquake Recovery to Support Venezuelan Communities fund, in partnership with the United Nations Development Programme and the Development Bank of Latin America and the Caribbean fund. The L.A. Phil will contribute $50,000 to the fund, announced President and Chief Executive Kim Noltemy.

“In moments of profound need, our responsibility as an institution extends beyond the stage,” she said. “We are grateful for the opportunity to provide direct financial support to relief efforts for communities in Venezuela with a $50,000 charitable donation and to stand alongside Gustavo in bringing this concert to life at the Bowl.”

Twin earthquakes on June 24 devastated Venezuela, with more than 3,300 deaths and more than 30,000 people reported missing. As international rescue teams depart and locals are left to search through rubble, Venezuelans abroad, including L.A. restaurants, have looked for ways to send support.

Dudamel, who was born and raised in Barquisimeto, Venezuela, wrote in a 2015 op-ed for The Times that he is a “product” of El Sistema, the country’s government-funded youth music program. He has been the music director of the Simón Bolívar Symphony Orchestra since 1999.

WAUSAU, Wis. — Michael Alfonso, the 26-year-old son-in-law of U.S. Transportation Secretary Sean Duffy, has an answer for people who say he doesn’t have the experience necessary to join Congress as its youngest member.

He points to George Washington and Thomas Jefferson.

“They were 26 when they were first elected to public office,” said Alfonso, a Republican.

Alfonso is trying to ride support from his father-in-law to win his old House seat in rural northern Wisconsin. Duffy has repeatedly jetted back to the district to campaign and raise money for Alfonso, and he’s tapped $1 million from his old congressional account to support Alfonso’s candidacy.

Alfonso has also scored the endorsement of President Trump, who called him a “MAGA warrior.” But to Alfonso’s detractors, including prominent Republicans in the 7th Congressional District, he’s too young and inexperienced for the job.

“I think it’s insulting to people in the 7th that someone who lacks qualifications and any life experiences and any kind of demonstrable leadership skills or experience is even being touted as a candidate,” said Meg Ellefson, a 20-year resident of the district who voted for Trump three times and now opposes him. “It’s super aggravating to me.”

The Aug. 11 primary will test whether Trump’s endorsement of Alfonso, Duffy’s star power in his old congressional district and Alfonso’s fundraising advantage will be enough to put the political newcomer over the top.

Alfonso leans into Duffy’s ‘Real World’ past

Alfonso is taking a page from his father-in-law’s playbook by participating in a reality show. He appeared alongside Duffy, a 1997 alum of MTV’s “Real World,” in the “Great American Road Trip” video series that Duffy launched with his wife and 11 children on YouTube in June.

Duffy was elected to Congress in 2010, flipping a seat that had been under Democratic control for 41 years. He served for just under nine years before leaving politics. He returned last year when Trump tapped him to serve as transportation secretary.

Alfonso has leaned into his youth and lack of political experience.

“I’m a young man with the energy of a young man, but I have the values of someone who’s in their 60s,” Alfonso said, citing the fact that he got married to Duffy’s daughter Evita Duffy at age 22 and became a father in May.

Alfonso graduated from the University of Wisconsin-Madison in 2022 and then moved to Florida, where he worked for about a year on a podcast hosted by Trump supporter Dan Bongino. Prior to that, he worked construction jobs while in college.

Alfonso said that conservative activist Charlie Kirk’s assassination inspired him to run to continue what he calls a “spiritual battle for the soul of our nation.” Kirk’s Turning Point Action has endorsed Alfonso.

Duffy’s son-in-law faces a former Iranian hostage and a dog musher

One of Alfonso’s rivals in the Republican primary, Kevin Hermening, has deep ties to the district.

Hermening is a former Marine who was one of 66 Americans held hostage by Iran for 444 days starting in 1979. Framed photos of the then-20-year-old Hermening meeting with former Presidents Ronald Reagan and Jimmy Carter hang on his office wall.

He has worked nearly 40 years as a financial planner, spent 16 years on a local school board and was chairman of the Marathon County Republican Party for 24 years, helping Duffy and scores of other Republicans win local, state and federal races across the district.

Hermening also previously ran for Congress in 1986, when he was the same age as Alfonso is now — 26. He lost by 25 percentage points to Democratic incumbent Rep. David Obey.

“The voters told me that I wasn’t ready or prepared yet,” Hermening, who’s now 66, said in an interview at his Wausau office. “I was ill prepared to have actually done the job, and I’m not saying that because Mr. Alfonso’s in the race. It’s a fact.”

Another candidate in the primary, Ashley Furniture executive Jessi Ebben, has the backing of powerful Republican megadonors. Others running are Niina Baum, a dog musher, and Don Raihala, an accountant and real estate broker.

Longtime Republicans are publicly opposing Alfonso despite Trump backing

While Alfonso has endorsements from House Speaker Mike Johnson, R-La., and four of Wisconsin’s six Republican congressmen, local Republican officials in the district have publicly questioned the young candidate’s credentials.

Leaders in at least three counties have publicly spoken out against Alfonso as being too inexperienced for the job and questioned Duffy’s influence.

Iron County Republican Party Chair Tanner Hiller accused Duffy of trying to use his connections to get his son-in-law elected.

“I think what they’re doing is wrong morally,” Hiller told Wisconsin Public Radio in May. “There’s a lot of people that have better credentials, that know this district, that will represent this district better than Michael Alfonso.”

Donations in question as GOP megadonors are divided

Alfonso has benefited from tens of thousands of dollars in donations from transportation interests, raising more questions given that Duffy leads the federal agency that oversees the nation’s transportation system.

When asked whether he would be beholden to those donors, Alfonso said he answers only to God and the voters.

“That’s it,” Alfonso said.

But Hermening said Alfonso will feel indebted to the donors.

“I would think that the people would want to get paid back,” he said.

Duffy, despite his repeated visits back home to the district to campaign and raise money for Alfonso, is focused exclusively on executing the president’s agenda, his Transportation Department spokesperson Nathaniel Sizemore said when asked about the donations.

A super political action committee backing Alfonso has received $1 million from Duffy’s old congressional account and another $1 million from Republican megadonor Richard Uihlein, whose shipping and packaging business, Uline, is based in Wisconsin.

However, Uihlein’s wife, Elizabeth Uihlein, has donated $1 million to another PAC supporting Ebben. Ebben also has the backing of Club for Growth and Diane Hendricks, a billionaire builder from Wisconsin who is another GOP megadonor.

Alfonso hopes Trump endorsement overcomes GOP pushback

Alfonso is leaning into the Trump endorsement, while saying it will be hard work and not the president’s backing that gets him elected. His red, white and blue campaign signs say, “Endorsed by President Donald Trump.”

Jack Hoogendyk, chair of the Republican Party in Marathon County, which is home to the district’s largest city of Wausau, said Trump’s endorsement is “solid gold” in a district where Trump won by 22 percentage points two years ago.

But Ellefson, the longtime district resident, who hosted a conservative talk radio show in Wausau for five years, isn’t so sure that Trump’s blessing carries the same weight now that it used to.

“I personally would like to believe that voters in the 7th are intelligent enough and critical thinkers and won’t be swayed by a Trump endorsement,” she said. “I’m going to give the voters credit for not being that foolish.”

Bauer writes for the Associated Press.

NEW YORK — A White House report brands the leadership of the Smithsonian Institution, especially at the National Museum of American History, as radical activists who cannot be trusted, indicating that President Trump may be preparing to install his own team.

The report released late on Independence Day by the White House Domestic Policy Council comes in the midst of Trump’s aggressive campaign to overhaul some of Washington’s most sacred cultural and historic institutions. Trump in March revealed his intention to force changes at the Smithsonian Institution with an executive order that targeted funding for programs that advanced “divisive narratives” and “improper ideology,” as he continued a broadside against culture he deems too liberal.

“The Smithsonian Institution, and the National Museum of American History in particular, under its current leadership and current interpretive ideology, cannot be trusted to tell America’s story honestly and in a way that is inspiring, unifying, and worthy of our great republic,” according to the report by the council, which is led by a former top Trump speechwriter.

The authors added: “As this report shows, confirmed in the words of Museum leadership, this ideological capture has moved the Museum’s mission away from straightforward historical education and scholarship toward an extreme political activism that seeks to transform our country.”

The Smithsonian did not immediately respond to requests for comment Sunday.

Historian Lonnie Bunch, the Smithsonian’s current secretary, is the first African American to lead the institution. In an unrelated interview that aired Sunday on NBC’s “Meet the Press,” Bunch said “the notion of being a more perfect union, not the perfect union, is really what motivates me.”

