Obsidian Entertainment, a subsidiary of Microsoft Corp.’s Xbox, has canceled multiple projects and will begin working on a new game in the popular Fallout franchise as part of the division’s broader restructuring, according to people familiar with the matter.
The video-game studio, based in Irvine, California, also laid off around a quarter of its workforce, said the people, who asked not to be identified because they were not authorized to speak to the press.
As part of the shake-up, Obsidian has canceled a planned sequel to the 2025 roleplaying game Avowed along with other unannounced projects.
Under the new plan, studio design director Josh Sawyer will lead a new title in the Fallout universe — a series of roleplaying games that take place in an alternate history in which the U.S. has been ravaged by nuclear war. The emerging strategy is still in flux, the people said, and could still change.
Previously, Sawyer had been directing a roleplaying game that was similar structurally and thematically to Fallout but was not part of the franchise.
An Xbox spokesperson declined to comment.
The shifts take place as Xbox Chief Executive Officer Asha Sharma executes what she has called a “reset” of the organization. On Monday, Sharma announced plans to cut 3,200 jobs and divest five studios. She’s said she’ll invest more in the company’s biggest franchises, including Fallout, which has sold tens of millions of copies and led to a hit show from Amazon.com Inc. that is currently filming its third season.
Despite its critical and commercial success, the Fallout video-game series has not seen a new entry since 2018’s online title Fallout 76 because its primary developer, Xbox’s Bethesda Game Studios, has been focused on other projects. Bethesda has also regularly updated and created new content for Fallout 76, which has reached more than 23 million players.
The only Fallout game in the last two decades to not come from Bethesda was 2010’s Fallout: New Vegas, developed by Obsidian and directed by Sawyer. Although New Vegas has become a fan favorite, Bethesda has maintained control over the franchise. The Rockville, Maryland-based studio will work with Obsidian on the new project, the people said.
Obsidian released three games last year, two of which did not meet sales expectations, including Avowed, the company told Bloomberg Businessweek. The studio had been hoping to build on Avowed by developing a sequel in a shorter timeframe using the world and technology that it had already created.
Progress on the sequel was going well, and it was on track to be announced within the next year. But in the end, it did not fit into Sharma’s overall strategy, according to people familiar with the game’s development.
Some Obsidian employees will continue working on the Avowed sequel as they wait for new projects such as Fallout to be ready, perhaps in hope of one day reviving the game, the people said.
Obsidian will also continue to develop downloadable content for last year’s The Outer Worlds 2, the people said, and will also still work on its live-service multiplayer survival game, Grounded 2.
The fatal shooting of a Houston man by a federal immigration officer Tuesday marks at least the eighth death during the Trump administration’s immigration enforcement campaign, and the first fatality amid a newly intensified push by the administration to carry out its mass deportations agenda.
Department of Homeland Security officials said in a statement that Lorenzo Salgado Araujo, a Mexican national, ignored commands while trying to evade arrest during an enforcement operation. They say he attempted to ram his car into an agent, who opened fire in self-defense.
Araujo’s family said he was on his way to work at a construction job. He died on the way to the hospital.
The fatal shooting drew immediate criticism from immigrants rights groups and some Democrats who called for an independent investigation and for all footage, communication and evidence to be preserved.
Video footage in several previous shootings has contradicted the accounts of federal officers. No immigration officers have been charged in those fatal encounters.
Man shot during vacation trip traffic stop
A fatal late-night traffic stop in Texas in March 2025 marked the earliest deadly shooting by federal officers during the nationwide immigration crackdown. It took almost a year for records in the fatal shooting of the 23-year-old U.S. citizen to be disclosed.
A Homeland Security Investigations team was conducting an immigration enforcement operation with local police when agents stopped Ruben Ray Martinez, who was on his way from San Antonio to South Padre Island. Family members said he had just turned 23 and was with his best friend on his way to celebrate.
DHS officials said Martinez was told to exit the vehicle, but he refused and instead “intentionally ran over” an agent. Another agent fired shots through the open driver’s window, striking Martinez, who died at a hospital. The HSI agent was treated for an undisclosed knee injury.
Martinez’s mother said she was contacted by investigators with the Texas Rangers who told her there was video that contradicted the account given by federal agents. Federal and state authorities have declined to comment on potential discrepancies.
Nurse shot during Minneapolis protest
A Border Patrol officer shot and killed Alex Pretti, a 37-year-old nurse, during a Jan. 24 protest against the Metro Surge immigration operation in Minneapolis.
Federal authorities immediately described Pretti, a U.S. citizen, as an armed agitator who was a threat to officers. But bystander video showed Pretti was on the ground and had been holding a cellphone during the interaction with officers.
The video showed an officer appearing to pull a gun from Pretti’s waistband and step away before the first shot was fired by another officer, followed by more shots. Pretti had a permit to possess a firearm.
State and local officials pushed back against the federal officials’ initial characterizations of Pretti, with Gov. Tim Walz calling the comments “despicable.”
Driver shot behind the wheel of an SUV
Renee Good, a U.S. citizen, was repeatedly shot by an Immigration and Customs Enforcement officer in Minneapolis on Jan. 7. Videos show she was turning the wheels of her car away from an officer, Jonathan Ross, when he opened fire. Trump administration officials have repeatedly defended Ross, claiming his life was at risk from the moving vehicle.
Good’s death caused a firestorm across the country. The U.S. Justice Department said it wouldn’t share information on the shooting with state authorities.
State and local officials subsequently sued to try to stop the immigration sweeps. Protesters with whistles trailed officers who, in response, deployed tear gas and other chemical irritants.
Cook from Mexico shot during a traffic stop
ICE agents fatally shot Silverio Villegas González during a traffic stop Sept. 12 in suburban Chicago. Relatives said the 38-year-old line cook from Mexico had dropped off a child at daycare that morning.
At the time, DHS officials said agents were pursuing a man with a history of reckless driving who was in the country illegally. They alleged Villegas González evaded arrest and dragged an officer with his vehicle.
Homeland Security said the officer opened fire fearing for his life and was hospitalized with “serious injuries.” However, local police videos showed the agent walking around and dismissing his injuries as “nothing major.”
DHS has said the death remains under investigation.
Farmworker fell from greenhouse roof during ICE raid
Authorities were arresting dozens of farmworkers July 10 at Glass House Farms in Camarillo when Jaime Alanis fell from the roof of a greenhouse and broke his neck. The 57-year-old laborer from Mexico died at a hospital two days later.
Relatives said Alanis had spent a decade working at the farm. During the raid, Alanis called family to say he was hiding. Officials said he fell about 30 feet from the greenhouse roof.
Homeland Security said Alanis was never in custody and was not being chased by immigration authorities.
Man struck on California freeway after running from officers
A man fleeing from immigration officers outside a Home Depot store in Monrovia died after being hit by an SUV as he tried to cross a freeway on Aug. 14.
Monrovia police said ICE agents were conducting enforcement operations when the man was hit while running across the eastbound lanes of the 210 Freeway.
The man, identified by the National Day Laborer Organizing Network as Carlos Roberto Montoya Valdez, 52, of Guatemala, died at a hospital.
Homeland Security said Montoya Valdez wasn’t being pursued by immigration authorities when he ran.
Gardener from Honduras killed on Virginia interstate
A pickup truck fatally struck Josué Castro Rivera on a highway in Norfolk, Va., as he tried to escape authorities during a traffic stop on Oct. 23.
Castro Rivera, 24, of Honduras, was heading to a gardening job with three passengers when ICE officers pulled over the vehicle, according to his brother, Henry Castro.
State and federal authorities said Castro Rivera ran away on foot and was hit by a pickup truck on Interstate 264.
Homeland Security said Castro Rivera’s vehicle was stopped as part of a “targeted, intelligence-based” operation and that Castro Rivera had “resisted heavily and fled.”
Bynum and Lauer write for the Associated Press. Bynum reported from Savannah, Ga. Lauer reported from Philadelphia. AP reporters Ed White in Detroit; Sophia Tareen in Chicago; and Michael Biesecker in Washington contributed to this report.
Lost luggage? Tarmac delays? Rental-car blues? No whining about measly travel headaches with the mother of all bad-trip sagas looming on the big screen.
“The Odyssey,” Christopher Nolan’s epic take on the Trojan War’s fallout, debuts July 17. Spoiler alert, if you somehow avoided Homer in community college: Nobody, save biblical Job, has had more misery hurled at them.
Outflanked by cruel and fickle gods at every turn, legendary Greek hero Odysseus outsmarted a one-eyed giant, suffered through the bewitching Sirens’ song and braved the Underworld’s dead denizens. He battled oversize cannibals, outmaneuvered a witch and lost scores of men at every turn. Then made it back to Ithaca after 10 years only to find his home overrun by suitors wooing his wife.
Hollywood has created a whole franchise around road trips gone wrong. Think of “The Hangover” or “Sideways” or “Little Miss Sunshine.” Screenwriter-director John Hughes perfected the big-screen comedic treatment of travel gone south with classics such as “Home Alone,” “National Lampoon’s Vacation” and “Planes, Trains and Automobiles.”
Let’s not even talk about the “three-hour tour” that left Gilligan and friends stranded on a deserted island for 98 episodes, or how Jack Dawson’s voyage ended aboard 1997’s “Titanic.”
A significant body of evidence even indicates that travel makes us sick. Trip-related problems are so common, in fact, that consumer advocate Christopher Elliott has stitched an entire career out of resolving them — from timeshare scams to horrible airline customer service and beyond.
Still, we keep buying tickets and packing our bags to sail into the great unknown, across Homer’s wine-dark sea. Why? Elliott attributes it to what he terms “traveler’s amnesia.”
“It amazes me that travelers are not up in arms about the way they get treated,” he said. “They take a trip, have a terrible experience, and forget about everything that went wrong and only remember what went right.”
He suggests that avoiding a bad trip starts with choosing companies noted for strong customer service. He cited some name-brand examples: Marriott for hotels,Alaska Airlines, and Enterprise Rent-A-Car. He avoids cruises as much as possible.
