proves

If our waking hours are a canvas, the art is how one fills it: tightly packed, loosely, a little of both. At a time when they were both 40 and the art scene in ’70s New York was in thrall to street-centered youth of all stripes, real-life writer Linda Rosenkrantz asked her close friend, photographer Peter Hujar, to make a record of his activities on one day — Dec. 18, 1974 — and then narrate those details into her tape recorder the following day at her apartment.

The goal was a book about the great mundane, the stuff of life as experienced by her talented confidants. In Hujar’s case, an uncannily observant queer artist and key gay liberation figure planning his first book, what emerged was a wry narrative of phone calls (Susan Sontag), freelancing woes (is this gig going to pay?), celebrity encounters (he does an Allen Ginsberg shoot for the New York Times) and chance meetings (some guy waiting for food at the Chinese restaurant). The Hujar transcript, recovered in 2019 sans the tape, was ultimately published as “Peter Hujar’s Day.”

Now director Ira Sachs, who came across the text while filming his previous movie “Passages,” has given this quietly mesmerizing, diaristic conversation cinematic life as a filmed performance of sorts, with “Passages” star Ben Whishaw perfectly cast as Hujar and Rebecca Hall filling out the room tone as Rosenkrantz. (They also go to the roof a couple of times, which offers enough of an exterior visual to remind us that New York is the third character getting the time-capsule treatment.)

From the whistle of a tea kettle in the daylight as Hujar amusingly feels out from Rosenkrantz what’s required of him, to twilight’s more honest self-assessments and a supine cuddle between friends who’ve spent many hours together, “Peter Hujar’s Day” captures something beautifully distilled about human experience and the comfort of others. For each of us, any given day — maybe especially a day devoid of the extraordinary — is the culmination of all we’ve been and whatever we might hope to be. That makes for a stealthy significance considering that Hujar would only live another 13 years, succumbing to AIDS-related complications in 1987. It was a loss of mentorship, aesthetic brilliance and camaraderie felt throughout the art world.

Apart from not explaining Hujar for us (nor explaining his many name drops), Sachs also doesn’t hide the meta-ness of his concept, occasionally offering glimpses of a clapperboard or the crew, or letting us hear sound blips as it appears a reel is ending. There are jump cuts too, and interludes of his actors in close-up that could be color screen tests or just a nod to Hujar’s aptitude for portraits. It’s playful but never too obtrusive, approaching an idea of how art and movies play with time and can conjure their own reality.

The simple, sparsely elegant split-level apartment creates the right authenticity for Alex Ashe’s textured 16mm cinematography. The interior play of light from day to night across Whishaw and Hall’s faces is its own dramatic arc as Hujar’s details become an intimate testimony of humor, rigor and reflection. It’s not meant to be entirely Whishaw’s show, either: As justly compelling as he is, Hall makes the act of listening (and occasionally commenting or teasing) a steady, enveloping warmth. The result is a window into the pleasures of friendship and those days when the minutiae of your loved ones seems like the stuff that true connection is built on.

When British singer Kwn (pronounced kay-one) asked her friend-collaborator Kehlani to kiss her in the video for her seductive track, “Worst Behaviour,” she knew it was going to break the internet.

With steamy lyrics like “Cut the lights, turn the bass up, we gon’ hit some notes,” the original track was already making waves online when Kwn dropped it in November. It gained even more eyes when R&B superstar and five-time Grammy nominee Kehlani hopped on the remix, which they gifted to yearning fans on Valentine’s Day.

Supporters took to social media to film their live reactions and comment on the artists’ incredibly long make-out and seemingly undeniable chemistry.

“Are … we supposed to see this? Omg,” one person said on YouTube.

“This is gonna be somebody’s awakening,” commented another.

“It’s sickening how many times I’ve replayed this video lol,” declared another.

But if you ask Kwn, the two entertainers were doing just that — entertaining. As of mid-October the video, which was directed by Chris Chance, had more than 21 million views on YouTube — a number that still shocks Kwn each time she hears it.

“I’m super happy, man. I knew that song was going to be something, and I’m glad that the world took it in just as much as I did,” Kwn says about the track that she recorded live on Instagram in her childhood bedroom in Walthamstow in east London.

Shortly after, Kwn dropped yet another chills-down-your-spine, sapphic bedroom jam, “Do What I Say,” which is the second single from her latest EP titled “With All Due Respect.” As someone who’s been making music since she was a preteen — she picked up the drums first, then attended the acclaimed East London Arts and Music school — the 25-year-old crooner says the recognition is long overdue.

“I felt like so many people were doubting me and sleeping on me, especially after [I was] dropped from my label,” says Kwn, who was let go from U.K.-based Black Butter Records in mid-2024. The direct title, “With All Due Respect,” was meant to boldly signal that she’s “not playing games anymore,” she adds.

The nine-track EP kicks off with the “bite me intro,” in which Kwn sing-raps the commanding lyrics, “I don’t want to be humble no more/Baby, bite, bite, bite me/Bite me, bite me.” This confident energy carries throughout the project including on the EP’s second feature with fellow London girl group, Flo — whom Kwn calls this generation’s Destiny’s Child — on the sensual “Talk You Through It.”

Kwn is kicking off the U.S. and Canada stretch of her With All Due Respect tour in Los Angeles on Tuesday at the Echo, which also marks her first ever headlining tour. Ahead of the sold-out L.A. show, she phoned in from London to share what she learned from touring with Kehlani, why she thinks artists should share their creative process and why she’s much more than just that viral moment. And cough cough, there’s more music on the way.

This interview has been lightly edited for length and clarity.

“I’m really just being myself on stage and letting my personality out. So I think that’s what’s captivating people, which I’m glad about,” Kwn said.

(Michelle Helena Janssen)

You started making music when you were about 11 years old after your older sister took you to her friend’s at-home studio. How exciting was it for you to be learning how to lay tracks and produce tracks at such a young age?

I feel like it was always destined, to be honest. My nan showed me a video the other day of me tapping pens on the table and making beats from a super young age. I was probably like 9 or 10, and then my mom bought me a drum kit when I was super young as well. So that was the first instrument I picked up — the drums. Then obviously I was learning little bits in school like how to record myself and produce. Then my sister introduced me to that friend and he had a studio in his house. Any time my sister would go over there, I’d go with her, maybe like once a month or something and pretty much just watch his process. I’m a very visual learner so I was learning a lot just from watching people. I’d stay up really late and watch YouTube videos of people making beats and stuff.

You’ve been making music for a long time, but you didn’t release your first official song (“wn way or another”) until 2022. Take me back to that time. How did it feel to finally share your music with the world?

I was super anxious. You always think to yourself — ‘cause I signed to a record label back then as well — that as soon as you drop your first song, that’s it. You’re gonna go off. But that’s definitely not the case, d’you know what I mean? Also, it was such a long time coming because I’d written those songs so long before that probably in like 2018 and 2019. It was a long time coming, so it kind of felt like a release as well.

You were dropped from your label just days before you released your single “Eyes Wide Open,” which started catching people’s attention. Did you feel like you’d finally figured out your sound and the direction you wanted to go in with that song?

Yeah, 100%. As soon as I made that beat, I was like Ohhh. It’s clicked now. I was trying for so long to find what I was trying to do. I think I was struggling because I didn’t really understand where I was trying to go, so the people I was working with couldn’t aid me in trying to find the sound too. So as soon as I got that, I was like “Oh, this is it.” And then when I wrote it, I was like, I’ve never heard anything like this before — in the least big-headed way possible. That was definitely the moment for me where I was like “All right, this is going to do something. It has to.” If it doesn’t, then I don’t know. Obviously I’m going to keep going but it’s gotta make a little bit of a shift somewhere for me, and it did and I’m so grateful for it.

Speaking of “Eyes Wide Open,” you have a distinct style in all of your videos including “Worst Behaviour” and “Do What I Say.” You use a single frame that looks like it was shot in one take. It’s very cinematic. Can you talk about why that style resonates with you? Are you a film buff?

[Laughs] I watched a film called “The Boiling Point” and that is all shot in one take. When you watch a one take — not even just a music video — you don’t want to take your eyes off of it because you don’t want to miss anything. My director, Chris Chance, and I felt like the art of music videos kind of died a little bit. There were only a select few people that were really making [captivating] videos and things that were capturing your attention, so we were like we need something that is just going to keep your eyes on it at all times. And the one take just works, man. We did that one pretty quick. We didn’t have a lot of time because the house that we were shooting in was somebody’s actual house, and I think that their kids had come home. But we just wanted something that was just super captivating and just lures you in. “Lord I Tried” was a one take too. We knew that worked and that looked incredible. And then obviously we did it with “Eyes Wide Open” as well, then after that we were like we got to keep this going. It’s becoming a theme now.

Why do you enjoy showing your process for making songs on Instagram Live? I’m sure you can’t do it as much as you used to now.

It was my manager’s idea like back in 2019 or 2020. She was like “I think you just need to go on Instagram Live. Let people see your process.” And I was like “I don’t know,” but she was like “Just trust me.” At first, it was just me, her and maybe like two other people in there. Then I would do it here and there, and then after lockdown, I started doing it a bit more. I don’t know. It was just that you don’t get to see many artists’ process in the studio. I always think about people like Beyoncé. There’s only like a few videos of her in the studio and you always think to yourself like, “Man, I wonder how these people’s brains work.” There’s loads of videos of Pharrell and I think that’s what I love about him. I can always go on the internet and search up “Pharrell in the studio” and there will be something of him whether it’s with like Justin Timberlake or Timbaland or something. I think it’s just cool to see how people’s brains work and what makes the light bulb go off at certain moments. That’s what a lot of it is in my IG lives. You can see when my brain figures something out. I think it’s cool. We shouldn’t really gate-keep our processes. I’ll [hop] off to write the lyrics because I don’t want to give them everything because people will start stealing tips and tricks, ya know what I’m sayin’? Again, it just makes you human. We’re not like these robots that churn out the music. It takes time and people should get the privilege of being able to see that, especially like my core fan base. It was just a lot of them at the time. Now it’s a lot for me because there’s so many people that come on there and they’ll end up screen recording it and putting it on the internet and that bit, I’m like “Ah, guys, come on.” I should probably get back to it a little bit more, but this year I haven’t been in the studio as much as I usually am. But I’m definitely going to get back on there for sure.

