project

OCI Energy secures $394 million for Texas solar energy project

SEOUL, Feb. 27 (UPI) — OCI Energy, a U.S. affiliate of South Korea’s OCI Holdings, said its joint venture with Arava Power has secured nearly $400 million for Project SunRoper, a 347-megawatt solar project in Wharton County, Texas.

OCI Energy joined with Israel’s Arava Power for the project. As sole lead arranger, ING Capital will underwrite the financing package, which includes a mix of loans and letters of credit.

The total investment is estimated to be about $394 million, according to OCI Energy. The construction financing is backed by a 20-year power purchase agreement with a Fortune 100 company, whose identity OCI Energy did not disclose.

Situated some 60 miles southwest of Houston, Project SunRoper is expected to begin commercial operation in the third quarter of next year, supporting grid reliability and emissions reduction.

“The close of construction financing for Project SunRoper represents an important milestone for OCI Energy and our partners,” OCI Energy CEO Sabah Bayatli said in a statement.

“This transaction reflects our continued commitment to delivering high-quality, utility-scale solar projects that strengthen grid reliability and provide affordable energy infrastructure,” he said.

ING Capital Managing Director Sven Wellock said the new initiative would deliver reliable, affordable clean energy for years to come.

“This project exemplifies the high-quality renewable infrastructure we seek to finance — a strong sponsor partnership, a long-term contracted revenue profile and a well-located asset in one of the most dynamic power markets in the United States,” he said.

This is not the first time that OCI Energy has collaborated with ING. They previously worked together on financing for the Alamo City Battery Energy Storage System project in Texas.

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The European theme park that’s ‘Eden Project meets Disney’ to get two new rides this summer

IMAGINE if the Eden Project had a Disney makeover – well, one theme park in Europe achieves this and will be getting a new ride for 2026.

Terra Botanica theme park in Angers, France is often compared to the Eden Project in Cornwall due to its focus on plants.

Terra Botanica in France is described as the “Eden Project on steroids”Credit: instagram/@terrabotanica
And this year, it will be gaining a new tractor rideCredit: instagram/@terrabotanica
The ride we feature 10 tractor cabins in total, which go on a journey to meet Cleamolette, who is a passionate inventorCredit: instagram/@terrabotanica

But it also has rides…

And now the theme park has announced two new experiences for this year – Cleamolette’s tractor cabins and a new Terra Nocta show.

Cleamolette’s tractor cabins will be an immersive experience where visitors climb onboard the tractors and set off to meet Cleamolette, who is a ‘passionate inventor’.

There will be 10 tractor cabins in total, which will be able to host up to 500 people an hour.

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During the experience, visitors will get to discover Cleamolette’s botanical experiments.

The park will also have a redesigned discovery trail that sprawls across 1,200sqm.

The trail is entirely dedicated to vegetable plants and over the course of the season, visitors will be able to see more than 10,000 vegetable plants, 4,000 flowering plants, 500 perennials, 200 shrubs and 40 trees.

You might even get a glimpse at some rare species including pistachio trees, Brazilian guava trees, Japanese pickling eggplants and snake gourds.

Then, Terra Nocta – an evening event at the park with light and sound – will return from April 11 but with a new 150metre area that is an immersive water display with mist, waterfalls, sounds and lights to create the ultimate sensory experience.

This new area will allow visitors to discover aquatic biodiversity and learn about the role of water in ecosystems.

The show will also include eight performers from the National Institute of Music Hall Arts in Le Mans.

The theme park will be hosting Terra Spring Festival between March 28 and 29 as well, where attendees can see the theme park’s large plant market and meet lots of local sellers and makers.

The theme park is set to fully reopen for the 2026 season on April 4.

Connexion France previously described the park as “Cornwall’s Eden Project on steroids”, adding that it has “environmental ideas with a Disney twinkle”.

Other rides at the park include giant walnut shells, and a Canopy of Birds experience where you fly virtually through the air and a miniature land train.

The park has lots of other attractions as well, such as a walnut rideCredit: http://www.terrabotanica.fr
The park is also home to a boat ride, a high ropes course and a dinosaur reserveCredit: instagram/@terrabotanica
There’s even a butterfly house at the park tooCredit: http://www.terrabotanica.fr

You might also want to check out the Garden of Legends, where you will be greeted by a vegetable ogre as he takes you into a mysterious universe.

Other ‘lands’ at the park include a dinosaur reserve, where you can watch a 4D film where you can get behind the wheel of a Jeep and drive among dinosaurs – just like in Jurassic Park.

There are even boat trips, a greenhouse with over 100 butterflies from across the planet and a high ropes course with over 3,000sqm of netting to explore as well.

The park also hosts a show called Terra NoctaCredit: http://www.terrabotanica.fr
And this year it will feature a new 150metre water display with mist and waterfallsCredit: http://www.terrabotanica.fr

One person commented on TripAdvisor: “Great place, a bit like England’s Eden Project, only better.”

It is also cheaper than the Eden Project with tickets costing from €21 (£18.38) per adult and €17.50 (£15.32) per child.

In other theme park news, the world’s first Bluey rollercoaster is set to open in the UK next month.

Plus, a top US attraction is set to open its first indoor adventure park in the UK – with 16 slides and a ‘flying’ coaster.

It is also cheaper than the Eden Project with tickets costing from €21 (£18.38) per adult and €17.50 (£15.32) per childCredit: Alamy

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Olympic gold medalist skater Alysa Liu inspires new mural in Gardena

U.S. figure skater Alysa Liu made quite an impression at the Milan-Cortina Olympics with her unique style, her compelling backstory and, of course, her gold medals in the women’s singles competition — the first for an American woman since 2002 — and in the team event.

Her feats captured the attention of local artist Gustavo Zermeño Jr. He wanted to be sure to capture all of it in his new mural paying tribute to the 20-year-old athlete in Gardena.

“Obviously her winning gold was the main factor” in his choosing to paint Liu, Zermeño said.

But once the Mexican-American artist learned more about the Chinese-American skater, he found inspiration in other aspects of her life as well. That includes the Oakland native’s two-year retirement from the sport starting at age 16, her enrollment at UCLA and her decision to express herself in her own way.

“She’s first-generation American, just like myself,” Zermeño said. “So I feel like that tie, her going to UCLA, her stopping skating for awhile and then jumping back in and more being herself — you know, growing up in Venice, I feel like that’s what kind of made me an artist. Venice allowed me to be myself, be wacky on the boardwalk, artists, performers, stuff like that.

Alysa Liu smiles and leans forward as she pretends to take a bite out of a gold medal, with a U.S. flag around her shoulder

U.S. figure skater Alysa Liu poses with the gold medal she won in the women’s singles Feb. 19 at the Milano-Cortina Winter Olympics.

(Matthew Stockman / Getty Images)

“So I feel like there were a lot of connections beyond her just winning the gold medal. But ultimately, I think she just deserves her flowers, man. She accomplished something, and I feel like her personality is what’s really garnering all this support from people.”

Zermeño was driving to get dinner near his home earlier this week and noticed a wall he thought would be perfect for his Liu-inspired project outside the Coe’s Glass & Mirror building at 15532 Crenshaw Blvd. It turned out that Zermeño casually knew the business owner, although Alex Lopez said he never realized his former next-door neighbor was a mural artist.

Still, Lopez approved the project immediately upon seeing samples of Zermeño’s work and a digitally created version of his idea for the Liu painting.

“I mean, I probably should have gone up the chain of command and asked the landlord’s permission, but I knew it was going to come out amazing,” Lopez said. “I just said, ‘Let’s go for it.’ The landlord came by this morning and loved the piece. He was really glad that we did it.”

Artist Gustavo Zermeno Jr. stands in front of a mural in progress that is dedicated to Olympic gold medalist skater Alysa Liu

Artist Gustavo Zermeno Jr. said he was inspired to paint a mural dedicated to U.S. skater Alysa Liu for reasons ‘beyond her just winning the gold medal.’

(Ronaldo Bolanos / Los Angeles Times)

Zermeño started painting Tuesday and hopes to be finished early next week. The mural will feature three images of Liu, including two of her skating, but the centerpiece is a larger-than-life headshot of her from the women’s singles medal ceremony.

In it, the halo-haired athlete smiles broadly as she pretends to take a bite out of her gold medal, putting on full display her now-famous “smiley” piercing in the tissue connecting her upper lip to her gums.

Artist Gustavo Zermeno Jr. spray paints a mural dedicated to Olympic gold medalist skater Alysa Liu

‘I think it really represents her personality and where she’s from, the Bay Area,’ artist Gustavo Zermeño Jr. said of his mural dedicated to U.S. skater and Oakland native Alysa Liu.

