A MrBeast video stoked outrage. Turns out much of it is fake
YouTuber MrBeast has sparked controversy after publishing a video purportedly filmed at restricted archaeological sites in Mexico.
The video showed him in areas typically off-limits to the public, including a drone shot seemingly from inside the El Castillo temple.
Mexico's National Institute of Anthropology and History (INAH) said the visit was approved through formal requests made by the Ministry of Tourism.
INAH later clarified that many scenes in the video were digitally altered or fabricated. The drone shot, for example, was filmed outside the temple and later edited, it said.
While some criticised MrBeast's access, many Mexican viewers expressed gratitude for the opportunity to see inside the sites.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mail
9 hours ago
- Daily Mail
Zoe Saldana fiercely slammed for branding her Emilia Perez Oscar statue 'trans'
If you thought you had finally escaped any discourse around 2024 film Emilia Pérez, you were mistaken. Zoe Saldana, who plays Rita Mora Castro - a Mexican lawyer tasked with helping a cartel boss transition into a woman, recently spoke with People about winning her first ever Academy Award for the role. In speaking about her Oscar for Best Supporting Actress, she mentioned that she keeps the statue in her office and that it was 'gender fluid.' She then went on to say that the award was 'trans' and goes by 'they/them.' But the admission did not go over well with the general public. Although Emilia Pérez won several awards, the movie - which features other actors including trans actress Karla Sofia Gascon and Selena Gomez - was met with massive controversy. On one hand, members of the LGBTQ community were upset at the movie's 'retrograde' portrayal of a trans woman. Others took issue with the representation of Mexican culture in the film, which featured an oversimplified take on drug violence in the nation, as well as a mixture of inaccurate accents and dialects. The cast of the film faced backlash for its portrayal of trans women on film as well as its inaccurate depiction of Mexico And then, some of Gascon's old tweets were resurfaced, which featured racist and discriminatory views against Muslims, China, and George Floyd - for which she later apologized. On top of all of this controversy laid critic's biggest issue: Not once during any award speech or discussion about the film did any of the actors involved mention the issues that plague trans people in their communities. So Saldaña saying months later that her Oscar award was 'trans,' caused a rehashing of the uproar the film faced when it first came out. 'We have Latinos/Hispanics fighting for their rights at this moment and this woman and the whole cast of Emilia Perez have been silent about their support to the community they profited from, clear as water they only cared for the award,' one X (formerly Twitter) user shared, referencing the ongoing protests taking place against ICE. Another user brought attention to how much the act felt like an afterthought. 'Yet she could barely speak about trans rights during her acceptance speeches,' they said. Others mirrored the same sentiment, with one user saying, 'She's so nasty where was this energy making the movie or during the awards campaign lol.' Some users clapped back at the choice to call her award trans. Social media users slammed Saldaña, pointing out the lack of her support for the trans community while accepting awards for the film 'She's calling her Oscar… trans????' one user questioned. And finally, some users were just upset to have to see anything about the film on their timelines again. 'I thought I wouldn't have to hear about this movie again,' another X user shared. While Emilia Pérez itself may be in the best, it's no telling what its cast might say in the future to bring it back into the headlines.
The Independent
9 hours ago
- The Independent
Kimpton Virgilio, Mexico City hotel review
Location The Kimpton Virgilio is located in the buzzy and bougie Polanco, one of Mexico City 's more upmarket neighbourhoods. In this city, space is at a premium, and the hotel's white building stands atop a slim city block comprising a selection of packed restaurants. It also faces Nobu's impressive façade, and neighbouring streets lined with stores touting Louis Vuitton and Gucci. Foodies flock to Polanco for its restaurant offering – a mix of Michelin fusion food and traditional Mexican classics. Just minutes from the hotel, you'll find the city's best pibil (Yucatec Mayan slow-roasted pork dish) at Turix, served on plastic plates and eaten by hand in the middle of the pavement. Night or day, it's a must. Ideally located for shopping, bars and top-notch places to eat, Polanco is also home to art museums, aquariums and parks that offer great opportunities for people watching. Expect live music, miniature sailboats on the ponds and a lot of dog walkers. The vibe CDMX is a city that fizzes with energy, yet inside the