Which is funny, because when I think about cruising, I don’t revisit the miserable 36 hours that norovirus confined us in our cabin. I instead recall coasting past a flotilla of icebergs in Alaska’s Glacier Bay.
When I think about Mexico, I don’t wallow in memories involving Montezuma and his gastrointestinal revenge. But I do cherish thoughts of snorkeling with playful sea lion pups.
And when I consider airports, I blot the memory of the woman next to me at Gate 66 who insists on blaring a video call at maximum volume. Instead, wielding my noise-canceling earbuds, Odysseus-like, I plan to smother this screeching sound to preserve my sanity. But before I can insert them, a voice speaks to me.
To all of us, to be technically correct, since it emanates from the speakers of Los Angeles International Airport’s Terminal 6.
“It’s time to play TSA’s favorite game!” says the voice, mimicking a game-show host’s hustle. “You lost it, we found it!”
The speaker explained that someone had left a laptop computer at a checkpoint. The two were reunited moments later, which set my feet in motion, wondering whose voice it was. There at the checkpoint I met Carl Revis, a TSA supervisory officer with a penchant for comedy.
“You don’t have to be a jerk to get things done,” he told me. “I think reaching people through comedy is a lot easier than screaming and yelling at them.”
Taken together, my trip recollections probably qualify me as living proof of Elliott’s traveler’s amnesia theory. The final diagnosis should be clear soon. I’m retiring from full-time work this year, and people inevitably ask what’s next.
It’s not completely clear, I tell them. But I’ll definitely have more time to travel. Maybe sail across the Aegean … what could go wrong?
Netflix is going bite-sized. In a pivot toward the short-form content dominating TikTok and YouTube, the streaming giant announced it will start hosting three- to 20-minute videos from top digital publishers right on its homepage starting Aug. 3.
The streamer said U.S. customers will see “fan-favorite videos” from brands run by digital publishers, including BuzzFeed Studios, Condé Nast, Hearst Magazines, PMX (a subdivision of Penske Media), People Inc. and Tastemade. The videos will cover a variety of topics, including gardening tips, travel and celebrity profiles.
The rollout comes as Netflix competes for audience time from YouTube and social media platforms such as TikTok that have viral videos that can occupy users for hours. By bringing series such as BuzzFeed Celeb’s “30 Questions,” on which celebrities provide answers, or Vanity Fair’s “Lie Detector,” on which celebrities are hooked up to polygraph machines, Netflix users can learn more information about the people they already watch on the streamer, but in shorter videos.
“Members don’t just want to watch a show or film and move on. They want to keep exploring the stories and personalities they love long after the final credits roll,” said John Derderian, a Netflix vice president overseeing the initiative. “These partnerships help us deepen fandom and create more ways for members to carry those stories with them throughout their day.”
Netflix said it will offer licensed archival and ongoing series, including Harper’s Bazaar’s “Burning Questions,” Billboard’s “24 Hrs With” and People’s “My Life in Pictures” that provide an inside look at celebrities.
The videos from digital publishers will also be available to Netflix customers in Canada, the United Kingdom, Ireland, Australia and New Zealand on Aug. 3.
The Los Gatos, Calif., streamer over time has been expanding its library of content, adding games, live programming such as boxing matches and football games, alongside movies and TV shows.
Continuing my summer observations looking back at memorable moments in covering high school sports since 1976, you can’t find a better, more beloved action-packed night than Feb. 24, 2017, at USC’s Galen Center when you got to see two great high school basketball games for the price of one in the Southern Section Open Division semifinals.
Anyone who was there remembers the long lines to get in, the sold-out crowd and drama involving Sierra Canyon against Bishop Montgomery and Mater Dei against Chino Hills.
A woman who previously dated Maine Senate candidate Graham Platner said he drunkenly forced her to have sex after she told him to stop, according to a Politico report released Monday.
Platner denied the allegation and said he would be considering next steps for his campaign.
“Regardless of the inaccuracy of the reporting but mindful of the political reality it will inflict, we’re taking the time to reflect on the best path forward,” he said in a video released on social media.
Jenny Racicot, who lives in Maine, told Politico that Platner entered her home in 2021 while drunk and assaulted her. Racicot said she had been in an on-and-off relationship with Platner, but she cut off contact with him after that night and told him the incident wasn’t consensual. A voicemail left at a number listed for Racicot seeking comment did not receive an immediate response.
An email and phone message from the Associated Press seeking comment were sent to Platner’s campaign on Monday.
“Any accusation of non-consensual behavior is categorically false,” Platner said in his video.
As of Monday, Platner had canceled a handful of campaign town halls planned in Maine.
Several lawmakers and groups that have supported Platner, including Sen. Bernie Sanders and the organization he founded, Our Revolution, as well as Rep. Ro Khanna, did not immediately respond to requests for comment.
Khanna has supported Platner through several scandals but said last month on CBS’ “Face the Nation” that “if there was evidence of violence, I would not support him. If there was evidence of sexual assault, I’d have zero support for him.”
Platner secured the nomination to become Maine’s Democratic Senate candidate last month, but state law does include a provision for Democrats to replace him ahead of the general election.
According to the statute, party officials may select a new nominee if a candidate who won the primary withdraws by 5 p.m. July 13. The replacement candidate must be named by July 27.
The Associated Press generally does not name victims of sexual assault, but in this case Racicot spoke in an interview with Politico.
The Autry’s current exhibition,“Life, Liberty, and Los Angeles” is an excellent show that takes a deep regional dive pegged to its 250th American anniversary programming. Of all the pieces, See Lee’s meticulously stitched “Hmong Story Cloth” (circa 1980) is a poignant chronicle of making the journey to an unknown future in the United States. Utilizing the traditional paj ntaub embroidery format, the textile documents Lee’s family fleeing war-torn Laos and resettling in Long Beach during the 1970s. The narrative unfolds in sequential sections depicting military violence at a chaotic crossing of the Mekong River; lower panels remember Thai refugee camps, a rescue airplane and a Greyhound bus. This visual testimony shares striking cross-currents with Latin American arpilleras and paños Chicanos, linking disparate diasporic traditions through the shared language of quietly political, deeply personal needlework — in this case, preserving a crucial chapter of Southeast Asian migration to Southern California.
A post-game fireworks show went awry at BMO Stadium on Friday night, when fireworks set off on the playing pitch sent flares streaming into the stands, forcing fans to scatter to safety.
Angel City FC played the Orlando Pride at BMO Stadium, coming back from a month-long break to win the match 2-0. But it was the promised post-game fireworks celebration that made the biggest splash.
Videos of the pyrotechnics display show the pitch filling with tall showers of sparks and dense smoke as dozens of fireworks launched upward. At what was to be the climactic finale of the show, however, fireworks began to take off horizontally, headed into the half-filled stands.
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From her club seat with her friends, season ticket-holder Jade Greenhut captured the center circle spectacle. She said she took out her phone and started recording after the first errant missile from the fusillade sped directly toward the Angel City team bench.
“Oh my god!” a woman’s voice on Greenhut’s video screams as at least two fireworks launched into the stands nearby, sending fans scrambling to get clear. Two more fireworks bounded across the field and into the stands. Off-camera, a man says, “Everybody’s running!”
A spokesperson for the soccer club said the organization had no information “of any serious injury” from the wayward pyrotechnics.
“A third party vendor was hired to facilitate the pyrotechnics,” said Stephanie Rudnick, head of communications for the Angel City Football Club, from her home in Australia.
“A fireworks malfunction did occur during last night’s post-match celebration at Angel City FC’s game vs. Orlando at BMO Stadium,” the team said in a statement to The Times. “Our medical and safety teams were on site and ready to respond. Stadium operations confirmed the venue was secure and guests, staff, players, and crew were able to depart safely.
“We are working closely with our pyrotechnics vendor to review the incident and evaluating appropriate next steps.”
Greenhut was nonplussed about the post-match mayhem. She said many fans had already left in the 20-minute interlude between the end of the game and the fireworks show, leaving the stands relatively empty and reducing the likelihood of injuries.
The air was already clearing by the time the stadium was evacuated. Her ticket ambassador approached her afterward to apologize. “He was like, ‘We did this for the [Los Angeles Football Club], and everything was fine,’” she said. “I don’t blame them at all.
“Honestly, the game was great. We played phenomenal,” Greenhut said.
But perhaps next time, she said, Angel City could go with drones.
Former NFL running back Chris Johnson has issued a challenge to his family, friends and fans — one that could quite literally send a chill down the spine of those who remember a certain viral trend from more than a decade ago.
A quick refresher: A social media sensation went viral in 2014, involving people posting videos of themselves having a bucket of ice water poured over their heads and challenging others, by name, to do the same.
The trend was often referred to as the ALS Ice Bucket Challenge because many folks used the videos to raise awareness for and funding to help fight the degenerative neurological disorder amyotrophic lateral sclerosis, commonly known as ALS or Lou Gehrig’s disease.
Johnson, a three-time Pro Bowl selection who holds the NFL record for most yards from scrimmage in a single season, on Tuesday revealed on “Good Morning America” that he has been diagnosed with ALS. Soon after, former Utah basketball player and sports content creator Hunter Mecum posted a video on Instagram in which he dumped a large bowl of ice water on himself in Johnson’s honor.
That video inspired Johnson to bring the movement back.
“Man… the love y’all have shown me these last few days really [means] more than you know. Me and my family appreciate every prayer, message and every bit of support,” Johnson wrote on Wednesday on Instagram.
“After seeing @huntermecum video, I’m asking y’all to help me with something. Let’s bring back the ALS Ice Bucket Challenge. Grab a bucket, challenge 3 people and if you can, donate to help fund ALS research.”
Johnson included a link in his bio to a fundraiser for ALS research set up in his honor. As of Thursday morning, it had raised more than $32,000.