(Ronaldo Bolanos / Los Angeles Times)

“I like that it’s a little rough around the edges, but beautiful at the same time,” Zermeño said of the portrait. “I think it really represents her personality and where she’s from, the Bay Area. And so I feel like it just looks, you know, a little hood but at the same time, her being a figure skater, has that softness to it. And that’s kind of what I wanted.”

Lopez added: “I love it. Just her in general, as a person, I think she’s great. What she was able to accomplish in the Olympics is amazing for the United States and just for California. I’m honored to have her mural here. I feel like it represents the community and our business really well.”

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Highlights from our Feb. 26 issue

We made it! After this weekend, when the Producers Guild of America and Screen Actors Guild hand out their highly predictive precursors, the final shape of the Oscar race should be (reasonably) clear — and nominees worn out by months of campaigning will be breathing a sigh of relief.

Before I share highlights from this week’s issue, one programming note: This will be my last letter from the editor until our inaugural Cannes issue drops in May. (Don’t worry, I will be plenty busy in the interim catching up on this year’s top Emmy contenders.)

Thanks as always for following along, and may you triumph in your Oscar pool!

Cover story: Rose Byrne

February 26, 2026 cover of The Envelope featuring Rose Byrne

(Ryan Pfluger / For The Times)

Times columnist Mary McNamara and I don’t agree on everything, but we do agree on this: “Damages” deserves to be ranked alongside “Mad Men” and “Breaking Bad” in any discussion of the Golden Age of TV.

That’s thanks in one part to a gripping flash-forward narrative structure now so common it could be considered a cliché, and in another to Glenn Close’s indelible performance as ruthless litigator Patty Hewes. But it’s also a testament to the multifaceted talents of Rose Byrne, who went “toe-to-toe” with Close in what would become her breakthrough role — and then confidently pivoted to projects like “Insidious,” “Bridesmaids” and “Spy.”

“Byrne is something of a creative chameleon, moving easily from drama to comedy to horror, film to television to stage and back again,” McNamara writes in this week’s cover story. “In many ways, her gut-wrenching, darkly funny performance as a woman pushed beyond all endurance in “If I Had Legs I’d Kick You” is a culmination of all the characters she brought to life before it.”

Inside Warner Bros.’ dominant Oscar haul

Michael De Luca, left, and Pamela Abdy are photographed at the Warner Bros. lot.

(Christina House/Los Angeles Times)

Whether you come down on the side of “Sinners” or “One Battle After Another” in the best picture race may be perfect fodder for debate with friends over a few small beers, but for Warner Bros. executives Mike De Luca and Pam Abdy it would be akin to choosing a favorite child. After all, both projects emerged from the pair’s desire, as contributor Gregory Ellwood writes, to make WB “a destination where filmmakers of all varieties, including auteurs, bring their projects for ‘white glove’ treatment.”

As De Luca explains, “Everything was original once… If you don’t refresh the coffers with new IP to create new franchises, at some point you get to Chapter 10 or 11 and people start to move on.”

The many faces of ‘The Secret Agent’

Gabriel Domingues, nominated in the first ever Oscar casting category for his work on "The Secret Agent."

(Ryan Pfluger/For The Times)

The moment Tânia Maria arrives onscreen as Dona Sebastiana in “The Secret Agent,” you can’t help but ask yourself, “Who is that?!” (Star Wagner Moura had the same reaction.) But the real feat casting director Gabriel Domingues pulls off in the Oscar-nominated Brazilian thriller is to make you ask yourself the same question, over and over, every time a new character appears.

How did Domingues find a range of actors to represent the country’s endless diversity? It’s part of his process, writes contributor Carlos Aguilar: “He prides himself on doing the shoe-leather work of looking for fresh, compelling faces in cities where others might not think to look — those without a prominent arts scene, for instance.”

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Futuristic rail project could allow travel from London to Paris in 20 minutes with passenger pods

The way we travel could be changed forever following a futuristic rail project with rapid journeys from London to Paris within 20 minutes, and to Amsterdam in a mere 22 minutes

In a glimpse into the future of travel, a journey from London to Paris could take just 21 minutes, thanks to an innovative rail project.

As it stands, the fastest train journey from London to Paris takes two hours and 16 minutes, thanks to the efficient Eurostar which departs from St. Pancras International. However, if a futuristic rail project comes into fruition, the trip could be reduced to 1/6 of its current length, thanks to a hypothetical rail service that’d travel at more than 600mph.

This ultra-high-speed service would be made possible with hyperloop technology, which would involve passenger pods travelling through low-pressure tubes. In addition to the 21-minute journey to Paris, it could also provide transport from London to Brussels in 20 minutes, to Amsterdam in 22 minutes, and Berlin in just over an hour, reports the Telegraph.

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Yet the concept isn’t new and was brought to the spotlight in 2013, when entrepreneur Elon Musk published a white paper on the hyperloop, a proposed transportation system. Musk previously labelled it a ‘fifth mode of transport’, and work has been underway in Europe on making this hypothetical engineering marvel a reality.

The European Hyperloop Center (EHC) in Veendam opened in the Netherlands two years ago, offering a 420-metre hyperloop test tube that runs adjacent to a train track. There have been successful hyperloop tests, and engineers have achieved a “zero-moving-parts lane switch” by enabling the pods to alter their course without mechanical track adjustments.

While it was conducted at 55mph, The Telegraph, which visited the European Hyperloop Center, said it was a “turning point” for hyperloop. The inventive project could revolutionise how we travel and is said to feel like flying rather than boarding a standard train.

The managing director of the Hyperloop Center Veendam, Kees Mark, told the Telegraph: “To think that we could be having coffee in Paris in under an hour from now is a huge mindset shift. It’s more like flying. That’s one of the benefits of hyperloop – there’s no wear from moving parts.”

But there’s a long way to go for the ultra-fast transport, with the project facing major setbacks and a bundle of technical difficulties. It can also present some health and safety concerns.

In 2023, Virgin Hyperloop in the US halted passenger operations amid safety concerns, a complicated regulatory process, and substantial financial difficulties. One of the project’s investors, Richard Branson, withdrew after the company failed to reach its goal of 700mph, achieving only 107mph during the first human trial.

The number of passengers the hyperloop service could carry is another hurdle compared to a standard rail service. Hyperloop pods are designed for low-capacity, high-frequency travel, typically holding 28 to 40 passengers per capsule. However, because they are designed to operate every 30 to 120 seconds, they aim to achieve high hourly throughput despite small cabin sizes. Some designs suggest up to 50 passengers, but smaller, faster-moving pods are generally prioritized for efficiency

At this point, the project is still very much in the experimental stage, and it could be years before the form of transport is introduced for use, but with tests well underway, could this be the new normal?

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Motif added to South Korea AI model project as originality stays key

Kim Kyung-man, director of the Artificial Intelligence Policy Office at the Ministry of Science and ICT, announces additional selections for the Independent AI Foundation Model project at the Seoul Government Complex in Jongno-gu, Seoul, on Feb. 20. Photo by Asia Today

Feb. 20 (Asia Today) — Motif Technology’s consortium has been selected in an additional call to join South Korea’s government-backed effort to build an “independent” artificial intelligence foundation model, as officials said a second evaluation in August will continue to weigh whether teams meet the project’s originality standard.

The Ministry of Science and ICT said Motif was chosen for its experience designing models with its own architecture and for achieving performance it said could compete with leading global systems despite operating in a limited data environment.

The Motif consortium includes the company, startup More, Seoul National University’s industry-academia cooperation foundation and the Korea Advanced Institute of Science and Technology.

The group plans to build an inference-focused large language model with 300 billion parameters and later expand work into vision-language models and vision-language-action models, the ministry said.

Motif will develop its model from this month through July and then compete in an August stage evaluation against LG AI Research, Upstage and SK Telecom. The ministry said it will extend the development timeline for the existing three teams by one month, setting the deadline at the end of July, and will provide Motif with support comparable to the other teams, including 768 graphics processing units and data.

The August stage evaluation will narrow the field to three teams and will include the originality requirement, officials said. Two teams are to be selected for final support by the end of the year.

Kim Kyung-man, director of the ministry’s AI policy office, said the four teams will discuss how to apply the originality assessment and that more detailed criteria will be developed with input from industry and academia.

The project drew attention last month after Naver Cloud failed to meet the originality requirement in an initial evaluation and NC AI was eliminated after scoring lowest on other criteria, raising questions in some quarters about the program’s momentum.

The ministry said the project’s priority is building a domestic AI ecosystem through teams capable of developing an independent foundation model.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260220010006171

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Arts panel made up of Trump appointees approves his White House ballroom proposal

The U.S. Commission of Fine Arts, a panel made up of President Trump’s appointees, on Thursday approved his proposal to build a ballroom larger than the White House itself where the East Wing once stood.

