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The photos currently flooding my social media stream are like a highlight reel of the life of Chicana civil rights icon Dolores Huerta.

The famous 1960s-era black-and-white shot of her looking like a bohemian in sweatshirt and black paints while she holds up a sign proclaiming “HUELGA” in the grape fields of California’s Central Valley.

Chanting at the front of picket lines, strands of gray in her hair, in the 1980s.

Beaming as President Obama awarded her the Presidential Medal of Freedom in 2012 for a lifetime of good work that expanded beyond the United Farm Workers union she co-founded.

What’s especially popular is admirers posting pictures of themselves with her — at protests, during art gallery openings, in classrooms, even dancing. It’s the type of public outpouring one usually sees when a celebrity dies. Sadly, there is grief involved in people sharing their encounters with her right now.

Someone didn’t die. But something did.

Earlier this week, Huerta’s disclosed to the New York Times that fellow Chicano civil rights icon Cesar Chavez raped her during the 1960s. It was part of a story that also interviewed two women who claimed the United Farm Workers co-founder sexually abused them when they were young teens in the 1970s.

One of the posts I saw soon after the story’s publication was an Instagram portrait Maricela Cueva took when the two met a few years ago during a conference in Burbank.

“Standing with Dolores Huerta,” said Cueva, president of the public relations firm VPE Communications, “means honoring her legacy in the farmworker movement as well as the victims who had the courage to come forward and acknowledging the personal sacrifices behind it.”

Former West Covina Mayor Brian Calderón Tabatabei shared on the platform formally known as Twitter a photo of him shaking hands with Huerta in Berkeley at a Working Families Party gathering for elected leaders in 2024, where she joined breakout sessions and listened to the next generation of leaders.

“I look at the folks who posted pictures and we are all children of the movement,” said Tabatabei, who’s also an El Monte High ethnic studies teacher. He kicks off each school year with a shout-out to Huerta. “She lived with that pain so we could be in these spaces. So we don’t have to be quiet.”

Together, the photos stand as a communal family album. It’s a show of love and solidarity to Huerta — but also a challenge to ourselves. Many of us immediately believed the longtime activist not just because of her stature, but because we’re sadly too familiar with the script playing out in real time.

A Latina abused by a trusted, powerful man. A terrible secret kept to not make him look bad and ruin his life. A need for the victim to consistently praise the abuser to others no matter what. A life of service in the form of sacrifice. Eternal grace masking an unimaginable pain.

Her story is the story of too many women I know and you know — and maybe the story of you.

Steely resolve in the face of suffering is not new in the Huerta story. For decades, reporters, activists, historians and others who formed the narrative of Chicano civil rights treated her as a modern-day Mary Magdalene — a woman who found purpose by following a man. Chavez was positioned as the Christlike figure who toiled for all of us at great personal cost and thus anointed the face of the farmworkers movement. Meanwhile, he and others relegated Huerta to sidekick status, both in the trenches and in the public — and the image makers followed his lead.

She found more prominence after his death in 1993, but Chavez’s shadow loomed over her for too long. Huerta became one of Chavez’s fiercest defenders even after revelations about his autocratic ways became public — but what else was she supposed to do when people tied so much of her identity to him?

Through it all, Huerta showed up not just for la causa but for those of others. People in Bakersfield, where Huerta lives, know she’s a supporter of arts and live music — she was seen dancing with family members at a Mardis Gras party just last month, gladly taking photos with well-wishers. I have run into her at my wife’s restaurant in Santa Ana, at movie theaters in Los Angeles, during online fundraisers for museums. My favorite memory is the time we both spoke to students at a high school summer conference. Afterward, the organizers told me her speaking fee was a pittance compared to that of a famous Latina author who demanded $25,000 for an hour-long chat.

That’s why Huerta’s recent revelations hit particularly hard — unlike the long-sainted Chavez, she always seemed more like one of us. Huerta has cycled through the stages of life in the public eye in a way that has seen Latinos relate to her over the decades as our daughter, our sister, our aunt. Our mother, grandmother and now great-grandmother in the winter of her years.

