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Kate Ferdinand has shared her concerns about the growing pressure on people to use the so-called “skinny jab”.

Showing off her toned physique in an exclusive new shoot with Women’s Health, the 34-year-old opened up about her worries surrounding weight-loss medication.

Donning sportswear for the shoot, the reality star, who is married to former Manchester United footballer Rio Ferdinand, admitted she fears the impact of the rising popularity of GLP-1 drugs.

Speaking about the pressure she believes some women are feeling, Kate said: “I know a lot of people who do them, and if it makes them happier, then great.

But I think it’s become this thing where the woman who doesn’t want to jab feels pressure to do so because everyone else is.

“And it can feel harder for them to do things in the natural way – to exercise and eat well – because it takes so much longer and the results aren’t as immediate.”

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In the accompanying photos, Kate is seen posing in a white tennis skirt and sports bra, with a towel draped around her neck.

She credits her own physique to a holistic approach to health and fitness.

“I want to look good and I’m happier when I look good, I have to be honest. 

“But I would always choose to exercise because I work out for my mental health, too. 

“I also want to be a healthy role model for my children: they see me working hard in the gym and that makes a difference…I’m quite aware of how I feel and what I need to do in order to make myself feel better. 

“If I need help, I’ll have therapy. If I’m struggling, I’ll go outside and go for a walk, I’ll talk to people.”

Kate is the current Women’s Health cover star and a guest on its Just As Well podcast.

Meanwhile, Rio has teamed up with his wife to front the men’s edition of the magazine, Men’s Health.

The Ferdinands are the first British couple to appear on the covers of Women’s Health and Men’s Health UK simultaneously.

The couple recently moved to Dubai, a move that Kate has admitted she has struggled to adjust to.

Kate got emotional during a recording of her podcast Blended as she admitted it’s not been easy for her.

Starting off positively, she said: “I think it’s an amazing place to live, I think it’s amazing for the children. The children are thriving and happy and living a life of just outside freedom.

“Rio loves it so much. I am enjoying it, but I miss home quite a lot. I can’t talk about it because I get upset,” said Kate as she grappled with tears.

Kate and Rio have a blended family of five children, which consists of their two kids Cree and Shae, and Rio’s children Lorenz, 19, Tate, 17, and Tia, who he welcomed with his late wife Rebecca.

The latest issue of Men’s Health UK and Women’s Health UK go on sale on 10 February.

Bad Bunny’s Superbowl halftime show may have been dubbed the sexiest in sporting history, but many fans were busy watching another A-list star during the performance.

Hollywood actor Jon Hamm sent fans wild with his hilarious “dad dancing” as he watched the performance pitchside.

Seemingly in his element, Jon swung his legs and arms back and forth before jumping up and down with a massive smile on his face as Bad Bunny performed Daddy Yankee’s hit song Gasolina.

While Jon’s wife, Anna Osceola, was clearly just as excited, as she had an NFL jersey with “Bad Bunny” written on the back.

Snapping a video of the Mad Men actor, the official NFL TikTok account wrote: “Jon Hamm vibing to Bad Bunny on the field”.

Amassing 3.5 million views and almost 300,000 likes, fans thought his moves were hilarious – with some jesting it gave them the “ick”.

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Others weren’t surprised to see Jon so happy with the performance, as they noted that he’s actually a huge fan.

“Jon Hamm goes to damn near every concert that Bad Bunny performs at. He’s a huge fan,” wrote one user.

Another said: “Jon Hamm is living his best life on that field”.

“THATS WHAT THE FANS WANNA SEE,” wrote a third.

Bad Bunny, whose real name is Benito Antonio Martínez Ocasio, rose to fame a decade ago and has been dubbed the “King of Latin Trap” since.

It’s not the first time Jon has been seen enjoying Bad Bunny’s music, with the actor admitting in August last year that he’s a “huge fan”.

He admitted at the time: “You can’t listen to his music and not smile. He’s a really nice guy. He’s funny, and he’s fun and his music is awesome.”

Bad Bunny rocked the iconic halftime show slot during last night’s superbowl, which saw the Seattle Seahawks reign victorious.

The Puerto Rican’s spicy performance included raunchy dancing and close-up making out which the thousands in attendance and the millions watching at home lapped up.

The performance also featured special guest appearances from Lady Gaga and Ricky Martin.

Meanwhile global stars like Pedro Pascal, Jessica Alba and Cardi B – girlfriend of New England Patriots star Stefon Diggs – danced on stage as part of the spectacle.

A real couple said “I do” at the Super Bowl halftime show — and Bad Bunny and Lady Gaga were there to bless the union.

For those analyzing the details in Bad Bunny’s 15-minute halftime performance, there was a real wedding that took place at Levi’s Stadium in Santa Clara in front of 75,000 fans.

The couple signed their nuptials as Lady Gaga performed a salsa rendition of her ballad “Die With a Smile” — notably without collaborator Bruno Mars.

According to a statement released by Bad Bunny’s publicist, the couple had first invited Bad Bunny to attend their wedding but were instead invited to be part of the Apple Music halftime show performance.

Amid his busy performance — which included dancing on utility poles, a bodega, a field filled with laborers and the pink casita stage created during his 2025 residency in San Juan, Puerto Rico — the Puerto Rican star still made time to sign off on their marriage certificate before the newlyweds relished their first slice of cake.

Chris Evans has made a major comeback with the relaunch of TFI Friday and brought the iconic programme to his radio station almost 30 years after it first aired

Chris Evans has relaunched his hit 90s series TFI Friday. The presenter, 59, fronted the hit series during its initial run on Channel 4 from 1996 until 2000 and it became staple viewing at the start of the weekend.

The format featured a mix of live performances and celebrity interviews. Chris left the programme after the fifth series, and big names like the Spice Girls, Davina McCall and Elton John stepped in to take the reins for the last run of episodes in the build up to Christmas 2000. Now best known for fronting his radio show on Virgin, the TV star, who also presented the short-lived revival in 2015, has brought the programme back once more.

The revamped version of the iconic series is currently being released on Virgin Radio’s YouTube channel, and welcoming the audience to the first episode, Chris said: “Hello friends. Thank you for tuning in! Welcome to TFI Unplugged.

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“On the way today, Delroy Lindo, currently nominated for Academy Award, Hollywood Sim Car of course. Also on the way, the hilarious Ross Noble going to be here!”

Some of the more regular segments during the original run of the show included Freak or Unique, which encouraged participants to show off a strange talent. Other items included Fishbowl Challenge, Show Us Your Face Then and Sink Or Swim.

The show also ran a segment called Someone’s Going to Be a Millionaire!, based on Who Wants To Be A Millionaire?, and on Christmas Eve 1999, TFI Friday became the first British programme to issue a £1 million prize, almost a year before one player won the jackpot on the ITV game show.

Chris became a major television star in the early 1990s, as the Channel 4 show The Big Breakfast which he presented alongside Gaby Roslin, before other showbiz favourites like Denise Van Outen, Zoe Ball and Kelly Brook took on the hosting role.

He wrote and presented TFI Friday whilst working on the BBC Radio 1 Breakfast Show, which he eventually resigned from whilst he was live on air in 1997 after Radio 1 refused to allow him to work a four-day week.

He also presented The One Show on Fridays between 2010 and 2015, and later became the lead host of Top Gear in 2015 after the sacking of Jeremy Clarkson.

In 2022, Chris explained on his radio show that a reboot of TFI Friday didn’t need to be on television anymore thanks to the advent of streaming. He said: “Can I tell you a bit more about it?

“Oh, sure. The thing is, you don’t need a TV channel now. You don’t don’t need one. It’s amazing what you can do. TFI Friday doesn’t have to be an hour long, it could be longer, we could livestream it!”

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A Sunday Brunch star was forced to make a quick exit from the Channel 4 programme during its latest episode

The Sunday Brunch set had one guest missing from the line-up halfway through the programme.

The hit Channel 4 show returned to TV screens on Sunday (February 8) with its usual three hours of celebrity interviews, culinary demonstrations and light-hearted entertainment.

Joining hosts Tim Lovejoy and Simon Rimmer were another batch of famous faces. On the long-running programme, the pair chatted to the likes of Shazad Latif, Vanessa Williams and Michaela Strachan.

Rock band James – best known for hits like Come Home and Sit Down – spoke to the hosts and also performed at the end of the show in a pre-recorded performance.

However, after James’ interview – in which they spoke about their new greatest hits album, James: Nothing But Love – The Definitive Best Of – Simon revealed the band would soon be heading off and leaving the Channel 4 studio.

He said: “We’re going to be saying goodbye to you guys aren’t we because you have to shoot off and do a show.”

Simon added: “Where’s the show,” before the band confirmed: “Liverpool.” Simon then said: “Oh great, best of luck with your travels.”

It comes after Sunday Brunch sparked complaints from fed-up viewers minutes into the show last month. Comedians Bridget Christie and Russel Howard, actors Malachi Kirby and Mark Benton, musician Bellah and chef Jeremy Pang were the guests at the time.

However, the line-up left viewers divided with some claiming they “didn’t know any of them”. Taking to social media, one fan penned: “Another week of z list “celebrities” time to knock this show on its head.” A second added: “Don’t know any of them.” A third person said: “Sorry but used to love it …getting past its used-by date.”

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However, some fans were delighted with the celebrity guests, with someone else writing: “A way better and funnier line-up than last week.” Another agreed: “I love Sunday Brunch! It’s a must-watch tradition in our house.”

Meanwhile, a week prior viewers branded an interview on the show “a tough watch”. The exchange between Tim and Simon with Black Ops and The Wheel of Time actor Hammed Animashaun was criticised by fans watching at home.

Sunday Brunch airs every Sunday at 10am on Channel 4.

I have watched this show at least once every week for the last 10 years and people are still leaving positive reviews

Everyone’s got at least one go-to programme they return to now and again. I’ve got several I rotate through, whether it’s The Thick Of It, I’m Alan Partridge or Star Trek, but there’s consistently one that stands head and shoulders above the rest and I’m not the only one who reckons it deserves a viewing.

Boasting a 95% approval score on Rotten Tomatoes, Frasier is the American sitcom that keeps proving its staying power and I’ve tuned in at least weekly (possibly more) for over ten years. I can recall when this brilliant piece of farcical comedy served as a late-morning slot-filler on Channel 4, and that’s where I initially encountered the endearing yet pretentious radio psychiatrist as he adjusts to fresh beginnings in Seattle.

Whilst Frasier originally launched in 1993, plenty of viewers already knew the main character from the Boston-set sitcom Cheers.

Spanning 11 series right through to 2004, Frasier, portrayed by Kelsey Grammer, remains remarkably relevant today, with numerous episodes revolving around the comic consequences of a straightforward misunderstanding that viewers are completely aware of.

It’s packed with brilliant one-liners, gags that mock the upper classes and a dash of slapstick chucked in for good measure.

It follows Frasier’s relocation from Boston to his swanky new flat in the fictional Elliot Bay Towers, and launches his fresh radio call-in programme at the neighbourhood KACL station alongside producer Roz, portrayed by Peri Gilpin.

Comedy gold unfolds when he welcomes his down-to-earth father Martin, portrayed by the late John Mahoney, Martin’s live-in physiotherapist Daphne, brought to life by Jane Leeves, and his scruffy terrier Eddie into his pristine apartment, reports the Express.

There’s no shortage of sharp-tongued sparring between Frasier and his equally pretentious sibling Niles, embodied by David Hyde Pierce, while sipping a steaming macchiato at their beloved Cafe Nervosa.

Both audiences and reviewers adore it, with each series packed with memorable episodes that become more hilarious with repeated watches.