The seven-member panel is one of two federal agencies that must approve Trump’s plans for the ballroom. The National Capital Planning Commission, which has jurisdiction over construction and major renovation to government buildings in the region, is also reviewing the project.

Members of the fine arts commission originally had been scheduled to discuss and vote on the design after a follow-up presentation by the architect, and had planned to vote on final approval at next month’s meeting. But after the 6-0 vote on the design, the panel’s chairman, Rodney Mims Cook Jr., unexpectedly made another motion to vote on final approval.

Six of the seven commissioners — all appointed by the Republican president in January — voted once more in favor. Commissioner James McCrery did not participate in the discussion or the votes because he was the initial architect on the project before Trump replaced him.

The ballroom will be built on the site of the former East Wing, which Trump had demolished in October with little public notice. That drew an outcry from lawmakers, historians and preservationists who argued that the president should not have taken that step until the two federal agencies and Congress had reviewed and approved the project, and the public had a chance to provide comment.

The 90,000-square-foot ballroom would be nearly twice the size of the White House, which is 55,000-square-feet, and would accommodate about 1,000 people, Trump has said. The East Room, currently the largest room in the White House, can fit just over 200 people at most.

Commissioners offered mostly complimentary comments before the votes.

Cook echoed one of Trump’s main arguments for adding a larger entertaining space to the White House: It would end the long-standing practice of erecting temporary structures on the South Lawn that Trump describes as tents to host visiting dignitaries for state dinners and other functions.

“Our sitting president has actually designed a very beautiful structure,” Cook said. “The United States just should not be entertaining the world in tents.”

The panel received mainly negative comments from the public

Members of the public were asked to submit written comment by a Wednesday afternoon deadline. Thomas Leubke, the panel’s secretary, said “over 99%” of the more than 2,000 messages it received in the past week from around the country were in opposition to the project.

Leubke tried to summarize the comments for the commissioners.

Some comments cited concerns about Trump’s decision to unilaterally tear down the East Wing, as well as the lack of transparency about who is paying for the ballroom or how contracts were awarded, Leubke said. Comments in support referenced concerns for the image of the United States on the world stage and the need for a larger entertaining space at the White House.

Trump has defended the ballroom in a recent series of social media posts that included drawings of the building. He said in one January post that most of the material needed to build it had been ordered “and there is no practical or reasonable way to go back. IT IS TOO LATE!”

The commission met Thursday over Zoom and heard from Shalom Baranes, the lead architect, and Rick Parisi, the landscape architect. Both described a series of images and sketches of the ballroom and the grounds as they would appear after the project is completed.

Trump has said the ballroom would cost about $400 million and be paid for with private donations. To date, the White House has only released an incomplete list of donors.

A lawsuit against the project is still pending

The National Trust for Historic Preservation has sued in federal court to halt construction. A ruling in the case is pending.

In comments it submitted to the commission, the privately funded group recommended that the size of the ballroom be reduced to “accommodate and respect the primary historic importance of the original Executive Residence.”

At the commission’s January meeting, some commissioners had questioned Baranes, Trump’s architect, about the “immense” design and scale of the project even as they broadly endorsed Trump’s vision. On Thursday, Baranes described changes he has since made to the design, and the commissioners said they welcomed the adjustments.

The ballroom project is scheduled for additional discussion at a March 5 meeting of the National Capital Planning Commission, which is led by a top White House aide. This panel heard an initial presentation about the project in January.

Superville writes for the Associated Press.

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DICK TUCK’S WASHINGTON ‘PROJECT’ – Los Angeles Times

Because of his, er, attentions to the various campaigns of Richard M. Nixon, Dick Tuck always was considered a merry prankster of Democratic persuasion. A re-evaluation may be in order. Tuck says he voted not once but twice for President Ronald Reagan.

“I rather like him,” Tuck adds. He says he voted against the Democratic contenders–Jimmy Carter in 1980 and Walter Mondale in 1984–because “I didn’t like them.”

He doesn’t think his votes distressed those on high in the Democratic Party. “Most just didn’t believe it,” he says. But in his opinion, “they don’t recognize the real world when they see it. The Democratic Party has lost touch with Americans.”

Tuck, who resembles a Gaelic Father Christmas without beard and who gives the impression that he sends his clothes to the cleaners for rumpling, has recently embarked upon a new career–but not in the GOP, or even as a free-lance anarchist.

“I’m leaving politics and going into entertainment,” he says. “Maybe I’m not changing–maybe politics is changing. It’s not the entertainment that it once was.”

Specifically, he has written an outline for what he hopes will become a film entitled “Capitol Hill Blues.” It’s about a group of young folks employed as summer interns in Congress. Their goal is to carry on in Washington as they would during Easter vacation in Fort Lauderdale–a bit of drinking, sex and even loose behavior.

“It’s kind of ‘Animal House’ in Washington,” he says, but emphasizes that its tone is somewhat loftier. The interns succumb to idealism in the course of their summer tour.

He nodded when advised that, since he’s serious about his new venture, he should start talking Hollywood, starting with calling his proposal a “project.”

“A project it is,” he says. “I have some money people–is that what you call ‘em?–who are putting together this package. They’re old friends, but they’re in this to make money. They aren’t philanthropists.”

Tuck was in town last month, making the rounds with his outline/project/package. Among those who saw it was Thomas Baer, his attorney when the Watergate Committee sought–but didn’t get–Tuck’s testimony on the political pranks he pulled against Nixon.

“I saw it and he discussed it with me, but I have made no decision yet,” says Baer, now an independent producer at Orion. And, he adds, “Anything he shows me I’ll look at carefully from every aspect, including whether he really owns it.”

(An affectionate jest. But Baer seriously wishes that his friend–regardless of what happens with “Blues”–could find employment of some sort in Hollywood. It would enliven the hamlet no end, he says, and “what he could do boggles the mind.”)

Tuck’s fame as a leg-puller on the Democratic side is chiefly due to his history of capers against Nixon, whose mind first was boggled by Tuck during Nixon’s 1950 Senate race against Rep. Helen Gahagan Douglas–for whom Tuck worked while a student at UC Santa Barbara.

Nixon’s campaigners, unaware of Tuck’s ties to Douglas, asked him to do advance work for a campus visit by Nixon. Tuck happily agreed. He booked a huge hall but only invited a handful of people. It is said that Nixon was so displeased at the tiny turnout that he fired Tuck, who was to continue bedeviling Nixon for years.

The prankster, whose dossier also includes a stint as political affairs editor of National Lampoon magazine, has himself run for public office. Just once, though.

The year was 1966, the office the state Senate district encompassing downtown Los Angeles. His allies put up billboard signs that said: “The job needs Tuck and Tuck needs the job.” For some reason, he did not win.

In a now-classic concession speech, the candidate had this to say: “The people have spoken, the bastards.”

Tuck, 61, concedes that it won’t be easy to persuade the titans of Tinseltown that his proposed film is no prank: “I would have trouble convincing anybody that anything I’ve ever done is serious–except Richard Nixon.”

But his movie is the real McCoy, he says, and “if it has any message at all, it is that Washington should not be taken too seriously.” He deplores life as it now exists there, says its current crop of inmates are a pretty drab, humorless lot indeed.

He attributes this to the fact that government now has become a full-time career, that the day of the citizen-participant is no more, that politicians, once ensconced in Washington, rarely leave because they think they are engaged in Serious Business.

He wishes everyone there would heed the advice that a friend of his, former Sen. Clair Engle (D-Calif.), once gave him. “He told me, ‘When you go to Washington, take two clean shirts. When they’re dirty, go home.’

“I think air conditioning ruined Washington,” Tuck mused. “Before it, during those muggy summers, everybody went home.”

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The huge new Eden Project attraction set to open in overlooked UK seaside town

A NEW Eden Project attraction is opening in a seaside town – although the latest plans show a much smaller one that previously announced.

Eden Project Morecambe in Lancaster is set to cost £100million and include two shell-shaped domes with gardens inspired by the coast.

Eden Project Morecambe plans have been updated to include two domes instead of fourCredit: Lancaster City Council
It comes after discussions and feedback from locals, residents and councillorsCredit: Lancashire County Council

In the most recent plans, the proposal for Eden Project Morecambe has been updated and submitted to Lancaster City Council.

The changes to the new attraction came after both residents and councilors raised concerns over the impact it would have on some of the nearby landmarks such as the Midland Hotel and Winter Gardens venue, as well as the rising costs.

Plans originally approved in 2022 included four domes, but now the plan includes only two domes which will be called Realm of the Sun and Realm of the Moon.

The Eden Project previously said that the Realm of the Sun will be “a bright, tropical landscape of the near future where humans have discovered how to heal and re-engage with the broken rhythms of the natural world around them”.

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The Realm of the Sun is planned to adapt to both the hot and cold seasons too.

