Eating dirt is usually not a good thing, but in the new Amazon Prime series “Cometierra,” it’s a superpower.
The supernatural crime thriller, which premieres on Halloween, is based on the 2019 Dolores Reyes novel of the same name. The book follows the story of a young woman who has the ability to communicate through visions with the dead and missing people of Argentina by eating the physical land they trod.
“Cometierra” stars Lilith Curiel with supporting roles from Oscar nominee Yalitza Aparicio and Gerardo Taracena. It follows the same outline of the book but is set in contemporary Mexico to address the themes of state violence, femicide and the missing persons epidemic.
The source material and its new twist were what drew Mexican singer-songwriter Natalia Lafourcade to perform the series’s title song, “La Cometierra.”
“We have this reality in Mexico, there’s violence against many women and there’s the disappeared. It’s a very sad situation that we have, but it’s a fact,” the singer said. “It’s inspiring the way the series develops and how this girl, alongside her neighbors, creates a [positive] tribal strength out of her situation.”
Lafourcade especially liked that the series provides an organic avenue for debate and serves as a call to action to recognize that these are all problems in Mexico, while also showing that there is a deep well of beauty within the country.
“We all have a talent that we can always put forward as a service for our family, our country, just for other people,” she said.
The 41-year-old artist’s recently released single channels the energy of the series and its themes by conjuring a spoken word cadence that culminates in a nursery rhyme chant about the powers of the Cometierra.
“I wanted to make a sound that would be very strong and that would present a reality and that the lyrics wouldn’t be smooth,” Lafourcade said. “But at the same time, it would have hope and light and this feeling of joy for the next generations. So I wanted to have this mix of girls singing in a very naive tone, but also mix in a straight voice telling hard truths.”
The song, while geared toward a Mexican experience, now has a striking relevance in the United States as Immigration and Customs Enforcement raids — largely targeting Latinos — continue to take place across the country and as hundreds of detained people have been unaccounted for.
“I hope that music has this capacity to make us wake up and be conscious of situations,” Lafourcade said. “I have realized there are many themes that you can take through music, but sometimes music can become something that you hear truths that probably are not so pretty.”
Regarding some of the ugly truths of the U.S. at the moment, the “Nunca Es Suficiente” artist said that it’s not right that people should feel shame of where they come from and that communities need to show up for themselves at this point in time.
“Nobody should take our pride for our roots, our culture, our people,” she said. “The young lady [in the show] reaches a point where she’s confused about if she should use her power and give it to her people or not. She feels very afraid and insecure and she’s going through all that. But I love how she becomes a hero of her own power and I think that’s the fate of many of us, the way we can make a twist in the story we’re living every day.”
As a new season of Married at First Sight UK begins today, we look at some behind-the-scenes facts, including how weddings are planned and how couples are matched
16:46, 21 Sep 2025Updated 16:50, 21 Sep 2025
Experts Mel Schilling, Paul C Brunson and Charlene Douglas match the couples(Image: Channel 4)
The programme, which airs on E4, is known for its dramatic moments and has proved extremely successful with fans in the past. The first trailer for the latest series dropped on Monday, revealing the first four couples and promising many twists and turns.
This year, producers have also announced a schedule shake-up meaning the show will air from Sunday to Wednesday each week at 9pm on E4 and Channel 4 on demand, which deviates from the usual Monday-Thursday episodes. Here, we look at some behind-the-scenes curiosities die-hard fans may want to know ahead of tonight’s premiere.
The show is returning to our screens this evening(Image: Channel 4)
How are contestants matched?
MAFs contestants are matched by a team of relationship experts who use extensive questionnaires and interviews to understand each person’s personality, core values, life goals and preferences. Initially, producers select the participants through a rigorous application and vetting process, which includes medical and mental fitness checks.
Then, experts such as Paul Brunson, Charlene Douglas and Mel Schilling pair individuals based on their psychological profiles, their lifestyles and believes to create compatible couples. The matched couples meet for the very first time on their wedding day – and sparkles don’t always fly between them.
They pair individuals based on their psychological profiles, their lifestyles and believes to create compatible couples(Image: Channel 4)
How are weddings planned?
Contestants have a say in what they want their wedding day to look like, but ultimately it is the show’s production team that arranges all the details including the venue, catering, floral arrangements and other logistics. The matched couples can select their engagement rings and wedding attire and can select their preference for different aspects of the wedding through a booklet.
The production team then compares the preferences of the matched couple and tries to find compromises that align with both individuals’ tastes. The fact that producers are behind the organisation means many elements are often surprising for the couple – even key choices such as their honeymoon destination.
