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A contract the U.S. Navy recently awarded to defense startup Castelion may point to its pursuit of a new, lower-cost, air-launched hypersonic strike weapon. The service has something of a gap to fill now after halting plans for an air-launched, air-breathing hypersonic anti-ship cruise missile roughly a year ago, due to cost and industrial base factors. A version of Castelion’s Blackbeard hypersonic missile could also find its way onto Navy ships and submarines, as well as ground-based launchers.

Last Friday, Castelion announced that it had received contracts from the Navy, as well as the U.S. Army, for “integration” of Blackbeard onto unspecified “operational platforms.” TWZ has reached out to the Navy for more information. The Army has already made clear it is interested in employing Blackbeard in a ground-launched mode, as you can read more about here.

“Under these agreements, Castelion will work with both services to integrate the hypersonic Blackbeard weapon system onto operational platforms and demonstrate its capabilities in live-fire tests – advancing the Department of War’s effort to evaluate and accelerate new, cost-effective strike capabilities for conventional deterrence,” according to a company press release. “Blackbeard is Castelion’s first long-range, hypersonic strike weapon, designed for mass production and rapid fielding once integration and testing are complete. The system leverages vertically integrated propulsion and guidance subsystems to achieve performance at a fraction of the cost of legacy weapons – supporting the Department’s objective of building credible, non-nuclear deterrent capacity at scale.”

Many questions remain about the expected final design and capabilities of the Blackbeard missile, including whether or not it will feature some form of air-breathing propulsion. The full “weapon system” could also incorporate multiple designs. Castelion has already conducted numerous live-fire launches using different test articles.

The designs seen in testing to date “are representative of the low-cost internally developed test vehicles we use to enable rapid subsystem design iteration and to ground our performance models in real-world test data,” Castelion told TWZ back in June. “Castelion’s approach to development focuses on getting into hardware-in-the-loop and flight testing early in development to support learning cycles across design, production, and test. As such, flight vehicles shown on social media are not representative nor intended to be representative of our final weapon systems.”

As TWZ has noted in the past, the term “hypersonic missile” typically refers to weapons designed for sustained hypersonic speed across a relatively shallow and even maneuvering trajectory. This can include designs that use a ballistic missile-like booster to loft an unpowered glide vehicle to a desired velocity and altitude before releasing it toward its target, as well as air-breathing cruise missiles capable of traveling at hypersonic speeds. Hypersonic speed is generally defined as anything above Mach 5, which larger ballistic missiles do reach in the course of their flights.

The testing that Castelion has disclosed so far has also been centered on the employment of Blackbeard in the ground-launched mode, which is fully in line with what is known about the Army’s plans for the weapon. The Navy could have a similar eye toward surface (or sub-surface) launch modes from ships, submarines, or even launchers on the ground.

At the same time, there are indications that the Navy is pursuing Blackbeard, at least in part, as an air-launched weapon. In February 2024, Castelion received a contract from the Office of Naval Research (ONR), valued at just under $3 million, to “perform an initial trade study to identify cost, schedule, and performance estimates of producing an air-launched anti-surface weapon and shipping system not to exceed 212″ in length with an on-aircraft weight limit of 2,750 lbs. and an air-to-air weapon with not-to-exceed dimensions of 7″ diameter x 144″ long with production quantity of >200 no later than 2027 for both weapons.”

Whether or not the air-to-air weapon design mentioned here is part of the larger work Castelion is doing on Blackbeard, or a separate project, is unknown. The company has previously said that it was aiming to have a more finalized Blackbeard design by 2027.

This is not the first time that work on an air-launched variation of Blackbeard has come up, either. In its 2026 Fiscal Year budget request, the Army said that the ground-launched version of the weapon that it expects to receive will leverage an “existing air-launched, extended-range Blackbeard design,” but did not elaborate. TWZ has reached out to the Army for more information in the past.

As noted, the Navy has had a stated requirement for an air-launched hypersonic anti-surface warfare capability for years now. Starting in 2021, the service had been pursuing an air-breathing hypersonic cruise missile to meet that need through a program called Hypersonic Air-Launched Offensive Anti-Surface Warfare (HALO). Raytheon and Lockheed Martin had been working on competing designs.

The Navy had hoped to begin fielding HALO before the end of the decade. However, in late 2024, the service scrapped plans to move the program to the next phase of development.

“The Navy cancelled the solicitation for the Hypersonic Air-Launched Offensive Anti-Surface Warfare (HALO) Engineering and Manufacturing Development (EMD) effort in fall 2024 due to budgetary constraints that prevent fielding new capability within the planned delivery schedule,” Navy Capt. Ron Flanders, a service spokesperson, told TWZ in April of this year. “The decision was made after the Navy conducted a careful analysis, looking at cost trends and program performance across the munitions industrial base compared to the Navy’s priorities and existing fiscal commitments.”

“We are working closely with our resource sponsors to revalidate the requirements, with an emphasis on affordability,” Flanders added at that time. “The Navy is committed to its investment in Long Range Fires to meet National Defense objectives, with priority emphasis on fielding continued capability improvements to the AGM-158C Long Range Anti-Ship Missile (LRASM).”

Castelion’s focus on lower-cost and producibility for Blackbeard, coupled with the schedule it is targeting for development of the missile, all align with the Navy’s stated post-HALO plans. The service had previously described HALO as a critical capability, especially in the context of future high-end fighting, such as one in the Pacific against China.

The Navy could well be looking at multiple options to meet this ongoing requirement for a new, air-launched, high-speed, anti-ship weapon. The service is already fielding an air-launched version of the Standard Missile-6 (SM-6), called the AIM-174B, ostensibly in the anti-air role. However, in its surface-launched form, the SM-6 also has an anti-ship capability, and the AIM-174B could be used in that role, as well.

As mentioned, the Navy could still pursue other versions of Blackbeard beyond an air-launched type. Previously stated plans for HALO also included the eventual development of variants that could be fired from ships and submarines.

Other services could be interested in air-launched variations of Blackbeard, as well. The U.S. Air Force has also awarded Castelion contracts in the past in relation to long-range strike weapon concepts, and TWZ has previously reached out to that service for more information.

All of this is also heavily contingent on Castelion meeting its schedule, cost, and other goals for Blackbeard. The Army’s budget documents show it is pursuing Blackbeard aggressively, but through a phased approach that offers multiple off-ramps.

Castelion has certainly received a new vote of confidence on Blackbeard, regardless of launch modes, with the new integration contracts from the Navy and the Army.

Contact the author: [email protected]

So far this postseason, whenever Dodgers fans heard “Báilalo Rocky” ring through the loudspeakers, that meant two things were coming — pitcher Roki Sasaki was about to throw some vicious splitters in relief, and a Dodgers win was likely just a few outs away.

Sasaki’s walkout music has taken on a life of its own, in part because of the only-in-L.A. culture clash that has a sensational Japanese pitcher embracing a Latin club hit as he dominates the postseason. It’s helped cement Sasaki’s appeal among the Latino Dodgers faithful, and given the song a huge global boost as the Dodgers prepare for the start of World Series today.

Here’s a primer on how Sasaki found his hype track, and how it’s become the breakout hit of L.A. this fall.

So who wrote “Báilalo Rocky?”

The version of the song Sasaki walks out to is by Dj Roderick and Dj Jose Gonzalez and vocalist Ariadne Arana (there’s another popular version by Arana, the Dominican MC Yoan Retro and GMBeats Degranalo).

The song is a super-infectious and chantable dembow-house track, and its Spanish hook — “¡Báilalo, Rocky! / Ta, ta, ta, ta / Suéltale, suéltale” — is an invitation for a guy to dance and cut loose. But here, it’s directed at the young phenom Sasaki to bedevil hitters when he comes out in relief. The way Arana pronounces the hook makes it sound like she’s singing right at the Dodgers’ Roki.

That’s a left-field choice for a 23-year-old pitcher from Japan in his first year in L.A.. How did Sasaki discover it?

Dodgers veteran second baseman Miguel Rojas turned him onto the song during spring training this year, where it became a dugout favorite. (The whole dugout is known to pound on the railing when the track comes on.) Sasaki started using it in April, before a four-month recovery from a right shoulder impingement.

The theme song “was actually MiggyRo’s idea,” Sasaki said to press in Japanese last week. “I’m really happy the fans are enjoying it.”

There’s a delightful incongruity to the modest, laser-focused young Japanese pitcher walking out to a lascivious Latin club banger. But as Sasaki has rebounded from an injury-plagued midseason to become the Dodgers’ lights-out reliever in the postseason, ”It’s been special,” Rojas told press last week. “I feel like it just fits him really well.”

For her part, Arana loves the song’s new life as a hit Dodger theme. “The Dodgers are my team,” she’s said.

Has Sasaki’s blessing boosted the track?

Definitely. The song was already popular in Latin music circles, and it’s become a go-to cover and source material for Latin artists like corridos tumbados singer Tito Doble P and Lomiiel. Even other athletes, like Spanish soccer superstar Lamine Yamal, have gotten in on the track as a meme. It’s racked up tens of millions in Spotify and YouTube plays, where nearly every comment is now Sasaki-related.

But naturally, the only place to really hear it is under a cotton candy sky in Elysian Park.

Has it helped Sasaki’s pitching?

In September, Sasaki was pitching for triple-A Oklahoma City and seemed unlikely to win a roster spot back in L.A. anytime soon. Two months later, however, after clutch saves and eye-popping velocity against the Reds, Phillies and Brewers en route to the World Series, he’s having “One of the great all-time appearances out of the ‘pen that I can remember,” as Dodgers manager Dave Roberts called it.

Sasaki’s not the only Dodger with an unexpected Latin walkout track — last year’s World Series hero Freddie Freeman takes the plate to Dayvi and Victor Cardenas’ “Baila Conmigo (ft. Kelly Ruiz).”

But if the Dodgers take home the title thanks to clutch Sasaki saves, Rojas hopes for a full “Báilalo Roki” edit. “I think he deserves a video and the lights go down and all that stuff,” Rojas told MLB.com. “I think that’s the next step for him.”

“What a horrible story! What a hideous play!” a theater critic for the Daily Telegraph lamented after the London premiere of “Hedda Gabler” in 1891. Victorian audiences were repelled by Henrik Ibsen’s fatally attractive newlywed who appears to have it all — the fancy house, the doting husband — only to be violently bored.

But writer-director Nia DaCosta (“Candyman,” “The Marvels”) and her star Tessa Thompson understand Hedda down to the pretty poison in her molecules. Their rollicking redo, set from dusk to hangover at a drunken bacchanal, is vibrant and viciously alive. With apologies to Ibsen’s ghost, DaCosta’s tweaks have sharpened its rage. I don’t think that long-dead critic would like this “Hedda” any better. I think it’s divine.

Thompson’s Hedda is a clever, status-conscious snot raised to believe that her sole purpose is to be a rich man’s wife. With no hobbies or career and no interest in motherhood, her only creative outlets are squandering money and machinating the success of her milquetoast husband, middlebrow academic George (Tom Bateman), who has such a flimsy hold on his bride that his last name might as well be attached to hers with Scotch tape. (It’s Tesman and it’s pointedly rarely used.) Hedda doesn’t love George. In fact, she seems to think he’s a whiny little worm. But she’s dead-set on securing him a promotion to afford her expensive tastes.

If Hedda had been born a man, she’d be leading armies into battle like her late father, General Gabler, who spawned her out of wedlock. Instead, she takes out her aggression on civilians. Using her charm offensive, Hedda goads naive spouses to cheat, recovering alcoholics to drink and depressives to wander off into the darkness with a revolver. Some of her havoc is calculated, most of it is out of pique that others are living braver, more fulfilling lives. All of it feels like a cat tipping over water glasses just to see them shatter. Like the nasty seductress of “Dangerous Liaisons,” she’s a warning that frustrated women aren’t merely a hazard to themselves — they’re a menace to the society that made them.

Inspired by her antihero, DaCosta manipulates Ibsen to suit her own goals. She’s updated the play’s setting to 1950s England, a similar-in-spirit era in which well-bred women were kept domesticated. (I can’t wait for someone to do a version among the tradwives of Utah.) From there, DaCosta has smartly tightened the narrative, which used to have a key scene at an off-stage bachelor party to which Hedda was pointedly not invited. “What a pity the fair lady can’t be there, invisible,” Ibsen’s Hedda grumbled at being left home while the men got to carouse.

In DaCosta’s version, the whole drama unfolds during a martini and cocaine-fueled rager at Hedda’s mansion, a party she’s throwing to impress George’s potential new boss, Professor Greenwood (Finbar Lynch), who she hears has a bohemian streak. At her own happening on her own turf, Hedda couldn’t be more visibly in command. She rallies the guests to hurl her former classmate, Thea (Imogen Poots), a wretchedly earnest drip, into a nearby lake and gets the whole room grooving to a dance band’s cover of “It’s Oh So Quiet,” the swinging hit that the Icelandic pop singer Björk would popularize a half-century later. It’s a great song pick with manic crescendos — You blow a fuse, zing boom! The devil cuts loose, zing boom! — that capture Hedda’s feverish mood shifts.

We know this evening will go wrong from the film’s opening shot of Hedda facing down two policemen who keep interrupting her explanation of the last 24 hours. “Where should I start?” she says with smothered exasperation. As we cut back to watch the night unfold, a shot of Hedda surveying the crowd from an upstairs landing feels like she’s looking at a game board — Clue, perhaps? — with a weapon stashed in every room. Which threat is most pressing? The pistols she keeps in a leather box, the precarious crystal chandelier or the lake’s deep waters outside?

