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UN Relief Coordinator Tom Fletcher has inspected damage in Gaza City as the agency plans to ramp up its humanitarian relief efforts. He visited a destroyed water treatment plant and emphasised the enormity of the response needed.

Pakistan and Afghanistan’s Taliban government have agreed to an immediate ceasefire, mediated by Qatar and Turkiye. The agreement was reached after a week of deadly clashes and strikes along their disputed border.

Inside a historic aircraft hangar in Playa Vista, crowds of people gathered on Thursday to browse the latest fashions from handbags to clothing and shoes as they prepared for the holiday shopping season.

These weren’t shoppers or retailer buyers browsing for the latest products. Instead, they were YouTube video creators who were being courted by brands from Lowe’s to Shark Beauty to encourage online audiences to buy their products.

Aaron Ramirez, a 22-year-old influencer who focuses on men’s fashion and lifestyle, stood in front of racks of carefully curated shelves of backpacks as he decided which items he would endorse for his 234,000 YouTube subscribers.

“I can make a video about anything that improves my quality of life and add a link to it,” said Ramirez. “I only recommend products that I really use and really like.”

The San Diego resident was among about 300 creators participating in YouTube’s annual benefit for creators dubbed “Holiday House” that helps internet personalities get ready to sell goods during the busy holiday shopping season.

The event — held at the cavernous converted Google offices that once housed Howard Hughes’ famous Spruce Goose plane — underscores YouTube’s desire to be a bigger player in online shopping by leveraging its relationship with creators to promote products in much the same way that rival TikTok does.

In August, YouTube introduced new tools to help its creators better promote products they plug in their videos. One feature uses AI to identify the optimal place on the screen to put a shopping link when an influencer mentions a product. If a customer clicks on that link and makes a purchase, the creator gets a commission.

Brands that were once skeptical about influencers have embraced them over time as sales-tracking tools have improved and the fan base of video creators has mushroomed.

“It’s like the people that you saw on television and before that the people that you listened to on radio who became the trusted personalities in your life,” Earnest Pettie, a trends insight lead at YouTube, said in an interview. “Oprah’s Favorite Things was a phenomenon because of how trusted Oprah was, so it really is that same phenomenon, just diffused across the creator ecosystem.”

Despite economic uncertainty and tariffs imposed by the Trump administration, shoppers in the U.S. are expected to spend $253.4 billion online this holiday season, up 5.3% from a year ago, according to data firm Adobe Analytics.

Social media platforms have helped drive some of that growth. The market share of online revenue in purchases guided by social media affiliates and partners, including influencers, is expected to grow 14%, according to Adobe Analytics.

Cost-conscious consumers are doing more research on how they spend their money, including watching influencer recommendations. In fact, nearly 60% of 14- to 24-year-olds who go online say their personal style have been influenced by content they’ve seen on the internet, according to YouTube.

“It’s more about discovery, understanding where the best deals are, where the best options are,” said Vivek Pandya, director at Adobe Digital Insights. “Many of these users are getting that guidance from their influencers.”

YouTube is one of the top streaming platforms, harnessing 13.1% of viewing time in August on U.S. TV sets, more than rivals Netflix and Amazon Prime Video, according to Nielsen. And shopping-related videos are especially popular among its viewers, with more than 35 billion hours watched each year, according to YouTube.

With YouTube’s shopping feature, viewers can see products, add them to a cart and make purchases directly from the video they’re watching.

Promoting and enabling one-click e-commerce from video has been huge in China, triggering a wave across Asia and the world of livestreaming and recorded shopping videos. Live commerce, also known as live shopping or livestreaming e-commerce, is a potent mix of streaming, chatting and shopping.

The temptation to shop is turbocharged with algorithms like that of TikTok Shop, enticing people to try more channels and products.

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1. YouTube content creators Diana Extein, left, and Candice Waltrip, right, film clothing try-ons during YouTube’s Holiday House shopping event at Google Spruce Goose on Thursday, Oct. 16, 2025 in Playa Vista, CA. 2. YouTube content creator Peja Anne, 15, makes a video with beauty products as her mom Kristin Roeder films during YouTube’s Holiday House shopping event at Google Spruce Goose on Thursday, Oct. 16, 2025 in Playa Vista, CA.

A YouTube content creator who declined to give her name browses YouTube’s Holiday House shopping event at Google Spruce Goose on Thursday in Playa Vista, Calif.

YouTube content creator Cheraye Lewis’ channel focuses on lifestyle and fragrance, and a brand deal with Fenty Beauty helped launch her content to larger audiences.

More than 500,000 video creators as of July have signed up to be a part of YouTube Shopping, the company said.

Creators who promote products can make money through ads and brand deals, as well as commissions.

YouTube already shares advertising and subscription revenue with its creators and currently does not take a cut from its shopping tools, said Travis Katz, YouTube Shopping vice president.

“For us, it’s really about connecting the dots,” Katz said. “At YouTube we are first and foremost very focused on, how do we make sure that our creators are successful? This gives a new way for creators to monetize.”

Companies like Austin-based BK Beauty, which was founded by YouTube creator Lisa J, said YouTubers have helped drive sales for their products.

“They’ve built these long-term audiences,” said Sophia Monetti, BK Beauty’s senior manager of social commerce and influencer marketing. “A lot of these creators have established channels. They’ve been around for a decade and have just a really engaged community.”

To be sure, YouTube faces a formidable rival in TikTok, which is a leader in the live shopping space (its parent company, Byte Dance, is being sold to an American investor group so that the hugely popular app can keep operating in the U.S.).

Two years ago, the social video company launched TikTok Shop, working with creators and brands on live shopping shows that encourage viewers to buy products. TikTok had 8 million hours of live shopping sessions in 2024.

YouTube says its size and technology create advantages, along with the loyalty its creators build with fans when it comes to product recommendations.

Bridget Dolan, a director of YouTube Shopping Partnerships, said “shopping has been in YouTube’s DNA from Day One” and that the company has been integrating shopping features into its viewing experience.

YouTube content creators peruse products and film content during YouTube’s Holiday House shopping event at Google Spruce Goose on Thursday in Playa Vista, Calif.

