performer

Remember when snack choices fueled the most contentious debates around Super Bowl halftime? Cheetos versus Doritos. Hot wings versus garlic knots. And who the hell brought carrot sticks?!

Now Turning Point USA, the far-right organization founded by slain MAGA activist Charlie Kirk, has presented its followers with more tough choices: Who should play at Super Bowl LX’s halftime show?

Never mind that the NFL already announced earlier this month that Puerto Rican superstar Bad Bunny had landed the spot. Turning Point USA announced Thursday that it would be staging its own counterprogramming in protest of the league’s choice. It’ll be called “The All American Halftime Show” — and it most certainly won’t be in Spanish.

Ever since the NFL announced that Bad Bunny (whose real name is Benito Antonio Martinez Ocasio) would play the Big Game on Feb. 8 at Levi’s Stadium in Santa Clara, critics have been decrying the decision as an assault on Americanism.

House Speaker Mike Johnson said booking Bad Bunny was “a terrible decision.”

President Trump, who admitted he’d never heard of Bad Bunny before the late September Super Bowl announcement, said the NFL’s booking of the performer was “absolutely ridiculous.”

White House advisor Corey Lewandowski said it was “shameful they’ve decided to pick somebody who seems to hate America so much.”

Yet in comparison with other artists and celebrities who’ve widely criticized the president and his policies, Bad Bunny is not all that political or outspoken. He has, however, expressed concerns about the potential of U.S. Immigration and Customs Enforcement detaining fans at his concerts. The artist said last month that he would not book any U.S. dates for his tour over fears that fans would be swept up by ICE. “There was the issue of — like, f— ICE could be outside [my concert]. And it’s something that we were talking about and very concerned about,” he told i-D magazine.

That was enough to deem Bad Bunny an enemy of the MAGA state and to characterize his Super Bowl show as part of a larger, hostile Latino invasion.

But let’s call it what it is: politicians and their pundits leveraging Hispanophobia for votes, influence and donations. The performer represents a population that’s been targeted by the current administration via unconstitutional sweeps of brown people in American cities, regardless of their immigration status. Bad Bunny is a U.S. citizen, like many of the folks with no criminal records who’ve been detained and even deported. Vilifying the artist and those who look and speak like him has generated votes for the right and deflected from concerns about the fragile economy and skyrocketing cost of living under Trump.

Turning Point advertises its planned counterprogramming as a show “Celebrating Faith, Family, & Freedom” and asking followers to weigh in on music genres they would like to hear at the alternative halftime show. The first option on the ballot? “Anything in English.”

The survey is situated right under a donate button, and another option to click “yes” to approve receiving “recurring automated promotional & fundraising texts from Turning Point.”

Despite the fact that the 79-year-old president had never heard of the wildly popular artist before, Bad Bunny is a three-time Grammy Award winner, a global superstar and has bested Taylor Swift’s Billboard chart numbers in the U.S.

So who does MAGA think it can get to upstage Bad Bunny at its unofficial Super Bowl side show? House Speaker Johnson suggested that “God Bless the USA” singer Lee Greenwood would attract a “broader audience.” But as Variety pointed out, the 1980s country icon boasts fewer than 500,000 Spotify listeners, compared with Bad Bunny’s 80 million.

Turning Point USA appears to be working on that problem. “Performers and event details coming soon,” said a statement on its site.

During his “Saturday Night Live” guest appearance last weekend, Bad Bunny derided the MAGA freakout around his forthcoming Super Bowl show, delivering his monologue in Spanish. He earnestly thanked his fans for acknowledging the contributions of Latinos in the U.S. Then in closing, he switched to English: “If you didn’t understand what I just said, you have four months to learn.”

No word yet if chips, salsa and guacamole will become the next target of performative, fundraising outrage on the right. Make Pretzels Great Again.

Calabasas High senior Elie Samouhi, who considers himself a music producer, performer and writer of songs, got to do his own two-minute concert in front of fans on Friday night before the Los Alamitos-Calabasas football game.

He played the national anthem on his electric guitar. And it was good.

Like a coach trying to give his student confidence, Samouhi’s teacher kept telling him before he began, “You got this.”