Thompson is marvelous in the role. Even the way she chomps a cherry off a cocktail toothpick has menace. I first saw her as the lead in “Romeo and Juliet” at a 99-seat theater in Pasadena when she was barely 20 years old (there’s so much talent in our small stage scene), so it’s a nice reminder that the funny and soulful actor of the “Thor” and “Creed” franchises is also a hell of a good classical performer and a worthy star on her own.

She wears Hedda’s lovely mask with confidence — red lips, lush cheekbones, cool demeanor — and periodically allows it to slip. Editor Jacob Schulsinger often allows Hedda a tiny hesitation before she charges ahead ruining people’s lives, long enough to know that she’s considering the consequences. “Sometimes I can’t help myself, I just do things all of a sudden on a whim,” she admits to the nosy Judge Brack (Nicholas Pinnock), revealing a sliver of weakness. She’s almost (nearly) asking for help. Yet, the judge just wants to maneuver her into bed. How tedious.

DaCosta boldly layers race and sexuality on top of Ibsen’s tale. She’s gender-swapped Hedda’s ex-lover, Eilert, into a lesbian named Eileen (a swaggering Nina Hoss), a brilliant, openly norm-defying author who is George’s job-seeking competition (and the only person Hedda enjoys kissing). If earlier incarnations of Hedda didn’t dare defy social rules when she was white and straight, being Black and queer adds so much additional peril that the script barely needs to say out loud. The new tension is there in just a few whispers, as when Hedda overhears a guest murmur that their hostess is “duskier than I thought she would be.” Hedda doesn’t acknowledge the slight. That would mean admitting vulnerability. She simply starts destroying the speaker in the very next scene.

What’s wiser? Eileen’s determination to face down the boys and be accepted for her full self or Hedda sneaking around and steering everyone’s fates behind the scenes? They can’t team up — they’re doomed to tear each other to shreds. And as much glee as we get watching Hedda’s rampage, it aches to see these two formidable women reduce each other to hysterics (to use the medical diagnosis of the day).

From our 21st century perspective, they both have a right to be mad and they both might be mentally ill. DaCosta doesn’t offer a verdict, but she plunges us so deeply into Hedda’s headspace that we can hear how certain things set her off. Insults hit her with a knife-like hiss of air; fresh schemes get her charging around to Hildur Guðnadóttir’s tumultuous, percussive score.

Costume designer Lindsay Pugh has done incredible work outfitting the film’s central female roles. Hedda wears bullet-like strands of pearls that choke her neck and a jade-colored gown that seems to molder into a festering, jealous shade of green. When her rival, Poot’s Thea, arrives underdressed, Hedda forces her into a hideous frock with fussy bows and an ungainly skirt. Poots, her nose raw and red, her character kicked when she’s down, gamely looks a fright, trusting that moral fiber will expose Hedda’s ugly insecurities.

But Pugh’s stroke of genius is putting Eileen not in some sort of mannish suit but in a bombshell dress that highlights her curves like a primal goddess. It’s pure feminine power — just like the film itself — and when Eileen struts into a room of her all-male colleagues, that dress exposes how fast the tenor can shift from awe to jeers and how little wiggle room she or any woman has for error.

Though the new animated feature “Aztec Batman: Clash of Empires” bears the name of one the most emblematic American superheroes, its creation was entirely a Mexican affair.

The action-packed saga reimagines the caped crusader as a young Aztec man named Yohualli, whose father is killed when conquistador Hernan Cortes arrives on the coast of what we know today as the state of Veracruz. By the time Cortes and his troops reach the Aztec capital of Tenochtitlan, the brave Yohualli has become a fierce warrior protected by the bat deity known as Tzinacan (an actual Aztec god that fits perfectly within this fictional narrative).

Produced by Mexico City-based animated outfit Ánima Estudios, a company at the forefront of the medium in the country for over two decades, “Aztec Batman” emerged as an attempt to expand Ánima’s relationship with Warner Bros. Ánima previously produced two CG-animated films based on “Top Cat,” the classic Hanna-Barbera cartoon owned by Warner.

Released Sept. 18 on HBO Max, “Aztec Batman” was initially conceived as a miniseries, and eventually took the more concise form of a film. And while it’s a work meant to entertain, the creators hope that it also ignites new curiosity in younger audiences, particularly those in Mexico and of Mexican descent elsewhere, to learn more about Indigenous peoples.

“The movie seeks to generate pride because part of our roots as Mexicans are Indigenous cultures,” Ánima co-founder José C. Garcia de Letona said in Spanish during a recent video interview. “For many of us, the other part comes from the Spanish. We’re not passing judgment because we are a consequence of what happened, but rather giving a slightly more respectful place to the Aztecs and all Indigenous cultures.”

Why focus on the Aztecs out of the numerous civilizations that existed in the territory that now constitutes Mexico? “Because they were the ones who confronted the Spanish. As the name suggests, it was a clash of empires,” Garcia de Letona adds.

“The victors usually decide who the good guys and the bad guys were when they write their version of the story, but they always omit or diminish the other side. And this is an opportunity to tell this chapter of history from a perspective that isn’t often told,” explains director Juan Meza-Leon, a native of Ensenada, in the Mexican state of Baja California Norte, who has worked in the U.S. animation industry since the mid-2000s. While Meza-Leon has a story credit, Ernie Altbacker, a veteran in the world of DC Comics, wrote the screenplay.

Key to the aesthetic and historical authenticity of “Aztec Batman” was the knowledge that Alejandro Díaz Barriga, one of the most prominent historians of Aztec culture, shared with the production.

“Alejandro accompanied us from the script stage to the character design up to the final cut of the film,” explains Garcia de Letona. Díaz Barriga’s contributions included details on how clothing differed depending on the person’s social class, and letting the production know that the Aztecs didn’t have chairs, tables or doors in their daily lives.

The armor for this Batman took inspiration from Aztec eagle warriors and jaguar warriors, and integrated elements referencing the god Tzinacan. For example, the Batman insignia in the film is at once recognizable as an Aztec design, while also instantly identifiable as the superhero’s logo. “We wanted the designs to have that pre-Columbian quality, but at the same time to look appropriate for what they are: comic book characters,” says Meza-Leon.

The animation team behind “Aztec Batman” consisted mostly of Mexican talent with a few other artists in Brazil and Peru. “Many of us in Latin America, myself included, never imagined being part of a Batman project, and that excited us all infinitely,” says Garcia de Letona.

From the onset, Warner insisted “Aztec Batman” should be produced in Spanish first, and then dubbed into English. The Spanish cast includes actors Horacio Garcia Rojas and Omar Chaparro, while the English version features Mexican American actors Jay Hernandez and Raymond Cruz. U.S.-based Mexican filmmaker Jorge Gutierrez (“The Book of Life”) voices Yohualli’s father, Toltecatzin, in both versions.

Whether you watch with the original Spanish track or the English dub, the dialogue is laced with phrases and words in the Nahuatl language, the native tongue of the Aztecs. “Once the story was finalized, we collaborated with a Mexican writer named Alfredo Mendoza, who helped us incorporate the Nahuatl language to differentiate between the different empires since they both speak Spanish in the film,” said Meza-Leon.

Batman’s classic villains are also transformed into characters that exist organically within the Aztec context. The Joker, for example, becomes Yoka, a shaman and right-hand man to emperor Moctezuma who can communicate with the gods. Catwoman appears here as a jaguar warrior, since there were no domestic cats at that point in history in the Americas. Some creative liberties were taken — the Aztec wouldn’t allow women to become trained fighters. The dubious Cortes becomes Two-Face, while Poison Ivy appears as an enigmatic goddess.

“The idea wasn’t to make a copy of the characters, but to capture their essence, so you could say, ‘That’s the Joker,’ ‘That’s Two-Face,’ ‘That’s Catwoman,’ although we never called them by those names,” says Meza-Leon. “We also never call him Batman; it’s Tzinacan or Bat Warrior, but the spirit of the character is there.”

Since the project was originally developed as a series, Meza-Leon has already developed a larger world. If this first chapter succeeds with audiences, an “Aztec Batman” sequel is feasible. The film is currently playing in Mexican cinemas and streaming globally. “I hope it is successful enough for us to continue exploring this alternative version of the conquest of Mexico, because there are still many ideas left,” says Meza-Leon.

The biggest difference between the Denmark game and the one at Hampden – as well as emphatic friendly wins over Slovakia and Bulgaria and the first qualifier against Belarus – was that the Danes did not allow those young talents to flourish.

They were not afforded anything like the same time and space – something Scotland will have to learn from.

Don’t expect Jovanovic to abandon his new commitment to this potentially golden generation as a result of that wake-up call.

If Karetsas is fit to start, the likelihood is that he, Konstantelias and Tzolis will once again support Benfica’s Vangelis Pavlidis.

In midfield, 31-year-old Dimitris Kourbelis was given the nod over another teenager, Christos Mouzakitis, against Denmark, but the 18-year-old could well reprise his role alongside Christos Zafeiris, both of whom operated well at Hampden.

At the back, Dinos Koulierakis is already an established first choice at just 21 and goalkeeper Konstantis Tzolakis, 22, has started the first two qualifiers having also played the double-header against Scotland.

The line-up has not varied greatly since and one bad result will not change that, so Scotland will be up against familiar opponents.

They just have to make sure they use the lessons from March and September to their advantage in order to keep up the positive start to World Cup qualification.

“Maigret,” premiering Sunday on PBS, is the fourth British series (plus one failed pilot) to be titled “Maigret,” after its main character, Georges Simenon’s Paris-based police detective. As I’ve written here before, he’s my favorite fictional detective, both because the stories serve my Francophilia — they provide a virtual map of the city and beyond — and for his ordinariness as a middle-aged, middle-class, happily married man, who is thoughtful, kind, uncomfortable around the rich and sympathetic to the poor, including many who might be counted among the criminal class. You wouldn’t call him melancholy, exactly, but he feels the weight of the job, of his difficult superiors, of the wicked world. He’s an honest policeman who describes himself as a “functionnaire,” a civil servant, and whose belief in justice might sometimes lead him to letting a malefactor escape. And he likes his food, and he likes his drink.

That the new series, starring Benjamin Wainwright (“Belgravia: The Next Chapter”), is set in the present day is not unusual. With 75 novels and 28 stories published between 1931 and 1972, it’s impossible to locate the character in any specific time anyway; most adaptions are set in the time in which they’re filmed, but even the period adaptations don’t necessarily reflect the year of publication.

Nor does the fact that “Maigret” 2025 swerves from the original texts distinguish it from films and series that have preceded it — most of them, obviously, made in France, where Maigret has many times appeared on the big screen, notably portrayed by French film icon Jean Gabin and recently by Gérard Depardieu in a well-regarded 2022 film, also called “Maigret,” as well as two long-running television series. The latter, another “Maigret,” which ran from 1991 to 2005, starred Bruno Cremer, widely regarded as the best — or among the best, to not start any arguments — of the screen Maigrets. Maigret series have also appeared in Russia, Italy and Japan; America, to the extent we’ve been interested, has imported English-language adaptations from the U.K., which is once again the case.

What’s different this time is that Maigret himself has been given a makeover, made younger, buffer, sexier, slightly more of an action hero, with the beard often assigned to the modern police detective. If you come to the series with a love for Simenon’s character — envisioned by the author as “a large powerfully built gentleman [with] a pipe, a bowler hat, a thick overcoat” and more or less faithfully represented in previous films and series — you’ll have to overlook this transformation, or else look away. The question of whether Wainwright’s Maigret is, you know, really Maigret, is one surely to be debated among the fans.

Meanwhile, there are other Maigrets waiting for you by way of comparison, officially or unofficially streaming. What follows is a short guide (mostly) to the English-language “Maigrets”; each has it charms and most are recommended.

A new “Maigret” has arrived on PBS, starring Andrea Lucas (Kerrie Hayes), from left, Karim Lapointe (Reda Elazouar), Jules Maigret (Benjamin Wainwright), Joseph Torrence (Blake Harrison) and Berthe Janvier (Shaniqua Okwok).

(Csaba Aknay / Playground Entertainment; Masterpiece)

Pierre Renoir, ‘Night at the Crossroads’ (1932)

The first screen Maigret, included here for historical interest and because a subtitled version is available on YouTube. Directed by Jean Renoir the year after the novel was published — Simenon, fast out of the gate, published 10 Maigret novels that year — and starring his brother Pierre as Maigret, the film is moody, foggy, dark and slow and has the advantage of actually representing its period. Pierre Renoir’s Maigret is stoical and efficient, and will not be vamped by Winna Winifried’s peculiar femme fatale, as hard as she tries.

Charles Laughton, ‘The Man on the Eiffel Tower’ (1950)

From the novel “La Tête d’un homme (A Man’s Head),” also from 1931, the first English-language adaptation lists “the city of Paris,” on whose streets it was filmed, among the cast in the opening credits. (It’s a trip in time and space.) Laughton plays Maigret with dry humor, though he’s capable of being roused when exasperated or angry, as he often will be here. Co-producer and co-star Franchot Tone chews the beautiful scenery (in color) in a battle of wits Maigret and you both know he’s bound to lose. Directed by Burgess Meredith, who also plays a murder suspect, it adds a thrilling chase up the actual Eiffel Tower, no special effects required. (Laughton isn’t doing the chasing.) Dark film noir compositions alternate with bright sunny street scenes. Stream on Tubi.