The retired player known as CJ2K also called on three people to accept the ice bucket challenge — ex-Tennessee Titans teammate LenDale White and fellow former NFL greats Marshawn Lynch and Adam “Pacman” Jones.
So far, White and Lynch have accepted Johnson’s challenge. Lynch, the former star running back for the Seattle Seahawks and Oakland Raiders, obliged by getting hailed on by a bucket of ice.
White, who was Johnson’s “Smash and Dash” counterpart in the Titans backfield, took the traditional ice water route and nominated former NFL players Deion Sanders, Vince Young and Michael Sims-Walker, who was on hand at the time and accepted the challenge in a separate video.
Johnson also posted a video of his daughter Honey Love taking the challenge, with White handling the ice-bucket duty. She nominated her brothers and former Lakers superstar LeBron James.
James hasn’t yet responded, but he was one of the many celebrities who took part in the original challenge 12 years ago. Others included Kobe Bryant (who submerged himself in an ice tub), Shaquille O’Neal (who humorously poured one drop of water on his head) and Donald Trump (who joked he was nominated because “they want to see whether or not it’s my real hair, which it is”).
An Israeli attack on the al-Mawasi camp in Khan Younis has killed several people, including a mother and her child. More than one hundred tents belonging to displaced Palestinians were also destroyed.
Another former bombshell has apologized for past use of a racist slur that got her ousted from the villa.
Fired “Love Island USA” contestant Alannah Keyser posted a video to TikTok on Saturday addressing a past video that showed her using the N-word as she sang along to the Roddy Ricch song “The Box.” On Friday, Peacock confirmed to The Times that Keyser had been dismissed from the hit reality dating show after the resurfaced video began circulating online.
“I do want to begin by addressing the video of me singing along to a Roddy Ricch song that contains a racial slur,” Keyser says in her video. “I’m sorry to whoever has seen that video and has been offended by it; that was never my intention. The video is from six years ago, and that word is just not in my vocabulary anymore.”
A USC film student from Miami, Keyser also addressed some of the other social media chatter about her that had been making the rounds prior to her dismissal. Included were accusations of racism due to screenshots of her alleged use of the racist slur on Snapchat and Instagram as well as observations that alleged she had interacted less with Black men on the show.
She said those screenshots had been “falsified.”
“What has been shared does not reflect the truth, and it’s never been in my character to discriminate against anybody’s skin color,” Keyser said. “I do want to say directly that I do not support racism or discrimination of any kind, and I never have.
“When I first found out that these things were going around online, it really broke my heart, and I couldn’t do anything about it. But this has definitely been a learning lesson for me, and it sucks that I didn’t get a chance to really show my personality and who I am,” she added.
In the caption of her TikTok video, Keyser wrote that “reality tv is HEAVILY edited & [her] chats/kisses with the other boys were unfortunately not aired.”
Keyser was the second “Love Island USA” contestant who was dismissed from the show this season after video of them using the N-word surfaced on social media. Earlier this month, Peacock axed Oregon-based beauty technician Vasana Montgomery just days after it announced its slate of Islanders for the show’s eighth season. She has since apologized, saying, “There is no excuse” for her use of the slur.
Last year, contestants Cierra Ortega and Yulissa Escobar were dismissed from the show for their use of racist slurs. Ortega had been caught repeatedly using a derogatory slur for Chinese people (and Asian people in general) on social media, while Escobar had used the N-word in a couple of podcasts. Both have since apologized.
It seems “Love Island USA” producers pulled one bombshell aside for a chat, one that has led to her firing from the hit reality dating series.
Contestant Alannah Keyser’s time in Fiji has officially come to an end as she faces backlash for apparently using a racial slur in a video and social media comments that recently resurfaced on social media. “Love Island USA” streamer Peacock confirmed to The Times on Friday that Keyser, a film student at USC from Miami, will no longer appear on the series. She is the second contestant Peacock dismissed this season over a racial slur scandal.
Keyser made her “Love Island USA” debut last week as one of the six women hopeful to strike up a connection with the male contestants in Casa Amor, testing the men’s relationship with their partners back in the villa. Keyser appeared to pair up with contestant Zach Georgiou. In her debut episode, she informed Georgiou she had a brief romance with his older brother Charlie, a previous “Love Island USA” contestant.
“Love Island USA” parted ways with contestant Alannah Keyser after she used a racial slur in social media comments and posts.
(Ben Symons / Peacock)
She faced allegations of racism amid her first “Love Island USA” episode when a social media user surfaced screenshots of Keyser allegedly using the N-word on Snapchat and Instagram. A user on X (formerly Twitter) also published video of Keyser seemingly saying the slur as she sings along to Roddy Ricch’s “The Box” at a party. Some viewers — and other contestants on the series — also observed that Keyser interacted less with the Black men on the series in her debut episode.
A source familiar with “Love Island USA” production said the controversial video and posts only became public on social media after Keyser’s first episode and that the posts were not viewable during the series’ vetting process. Peacock confirmed Kesyer’s firing hours after the U.S. Sun reported her exit and minimized screen time. “Producers were disappointed and embarrassed that this has become another mishap,” a source told the outlet.
Keyser did not immediately respond to a request for comment via social media.
Keyser is the fourth “Love Island USA” contestant in two years to face scrutiny for her past use of racial slurs. Earlier this month, Peacock pulled beauty technician Vasana Montgomery from its Season 8 lineup before the season started. Last year, contestant Cierra Ortega prematurely left the villa as she faced criticism for her past social media posts that included a slur for Chinese (and, more generally, Asian) people. A month before that, contestant Yulissa Escobar was dismissed by the season’s second episode amid social media outcry over her use of the N-word.
Those three contestants have since publicly apologized for their posts.
Weekly insights and analysis on the latest developments in military technology, strategy, and foreign policy.
For a Boeing 777 cargo jet pilot we spoke with, the viral video of a 777 making a freakishly low pass and sharp bank over a Texas airfield was a “shocking” sight to see.
“Shocking, yes,” exclaimed Steve Jones, a former Navy MH-53E Sea Dragon pilot who now flies 777s for Atlas Air. “‘Jesus Christ!’ or ‘holy shit!’ come to mind, but shocking will do.”
Jones was reacting to a 37-second video clip of the jet – painted in Qatar Airways Cargo livery – flying over the runway at the Horseshoe Bay Private Jet Center in Horseshoe Bay, Texas. At about the 12-second mark, the jet makes a sharp bank to the right, placing the right wing tip just above the ground before gaining altitude and flying off.
Que raso!
Um 777-200LR(F) que está em processo de preparação para entrega para a Qatar foi visto dando esse rasante espetacular sobre o Horseshoe Bay Resort Jet Center, no Texas!
Jones estimated the jet was flying about 50 feet off the ground during the ‘flat’ part of its flyby and traveling at between 210 and 220 knots.
“It looks like the flaps and slats are up,” Jones noted.
The exact altitude and speed are unknown.
“Two things came to mind,” Jones said after watching the video. “The pilot is probably very good, or lucky, because he was extremely low, and you can see that the right wing tip got pretty close to the ground. You can’t even see the wings from inside the cockpit. You’re looking at somewhere like a 212-foot wingspan.”
Inside the cockpit, “there’s a lot of warnings the crew has to either disable or ignore,” the 777 pilot said. “For example, there’s a ground proximity warning. There’s a configuration warning – not only the ‘whoop whoop’ sounds, but also there will be audible signals saying that, ‘you’re close to the ground, pull up, pull up.’ The sink rate alarms would be going off. All those things are going on. There are some things that you can disable that will prevent those things, but not all of them all at once.”
Boeing 777 Cbt #63 Crew Alerting System Ground Proximity Warning System Gpws
“That’s a pretty great video,” Jones proffered, “but not a smart thing to do.”
The reason, he said, was that “the plane is not designed” to fly like that. “A wind gust in the wrong direction, or a judgment on his actual altitude and height could have been off. It’s a lot of airplane that close to the ground going at those speeds.”
Asked how difficult it could have been for the pilot to pull off such a maneuver, Jones told us that the aircraft is very forgiving.
“The Triple Seven is a very easy airplane to fly… It’s very gentle on the controls. It’s a well-designed airplane to be able to fly at altitudes and take off and landings, but not to fly extended periods low-level over the ground. You’ve got engine pods hanging down, long wingspans.”
“I’ve never flown that aircraft in that particular configuration that low, but I imagine that it is not necessarily difficult to fly. It comes down to ‘just because you can, doesn’t mean you should.’”
Boeing 777 Freighter
Jones, who has about 850 hours in a 777, said that he would not want to be on a flight like the one seen on the video.
“If I was the co-pilot or first officer flying that situation, I wouldn’t have been comfortable, and I would have said ‘I’m not comfortable with this,’ and try to put a stop to it, but again, I don’t know the circumstances around it, so I can’t speculate, but with two brains, sometimes three or four brains in the cockpit, usually the voice of reason will come up between other folks.”
Things would not go well for him if he were captured on video flying like this, Jones acknowledged.
“I would lose my job,” Jones said with a laugh. “I don’t even know if they would ask why I would do it. I would just probably lose my job.”
Steve Jones flying an MH-53E Sea Dragon. (Courtesy Steve Jones)
There are other factors to consider when it comes to official reactions to this flight, Jones said.
“What I don’t know is if that particular pilot had authorization to do so,” he stated. “So it could have been authorization from the tower, authorization from the company, or whatever, in order to create something like that. But knowing how the industry is, if there were no prior permissions or authorization, that pilot and that crew will probably lose their jobs.”
FAA records show the jet, N-705DN, is registered to Jetran LLC, an aircraft leasing and service company with an address at Horseshoe Bay. We have reached out to them for more details about the status of the aircraft and why it was flying so low. However, the company reportedly released a statement saying that the low pass flight “does not reflect operational standards” and the aircraft was going through “a pre-delivery test flight” before being turned over to Qatar Airways.
Jetran was also quick to point out that “the pilots on board were not Qatar Airways pilots.”