Plans also revealed that in the Realm of the Sun, there will be vertical plants, hanging mini gardens, a multi-sensory area, a cascading waterfall, a 20-metre Elder Tree sculpture and a ‘Town Square’, but it is unclear how much of this will now go ahead.

As for the Realm of the Moon – it will be a darker space, with a “hyper-real rock pool” that has sped-up cycles of tides.

The two domes will then be connected by an area called Metronome, where visitors will be able to purchase tickets from.

Changes to the plans also mean there will be more outside areas with coastal plants and links to animals and human life.

According to the BBC, the report states: “The proposal continues to be a major new mixed-use attraction in Morecambe.

“It will combine a range of indoor and outdoor experiences, all based on connecting people with Morecambe Bay.

“The applicant has also engaged with other organisations particularly in relation to ecology, cultural heritage and transport.”

Original plans feature four domes, now the site will have just two – The Realm of the Sun and The Realm of the MoonCredit: Eden Project International

The first phase that will be built is a community space spanning 1.5 acres and called Bring Me Sunshine.

The space will be inspired by the landscape and seaside.

In addition, there will be a 750-capacity Tidal Theatre, 300-capacity restaurant and a shop.

To prevent flood damage, the revised plans include a new landscaped garden and sea defence area, that will wrap around the attraction by the beach and feature raised walkways.

The full attraction is expected to open to the public in 2028, after being pushed back from 2026.

Once the attraction does open, visitors will be able to interact with different exhibits including living structures, participate in storytelling sessions and try out workshops.

Many elements remain the same though, including plans for the attraction to host eight concerts or events a yearCredit: Grimshaw Global

In total, eight concerts or events are planned for Eden Project Morecambe each summer, set to each attract 6,000 people.

The new attraction will be sat right by the beach on the former site of the Bubbles Leisure complex.

Original plans included three outdoor gardens, named All Seasons Garden, the Bring Me Sunshine Garden and the Rhythm Gardens.

And it isn’t the only new Eden Project site set to open in the UK – there are also plans to open an Eden Project in Dundee.

In the meantime, Morecambe itself is a pretty seaside town to explore and it is often overlooked.

It is known for having a five-mile bay with pretty sunsets over the Lakeland Fells.

If you visit on a Tuesday, Thursday, Saturday, and Sunday, make sure to check out Festival Market – it features over 70 stalls selling local goods, food and gifts.

In other attraction news, inside the new UK Pixar experience that’s the world’s biggest – it felt like being a kid stepping into Toy Story & Monsters Inc.

Plus, there’s a new one-of-kind attraction at UK’s Warner Bros Studio, which is perfect for Harry Potter nerds.

The project is expected to open in 2028Credit: Eden Project

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Inside the production company behind ‘Sinners,’ new ‘X-Files’

To say the mood at Ryan Coogler’s production company Proximity Media has been euphoric would be an understatement.

You too would be more than euphoric if your film landed in the year’s box office top 10 and set the all-time record for most Oscar nominations.

But “Sinners” wasn’t built in a day. It’s been a slow and steady ascent — call it, well, one success after another — since Coogler founded the company in 2018 with his wife Zinzi (they married in 2016) and USC film school buddy Sev Ohanian. And the director is unstinting in his praise for his partners.

“Zinzi is meticulous and detail-oriented and the one that keeps it all together,” Coogler wrote in an email to The Envelope. “She is humble and observant but is the smartest person I know and knows me extremely well. Sev is exceptional at strategy, and the most experienced producer of the three of us, which is invaluable. … Together, they act as a bridge between the creative and the business, which allows me to stay focused on the film.”

The three have been working together since Coogler’s 2013 feature debut, “Fruitvale Station,” based on the true story of Oscar Grant, a young Black man shot to death by a transit police officer in an Oakland BART station.

Bringing audiences in close proximity to stories and subject matter often overlooked forged the name of the company, which now includes feature film, television, nonfiction, music and podcasting departments.

Past film projects include the Oscar-winning “Judas and the Black Messiah,” “Space Jam” and “Creed III.”

“They are on a fast rocket with an upward trajectory for almost any project they bring to the marketplace,” said Andrew Goldman, adjunct professor of film and television at New York University’s Tisch School of the Arts. ”Every company in town will want a Proximity/Ryan Coogler project. They have cracked a formula of both critical acclaim and box-office successes.”

A recent installment of the podcast “In Proximity” featured Michael B. Jordan and Ryan Coogler getting in the weeds about the production of “Sinners,” including how Jordan distinctly portrayed twins Smoke and Stack.

Moving forward, it looks like Proximity’s sights are set on stories based on another duo: “The X-Files’” Mulder and Scully, the iconic opposites-attract FBI agents who forged a deep personal partnership while investigating strange and paranormal cases over 11 seasons on Fox, beginning in 1993 and stretching until 2018.

Warmly displaying their camaraderie and creative interdependence, Zinzi Coogler and Ohanian spilled more about their company over Zoom, including their early days, people who inspired them and how they’re adapting to the shifting media landscape.

This interview has been edited for length and clarity.

Two men hug each other, alarmed.

Michael B. Jordan, left, and Miles Caton in “Sinners.”

(Warner Bros. Pictures)

What is the origin story of how Proximity Media formed?

Ohanian: It officially became a company on April 6, 2018, over lunch in San Francisco, but the roots go back to 2008 at USC film school, where I first met Ryan Coogler. We became friends working on student films and reconnected when Ryan and Zinzi were finishing “Black Panther.” Around that time, I had just produced “Searching,” and we started talking seriously about forming a company together.

Zinzi, what made you want to partner with Sev and Ryan formally?

Coogler: After years of working with Ryan unofficially, especially on “Fruitvale Station,” we knew we wanted to make it official. Sev had always impressed me with his creativity and relentless work ethic. When Ryan and I discussed founding a company, Sev was the only person we wanted to approach. Luckily, he said yes — and that’s how Proximity really began.

Did you ever imagine Proximity would grow as it has?

Ohanian: Honestly, no. Back when we were making “Fruitvale Station,” we were just trying to get the movie finished. But looking back, it feels inevitable because we’ve put in years of steady work and built strong relationships in the industry.

Coogler: We couldn’t have foreseen this success. But the foundation of our collaboration — our shared belief in storytelling and craftsmanship — has never changed since those early days.

What projects are you most excited about now?

Ohanian: Last year was a landmark one. We released “Sinners,” had streaming hits like “Ironheart” and “Eyes of Wakanda,” and launched Season 3 of our “In Proximity” podcast. We also have several documentaries and new TV shows in development, plus a long-rumored “X-Files” project that’s close to launching.

Tell us about the atmosphere within the company.

Coogler: There’s a lot of laughter between the three of us — Ryan, Sev, and me. In our early days, someone once asked, “Can I get the real name of your company?” We cracked up at that and recorded the moment. It keeps us humble and reminds us how far we’ve come.

How did you approach producing “Sinners?”

Coogler: It was our first time being sole producers on something Ryan wrote and directed. We saw it as a big moment for Proximity — a chance to support Ryan’s creative vision from start to finish.

Do you have defined roles within Proximity?

Ohanian: Roles shift depending on the project. We each bring different strengths — Ryan as director, me from the indie film side, and Zinzi with her broad experience and steady leadership. We’ve built a team of about 20 people who’ve grown with us, including some who started as assistants and are now producers.

Did other production companies serve as an inspiration?

Coogler: We’ve leaned on amazing mentors — Jim Morris at Pixar, Kevin Feige and Lou D’Esposito at Marvel, and Charles King at Macro. Their guidance shaped how we lead and structure our company.

Looking ahead, how is Proximity adapting to the changing media landscape?

Ohanian: Change has been constant since day one — recessions, strikes, streaming shifts. We stay adaptable through yearly retreats, often at Pixar, to reassess our strategy and think creatively about the future.

How do relationships like the one with Michael B. Jordan influence your work?

Coogler: Michael’s family to us. We’ve been through so much together — from “Fruitvale Station” to “Creed III” and “Sinners.” That trust and history make the work special every single time.

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Judge orders Trump to restore funding for rail tunnel

A federal judge has ordered the Trump administration to restore funding to a new rail tunnel between New York and New Jersey, ruling just as construction was set to shut down and amid reports that President Trump was withholding the money unless Democratic Senate leader Chuck Schumer saw to it that Penn Station and Washington Dulles International Airport were renamed in the president’s honor.

The administration had sought to pressure Schumer (D-N.Y.) to help get the facilities renamed for Trump in exchange for releasing the money to fund the massive infrastructure project, according to the New York Times, citing top administration officials.

The judge’s decision Friday came months after the administration announced it was halting $16 billion in support for the project, citing the then-government shutdown and what a top federal budget official said were concerns about unconstitutional spending around diversity, equity and inclusion principles.

