Sunk

Sometime in the next few weeks, the decommissioned Ticonderoga class guided missile cruiser ex-USS Mobile Bay, the 7th example of her class built, will be sent to the bottom of the Pacific Ocean by friendly forces, according to the San Diego Union-Tribune. The Tarawa class ex-USS Peleliu (LHA-5) amphibious assault ship will also be pummeled to its doom by friendly fire. These are two very high-profile and vastly different targets, which will make for a uniquely interesting pair of SINKEX drills. The event will take place during the 30th Rim of the Pacific (RIMPAC) biennial international maritime exercise.

RIMPAC 2026 began June 24 and runs through July 31; however, the date and manner of the sinking are not yet known. The sinking exercise (SINKEX) is the capstone event at each RIMPAC, though the type of surplus ship used varies.

Mobile Bay was decommissioned in 2023 and determined ineligible to be placed on the National Register of Historic Places a year later, sealing its fate.

USS Mobile Bay (CG 53) Outbound – August 18, 2023 – San Diego, California

Commissioned on Feb. 27, 1987, Mobile Bay took part in a number of major events during its 36 years in service.

“The ship’s operational history includes the 1989 evacuation of the U.S. Embassy in Beirut, Lebanon; launching 22 Tomahawk Land Attack Missiles (TLAMs) in support of Operation Desert Storm and the evacuation of thousands of people displaced by the volcanic eruption of Mt. Pinatubo in the vicinity of Subic Bay, Republic of the Philippines during Operation Fiery Vigil in 1991,” according to the Navy. It also participated in the “U.S. Coast Guard Law Enforcement Detachment (CGLED) seizure of 10.5 metric tons of cocaine approximately 800 miles southwest of Acapulco, Mexico, and launching TLAMS in support of Operation Iraqi Freedom in 2003.”

USS Mobile Bay CG-53 in Desert Storm

In addition to the date of its sinking being so far unknown, we also do not know how Mobile Bay will be struck. These events are used to test out a variety of weapons systems and crews to see how they perform. This often includes the ship being hit by many different kinds of weapons.

In the most recent SINKEX, for instance, we wrote that a U.S. Air Force B-2A Spirit bomber fired an AGM-158C Long Range Anti-Ship Missile (LRASM) at the ex-USS Juneau during Valiant Shield 2026 in the Western Pacific. You can read more about that in our story about that here. Oftentimes everything from torpedoes to short-range missiles to rocket artillery to airborne gunfire is used to maximize the sacrifice of the retired hull.

Mobile Bay, which took part in RIMPAC 2022, is one of four Ticonderoga class cruisers set to be disposed of by a SINKEX. In addition, the ex-USS Vella Gulf, the ex-USS Antietam and the ex-USS Port Royal are all facing the same fate, according to Navy records.

The ex-USS Valley Forge was the first of the decommissioned Ticonderogas to be sunk, during target practice in Hawaii in November 2006.

The Ticonderogas carry Tomahawk Land Attack Missiles (TLAM) and serve as air and missile defense batteries and command and control platforms. They are also equipped with Harpoon anti-ship missiles and MH-60R Sea Hawk helicopters, and execute anti-submarine warfare operations. 

Built in the 1980s and early 1990s, these cruisers primarily provide the backbone of a carrier strike group’s air warfare capabilities.

There are nine ships in this class still serving in the Navy. Of those, a half dozen are slated to be decommissioned in the coming years, while the remainder — USS Gettysburg, USS Chosin and USS Cape St. George — have been modernized or are close to finishing modernization and will serve out toward the end of the decade.

The effort to keep these ships afloat has been costly and controversial, which you can read more about in our story about the process here.

The Navy is billing RIMPAC 2026 as the largest in the history of these exercises.

“Thirty nations, over 30 surface ships, five submarines, 15 national land forces, more than 206 aircraft and 30,000 personnel will train and operate in and around the Hawaiian Islands during the exercise,” the Navy said in a release. “RIMPAC provides a unique training opportunity while fostering and sustaining cooperative relationships among participants that are critical to ensuring the security of sea lanes and stability across the region.”

It will be interesting to see how the ex-Mobile Bay is ultimately disposed of. We will provide an update when more information is available.