While the statement about the Boeing 777 low flyby has been issued by Jetran, I can’t help but feel that Qatar Airways had a big say in its content. Ouch! pic.twitter.com/FlHrnNJbnV
Qatar Airways Cargo “has an agreement with Jetran for five aircraft. DHL and Ethiopian Airlines are also due to take delivery of the aircraft in the future,” according to Aerospace Global News.
“As the launch customer for the 777-200LRMF, this milestone marks an important moment for both Mammoth Freighters and Jetran,” Jordan Jaffe, CEO, Jetran, told the publication in April. “From the outset, we have had strong confidence in the Mammoth engineering team and their vision for the program.”
The aircraft is a former Delta Air Lines 777-200LR that was converted to freighter configuration by Mammoth Freighters, according to FlightRadar24.
“Mammoth Freighters has been made aware of a video circulating on social media showing a low-pass flight of a Mammoth-converted 777 freighter aircraft in Qatar Airways livery,” the company said in a statement on its website. “Mammoth is not the owner of the aircraft and Mammoth was not in control of the aircraft at the time of the maneuver. The current owner (which is not Qatar Airways) was in control of the aircraft at the time of the maneuver. The aircraft is in its final stages of preparation prior to delivery to Qatar Airways.”
“While the aircraft is painted in Qatar Airways livery, it was not owned or operated by Qatar Airways, did not carry a Qatar Airways registration, and the pilots on board were not Qatar Airways pilots.”
The FAA told us “it is aware of reports about this event and is looking into it.” We have also reached out to Qatar Airways and Horseshoe Bay Private Jet Center.
Fly Direct to Horseshoe Bay Resort
As to why anyone would authorize a flight like that, Jones shrugged.
“This is a cargo aircraft. It has a job to move cargo from Point A to Point B, not to create videos for Instagram,” Jones scoffed. “From a company standpoint, I don’t know their policies, but I can imagine a company with a $300 million aircraft and the insurance that goes along with those aircraft would not allow such a flight to happen unless they authorized it.”
What reason that would be is unclear.
“Sometimes you see manufacturers like Boeing or Airbus do a demonstration at the Paris Air Show, where you’ll see a steep takeoff or a climb or a low pass,” Jones said. “I’ve never seen one that low before, even at an air show.”
Speaking to us at a layover in Luxembourg, Jones said that so far, he hasn’t heard much buzz from the 777 pilot community about this video, but expects that to change.
“Give it a few hours or a couple of days and I probably will,” he said.
Richard Montoya of Culture Clash doesn’t mince words when it comes to politics, current events or the state of mainstream Hollywood. But he does sugarcoat his technological limitations as a 67-year-old comic in the dreaded age of video calls with a punchy Chicano twist.
“I’m a low-tech Aztec,” he writes via email when requesting a Zoom link to our Monday interview.
Culture Clash — which includes members Montoya, Ric Salinas and Herbert Sigüenza — arrived on the scene as a guerrilla sketch theater group from the San Francisco Mission District in 1984. By that time, the Chicano movement had reached its peak, thanks to the United Farm Workers labor movement, as well as student activist organizations like Movimiento Estudiantil Chicano de Aztlán (MEChA), which advocated for Chicano unity, political empowerment and educational access.
Luis Valdez, founder of El Teatro Campesino — who began putting on social justice-oriented plays for the striking Delano farmworkers in 1965 — backed the slapstick satire troupe, considering the trio “the cutting edge of fresh, new Latino comic genius.”
Culture Clash stood out in a time when Chicanos became more vocal and visible — and its members challenged an entertainment industry that has historically lacked Latino representation. Between 1993 and 1996, Culture Clash hosted its own self-titled TV show on the syndicated Fox network. The show, which was filmed at the Mayan Theater in downtown Los Angeles, is widely considered the first Latino sketch comedy to air on American television.
Throughout the last four decades, Culture Clash has parodied nearly every prominent Latino figure in history, including Che Guevara, Frida Kahlo, Ritchie Valens, Rita Moreno, Edward James Olmos and others. Its members have mocked hard-shell cholos and gangsters, often by placing them in funny scenarios. For instance, take this clip, in which the trio take on cholo characters and reimagine what it would be like to surf on the Southern California shore.
But they’ve also taken on more serious topics in their classic “Chavez Ravine” play, which looks into one of the darkest chapters in L.A. history: the forceful removal and displacement of families, mostly Mexican, in the 1950s under eminent domain. Recently Montoya attended a live reading adapted by Somos El Teatro, led by Xolo Maridueña, Mariana da Silva and Angel Villalobos at Elysian Park.
“It gives us so much life that people are finding the issues of swindlers, whether it’s gentrification, the taking over of settlements,” says Montoya. “The generational trauma of losing your home in L.A. has never gone away.”
But not every Culture Clash joke or skit has been safe from criticism. Montoya still remembers how a conservative pundit chastised the group for using light humor to discuss the 1992 riots, when LAPD officers were acquitted for using excessive force in the arrest and beating of Rodney King.
“By looking at it and treating it as dynamite, exploding it and then by bringing some levity and a whole lot of seriousness to the Rodney King matter allows us a moment, a fraction of time to look at the issues a little bit differently,” says Montoya. “That laugh allows us a moment to examine it differently.”
On June 27, Culture Clash will return to Grand Performances, a free summer concert series at California Plaza in downtown L.A., with comedic sketches colored by political and social satire. The show, titled “American Payasos! Culture Clash’s End Times Cabaret” will be co-presented with De Los.
While their 40-year-plus legacy might merit a show reminiscent of old goofball skits — like their early 1989 show “The Mission” that poked fun at the problematic Spanish Franciscan missionary Junipero Serra — this will not be an “oldies but goodies show,” as Montoya put it. “We are highly pissed off about a lot of stuff right now.”
“ We’re thinking a lot about the Mexican American patriarchy, Cesar Chavez, Dolores Huerta and it’s time to address some of these things,” says Montoya. “ We want to look at the service workers of Los Angeles, the people that sell cotton candy in MacArthur Park, the people that sell ice cream in Echo Park and the people working the World Cup.”
For the veteran comic, son of the late Chicano poet Jose Montoya, it is also impossible to ignore the immigration enforcement raids that have rattled Los Angeles communities in recent years.
“This is a very strange moment for satirists,” says Montoya. “We have a responsibility to use those tools to say what’s going on in our city and country and provide these moments where we can do a little bit closer examination because the people in power aren’t telling us what’s going on.”
In the last five years, Montoya has fiddled around with digital media, creating sporadic videos featuring old clips of the troupe, as well as videos of Latino media, to connect with technologically diverse audiences of all ages. (One example is a video calling on people to get out the vote, that features clips of Speedy Gonzales and honors political figures like Huerta.)
Although Montoya believes Culture Clash is nearing the end of its career, there’s a question lingering inside his mind: What does a graceful exit look like for a group like Culture Clash, which has never been fully integrated into mainstream Hollywood and still left such a profound legacy in the world of Latino entertainment?
The answer to that might still be unknown, but like any Culture Clash project, it will likely be wickedly satirical and punchy. Says Montoya: “We’re ready to go out with a huge, loud bang that can say something against the power structure.”
Culture Clash will take center stage on June 27 at Grand Performances, in partnership with De Los. Also performing is the retro cumbia-quebradita musician É Arenas (bassist of Chicano Batman), the cumbia-fusion, luchador-masked cumbia group La Nueva Ola de Cumbia, as well as DJ Dali.
Becky Hill has hit back at a booing crowd during her surprise festival set as she addressed a viral videoCredit: InstagramThe pop star, 32, was savagely booed at the weekend after she vowed to play only new songs at her secret set at TRNSMTCredit: Unknown
Speaking about the viral video that showed the crowd, she has now said: “Getting booed is not nice.
“I haven’t found a single one of these easy, it’s really upsetting.
“Because I love this job and that’s not making me love it as much as I usually do.”
Speaking directly to the camera she added: “I wanted to bring a new and exclusive thirty minute set of brand new music to a festival crowd unannouced.
Becky said getting booed was not nice and that it was upsettingCredit: InstagramShe wanted to bring a new and exclusive thirty minute set of brand new music to a festival crowdCredit: Michael SchofieldHowever the crowd wanted to hear her hitsCredit: GettyBecky explained she was not a jukebox and needed to create new songsCredit: Getty
“I thought it would be a great opportunity to play the new music I’ve been working so hard on.
“And I personally love so much.”
She then thanked the team at the festival for giving her that stage and also the crowd of people who you stayed and danced with her right until the very end.
She added: “It was amazing to have such a captive audience who wanted to hear the new stuff too.
“I said on stage how difficult it is to transition into a new single, and new music and new albums.
“And all this conversation online is exactly what I meant.
“I’m not a jukebox, I’m an artist and the tickets at TRNSMT were not sold with my name as part of the line-up.
“And I wanted to do something new, artistically driven.”
Becky explained that she doesn’t normally get the opportunity to do that much in her career.
She added: “But trust me when my name is on the poster I will always sing the tunes that people know and love.”
“I feel really grateful to have those records in my catalogue,” she explained.
The singer concluded that in order to have a long career she needed to have new music and thanked those that stayed to listen to her.
The pop star has no shortage of hits to choose from, with 19 top 40 singles, six top 10s and a number one to her name.
“After a few years of contemplating whether I wanted to continue chasing a dream I had as a little kid, I have decided to go for it,” Ohashi wrote. “I’m taking it one day at a time; one skill, one event, one dream. I don’t have any regrets in my career and I want to be able to continue saying that no matter what happens. So here goes nothing!”
Katelyn Ohashi accepts the trophy for best play during the 2019 ESPY Awards at Microsoft Theater in Los Angeles.
(Kevin Winter / Getty Images)
Ohashi thanks Pacific Reign Gymnastics, a U.S. national training center in Woodinville, Wash., “for taking a chance on me.” Her post also includes a video of herself at the gym performing a couple of floor skills — with her signature broad smile across her face. The clip uses the same audio of a phone buzzing and ringing as the video Serena Williams posted earlier this month to announce her return to competitive tennis.
