bad

ONE of Olivia Attwood’s class of Bad Boyfriends has admitted to cheating on his partner for a sordid romp with a stranger as she waited for him in the car.

The group on the ITV2 programme were left absolutely gobsmacked when Dan revealed that one of the many times he had been unfaithful to Ellie came as she waited to pick him up from a festival alongside her mum.

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Ellie had been sitting in her car unable to track her partner for four hours as he got down and dirty with a stranger – unbeknownst to Ellie.

Dan was forced to own up to his cheating when he was questioned by Olivia Attwood on if he was still holding some secrets back from his partner.

Ellie was aware that Dan had been unfaithful to her with two women but in The Sun’s exclusive first-look clip, he is forced to confess to another even more shocking cheating scandal.

Olivia can be seen saying to the bad lad: “Have you slept with more girls than the two that Ellie knows about?”

Replying sheepishly, he says: “Yes, I have.”

Ellie can be seen stopping in her tracks whilst host Olivia’s eyes widen at the unexpected cheating admission.

In total shock, she asks him: “Where? When? Who is it?”

He nervously confirms that it was when he went to Boardmasters festival.

Ellie can be seen turning to not face him as she shockingly reveals: “I was at the car park waiting for FOUR hours to pick him up.

“With my mum!”

A horrified Olivia then questioned if this was when Dan was sleeping with someone to which he nodded his head.

When pressed by the host on who it was, Dan can be heard mumbling: “Some girl, some random girl.”

Ellie then says: “I doubt he even knows, he was that f***ed when he came out.”

Olivia then turns her attention to Ellie as she gives her a pep talk over the fact she appears unsurprised at her boyfriend’s cruel ways.

The TV star says: “I think the lack of surprise to some pretty serious allegations is a problem.

“This shouldn’t be normal, unshocking stuff.

“You should not be settling for so little, so soon.”

But will Ellie and Dan be able to work it out and has the bad lad changed for good?

Olivia Attwood’s Bad Boyfriends continues tonight at 9pm on ITV2 and ITVX.

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LUKE LITTLER has revealed he has failed his driving theory test once again – and it is frustrating the hell out of him.

The Nuke is the best darts player on the planet but he is not yet ready to get on the roads by himself.

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Having turned 18 last January, he is desperate to enjoy the freedom of being able to drive himself to tournaments and to see pals on his own terms.

Yet the theory test has so far proved extremely difficult for him to master – it has taken him SIX attempts and counting.

After he won the World Matchplay in Blackpool in July, Littler posted on Instagram the score sheet for his fifth test.

On the multiple choice part, he scored 41 out of 50 – the pass mark is 43 – and he got 44 out of 75 for the hazard perception part, which is barely passable.

He got questions wrong back then in relation to hazard awareness, alertness, safety, motorway rules and road and traffic signs.

When he became the sport’s youngest world champion in January after beating Michael van Gerwen 7-3 in the final, he received £500,000 for his exploits at Ally Pally.

The next day he was asked what motor he would buy with his winnings.

Other youngsters in his privileged position would eye up a flash Ferrari or Lamborghini if they were in the same position.

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But he said he would like the cheapest Mercedes-Benz A Class going for about £30,000.

On Wednesday, speaking at a Target Darts pop-up shop in Manchester, he was asked about his driving plans and if he had made any progress thus far.

Littler conceded: “No, not yet. I did do a theory the other week but I didn’t put it on my Instagram.

“Oh, it was a bad one. It was a bad one. I’ll let you know that.”

Asked what exactly he was struggling with, he replied: “The hazard (perception test).

“Is that holding me back from doing my practical? Yeah. I’m trying. I just want to pass. I just want to pass.

“Like I put up on my Instagram the other week, I’ve got a car – and it’s not a Mercedes – but it’s sat there waiting.”

*World-leading darts manufacturer Target Darts opened the UK’s ultimate darting pop-up experience in Manchester to celebrate their biggest-ever product launch. For more details on the lastest darts products, please visit: www.target-darts.co.uk

The 26th Annual Latin Grammy Awards, which are heading back to Las Vegas after a three-year hiatus, now have their nominees set in stone.

This year’s list of top nominees include Bad Bunny (12), Edgar Barrera (10), Ca7riel & Paco Amoroso (10), Rafa Arcaute (eight), Natalia Lafourcade (eight) and Federico Vindver (eight).

The awards show will be held Nov. 13 in Las Vegas’ MGM Grand Garden Arena, and broadcast live on Univision.

Bad Bunny’s 12 nominations this year will bring his total career nods to 52. With her eight nominations this year, Lafourcade looks to bolster her collection of 18 trophies from the awards show — the most wins for any female artist.

Nabbing eight more nominations, Edgar Barrera continues to pad his stats as the awards show’s most nominated person of all time with 72 nods, along with 24 wins. Spanish artist Alejandro Sanz received four nods this year, which brings his career total to 51.

November’s show will be the debut of the new Visual Media field and its new category, Music For Visual Media, which will honor scores for film and television. Also added to this year’s awards is the category for Best Roots Song.

Several notable first-time nominees — whom De Los has previously profiled — are up for some of the biggest awards of the night, including Fuerza Regida, Ca7riel & Paco Amoroso, Ivan Cornejo and Judeline.

Here’s the list of nominees in all general categories:

Record Of The Year

“Baile Inolvidable” — Bad Bunny

“DtMF” — Bad Bunny

“El Día Del Amigo” — Ca7riel & Paco Amoroso

“#Tetas” — Ca7riel & Paco Amoroso

“Desastres Fabulosos” — Jorge Drexler & Conociendo Rusia

“Lara” — Zoe Gotusso

“Si Antes Te Hubiera Conocido” — Karol G

“Cancionera” — Natalia Lafourcade

“Ao Teu Lado” — Liniker

“Palmeras En El Jardín” — Alejandro Sanz

Album Of The Year

“Cosa Nuestra” — Rauw Alejandro

“Debí Tirar Más Fotos” — Bad Bunny

“Papota” — Ca7riel & Paco Amoroso

“Raíces” — Gloria Estefan

“Puñito De Yocahú” — Vicente García

“al romper la burbuja” — Joaquina

“Cancionera” — Natalia Lafourcade

“Palabra De To’s (Seca)” — Carín León

“Caju” — Liniker

“En Las Nubes – Con Mis Panas” — Elena Rose

“¿Y Ahora Qué?” — Alejandro Sanz

Song Of The Year

“Baile Inolvidable” — Marco Daniel Borrero, Antonio Caraballo, Kaled Elikai Rivera Cordova, Julio Gaston, Armando Josue Lopez, Jay Anthony Nuñez, Benito Antonio Martínez Ocasio and Roberto Jose Rosado Torres, songwriters (Bad Bunny)

“Bogotá” — Andres Cepeda, Mauricio Rengifo and Andres Torres, songwriters (Andrés Cepeda)

“Cancionera” — Natalia Lafourcade, songwriter (Natalia Lafourcade)

“DtMF” — Bad Bunny, Marco Daniel Borrero, Scott Dittrich, Benjamin Falik, Roberto José Rosado Torres, Hugo René Sención Sanabria and Tyler Spry, songwriters (Bad Bunny)

“El Día Del Amigo” — Rafa Arcaute, Gino Borri, Catriel Guerreiro, Ulises Guerriero, Amanda Ibanez, Vicente Jiménez and Federico Vindver, songwriters (Ca7riel & Paco Amoroso)

“Otra Noche De Llorar” — Mon Laferte, songwriter (Mon Laferte)

“Palmeras En El Jardín” — Manuel Lorente Freire, Luis Miguel Gómez Castaño, Elena Rose and Alejandro Sanz, songwriters (Alejandro Sanz)

“Si Antes Te Hubiera Conocido” — Edgar Barrera, Andres Jael Correa Rios and Karol G, songwriters (Karol G)

“#Tetas” — Rafa Arcaute, Gino Borri, Ca7riel, Gale, Ulises Guerriero, Vicente Jiménez and Federico Vindver, songwriters (Ca7riel & Paco Amoroso)

“Veludo Marrom” — Liniker, songwriter (Liniker)

Best New Artist

Alleh

Annasofia

Yerai Cortés

Juliane Gamboa

Camila Guevara

Isadora

Alex Luna

Paloma Morphy

Sued Nunes

Ruzzi

A full list of all the nominees in every category can be found here.

It is proving a popular addition to the streaming giant’s library

Mayfair Witches season one trailer

Netflix fans are all watching a creepy thriller that’s been described as ‘so bad it’s good’.