You could see how much he enjoyed the spotlight during the rendition.

Samouhi said he’s been playing guitar since he was 5. He’s 18 and hopes to attend USC or NYU.

It was another positive experience during high school sports competition.

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].

Cardi B testified Tuesday that she never touched, scratched or spat at a security guard who is suing her over an alleged assault by the pop star outside a Beverly Hills obstetrician’s office.

The rapper, whose real name is Belcalis Marlenis Almánzar, took the witness stand in the second day of the civil trial in an Alhambra court and vigorously denied assaulting Emani Ellis on Feb. 24, 2018. Cardi B was visiting the 5th-floor office of the obstetrician at the time and was four months pregnant with her first child.

“It was a verbal incident,” insisted Cardi B. “She didn’t hit me. I didn’t hit her. There was no touching. So, to me, it wasn’t no incident.”

The rapper did say that they went chest to chest in the hallway outside the doctor’s office, and that she called the guard a “b—” because she believed Ellis was recording her with a cellphone.

“Was there spitting?” the security guard’s lawyer, Ron Rosen, asked.

“Absolutely not,” Cardi B replied.

“Did you call her the N-word?”

“No,” the performer replied, noting that she considers herself “Afro-Caribbean.”

“Did you take a swing at her?” Rosen followed up.

“No,” replied Cardi B, who insisted it was a “verbal fight. … It did not get physical at all.”

Rosen delved into the difference between a fight and a verbal altercation, asking whether he and the pop star were then having a verbal altercation. Cardi B replied that they were debating, a statement that was greeted with laughter in the courtroom.

The lawyer countered, “We’re debating about whether you assaulted and battered Ms. Emani Ellis?”

“I guess so,” replied Cardi B. “But I didn’t touch her. She didn’t touch me.” The recording artist said there were no videos of the incident.

Ellis filed suit in 2020, alleging assault, battery and intentional infliction of emotional distress as well as negligence and false imprisonment.

Ellis, who worked as a security guard at the building where Cardi B had her medical appointment, said during testimony on Monday that she was doing her rounds when she saw the celebrity get off the elevator. She testified that she was overcome with excitement and declared, “Wow, it’s Cardi B.”

Ellis said the performer then turned to her and said, “Why the f— are you telling people you’ve seen me?” Cardi B then accused her of trying to spread news about her being at the doctor’s office, she testified.

Cardi B cursed at her, used the N-word and other slurs, called her names, threatened her job, body-shamed her and mocked her career, Ellis said. She alleged Cardi B spat on her, took a swing at her and scratched her left cheek with a 2- to 3-inch fingernail.

Cardi B said when she turned around after getting off the elevator, she heard Ellis say her name and then saw Ellis with her cellphone and said, “Why are you recording me?” The performer said the guard said, “My bad,” but continued to follow her and said she had the right to follow her.

Cardi B said that they went chest to chest and that she did curse at Ellis but that she never touched the guard, who was physically larger. When the obstetrician’s receptionist finally came out, the guard alleged the singer had hit her — something that Cardi B said never happened.

The rapper conceded she never saw proof that Ellis was recording her. She said her appointment was both sensitive and confidential; she was seeing a doctor because of concerns about her pregnancy, which wasn’t yet public.

For the second day of the trial, the rapper — who is known for her daring style choices — donned a blond showgirl hairstyle that contrasted with the black short hair she wore during the first day of testimony. Under questioning, she said they were both wigs and that she had 1-inch nail extensions.

She refused to concede that she usually wore 2- to 3-inch nails, replying that sometimes she does and sometimes she doesn’t.

Looks like whoever called the cops on Lil Nas X last week wasn’t exaggerating when they reported the Grammy winner as a “nude man walking in the street.”

Initial video posted last week by TMZ showed the performer wearing only tighty-whities and white cowboy boots, strolling and posing on an L.A. street just before sunrise — and just before his arrest on suspicion of charging at a police officer. But it turns out that’s not the exact condition he was in when law enforcement took him in.

In new video TMZ posted over the weekend, the “Old Town Road” singer can be seen walking down the middle of a street fully naked, having shed the boots and underpants that had barely covered his modesty. (That he disrobed explains how a concerned citizen-slash-amateur videographer was able to snatch his boots up from off the street and list them for sale on EBay, seeking $10,000 — or best offer.)