In June you dropped “With All Due Respect.” Talk to me about the inspiration for the title and what your mindset was going into the creation of that EP.

I had a different title before and then we scrapped that. I was like it needs to be something that [shows] people that I’m not playing games anymore. I felt like so many people were doubting me and sleeping on me, especially after I was dropped from my label before. I was like, “Everyone’s sleeping on me.” I’m trying to get in with artists and producers, and they’re not hitting me back. I don’t know what I’m doing wrong, but I know I can do this. And then it was Chris [Chance] that came up with that. He had sent me a list of like 12 different names [and] “With All Due Respect” was one of them.

“I think people are just starting to put out music that they genuinely love and we’re not chasing a trend or chasing a TikTok moment anymore,” Kwn said.

(Michelle Helena Janssen)

In a previous interview, you said that “With All Due Respect” is the first part of a two-part album and that you’re planning to release a B-side. Is that still the plan? If so, when can we expect that?

Yeah, absolutely. I’ve just been so busy with this promo stuff and then obviously we jumped straight into tour. It’s going well though. I’m excited about the next set of music. It’s very classic. That’s what it feels like timely.

I have to ask. Are you planning on dropping it sometime next year?

Yeah. It’s not going to be a year after that. I tell ya [laughs].

You toured with Kehlani last year (on the Europe stretch) and you said that the experience proved to you that you can really do this music thing. Fast forward just months later, you are in the midst of your first headlining tour. How does that make you feel? What was your mindset going into this tour?

I was definitely nervous. But I think I was nervous because I was like, you can fake streams. You can fake followers. You can fake all this stuff, but the one thing you can’t fake is people, real people buying tickets to your show. Not saying that I have fake streams or followers, because I absolutely do not. But the real telling is like people coming to see you at your shows, and the feedback that you get from that. And yeah, the reception has been great, man. It’s been more than I could have imagined. I’ll be honest. I have not seen a bad word about my show, which I’m really grateful for because that’s all I wanted to be honest. I just wanted to be able to have fun. I wanted to be able to engage with people. I’m not a dancer or anything, ya know, so I felt like it was going to be hard for me to engage with the crowd and give them a good show, but I’m really just being myself on stage and letting my personality out. So I think that’s what’s captivating people, which I’m glad about.

You’re kicking off the U.S. and Canada leg of your tour in L.A. on Tuesday. What can fans expect?

A good time! I keep saying it’s really a special experience to be able to do these small, intimate shows. And I know people are like, “You could’ve sold out this venue and you could’ve done this venue …” And I’m like, yeah but these intimate, almost like one-to-one moments and experiences with people is what they will appreciate a lot more in the long run. And I know I am too. I be walking into these venues and I’m like “Oh, this small. Like we definitely could’ve gone bigger.” But I’m like nah. This is what it’s about. Everybody’s gotta start somewhere and I think it’s just important, like I said, that we can have these intimate moments with each other. It’s a super super special experience, it feels great.

From Cleo Sol to Sasha Keable to Odeal to Elmiene and several others, it truly feels like the U.K. R&B scene is having a moment. How does this make you feel to be a part of such good company?

It’s great. I feel like music was kind of on a decline for a little bit. It felt like no one was really excited about music, but I feel like now it’s like “Oh, people are really getting excited about things again.” I think people are just starting to put out music that they genuinely love and we’re not chasing a trend or chasing a TikTok moment anymore. I feel like it’s just genuine music that everybody’s loving, so it feels good right now. The scene feels great.

THE SMASHING MACHINE

(15) 123 min

★★★☆☆

3

WHEN big stars take parts that require them to alter their face with prosthetics it’s often a sign they want to be taken more seriously.

Think Steve Carell in Foxcatcher and Bradley Cooper in Maestro.

In The Smashing Machine — director Benny Safdie’s biopic of UFC heavyweight champion Mark Kerr — it’s Dwayne ‘The Rock’ Johnson’s turn to sit in the make-up artist’s chair.

Signalling a departure from the typical action hero roles he is best known for, Johnson’s nose, lips, eyebrows and hairline are transformed to play the fighter.

He’s not totally unrecognisable, though.

A professional wrestler himself, The Rock already had the fighter’s hulking physique.

Acting muscles

And he’s in familiar territory being on screen with his trademark biceps on display.

But here he proves he absolutely can flex his acting muscles too.

American amateur wrestling champion Kerr became one of the pioneers of MMA at the turn of the millennium, well before the sport became the worldwide phenomenon it is today.

We meet him as an unbeaten man, skilled at then-permitted, wincingly violent moves like eye gouges, who lives to win, and who can’t comprehend the thought of losing.

But as painkiller addiction takes hold and Kerr succumbs to his first ever defeat, he returns home a human wrecking ball, tearing his house apart in sheer frustration.

Johnson depicts this rage-fuelled tantrum with real proficiency so we can understand it as a loss of control underpinned by a deep vulnerability.

Emily Blunt, excellent as his girlfriend Dawn, can only look on as the “big man who she loves” demolishes their kitchen with his bare hands.

The real Kerr eventually acknowledged and overcame his narcotic reliance, returning from rehab to the ring.

As a sporting tale, this is in familiar triumph-over-tragedy territory, with no surprises.

While the performances are gripping, the script lacks nuance.

Is this brutal watch a knockout? No, not completely.

But will the prosthetics pay off for Johnson come awards season?

They just might.

A HOUSE OF DYNAMITE

(15) 112mins

★★★★★

3

KATHRYN BIGELOW has done it again, this time turning the camera on the nightmare we all pretend that we can ignore – a nuclear strike.

The director’s tense, claustrophobic, brilliantly staged film grips you from the very first frame.

The story is simple and terrifying – an 18-minute window between a rogue missile launch in the Pacific and its projected strike on Chicago, seen from multiple perspectives.

Every decision, every glance at a screen, every phone call carries huge weight. Uncertainty is the enemy here, and Bigelow wrings every ounce of drama from it.

The cast is flawless. Idris Elba is compelling as a President caught between disbelief and duty, while Rebecca Ferguson delivers a career best as security specialist Captain Olivia Walker.

Elsewhere, Jared Harris, Gabriel Basso, Jonah Hauer-King and Anthony Ramos bring depth as they try to hold a crumbling chain of command together.

It isn’t just a thriller, it’s a heart-stopping meditation on human fragility. If you want cinema that makes you feel the weight of the world in real time, this is the one.

LINDA MARRIC

HIM

(18) 96mins

★☆☆☆☆

3

HORROR film Him feels like it has been stitched together from a dozen better movies, without ever finding a soul of its own.

In short, this is a mess.

The story follows Cameron (Tyriq Withers), a hotshot quarterback whose bright future is thrown off course after a brutal injury.

When retired legend Isaiah (Marlon Wayans) invites him to a secluded training camp, it feels like a chance to rebuild, stronger and faster than before.

But the deeper Cameron steps into Isaiah’s world, the more unsettling it becomes.

Produced by Get Out, Us and Nope director Jordan Peele, Him’s fatal flaw is its emptiness. For long stretches, nothing happens.

Characters drift around muttering ominous nonsense, occasionally raising their eyebrows at the weirdos around them, before going right back to ignoring the obvious.

Withers and Wayans put in respectable perform-ances but the dialogue is clunky, the pacing is dead on arrival and the supposedly shocking reveal is anything but. Even the stylistic additions feel less like art and more like padding for a story that never gets to the point.

Bleak, boring and painfully pretentious, Him isn’t just a bad horror film, it’s the kind of bad movie that thinks it’s being very clever.

LINDA MARRIC

When I wrote last week about how immigration raids are targeting far more laborers than criminals, and whacking the California economy at a cost to all of us, I was surprised by the number of readers who wrote to say it’s high time for immigration reform.

The cynic in me had an immediate response, which essentially was, yeah, sure.

Bipartisan attempts failed in 2006 and 2014, so there’s a fat chance of getting anywhere in this political climate.

But the more I thought about it, nobody has done more to make clear how badly we need to rewrite federal immigration law than guess who.

President Trump.

Raids, the threat of more raids, and the promise to deport 3,000 people a day, are sabotaging Trump’s economic agenda and eroding his support among Latinos. Restaurants have suffered, construction has slowed and fruit has rotted on vines as the promised crackdown on violent offenders — which would have had much more public support — instead turned into a heartless, destructive and costly eradication.

I wouldn’t bet a nickel on Trump or his congressional lackeys to publicly admit to any of that. But there have been signs that the emperor is beginning to soften hard-line positions on deportations of working immigrants and student visas, sending his MAGA posse into convulsions.

“His heart isn’t in the nativist purge the way the rest of his administration’s heart is into it,” the Cato Institute’s director of immigration studies, David J. Bier, told the New York Times. Despite the tough talk, Bier said, Trump has “always had a soft spot for the economic needs from a business perspective.”

So too, apparently, do some California GOP legislators.

In June, six Republican lawmakers led by state Sen. Suzette Martinez Valladares (R-Santa Clarita) sent Trump a letter urging him to ease up on the raids and get to work on immigration reform.

“Focus deportations on criminals,” Martinez Valladares wrote, “and support legal immigration and visa policies that will build a strong economy, secure our borders and protect our communities.”

Then in July, a bipartisan group of California lawmakers led by State Sen. Rosilicie Ochoa Bogh (R-Yucaipa), followed suit.

Ochoa Bogh urged “immediate federal action … to issue expedited work permits to the millions of undocumented immigrants who are considered essential workers, such as farmworkers who provide critical services. These workers support many industries that keep our country afloat and, regardless of immigration status, we must not overlook the value of their economic, academic, and cultural contributions to the United States.”

State Sen. Suzette Martinez Valladares (R-Santa Clarita) sent President Trump a letter urging him to ease up on raids and focus on immigration reform.

(Rich Pedroncelli / Associated Press)

Ochoa Bogh told me she heard from constituents in agriculture and hospitality who complained about the impact of raids. She said her aunt, a citizen, “is afraid to go out and carries a passport with her now because she’s afraid they might stop her.”

The senator said she blames both Democrats and Republicans for the failure to deliver sensible immigration reform over the years, and she told me her own family experience guides her thinking on what could be a way forward.