The first season of Mayfair Witches has just recently been included as part of the streaming giant’s extensive offering. In just a matter of days, it has become one of the most watched titles among subscribers.

At the time of writing, it is currently seventh in the top 10 series in the UK. It is sandwiched between Hostage and My Life With the Walter Boys. It seems despite a middling 59% rating on Rotten Tomatoes, Netflix viewers just can’t get enough.

There’s also good news for those without a subscription to the platform. That is because all episodes are also available to stream for free on BBC iPlayer.

Based on the series of novels Lives of the Mayfair Witches by Anne Rice, who also wrote Interview With the Vampire, the series follows renowned neurosurgeon Rowan Fielding.

She has developed a serious problem, however. When she gets mad, she kills with her mind.

Across eight episodes, she undergoes a search for answers which leads her to New Orleans, the home of her biological family. Here she discovers she the heir to a family of witches which has been haunted by a sinister presence for generations.

That presence is the spirit Lasher. Ciprien (Sip) Grieve, a devoted agent to the Talamasca, is assigned to protect Rowan.

He soon realises he’s in way over his head as secrets are revealed that could tarnish Rowan’s family and his role in the Talamasca. As Lasher’s seduction of Rowan deepens her role in an ancient prophecy becomes clear. This prophecy culminates in the birth of Lasher.

Rowan is determined to develop powers to fulfil her purpose as a healer, but when tragedy strikes, she must put aside her own desires and fight to save her family. The show features Alexandra Daddario in the lead role, who has previously appeared in True Detective and The White Lotus.

The eight-part first season is described by Netflix as ‘imaginative and suspenseful’, while other critics have dubbed it a ‘creepy thriller’. While one reviewer noted that period drama fans should find something to enjoy just as much as fantasy buffs due to how it moves its story back and forth in time.

While someone else praised the lead star performance and genre bending impact: “Daddario, who was a standout in the first season of HBO’s The White Lotus, makes an appealing lead in the eerie gothic series, which leans on its horror roots.”

Watch Wednesday on Netflix for free with Sky

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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.

This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Wednesday.

Plenty of fans have also shared their recommendation. One said: “From the first episode, I was hooked—the storytelling unfolds in such an intriguing way, keeping me captivated as each new piece of the mystery falls into place.

“If you’re on the fence about watching because of the reviews—give it a chance. You might just find yourself just as enchanted as I am.”

Another added: “As someone who hasn’t read the novels & loves fantasy that takes hints from real life – I recommend it to all those who might have enjoyed series like Sabrina on Netflix.”

Meanwhile, others have acknowledged the show’s flaws but still give it their approval. One person simply noted: “Mayfair Witches is so bad but so good.” In agreement, another replied: “This is where I’m at. I can’t quit.”

Mayfair Witches is streaming on Netflix and BBC iPlayer.

Actor Raymond Cruz was held in custody for five hours on Monday after a sudsy spat with three women in his Los Angeles neighborhood.

Cruz — who portrayed the drug lord Tuco Salamanca on “Breaking Bad” — was washing his car on the street in front of his Silver Lake-area home when another car with three female occupants parked inches away from him, said Raphael Berko, his agent with Media Artists Group.

Cruz asked the women, who appeared to be in their 30s, to move their car at least a foot away so it wouldn’t get wet, according to Berko.

“The women were very rude to him and said no,” Berko said, adding that ample parking was available elsewhere on the street.

Instead, the women took out their phones and started to record Cruz, Berko said.

The actor, who also played detective Julio Sanchez in “The Closer” and its spin-off series “Major Crimes,” became uncomfortable and turned around, hose in hand, to tell them to “stop recording,” Berko said.

In doing so, Berko says some water may have inadvertently splashed on the women. But the women — one of whom was the daughter of a housekeeper on the block — said Cruz intentionally sprayed them, and they called the police to report an alleged assault.

Cruz was handcuffed by the Los Angeles Police Department and taken into custody for five hours, but Berko said he and his client expect the case will be dropped.

Berko characterized the incident as a misunderstanding, and said Cruz doesn’t have a criminal record.

The actor has a court hearing scheduled for Oct. 1, but online records do not show any charges as of Tuesday afternoon.

Bad Sisters, a black comedy developed by Sharon Horgan, Dave Finkel and Brett Baer, first aired on Apple TV in August 2022 and returned for a second series in November last year

Award-winning sitcom Bad Sisters has been axed after just two series, it is reported.

The black comedy, set in Dublin, was widely praised since it first aired on Apple TV in August 2022 and returned for a second season last November. It has won two BAFTAs among other awards and fans had hoped to see more of the programme, developed by Sharon Horgan, Dave Finkel and Brett Baer.

But it is understood Bad Sisters won’t return to our screens despite its popularity. Fans have been left fuming after a source said the show, starring the likes of Anne-Marie Duff and Eva Birthistle, had reached “a natural conclusion”.

One viewer posted online: “Noooo, Bad Sisters on Apple TV was pretty good.” Another shared: “Damn, Bad Sisters on Apple TV is so good. Worth the watch.”

READ MORE: BBC axes Paddy McGuinness comedy as it would be ‘insensitive’ to his former wife ChristineREAD MORE: ITV’s Piglets given second series despite being ‘absolutely slammed’ by critics

The TV insider told The Sun: “Many viewers who watched the first couple of series felt like the story reached a natural conclusion anyway, but of course, they hoped there’d be more.

“With every passing month it seemed less and less likely and now the show has been shelved by Apple completely, it’s not a huge shock, but it’s still a big disappointment for fans.

“It’s a particularly sad state of affairs because it was one of the few comedies in recent years that seem to have cut through with audiences, and many will be sad to see how short lived it is.”

Horgan also has a lead role in the programme – she plays one of the five Garvey siblings at the heart of the comedy. Sarah Greene and Eve Hewson make up the quintet, who are bound together by the deaths of their parents and the promises they made to always protect one another.

But they end up at the centre of a life insurance investigation after one of the women wants rid of her vile husband, and he ends up getting bumped off with the help of her sisters. The Mirror has contacted Apple TV about the future of Bad Sisters, rated as 88% on Rotten Tomatoes.

The development comes after a second series of ITV sitcom Piglets was confirmed – despite criticism following its opening season last year. The Police Federation even blasted Piglets as “highly offensive” before its release in July last year, after which critic panned the programmne for being outdated and using stereotypes. Watchdog Ofcom received more than 100 complaints after the first episode alone.

But ITV are sticking with the show, which stars Sarah Parish and Mark Heap, and the green light has been given for a second series, it is understood.

Ricky Champ, who plays Daz in it, said on the Reading Between The Lines podcast: “Piglets has been commissioned for series two. It’s crazy, because we got absolutely slammed. The first series came out and it was met with absolute venom – across the board.”

The most densely packed section inside the Rose Bowl on Saturday was filled with fans wearing the colors of the visiting team.

Swathed in red and white, they crammed into one corner of the century-old stadium for what amounted to a nightlong celebration.

Fans cheering for the home team were more subdued and scattered throughout a stadium that seemed about one-third full, outnumbered by empty seats, visiting fans and those massive blue-and-gold tarps covering most of each end zone. Deliberately or not, Fox cameras inside the stadium showed those watching from home only wide shots filled with graphics that obscured the paltry crowd.

By late in the third quarter, the only suspense remaining in UCLA’s 43-10 blowout loss to Utah was waiting for the announced attendance. Reporters in the press box were given a figure of 35,032, which seemed inflated given so many empty seats below them.

It was.

The scan count, a tally of people actually inside the facility, was 27,785, according to athletic officials.

Creative accounting is the norm in college football given there are no standardized practices for attendance reporting. The Big Ten and other conferences leave it up to individual schools to devise their own formulas.

UCLA defines its announced attendance as tickets distributed — including freebies — plus non-ticketed and credentialed individuals such as players, coaches, staff, vendors, cheerleaders, band members, performers and even media. Across town, USC’s announced attendance includes only tickets distributed, according to an athletic department spokesperson, which was 62,841 for the season opener against Missouri State.

In recent seasons, UCLA’s announced attendance was sometimes more than double the scan count, according to figures obtained by The Times through a public records request.

For UCLA’s home opener against Bowling Green on a sweltering September day in 2022, the announced attendance was 27,143, a record low for the team since moving to the Rose Bowl before the 1982 season.

The actual attendance was much lower. UCLA’s scan count, which represented people who entered the stadium (including the aforementioned non-ticketed and credentialed individuals) was 12,383 — 14,760 fewer than the announced attendance. The scan count for the next game, against Alabama State, was just a smidgen higher at 14,093.