Santa Clarita-based YouTube creator Cheraye Lewis said that YouTube Shopping helped her gain traction and earn a trusting audience through quality recommendations. Lewis, who has 109,000 subscribers on YouTube, makes videos about items such as fragrances and skincare products.

Lewis has been a video creator for eight years and has worked with such companies as Rihanna’s beauty brand Fenty.

“I try to inspire women and men to feel bold and confident through the fragrances that they’re wearing,” Lewis said at the event Thursday. “I give my audience real talk, real authenticity.”

For those who know of the spectacle that is Juan Gabriel there is no explanation necessary, for those who don’t, no explanation will suffice.

A new Netflix docuseries attempts to capture the magic of the frequently bedazzled genre- and gender-defying showmanship of “El Divo de Juárez,” who died at 66 of natural causes in 2016, while also investigating the internality of the man behind Gabriel — Alberto Aguilera Valadez.

Juan Gabriel was known for his epic stage performances, where he was often accompanied by an orchestra, dancers and dozens of mariachis dressed in tight jackets and sombreros, while belting out such hits as “Hasta Que Te Conocí,” “El Noa Noa” and “Amor Eterno.”

His colorful outfits and flamboyant dance moves drew speculation about his sexuality, but he famously preferred to remain coy on the issue and to this day remains a queer icon throughout the Latin American world.

“Juan Gabriel: I Must, I Can, I Will,” which premieres Oct. 30, utilizes a goldmine of hundreds of thousands of personal and never-before-seen voice recordings, photos and videos of one of Mexico’s most revered singer-songwriters, giving audiences a holistic look at the pain, joy, contradictions, artistry and genius that informed Gabriel’s worldview and perception of himself.

The project is director María José Cuevas’ second production with the streaming giant — her 2023 documentary feature “The Lady of Silence: The Mataviejitas Murders” recounted the story of famous Mexican serial killer Juana Barraza, who was sentenced to 759 years in prison for killing 16 elderly women and the suspected killing of dozens more.

Cuevas’ implementation of the juxtaposed duality of Juan Gabriel and Alberto Aguilera Valadez was inspired by his insistence that the two entities were distinct yet symbiotic, as was shown in a 2014 filmed self-interview the singer conducted.

“In order to understand the greatness of Juan Gabriel, I had to know Alberto. He always played with that duality,” she said. “From a very young age he would say in interviews that he invented Juan Gabriel to shield Alberto, he invented an idol in order to protect his private identity.”

In an interview with The Times, Cuevas spoke about her personal connection to the famed singer, the overwhelming archives she had access to and the ways in which Juan Gabriel united and continues to unite people to this day.

This interview was translated and edited for length.

What was your relationship to Juan Gabriel before taking on the task of directing this documentary?

I remember clearly turning on the TV [when I was young] and seeing video clips of Juan Gabriel with his red sweater and white jeans. I later had the opportunity to go to his first performance at the Palacios de Bellas Artes in 1990 with my parents. One is accustomed to going to Bellas Artes for opera, ballet, classical music and the concert began with that formal tone, but there reached a moment where audience members couldn’t keep up the facade of elegance and everyone let their hair down.

For me that moment was incredibly revelatory, I finally noticed that he was a whirlwind in every sense of the word. I didn’t realize at the time that I was present at a such an important cultural milestone. When I watched it in retrospect, from all the camera angles we were privy to for this documentary, I got goosebumps and I wish I could go back to being 18 years old and experience it with the intensity that I have for his music now.

I think that Juan Gabriel always transports us to something personal, but also to something collective. In Mexico, Juan Gabriel’s death was a very collective experience. You would go out into the street and you would hear his music in cars, the corner store, coming out of neighbors’ houses.

How did you gain access to the vast collection of archived materials that are present in the documentary?

That’s really the treasure of the project. Juan Gabriel’s story has already been told, but what makes this project unique is that it’s a story told by [the recordings and photos] he left behind. One of the first things he did after reaching success wasn’t just to buy his mom a house, but also to buy himself a Super 8 camera. From then on he picked up the habit of recording his everyday activities as Alberto Aguilera and later on he always had a camera following around as Juan Gabriel.

From our first meetings with Netflix, I figured we should ask Gabriel’s family if they had anything to share with us. I thought maybe it would be a photo album that was laying around, maybe a box of memorabilia or a few cassettes. So it was to our great surprises when they sent us over a photo of a warehouse with shelves full of every different kind of film. It was crazy. And that’s when I remembered that Juan Gabriel’s close friend and actor Isela Vega was helping him catalog all of his videography.

I never imagined that within those videos that we’d find the public persona of Juan Gabriel and the private persona of Alberto Aguilera. Another elucidating moment was that Juan Gabriel reached a moment where he became conscious of the level of his celebrity and that it wasn’t a coincidence that he recorded most of his life. And there reached a moment where I realized he saved all these recordings so that one day people could revisit all his saved materials and they could reconstruct his personal story through what he left behind.

There’s a moment in the documentary where we’re at one of his concerts and there are men of all orientations in the crowd that are asking JuanGa to marry them. That seemed particularly powerful to me because in that moment the veil of machismo seemed to fall.

Yeah, I think an important part of making this portrait of Juan Gabriel was understanding the context of Mexico in the ‘80s. It was very conservative, very machista and then all of a sudden this guy drops in with all this talent and charisma and he says, “Here I come, get out of the way because I’m gonna conquer everyone.” And that wasn’t so simple at that time. He showed his greatness at any and every stage he was put on. He was able to win over people in every social class in a very elitist Mexico. He won over everyone from the most macho man to women.

Even greater than the achievement that was his performance at Bellas Artes were his performances in palenques when he was young. Palenques being these circular stages where you can’t hide because you’re standing right in the middle of everything. And he would take the stage late at night when everyone was already drunk and they were audiences that were, in general, very machista.

Suddenly a very young Juan Gabriel would appear to perform rancheras. I always say he was a provocateur, but also a seducer because of his ability to win over a crowd. There were audiences that would yell derogatory things at him and that’s when he’d really play with the audience.

It feels almost impossible not to be moved by the music as you watch your documentary.