“I think what I want people to understand is that there is a responsibility to continue to make those aspirations available, accessible, meaningful to a whole range of people,” Bunch said. “And that, in essence, America’s greatest strength, it’s not running away from its history, but it’s understanding how that history shaped us and continues to shape us.”

Historian Anthea M. Hartig is the first woman to serve as director of National Museum of American History.

Trump’s escalating effort to force changes at the Smithsonian marks the Republican president’s latest move to transform cultural pillars of society, such as universities and art, that he considers out of step with conservative sensibilities. Trump had himself installed as chairman of the John F. Kennedy Center for the Performing Arts with the aim of overhauling programming, and his handpicked board voted to add his name to the building, only to have a federal judge later order the signage to be removed.

The administration also forced Columbia University to make a series of policy changes by threatening the Ivy League school with the loss of several hundred million dollars in federal funding.

Trump has also imposed changes on historical sites beyond Washington, including in Philadelphia, where the administration won a court ruling last week allowing it to reinstall interpretive panels that critics say whitewash the history of slavery at the site of President George Washington’s home. Advocates, academics and officials have been concerned for months that the version that complies with Trump’s order could give a history that plays down the pain in the nation’s past in favor of a more triumphant view.

Gov. Josh Shapiro, D-Pa., accused Trump and his allies of trying to “rewrite history.”

“There’s not one individual narrative that a president gets about our history,” Shapiro, a potential presidential prospect, said in an interview that aired Sunday on CNN’s “State of the Union.” “And any president should want to make sure that that full history is shared, that the American people are able to draw their own conclusions.”

Shapiro added, “If we understand where we came from, we’re going to have a better path forward.”

Trump’s Domestic Policy Council does not necessarily agree.

The National Museum of American History “confronts visitors with materials intended to undermine faith in American institutions and the longstanding shared ideals of the American people,” the council’s report said. “We must be committed to restoring truth and sanity in how American history is presented and taught.”

In seeking to fulfill Trump’s order, which he called “Restoring Truth and Sanity to American History,” the review concluded by finding that the museum “by the intention and at the direction of current Museum and Smithsonian leadership, has become subject to institutional capture by a radical, activist ideology that is fundamentally opposed to telling the noble, honest story of the great country we know and love.”

Peoples writes for the Associated Press.

The lido is a beloved outdoor swimming pool for families, and with its Mediterranean-inspired design and 300-metre lazy river, it’s reminiscent of a luxury hotel pool abroad

A lido that is often likened to pools found in Greece and across the Mediterranean has opened its doors for the summer season, just in time for the third expected heatwave to hit the UK.

The pool has been loved by local families ever since it first welcomed visitors in 1896, and nowadays draws tourists from far and wide too. It’s not difficult to understand why.

One glance at the lido, with its strikingly blue waters, splashpad and 300 metre-long lazy river, and you’d be forgiven for thinking you were lounging at an overseas hotel pool.

Yet this dazzling blue pool is actually tucked away in Kent, just over an hour from London. The Strand Lido in Gillingham also holds the unique distinction of being the only riverside saltwater pool in the entire UK.

Fed directly from the River Medway, the water is filtered and chlorinated to ensure it’s perfectly safe for swimmers of all ages. The Lido Guide wrote about the Strand: “Nothing about the exterior gives away what lies within. What lies within is a riot of Mediterranean-resort-style colour and fun. Any children in the party will be completely unable to contain their excitement.

“The whole thing is a freeform riot of bright white painted concrete, edged in royal blue, that gives the treated river water that fills the pool a hue that is more reminiscent of Greece than Kent.”

There are six 25-metre long lanes for swimming, alongside a paddling pool for toddlers and enjoyable extras such as water fountains. As the pool is unheated, it operates on a seasonal basis only, and it reopened for 2026 on May 23.

The pool then opens at weekends until the school summer holidays, when it operates daily before closing at some point in September. Tickets must be booked online through the Medway Council website to secure your spot at this much-loved pool.

During opening days, the pool offers two sessions: the first from 10.30am to 1.30pm and the second from 2.30pm to 5.30pm. There’s also a free to use Splash Pad in the park that has the same opening hours as the lido.

Alongside the pool itself, the complex boasts sunbathing and relaxation areas, a café serving food — though you’re more than welcome to bring a picnic and enjoy it in one of the park’s shaded spots — as well as play areas. There are changing rooms, poolside showers and a shop stocking inflatables, though you can also bring your own rubber ring.

The Strand Leisure Park is also home to a miniature railway that operates seasonally, trundling around the park on sunny days, along with plenty of riverside walks to explore.

One glowing review read: “We travelled from Suffolk and booked the afternoon session. Stopped for some lunch on the way. Lovely day out. Pool has a lazy river, kids pool and adult pool, changing rooms, toilets, café. Lots of space to set up camp for the afternoon but not a lot of shade.”

Another visitor commented: “Very good few hours. Looks like we are on holiday. Lazy river all around the outside (take a rubber ring). “

Have a story you want to share? Email us at webtravel@reachplc.com

U.S. Navy sailor Chase Humes is moving back to his dad’s house in Texas.

Last month, the 25-year-old was notified that his “voluntary separation” from the Navy, which he’d applied for in May 2025, had been approved — he would be released from service. He and his wife must be out of their military housing in San Diego by mid-July.
Humes, a transgender man who’s been taking testosterone for seven years, was among at least 1,000 service members who chose to leave on their own terms rather than face involuntary separation following the military’s February 2025 ban on transgender service members. By choosing a voluntary separation, he’s been approved for an “honorable discharge,” which preserves access to benefits like Veterans Affairs healthcare that others worry they might not have access to.
Humes is one of about 4,200 transgender service members the Department of Defense estimates have been diagnosed with gender dysphoria and could be subject to the policy. Advocates say the transgender service member population could exceed 15,000, according to a UCLA study from 2014.
A new California bill, Assembly Bill 1775, is intended to assist people who don’t have the certainty of Humes’s honorable discharge and worry about their future prospects if they were forced out of the military. Proponents say the bill, by San Diego Democratic Assemblymember Chris Ward, could help people who are given less than honorable discharge for hiding their transgender identity by helping them restore access to services.

In the meantime, service members like Humes are scouting their next move. The sailor and his wife have been searching for jobs near his dad’s house outside Houston. They can’t afford to start their life in San Diego, despite having fallen in love with the city’s accepting atmosphere.
“The whole reason I joined was for a better future for myself and my family, and it just got torn away,” Humes said of the separation.

Over a year in limbo

Among the flurry of executive orders President Trump issued at the start of his second term was the Prioritizing Military Excellence and Readiness order.

It rescinded President Biden’s policy permitting transgender people to openly serve in the forces, and asserted that gender dysphoria and using pronouns different than one’s biological sex at birth were inconsistent with the country’s “high standards for troop readiness, lethality, cohesion, honesty, humility, uniformity, and integrity.”

What followed the Jan. 27, 2025 order was a series of legal challenges, some of which are still ongoing. Last month, a federal appeals court ruled that Trump’s ban on transgender people in the military was likely unconstitutional, allowing a group of 28 plaintiffs from across the country to continue serving while their case proceeds.
Transgender troops were faced last spring with the choice of either voluntarily leaving the military, and in some cases receiving separation pay, or saying nothing and hoping they were not found out and “involuntarily separated” from the forces.

Humes is choosing to voluntarily leave the Navy after the Trump administration announced a policy banning transgender troops.

(Adriana Heldiz / CalMatters)

Kat Koehlmoos, who was in active duty for eight years and is now in an inactive Army Reserve status, said the military chain of command does not know she is transgender.
“Anyone could use my testimony today to report me to the Army Reserves here, and they would be required to take action to involuntarily discharge me from the U.S. military,” she told lawmakers during a hearing on the legislation last month.
Koehlmoos is a board member for SPARTA Pride, which advocates for transgender service members and co-sponsored the legislation. She said the bill came about in part because supporters are concerned the federal government might replicate the actions it took during its “don’t ask, don’t tell” policy, which allowed gay, lesbian and bisexual troops to serve if they concealed their sexual orientation. Some 2,000 troops were given less than honorable discharges in connection to the policy, and were shut out of some veterans’ benefits, according to a class-action lawsuit that was settled in 2025.

Koehlmoos said the group anticipates some people who are “involuntarily separated” under the 2025 transgender ban will be punished by the Department of Defense for not complying with the law.

“They may pursue other charges: accusing them of falsifying records or lying on federal documents, and attempt to get them a less than honorable discharge because of that,” she said, although SPARTA Pride does not know of any such cases so far.
If that happened in California, Ward’s bill would help those people qualify for expedited professional licensing in civilian careers like contracting and nursing and prioritize them for discharge upgrades as well as housing and support services.