Those longing for an on-campus stadium could quip that UCLA might as well hold some games at Drake Stadium given the track facility holds 11,700 and could probably accommodate several thousand more with temporary bleachers placed opposite the permanent grandstands.

Empty seats aren’t just a game day buzzkill given their correlation to lost revenue.

“Since we are now in the era of NIL and revenue sharing, where cash is king,” said David Carter, an adjunct professor of sports business at USC, “every school hoping to play competitive big-time football needs to generate as much revenue and excitement around its program as possible. But since empty seats don’t buy beer or foam fingers, let alone merchandise and parking, any and all other forms of revenue are needed to offset these chronic game day losses in revenue.”

Declining revenue is especially troublesome at a school whose athletic department has run in the red for six consecutive fiscal years. The Bruins brought in $11.6 million in football ticket revenue during the most recent fiscal year, down nearly half from the $20 million they generated in 2014 when the team averaged a record 76,650 fans at the Rose Bowl under coach Jim Mora. But one athletic official said the school in 2025 could come close to matching the $5.5 million it generated in season ticket revenue a year ago.

Low attendance is a deepening concern. UCLA’s five worst home season-attendance figures since moving to the Rose Bowl in 1982 have come over the last five seasons not interrupted by COVID-19, including 46,805 last season. That figure ranked 16th among the 18 Big Ten Conference teams, ahead of only Maryland and Northwestern, which was playing at a temporary lakeside stadium seating just 12,023.

Recent attendance numbers remind some longtime observers of the small crowds for UCLA games in the late 1970s at the Coliseum, which was part of the reason for the team’s move to Pasadena. During their final decade of calling the Coliseum home, the Bruins topped 50,000 fans only six times for games not involving rival USC.

“Now, disappointingly, it would appear that the same attendance challenges that UCLA football faced at the Coliseum in the 1970s are repeating themselves at the Rose Bowl,” said John Sandbrook, a former UCLA assistant chancellor under chancellor Chuck Young and one of the primary power brokers in the school’s switch to the Rose Bowl.

Attendance woes are hardly confined to UCLA. Sixty-one of 134 Football Bowl Subdivision teams experienced a year-over-year decline in attendance last season, according to D1ticker.com.

UCLA faces several unique challenges, particularly early each season. Its stadium resides 26 miles from campus and students don’t start classes until late September. Other explanations for low turnouts have included late start times such as the 8 p.m. kickoff against Utah, lackluster nonconference opponents and triple-digit heat for some September games.

Quarterback Nico Iamaleava said he appreciated those who did show up Saturday, including a throng of friends and family from his hometown Long Beach.

“Fan base came out and showed their support, man,” Iamaleava said. “You know, it felt great going out there and playing in front of them. Obviously, we got to do our part and, you know, get them a win and make them enjoy the game.”

On some occasions, UCLA’s attendance figures have closely reflected the number of people in the stadium, including high-interest games such as Colorado coach Deion Sanders’ appearance in 2023. For that game, the announced attendance (71,343) only slightly exceeded the scan count (68,615).

The rivalry game also gets fans to show up. The announced attendance of 59,473 last season for USC’s 19-13 victory at the Rose Bowl wasn’t far off from the scan count of 51,588.

See all those empty seats? There were fewer than 13,000 fans in attendance to see quarterback Dorian Thompson-Robinson, right, and wide receiver Titus Mokiao-Atimalala celebrate a touchdown against Bowling Green in 2022.

(Mark J. Terrill / Associated Press)

Still, as traditions go, creative accounting might predate the eight-clap. Similar to fudging practices known to be widespread at other schools, UCLA officials have been known to embellish attendance figures, sometimes rounding far enough past the next thousand not to strain credulity, according to two people familiar with operations who spoke on condition of anonymity because of the sensitivity of the matter.

Additionally, according to a former university administrator who observed the practice, a member of the athletic department staff would show a slip of paper with a suggested attendance figure for basketball games at Pauley Pavilion in the 1960s and 1970s to athletic director J.D. Morgan, who would either nod or take a pen and change the number to one more to his liking. That practice continued under subsequent athletic director Peter Dalis, the administrator said.

While declining to comment for this story, current athletic administrators have acknowledged the challenge of drawing fans in an increasingly crowded sports landscape that now includes two local NFL teams. Among other ventures, UCLA has created a new fan zone outside the stadium that can be enjoyed without purchasing a ticket and will hold a concert on the north side of the stadium the day of the Penn State game early next month.

While there’s no promotion like winning, as the saying goes, there also may be no salvaging the situation for the Bruins’ next home game. UCLA will face New Mexico on Sept. 12 for a Friday evening kickoff that will force fans to fight weekday traffic to see their favorite team face an opponent from the Mountain West Conference.

Brave souls who look around and hear the announced attendance might experience inflation on the rise once more.

A WOMAN has believed that she suffers with a rare condition that’s so bad, cruel trolls have told her she needs to call an “exorcist.”

Rachel, 20, revealed that her condition is so bad, she barely leaves the house and struggles to even order food at a restaurant.

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The content creator suffers with Tourette’s, a neurological disorder that causes involuntary sounds or movements, known as tics.

Her body often twitches in an uncontrollable manner, and she makes lots of “random” noises such as whistling.

However, the worst part about Rachel’s condition is that she has something called coprolalia, which is a form of Tourette’s that causes sufferers to shout obscene and inappropriate phrases.

Only between 10 and 30% of Tourettes sufferers have coprolalia and it can cause those who have it to become extremely embarrassed and stressed.

“It does become frustrating that I can’t stop my tics or control them”, she told Love Don’t Judge.

Rachel had minor tics throughout her childhood, but they were so small that they were hardly noticeable.

However, when she was 15 her condition suddenly worsened very rapidly.

“It was very scary”, Rachel’s dad said.

“The person we knew was literally gone.”

After receiving an official diagnosis from her doctor, Rachel said the whole world crashed around her.

“I absolutely refused to go anywhere”, she said.

She stopped attending school so had to be homeschooled and hardly ever met up with friends.

“It was incredibly isolating for a very long time”, she said.

“I remember feeling like my entire life was over.”

Thankfully, Rachel’s saviour came when she posted a video to TikTok, showing her ticking, and it quickly blew up.

The post was flooded with people asking comments about her condition, or revealing that they experienced the same thing.

“They were happy to see it in the media”, she said.

“I thought, oh my gosh, I can do something positive.”

Rachel is now a content creator, and makes videos to raise awareness about Tourette’s.

However, she receives a lot of hate comments, from people who don’t believe it’s real.

“When people say I’m faking my Tourette’s Syndrome, I feel invalidated”, she said.

“It’s a core part of who I am.”

Rachel added that she has also had trolls claiming she needs “an exorcist”, and has been “taken over by a parasite.”

Despite finding these comments hurtful, Rachel sees them as all the more reason to raise awareness about her condition.

She said: “All I have to say to those who have judged me because of my condition is I hope that they learn to not judge others so quickly when they see something or someone that they don’t quite understand.

“I believe that we should all embrace our differences. And I think that we should all be committed to being so beautifully and uniquely and truly ourselves.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BAD Bunny fans were left gobsmacked after spotting an A-List movie star at the singer’s latest gig.

Fellow concert-goers at the vocalist’s home-town gig in Puerto Rico did a double take after the Mad Men alum was seen in the crowd.

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Golden Globe award winner Jon Hamm donned a white and blue patterned shirt paired with a white bucket hat and trainers for the lengthy show at the Jose Miguel Agrelot Coliseum in San Juan.

Part of his No Me Quiero Ir de Aquí residency, Bad Bunny‘s VIP guest was seen boogying with a glass of drink in hand.

The Baby Driver actor, 54, then busted out a series of energetic dance moves, throwing his right arm in the air, as he embraced the tunes.

His appearance was captured on TikTok where one user confessed: “Seeing Jon Hamm vibing out at the Bad Bunny concert in Puerto Rico was not on my 2025 bingo card.”

They added: “A whole vibe” before hailing him “an icon.”

Another TikTok user confessed: “I can’t stop watching this video.”

One put: “He’s living his best life” as a fan added: “This man is everything I expected him to be.”

A fan then surmised: “Just another reason to love him.”

SUPER FAN

Jon has previously gushed over the Monaco hitmaker and his talents – and spoken publicly about his plans to head to the gigs.

The Morning Show star told Today ahead of the August show: “We’re hoping to go to Puerto Rico.

“I’m excited because he’s doing this residency where he’s doing a month and a half of shows in Puerto Rico.