Costs, including everything needed to prepare the ceremony, stag and hen dos, as well as the honeymoon, are covered by the production.
Luke Worley said contestants can only leave the house a certain amount of times per week(Image: Channel 4)
Limited freedom while filming
While filming, the brides and grooms have limited freedom – and can only leave the house a certain amount of times per week, former contestant Luke Worley revealed. Stars also have their personal phones confiscated and are given a device by production which prevents them from having too much contact with the outside world.
Those who take part in the show are also not allowed to drink too much alcohol, according to Erica Roberts, who was matched with Jordan Gayle. She previously shared: “If [the crew] could see someone was having too much, or it was getting a bit out of hand, the alcohol would stop.”
Erica Roberts was matched with Jordan Gayle(Image: Erica Roberts/Instagram)
Do couples actually get married?
Even though the show is called Married at First Sight, the couples don’t actually enter into a legally binding marriage on their wedding days. A spokesperson for the show previously said: “Following the Australian format, rather than legal marriages, the couples will make a lifelong commitment to one another at a glamorous ceremony, overseen by a wedding celebrant, that includes guests, bridal gowns, dancing, speeches and cake.
“After the ceremony and celebrations are over, true love is well and truly put to the test, as they embark on a luxurious honeymoon, before moving in with each other AND their fellow couples. Relationships will be put under the microscope, by fellow brides and grooms at weekly dinner parties – as well as by the experts, at recurring commitment ceremonies, where couples choose whether they want to stay in or leave the process.”
As we drove north along Highway 395 — passing the salty remains of Owens Lake, the Museum of Western Film History, the geothermal plant outside Mammoth Lakes that supplies 24/7 clean energy to San Bernardino County — I felt certain we’d found the northernmost reaches of Southern California.
It was Memorial Day weekend, and my wife and I were headed to a U.S. Forest Service campground in the White Mountains, 225 miles as the crow flies from downtown L.A.’s Union Station. If you drew a line on a map due west from our campsite, you’d cut through the Sierra Nevada and eventually hit San José.
But to my mind, we were still in Southern California.
For one thing, Southern California Edison supplied electricity here. For another, Los Angeles had sucked this place dry.
In the early 1900s, agents secretly working for the city posed as farmers and ranchers, buying up land and water rights in the Owens Valley. Then Los Angeles built an aqueduct, diverting water from the Owens River to feed the city’s growth. Owens Lake largely dried up. The city later extended the aqueduct north to Mono Lake.
As a lifelong Angeleno, I felt compelled to see some of the results for myself.
I had spent time in the Owens Valley, but never the Mono Basin. So we took a dirt road branching off the gorgeous June Lake Loop to stand atop an earthen dam built by L.A. in the 1930s. It impounds Rush Creek, the largest tributary bringing Sierra snowmelt to Mono Lake. As I looked out at Grant Lake Reservoir — beautiful in its own way, if totally unnatural — I realized I had been drinking this water my whole life.
Grant Lake Reservoir stores water for the city of Los Angeles. I took this photo standing atop the earthen dam.
(Sammy Roth / Los Angeles Times)
My feelings were similarly muddled when we arrived at Mono Lake.
On the one hand, this was one of the coolest and weirdest places I’d ever seen. As we padded along a boardwalk toward the sandy southern shore, I was blown by the gleaming blue water, the snow-capped Sierra peaks and the tufa — my gosh, the tufa. Bizarre-looking rock towers made of calcium carbonate, like something from a dream.
At the same time, much of the boardwalk ideally would have been underwater.
Under a 1994 ruling by state officials, L.A. is supposed to try to limit its withdrawals from Mono Lake’s tributaries, with a goal of restoring the lake to an elevation of 6,392 feet — healthier for the millions of migratory and nesting birds that depend on it for sustenance, and better for keeping down dust that degrades local air quality.
Three decades later, the lake has never gotten close to its target level. L.A. continues to withdraw too much water, and the Mono Basin continues to suffer. Mayor Karen Bass said last year that the city would take less, but officials ultimately reneged, citing a dry winter.
As we walked past a sign on the way to the southern shore marking 6,392 feet, I felt a little pang of guilt.
Tufa formations line the sandy southern shore of Mono Lake.
(Sammy Roth / Los Angeles Times)
Responsibility is a funny thing. When we got back from our camping trip, I read about a woman suing oil and gas companies over the tragic death of her mom, who died of overheating at age 65 during a historic heat wave that roasted the Pacific Northwest in 2021. The first-of-its-kind lawsuit claims wrongful death, alleging — accurately — that the companies spent years working to hide the climate crisis from the public.