We all know women in one of those roles who suffered the same violations Huerta did. The same dismissals and insults. Who never spoke about their ignominies because they were afraid we wouldn’t be there for them.

Huerta was once one of them.

“I believed that exposing the truth,” Huerta wrote in a short essay, “would hurt the farmworker movement I have spent my entire life fighting for.”

By coming forward now, she’s speaking up for every woman who has kept their abuse private, every woman overlooked in favor of a man, every relative told to keep secrets lest they embarrass the family, every woman attacked for finally speaking up. By posting all those photos of Huerta — by herself, in a crowd, with others — people are publicly and unconsciously saying:

We can do better for the girls and women in our lives. We must do better.

“I have kept this secret long enough,” she concluded in her essay. “My silence ends here.”

May we all hear the Dolores Huertas in our lives. May we finally stand by them.

March 13 (UPI) — Several people, including tourists and influencers, have been arrested in Dubai, United Arab Emirates, for possessing, sharing or commenting on digital content that shows attacks or damage from attacks by Iran in the country.

There have been 21 people arrested in the emirate, said advocacy organization Detained in Dubai.

“The charges sound extremely vague but serious on paper. In reality, the alleged conduct could be something as simple as sharing or commenting on a video that is already circulating online,” said Radha Stirling, CEO of Detained in Dubai and Due Process International.

“Under UAE cybercrime laws, the person who originally posts content can be charged, but so can anyone who reshapes, reposts or comments on it. One video can quickly lead to dozens of people facing criminal charges,” Stirling said.

Penalties can include up to two years in prison, fines ranging from about $5,500 to $55,000, and foreign nationals will face deportation.

“Foreigners need to understand that what may seem like normal social media behavior elsewhere can lead to arrest in the UAE,” Stirling said. “In some circumstances people can find themselves treated as national security suspects before the facts are even clarified.”

One 60-year-old British tourist has been charged under cybercrime laws for allegedly filming Iranian missiles over the city.

“We are in contact with the local authorities following the detention of a British man in the UAE,” the United Kingdom’s Foreign Office told CNN.

The UAE’s ambassador to the United Kingdom told British radio station LBC that the “United Arab Emirates is very safe.”

“The guidelines and regulations are there in the UAE to ensure people’s safety,” he said. He added that people filming could be hit by “falling debris.”

Stirling also said that Qatar has already charged more than 200 people under similar laws since the Iran war began.

The UAE defense ministry said on X Friday that 1,800 drones and missiles have been fired at the UAE since the war with Iran began.

Six people from the Emirates, Pakistan, Nepal and Bangladesh have been killed, and 141 people have suffered mild to moderate injuries.

Erica Mahinay, showing with Make Room Gallery at Frieze L.A.

Some art shows are not just about the art. At Frieze L.A., it’s also about seeing — and being seen.

On Thursday morning, over 100 artists, gallerists and collectors representing 24 countries wafted into the maze that is Frieze at the Santa Monica Airport and transformed the space into a winding runway. The dress code was eclectic and appropriately L.A.: hyper-curated and nonchalant. Archival Mugler was paired with reconstructed relaxed denim. Silk pajama pants slouched over Wales Bonner loafers. And much like the works on display, attendees dared to be visually undefinable.

This year, the four-day frenzy is expected to draw about 30,000 attendees to exhibitions both in and outside the tent, including public installations from Frieze Projects’ “Body & Soul,” and the Focus section curated by Essence Harden, which spotlights young and lesser-known artists.

Storm Ascher, left, founder of Superstition Gallery and Greg Ito pictured with his solo booth, “A Cautionary Tale,” in the Focus Section curated by Essence Harden.

Undeniably, the art this year is a product of now. Outside, Patrick Martinez welcomes guests with neon quotes supporting immigrant rights. Across the tent, in a display of performance art, Amanda Ross-Ho continuously pushes a giant, inflatable Earth around a soccer field, symbolic of “the labor it takes to just keep things going all the time.” Walking around the fair, a shared sentiment of post-fire rejuvenation, cultural collaboration and a pride for the Los Angeles community was deeply felt.