Her grandfather was a Mexican guest worker in the Bracero Program of the 1940s, ‘50s and ‘60s, ended up being sponsored for legal status, and eventually moved his entire family north. Since then, children and grandchildren have gone to school, worked, prospered and contributed.

If Trump were to respond to her letter and visit her district, Ochoa Bogh said, “I would absolutely have him visit my family.”

Her relatives include restaurateurs, the owners of a tailoring business, a county employee and a priest.

“We don’t want undocumented people in our country. … But we need a work permit process” that serves the needs of employers and workers, Ochoa Bogh said.

Public opinion polls reflect similar attitudes. Views are mixed, largely along party lines, but a Pew study in June found 42% approval and 47% disapproval of Trump’s overall approach on immigration.

A July Gallup poll found increasing support for immigration in general, with 85% in favor of a pathway to citizenship for immigrants brought to the U.S. as minors, and 60% support among Republicans for legal status of all undocumented people if certain requirements are met.

State Sen. Rosilicie Ochoa Bogh, shown with Senate Republican Leader Scott Wilk in 2022, says constituents in agriculture and hospitality have complained about the impact of raids.

(Rich Pedroncelli / Associated Press)

So it’s not entirely surprising that a bipartisan congressional immigration reform bill, the Dignity Act of 2025, was introduced in July by a Florida Republican and a Texas Democrat. It would allow legal status for those who have lived in the U.S. for five years, are working and paying taxes, and have no criminal record.

Victor Narro, project director at the UCLA Labor Center, isn’t optimistic, given political realities. But he’s been advocating for immigration reform for decades and said “we need to continue the fight because there will be a time of reckoning” in which the U.S. will “have to rely on immigrant workers to assure economic survival.”

“Germany had to resort to guest worker programs when birth rates declined,” said Kevin Johnson, a former UC Davis law school dean. “We may be begging for workers from other nations in the not too distant future.”

“No side wants to give the other a victory, but there have got to be ways to close that gap,” said Hiroshi Motomura, a UCLA immigration scholar whose new book, “Borders and Belonging: Toward A Fair Immigration Policy,” examines the history and causes of immigration, as well as the complexities of arguments for and against.

“Practically and politically, there’s potential” for reform, Motomura said, and he sees a better chance for rational conversations at the local level than in the heat of national debate. “You’re more likely to hear stories of mixed families … and that kind of thing humanizes the situation instead of turning it into a lot of abstract statistics.”

Ochoa Bogh told me that when she wrote her letter to Trump, the feedback from constituents included both support and criticism. She said she met with her critics, who told her she should be focused on jobs for citizens rather than for undocumented immigrants.

She said she told them she is all for “American people doing American jobs.” But “we have a workforce shortage in the state in various industries,” and a U.S.-born population that is not stepping up to do certain kinds of work.

“I said to them, ‘You can’t keep your eyes closed and say this is what it should be, when there are certain realities we have to navigate.”

So what are the chances of progress on immigration reform?

Not great at the moment.

But as readers suggested, a better question is this:

Why not?

[email protected]

There were two questions the 77th Emmy Awards, held Sunday night at the Peacock Theater in downtown Los Angeles, had to answer, other than who would win what. (It’s an honor just to be nominated.)

One was how the show, a glittery evening devoted to the most popular of popular arts, would play against a world gone mad. The other, not distinct from the first, was how first-time host Nate Bargatze would do.

The ceremony is hosted by a round robin of the major networks, and this year the honor fell to CBS, whose corporate overlord, Paramount, has come to represent capitulation to the Trump administration, settling a baseless lawsuit in what is widely viewed as a payoff to grease the wheels of its merger with Skydance and promising to eliminate its DEI protocols. Executive interference in the news department amid an apparent rightward turn has led to the resignations of “60 Minutes” producer Bill Owens and CBS News President and CEO Wendy McMahon. And there’s the cancellation of Stephen Colbert’s “Late Show,” the timing of which some have found suspicious.

But if your goal was to avoid insulted celebrities, social media outrage or petulant notes from the White House, you could have done no better than to hire Bargatze, a clean, calm, classical, noncontroversial, nonpolitical, very funny, very successful comedian. Bargatze, who has been in comedy since 2002, saw his career explode over the last few years; his appeal is not so much mainstream, which is to say soft-edged, as it is broad — something for everybody.

The show opened quite brilliantly — perhaps confusingly, if you had missed Bargatze’s “Washington’s Dream” sketches on “Saturday Night Live” on which the routine was closely modeled, including the presence of Mikey Day, Bowen Yang and James Austin Johnson — with the host as Philo T. Farnsworth, “the inventor of television,” foreseeing the medium’s less than sensible future. First presenter Stephen Colbert followed immediately to a standing ovation and chants of his name. “While I have your attention, is anyone hiring? I have 200 very qualified candidates with me tonight who will be available in June.”

Emmys host Nate Bargatze, right, and Bowen Yang appear in an opening sketch at the 77th Primetime Emmy Awards at the Peacock Theater in Los Angeles on Sunday.

(Myung J. Chun / Los Angeles Times)

Then the host introduced his much publicized, one would say quintessentially Bargatzean, gimmick. To keep acceptance speeches short, he would donate $100,000 to the Boys & Girls Clubs of America; $1,000 per second would be deducted for anyone going over the allotted 45 seconds. Money would be added to the pot for anyone running short. (J.B. Smoove, a former Boys Club member, was a sort of co-sponsor, in the audience with a young boy and girl.) This efficiency made professional sense, though it had the potential to put a lid on what is usually the most interesting, unruly, moving, unpredictable part of the show. (If anyone had thought for a second, it also spelled trouble: Try talking for what you imagine is 45 seconds. You will be wrong.)

As it happened, the state of the world was addressed, sidelong and directly. Presenter Julianne Nicholson said of living in a post-apocalyptic bunker in “Paradise,” “compared to headlines that’s positively feel-good TV.” Jeff Hiller, winning supporting actor in a comedy series for “Somebody Somewhere,” thanked the Duplass brothers “for writing a show of connection and love in this time when compassion is seen as a weakness.” “Last Week Tonight” senior writer Daniel O’Brien dedicated their second award to “all writers of political comedy while that is still a type of show that is allowed to exist.” And in a generational echo of their “Hacks” characters, fourth-time winner Jean Smart (who has won seven Emmys overall) ended her acceptance speech saying, “Let’s be good to each other, just be good to each other,” while co-star and first-time winner Hannah Einbinder, finished with, “I just want to say: Go Birds, f— ICE, and free Palestine.” Going way over the 45-second limit, she promised to pay the difference on the tote board.

Hannah Einbinder accepts the award for supporting actress in a comedy series for “Hacks” during the show at the 77th Primetime Emmy Awards at the Peacock Theater in Los Angeles on Sunday.

(Myung J. Chun / Los Angeles Times)

After Einbeinder, the most direct acknowledgment of current bad events came from Academy Chair and CEO Cris Abrego, speaking of the Governors Award given the week before to the Corp. for Public Broadcasting. In a highly quotable speech, he noted how “Congress had voted to defund it and silence yet another cultural institution.” He continued, “In a time when division dominates the headlines, storytelling still has the power to unite us … In times of cultural regression [it reminds] us what’s at stake and what can still be achieved,” and he rattled off a number of much loved shows that challenged the status quo. “In a moment like this, neutrality is not enough. … Culture does not come from the top down, it rises from the bottom up. … Let’s make sure that culture is not a platform for the privileged but a public good for all.” The stars in the audience nodded approvingly.

There were also some pure delights among the bedrock of desultory scripted banter and unimpressive tributes to old shows (“Law & Order: SUV,” “The Golden Girls”). Reunited “Everybody Loves Raymond” co-stars Ray Romano and Brad Garrett, presenting the award for comedy series, recaptured the essence of their television brotherhood. Jennifer Coolidge, presenting the award for lead supporting actress in a comedy, sounded like she’d walked in from a Christopher Guest film. “Between us, I was actually hoping to be nominated for you tonight for my work on this season of ‘The Pitt.’ I played a horny grandmother having a colonoscopy during a power outage and I had to play a lot of levels. I even had to do my own prep.” She went on, after a while, to tell the nominees that winning “is not all it’s cracked up to be. It’s really not… I thought I had gotten really close with my fellow nominees especially after I won but I’m pretty sure they removed me from the group chat.”

The inevitable losses incurred by Bargatze’s charity gimmick provided a sort of running joke at the host’s expense, which he managed quite well, while some winners made a game of trying to put money back on the board. But the longer it went on, the more pressure it put on the winners to be short. Eventually, the show found its natural level, as winners said what they needed to, or much of it, and the count dropped tens of thousands of dollars past zero. For everyone but the bean counters, the least important thing about an awards show is it running on time; in any case, it was only a few minutes over.

And, as one might have expected, Bargatze — who made it through the three hours in a way that served the event and his own down-home ethos — paid the originally promised $100,000 and added a $250,000 tip.

Like all great crime writers, Lou Berney knows that a ripping story is only as good as the characters that make it rip. With his new novel “Crooks,” Berney has created a family saga about a small-time operator named Buddy Mercurio, his pickpocket wife Lillian and their five children.

As Buddy’s brood leave the nest and stake their claim in the world, his patriarchal shadow looms large, and the sins of the father are hard to kick. I chatted with Berney about his sixth novel, crime and why smartphones are his worst enemy.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

✍️ Author Chat

Lou Berney, author of “Crooks: A Novel About Crime and Family.”

(Lou Berney)

How did you come to crime novels?

The writers I love tend to be crime writers. I really got turned on my freshman year of college to Flannery O’Connor
and that just kind of blew my mind. To me, she’s the greatest crime writer ever. “Wise Blood,” “A Good Man is Hard to Find,” “Everything that Rises Must Converge.” Every one of her books has elements of a crime novel in them that she does really interesting things with. 


But you started as a more traditional literary writer.

My first story was in “The New Yorker” when I was in grad school. I was writing straight literary fiction. Then I started writing screenplays and learning more about plot and storytelling. I just kind of settled into this idea of crime, which to me is the one genre where you can do almost anything you want. It’s such a big tent. And so it was a great way for me to embrace the limitless, essentially.

What about traditional crime writers? Who moves you?