Ward said he believes the benefits of all service members should be secured, whether they leave voluntarily or involuntarily.

“They have served honorably, and this was a separation that was involuntary, and they would deserve the full benefits that they otherwise would have been due had they been cisgender,” he said.

Unknown number affected

It’s unclear how many people could be affected by the legislation. Ward has repeatedly told fellow lawmakers that 2,900 of the federal government’s estimated 4,200 transgender troops — 69% — are either from California or are currently stationed in California. In an emailed statement in response to a question from CalMatters, Ward said the figures were mistakenly adopted after conversations with veterans’ advocates, and he would no longer use them to describe the number of affected California service members.
The bill would also require the state’s Department of Veterans Affairs to create a new housing and supportive services grant for veterans, which Ward said would fill a gap in existing housing support for veterans experiencing imminent homelessness. But the budget Gov. Gavin Newsom signed Monday does not include funding for that program.
Instead, it directs $2 million toward the state’s existing Veteran’s Military Discharge Upgrade Grant Program, which provides legal assistance for veterans fighting for a discharge upgrade.
As Humes prepares to leave San Diego, Ward’s bill is still pending in Sacramento. The legislation has cleared policy committees in both houses and awaits a hearing in the Senate appropriations committee.
Koehlmoos said the moment is stressful for most transgender troops — those being removed voluntarily, who have few options; the people who haven’t notified the chain of command, who may be living in fear; and the service members who will delay their transition, or never transition, because of the federal government’s ban on transgender troops.

“For me that’s heartbreaking, because that really is putting your life on hold,” she said.

Kate Wolffe writes for CalMatters.

WASHINGTON — President Trump ushered in the 250th anniversary of American independence on Friday with soaring rhetoric about American exceptionalism before veering into a darkly political speech with warnings about a sinister threat of communism that evoked one of the country’s ugliest chapters.

“Communism is a mortal threat to American liberty,” he said from Mt. Rushmore. “It is the greatest threat to our country, including World War I, World War II, Pearl Harbor or even 9/11.”

While the language was similar to several other speeches Trump has given in recent days, it was notable for being delivered in a national park that commemorates some of America’s most prominent presidents. And it swerved from the typically apolitical, unifying speeches past presidents like Gerald Ford or Ronald Reagan have delivered during earlier high-profile Independence Day celebrations.

Indeed, Trump’s language evoked the Red Scare of the 1950s, when purported communists were persecuted and blacklisted from jobs across America, from Washington to Hollywood.

In New York City, Mayor Zohran Mamdani, a democratic socialist, delivered his own address that cast America as a nation of contradictions “working each day towards the perfection in which it was conceived.”

The president’s speech capped an Independence Day eve that was otherwise most notable for a brutal heat wave that gripped much of the eastern portion of the country. Officials have warned those celebrating the holiday to stay hydrated and take air-conditioned breaks as needed.

Philadelphia canceled its Salute to Independence parade Friday. The Great American State Fair in Washington shut down in the early afternoon before reopening at 5 p.m. The Capitol Fourth concert, a mainstay of the holiday in Washington, opened its gates a little later than normal but ultimately moved forward with appearances from Patti LaBelle, Trace Adkins, members of the Artemis II space mission and fireworks over George Washington’s Mount Vernon. An Independence Day parade scheduled for Saturday in Washington was canceled.

Looking for a place to cool off

By early afternoon Friday in Washington, hundreds of people were roaming the grounds of the National Mall, home to the Great American State Fair. They snapped photos of the flyovers and tried to cool off inside tents that offered $9 lemonades and $23 turkey legs. Many were dressed in patriotic colors, their faces glistening with sweat.

Glenn Brooks, who was pardoned by Trump for his participation in the Jan. 6, 2021, attack on the Capitol, said he was “thankful to be participating in this grand event.”

The activity culminates in the main event Saturday, when fireworks will erupt in communities across the U.S., along with backyard cookouts and block parties. Trump will deliver another speech at the National Mall in Washington before what is being billed as a historically massive fireworks show.

As the rest of the country struggled under stifling heat, the Pacific Northwest enjoyed temperatures in the 60s with even a few light showers.

World Cup soccer fans in Seattle were staying cool Friday as they got psyched up for Monday’s big game between the U.S. and Belgium. In the nearby suburb of Issaquah, Megan Kurowski, 31, brought her two dogs to the dog park so they could get some exercise before she went to work.

Kurowski said she was feeling positive about America’s 250th anniversary and was planning a possible paddleboard to watch the fireworks.

“Everyone’s just, from what it seems, been pretty excited about celebrating 250 years,” she said.

The holiday is unfolding at a unique time in the U.S. The anniversary has served as an opportunity for the country to reflect on its history while also reminding it of the political polarization of the moment.

On a holiday of unity, there is an undercurrent of division

In New York, Mamdani, a Democrat, did not mention Trump by name, but parts of his speech appeared aimed at the president’s divisive rhetoric.

“For generation after generation, we have been told that when the world has sent its people to our shores, it has not sent its best,” Mamdani said in an apparent reference to a common criticism from Trump. “Those ideals upon which our nation was built — they are strong enough to endure any authoritarian regime, but only if we reach for them.”

Freedom 250, an organization aligned with the White House, has come to rival America250, a bipartisan group founded by Congress a decade ago. Freedom 250 has organized much of the activity in Washington, including the Great American State Fair. America250 is behind the ball drops unfolding in many cities, including New York, and will host a concert in Los Angeles on Saturday.

About 4 in 10 U.S. adults feel “proud” about the country’s 250th anniversary, according to an April survey from the Associated Press-NORC Center for Public Affairs Research. Roughly 3 in 10 said “excited” describes their emotions.

Ahead of the holiday, auto technician Joe Fuqua-Bejarano in Topeka, Kansas, sized up “what makes us awesome” as a people. It is clearly not the politics, in his view, but rather resilience.

“We’ve just all got to find unity somewhere, whether that’s in laughter or perseverance, and keep everybody cool,” he said from the fireworks stand where he is doing a booming business as a side hustle.

Christina Zhou, a 25-year-old research assistant from Cambridge, Mass., said she would aim to “think about just things that are happening locally.”

“It feels a little bit more like within our own personal control,” she said.

Jerry Chin of Newcastle, Wash., said he wasn’t aware that the U.S. was celebrating its 250th anniversary and planned to stay low-key around the holiday. He and his wife generally skip the fireworks and instead stay home with their fearful dogs to keep them calm.

“America’s a great place, but there are some concerns,” he said. Chin, 55, and his wife worry about healthcare and issues around staying healthy, but they also stress about politics.

“We’re Democrats, so kind of given up hope,” he said. “Just feel that it is the way it is. I don’t know if there could be change.”

At the National Archives in Washington, visitors made their way through the Rotunda to look at the Declaration of Independence, the Constitution and the Bill of Rights — and to escape the heat outside.

Michael Dresdner, 60, traveled from West Orange, N.J., with his wife, Cindi, 57, and about two dozen other people to be part of the America 250 celebrations. He said their group of travelers included people on both sides of the political aisle — and that is what gave him hope for the future of American democracy.

“We are all here, and we all love America,” he said.

Sloan, Peoples and Price write for the Associated Press. Peoples reported from New York. Associated Press writers Martha Bellisle in Seattle, Anthony Izaguirre in New York, John Hanna in Topeka, Kan., Michael Casey in Cambridge, Mass., and Calvin Woodward, Didi Tang, Gary Fields and Nathan Ellgren in Washington contributed to this report.

The bass legend and superproducer Don Was didn’t expect to be covering Curtis Mayfield’s Civil Rights-era anthem “This Is My Country” on the road in 2026. But lately, the chaos in the United States made the song seem regrettably apropos.

“It wasn’t supposed to still feel potent. It was supposed to be something that served a moment,” said Was, who included the defiant single on his 2025 album “Groove In the Face of Adversity.”

“It’s shocking to be here in 2026 and, whatever distance we traveled from 1966 until now, to see it all get reset,” Was said. “That song’s a more powerful statement now than it was then. It was inconceivable that it would still be relevant — this is supposed to be the utopian age of Aquarius. This is not the way it was supposed to turn out.”

Was remembers the tumult, violence and hope that came out of that era in his hometown of Detroit. The city’s music, famed for rough-hewn virtuosity from blues to soul to techno, is the spring that waters “Adversity.” It is, remarkably, the 73-year-old’s first solo album after a career spanning the pioneering electro-pop band Was (Not Was) and deep producer relationships with the Rolling Stones, Bob Dylan and Bonnie Raitt.