In the new footage, Lil Nas X recites some Nicki Minaj lyrics from the Kanye West tune “Monster” as he struts runway-style toward the person shooting the video, who appears to be in the driver’s seat of a car.

“And if I’m fake, I ain’t notice ‘cause my money ain’t / So let me get this straight, wait, I’m the rookie? / But my features and my shows 10 times your pay? / 50K for a verse, no album out,” Lil Nas X says in the video.

An LAPD spokesperson told The Times last week that the 26-year-old, who was arrested around 6 a.m. Thursday, initially was taken to a hospital for a possible overdose. Lil Nas X was booked a little over five hours later and ultimately spent the weekend in a Van Nuys jail pending a court date Monday to set bail.

Both the LAPD and Los Angeles Fire Department responded to the scene on Thursday. LAFD did not give The Times additional information about the singer’s condition.

The performer, whose real name is Montero Lamar Hill, was arrested on suspicion of battery on a police officer after he allegedly charged at officers who responded to the call. Although TMZ reported that he was being held on a misdemeanor, online arrest records list him as being held on a felony count.

Representatives for Lil Nas X did not respond immediately to The Times’ request for comment Monday.

His arrest came soon after he apparently wiped his Instagram grid of old photos and posted a couple dozen new ones, including a selfie posted Tuesday of himself wearing a fur coat, bright red lipstick and both a cowboy hat and crown. “OH NO sHES GONE MAD! CRAZY I TELL U!,” he captioned the post.

In another photo, Lil Nas X posed in front of a backlit mirror in a gold gown, white cowboy boots and a tiara.

“And just like that she’s back,” he wrote in that caption. “We’ve all waited so long. When dreamworld needed her the most.”

Times staff writers Alexandra Del Rosario, Christopher Buchanan and Richard Winton contributed to this report.

Kou Mariya hasn’t shown her work to her family. That’s because Mariya, not her real name, is living a dual identity, and to protect her privacy, only the most sacred of confidants — or business partners — can know her true persona.

Mariya, to her more than 84,000 followers on YouTube, is a friendly, flirtatious vampire singer, as excited to chat about her digitized outfits and accessories as she is to sing a late ’90s pop song. She performs as an animated avatar using motion capture technology, which matches her facial expressions and body movements to the drawn figure.

Mariya spends a significant portion of her days as this cartoon character, at once wholly real while being completely artificial. She is a professional performer, although her stage is virtual. Instead of a glimpse into a room or a home, her surroundings are fully drawn — she could be in a beach setting one day and an ornate office the next.

As a VTuber — that is, virtual YouTuber — Mariya is part of a movement, one led by those weaned on Japanese animation who are now finding ways to make fantasy world-building feel individualized and personal. We connect via video conferencing software, her location in the U.S. a secret, and Mariya appears in her anime form, her silver-white hair occasionally obscuring her welcoming oval eyes, which blink often as she speaks. Her voice is friendly and warm, and it ever-so-slightly dips into an upper register when she laughs or needs to emphasize a point. She nervously chuckles that she’ll be aged “so bad” when she admits the first anime she fell in love with was “Speed Racer.” Whether I’m talking to Mariya the vampire character or Mariya the performer is never quite clear.

Kou Mariya, hosting a Thursday night concert in Hollywood, is a friendly vampire VTuber.

(Kou Mariya)

This weekend Mariya will be hosting a concert in Hollywood with other popular VTubers. There will be live musicians, but the VTubers will be virtual. Mariya says she’ll be performing from an off-site location to protect her identity.

Those in Los Angeles will have multiple opportunities to take part in a VTuber crash course over the Fourth of July holiday. Mariya on Thursday will host the Fantastic Reality concert at the Vermont Hollywood, a performance that makes virtual and real musicians and features Ironmouse, a horned, operatic demon who was briefly the most subscribed streamer on Twitch.