Rupert Davies, ‘Maigret’ (1960)

Fifty-two episodes across four seasons were made of this BBC series, shot on video, as many British series were then, and so acted largely on soundstages, which suits a character whose job consists largely of asking questions and listening to other people talk; long interrogations, often lasting overnight, with beer and sandwiches brought up from a neighboring restaurant, are a specialty of the house. (What location filming there is, is actually Paris, in the heart of the nouvelle vague era.) Davies’ Maigret is active and energetic without breaking a sweat, very much a man who makes things happen. Davies also played the detective in a 1965 theatrical production, “Maigret and the Lady,” by Philip Mackie. Stream on Prime Video and Apple TV+.

Richard Harris, ‘Maigret’ (1988)

This version is a curiosity, which gives us Maigret without the Simenon. Harris is a rangy, bespectacled, Irish-y Maigret in this oddity, feature-length failed pilot, with an original story by Arthur Weingarten, whose other credits include “The Mod Squad,” “Ironside” and “T.J. Hooker,” much of which is set on a cruise ship. (Real Paris locations are also featured.) Located firmly in its era, with a synthesized score, it features a Maigret in need of a haircut, wearing his sweater misbuttoned as he explains the case to the gathered suspects — some sort of acting choice, I guess — but also in a tuxedo drinking a cocktail with an umbrella stuck in. (Not very much in character in either case.) The signature pipe is very much a smoking presence, making Harris, on record as a huge fan of the books, look a little like Popeye. Stream on YouTube.

Michael Gambon, ‘Maigret’ (1992)

A period piece set in post-World War II Paris, this series logged two seasons of six episodes each. This is where I discovered the character, when it aired on PBS, before I moved over to the books, and it remains my favorite interpretation. Gambon, who in an odd coincidence followed Harris in the role of Albus Dumbledore in the “Harry Potter” films is (not unlike Dumbledore, after all) soft-spoken but stern when necessary. With his thinning hair and a mustache you can forget is there, he melts into his surroundings — this is the first of these series to substitute Budapest for Paris — becoming one sympathetically with his city and its citizens. A scrappy Geoffrey Hutchings shines as Sgt. Inspector Lucas, Maigret’s right hand. Stream on BritBox.

Rowan Atkinson, ‘Maigret’ (2016)

The man who was — is? — Mr. Bean plays it absolutely straight in the role — indeed, he is the most serious, saddest and possibly gentlest Maigret to date; it’s as if he feels all that prevents the world from breaking to pieces. Set in the mid-1950s, slightly after the Gambon “Maigret,” it comprises four feature-length episodes, in the current manner of British mystery adaptations, including a “Night at the Crossroads” that differs greatly from the book and previous film. An often compelling production, this series, too, was shot, handsomely … in Budapest. Stream on BritBox.

Benjamin Wainwright, ‘Maigret’ (2025)

And so, back once again in Hungary, we come to this year’s model. Police headquarters have moved from the dusty old warrens at the Quai des Orfèvres, as in the real world, a hop and a skip from Notre-Dame, to a gleaming new digs with plenty of light and all modern conveniences out in Clichy. There are changes that make good sense for a series set in 2025, including some gender and ethnic diversity injected into the “Faithful Four,” Maigret’s team of close collaborators, and among the characters they encounter. Madame Maigret (Stefanie Martini), always an intelligent and helpful partner, gets a job as a medical professional; Maigret, whom in olden days was brought coffee and served dinner, brings home takeout, cooks a little, helps with the dishes. And they’re trying for a baby.

The action is naturally adjusted for modern technology — of course, one of the attractions of the earlier and period series is that there is none. Wainwright’s Maigret doesn’t smoke a pipe, but he carries one, inherited from his late father, who managed the estate where Maigret grew up, which is knitted into the series as a long arc (three two-part episodes, incorporating multiple cases). Wainwright, appropriately low-key, is fine — the least interesting of these actors to my mind — but if you’re looking for a new detective series set in Budapest-as-Paris, this is nicely made and sufficiently involving, with an excellent supporting cast. I would like to think that a weather report on the radio is a nod to Simenon’s habit of opening a story with a description of the season and the climate, but perhaps that is overthought. Watch on PBS and stream on PBS.org, the PBS app and the PBS Masterpiece Prime Video channel.

For better or worse, “The Life of a Showgirl,” Taylor Swift’s 12th studio album, is unlike anything the megastar has done before.

On the 12-track album, which dropped Friday to mixed critical reception, Swift is uncharacteristically risqué and, for possibly the first time, indulges her inner theater kid without reservation. In that sense, much of the pop record is daringly new.

Still, on each track are sonic echoes from the 14-time Grammy winner’s decades-spanning discography — from the verve of “Reputation” to the romantic whimsy of “Lover.”

Swifties are sure to be playing “The Life of a Showgirl” on repeat today. But if that gets a bit tiresome after the 13th time, here is a list of Swift sister songs to try instead, based on your favorite track from the new album.

(Some song pairings are based on sound, while others are based on shared themes.)

“The Fate of Ophelia”

“Showgirl’s” opening track has a sultry groove and low pulse that could easily be the soundtrack to a flirty nightcap or the series finale of a dark comedy.

Find the same alluring melody with an extra dash of spice in “I Can See You,” a vault track from 2023’s “Speak Now (Taylor’s Version).” And for bonus points, head to the music video for a dose of the Swift-signature theatricality dripping from “The Life of a Showgirl.”

“Elizabeth Taylor”

This allusive track boasts the album’s most sweeping chorus, anchored by Swift’s mesmeric alto and a masterfully orchestrated rhythm that uses moments of quiet to its advantage.

“Reputation‘s” slow-burn hit “Don’t Blame Me” follows a similar playbook, using a killer choral backing to achieve the same hymnal quality that complex vocal layering creates on “Elizabeth Taylor.”

Plus, both songs share a secret weapon: Swift’s irresistible enunciation of the word “baby.”

“Opalite”

An immediate inductee into Swift’s “Glitter Gel Pen” song Hall of Fame, “Opalite” is for dancing around your kitchen with a glass of orange wine in hand.

Fuel that infectious joy with the most twirl-worthy — and arguably most underrated — track of Swift’s career, “Sweeter Than Fiction.” Swift released this shimmering tune in 2013 for the “One Chance” film soundtrack, and true to its title, it is sweet as a peach.

Honorary mention: If you prefer a tambourine to a synth, try “Lover” B-side “Paper Rings,” perhaps more suitable for kick-stepping than spinning but nonetheless another “Opalite” lookalike.

“Father Figure”

The natural choice here would be “The Man,” another song wherein Swift adopts a masculine persona to prove just what a boss she is.

But I have no more sage advice than to head to George Michael’s original “Father Figure” (1987), which recently got a streaming boost after being featured in the 2024 erotic thriller “Babygirl.” Swift used an interpolation of Michael’s song in her track of the same name — with a gleeful sign-off from the late singer’s estate.

“When we heard the track we had no hesitation in agreeing to this association between two great artists and we know George would have felt the same,” George Michael’s estate wrote Thursday on his official Instagram.

“Eldest Daughter”

It doesn’t feel entirely fair to compare these two — especially given one of them has Phoebe Bridgers and the other one has the line “I’m not a bad b—, and this isn’t savage” — but “Eldest Daughter” and “Nothing New (Taylor’s Version)” share the same grief for a younger self that a woman in her 20s knows best.

If you need a good cry, these two are here for you.

“Ruin the Friendship”

Speaking of debilitating nostalgia, this one might feel a bit out of place in this album’s universe, but it’s a heartrending gem nonetheless.

For a similar remorseful trip into the past, minus the boppy bass line, try “We Were Happy,” a vault track from “Fearless (Taylor’s Version)” about young love lost.

“Actually Romantic”

While this alleged Charli XCX diss track may be more scathing than usual for Swift, the singer is no stranger to shade, as evidenced in “Reputation” B-side “This Is Why We Can’t Have Nice Things” — a perfect pairing for “Actually Romantic.”

In both songs, Swift is unapologetically petty, offering her foes a metaphorical bouquet of flowers thick with thorns.

These tracks aren’t everyone’s speed, but every misfit has its fans. And in the case of “Actually Romantic,” Nicki Minaj seems to be one of them.

“Wi$h Li$t”

Showcasing this album’s gentler side, “Wi$h Li$t,” which Swift said may be her personal favorite, is a tender tribute to her fiancé Travis Kelce, backed with ethereal synth sounds and soft vocalization from a clearly smitten showgirl.

“I just want you” is also the mission statement of “Glitch,” a short and sweet pop number from 2022’s “Midnights.” Turn this one on, and in no time you’ll find yourself swaying side to side, daydreaming about the love you never expected but can’t imagine letting go.

Honorary mention: For a more upbeat option, go for “Gorgeous,” a bubblegum–pop anthem just as swoonworthy as the aforementioned tracks.

“Wood”

This raunchy disco track had jaws dropping across the globe upon its release, and for good reason.

While not as high on shock factor, Swift’s “I Think He Knows,” a lesser-known track from “Lover,” is equally dancy and down bad. On top of that, it’s famously set at a perfect strutting pace. What more could you ask for?

“CANCELLED!”

This is the second song in Swift’s oeuvre featuring a title with an exclamation point (we’ll get to that later), and it’s not the best one.

But if you like the dark energy Swift has going on here, you can get plenty more of it in her live rock ’n’ roll version of “We Are Never Ever Getting Back Together,” which she pulled out for the 1989 World Tour and hasn’t played since.

Here’s hoping the country crossover artist has another genre hop in her.

“Honey”

True to its title, “Honey” is a welcome salve for some of this album’s more sour numbers and shares striking sonic similarities with Swift’s best song adorned with an exclamation point, “‘Slut!’”

The “1989 (Taylor’s Version)” vault track, like “Honey,” uses a name-calling motif to paint a rosy portrait of her romantic partner. Neither is lyrically complex, but if “‘Slut!’” is any indication, “Honey” is sure to wind up a true fan favorite.

“The Life of a Showgirl (feat. Sabrina Carpenter)”

Finding a song that sounds like “The Life of a Showgirl” is a tall order, if not an impossible one.

So for a theme-based pairing, try fellow album closer “Clara Bow,” which caps off the original edition of “The Tortured Poets Department” (2024) with a mournful commentary on the constant churn of young female stars.

As Swift and Carpenter say, “You don’t know the life of a showgirl, babe, and you’re never gonna wanna.”

Honorary mention: For another Swift track about the pitfalls of fame, try “The Lucky One,” off 2012’s “Red.”

Magnificent.

The concert version of the National Yiddish Theatre Folksbiene’s celebrated production of “Fiddler on the Roof” in Yiddish had its West Coast premiere at the Soraya last weekend, and anyone who was lucky enough to attend one of the three performances will long cherish the memory of this stunning musical experience.

Performing “Fiddler” in Yiddish returns the characters to the language of Sholem Aleichem’s stories, the fictional world from which they sprung. The musical has been translated but in a way that moves Joseph Stein’s book, Jerry Bock’s music and Sheldon Harnick’s lyrics closer to an authentic Anatevka, the village in which Tevye the milkman lives with his wife, Golde, and five daughters.

The one concern I had about a Yiddish “Fiddler” was the loss of Harnick’s piercingly simple lyrics. Harnick had a way of expressing deep universal truths in the most natural, folksy manner possible. But, fortunately, his words weren’t absent from the production. English supertitles, spotlighting Harnick’s unmatched skill, were projected prominently behind the orchestra.

The language was often comprehensible even for non-Yiddish speakers. The rich man in “If I Were a Rich Man” was translated as a variant of Rothschild, the name of a well-known European Jewish banking dynasty. And even if that reference eluded anyone, Bock’s bouncing, daydreaming, old world melody, practically encoded into our cultural DNA, assured perfect understanding.

Yael Eden Chanukov (Hodl) and Drew Seigla (Pertshik) in “Fiddler on the Roof” in Yiddish at the Soraya.

(Luis Luque/Luque Photography)

Joel Grey, the Oscar and Tony winning Master of Ceremonies of “Cabaret,” directed both the concert and the National Yiddish Theatre Folksbiene’s production, which began in New York in 2018 at the Museum of Jewish Heritage before opening off-Broadway at New World Stages in 2019. In 2022, the show returned for another run at New World Stages, satisfying the demand for one of the most talked about musical revivals of the last few years.

The 93-year-old Grey was in attendance at Saturday’s opening at the majestic Soraya. He was also a presence on screen, providing both the introduction and epilogue of what was an artfully conceived hybrid experience, a concert version of the musical focused on the songs but contextualized sufficiently to bring the audience emotionally into the story.

The orchestra, conducted by National Yiddish Theatre Folksbiene artistic director Zalmen Mlotek, gracefully guided the flow of scenes. The superb company of actors, led by Steven Skybell’s Tevye, performed musical selections arranged around brief narration and dramatic excerpts.

A commanding presence, Skybell isn’t a barnstormer but an Obie-winning actor who illuminates the humanity of whatever role he happens to be playing. His Tevye, a patriarch trying to hold his family together amid the double assault of poverty and pogroms, was especially touching in his appeal to the Almighty to ease up on the litany of suffering.

A violinist (Sara Parkins) shadowed Tevye with the haunting strains of cultural “tradition” — a loaded word. But he is forced to adapt to changing times. It’s 1905, and Anatevka isn’t the shtetl that it once was.

Revolution is in the air, and Tevye’s daughters have their own minds about their marital prospects. How does “the papa,” the upholder of tradition, as the musical’s opening number spells out, maintain his self-respect, if not his authority? The only way he can — by balancing out fits of temper with the sympathetic humor of a father’s loving heart.