Contact the author: howard@twz.com

In early June, hundreds of fans dressed to the nines were in attendance at a rock star’s sold-out show at New York’s Beacon Theatre. There was lace everywhere and leather too. Chains dangled from belt loops and wrists. Some attendees arrived with dyed crimson hair, others with orange or pink.

Sheer black outfits that looked pulled from the pages of a gothic romance novel were draped on bodies. If “The Rocky Horror Picture Show” had collided with a modern concert, it might have looked something like this.

Then a man took the stage. Was it Lestat de Lioncourt, the immortal vampire-cum-rock star, or was it actor Sam Reid?

Moments earlier, attendees had watched the first episode of AMC’s “The Vampire Lestat,” the rebranded third season of “Interview With the Vampire” that premiered earlier this month. This season adapts Anne Rice’s novel of the same name, which is told from the perspective of Lestat, played by Reid, and transforms him into a touring musician.

Now Reid, dressed in black with his chest partially exposed beneath an open jacket revealing a scar, stepped on stage and into the role of Lestat in front of the audience. As he moved across the stage, phones shot into the air. Fans screamed. People sang along to a slew of songs, and for a moment, the line between actor and character seemed to disappear.

At first glance, the assignment to turn Lestat into a rock star seemed straightforward. The vampire at the center of Rice’s beloved novels has flirted with music before. In 2002’s “Queen of the Damned,” he emerged as a leather-clad nu-metal frontman capable of commanding massive crowds. But bringing Lestat into the present introduced a different challenge. Rock music no longer occupies the same place in popular culture. Fame is fragmented. Audiences are skeptical of celebrity. Social media can build a star overnight and tear them down just as quickly.

Yet “The Vampire Lestat” asks viewers to believe something as audacious as a centuries-old vampire still being able to captivate people, launch a music career and inspire a movement. Reid thinks part of what drives the character is something surprisingly modern.

“Nobody cares that I exist, nobody cares that I’m not relevant,” Reid said of Lestat’s mindset entering the season. “It’s really fun to see him struggle with that and see him try to find his place in the world and not immediately get world domination.”

Making that fantasy feel believable required far more than putting Lestat in leather and handing him a microphone. To pull it off, the show’s creative team had to build a rock star from the ground up, crafting a visual identity, creating music that could stand on its own outside the series, and transforming Reid into a performer capable of owning a crowd rather than simply acting in front of one.

Sam Reid’s Lestat de Lioncourt crowd-surfs in “The Vampire Lestat.”

(Sophie Giraud / AMC)

“Dropping Lestat down into 2025 and making the decision for him to play rock ‘n’ roll was a really great dramatic switch because while there are many great rock bands that are alive and kicking right now, their hold of the cultural landscape is quite small,” showrunner Rolin Jones said. “You couldn’t think of a worse way to get your message out than going to be a rock star right now.”

That challenge became the foundation of the season.

Step 1: Making the music

A polished aesthetic, marketing and, in Lestat’s case, book buzz can only take a musician so far. It’s the music that had to make diehard fans believe he’s an artistic genius, or at least a star in the making.

That challenge landed with composer Daniel Hart long before a single script was finished. In an unusual twist, many of the songs that would eventually appear throughout the season were written before the writers’ room fully mapped out the story.

“There were so many unknowns when we started,” Hart said. To find a way in, Hart and Jones started with their familiar reference point: David Bowie.

“We settled, I think sort of obviously, on David Bowie as the launch pad for our Lestat,” Hart said. “The way that Bowie was so mercurial, and he was a chameleon. He reinvented himself throughout his career.”

Hart also looked to artists as varied as Kurt Cobain and Chappell Roan, while drawing inspiration from classical music, blues and the old-world sound Lestat would have absorbed over his long life. One early writers’ room exercise even involved breaking down the influences embedded within “Long Face,” the Bowie-coded first single released from Lestat’s fictional album.

“‘Long Face’ feels like a Bowie rip-off to Daniel Molloy [played by Eric Bogosian], and so then Lestat breaks the song down for him and goes into all the other influences that are in there,” Hart said. “ ‘Long Face,’ you could say, was in some way influenced by Bach, and then [he] talked about Willie Dixon, and how the blues had influenced Lestat when he was around the … 1920s and ‘30s.”