He’s really magnificent. I remember throughout the whole process of making the doc and I was watching the intimate home videos of Alberto Aguilera and it really reminded me that Juan Gabriel was a human like everyone else [not just this grand entertainer]. I’d put any concert of his and I was bowing at the altar of a star. It’s amazing what a powerful character he was up on that stage.

And how have you seen JuanGa’s legacy represent something very specific in the U.S.?

For Latinos in the U.S. he’s such an important figure because his work pulls people back to their roots. One of his greatest accomplishments as a performer was when he filled the Rose Bowl in 1993. In that moment he showed his influence and strength within the Latino world. He’s absolutely one of the key figures in Latin music.

Several airports in California have refused to play a video featuring U.S. Department of Homeland Security Secretary Kristi Noem blaming Democrats for delays due to the federal government shutdown.

The video, playing for travelers waiting in Transportation Security Administration security lines at airports across the country, comes as the government entered a third week of a shutdown after Congress failed to reach an agreement on funding legislation.

“It is TSA’s top priority to make sure you have the most pleasant and efficient airport experience as possible while we keep you safe,” Noem says in the video. “However, Democrats in Congress refuse to fund the federal government and because of this many of our operations are impacted, and most of our TSA employees are working without pay.”

Officials at multiple airports in California say they are not playing the video at their locations. They include: John Wayne Airport in Orange County, Hollywood Burbank Airport, San Diego International Airport, San José Mineta International Airport, Sacramento International Airport, Oakland San Francisco Bay Airport and San Francisco International Airport.

Officials from Los Angeles International Airport did respond to questions on whether the video was being played there.

Some airport officials have refused to play the video, calling it inappropriate. On Tuesday, the ranking member of the U.S. Senate’s Committee on Commerce, Science and Transportation called for Noem to be investigated for possibly breaking the Hatch Act by asking airports to play the video.

“Recent reports indicate DHS is using taxpayer dollars and federal assets to produce and air a video message featuring Secretary Noem, in her official capacity, making political attacks against Democratic Members of Congress,” Sen. Maria Cantwell (D-Washington) wrote in a letter addressed to the Office of Special Counsel and reviewed by The Times. “This message is not just false; it appears to violate the prohibitions contained in the Hatch Act.”

The act, according to the U.S. Office of Special Counsel, is to “ensure that federal programs are administered in a nonpartisan fashion,” as well as protect federal employees from political coercion at work.

Noem’s video was received by airports on Thursday and was followed up by a verbal request from DHS officials to play it at security checkpoints, multiple airport officials told The Times.

The reasons the video is not being shown for California fliers varies.

In Orange County, airport spokesperson AnnaSophia Servin said that Homeland Security requested, to the airport’s director, that the video be played, but a final decision has not yet been made. In Burbank, political messaging is prohibited, officials said. In San José, an airport spokesperson said there have been no shutdown impacts and therefore no reason to play the video.

At San Francisco International Airport, officials determined that the video wasn’t helpful.

“SFO limits messaging at our security checkpoints to information intended to help passengers be prepared to go through the security screening process,” a spokesperson said in an email. “Any content, whether in video or print form, which does not meet this standard, will not be shown.”

When The Times asked Homeland Security officials to respond to airports not playing Noem’s video, spokesperson Tricia McLaughlin responded with Noem’s video statement blaming Democrats.

But California airports aren’t the only locations choosing not to play Noem’s message.

Airports in Oregon, Las Vegas, Charlotte, Atlanta, Phoenix, Seattle have also opted not to play it.

“We did not consent to playing the video in its current form, as we believe the Hatch Act clearly prohibits use of public assets for political purposes and messaging,” said Molly Prescott, a spokesperson for the Port of Portland, which manages Portland International Airport, said in a statement.

Oregon law also prohibits public employees from politicking on the job.

“We believe consenting to playing this video on Port assets would violate Oregon law,” she said.

Officials in New York also pushed back against airing the video.

“It is inappropriate, unacceptable, and inconsistent with the values we expect from our nation’s top public officials,” New York’s Westchester County Executive Ken Jenkins said in a statement. “The [Public Service Announcement] politicizes the impacts of a federal government shutdown on TSA Operations, and the County finds the tone to be unnecessarily alarmist.”

According to the Homeland Security website, more than 61,000 TSA employees continue to work despite a lapse in appropriations, and a lack of a paycheck to employees.

After two years in an Israeli jail, Yousef Salem set out on a journey to his house in Gaza. The former detainee, who says he was tortured during his time in captivity, was confronted by the devastation of Israel’s onslaught when he finally arrived home. This is his story.

Israeli Prime Minister Benjamin Netanyahu appeared in court to testify in his corruption trial, days after U.S. President Trump called for him to be pardoned. Protesters outside the court demanded the trial continue as a test of Israel’s democracy. Netanyahu denies all charges.

Timelapse video from Indonesia shows Mount Lewotobi Laki-Laki erupting on Flores island, sending ash 10 kilometres above its 1,584-metre peak. It’s the volcano’s third major eruption since July.

Football fans celebrated in Qatar as the country’s football team qualified for next year’s FIFA World Cup, with a 2-1 win over the United Arab Emirates. It’s the first time Qatar has reached a World Cup through competitive qualifiers after hosting the tournament in 2022.

Democratic gubernatorial candidate Katie Porter, under fire for recently emerged videos showing her scolding a reporter and swearing at an aide, expressed remorse for her behavior on Tuesday in her first public remarks since the incidents were publicized.

Porter, a former Orange County congresswoman and a top candidate in California’s 2026 governor’s race, said that she “could have handled things better.”

“I think I’m known as someone who’s able to handle tough questions, who’s willing to answer questions,” Porter told Nikki Laurenzo, host of Inside California Politics and anchor on Fox40 in Sacramento. “I want people to know that I really value the incredible work that my staff can do. I think people who know me know I can be tough. But I need to do a better job expressing appreciation for the amazing work my team does.”

Last week, a video emerged of Porter telling a separate television reporter that she doesn’t need the support of the millions of Californians who voted for President Trump, and brusquely threatening to end the interview because the reporter asked follow-up questions. The following day, a second video emerged of Porter telling a young staffer “Get out of my f—ing shot!” while videoconferencing with a member of then-President Biden’s cabinet in 2021.

