This ‘nostalgic' DoorDash ad targeting Latino consumers misses the mark
In it, we see three Latino families driving or riding past a restaurant. The parents are either young Gen Xers or millennials, while their kids very clearly belong to Gen Alpha.
'Can we stop for food?' the younglings ask.
'No, hay comida en la casa,' the parents respond. There's food at home.
When they finally make it to their respective houses, the ad reveals, la comida en la casa turns out to be the very food they craved from the restaurants they passed by. Much to the children's pleasant surprise, it was delivered by a DoorDash driver.
The commercial is by no means new. The food delivery app company launched this campaign specifically targeting Latino consumers last November. Nor is it the first time I've watched the spot. It airs a lot during soccer matches. Go figure.
But every time it comes on my screen, my buttons are pushed. It claims an even bigger, rent-free space in my head with each subsequent airing. This week was the final straw. I got so mad, I had to write about it.
According to AdWeek, the commercial is intended to evoke wistfulness from millennial and Gen Z Latinos. It's a smart business move — just look at how willing we are to buy concert tickets for legacy acts like Los Bukis or RBD. Heck, Selena Quintanilla has been dead for 30 years but her family's ability to use her name to sell us everything from makeup to Funko Pop figurines to a creepy, AI-assisted record remains undefeated. There's plenty of money to be made from the nostalgia economy.
(In our defense, Latinos aren't the only ones susceptible to this phenomenon. Here's looking at you, When We Were Young festival attendees, or anyone else drawing their fashion inspiration from Y2K — which, lol.)
'No, hay comida en la casa' certainly checks that box. For many children of immigrants, these words ring familiar because it was our working-class parents' go-to response whenever our bratty and spoiled selves asked if we could dine out, not knowing nor caring that doing so cost money. To them, this was an unnecessary and frivolous expense because there's perfectly fine food at home!
The phrase reached peak ubiquity on the internet in the 2010s thanks to media companies and meme social media accounts focusing on English-speaking Latino audiences. I should know: I used to work for one of them and saw firsthand how well it played, so much so that we commissioned a comic strip on it for De Los. Over the last decade and a half, 'hay comida en la casa' has become such a totem for Latinidad expressed online that it should have its own entry on the meme encyclopedia site Know Your Meme (it doesn't). If you do a search of the phrase on Etsy, you'll get hundreds of products bearing the words — from aprons to T-shirts to tote bags to artwork for your kitchen.
But DoorDash's usage of 'hay comida en la casa' isn't it. This campaign is completely antithetical to the phrase's original intent. The nostalgia of the saying lies in the home-cooked meals our cash-strapped parents would make for us, not on the restaurant food we didn't get to eat. It's what makes us yearn for a rosy version of the past that might not have actually existed.
There's nothing sentimental about paying for the convenience of having food delivered by someone who's probably working this gig just to make ends meet (please tip your delivery drivers well!). This ad doesn't put me in touch with my ethnic and cultural identity. It doesn't make me feel seen. If anything, it makes me feel like a mark, like someone who can be separated from their dollars through tokenistic fan service. It's as if these corporations saw all those stories about the collective purchasing power of Latinos, and arrived at the conclusion that the best way to get a piece of our pie was by going after the lowest common denominator.
But maybe I'm wrong. Perhaps I and the handful of YouTube commenters irked by this commercial are in the minority. It could very well be that this ad is hitting all of its target metrics and the company has improved its profit margins because of it. I might just be nothing more than an aging millennial slipping dangerously close to 'Old Man Yells at Cloud' territory.
And if that's the case, perhaps the food delivery app company should co-opt another popular Latino internet meme for their next marketing push. I've even done them the favor and come up with their next tagline — 'DoorDash: delivery that's faster than a flyin' chancla!'
I bet people would love that.
On Thursday, the College of Cardinals selected Robert Prevost, 69, to be the next leader of the Catholic Church. The Chicago-born priest, who took on the name Pope Leo XIV because of his commitment to the poor and the working class, is the first pontiff from the United States and only the second from the Americas— his predecessor, Pope Francis, who died on April 21, was born in Buenos Aires, Argentina.
Pope Leo XIV, a member of the Order of St. Augustine, has deep ties to Peru. He spent two decades doing missionary work in the country and became a naturalized citizen in 2015 before his appointment as bishop of Chiclayo, one of Peru's largest cities.