A big influence was Elmore Leonard. Also Jim Thompson, who was a fellow Oklahoma writer. Those are two guys that really, really affected me. But the current state of crime fiction is just awesome. I love so many contemporary crime writers right now. Sara Gran,
Kate Atkinson, Megan Abbott, S.A. Cosby. This is a golden age in some ways for weird, interesting crime fiction that takes you to different places. 
Everybody’s kind of doing their own thing, which I really love.

Are you a Walter Mosley fan?

A huge fan. I got to work with Walter this year. I wrote for a TV show called “The Lowdown” which was created by Sterlin Harjo, who created “Reservation Dogs.” Walter and I were the two novelists in the writers room, six hours a day for 20 weeks, and I just got to hear Walter Mosley talk. The guy is a genius. His thoughts on writing are just mind-blowingly good. So I got paid for an education.

I love the Mercurios. I feel like part of the appeal of a family like this is that they are everything most of us are not: They are bold risk–takers who dive into things without fear.

In writing about the Mercurios, I was getting to vicariously live these lives that were enormously appealing to me. You know, I don’t want to be a criminal and I would probably make a bad criminal, but it’s sure fun to sort of live without rules and live without fear and be reckless and do whatever you want.

“Crooks” is set in the pre-camera phone era, when life had an entirely different texture, and information traveled slowly.

I was walking through the airport yesterday, and it was so demoralizing to see every single person on their phone, with literally no exceptions. Everyone walking, sitting and standing were on their phones, and I thought, “Man, I’m glad I’m old enough to remember when none of that existed,” because that was way, way more interesting to me as a writer.

I love the chapters that are set in ’80s Los Angeles. How did you conjure all of that up?

I read a lot of old magazines. Los Angeles magazine was great. I got all the old issues on EBay. And I have a friend who grew up in the ‘80s in L.A., so I ran some stuff by him. I just love research. I wasn’t into homework as a kid at all, but now I’ve discovered that if it’s homework I need to do for a book, I’m all about it.

The novel is divided into six parts, and every section is so deftly plotted. How difficult is the plot for you?

I do extensive outlining so I can get a sense of plot. But I end up probably changing 75% of it as I go. With this book, the Jeremy chapter worked perfectly, whereas Alice took me like three times as long as any of the other chapters, because I had to keep figuring out how she was going to outsmart this guy, and nothing was working or wasn’t fitting right. It really depends on the particular kind of plotline.

📰 The Week(s) in Books

(Jay L. Clendenin / Los Angeles Times)

Julia M. Klein thinks Daniel Pollack-Pelzner’s biography of Lin-Manuel Miranda does a fine job of probing the inner artist, a “joyous, charismatic, well-meaning, occasionally imperfect man.”

Samantha Fink sat down with Elizabeth Gilbert to discuss her new memoir “All The Way to The River.”

With Oasis and Pulp on the road, Dave Rowntree makes sure his group Blur gets a hand in the Britpop Revival with a book of band photographs.

And finally, our reviewers pick 30 Fall books that everyone must read.

📖 Bookstore Faves

A book-loving cat wanders through the aisles of Small World Books located on the Venice Boardwalk.

(Adam Lipman)

Small World Books is the grandaddy of indie book stores in L.A. Established in 1969 on the Venice Boardwalk, the store has always been well-curated and loaded with a diverse array of titles. We spoke with manager Adam Lipman about what customers are snatching up.

What’s selling right now?

The new RF Kuang, “Katabasis,” is selling really well, as is the new Taylor Jenkins Reid, “Atmosphere,” and it’s been hard to keep in stock “Daughter Mother Grandmother and Whore” by Gabriela Leite.

What are some popular genres that your customers like?

Romantasy, horror and architecture are getting snatched up right quick these days.

And those that love poetry are always impressed with our poetry section. But we are selling all types of books right now! From bestsellers to books about lo-fi cassette culture, sextrology, and Charles Oakley. Anything important or interesting to us we try to get in store and keep in stock.

Why are books still necessary in a wired world?

Susan Orleans wrote in “The Orchid Thief”: “There are too many ideas and things and people, too many directions to go. I was starting to believe that the reason it matters to care passionately about something is that it whittles the world down to a more manageable size.”

Part of why we are called Small World Books is because we believe books are an excellent way to “whittle the world down to a more manageable size,” small enough to not seem so overwhelmingly exhausting, and hopefully, then making it easier to expand our circle of empathy.

It was 2015 when Minhyuk of K-pop powerhouse group Monsta X first appeared at the KCON mainstage in L.A. Back then, baby-faced and bleached blond, he exhibited plenty of cheeky confidence.

Clad in black and white, he sported shorts emblazoned with the phrase “knock, knock,” a nod to the group’s hard-hitting debut single “Trespass.” It was the first time the rookie, only 21, was meeting his American fans onstage at what was then known as Staples Center, now Crypto.com arena.

Only three months after their debut, the then-seven-member outfit (singer Wonho amicably departed in 2019) already had fans holding up signs for them in the crowd.

Ten years later, Minhyuk, now 31 and only slightly less baby-faced, sits in a conference room at the Mondrian Hotel, where the group has a day lined up of press activities surrounding their return to KCON LA 2025, only now as headliners on Night 2 of the three-day-long festival last weekend of all things trendy in Korean pop culture.

Clad in a neutral-toned pinstripe collared shirt, he, along with his four bandmates, could be young executives at a business casual lunch. Only their toned physiques and rapper Joohoney’s punchy yellow hair give any signal of their pop star status.

Although its the start of a long day, you can tell they are enjoying being with each other, back in the swing of things . Typically quiet, dancer-singer Shownu quipped “Invest in Bitcoin!” to a question on what he would tell his debut self, and the members sometimes chatted among themselves a bit before who deciding who would answer.

While their return to KCON marked the first U.S. appearance of the group reunited after an extended break, their Connect X concert in Seoul a few weeks ago was their first time performing as a group in two years. “I was nervous,” Minhyuk says of those first moments back. “But when I was on the stage, I felt so alive.”

Tall and dark-haired with a quiet authority, singer Hyungwon adds, “Seeing the love of our parents’ eyes in that moment … and the look in the [fan’s eyes], it’s the same feeling as from before.”

Monsta X backstage at KCON.

(Monsta X)

Last month, they also made their first appearance at Waterbomb, South Korea’s signature summer music festival, where artists and audience alike get soaked and where Shownu went viral as he tore off his white T-shirt to reveal an impressively muscular torso.

“Everybody, all the members, care about their health and body right now, he says. We always try to keep fit and healthy.”

Memes and fan-cams aside, their focus on health rings poignant as the sixth member I.M, was unable to join the group this time due to a back injury. As the band’s most fluent English speaker, the rapper, lyricist and producer’s acerbic wit helped ground the group’s sound, and his team deeply feels his absence.

Monsta X represents a vanguard of artists whose strong group dynamics strain beyond the milestone that used to be a breaking point for past K-pop groups: South Korea’s mandatory military service.

The group’s return to KCON is especially significant not only because it heralds a new era for them, but they return to the festival that helped cement their star status in the United States and abroad.

Main vocalist Kihyun, whose powerful notes help cut through the group’s aggressive signature sound, said that first KCON in 2015 was one of their best memories as they were shocked by the audiences response.

“I want to feel that same feeling we had from our first performance tomorrow,” says Hyungwon about their return to KCON. Joohoney, the group’s main rapper, jumps in. “Back then, we did a meet-and-greet, and we had a stage performance together with Got7. We saw their signs in the crowd, but then we also saw signs for us, so we were very happy,” adding that in a full-circle moment, Jackson Wang, the breakout soloist from Got7, will be performing the same night with them.

Further underscoring their continued relevancy, Maggie Kang — director of the popular film “K-pop Demon Hunters — cited Monsta X as one of the inspirations for the film’s fictional group, Saja Boys. “We could kind of tell and could see that the music style and vibe in the movie is similar to Monsta X, but we didn’t know exactly. We are very thankful,” said Joohoney.

Shaney Hwang, marketing coordinator for CJ ENM America, the Korean conglomerate that puts on KCON, remembers attending the festival as a high school student in New York, tracking the group’s rise, later catching them on tour. “Personally, as someone who has always been watching K-pop, I do feel that Monsta X, compared to other groups [who debuted] around their time, made themselves very present to the U.S. fans whether it was from live performances such as at KCON LA in 2015 and ‘16 or even through music collaborations with Western artists such as French Montana and Gallant much earlier than other groups did.”

“I always thought they had great music,” she adds. “And now, it’s really special because it’s their 10th anniversary and we feel very honored for this to be such a full-circle moment.”

It’s a moment that led Monsta X fans to make KCON this year a priority. Over dinner in Koreatown the night before their performance, Ani Ash, from Texas, and her friend Choua Yang, a 45-year-old tech trainer from Green Bay, Wis., talked about their devotion to the group.

“I’m not really a K-pop person,” confesses Ash, 28. “But what drew me to them was their style. How they can switch different genres so easily and still keep their characteristics.” Both friends met online and run fan bases for the group.

“I’ve been a Monbebe since 2021,” says Yang, referring to the group’s fandom moniker, which combines their name and the French word bébé. “My daughters introduced me to K-pop, and one of them was trying to get me to like Monsta X. I think it was their vast discography and the diversity in their music that caught my attention. They’re mature men, especially compared to the newbies who are 20 years old. I just really like them, and I started hosting the fan base.”

Ash and Yang’s devotion speaks to the staying power of Monsta X, which is still adding new fans while nurturing older ones willing to grow alongside them and spend money and devote time to see them. And until they return to touring full-time (Minhyuk says perhaps in 2026), KCON was the one of the few places devotees could see the group reunited.

That devotion, a strong feature of K-pop, runs deep. Ash, for example, was inspired by Minhyuk — who paints in his spare time — to reignite her passion for art, leaving the medical field to become a Houston public school art teacher.

The crowd roared as Hyungwon and Shownu opened Saturday night’s performance of their sensual song “Love Me a Little” with more lyrical choreography than what the team itself is best known for.

Monsta X at KCON 2025.

(Konuk Ryu)

There was even more palpable excitement as a platform rose from the 360-degree stage to reveal the five performing members back triumphantly, all clad in sharp black suits with glittering accents.

