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Remember this banger? Shakira's ‘La Tortura' just turned 20

Remember this banger? Shakira's ‘La Tortura' just turned 20

Love is Shakira's kryptonite. But for those who dare betray her, the aftermath can be utter torture.
For 20 years now, the contagious rhythm and fiery lyrics of 'La Tortura,' along with its steamy music video, have continued to ripple through the airwaves, reminding audiences that Shakira's emotions are not to be toyed with. (Don't say she didn't warn you, Pique.)
Released on April 11, 2005, 'La Tortura' came at a special point in the pop star's career. Four years earlier, the Colombian singer had wooed English speakers with her first crossover album, 'Laundry Service,' which sold 13 million copies worldwide. As L.A. Times reporter Agustin Gurza wrote, the English-language album was 'a smash that launched her global career.'
But Shakira was already considered an unstoppable force in Latin America after reaching commercial success with her 1998 pop-rock album, 'Dónde Están los Ladrones?' The 2005 release of her sixth studio album, 'Fijación Oral, Vol. 1,' seemed to mark her humble homecoming to the language that had supported her since the beginning — crossover be damned!
Some music critics, like Gurza, lambasted 'Fijación Oral, Vol. 1' for its lovesick lyrics in tracks like 'En Tus Pupilas' — which the singer wrote while in a long-term romance with Antonio de la Rúa, son of Argentina's former president Fernando de la Rúa. The album's lead single, however, managed to stave off the harshest criticisms.
'['La Tortura] is deliciously pop,' writes Gurza. 'Radio loves it and the clubs will too.'
Shakira produced the song with an infectious rhythm of reggaeton, a genre that was quickly taking over the Latin music scene at the time. Co-written with composer Luis Fernando Ochoa, 'La Tortura' also featured Spanish singer Alejandro Sanz, whose raspy flamenco vocals offset Shakira's rapid-fire quips: 'Mejor te guardas todo eso a otro perro con ese hueso y nos decimos adiós,' which translates to 'You better keep all that to another dog with that bone, and we'll say goodbye.'
Behind the scenes, 'La Tortura' would test the boundaries of Shakira's perfectionism; up until that point in her career, she had never collaborated with another artist. She recalled that vulnerable process to People en Español in 2005: 'I remember saying to [Sanz], 'Can't you change this little note?' And he just said, 'What?' He almost threw a record at my head.' Yet the experience kick-started a life-long friendship for the duet, so tight that they were often rumored to be lovers.
'La Tortura' debuted in the United States at No. 98 on the Billboard Hot 100, peaking at No. 23. Shakira and Sanz would later snag two wins at the 7th Latin Grammy Awards, including record of the year and song of the year.
Yet perhaps what cemented the song as a Latin pop classic was its music video, which was one of the first Spanish-language videos to circulate across U.S. channels MTV and VH1, following the lead of Daddy Yankee's music video 'Gasolina,' which aired earlier in 2004.
Directed by Michael Haussman, the three-minute clip features a scorned Shakira opposite an unfaithful Sanz. In one scene, Sanz peeks through the window to catch a glimpse of his tearful ex-love. As his ego assumes she is mourning their breakup, the camera moves to reveal her cutting onions.
'It has a timeless vibe because there's nothing stylistically tying it to any time period,' Haussman tells The Times. 'Except if you look at the [flip] phones.'
There's also the iconic oil-soaked sequence featuring a chest-pumping Shakira, who whips her wavy hair from side to side. Though not initially in the director's plan, the look has become a favorite among fans, who have tried to replicate her moves on TikTok.
'The grease scene came from Shakira,' said Haussman. 'She showed me someone with grease black oil. It was a very cool image and she said, 'Can we do something like this?''
Some of the music video's flashback scenes were so intimate with Sanz that Shakira reportedly consulted a priest to ensure it was proper to carry on, given her relationship with then-fiancé La Rúa. (According to Elle Magazine, she got the green light.)
The duo later performed their hit live at the 2005 MTV Video Music Awards, where they made history as the first act to do so in a language other than English. The music video was nominated in three categories: female video, dance video and viewer's choice award.
Although Shakira didn't walk away with a Moonman statue that night, 'La Tortura' will always be the first Spanish-language music video to be nominated in the esteemed categories.
Two decades later, the song's lyrics still bite — especially now that the singer is in the middle of her post-separation victory lap, also known as her Las Mujeres Ya No Lloran world tour. She is set to perform June 20 at te SoFi Stadium in Inglewood.
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Netflix has racked up 23 No. 1 movies in 2025 so far — here are the 5 worth watching
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Netflix has racked up 23 No. 1 movies in 2025 so far — here are the 5 worth watching