hotel, the atmosphere is peaceful. I've stayed at Kimpton Fitzroy in London and Kimpton Charlotte Square in Edinburgh, and the vibe is much the same – a sanctuary, away from the madness of the outside world. Of course, the decor is decidedly different at the Mexican iteration of this establishment. The building is a 1940s Art Deco-inspired apartment complex, transformed into a chic modern hotel. The original open patio that apartments once looked out onto has become a gorgeous glass-covered atrium serving as the main restaurant, and Mid-Century design details can be seen everywhere. The Kimpton Virgilio is also compact, with 48 rooms and a small rooftop bar complete with a miniature open-air lap pool. Special attention has been paid to the art on the walls, the placement of indoor plants – of which there are many – and furniture made by Mexican artisans. It's an undoubtedly cool place to grab a drink, even if you're not staying the night. If you're not a guest, you can access the roof and use the pool for the day for around £30. For guests, the hotel hosts an evening social hour in the atrium, offering the opportunity to mingle with other guests. Service The service at the Kimpton Virgilio is impeccable, though you might struggle to get a quick answer from the Whatsapp concierge channel – your best bet is speaking directly with any of the friendly, helpful staff. On arrival you'll, you'll find little touches like a handwritten welcome note and a sweet snack. On the rare occasion that it does rain in Mexico City, there'll be someone on hand with an umbrella or waiting to call you a cab. With fewer guests at a boutique-style hotel like this one, you feel taken care of. Bed and bath Expect immaculate rooms with crisp white sheets and mid-century inspired furniture. There are homely touches like coffee table books, magazines in the drawers and an incredibly well-stocked mini bar, but most of the rooms are decked out in simple white and grey, which lends them a minimalist vibe. The bathrooms are large, situated behind sliding doors with tiled walls and double marble sinks. Products are sustainable, and the water pressure is satisfying. A slim balcony provided the opportunity to enjoy a morning coffee while listening to chatter from the street below. Several balconies circle the white curved building, and while they don't offer much of a view as Mexico City is a dense sprawl of trees, buildings and billboards, soaking up the sunshine there is a lovely way to start the day, especially with the sound of live music drifting upwards. Food and drink Pepe Mesa Español, the hotel's first-floor restaurant, offers considered Mexican-Spanish fusion dishes such as tapas, calamari, succulent fish mains and stewed pork with rice that are impeccably presented. A well-stocked bar separates a cosy collection of tables from the atrium, where guests can enjoy dinner and cocktails surrounded by greenery. Breakfast is served in the lush atrium with acai and yoghurt bowls alongside eggs, pastries, smoothies and coffee on the à la carte menu. La Caña, the hotel's rooftop bar is where the real action happens. Up here, you'll find a large cocktail list and a Mexican/Peruvian menu of small plates, soundtracked by a live DJ. Facilities A boutique hotel with fewer than 100 rooms, the Kimpton Virgilio offers miniature versions of classic hotel amenities. There's a small gym and a mini rooftop pool surrounded by a cute rooftop. There are a few free morning yoga classes on offer for guests during the week too – just take the yoga mat from your room up to the roof. For those who simply want to relax, there's a morning coffee and tea service and an afternoon social hour in the atrium. And for those who want to get out and see the sights, there are bikes available to loan and umbrellas for days when rain looks likely. There's also free wifi throughout the hotel. Disability access With lifts from the ground floor up to the roof, there's access to every floor of the hotel for wheelchair users. However, the corridors are slim so bear this in mind when booking. Pet Policy Pets are more than welcome at this hotel, and Mexico City in general is a very dog-friendly city. I checked in to find a dog bed, a doggy dinner, hotel-branded accessories and a personally addressed welcome note for my pup. Every time you stay at a Kimpton hotel, you get access to a free month of Wag! Premium for dog sitting, activities and veterinary care too. Check in/check out Check in 4pm, check out 12 noon. Family friendly? All Kimpton hotels offer a 'kids' program'. This branch seemed mainly catered to adults and business travellers, but there's no reason you couldn't stay with your family. The room I stayed in offered two double beds and plenty of room for a cot, too. At a glance Best thing: The area offers brilliant food and drink options on your doorstep. Worst thing: The rooftop yoga was quite popular and felt a little chaotic. Right for: City slickers looking for a home from home. Not right for: Large groups.