Even more mainstream, a host of VTubers associated with Japanese firm Hololive will invade Dodger Stadium for the second year in a row. Saturday evening’s Hololive Night will feature three of company’s English-speaking talents — Ninomae Ina’nis, IRyS and Koseki Bijou — virtually cheering on the team, singing the seventh-inning stretch and then leading a post-game dance party on the field. A special event ticket will include playing cards of the VTubers.

Hololive, a division of Cover Corp., is one of the largest VTuber talent agencies in the world, with almost 90 active performers across its various divisions. The company’s U.S. office is based in L.A., and its partnership with the Dodgers is to recognize, in part, that the team has a large Japanese fanbase, thanks to megastar Shohei Ohtani. Cover CEO Motoaki Tanigo, however, has a broader goal, and that’s to further bring VTubers to the masses.

“There are two reasons,” Tanigo says, via a translator, for why Cover has targeted L.A. as one of its key markets. The first, he notes, is due to the fact that a large part of the company’s fanbase resides in the L.A. region. The second, he stresses, relates to his business goals, especially the video game firms Cover hopes to partner with. “Doing events in the Los Angeles area is not only important for our user engagement, but it’s a great opportunity to show to our business clients that we have a strong following.”

VTubers have averaged 50 billion YouTube views annually over the past three years, according to a recent YouTube Culture & Trends report. A YouTube sample of 300 virtual creators found that they drove 15 billion views across the site, with 1 billion coming from the U.S. alone. Almost all of these VTubers are steeped deeply in anime lore, culture and tone. And while there are popular male VTubers, a number of the most famous are female-facing. Cover’s roster, for instance, is more than three-quarters female.

Hololive characters on the Dodger Stadium scoreboard at last year’s event. Hololive Night returns on July 5.

(Cover Corp.)

“It’s very exciting,” says Susan Napier, author of “Miyazakiworld: A Life in Art” and professor at Tufts University who specializes in Japanese culture. “It allows for an enormous amount of creativity, and a real sense of ownership over your creation, and a way of playing and melding with your creation. People have been fans and identifying with favorite stories, anime and manga for years. This is, in a way, a very old phenomena. It’s people wanting to participate in a fantasy world that they love.”

Mariya notes she decided to become a VTuber during the worst days of the global pandemic of 2020. “Everyone was in front of their computers and had a sense of loneliness,” she says. “And VTubers [had] that sense of, ‘I’m not alone. I’m not trapped. There’s a whole world out there for me.’ Being a big fan of that, I wanted to try that myself. I did not expect to be able to make this into a career, but somehow people liked me, and I thought I could keep going with this.”

And how, of course, did she land on her character, a vampire with a bat clip in her hair and an open-chested cocktail server-style outfit? “That one is tricky because technically I was born a vampire,” Mariya says. “We’re not scary. We ask permission before entering doors, which is better than a lot of people. We do bite. That’s the only downside.” Right.

The Japan-led VTtuber trend predates the pandemic. The first proper virtual artist to gain fame is widely credited as Kizuna AI in 2016, but VTubers have grown alongside other similar developments. See, for instance, virtual concert artist Hatsune Miku, who performed at Coachella in 2024. VTubers are also closely aligned with video games, often streaming them for their fans. The game medium, of course, has long been associated with virtual avatars, be it Nintendo Mii figures, the personas of “Second Life” or today’s platforms of “Fortnite,” “Roblox” and “Minecraft.” And this summer, in one of the biggest releases of 2025, VTuber Usada Pekora has a role in the PlayStation 5 game “Death Stranding 2,” with famed director and auteur Hideo Kojima admitting he is a fan.

For creator, voice-over actor and Anime Expo attendee AmaLee, the rare VTuber who, while using a stage name, does show her face, anime’s fantastical yet mature storylines reached her as a young teen when she was exploring her creativity. “It’s bridging a gap,” she says of VTubing. “Ever since I was a teenager I loved anime. It’s music, beautiful animation and acting all in one. VTubing brings it into the real world. You can do so much with your VTuber lore story. You’re kind of creating your own anime.”

VTuber Ironmouse will perform at the Fantastic Reality concert on Thursday.