Porter on Tuesday said that she had apologized to the staffer. She repeatedly sidestepped Laurenzo’s questions about whether other videos could emerge.

“What I can tell you … is that I am taking responsibility for the situation,” Porter said.

Porter’s behavior in the videos underscored long-standing questions about her temperament and high staff turnover while she served in Congress.

The most recent polls showed that Porter held a narrow lead in the competitive race to replace Gov. Gavin Newsom, who is serving his second and final term as governor. After the videos emerged last week, several of Porter’s rivals criticized her behavior, including former state Controller Betty Yee, who said she should drop out of the race.

On Tuesday, Yee argued that Porter’s temperament could imperil Democrats’ efforts to pass Proposition 50, the Nov. 4 ballot measure to redraw congressional districts in California to boost their party’s numbers in the House.

Yee, a former vice chair of the state Democratic party, warned that a Republican could potentially win the governor’s race and Democrats could lose the U.S. House of Representatives because of Porter’s “demeanor.”

“I don’t relish picking a fight, and it’s not even a fight,” Yee said during a virtual press conference. “I’m doing what’s best for this party.”

Porter is also expected to address the issue Tuesday night during a virtual forum with the California Working Families Party.

Prior to her statements on Tuesday, Porter had released one statement about the 2021 video, saying, “It’s no secret I hold myself and my staff to a high standard, and that was especially true as a member of Congress. I have sought to be more intentional in showing gratitude to my staff for their important work.”

The UC Irvine law professor has not responded to multiple interview requests from the Times.

Mehta reported from Los Angeles and Smith reported from Sacramento.

British vloggers Dan Howell and Phil Lester — known for their gaming and comedic slice-of-life style videos — are taking ownership of their long-rumored romance after more than a decade of incessant fan “shipping” online.

The longtime collaborators revealed Monday that they have been dating for more than a decade, pretty much since they gained popularity in the late aughts. The YouTubers confirmed they have been an item in a 46-minute video titled “Are Dan and Phil in a Relationship?”

“We fell into it hard and fast in 2009,” Howell, 34, said. “And here we are almost 16 years later.”

Before Howell and Lester, 38, spoke about the origins of their couple-dom, the YouTubers— who both came out as gay in 2019 — talked extensively about why they waited go public with their relationship. First, they tackled some fans’ obsessive behavior.

Howell and Lester began appearing in each other’s YouTube videos in the late aughts and eventually, in 2014, launched their shared gaming channel — that page currently boasts 2.95 million subscribers. The pair documented their lives together, opening the door for fans to speculate on their relationship and foster a parasocial connection, Howell explained in the video. Among the most prominent internet personalities at the time, Howell and Lester often became the subject of fan fiction and fan edits on Tumblr.

“Some think that shipping real-life people is problematic. I think that humans cannot stop this natural tendency,” Howell said, later adding that “a line gets crossed” when fan speculation turns into investigation.

The pair recalled fans combing through their old social media posts, reaching out to their loved ones and filming them out in the real world. “If all this digging, investigating was small it could’ve been ignored,” Lester said.

“The problem is this became so big we could not ignore it,” Howell continued.

Howell and Lester also recalled fans dissecting their on-camera interactions and spreading the romance rumors during live events. Ultimately, the rumors became “too loud to ignore,” Lester said.

Howell said he was wary about how going public with Lester would impact their professional dynamic and spoke candidly about how his struggles with his sexuality affected their relationship.

“I had an extremely homophobic childhood,” Howell said, adding that the constant fan pressure to address the rumors took a toll on his mental health. He said that when he and Lester gained popularity he felt he “had to hide the relationship because I was still hiding who I was to my friends, family, myself.”

Online chatter didn’t help and “hit a nerve,” he said. Howell said Lester was “like a literal ray of light in my life back then” and committed to protecting their relationship.

“So when other people tried to grab it and drag it into the light, I felt completely violated,” Howell continued. “Having all of these people trying to out us and being so hostile to me when I tried to hide it was so triggering. Honestly, it could’ve killed me.”

Lester added: “It’s sad because those should’ve been the happiest times of our life. It was so amazing and we were having so much fun personally.”

Invasive fan behavior hung over their success “like a curse” and that led to anxiety and panic attacks, Howell said. Lester also recalled a “breaking point” in their relationship where a personal video leaked on YouTube and spread online, with re-posters refusing to take it down.

As they acknowledged the negative impact of some fans’ invasive behavior, the YouTubers said they don’t hold a grudge. Howell said the skeptics “were just young people that had absolutely no idea what the effects of their actions were.”

“In the same way that we all want people in our lives to give us patience and grace and benefit of the doubt if we ever make a mistake, I have to extend that to the world in regards to this story,” he added. “So I understand and I forgive.”

Howell and Lester, whose work also includes BBC Radio programming and several live tours, ended their video announcing the launch of a new podcast.

Fort Lauderdale, Fla. — Some airports around the country are refusing to play a video with a message from Homeland Security Secretary Kristi Noem in which she blames Democrats for the federal government shutdown and its impacts on TSA operations because of its political content.

Airports in Las Vegas, Charlotte, Atlanta, Phoenix, Seattle and more say the video goes against their airport policy or regulations that prohibit political messaging in their facilities.

Various government agencies, in emails to workers and on websites, have adopted language that blames Democrats for the shutdown, with some experts arguing it could be in violation of the 1939 Hatch Act, which restricts certain political activities by federal employees.

The shutdown has halted routine operations and left airports scrambling with flight disruptions. Democrats say any deal to reopen the government has to address their healthcare demands, and Republicans say they won’t negotiate until they agree to fund the government. Insurance premiums would double if Congress fails to renew the subsidy payments that expire Dec. 31.

In the video, Noem says that TSA’s “top priority” is to help make travel pleasant and efficient while keeping passengers safe.

“However, Democrats in Congress refuse to fund the federal government, and because of this, many of our operations are impacted, and most of our TSA employees are working without pay,” she continues.

The Transportation Security Administration falls under the Department of Homeland Security. Roughly 61,000 of the agency’s 64,130 employees are required to continue working during the shutdown. The Department said Friday that the video is being rolled out to airports across the country.