“First of all, I think it’s really cool that he’s going back to his home, to really give back to the fans.

“He’s reserving the first four, five or 10 shows, or whatever it is, for only residents of Puerto Rico, which is so cool.”

Meanwhile, on a previous Saturday Night Live episode, he added of the chart star: “He’s a really nice guy.

“And he’s funny. And he’s fun and his music is awesome.

“You can’t listen to his music and not smile. I just love his story.

“He’s a really nice guy. He’s funny.”

He then told how the music icon had given him the nickame Jon Jamón which is the Spanish translation of his name.

Meanwhile, Jon isn’t Bad Bunny’s sole famous fan.

Recently, he sparked a bromance with LeBron James as they headed to a party after another of his home town gigs.

At the time, a source told the US Sun of Bad Bunny’s aims for the shows and said: “It’s an elaborate thing where he is making the tickets available at a low price, you have to prove you’re a fan and a Puerto Rican resident, like people have to get the tickets at the supermarket he worked at when he was a kid.”

They added: “LeBron was at the concert, there were a bunch of videos of them together, but before that, they had hung out and played golf together all day.”

The insider added that the NBA star is still a newbie at golfing and has been enjoying the sport lately. 

They added: “After all that they partied their a**es off at the St Regis property nearby with a lot of beautiful women.”

“They have this fun new bromance energy going on.”

BUNNY CAREER

Bad Bunny has collaborated with artists including J Balvin, Ozuna, Farruko, El Alfa, Arcángel, and Daddy Yankee.

He’s also made guest appearances on songs by Drake, Dua Lipa, Cardi B, Jennifer Lopez, Marc Anthony, and Will Smith.

He rose to fame almost immediately after he released “Soy Peor” (“I’m Worse”) in 2016.

While speaking to Rolling Stone, the musician described himself as being a wallflower, though he developed a reputation at school for coming up with creative raps.

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The US President says a review of the national museums will be similar to those he has ordered for universities.

United States President Donald Trump has said the nation’s Smithsonian museums only discuss “horrible” topics, including “how bad Slavery was”, as his administration continues a review into the institution’s exhibits for their “Americanism”.

In a post on his Truth Social platform on Tuesday, Trump said the Smithsonian is “OUT OF CONTROL, where everything discussed is how horrible our Country is”, including “how unaccomplished the downtrodden have been”.

Elaborating on a review of several of the Smithsonian’s 21 museums and galleries ordered by the White House last week, Trump said he has instructed his lawyers “to go through the Museums” and “start the exact same process that has been done with Colleges and Universities where tremendous progress has been made”.

“This Country cannot be WOKE, because WOKE IS BROKE,” Trump added.

The Organisation of American Historians (OAH) has expressed “deep concern and dismay” at the White House’s “unprecedented” request to review the Smithsonian’s exhibits, adding that “no president has the legitimate authority to impose such a review”.

The Smithsonian receives most of its budget from Congress but is independent of the government in decision-making.

The OAH also said that “it is particularly distressing to see this effort of historical censorship and sanitising tied to the 250th anniversary of the nation’s founding”.

The Trump administration said it ordered the review of museums in advance of next year’s milestone, which will mark 250 years since the signing of the Declaration of Independence on July 4, 1776.

It was not until decades later, on December 18, 1865, that the 13th Amendment to the US Constitution officially abolished chattel slavery nationwide, although exceptions continued.

The National Museum of African American History and Culture, which was opened in 2016 with a ceremony led by then-President Barack Obama, is one of the museums the White House has included in its review.

According to the museum’s website, visitors learn about the “richness and diversity of the African American experience” with exhibits ranging from a plantation cabin from South Carolina to Chuck Berry’s red Cadillac convertible.

The freedom of expression organisation PEN America has also expressed alarm at the Trump administration’s “sweeping review” of Smithsonian exhibits.

“The administration’s efforts to rewrite history are a betrayal of our democratic traditions and a deeply concerning effort to strip truth from the institutions that tell our national story,” Hadar Harris, the managing director of PEN America’s Washington, DC, office, said in a statement.

Trump has made threats to cut federal funding for top US educational institutions, citing pro-Palestinian protests against US ally Israel’s war on Gaza, transgender policies, climate initiatives and diversity, equity and inclusion programmes.

Last month, the government settled probes into Columbia University, which agreed to pay $221m, and Brown University, which said it would pay $50m to the government. Both institutions also accepted certain government demands, including how some topics are taught.

Harvard University has sued the Trump administration to halt the freezing of $2.3bn of its federal funding.

Martin would not be drawn on left-back Jefte’s future, amid reports the Brazilian is nearing a move to Palmeiras in his homeland, or Real Betis defender Nobel Mendy, who has been linked with a move to Ibrox.

“He’s in this morning,” Martin said of Jefte.

Rangers are yet to win a domestic game this season, having drawn 1-1 with Motherwell and Dundee in their opening two Scottish Premiership fixtures.

Tuesday’s loss in Plzen was Martin’s first as Rangers boss but he has secured home wins over the Czech side and Panathinaikos as well as a draw away to the latter.

Under Philippe Clement, Rangers were knocked out of last season’s Scottish Cup by lower league opposition as Queen’s Park triumphed at Ibrox. Alloa are one tier below Queen’s Park in League 1 and have won six out of seven games this term.

“It was last season, it’s completely gone some of them were probably part of that, I don’t see any benefit in me bringing it up, really,” Martin commented on the Queen’s Park result.

“We focus on this game but being better from Tuesday.”

“And Just Like That,” it’s over.

Earlier this month, showrunner Michael Patrick King informed the world that the long-awaited, highly anticipated and then almost universally hated sequel to HBO’s groundbreaking series “Sex and the City” would end. Mere weeks later, it did just that and rather abruptly, with two Thanksgiving-themed episodes, which felt a bit odd in these dog days of summer. But at least it allowed the writers to box up and tie off all the various storylines as if they were the medley of pies Carrie (Sarah Jessica Parker) picks up and delivers to all her friends during the show’s finale.

If you think those pies denote happiness, you would be right. The main feast at Miranda’s (Cynthia Nixon) apartment falls far short of perfection — loads of no-shows, the appearance of chef Brady’s (Niall Cunningham) passive-aggressive baby mama, an undercooked turkey and a toilet disaster — but in the end, every character is left wallowing in peace and satisfaction.

Miranda lowers her defenses enough to tell Joy (Dolly Wells) that she is a recovering alcoholic, to which Joy responds with deep understanding. Prostate cancer survivor Harry (Evan Handler) becomes fully, er, functional again and in the afterglow, Charlotte (Kristin Davis) finally surrenders the girly expectations she once had for her nonbinary daughter Rock (Alexa Swinton). After fleeting concern that her crunchy gardener lover Adam (Logan Marshall-Green) doesn’t believe in big weddings or even marriage, Seema (Sarita Choudhury) accepts that true, and committed, love comes in all shapes and sizes. As do Anthony (Mario Cantone) and Giuseppe (Sebastiano Pigazzi). Whether Lisa’s (Nicole Ari Parker) renewed devotion to husband Herbert (Christopher Jackson) counts as a happy ending is open to debate, but at least he seems to be letting go of his “humiliating” loss in the New York City comptroller race.

As for Carrie, well, after her renewed romance with Aidan (John Corbett) became blighted by mistrust, she had a lovely brief affair with Duncan (Jonathan Cake), the British biographer living in the basement of her townhouse. But in the end, she decides, via the novel that served as this season’s voice-over, that life in a fabulous Manhattan apartment with a closet that looks like it was shipped from “The Devil Wears Prada” costume department and a group of fine faithful friends (including a cantankerous baker who allows her to order pies long past the pie-ordering deadline), does not require a man to be complete.

After breaking up with Aidan (John Corbett), right, and a brief affair with Duncan (Jonathan Cake), Carrie (Sarah Jessica Parker) realizes she’s better off alone.

(Craig Blankenhorn / HBO Max)

Culture critic Mary McNamara, staff writer Yvonne Villarreal and television editor Maira Garcia compare notes on the end of one of the most discussed, if not beloved, reboots in television history.

Mary McNamara: When I wrote about “And Just Like That” a month ago, I expressed my hope that Season 3 would be the last, so I feel nothing but relief (though had I known the universe was in listening mode, I would have also mentioned wanting to win the lottery and a few other things).

I am not worried, as others appear to be, about the legacy of “Sex and the City,” which is all around us in series as disparate as “Broad City,” “Fleabag” and “Insecure.” Nor do I think that the failure of “And Just Like That” has anything to do with the current political climate or the rise of the trad wife or whatever hot takes seem handy. It was simply and consistently a very bad TV show.