Times
14 hours ago
- Times
The scandal of the missing Frida Kahlo masterpieces
As a mariachi band played and a crowd of models clutched their cocktails around the swimming pool of a Miami mansion, a Bitcoin investor called Martin Mobarak took a Frida Kahlo from its frame, pinned it to the top of a cocktail glass and set fire to it, smiling broadly as the $10 million drawing was reduced to embers. 'I had to do something drastic to get attention,' Mobarak would later say of the stunt to create 10,000 digital artworks known as NFTs (non-fungible tokens) from the destruction of a real one. Mexican officials protested, but Kahlo would have approved, Mobarak insisted in 2022. 'I would bet my life that if I asked to burn a small piece of her diary to bring some smiles and better quality of life to children, then she would say: 'Go ahead and do it. I'll light the fire.'' Perhaps, but Mobarak's stunt represented more than just the burning of a piece of irreplaceable art for fun. It also shed light on how many of Kahlo's most personal works, which were supposed to be safeguarded in her home in Mexico City, had been allowed to emerge onto the art market. Her diary, written during the last ten years of her turbulent life, contains poems and drawings reflecting on her relationship with her husband, Diego Rivera, a celebrated artist in his own right. In the three years between his wife's death and his own demise, Rivera obsessively catalogued the contents of La Casa Azul, the cobalt blue house on a shady street corner of Mexico City that he shared with Kahlo. For admirers of one of the world's most popular, and saleable, artists, La Casa Azul is a place of pilgrimage. It is where Kahlo was born, where she grew up, where she lived with Rivera, and where she died in a room on the upper floor in 1954. Before his death, Rivera demanded that its contents, along with the entire estate, should be donated to the people of Mexico and protected by a trust which, today, is administered by the country's national bank, Banco de México. Then, one day in 2009, Hilda Trujillo opened the safe where Kahlo's diary was held. The woman who directed both the Frida Kahlo Museum and the Diego Rivera Anahuacalli Museum between 2002 and 2020, believes that the page burnt in Miami is just one of a number which have mysteriously left the collection in recent years. In an interview with The Times she said that at least two oil paintings, eight drawings, several copies of two lithographs and 12 double-sided pages from the diary, dated to March 1953, were missing from the collection at La Casa Azul. This, she said, was discovered after she obtained three pages of a 220-page inventory compiled in 2011. She believes the remainder of the document could reveal more artworks to be missing. Trujillo accuses the trust of losing track of artworks and archival materials, including some that have surfaced in private collections and international auctions. In April she went public with a detailed account of what she describes as serious irregularities. She alleged that dozens of works once held by the museums in Mexico City have gone missing or were quietly sold without proper documentation or export permits, in possible violation of heritage laws. 'We are very proud of our culture, it is very rich and very deep,' Trufillo said. 'We as a society have fought many battles [to protect it] all our lives. Imagine the sadness for the Mexican people if we lose our patrimony.' Helga Prignitz-Poda, an art historian and the author of several books on Kahlo, told the Mexican newspaper El Universal: 'These pages are undoubtedly a great loss. The fact that Casa Azul itself has not taken better care of its own collection is a scandal.' Trujillo claims she presented Banco de México with her findings almost two-and-a-half years ago, yet said the institution dismissed the matter. She says that it could be a matter of embarrassment for the bank and Mexico's National Institute of Fine Arts and Literature (Inbal). 'Their strategy is silence, their outcome is erasure,' Trujillo said, adding that the institutions are run by 'businessmen with no sensibility and civil servants who knew nothing about art'. Neither the bank nor Inbal responded to requests for comment. Among the best known works Trujillo claims are missing is the 1954 work that was known as Frida in a Landscape or Frida on Fire. It has subsequently been identified by experts as being a work listed with Mary-Anne Martin Fine Art, a gallery in Manhattan that describes itself as a 'must' for collectors of Latin American Art. Its experts have worked on landmark shows featuring Kahlo and Rivera, including roles as special advisers to exhibitions at the Metropolitan Museum of Art and the Tate Modern in London. A work called Frida in Flames (Self-portrait inside a Sunflower) was listed with the gallery in December 2021 and had a provenance only described as 'Private Collection, Dallas'. For experts, the painting is deeply significant given that, shortly before her death, Kahlo took a knife to it, scraping away layers of paint in 'frustration' as her body failed her. Other missing paintings include 1952's Congress of People for Peace which sold for $2.66 million at Sotheby's in 2020, and the drawing American Liberty, or Sketch for an Ironic Monument to Yankee Freedom, which was listed with Mary-Anne Martin. The gallery did not respond when approached for comment. The trust, meanwhile, accuses Trujillo of holding a grudge. In a statement it said that she 'never filed a formal complaint' and added: 'On the contrary, their contract was terminated after irregularities were detected in their administration and for having benefited third parties with the assets under their care.' She denies this, claiming she repeatedly raised concerns internally, and hopes Interpol will be brought in to investigate. Inbal, meanwhile, said it had not granted any 'permits for permanent exports of these authors' works'. The works of both artists are considered national cultural heritage and are not allowed to leave the country permanently without express permission. Any suggestion that officials have allowed Kahlo's works to leave Mexico could provoke a scandal. 'With each passing minute, mistrust and uncertainty only increase,' wrote the Mexican newspaper Excélsior in an editorial, calling on President Sheinbaum to intervene if necessary. 'How is it possible that two such powerful institutions attack me instead of taking up the investigation and finding the works?' Trujillo asked. 'They want to disqualify me instead of doing their job, that's indignant.'