Angeleno and artist Sharif Farrag said he’s “excited to show in the city [he] grew up in.” His ceramic collection “Hybrid Moments” with Jeffrey Deitch is a cultural analogy for his childhood. “I hope my work can reflect the times we’re in through a lens of color,” he said, “and the flora and fauna of L.A.”

Nicole Reber, an L.A.-based real estate agent, was giving “’90s sparkle princess,” coupling a pair of Chanel loafers with a vintage Escada jacket that’s “highly underrated.” She came to Frieze to scope out the next addition to her home. “There’s something valuable about living and collecting art,” she said. “It’s a chance to live with somebody else’s energy.”

Dr. Joy Simmons wore a calf-length button-down by South African designer Thebe Magugu. Collecting art, like clothes, is her way of exploring the diaspora. “I just want to find something that’s different,” she said. “[African American artists] bring a different kind of color palette and excitement to the art world.”

Sharon Coplan Hurowitz came to Frieze with her “support animal, ‘Hector.’” The pebble grain Thom Browne shoulder bag, though, was no size comparison to the 10-foot John Baldessari sculpture she stood in front of. Coplan, who recently authored a catalog of Baldessari’s notable art, is excited to see support for his archival works.

Nevine Mahmoud sculpture at Sebastian Gladstone Gallery

Sebastian Gladstone, owner of namesake New York and L.A. galleries, said he loves the L.A. art community because it brings together “people that would never mix otherwise.” If he could describe “good” art in a sentence, it would be: “an alchemy where there’s a mystery of its creation, and how it makes you feel.”

Kibum Kim, partner at the Commonwealth and Council gallery

rafa esparza at Commonwealth and Council booth

Kibum Kim, a partner at the Commonwealth and Council gallery, said sifting through Frieze is like making “Sophie’s choice.” He wore a jacket from Jakarta-based brand Tanah le Saé, adorned with mixed-matched buttons. In a similar spirit of upcycling, his exhibition shows Rose Salane’s newest project from Pompeii featuring rocks and other ephemera taken from the historic site.

William Escalera, left, and Francisco George

Francisco George, a longtime art collector and docent at LACMA, is a Frieze regular. To him, good art “grabs your attention and keeps it. It communicates.” He visits the fair with his husband, William Escalera, who this year is looking for art that incorporates textiles. “It’s different,” he said.

Gallerist Susanne Vielmetter

Gallerist Susanne Vielmetter layered an Issey Miyake Pleats Please dress with a skirt from J.Crew underneath. At Frieze, she never knows whether it’s going to be cold or hot in the tent. “It’s an onion look,” she said. Although she is particularly excited to display paintings by Alec Egan, depicting the trauma of the Palisades fire, she is glad that the fair is bustling and joyous. “People are just done with doom and gloom,” she said. “They’re positive, they’re energetic, they want to go back to collecting.”

Shio Kusaka, left, and Jonah Wood

An artwork by Jade Guanaro Kuriki-Olivo, aka Puppies Puppies

Conny Maier wears a Healthy Boy Band tee and MISBHV biker shorts.

Jwan Yosef and Steven Galloway

Davida Nemeroff of Night Gallery

Soshiro Matsubara, showing with Bel Ami

Soshiro Matsubara, Bel Ami

Kelly Wall with her installation

The thrill of victory and the agony of defeat.

We grew up with that line from “ABC’s Wide World of Sports” show.

But really, it’s the spaces in between, that can resonate and bring a sense of mortality to these world-class athletes.

As I witnessed these memorable events in this year’s Winter Olympics, I tried to keep in mind the frail dynamics of our collective psyche while performing against a spectacular backdrop of the Dolemites, or walking the historic, ancient streets of Milan.

There are dozens of photographers working at each event. They, like the athletes on the field of play, are in a competition.

Competing with each other to make the best image. Competing with the elements at outdoor venues, like bitter cold, rain, wind and snow. And most of all, competing with themselves to rise above their personal standard of what constitutes an outstanding photograph.

Witnessing what is probably an athletes greatest moment is both a thrill and an honor.

Here are some of the visual surprises.