He also spent years in Bob Weir & Wolf Bros with the late Grateful Dead founder, and will play from the Dead’s landmark “Blues for Allah” on his tour that stops at Lodge Room on July 7.

With a backing band of studio killers dubbed the Pan-Detroit Ensemble, “Adversity” has an expansive modern atmosphere, yet a lived-in, filament-bulb quality in the playing that carries through funk, jazz, rock and R&B. It’s largely a covers record, but you wouldn’t know it from the depth of the revisions — veering from the Yusef Lateef standard “Nubian Lady” to Hank Williams’ “I Ain’t Got Nothin’ But Time,” closing with funk group Cameo’s “Insane.”

“I’ve been carrying it around in my head for 30 years,” Was said. “This first album to me is really a handshake, a ‘nice to meet you,’ this jambalaya of Detroit sounds.” While much of the source material comes from elsewhere, the cumulative mood is extremely personal to an artist who has spent his life helping the greats find true expression.

“I’ve come to admire artists who are willing to go in deep inside their most personal thoughts for the sake of helping the listener understand their own lives,” he said. “To help them deal with the trauma of being human — especially in these times, man.”

Tops on that list is the late Grateful Dead founder Bob Weir — who died in January at 78 — as a model for a band staying fearless and uncompromising. Was, still heartbroken about the loss of his friend and bandmate, recalled their first time on tour.

“When Bobby called asking me to play bass with the Wolf Bros, I thought at the very least, this is going to be a master class in losing self-consciousness and forgetting about fear,” Was said. “If the band stumbled, the audience wouldn’t walk out. They appreciated the fact that you were trying to do something new for them. Then there’d be a couple moments every night with an incredible exchange between the musicians and you can feel the audience becoming a member of the band.”

Playing the Dead’s “Blues for Allah” on this tour — an LP rooted in Middle Eastern scales, pirouetting time signatures and improvisational telepathy — put him in communion with his old friend.

“I used to think that songs like ‘King Solomon’s Marbles’ were just jams and conversations on the spot. But when we really got into it, there’s a form underneath and you can take tremendous liberty with that form,” Was said.

Was’ production career was built on a similar principle.

His early band Was (Not Was) remains a visionary electro-pop act with subtle, salient politics. “Out Come the Freaks” is a favorite on Pride month dance floors — “If you just wanted to do poppers and dance all night, it worked, and if you wanted to think about the government careening out of control, it worked too,” Was said of the band’s club material.

The late Ozzy Osbourne sang on the band’s international hit “Shake Your Head,” alongside a winking, very game Kim Basinger. The actor was a replacement after Madonna backed out, leaving the proto-rave tune one of the era’s most unlikely collaborations.

He recalled Ozzy fondly. “In 1975, this folk group I was in booked us to open for Black Sabbath at the Toledo Sports Arena, playing for a bunch of 14-year-old white boys on amphetamines,” Was said. “They weren’t having it. I’ve heard the tape of that show, and the drummer was bleeding from being hit by so many bottles that we had to stop playing. That was my first exposure to Ozzy, so I was a little afraid to do the session, but he was up for an adventure.”

Don Was and the Pan-Detroit Ensemble

(Gemma Corfield)

A Stones confidant and producer from 1994’s “Voodoo Lounge” up until 2023’s “Hackney Diamonds” (where Andrew Watt took the helm), Was had nothing but praise for the band, and still admits to a twinge of fandom in their presence.

“There’s never been a day in the studio with the Rolling Stones where I didn’t look around the room and go, ‘Oh my God,’” he said. “I’ve known Mick for over 30 years, but the last time they played L.A. at SoFi Stadium, Mick came walking down that stage and I was like, ‘Wow, there he is, it’s 1965 again.’”

With Dylan, he recalled the mercurial genius’ impish side. “I was producing Dylan, and George Harrison came in to play guitar. Bob was messing with him, Bob pushed the engineer aside and he ran the tape machine. George had never heard the song before, didn’t know what key it was in, and Bob just starts the tape. George played a respectable solo, but clearly it was rough. Bob, just to be funny, stopped the machine and said ‘That’s it, perfect.’ George turns to me and said, ‘What do you think, Don?’ And Bob goes, “Yeah, what do you think, Don?’ I’m looking at these two guys and time slowed down. I remembered trying to sell my car to get a ticket to go to New York to see the Concert for Bangladesh. Now they’re asking me what I think. I was paralyzed.”

“A voice appeared in my head,” he said, “Telling me, ‘He’s not paying you to be a fan.‘ So I said to George, ‘It was good, man. Let’s see if we can beat it.’ You can’t allow the iconography to dictate the outcome in the studio. You have to put that aside.”

As president of Blue Note Records, the estimable jazz label he’s led for more than a decade, Was relentlessly looks forward. He’s released restless modern records by Domi & JD Beck, Fathers, Makaya McCraven and Julian Lage (the hotshot jazz guitarist now playing with Dylan). He’s refreshingly optimistic about challenging music in streaming’s ruthless economy.

“Don’t make music for the delivery system,” Was said. “I don’t think about streaming, I think about touching people. If you do that, nothing has changed fundamentally in the music business. If your purpose is to get under people’s skin and make them feel something, that’s the same job it was for Mozart. How people listen can keep changing, but I don’t think the palette of human emotion changes, and that’s who you’re addressing.”

Was came from a working-class industrial city, making music reflective of Detroit’s technological upheaval and economic neglect. “Adversity” is a beacon to keep playing in spite of everything.

“I think that the salvation of musicians is that no matter what happens, what technological advancements come along, there’s still nothing like the experience of being in the same room as people who are playing together,” Was said. “It’s always been tough, man. It’s harder these days to buy a Ferrari as a musician, but I don’t know that that’s necessary. I have total confidence that the opportunity is there for anybody who is willing to give the audience a meaningful experience.”

NEW ORLEANS — Louisiana’s attorney general has been indicted over accusations she threatened the jobs of New Orleans leaders who fought a Republican-led overhaul of local courts in the heavily Democratic city.

The 16-count indictment against Republican Liz Murrill, handed up Thursday by a New Orleans grand jury, charges Louisiana’s first female attorney general with intimidation and malfeasance.

At the center of the case are deepening rifts between state leaders in Louisiana, which is heavily Republican, and Democrats who control the state’s most prominent city.

Republican Gov. Jeff Landry promised a swift pardon, saying Murrill would not have her reputation tarnished by an “Orleans kangaroo court.” Mayor Helena Moreno, a Democrat, was among those who had accused the state’s top law enforcement official in May of making threats against public officials.

Murrill called the case against her “retaliatory, meritless, and unconstitutional.” Late Thursday, Murrill said she had filed for an emergency stay with the Louisiana Supreme Court.

“I will not back down. I will continue enforcing the law, fighting corruption, and doing the job the people of Louisiana elected me to do,” she wrote on X.

For months, political tensions intensified between Louisiana Republicans and New Orleans officials over a new law that abolished a court clerk office won by an exoneree, Calvin Duncan, who spent nearly three decades in prison. The change consolidated that job with another clerk’s office, which Republican supporters said would make the local judicial system more efficient.

The change was staunchly opposed by New Orleans leaders, and in May, the City Council set a special election that would have given Duncan a chance to win the newly combined job. Murrill responded by warning local officials in letters that they could lose their offices for violating state “usurper” laws, which forbid support for an unauthorized officeholder.

“We’re very interested in elected officials in New Orleans not being intimidated or threatened by letter or any other way,” special prosecutor Laurie White told reporters.

Bond for Murrill was set at $400,000 on Thursday, according to court records.

Landry said he was ordering state police to investigate what he called “alleged improprieties” of the grand jury and those who ran it.

“The criminal justice system is a circus at its finest in Orleans and we will not have any of that!” he wrote on X.

The Republican Attorneys General Assn. said that making statements to local officials — in writing — was simply “issuing a legal opinion and warning public officials about the law” as part of her official duties. It called the indictment “as outrageous as it is dangerous.”

Moreno, who was elected in January and was defiant after Murrill sent the letters, on Thursday called it a “matter for the courts” and did not directly address the allegations.

“My focus, as always, remains on fulfilling the responsibilities the people of New Orleans elected me to carry out,” Moreno said.

Duncan has said he believes state officials were retaliating against him in eliminating the job he won with 68% of the vote. Murrill and Landry have long refused to acknowledge his innocence, though he’s listed on the National Registry of Exonerations.

Republicans have said the change was not personal and supporters have noted that the offices of criminal and civil clerks of courts are combined in other parishes.

Duncan was a jailhouse lawyer who later graduated from law school. He founded a nonprofit dedicated to expanding incarcerated people’s access to the court system and was the driving force behind a 2020 U.S. Supreme Court decision that ended nonunanimous jury convictions.