(Ironmouse)

The most appealing VTubers bring a level of real-life authenticity into their work. “If you go back and watch my very first streams, I’m very cemented in this cleanly elegant actor [persona],” AmaLee says. “My voice is different. I dropped it to be cooler. I realized quickly how hard that was to keep, and I didn’t like not being authentically me. I’m a little clumsy, a little blond and I have major tech issues.”

Mariya describes herself as introvert, saying she wouldn’t be streaming — or likely even performing — if it weren’t for VTubing.

“With VTubing, there’s a sense of anonymity that I think is really good for the audience as well,” Mariya says. “Some people don’t want to see a physical person in front of a screen. They want to see anime girls. I think people latch onto the idea that it’s something that is different and bigger than me and bigger than them. It’s a new world.”

Last year’s Hololive Night at Dodger Stadium featured a drone show. Look for an on-field dance party led by the VTubers this year.

(Cover Corp. )

Author and professor Napier says it’s a modern, digitized Renaissance faire, if you will, reflecting basic human desires to dress up and play. As for why it just so happens to be so connected to anime, Napier theorizes the medium fosters the idea of fantasy creation.

“Fantasy and science fiction are very popular culture artistic venues to play and to cosplay,” Napier says. “Anime is really good at presenting you with these — it’s brilliantly expansive. Whatever you’re into, you’ll find it in anime. So if you’re looking to VTube, there’s all this anime material sitting in front of you. You can pick and choose and start playing.”

The dream for the Cover corporation, says Tanigo, is to expand VTubers beyond the world of streaming sites such as YouTube and Twitch — hence, the Dodgers collaboration. In August, Hololive will stage another U.S. concert, this time at Radio City Musical Hall in New York. Music, says Tanigo, is a gateway. “I believe that’s a way of reaching new people,” he says. “It’s an interesting thing to go see. There are also people who may not be interested in VTubing or anime at all, but they can listen to the song that’s released and enjoy it as a piece of music on its own.”

For the performers, with VTubing comes a sense of safety — and even comfort — that isn’t always present in more traditional streaming.

“I did a lot of on-camera streaming in the beginning of my streaming career, but I hated having to get ready, do my makeup, wear something nice,” AmaLee says. “Even after an hour of getting ready to do a stream, someone was still [commenting], ‘You look tired today.’ I hated that. There would be days I would cancel streams because I didn’t want to get ready. Now I have my VTuber model and can be a little gremlin in my pajamas and no one has to know because Monarch is always perfect.”

An anime character, after all, is always ready to go.

There is a simple tattoo of a windowpane on the middle finger of Eva Victor’s right hand. When I ask about it, the filmmaker launches into a story that involves miscommunication with an Italian tattoo artist while on a trip to Paris.

“I drew this really intricate fine-line tattoo of a window with all these curtains and little things in it,” explains Victor. “And I went to the woman and she was like, ‘I cannot do that.’ And I was like, ‘OK, what can you do?’ And she drew a box with lines in it and I was like, “OK, let’s do that.’ And she did it.”

With a little distance and perspective, what could have been a permanent disaster now means something else.

“It seriously is a really rough tattoo,” Victor adds with a lighthearted laugh. “But, you know, life is life. And that’s my tattoo and I have it on my hand every day of my life.”

Much like “Sorry, Baby,” the debut feature that Victor wrote, directed and starred in, the tattoo story is one that begins in odd whimsy but takes an unexpected turn toward something deeper, a personal journey.

“I have a lot of tattoos that are day-of tattoos,” Victor, 31, says. “Sometimes with big decisions I find it’s easier to just do it. It matters more to me that I’m doing this than what it is.

Seeing it every day, the little window is a reminder of another life. “It is definitely like a memory of a person I was who would do something like that,” she adds.

“Sorry, Baby” premiered earlier this year at the Sundance Film Festival, where it won the Waldo Salt Screenwriting Award and was picked up for distribution by indie powerhouse A24. The film more recently played at Cannes and opens in limited release this week.

Told via a literary-inspired chapter structure across five years, the story follows Agnes (Victor), a professor at the small East Coast liberal arts college where she was also a grad student, as she tenuously recovers from the free fall following a sexual assault by one of her instructors. Naomi Ackie (also recently seen in “Blink Twice” and “Mickey 17”) brings an openhearted allegiance to Agnes’ best friend Lydie, who, over the course of the film, comes out as gay, marries a woman and has a baby, while Lucas Hedges plays a sympathetic neighbor.