Fans continue posting glowing testimonials more than two decades since it wrapped, cementing this legendary sitcom’s devoted following.

One viewer raved: “Just a fantastic series. Great writing. Brilliant acting. As much as I enjoy Kelsey Grammar in this series… David Hyde Pierce really does steal the show.”

Another declared: “This is a go-to classic for intellectual humour while building upon continuing story arcs and having solid standalone episodes. Frasier is one of the best TV series ever made.”

A third enthused: “Definitely one of the greatest sitcoms of all time, watching it over again.”

There’s been a Frasier revival, though this features a fresh ensemble aside from Kelsey Grammer, and has received divided opinions.

Both the classic and revived Frasier are available on Paramount Plus, whilst the original run can be streamed on Channel 4. Individual series and episodes can be purchased through Amazon Prime.

Princess Andre has shared that filming has wrapped on the second series of her ITV2 reality show The Princess Diaries, with the series expected to return in spring

Princess Andre has delivered a significant announcement regarding the future of her ITV2 reality programme. The 18-year-old followed in her famous parents’ footsteps by landing her own ITV series last summer.

The programme documented the teenager’s everyday life, though mum Katie Price was conspicuously missing after she was allegedly prohibited from appearing in any footage for the show. Dad Peter, however, featured prominently alongside her brother Junior.

Princess has now provided an exciting development on the programme, called The Princess Diaries, after it was confirmed for a second run following strong viewing figures.

The teenager has disclosed that production has concluded, with her final day on set taking place yesterday. She posted an image of the show’s clapperboard along with a backstage photograph of her recording her to-camera segments for the series.

Princess wrote: “Last day of filming.” The programme is anticipated to return to television screens during the spring months. Her announcement follows her parents releasing an unusual joint statement in which they detailed their commitment to cease making disparaging remarks about each other online.

Peter and Katie established a legal arrangement whereby both promised to end their public criticism of one another following numerous acrimonious public disputes – an uncommon ceasefire for the frequently feuding former couple.

The Sun learned that Katie had spent months declining Peter’s persistent efforts to broker peace. Sources suggest their children, Junior, 20, and Princess, 18, are the motivation behind her ultimate decision to accept her former husband’s An insider revealed: “Pete’s team have been begging Katie to end this for good for months.”

As far back as November, they were calling Katie and her family to try to end the row. “She was resolute, she wouldn’t make peace with him. It was the children who made her realise she needed to draw a line in the sand. Katie has done this for them.”

Taking to Instagram, they both posted: “Katie Price and Peter Andre have decided to close the door on the past and move forward into a new chapter with positivity and respect. We are both focused on creating a calm and supportive environment for our children.

“We have reached a mutual agreement, both legally and personally confirming that neither of us will speak negatively about the other going forward. This decision reflects a shared commitment to our family and stability.”

The statement continued: “We want to stand united for our children. We are hoping this is a start of a positive relationship. We ask for understanding and support from both the media and the public as we move ahead.”

The unusual move comes just after Katie exploded at her former husband on her weekly podcast, accusing him of keeping her away from their daughter Princess as she launched her own reality TV show and making her look like the ‘baddie’.

Peter hit back by saying he had tried to stay silent for ‘sixteen years’ to ignore ‘repeated lies from my ex-wife and her family’. “That ends today,” he fumed.

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During home meets, the moment the UCLA women’s gymnastics team transitions to the mat for floor exercise, the crowd is hyped. The arena announcer further pumps up the audience. During each Bruin’s routine, their teammates are locked in on the edge of the mat cheering while mimicking key moves.

“The floor really is a show,” UCLA coach Janelle McDonald said. “It’s a performance. [Gymnasts] can use their own personality out there to perform for the crowd, put their own stamp on it, so to speak, more so than other events.”

Each routine displays the identity of each performer. Each jump, performed with personality, draws the crowd in. Anytime the gymnastics are dialed in and made to look easy, the crowd can focus on the performance. It is an incredible event to finish a meet at home, McDonald said.

“The team’s been putting in a lot of work because we know that that can be a really strong event for us and so it was great to see it all come together last weekend,” she said.

UCLA earned a 49.700 on the floor during its meet against Washington this past week, the highest team total in the event during the NCAA gymnastics season.

“I just think the energy that we all bring in our floor routines and how different they are really stands out for UCLA gymnastics,” Tiana Sumanesekera said. “Yes, the best show in L.A., and I think we really bring that to the table.

Sumanasekera earned a season-best of 9.925 on her routine during the meet against Washington. She attributes the team’s success to assistant coach BJ Das’ choreography.

“We’re so good at captivating the audience in the sense that we bring our own style throughout our routines,” she said. “I think every single one of our routines, BJ did an incredible and phenomenal job of individualizing them.”

UCLA competes at Minnesota on Saturday at a sold out arena.

“It really is just a show and that’s what we want to put on,” McDonald said.

A poignant tribute has been paid to a forgotten Blue Peter star, who died at the age of 28 after a brave health battle. The presenter wowed both on screen and on stage

Tributes have been paid to a talented Blue Peter presenter who was sacked before his tragic death.

At just 12-years-old, Michael Sundin had already become a trampolining champion, a talent that would prove instrumental in securing his position as a Blue Peter presenter in 1984.

Prior to joining the beloved children’s show, Michael had performed in Andrew Lloyd Webber’s acclaimed musical Cats before going on to portray Tik-Tok in Disney’s Return To Oz.

He caught the attention of Blue Peter producers while being interviewed by the programme’s then-presenter Janet Ellis, resulting in his appointment alongside her and Simon Groom.

Taking over from the show’s celebrated presenter Peter Duncan, Michael swiftly gained recognition for his adventurous exploits on Blue Peter, covering film sets and even paying a visit to Elton John’s residence.

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However, despite his natural screen presence, Michael’s stint on Blue Peter proved brief; he departed the programme after less than a year, allegedly when his contract wasn’t renewed. He then heartbreakingly passed away from an Aids-related illness aged just 28, in 1989.

Michael, fondly recalled by those close to him as a “blond, outgoing, gregarious ball of fun”, was cruelly outed by the media as gay during his short tenure on Blue Peter.

While then-Editor Biddy Baxter attributed his departure to lack of viewer appeal, his exit became mired in scandal as numerous sources suggested it stemmed from his sexuality, OK! reports.

During a 2007 television interview, Baxter dismissed these allegations, stating: “It was his leaving the programme because children didn’t like him – nothing to do with his sexual proclivities”.

After leaving Blue Peter, Michael went on to pursue acting, featuring in the 1987 film Lionheart. He performed in touring stage shows including Seven Brides For Seven Brothers and Starlight Express, and made an appearance in Rick Astley’s 1988 music video for She Wants To Dance With Me. Tragically, that same year Michael became unwell. He passed away at Newcastle General Hospital aged just 28, with initial reports suggesting his death was caused by liver cancer.

This week, The Elstree Project paid a poignant tribute to Michael’s talents as they looked back on his role as Tik-Tok. They wrote: “Michael Sundin was the performer inside Tik-Tok in Return to Oz (1985). His contribution was not animatronic control or puppetry, but full-body suit performance: movement, balance, timing and physical character, carried out under extreme physical and technical constraints.

“Tik-Tok was a hybrid creation. His head, eyes and facial details were operated externally by puppeteer Tim Rose using mechanical and radio-controlled systems, while the voice was added later in post-production. But the character’s weight, rhythm and locomotion came entirely from Sundin. He was responsible for making a rigid, four-foot copper robot feel grounded, deliberate and alive.

“The physical challenge was extraordinary. Sundin was folded double inside a small Kevlar suit, arms crossed, head tucked between his legs, walking backwards throughout filming. To navigate the set, he relied on a small internal monitor relaying an external camera feed — upside-down and reversed. This demanded constant recalibration, spatial intelligence and muscular control.”

Meanwhile, the programme’s oral history director, Walter Murch, said: “When Michael Sundin died in 1989 from an AIDS-related illness, aged just 28, there was only a small on-air acknowledgement of his passing on Blue Peter with no retrospective of his work in the way other presenters have been respected. In an era marked by stigma and silence, much of his contribution was quietly erased, and he was notably absent from anniversary clips and montages until the 60th anniversary.

“Sundin’s work on Return to Oz deserves to be understood clearly. He was not an animatronics operator or a puppeteer, but a suit performer whose body performed in a complex system of mechanical, electronic and human collaboration. Without his performance, Tik-Tok would not move as he does on screen. As we celebrate the technical innovations that took shape at Elstree, it’s worth remembering how many depended on performers willing to endure extraordinary conditions to make new forms of cinema possible.”

Following Michael’s passing, Blue Peter presenter Yvette Fielding paid tribute, joined by colleagues John Leslie and Caron Keating. She said: “We had one piece of very sad news during the summer. As many people may have heard, Michael Sundin – who presented Blue Peter five years ago – tragically died at the very young age of 28. Michael had been ill for a little while but the news of his death came as a great shock to all of us.”

The show remembered a late producer as it returned on Friday (February 6)

Gogglebox paid tribute to a TV producer who died after battling a brain tumour as it returned for a new series.

The Channel 4 favourite was back on screen with its 27th series on Friday night (February 6).

As it ended, a picture of Jonathan Clough was displayed on screen, along with the words: “In memory of Jonathan Clough” and the dates 1989 to 2025.

The producer had been diagnosed with a Grade 4 Glioblastoma in 2024, at the age of 35.

A fundraising campaign had been established to support Jonathan, whose TV also credits included Strictly Come Dancing and The Apprentice, in accessing specialist treatment. Actor Sam Swainsbury established the GoFundMe campaign following an appeal launched by the family.

The producer and his partner, Tracy Martin, both had to leave their careers and relocate with their two young children from London to Wigan to stay with her parents following his diagnosis.

Writing on the GoFundMe page, Tracy explained how their lives had changed after Jonathan suddenly collapsed due to a seizure in March 2024.

She wrote: “Two months after that, the results of an MRI brought our world crashing down. Our brilliant Jonathan, at only 35 years old, was diagnosed with a Grade 4 Glioblastoma — an extremely aggressive and incurable brain cancer.”

Jonathan underwent surgery, chemotherapy and radiotherapy, but subsequent scans disclosed a regrowth that doctors deemed inoperable.

In January, Sam posted a message on Instagram saying that Jonathan had died on Boxing Day.

“He saw his daughter’s first day at school,” he said. “He then made it to her first play. He then made it to Christmas. He then sadly passed on Boxing Day. He fought for every last second. He exceeded all expectations. He was extraordinary.”

“I don’t have many more words than that,” he said. “I still can’t believe it.”

Former Strictly pro Kevin Clifton was among those to pay tribute to Jonathan, who was a producer on the BBC ballroom show from 2017 to 2019.

Sharing photos of Jonathan on social media, he wrote: “An amazing friend, an amazing man, an amazing father and a heck of a fighter for his amazing family. I will miss you forever [heartbroken emoji].”

Gogglebox airs on Channel 4

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Bad Bunny is constantly making history. Last Sunday he broke a new record by winning album of the year at the Grammys for his 2025 album, “Debí Tirar Más Fotos,” which was the first fully Spanish-language album to claim the title; and come Feb. 8, a.k.a. Super Bowl Sunday, he’ll be the headlining act at the Super Bowl halftime show.

Yet he is also teaching history. Bad Bunny’s latest record is not only a celebration of Puerto Rico and its people, but it offers a window into some of the challenges the embattled territory is currently facing — including massive migration, displacement and an infrastructure on the brink of collapse. In a moment when education is under attack, both in the United States and Puerto Rico, Bad Bunny is using pop culture’s biggest stage to offer the world a history lesson. And in this political context, that matters greatly.