Also on Tuesday, Pacific Reign posted on Instagram several photos of Ohashi working out at its facility, along with the caption, “Queen Kate trains to reign.” The gym also announced on its Instagram Story that Ohashi would compete Saturday at the American Classic event in Minneapolis.
Little else is known about Ohashi’s comeback plans. The Times reached out to an agency that represents the gymnast but received no immediate response. Pacific Reign referred questions pertaining to Ohashi to the same agency.
Born in Seattle, Ohashi made her senior elite gymnastics debut at the 2013 American Cup, where she outscored U.S. teammate Biles for all-around gold. Later that year, Biles would win the first of her record six world championships in the all-around.
Ohashi became a fan favorite while competing for the Bruins from 2015 to 2018. She earned nine perfect scores on the floor and two on the beam, with video from a January 2019 floor routine reportedly garnering 240 million views across various platforms (including a repost from future Vice President and Democratic presidential candidate Kamala Harris).
The same routine won Ohashi two 2019 ESPY Awards, for best play and best viral moment.
In 2018, Ohashi was the co-national champion in the floor exercise and helped the Bruins win their seventh and most recent NCAA title. The 10-time All-American last competed in the 2019 national championships, where she placed third on the beam and helped UCLA finish third in the team competition.
She’s back!!! Two-time NCAA champion @katelyn_ohashi will be competing in this weekend’s American Classic, marking her return to elite gymnastics after 13 years!
Perrie Edwards shared a behind-the-scenes wedding video of herself dancing with her bridesmaidsCredit: TiktokPerrie looked like she was having a great time with her six bridesmaids in a new TikTok videoCredit: Tiktok
For her big day, Perrie had six bridesmaids which included her sister Caitlin, her cousin Ellie, twins Lucy and Lydia Connell, manager Sam Cox and dancers Claude and Renae.
In a video shared on TikTok, they were first seen all dancing by the pool in their matching white pyjamas to Girls Just Wanna Have Fun, by Cyndi Lauper.
Then in a quick transition, which saw Perrie go towards the camera and flash her HUGE engagement ring, the camera zoomed out to show the star now in her stunning wedding gown.
The singer was then seen dancing on a staircase with her bridesmaids, who are now wearing blue satin gowns.
Lil Nas X says he feels “less fear in my heart” as he opens up about receiving treatment for bipolar disorder and moving forward from the mental health episode that landed him in hot water with law officials last year.
The Grammy winner (real name Montero Lamar Hill) addressed last year’s events in a video Wednesday morning on Instagram. Lil Nas X, 27, informed fans that he has been in a rehab program “for a few months,” spending time with family in Atlanta and with friends in Los Angeles. Since last year’s incident, the singer said he has been focused on “trying to ground myself down to Earth and get out of my head.”
Lil Nas X was hospitalized and arrested in August after he was seen strolling in only his underwear and white boots through Studio City, eventually shedding those items as the night progressed. The singer received treatment at a nearby hospital for a possible overdose but was accused of assaulting police officers.
He was charged with four felony counts: three counts of battery with injury on a police officer and one count of resisting an executive officer. Police accused the singer of assaulting the officers who were trying to take him into custody. Lil Nas X pleaded not guilty to all those counts.
In Wednesday’s video, Lil Nas X explained that he has also started seeing a therapist and psychiatrist to help address his mental condition — one he initially refused to accept. The singer, smiling and standing against a blue sky in his video, told fans that he was hesitant to take medication that would help address his bipolar disorder and joked that living with mental illness would add more to his plate: “I mean I’m already Black and gay…I’m like already living life on extreme hard mode.”
According to the Depression and Bipolar Support Alliance, bipolar disorder is a treatable mental health condition marked by extreme changes in mood, thought, energy and behavior. Manic episodes, marked by elevated changes in mood or behavior, are a symptom of the condition. People with a bipolar disorder diagnosis more commonly experience depressive episodes.
Lil Nas X spoke candidly about his diagnosis months after a Los Angeles judge in April granted the “Industry Baby” and “Old Town Road” singer’s motion for diversion, ordering the musician to enter a two-year mental health program. TMZ reported at the time that the musician would be cleared of his four felony counts if he complies with treatment and commits no other crimes.
The singer assured fans on Wednesday: “I’m doing better, I’m feeling better, I’m creating freely and there’s less fear in my heart and I’m just like smelling the roses.”
He also reflected on his career thus far — he quickly ascended to fame in 2019 with his viral hit “Old Town Road” — and teased that new music is on the way. Lil Nas X concluded his video by thanking fans for their support and for “holding it down.”
“I love you, and all I wanna do is continue to try to make you proud and make myself proud,” he said. “Let’s go dreamboy, let’s go.”
She was stopped as she was about to board a plane to leave the country
A still image of the video in which she reportedly criticised local law enforcement as well as general driving standards
A woman has been arrested after reportedly posting a negative video about her holiday. Yass Naubelle was intercepted by border authorities on Saturday, June 13.
The influencer was placed in police custody just moments before boarding her flight back to her home country France. The 30-year-old content creator published a viral video that reportedly criticised local authorities – sparking hundreds of comments online.
The French-Algerian influencer reportedly slammed her holiday experience in Marrakech, Morocco. She allegedly criticised local law enforcement as well as general driving standards in the North African country.
Airport police at Marrakech Menara Airport executed the border stop as Yass prepared to clear security checkpoints for her return flight to France. Yass, founder of the Naubelle skincare line, was arrested under a national warrant after Moroccan authorities deemed her clip “defamatory towards Moroccan citizens” and “outraging to the forces of order”.
She was placed in police custody “to determine the real motivations behind these criminal acts”. State investigators confirmed she is being held on suspicion of publishing defamatory and insulting digital content directed toward citizens and undermining a public institution.
In the now-deleted video, filmed during her short break in Marrakech, she reportedly described the roads as chaotic. “I’ve never seen people drive like this. It’s super dangerous – cars, mopeds without helmets, with children on board, swerving suddenly,” she reportedly said.
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When comparing the driving standards to Algeria, she reportedly said: “It’s less bad than here”. She also accused some traffic police officers of stopping women “for nothing” in order to extract money, it is claimed.
The content quickly triggered a national alert, leading to her interception at the airport. Yass, who has more than 20,000 TikTok fans, currently remains in custody in Morocco. No formal charges or court appearance details have been publicly confirmed beyond her initial arrest.
Marrakech, a popular destination for European tourists including many from France, relies heavily on holidaymakers but has seen occasional controversies involving social media content. British travellers to Morocco are advised to remain cautious with social media posts about local conditions as the authorities have reportedly acted swiftly in similar cases.
UFC middleweight champion Sean Strickland was escorted out of a UFC Freedom 250 fan fest near the White House on Sunday evening for his own safety and the safety of other attendees, according to the U.S. Park Police.
Strickland was not on the card for the UFC event held on the White House South Lawn in connection with a summer-long celebration of the nation’s 250th anniversary. Instead, the 35-year-old fighter attended a viewing event on the Ellipse, causing a stir among fans as he eventually entered a wrestling ring set up in the area.
“At approximately 7 p.m., the U.S. Park Police received report of a disturbance within the UFC event,” the agency said in a statement emailed to The Times. “The unplanned presence of Sean Strickland drew significant attention from attendees, resulting in disorder. Due to concerns for Strickland’s safety and the safety of event patrons, personnel from the U.S. Marshals Service, U.S. Park Police, and other assisting agencies evacuated him safely from the area.”
In videos posted to his Instagram Story from, during and after the incident, Strickland states he “might be going to jail” and “may have been charged with disorderly conduct.”
However, the Park Police said that is not the case.
“Strickland was neither cited nor arrested in connection with the incident,” the agency said. “However, he was advised not to return to the venue for his own and public safety. USPP escorted him to his hotel without incident.”
Strickland was once a supporter of President Trump but has become a vocal critic over such issues as the Jeffrey Epstein files and the war with Iran. Still, he had expressed interest in attending UFC Freedom 250, which took place on Trump’s 80th birthday, but has said on X that the UFC told him he “wasn’t cleared by the white house.”
UFC president and chief executive officer Dana White has said that nobody, including Strickland, was banned from the event.
On Saturday, Strickland posted on X that he wanted to attend the fan fest on the Ellipse.
The next day, he posted a video on Instagram that shows him doing just that. Apparently filmed by the MMA star as he was being led through the crowd by another man (Strickland later said on X that a fan “snuck me in”), the video shows Strickland trying to avoid being recognized until getting to the ring.
Once there, however, he basked in the attention of a large crowd that chanted, “U-S-A! U-S-A!”
Strickland also posted a photo to Instagram of himself being escorted barefoot out of the event, with the caption “NOT AMERICAN ENOUGH.”
In this week’s episode of The Envelope podcast, Riz Ahmed talks about drawing on his own experience for “Bait,” his Prime Video series about a British Muslim actor whose life is upended when he’s rumored to be the next James Bond.
Kelvin Washington: Hello, everyone, and welcome to the next episode of The Envelope. Kelvin Washington, Yvonne Villarreal, we have Mark Olsen. And Mark, I’ll stay with you for a second. You had a chance to speak with Riz Ahmed, who is the creator and the star of “Bait,” which centers around the idea of who could be the next James Bond. So then, dang it, I’m asking you two the same question: Who could be, should be the next James Bond? Is there somebody or somebodies that you’ve thought about for a while and said, “Well, that would fit, that could work”?
Mark Olsen: It was recently announced that they have begun the casting process to replace Daniel Craig in the beloved and long-running James Bond franchise. And there have already been at least one sort of confirmed person, the actor Tom Francis, auditioned. But then there’s a lot of other names being thrown around, like Callum Turner, Jacob Elordi, Aaron Taylor-Johnson. Kind of everybody about that age bracket you could think of. You know, it’s funny, in the last movie, “No Time to Die,” Lashana Lynch was given the number 007, so she was not James Bond, but she was 007. And I always thought, actually, in the last couple of movies, that Léa Seydoux would make a perfect [00 agent] — she’s cool, she feels kind of dangerous. She would have seemed to me like a great person for that kind of role. But then also, that’s obviously not James Bond. So who knows who it could be. Yvonne, what do you think? Do you have anybody in mind?