Eva Victor in the movie “Sorry, Baby.”

(A24)

It’s a recent quiet Monday morning at a West Hollywood vegetarian restaurant where we meet and Victor, who uses they/she pronouns and identifies as queer, peruses the menu with a mix of curiosity and enthusiasm.

Victor is a self-described pescatarian but will make the odd exception for a slider at a fancy party or a bite of the pork and green chile stew at Dunsmoor in Glassell Park, a favorite. Having moved to Los Angeles a little over a year ago to work on the editing of “Sorry, Baby,” Victor has settled into living in Silver Lake with their cat, Clyde.

“I love it — I do,” Victor says with quiet conviction. “It’s very comforting. I have all my little things I get when I’m home, but it’s been a while since I’ve been home for a bit. So I’m looking forward to being able to rest at home soon.”

After breakfast, Victor will head to the airport to go shoot a small acting part in an unnamed project and by the end of the week will make a talk show debut with an appearance on the “The Late Show With Stephen Colbert.”

“It’s been very intense for me,” Victor says of the period following Sundance. “I’m very interested in my privacy and also in routine of the day. I really like having things I do every day. It’s weird to go from making a movie for four years, basically, that nobody knows about. And then it premieres at Sundance and that’s how people find out about it and everyone finds out about it in the same night. That is a very bizarre experience for the body.”

Victor adds, “It does feel like there are a lot of layers between me and the film at this point.”

There’s an unusual, angular physicality to Victor’s performance in “Sorry, Baby,” as Agnes struggles to reengage with her own body following the assault, mostly referred to in the film as “the bad thing.”

“I keep hearing, ‘Oh, Agnes is so awkward.’ I’m like, ‘What the hell?’” says Victor, protectively. “I’m very humbled by people’s reactions to how bizarre they think that character is because I’m like: ‘Oh, I thought she was acting legitimately normal, but OK.’”

“It’s life-affirming for me to know that I wrote the film in a leap-of-faith way to be like: ‘Is anyone else feeling like this?’” says Victor. “And it’s nice to know that there are people who are understanding what that is.”

(Jason Armond / Los Angeles Times)

Victor, grew up in San Francisco and studied playwriting and acting at Northwestern University, moving to New York City after graduation with ambitions to work as a staffer on a late-night talk show. She got a job writing for the satirical website Reductress and began making short online videos of herself, many of which became offbeat viral comedy hits for the way they jabbed at contemporary culture, including “me explaining to my boyfriend why we’re going to straight pride” and “me when I def did not murder my husband,” and “the girl from the movie who doesn’t believe in love.” She also appeared as a performer on the final three seasons of the series “Billions.”

The character sketches of those videos only hinted at the nuance and complexity of which Victor was capable. Throughout “Sorry, Baby” there is a care and delicacy to how the most sensitive and vulnerable moments are handled. In the film, the sexual assault itself occurs offscreen — we don’t see it or hear it — as a shot of the facade of the teacher’s house depicts the passage of time from day to night. Later, Agnes sits in the bath as she describes to Lydie what happened, a moment made all the more disarming for the tinges of humor that Victor still manages to bring.

“At the end of the day, I really wanted to make a film about trying to heal,” Victor says. “And about love getting you through really hard times. And so the violence is not depicted in the film and not structurally the big plot point of the film. The big plot point of the film in my opinion is Agnes telling Lydie what happened and her holding it very well. That to me is sort of what we’re building to in the film — these moments in friendship over time and the loneliness of a person in between those moments.”

The relationship between Agnes and Lydie forms much of the core of “Sorry, Baby,” with the chemistry between Victor and Ackie giving off a rare warmth and understanding. The connection between the two actors as performers happened straight away.

“The script was so incredible that, to be honest with you, I already felt like I knew them,” says Ackie on a Zoom call from New York City. “There was something about the rhythm of how the writing was that made me feel like we might have something in common. When I was reading it to myself, it felt so natural in my mouth. And then we finally met and it was like all of the humor and the heart and the tragedy of the script was suddenly in a person. There was a sense of ease in the way we were talking and openness and a joyfulness and an excitedness that was kind of instantaneous.”