In December 2024, I was contacted by Bad Bunny’s team to produce 17 pages outlining Puerto Rican history, to pair with each song’s YouTube visualizer for “DTMF.” Altogether, they have been viewed more than 775 million times.

I later produced 40 slides jam-packed with historical and cultural facts about Puerto Rico, which were screened at Bad Bunny’s 31-show residency in San Juan. These ranged from facts about the history of women’s suffrage to the founding of Puerto Rico’s oldest punk band, La Experiencia de Toñito Cabanillas.

When Bad Bunny was announced as the NFL’s choice to headline the halftime show, I was hardly surprised by the backlash from conservatives — including multiple Fox News hosts, podcasters and even President Trump, who said, “I don’t know who he is. I don’t know why they’re doing it … [It’s] crazy.”

As communities of color celebrated on social media, critics raised two questions: Why would a Spanish-speaking artist — even if he is the most-streamed artist on Earth — be chosen for that stage? And why wouldn’t they choose a more patriotic, Anglo-American artist?

While undoubtedly xenophobic in nature, these questions highlight their acute ignorance about the place that birthed Bad Bunny, and its ongoing entanglement with the United States.

Puerto Rico was first colonized by the Spanish from 1493 until 1898, the year that the United States occupied the country as part of the Spanish-American War. Later, in 1917, Puerto Ricans became U.S. citizens through the Jones Law. Eventually, we drafted a constitution and became a Commonwealth of the United States in 1952. But there is never one single historical narrative.

What these facts occlude, however, is that Puerto Ricans are second-class citizens who cannot vote for the president — and those in the archipelago are not fully protected by the U.S. Bill of Rights. According to the U.S. Supreme Court’s early-20th century Insular Cases, we belong to the United States, but we are not part of it.

Put simply: We are a colony of the United States in the 21st century.

When drafting the historical narratives for “DTMF,” Bad Bunny understood that Puerto Rican history is often unknown, even to our own people. He was interested in making history available for those who don’t have access to higher education. He wanted me to write these narratives in a candid manner to be read by people in the barriadas y caserios (working-class neighborhoods and the projects). These were the places where I came of age in Puerto Rico.

With the success of “DTMF,” Puerto Rican history was amplified to the world. I’ve had countless conversations with journalists from around the globe, who marveled at how little they knew about Puerto Rico’s history or its relationship to the United States. This is precisely what I think drives those debates about language and who gets the right to claim Americanness — a lack of information.

And even though Bad Bunny is a U.S. citizen, conservatives have organized an alternative “All-American Halftime Show,” which reveals how “Americanness” is policed through language and race. This is the product of willful ignorance.

Puerto Rico’s history is also that of Latin American, Caribbean, United States and Latinx communities. I believe Bad Bunny’s performance will invite people to understand the beauty and complexity of our people’s history, even if it makes outsiders uncomfortable. That he will also be doing so entirely in Spanish in a moment when Latinx people in the United States are being arrested or interrogated by federal agents for speaking in Spanish — or simply for having an accent? That matters.

Of course, artists alone will not save us from the perils of racism and xenophobia — I learned that from my time in the punk community. We cannot just wait on anyone, especially not celebrities, to change institutions without some people power to back them up.

Yet given his enormous reach — just this week his latest album hit No. 1 on Apple Music in China — Bad Bunny has the power to move the cultural needle. And if there’s one thing to take from the Grammys ceremony last Sunday, it’s that he’s not alone — other artists have taken a stand on anti-immigrant violence. They are living up to the moment. That matters too.

So while conservatives organize their bland counter to the Super Bowl halftime show — with none other than Kid Rock as headliner — Bad Bunny will be offering the world a much more valuable history lesson, full of sazón, batería y reggaetón.

Jorell Meléndez-Badillo is the author of “Puerto Rico: A National History” and associate professor of Latin American and Caribbean History at the University of Wisconsin-Madison.

When you read about Jason Mantzoukas’ ideal Sunday in Los Angeles, it’s important that you imagine him holding a cup of coffee in basically every location and situation. He knows all the places around the city where he can get caffeinated before he goes on to do anything else.

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

Fittingly, the actor, comedian and podcaster has brought an excitable, unpredictable and hilarious energy to his roles on shows including “The League,” “Brooklyn Nine-Nine” and “Big Mouth.” Last year, he brought his gleeful sense of mischief to the U.K. competition series “Taskmaster.” And Disney+ recently finished airing the second season of “Percy Jackson and the Olympians,” where Mantzoukas portrays Mr. D (a.k.a. Dionysus), and he’ll soon wrap up a stint on Broadway, where he stars in Simon Rich’s play “All Out: Comedy About Ambition.”

For the continuously busy Mantzoukas, sometimes the perfect Sunday means never leaving the house. “All I want to do is make a whole pot of coffee, get the paper and a big stack of unread comic books, and sit on the porch.” When he does explore the city, he favors the spots where he similarly can just hang out for a while. But before that, how about a refill?

10:30 a.m.: First cup(s) of the day

I’m a night owl, so on a Sunday especially, I’m going to let myself sleep in. Then I’m making coffee. My first three cups of coffee are all from home. I’m making a French press. L.A. beans though, either Counter Culture or Go Get Em Tiger would be my beans of choice. That and the newspaper are the beginning.

Almost immediately upon getting up, I’m going to start playing the radio. My mornings are either LAist or Howard Stern if it’s a weekday. But on Sundays, I’m trying really hard to not do any talk, just music. It’s KJazz, or something like that. I’m also obsessed with a radio station called WYAR that I can’t recommend enough. It’s music from the ’20s, ’30s and ’40s. It’s the teeniest, tiniest radio station out of Yarmouth, Maine.

Noon: Hike bros

I’ve hiked with the same guys for years now. It’s all guys that I’ve done comedy with for 20-plus years. We usually do one of the Griffith Park hikes because it’s convenient for everybody. The conversation topics are: What is wrong with us physically? What doctor recommendations do we need desperately? Then it is gossip — gossip from within our world, gossip from outside of our world. Then it is just earnest conversation, like checking in emotionally. And then quite a bit of dumb bits, like really dumb bits.

We do these hikes a couple of times a week, and it’s so fun and funny that we have started doing an improv show at the Elysian Theater that’s called Hike Bros. It is just us trying to approximate on stage what it is we do on hikes. It’s ridiculous.

1 p.m.: Comic book restock

After the hike, I’m in a good position to go to Secret Headquarters in Atwater Village, which is my home comic book shop. They keep a list of what comics I want them to set aside each week.

There’s a series of graphic novels called “Hobtown Mystery Stories” that are like, what if David Lynch wrote Hardy Boys, Nancy Drew-style teen detective books? I got super into them because I was in Secret Headquarters and one of the people there was like, “Oh, I bet you’d like that book.” On the internet, I miss having those trusted people.

2 p.m.: Recording digging

I want to kill time in a way that is about discovery, exploration, but also, like, “Oh, I want stuff.” That’s record shopping. L.A. has always been Amoeba for me, just in terms of I love wasting hours in a store that has a deep bench for every section of music that I’m interested in. And then if you want to do the extra work, DVDs as well. There’s a lot of great smaller record stores around town that I love, but there’s something about killing two hours at Amoeba.

6 p.m.: Dinner hang

What I want from an L.A. dinner is I just want to hang there. Little Dom’s is a great hang. You can spend hours there. You’re always going to run into people. My hope is that we can all just hang out and that we’re not going to be rushed out because they have another seating.

8 p.m.: Nighttime activities

I’m going to want to do one of three things at night:

I want to go to the movies, and I’m talking Vidiots and the Vista and the New Beverly. We can all go to all the regular theaters and see all the blockbusters, but L.A. has fantastic theaters that are doing incredible programming,

If I’m not going to the movies, I want to see live music as much as I can, but on a much smaller scale than I used to. I’m excited when an artist that I love like Mary Lattimore or Jeff Parker has a residency at Zebulon because I’m like, “Oh, great. That is not a big crowd. That is very easy, very manageable.”

Then I either want to be doing a comedy show or seeing a comedy show. There’s such a vibrant scene now. The Elysian in Frogtown is a great spot. We do Dinosaur Improv at Largo. I think Largo is pound for pound, maybe the best venue in town. Dynasty Typewriter, another great one. UCB, the OG. Over the course of a month, these are all places that I’m doing shows at, but these are also places that are showcasing some of the best comedy in L.A.

11 p.m.: The missing piece

At this point I’m done being social. I don’t want to talk to anybody anymore. My goal when I get home is a jigsaw puzzle — with either a podcast or jazz on in the background — until probably like 2 in the morning.

I do these puzzles from a company called Elms Puzzles and they’re hand cut, so they’re incredibly difficult to do. It’ll take me a month to do one. They are prohibitively expensive, so much so that I don’t buy them. They have a rental program. They send you a puzzle, you do it, you send it back to them, and they send you another puzzle. Which is perfect, I don’t need to do a puzzle more than once.

It is a great way to put myself into a frame of mind to go to bed, especially if I’ve done a show or watched a movie. If I’ve been stimulated, doing a puzzle for a couple of hours is a great way to decompress.

Just five days after Philip Glass, one of the world’s most famous and revered living composers, canceled the world premiere of his “Lincoln” symphony at the Kennedy Center, President Trump announced he would close the nation’s premier arts center for two years for major renovations.

The arts world — already spinning from the sweeping changes to the venue that began almost a year ago when Trump fired the board and installed himself as chairman — was gobsmacked by the shocking news. And although the president said in a social media post that the closure was about building a “World Class Bastion of Arts, Music, and Entertainment, far better than it has ever been before,” speculation abounded that the unexpected move was more about saving face.

Ticket sales had been plummeting since Trump’s takeover and high-profile artists continued to jump ship, a trend that accelerated late last year after the board voted to rename the building the Trump Kennedy center.

Embarrassment could have been a factor in the rash decision, but Trump is not a man who appears to be afflicted by that particular emotion, which takes its cue from a certain amount of self-awareness and humility. For this reason, I am venturing another guess about the president’s motive for pulling the rug out from under the storied venue: retribution.

If ungrateful artists don’t want to play at the Kennedy Center, the Kennedy Center will no longer be around for them to use. Take that.

Since assuming office for the second time last January, exacting revenge on his perceived enemies has been Trump’s main modus operandi. It has animated many of his most stunning decisions, including his early executive orders stripping security clearance and federal court access from law firms who represented his perceived enemies; his many lawsuits against media operations that displeased him; his freezing of federal funding for universities that refused to do his bidding; his indictment of former FBI director James Comey and the investigation of Federal Reserve Chair Jerome Powell. The list goes on and on.

The Kennedy Center was supposed to mark a vainglorious Trump’s ascendance to the pinnacle of cultural cachet, but instead the culturati shunned and humiliated him — refusing to join his party. New York City high society did the same before he was president. It was a pattern both familiar and painful. So Trump, like the man-child he is, took his ball and went home.

In this case, that ball happens to be the complex that serves as the symbolic seat of the nation’s vibrant, messy, questioning, deeply political and hugely alive arts and culture scene. To lose access to this beating heart — and all that it represents — is a grievous loss for our national identity. Its meaning was enshrined in President Kennedy’s vision for the center, and written on its walls, as the realization of a country, “which commands respect throughout the world not only for its strength but for its civilization as well.”