Mikhail Shaidorov shows his metal as he takes a bite of the gold medal he won in the Men’s Single Skating Final.

French skier Laura Gauche sails against the backdrop of the Dolomites on her way to the finish line in the Women’s Team Combined Slalom.

Figure skater Ilia Malinin feels the pain of a bad performance during the finals for Men’s Single Skating at Milano Ice Skating Arena.

Megan Keller is mobbed by teammates after scoring the winning goal to beat Canada 2-1 in overtime in the Women’s ice hockey final.

Team USA are reflected in the ice during the Women’s Team Pursuit at Milano Speed Skate Stadium.

Swiss skier Melanie Meillard weeps in the arms of her teammate Janine Schmitt after missing a turn on her slalom run Women’s Team Combined Slalom.

Lindsay Vonn is airlifted off the mountain after crashing during the Women’s downhill Alpine skiing event.

USA skier AJ Hurt wags her tongue after a successful slalom run at the Women’s Team Combined Slalom.

Gloves were flying when Tom Wilson, left, of Team Canada engaged with Pierre Crinon, of Team France, at Milano Santa Giulia Ice Hockey Arena.

Americans Madison Chock and Evan Bates practice before competing in the ice dancing free skate competition.

USA skater Amber Glenn weeps after completing an imperfect routine in the single skating short program.

USA skaters Eunice Lee and Corinne Stonnard crash in the Women’s 3,000m short track speed skating.

French skater Adam Siao Him Fa performs a flip during the finals for Men’s Single Skating.

Medals and a selfie for Italy, Korea and Canada at the Women’s Team Short Track Speed Skating finals.

The Swiss Women’s ice hockey team leaves their equipment on the ice while celebrating an overtime win over Sweden in the bronze medal match.

SYDNEY Sweeney has stripped down to cheeky underwear while pulling on a man’s boxers in sexy new photos for her lingerie line.

The actress recently launched her new lingerie brand, Syrn, and has been modeling the sultry undergarments in ad campaigns.

Her latest was posted on the brand’s official Instagram page on Tuesday, showing Sydney, 28, flashing her bare butt in revealing white underwear.

The Housemaid star covered the top half of her curvy figure with a loosely fitted long-sleeved shirt and had her long blonde hair styled in loose waves.

However, Sydney wasn’t the only one in the photo.

A mystery man also appeared in the pic, facing away from the camera, wearing nothing but boxers, and his pants were draped around his ankles.

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Sydney latched onto the side of the man’s boxers with one hand and held a barcode scanner with the other, which she aimed at a barcode sticker on his lower back.

Another solo snap of The White Lotus star showed her smiling with her hands in the air, looking disheveled with the buttons on her shirt misaligned.

The caption announced Syrn’s “Midnight Snack Collection,” which was released earlier that day.

“She is absolutely stunning,” one fan gushed in the comments.

“OMG SHE IS SO PRETTY,” said another.

“I can’t wait to buy everything!!” a third added.

Sydney’s lingerie line rivals A-list celebrities Rihanna, Hailey Bieber, and Kim Kardashian, who also have widely successful lingerie brands.

The Christy star might have taken her racy promotional ads a bit too far after photos recently circulated of her littering the iconic Hollywood sign with dozens of bras.

Late last month, TMZ reported that Sydney had permission to film the sign but didn’t get clearance to touch or climb it, which she did in the ad.

The Hollywood Chamber of Commerce, which owns the sign, is reportedly investigating how Sydney’s team accessed the sign.

Sydney hasn’t yet commented on the legal situation, but she’s continued to post steamy content of her donning pieces from her collection.

The Anyone But You star is known for pushing the boundaries onscreen, which is especially seen in the Euphoria Season 3 trailer, where Sydney’s character, Cassie Howard, becomes an OnlyFans-style content creator.

“People forget that I’m playing a character, they think, ‘Oh, she gets naked on screen, she’s a sex symbol,’” Sydney previously said in an interview.

“I have no problems with those scenes, and I won’t stop doing them, but I wish there was an easier way to have an open conversation about what we’re assuming about actors in the industry.”