“He’s been alive for 250 years,” Hart continued. “He’s seen and heard a lot of music.”

The creative team never set out to replicate the hard-rock sound that defined “Queen of the Damned.” If anything, Jones felt trying to outdo that soundtrack would have been a losing battle.

In “The Vampire Lestat,” Sam Reid sings every song himself, including “Long Face,” “Butterscotch Bitch,” “Your Biggest Fan,” “All Fall Down” and “Black Licorice.”

(Sophie Giraud / AMC)

“I mean, that soundtrack is deservedly very famous,” Jones said. “And I think if we decided to out-Korn Korn, we were going to be in trouble.”

Instead, their Lestat was a musician still searching for his voice. Jones says the season begins in a more performative glam-rock space before gradually evolving into something more personal.

“We thought ‘70s Bowie is where we would start, and that we would musically make a journey with him as we went deeper and deeper,” he said. “He would put his band on one tour, what a normal band would do, over four albums. The music just keeps changing. And as he gets more and more vulnerable, the songs begin to change. They get more raw. They get more exposure, and the music style evolves.”

Reid sang every song himself, including “Long Face,” “Butterscotch Bitch,” “Your Biggest Fan,” “All Fall Down” and “Black Licorice.”

“The more bombastic, the more over-the-top songs — he doesn’t seem to like them by the end of this season,” Hart said. “The more introspective songs that come later on are more in his new wheelhouse.”

That journey also shaped how Reid approached the material. While audiences will ultimately see the songs unfold within the context of the show, Reid encountered many of them before he fully understood where Lestat’s story was heading.

“I think in the beginning, he’s coming from an artificial kind of construct,” Reid says. “As the show goes on, the music becomes more personal, and he becomes less interested in actually finding love through his audience and more about finding who he is as an individual and as an artist.”

When Jones first began adapting “The Vampire Lestat,” he briefly considered making the character the sort of arena-filling superstar audiences might expect, like a Beyoncé or Taylor Swift. But the more the writers discussed it, the less interesting that version felt.

“If we were gonna start chipping away at all the armor that Lestat had, one of the great repetitive ways of a tour is you just can’t seem to break a ceiling,” Jones said. “He’s a niche star. And I think that is part of the gas that fuels this little journey.”

Hart also had the impression that Lestat would be a massive star.

“But it became more apparent that [he might] not exactly have the kind of success that he wanted and desperately felt like he needed — that was a more interesting story to tell,” he said.

Step 2: Getting the rock star look

While the audience has to believe Lestat is a rock star, they also have to believe he’s someone with the look — and worth staring at.

Lex Wood, the show’s costume designer, said that the challenge began long before cameras rolled on Season 3. Jones first floated the idea of rock star Lestat while the team filmed Season 2 in Prague in 2023, giving Wood time to begin imagining what a nearly 300-year-old vampire might wear while reinventing himself as a singer. During a production trip to Paris, she started sourcing pieces and collecting references that would eventually make their way into this season years later.

“The main aim of building costumes for Lestat was to maintain an element of the unachievable,” says show costumer designer Lex Wood. “To emphasize that Lestat is untouchable.”

(Sophie Giraud / AMC)

Being fashionable wasn’t the only goal.

“The main aim of building costumes for Lestat was to maintain an element of the unachievable,” Wood said. “To emphasize that Lestat is untouchable. Hence, building specific costume build shapes and patterns that we adapted throughout the season.”

That idea guided nearly every aspect of the wardrobe. While the first two seasons often presented Lestat through structured tailoring and muted palettes, Season 3 arrives in a much louder world.

“A big thing really was that we wanted to push more color into the season in general,” Wood said.

Wood said the choice reflected where Lestat finds himself emotionally. No longer confined to drawing rooms and period silhouettes, he’s navigating celebrity, performance and self-reinvention. Leather remains. Black remains. But so do bursts of color, softer fabrics and strange patterns.

“We wanted to break Lestat free of the suiting,” Wood said. “Though we wanted to remain true to his roots in the 18th century, we also wanted Lestat’s pieces to feel slightly otherworldly at times.”