Like many of Trump’s controversial construction projects, the wholesale re-imagining of the Kennedy Center will likely face immediate and lengthy pushback in court. This could mean that it never gets done, and the center remains closed indefinitely. Or we could wake up tomorrow to news that bulldozers have arrived onsite and have begun the process of razing architect Edward Durell Stone’s historic 1971 building — as happened with the East Wing of the White House.

Roma Daravi, the center’s vice president of public relations, wrote in an email that the renovations would include, “Repairing and, where necessary, replacing elements on the exterior of the building to ensure the long-term preservation and integrity of the structure,” as well as getting the building up to code and making fixes to the center’s “HVAC, plumbing, electrical, fire protection, vertical transportation systems, and technical stage systems,” as well as improving parking. She also wrote that the center, which hosts 2 million visitors annually, is working closely with the National Symphony Orchestra, and will “continue to support them with funding at the same level as recent years.”

Nonetheless, the most frightening thing about this new era under Trump is that anything is possible, and we sometimes don’t know exactly what that means until it is far too late.

I’m Arts Editor Jessica Gelt, and here’s your arts and culture news for the week.

On our radar

Yunchan Lim performs next weekend with the L.A. Philharmonic.

(LA Phil)

Dudamel Conducts Beethoven and Lorenz
Playwright Jeremy O. Harris reconceptualizes Johann Wolfgang von Goethe’s play “Egmont,” with narration by actor Cate Blanchett and maestro Gustavo Dudamel leading the Los Angeles Philharmonic in Beethoven’s complete incidental music. The evening begins with the world premiere of Ricardo Lorenz’s “Humboldt’s Nature,” inspired by the South American travels of philosopher and naturalist Alexander von Humboldt, followed by 2022 Van Cliburn winner Yunchan Lim performing Robert Schumann’s “Piano Concerto in A minor, Op. 54.”
8 p.m. Thursday; 11 a.m. Feb. 13; 8 p.m. Feb. 14; 2 p.m. Feb. 15. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com/events

A scan of the face Nes-Hor, an ancient Egyptian priest whose mummy is featured in “Mummies of the World: The Exhibition” at the California ScienceCenter.

(California ScienceCenter)

Mummies of the World
The scientific study of naturally and intentionally preserved corpses illuminates the lives of ancient people, past cultures and the present in this exhibition that includes more than 30 real-life mummies.
10 a.m.-5 p.m., through Sept. 7. California ScienceCenter, 700 Exposition Park Drive. californiasciencecenter.org

Ann Noble as “Richard III” at A Noise Within.

(Daniel Reichert)

Richard lll
Guillermo Cienfuegos directs this fast-paced reinterpretation of William Shakespeare’s history play, reset in 1970s Britain with Ann Noble in the title role as one of the most fascinating villains ever.
Sunday through March 8. A Noise Within, 3352 E. Foothill Blvd., Pasadena. anoisewithin.org

The week ahead: A curated calendar

FRIDAY
The Abduction from the Seraglio
Pacific Opera Project performs its “Star Trek”-themed parody of Mozart’s in L.A. for the first time in a decade.
7:30 p.m. Friday and Saturday; and 3 p.m. Sunday. Thorne Auditorium, Occidental College, 1600 Campus Road. pacificoperaproject.com

Thomas Adès and Yuja Wang
Composer Adès leads the L.A. Phil in Tchaikovsky’s “Francesca da Rimini , Op. 32,” the U.S. premiere of William Marsey’s “Man With Limp Wrist” and Adès own work “Aquifer”; and pianist Wang performs Prokofiev’s “Piano Concerto No. 2 in G minor, Op. 16.”
8 p.m. Friday; 2 p.m. Saturday and Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Rickie Lee Jones performs Friday and Saturday at the Wallis.

(Amy Harris / invision/ap)

Rickie Lee Jones
The singer, musician and songwriter brings her genre-defying vocals, crisscrossing rock, R&B, pop, soul and jazz, to the Wallis for two shows.
7:30 p.m. Friday and Saturday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org

Laguna Beach Music Festival
Violinist Stefan Jackiw is joined by Kevin Ahfat on piano, the Parker Quartet and story artist Xai Yaj for a program featuring Beethoven and Janáček on Friday; and on Saturday, Jackiw, Ahfat and the Parker Quartet, along with clarinetist Yoonah Kim and musicians from the Colburn School perform works by American composers Florence Price, Leonard Bernstein, Eric Nathan and Aaron Copland, conducted by Steven Schick.
8 p.m. Friday; 7 p.m. Saturday. Laguna Playhouse, 606 Laguna Canyon Road, Laguna Beach. philharmonicsociety.org

SATURDAY
asses.masses
Patrick Blenkarn and Milton Lim’s immersive, eight-hour video game experience — with intermissions, refreshments and a meal included — involves unemployed donkeys demanding that humans surrender their machines and give the animals back their jobs.
1 p.m. Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Chicano Camera Culture: A Photographic History, 1966 to 2026
The exhibition examines Chicana/o/x lens-based image-making through 150 works by nearly 50 artists.
Through Sept. 6. The Cheech, 3581 Mission Inn Ave., Riverside; through July 5. Riverside Art Museum, 3425 Mission Inn Ave. riversideartmuseum.org

Katie Holmes stars in “Hedda Gabler” at the Old Globe Theatre in San Diego.

(Jan Welters)

Hedda Gabler
Katie Holmes headlines this new version of Henrik Ibsen’s classic drama adapted by Erin Cressida Wilson and directed by Barry Edelstein.
Through March 15. Old Globe Theatre, 1363 Old Globe Way, San Diego. theoldglobe.org

Just Me – Pico Union
This concert by the award-winning ensemble Tonality, led by founder and Artistic Director Alexander Lloyd Blake, honors and shares the stories of transgender and non-binary individuals.
7 p.m. Saturday. The Pico Union Project, 1153 Valencia St., Los Angeles. ourtonality.org

Mandy Patinkin in Concert: Being Alive
The stage-and-screen star, accompanied by Adam Ben-David on piano, performs Broadway and classic American tunes written by Irving Berlin, Stephen Sondheim, Cole Porter and Harry Chapin.
8 p.m. Saturday. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org

The orchestral collective Wild Up performs Saturday at the Broad.

(Ian Byers-Gamber)

Wild Up
The orchestral collective presents “The Great Learning, Paragraphs 2 and 7” by Cornelius Cardew, a community collaboration with 30 pre-appointed non-musicians.
8 and 10 p.m. Saturday. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org

SUNDAY
From Fugue to Fantasia: Debussy, Mozart, and More
Colburn alum and violinist Blake Pouliot is joined by Jonathan Brown on viola and percussionist Matthew Howard.
4 p.m. Sunday. Thayer Hall, Colburn School, 200 S. Grand Ave., downtown L.A. colburnschool.edu

MONDAY
American International Paderewski Piano Competition
Twenty-five young professional pianists vie for a $10,000 grand prize named for Ignacy Jan Paderewski, a celebrated European concert pianist and composer, who helped lead Poland’s battle for independence after World War I and later served as the nation’s prime minister.
1 p.m. Monday-Wednesday; 11 a.m. Feb. 13 and 5 p.m. Feb. 14. Murphy Recital Hall, Loyola Marymount University, 1955 Ignatian Circle. paderewskimusicsociety.org

Right in the Eye
Jean-François Alcoléa, Fabrice Favriou and Thomas Desmartis play more than 50 instruments in this live concert, designed by Alcoléa, that serves as a soundtrack for 12 silent shorts by pioneering filmmaker Georges Méliès.
7 p.m. Monday. USC Cinematic Arts, Norris Cinema Theatre at the Frank Sinatra Hall, 3507 Trousdale Parkway. https://cinema.usc.edu/events/event.cfm?id=72935

TUESDAY
House on Fire
The new music trio of Andrew Anderson, Wells Leng and Richard An perform a program of works for pianos, keyboards and other instruments by Tristan Perich, Erin Rogers, Matthias Kranebitter, Yifeng Yvonne Yuan, Erich Barganier, and group members An and Leng
8 p.m. Tuesday. 2220 Arts + Archives, 2220 Beverly Blvd. pianospheres.org

sex, lies and videotape
The Los Angeles Film Critics Assn. presents a screening of Steven Soderbergh’s breakout 1989 indie starring James Spader, Andie MacDowell, Peter Gallagher and Laura San Giacomo with Giacomo in conversation with critic Lael Loewenstein.
7:30 p.m. Tuesday. Egyptian Theatre, 6712 Hollywood Blvd. egyptiantheatre.com

WEDNESDAY
Amadeus
A new production of Peter Shaffer’s music-infused drama stars Jefferson Mays as Salieri, Sam Clemmett as Mozart and Lauren Worsham as Constanze, with Tony Award winner Darko Tresnjak directing. The Pasadena Conservatory of Music will offer 10-minute Micro Mozart Concerts before every performance
Wednesday through March 8. Pasadena Playhouse, 39 S. El Molina Ave. pasadenaplayhouse.org

Yefim Bronfman
The pianist performs works by Schumann, Brahms, Debussy and Beethoven in a Colburn Celebrity Recital.
8 p.m. Wednesday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Here Lies Love
Snehal Desai directs an all-new production of the musical about former First Lady of the Philippines Imelda Marcos, with concept, music and lyrics by David Byrne and music by Fatboy Slim and choreography by William Carlos Angulo.
Through March 22. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. centertheatregroup.org

THURSDAY
Intersect Palm Springs Arts + Design Fair
Collectors, designers and curators convene in the Coachella Valley to present new work and share ideas with one another and the public.
4-6 p.m. VIP only and 6-8 p.m.Thursday; 11 a.m.-6 p.m. Feb. 13-15; 11 a.m.-5 p.m. ; Feb. 16. Palm Springs Convention Center, 277 N. Avenida Caballeros. intersectpalmsprings.com

Culture news and the SoCal scene

More on the Kennedy Center
Times classical music critic Mark Swed weighed in on the Kennedy Center’s closure with a deeply knowledgeable piece about the history of the storied venue, and how it has always been a place marked, and sometimes marred, by politics — just never in this way. “The Kennedy Center proved political from Day 1. Leonard Bernstein was commissioned to write a theatrical piece for the center’s opening in 1971, which turned out to be an irreverent ‘Mass’ — musically, liturgically, culturally and, most assuredly, politically. Most of all it was an unmistakable protest against the Vietnam War. In his own protest, President Nixon stayed home,” Swed writes.

And here’s my breaking news story about Trump’s announced closure of the venue.

Many nights at the opera
Meanwhile, arts and entertainment writer Malia Mendez penned a lovely piece announcing L.A. Opera’s 2026-27 season — the first under its new music director, Domingo Hindoyan, who takes over after longtime leader James Conlon steps down. Fun fact: Hindoyan and soon-to-depart Los Angeles Philharmonic music director Gustavo Dudamel have been friends since their days together in Venezuela’s world-renowned youth orchestra El Sistema.

Mark your calendar
On Thursday, Malia scored another exclusive, reporting on LACMA’s announcement that the David Geffen Galleries, the pinnacle of a two-decade campus transformation, will officially open April 19. Museum members will have two weeks of priority access to the galleries, with general admission beginning May 4. It was nearly a decade ago that business magnate David Geffen made a record-high $150-million donation toward the construction of a new museum building to be designed by Pritzker Prize-winning architect Peter Zumthor. The $720-million structure will serve as the new home for LACMA’s permanent collection with 90 exhibition galleries organized thematically rather than by medium or chronology. “It’s kind of a worldview,” LACMA Director and Chief Executive Michael Govan told The Times. “It’s big enough that it can hold the world.”

Will Swenson stars as “Sweeney Todd” at the La Mirada Theatre for the Performing Arts.