A DHS spokeswoman responded to a request for comment restating some of the message from Noem’s video.

“It’s unfortunate our workforce has been put in this position due to political gamesmanship. Our hope is that Democrats will soon recognize the importance of opening the government,” spokeswoman Tricia McLaughlin said.

The Harry Reid International Airport, in Las Vegas, said it had to “remain mindful of the Hatch Act’s restrictions.”

“Per airport regulations, the terminals and surrounding areas are not designated public forums, and the airport’s intent is to avoid the use of the facility for political or religious advocacy,” the statement said.

Westchester County Executive Ken Jenkins said the county north of New York City won’t play the video at its local airport. In a statement, he called the video “inappropriate, unacceptable, and inconsistent with the values we expect from our nation’s top public officials,” and said its tone is “unnecessarily alarmist” as it relates to operations at Westchester County Airport.

“At a time when we should be focused on ensuring stability, collaboration and preparedness, this type of messaging only distracts from the real issues, and undermines public trust,” he said.

Even in red states, airports weren’t showing the video for various reasons. Salt Lake City International Airport wasn’t playing the video because state law prohibits using city-owned property for political purposes, said airport spokesperson Nancy Volmer.

The airport in Billings, Mont., “politely declined” even though it has screens that could show the video with audio, assistant aviation director Paul Khera said Tuesday.

“We don’t want to get in the middle of partisan politics,” Khera said. “We like to stay middle of the road, we didn’t want to play that video.”

Gomez Licon writes for the Associated Press. AP writers Rio Yamat in Las Vegas and Mead Gruver in Fort Collins, Colo. contributed to this report.

Spotify video podcasts are coming to Netflix, further diversifying the types of content on the Los Gatos, Calif.-based streaming service beyond movies, TV shows and games.

The move reflects how many people are consuming their podcasts not just by listening, but by watching the podcasters conduct their discussions on video.

Roughly 70% of podcast listeners prefer their shows with video, according to a Cumulus Media study. Netflix and Spotify said the partnership will bring podcasts to Netflix that complement the streamer’s “existing programming and unlocks new audiences and wider distribution for the shows.”

There will be 16 Spotify video podcasts initially on Netflix in the U.S. in early 2026, with plans to include other markets, the companies said. Those video podcasts include sports programs like “The Bill Simmons Podcast” and “The Ringer Fantasy Football Show,” culture/lifestyle podcasts like “The Dave Chang Show” and “The Recipe Club” as well as true-crime programs like “Serial Killers.”

“At Netflix, we’re always looking for new ways to entertain our members, wherever and however they want to watch,” said Lauren Smith, the streamer’s vice president of content licensing and programming strategy.

Roman Wasenmüller, vice president and head of podcasts at Spotify, said this partnership helps creators reach new audiences and unlocks “a completely new distribution opportunity.”

Spotify began offering video podcasts on its platform about five years ago, offering an option to its podcasters who had previously been posting videos of their audio programs on YouTube.

Last year, the Swedish audio company unveiled new features that make it easier for creators to earn money from their video content and track their performance on the streaming service.

Netflix has also been diversifying the types of content it offers on its streaming service. Last week, Netflix unveiled a slate of games, such as versions of Boggle and Pictionary, that can be played on TV and are included with its streaming subscription.

Former Rep. Katie Porter’s gubernatorial prospects are uncertain in the aftermath of the emergence of two videos that underscore long-swirling rumors that the Irvine Democrat is thin-skinned and a short-tempered boss.

How Porter responds in coming days could determine her viability in next year’s race to replace termed-out Gov. Gavin Newsom, according to both Democratic and Republican political strategists.

“Everyone’s had a bad day. Everyone’s done something that they wouldn’t want broadcast, right? You don’t want your worst boss moment, your worst employment moment, your worst personal moment, captured on camera,” said Christine Pelosi, a prominent Democratic activist from the Bay Area and a daughter of former House Speaker Nancy Pelosi.

“I definitely think that it’s a question of what comes next,” said Pelosi, who had endorsed former Lt. Gov. Eleni Kounalakis before she dropped out of the race.

Porter, the 2026 gubernatorial candidate who has a narrow edge in the polls, came under scrutiny this week when a recording emerged of her brusquely threatening to end a television interview after growing increasingly irritated by the reporter’s questions.

After CBS reporter Julie Watts asked Porter what she would say to the nearly 6.1 million Californians who voted for President Trump in 2024, the UC Irvine law professor responded that she didn’t need their support if she competed against a Republican in the November 2026 runoff election.

After Watts asked follow-up questions, Porter accused Watts of being “unnecessarily argumentative,” held up her hands towards the reporter’s face and later said, “I don’t want this all on camera.”

The following day, a 2021 video emerged of Porter berating a staffer who corrected her about electric vehicle information she was discussing with a member of the Biden administration. “Get out of my f— shot!” Porter said to the young woman after she came into view in the background of the video conference. Porter’s comments in the video were first reported by Politico.

Porter did not respond to multiple interview requests. She put out a statement about the 2021 video, saying: “It’s no secret I hold myself and my staff to a high standard, and that was especially true as a member of Congress. I have sought to be more intentional in showing gratitude to my staff for their important work.”

Several Porter supporters voiced support for her after the videos went viral on social media and became the focus of national news coverage as well as programs such as “The View.”

“In this critical moment in our country, we don’t need to be polite, go along to get along, establishment politicians that keep getting run over by the opposition,” wrote Peter Finn and Chris Griswold, co-chairs of Teamsters California, which has endorsed Porter and represents 250,000 workers in the state. “We need strong leaders like Katie Porter that are willing to call it like it is and stand up and fight for everyday Californians.”

EMILYs List, which supports Democratic women who back abortion rights, and Rep. Dave Min (D-Irvine), who won the congressional seat Porter left to unsuccessfully run for U.S. Senate last year, are among those who also released statements supporting the embattled Democratic candidate.

Lorena Gonzalez, president of the influential California Labor Federation, alluded to growing rumors in the state’s Capitol before the videos emerged that powerful Democratic and corporate interests dislike Porter and have been trying to coax another Democrat into the race.