Naomi Ackie, left, and Eva Victor in the movie “Sorry, Baby.”

(A24)

The film is the product of an unusual development process spurred by producers Barry Jenkins, Adele Romanski and Mark Ceryak. Based on their fandom of Victor’s online videos, Jenkins reached out through DMs and set up a meeting, setting in motion the process that would eventually lead to a screenplay for “Sorry, Baby.”

“When Ava sent the first draft of ‘Sorry, Baby,’ it arrived in the way that the most special things have for me, which is fully formed,” says Romanski. “Not to say that we didn’t then go back and continue to refine it, but it just arrived so clear and so emotional. It hit from the first draft. So it felt like it would be such a shame not to figure out how to put that into a visual form that other people could experience what we were able to experience just from reading it.”

From there, the team set about making Victor feel comfortable and confident as both a filmmaker and a performer. Having already had experience working with first-time feature directors such as Charlotte Wells on “Aftersun” and Raven Jackson on “All Dirt Roads Taste of Salt,” the producing trio knew the process would require extra care and attention.

“Part of the reason this challenge felt possible is how much work we’ve done in how best to support a director in that debut space,” says Romanski. “There was a lot of confidence and assuredness around how to be that producer for that first-time filmmaker.”

The team arranged something of an unofficial directing fellowship, allowing Victor to shoot a few scenes from the script and then sit down with an editor to discuss how to improve on the footage. Victor made shot lists after watching Jenkins’ “Moonlight” and Kelly Reichardt’s “Certain Women,” leaning further into the mechanics of how to visually construct scenes. Victor also shadowed filmmaker Jane Schoenbrun during production for last year’s acclaimed “I Saw the TV Glow.”

“There was no prescriptive timeline to the course that it took,” explains Romanski. “It was just kind of, we’ll keep finding things to help you fortify and put on directorial muscle mass until you tell us, ‘I’m ready.’ And then when you say, ‘I’m ready,’ we’ll pivot to putting the movie together. There’s no blueprint for this, at least not for us. We haven’t done it quite like this before, but that’s also what’s exciting about it.”

Without ever sharing specifics, the story is rooted in Victor’s personal experience. Going back to some of their earliest press around 2018, Victor would self-describe as a sexual assault survivor. There was material about it in a stand-up comedy routine. (“It didn’t work,” Victor notes, dryly, adding that they longer do stand-up.)

The experience of making the movie and putting it out into the world has been one of potentially being continually retriggered, sent back to emotions and feelings Victor has worked hard to move forward from. Yet the process of making the film began to provide its own rewards.

“The thing about this kind of trauma is it is someone deciding where your body goes without your permission,” Victor says. “And that is surreal and absurd and very difficult. It’s very difficult to make sense of the world after something like that happens.”

The “Sorry, Baby” shoot in Massachusetts last year was a turning point, says Victor, one of validation. “The experience of directing myself as an actor is an experience of saying: This is where my body’s going right now,” says Victor. “And a crew of 60 people being like, ‘Yes.’ It’s this really special experience of being like, ‘I am saying where my body goes’ and everyone agrees. In the making of the film, that was very powerful to me.”

Eva Victor and John Carroll Lynch in the movie “Sorry, Baby.”

(A24)

Even with the success of “Sorry, Baby” and the way it has launched Victor to a new level of attention and acclaim, there is a tinge of melancholy to discovering just how many people are connecting to the film because it speaks to their own experiences.

“It’s a very personal film for a lot of people and there’s a sadness to that because it’s a community of people who have experienced things that they shouldn’t have had to,” says Victor. “It’s life-affirming for me to know that I wrote the film in a leap-of-faith way to be like: ‘Is anyone else feeling like this?’ And it’s nice to know that there are people who are understanding what that is.”

While recently back in France, Victor got another tattoo, this time on her foot, where she doesn’t see it as often.

“Maybe there’s a dash of mental illness in it,” says Victor. “But I think with tattoos, it’s such a good one, because it’s not going to hurt you but it is intense and permanent. So it is risk-taking.”