(Jason Niedle / TETHOS)

A bloody good time
Comedian, musical theater star and “Seinfeld” alum Jason Alexander directed a revival of “Sweeney Todd: The Demon Barber of Fleet Street” at La Mirada Theatre for the Performing Arts, and Times theater critic Charles McNulty was there to catch it. “Alexander’s production of ‘Sweeney Todd’ has breadth and heft, but also intimacy and lightness,” McNulty writes in his review.

Rebuilding Altadena
Times contributor Sam Lubell wrote a comprehensive piece about the rebuilding of Altadena’s community spaces and parks in the wake of the Eaton fire, a task that has attracted the talent and attention of Disney Imagineers and Pritzker Prize-winning architect Shigeru Ban.

New Hammer hires
Exciting staffing news arrives from the Hammer Museum at UCLA, which announced two new leadership appointments: Michael Wellen has been named the museum’s new chief curator; and Regan Pro is being brought on in the newly created role of chief of learning, engagement, and research, taking the lead on public programs and community partnerships, as well as K-12, family, and university initiatives. Both new hires will report to museum director Zoë Ryan. Wellen arrives from London’s Tate Modern where he is currently senior curator of international art; and Pro is a longtime arts leader and educator who most recently served as the deputy director of public programs and social impact at the Lucas Museum of Narrative Art.

Alexander Shelley has been named music director of Pacific Symphony.

(Curtis Perry)

Taking the baton
Pacific Symphony announced its 2026-27 Classical Series, marking the orchestra’s 48th season, and its first under the leadership of its new artistic and music director, Alexander Shelley. The season’s two opening programs will celebrate the 20th anniversary of the Renée and Henry Segerstrom Concert Hall, and the 40th anniversary of Segerstrom Center for the Arts. The opening night celebration in September features violinist Joshua Bell, after which Shelley will guide the season through a series of classic works, beginning with Mahler’s Second Symphony. A season highlight will be a program called America 250, which celebrates the country’s semiquincentennial and includes work by Leonard Bernstein, Igor Stravinsky and Aaron Copland. Also on the calendar: John Adams’ Pulitzer Prize-winning opera, “Nixon in China,” and a two-week Beethoven Revolution Festival.

— Jessica Gelt

And last but not least

Do you want to get so close to an elephant that you can see his or her eyelashes? I do. I really do.

American Idol alum Rhonetta Johnson appears worse for wear in a new mugshot linked to an arrest for prostitution years after appearing on the hit talent show.

Johnson, now 44, became a viral sensation after a disastrous audition during American Idol’s Season 5 in 2006, when she had a fiery clash with judge Paula Abdul.

The U.S. Sun can exclusively reveal she was taken into custody at the end of January after skipping previous court dates.

She was booked in North Carolina’s Mecklenburg County after an outstanding order for arrest tied to a long-running prostitution case was finally served at the courthouse.

She was issued multiple release orders, had a public defender appointed, and was placed on a $2,500 unsecured bond, which was later posted.

The arrest traces back to a separate prostitution case filed in 2018, which dragged on for years after Johnson repeatedly failed to appear in court.

Johnson was caught on October 4 in an undercover sting at a massage parlor that led to multiple prostitution arrests in Charlotte, according to charlottealertsnews.com.

Officers found her at the Continental Inn on West Sugar Creek Road, where she allegedly agreed to have sex with an undercover officer for $35, cops said.

During the encounter, Johnson reportedly made a spontaneous statement admitting she had a crack pipe, which officers later found in her bag, leading to an additional charge, the outlet reported.

The charge was later dropped, and only the prostitution charge was filed.

Following her initial arrest, Johnson repeatedly missed court appearances, prompting several warrants, and she was taken into custody and released multiple times in 2019 on secured bonds reaching $2,000.

Despite the drawn-out proceedings, prosecutors ultimately dismissed the prostitution charge with leave in February 2020, formally ending the case, though unresolved paperwork allowed it to resurface years later.

LONG RAP SHEET

Johnson’s legal troubles date back even further.

In June last year, the Columbus Police Department also issued a missing persons plea after she reportedly disappeared.

A post on Facebook shows they later updated followers, saying she had been located in “good health.”

In 2012, she was cited for possessing up to half an ounce of marijuana and charged with soliciting for prostitution, court filings show.

After failing to appear in court multiple times, she was finally arrested in August 2014.

The case was resolved the following month when she pleaded guilty to the marijuana charge and was sentenced to 27 days in jail, all credited as time already served, while the prostitution charge was dismissed.

Court records later show she was hit with $170 in attorney-fee judgments, which remained unpaid and were flagged for state debt collection in July 2025.

The U.S. Sun can also confirm she has had multiple run-ins with the law dating back as far as the 1990s, before her time on the show.

WILD CONTESTANT

Johnson first grabbed attention as a contestant in 2006, auditioning in Greensboro, North Carolina.

She didn’t make it to the Hollywood rounds, but her audition became infamous, not for her singing, but for her reaction after being rejected by the judges.

Johnson lashed out at Abdul, claiming she could be “bigger” than stars like JLo, Janet Jackson and Mariah Carey, and even refused Abdul’s offer of water, mocking the judge on camera.

Clips of the audition went viral, earning Johnson a spot in reality TV lore and even a humorous mention during that season’s finale.

She never launched a mainstream music career, though she did release a self-produced remix EP in 2014.

When it was announced in the fall that Puerto Rican singer and rapper Bad Bunny was chosen to headline the Super Bowl LX halftime show, some folks took it personally.

Why not an American pop star (he is) who speaks English (he does) and likes the president (good luck, did you watch the Grammy Awards?)?! The right felt slighted, again, this time as the victim of a great left-wing conspiracy to turn football’s biggest night against them.

Then Turning Point USA — the conservative organization founded by Charlie Kirk and helmed by his wife, Erika Kirk, following his assassination — came up with an idea. They’d put on their own show in the barn, so to speak. Performers’ sets would be in English, unlike most of Bad Bunny’s material. And this great display of American-ness would take place during the Super Bowl, stealing away viewers and ratings from that other guy with the funny name.

On Monday, Turning Point finally announced the lineup for its counter-event, the “All-American Halftime Show.” Described by Fox News as a “star-studded alternative to the Super Bowl halftime show,” the roster’s brightest luminary is Kid Rock, who hasn’t had a hit song since Obama’s first year in office. The rest of the lineup consists of country artists you’ll likely have to Google to identify (Brantley Gilbert, Lee Brice and Gabby Barrett). Their sets will be streamed live on Sunday around 5 p.m., the same time Bad Bunny is slated to perform at Santa Clara’s Levi’s Stadium. It can be watched on Turning Point USA’s YouTube, X and Rumble channels, alongside conservative networks such as Daily Wire+, Real America’s Voice, TBN and OAN. Additional musical entertainers will be announced, the organization’s website says.

Kid Rock when he wasn’t wearing an American flag as a poncho.

(Pool Photo)

“We’re approaching this show like David and Goliath,” Kid Rock (aka Robert Ritchie) said in a statement. “Competing with the pro football machine and a global pop superstar is almost impossible … or is it?”

It is impossible, of course. Bad Bunny (aka Benito Antonio Martínez Ocasio) is an American pop sensation who has conquered the globe with a vibrant mix of reggaeton, Latin pop, rap and R&B. The 31-year-old was Spotify’s most-streamed artist of 2025 and made history just a couple of days ago at the Grammy Awards when he became the first Spanish-language artist to win album of the year.

Sunday, he will reach an even wider audience as part of the country’s most-watched television event when the New England Patriots face off against the Seattle Seahawks.

But Kid Rock, 55, appears to have high hopes, with an opportunity to regain relevance likely at the top of his wish list. There’s no better way to gain attention than ripping on the most popular artist around. “He’s said he’s having a dance party, wearing a dress, and singing in Spanish?” said Kid Rock of Bad Bunny. “Cool. We plan to play great songs for folks who love America.”

The “Bawitdaba” singer is familiar with right-wing outrage over a halftime show wardrobe choice, and knows what it’s like to have your patriotism questioned by primed mobs. In 2004, he was one of several performers flanking Super Bowl headliner Janet Jackson. He angered conservatives when he wore a defaced American flag as a poncho and later tossed the flag/garment into the crowd.

But that was then, this is now. There are windmills to slay, crises to fabricate, rings to kiss. And headlining a spite concert provides a great distraction from the real issues plaguing Trump’s presidency, be it the soaring cost of living, Americans killed by ICE agents under his watch, or the nausea-inducing contents of the Epstein files.

Are we still talking about those? Yes, we are. The New York Times identified more than 38,000 references to Trump, his family and his Mar-a-Lago Club in the latest batch of emails, government files, videos and other records released by the Justice Department. Previous installments of the Epstein files, which the department released late last year, included 130 files with Trump-related references.

No wonder his followers need a distraction.

Bad Bunny can take the heat. He used his acceptance speech at Sunday night’s Grammys ceremony in Los Angeles to condemn the Trump administration’s nationwide immigration crackdown. “Before I say thanks to God, I’m going to say ‘ICE out,’” he said. “We’re not savages. We’re not animals. We’re not aliens. We are humans, and we are Americans.”

And also Super Bowl headliners.

The official Super Bowl halftime show on Sunday will feature Bad Bunny, the Grammy winner for album of the year, at the height of his powers and influence. Those upset by his onstage comments about the dignity of Latinos and immigrants, however, can turn to a competing bill featuring Kid Rock and Gabby Barrett.

Rock, the perennial MAGA raconteur and country-rock singer, will perform for the far-right activist group Turning Point USA’s counterprogramming event streaming across the conservative mediasphere. Turning Point USA is the activist group founded by the late Charlie Kirk, who was killed last year at a speaking event in Utah.

“We plan to play great songs for folks who love America,” Rock said in a statement announcing the bill. “We’re approaching this show like David and Goliath. Competing with the pro football machine and a global pop superstar is almost impossible … or is it?”

“He’s said he’s having a dance party, wearing a dress and singing in Spanish? Cool. We plan to play great songs for folks who love America,” Rock said, in an overt jab at the actual Super Bowl halftime show headliner.

Veteran country acts Lee Brice and Brantley Gilbert and Barrett, an “American Idol” alum with a 2019 Hot 100 hit in “I Hope,” will also perform.

While Rock’s right-wing politics have largely eclipsed his musical relevance in 2026, he’s recently tried to position himself as a power broker for MAGA-friendly concerts with just enough plausible appeal for more neutral country and rock fans. His planned 2026 touring festival, Rock the Country, is set to feature Blake Shelton, recent Grammy winner Jelly Roll, Creed and Miranda Lambert, but lost Ludacris and Morgan Wade following blowback from fans.

When Bad Bunny was booked for the Super Bowl in October, House Speaker Mike Johnson (R-La.) said, “I didn’t even know who Bad Bunny was. But it sounds like a terrible decision, in my view, from what I’m hearing. It sounds like he’s not someone who appeals to a broader audience.”

“There are so many eyes on the Super Bowl — a lot of young, impressionable children. And, in my view, you would have Lee Greenwood, or role models, doing that. Not somebody like this, ” he added.

President Trump said a bill featuring the Grammy-winning Puerto Rican superstar — and the famously anti-Trump punk band Green Day — was part of the reason he would not attend the game this year. “I’m anti-them. I think it’s a terrible choice,” he said. “All it does is sow hatred. Terrible.”

HE has more than two decades of hits under his belt and worked with everyone from Amy Winehouse and Dua Lipa to Adele and Miley Cyrus.

Now I can exclusively reveal Mark Ronson will get his flowers at the Brit Awards later this month, as he will receive the Outstanding Contribution to Music award.