“The only thing that is clear after the past few days is that Katie Porter’s willingness to take on powerful interests has the status quo very afraid and very motivated,” Gonzalez said in a statement.

There has been a concerted effort to urge Sen. Alex Padilla into the race. The San Fernando Valley Democrat has said he won’t make a decision until after voters decide Proposition 50, the redistricting proposal he and other state Democratic leaders are championing, on the November ballot.

A pivotal indicator of Porter’s plans is whether she takes part in two events that she is scheduled to participate in next week — a virtual forum Tuesday evening with the California Working Families Party and a live UC Student and Policy Center Q&A on Friday in Sacramento.

Democratic gubernatorial rivals in California’s 2026 race for governor seized on the videos. Former state Controller Betty Yee called on Porter to drop out of the race, and wealthy businessman Stephen Cloobeck and former Los Angeles Mayor Antonio Villaraigosa attacked her in ads about the uproar.

Former Sen. Barbara Boxer said she saw the same traits Porter displayed in the videos — anger, a lack of respect, privilege — previously, notably in the 2024 Senate contest, which is why she decided to back then-Rep. Adam Schiff, who ultimately won the race. Boxer has endorsed Villaraigosa for governor.

“I had a bad taste in my mouth from that experience,” Boxer said, growing upset while describing her reaction to the video of Porter cursing at her staffer. “This video tells us everything we need to know about former Congresswoman Porter. She is unfit to serve. Period.”

Disagreements arose between Boxer and her staff during her more than four decades in elected office, she said.

But even when “we weren’t happy with each other, there was always respect, because I knew they deserved it, and I knew without them, I was nothing,” Boxer said, adding that men‘s and women’s behavior as elected officials must be viewed through the same lens. “We are equal; we are not better. She’s proof of that.”

Beth Miller, a veteran Sacramento-based GOP strategist who has worked with female politicians since the 1980s, said women are held to a different standard by voters, though it has eased in recent years.

“In some ways, this plays into that bias, but in other ways, it unfortunately sets women back because it underscores a concern that people have,” Miller said. “And that’s really disappointing and discouraging to a lot of female politicians who don’t ascribe to that type of behavior.”

Miller also pointed to the dichotomy of Porter’s terse reaction in the television interview to Porter championing herself in Congress as a fearless and aggressive inquisitor of CEOs and government leaders.

“You exhibit one kind of behavior on the one hand and another when it affects you,” Miller said. “And you know, governor of California is not a walk in the park, and so I don’t think she did herself any favors at all. And I think it really is a window into who she is.”

After 15 years, four records and a buzz-making barrage of shows, tours and festivals, the moody, multifaceted music of north London’s Wolf Alice is huge in the U.K., thanks to uniquely seductive soundscapes, visceral live shows and a relentless hunger for experimentation that melds rock, shoegaze and alternative pop.

With their latest studio album, “The Clearing,” the members are primed for the next level of success in the U.S., and it comes via songs that reflect their growth as individuals and as a collective.

Consisting of lead singer Ellie Rowsell, guitarist Joff Oddie, bassist Theo Ellis and drummer Joel Amey, Wolf Alice provides both feminine and masculine perspectives on life that feel resonant and real, with sonic approaches that can go from raging one moment to restrained the next. They’ve honed their sound even as they’ve continued to experiment with it. The result is exciting for them and for fans, now more than ever.

“This tour has been incredible. It’s definitely been the busiest and had the biggest shows we’ve ever played in America,” Ellis tells The Times via Zoom, noting that the band’s upcoming Wiltern date in Los Angeles on Oct. 13 is almost sold out.

Wolf Alice’s connection to Los Angeles is especially significant at this phase of its career. “The Clearing” was recorded here with famed producer Greg Kurstin (Adele, Miley Cyrus), who brought his pop sensibilities to the project, even as he encouraged the band to follow its own eclectic instincts, dipping into synthy, dancy elements and balladry with bite.

“We’ve had a different producer every album, so every experience has been quite different,” says drummer Amey, who joins our Zoom later. “He was just a very calm and positive force in the studio that made all of us feel very comfortable, to be able to be the best versions of ourselves … And it did come at a time where maybe even the four of us were second-guessing ourselves. We’d been in this headspace for a while about how we wanted to treat the sonics of the record. You can get stuck in that cycle … But he was so positive that he could help us get there, and he did.”

As Taylor Swift’s latest record brings scrutiny to the construction and thematics of pop music and its presentation, Wolf Alice’s seductive sway and wistful grit feels comparatively effortless, even if it’s just as accessible.

Buzz in the U.S. started after a killer set at Coachella 2016, but we caught Wolf Alice the following year at Dave Grohl’s Cal Jam in 2017. Its emotive alt-rock melodies and charisma more than held its own next to headliners including fellow-Brit Liam Gallagher and the Foo Fighters themselves (who the band has also toured with). The material, largely off its first and second albums, “My Love Is Cool” and “Visions of a Life,” respectively, offered a compelling blend of sharp riffage and dreamy textures, which reminded us of everyone from Smashing Pumpkins to Cocteau Twins at the time. Standout tracks we noted included the dissonant “Yuk Foo” and the sassy hit “Don’t Delete the Kisses.”

After another shimmering genre-blending release, 2021’s “Blue Weekend,” and now “The Clearing,” it’s almost a decade later, and the band is even harder to codify. The members are also bonafide touring and festival vets.

“In the U.K., festival culture is, like, a whole thing. The U.S. is kind of getting more like that too,” Amey says. “But European and U.K. festival culture is a rite of passage for a teenager … it’s ingrained. If you’re starting a band, you’re thinking about festivals at some point. So we love playing them. We played Glastonbury this year, and it just felt like a really wonderful way to say, ‘We’re back, here’s some new stuff,’ and also a celebration of the old stuff.”

Old or new, creative imagery has been a consistent component of Wolf Alice’s expression. Building upon the cinematic qualities of its music, its videos elevate not only its narratives but also its rock-star personas as well.

“This album explores themes of performance which I think is prevalent in the music videos and musically, in rock ’n’ roll which we also explore,” frontwoman Rowsell shares by email. “In the past Wolf Alice have shied away from performance videos so this marks a new vibe for us.”