I tuned in initially because, like many, I was excited to see how these characters were coping with late middle-age life — by apparently not experiencing menopause for one thing (an early indication that female authenticity had fallen by the wayside) or developing any sort of interior life.

Real crises — Carrie losing Big and “dealing” with Aidan’s troubled son, Miranda discovering her queerness and alcoholism, Charlotte struggling to cope with her daughter’s gender fluidity and her husband’s cancer — were treated performatively, as plot twists to underline, apparently, the resilience of each character and the core friendship. Not a bad objective, but the hurdles, which increasing felt like a whiteboard checklist (podcasts! pronouns! prostate cancer!), came and went so fast they quickly became laughable (and not in the comedic sense), culminating with Lisa’s father dying twice.

I kept watching, as many did, not because I loved hating it, but because there was a good show in there somewhere and I kept waiting for it to emerge. When it didn’t — well, the Thanksgiving/pie finale was a bit much — I honestly didn’t care how it ended, as long as it did.

Miranda (Cynthia Nixon) confronts her alcoholism and discovering her queerness in the show, but heavy issues were treated performatively as plot twists to reinforce characters’ resilience.

(Craig Blankenhorn / HBO Max)

Maira Garcia: Mary, after you wrote your column, I decided to take a break from the show because it summarized some of my frustrations with the reboot that seemed to come to a head this season — Aidan’s unrealistic expectations for his relationship with Carrie, the perfunctory way it addressed ADHD, the lack of rugs on Carrie’s floors. Of course my break didn’t last long because I caught up and now I’m here wondering what it was all about and what it could have been. While the line from King and Parker is that this season felt like a good place for the show to end, based on the number of developing storylines, like Brady becoming a father, I have a very hard time believing it. But the problem of how to fix this show was too big — it was better that they ended on this chapter (whether or not that decision was made by them).

I think like many viewers, I just wanted to enjoy spending some time with these ladies again at a later stage in life after a couple of decades with them through reruns and the films. But this was something else and while the addition of new characters seemed well-intentioned, they either lacked dimension, meaty storylines or were plain annoying (ahem, Che) — except for Seema. I love Seema. Please get Sarita Choudhury a spinoff.

Yvonne Villarreal: Uh, is it sad that I’m sad? I know, I know. But, look, I feel like the girl who cried “Che?!” too many times and now it’s real and it’s like I’ve been mentally placed in that insane DIY mini foyer of Carrie’s old apartment trying to emotionally find my way out. Like you, Mary, I’ve been frustrated endlessly by the series and have long felt like it needed to be put out of its misery, but I still dutifully watched every episode with a weird mix of enthusiasm and dread — and the community that grew (in my TikTok algorithm and in my group texts) from that shared experience was oddly one of the bright spots. So for HBO Max to call my bluff by actually ending it still feels like a breakup as flabbergasting — albeit, necessary — as Berger’s Post-it note peace-out.

I came in ready to approach this stage of my relationship to these characters the same way I approach the friendships I’ve maintained the longest — excited to catch up once our schedules aligned, trying to fill in the blanks from the long absence caused by life, but still recognizing the foundation of who they are and how they’re choosing to navigate life’s curveballs. But with each passing episode, it always seemed like I was at the wrong table, perplexed and trying not to be rude with all the “But why?” questions. Miranda’s quote from this week’s finale, as she took in the most bizarre Thanksgiving dinner television has ever put onscreen, felt like the epilogue to my experience watching it all: “I’m not sure exactly what’s happening now, but let’s all take a breath.”

The scene where Carrie, left, Seema, Charlotte and Lisa are at the bridal fashion show, expressing their feelings about marriage, is something our writer wanted more of in the series. (Craig Blankenhorn / HBO Max)

I will mourn the potential of what this series could have been. Like Carrie’s playful tiptoe stride through the streets in heels, the show pranced around topics that, had it walked through them with intention, would have given the series traces of its former self. That friend moment between Seema and Carrie outside the hair salon in Season 2 — where the former is reluctantly but bravely expressing that she feels like she’s being dropped now that Aidan is back in the picture — was such a genuine peek at the vulnerability between friends that so many of us valued from the original series. And that moment from this week’s finale, where the women are gathered at a bridal runway show, sharing their varying feelings on marriage at this stage in their life — I just wanted to shout, “MICHAEL PATRICK KING, this is what I wanted more of!” Though, I would have preferred if they were around a table, looking at each other as they shared and unpacked. I wanted an extended scene of that, not Carrie ordering pies! I don’t like to be teased with goodness. And that’s how it often felt.

Also, I know it’s a comedy, although the decision to lean into the sitcom style of humor remains perplexing (Harry and Charlotte, I’m looking at you), but I felt like there was a way to explore grief — the death of Mr. Big and Stanford, plus the strain on the group’s friendship with Samantha — in a way that felt truer to the characters and the style of the show. Heck, even Miranda’s drinking problem was squandered. I feel like the loss of a spouse (through death, divorce or emotional distance), the fading out of friendships and reconsideration of lifestyle habits are the most talked-about topics in my friend group at this stage in my life — sometimes the convos happen while we’re huddled around a Chili’s triple dipper, which is as bleak and real as it gets. And I’m sorry, but if I were to use one of those outings, when I’m in my mid-50s, to tell them an ex wants me to wait five years while he focuses on being a toxic parent before we can really be together, they’d slap me with a fried mozzarella stick — I will never forgive the writers for how lobotomized these characters feel. Mary and Maira, how did you feel about how the show handled its biggest absences? The show began in such a different place than where it ends — did it evolve in the right direction? Where did it go right for you?

McNamara: Oh Yvonne, you are so much kinder than I am. I never felt it was going right — the writers seemed so determined to prove that women in their 50s aren’t boring that they constantly forced them into all manner of absurd situations without much thought for what kind of actual women these characters might have become. Age was represented mostly by bizarre, grannified reactions to younger folk and their strange ways (up until the finale, which gave us that baby mama and her buddy Epcot), as if the women (and the writers) had been kept in a shoe box for 20 years.

Looking back, the lack of Samantha, and Cattrall, feels like a deal-breaker. For all her campy affectations, Samantha was always the most grounded of the characters, able to cut to the heart of things with a witty line, biting comment or just a simple truth. Seema, and Choudhury, did her best to fill that void, but she never got quite enough room to work — her relationship was almost exclusively with Carrie for one thing and Carrie was, even more than in “Sex and the City,” the driving force of the show.

Kim Cattrall made a brief appearance as Samantha Jones at the end of Season 2, but she was sorely missed throughout.

(Max)

I agree that grief was given very short shrift, and the fact that no one seemed to miss Samantha very much, or be in touch with her at all (beyond the few exchanges with Carrie) was both bizarre and a shame — coping with the loss of a dear friend, through misunderstanding or distance, is a rich topic and one that many people deal with.

As for the resurrection of Aidan, well, who thought that was going to work? Especially when it became clear that the writers thought it made perfect sense to keep Carrie and Aidan’s children separate — so unbelievable, and demeaning to both characters. Carrie’s final “revelation” that a woman doesn’t need a man to be happy would have had a much more meaningful resonance if Carrie had been allowed to explore her grief, fear, frustration and hope beyond a few platitude-laden conversations and that god-awful novel. Which, quite honestly, was the funniest thing about this season. When her agent went bananas over it, I literally walked out of the room.

Garcia: Samantha, and Cattrall in turn, were sorely missed. And you’re right, Mary, Seema filled some of that void, and you really need that connection across the different characters. Which leads me to my biggest gripe: Why did some characters feel so distant? Lisa’s storyline this season was so disconnected from the rest — it seemed like she was with the core group only in passing. And it happened with Nya (Karen Pittman), who disappeared after Season 2, though that had to do with scheduling conflicts.

As far as its evolution, I was glad to see the podcast group, with its overbearing members, whittled away — though we had to deal with Che for another season. Those overbearing characters kept getting replaced with other overbearing characters like Giuseppe’s mother, played by Patti LuPone, and Brady’s baby mama and her odd pals (if the writers were trying to get us to scratch our heads at Gen Z, they did it). While I’ll miss being able to turn my brain off for an hour each week, along with the occasional shouts at my TV over some silly line or moment, I can’t say I was satisfied in the end. At least when someone said or did something stupid in previous iterations of the show, it was acknowledged in a way that felt true the characters and there was some growth expressed. After the return of Aidan, I can’t say that’s true here.