And, in even more good news for viewers, Mark will also take to the stage for a performance at the ceremony, being held at ­Manchester’s Co-op Live arena on February 28.

The superstar DJ, producer and songwriter said: “This is the most meaningful honour of my career.

“I think of the times I’ve watched artists I revere accept this same award.

“The idea that I’m now standing in that ­lineage feels impossible.

PARTY WITH MJ

I hung out with Jacko at 13 – ‘child abuse’ made me re-examine time together

MARK’S BATTLE

My drug habit was so bad I thought I’d had a stroke at 20, says Mark Ronson

“I left England as a kid, but this country runs through everything I’ve made.

“The UK artists I’ve worked with — their brilliance and refusal to compromise — shaped not just my work but how I understand what music should do.

“And more than anything, it’s the crowds here who’ve ­sustained and showed up for me.

“The fans, the festival crowds, the record buyers and streamers — the love has always been overwhelming. I’m beyond grateful for all of it.”

The gong is richly deserved for Mark, who has helped guide some of my favourite artists to superstardom.

It is a poignant year to receive the award, as it marks 20 years since Mark produced Amy’s Back To Black album, which is widely considered one of the greatest records of all time.

Details about his performance are being kept under lock and key, but I imagine he will be treating us to a medley of his hits including the Bruno Mars classic Uptown Funk and Miley Cyrus’ Nothing Breaks Like A Heart.

He joins a stellar list of performers, with Harry Styles, Olivia Dean and Wolf Alice already announced. In receiving the gong, Mark is following in the footsteps of other British favourites including Sir Paul McCartney, Robbie Williams and Blur.

Jack Whitehall is returning to host the biggest night in UK music for the sixth time.

And I am expecting my story about Maura Higgins’ kiss with married McFly singer Danny Jones at last year’s Universal Music after-party to feature heavily in his jokes.

Bring it on.

Nicole strikes a blue note

NICOLE SCHERZINGER looked belting in blue after performing at a charity concert.

She wore this stunning gown to the Love Life: West End Unites Against Cancer event at London’s Theatre Royal Drury Lane just as I revealed her ex Lewis Hamilton, who she dated from 2007 to 2015, is secretly seeing Kim Kardashian.

Nicole is now engaged to former rugby union player Thom Evans – but I won’t be surprised if this gives her a nudge to get on with her wedding planning.

Ben and Benson’s goalden gags

BEN STILLER and Benson Boone play brothers who can’t stop fighting in a new ad.

In the guise of an Eighties Europop duo, the pair argue after comedian Ben tries and fails to copy Benson’s famous backflips.

Then they lock horns over the Super Bowl, with Ben confusing American football with soccer.

He says: “We are excited to sing for you in this football game. Hopefully many, many goals.”

Singer Benson corrects him: “This is a different football – they touch down,” prompting yet more bickering.

Their double act is for online grocery service Instacart’s ad, which will air during the US sporting event on Sunday.

I feel like they need a whole film together.

Kooks show on Sail soon

THE KOOKS will play a huge show at the Old Royal Naval College in Greenwich, South East London, on July 31 to celebrate the 20th anniversary of their incredible album Inside In/Inside Out.

It comes as Luke Pritchard releases a live version of his brilliant 2014 tune See Me Now, which he wrote for his musician dad Bob, who died when he was three.

The new version was recorded at London’s O2 Arena last year, with Luke, telling me: “I didn’t think I would be able to finish the song.

“I just thought how much that this would blow my dad’s mind – that I played the song to that many people in London, you know.”

Bob, who once supported The Rolling Stones on tour, helped Luke first pick up a mic, with the star explaining: “My mum dropped off a load of tapes of me and my dad that I’d never seen.

“He was teaching me to use a microphone, play guitar, pose like a rock star, all when I was three.”

Tickets for the show go on sale at noon on Monday.

I’ll see you there.

Molotovs’ No1 battle

THE MOLOTOVS have thrown down the gauntlet to Lily Allen as they battle her for the No1 album spot this Friday, warning: “We’re coming for you.”

Punk rock siblings Matt and Issey Cartlidge, who make up one of the most exciting and disruptive new bands I’ve seen in years, are at No2 in the midweek charts with their debut record Wasted On Youth.

Meanwhile, Lily has shot up to the No1 spot with West End Girl, after she released physical copies of the record for the first time.

The race is tight, and in an exclusive chat, Matt told me: “Watch out silly Lily, we’re coming for you.

“We’d love to beat you. We wish you all the best but f***ing, come on! We’ll have you!”

Issey adds: “Battling with Lily Allen proves bands are coming back. People still have an appetite for our music.”

Lily, right, is more than happy to hand over the mantle and, on Monday night, issued a public statement to the siblings, writing on Instagram: “It’s all love baby, I hope you win the war.”

Matt and Issey have worked tirelessly to get their album heard and have played 600 live shows to date, while simultaneously championing grassroots venues.

Their campaigning, alongside the Sex Pistols and Frank Carter, helped save the iconic Bush Hall in West London, after a fundraising drive brought in £45,000.

Issey adds: “We’re now ambassadors for the Music Venue Trust too. The 30-date tour we’re on now has been in small, grassroots venues – we wanted to champion them.

“These venues and institutions are so important.”

The pair will support their pal Yungblud on his UK arena tour in April, before they embark on their own 13-date tour across the UK in September, taking in venues including London’s 2,300-capacity O2 Forum Kentish Town.

Matt said: “It’s a big step up. We’ve always had the same level of confidence, we’re just getting bigger.”

The Molotovs deserve a No1 for Wasted On Youth – it is fantastic.

CAUGHT LIVE

Suede @ Leas Cliff Hall, Folkestone

★★★★☆

SUEDE kicked off their sold-out UK tour in blistering form over the weekend, promoting latest album Antidepressants which topped The Sun’s album poll in December.

Brett Anderson teased us fans by inviting us into their world, before warning: “It’s not very nice and full of barbed wire.”

But in reality, the set is packed with new tunes and a sprinkling of classics from the Nineties, with Brett’s voice stronger than ever as he treats us to an off-mic a capella tear jerker among the thundering hits.

With 14 of the 21 songs coming from their post- 2010 comeback albums, it’s proof that being the self-dubbed “anti-nostalgia band” is a pretty perfect world after all.

THIS Sunday Bad Bunny will take to the stage for what I ­imagine will be an epic Super Bowl half-time show.

But before that, rapper Lil Wayne will also have his own half-time show . . . virtually, at least. The five-time Grammy winner is set to perform his 2008 hit A Milli on mobile game Clash Royale on Friday.

Lil Wayne said: “Music, sports, and gaming all in one place – y’all know how much I love being at the centre of the culture. I’m turning the Clash Royale Arena into the most lit concert of the week.

“Tap in on February 6 to see what we got in store for y’all.”

CHAPPELL ROAN has defended the “nipple ring” Thierry Mugler dress she wore to the Grammys on Sunday, insisting she had no idea it would cause controversy.

Sharing images on Instagram of the frock, which had fabric hanging from prosthetic pierced nipples, the singer wrote: “Giggling because I don’t even think this is THAT outrageous of an outfit.

“The look is actually so awesome and weird. I recommend just exercising your free will – it’s really fun and silly.”

I am pleased to see Chappell can laugh about it.

Every red carpet could do with a bit more silliness in these troubled times.

How did a gay hockey romance made by a little-known Canadian streamer become a global cultural phenomenon?

The answer, as it turns out, was by leaning into female and queer audiences. Since the debut last November of “Heated Rivalry,” which chronicles the clandestine love story between two fierce hockey rivals, the drama series from Bell Media’s Crave has emerged as an unlikely success story, defying a broader industry trend of media consolidation and waning commitments to diversity in Hollywood.

The mastermind behind the show’s success is Jacob Tierney, who read author Rachel Reid’s “Game Changers” series during the COVID-19 pandemic and then optioned all of the books after reading a Washington Post story about the proliferation of romance novels. After writing a pilot on spec, he approached the executives at Crave — where he had previously produced “Letterkenny,” “Shoresy” and “Canada’s Drag Race” — about green-lighting a series. From the outset, the gay writer-producer had a clear idea of how he wanted to adapt the “smutty” story for TV, starting with casting relative newcomers Hudson Williams and Connor Storrie as Shane Hollander and Ilya Rozanov, respectively.

“Jacob was very open to our feedback, but his common [refrain] back to us was, ‘We need to be true to the source material because the built-in fan base will expect certain things from us, and that includes the appearances of these actors and their ages,’” says Justin Stockman, Bell Media’s VP of content development and programming. “He’s like, ‘We found them. These are the people from the book.’ And that’s where we had to trust him.”

Brendan Brady, Tierney’s producing partner through their Accent Aigu Entertainment banner, notes that the Canadian TV model diverges from the American one, in that the producer retains ownership of the IP while collecting a licensing fee from the broadcaster. To fund the series, Tierney and Brady reinvested their personal fees to cover about 10% of the budget, while another 30% was sourced from tax credits. This included the Canada Media Fund, a resource derived from government and industry contributions that national broadcasters can allocate at their discretion. The rest of the financing usually comes from third parties.

But Tierney recalls that the notes from potential financiers did not align with his creative vision. Some wanted to delay the graphic depictions of gay sex and expand the world to include more characters. Someone even suggested introducing Rose Landry (Sophie Nélisse) earlier and putting her in a love triangle with Shane and Ilya, because they believed “this show won’t work without a female entry point,” Tierney recalls. Ultimately, Bell Media opted against a co-financier, instead covering the remaining costs through its new distribution branch, Sphere Abacus. But, Brady says, the budget was still “far south” of CA$5 million (approximately $3.6 million) per episode. “It’s so much less than that, it’s almost silly,” Tierney adds.

Sean Cohan, an American executive who worked at A&E Network and Nielsen before being appointed president of Bell Media, does not think “Heated Rivalry” could have been made in the U.S. For starters, “green-lighting” stateside is a “slower” process; Tierney could have been stuck in development hell for years. The show also contains numerous Canadian references — cottage country, loons, McGill University — which would have not made sense outside of the Great White North.

From left, stars Connor Storrie and Hudson Williams, creator Jacob Tierney and executive producer Brendan Brady on the set of “Heated Rivalry.”

(Sabrina Lantos)

For his part, Tierney doesn’t believe that “Heated Rivalry” would have even been made at another Canadian network or streamer. “There’s lots of ways to put your fingers in and get them sticky and screw things up, and these executives wanted the same show that we wanted to make and they supported us 100%,” he says. Those executives were so confident in the show’s success that they decided to move up the premiere date from February to late November to take advantage of the increase in viewership around the holidays. The accelerated release schedule meant that Tierney delivered his cut of the Season 1 finale a week and a half before it aired.

At the time of our interview, Tierney was already trying to break the story for Season 2, which he and Brady say will not premiere until spring 2027. “As much as I appreciate how rabid and interested people are at this point, the first season worked because I trusted my gut with this, and I’m going to do that again,” Tierney says.

Like the audience, Bell Media executives are waiting with bated breath for the next chapter of “Heated Rivalry.” And given that Accent Aigu has optioned all of the “Game Changer” novels (including Reid’s forthcoming “Unrivaled”), everything is on the table — more episodes or seasons, one-off specials, maybe even a spin-off. “We’re open to anything that keeps the quality where it was, but also brings our show back as quickly as we can,” Stockman says. (HBO Max will not be involved financially and remains merely a distributor.)