I’m neither a psychic nor a psychologist. But I’m guessing, based on more than a decade reporting on energy and climate change, that executives at the fossil fuel companies in question — including Exxon Mobil, Chevron, Phillips 66 and Shell — aren’t suddenly feeling guilty for their role in boiling the planet.
Same goes for the Trump administration — impossible to guilt. The World Meteorological Organization reported last week that Earth is highly likely to keep shattering temperature records in the next few years, driving deadlier heat waves, more destructive fires and fiercer droughts. That hasn’t stopped President Trump and congressional Republicans from pressing forward with a budget bill that would obliterate support for renewable energy.
So why was I, a climate journalist, feeling guilty over something I really had nothing to do with? Was it silly for me to bother taking responsibility when the people wrecking the planet were never going to do the same?
I think the answers have something to do with the importance of honesty.
Sunset from the White Mountains.
(Sammy Roth / Los Angeles Times)
As we sat at our campsite by a roaring fire — stoked by my wife, who’s way better than me with open flames — I cracked open a book of speeches by President Theodore Roosevelt, delivered in 1903 on his first trip to California. He was on my mind because he’d originally established Inyo National Forest, where our spectacular campground was, to protect the lands and watershed where Los Angeles would build its Owens Valley aqueduct.
“You can pardon most anything in a man who will tell the truth,” Roosevelt said. “If anyone lies, if he has the habit of untruthfulness, you cannot deal with him, because there is nothing to depend on.”
“The businessman or politician who does not tell the truth cheats; and for the cheat we should have no use in any walk of life,” he said.
Naturally, I thought of Trump, whose political success is built on outrageous lies, from climate and election denial to insisting that Haitian immigrants eat their neighbors’ cats. I also recalled a recent order from Interior Secretary Doug Burgum discouraging “negative” depictions of U.S. history on signs at national parks and other public lands — a directive with the Orwellian title, “Restoring Truth and Sanity to American History.”
Did that mean educational materials at Manzanar National Historic Site — which sits just off Highway 395 and is managed by the National Park Service — would soon be revamped, to avoid explaining how the U.S. government cruelly and needlessly imprisoned more than 10,000 Japanese Americans there during World War II?
If a similar order were issued covering the Forest Service, which is overseen by a different federal agency, would the Mono Lake visitor center take down its thoughtful signs explaining the history of the Los Angeles water grab? Would the Forest Service alter a sign at the nearby Ancient Bristlecone Pine Forest detailing the possible impacts of global warming, considering that the U.S. is the largest historical emitter of heat-trapping pollution?
Trees at Schulman Grove in the Ancient Bristlecone Pine Forest.
(Sammy Roth / Los Angeles Times)
Only time will tell. But Teddy Roosevelt was right. So long as Trump and his allies keep lying — pretending that oil and gas aren’t cooking the planet, that we don’t need sound science, that Americans have only ever done good — they’ll feel no guilt, no responsibility. Because they’ll have nothing to take responsibility for.
Accepting the facts means owning up to the hard ones.
It’s not just politicians who have trouble. Highway 395’s Museum of Western Film History is mostly hagiography, a collection of props and artifacts that fails to unpack the settler colonialism behind the western films it glorifies.
But I did learn that the original “Star Wars” was one of many films to shoot footage in the Owens Valley. And the “Star Wars” universe, as it happens, is all about fighting an empire that seeks to control people’s homelands and histories — a message central to Season 2 of “Andor,” now streaming on Disney+.
“I believe we are in crisis,” says Galactic Senator Mon Mothma, a leader of the brewing Rebellion. “The distance between what is said and what is known to be true has become an abyss. Of all the things at risk, the loss of an objective reality is perhaps the most dangerous. The death of truth is the ultimate victory of evil.”
Mon Mothma (Genevieve O’Reilly) makes a pivotal Imperial Senate speech in “Andor,” Season 2, Episode 9.
(Lucasfilm Ltd.)
Here’s the truth: There’s not enough water in Mono or Owens lake. It’s hotter than it used to be. The sky is dark with wildfire smoke more often. The Sierra Nevada peaks frequently aren’t as snowy.
Again, the senator: “When truth leaves us, when we let it slip away, when it is ripped from our hands, we become vulnerable to the appetite of whatever monster screams the loudest.”
In America, monsters are screaming. Find harbor in honesty, and perhaps the mountains.
This is the latest edition of Boiling Point, a newsletter about climate change and the environment in the American West. Sign up here to get it in your inbox. And listen to our “Boiling Point” podcast here.