That meant weaving in elements of garments from the 18th century and making them feel contemporary. This could look like a very specific cut of a sleeve of a shirt that nods to that time.

Wood also studied the backstage photography of Mick Rock, pulling references of Bowie, Iggy Pop and Freddie Mercury. She blended that with punk-inspired designs from Vivienne Westwood and Jean Paul Gaultier. Goth icon Siouxsie Sioux also became an influence, particularly in the use of layering, texture and attitude.

Wood said the scattered references reflect a character actively trying to figure out who he wants to be.

“He’s investigating social media himself,” she said. “As he’s discovering his presence as a rock star. He’s investigating what it means to be a rock star.”

“He’s finding his persona,” she continued. “And trying on different personas.”

That idea extends all the way down to accessories, with Lestat’s jewelry blending old and new — a custom necklace created by a U.K. silversmith recalls one worn by Mercury during Queen’s early years, while rings featuring sculpted teeth serve as subtle reminders of his vampiric nature.

“We purposefully wanted some of his wardrobe to not be recognizable to any particular brand — at other times, we wanted to celebrate high-end fashion, to explore his playfulness and unpredictable character through his clothing,” Wood said.

Even the shoes became part of the transformation. One of Wood’s earliest conversations with Reid centered on abandoning the heeled footwear that helped define earlier versions of the character. This Lestat needed something heavier for a performer who could pace a stage.

“He wanted something that felt more grounded,” Wood said. “Something he could bounce around more in.”

Wood said the redesigned footwear altered Reid’s posture and movement, helping create a version of Lestat that she noted feels more volatile and more comfortable captivating a crowd than charming one.

Step 3: Becoming the rock star

For all the work that went into the costumes, music and scripts, none of it mattered unless the watchers believed the actor tying it all together.

Reid had already spent two seasons playing Lestat through other characters’ memories and perspectives. This time around required him to carry the character’s story through his own reflections. More importantly, he had to answer a deceptively difficult question: Why would anyone follow Lestat in the first place?

“It’s not fame that he’s after,” says Reid of his character in “The Vampire Lestat.” “Fame is totally temporary for a creature that lives forever.”

(Sophie Giraud / AMC)

The surface answer might be fame. The character launches a music career, records songs and steps into the spotlight. But Reid doesn’t think that’s what drives him.

“It’s not fame that he’s after,” Reid said. “Fame is totally temporary for a creature that lives forever.”

Reid sees Lestat as someone searching for validation.

“Not for the vampire that he is, but for the human being that he was,” he said. “He’s been pretty heavily rejected. From Louis through the book, and then his mother knows exactly how to string him along, when to give him love and when to take it away. So he’s really looking for validation and going into an audience space is where he first experienced that.”

While developing the season, Reid says he became increasingly interested in the gap between the public version of Lestat and the person underneath it.

“His whole life has been performance,” Reid said. “His whole life has been a lot of adversity, and the way that he kind of climbs out of that is to build a construct that he can perform and operate in. It makes a lot of sense for him to do this rock star persona. Through this season you start to see him realize that the music and the art can allow him to access himself as opposed to it just being a performance.”

“He’s trying to discover his sound as a musician,” Reid continued. “But he’s also trying to discover who he is.”

Throughout the season, viewers see a musician struggling to connect.

“Why can’t I sell out 5,000 seats?” Jones says, describing the character’s mindset. “I used to be able to walk into a room and everyone would love me.”

For Jones, that’s ultimately what makes Lestat feel like a contemporary artist. Sure, he may be an immortal vampire, but he’s navigating the same questions that confront plenty of artists: How much of yourself to reveal? How much should one perform? Can admiration ever substitute for genuine connection?

By the time the season reaches its conclusion, Lestat is still larger than life. But he’s also a more complicated performer forced to reckon with the distance between being seen and understood. Jones said none of this would be possible without Reid in the role.

“I think his performance in Season 3 is one of the 10 greatest American TV performances of all time,” Jones says. “I’d put him right next to Carroll O’Connor, Walter White [played by Bryan Cranston] and James Gandolfini.”

“And I’d look at all of them and say, ‘You guys didn’t sing.’ ”