'Greetings ... to all of you, and in particular, to my beloved diocese of Chiclayo in Peru, where a faithful people have accompanied their bishop, shared their faith,' Pope Leo XIV said in Spanish during his inaugural address from the balcony of St. Peter's Basilica.
And for those wondering whether Pope Leo XIV is a Cubs or White Sox fan, his brother, John Prevost, confirmed that the new pontiff is a proud South Sider.
'Whoever said Cubs on the radio got it wrong. It's Sox,' he told NBC Chicago.
Congratulations to my colleague Gustavo Arellano, who was named a 2025 Pulitzer Prize finalist in the commentary category. According to the judging panel, Gustavo was recognized 'for vivid columns reported from across the Southwest that shattered stereotypes and probed complex shifts in politics in an election year when Latinos were pivotal voters.'
Regular readers of this newsletter are no doubt familiar with his work, which is featured in this space regularly. But what you might not know about Gustavo is that he's also generous with his time, someone who's willing to mentor the next generation of Latino journalists. He has volunteered to edit several De Los stories, offering his wealth of knowledge to interns and freelance writers alike.
Felicidades, Gustavo! This is you now.
And a special shout-out to friend of the newsletter Marcela García, who was part of the Boston Globe team that was named a finalist for Pulitzer Prize in editorial writing.
Música Mexicana had quite the evening on Monday as two of the genre's biggest stars, Fuerza Regida and Ivan Cornejo, made musical appearances on 'Jimmy Kimmel Live!' and 'The Tonight Show Starring Jimmy Fallon,' respectively. That both acts were booked for Cinco de Mayo was a coincidence, I'm sure.
The San Bernardino-based quintet performed 'Peliculeando,' a track off of '111Xpantia,' their 9th studio album released last week. You can watch it here. (Also, Jimmy Kimmel, if you're reading this, the band's name is not pronounced 'Fuerza Reh-gee-da.' All you have to do is listen to any of their tracks for a phonetic breakdown of how to properly say it.)
For his part, Cornejo, a Riverside native, proved why he's the reigning sad boi prince of música Mexicana with his performance of 'Me Prometí,' a single that dropped last Friday. You can watch his 'Tonight Show' appearance here.
Chicano Movement collection of Raul Ruiz acquired by the Library of Congress
The Library of Congress was gifted a collection of Raul Ruiz's photos, periodicals and original prints that document the 1960s Chicano Movement of Los Angeles. Ruiz, who died in 2019, was a co-editor of La Raza, a pioneering Chicano newspaper that documented Mexican American life across the country from 1967 until it folded in 1977.
Karol G sheds her armor in new Netflix doc 'Tomorrow Was Beautiful'
'Karol G: Tomorrow Was Beautiful,' which premiered Thursday on Netflix, is a behind-the-scenes look into the making of her 'Mañana Será Bonito' tour: the highest-grossing and most attended tour by a Latina artist in history. Woven into the storyline are the many hurdles the Colombian superstar faced as a woman coming up in the male-dominated urban genre known as reggaeton.
Bad Bunny announces world tour following sold-out residency in Puerto Rico
Ahead of his appearance at this year's Met Gala, Bad Bunny announced the dates for his upcoming 'Debí Tirar Más Fotos' world tour. If you live in this country and want to see el conejo malo in concert, you better get your passport ready because there are no stops in the continental U.S.
Latinx celebrities looked mighty dandy at the 2025 Met Gala
2025 Met Gala co-chair Colman Domingo led the way for Latinx celebrities to shine at the annual arts fundraiser in N.Y.C. Notable celebs include Jenna Ortega, Bad Bunny and designer Willy Chavarria.
Mexican Armenian comedian Jack Jr. finds a path to success roasting both his cultures
Glendale-born comedian Jack Jr. will bring 16 years of his funniest material to the Alex Theatre for a hometown special taping May 17.
Trump administration offers unauthorized immigrants $1,000 to leave the country
Any immigrant who uses the CBP Home App to inform the government that they plan to return home, Homeland Security says, will receive a $1,000 payment after their confirmed return.
Are ICE agent checks on migrant children to protect them or deport them?
Homeland Security officials have said welfare checks aim to ensure that unaccompanied children 'are safe and not being exploited, abused, and sex trafficked.' But immigrant advocates say some visits have led to children being forced to leave the country with their deported parents or being removed from their sponsors and placed in federal custody.