Yvonne Villarreal: Can it be a toss-up between you two? How would you fare?
Olsen: I don’t know if I’d pass basic training.
Washington: They have doubles, OK? They got stunt doubles and CGI and AI for all of that and for you, OK.
Villarreal: It’d be like the Leslie Nielsen version.
Washington So it’d be like 007 with a question mark: 007?
Villarreal: More seriously — not that I don’t take you two seriously as candidates — I would throw my enthusiasm around Jonathan Bailey or Damson Idris.
Washington: I’m gonna one-up your Idris and just go [with] the obvious, Idris Elba. It’s been sitting there for the last 15 years or so.
Villarreal: That’s why I didn’t [say that], because I’m like, “It’s been sitting there and they still haven’t.”
Washington: But sometimes it just makes sense. Sometimes it’s just sitting smacking you in the face, or shooting you with a silent 9mm — whatever he uses, James Bond. It just makes sense, and to be honest, it’s one of those, he’s probably passing [on the role] because you wanna have a franchise you can hold on to for 20 years with a particular actor, give or take, and he seems like he’d be probably too senior for that at a certain point. The podcast, the conversation behind what really happened there is going to be fascinating because, to your point, it just seems like the momentum was building for it and it didn’t happen. So it would be interesting to hear what actually comes out of that. But those are my are my guesses right there.
All right, Mark, you had a chance to speak with Riz Ahmed, obviously the creator and the star of “Bait.” Fascinating to me, just the concept of the show as a whole.
Olsen: Riz Ahmed is someone who, he’s so thoughtful about his own career, but also his place in the world. And so he does such a great job with this show and taking this idea of like, “Could an actor like Riz Ahmed, could he be James Bond? Should he be James Bond? Why not?” And so the show is just so thoughtful and finds all these really inventive ways of exploring that idea. He’s playing a little-known actor who it becomes public that he’s auditioned for the role and that throws his whole life into tumult both within the industry, with sort of like online hate towards him, but then also with his own family. And the show is also meant to be kind of a real love letter to the South Asian communities of London. Riz in the conversation talks about how they went out of their way to shoot in parts of London that you don’t normally see. So the show, it’s just so inventive and fun in a lot of really terrific ways.
Washington: Well, let’s hear more of your conversation with Riz now.
Riz Ahmed.
(Christina House / Los Angeles Times)
Mark Olsen: On the show, you play an actor who auditions for the part of James Bond. It leaks to the press, and then his whole world turns upside down. For you, is the premise of the show predicated on the idea that someone like you would never get that part, or is it that, of course you should get that? Which end of the telescope are you looking at it from?
Riz Ahmed: Kind of neither, really. The premise of the show was something a bit more emotional than that. The James Bond thing came right at the end, to be honest, of the creative process. Really, the heart of the show is the idea of auditioning. James Bond really serves as a symbol in the show, a symbol of aspiration, pinnacle of achievement in this industry and also of alpha masculinity and all this kind of stuff. And so it’s really the idea of trying to be that guy, which on some level, we’re all trying to be this kind of preferred version of ourselves, right? We’re all performing. We’re actually all always auditioning. So it’s about that feeling, [which] I think extends outside this industry. We’re doing that on LinkedIn or social media, on this podcast right now. We’re performing a version of ourselves. When actually the true version of ourselves is kind of messy, chaotic and vulnerable. So it’s that distance between the public and private self that I was really interested in, and James Bond just served as an aspirational symbol of that public way that you would love to be seen.
Olsen: But Bond, because of the specific cultural baggage that comes with that franchise, did you feel like it fit thematically with what you were trying to do?
Ahmed: Oh, perfectly. It was a godsend. It was like one of those moments where it’s like, “OK, so we want to do something about, like, aspiring to be anything but yourself. We want to do something about feeling like life is one big audition, but we need something that encapsulates success and cultural acceptance.” And it was like … Of course: Bond. And because the process of making this show was one of pulling so much from my own personal life, there was a moment or two when my name was mentioned in that conversation. I mean, along with, you know, everyone and their dog. But it was an interesting kind of thought experiment, it was an interesting, as I said, kind of vessel to place all of the themes into. And so when that idea came about, it was like, “This is perfect. We can talk about everything we want to talk about using this symbol.” We’re like, “OK, now how are we gonna get it?” And everyone told us Barbara Broccoli would never let us use it. Rightly so, she was very protective of this IP. But I wrote her a letter, sat down with her, showed her the scripts and she understood. She understood that it’s not really about Bond. It’s a show about self-love, and she really kind of vibed with that. Shout out Barbara Broccoli, thank you for letting us use Bond exactly how we wanted to.
Olsen: You recently hosted the new “SNL UK” and in your monologue, you made this joke that you don’t just play intense roles, that there’s this image of you that it’s all that you do. Did you purposely want to make “Bait” as a way to break you out of that perception?
Ahmed: It wasn’t that careerist and calculating, to be honest. I was just trying to make something that was authentically me. And I think the people who know me know that I’m a lover of comedy. My first rap song was a comedy rap song. I got banned on British radio back in the day because it was a quite an acerbic kind of satire. And actually it’s funny because I think that’s an American perception of me. In the UK, nine times out of 10, when I get stopped is for a British comedy I did called “Four Lions.” Which is like a kind of cult classic British movie. It’s a very British comedy. That’s like me, that’s like how I am in real life. And so when I wanted to make my own show, it just stands to reason it would be a reflection of my taste. So the overall frame was comedy, but I kind of have quite a maximalist sensibility. I want to have my cake and eat it. So I also wanted it to be a spy thriller and a family drama and quite surreal and psychological thriller and all of these elements kind of put together, but the frame of it all, I would say, is comedy. And yet it was really actually important to us that we tried to defy genre and defy categorization in that way.
Olsen: Did you feel like this was a role that, like, nobody was going to give you, like you had to write this for yourself?
Ahmed: It wasn’t so much out of a kind of frustration or a desire to create work for myself or break out of a pigeonhole or anything like that. Honestly, I just tried to make something as honest and authentic and vulnerable as possible, if that doesn’t sound too eye-rolly. I guess I reached a point in my life as a creative where I realized, actually, performance isn’t about putting on the mask, it’s about taking it off. It’s about sharing with the world who you are, sharing your privacy and your insanity. And if you do that, people will connect with it because it’s honest. And if you name your pain and your craziness, there’s something healing in that for yourself and others. I had kind of gotten to that place in my life. And so I wanted to kind of follow that through to a place that felt quite scary and pull on the most personal aspects of my own neuroses and my life and my neighborhood that I grew up in — so many locations are literally where I’ve grown up. So many moments in the show I pulled very directly from my life experience. My character has a panic attack at the end of Episode 1 at this particular music venue in North London. I had a panic attack in that venue in North London when I was supporting Wu-Tang Clan. My character is approached by MI5 and MI6. They say, “Hey, you’re a rising actor, do you wanna work with us, help with messaging?” That happened to me specifically once I started to become a bit more well known. There’s just so many things that kind of came from that place, and it was all based on this idea of like, “If I wanna make a show about a character who needs to learn how to take off the mask, then I need to do that as well.” And we kind of had a mantra in the room, which was like, “If it feels scary and it’s true, do it.” And there were times when I didn’t want to do it, definitely times when I wanted to kind of hide, but I just increasingly have this feeling that if you can offer up a part of yourself, then that’s one of the most liberating things you can do as an artist. And also for an audience, it just feels honest. That’s where you can connect most with people, if you’re willing to share that vulnerability.
Olsen: What was the writing process of the show like for you? Was there a moment where you had like a whiteboard with a list of awkward things that had happened to you?
Ahmed: That whiteboard would be very, very big, very, very large. Let’s say we’ve got a lot left in the tank if we ever do another season. The writing process was a learning curve for me, never having been in an American writers’ room system before. Hugely grateful to my co-showrunner, Ben Karlin, who’s got himself a really eclectic background. He’s one of the founding writers of the Onion, the satirical website. He has this track record, “The Daily Show With Jon Stewart” and “The Colbert Report,” but also “Modern Family.” And so I wanted someone who had that eclectic background, and we had a writers’ room that was similarly very eclectic. We had stand-up comedians. We had novelists. We had playwrights. We had experienced TV writers. We had U.S. [people], we had UK people. I just knew that I wanted this to feel quite eclectic, and as I say, kind of genre-bending. And so I wanted that breadth. So actually the writing process for this was like, “How do we make this feel as chaotic and messy and unpredictable as possible?” That requires a crazy amount of craft. And there were a lot of late nights, there was a lot of hair being pulled out. And it was, I think, one of the most intense periods, more so than the shoot, even. It was just trying to figure out what this show was. And I came to this realization, which is, Shah Latif, my character, is having an identity crisis. He’s trying to work out who he is. So it stands to reason the show should also be trying to work out what it is. The show needs to be having an identity crisis. So then we gave up on this mission of trying to make it feel coherent and consistent. And we said, “Of course, he’s an actor trying to work out who he is. Every episode should be a different genre. We should have our James Bond-goes-to-the-gala-in-a-tux episode. We should to have our Bollywood-proper episode. We should have our Linklater walk and talk. We should have our Greengrass does a spy thriller.” So we really deliberately and really defiantly tried to embrace the identity crisis of the character in how we told the story. And when we did that, everything fell into place. We would stop trying to straitjacket this into something more predictable.
Olsen: And what was it like for you to be filling this role of not just actor but also writer, producer, showrunner? How did you feel about taking on all those roles?