“Fiddler” can sometimes occasion a flood of overacting. Not here. The daughters were too wrapped up in the most consequential decision of their lives — their choice of husbands — to chew scenery. Rachel Zatcoff as Tsaytl, Yael Eden Chanukov as Hodl and Rosie Jo Neddy as Khave channeled their ardent emotion into their singing.

Jennifer Babiak (Golde) and Steven Skybell (Tevye) in “Fiddler on the Roof” at the Soraya.

(Luis Luque/Luque Photography)

Zatcoff’s Tsaytl embodied the mature conviction that Kirk Geritano’s Motl, the poor tailor, is the only man for her. Chanukov’s Hodl, more anxious but no less resolved, made clear that her future could only be with Drew Seigla’s Pertshik, a revolutionary student. And Neddy’s Khave revealed that she was prepared to sacrifice everything to be with Griffith Frank’s Fyedka, a Russian Christian, no matter the effect on her family or herself.

What’s remarkable for a concert is how much of the production’s character work came through. In the musical number “Do You Love Me?,” when Tevye asks his wife what turns out to be a not-so-simple question, the history of an arranged marriage that has stood the test of time was laid bare. The way Jennifer Babiak’s no-nonsense Golde refused to spit out an easy answer was as telling as the gentle way Skybell’s Tevye kept prodding her to admit a truth that was perhaps too complex for words.

The humor of “Fiddler” was well accounted for in Lisa Fishman’s Yente, the matchmaker involved in everybody’s business. Samuel Druhora’s Leyzer Volf, the prosperous widower butcher eager to marry Tsaytl, played the heavy but with a soft human touch that allowed him to join in the laughter.

The Hebrew word for Torah was projected across the rear of the stage, summoning part of the original production design. The defined religious and social world, rooted in a cultural specificity, was all the more universal for its vivid particularity.

This version of “Fiddler” in Yiddish elicited in me a poignant longing for an America that once understood itself as a nation of immigrants, bound together by the dream of a better life, regardless of creed or national origin or accent.

“Fiddler on the Roof,” perhaps the most unifying American musical of the 20th century, reminds us of the long, hard road many of our ancestors traveled to arrive at a country founded on (however imperfectly realized) democratic ideals. I’m thinking now of my parents and grandparents, but also of my students, whose families come from different parts of the world but whose paths follow a similar trajectory.

It’s a pity that this concert had such a brief run. But how lucky to experience at this fragile moment the values of generosity and empathy underlying this classic American musical — values that once made it possible to transcend our political differences and find ourselves in each other’s stories.

RENAULT’S beloved Clio has been reinvented for its sixth generation – and drivers in France have been left “dumbstruck” by its surprising new look. 

The new Renault Clio 6, unveiled this week in Munich, has sparked outrage in France, with some claiming the car is unrecognisable.

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One critic said it looked like Ford, another likened it to a Nissan and a third claimed it assembled a seat. 

Several compared it to a Mazda, while others thought they spotted hints of Alfa Romeo or Peugeot. 

Yet they all seemed to agree the Clio 6 does not look like a Renault and in a country with a 126-year attachment to the brand, the absence of its typical features has gone down badly. 

“The discovery of this new Renault has left us dumbstruck,” said Caradisac, the car website. 

“Unrecognisable,” said Capital, the financial magazine. “You can detect a bit of Peugeot, a pinch of Ford, a touch of Mazda and a hint of Seat.” It warned the design “risks disappointing” car-loving readers.

“You don’t change a winning team,” said Les Echos, the financial daily. “However, that is what Renault has done with its new Clio.”

Social media erupted with debate, especially over comparisons to Mazda. One Mazda owner joked: “The new Renault 6 does remind me … of a Mazda 3. This can’t be a bad thing, right?”

The row highlights Renault’s cultural and economic significance in France.

The Clio may not match the legendary Renault 4L or Citroën 2CV, but it has been a modern industrial success story and a familiar sight on French roads.

Over 17 million Clios have been sold since its 1989 launch. 

It was Europe’s second best-selling car last year, behind the Dacia Sandero, another Renault group vehicle, and the top-selling model in France in the first half of 2025. 

“It’s an old love story,” said Challenges, the financial website.

The Clio has even inspired clubs, online forums, and, controversially, a survey in 2023 found 25% of respondents had had sex in their car at least once – the Clio topping the list ahead of the BMW 3 and Audi A4.

The new Clio 6 advertising slogan, “Love redesigned,” hints at the “more spacious and generous” interior Capital mentioned.

Politics and economics also loom large. Renault is France’s only remaining national carmaker, with the state holding 15% to ward off takeover attempts. 

Meanwhile, rivals Peugeot and Citroën are now part of Stellantis, headquartered in the Netherlands.

Conservative voices have criticised Renault’s decision to make the Clio 6 in Turkey, while environmentalists are unimpressed by the hybrid, rather than fully electric, engine option.

Renault insists the car is aimed at a fast-changing market. CEO François Provost said his aim was to rival Chinese carmakers, whom he described as “the best.”

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Ukraine looks set to receive a fleet of new-production 4×4 Mobile Strike Force Vehicle (MSFV) light armored vehicles from the United States. The MSFV is a variation of the M1117 Armored Security Vehicle (ASV) armored car that offers additional protection for its occupants from explosive blasts and other improvements, and was originally developed specifically for the now-defunct Afghan National Army (ANA).

The U.S. Army Contracting Command-Detroit Arsenal recently announced its intention to award a three-year sole-source contract to Textron for the production of 65, as well as a year’s worth of spare parts, with funding from the Ukraine Security Assistance Initiative (USAI). Established before Russia’s all-out invasion in 2022, USAI is a security assistance mechanism intended to help acquire weapons and other equipment, along with training and other support services, on Ukraine’s behalf. The Ukrainian armed forces have already received hundreds of standard M1117s, also known as Guardians, taken from U.S. Army stocks via what is known as Presidential Drawdown Authority (PDA).

Army Contracting Command-Detroit Arsenal had put out another notice in July “seeking a source capable of producing a modified M1117 Armored Security Vehicle (ASV), referred to as the Mobile Strike Force Vehicle (MSFV), which was last produced in the 2019 timeframe.” The notice had said “the United States Government (USG) anticipates ordering 65 each with plans for complete production and delivery within three years,” but did not mention Ukraine.

Textron Marine & Land Systems, formed from a merger of Cadillac Gage and Textron Marine, originally developed the M1117 in the 1990s for the U.S. Army. The ASV design is reminiscent, at least externally, of Cadillac Gage’s V-100/V-150/V-200 Commando series of armored cars, and is currently branded as part of the Commando family. The baseline M1117 has a gross weight of close to 30,000 pounds and can reach a top speed of up to 63 miles per hour. It features a turret armed with a .50 caliber M2 machine gun and a 40mm Mk 19 automatic grenade launcher.

A number of additional variants of the M1117 were subsequently developed for the U.S. Army and other customers, including the M1200 Armored Knight for use by forward observer teams and an armored personnel carrier version with a revised interior configuration capable of accommodating eight personnel in addition to the crew of three. The further improved MSFV family, again specifically developed for the ANA, was unveiled in the early 2010s.

“The MSFV platform (originally known as the Medium Armored Security Vehicle) differs from the M1117 in that it has been configured with enhanced survivability capability, giving it improved blast protection,” according to a 2014 report from the U.S. Special Inspector General for Afghanistan Reconstruction. “The MSFV also has an extended hull design that provides increased interior space and allows for additional seating configuration.”

The ANA subsequently received three different MSFV variants, one with the same turret as the M1117, one with an open-topped turret typically armed with a single .50 caliber machine gun, and one configured as a light armored ambulance. Plans to supply the ANA with a heavier fire support version with a turret armed with a 90mm gun failed to materialize.

A significant number of the MSFVs that were delivered fell into the hands of the Taliban when they retook control of Afghanistan in 2021.

#Afghanistan 🇦🇫: #Taliban recently repaired large quantity of weapons and vehicles left by Afghan National Army and #USA / #NATO Forces.

T-62 tanks, International M1224 MaxxPro armored vehicles, M1117 armored vehicles, SPG-9M / B-10 recoilless rifles, M249 machine guns, M16A2… pic.twitter.com/JviL9iRTLm

— War Noir (@war_noir) June 9, 2024

What versions of the MSFV family Ukraine might now be in line to receive aren’t clear, but the Army Contracting Command-Detroit Arsenal’s most recent notice says “Capability of mounting the MK-19 Grenade Machine Gun and M-2 .50 caliber machine gun concurrently (fired from inside the turret), and also the M2, M240, and M249 machine guns interchangeably (fired from outside the turret)” are key requirements.

For the Ukrainian armed forces, MSFVs could offer useful additional mobile firepower in a package with at least a degree of armor protection. Even just being able to shield occupants from artillery shrapnel and small arms fire could be valuable. Light armored ambulances would also be a boon for evacuating casualties under fire.

As noted, the MSFV design also specifically incorporated survivability enhancements over the original M1117 to provide improved protection against explosive blasts, including from mines and improvised explosive devices. Mines are a particularly serious threat to both sides of the ongoing conflict in Ukraine.

At the same time, Ukrainian battlefields are home to a myriad of other threats, especially highly maneuverable first-person view (FPV) kamikaze drones. Pictures have previously emerged, as seen below, showing a Ukrainian M1117 covered in add-on armored screens to protect against uncrewed aerial systems. In an unmodified form, MSFV variants with open-topped turrets would have additional vulnerability to threats from above.

Though far less protected than tanks and other heavier armored vehicles, MSFVs are smaller and lighter, which could offer mobility advantages in certain contexts, as well as being simpler to operate and maintain. Textron restarting production of the MSFV family could be helpful to Ukraine just by creating an additional pipeline for more armored vehicles, as well.

It’s also interesting to note here that this isn’t the first time Ukraine has benefited indirectly from past U.S. assistance to the defunct armed forces of Afghanistan. Back in 2022, the Ukrainian military received a number of Russian-made Mi-17 Hip helicopters that American authorities had previously supplied to the Afghan Air Force.

US-donated Ukrainian Mi-17V-5 operations from a forward airstrip.

Initially purchased by the US from Russia for service in Afghanistan, 16 were outside of the country when the government fell in 2021, and 5 were undergoing maintenance in Ukraine. pic.twitter.com/53dviEtqTa

— OSINTtechnical (@Osinttechnical) February 2, 2023

Shahed kamikaze drone chased and intercepted by Mi-17 of the Armed Forces of Ukraine which was transferred by the United States. The helicopters were previously designated for the Air Force of Afghanistan, the desert camouflage remains on the helicopter as a reminder of this. https://t.co/ZG4IK1CM5U pic.twitter.com/ACdfGfcf3g

— Special Kherson Cat 🐈🇺🇦 (@bayraktar_1love) February 3, 2025

When the MSFV contract might be finalized and when the first new-production vehicles might be delivered remains to be seen, but the Afghan-specific version of the M1117 now looks headed for a second life in Ukraine.

Contact the author: [email protected]

Audiences once adored big adult comedies. Jay Roach’s champagne-fizzy “The Roses” is a seductive attempt to lure them back into theaters.

As bright, mean and ambitious as its lead characters, Theo and Ivy Rose (Benedict Cumberbatch and Olivia Colman), this resurrection of the ’80s-style R-rated crowd-pleaser is a remake of — or really, an across-the-room nod to — the 1989 hit “The War of the Roses,” which starred Michael Douglas and Kathleen Turner as divorcees who fight to the death over their fancy chandelier.

Inspired by the venomous novel by Warren Adler, both films are metaphors for building a home and then tearing it down, although the chandelier this time is merely incidental. This snarky, self-aware couple is the type to build themselves a smart house and name its system HAL.

The Roses meet-cute in a posh London restaurant when Theo asks to borrow Ivy’s knife to slash his wrists. He’s a morose architect who aspires to build risky, revolutionary designs. She’s a kooky chef whose signature seasoning is a mix of powdered anchovy and blueberry. In the cocktail of their marriage, he adds the bitterness and she adds the spice, qualities that can be either overbearing or harmonious. Their version of sweet talk is Ivy chirping, “Never leave me — but when you do, kill me on the way out.”

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Brutal humor and obstinacy bind these malcontents together for almost 15 years. Then her career takes off and his flops, upending their equilibrium. Now, they’re battling over who gets custody of their California dream mansion. Twins Hattie and Roy are secondary. (Delaney Quinn and Ollie Robinson play their kids at 10; Hala Finley and Wells Rappaport at 13.)

The script by Tony McNamara (“Poor Things”) unleashes the hilarious spouses to aim insults at each other like explosive corks. (McNamara is so skilled at putting cruel words in Colman’s mouth that he’s already helped win her an Oscar for “The Favourite.”) Theo and Ivy open the film skewering each other at marriage counseling, only to be aghast when the therapist advises them to split up. For a while, they stick together mostly to stick it to her, in defiance of the fact that contempt is the No. 1 indicator of divorce. “In England, we call that repartee,” Theo insists.

You wonder if their jokes keep them from honest communication and then you wonder if Roach, who came to fame as the director of “Austin Powers” and “Meet the Parents,” has ever been afraid of that himself. (For the record, Roach has been married to the Bangles’ Susanna Hoffs since 1993 and she here sings two cover songs for the soundtrack, “Happy Together” and “Love Hurts.”)