U.S. District Judge Jeannette A. Vargas in Manhattan approved a request by New York and New Jersey for a temporary restraining order barring the administration from withholding the funds while the states seek a preliminary injunction that would keep the money flowing while their lawsuit plays out in court.

“The Court is also persuaded that Plaintiffs would suffer irreparable harm in the absence of an injunction,” the judge wrote. “Plaintiffs have adequately shown that the public interest would be harmed by a delay in a critical infrastructure project.”

The White House and the Department of Transportation did not immediately respond to emails seeking comment Friday night.

New York Atty. Gen. Letitia James called the ruling “a critical victory for workers and commuters in New York and New Jersey.”

“I am grateful the court acted quickly to block this senseless funding freeze, which threatened to derail a project our entire region depends on,” James said in a statement. “The Hudson Tunnel Project is one of the most important infrastructure projects in the nation, and we will keep fighting to ensure construction can continue without unnecessary federal interference.”

The panel overseeing the project, the Gateway Development Commission, had said work would stop late Friday afternoon because of the federal funding freeze, resulting in the immediate loss of about 1,000 jobs as well as thousands of additional jobs in the future.

It was not immediately clear when work would resume. In a nighttime statement, the commission said: “As soon as funds are released, we will work quickly to restart site operations and get our workers back on the job.”

The new tunnel is meant to ease strain on an existing one that is more than 110 years old and connects New York and New Jersey for Amtrak and commuter trains, where delays can lead to backups up and down the East Coast.

New York and New Jersey sued over the funding pause this week, as did the Gateway Development Commission, moving to restore the Trump administration’s support.

The suspension was seen as a way for the Trump administration to put pressure on Schumer, whom the White House was blaming for a government shutdown last year. The shutdown was resolved a few weeks later.

Speaking to the media on Air Force One, Trump was asked about reports that he would unfreeze funding for the tunnel project if Schumer would agree to a plan to rename Penn Station in New York and Dulles International Airport in Virginia after the president.

“Chuck Schumer suggested that to me, about changing the name of Penn Station to Trump Station. Dulles airport is really separate,” Trump responded.

Schumer responded on social media: “Absolute lie. He knows it. Everyone knows it. Only one man can restart the project and he can restart it with the snap of his fingers.”

At a hearing in the states’ lawsuit earlier in Manhattan, Shankar Duraiswamy of the New Jersey attorney general’s office told the judge that the states need “urgent relief” because of the harm and costs that will occur if the project is stopped.

“There is literally a massive hole in the earth in North Bergen,” he said, referring to the New Jersey city and claiming that abandoning the sites, even temporarily, “would pose a substantial safety and public health threat.”

Duraiswamy said the problem with shutting down now is that even a short stoppage would cause longer delays because workers would be laid off and go off to other jobs and it would be hard to quickly remobilize if funding becomes available. And, he added, “any long-term suspension of funding could torpedo the project.”

Tara Schwartz, an assistant U.S. attorney arguing for the government, disagreed with the “parade of horribles” described by attorneys for the states.

She said that the states had not even made clear how long the sites could be maintained by the Gateway Development Commission. So the judge asked Duraiswamy, and he said they could maintain the sites for a few weeks and possibly a few months, but that the states would continue to suffer irreparable harm because trains would continue to run late because they rely on an outdated tunnel.

Izaguirre and Collins write for the Associated Press and reported from New York and Hartford, Conn.

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Saudi Arabia launches ‘camel passport project’ to regulate sector – Middle East Monitor

Saudi Arabia has launched a project to issue passports for camels, in a move seen as a “qualitative step” to regulate the sector and strengthen the kingdom’s credibility in local and international markets, the government said on Wednesday, Anadolu reports.

A statement by the Saudi Ministry of Environment, Water and Agriculture said Deputy Minister Mansour bin Hilal Al-Mushaiti inaugurated the camel passport project Tuesday evening.

The initiative is designed to organize the camel sector, document identity and improve service efficiency while enhancing market trust domestically and internationally, the ministry said.

The project seeks to record camels’ data, ownership and breeds and link them to verified health and regulatory information, making the passport an officially recognized reference that supports more efficient services, the statement added.

READ: Saudi minister denies claims of refusal to receive UAE’s deputy ruler

The camel passport serves as a comprehensive identification document, containing a microchip number, passport number, the camel’s name, date of birth, breed, sex, color, place of birth, and date and place of issuance, as well as photographs of the animal from both sides to ensure accurate identification, the ministry said.

It also includes a dedicated vaccination table that clearly documents veterinary immunization records, certified by the name, signature and stamp of the veterinarian, according to the statement.

The ministry said the passport will help regulate sales and trading by tightening controls over camel sales, transport and official documentation.

In a census released in June 2025, the ministry said the total number of camels in the kingdom reached 2,235,297 heads.

Saudi Arabia ranks among the world’s top camel-owning countries, with an estimated 80,000 owners, according to unofficial figures.

READ: Saudi Arabia: Citizens can invite Muslim friends abroad for Umrah on new visa

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Trump to launch $12 billion rare earth mineral stockpile ‘Project Vault’

Feb. 2 (UPI) — President Donald Trump plans to launch a $12 billion stockpile of rare earth minerals to curb U.S. dependence on China.

The project is called Project Vault and it will be funded by a $10 billion loan from the U.S. Export-Import Bank and about $1.67 billion in private capital.

Trump’s plan seeks to procure and store rare-earth minerals that are critical to the automotive, defense, and tech industries. Minerals would be stored for use by U.S. manufacturers.

Some critical minerals that are of interest to tech companies and electric vehicle manufacturers include cobalt, lithium, titanium, silicon, nickel and graphite.

Rare earth minerals have been a focus of Trump’s during his second term. The White House said the United States was reliant on imports of minerals in 2024. Trump has since used mineral acquisition as a key point of international negotiations.

The president has also eyed Greenland for its mineral deposits. He recently alluded to invading Greenland and raising tariffs but walked back that rhetoric at the World Economic Forum last month.

Some companies that are expected to be involved in the Project Vault stockpile include General Motors, Stellantis, Boeing and Google.

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How ‘KPop Demon Hunters’ unlocked Netflix’s Grammy possibilities

As it turns out, ‘80s pop star Kate Bush and fictional girl group Huntr/x from “KPop Demon Hunters” have a lot in common.

Over the last several years, Netflix has positioned itself as one of the few video streaming services focused on making an impact in the music industry.

From the surprise revival of older songs like Bush’s “Running Up That Hill” and Metallica’s “Master of Puppets” in shows like “Stranger Things,” to streaming the most originally produced music documentaries, there’s no doubt Netflix’s audience is musically in tune.

Last summer Netflix hit another level with the overwhelming success of “KPop Demon Hunters.” The animated movie, featuring fictional K-pop idols who fight the forces of evil, has become the most streamed Netflix movie with more than 480 million views since its release in June. But its success wasn’t limited to the viewership.

The soundtrack, full of punchy K-pop melodies and inescapable earworms, is the first to top the Billboard charts since 2022, when Disney’s “Encanto” created a similar frenzy. Huntr/x is also up for five Grammys at the awards ceremony Sunday.

The breakout single, “Golden,” which spent eight weeks at No. 1 on the Billboard Hot 100, is nominated for song of the year, the first time a Netflix production has been nominated in one of the Grammys’ big four categories.

Music and movies always have enjoyed a symbiotic relationship. Think of classic tunes like “Over the Rainbow” in “The Wizard of Oz” and “My Heart Will Go On” in “Titanic” that became generational hits.

Now, Netflix and other global streaming platforms have taken the synergy to another level, creating new opportunities for recording artists to showcase their music.

“All of a sudden, people are discovering music they didn’t know before,” said Ian Eisendrath, the “KPop Demon Hunters” music supervisor. “I think that people got hooked on the film, which hooked them on the soundtrack, which led to the discovery of other music.”

Eisendrath said the movie, produced by Culver City-based Sony Pictures Animation, was not expected to be “a slam dunk commercial success. It was a risk.”

Though geared toward children, the movie drew a vast audience of all ages.

“It hit all kinds of angles, the music, the story, the characters, the visuals — [Netflix] was very interested in a film that would have wide-ranging appeal to all the quadrants of movie watchers,” Eisendrath said.

In the streaming era, music supervisors like Eisendrath play an increasingly important role in the success of projects like “KPop Demon Hunters,” said Robert Fink, the chair of music industry programs at UCLA’s Herb Alpert School of Music.

He said over the last 10 years, the role has become about more than just finding a song to match a scene.

“They nurture artists in the way that record labels used to do,” Fink said. “They have artists that nobody knows about, or can get some people to write songs for [the project], which might then become a way that those artists and those songs become successful in the industry.”