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Want to break into Hollywood? Read this book
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The road to find steady work in Hollywood is more fraught now than ever before. The entertainment industry is in the throes of a seismic transformation, as traditional jobs are vanishing, and AI threatens to completely upend the way visual media is made and consumed. Fortunately, Ada Tseng and Jon Healey are here to help. The writing team, both former Times editors with extensive experience covering show business, have written 'Breaking Into New Hollywood,' a how-to guide like no other. Healey and Tseng interviewed hundreds of insiders both above and below the line — gaffers, casting directors, actors, writers, stunt people and many others — to provide an extensive, wide-screen view of how to break in, and what it's like when you actually do find that dream job. I sat down with Healey and Tseng to discuss their new book. This is the most comprehensive how-to guide for Hollywood careers I've ever read. Where did the impetus for the book come from? Ada: The book started as a Hollywood careers series at the Los Angeles Times, when Jon and I were editors on a team that specialized in writing guides and explainers. As we were thinking about how to be useful to L.A. Times readers, I pitched a project to help people who were interested in getting a job in Hollywood. A lot of people come to L.A. starry-eyed with big dreams, but the film and TV industry can be pretty brutal. As journalists, we're Hollywood outsiders, but we had access to hundreds of professionals who were generous enough to share what they wished they knew when they were starting out. We see it like this: On behalf of the people who don't have connections in the industry, we cold-emailed people, asked for informational interviews, picked their brains, listened to stories of what they did to build a career — and did our best to consolidate their most practical pieces of advice into an actionable guide. 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Ada: There are two things we heard over and over again. People would say, 'It's incredibly important to understand what all the different departments do.' And they'd also say, 'So many people — even our own colleagues in the industry — don't understand what we do.' So we wanted to encourage newcomers to learn about all different types of jobs in Hollywood and how they work together. Jon: Talking about the emotional components is about setting expectations too. The vast majority of people who work in Hollywood, from A-list actors to entry-level grips, are freelancers. That's a tough life of highs and lows, and you have to prepare for that mentally as well as financially. People have to hustle for years to establish themselves, and that takes an enormous capacity for rejection. On top of that is the physical toll the work can extract, especially on the folks involved in setting up and tearing down sets. Part of the point of the book is to tell people with Hollywood dreams that they'll need to gird themselves emotionally and physically for the work. You also broach the subject of money and who makes what. Another novel idea for a book like this. Ada: We consistently heard from people that it takes 5 to 7 years to make a living — and that's if you're successful. So unless you come from wealth, how you pay your bills when you aren't booking gigs is an integral part of breaking into — and achieving longevity — in Hollywood. Also, the money varies widely — depending on experience, how big the project is and other factors, but it's good to understand the basic minimums dictated by the unions, as well as whether you're interested in a career path where you can expect to have yearly full-time work – or if 30 weeks of employment a year is considered a really good year. Jon: The hardest parts to write for me, and probably for Ada too, were the sections telling people in certain fields that they were expected to work for free. Happily, the industry seems to be getting better about that, albeit because it's been forced to do so. Ada: Although, it's not even that you aren't making money. You have to spend a lot of money, whether you're taking classes, buying equipment, submitting your work for fellowships — getting your own plane tickets and hotel rooms to go to events to network or promote your work. You're basically investing in yourself as a business. Your sections on AI are eye-opening. It is not necessarily a career killer but, in fact, might boost employment, right? Jon: I like to give a super long answer to this question that cites the long history of industrial revolutions, but for the sake of brevity, I'll just say that technology has always been crucial to the film and TV industry, and innovations over the years have ended some livelihoods while creating others. AI tools can allow filmmakers to be more efficient, just as digital cameras and LED lights have done. That inevitably means fewer jobs per project, but also should result in more projects being green-lit. And as digital tools and streaming services eliminate barriers to entry in music, so can AI eliminate barriers to entry in film. Advocates of AI believe there will be a net increase in jobs, and time will tell whether they're right. But there's no question that the jobs in film and TV will be different. Ada: This was another hard part to give advice about, because AI is rapidly evolving and there's a lot of well-founded fear about the jobs of our generations that will be eliminated. But this book is for the next generation, and aspiring creatives need to treat AI as part of their toolkit. Was there any common thread that runs through all of the interviews you conducted with professionals? Ada: Everyone is deeply committed to their crafts, but what they're most passionate about is storytelling. What I mean by that is: A costume designer, of course, is passionate about clothing, but if their main priority was beautiful clothing, they'd be a stylist or a fashion designer. Costume designers are passionate about using clothing to create a character and tell a story. Similarly, if a set decorator's main passion was creating beautiful homes, they'd be an interior designer. But a set decorator wants to use the furniture, decor and objects to help you understand the protagonist's backstory. Jon: Even the most accomplished crew members and producers we talked to said they looked at their jobs as advancing someone else's vision, not their own. They learned early on not to get invested emotionally in their best ideas because someone else — the director on a film, the showrunner on a TV series — would be the judge of which ideas to use. That's really humbling. What do you think is the most profound change in Hollywood as it continues to transition from theatrical and TV into streaming? Jon: Streaming has proven to be a huge boon to long-form storytelling, at least from the viewer's vantage point. You'd still have 'Succession' without streaming, but you don't have the quantity of 'Succession'-level shows without the investment and competition from the likes of Netflix, Apple and Amazon. But the economics of streaming series are very different from those of a long-running broadcast TV show. There are fewer episodes, which means less pay for writers, actors and crew members over the course of a year. And residuals are lower for those who are entitled to them. Meanwhile, after a steady rise in the number of scripted shows released in the U.S., the volume fell sharply in 2024. So it appears that peak TV may have peaked. For movies, the pandemic gave studios a preview of the post-theatrical world to come. Nevertheless, the industry is still struggling to come up with a coherent approach to streaming. So much of a movie's marketing is still tied to theatrical releases, and multiplexes and studios continue to fight over how long a new movie should wait before it hits the streamers. And I wonder if there isn't a lingering stigma for movies that are available immediately for streaming, similar to the one for movies that went straight to DVD. Ada: It's not just streaming. Everything that we consume from our phones — from social media content to podcasts to gaming livestreams — is not only competing with mainstream Hollywood but also becoming part of the same big entertainment ecosystem. But on the flip side, it's never been more possible for aspiring creatives to bypass traditional gatekeepers, make their own projects, connect directly with audiences and build their own revenue streams — even if it's never going to be easy. Preorder 'Breaking Into New Hollywood' and read Tseng and Healey's original Times reporting that led to the book.

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