Duncan spent more than 28 years in prison over a fatal shooting during a robbery in 1981.

The night before a 2011 hearing to consider new evidence, prosecutors offered to reduce Duncan’s sentence to the time he’d already served in prison if he pleaded guilty to manslaughter and armed robbery. Duncan took the deal and was freed but didn’t give up on clearing his name.

In 2021, a judge agreed that Duncan had been unjustly convicted and vacated his sentence altogether. Landry and Murrill have pointed to the 2011 plea deal in objecting to Duncan calling himself exonerated.

Riddle and Hanna write for the Associated Press. Associated Press reporter Jack Brook in New Orleans contributed.

Comedy saved Teruko Nakajima’s life.

In 2016, Nakajima received psychiatric care at Cedars-Sinai Medical Center, diagnosed with depression, PTSD and suicidal ideation. Her doctors searched for ways to manage her stress by exposing her to various activities, including video games, serene Icelandic landscapes and an aerial silks performance. The last brought her anxiety down, revealing that the arts were the answer. Her doctor prescribed the arts, comedy specifically, so she went to the Upright Citizens Brigade for class.

She found a calling and a safe space in comedy.

“I didn’t know I was born a comedian,” Nakajima said. “Finally, I really felt I was accepted as a comedian, validated for who I am.”

Nakajima shares her healing journey to the stage in “Made in America,” which just had an encore performance at UCB on Tuesday after its award-winning run in 2022 (it is also available for streaming on UCB’s website through Tuesday). The one-woman show arrives in time for the United States’ 250th anniversary on Saturday, documenting Nakajima’s search for the American dream as a first-generation Japanese American woman. “Made in America” premiered in 2022 at the Hollywood Fringe Festival during Joe Biden’s presidency and following the Jan. 6 United States Capitol attack. In 2026, its musings on identity and belonging pierce through today’s political landscape shaped by Donald Trump’s second presidency.

“I wanted to let people know this is an American story,” she said.

“Made in America” is about Nakajima’s life. It begins in her mother’s womb. She felt so safe there, she yearned to return. Growing up, she experienced an emotionally and physically abusive life at home, recalling her father breaking furniture and her mother’s alcohol-induced belittling comments. But her name, Teruko, translates to a “shining child.” Thus, she proclaims in the show, “I’m a superstar!”

The beauty in “Made in America” is Nakajima’s ability to find the humor in her trauma. When the show transitions to her life in America, she talks about her life as a dominatrix in New York City and her struggles with romance in Los Angeles. Her comedic jabs at the American economy and humorous reflections juxtapose somber moments of stillness in the midst of her struggles. This balance puts her life into perspective, revealing a positive personality beneath a dark saga.

Nakajima performs “Made in America” at Upright Citizens Brigade Theater.

(Nick Rasmussen)

“I look very happy-go-lucky and cheerful, but actually, I am a very dark person because I have a dark history,” she said. “I always wanted to leave my story behind. I wanted to leave my mark in this world before I died, so I needed to make something.”

The first class Nakajima took at UCB was John Flynn’s storytelling course. There, she started building pieces of the show without realizing it. As they added up, the idea for a show surfaced. After class one day, she asked Flynn to direct it. Flynn, who has been teaching at UCB in New York and L.A. for about 20 years, agreed.

“She disarms people,” Flynn said. “There’s something about her that is just so unique and so delightful that you won’t forget her.”

Flynn first met her at his storytelling open mic. She walked in with her emotional support dog Titi (also known as Tiny Teruko), wearing her signature red heart-framed glasses, without lenses. Soon, these glasses would make him double over in laughter when she performed and cried, dabbing her eyes with tissue through the frame.

“When you start to learn her story and the experiences she’s had, it is amazing that she is so positive,” he said. “She’s such a sort of undeniable positive energy that she just radiates all the time, which is so compelling and why people are so drawn to her.”

Revived at UCB amid Trump’s second term and the nation’s 250th birthday, Nakajima’s show doubles as a defiant immigrant love letter to America — and a refuge for audiences feeling alone.

(Nick Rasmussen)

Nakajima puts all of herself into the show. Aside from comedy, she has been a cheerleader in Japan, a salsa dancer in New York and a sculptor on the side — she loves sculpting MLB players’ butts; Derek Jeter is her favorite. In the show, she folds these aspects of her life into a single story, dancing from section to section. Comedy is more than just laughs; it’s storytelling.

“I am so good at cheering people up, since I was very little,” she said. “I had no competition with others because I’m the one and only. Nobody looks like me.”

Together, Flynn and Teruko parsed through her life stories to give the show an arc. For Flynn, it’s like carving away at what is already there to create something fun and cohesive, like a sculpture. “What’s fun about directing one-person shows like this is that it’s usually just two people in a room putting something together,” Flynn said.

Bringing the show back this year, the work gets sharper and tighter, but the biggest shift is in its conclusion. Once optimistic about the future of life in America, the show now has a stronger desire to make change. There was a sense of hope in 2022 for women like Nakajima, an immigrant who sought safety in a new country and struggled with abuse from her family and strange men. Today, as Trump’s immigration policies lean on deportation and discrimination, she simply wants to be seen.

“America, thank you for not giving up on me,” Nakajima said toward the end of the show. She is proud to be American, not just because she gets to have the same nationality as her dog Titi, but primarily because of the new life it offered her. America promised happiness. Whether it actually comes is another story, but in this one, the promise itself gave her a sense of purpose.

“After the show, people come to me in person and through messages,” she said. “A lot of people said, ‘I felt like I am not alone.’ That gives me so much hope and unity. I feel safe and like I have something to look forward to because I’m not the only one.”

Flynn realized how much he took for granted while working on the show with Nakajima. “I think, even though these are scary times and things seem to be going in directions that aren’t the best, there are still great people, and there’s something that is still there and is not dying and is still fighting,” Flynn said.

When she began her acting journey, Nakajima thought she’d turn to drama, but there’s something more unguarded in comedy.

Nakajima holding up her dog Titi during a performance of “Made in America.”

(Nick Rasmussen)

“I’m very authentic and invincible through comedy,” she said.

By the end of “Made in America,” Nakajima is no longer trying to find her way back to her mother’s womb. She is confident in her place in the world. She remembers that she is a star. She brings out her dog Titi, who was hidden on stage throughout the entire performance, and shares that UCB gave her a new outlook on life. Comedy breaks away her stresses and allows viewers to be vulnerable with her.

“I always wanted to feel safe,” she said. “I never had that. Finally, I found a safe space, and then I realized that I’m actually important. I’m actually worthy. I’m so happy right now to be able to express myself through comedy because it’s the truth.”

New Jersey is launching a new fee on companies whose workers have Medicaid health coverage instead of being covered by their employers. Other states are considering it, too.

Democratic lawmakers and governors see it as a way to help pay for the joint federal and state insurance program that covers low-income residents as federal policy changes are expected to make the program more expensive for states and may lead to a reduction in the number of people with coverage.

Proponents also say it’s about fairness because employers benefit from having some lower-income workers with taxpayer-funded health coverage.

Business groups object. So do some liberal policy organizations.

New Jersey is putting the fee in place

New Jersey Gov. Mikie Sherrill signed a measure Tuesday night to charge employers that have at least 50 workers covered by Medicaid, and the state budget she approved earlier in the week counts on raising $145 million this year from the program.

Under the plan, companies will be billed for each employee and employees’ dependent receiving Medicaid, the joint state-federal insurance program.

The fees per person would start at $325 a year for companies with 50 to 249 Medicaid beneficiaries and top out at $725 annually for employers with at least 500 recipients.

A bill passed this week in California doesn’t impose a charge now, but it does direct the state administration to present lawmakers options for doing so next year.

Finishing the job would fall to the successor of Gov. Gavin Newsom, a Democrat who is leaving office in January. Democratic gubernatorial candidate Xavier Becerra has made an employer charge part of his election platform.

State Sen. John Laird, a Democrat who sponsored the California proposal, said the big tax and policy law President Trump signed a year ago was a major factor in the need for action because it could prompt the state to spend more on Medicaid to plug holes left by federal changes.

The nonpartisan Congressional Budget Office expects more than 10 million people will be uninsured because of the law by 2034. It requires some beneficiaries to work, be in school or volunteer — and requires even more to document whether they meet the requirements.

Most employees at the bigger companies would not be at risk of losing Medicaid coverage as long as they’re working at least 20 hours a week.

Laird also said there’s an equity issue involved.

“If you’re a small business person in California, you are quite likely paying for health insurance for your employees. And through your taxes, you’re paying for health insurance for some of the biggest employers in California,” he said. “And that’s not fair.”