Ahmed: I felt scared. I felt out of my depth. I felt like I needed the help of people much smarter than me. Luckily, I had that help. And more than that help, their patience. I continually said, “No, we’ve got to go back and do it again. We’ve got to rewrite that episode. We’ve gotta redo this whole section,” as it felt so personal to me. Not just because it’s my personal experiences, but because there’s a world that hasn’t quite been put on screen before in this show, and I felt a tremendous sense of responsibility and emotional connection to that world and these characters. So at times it felt overwhelming. ButI’m of this philosophy that usually when you’re making something, you kind of end up feeling how the character is feeling. The character feels out of his depth, feels overwhelmed, feels like he does not quite know what he’s doing, it stands to reason I should feel like that. If I really feel like I’ve got it all worked out and I’m in control, we’re doing something wrong. So as far as possible, I tried to remind myself that that was a sign of almost being in touch with the material. At least that’s how I tried to talk myself off the ledge, man.
Olsen: Can you just talk to me a little bit about the title? As I understand it, “Bait” is UK slang?
Ahmed: The title actually has many different layers to it. I always say this is a show that’s hard to sum up in a sentence, but it’s really easy to sum up in one word, and that word is bait, because it has like five or six different meanings. So one key meaning is British slang. It means really blatant and in your face. So if you’re blowing up someone’s spot, you’re baiting them up. You’re being really kind of, “Look at me, look at me,” you’re being bait. So that speaks to Shah Latif, the character, and his attention seeking. But bait also means, online, trolling. It also means, in Urdu, your loyalty or your allegiance. It also mean in Arabic, in Hebrew, home. And it also, in literal meaning, it’s something used as part of a trap, which speaks to the spy thriller element to the show. So all these different layers to the word bait correspond to a different layer of show, correspond to each different episode. That’s exploring that meaning. And I wish I could tell you we had this all worked out upfront, but we struggled with the title for so long and it kind of like hiccuped itself up into the ether in a late-night kind of hair-pulling session. We realized, “Oh, my God, that’s it. That’s exactly what it should be.” So yeah, the title I think encapsulates how we’re trying to explore these different genres and all the different narrative threads in the show.
Olsen: All the things that your character of Shah Latif is going through trying to move forward in his career as an actor, remaining true to his community and his sense of self, how much of those are your own issues? Are there things that you feel like you’re on the other side of now? Are those things that you’re sort of constantly trying to figure out for yourself?
Ahmed: Of course, like this idea of searching for your identity in a world that either commodifies it or punishes it, that’s something I relate to. But I also kind of feel like that’s something we all relate to. There’s a lot of me in Shah Latif, but I actually think there’s a lot of Shah Latif in all of us. This idea of feeling as though you’re not enough. This idea of trying to cultivate a public version of yourself because you’re ashamed of the private version of your self. I think that’s such a universal feeling right now in this performative culture that we live in. We all wanna be looked at, but we don’t wanna be seen. And somebody once told me that the distance between your public and private self is the amount of shame that you carry. I think it’s true, more or less. I’m not saying you shouldn’t have a private life and some things shouldn’t be kept private. It probably should. But in a kind of deeper sense, I think there’s a truth in that. So I wanted to make a comedy in this playground of shame because it’s something that I can relate to, but I just had a sense that this is a very universal feeling.
Olsen: How much of these are issues or things you were going through in your career maybe five years ago, 10 years ago? What are the the sort of top-line things that you feel like you’re struggling with now?
Ahmed: This is where it becomes a full-blown therapy session. I would say that there was a period of time when I was just really desperate to be in the room. And now I’m in a place where I’m really excited to try and build my own room. And that, in a way, is a journey that the character goes on. I think it’s a journey that I’ve gone on, and the show, in a way, is a culmination of that journey. You know, it was just such a privilege to be able to create a playground and bring together this kind of ensemble. I don’t think there’s ever quite been a brown ensemble like this on screen before and [to] showcase all that talent and create that sense of family and specificity. And yeah, as I said, kind of build my own room rather than asking for a seat at someone else’s table. So I think that journey is one that I’ve been on and one that, I think, the show is exploring.
Olsen: There are these title cards throughout the series that give you these neighborhoods and locations, and I don’t know London super well, but like, it feels like it’s a very specific version of London. What was the importance of those locations for you?
Ahmed: The shows that I really adore and the ones that really inspired me on this journey are ones that are unapologetically specific. The Holy Trinity in my mind was “Atlanta,” “I May Destroy You” and “Fleabag.” These half-hour shows that are super personal, but also super specific in the world they’re exploring, whether they’re a city like Atlanta or a certain kind of Black London, or a very particular kind of white, middle-class British family in “Fleabag.” And so I wanted that unapologetic specificity. I wanted it to be a love letter to my London. And so I wanted to shout out these neighborhoods that really mean something to me. But more than that, I wanted to give a nod to the spy genre with those title cards. You know, in a Bond movie it says like, “Somewhere in the Caribbean,” you know, “Mexico City.” I wanted do that with Kentish Town, with Brick Lane, with Wembley. I wanted to elevate our daily experience and those neighborhoods to that kind of grand stage and those epic stakes and say, “Actually, this is as magical, as important, as exotic, as thrilling as any of those locations within that kind of genre.” Jordan Peele, when he made “Get Out,” said, “Being Black in America is like living in a horror movie. That’s why I made ‘Get Out.’” I can add this thesis that being brown in the West is like being in a spy thriller. And that’s why we made this. So I wanted those neighborhoods to feel like those chyrons you have in a spy thriller.
Olsen: You’ve often mentioned in the past, it’s a phrase I’m very taken with, “stretching culture,” expanding the idea of what’s possible. And I’m just curious, like, how is that going for you?
Ahmed: There’s the idea that the universe is expanding in all directions at the same time. I feel like that with culture. I feel like things are getting crazier and better at the same time simultaneously at an accelerating pace. You know, that’s kind of how I feel about it. And it’s like our consciousness, right? You get a little bit crazier, even as you get smarter. It’s that kind of feeling. For whatever it’s worth, it may sound pretentious, but I kind of feel it’s important to try and anchor myself in some sense of purpose. And I think that’s the purpose of storytelling, is to kind of constantly expand horizons of who is considered human and what is considered human. And I think for me, at least in this moment in my journey, I want that to be about telling stories that haven’t been told before, portraying worlds and communities and characters that maybe we haven’t been that familiar with.
Olsen: You’ve expressed some frustration recently with the phrase “representation” — that it’s become kind of a hollow gesture. What would you like to see happen moving forward?
Ahmed: Well, I was really proud to be part of the conversation, when we were kind of collectively coining that term, right, going from diversity to representation. But I do think it’s not an end in itself. Like I said, being in the room doesn’t necessarily change anything. It’s what are you allowed to do in that room? Does the room change you, or do you change it? It’s what the show’s exploring. And so at least for me right now, the kind of representation I’m interested in is how authentically we can represent ourselves. Do you know what I mean? Like, do I have to code switch? Do I have put on a mask or do I get to take it off? That to me is, I think, the most exciting kind of knot to unpick right now. And as I said, that’s kind of at the heart of the show.
Olsen: I want to be sure to ask you about some of the other cast on the show, specifically Guz Khan. I feel like I could watch the two of you just driving around in a car together for hours.
Ahmed: I’ll send you the rushes.
Olsen: Did you two have an immediate chemistry?
Ahmed: Can I tell you, the story of me and Guz is its own bizarre bromance. Here’s how I thought I knew Guz. Guz went viral in the UK because he did a joke, kind of like [a] shout-out against Steven Spielberg, right? Because there’s a kind of dinosaur in his “Jurassic Park” reboot that sounds like a racial slur in the UK. I’m just gonna let people check it out for themselves. I’m not gonna say more than that. This is like 10 years ago, something like that. He goes viral, he starts blowing up, people start offering him his own TV show. He DMs me on Twitter and he’s like, “Bro, like, what’s the industry like? Is it like crazy Illuminati vibes?” I was like, “Yes, but the Illuminatis are actually very fun, come and join us.” And just started this banter with him, and he goes on his journey, becomes one of the most beloved comedians. I’m on set with him, shooting “Bait.” And he goes, “You don’t remember the first time we met and we spoke, do you?” I said, “I remember, you DM’d me like a crazy guy.” And he was like, “No, no. We met 20 years ago.” I was like, “What are you talking about?” I was doing a spoken-word performance in the Midlands in the UK. No one was coming to see it. It was a completely empty club. So I take it upon myself to go outside and start flyering passers-by. Down a dark alley, I see guys with some of his friends engaged in a business of some sort. His legal team have asked me to refer to it as “selling tulips.” They were selling tulips, OK? I go down to this alleyway, I hand him flyers, him and his friends. I’m like, “How are you doing there, gentlemen? Would you like to come and see me do some spoken word?” They’re like, “What the hell? We’re in their mid-tulip transaction.” He decides out of the kindness of his heart with his boys to come and watch me do spoken word at Coventry Student Union. And he said it was the first time he saw someone that looked like him doing something like that in a space like that. … Twenty years later, we’re on set together. We met when we were like 20 years old and I’d completely forgotten him, but he remembered. We have like a brotherhood and a friendship in real life. I wrote that role for him. He is someone who constantly reminds me that as an artist, your art can only be as expansive as your heart is. He’s just that guy on set you want to be around. He brings the positive energy, he reminds you this is meant to be fun. And actually, when you’re having fun, you’re feeling relaxed and loose, you do great work. He’s evidence of that. And so I just have so much love for him, but I would only say that because he’s not here. If he was here, I would be making fun of him aggressively.
Olsen: Now that to me seems like this notion of stretching culture, where you’ve had this influence on him that you kind of didn’t even know.