Mostly, you just enjoy the jokes. Colman, who burst into my awareness in the 2003 TV cringe comedy “Peep Show,” is fantastic throwing jabs around in costume designer PC Williams’ nouveau hipster wardrobe of bold, baggy lines. The actor even does an Ian McKellen impression just because. Yet, the surprise here is Cumberbatch, who seizes his rare opportunity to be flat-out funny, while occasionally rolling over to show Theo’s vulnerable belly. Flirtatiously pouting his lips at Colman, he coos, “How about a three-hour circular argument that goes nowhere?” How about three more Cumberbatch comedies for every awards-baity drama he does?

The story originally satirized materialistic baby boomers stymied by shifting gender roles. Both make interesting time capsules of the traditional man and the liberated woman who revert to smashing fusty china figurines like Neanderthals, although my sticking point with the first movie is that both Roses are too despicable. It’s hard to care about either one once you see how they treat each other’s pets.

But Roach has insightfully made this about people, not societal scapegoats. He and McNamara have changed up nearly everything in this disaster except its vibrations of dread. Since we already know that Theo and Ivy are in for a world of hurt, the film spends much of its running time rewinding to the past to prove how wonderful they could be together — and, more painfully, how sincerely they’ve tried to work out their kinks. We like Cumberbatch and Colman’s Theo and Ivy, even after they’ve become tantrum-throwing twits.

The details of their dissolution — career pressures, childcare clashes, petty jealousies — and its credible tit-for-tat dynamic are discomfitingly relatable. If this version has a larger sociological statement, it’s an indictment of how today’s quest for success is so all-consuming and exhausting that even if you can fit two egos in one house, you probably can’t merge their day planners. In the modern, highly visible, online-viralized game of life, earning money is merely Stage 1. Both Roses are driven to leave their permanent mark on the world.

Meanwhile, their two sets of American friends, Amy and Barry (Kate McKinnon and Andy Samberg) and Sally and Rory (Zoë Chao and Jamie Demetriou), are equally miserable and toxic. All four are such shallow snobs that they can’t imagine why Ivy would want to own Julia Child’s old stove when it’s, well, old. McKinnon’s Amy toggles through obnoxious progressive stereotypes: She’s a self-professed empath who pretends to be in an open marriage to wheedle Theo into bed. Barry, a depressive, gives Samberg a chance to show a deeper level of comic maturity, and also eventually doubles as Theo’s personal attorney. Otherwise, the script prunes the couple’s legal battle down to one scene with Ivy’s viperous lawyer, played by Allison Janney, who brings a rottweiler to the showdown and claims it’s her service animal.

The gags can be silly. There are two vomit scenes and a pratfall where Colman lands on her face. Yet, Roach and his team have put serious effort into their lovely symbology: a shot of Theo glumly walking down an airplane aisle from first class to coach, images of the cold Pacific crashing against rocks that recall his confession of feeling “waves of hatred” toward his wife.

When the film finally gets to its Grand Guignol climax, it rushes through the barbarity, taking no delight in it. I wanted to laugh but realized I’d fallen too much in love with Theo and Ivy, who are both so pitifully certain they’re in the moral right. The schadenfreude is just sad. It stings how much we root for them to kiss and make up. Still, despite the hasty ending, this splashy comedy deserves to woo grown-ups back to the multiplex. The Roses are estranged, but they’ve reunited us with our love for a genre — and it feels so good.

ORDERING your wardrobe online is always a risky business as you never quite know what you’re going to end up with.

And now one fashionista has proven why you might be better off trying on clothes in-store rather than trying your luck online – especially, if it’s a lesser-known website.

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Ahead of a birthday photoshoot, the shopper, only known as Chris, decided to treat herself to a stunning pearl gown she had spotted online.

The jaw-dropping gown, which looked incredible on the model, was advertised by a brand called Divacc – a website which no longer seems to be accessible.

The showstopper of a dress featured a busty neckline and hundreds of pearls of varying sizes, which hugged the tanned model’s body perfectly.

The gown, which appears to have since been taken down along the website, also boasted a sexy thigh-high split, making for a leggy display.

Stunned by how gorgeous the item was, Chris ordered the lavish gown – but much to her disappointment, the contents of the parcel were a far cry from her expectations.

Horrified, the online shopper took to TikTok where she shared the epic fail, leaving millions of viewers in hysterics.

”This is what I ordered for a birthday photoshoot,” she said at the start of the now-viral video.

”And this is w*f I got,” Chris said, as she modelled the actual dress she received in the post.

Unlike the stunning gown advertised online, the real dress appeared to be made out of a flimsy material – and the pearls were simply a printed design.

Although the figure-hugging dress did have a thigh-high split, that was pretty much the only similarity to the luxe gown she had ordered for the photoshoot.

Unimpressed, Chris gave horrified viewers a look of the epic fail from different angles.

”At this point @divacc you gone have to fight me,” Chris wrote in the caption.

Posted just a week ago under the username @vivala_mamacita, the video has already gone viral, winning the young beauty more than a whopping 11million views.

As over 20,000 people gave it a like, thousands flooded to comments in total disbelief.

One fast fashion fan said: ”Even SHEIN can’t do dirty like this.”

Many also shared their best jokes, with one viewer laughing: ”They sent the pdf version.”

”Girl did you order it or did you download it,” someone else wanted to know.

”The store is called DIVACC cause what DIVACC did you order,” another was in hysterics.

”I set my expectations low but this hit on another level,” a viewer couldn’t believe how bad the gown turned out to be.

Chris, who has since made a gorgeous pearl gown herself, went on in the comments: ”I saw it on Pinterest and went through their site on there. It’s Called Divacc.

”I’ll only be sticking with companies I’m familiar with from now on.”

The image is iconic — Kobe Bryant letting out a roar while tugging on his gold Lakers jersey after scoring 49 points during a playoff win over the Denver Nuggets on April 23, 2008.

It has been used in numerous murals around Southern California, including one that is being painted in larger-than-life form on the side of a future Eat Fantastic restaurant on the 700 block of North Pacific Coast Highway in Redondo Beach.

This particular painting, however, is a little different from the others, and from the original image itself. Bryant’s intensity is still there. His pose is exactly the same. He is still wearing a No. 24 jersey.

But in this version, that jersey is not gold with “Lakers” spelled across the chest in purple letters.

It’s white, with “Dodgers” across the chest in blue letters.

Gustavo Zermeño Jr. altered an iconic image of Lakers legend Kobe Bryant for a Dodgers mural he is painting in Redondo Beach.

(Juliana Yamada / Los Angeles Times)

The altered version of the iconic image is just one portion of a sprawling mural paying tribute to the Dodgers’ 2024 World Series championship. It’s on the north-facing side of a former Carl’s Jr. building that will open later this year as part of the growing Eat Fantastic chain in the Los Angeles area.

The mural was conceived by artist Gustavo Zermeño Jr. and Eat Fantastic owner Efthemios Alexander Tsiboukas. It features some of the key figures from the Dodgers’ title run — players Mookie Betts, Freddie Freeman, Shohei Ohtani (with his beloved dog Decoy) and rapper Ice Cube, who is shown riding in a classic Dodger blue convertible as he did when he performed before Game 3 of the World Series.

And then there’s the late Lakers legend Bryant, whose inclusion in the piece was a must, Zermeño said.

“Each [Eat Fantastic] location has a Kobe mural, at least the ones that have a good wall,” said Zermeño, who is a huge fan of both the Dodgers and Bryant. “And for this location, [Tsiboukas] wanted to create something for the Dodgers’ championship team. That’s why Kobe has the Dodger jersey on, you know, staying on theme with the locations having a Kobe mural.”

Zermeño said the original idea was to paint Bryant wearing a Dodgers baseball jersey, as he did while attending the team’s games over the years before his shocking death in January 2020.

Lakers’ Kobe Bryant celebrates a three–pointer against the Denver Nuggets on April 23, 2008, at Staples Center.

(Wally Skalij / Los Angeles Times)

“So we looked up a bunch of images,” Zermeño said. “A lot of them are obviously cool images, but either they were very pixelated, or just didn’t have what we wanted, that really aggressive Mamba-mentality feel.

“So we found this image. And you know, this image has been done before in several murals. But with the Dodger jersey, we wanted to throw a twist on it.”

Tsiboukas said: “That’s my favorite picture of him. I have the exact same one [painted at the restaurant location] in Arcadia. He’s wearing the real jersey, though, the yellow one. So I wanted a replica of that same one I did in Arcadia, and do it in a Dodger jersey, because of the Dodger dynasty right now.”

The purple and gold may have been removed from the jersey, but Zermeño said he purposefully incorporated them into the sunset depicted behind Bryant as a nod to the Lakers.

Zermeño started working on the mural Aug. 7 and expects to have it completed next week, ahead of Bryant’s Aug. 23 birthday. The portion featuring Bryant is already done — and it has garnered mixed reactions.

“For the most part, I’ve gotten a pretty positive reaction over it,” Zermeño said. “You know, a lot of Laker fans are also Dodger fans, so I think that overlap is pretty consistent throughout L.A. But yeah, man, you’re always going to have some haters. I think a lot of it is more like playful taunting. …

“A couple of people driving by — I think they’re just trying to be funny, making a joke, like yelling ‘He didn’t play for the Dodgers!’ or like, ‘He was a Laker!’ And then some people are just curious why I made that change. I think the people that are curious are older, some of the older crowd that, I guess, doesn’t understand why I would switch it, you know?”

Tsiboukas said he has seen a lot of online discussion about it, including on the popular kobemural Instagram page.

“Maybe 70% love it, and 30% are like, ‘That looks like a Clipper jersey,’” Tsiboukas said. “It’s causing a lot of friction back and forth, but it’s good topic. It’s raising awareness. It’s keeping Kobe’s legacy alive.”

Gustavo Zermeño Jr. hand paints part of Mookie Betts’ mouth onto his Dodgers mural outside the future Eat Fantastic restaurant in Redondo Beach.

(Juliana Yamada / Los Angeles Times)

Dodgers star Shohei Ohtani and his dog Decoy, holding a Dodger Dog toy in his mouth, are depicted in a new mural by Gustavo Zermeño Jr.

(Chuck Schilken / Los Angeles Times)

Zermeño said he doesn’t mind the discourse over his artwork.

“It just, it sparks that conversation,” he said. “So regardless of whether people like it or not, I think it kind of breaks the ice for people to come up and ask questions and learn more about why we created it, and the process of putting it together. …

“It’s art, you know, and art’s meant to kind of create some type of conversation. And if we were to put him with a regular jersey, people would have been like, ‘Oh, that’s cool, but it’s been done X amount of times,’ you know? I’ve seen that photo in at least five different murals. So, yeah, I think switching it up definitely — I don’t want to say it elevated the piece, but it definitely created more conversation than there would be if we just kept the original jersey.”

At a time when most of their peers have retired, threatened to call it quits or died, the Beach Boys continue to perform 120 shows per year. Led by original singer Mike Love and longtime multi-instrumentalist Bruce Johnston, this version of the Beach Boys performs the sounds of Southern California to three generations of fans, something which isn’t lost on Love.

“The positivity that our music generates, and the good vibes and good feelings, is a wonderful thing to see,” Love says. “It’s an inspiration to me to see kids with their parents or their grandparents at our shows.”

This weekend, the Beach Boys return to Long Beach for the first time in nearly 15 years to the day, when they performed at Harry Bridges Memorial Park. As Love recalls, the band played one of its first shows in the city at the Long Beach Municipal Auditorium on New Year’s Eve 1961.

“That first concert we were paid for as the Beach Boys at the Long Beach Municipal Auditorium for the Ritchie Valens Memorial Dance,” he recalls. “We played three songs and got $300, but also on that show was Ike Turner and Kings of Rhythm. We got to hear Tina Turner sing this song called ‘I’m Blue.’ It was primordial and blew my mind.”

Thousands of shows later, the Beach Boys continue to have a receptive audience who will gladly see them perform the hits of yesteryear. Love has no issue leaning into the band’s 1960s heyday. In fact, he sees it as his duty to spread “peace and love” through the Beach Boys’ concerts.

Chatting hours before he departed his Lake Tahoe, Calif., home to fly to Southern California for the band’s latest string of shows, Love reflected on nearly 65 years of the Beach Boys, feeling like he finally got his due by being inducted into the Songwriters Hall of Fame, why he’s looking forward to the decidedly un-Beach Boys crowd at Riot Fest, and honoring his late cousin Brian Wilson.

Mike Love

(Udo Spreitzenbarth)

How did it feel to be inducted into the Songwriters Hall of Fame?

Better late than never, but it was a great honor. It meant a lot because I wasn’t recognized for my contribution to so many of the Beach Boys’ hits over the years. So, the recognition is a good thing. There are various reasons I wasn’t recognized for it. My uncle [Beach Boys original manager] Murry [Wilson], didn’t put my contribution of the lyrics. “I Get Around,” “Help Me, Rhonda,” “Be True to Your School,” a lot of great songs that I wasn’t credited for. We fired my uncle as manager to get even for me, and he excluded me when he handled the publishing. We didn’t know what publishing was when we started in 1961. We were unsophisticated regarding the business end of it, and we just loved creating music. We loved harmonizing. That was a family tradition that morphed into a long-lasting profession because my cousin Brian and I got together and wrote some songs that people still love to this day.

What is it about the songs that continue to bring people together at a time when people can hardly agree on anything?