Grandmother in U.S. without documentation faces deportation after wrong turn in San Diego
Ana Camero, a 64-year-old grandmother in the U.S. without documentation, is facing deportation after she mistakenly took the wrong exit on her way home from work. Her family says she's currently being held at Otay Mesa Detention Center more than a month after she made the unexpected detour and ended up at the entrance to a U.S. Marines facility in San Diego.
Marcello Hernández Is Comedy's Lovable Chaos Agent [ Rolling Stone]
Deputy music editor Julyssa Lopez spent some time with Marcello Hernández, the breakout 'Saturday Night Live' star who has leaned heavily into his Latinidad in his sketches. Hernández will be releasing his first special on Netflix later this year.
The most exciting two minutes in sports is a show of 'Latino excellence' [NPR]
On Saturday, Venezuelan jockey Junior Alvarado rode Sovereignty into victory at the 151st edition of the Kentucky Derby. As NPR journalist Ximena Bustillo reports, Alvarado was not the only Latino jockey at the famous horse race.
Michelada Fest canceled amid concerns over artist visas, 'political climate' [Chicago Sun-Times]
Organizers of Chicago's Michelada Fest, a two-day event that highlights music, art, culture and food held at a lakeside beach, have canceled this year's festival because of 'rapidly changing political climate.'
Trump administration invokes state secrets privilege in Kilmar Ábrego García case [Associated Press]
Kilmar Abrego Garcia is among the foreign nationals transported to CECOT, the infamous prison in his native El Salvador. Immigration officials acknowledged that his removal was a mistake. A federal judge ruled that Abrego Garcia had to be returned to the U.S., but the Trump administration has doubled down in its refusal to do so.
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There, she worked from a private music studio, recording songs she'd written almost entirely from bed in a nearby Hollywood apartment. She broke up her days with films by Martin Scorsese and Joachim Trier, and read the novel I Love Dick, a feminist inquiry of desire by Chris Kraus. ('I love this woman! I love how she thinks,' she says of Kraus.) In L.A. last summer, paparazzi caught Rosalía outside Charli XCX's 32nd birthday party wielding a bouquet of black calla lilies filled with cigarettes, sparking a microtrend. ('If my friend likes Parliaments, I'll bring her a bouquet with Parliaments,' Rosalía says. 'You can do a bouquet of anything that you know that person loves!') She also made frequent stops at the local farmers market, where she says she tapped into her primordial gatherer spirit. 'Many times, the more masculine way of making music is about the hero: the me, what I've accomplished, what I have…blah blah blah,' she says. 'A more feminine way of writing, in my opinion, is like foraging. I'm aware of the stories that have come before me, the stories that are happening around me. I pick it up, I'm able to share it; I don't put myself at the center, right?' It is a method she cultivated as an academic, which directly informs her approach to composition. Like works of found-object art, her songs are assemblages of sounds with seemingly disparate DNA, brought together by her gymnastically limber voice. In her 2018 single 'Baghdad,' she interpolated an R&B melody made famous by Justin Timberlake; in her 2022 smash 'Saoko,' she rapped over jazz drum fills and pianos with sludgy reggaeton beats. The visual culture of Rosalía's work is executed with similarly heady intentions, inspired by TikTok videos and the fractured nature of her own presence on the internet. A staple of her Motomami world tour was the cameraman and drones that trailed her and her dancers across the stage. One of my most lasting memories from her shows was just the internal frenzy of deciding whether my eyes would follow Rosalía, the real live person on stage, or Rosalía, the image replicated and multiplied on the screens behind and around above her. 'In a cubist painting, which part do you choose?' says Rosalía of her concept. 'Everything is happening at the same time, right? So you just choose what makes sense for you, where you want to put the eye and where you want to focus your energy.' She's gone mostly offline since her last project. 'Björk says that in order to create, you need periods of privacy—for a seed [to] grow, it needs darkness,' she says. She has also shed some previous collaborators, including Canary Islander El Guincho, the edgy artist-producer who was her main creative copilot in El Mal Querer and Motomami. She says there is no bad blood, though 'we haven't seen each other [in] years. I honestly love working with people long-term. But sometimes people grow apart. He's on a journey now, he's done his [own] projects all these years. And yes, sometimes that can happen where people, you know, they grow to do whatever their journey is. Right now, I'm working by myself.' Going it alone poses a new challenge for Rosalía, who, in true Libran fashion, derives inspiration from the synergy she experiences with others. She has famously collaborated with past romantic partners, like Spanish rapper C. Tangana, who was a co-songwriter on El Mal Querer. In 2023, she released RR, a joint EP with Puerto Rican singer Rauw Alejandro, to whom she was engaged until later that year. She does not speak ill of her exes, if at all, but simply says, 'I feel grateful to each person with whom life has made me find myself.' Rosalía was also linked to Euphoria star Hunter Schafer, who, in a 2024 GQ story, confirmed their five-month relationship back in 2019, and described the singer as 'family, no matter what.' When I ask Rosalía if the experience put pressure on her to publicly define her sexuality, queer or otherwise, she shakes her head. 