The singing voices behind Huntr/x aren’t those of the lead actors. They belong to rising musicians Ejae, Audrey Nuna and Rei Ami. Ejae has written songs for major K-pop groups like Twice, Le Sserafim and Red Velvet, while Nuna and Ami have experience as solo artists.

Though they weren’t a group before the film, they have since performed together on the “The Tonight Show Starring Jimmy Fallon,” “Saturday Night Live” and in the Macy’s Thanksgiving Day Parade.

The soundtrack earned global appeal, with more than two thirds of its streams originating from outside the U.S., according to data from entertainment industry analytics firm Luminate. “Golden” scored a record 20 weeks at No. 1 on the Billboard Global charts. The popularity of the movie and its music helped boost music consumption on a global scale.

“KPop Demon Hunters” already is faring well this awards season: It won two Golden Globes and received two Oscar nominations for best animated feature and original song.

Justin Kamps, the music supervisor on “Bridgerton,” noticed a similar trend when new seasons of the Regency-era romance series drop. The period piece is famous for playing quaint orchestral covers of contemporary pop artists such as Billie Eilish, Pitbull and BTS. Its latest season is set to feature covers of Third Eye Blind, Coldplay and Usher.

According to Spotify, both the Vitamin String Quartet, the group behind the covers, and the original artists’ songs, like Eilish’s “Happier Than Ever” and BTS’ “Dynamite,” experienced spikes in listening after the show’s release.

“Music and streaming has grown together. It’s great for artists, because the moment that a song is featured in a project, it could be an incredible boost to their streaming numbers and get them discovered,” Kamps said.

Perhaps one of the most memorable examples of this dynamic happened in 2022, when “Stranger Things” featured Bush’s “Running Up That Hill.” Overnight, everything changed for both Bush and Netflix.

Nora Felder, the show’s music supervisor, called the moment “the perfect storm.”

“It exploded through the stratosphere. We didn’t expect that. We were focused on looking for something that told the narrative. It felt like it had been bigger than ever before,” Felder said.

“Running Up That Hill” received roughly 22,000 daily streams on average before it was featured in the show, according to Luminate. Following its star turn, the song it peaked at 5.1 million streams in a single day — nearly 40 years after its release. It entered the Billboard Hot 100 for the first time and hit 1 billion streams in 2022. The track then spawned viral trends on TikTok and pulled the ‘80s star into contemporary pop culture.

Throughout its five-season rollout, “Stranger Things” continued to influence what viewers were listening to. Felder said the draw of its soundtrack is a mix of nostalgia for older viewers who might have grown up in the ‘80s (the era in which the show is set) and an introduction to a new sonic world for younger listeners. According to Luminate, 28% of Gen Z discovers music through series that are exclusive to streaming.

When Felder works with other studios, she said music can feel like a “last consideration” or like “there wasn’t enough money being put in the music budget.” But with Netflix, music seems to be a priority, as she’s been able to license tracks from David Bowie and Fleetwood Mac and two Prince songs (which played in the “Stranger Things” series finale).

“Netflix is very careful, and for some projects, music is more of a main character than others,” Felder said. “I do feel like Netflix especially has been very careful to try and apply the budget accordingly and take a look at projects and [realize] that music could really be an added force.”

Netflix’s musicality will be put to the test during Sunday’s Grammys broadcast, as the girls of Huntr/x face off with Lady Gaga, Sabrina Carpenter, Kendrick Lamar and SZA, as well as Bad Bunny, Bruno Mars and Rosé. The Grammys will air live from the Crypto.com Arena on CBS and Paramount+.

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Over 100 Latinos sign open letter to Hollywood for ‘Deep Cuts’ fiasco

Eva Longoria, John Leguizamo and Xochitl Gomez are among the 100-plus Latino actors, artists and creatives who have signed an open letter calling for accountability in Hollywood — citing longtime discrimination in casting and storytelling.

The public statement follows the controversy surrounding Odessa A’zion, who dropped her role as a Latina character in Sean Durkin’s “Deep Cuts,” following online backlash over the actor herself not being Latina.

“Recent casting decisions around the character Zoe Gutierrez in A24’s ‘Deep Cuts’ have exposed a troubling pattern,” the letter states. “We acknowledge and commend Odessa A’zion for listening, reflecting and deciding to exit the project and become an ally. Yet how did this happen?”

Earlier this week, the Wrap revealed that the “I Love L.A.” and “Marty Supreme” breakout star was cast as Zoe Gutierrez in the A24 film adaptation of Holly Brickley’s music-filled coming-of-age novel. The character’s identity plays an important role in the book, as she is written as a half-Mexican and half-Jewish lesbian.

Though the 25-year-old announced Wednesday night that she had dropped the role — admitting through her Instagram stories that she had not yet read the book, nor learned of all the character’s traits — the incident has unearthed questions about Latino representation in Hollywood.

“This isn’t about Odessa,” said Xochitl Gomez to The Times on Friday. “It’s about the executives, the producers and the whole system at the top. They thought it was OK to not even audition Latinas for the role in the first place. Latinas were pitched, including me, but we were told that there was an actress with an exclusive offer. This role never showed up on the casting grid because it was already gone.”

Xochitl Gomez attends "REBBECA" LA Premiere on November 30, 2025 in Los Angeles, California.

Xochitl Gomez attends “REBBECA” LA Premiere on November 30, 2025 in Los Angeles, California. (Photo by JC Olivera/Getty Images for State of the Art)

(JC Olivera / Getty Images for State of the Art)

According to UCLA’s 2025 Hollywood Diversity Report, Latinos were cast in only 1% of the leading roles in the top 104 English-language films released theatrically in 2024, despite constituting roughly 20% of the total U.S. population.

In TV, representation is just as stark. Latinos are cast in only 6% of all roles across the top U.S. broadcast series, as per a recent study by ¡Pa’lante! — a Latino representation initiative from the USC Norman Lear Center — which also found that 1 in 4 Latino characters are depicted as career criminals.

“The absence of Latina audition opportunities, and the choice to replace a clearly Latina character with a non-Latina actress, signals a broader, ongoing erasure of our community from the stories that define our culture,” the letter continues. “This is not about any one actor or project. It is about a system that repeatedly overlooks qualified Latino talent even as our identities, histories, and experiences fuel the most enduring stories.”

The signatories request that Latino actors be hired for a diverse range of roles, including non-stereotypical leads. There is also a demand for more Latino executives to be involved in green-lighting projects and the inclusion of Latino consultants, writers and producers from the earliest stages of development. Finally, there is a call on Hollywood to create mentorship, scholarships and opportunities that expand access on all levels of the ecosystem.

This plea by marginalized creatives is not the first pushback — nor likely the last — against a stagnant Hollywood machine.

As early as the 1920s, the portrayal of Latinos was so negative that the Mexican government, and even Woodrow Wilson reportedly told Hollywood producers to “please be a little kinder to the Mexicans.”

In 1999, the National Hispanic Media Coalition (NHMC) and the National Assn. for the Advancement of Colored People (NAACP) called for the boycott of broadcast networks’ 26 new fall series because they did not feature a non-white lead, sparking dialogue over the diversity of Hollywood at the time.

Comedian Chris Rock blasted the industry in a 2014 essay for its omission of Mexicans in Los Angeles, where nearly half of the population is Latino: “You’re in L.A., you’ve got to try not to hire Mexicans.”

Rep. Joaquin Castro (D-Texas) — who in recent years has nominated several Latino-focused films to the Library of Congress National Film Registry — also penned a 2020 column in Variety, underscoring the dearth representation of Latinos in entertainment and the consequences of omission. “Prejudice has existed in the United States for generations, but the image of our community created by film and television has done little to counter bigoted views, and too often has amplified them.”

Another letter published in October 2020 with over 270 showrunners, creators, television and film writers signatures — including Lin-Manuel Miranda and “One Day at a Time” co-creator Gloria Calderón Kellett — called for systemic change in the industry. “We are tired,” they wrote.

The pushback continued in 2022, when actor Leguizamo penned an open letter in The Times about the history of Latino representation and the co-option of Latino stories — including that of Mexican revolutionary Emiliano Zapata, who was portrayed by a brownface Marlon Brando in the 1952 film “Viva Zapata!,” and Al Pacino, who played the fictional Cuban character Tony Montana in the 1983 film “Scarface.”

Wrote Leguizamo, “There’s a fix for this: Cast more Latinos!”

Read the full open letter below.

Dear Casting Directors, Creative Executives, Writers, Producers, and Hollywood Leaders,

We write to you with urgency, because storytelling is humanity’s compass and Hollywood wields all the power. The stories you choose to tell, and how you tell them, shape public perception, cultural understanding, and who gets to see themselves reflected on screen. In these challenging moments that power comes with real responsibility.