“Bloom Baby Bloom,” which features an “All That Jazz”-style dance sequence (with choreography by L.A.’s Ryan Heffington, known for his magical movements on the Netflix cult fave “The OA” and in Sia’s “Chandelier”) brings out the drama and audacious expression of the song, especially Rowsell’s soaring vocals. It also highlights the band’s maturation and liberation as established artists at the height of their performing powers.

Similarly, “Just Two Girls,” a sweet ode to female friendship that’s a cool, ’70s soft-rock filler track on record, becomes more of a defiant anthem for feminine freedom on video.

“It’s a wonderful license of expression in which you can kind of do whatever you want,” reflects Ellis on the videos. “It’s absurdist in its nature and there are really interesting formats to explore. We’ve had some great experiences in America making them.”

The band has also had memorable moments on Amercian late-night TV, including “Jimmy Kimmel Live!” and “The Tonight Show Starring Jimmy Fallon,” turning in wild appearances that reflect its name (inspired by a book about feral children raised by wolves).

And while good old-fashioned live performance has helped its popularity grow, the band acknowledges that the music industry is different — even from when it started 15 years ago, with streaming’s domination and platforms like TikTok exposing music to new audiences. For a band driven by its own interpersonal chemistry, interactions and influences, it’s not top of mind.

“We’re not concerned with how it’s going to be distributed to people fundamentally, as we’re creatively trying to satisfy ourselves,” Ellis says. “I don’t think the mechanics of [music discovery] are affecting what we’re making in the studio or the creative process. There’s so much for a band to create nowadays, and to worry about … from our perspective, the music is what comes first and then everything else is hopefully just kind of a fun way of presenting it to the world.”

How much clout does Bad Bunny have?

Enough that certain people are still mad nearly two weeks after it was announced that the “Nuevayol” singer — one of the most popular and consequential artists on the planet, someone who can single-handedly boost local economies — will be the halftime performer during Super Bowl LX, to be held Feb. 8, 2026, in Santa Clara, Calif.

The right-wing backlash was immediate, with much of the criticism focusing on three things: first, that Bad Bunny (real name is Benito Antonio Martínez Ocasio) has been vocal about his opposition to the ongoing immigration raids, both in the mainland and in Puerto Rico; secondly, that he sings primarily in Spanish; and thirdly, that he’s “not American.”

This latter point, as conservative media personality Tomi Lahren hilariously learned the hard way and in real time, is not factually correct. (The interjection by Lahren’s guest, Krystal Ball — “He’s Puerto Rican…. That’s part of America, dear” — is still sending me.) And even if it was, it’d be irrelevant. As my colleague LZ Granderson recently pointed out, there have been plenty of non-American musical acts who have performed at the Super Bowl — from the Rolling Stones to U2 to Shakira.

U.S. Homeland Security Secretary Kristi Noem was so appalled by Bad Bunny being tapped to perform that she announced that Immigration and Customs Enforcement would be present at the big game.

“I have the responsibility for making sure everybody who goes to the Super Bowl has the opportunity to enjoy it and to leave, and that’s what America’s about,” she said. “So yeah, we’ll be all over that place. We’re going to enforce the law.”

What Noem left out was that federal law enforcement agents have historically been present at such high-profile events as the Copa America and previous Super Bowls — rapper 21 Savage was even arrested by ICE during the 2019 game, held in Atlanta.

To be clear, I’m not surprised that conservatives were upset about the pick. In fact, I’m willing to bet that they would’ve been mad regardless of whom the National Football League selected. At one point, Taylor Swift was rumored to be the headliner, and we all know how President Trump feels about her — she’s a “woke singer” who “is no longer hot.” Then there’s Kendrick Lamar, who upset many on the right last year when he reclaimed the American flag for Black people during his performance.

I expected the outrage. In fact, when I found out, I lamented that the announcement came while I was still on paternity leave and would therefore be unable to write about it in this space. Because surely, the news cycle would have moved on to something else.

But I was wrong. This story is about to be two weeks old and it still has legs.

“I’ve never heard of him. I don’t know who he is,” Trump said, channeling his inner Mariah Carey during an interview with Newsmax on Monday. “I don’t know why they’re doing it. It’s crazy. And then they blame it on some promoter they hired to pick up entertainment. I think it’s absolutely ridiculous.”

(Must be a Nicky Jam fan, then. I hear “she’s hot.”)

Even the Speaker of the House Mike Johnson (R-La.), known pop culture maven, chimed in.

“I didn’t even know who Bad Bunny was. But it sounds like a terrible decision, in my view, from what I’m hearing,” Johnson said during an interview. “It sounds like he’s not someone who appeals to a broader audience. And there are so many eyes on the Super Bowl — a lot of young, impressionable children. And, in my view, you would have Lee Greenwood, or role models, doing that. Not somebody like this.”

Lee Greenwood? Be serious, Mike Johnson.

For the unfamiliar, Greenwood is best known for “God Bless the U.S.A.” and has had nearly as many marriages (five) as he’s had No. 1 hits on Billboard’s U.S. Hot Country Songs chart (seven). He clearly lacks the number of bangers to put together a solid halftime performance.

But wait, there’s more. Turning Point USA — the conservative nonprofit organization founded by the late Charlie Kirk — announced Thursday via social media that it was planning on counter-programming Bad Bunny’s performance and organizing its own Super Bowl halftime show with an artist (or artists) to be determined. The group also published a poll asking people to vote on what kind of act they wanted; with the first option being “Anything in English.” (I saw them at South by Southwest in 2012, and let me tell you — they were meh.)

If it seems like I’m making light of things, it’s because I am. The whole situation is absurd and the outrage feels manufactured. At best, it’s just fodder to feed into the bottomless right wing content machine, and at worst, it feels like a distraction from much bigger issues, like the government shutdown or the ongoing constitutional crisis playing out in cities such as Chicago and Portland, Ore.

And if right-wingers are genuinely about Bad Bunny at the Super Bowl, here’s an idea: Don’t watch. But that wouldn’t be very American, would it?