'No, I do not pressure myself,' she says. 'I think of freedom. That's what guides me.' The two remain friends and, more recently, costars: Earlier this year, Rosalía began shooting scenes for the long-awaited third season of Euphoria. She appreciates the controversial, controlled chaos engendered by the show's writer, director, and producer, Sam Levinson. Equally a fan of the singer, Levinson tells ELLE that he gave her almost free rein to shape her part. 'I love unleashing her on a scene,' he says. 'I let her play with the words, the emotions, in English and Spanish. I never want to tell her what to do first, because her natural instincts are so fascinating, charismatic, and funny. Every scene we shoot, I'm behind the camera smiling.' Rosalía, who first developed her acting chops through the immensely theatrical art of flamenco, says that she likes to put herself 'in service of the emotion, in service of an idea, in service of something that is much grander than me.' Although she can't share much about her role while the season is in production, she says she's enjoyed running into Schafer on set, and developing rapport with costars Zendaya and Alexa Demie. 'I have good friends there. It feels really nice to be able to find each other.' Rosalía's first foray into professional acting was in Pain and Glory, the 2019 film by the great Spanish director Pedro Almodóvar. Before filming, Almodóvar invited the singer out to lunch with her fellow countrywoman and costar Penélope Cruz. They would play laundresses singing together as they washed clothes in the river. 'I was terrified to have to sing with her,' Cruz recalls. 'She was nervous about acting, and I was nervous about singing—and it was funny to be sharing that nervousness.' Cruz and Rosalia would become great friends—two Spanish icons who have brought their country's culture to a global audience. But between the two divas, there existed no air of gravitas—only genuine, hours-long talks and banter built on mutual admiration. 'I've always been mesmerized by her voice,' Cruz says, 'and her talent also as a composer, as a writer, as an interpreter. The way she performs and what she can transmit is something really special.' She notes that Rosalía's artistry has had a ripple effect in Spain, sparking a wave of experimentation. It's a legacy that Rosalía helped accelerate, but she declines to take credit for it. She's more inclined to cite her forefathers in flamenco, Camarón de la Isla and Enrique Morente, as well as Björk and Kate Bush, who she says are part of the same matriarchal lineage in pop. '[If] Kate Bush exists, and then Björk exists, then another way of making pop exists,' Rosalía says. 'I couldn't make the music I make if there wasn't a tradition behind it, which I could learn from and drink from. I hope that in the same way, what I do can make sense for other artists.' But when it comes to matters of fashion, Rosalía is much more protective of her own steeze, an ultrafemme, Venus-like biker chic she's spent her life cultivating. 'Girl,' she says, motioning at her own body, 'I am a moodboard in flesh! I feel that as an artist, I cannot only express myself through music. You can be creative in your life 24-7. It's just about allowing yourself to be in that state. For me, style is an elongation, an extension of the expression.' Yet before we leave, she stresses that—whether she releases one more album in her life, or 20—music will be the compass that orients her for the rest of her days. 'It's funny when people say I quit music,' Rosalía says. 'That's impossible! If you are a musician, you can't quit. Music is not something you can abandon. 'Sometimes it takes a second for you to be able to process what you've done,' she adds. 'It's a blessing in an artistic career to process things, or rewrite how it should have been done before—in your life or in anything. The immediacy of today's rhythms is not the rhythm of the soul. And to create in an honest way, you have to know what rhythm you're going with.' Hair by Evanie Frausto for Pravana; makeup by Raisa Flowers for Dior Beauty; manicure by Sonya Meesh for Essie; set design by Lauren Nikrooz at 11th House Agency; produced by John Nadhazi and Michael Gleeson at VLM Now You Might Also Like The 15 Best Organic And Clean Shampoos For Any And All Hair Types 100 Gifts That Are $50 Or Under (And Look Way More Expensive Than They Actually Are)