After performing “Beautiful Liar,” the darkly EDM single off of their 2023 EP “Reason” and “Who Do You Love,” Joohoney shouted, “Everyone we’re back in L.A.!” before slipping into “Play it Cool” — their club hit featuring Steve Aoki — and ending with the Dream Stage version of the classic “The Gambler” where contest-winning Monbebes performed with them. “Make some noise for I.M!” Joohoney shouted at one point.

The group will be busy upon returning to Seoul as preparations are underway for a new album called “X,” releasing Sept. 1.

While all members participated in songwriting, it will also feature production from Compton-bred producer Dem Jointz, who has composed for Rihanna, Kanye West and Janet Jackson, as well as other prominent K-pop groups of recent years like EXO and aespa.

Careful not to release spoilers, they pondered the question of what kind of movie genre the upcoming project would fit into. “Um, horror?” One of them blurts out before others begin to chime in, laughing. “Romantic comedy?” Hyungwon jokes before they finally agree that sci-fi is probably the best fit.

Reached by email from Seoul, where he is recuperating, I.M also talked about the upcoming album. “It’s special to us because it shows a side of Monsta X we haven’t tried before. From the sound to the concept, we poured our hearts and ideas into every step of the way. We gave it our all and filled it with thanks to the fans who waited for us. I hope they can feel that when they listen.”

Royal Porthcawl has hosted the Amateur Championship seven times, as well as the Curtis Cup in 1964 and the Walker Cup in 1995.

It has also been the stage for three Senior Opens, in 2014, 2017 and 2023, but the Women’s Open was on a different level in terms of the tournament’s status, its reach and the quality of the field.

This was Royal Porthcawl’s moment in the sun – and the wind, plus some rain, although not as much as there might have been – and the south Wales links shone.

Maureen Madill, the former Ladies European Tour player turned pundit from Northern Ireland, went as far as suggesting that Porthcawl had eclipsed Royal Portrush, the scene of the men’s Open Championship last month.

“I have been walking around this week and I have to say – and I will probably never get back into Ireland after I say this – I think the course is in better condition than Royal Portrush was for the Open two weeks ago,” she said during BBC radio coverage over the weekend.

“That’s me. I will not be allowed across the Irish Sea now.

“But I am in awe. I have been looking at these glorious greens, the structure of the bunkers, the sweeps, the hollows, the shadows… it’s absolutely glorious.”

It was 7 a.m., and Fremont High’s Andrew Williams was sleeping at his grandmother’s house in South Los Angeles when she woke him up to tell him a USC football coach wanted to speak to him on her cellphone before he went to school.

Williams will never forget that moment on Feb. 12. Defensive line coach Eric Henderson was calling to officially offer him a scholarship to play for the Trojans.

“You don’t believe it until you see it,” he said. “When he told me in his tone and how serious he was, I knew it was real. It was destiny calling. It took me a couple hours to reflect what was going on. I was stunned.”

By lunch time in the school quad, while surrounded by friends and classmates, the 6-foot-5, 220-pound Williams was calling Henderson to tell him, “I’m ready to become a Trojan.”

Henderson replied, “Hold on. I have someone who wants to speak to you.”

Coach Lincoln Riley joined the called.

“He said, ‘We’re so excited to have you here.’ It was genuine,” he said.

Fremont High senior Andrew Williams has shown his versatility as a defensive end, tight end and fullback.

(Eric Sondheimer / Los Angeles Times)

Williams was so unknown in the recruiting world before committing to USC last February that he said, “I wasn’t mentioned by any recruiting sites. I had no stars. Honestly it didn’t make me feel any different. I was the same player before the stars and without the stars. Most people still don’t know about me.”

He said a three-touchdown, 10-tackle performance as a junior against L.A. Jordan last fall while playing fullback, defensive end and receiver caught the attention of Colorado State assistant Chad Savage, who later joined USC as an assistant.

Recruiting players from inner city Los Angeles used to be a priority for USC and UCLA. Fremont grad Ricky Bell, a star running back for USC, has his name on the Pathfinders’ stadium. Fremont grad Mark Bradford was a star receiver at Stanford. Crenshaw has sent numerous players to USC and UCLA. Dorsey’s head coach, Stafon Johnson, was a standout running back for the Trojans.

But a drop in talent in the City Section has made identifying potential success stories more difficult. Williams, who has a 3.8 grade point average and plans to graduate in December, said he hopes to be part of the start of a rebirth in championing players from the inner city.

“I’m comfortable with people looking up to me,” he said. “Somebody in the city is actually doing it. Just as I can do it, so can you.”

He doesn’t doubt the road ahead remains difficult.

“I feel I was one of the least privileged kids,” he said. “To have the opportunity I’m doing now. … If I was another 6-5 kid that wasn’t from South Central, I would have been known. They would have shot me up the rankings. They don’t show that in the city I love. That’s cool. That’s for them to keep sleeping on us.”

Living 10 blocks from Fremont with his grandmother since he was 7, Williams said he didn’t discover football until his freshman year. He said he had too much free time until reaching high school and finding something to focus on.

“Have you heard the saying, ‘People get stuck and lost in the system?’ People become a product of their environment,” he said. “I needed time to figure my way out. I came to a realization when I came to high school that something was going to have to happen.”

With his height, athleticism — he can dunk — and agility — he also ran track — USC will watch him this fall to see whether his position will be tight end or defensive end. He’s a raw, intriguing prospect with lots of room to become stronger.

First-year Fremont coach Derek Benton was the coach at Jordan last season when Williams had his big game.

“He made his mark against me, then I knew and heard about him and it was one of the attractions coming here,” he said. “I’m very impressed with Andrew as a person.”

All Williams wanted was an opportunity to get a degree in college. He wants to study communications and learn about sports broadcasting. He said he didn’t need to visit multiple colleges or seek attention from social media. The USC offer was enough.

“Football teaches you can’t expect results without work,” he said. “People expect things in life, but they don’t put the work in. That’s a lesson football teaches you. It teaches unity, leadership, how to treat others.”

He has been rewarded for making good decisions and surrounding himself with people who want to see him succeed. All he’s ever wanted was a chance to prove himself.

“I’m doing my thing,” he said.

Elliott made 18 league appearances under Arne Slot last season, but his only two starts came against Chelsea and Brighton, when Liverpool had already won the league.

That was in stark contrast to the previous season, with 11 starts in 34 league games for the Reds in Jurgen Klopp’s final campaign.

Elliott has made 147 appearances, scoring 15 goals, in his six years at Liverpool since joining from Fulham as a teenager, with a season on loan at Blackburn in 2020-21.

England Under-21 boss Carsley has only seen Elliott’s desire to succeed this summer.

“I’ve not seen a lot of the frustration,” he added. “What I have seen is someone who’s determined to play and to get the minutes. He wants to play every game and all of the minutes.

“He’s definitely built into the tournament. Not getting as much game time towards the end of the season, we’ve had to manage his minutes in terms of the amount he’s played and the intensity he plays at because he’s so explosive with the way he moves and his end product.

“We’re very lucky to have him.”

Brighton have been linked with a move for Elliott, as have former club Fulham, and while Wolves have been mentioned they have already signed Spaniard Fer Lopez and any fee is likely to be too high for the Molineux outfit.

Former Liverpool defender Stephen Warnock, part of BBC 5 Live’s commentary team in Slovakia, believes Elliott has done well to ignore talk about his future and impress at the Euros.

“There’s a lot of speculation about ‘will he be at Liverpool next year?’,” said Warnock, who made 67 appearances after coming through the youth ranks at Anfield.

“That’s not easy. There will be phone calls with his agent about who’s talking, where are we looking at going and what are the potential avenues, am I going to stay at Liverpool? It’s very much a rollercoaster as the tournament goes on.

“Because of the amount of games he has played for Liverpool, and the impact he had coming in, I think we all thought he would catapult and play for a long time in the first team.

“But he has a World Cup winner in Alexis Mac Allister in front of him, [Ryan] Gravenberch had an unbelievable season and [Dominik] Szoboszlai was brought in for big money.

“He has responded well in this tournament. Mo Salah talks about moments in games and Harvey Elliott is one of those players for the moment. When the moment presents itself he is calm and composed.”

IT is a scenario we’ve all witnessed – or perhaps even lived through ourselves.

Boy meets girl. Boy cheats on girl. Girl tells friends they’re definitely over. Girl secretly thinks she can change boy. Girl takes boy back. Boy doesn’t change.

4

4

4

You can change the genders whichever way around, but regardless, we’re about half way through this storyline so far with Love Island‘s Helena and Harry.

The couple were over before they began because of the footballer’s wandering eye, with Helena moaning about being made to look like a mug.

She appeared to have conveniently forgotten however, about running to the Hideaway with Harry while he was coupled up with Shakira – just 56 hours after meeting.

Despite an intimate night in the boudoir, Harry then snogged saucy sexpot Yasmin behind Helena’s back before ending up back with Shakira again.

Through tears last night, Harry admitted to having regrets about ‘cheating’ on Helena, who has barely been able to look at him since.

But before Helena could take him back, she was whisked away for a sleepover with bombshell Giorgio.

He’s not the air stewardesses’ usual type, but he’s the perfect distraction to stop Helena reuniting with Harry.

I have no doubt Helena will end up back with Harry in a storyline set to rumble on this series, but I’m here to warn her that holding out for him will RUIN her career.

Aside from her obvious similarities to Love Island legend Olivia Attwood, Helena’s got the potential to be a stand-out star of the series thanks to her hilarious wit and bombshell beauty.

She had the villa in hysterics when, during a game of Spin the Bottle, she dared ex Harry “to go home”.

But if she doesn’t stick to her guns and stay far away from Harry, she’s going to come across more like pushover Chloe Burrows who kept going back for Toby Aromolaran than brave Liberty Poole who dumped Jake Cornish and left the villa on her own accord.

By proving she knows her worth and can resist Harry’s temptation, Helena will secure herself an army of female fans they can look up to.

She’ll be able to capitalise on this by landing lucrative deals with empowering female brands instead of facing heartbreak once they’re out the villa when Harry inevitably cheats.

I say this because a leopard never changes its spots – and if he’s already untrustworthy while living 24/7 under the same roof, then I don’t hold out much hope.

4

My assumption is also based on what Harry told me before going into Love Island.

While the 30-year-old was in isolation days before the series launch, Harry’s ex said he dumped her for Love Island – despite claiming he was going to Bali for the summer.