The harmonies and the positivity go a long way towards eliminating the negativity. In “Good Vibrations,” I wrote every word of it. I even came up with (sings) “I’m thinking of good vibrations / She gave me excitations” with the chorus melody as well as all the lyrics. But that was written in 1966. The Vietnam War was percolating, and there were student demonstrations. There were problems with integration, and stuff like that made the news. But I wanted to write “Good Vibrations.” I wanted to write this song. I wrote a poem about a girl who loved nature. She was only into the peace, love and flower power, which was also going on at that time. The juxtaposition of the negative and the positive is pretty amazing. It turns out there’s a psychologist in Sheffield, England, who wanted to find out which songs made people feel the best. And our song “Good Vibrations” came in at No. 1, which is unbelievable. In 1966, when it went to No. 1 in England, we were voted the No. 1 group in Great Britain, with No. 2 being the Beatles. Incredible. That was a pretty amazing achievement.

You’ve been joined on stage by the likes of Mark McGrath and Dexter Holland from the Offspring. What does that say to you about the longevity of what the songs have meant?

Dexter sounded amazing on it! He is a really good singer, obviously, but he wanted to do “Wouldn’t It Be Nice,” and so we rehearsed backstage [at Oceans Calling Festival in Maryland last September], ran through it about once or twice, and came out on stage in front of 40,000 people, and it was pretty amazing! Mark McGrath is just the most positive and fun guy ever. We have the same birthday, so he’s a few years younger than I am (laughs).

And of course, John Stamos, who inducted you into the Songwriters Hall of Fame.

He’s been with us since he was Blackie on “General Hospital.” At this point, he is pretty much an honorary Beach Boy and family.

In the days after Brian’s death, the clip of the band appearing on “Full House” made the rounds on Instagram. What’s it like to remember that when both Brian and Carl were there and you appeared on that show?

John Stamos likes to say that we need this music more than ever now because of so much negativity in the world, and I agree. When I was writing, I accentuated the positive with the harmonies, giving that warm feeling, and the subject matter being fun at times. We’d maybe been a little introspective on “God Only Knows,” maybe “In My Room,” and “The Warmth of the Sun.” The upbeat songs are all fun, positive, and make people feel good. We were just in Spain, and we had standing ovations every night. It was amazing.

What’s wild is seeing the Beach Boys appear on the historically punk festival Riot Fest. Are you familiar with it?

Yeah! We were invited to do it a year ago, but we are doing it this year. Our songs go over well with every demographic and all kinds of people. It doesn’t matter what the format of this is. We’ve done very well with some country festivals, enormously well. It doesn’t matter what the genre of the festival appeals to. We played Stagecoach last year, and there were 70 or 80,000 people at our set. Singing along and dancing around, so we had a great time at that one.

Who are you looking forward to seeing at Riot Fest?

Who is on it other than us?

On your day, it is Weezer performing the Blue Album, Jack White, a reconfigured version of the Sex Pistols, Dropkick Murphys, All Time Low, James …

Weezer! They did “California Girls” on a tribute show that aired on Easter Sunday a few years ago. There’s a lot more guitar in that particular version (laughs). Maybe one of those guys will come and sing with us. What happens at those things is that you’re with a lot of people you don’t ordinarily see, and people like to do unique things.

Do you think the Beach Boys would be considered a punk band, if that was a term, in 1961?

If you listen to some of our songs, like “Surfin’ Safari,” “Catch a Wave” and “Hawaii,” there’s a lot of tempo there. I think those songs appeal to all kinds of genres.

Does returning to Long Beach, near where you all grew up, carry more weight with the loss of Brian?

Well, we have a tribute song called “Brian’s Back” that I wrote many, many years ago. So, back when that was released (in 1976 as part of “15 Big Ones”), we did a video tribute to Brian that we play every night at our concerts, which people love and appreciate. He may have passed on, but he’s always with us every night in the music.

Elton John said that the “Pet Sounds” album would be the one album that would be played forever, which is an amazing accolade,” Love said. “So those songs are pretty much immortal to some degree. So if somebody is capable of replicating them as closely as possible for the record, then great.”

(Udo Spreitzenbarth)

Do you see the Beach Boys continuing to tour in name after you and Bruce are done?

I’m not sure. We haven’t given that a whole lot of thought because we’re very active these days with this configuration. Elton John said that the “Pet Sounds” album would be the one album that would be played forever, which is an amazing accolade. So those songs are pretty much immortal to some degree. So if somebody is capable of replicating them as closely as possible for the record, then great.

But the problem is that mortality is an issue, of course. So, at some point in time, nature will take over and say, “OK, you’re out of here, huh?” But in the meantime, I think we’ve got a good several years to go.

What do people misunderstand about your and Brian’s relationship?

Well, there’s a lot of misinformation given out over this early part of our careers that says I didn’t like the “Pet Sounds” album, which is bull—, because I actually named it and Brian brought it to Capitol Records, who didn’t know what to do with it. If you listen to the tracks of “Pet Sounds,” you say, “How the heck did he ever do that with the greatest musicians in L.A., the Wrecking Crew?” My cousin Brian did some amazing stuff that’ll stand the test of time, if Elton John is right, forever. It’s a true blessing to be able to do what started as a family hobby and became a long-lasting profession.

Is “That’s Why God Made the Radio” the last Beach Boys album, or do you all have one more left in you?

Anything’s possible. We don’t have immediate plans, but I do think of that kind of thing from time to time.

The Chargers are going for the gold this season.

Or are they going for the mustard bottle?

Or the banana?

Fans will be able to figure that out for themselves this fall when the team debuts its “Charger Power” uniforms, one of two alternate looks revealed by the team Tuesday that will be worn during the 2025 season.

The Chargers also announced that they now have the option to wear powder blue pants with their regular jerseys, which are powder blue at home and white on the road.

The Charger Power look features yellowish gold jerseys with matching pants, to be worn with the regular white helmet.

“If you’re going to do gold, the way we did it with all gold, it looks amazing,” Chargers safety Derwin James Jr. said in a team news release. “It’s a great alternate!”

When the Bolts don the uniforms Oct. 19 against the Indianapolis Colts at SoFi Stadium, it will be the first time Chargers players have worn gold jerseys in a game. Fans, however, have had the opportunity to wear them in the past.

“Nike had previously done a retail version of the 2020 jerseys in gold,” A.G. Spanos, the Chargers’ president of business operations, said in a statement. “It sold quite well and had really good word of mouth. In fact, in my own household, it was my kids’ favorite uniform. It definitely appeals to the younger demographic.”

The look has already garnered plenty of online reactions. One longtime fan, who appreciated the nod to the yellow “Charger Power” T-shirts worn by Bolts faithful in the late 1970s and early 1980s, wrote on X that the uniforms are “simply beautiful.”

Retired NFL offensive lineman and current Amazon football analyst Andrew Whitworth spoke from experience after wearing similarly colored alternative uniforms on occasion during his time with the Rams.

“Been there done this,” Whitworth wrote on X. “Had me out there looking like Big Bird!”

The Minions, the cartoon characters from the “Despicable Me” film franchise, seemed to like the uniforms … though perhaps not for how they’ll look on an NFL field.

“the new recruits look so cool,” the fictional creatures wrote on X in response to a team post highlighting the Charger Power look.

Cam Jordan, a defensive end for the New Orleans Saints, had a more critical take, posting on X: “Gold!???? Nah that’s … French’s! That is mustard yellow…”

One X user compared the look to that of a popular novelty baseball team.

“We look like damn Savannah Bananas,” the fan wrote. “At least the Navy’s are [fire emoji].”

The latter part of that post referred to the team’s second set of alternate duds: the Super Chargers uniforms. They feature navy blue jerseys, pants and helmets and are meant as a “modern throwback” to the San Diego Chargers’ look from 1992 to 2006 — a span that included the organization’s only Super Bowl appearance, following the 1994 season.

“When you saw that jersey, more than likely you were in Qualcomm Stadium,” retired running back LaDainian Tomlinson, who played for the Chargers from 2001 to 2009, said in the team’s news release. “And, more than likely, if you were on the other team in that era you were leaving with a loss.”

The Super Chargers uniforms will debut during the team’s “Thursday Night Football” game against the Minnesota Vikings on Oct. 23, the same night the Chargers will be inducting former safety Rodney Harrison into the team’s Hall of Fame. The uniforms will be worn again Nov. 30 against the Las Vegas Raiders.

Celebrities are all too familiar with the world of deepfakes, the colloquial term for artificial intelligence-generated videos that depict actors and other Hollywood talent falsely doing or saying things that they never agreed to.

To protect themselves, actors including Steve Harvey, Beverly Hills talent agency WME and studios have enlisted the help of Vermillio, a Chicago-based company that tracks famous people’s digital likenesses and intellectual property online. Depending on what its clients want, it can have the material taken down .

But as AI technology continues to improve and becomes more widely available to the general public, regular people are getting scammed too.

Now, Vermillio says it is offering a version of its service for free to everyone.

The move comes as more and more convincing deepfakes continue to proliferate online, making it difficult for social media sites to police such activity. In 2019, there were about 18,000 deepfakes globally and this year, there have been roughly 2 trillion generative creations, said Vermillio Chief Executive and co-founder Dan Neely.

That leaves average Joes at a growing risk of being impersonated online, with little recourse.

“We can’t wait for governments to solve this problem,” Neely said. “We can’t wait for legislators to solve this problem. We can’t wait for other people to solve this problem. We just said it’s the right thing to do, so we should just be doing it.”

With this move, Vermillo is adopting a classic “freemium” model — offering partial service for no charge and up-selling for additional features.

Here’s how it works.

Using its TraceID technology, the company flags problematic content. For paying clients, Vermillio can send take-down requests to sites such as YouTube or Instagram. Additionally, Vermillio says clients can monetize their data by licensing it.

People who sign up for the free version enter information about themselves such as their name, date of birth and social media handles on sites including Instagram or YouTube.

Then, Vermillio will use that information to build a “likeness model” to scour the Internet for potential red flags involving the user’s identity. Then Vermillio alerts the user to what exists online. For example, if someone has created a fake Instagram account of that user, Vermillio would flag that.

Users are notified of this type of content and can decide for themselves what they would like to allow, or take action to remove. If the user wants Vermillio to request take-downs of the inappropriate content, users would need to upgrade to a paid account, which starts at $10 a month and includes five monthly take down requests.

While many social media platforms give an option to users to flag problematic content, Vermillio said it is faster and more effective than having users go directly to YouTube or Instagram to rectify the situation. It has built a network of partners and can escalate take-downs in as quickly as an hour, the company said.

Vermillio executives said some real life examples of deep fakes include celebrity voices used to raise money for fake charities or terrorist organizations, and high school students creating fake pornography of their classmates.

“It’s affecting regular people in the sense that they’re getting scammed by deep fakes, but it’s also affecting teenagers, so people need to understand where they stand,” said Kathleen Grace, Vermillio’s chief strategy officer. “This is an easy way for them to do that.”

While fake social media profiles have existed for years, “generative AI just poured gasoline on it,” Grace said.

The company said hundreds of people use Vermillio’s services, but didn’t specify numbers. By the end of the year, the company expects to have thousands.

Neely said the company isn’t profitable and declined to share revenue figures. Time magazine reported that revenue from Vermillio’s TraceID has increased tenfold from April 2023 to April 2024. The company makes money through the paid versions of its service and licensing. Vermillio has raised $24 million in funding.

Hollywood companies and talent are navigating artificial intelligence in different ways.

Groups such as performers guild SAG-AFTRA are pushing for more state and federal protections against deepfakes. Some celebrities such as Academy Award-winning supporting actor Jamie Lee Curtis struggled to get a fake ad of her on Instagram taken down showing her falsely endorsing a dental product.

WME announced a partnership with Vermillio last year.

“The scale of the issue is extraordinary, so if you’re a rights holder, just trying to understand how much of these AI outputs are based on or utilized my data, my IP in some way, shape or form, is a massive need,” said Chris Jacquemin, WME’s head of digital strategy.

“They’ve obviously proven that TraceID can protect the most important, most high profile public figures in the world,” Jacquemin added. “Opening it up in a much broader application, I think is a huge step forward in really democratizing how anybody can start to police use of their likeness with respect to AI and AI platforms.”

Protesters railed on Tuesday against an Orange County congresswoman who could be a critical vote on President Trump’s proposal to cut more than $1 trillion in federal dollars that helped pay for healthcare for those in need and extend tax cuts for millions of Americans.

Trump’s proposed “One Big Beautiful Bill Act” narrowly passed the U.S. Senate hours before hundreds of people gathered in a cul-de-sac outside of the Anaheim field office of Republican Rep. Young Kim to protest those cuts. The legislation still needs to be voted on by the U.S. House of Representatives, which could happen before the end of the week.

“I don’t know why they call it beautiful, because there’s nothing about it that’s beautiful. It’s harmful, it’s reckless, and it’s cruel, and it’s going to hurt people,” said Melody Mendenhall, a nurse at UCLA who is active with the California Nurses Assn., which was among the groups that organized the protest. “Rep. Young Kim, hear our cry, hear our voices. We need our Medicaid. We cannot afford this type of reckless cuts and behavior.”

A security guard blocked the parking lot to Kim’s office and at least a half-dozen Anaheim police officers watched the protest unfold.

Several people who appeared to be Kim staffers watched the demonstration from outside the building before they dashed inside when protesters marched to the building, unsuccessfully sought to enter it and then began chanting “Shame! Shame!”

In a statement, Kim said that her door was always open to Californians in her district.

“I understand some of my constituents are concerned and know how important Medicaid services are for many in my community, which is why I voted to protect and strengthen Medicaid services for our most vulnerable citizens who truly need it,” Kim said. “I have met with many of these local healthcare advocates in recent months.”