Legislation with similar intents passed one legislative chamber in both Colorado and Oregon this year, but neither made it to law. A measure was also introduced in Washington.

Connecticut Gov. Ned Lamont, a Democrat who is seeking a third term in November’s election, has called for the same move there with the idea of making it a part of the state budget that would kick in two years from now.

Opposition comes from business and some liberal groups

It’s no surprise that business organizations have criticized the approach, which would add to their expenses.

“The fact remains that many job-creators are still going to be penalized for something they have no control over,” Christopher Emigholz, the chief government affairs officer at the New Jersey Business and Industry Assn., said in a statement. “If an employee declines an employer-provided health plan because they’d rather be on Medicaid, it is unfair to penalize the employer for that employee’s decision.”

Some left-leaning policy organizations also oppose the charges.

Gideon Lukens, who analyzes health policy at the left-leaning Center on Budget and Policy Priorities, said that while the idea may be well-intentioned, it could lead companies to employ fewer people from low-income household or single parents. He said companies could also consider the policy in decisions about whom to hire or lay off — and also on where to locate or how many workers to employ.

And, he said, it could make employees — or potential employees — less likely to enroll in Medicaid knowing it would make them less attractive to employers.

“Usually, when I see a tax on something it’s going to discourage whatever being taxed,” he said in an interview.

New Jersey’s legislation tries to address some of the concerns. It would exempt temporary, seasonal and part-time employees. It would also bar employment decisions based on a workers’ Medicaid status.

Charging companies whose workers are covered by Medicaid isn’t a new idea. At least two states have previously enacted it, and it’s been proposed in Congress.

Massachusetts lawmakers in 2017 adopted a charge on employers up to $750 per nondisabled worker who was covered through Medicaid or a state-subsidized health exchange plan. The program began in 2018 was not renewed when it expired the next year.

An even earlier policy in Maryland, in 2006, immediately affected only Walmart. An industry group challenged it in court and won, stopping the fees.

The latest generation of proposals may avoid that legal pitfall by not referencing those health plans in the legislation.

Mulvihill writes for the Associated Press.

July 3 (UPI) — Authorities in Pennsylvania’s Berks County declared a mass casualty incident when more than 100 people waiting to see a train were treated for heat-related symptoms.

A crowd of thousands gathered Thursday afternoon at the Reading & Blue Mountain Railroad Outer Station in Muhlenberg Township to glimpse Big Boy, the world’s largest steam-powered locomotive, which is currently on tour for America’s 250th anniversary celebrations.

The train’s arrival was delayed for more than an hour as local temperatures climbed to 106 degrees.

Berks County 911 started to receive 911 calls about 1:30 p.m., and ambulances and firefighters from surrounding counties were summoned to assist.

More than 100 people were treated for heat-related maladies, and 45 of those were transported to local hospitals. One patient went into cardiac arrest, but was resuscitated before being transported to hospital.

Officials said children and the elderly made up the majority of those affected.

Big Boy rolled through the station around 2:30 p.m., before continuing on toward Philadelphia.

Ken Marino loves living in L.A.

Living here has certainly been good for his acting career. Though he broke into the business as a member of NYC-turned-MTV sketch comedy group the State in 1994, he moved to L.A. in the fall of 1997 when he landed a role in the second season of “Men Behaving Badly,” an NBC sitcom. Marino shot just 13 episodes before the show was canceled. Still, he stayed in L.A., landing roles in much-loved shows like “Veronica Mars,” “Party Down,” “The Residence” and “Running Point.” He’s also co-written a few things, including “Role Models” and “Gail Daughtry and the Celebrity Sex Pass,” out July 10, which was filmed in and around Los Angeles.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

“Working around L.A. and running around to jobs is how I got to understand L.A.,” Marino says. “It’s just a very comfortable city to live in. I just think it’s fun to be able to bounce around and do anything you feel like doing.”

Here’s how Marino would spend his perfect, carefree Sunday in Los Angeles.

This interview has been edited for length and clarity.

6 a.m.: Dog walking, coffee and flowers

We have two dogs. They need to go outside in the morning and eat, and they are very vocal about it. For a while, every morning at 5:58 my one dog, Dot, would start whining and moving around until I’d go “yeah, OK, let’s feed you.”

In our family, I’m the one who feeds the dogs and takes them out, because I’m a morning person. I enjoy it when it’s not fully light out, maybe making myself a coffee or taking a walk to this place called Project Bloom Coffee. It’s a little mom and pop kind of place and they have terrific coffee and breakfast sandwiches. They’re also a florist. Sometimes they even use this cool paper holder with a handle where, on one side you put the coffee and then on the other side you put your beautiful flower display. So then you get to walk home with your coffee and your flowers together and it’s something I’ve never seen anywhere else.

7:30 a.m.: Online chess

After I go get my coffee and walk the dogs, I’ll still be the only person up so I’ll get on my computer and get a couple of games of chess in. I play people from around the world online on Chess.com, and I usually either get frustrated or feel like I’m the best chess player in the world. Anyway, I’m getting my rating up on the app and I’m very excited about it. I’ve gone down the rabbit hole of chess tutorials on TikTok and YouTube that teach me how to play better.

9 a.m.: More coffee and “911”

If I go to Project Bloom, I’ll bring my wife a coffee and some flowers but if not, we have a little espresso and cappuccino maker so I’ll use that to make her a cappuccino, which I’ll bring to her in bed. She’s always very happy about that and then I’ll go try to wake my [16-year-old] daughter up, which usually takes about two or three tries until I take her phone, set the timer for five minutes, and then put it on the other side of her room so she has to get out of her bed to turn it off when it sounds.

She and I have been religiously watching “911” recently. We started with Season 1 and now we’re about six or seven seasons in so I’ll make her breakfast — maybe a Nutella crepe with some little cherry tomatoes on the side, which is weird but she likes it or maybe some oatmeal — and then we’ll watch “911” and talk about our favorite characters, like Buck, Chimney and Bobby.

Noon: Lunch on the Westside

We have a little apartment in Marina Del Rey that’s right by the beach so sometimes I’ll go out there with the dogs, just to sit for a while and enjoy. I usually walk between the Venice pier and Washington Street, but sometimes I’ll go further north and walk along Venice Beach if I want to hang out with some freaky deakies.

When I’m over on that side of town, there’s a couple of places that I might go for food, like this Italian restaurant called Ospi that’s in Venice. They’re incredible. They make their own homemade pasta and it’s delicious. There’s also this chain called Guisados, and I love their tacos so sometimes I’ll do that too. Venice Ramen is good too, and they do these things called jumbo gyoza that are absolutely delicious. They’re like 2.5 times bigger than a normal gyoza, like palm-sized, and I really like them.

2 p.m.: Play practice and a pint

My daughter is in two plays right now at this place called the Morgan-Wixson Theatre in Santa Monica, so it’s my responsibility to take her over there and drop her off for practice. When I do that, if it’s a Sunday, I might want to grab a Guinness somewhere and watch basketball. There’s a bar called Weary Livers down the street that has a lot of board games and it feels like you’re in somebody’s basement, which is good. It’s also right next to the Brixton, which is another nice bar that I’ll go to from time to time if I’m waiting for my daughter to finish rehearsal because it’s a lot of driving otherwise.

4 p.m.: Garage band practice

Typically on Sunday, we’ll also have a rehearsal for the Middle Aged Dad Jam Band. [Editor’s note: Marino co-founded the group with David Wain, whom he’s known since “The State” and who co-wrote “Wet Hot American Summer.”) We’ll play for a couple of hours in David’s garage, trying out new songs and working out what we’re going to do at our next live show.

6 p.m.: Guerilla promotion

Right now, David [Wain] and I are trying to figure out different promotional things we can do for our movie, “Gail Daughtry and the Celebrity Sex Pass,” so maybe we’d do some more of that. It’s a really funny movie and we sold it at Sundance.

Anyway, two Sundays ago we walked around with our friend Frank Barrera, who is also one of the camera operators on “Gail Daughtry.” We went to the Hollywood Walk of Fame and we shot promos for the movie where we were talking to different people and pretending that the Gail Daughtry cinematic universe is vast and has been around for decades, like we were asking people what their favorite Gail Daughtry movie is. It confused a lot of them, but every once in a while somebody would say something so we’re using those for promo spots.

I also spent some time just running up and down the street being very overly enthusiastic and screaming “the new Gail Daughtry movie is coming out!” and then we shot people’s reactions, which were typically “confusion” and “not caring.” Like, “Stop yelling at me, weirdo.”