But now that we’re at the end, I have to ask you both how this affects the SATC universe? Did this disrupt the canon? Was there something memorable you’ll take away at least? A character, a moment, a ridiculously oversized piece of jewelry, hat or bag?

Villarreal: Oh geez. There’s no question — for me, at least — where this sequel falls in the SATC universe. The original series, even with its moments that didn’t stand the test of time, will always be supreme; the first movie, while hardly perfect, gave us some memorable BFF moments — like Charlotte giving Big eye daggers after he left Carrie at the altar or Samantha feeding a heartbroken Carrie — that keep it in my rewatch rotation. I’d place “And Just Like That …” after that, with the Abu Dhabi getaway movie dead last.

What will I miss? For sure the fashion moments, especially the ones that broke my brain, like Carrie’s Michelin Man snowstorm getup or her recent gingham headwear disaster that my former colleague Meredith Blake described as Strawberry Shortcake … and don’t get me started on Lisa’s jumbo balls of twine necklace.

One thing we’ll miss: The over-the-top fashion like Carrie’s big hat and Lisa’s jumbo ball necklace. (Craig Blankenhorn/HBO Max)

I’m curious, Mary, as someone who has watched your share of series finales, how you felt about this conclusion and whether it served that mission. This season had episodes that felt like wasted filler and didn’t do much to move the plot forward. Last week’s penultimate episode is what convinced me the wrapping up of this series was not planned. It was 28 minutes of huh? And what about Carrie’s book? I would add it to my Kindle just out of curiosity. While I maybe would have seen all that’s transpired as an opportunity for Carrie to write a memoir on love and loss à la Carole Radziwill, I did get a kick out of the excerpts from Carrie’s take on a 19th century woman having an existential crisis. And look, maybe I’m schmaltzy, but I did sort of love the last line she tacked on in her epilogue: “The woman realized, she was not alone — she was on her own.” Mary, are you judging me right now? I promise I didn’t dance to Barry White’s “You’re the First, the Last, My Everything” through the halls of my apartment after watching. But I would have loved more exploration of that thread sooner — I mean, aren’t there studies about women being happier, or at least less stressed, later in life once their spouse dies? I believe it! It doesn’t mean you can’t have companionship in other ways. Anyway, what’s the takeaway from what happened with this show? Hollywood isn’t going to stop trying to find new life in established properties. So, what can be learned from what went wrong here?

McNamara: Yvonne! I would never judge you! And the world would be a far better place if everyone danced around their domiciles more often. I think Carrie realizing that her life is full and happy without a partner is actually a perfect way to end this series. (She will certainly never want for romance — So. Much. Tulle.) I just wish it had felt less rushed and did not involve a weird giant plushie at a robot restaurant. Whatever sequence of events led to the final scene, I have to believe that was going to be Carrie’s journey all along. I even liked the debate over the ending of her book — if only the book had not been so terrible!

I will certainly miss marveling at Parker’s Olympics-worthy ability to navigate nearly any surface in heels (and “sell” outfits that seem more like Halloween costumes than style) as well as those rare conversations, like the one at the bridal show, that allowed a situation to be viewed from multiple points of view.

As for the finale, it felt very much in keeping with the intention, if not the overall execution, of the series. I am not cold-hearted enough to want any of these characters to depart mid-crisis or accept less than a happy life. Sure, it was a bit pat, with everyone’s story neatly boxed up like a Thanksgiving pie. But who doesn’t like pie?

Garcia: I love pie! But let’s not forget, like the toilet that overflowed (with a few logs, to boot) in the final scenes, too much of something isn’t always what we need.

Villarreal: Is this a safe space to share that if the girls make up with Samantha/Cattrall in their 70s, I’ll be ready for their return to my screen? Sorry, not sorry — I don’t have time to set healthy boundaries with friendships that are no longer serving me.

New York City native Kevin Mares was killed Sunday in the La Perla neigborhood of San Juan, Puerto Rico. The 25-year-old was visiting the island to see a Bad Bunny concert.

Mares was fatally shot in the early morning hours, outside of a nightclub called Shelter for Mistreated Men. The shooting took place when several people near Mares began arguing and one pulled out a gun and shot at least three people, the Associated Press reported.

Homicide detective Sgt. Arnaldo Ruiz told the AP that Mares was an innocent bystander in the situation and that a pair of siblings from La Perla remain hospitalized after being shot. No arrests have yet been made.

Mares was joined by his girlfriend and two friends in Puerto Rico. It was his partner who ended up delivering the news of his death to Mares’ parents.

“I said, ‘What happened?’ She said, ‘I’m sorry. We lost him,’ ” Hector Mares, Kevin’s father, told CBS News New York.

“Whoever did this, took from us a piece of us, you know?” Kevin’s mother, Sandra Mares, added.

A longtime Bad Bunny fan, Mares and his friends were consistently in attendance of the “La Mudanza” singer’s concerts and had been prepping for their San Juan trip for months.

“Every time Bad Bunny comes here, they go to most all of his concerts,” Sandra Mares said.

Mares — whose parents are originally from Mexico — was born and raised in the East Elmhurst neighborhood of Queens and was studying to be a veterinarian at LaGuardia Community College.

“He got a lot of dreams. He was working as a vet technician. And at the same time he was studying,” his father told ABC 7 New York.

“He was about to propose to [his girlfriend] this fall. Yeah. He wanted to do something special. He shared that with us,” his mother added. “He was a lovely son. He cared about all of us, his family, friends. He has a lot of friends who’s really going to miss him, too.”

Now, the Mares family is asking for anyone with information about the shooter and more specifics about the incident to please step forward.

“What we’re asking the people is, if anybody knows what happened, who did this, [to say something],” his mother told CBS. “We don’t know [anything]. We want justice.”

The family is currently making efforts toward having Mares’ body returned home, but it remains in Puerto Rico as the investigation into his death is still ongoing.

Kevin’s father started a GoFundMe to raise enough money — the campaign’s target is currently $50,000 — to plan Kevin’s funeral arrangements.

“Kevin Mares was a deeply loved son, devoted friend, and a source of inspiration to everyone who knew him. His wholehearted kindness, adventurous spirit, and unwavering commitment to family made him a pillar of strength for his loved ones,” the GofundMe page states. “Family was at the center of everything he did, and his sudden passing has left an unfillable void in our lives. … Your support will help us honor Kevin’s memory and give him the farewell he deserves.”

SAN JUAN, Puerto Rico — A Bad Bunny fan who was visiting Puerto Rico for the hip-hop star’s concert residency was fatally shot early Sunday in La Perla, a popular seaside shantytown in the capital, police said.

The victim was identified as Kevin Mares, a 25-year-old who lived in New York, according to a police statement.

The shooting happened in the predawn hours at a nightspot called Shelter for Mistreated Men in La Perla, a coastal community of San Juan that has struggled to shed its dark reputation.

Homicide detective Sgt. Arnaldo Ruiz said in a phone interview that the shooting took place when several people near Mares began arguing and one pulled out a gun and shot at least three people, including Mares. Two other men, who live in La Perla, were injured and remain hospitalized.

Ruiz said Mares was an innocent bystander. He was with three other friends who told police they were in Puerto Rico for one of Bad Bunny’s 30 concerts, which have attracted tens of thousands of visitors to the U.S. territory, where the artist was born.

Mares was shot on the left side of his abdomen and was taken to Puerto Rico’s largest public hospital, where he died, authorities said.

Ruiz said police don’t yet know what the people were arguing about and don’t have a description of the shooter. “We have very little information,” he said.

Ruiz added that Mares’ three friends also were from New York. He didn’t know their hometowns.

La Perla is on the outskirts of a historic district popular with tourists known as Old San Juan. A couple hundred people live in the shantytown, which once served as Puerto Rico’s biggest distribution point for heroin and was known for its violence.

Police used to avoid the community, which used to have a sign proclaiming, “Not open to visitors. Do not enter.”

But violence eased when hundreds of federal agents raided the slum in 2011 and arrested dozens of people, including a well-known community leader who was later convicted.

The neighborhood became even safer and more welcoming after Puerto Rican singers Luis Fonsi and Daddy Yankee featured it in their hit “Despacito.”

But isolated violence persists.

In February 2023, three tourists were stabbed after police said a person told them to stop filming inside the community.

In April of last year, a 24-year-old tourist from Delaware was killed and his body set on fire after police said he and a friend were attacked after a drug purchase. Police said the victims were trying to take pictures of La Perla after being warned not to do so.

The island of 3.2 million people has reported 277 killings so far this year, compared with 325 killings in the same period last year.

Coto writes for the Associated Press.