A pair of thank yous

This week’s edition of the Latinx Files is my first one since coming back from paternity leave — a period in which I was fully able to bond with my baby and not think about work. This is in large part because of Suzy Exposito and Carlos de Loera, who handled the day-to-day operations of De Los and who wrote this weekly newsletter, respectively. Thank you both. I am eternally grateful.

Stories we read this week that we think you should read

Unless otherwise noted, stories below were published by the Los Angeles Times.

Immigration

Arts and culture

Food

• The myths and realities of gentrification in Mexico City. Should you still visit?
• The best restaurants and bars in Mexico City: 34 spots that aren’t tourist traps.

Israeli tanks and heavy combat vehicles were filmed in Gaza on Friday, reportedly withdrawing from parts of the enclave as phase one of the ceasefire plan is set to take effect.

Video shows emergency service crews celebrating the announcement of a ceasefire deal with chants and sirens. The U.S.-brokered agreement aims to end the two-year Gaza conflict, but residents reported ongoing Israeli attacks ahead of the formal start of the ceasefire.

Colorado coach Deion Sanders returned to Buffaloes football practice Wednesday — just as Coach Prime said he would 24 hours earlier when he announced he would be undergoing a surgical procedure later that day related to blood clot issues.

A video posted by his eldest son, Deion Sanders, Jr., on his “Well Off Media” YouTube channel Wednesday starts with a clip of Sanders going into surgery. Then, after indicating a 16-hour time jump, the video shows Sanders walking briskly, if perhaps a little gingerly, through the Buffaloes’ indoor practice facility. He is offered a cart but apparently turns it down.

Much of the rest of the eight-minute video shows clips from the team’s practice. Sanders stays on the move, with his walking appearing a bit more labored as practice continues. Sanders is not seen at what appears to be the end of practice, as another coach addresses the players.

A spokesperson for Colorado football told The Times on Wednesday afternoon that the team expects Sanders to coach the Buffaloes on Saturday during their home game against No. 22 Iowa State.

No other information has been released on the surgery or Sanders’ condition.

During his weekly news conference Tuesday, Sanders revealed he’d be undergoing the surgical procedure — called an aspiration thrombectomy, which involves the left popliteal (located behind the knee) and tibial arteries — later that day. He said the surgery could take several hours.

“I’m going to be all right,” Sanders said. “Prayerfully, I’ll be right back tomorrow because I don’t miss practice. I don’t plan on doing such.”

On Saturday, Sanders could be seen either sitting down or limping around on the Buffaloes sideline during Colorado’s 35-21 loss to Texas Christian. He didn’t wear a shoe on his left foot during the second half and afterward told reporters he was “hurting like crazy.”

“I think I’ve got more blood clots,” said Sanders, who had two toes amputated on his left foot in 2021 because of blood clot issues and had a blood clot removed from his right leg in 2023. “I’m not getting blood to my leg. That’s why my leg is throbbing.”

The surgical procedure is said to be Sanders’ 16th in the last three years. He told reporters Tuesday that his struggles with blood clots are hereditary.

This summer, Sanders revealed that his bladder had been removed in May to address a cancerous tumor.

Janet Kukreja, Sanders’ doctor at the University of Colorado Cancer Center, told reporters at the same news conference that a section of Sanders’ intestine was reconstructed to function as a bladder and that the procedure was a success. She added that Sanders would not need radiation or chemotherapy treatments.

Sanders was a superstar cornerback in the NFL, playing for five teams over 14 years and winning two Super Bowls (with the San Francisco 49ers and the Dallas Cowboys). The 1994 defensive player of the year was an eight-time Pro Bowl selection and was inducted into the Pro Football Hall of Fame in 2011.

As coach at Jackson State from 2020 to 2022, Sanders led the Tigers to two Southwestern Athletic Conference titles and was named the SWAC coach of the year twice. He is in his third season at Colorado, where he has coached such stars at 2024 Heisman Trophy winner Travis Hunter (now with the Jacksonville Jaguars) and son Shedeur Sanders (now with the Cleveland Browns).

The Associated Press contributed to this report.

Words don’t mean much for Kacey Musgraves and Carín León as Texas meets Sonora in the music video for their latest single, “Lost in Translation.”

The song, which dropped in August, is about how intimate connections between people can transcend languages and borders.

The newly-released video shows the pair gallivanting across the streets of the vibrant and not-so-tourist-filled streets of Puerto Vallarta, Mexico. Interspersed between scenes of the two musicians dancing and longing for each other are standalone shots of young Vallartenses donning colorful outfits and interacting with wildlife, while older men play card games and young adults perform dance routines.

In a press release for the single, Musgraves expressed how essential Mexican music has been in her own musical journey and formation.

“Growing up singing traditional country and western music, I’ve always loved exploring the borders of country and where it blends with other styles like Norteño and some regional Mexican sounds I heard a lot of in Texas,” she said.

The recording session for the song came about when the duo warmed up by singing one of León’s favorite songs: Juan Gabriel and Rocío Dúrcal’s “Fue Un Placer Conocerte.”

The collaboration isn’t León’s first bilingual rodeo; he collaborated with country singer Kane Brown for the 2024 single “The One (Pero No Como Yo)” and teamed with Leon Bridges for 2024’s “It Was Always You (Siempre Fuiste Tú).”

Last month, it was announced that León would be the first Latino artist to headline Las Vegas’ Sphere next year. The Mexican singer is set to perform three concerts as part of the city’s Mexican Independence Day celebrations, which are scheduled for Sept. 11, 12 and 13, 2026.

Musgraves has long been a champion for Mexican music. At a recent show in Mexico City, Musgraves performed a rendition of the ranchera classic “Tú, Solo Tú” alongside Mariachi Oro de América.

“Mucho respeto to the Mexican community. This is a tribute to your endless passion, hard work and valiance. (I could literally cry right now as I’m typing this bc I love y’all so much),” Musgraves wrote in an Oct. 4 Instagram post. “I am forever inspired by you and the Ranchera spirit. See y’all at the carne asada?”

Back in 2019, the “High Horse” artist sang a cover of Selena Quintanilla-Pérez’s hit “Como La Flor” at the Houston Rodeo.

“I love the queen Selena just as much as you do,” she told the crowd at Houston’s NRG Stadium. “This is our chance to honor her, by singing as loud as we can together.”