When I confronted him about this, Harry played Mr Innocent.

“Oh that sounds so terrible, wow,” he exclaimed.

“No, we were casually dating and I told her I was going away for the summer and we left it there. I didn’t ‘dump’ anyone.”

In fact, Harry went on to rubbish the idea he was as much of a “player” in dating as he was on the pitch.

“I think that is the reputation footballers get, but I can only be myself and that’s not who I am,” Harry insisted to me.

“I’m not a player.

“I’m 30. I’ve got a mullet. I’m ready for something serious.”

As he said this, with a twinkle in his eye and dimple in his smile, it was difficult not to fall for Harry’s charm.

But Helena needs to be strong and resist – or face being played by a player who has no intention of settling down.

Alcaraz emulated his childhood hero Rafael Nadal – a record 14-time champion at Roland Garros – by winning his fifth major at the exact same age of 22 years, one month and three days.

Sinner, meanwhile, is the youngest man to reach three consecutive Grand Slam singles finals since 14-time major winner Pete Sampras in 1994.

Such statistics offer a strong indication of the trajectory they both find themselves on.

So, where does their rivalry go from here?

The pair both have titles to defend at the two remaining slams in 2025 – Alcaraz at Wimbledon and Sinner at the US Open.

Alcaraz, who leads Sinner 20-19 in career titles, has reduced Sinner’s lead at the top of the world rankings to 2,030 points.

But the reigning champion has 2,000 points to defend at Wimbledon, compared to just 400 for Sinner after his quarter-final exit last year.

“I’m sure he will learn from this match and come back stronger next time we face each other,” Alcaraz added.

“I’m sure he’s going to do his homework. I’m going to try to learn how I can be better [and] tactically hurt his game.

“I’m not going to beat him forever, that’s obvious. So I have to keep learning from the matches I play against him.”

There is no containing a star of Belinda’s caliber.

In the making of her fifth studio album “Indómita,” the Mexican singer and actor began to understand that what made her hard to contain — in life, in love and in her career — was worth writing an album about.

“I was reading a book and all of a sudden the word ‘indómita’ appeared,” says Belinda in an audio call from her home in Mexico City. “For two days, I kept dreaming of that word. ‘Indómita, Indómita,’” says Belinda during a recent audio call from her home in Mexico City.

Out on June 5, “Indómita” is an assortment of corridos tumbados, reggaeton, rock and pop ballads with exciting collaborations — ranging from the American rock band Thirty Seconds to Mars to Latin stars like Tokischa and Tito Double P.

“This album is very special, not just for women but for everyone who feels untameable, who feels strong, who feels like a warrior,” she explains.

The title directly translates to indomitable, or untameable, a term that seems to perfectly suit the 35-year-old artist, whose long and prosperous career made her an international household name.

Born in Madrid, Spain, as Belinda Peregrín Schüll, but known widely by her mononym, Belinda began her legacy in Mexican television, taking on lead roles in early 2000’s childhood telenovelas like “Amigos x siempre,” “Aventuras en el tiempo,” and “Cómplices Al Rescate,” where she played a set of twins who has been separated at birth. She also broke through the Disney sphere, appearing in the popular 2006 sequel of “The Cheetah Girls 2” as Marisol, a Spanish pop star and competitor of the titular girl band.

Belinda’s music career has been equally as fruitful, including a stint as a singing coach on the TV competition “La Voz” and dozens of hit singles, such as the popular “Amor a Primera Vista,” a 2020 collaboration with Los Ángeles Azules and Lalo Ebratt. Her previous studio albums, 2003’s “Belinda,” 2006’s “Utopía,” 2010’s “Carpe Diem” and 2013’s “Catarsis” have all graced Billboard’s Top Latin Albums chart.

Her new LP marks a personal artistic triumph for the artist, given its unique regional Mexican edge. “300 Noches,” her 2024 corrido track with Natanael Cano, made No. 4 on the Mexican Billboard pop chart and appeared on the Billboard Global 200, making it Belinda’s first appearance on the chart. Other corridos tumbados, like the rugged “La Cuadrada” featuring Tito Double P and the blistering “Mírame Feliz” with Xavi, unleash a new alter ego of the famed singer known as “Beli bélica,” the latter of which means “warrior” in Spanish.

“With this album, I’d like to open up the door to more women to sing corridos tumbados of heartache,” says Belinda.

The record is already scorching hot, with songs like “Cactus” making a subtle, prickly nod to her past relationship with Mexican crooner Christian Nodal, who famously tattooed her eyes on his chest. There’s also the reggaeton-corrido fusion called “La Mala,” which coyly addresses the rumors that Belinda is a cold, calculated lover — which heightened in the wake of her high-profile relationship.

Still, her notoriety as a heartbreaker has simultaneously granted her sainthood status from fans, who created fake prayer cards of the enchanting star to bolster their own love life.

“This album was made up of things that we live every day,” says Belinda. “Someone breaks our heart, we feel better, we fall in love, they break our heart again and so forth. Life is like that.”

But “Indómita” is much more than Belinda’s foray into regional Mexican music; there’s also “Jackpot,” a dazzling club alongside Kenia Os, a tribute to lightning-fast cars in “Rayo McQueen” — and even her love of anime in “Death Note.”

“I’m a versatile artist and this record reflects that,” says Belinda.

This interview has been edited and shortened for clarity.

What motivated you to release this album over a decade after your last one, “Catarsis”?
I know it might seem like it’s been a long time, but I never left. I’ve always been involved in music. I’ve done collaborations with Los Ángeles Azules, “Amor a Primera Vista,” that was super popular, with Ana Mena in “Las 12,” Lola Indigo and Tiny in “La Niña de la Escuela,” with Juan Magán and Lapiz Conciente in “Si No Te Quisiera.”

I’ve made a lot of music, but obviously this record means so much to me. It’s not the same to work on collaborations and music for other artists as it is to do it for myself. The album is full of collaborations with Thirty Seconds to Mars, who are one of my favorite bands of all time. It also has Kenia Os, Tito Double P, Neton Vega, who’s a hard-hitting act in the world of reggaeton and corridos tumbados, and Natanael Cano, who I can’t forget either. It’s a complete album, with lots of different styles.

Many of the songs on this album are corridos tumbados. Why did you dive into that style of music?
It’s a really stigmatized genre, and a genre that is specifically for men and for certain kinds of lyrics. I wanted to break that [idea] and say that instruments used — like the trombone, the alto horn, tololoche — aren’t just for men or for specific lyrics or a specific market. There can be more romantic lyrics, a mixing of sounds like pop with urban music. The challenge was also getting my collaborators to believe in this too, since they are used to other topics, but everyone trusted me and believed in the song[s] since the beginning and it was organic.

Tell me more about your collaborations. What did you learn from them and what did you teach them?
They’re so talented and play instruments very well, especially Natanael Cano — you can tell him to play any instrument. He’s very talented. We were in the studio and he started to play a Metallica song and I was like, “Wow!” Although we might pigeonhole them into this genre, they’re very versatile and talented. I admire them.

One of the singles of this album, “Cactus,” talks about your feelings toward an ex. How did it feel to release your emotions? And would you say that it helped you heal, as the song suggests?
I love healing through music. The first phrase of the song goes: “Therapy helps, but music heals more bad-ass.” Perhaps I couldn’t express with words what I can through music. As a composer we express our emotions through our lyrics. But it’s also important that people remember that not everything is based on experiences. It’s music so that people can identify themselves in love or heartache. I never mention anyone by name, but people can make their own conclusions or deductions. At the end of the day, I make music for people who can relate to the lyrics.

You’ve been in the spotlight for so many years. Do you believe there are two Belindas that exist? As in, one that is for the public and one that’s just for close family members?
Of course, I can guarantee it. There’s also a song where I express that idea that many times people have categorized me as a bad character, “La Mala.” At the end of the day, I know who I am and the people around me know the heart that I have — my feelings and intentions, my day-to-day. That’s what counts for me. If I paid attention to every comment [people made of me], my God, I’d be locked up in a room without an exit, which sometimes does happen to me.

How do you tune out those outside critics?
I try not to see these things. Sometimes it’s inevitable but I’m also not going deep into the web to find what people are saying. I do other more productive things that nourish me.

Obviously it hurts, because even if certain comments are not true, they still hurt because they carry negative energy. I don’t want to give into these comments as truth, but that energy of negativity or insult or humiliation or anything that comes from a negative side, obviously has a consequence. So one has to be careful about how they express themselves, because there’s so much negativity that exists, so it would be nice if we could just throw a bit more of love.

I heard you’re a big anime fan, and you show that in your song “Death Note.” Why was it important to include that?
I’m [an] otaku, even if people don’t believe it. I really like anime. I’m a fan of “One Piece,” “Death Note,” everything, “Attack on Titan,” but “Death Note” is my favorite. It’s pretty dark, but Ryuk is one of my favorite characters in life. I’ve always been a fan of terror, because within the darkness, there’s always some light.

You were born in Spain but were raised in Mexico. How have you navigated both identities?
I can’t pick one or the other, but I’ve always considered myself Mexican, because I was raised in Mexico and my accent is Mexican. I’m very, very much Latina.

What advice would you give your younger self?
Don’t take everything so personally and enjoy life. When I was little, I would think too much about what the world thought. I was always like, “do you like it? Oh you don’t, why?” and I would suffer. And now if I like it, OK, and if no one else likes it, then too bad, I like it!

AUSTIN, Texas — President Trump and congressional Republicans have made it a priority this year to require people to prove citizenship before they can register to vote. Turning that aspiration into reality has proved difficult.

Trump’s executive order directing a documentary, proof-of-citizenship requirement for federal elections has been blocked by a judge, while federal legislation to accomplish it doesn’t appear to have the votes to pass in the Senate. At the same time, state-level efforts have found little success, even in places where Republicans control the legislature and governor’s office.

The most recent state effort to falter is in Texas, where a Senate bill failed to gain full legislative approval before lawmakers adjourned on Monday. The Texas bill was one of the nation’s most sweeping proof-of-citizenship proposals because it would have applied not only to new registrants but also to the state’s roughly 18.6 million registered voters.

“The bill authors failed spectacularly to explain how this bill would be implemented and how it would be able to be implemented without inconveniencing a ton of voters,” said Anthony Gutierrez, director of the voting rights group Common Cause Texas.