Ahmed: I would love it if he would say that publicly, rather than me having to tell the world that I’m responsible for his career. Thank you for saying it. If we can clip that bit, that would be great. Send it to Guz, yeah? Email that to him. I don’t know, man. I kind of feel like we’re all in this relay race, right, and we’re just fumbling the ball to one another and trying to move forward. And one of the great things about this show was being in community in that way. I think for some people, particularly in the UK, they’re familiar with the world that’s portrayed here. I think, for a lot of Americans, they’re really not. Interestingly, I’ve had a lot of Latin viewers and Latina viewers approach me saying, “That’s my family, I get that, I know what that is.” And so I don’t know, I just think it’s kind of exciting. One of the things I love most about storytelling on screen is we can bring people into worlds they haven’t been to before. That’s what I remember falling in love with when I watched “Goodfellas” and “Mean Streets” in that world that Scorsese creates. So yeah, I think as long as we’re all leaning into this specificity, doing so in community, maybe that’s how we get to stretch culture.
Olsen: In a recent profile on you, the actor Sandra Hüller, who you work with on the upcoming movie “Digger,” she said that one of the things she most admires about you is that you take yourself and your work seriously. And I think I feel the same way, like there’s an intentionality to what you do, there’s a sense of purpose to what do.
Ahmed: It sounds so boring, though, when you put it like that. Doesn’t it? I hope I don’t take myself too seriously. I guess I take it seriously that I’ve got this opportunity to try and tell stories, and I believe that they matter. But I actually hope I don’t take myself seriously, very seriously. I hope this show in a way is evidence of that. That’s Exhibit A. Yeah, you got Hüller’s testimony here and then you got “Bait” over here. Who do you believe?
Olsen: Is there anything you can tell me about “Digger”? It’s a new film from Alejandro González Iñárritu, it stars Tom Cruise, and it has quickly become, I think, one of the most anticipated movies of the year. People are very excited about it. And there’s very little known about it, is there anything you can say about it?
Ahmed: It’s funny you should say that because I spoke to Alejandro today and he gave me permission to reveal something exclusively to you on this podcast. No, not really. There’s nothing. Absolutely nothing. I actually might get assassinated for just saying that even.
Olsen: And have you seen it?
Ahmed: I feel like anything I say, there’s like a bomb on my leg that might go off. I’ll say this, it was a really unique and incredible experience. Alejandro is this crazy genius and being around that level of — Tom Cruise as well — they’re all obsessive perfectionists that have just like endless rocket fuel in them. It’s just inspiring to be around, honestly. Really, really unique. I don’t know if I’ll ever have an experience like that again.
Olsen: And then you were nominated for an Academy Award for acting for “Sound of Metal,” but you won an Academy Award for the short film “The Long Goodbye” that was based on an album that you put out. As you’ve become busier in your acting career, has it become difficult for you to still make time for your music?
Ahmed: The projects that I have out right now with “Hamlet” and “Bait” are things that I’ve built. I’m not saying this is the way, necessarily, it’ll always be, but at least over the last several years, acting is like this cherry on the cake. I’m spending all this time building these other things and writing these things and producing these things. And in a way making music is part of that. It’s like being in a writers’ room, with musicians in a studio. And one of the things that I’ve enjoyed most is bringing the development of stories together with the development of albums. “The Long Goodbye” short film is an example of that. But I mean, I joke about this to my friends, one of the main reasons I made “Bait” as a TV show is so that I could make a soundtrack. You know, I grew up on Bollywood where, in a way, the movie was just an excuse for the music. I partly almost feel the same way here. We’ve got a soundtrack for “Bait,” which I’m very, very proud of. And it’s a reflection, I think again, of that eclectic, multicultural London that I know and love. It pulls together artists from across the diaspora, from the Bay Area and the U.S. through to India and Pakistan, from Trinidad and Bangladesh and Karachi and London. And it’s something that I think kind of speaks to the genre-bendiness of the show as well. So in a weird way, as I’m developing more of my own stories, I’m able to incorporate music into that process more.
Olsen: But are you making music of your own?
Ahmed: Yeah, I’ve got two tracks on that soundtrack, for example. Yeah, one of them with a rapper who I’ve been a huge fan of for many, many years. So that was a lovely moment. His name is Casisdead, makes very kind of cinematic UK hip-hop. So I’ve got two tracks on that and yeah, I mean, watch this space. Hopefully I’ll have some more time.
Olsen: And then, this is a moment in the show, and I know it’s something that’s happened in the past, but are you still ever mistaken for Dev Patel?
Ahmed: Honestly, every time I’m mistaken for Dev Patel, I’ll take the flowers. I’m such a fan of his, personally, and he’s actually also from that very particular pocket of Northwest London where I’m from, that this show is almost a love letter to. That pocket of London has produced, if I may humbly put myself in that bracket, myself, but also Dev Patel, Jay Paul, Jay Sean and Jay Shetty. All the Jays. All of them. So I’m very proud of Dev and everything he’s doing, and he’s telling his own stories as well in a way that I find really inspiring.
Beneath azure skies and fluffy white clouds, three giggling toddlers and their mothers arrive at a candy-colored water park in the town of CoComelon.
It’s the opening of “Fast Little Fishy Splash Water Park Adventure,” a three-minute episode of “CoComelon,” the popular children’s cartoon series that is perhaps as controversial as it is appealing to young children.
Moonbug Entertainment, the studio behind “CoComelon,” says the episode, which debuted on YouTube in May, is the result of a years-long collaboration with a UCLA think tank.
In an unconventional move for a privately held entertainment company, the studio released its child development guidelines on its website Tuesday. Moonbug’s head of communications Bao Nguyen said the company began to incorporate findings from the research into its creative process in late 2025.
“It’s a great example of what we’ve been trying to do,” said Rich Hickey, Moonbug’s chief creative officer, referring to the episode. “Inclusive storytelling and learning through play — they’re all evident within that episode.”
Nina and Cody, ecstatic about visiting their neighborhood splash pad, run through fountains and hop in kiddie pools, but protagonist JJ is a bit more skeptical.
With support from his friends and his mother, who offers him goggles and a pair of orange arm floaties, JJ decides to face his fears. He joins his friends under a tipping bucket, and — spoiler alert — realizes that he actually enjoys playing in water. (“I just love to swim, swim, swim,” he sings.)
The guidelines, called the “Moonbug Learning Principles Framework,” are informed by academic research and advise that Moonbug shows should help young viewers navigate “real life moments” and “model positive relationships among children and their friends and caregivers.”
Other priorities include creating shows that encourage kids to learn through play, as this helps them develop their imagination and creativity, and featuring characters from diverse backgrounds (“CoComelon’s” Nina is Mexican American, Cece is Korean American and Cody is Black) — and giving said characters depth — across all Moonbug shows.
“We’re a digital-first company and we realized that there may be some … hesitation to sharing online content with children,” Hickey said. “This is really to keep building on the trust we think we’ve built.”
“CoComelon” is Moonbug’s flagship preschool show, and the series’ origins date back to 2006 when commercial director Jay Jeon shared a YouTube video of an alphabet cartoon set to music. The videos began to revolve around toddler JJ in 2017.
By 2020, “CoComelon” was the most-watched YouTube channel in the world, averaging 3.5 billion monthly views. That year, the show made its streaming debut on Netflix — where it broke ratings records — and was bought by London-based entertainment company Moonbug.
Moonbug was then acquired by Candle Media, a firm led by ex-Disney execs Kevin Mayer and Tom Staggs, for a reported $3 billion. Disney+ has since obtained the exclusive streaming rights to “CoCoMelon.”
“CoComelon‘s” image woes aren’t new. The series has developed a reputation for keeping children glued to the screen, as seen in videos that have gone viral on social media of babies bolting to the television upon hearing the marimba theme song.
In 2020, a Guardian columnist wrote that “CoComelon” was “like crack” for a preschool child. A New York Times report in 2022 gave the public more insight into Moonbug’s audience development process, which included testing “CoComelon” videos on young children to make its shows as attention-grabbing as possible.
The program has been a hot topic on parentingforums. The exchange typically goes something like this: Someone asks if “CoComelon” is “bad” and a gaggle of parents weigh in. “Very overstimulating,” said a user in one Reddit thread. “It moves too fast for kids’ brains to process, which can cause a speech delay,” wrote another.
Asked to respond to the criticism, Hickey said he believes Moonbug makes “age-appropriate content” and produces a range of videos to cater to different moments throughout a child’s day, from slow bedtime videos to faster-paced ones meant to encourage movement, Hickey said.
In 2023, Moonbug recruited the Center for Scholars and Storytellers, a think tank at UCLA that bridges entertainment media and psychology research, to “create the best possible product” for its audience, Hickey said.
The center was tasked with analyzing Moonbug’s content and crafting the learning principles to guide the studio’s future preschool programming, which also includes the “Blippi” and “Little Angel” franchises.
A scene from Moonbug Entertainment’s “Blippi’s Job Show.”
(Jessica Perez / Moonbug)
Moonbug also asked the center to determine if there was research showing that audiovisual content could be addicting for preschoolers, said Yalda T. Uhls, an assistant adjunct professor of psychology at UCLA and executive director of the Center for Scholars and Storytellers. Uhls said the center’s review of existing peer-reviewed research found that there was no such evidence.
And despite oft-repeated claims that long-form content is better for kids than short-form content, “there isn’t really actually any evidence for that,” Uhls said. “It’s very inconclusive.”
The center found that preschool children struggle to learn as much from content with frequent cuts, though consuming it doesn’t impact their attention span negatively, Uhls said.
As such, the principles the center crafted recommend Moonbug “minimize distractions and tangential songs or storylines” when characters are navigating real-life situations to make sure it does not interfere with preschool children’s ability to learn lessons.
The center interviewed members of Moonbug’s creative teams and formed an advisory council of academic experts in child development to evaluate a selection of Moonbug’s episodes, assess the quality of socio-emotional learning and find areas for improvement, Uhls said.
“The content certainly had a lot of places where it could improve, but it wasn’t horrible,” Uhls said. “There was some learning within the episodes. … It wasn’t all good, it wasn’t all bad.”
Uhls said she recalled several instances of episodes modeling unsafe behavior, but declined to share specifics.
The center plans to continue to work with Moonbug to integrate child development research much earlier in the studio’s creative process and aid with the integration of the learning principles into its content slate, Uhls said.