Trump’s proposal would dramatically overhaul the nation’s tax code by making cuts approved during the president’s first term permanent, a major benefit to the corporations and the nation’s wealthy, while slashing funding for historic federal safety-net programs including Medicaid and the Supplemental Nutrition Assistance Program, which helps provide food to low-income Americans.

Roughly 15 million Californians, more than a third of the state, are on Medi-Cal, the state’s version of Medicaid, with some of the highest percentages in rural counties that supported Trump in the November election. More than half of California children receive healthcare coverage through Medi-Cal.

A version of the Republican bill was passed by the U.S. House of Representatives with Kim’s support. The U.S. Senate narrowly approved an amended version of the bill on Tuesday. The defection of three GOP senators meant Vice President JD Vance had to cast the tie-breaking vote for it to pass in that chamber.

The House and Senate will now work to reconcile their two different versions of the bill. This week was a district work week for members of Congress, but House Speaker Mike Johnson (R-Louisiana) ordered members back to Washington, D.C., for votes on the bill that could occur Wednesday or Thursday.

Republicans hope to get the legislation to President Trump’s desk for his signature by Friday, Independence Day, though there is some concern among its members about whether they will have enough votes to pass the bill because of potential defections and the united Democratic opposition.

An analysis released by the nonpartisan Congressional Budget Office on Sunday estimated that the Senate version of the proposal would increase the national deficit by nearly $3.3 trillion from 2025 to 2034 and would result in 11.8 million Americans losing health insurance in less than a decade.

Trump praised the passage of the bill on social media and urged House Republicans to support the Senate plan.

The proposal has caused a rift within the GOP, with and some House members have expressed reservations about the measure because of the amount it would add to the nation’s deficit and its impact on their constituents.

“I’ve been clear from the start that I will not support a final reconciliation bill that makes harmful cuts to Medicaid, puts critical funding at risk, or threatens the stability of healthcare providers” in his congressional district, Rep. David Valadao (R-Hanford) wrote on the social media site X on Sunday.

He represents more than half a million Central Valley residents who rely on Medicaid — the most of any congressional district in California, according to the UC Berkeley Labor Center. A spokesperson for Valadao on Tuesday didn’t respond to a question about how the congressman planned to vote.

Kim’s Orange County district is more affluent than Valadao’s, but roughly one in five of her constituents relies on Medicaid.

The congresswoman was en route to Washington at the time of the protest, according to a spokesperson.

Outside her Anaheim field office, protester after protester described how the bill would impact vulnerable Californians, such as disabled children, the elderly, veterans and those who would lose access to reproductive healthcare.

“The stakes have never been higher. We are living in a time when our rights are under attack,” said Emily Escobar, a public advocacy manager for Planned Parenthood of Orange and San Bernardino Counties.

She said that federal funds do not pay for abortions, but help pay for other vital healthcare, such as cancer screenings, preventative care, testing and treatment for sexually transmitted infections and access to contraception. More than one-third of Planned Parenthood’s patients nationwide reside in California.

These cuts will result in clinics being shut down, effectively reducing access to abortion, Escobar said.

“Let me make this clear, this bill is a backdoor abortion ban,” she said.

Shari Home, 73, said she and her husband were weighing how to divide their Social Security income on food, medication and medical supplies after her husband, who suffers several chronic health conditions, fell last year.

“The hospitalizations were so expensive, so we applied for and got Medi-Cal in January and food assistance, and it’s been such a lifesaver,” said the Laguna Woods resident. “Without Medi-Cal, I don’t know what we would do. Our lives would not be good. We would not have the medications that he needs.”

Michelle Del Rosario, 57, wore a button picturing her son William, 25, on her blouse. The Orange resident, one of Kim’s constituents who has previously voted for her, is the primary caregiver for her son, who has autism, epilepsy and does not speak.

Her son relies on his Medi-Cal coverage for his $5,000-a-month seizure medicine, as well as the home health support he receives, she said.

“He lives at home. He has desires, at some point, to live independently, to work, but he needs” these support services for that to happen, Del Rosario said.

Whether soaring through the sky or sharing a playful moment with his human bestie Hiccup, Toothless, the dark-hued dragon with a friendly face and an injured tail, disarms you with his endearing nature.

It’s no surprise that he’s become the emblem of the “How to Train Your Dragon” animated movies, the first of which arrived in 2010. (There have since been two sequels, three separate TV series and five shorts.) A fan favorite among Gen-Z viewers, Toothless now returns to the big screen in a new hyper-realist iteration for the live-action remake, now in theaters.

And in an unprecedented move, Dean DeBlois, who directed all three “Dragon” animated films — as well as 2002’s original “Lilo & Stitch,” along with Chris Sanders — was asked to helm the live-action reimagining. It was his priority to preserve Toothless’ essence.

“He is our most recognizable dragon within the entire assortment,” DeBlois says on the phone. “And he has a lot of sentience and personality that comes through. And so much of it is expressed in this face that’s quite Stitch-like with the big eyes, the ear plates and the broad mouth.”

In fact, the entire live-action endeavor hinged on whether Toothless could be properly translated as a photorealistic dragon among human actors and physical sets, while retaining the charm of the animated movies.

An image from the original 2010 animated “How to Train Your Dragon.”

(DreamWorks Animation LLC)

According to Christian Manz, the new film’s visual effects supervisor, when Peter Cramer, president of Universal Pictures, initially considered the project back in 2022, he wasn’t convinced Toothless would work. His touchstone for a fantastical creature that successfully achieved believability was the Hippogriff, a winged four-legged creature seen in 2004’s “Harry Potter and the Prisoner of Azkaban.”

To test the viability of a new Toothless, DreamWorks enlisted British visual effects and computer animation outfit Framestore to spend three months trying to create a “realistic” version of Toothless. Framestore has had some popular successes to its name: Paddington Bear in the film series, Dobby from the “Harry Potter” universe and Groot and Rocket Raccoon from the Marvel movies.

“We always knew that we weren’t aiming for a real dragon, as in a ‘Game of Thrones’ dragon,” says Manz, via video call from the U.K.

Toothless’ design, particularly his facial features, presented a challenge for Manz and the team at Framestore. If they made his eyes or his mouth too small or if they tried to drastically reshape his head with more naturalism in mind, he quickly lost his personality.

“His big, expressive face with eyes that are larger than any animal in the animal kingdom, including the blue whale, had to remain because, without them, we felt like we were going to be delivering a lesser version of Toothless,” says DeBlois.

A stage show based on the first film called “How to Train Your Dragon: Live Spectacular,” which toured Australia and New Zealand in 2012, radically changed the design — to a mixed response. “Toothless was too creature-like and it just wasn’t as appealing and as charming,” says Simon Otto, head of character animation for all three animated movies, via Zoom.

While they may be too subtle for an untrained viewer to notice, certain design changes have been made that differentiate the live-action Toothless from his animated counterpart.

“He’s now bigger, his head’s smaller, his eyes are actually smaller,” says Manz. The nuanced reshaping of his head and his body was intentional: an effort to make him blend into a photorealistic world.

“The interesting thing is that when people see the live-action movie, they say, ‘Oh, it’s Toothless, like he stepped out of the animated movie,’” says DeBlois. “But in truth, if you put them side by side, you’ll see quite a few differences.”

The texture of Toothless’ body needed to be more intricate for the live-action version, so he would feel more convincingly integrated within the environments.

“In the animation, he’s quite smooth,” says Manz. “We tried very snake-like skin, but it just made him look very unfriendly. You wouldn’t want to put your hand on his forehead.”

Mason Thames in “How to Train Your Dragon.”

(Universal Pictures)

Both on-screen versions of Toothless were crafted using essentially the same digital technique: computer animation. The difference here is that the one meant to share space with a flesh-and-blood world, with distinct aesthetic concerns. Even if seeking realism in creatures that only exist in our imagination might seem counterintuitive, the goal is to make them feel palpable within their made-up realm.

“One of the things I don’t like about live-action remakes is they seem to try to want to replace the animated source, and I find myself very protective of it,” says DeBlois with refreshing candor. “We tried to create a version that lives alongside it. It follows the beats of that original story, but brings new depths and expanded mythology and more immersive action moments and flying. But it’s never trying to replace the animated movie because I’m very proud of that film.”

Toothless as we now know him originated expressly for the screen. The Toothless in Cressida Cowell’s originating book series is tiny and green (a design that can be seen in the first animated movie in the form of a minuscule dragon known as Terrible Terror).

But when DeBlois and Sanders came aboard, 15 months before the 2010 release, replacing the previous directors, their first major change was to make Toothless a dragon that could be ridden.

It was the screensaver of a black panther that first inspired the look of Toothless in the animated films. Otto, one of the designers who knows Toothless best (he drew the original back in 2008), recalls his real-world animal references.

“He is a mix between a bird of prey, like a peregrine falcon, with extremely streamlined shapes — of course a feline but also a Mexican salamander called an axolotl,” Otto says. Sanders’ design for Disney superstar Stitch, namely his large almond-shaped eyes, ears and pronounced mouth, also influenced the design.

“There’s a little bit of a design influence from Stitch in Toothless’ face that makes them feel like they’re distant cousins,” says DeBlois.

He believes that making Toothless more closely resemble a mammal, rather than a reptile, and giving him pet-like qualities were the keys for him becoming so memorable.

“[We] spent a lot of time on YouTube looking at videos of dogs and cats doing funny things,” he says. “And we would try to incorporate a lot of that behavior into Toothless with the hopes that when people watched the movie, they would say, ‘That’s just like my cat’ or ‘My dog does that.’ We wanted him to feel like a big pet. Ferocious and dangerous at first, but then a big cuddly cat after.”

Mason Thames interacts on set with the puppet version of Toothless.

(Helen Sloan)

On the set of the live-action movie, Toothless and the other dragons existed as large puppets with simple functions, operated by a team of master puppeteers led by Tom Wilton, a performer who had worked on the “War Horse” stage play.

Using puppets was meant to provide the actors, especially Mason Thames, who plays Hiccup, a real-world scene partner. The Toothless foam puppet had an articulated jaw and articulated ear plates that allowed for a subtle, interactive performance.

“There’s a performance that Dean can direct and that Mason and the other actors could act against, so that the interaction is utterly believable,” says Manz. “[The puppets] are obviously removed from the frame in the end, but it just means you believe that connection.”

As for the impressive flight sequences, in which Hiccup rides Toothless, the production created an animatronic dragon placed on a giant gimbal that moved on six different axes to simulate the physics of flying.

“If the dragon was diving or ascending or banking and rolling, Mason would be thrown around in the saddle, like a jockey on a racehorse,” says DeBlois. “And it married him to the animal in a way that felt really authentic.”

Mason Thames rides the flying Toothless on an animatronic model.

(Helen Sloan)

For all his success in the animated realm, DeBlois has never directed a live-action film until now.

“I do commend Universal for taking a risk on me knowing that I had not made a live-action film, but also recognizing that I knew where the heart and the wonder was, and I was determined to bring it to the screen,” he says.

Otto, the designer who trained Toothless before anybody else, candidly says he would have “peed his pants” if he knew the drawings he did back in 2008 would spawn a franchise and a theme-park attraction (a re-creation of the films’ Isle of Berk opened at Universal Studios Florida earlier this year).

“The most critical choice they made for the live-action was making sure the audience falls in love with Toothless,” he adds. “And that you understand that if you have a creature like that as your friend, you wouldn’t give up on it.”

It’s all (Taylor’s Version) now.

Taylor Swift announced Friday that she had reacquired the rights to her early recordings, six years after music executive Scooter Braun bought her old record label (and with it, control of Swift’s first six studio albums).

Braun’s 2019 purchase of the Nashville-based Big Machine company — whose Swift holdings he later sold for a reported $300 million — inspired Swift’s massively successful “(Taylor’s Version)” campaign, in which the 35-year-old pop megastar has been meticulously re-recording each of those LPs in an effort to replace the originals in the marketplace.

“All I’ve ever wanted was the opportunity to work hard enough to be able to one day purchase my music outright with no strings attached, no partnership, with full autonomy,” Swift wrote Friday on her website after posting a photo on social media of herself surrounded by those early albums.

“I will be forever grateful to everyone at Shamrock Capital for being the first people to ever offer this to me,” she continued. “The way they’ve handled every interaction has been honest, fair, and respectful. This was a business deal to them, but I really felt like they saw it for what it was to me: My memories and my sweat and my handwriting and my decades of dreams. I am endlessly thankful.”

Last week, the New York Post’s Page Six reported that Braun — who once managed Swift’s nemesis Kanye West and whom Swift has accused of bullying her — was “encouraging” the new deal between the singer and Shamrock Capital, the L.A.-based investment firm that bought the rights to Swift’s early music from Braun in 2020. Yet a source close to the contract negotiations, who requested anonymity to discuss a sensitive topic, rebutted that claim.

“All rightful credit for this opportunity should go to the partners at Shamrock Capital and Taylor’s Nashville-based management team only,” the source told The Times. “Taylor now owns all of her music, and this moment finally happened in spite of Scooter Braun, not because of him.”

Shamrock was founded in 1978 by the late Roy E. Disney, a nephew of Walt Disney; Swift has struck several deals with the Disney company in recent years, including her decision to make a 2023 concert movie available to stream on Disney+.

The New York Post reported that Swift paid Shamrock between $600 million and $1 billion for the rights to her albums, a price range The Times’ source described as “highly inaccurate.”