7:30 p.m.: Thai takeout

On weekends, my wife and I like to order from a specific Thai place that’s won many awards. It’s called Luv 2 Eat Thai Bistro and it’s absolutely fantastic. The crab curry is so delicious and they do these street food sausages that we crave. They come with ginger and peanuts and garlic, plus a big slab of raw cabbage and some hot peppers and we’ll eat them like popcorn, just throwing them in our mouths while we catch up on “Survivor.” The flavor is just insane, and we think about how good they are all the time.

9:30 p.m.: Checkmate

After we watch “Survivor,” usually what happens next is that we’ll end up going, “Should we watch a movie?” Then we’ll look around for a movie for a while and then my daughter will be like, “Hey, Mom! Come in here and watch this YouTube show with me” so my wife will get pulled away, and I’ll immediately pick up my computer and start playing chess again. I like to bookend my day with a quiet chess game in the morning and another quiet game at night. It’s a nice way to wind down.

I’ll typically play a minimum of about three games before my eyes start to close because they’re trying to fall asleep. That’s when I’ll quit because I’ll be making stupid moves and it affects my rating, like “Oh, I just lost that game because I fell asleep while my computer was on,” so that’s how I know when I’m done.

Herb Alpert walks up a long driveway at his rambling Malibu estate, wincing slightly after having woken up around 3 a.m. with a cramp in his left calf.

“It’s still kind of seizing,” the trumpeter says as he leads me past a garden lush with moist-looking tropical plants.

This, Alpert accepts, is the reality of life at 91. Yet the only reason he’s out here racking up steps by the hundreds on a recent morning is because he was tooling around in his sculpture studio before I arrived. And the only reason the sculpture studio is so far from his music studio — there’s also a studio devoted to his painting — is because of his huge success over the last 60 or so years.

“So I can’t really complain,” he says.

A Los Angeles native who got his start writing songs like Sam Cooke’s “Wonderful World,” Alpert has lived here in Malibu since 1972, a decade after he released “The Lonely Bull,” his debut album with the Tijuana Brass. The LP’s title track, inspired by a bullfight Alpert caught in Mexico, went to No. 6 on Billboard’s Hot 100; more than a dozen finger-snapping Top 40 hits followed, including “A Taste of Honey,” “Spanish Flea” (also heard as a theme song on TV’s “The Dating Game”) and “This Guy’s in Love With You,” which took a rare Alpert vocal turn all the way to No. 1.

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What’s more, these inescapable tunes came out on Alpert’s own label, A&M Records, which he “formed on a handshake,” as he puts it, in 1962 with his business partner Jerry Moss. The label quickly became one of the biggest independent record companies in music, with acts such as Carole King, the Carpenters, the Police, Peter Frampton and Janet Jackson, as well as a beloved recording studio complex on La Brea Avenue. (Moss, who with Alpert sold A&M in 1989 for a reported $500 million, died in 2023.)

After years working on his own and with his wife, the singer Lani Hall, Alpert revived the Tijuana Brass name in 2024 and launched a tour that will stop Sunday night at the Hollywood Bowl. We sat down in his gear-stuffed music studio to talk about it and much more.

I’m sure you heard that John Mayer and McG bought the former A&M Studios last year. I wondered what your emotional investment is in the place at this point.
I don’t have an emotional investment. Once I left the lot, I was out of there — I didn’t look back. I wanted to paint, I wanted to sculpt, I wanted to make music. I wasn’t thinking about the business.

What’s an A&M success story you took particular pride in?
Cat Stevens. I heard this kid — he was a kid at the time — at the Troubadour, just him and a guitar, and I got goosebumps. It was so beautiful and so honest.

What was Karen Carpenter like?
She was a doll. She didn’t know how great she was — didn’t think she was a great singer. One hell of a drummer too. Go onto YouTube and search Karen Carpenter’s solo on drums — it’ll knock your socks off. But she was innocent. She was lucky to have [her brother] Richard because Richard knew what to do with her in a very gentle way.

Even at the Carpenters’ smoothest, I hear deep sadness in Karen’s singing.
I think that’s a standard ingredient to great artists. Listen closely to Miles Davis and you’ll hear the same thing.

Karen struggled with her mental health, which her fame didn’t help. Did you ever feel responsible for what she went through?
I’ve gone over that question so many times in my head: If I hadn’t picked them out and signed them, would the same result have happened?

Where have you landed?
I don’t have an answer.

In a recent documentary about you, you’re talking about “Wonderful World” and you say that nobody knows what a hit record sounds like. That’s your feeling now based on years of experience. But did you think you knew when you were young?
I didn’t know then either. “Wonderful World” was a demo that Keen Records put on a shelf. When Sam started selling records on RCA Victor, they pulled it out as a lark, and it ended up one of the biggest-selling singles Sam ever had. I’ve told this story before, but at A&M a guy played a record for me — I said, “Man, this record stinks.” Well, I was turning down “Louie Louie.”

Why didn’t you understand “Louie Louie”?
It was out of tune. It was too long. I didn’t know what the hell they were saying.

That’s why it’s great.
Probably so. But did they have another hit record? Sam used to say, “Close your eyes when you listen to a new artist — don’t get swayed by whether they’re beautiful or they’re handsome or they can dance their ass off.”

OK, but you were like a heartthrob in the ’60s.
What am I now — chopped liver?

I don’t think you can say your success had nothing to do with your looks.
I don’t think it did. You know that sadness you were talking about? It’s in my horn.

I agree. But it didn’t hurt that you looked great.
It didn’t hurt once I had a hit record. It wouldn’t have given me a hit record.

Jerry Moss, left, and Herb Alpert in 1974.

(Michael Putland / Getty Images)

Let’s talk about your song “Rise.”
Got lucky with that.

In what way?
My nephew Randy, who’s one of my managers, he wanted me to take some of the Tijuana Brass records and do a little disco number with them. So we go into the studio with a bunch of great musicians, start playing “Taste of Honey” at 120 beats per minute. I got nauseous — I said, “Man, I ain’t doing this.”

Nauseous?
The record was big, and I didn’t want to tamper with it. But Randy had written this song called “Rise” with a friend of his. He wanted me to play that at 120 beats per minute too. I said, “Lookit, man — let’s slow this thing down and let people dance closer together.” We recorded it live in the studio. Julius Wechter was playing marimba — dear friend of mine. I said, “What do you think of this thing? Pretty cool, isn’t it?” He turns around and says, “I hate it. That beat — the four-on-the-floor is killing me.” I expected a different answer from him. But it didn’t matter.

What’d you make of the Notorious B.I.G.’s sampling “Rise” for his “Hypnotize”?
How could you not like that record? These guys that take your bass line and make a record by pressing a button — I think that’s cheating a bit. But there’s 70 zillion streams on that song. Can’t deny it.

“Rise” was also sampled by the rapper Nas for his song “Power, Paper & P—.”
I don’t know how to comment on that one.

A lot of musicians from your generation have been selling their catalogs lately. Have you considered it?
There’s no reason to — I don’t need the money.

I wrote about Frankie Valli a few years ago, and he and Bob Gaudio seemed eager to have this company Primary Wave out there finding ways to —
Monetize the catalog. I get it. But they don’t have to do that with us. I don’t know if you know what’s happening, but I’m in the heyday of my career right now.

Right now?
It wasn’t my idea to get the Tijuana Brass back together again. My nephew, he’s a social media guy, and he went around the world to see what songs of mine were selling the most. Turned out there were about 18 songs. I started listening to the 18, and at the end, I felt happy, I felt joyous, I felt a smile was on my face. I thought, Man, let’s try this — this might be interesting. We started doing it, and we’ve been sold out 50 concerts in a row.

It strikes me that without the Tijuana Brass, you weren’t playing the Hollywood Bowl.
Hell no, I wasn’t.

What’s that say to you?
That the music is touching people. The times we’re living in, there’s a lot of doubt with what’s going on, and I think people are getting some positive energy from it.

You’re a lifelong Angeleno. Lots of well-to-do folks say that L.A. has gone to hell in a handbasket. What’s your take?
I think it’s pretty much the same all over the country.

Which is?
Gone to hell in a handbasket. People are confused about where they’re going, whether they’re gonna be able to have enough food on the table, whether they can afford gasoline. I’m not saying it’s all bad — it’s just hard to make sense of a lot of it for a lot of people, including the guy you’re talking to.

Your music has pulled from any number of cultures. Do you think it speaks of your Jewish identity?
Most definitely. My father was born in a shtetl outside Kyiv — didn’t speak Russian, spoke Yiddish. He brought his mandolin with him when he was 16 years old on a boat by himself and landed at Ellis Island. He used to play songs for me on the mandolin. When his nostrils flared, I knew he was into it. That kind of got me.