Hello, this is De Los reporter Carlos De Loera. I will be taking over the Latinx Files for the next couple of months while Fidel is on parental leave. I hope I do him justice!

“No me quiero ir de aquí.”

It’s more than just the name of Bad Bunny’s months-long Puerto Rico concert residency; it’s a radical declaration against colonialism and gentrification, as well as a defiant call for cultural preservation and celebration.

This week the U.S. federal government exercised another overreach of power over Puerto Rico, when the Trump administration dismissed five out of seven members of Puerto Rico’s federal control board that oversees the U.S. territory’s finances. All of the fired board members belonged to the Democratic Party; the remaining two members are Republicans.

As other parts of the Spanish-speaking world grapple with being priced out of their own communities, and a watering down of their long-standing cultures, artists in Puerto Rico are using their work to give visitors a not-so-gentle reminder: No one can kick them out of their own home.

Last week, the Latinx advocacy group Mijente — alongside the art collective AgitArte — collaborated with local Puerto Rican artists and organizations to present a free art exhibition that highlights the everyday societal struggles of Boricuas. Located in the Santurce barrio of San Juan, the “De Aquí Nadie Nos Saca” exhibit is marketing itself as a spiritual companion piece to Bad Bunny’s album, “Debí Tirar Más Fotos,” by delving into the musical joy and ongoing resistance movements of the island.

The name of the exhibition itself is a play on the lyrics from Bad Bunny’s track “La Mudanza,” in which he sings, “De aquí nadie me saca” — “nobody can get me out of here.” But the space has more than just a thematic connection to the Grammy-winning artist.

Members of AgitArte and one of its affiliated community theater collectives, Papel Machete, contributed to the “La Mudanza” music video by providing a giant papier-mâché puppet named La Maestra Combativa. It can be seen in the last minute of the video, holding up a colorful sign that reads “De aquí nadie me saca.”

The momentum of Bad Bunny’s latest album and subsequent tour met Mijente’s mission at a serendipitous time that led to the creation of the new showcase.

“The socio-cultural moment and the political moment needed different kinds of things, not just the normal playbook of social work,” said Mijente communications director Enrique Cárdenas Sifre. “We needed to experiment a little bit more.”

According to Cárdenas Sifre, part of the hope for the exhibition is to combat a pervasive narrative that Latinx people are more conservative-leaning than they realize.

Bad Bunny’s sentiment of “todo el mundo quiere ser latino” — and the universal praise and online utilization of “Debí Tirar Más Fotos” — allowed for Mijente to reopen the conversation about the true values of Latinx people in Puerto Rico.

“We can use the opportunity of a mainstream event to experiment with reoccupying and reutilizing all the cultural work for our causes,” he said. “For immigration causes, for liberation, decolonization, social, racial, gender equity and struggles … especially in Puerto Rico. So all of that came together at the same time.”

With hundreds of thousands of tourists descending upon the island to watch the “Baile Inolvidable” singer perform, it seemed like the right time to challenge tourists to engage with some of the more difficult and harrowing experiences of Puerto Ricans.

“No seas un turista más,” or “don’t be just another tourist,” is one of the main phrases used to advertise the exhibition, which asks people to confront colonialism, gender dynamics, environmental ruin, state violence and displacement.

“If you only have a few moments to be in San Juan [for the tour], please come to the exposition and help us amplify, connect and support all the local organizations that are doing the work,” Cárdenas Sifre said. “No seas un turista más, conoce un poco de la historia real de Puerto Rico.”

Telling the “real history” of the island are over 39 artists and organizations — with special help from AgitArte curator Dey Hernández — that make up “a piece” of the whole movement that Mijente is pushing for.

“We always try to recognize that we need joy, we need perreo, we need our culture, we need our sazón, but at the same time, we keep fighting for the things that we want in our lives and in our future,” Cárdenas Sifre said. “We want to go a little bit deeper for tourists to understand that it’s generations of struggle. So you can come to the exposition and support by donating directly to an organization or artist that is presenting.”

Open from Wednesday through Sunday, the exhibition will continue showcasing its works through early October. After its opening weekend, organizers of the event are enthused by the intergenerational crowds and the litany of responses the art has elicited.

“They see their fights, they see themselves in the exhibition,” Cárdenas Sifre said. “Some people have to go outside to cry for a minute, because there hadn’t been a place that hit on all these social battles and they recognize the years of work that went behind collecting it all. There’s also joy and celebration, it’s really run the gamut of every emotion…. Everyone tells us that this space was needed.”

One thing that Cárdenas Sifre wanted to make clear is that the exhibit is not affiliated with any electoral political alliance, but rather a “real new alliance of the folks doing the work on the ground every day.”

“These organizations and artists don’t always have a space to come together to talk about the work that [they] are doing, talk about the struggles they are facing. [It’s about] generating a little space [to] conspire the next [steps for] the movement in Puerto Rico.”

Comic this Week: Drag, DACA, and Departure

Julio Salgado is a visual artist based in Long Beach. His work has been displayed at the Oakland Museum, SFMOMA, and Smithsonian American Art Museum. (@juliosalgado83)

Stories we read this week that we think you should read

Unless otherwise noted, all stories in this section are from the L.A. Times.

Immigration and the border

Politics

Arts and Entertainment

Climate

Gripping Narrative

(Jackie Rivera / For The Times; Martina Ibáñez-Baldor / Los Angeles Times)

Tommy Fleetwood carded a six-under 64 to open up a four-shot lead before play was suspended in the second round of the St Jude Championship in Memphis due to severe weather.

Having shot 63 in the opening round, the 34-year-old Englishman followed up superbly with seven birdies.

A bogey on the 18th was the only blemish on Fleetwood’s total of 13 under as he put himself in a strong position for a first ever PGA Tour victory.

After hitting a fine 65, two-time major champion Collin Morikawa is at nine under, along with his fellow American Akshay Bhatia in the opening event of the FedExCup play-offs.

England’s Justin Rose was on the 17th tee and among 21 players still yet to finish when play was stopped due to lightning. He was also four shots adrift of Fleetwood.

THE WORLD’S top place to take bored kids this summer, which is in the UK, has announced a new rainy day guarantee scheme.

Blackpool Pleasure Beach Resort has introduced a free return for ticketholders who attend the attraction on a day that rains.

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The new policy means that guests will always have a great visit to the attraction, because if the weather is poor they can return on a day where it is better.

The policy will be in place throughout August and it will need to rain for more than three hours on the day of their trip.

If this does happen, then guests can return for free within seven days of their original visit date.

CEO of Pleasure Beach Resort, Amanda Thompson OBE said: “It’s important to us that guests have the best time when visiting, and while technically speaking the rain doesn’t affect our rides, we wouldn’t want the wet weather to dampen anyone’s day.

“We truly believe that you can have a great time at Pleasure Beach come rain or shine, but we know that everything is extra special when the weather is on side.”

If a guest wants to use a rainy day return, they should arrive at the same ticket centre on the day of their return visit and display their eTickets, paper tickets or confirmation email to staff.

The new option can also be used seven days of the week.

Blackpool Pleasure Beach resort was also recently named as one of the best attractions to bust kids being bored.

AttractionTickets.com created an index compiling the best attractions to take kids to this summer and the Lancashire-based attraction managed to beat the likes of Walt Disney World and Universal Orlando.

Overall, it scored 31.3 out of a possible 35 marks.

The attraction is home to 10 rollercoasters, five ‘dark’ (indoor) rides, five water rides and 12 Nickelodeon-themed rides.

Throughout the year, Blackpool Pleasure Beach Resort also hosts a number of shows, including fireworks.

Earlier this year, the reimagining of Launch Pad was unveiled, which climbs up to 80 mph and sends riders 210 ft into the air.

AttractionTickets.com’s Banish Boredom Index was made by analysing reviews from over 160 destinations, and the UK dominated the top 20.

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These included the likes of the Tower of London, Ribby Hall Village, and Warner Bros. Studio Tour London all made the list.

Some other attractions across the UK offer rainy day guarantees, such as Crealy Adventure Park in Devon.

The attraction offers visitors a free return within seven days of their original visit if there is 30 minutes or more of continuous rainfall during their visit.

It is worth checking the FAQs or T&Cs of your tickets to an attraction to see if the theme park, adventure park or other destination offers the same guarantee.

Use these tips on your next theme park trip

Next time you visit a theme park, you may want to use our top tips to make the most of your adrenaline-inducing day out.