Tierney declines to reveal whether he will split “The Long Game” into one or two seasons, but he volunteers that he does not see himself making more than six episodes per season. “I don’t need to do 10. I would always rather tighten the belt than get loosey-goosey,” says Tierney, who will have a co-writer for Season 2 but continue to direct all the episodes himself. “I would rather be like, ‘Let’s see how much story we can pack into these episodes.’”

“We want everybody to be left yearning,” Brady adds. “That’s what everybody loves about this show. Less is more!”

“Heated Rivalry” may center on Shane and Ilya, but there will “absolutely” be “diversions” to other characters in the canon. “Just like you can’t tell the story without Scott Hunter, you can’t really tell the story without Troy Barrett,” Tierney says, alluding to a character from Reid’s books who is yet to appear in the TV series. And while there may be a lot more incoming calls about higher-profile casting, he adds, “We need Canadian talent, and we love Canadian talent. It’s not a burden, but it’s also something we literally have to do to get our financing.”

For Cohan, “Heated Rivalry” is valuable proof of concept as he attempts to convince more Canadian creators to return to their roots, regardless of where they now live in the world. “It certainly helps to feel like we’ve got a dramatic illustration, a data point — a pretty good one too — to say, ‘Yeah, look, we Canadians, not just Bell, can make great, global and profitable [shows], and we can do it by being authentic,’” Cohan says.

I can’t believe it’s happening to us.

“The Kelly Clarkson Show,” the Daytime Emmy Award-winning series hosted by the Grammy-winning musician, is ending after a seven-season run. Kelly Clarkson announced Monday that she had decided to step away from hosting the daily talk show.

In a statement, Clarkson said she made her decision to prioritize spending time with her children. The former singer had two children, in 2014 and 2016, with ex-husband Brandon Blackstock, who died in August at age 48.

“I have been extremely fortunate to work with such an outstanding group of people at ‘The Kelly Clarkson Show,’ both in Los Angeles and New York,” Clarkson said in a statement. “This was not an easy decision, but this season will be my last hosting ‘The Kelly Clarkson Show.’ Stepping away from the daily schedule will allow me to prioritize my kids, which feels necessary and right for this next chapter of our lives.”

The syndicated talk show launched in September 2019 after Clarkson, who won over TV audiences as the first-ever winner of “American Idol,” in 2002, returned to the world of musical reality competitions as a coach on “The Voice” in 2018. “The Kelly Clarkson Show” showcased the “Since U Been Gone” singer’s affable, approachable charm in her sit-down interviews with celebrities and everyday heroes, as well as her talents in popular segments including “Kellyoke,” which saw Clarkson sing covers of other people’s songs.

“I am forever grateful and honored to have worked alongside the greatest band and crew you could hope for, all the talent and inspiring people who have shared their time and lives with us, all the fans who have supported our show and to NBC for always being such a supportive and incredible partner,” Clarkson added in her statement. “This isn’t goodbye. I’ll still be making music, playing shows here and there and you may catch me on ‘The Voice’ from time to time. … You never know where I might show up next. But for now, I want to thank y’all so much for allowing our show to be a part of your lives, and for believing in us and hanging with us for seven incredible years.”

The seventh season of “The Kelly Clarkson Show” kicked off in September and production will continue as planned. Clarkson will continue to host Season 7, with a few yet-to-be-announced guest hosts. The episodes for Season 7 will run through September.

History was made in more than one way at Sunday night’s 68th Grammy Awards.

Bad Bunny’s “Debí Tirar Más Fotos” won album of the year — the first Spanish-language LP to take the Recording Academy’s highest honor. Kendrick Lamar and SZA’s “Luther” was named record of the year, making Lamar the winningest rapper in Grammy history (and just the fourth artist to go back-to-back for the record prize). Then there were Billie Eilish and her brother, Finneas O’Connell, who took song of the year with “Wildflower”; they’re now the only songwriters with three wins in that prestigious category.

To go by demographics, the ceremony clearly embodied the diversity gains the academy has been saying proudly are happening among its 15,000 voting members. But if new kinds of faces are becoming Grammy darlings, the music they’re being recognized for still upholds many of the academy’s old values. A night for making history was also a night for reveling in it.

Take “Luther,” a soulful hip-hop slow jam built on a prominent sample of Luther Vandross and Cheryl Lynn’s 1982 rendition of a love song Marvin Gaye and Tammi Terrell recorded in the late 1960s — an intricate piece of lineage-making meant to bridge multiple generations.

Olivia Dean performs.

(Myung J. Chun / Los Angeles Times)

“First and foremost, let’s give a shout-out to the late, great Luther Vandross,” the producer Sounwave said as he, Lamar, SZA and the song’s other creators accepted their award at Crypto.com Arena. (Before they made it onstage, Cher misread the card identifying “Luther” as record of the year and said that Vandross himself had won.) Lamar added, “This is what music is about,” and expressed his gratitude for being allowed “the privilege” to use Vandross’ music as long as he and SZA promised the singer’s estate not to curse on their record.

You can hear a similar reverence for those who came before in Olivia Dean, the 26-year-old British singer named best new artist on the strength of her hit “The Art of Loving” LP, which looks back to the gleaming pop-soul of Diana Ross and Whitney Houston.

Even Bad Bunny, the Puerto Rican rapper and singer who became a superstar at the bleeding edge of reggaeton and Latin trap, achieved his Grammy breakthrough with something of a throwback move: “Debí Tirar Más Fotos” is an exactingly arranged tribute to his native island, with elements of Puerto Rican folk styles such as bomba and plena and more hand-played instrumentation than he utilized for 2022’s sleek “Un Verano Sin Ti,” which scored a Grammy nomination for album of the year but lost to “Harry’s House” by Harry Styles (who, as it happens, presented the album prize Sunday).

Part of Bad Bunny’s success this year can be attributed to the fact that he’s a far bigger celebrity than he was three years ago; indeed, his Grammy triumph impressively sets up the halftime performance he’ll give this coming weekend at Super Bowl LX. But not unlike Beyoncé’s rootsy “Cowboy Carter,” which finally brought her a win for album of the year in 2025 after a number of outrage-inducing defeats, “Debí Tirar Más Fotos” is also primo Grammy bait: a work steeped in tradition from a natural innovator.

SZA backstage.

(Allen J. Schaben / Los Angeles Times)

For years, the Grammys’ rearview gaze used to bum me out — and, to be honest, as lovely as Eilish’s “Wildflower” is, her song of the year win with the tender acoustic ballad felt like a failure of imagination among voters I wish had recognized the hurtling exuberance of “Golden,” from Netflix’s “KPop Demon Hunters.” (“Golden” did take the prize for song written for visual media, which made it the first K-pop tune to win a Grammy.)

Yet something about Sunday’s ceremony made it hard to get too worked up about all the historicizing. Perhaps it was how plainly yet passionately many artists used their time onstage to speak about the issues pressing on us right now. “Before I say thanks to God, I’m gonna say: ICE out,” Bad Bunny told the crowd as he accepted an award for música urbana album. “We’re not savage, we’re not animals, we’re not aliens. We are humans, and we are Americans.”

Lady Gaga on the red carpet.

(Christina House/Los Angeles Times)

Eilish said, “No one is illegal on stolen land.” Dean pointed out that she’s the granddaughter of an immigrant and that “those people deserve to be celebrated.”

I was also moved by how personal so much of the music felt — a cry of imperfection like Lola Young’s “Messy,” for instance, which she performed by herself on piano and which won pop solo performance in an upset over the likes of Lady Gaga and Sabrina Carpenter. “I don’t know what I’m gonna say because I don’t have any speech prepared,” she yelled into the microphone as she received her trophy. “Obviously, I don’t — it’s messy, do you know what I mean?”

Weirdly for a show with yesterday so heavily on its mind, a tribute to the late R&B trailblazers Roberta Flack and D’Angelo was a disappointment, with Lauryn Hill as bandleader moving way too quickly (in way too short an allotted time) through songs that require real space to unfurl.

That’s what Justin Bieber had for the evening’s most striking performance: a slow and radically stripped-down rendition of his song “Yukon” that he sang wearing only boxer shorts and socks, accompanying himself with a scratchy electric guitar riff he fed through a looping station.

“Yukon” is from Bieber’s impressive “Swag” album, which he released last year after a lengthy stretch in the pop-star wilderness; it’s an LP, kind of like “Messy,” about learning to forgive yourself for your flaws, and here he sang “Yukon” like a guy who’d figured out — maybe a guy figuring out — how to build a life outside the punishing expectations of celebrity. The music had the past in it, of course, but didn’t feel constrained by it.

Justin Bieber performs.

(Myung J. Chun / Los Angeles Times)

MINNEAPOLIS — For weeks, administrators at this charter high school have arrived an hour before class, grabbed neon vests and walkie-talkies, and headed out into the cold to watch for ICE agents and escort students in.

Lately, fewer than half of the 800 sudents show up.

“Operation Metro Surge,” the immigration crackdown in Minnesota that led to nationwide protests after federal agents shot and killed two U.S. citizens, has had students, parents and teachers on edge regardless of their immigration status.

Signs of a fearful new normal are all over the school. Green craft paper covers the bottom of many first-floor windows so outsiders can’t peer in. A notice taped outside one door says unauthorized entry is prohibited: “This includes all federal law enforcement personnel and activities unless authorized by lawful written direction from appropriate school officials or a valid court order.”

Students at a Minneapolis high school classroom with many empty seats on Jan. 29, 2026.

Staff coordinate throughout the day with a neighborhood watch group to determine whether ICE agents are nearby. When they are, classroom doors are locked and hallways emptied until staff announce “all clear.”

Similar tactics have been utilized by schools in other cities hit by immigration raids across the country. The Los Angeles Unified School District established a donation fund for affected families and created security perimeters around schools last summer.

But it appears nowhere have students felt the repercussions of local raids more than in Minneapolis.

Many schools have seen attendance plummet by double-digit percentages. At least three other, smaller charter schools in Minneapolis have completely shut down in-person learning.

At this high school, which administrators asked The Times not to identify for fear of retaliation by the Trump administration, 84% of students are Latino and 12% are Black. Staff and students are being identified by first or middle names.

A balloon sits in a hallway at the high school.

Doors and windows are covered at the school so outsiders can’t see in.

Three students have been detained — and later released — in recent weeks. Two others were followed into the school parking lot and questioned about their immigration status. Several have parents who were deported or who self-deported. Latino staff said they have also been stopped and questioned about their legal status.

“Our families feel hunted,” said Noelle, the school district’s executive director.

Students returned from winter break on Jan. 6, the same day 2,000 additional immigration agents were dispatched to Minneapolis to carry out what Immigration and Customs Enforcement Acting Director Todd Lyons called the agency’s “largest immigration operation ever.” The next day, an ICE officer fatally shot Renee Good, a 37-year-old mother of three.

“I describe that day as if you’re on an airplane and it’s really bad turbulence, and you have to keep your cool because, if you don’t, you lose the entire building,” said Emmanuel, an assistant principal. “It felt like we went through war.”

Attendance dropped by the hundreds as parents grew too afraid to let their children leave home. School leaders decided to offer online learning and scrambled to find enough laptops and mobile hotspots for the many students who didn’t have devices or internet. Some teachers sent packets of schoolwork to students by mail.

A teacher at the Minneapolis high school that administrators asked The Times not to identify for fear of retaliation by the Trump administration. Teachers and students there also asked not to be identified.

Noelle said in-person attendance, which had dropped below 400 students, increased by around 100 in the third week of January. Then federal agents shot and killed 37-year-old intensive care nurse Alex Pretti, and attendance plummeted again.

Rochelle Van Dijk, vice president of Great MN Schools, a nonprofit supporting schools that serve a majority of students of color, said many schools have redirected tens of thousands of dollars away from other critical needs toward online learning, food distribution and safety planning. For students still attending in person, recess has frequently been canceled, and field trips and after-school activities paused.