Recent casting decisions around the character Zoe Gutierrez in A 24’s Deep Cuts have exposed a troubling pattern. We acknowledge and commend Odessa A’zion for listening, reflecting and deciding to exit the project and become an ally. Yet how did this happen? The absence of Latina audition opportunities, and the choice to replace a clearly Latina character with a non-Latina actress, signals a broader, ongoing erasure of our community from the stories that define our culture. This is not about any one actor or project. It is about a system that repeatedly overlooks qualified Latino talent even as our identities, histories, and experiences fuel the most enduring stories.

Latino communities are already underrepresented and misrepresented in ways that distort reality and harm real people. Casting decisions carry real weight: they influence who is seen as worthy of authentic storytelling and who gets to tell those stories with care, nuance, and authority.

We are calling for accountability, intentionality, and equity in casting and storytelling. Authentic representation means more than casting a performer who looks like the character; it means involving the communities being portrayed not just in front of the camera, but in the decisions that shape these stories from their inception. Our stories deserve to be shaped with the input, guidance, and leadership of Latino creators, consultants, writers, and performers at every stage.

We implore you to join us in concrete action:

  • Audition and hire more Latino actors for a diverse range of roles, including non-stereotypical leads
  • Hire Latino executives in your greenlighting rooms
  • Include Latino voices as consultants, writers, and producers from the earliest stages of development
  • Create and support pipelines: mentoring, scholarships, and opportunities that expand access all levels of the ecosystem

The world is watching.

Aaron Dominguez

Aitch Alberto

Alex Lora

Alma Martinez

Amanda Diaz

Ana Navarro Cardenas

Andrea Chignoli

Angel Manuel Soto

Angelique Cabral

Anna Terrazas

Annie Gonzalez

Antonio Negret

Becky G

Benjamin Odell

Brandon Guzman

Brandon Perea

Bricia Lopez

Camila Baquero

Carla Gutierrez

Carla Hool

Carlo Siliotto

Carlos Eric Lopez

Carlos Gutierrez

Carlos Lopez Estrada

Chrissie Fit

Christian Serratos

Cierra Ramirez

Cristina Rodlo

Cyria Fiallo

Daniella Pineda

Danny Ramirez

David Castenada

Desi Perkins

Diego Boneta

Edgar Ramirez

Edher Campos

Eiza Gonzalez

Elisa Capai

Elsa Collins

Emilie Lesclaux

Ennio Torresan

Enrique Melendez

Eva Longoria

Fabrizio Guido

Felipe Vargas

Fernando Garcia

Flavia Amon

Flavia De Sousa

Francia Raisa

Gabriela Maire

Gina Rodriguez

Gloria Calderon Kellett

Gregory Diaz IV

Ilda Santiago

Isabella Gomez

Isabela Merced

Isabella Ferria

Isis Mussenden

Ismael Cruz Cordova

Ivette Rodriguez

Jacob Scipio

Javier Munoz

Jazmin Aguilar

Jesse Garcia

Jessica Alba

Jesus Pimental-Melo

Jillian Mercado

John Leguizamo

Jose Velazquez

Juan Pa Zurita

Julio Macias

Justina Machado

Karrie Martin Lachney

Kate Del Castillo

Klaudia Reynicke

Kylie Cantrall

Leo Gonzalez

Lisette Olivera

Lorenza Munoz

Luca Castellani

Lucila Moctezuma

Lucy Barreto

Lynette Coll

Maia Reficco

Marcel Ruiz

Maria Legarda

Mariana Oliva

Mariem Perez Riera

Marvin Lemus

Mauro Mueller

Mayan Lopez

Melissa Barrera

Melissa Fumero

Melissa Martinez

Michael Cimino

Michael Pena

Miguel Mora

Mishel Prada

Monica Villarreal

Natalia Boneta

Natalie Chaidez

Natalie Morales

Nava Mau

Naz Perez

Nezza (Vanessa Hernandez)

Neysa Bove

Nicolas Celis

Nicole Betancur

Orlando Pineda

Patricia Cardosa

Patricia Riggen

Patty Rodriguez

Paulina Garcia

Petra Costa

Rafael Agustin

Rafael Cebrian

Ramon Rodriguez

Rene G. Boscio

Robin De Jesus

Rodrigo Teixeira

Rudy Mancuso

Ruy Garcia

Sierra Ornellas

Stephanie Beatriz

Tonatiuh Elizarrarz

Tony Revolori

Victoria Alonso

Xochitl Gomez

Xolo Mariduena

Yareli Arizmendri

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Massive project to analyze space signals to end; hunt for ‘ET’ goes on

1 of 4 | Scientists from the University of California at Berkeley are using the 500-meter Aperture Spherical Telescope in China to check out a final batch of 100 candidate “ET” radio signals detected through the “SETI@home” program. File Photo by STR/EPA

ST. PAUL, Minn., Jan. 30 (UPI) — One of the longest-running searches for extraterrestrial life is coming to end this year as U.S. scientists wrap up a popular program that enlisted millions of home computer users to analyze radio signals received from space.

After years poring through immense amounts of generated data, the program’s co-founders at the University of California at Berkeley told UPI this week they are probing 100 detected signals deemed to be the best candidates for messages from “ET” before the effort is wrapped up for good, 27 years after it was launched.

But even though the “SETI@home” project has so far failed to record a “first contact” from an alien civilization, its leaders say valuable lessons have been learned that can be applied to the continuing hunt for beyond Earth.

SETI@home, short for Search for Extraterrestrial Intelligence, was launched in 1999 by scientists at UC Berkeley who over the course of two-plus decades enlisted more than 5 million “crowdsourced” volunteers willing to donate their home computers’ processing capacity to analyze data generated by momentary energy blips picked up by the Arecibo Observatory in Puerto Rico.

It was one of the pioneering efforts at distributed computing in an era before supercomputers and high-speed Internet connections. Under the project, home users downloaded and installed free software that could pick out signals deemed to be “ET” candidates from raw data supplied by the 1,000-foot radio telescope at Arecibo, which collapsed in 2020

The observatory was damaged by Hurricane Maria in 2017 and rebuilt, but it met its end a little more than three years later because filled spelter sockets that anchored the massive support cables had been undergoing long-term chemical and mechanical degradation.

The data was collected over a period of 14 years and covered almost the entire sky visible to the telescope as its operators performed other tasks, such as mapping solar system bodies and discovering pulsars.

From its data, the home computer users ultimately produced 12 billion detections. The vast majority turned out to be radio frequency interference from man-made sources, such as satellites and earthbound radio and television broadcasts, but researchers for years continued to doggedly plow through the possibilities.

Billions of “candidate” radio signals narrowed to final 100

Project co-founder David Anderson of UC Berkeley’s Space Sciences Laboratory said he and his team spent a decade narrowing down that massive list to 1 million candidates and then to a final 100, which are now being investigated using China’s 500-meter Aperture Spherical Telescope, also known as FAST, in hopes of finding them again.

And after that’s completed, the long-running program will officially be a wrap, in part because it has now reached point of diminishing scientific returns.

“The output of the first two phases of SETI@home were millions of what we call signal candidates, which are basically collections of momentary bursts of energy from the same place in the sky at about the same frequency, but possibly spread over many years,” Anderson told UPI.

“And of course, there was a lot of work involved in removing the man-made interference from from these things and ranking them, because at some point we had to go through them and manually inspect the signal candidates to get rid of the ones that are obviously interference.

“A lot of that we could do by using computer algorithms we developed, but in the end, we had to look at these signals ourselves.”

To guide the development of those algorithms, Anderson and his team used artificial candidates, or “birdies,” that modeled persistent ET signals within a range of power and bandwidth parameters. The birdies were introduced blindly, allowing the team to gauge how sensitive their detection system was.

The only reason they were able to generate the initial billions of candidate signals was due to the small processors provided the home-based volunteers, whose response at the start of effort in the late ’90s was overwhelming, Anderson said.

“Whether there is extraterrestrial life is kind of the most important unanswered scientific question at this point, and so I think we knew that we’d get some users,” he said. “We banked on, I think, 50,000 people initially, which we thought we’d need to keep up with the stream of data from Arecibo.

“We got a lot of national media coverage at right at the beginning, and within the first year we had close to 1 million participants. We actually had to scramble to figure out ways to use that surplus of computing power effectively.”

UC Berkeley research astronomer Eric Korpela, another co-founder of the program, said he felt a keen “sense of accomplishment” with SETI@home, both in the sense of technical achievements — such as in vastly increasing the sensitivity of signal detection over existing spectroscopic methods — and in how it demonstrated the intensity of worldwide public interest in the search for ET.

“We encountered a lot of resistance from the SETI community when we first started started this,” he told UPI. “Whenever you start a project with a large public-facing component, there’s always the fear in a lot of peoples’ minds that you are going to do something wrong and you’re going to turn people off the entire field.