1. Go to the back of the theme park first. Rides at the front will have the longest queues as soon as it opens.
2. Go on water rides in the middle of the day in the summer – this will cool you off when the sun is at its hottest.
3. Download the park’s app to track which rides have the shortest queues.
4. Visit on your birthday, as some parks give out “birthday badges” that can get you freebies.
5. If it rains, contact the park. Depending on how much it rained, you may get a free ticket to return.

There is also a unique UK theme park with safaris, water park and rides for everyone from toddlers to grandparents.

Plus, Disney is set to open a brand new theme park and resort – here’s everything we know.

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Since opening at London Excel last Friday, Layered Reality’s Elvis Experience show has been torn to shreds by punters, who have complained about the visual effects and the cost of tickets

Milo Boyd is a Digital Travel reporter who covers aviation news, the environment, the cruise industry and much else including travel tips, bargain holiday suggestions and inspirational global trips.

“It makes me feel sick.” Not the most glowing of reviews from Ann, a pensioner who opted to leave the Elvis Evolution experience as soon as the mind-bending, sound-warping, completely Elvis-free first half had finished.

Since opening at London Excel last Friday, the show has been torn to shreds by punters like Ann, who had been expecting to see a hologram of the King, only to settle for a selfie with a cardboard cutout. One pensioner was so irate at the steep ticket price he was dragged from the venue after shouting ‘b****cks’ over the live finale.

A tough opening week then for Layered Reality, a London-based events company that combines “the latest in performance technology with live actors and feature quality sets” to produce “the future of entertainment”, or so its website says at least.

When I visited Elvis Evolution on the grey Wednesday afternoon after its opening, I was taken on a “unique immersive” ride into the world of Elvis.

It was just more the parts when he was stuck in a Las Vegas penthouse suite, blasting his mind apart with a diet of nightly shows, hamburgers and Quaaludes, than the bit when he was hot and good at performing.

READ MORE: Baffled Elvis fans dub ’embarrassing’ event the ‘new Willy Wonka experience’

It begins in a 50s-style diner-come-holding pen, where guests are invited to arrive early to enjoy a £10 King and Tonic or a Paramount Pretzel.

“They’ve run out of ice cream, so the Pepsi Floats are off,” Cambridge man Carl told me. He’d had to schlep over the Thames on the IFS Cloud Cable Car from Greenwich after discovering the official car park was closed.

Having had a good moan about the prices as we queued for the first of about ten times that afternoon, we shuffled into the first scene – a recreation of Elvis’s dressing room – and then around it for about 20 minutes. A generous timeslot, given the room was about as faithful a creation of the 50s as the (admittedly incredible) OK Diner on the A1.

And then the lights dim and the conceit begins. A washed-up Elvis is refusing to leave his dressing room and hit the stage for his iconic 1968 NBC Comeback Special. A distressed show manager tells us not to worry, the King will be out soon, and that security guards are on site both for our and the staff’s safety. A little on the nose, given the pensioner dragging that took place just days ago.

Shockingly, the stage manager is wrong. Elvis doesn’t actually appear for the entire duration of the show, aside from in short projected clips of old performances, briefly recreated as an uncanny AI figurine and, at one weird point, as a comic book superhero.

After tempting punters with a hologram Presley just like ABBA Voyage down the road, Layered Reality made the “creative decision not to mimic Elvis’s performances” with the tech. Or hire one of the tens of thousands of impersonators who would’ve probably done a great job. Elvis has not just left the building, he was never in it.

Instead, we get a supporting cast of four actors who whisk us out of the NBC studio to Elvis’ childhood and then on a whirlwind tour back to the moment the King reclaimed his crown.

“I couldn’t hear a bloody thing,” one man told me before following after Ann at halftime and making for the DLR. The sound is admittedly warped and poorly mixed, with the head mics dropping in and out, making the story very hard to follow. “What the hell is going on!?” Catherine, Carl’s wife, asked me as she slurps on a Blue Suede cocktail.

As someone who has served as an elf in the early years of Lapland UK, I know how difficult it is to keep grinning while guiding ripped-off feeling families to the right Father Christmas’ cabin. Or in this case, performing for a visibly bored crowd of pensioners, some of whom have spent up to £300 on VIP passes that get you three “free” drinks and a seat in the finale performance.

The actors gave it their all and were the best thing about the show. But they were fighting a losing battle. The script is bad, the effects are weird, and the sound is not quite ear-splitting enough to mask their Mississippi via London accents.

We are likely to get more and more of this kind of thing as the film industry continues its contraction and immersive events take over. According to Gensler Research Institute’s 2025 Immersive Entertainment & Culture Industry Report, the global market for immersive entertainment was valued at £98bn – and it’s projected to reach £351bn by 2030.

Elvis Evolution has been likened to the catastrophic Wonka and Bridgerton experiences, but that’s a little unfair. Layered Reality has certainly thrown some cash, time and expertise at the event, it’s just not enough.

The show comes to a climax in a small auditorium where groups of elderly people (who clearly have trouble keeping on their feet but only paid £75 for the cheapest tickets) are ushered into the standing pen, while the VIPs enjoy cinema seats at the back.

As has been widely reported elsewhere, Elvis does not appear here as expected. He is beamed onto a flat screen behind a live band, who are pretending to play. It’s a limp way to finish things off, yet it gets people dancing, clapping and smiling for the first time.

It always seemed to me that Elvis was great in spite of his corny origin story, the cringeworthy PR ops he was pressured into and his vast back catalog of sickly sweet love songs. He was great because of his incredible musical talent, which stayed with him until the very end, when he was still able to summon choirs of angels from his broken, slug-like body.

Layered Reality probably should’ve realised this, cut out most of the bells and whistles, and actually hired an Elvis to sing a few of his tunes.

A spokesperson for the company said: “Elvis Evolution has been praised by Elvis fans and newcomers alike — but it’s not a traditional concert or hologram show. From the outset of development, we made a deliberate decision to explore the most powerful and authentic ways to tell Elvis’ story.

“This major scale production brings together a cast of 28 performers and over 300 skilled professionals across design, production, and visual effects.

“Elvis Evolution is a multisensory experience, where technology plays a powerful supporting role — but the show doesn’t attempt to recreate Elvis’ performances. Instead, it joyfully celebrates the ones he gave us. We’re incredibly proud of what’s been created, and of how it’s reconnecting people with Elvis in new and meaningful ways.”

Bad Bunny is booked and busy. (Now try saying that twice.)

On Tuesday night, the Grammy-winning Puerto Rican singer will make two back-to-back appearances on late-night television shows: “The Late Show With Stephen Colbert” on CBS and “Late Night With Seth Meyers” on NBC.

The 31-year-old artist is in the midst of his historic No Me Quiero Ir De Aquí residency at the Coliseo de Puerto Rico in San Juan. The 30-night concert series is expected to generate $200 million to the local economy, according to the island’s promotional agency, Discover Puerto Rico.

Bad Bunny, who moonlights as an actor, is also promoting the long-awaited “Happy Gilmore 2,” a sequel to the 1996 Adam Sandler comedy, which will premiere July 25 on Netflix. He will play a golf caddy to Happy Gilmore (played by Sandler), an aggro-ex-hockey player turned golf phenom. Both Sandler and Bad Bunny are expected to appear on “Late Night With Seth Meyers.”

It’s an unusual move by the two competing networks to book the same guest on a single night, but as evening newscasts clash with fast-paced content on social media sites like YouTube or TikTok, perhaps the rules can be relaxed for a superstar.

Camaraderie across the TV aisle has grown in recent days, with multiple late-night hosts decrying the cancellation of Colbert’s program for what CBS has cited as financial reasons. News of this cancellation came days after Colbert criticized CBS’ parent company, Paramount, over the $16-million settlement of President Trump’s lawsuit stemming from a “60 Minutes” interview with Kamala Harris.

“And now for the next 10 months, the gloves are off,” said Colbert on Sunday night. His decade-long show will end May 2026.

Earlier this year, Bad Bunny co-hosted “The Tonight Show Starring Jimmy Fallon” to promote his hit album, “Debí Tirar Más Fotos,” which remains on the Billboard 200 chart since its January debut. During the program, the two disguised themselves while busking in a New York Subway station, first performing a cover of the Backstreet Boys’ “I Want It That Way,” then Bad Bunny’s single “Nuevayol.”

For those wondering how Bad Bunny will pull off this New York showdown, fear not: “Late Night With Seth Meyers” films its Tuesday program on Monday.

Bad Bunny will first appear as a guest on “The Late Show With Stephen Colbert” on CBS at 8:35 p.m. PST, followed by “Late Night With Seth Meyers” on NBC at 12:35 a.m. ET/PT.