Through a representative, Braun said on Friday: “I am happy for her.”

The pop star also provided an update on “Reputation (Taylor’s Version)” in her Friday note.

“[I]t’s the one album in those first 6 that I thought couldn’t be improved upon by redoing it. Not the music, or the photos or videos. So I kept putting it off,” she said of the anticipated redo, which will follow earlier “(Taylor’s Version)” updates of her albums “Fearless,” “Red,” “Speak Now” and “1989.” “There will be a time (if you’re into the idea) for the unreleased Vault tracks from that album to hatch,” she added.

Swift said she had “already completely re-recorded” her self-titled debut album, which she released in 2006 at age 16, and “really love[s] how it sounds now.”

The original “Reputation” followed a public feud with West and his then-wife, Kim Kardashian, that reshaped Swift’s established image as the girl next door: “My reputation’s never been worse,” she told a new love interest in the song “Delicate,” “So you must like me for me.” The LP found the singer — who had described 2014’s “1989” as her first “official pop album” — dabbling in sounds and textures borrowed from hip-hop and R&B; the song “End Game” even featured a guest verse from the rapper Future.

“Reputation” earned a Grammy nomination for pop vocal album, though it famously missed a nod for album of the year after Swift had scored three earlier nominations in that category. In 2024, the singer became the first artist to win album of the year four times when “Midnights” took the prize; Swift’s latest project, “The Tortured Poets Department,” was nominated for album of the year at February’s ceremony, but Beyoncé’s “Cowboy Carter” won.

Friday’s announcement came around six months after the finale of Swift’s blockbuster Eras tour, which launched in March 2023 and ran for 149 shows across five continents. The tour is said to be the highest-grossing of all time, with ticket sales in the neighborhood of $2 billion.

And in case anyone was unclear about how much this deal with Shamrock Capital means to Swift, she laid it out pretty clearly in her note.

“My first tattoo,” she wrote, “might just be a huge shamrock in the middle of my forehead.”

Things got heated between Elizabeth Banks and Jessica Biel last summer. Sweat was poured. Scores were settled. Justin Timberlake even got involved.

The intense showdowns occurred on a New York City padel court when the women had days off from filming their new Prime Video limited series, “The Better Sister,” now streaming. Squaring off in the increasingly popular racquet sport, the actors, along with Biel’s husband, Timberlake, and Banks’ husband, Max Handelman, “had a blast kicking each other’s asses,” Biel said.

Back on “The Better Sister” set, Banks and Biel were happy to play on the same team. There, they both served as stars and executive producers, and they praised the collaborative, ego-free environment overseen by showrunners Olivia Milch and Regina Corrado. (Though their competitive streak did continue with between-takes Bananagrams.)

“This was a group of, frankly, a lot of moms, who were like, ‘We don’t have time for nonsense. We want our crew home to have dinner with their families,’ ” Banks said. “There was a lot of mutual respect going on, but then we all demanded the best from each other.”

The eight-episode whodunit, adapted from the 2019 novel by Alafair Burke, is a twisty, Shakespearean tale: Two estranged sisters, the glamorous, successful Chloe (Biel) and the recovering addict Nicky (Banks), are thrust back together when Chloe’s husband, Adam (Corey Stoll) — who used to be Nicky’s husband — is murdered. When Nicky and Adam’s son, Ethan (Maxwell Acee Donovan) — who was raised by Chloe and Adam — is arrested for the crime, the sisters must untangle a web of family secrets and betrayal. Yeah, it’s complicated.

Elizabeth Banks, top, and Jessica Biel in a scene from “The Better Sister.”

(Jojo Whilden / Prime Video)

“So many shows I’ve written on are about muscular, macho men doing violent things to each other,” said Corrado, whose past work includes “Sons of Anarchy” and “Deadwood.” “But I think the scariest thing is women in this space and the intimate damage we can do to each other, particularly as sisters.”

While Biel, 43, and Banks, 51, both rose to prominence as actors, they’ve been increasingly expanding their resumes behind the camera. Over the past decade, Banks has directed films, including “Cocaine Bear,” “Pitch Perfect 2” and the 2019 “Charlie’s Angels” reboot, and produced numerous projects under her and Handelman’s Brownstone Productions banner.

Biel has likewise segued into producing with her company, Iron Ocean, which backed the psychological thriller series “Cruel Summer,” “The Sinner” and “Candy,” the latter two in which she also starred. (Biel is also in early development on a reboot of “7th Heaven,” the ‘90s series on which she got her start as the rebellious Mary Camden, though she won’t reprise her role.)

For Biel, those recent thriller projects, along with “The Better Sister,” speak to what she finds “endlessly interesting.” “Why do humans do the things that they do?” she said. “When you’re pressed up against the wall and you’re fighting for your life or to keep your kids safe, what would you do? How far would you go?”

In a joint video interview, Banks and Biel discussed making “The Better Sister” and their decades of experience that led them here. These are edited excerpts from the conversation, which includes a few spoilers.

What initially attracted you to “The Better Sister” and your specific roles?

Biel: I first read for the Nicky part, and I was definitely interested in it. Then, a couple days later, I got the call saying, “They want you for Chloe.” When I heard that Elizabeth was talking to them about Nicky, I was like, oh, yes. This makes more sense to me now. I’ve also heard for a million years that we look like sisters.

Banks: I had never heard a bad word about Jessica Biel in the industry. She was known as kind, generous, talented, a great collaborator, easy to be around. And I thought, well, that sounds easy and fun. Craig Gillespie, who directed our pilot, got on with me and said, “I want you to be a mess, Banks. It needs more humor, and you’ll be funny.” He sold me on this messy Nicky, in contrast to Jessica, and I thought that sounded like a great idea all across the board.

“I love that I got to reset my career, and I’ve been able to do it multiple times,” said Elizabeth Banks, who has starred in comedies and dramas onscreen.

(Annie Noelker / For The Times)

Elizabeth, as an actor, you’ve received the most recognition for your comedic roles, but you’ve been focused lately on quieter, dramatic parts. Is that a direction you’d always hoped to go in?

Banks: It’s interesting. I started my career in a lot of dramas. Man, I remember making “Seabiscuit.” It was nominated for seven Academy Awards. It was very serious fare, and I was put in that [dramatic] box early on. It honestly took making “The 40-Year-Old Virgin” to even clue people in that I was funny. Like, I knew I was. I thought I was going to come in and do rom-coms, but when I started making films, it wasn’t a skill that was asked of me. I love that I got to reset my career, and I’ve been able to do it multiple times.

The very title of this series, “The Better Sister,” pits these two women against each other. How have you seen that comparison game play out in your own experiences in this industry?

Biel: You’re constantly compared. At least back in the day, it felt like people were trying to keep women away from each other. You’d sit in an audition room, and there would be this energy because your agents and managers would have made you feel like these women are your competition. There really was a feeling of ”you are against everybody, and everybody is against you.” I feel like that’s changed so much, but this industry is cutthroat. I have a lot of real experience in feeling less than, feeling judged, feeling like the industry has been putting their thumb on top of you, and you have to fight, fight, fight for every opportunity.

Banks: I had a similar experience coming up as an ingénue. There’s a scarcity mentality, like there’s only so many roles. Now we have all of this incredible data, like what the Geena Davis Institute has collected, about women’s roles in Hollywood. At some point, I just looked around and thought, the numbers are against me. The very first film I ever made [“Wet Hot American Summer”] was with Paul Rudd and Bradley Cooper, and they went on to play superheroes. I’m never going to get that, especially once I got over a certain age. You start to understand that it’s systemic, and it is a numbers game. You can keep playing that game, or you can do what so many incredible women have done before me, which is create your own opportunities.

I know that we are encouraging the next generation because I made a movie with them called “Bottoms.” Emma Seligman, Rachel Sennott and Ayo Edebiri, they’re doing it now. They’re going to make their own stuff, and it’s incredible. I think the industry has changed because women changed it. I just want to make sure that we have actually learned the lessons, and we are creating the opportunities.

Biel: I really do hope it is different and better and more fair and more loving because, man, it was hard.

One of the big themes in this show is trust. This idea of, can we trust our family? Can we trust our partners? Can we trust the police? Can we trust our memories? Did working on this show make you question anything about your own realities?

Banks: My father served in Vietnam, and we never talked about it when I was a kid. Vietnam vets suffered when they came back. America was not interested in them. What does that do to people’s psyches that had served their country and now they’re being spit at? This brought up a lot of those notions for me about how little you actually know your parents when you’re a child and how the layers come out the older you get.

I was the older sister, and I was able to protect my younger sister from the version of my father that I knew. He didn’t give that version to her because he and my mom had learned a lesson about what was going on with him. I’m 11 years older than my brother. He did not get the same version of my parents that I did.

“Where I parallel a little bit in Chloe’s world is this weird, naive trust of police,” Jessica Biel said about her character. “It’s interesting watching Elizabeth in the scenes where she’s expressing Nicky’s feelings about, ‘Don’t trust these people. Don’t give them anything.’ ”

(Annie Noelker / For The Times)

Biel: Where I parallel a little bit in Chloe’s world is this weird, naive trust of police. It’s interesting watching Elizabeth in the scenes where she’s expressing Nicky’s feelings about, “Don’t trust these people. Don’t give them anything.” I was wondering if I have those same thoughts that Chloe does, where I would just offer up information that I shouldn’t because I trust that they’re here to protect me. Would I be in a situation where I would not be taking care of myself or my family members because I felt obligated to almost please this police department who is supposed to help me?

So, [I was] trying to understand that system a little bit better, alongside all the questions you have about your parents and what version you got as a child. My brother and I are three years apart, but I was working when I was really young, and he wasn’t. He was at home. I basically abandoned him. But I was so self-absorbed, I didn’t think about it in that way. I just was doing what was my passion. I know he had a very different experience in our family than I did. I feel nervous to talk to him about it sometimes because I have guilt around that. He was in my shadow, and I left him.

Spoilers for the final episodes — we ultimately learn that Nicky killed Adam, and that reveal puts everything we’ve seen her do thus far in a different light. Elizabeth, what went into playing a character who’s keeping a huge secret from everyone, including the audience, for so long?

Banks: Look, I literally say right after he gets arrested, “Tell them it was me. I’ll say I did it.” But nobody’s going to believe her. I was actually always thinking about “Presumed Innocent,” the original [film], where she knows all along that she can make him free. Ethan’s not going to jail. Nicky was willing and ready every minute of this entire series to offer herself up and say, “I’m going to jail for this. I did it.” I think she almost expects that it’s where her life is supposed to go — but she also can’t let Adam win. So, there is a lot of strategy going on for Nicky. She’s playing chess, and she’s playing the long game, and poor Chloe is not in on any of it.

Chloe then ends up framing Adam’s boss for the murder in the finale. Jessica, how did you feel about that decision and the motivations around it?

Biel: It felt to me that it was what had to happen. Because once it’s revealed that Adam set Nicky up and pushed those drugs on her, and she’s not this horrific mom, her son was not in danger — that realization for Chloe is just like — oh, my God — everything that she has done has been in vain. She ruined her sister’s life. She’s taken over being the mother of this child. For what? It’s all a lie. So, when all of that comes out, that is the moment where she is 100% loyal to Nicky. They are officially in it together. Now she has to protect Nicky in order to protect Ethan, and to do that, we need somebody to take the blame for this because we are all culpable. Everybody is playing their part, and nobody is innocent.

Elizabeth Banks and Maxwell Acee Donovan, who plays her son Ethan in the series.

(Jojo Whilden / Prime Video)

There’s a line in the show to the effect of, “Nothing ever really disappears,” whether that’s because of the stories that people tell about us or the permanence of the internet. Is there a story or project that’s followed you around that you wish would go away?

Biel: I’m sure you could dig up some stuff about me, and I would probably be like, “Oh, yeah, that wasn’t the best choice.” But you have to fall on your face, look like an idiot, sound like an idiot and get back up and go, “All right, won’t do that again.” I don’t know where I would be if I didn’t stumble around a little bit. I don’t want to be stumbling around too much anymore at this age.

On the flip side, what past chapter of your life are you the most proud of?

Banks: I really am proud that I was able to use the opportunity that came during “The Hunger Games,” where I had this guaranteed work with these big movies. I started my family then, and I started my directing career then, and it was because I wasn’t out there shaking it trying to make a living. It was a real gift to have some security for a hot minute because it allowed me to look around and go, is this what I really want? What are my priorities? What opportunities can I pursue while I have this security? I’m proud that I took advantage of it.

Biel: I think back in my early 20s, taking the opportunity to start my little [production] company [with co-founder Michelle Purple], which was dumb and small and lame for like 10 years. We didn’t make anything, and it was a disaster. But we hustled, I took control and said I’m going to start making headway to make things for me. I’m not going to just sit and wait for a phone call from my agents, which is what I had been told to do. I started procuring material and working with writers and learning how to develop them. Now, my little company is making some stuff, which is cool.

Neither of you come from industry families. Did you feel like outsiders stepping into that world?

Banks: I still feel like an outsider.

Biel: I was going to say the same thing!

Banks: I know my worth, and I know what I’ve earned, so I don’t have impostor syndrome anymore. But I do feel like there’s a party in Hollywood that I’m not necessarily on the inside of. It keeps me scrappy, to be honest.

Biel: It also keeps you from getting lost in the sauce. You’re not paying so much attention to everybody else or what you’re not getting. It’s a good mindset to be in because you just focus on what you’re doing. When I’m outputting creatively, that’s what fuels me. The joy is in doing it.