“But, of course, I think that wasn’t the case. Instead, this really engaged the public imagination, and I don’t think that we’re necessarily done with that. Someone could again tap into that sense of fascination that people have about the search for extraterrestrial life.”

Many people still want to have a connection to this sort of science, Korpela said, adding, “I think that is really a large part of our legacy.”

Others praise, assess impact of SETI@home

Other researchers and organizations deeply involved in the search for extraterrestrial life also praised the accomplishments and legacy of SETI@home as it wraps up its mission.

One of them is the National Science Foundation National Radio Astronomy Observatory and Green Bank Observatory in West Virginia, trailblazers in radio astronomy and operators of Breakthrough Listen, described as the largest ever scientific research program aimed at finding evidence of civilizations beyond Earth.

Observatory public information officer Jill Malusky noted that her organization and UC Berkeley’s SETI Research Center worked together on SETI@home, and that its winding down won’t sever that relationship.

“The NSF NRAO/GBO are big supporters of citizen science projects, and we’re excited about the impact of SETI@home’s legacy through the tireless work of its volunteers, and for the public recognition SETI can bring to efforts like these,” she told UPI.

“The search for techno-signatures and extraterrestrial life is a very exciting part of the scientific research that the NSF NRAO’s telescopes can do — and it’s one of the accessible areas for the public to understand.”

Most staffers who work at the West Virginia observatories were drawn there “by the same curiosity we all have when we look up at the universe — are we the only ones here? Is anyone else out there?” she said.

“While what we find with our telescopes may not be as dramatic as we hope, like a sci-fi movie, it’s still exciting to have our work overlap with the search.”

Similarly, prominent astrobiologist and SETI researcher Douglas Vakoch said SETI@home revolutionized the search for life in the universe by solving one of the greatest challenges of looking for intelligence in space, and that by doing so “directly inspired a new generation of researchers who are attempting first contact by sending powerful radio messages to the stars.”

Vakoch is president of METI International, a nonprofit research and educational organization dedicated to messaging extraterrestrial intelligence, and editor of many academic works in several fields.

He told UPI that SETI@home was a breakthrough in that it was able to combine “mainstream astronomy” with the search for extraterrestrials, which researchers must “constantly struggle to justify” as they seek precious telescope time.

“With SETI@home, scientists did both,” Vakoch said. “As astronomers pointed the Arecibo radio telescope at targets of their choice, SETI@home also analyzed the incoming data, but this time for signals that can’t be created by nature. SETI@home was designed so scientists could conduct mainstream astronomy and simultaneously determine whether we’re alone in the universe.”

in that way, instead of becoming an obstacle to astronomers seeking time on the world’s largest radio telescope, SETI@home “helped foster public support and recognition for space science.”

Its greatest legacy, he said, is that it is now “guiding the next generation of interstellar communication,” including Vakoch’s own METI project, which rather than listening for radio signals from space as SETI does, reverses the process by sending powerful radio signals to nearby stars in the hope of eliciting a response from an advanced civilization.

Despite thus far coming away empty-handed in the search for ET, the SETI@home project nonetheless provided many valuable insights, Anderson said.

“It was a ‘whole sky’ project that covered the everything visible from Arecibo, and there’s there’s a lot of technical things that we did, some of which were right and others we would do differently if we had to go back,” he said.

“So we learned a lot of lessons about how to do radio astronomy, and we published two papers last year describing them.”

He added that the powerful distributed computing system established for SETI@home can be used in the future for research in related areas such as cosmology and pulsars, or even for medical research.

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‘Melania’ documentary, helmed by Brett Ratner, arrives amid turmoil

When Melania Trump showed up on movie screens in 2001, it was a joke.

The former fashion model and her spouse, Donald Trump, then only a real estate mogul, played themselves in the Ben Stiller comedy “Zoolander,” about a dimwitted male supermodel. She silently looked on as her husband gushed at an awards show red carpet: “Without Derek Zoolander, male modeling would not be where it is today.”

The cameo offers a glimpse of the couple, who in 2017 would enter the White House as president and first lady. As they move past the first anniversary of their second stint in Washington, D.C., Melania has largely stayed away from the spotlight.

But this week the first lady is preparing for her close-up. She is center stage as star and executive producer in the documentary “Melania” hitting theaters Friday. Positioned as a companion to her best-selling memoir, “Melania” has been shadowed by controversy since its announcement several months ago. The project marks a comeback attempt by Hollywood filmmaker Brett Ratner, the director of the documentary, who was exiled from Hollywood in 2017 following charges of sexual misconduct by multiple women, including actor Olivia Munn. He continues to deny the accusations.

Amazon MGM Studios paid $40 million to license the project, and sources said it is spending around $35 million for marketing and promotion. Melania is skipping the traditional TV talk show circuit, opting for an appearance on Fox News, which featured an exclusive interview with her on Tuesday — her first since returning to the White House. The following day, she rang the opening bell at the New York Stock Exchange.

Trailers for the film have popped up on several networks including CNN, a frequent target of President Trump’s ire, and outdoor advertising has been installed in several major cities, including Los Angeles.

The project, which is slated to stream on Prime Video after a brief theatrical run, arrives as the president confronts sinking approval ratings and the most turbulent phase to date of his second term, which includes controversies over his handling of the economy, international relations, the demolition of the White House’s East Wing for a planned ballroom, and the long-delayed release of the Epstein files.

More pointedly, the lead-up to the official premiere, slated for Thursday at the Kennedy Center in Washington, has collided with an unexpected juggernaut: national outrage over the deadly shootings of two Minneapolis residents by federal officers carrying out his aggressive anti-immigration campaign.

The continuing protests over the deaths of Renee Good and Alex Pretti, as well as the backlash after Secretary of Homeland Security Kristi Noem and Deputy White House Chief of Staff Stephen Miller labeled them as domestic terrorists, has placed even more uncertainty over how “Melania” will fare with moviegoers.

Industry forecasters were divided on whether the film will be a hit or a bomb. Firms specializing in box office projections estimate the opening weekend will fall within the $5 million range.

“It’s very hard to predict whether people will show up, given the unique nature of the film and the marketplace,” said one veteran box office analyst who asked not to be identified.

On Wednesday, the film was pulled from theaters in South Africa, where it was slated to open on Friday, after the distributor announced it would no longer release the title, citing “recent developments,” according to a New York Times report.

Domestically, “Melania” is competing in a crowded movie weekend against the highly anticipated survival thriller “Send Help” from veteran filmmaker Sam Raimi (“Drag Me to Hell”), the horror film “Iron Lung” from popular YouTuber Markiplier (Mark Edward Fischbach), and “Shelter,” with action star Jason Statham.

A man leans in to kiss a woman on the cheek who is wearing a dark suit and wide brimmed hat.

President Trump kisses his wife, First Lady Melania Trump, during the presidential inauguration in 2025. The documentary will highlight the lead-up to the event.

(Julia Demaree Nikhinson / Associated Press)

Adding to the uncertainty on the film’s performance, the analyst said, is whether fans of Ratner, whose resume features several blockbusters including the “Rush Hour” trilogy, will show up for a documentary about the first lady. According to press notes, “Melania” follows the first lady in the 20 days leading up to the 2025 presidential inauguration as she orchestrates plans for the event and the family’s move back to the White House. The film’s trailer, released last month, does not offer much more insight.

During both of Trump’s terms in the White House, his wife has been described as mysterious and sphinx-like. Some Washington watchers have praised her for what they call her independence and individualism, while others say her accomplishments fall short of previous first ladies such as Michelle Obama, Hillary Clinton and Nancy Reagan.

Anita B. McBride, director of the First Ladies Initiative at American University, said that the position of first lady has been defined in distinct ways by every woman who has served in that capacity.

She said in an interview that the current first lady has exhibited a confident persona “that has never been defined by expectations. She now has the benefit of experience after operating during her first term in a very hostile environment. She is sure-footed with a staff that supports her, and she has made it clear that she is in control.”

The White House on Saturday hosted a VIP black-tie preview of “Melania,” with a guest list that included Amazon CEO Andy Jassy, former boxer Mike Tyson and Apple CEO Tim Cook, who this week criticized the shootings of Good and Pretti, calling for de-escalation in Minneapolis.

Rep. Alexandria Ocasio-Cortez of New York was among the politicians blasting the event, which took place hours after Pretti was killed.

“Today DHS assassinated a VA nurse in the street, [Atty. Gen.] Bondi is attempting to extort voter files, and half the country is bracing on the eve of a potentially crippling ice storm with FEMA gutted,” she wrote in a post on X. “So what is the President up to? Having a movie night at the White House. He’s unfit.”

In the interview on Fox News a few days later to promote the film, the first lady was asked about the controversy in Minneapolis.

“I’m against the violence, so please if you protest, protest in peace,” she said. “We need to unify in these times.”

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