Voting by noncitizens is already illegal and punishable as a felony, potentially leading to deportation, but Trump and his allies have pressed for a proof-of-citizenship mandate by arguing it would improve public confidence in elections.

Before his win last year, Trump falsely claimed noncitizens might vote in large enough numbers to sway the outcome. Although noncitizen voting does occur, research and reviews of state cases has shown it to be rare and more often a mistake.

Voting rights groups say the various proposals seeking to require proof of citizenship are overly burdensome and threaten to disenfranchise millions of Americans. Many do not have easy access to their birth certificates, have not gotten a U.S. passport or have a name that no longer matches the one on their birth certificate — such as women who changed their last name when they married.

The number of states considering bills related to proof of citizenship for voting tripled from 2023 to this year, said Liz Avore, senior policy advisor with the Voting Rights Lab, an advocacy group that tracks election legislation in the states.

That hasn’t resulted in many new laws, at least so far. Republicans in Wyoming passed their own proof-of-citizenship legislation, but similar measures have stalled or failed in multiple GOP-led states, including Florida, Missouri, Texas and Utah. A proposal remains active in Ohio, although Gov. Mike DeWine, a Republican, has said he doesn’t want to sign any more bills that make it harder to vote.

In Texas, the legislation swiftly passed the state Senate after it was introduced in March but never made it to a floor vote in the House. It was unclear why legislation that was such a priority for Senate Republicans — every one of them co-authored the bill — ended up faltering.

“I just think people realized, as flawed as this playbook has been in other states, Texas didn’t need to make this mistake,” said Rep. John Bucy, a Democrat who serves as vice chair of the House elections committee.

Bucy pointed to specific concerns about married women who changed their last name. This surfaced in local elections earlier this year in New Hampshire, which passed a proof-of-citizenship requirement last year.

Other states that previously sought to add such a requirement have faced lawsuits and complications when trying to implement it.

In Arizona, a state audit found that problems with the way data were handled had affected the tracking and verification of residents’ citizenship status. It came after officials had identified some 200,000 voters who were thought to have provided proof of their citizenship but had not.

A proof-of-citizenship requirement was in effect for three years in Kansas before it was overturned by federal courts. The state’s own expert estimated that almost all of the roughly 30,000 people who were prevented from registering to vote while it was in effect were U.S. citizens who otherwise had been eligible.

In Missouri, legislation seeking to add a proof-of-citizenship requirement cleared a Senate committee but never came to a vote in the Republican-led chamber.

Republican state Sen. Ben Brown had promoted the legislation as a follow-up to a constitutional amendment stating that only U.S. citizens can vote, which Missouri voters overwhelmingly approved last November. He said there were several factors that led to the bill not advancing this year. Due to the session’s limited schedule, he chose to prioritize another elections bill banning foreign contributions in state ballot measure campaigns.

“Our legislative session ending mid-May means a lot of things die at the finish line because you simply run out of time,” Brown said, noting he also took time to research concerns raised by local election officials and plans to reintroduce the proof-of-citizenship bill next year.

The Republican-controlled Legislature in Utah also prioritized other election changes, adding voter ID requirements and requiring people to opt in to receive their ballots in the mail. Before Gov. Spencer Cox signed the bill into law, Utah was the only Republican-controlled state that allowed all elections to be conducted by mail without a need to opt in.

Under the Florida bill that has failed to advance, voter registration applications wouldn’t be considered valid until state officials had verified citizenship, either by confirming a previous voting history, checking the applicant’s status in state and federal databases, or verifying documents they provided.

The bill would have required voters to prove their citizenship even when updating their registration to change their address or party affiliation.

Its sponsor, Republican state Rep. Jenna Persons-Mulicka, said it was meant to follow through on Trump’s executive order: “This bill fully answers the president’s call,” she said.

Cassidy and Lathan write for the Associated Press. Cassidy reported from Atlanta. AP writers Mead Gruver in Cheyenne, Wyo.; David A. Lieb in Jefferson City, Mo.; Kate Payne in Tallahassee, Fla.; Hannah Schoenbaum in Salt Lake City; Julie Carr Smyth in Columbus, Ohio; and Isabella Volmert in Lansing, Mich., contributed to this report.

There was something in the air at Punk Rock Bowling in Las Vegas last weekend.

No, it wasn’t the sound of distorted guitars, punk rockers puking or Nazis getting punched in the face. Though there was plenty of all of that.

It was the buzz surrounding FLAG, the most talked about band at the annual bowling tournament and music festival, now in its 25th year.

FLAG is the hardcore supergroup composed of four former members of Black Flag — Keith Morris, Chuck Dukowski, Dez Cadena, and Bill Stevenson — and Stephen Egerton, Stevenson’s longtime bandmate in the Descendents.

It had been six years since the last FLAG gig, which was also at Punk Rock Bowling. But this was more than a reunion show. It felt like history in the making.

It started Saturday with a panel discussion led by Fat Mike of NOFX at the Punk Rock Museum. Surrounded by photos of their younger selves taken by the late Naomi Petersen, all five members answered questions from Fat Mike, who introduced FLAG as “the best version of Black Flag I’ve ever seen.”

Fat Mike asked each participant to name their favorite album or song, which became something of a referendum on the band’s volatility on and off the stage, with musicians cycling in and out of the band. For instance, Henry Rollins, the band’s best-known vocalist, was Black Flag’s fourth singer.

“When people say, ‘Oh, Henry is my favorite. Ron [Reyes] was my favorite,’” Cadena said, “usually, that’s the first gig that they saw.”

“Why is it a contest?” Morris asked. “Each one of us contributed in the way we contributed. We each had our own personality.”

Keith Morris and Stephen Egerton of FLAG speaking about the band at the Punk Rock Museum.

(Rob Coons)

That those personalities frequently clashed with the band’s enigmatic guitarist and songwriter Greg Ginn is the story of Black Flag. Extreme music attracts extreme people. What’s unusual about these clashes is that they continued long after Ginn pulled the plug on his own band in 1986.

For instance, in June 2003, Rollins and Morris played Black Flag songs together — just not at the same time, Morris clarified during the panel — to raise money and awareness for the West Memphis 3.

It’s probably not a coincidence that later that summer, Ginn put together a Black Flag reunion of sorts at the Hollywood Palladium. The problem?

It featured musicians who’d never been in the band and they played along to prerecorded bass tracks. The shambolic set wasn’t well-received. These shows were also a benefit — for cats — launching a veritable cottage industry of CAT FLAG T-shirts.

Keith Morris, from left, Stephen Egerton, Bill Stevenson, Fat Mike, Dez Cadena and Chuck Dukowski gather to discuss FLAG’s reunion at the Punk Rock Museum over Memorial Day weekend prior to their set at the Punk Rock Bowling festival.

(Rob Coons)

In December 2011, Morris, Dukowski, Stevenson and Egerton played together for the first time at the Goldenvoice 30th anniversary show at the Santa Monica Civic Auditorium, where they were introduced as “Black Flag.”

The old friends had such a blast playing together, they decided to keep it going. Cadena was added to the mix and they played Black Flag songs under the banner of FLAG. The coming-out party for this lineup was an incendiary set at the Moose Lodge in Redondo Beach in April 2012.

Again, it’s probably not a coincidence that Ginn subsequently “reunited” Black Flag and initiated all kinds of legal activity against his former bandmates. At the heart of the issue was who could use the names FLAG and Black Flag. At the end of the day, the courts ruled that FLAG could continue.

Mike Magrann, vocalist and guitarist for L.A. punk band Channel 3, saw both bands play that year.

“It was puzzling,” Magrann said of Black Flag’s set, “because they weren’t honoring their legacy. When FLAG played, they played those songs the way they sounded back then. It brought back that feeling of being a kid on the side of the pit. The real threat of violence is right there. It was unbelievable!”

That ineffable feeling of danger is what drew so many people to FLAG’s Memorial Day performance. Fans came from all over the world just to see the show. Joey Cape of Lagwagon wrapped up a solo tour in Japan and flew directly to Punk Rock Bowling.

Like Cape and Magrann, some of the most hardcore fans were musicians who’d been inspired by Black Flag when they were young. David O. Jones of Carnage Asada drove in from L.A. with Martin Wong, who organized Save Music in Chinatown, and Martin’s daughter, Eloise Wong of the Linda Lindas. They returned to L.A. immediately after the show because Eloise, who is a junior in high school, had a physics test the following morning.

FLAG made it worth the trip. The band ripped through 22 songs, starting with “Revenge” and mixing crowd favorites like “My War” with deep cuts such as “Clocked-In.” Morris held the microphone with both hands like he was blowing on a bugle and urging the crowd to charge.

It was easily the rowdiest pit of the festival, and it swelled to nearly the length of the stage with a steady stream of crowd surfers being passed over the barricade: old men, young women and even small children. During songs like “Gimme Gimme Gimme,” “Wasted” and “Nervous Breakdown,” the roar from the crowd was almost as loud as the band.

There wasn’t any banter from the usually loquacious Morris. Toward the end of the show, he simply said, “Thank you for your participation,” and launched into the next song.

FLAG performs at the 25th Annual Punk Rock Bowling and Music Festival in Las Vegas on May 26, 2025.

(Courtney Ware)

After the obligatory performance of “Louie Louie” at the end of the set, the players took their instruments off the stage and were gone. Fans young and old looked at each other in disbelief, their lives changed, their DNA forever altered by punk rock.

FLAG had done it again. They played the songs the way they were meant to be played. They honored their legacy.

It will be a tough act for Black Flag to follow. In recent years, Black Flag has been much more active. Inevitably, that means more changes to the lineup. Earlier in May, Ginn announced Black Flag will be touring Europe this summer with three new members: all of them young musicians, including a young woman named Max Zanelly as the new vocalist.

Once again, the internet flooded with Black Flag memes keying on the considerable age gap between Ginn, who is 70, and his new bandmates who look many decades, if not generations, younger. Wong, who knows something about the power of young musicians to change the world, is hopeful.

“Everyone wins when there’s more good music in the world,” Wong said. “In a perfect world, the new Black Flag lineup will get Ginn stoked on music and push him forward. But if that doesn’t happen, we get FLAG, the best Black Flag lineup that never happened.”

While Black Flag prepares for its new chapter, is this the end of the road for FLAG?