Jewish meets Mexican feels very L.A. to me.
I think we’re all a product of our surroundings. In high school I used to go see Gerry Mulligan and Chet Baker, and I was touched by them. Of course, they were loaded.

What kind of guy was Chet Baker?
A troubled guy who was a brilliant musician. I gave him one of my horns, and he pawned it the next day. He was sweet but he didn’t have a hold on his emotions.

Not great for living, obviously. But good for music?
Well, you’re opening up a whole can of worms. I mean, why did so many great jazz musicians get hooked on drugs? Maybe guys that were hung up on being a human being, they found that getting stoned helped them through the struggle. I recorded Stan Getz the first time he ever recorded without drugs. It was at A&M — he was wearing this red silk shirt that had sweat stains under both arms. He had like 75 reeds on the ground because he couldn’t pick out the right one. He finally found the right reed, got over the anxiety and started playing — same Stan Getz you heard throughout his career. These guys were under the assumption that being stoned would change what they played. I don’t think that holds any water.

Was there a time you thought it might be true?
I did experiment with grass once. Turned on a recorder, took a puff, started playing some jazz. Took another puff, started playing some more jazz. I listened to that recording the next morning — it was terrible.

(Robert Gauthier / Los Angeles Times)

Can we do a little Herb Alpert trivia to finish?
Do I have a choice?

“A Taste of Honey” won record of the year at the Grammys in 1966.
You’re gonna ask why.

You beat the Beatles’ “Yesterday.”
No kidding?

The year after “Taste of Honey,” you were nominated for record of the year again with “What Now My Love.” That one you lost. Remember what you lost to?
Not “Louie, Louie.”

“Strangers in the Night.”
That’s a real pop song. Love the guy, but not my favorite by him.

What’s your favorite Sinatra song?
“Only the Lonely.”

“This Guy’s in Love With You” — great vocal performance. Why didn’t you do more?
I’m not a singer.

Sure you are.
I know it’s a great performance. But it was one take, man — I did that in one take.

This is what I’m saying.
Look, I had an interesting guy in the sound booth who did the arrangements named Burt Bacharach.

I read that you talked with Burt a few times a week until he died.
I did, and not about music. We talked about football, basketball, politics, you name it.

What’s your basketball team?
Lakers.

Hard to be a Lakers fan these days.
Easy to be a critic.

In an era hallmarked by what experts call a “sex recession,” Six Sex is a symbol of liberation.

The Argentine baddie fashions herself as a baby-voiced, bikini-clad fembot, beamed in from the clubs of Buenos Aires — and has become known for cheeky, instructive celebrations of desire. Her songs are designed to galvanize like-minded club rats into Dionysian revelry, or, in the case of the song “How to Make Your Ass Bigger,” squats.

To a certain subset of the Latine underground, she represents a pure-hearted hypersexuality. Yet, for the artist behind the persona, Francisca Agustina Cuello, this wasn’t always the intention.

“I don’t know if it was because I still had to keep my innocence or what, but I didn’t envision the project that way,” she said, calling from a hotel room in Barcelona. “That response sort of came about from the people, towards me. So, I said OK, I’m making it my own.”

In doing so, Cuello has churned out six thumping EPs as Six Sex, a campy character that she describes as a “fable” — a mix of “fantasía y hedonismo.”

That dynamic is taken to extremes on her debut album, “Ultra”, released June 6. It’s a dark and propulsive journey through decades of electronic dance music, best described by its own opening words portending “ultra terrorific fantasy.” (The phrase conjures up images of grandeur, but really, it evokes that “Blades of Glory” quote: “no one knows what it means, but it’s provocative.”)

“I feel like nothing I say is all that serious,” she said about her lyrics. “It’s a thing about my personality to be silly and goof around.”

“Ultra” centers Cuello’s winking, suggestive sense of humor. “Not Your Mom” features a conversation with a garbled, omnipotent voice akin to the parents in Charlie Brown; “FUchi!” features schoolyard taunts about “low dickie energy;” the album ends with “No More Porn,” a playful yet powerful subversion of sexual expectations.

“At the same time, for me, that acts as a filter,” she added with a laugh. “Weeding out the people who get scandalized by it, and identifying the people who get it and say: ‘Yas, yo también quiero tener cuatro novios.’”

Earlier this year, Cuello took the stage at Don Quixote, performing in front of a sold-out crowd for her Los Angeles debut. The smell of sweat permeated the air as she ripped through several of her hits — including collaborations with Reysha Rami and German producer MCR-T. Every single one of her signature ponytail flips sent the room into hysterics. The audience screamed every word at the top of their lungs; it was the loudest, most raucous show I’d been to in years.

Cuello took a breather in the middle of her world tour to chat with De Los over Zoom about all things Six Sex: her new record, her writing style and how it feels to connect with fans spun into febrile intensity.

This interview has been condensed for clarity and was translated from Spanish to English.

“[I’m] weeding out the people who get scandalized,” says Six Sex of her provocative music.

(Catalina Jacobo)

I was really taken by the “Ultra” album cover. You’re wearing a white bikini and in this “come to Jesus” pose. What was the goal?
[laughs] It was hard, because I wanted the cover to represent what the entire journey of the album meant to me. I was looking for something strong and heavy in visual terms, because with “Ultra”, this is the first time I’ve finished a long, heavy project and I see the start of something. It’s like something new was unlocked. I found a new way to convey feelings, and a new way to create as well. It’s not like I just finished, and it is what it is. Rather, it is the beginning of something bigger.

Is there an element of separation at all between the artistry and you as a person?
I think they’re pretty close. It’s as if Six Sex was sort of a fable, or like a hentai or comic [version of] my life. It’s also happened that things I wrote as a joke later became reality. But generally, I draw inspiration from things that actually happened to me.

Is it weird to put those intimate experiences on an album?
No, not for me. Because I’m not speaking so seriously, I don’t feel exposed. Even though my persona and my character are very close to one another, I don’t have to prove anything to anyone. I’m not trying to make you believe in something. The songs stop being about me as soon as someone else listens to them. There are certain things we can all see ourselves represented in, and I think my music aims for that, too.

I want to ask about your performance style. I saw you live in Los Angeles and was really taken by the energy exchange between yourself and the crowd. How do you approach live performance?
Nowadays, I’m in a balance between performance and being a human being that connects with people and can pause to look in the eyes of the audience to register how they feel. I like being in a showgirl role, and at the same time, knowing when to step out of it.

Sometimes I go up there after having a crappy day, thinking that I’m gonna screw it up. And when I get up there and connect with the people, everything flows in a perfect way.

Does the music transform when it’s performed live, versus on a record? A lot of your music seems designed to be played in the club.
I think it’s very personal. For me, I’m a bit autistic; sometimes when I’m at a show, I get different sensations. It really depends on the person. I like seeing people’s reactions live when I start playing these songs for the first time. People were super hyped. They were enjoying them and jumping around a lot. It feels really fresh.

You reference ‘90s club classics all over “Ultra,” including by U.K. band the Prodigy on “Bitch Up.” How did these sounds come into your life?
These sounds evoke a special kind of nostalgia for me. Even though I hadn’t been listening to them lately, they sounded like something I wanted to bring back to the table — songs my uncle used to listen to when I was really young. Like a CD [of] pirated songs that somehow ended up at my house, and at the time I was like, “Wow, what is this music?”

There’s an element of Six Sex that gives “fembot,” like a female, sexy robot. I’m curious if you feel that playing out in your work.
[laughs] I didn’t know about the fembot thing. I don’t use Twitter. I [keep] a bubble… against some things that I don’t know. But I’ve always liked the idea that people have that perception of me, to some extent.

How do you feel about the rise of AI as a musician, especially considering your persona adopts that perception?
I mean… I don’t have a formed opinion on the matter. I do think that, I don’t know, it’s all very relative. For one thing, I obviously feel like it strips away the human value, but at the same time, it’s also a tool for humans. So it’s kind of contradictory. I feel weird about it…. I don’t know.

Zooming out, I’ve noticed Argentina has been having a musical moment over the last few years between yourself, Ca7riel y Paco Amoroso, Juana Rozas… How do you feel Argentina being represented or even challenged in your music?
I feel that culturally, Argentina is a very rich country. However, I do feel like, over generations, a paradigm was broken, and new sounds have been created that don’t necessarily abandon the roots of our music, but were created out of counterculture.

That same kind of counterculture is what makes Argentina be in such turmoil. It’s also the context of our country. Economic, political, social. The key Argentinian figures we refer to nowadays are constantly changing. And that allows you to listen to a variety of genres from Argentina, from people doing different things, and at the same time raising the flag and saying: “Yo soy argentino.” And we love that.