Even if students return to school by mid-February, Van Dijk said, they will have missed 20% of their instructional days for the year.

“A senior who can’t meet with their college counselor right now just missed support needed for major January college application deadlines. Or a second-grader with a speech delay who is supposed to be in an active in-person intervention may lose a critical window of brain plasticity,” she said. “It is not dissimilar to what our nation’s children faced during COVID, but entirely avoidable.”

At the high school, administrators said they tried to create “a security bubble,” operating under protocols more typical of active shooter emergencies.

Gym class at the Minneapolis school, where many students are so afraid of ICE that they won’t go to the campus.

If agents were to enter the building without a judicial warrant, the school would go into a full lockdown, turning off lights, staying silent and moving out of sight. That hasn’t happened, though ICE last year rescinded a policy that had barred arrests at so-called sensitive locations, including schools.

Tricia McLaughlin, assistant secretary for the Department of Homeland Security, said that blaming ICE for low school attendance is “creating a climate of fear and smearing law enforcement.”

“ICE does not target schools,” McLaughlin said. “If a dangerous or violent illegal criminal alien felon were to flee into a school, or a child sex offender is working as an employee, there may be a situation where an arrest is made to protect the safety of the student. But this has not happened.”

Alondra, a 16-year-old junior who was born in the U.S., was arrested after school Jan. 21 near a clinic where she had gone with a friend, also 16, to pick up medication for her grandmother.

She said that as she was about to turn into the parking lot, another car sped in front of her, forcing her to stop. Alondra saw four men in ski masks with guns get out. Scared, she put her car in reverse. Before she could move, she said, another vehicle pulled up and struck her car from behind.

Alondra shared videos with The Times that she recorded from the scene. She said agents cracked her passenger window in an attempt to get in.

“We’re with you!” a bystander can be heard telling her in the video as others blow emergency whistles.

She said she rolled her window down and an agent asked to see her ID. She gave him her license and U.S. passport.

“Is it necessary to have to talk to you or can I talk to an actual cop?” she asks in the video. “Can I talk to an actual cop from here?”

“We are law enforcement,” the agent replies. “What are they gonna do?”

In another video, an agent questions Alondra’s friend about the whereabouts of his parents. Another agent is heard saying Alondra had put her car in reverse.

“We’re underage,” she tells him. “We’re scared.”

A sign directs students to line up for their school bus route. Bus pickups are staggered, with one group of students escorted outside at a time. This way, the children can be taken back inside the school or onto the bus more easily if ICE arrives.

A Minneapolis Public Radio reporter at the scene said agents appeared to have rear-ended Alondra’s car. But Alondra said an agent claimed she had caused the accident.

“It’s just a simple accident, you know what I mean?” he says in the video. “We’re not gonna get on you for trying to hit us or something.”

“Can you let us go, please?” her friend, visibly shaken, asks the agent at his window.

Alondra and her friend were handcuffed and placed in a U.S. Customs and Border Protection vehicle as observers filmed the incident. At least two observers were arrested as agents deployed tear gas and pepper spray, according to an MPR report.

The agents took the students to the federal Whipple Building. Alondra said the agents separated the friends, looked through and photographed her belongings and had her change into blue canvas shoes before chaining her feet together and placing her in a holding cell alone.

“I asked at least five times if I could let my guardian know what was happening, because I was underage, but they never let me,” she said.

Finally, around 7 p.m., agents released Alondra — with no paperwork about the incident — and she called her aunt to pick her up. Her friend was released later.

Meanwhile, school administrators who saw the MPR video called Alondra’s family and her friend’s.

Alondra said officers didn’t know what had happened to her car and told her they would call her when she could pick it up. But no one has called, and school administrators who helped her make calls to Minneapolis impound lots haven’t been able to locate it either.

Though Alondra could attend classes online, she felt she had to return to campus.

“I feel like if I would have stayed home, it would have gone worse for me,” she said, her lip quivering. “I use school as a distraction.”

The backstage of the auditorium, dubbed the bodega, has been turned into a well-stocked pantry for families who are too afraid to leave their homes.

A volunteer organizes donated items for distribution to families at the Minneapolis high school.

A teacher makes a delivery to a family in Minneapolis.

Teachers and volunteers sort donations by category, including hygiene goods, breakfast cereals, bread and tortillas, fruit and vegetables, diapers and other baby items. Bags are labeled with each student’s name and address and filled with the items their family has requested. After school, teachers deliver the items to the students’ homes.

Noelle said some students, particularly those who are homeless, are now at risk of failing because they’re in “survival mode.” Their learning is stagnating, she said.

“A lot of these kids are — I mean, they want to be — college-bound,” Noelle said. “How do you compete [for admission] with the best applicants if you’re online right now and doing one touch-point a day with one teacher because that’s all the technology that you have?”

On Thursday afternoon, 20 of 44 students had shown up for an AP world history class where the whiteboard prompt asked, “Why might some people resort to violent resistance rather than peaceful protest?”

Upstairs, in an 11th-grade U.S. history class, attendance was even worse — four students, with 17 others following online. The topic was what the teacher called the nation’s “first immigration ban,” the Chinese Exclusion Act of 1882.

Students head to their bus at the high school.

Morgan, the teacher, asked the students to name a similarity between the Chinese exclusion era and current day.

“Immigrants getting thrown out,” one student offered.

“Once they leave, they can’t come back,” said another.

“The fact that this is our first ban on immigration also sets a precedent that this stuff can happen over and over and over again,” Morgan said.

Sophie, who teachers English language learners, led the effort to organize the online school option. She is from Chile and says she has struggled to put her own fear aside to be present for the students who rely on her. Driving to school scares her, too.

“It’s lawless,” she said. “It doesn’t matter that I have my passport in my purse. The minute I open my mouth, they’re going to know that I’m not from here.”

Sophie said she once had to call a student’s mother to say her husband had been taken by immigration agents after another school staffer found his car abandoned on a nearby street.

“Having to have that conversation wasn’t on my bingo card for that day, or any day,” she said. “Having to say that we have proof that your husband was taken and hearing that woman crying and couldn’t talk, and I’m like, what do I say now?”

Close to the 4:15 p.m. dismissal, administrators again donned their neon vests and logged on to the neighborhood Signal call for possible immigration activity.

Students walk to a bus Thursday. Dismissal used to be a free-for-all, with large numbers of students rushing outside as soon as the bell rang.

Dismissal used to be a free-for-all — once the final bell rang, students would rush outside to find their bus or ride or to begin the walk home.

Now pickups are staggered, with students escorted outside one bus at a time. Teachers grab numbered signs and tell students to line up according to their route. If ICE agents pull up, administrators said, they could rush a smaller group of students onto the bus or back inside.

In yet another example of how the immigration raids had crippled attendance, some buses were nearly empty. On one bus, just two students hopped on.

Interiority is a concept that multimedia artist Sarah Sze has been fixating on lately.

“So much of what we experience is actually interior,” Sze said in a recent video interview. “We’ve become so exterior focused. We’re so outward looking.”

At a time when it’s all too easy to consume a never-ending stream of social media images, the celebrated New York-based artist is more interested in scrolling through the images stored inside her own mind.

Her new show, “Feel Free,” champions the mind’s eye, in all its random, fragmented glory. It brings a collection of new paintings and two immersive video installations to Gagosian Beverly Hills.

Sze is known for her unconventional sculptures and large-scale paintings, which she’s shown in such venues as the Museum of Modern Art, LACMA and the U.S. Pavilion at multiple Venice Biennales. In 2023, she left her mark on both the inside halls and the exterior walls of the Guggenheim Museum, and her public sculptures have transformed a grassy hillside as well as a pine grove and an international airport.

Sarah Sze’s Gagosian Beverly Hills show “Feel Free” is meant to feel intimate.

(Ariana Drehsler/For The Times)

At the Gagosian show, Sze leaned into the intimate and fragile, while continuing her signature experimental streak.

In one of her newest pieces, “Once in a Lifetime” — part sculpture, part video display — precarious clusters of bric-a-brac form a mechanical marvel that appears to defy gravity.

A stack of small projectors is cradled inside of a fantastical tower fashioned out of crisscrossed tripods, metal poles and ladders festooned with an assemblage of toothpick structures, empty cardboard containers that once held crayons and Lactaid, dangling prisms, arts & crafts scraps, and paper cut-outs of deer and wolves (figures that appear throughout the show).

The bare gallery walls surrounding the monument flash with rotating projections of construction sites where buildings are being erected and demolished, clouds drifting across tranquil blue skies, and city lights twinkling then slowly dissolving into floating fractals. The Dadaist piece is every bit as off-kilter and fascinating as the Talking Heads song that inspired its title.

“Once in a Lifetime” is part video display and part sculpture, made of tripods, toothpicks, lights, cardboard boxes and projectors that flicker images on the gallery walls. (Ariana Drehsler/For The Times)

“The most important thing about my show is that I hope it’s really challenging and exciting and gives young artists license to do what they want to do,” Sze said.

“When they come in and say, ‘Wait … I didn’t know you could put up toothpicks going to the ceiling and throw a video through it and make it into a movie. I didn’t know you could put a pile of things on the floor in front of a painting.’ It’s like, ‘OK! Yes, you can!’”

Meanwhile, large canvases in the main gallery space are covered with oil and acrylic paints and printed backdrops dotted with an assortment of images: sleeping female figures; hands pointing, drawing and flashing peace signs; the sun at different stages of setting; birds in flight; wolves and deer in their natural habitats. Layered on top are paint splotches and streaks, as well as taped-on paper and vellum, blurring and obscuring the collage of figures underneath.

“Escape Artist,” left, “White Night” and “Feel Free,” are new paintings by Sarah Sze at Gagosian Beverly Hills.

(Ariana Drehsler/For The Times)

“One of the things I was thinking about was when we dream and then we wake up, there’s this extreme, fleeting moment where you’re trying to grasp the dream,” Sze said. “The dream is disappearing at the same time, and you’re trying to re-create those images.”

She went on to describe “a landscape turning into a different landscape, and then you’re falling, and then you’re turning, and then someone appears that you didn’t expect to be there.”

In addition to this spree of the subconscious, the artist offers glimpses of her creative process. Pooled on the ground below the canvases (and even dangling from the rafters above) is an assortment of the tools of her trade — from tape measures to paint scrapers. Brushes, pens and pencils lie next to the ripped cuffs of cotton workshirts, and drops of blue and white paint are splattered on the floor, extending the artwork beyond the wall.

Sze spent five days installing the show inside the gallery and the commonplace supplies incorporated into the pieces are what she dubbed “remnants of the workspace.”

“Sleepers,” a video installation Sze debuted in 2024, plays with the light entering through a gallery window. Images of sleeping heads and forest animals play amid the sound of cello notes and deep breathing.

(Ariana Drehsler/For The Times)

If the paintings act as snapshots of dreamscapes, “Sleepers,” the video installation she debuted in 2024, sets those images in motion. Dozens of hand-torn paper fragments connected by rows of string become miniature projection screens, each flashing with images of the same sleeping heads, busy hands and forest animals. These are interspersed with flashes of TV static and ocean waves, all set to the sounds of humming, disjointed cello notes and deep breathing.

Directly in the center, a slender vertical window — part of the gallery’s architecture — illuminates the otherwise darkened room with a pillar of natural light, further contributing to the ethereal nature of the piece.

Viewed at the right angle, the piece resembles a giant eye. It’s the perfect visual cue to get visitors thinking about what we see and how we see it.