“I don’t know,” Stevenson said after the panel at the Punk Rock Museum. “We always have fun when we get together. You can tell we love each other. I’m sure we’ll do more. At some point, one of us will be too old to do it, but so far that’s not the case.”

Jim Ruland is the author of the L.A. Times bestselling book “Corporate Rock Sucks: The Rise & Fall of SST Records” and a weekly Substack about books, music, and books about music called Message from the Underworld.

Open justice 

WHEN an incident unfolds as shocking and horrific as the car ramming at Liverpool FC’s trophy parade, the public has a right to know as much information as possible, as quickly as possible. 

Following Axel Rudakubana’s murderous rampage in Southport last July, silence from the authorities allowed conspiracy theory, rumour and deliberate disinformation to fester online. 

1

This, in turn, fuelled terrible scenes of violence and destructive riots. 

By revealing the ethnicity and age of the arrested suspect in the Liverpool incident within two hours – and swiftly ruling out terrorism – the police stopped malicious or kneejerk attempts to spread false narratives. 

They were right to do so, and local politicians have expressed their support for the decision. 

It’s a welcome step back from recent sinister attempts by police and Government to muzzle our free press. 

But the real test of our authorities’ new-found spirit of sensible openness will come the next time there is a tragic incident or terrorist attack. 

As Jonathan Hall, the Government’s terror law reviewer, points out: “The lesson has been learnt, don’t give any fuel to the conspiracy merchants. 

“You’ve got to roll with it. 

“If it had been a Muslim, an Asian, a black man or woman, they would have to say that. 

“You’ve got to be fully consistent.” 

Having now embraced transparency, the public will not understand why they shouldn’t always be given the full picture by the cops. 

Whatever that may be. 

E-bike blitz

CRACKING down on lower-level crime is known to help prevent more serious offences later on. 

So Government moves to crush mopeds, bikes and e-scooters used by criminal yobs within 48 hours rather than weeks to curb re-offending should be applauded. 

Just one problem: how does this get-tough approach sit with Labour’s prison reforms. 

After all, they will mean thugs convicted of crimes which should attract a 12 months sentence are now a lot less likely to go to jail? 

Reform rebirth 

BRITAIN isn’t having enough kids. 

Instead, we have come to rely on importing more and more young workers from overseas in a faltering bid to get the economy growing, and pay the bills for our ageing society. 

Nigel Farage’s proposed tax breaks for married couples could help to reverse that damaging long-term trend. 

Making it more affordable for young parents to have children is key. 

Imagine you’re on a cruise ship for a four-day excursion to the Bahamas. You’ve got your swimsuit, an adult beverage, and you’re ready to relax. As you make your way to the pool deck, you’re hit with the sound of distorted guitars and in-your-face vocals as legendary L.A. punk band X rips through “Johnny Hit and Run Paulene.”

That was the scene on Little Steven’s Underground Garage Cruise, which set sail from Miami on May 9-13 on board Norwegian Cruise Lines’ Norwegian Gem, and the 1,800 or so passengers were in punk rock heaven.

The lineup featured an array of SoCal-based bands, including Social Distortion, L7, Rocket From the Crypt, the Lords of Altamont and the Dollyrots. They were joined by dozens of other performers across the rock ’n’ roll spectrum, from the hard-stomping Fleshtones to the incorrigible Supersuckers, to Tommy Stinson’s Bash & Pop, to the ageless Linda Gail Lewis — younger sister of music icon Jerry Lee Lewis.

As John Doe of X said, “bands you never thought you’d see on a boat.”

The festival-at-sea concept isn’t new. Sixthman, the company that ran the cruise, has been organizing festivals since 2001 and offers more than 25 curated cruise experiences. Upcoming sailings include Keeping the Blues Alive at Sea Alaska, Chef’s Making Waves Boston, Rock the Bells Cruise and Headbangers Boat.

In many ways, the first Little Steven’s Underground Garage Cruise is an offshoot of Sixthman’s Outlaw Country Cruise, which completed its ninth sailing earlier this year. It was a somewhat somber celebration because both its architect, SiriusXM’s Jeremy Tepper, and its ambassador, Mojo Nixon, died suddenly in 2024.

That cruise drew an eclectic mix of performers such as Steve Earle, Lucinda Williams and Dave Alvin, who share musical DNA with many of the artists on the Underground Garage Cruise and vice versa. For example, Alvin’s former band the Blasters played alongside X during L.A.’s first wave of punk, and Social Distortion’s Mike Ness was often in the front row watching them play.

“Jeremy and Mojo were incredibly close,” Alvin said. “They were like soulmates in a weird way. Cultural, artistic soulmates.”

One surprise guest on the Outlaw Country Cruise was Jello Biafra, who released the album “Prairie Home Invasion” with Mojo Nixon in 1994. He played with Nixon’s backing band the Toadliquors during an emotional tribute to his late friend.

“It’s hard,” Biafra said, “because there is a little bit of a pall over this whole event, because Mojo isn’t here, and everybody’s got their memories bubbling up. I have plenty of that.”

Many of the performers, including some who’d never taken a cruise before, had reservations about what the Underground Garage Cruise would be like.

“I thought there was going to be a lot of crazy drunkenness,” said Donita Sparks of L7. “I was thinking it was a booze cruise, but I haven’t seen a whole lot of that. I haven’t seen a single fight. I’ve seen people laughing and hugging and rocking out to the music. I’ve just seen a lot of joyousness.”

John Reis, vocalist and guitarist of Rocket From the Crypt, was concerned about seasickness and feeling “trapped” but neither proved to be an issue, and he found it easy to “succumb to the vibe.”

“We don’t take certain things all that seriously,” Reis said of Rocket From the Crypt, “and festivals can be very regimented. There’s often a lot of stress involved, mainly with the people putting on the shows. The cruise isn’t like that at all. It’s way more casual.”

Even Ness of Social Distortion was seemingly won over by the cruising lifestyle. “Ease into the day, do what you want. No traffic, no hassles,” Ness said from the stage.

X performs on Little Steven’s Underground Garage Cruise

(Eli Johnson)

Punks of a certain age are all too familiar with the phenomenon of looking forward to a show but, once it’s time to actually leave the house, losing all enthusiasm to drive across town, find parking and wait for opening bands to wrap up their sets. On the Underground Garage Cruise, all shows are a short walk away and run from an hour to an hour and fifteen minutes. No openers. No encores.

Although some shows overlap, unlike most festivals, the bands play several times throughout the course of the cruise. So if you missed a band’s performance on the spacious pool deck, you could catch them later at the 850-seat Stardust Theater or one of the more intimate lounges that provide a clublike setting.

That means you can choose where and when you want to see the band — even early in the afternoon.

“We’ve been doing this a long time,” Eddie Spaghetti of the Supersuckers told the crowd at the band’s 1:15 p.m. gig. “But never this early,” quipped bandmate “Metal” Marty Chandler.

Fans cram the deck of the cruise to watch their favorite bands play on a trip sailing from Miami to the Bahamas

(Rich Johnson)

Performers participated in events offstage as well: autograph signings, a wine tasting with the Dictators, a poker tournament with the Slim Jim Phantom Trio and interview sessions that will eventually make their way to the Little Steven’s Underground Garage channel on SiriusXM. An interview with Mike Ness ended with a surprise short set by Social Distortion, accompanied by keyboardist Ben Alleman on the accordion.

There are, of course, drawbacks to the cruise experience. If you’re not having a good time at a festival, you can always leave and go home. Obviously, you can’t do that on a cruise ship. There are also larger concerns with the cruise industry itself, from the impact these behemoth ships have on the environment to the low wages paid to foreign workers, who do the bulk of the cooking and cleaning.

John Doe said he was conflicted about the gig. “As you grow up, you do things for love or money, right? This is for money. But I love the band X.”

Then there’s the elephant in the room: the perception that cruises aren’t for kids; they’re for elderly people.

A lot of these old punks are, well, old. And if you were in the pit with bands like X, Social Distortion and L7 when they were first making waves, then so are you.

That’s not necessarily a bad thing.

“Rock ’n’ roll is like jazz now,” said Eddie Spaghetti. “Essentially, it’s become a niche art form for older people because most kids don’t like rock ’n’ roll anymore.”

As fans age, their bodies may break down but their passion for the music of their youth remains the same. But a lot of music fans, this writer included, deal with disability, health and/or mobility issues that can put a damper on the typical festival experience. Sixthman, however, excelled at making sure every passenger felt welcome.

For instance, all of the venues on the Underground Garage Cruise had an abundance of ADA seating, with staff designated to assist those who requested it. One staff member I spoke with told me she scans the crowds during the shows and looks for people who might benefit from extra assistance.

That kind of personal attention goes a long way toward explaining why fans, performers and staff members alike think of these cruises as a community. There’s a camaraderie on these trips that you won’t find at your typical festival.

The people you meet at the show aren’t just festivalgoers; they’re your neighbors and sometimes your breakfast companions. The intimidating-looking punk rocker covered in tattoos is a lot more approachable when eating pancakes with his partner at the buffet.

This camaraderie isn’t what leads most fans to sail on a music cruise, but it’s one of the reasons they return year after year. During the Outlaw Country Cruise in February, passengers assembled for a group photo for those who’d sailed on all nine Outlaw Country Cruises.

That camaraderie is important to the musicians too. Everyone I talked to raved about the shows they’d seen. Jonny Two Bags of Social Distortion told me that when he received the schedule, he highlighted the bands he wanted to see — just like any fan. He was especially excited to see Bash & Pop, who he’d played with in the early ’90s.

L7 performs at Little Steven’s Underground Garage Cruise

(Rich Johnson)

Donita Sparks of L7 had fond memories of playing with the Supersuckers in the early ’90s. “We used to sleep on the Supersuckers’ floor in Seattle,” Sparks said, “and we would have a dance party every night.”

That excitement for what L7’s Jennifer Finch called “the buffet of bands” is infectious. It’s also why Little Steven’s Underground Garage Cruise will sail again next April, to Cozumel, Mexico.

“We’re all alive,” Sparks said. “We’re here and we’re still rocking.”

Jim Ruland is the L.A. Times bestselling author of “Corporate Rock Sucks: The Rise & Fall of SST Records” and of the novel “Make It Stop.”