That attention to a small shift in personal perspective, a change in action and how one approaches the world, is part of what makes “Sorry, Baby” such a powerful experience. And as it now continues to make its way out to more audiences, Victor’s experience with it continues to evolve as well.

“There is a process that’s happening right now where it’s like an exhale. I’m like, whatever will be will be,” Victor says. “Putting something out into the world is a process of letting go of it. And I had my time with it and I got to make it what I wanted it to be. And now it will over time not be mine.”

The experience of making “Sorry, Baby” has pushed Victor forward both professionally and personally, finding catharsis in creativity and community.

“I guess that is the deal,” Victor offers. “That is part of the journey of releasing something. I mean it’s legitimately called a release.”

Video game performers and producers have reached a tentative contract agreement, reaching terms that could end a long strike over artificial intelligence.

The Screen Actors Guild-American Federation of Television and Radio Artists and the game companies came to a resolution on Monday, more than two years after their previous agreement covering interactive media expired.

The deal is subject to review and approval by the SAG-AFTRA National Board and ratification by the membership in the coming weeks, the union said. Specific terms of the deal were not immediately available.

Terms of a strike suspension agreement are expected to be finalized with employers soon, the union said. Until then, though, SAG-AFTRA members will remain on strike.

SAG-AFTRA members must vote on whether to ratify the new contract, which covers roughly 2,600 performers doing voice-acting, performance- and motion-capture work in the video game industry.

Since fall 2022, video game performers have been fighting for a new contract containing AI protections, wage increases to keep up with inflation, more rest periods and medical attention for hazardous jobs.

Game actors went on strike in late July after contract talks broke down over AI. Throughout the walkout, performers demanded a deal that would require video game producers to obtain informed consent before replicating their voices, likenesses or movements with AI.

During the first few months of the strike, SAG-AFTRA reached numerous side deals with individual game companies that agreed to follow the union’s AI rules in exchange for a strike pardon. By Nov. 18, the labor organization announced that it had made AI pacts with the developers of 130 different video games.

“The sheer volume of companies that have signed SAG-AFTRA agreements demonstrates how reasonable those protections are,” Sarah Elmaleh, chair of the union’s video game negotiating committee, said in a statement in September.

While some companies earned the union’s approval, others felt its wrath.

Halfway through October, SAG-AFTRA added the popular computer game “League of Legends” to its list of struck titles in an effort to punish audio company Formosa Interactive for allegedly violating terms of the walkout. SAG-AFTRA also filed an unfair labor practice charge against Formosa, which provides voice-over services to “League of Legends,” according to the union.

Formosa denied SAG-AFTRA’s allegations.

The biggest sticking point for actors under the umbrella of AI involved on-camera performers, whose job is often to disappear into the characters they are bringing to life. They expressed concerns that the companies’ AI proposal would leave them defenseless against the technology.

The game companies argued that their AI proposal already contained robust protections that would require employers to seek prior consent and pay actors fairly when cloning their performances.

“All performers need AI protections,” said Duncan Crabtree-Ireland, national executive director and chief negotiator of SAG-AFTRA, in an interview with The Times months ago.

“Everyone’s at risk, and it’s not OK to carve out a set of performers and leave them out of AI protections.”

This work stoppage marked SAG-AFTRA’s second video game strike in less than a decade and second overall strike in roughly a year.

While the walkout persisted, video game performers weren’t allowed to provide any services — such as acting, singing, stunts, motion capture, background and stand-in work — to struck games. Union actors were also barred from promoting any struck projects via social media, interviews, conventions, festivals, award shows, podcast appearances and other platforms.

AI was also a major sticking point during the film and TV actors’ strike of 2023. That walkout culminated in a contract mandating that producers obtain consent from and compensate performers when using their digital replica.

The race for the 2025 Emmy Awards is upon us, and your beloved Buzzpeople are back. As TV academy members prepare to cast their nomination ballots next month, our panel of six veteran television journalists, expert awards watchers all, are here to share their insights on the leading contenders — and what less-heralded shows and performers they think also deserve attention.

Click the links below to see the results of our ranked-choice poll in each of nine major categories, as well as our participants’ individual picks.

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