Lifestyle
‘White Lotus’ Theme Song Composer Won’t Return for Season 4
Cristóbal Tapia de Veer did not have an entirely pleasant stay at “The White Lotus.”
Mr. Tapia de Veer, a 51-year-old composer who was born in Chile, joined a video call on Monday from his home in the Laurentian Mountains in Quebec, a gong the size of a beach ball visible over his right shoulder. We had planned to discuss his score for Season 3 of the HBO show — specifically, its reworked main title theme, which ignited a minor fury among fans when the season premiered in February.
The conversation went in a very different direction. Mr. Tapia de Veer, who has won three Emmy Awards for his work on “The White Lotus,” said he would not be returning for the show’s fourth season.
He described creative disagreements with the show’s creator and director, Mike White, that began during Season 1. Conversations with producers could be “hysterical,” Mr. Tapia de Veer said, and the show’s creative team repeatedly requested music that was more upbeat and less experimental than the work Mr. Tapia de Veer wanted to produce. (Representatives for HBO declined to comment for this article.)
“I feel like this was, you know, a rock ’n’ roll band story,” Mr. Tapia de Veer said. “I was like, OK, this is like a rock band I’ve been in before where the guitar player doesn’t understand the singer at all.”
And about that eerie Season 3 theme? Mr. Tapia de Veer loves it, but had hoped the season would include a longer version that builds into the more recognizable melody from the Season 1 and Season 2. Frustrated by its absence, he posted the “uncut ending” to his YouTube channel. (You can listen to it below.)
In the following conversation, which has been edited and condensed, Mr. Tapia de Veer reflected on his tenure with the show.
I want to go back to the moment when the Season 2 theme that you composed for “The White Lotus” became a phenomenon — it had all these remixes, it was playing in clubs. Did that put any pressure on the next season?
Pressure? Not really. The pressure has always been something else in this show. And since we’re talking themes, I wonder if I should tell you for the first theme, how it got to the second — like, the whole “White Lotus” theme thing. You know, I haven’t done any interviews, so I don’t even know where to start with this.
Start wherever you’d like.
It’s kind of weird right now because I announced to the team a few months ago that I was not coming back, that I was leaving. I didn’t tell Mike for various reasons; I wanted to tell him just at the end for the shock and whatever. Except I told the whole editorial team and music editor and producer and all that, but I didn’t think that they were going to tell him. At some point he heard about that.
This is your last season, for sure?
Yeah, yeah. For sure.
Did Mike say anything to you when he found out that you planned to leave?
He says a lot of things, but I can’t really talk about that. There was a French movie, “La Cage Aux Folles.” You know how there’s Albin, which is like the star, and there’s Renato, who is the producer who is always taking care that Albin doesn’t lose his mind about something, because Albin is the diva and Renato is the guy who is trying to make everything work. To me, the show felt very much like that.
Did it feel like that from the beginning?
When I got the script, I wasn’t sure that it was something for me, because it was very well written, but there’s a reality TV kind of vibe going on, and comedic. My stuff in general is the opposite of this, it’s super dark and edgy. But when we had the talk with Mike, I just told him in a joke that I thought we could do some kind of “Hawaiian Hitchcock,” and he really grabbed on that and he started laughing.
I feel like I need to give credit where credit is due, because it’s hard to know how something like “The White Lotus” can actually happen, which is harder than people might imagine. You see it afterward, and it’s a success, but to get there is quite the struggle. I was on the phone with her [Heather Persons, one of the show’s producers] all the time, and she was trying to convince Mike about this theme, because he didn’t want the theme.
He didn’t want the Season 1 theme?
He had a temp score, a song that is more like something you would listen to in Ibiza, in some clubby place with a chill, sexy vibe. And there’s literally no edge to it. It’s a good song; it’s nice music. There’s just absolutely no — whatever you find in the “White Lotus” music, the relationships with the characters — there’s none of that. It’s just nice background music.
I just stuck to what I was doing. And when I was giving versions, it was still the same thing: There were still crazy people and screaming and stuff like that. From there, it became this weird relationship of, How do I pass all this weird music into the show?
What direction were you given for the Season 3 theme, “Enlightenment”?
There was no direction. When I started working on this, I had a collection of Thai gongs that are unrelated to the show. So I started experimenting with that, and then I started looking for someone to play the saw u, which is the Thai violin, which in the theme happens in the beginning.
My mom sent me an accordion at some point, an Italian accordion, and I have no idea how to play it. But I was able to play that. I think it helps the melody, to make it more uplifting, because the melody is very dark.
How did you come up with the melody? Did you consider including that “ooh-loo-loo-loo” melody from Seasons 1 and 2?
The melody is special. It’s something very weird, and is almost impossible to sing unless you’re a singer with a good ear, because the intervals in it are really hard. It has a mystery in it that is kind of magic to me. It’s like there’s some witchery going on.
I have, like, over 20 versions of that theme, with and without the ooh-loo-loo-loos. But of course, in the 1:45 titles that’s allowed, there’s nothing from the other ones. That was kind of a risk, but we never talked about that. I don’t think everybody was really aware of how attached people were to the ooh-loo-loo-loos.
What was it like for you, watching people get so upset that the melody was different? (“I do not understand why you would break something that was perfect,” read one social media post.)
When that came out, I had TMZ calling me, even people from England and from France, because they wanted some kind of statement about the theme. People are furious about the change of the theme, and I thought that was interesting.
I texted the producer and I told him that it would be great to, at some point, give them the longer version with the ooh-loo-loo-loos, because people will explode if they realize that it was going there anyway. He thought it was a good idea. But then Mike cut that — he wasn’t happy about that.
I mean, at that point, we already had our last fight forever, I think. So he was just saying no to anything. So I just uploaded that to my YouTube.
Do you think people have warmed up to the theme as it is?
Oh, yeah. At one point, people were like insulting me and sending me horrible things. And then I started seeing these videos: ‘You know what, I used to hate the theme but now I’m kind of dancing to it.’ It’s like they’re transformed. I was really excited about that.
How are you feeling now about the decision to move on?
I mean, it is what it is. You know, I was watching the Emmys, and it’s like, there’s one thing I’m pretty proud of and that is I feel like I never gave up. Maybe I was being unprofessional, and for sure Mike feels that I was always unprofessional to him because I didn’t give him what he wanted. But what I gave him did this, you know — did those Emmys, people going crazy.
People don’t remember, but at first some people were complaining about the music: “I can’t concentrate on the characters, and it’s too much and I’m so stressed out.” But I’m really happy to take those kinds of risks. That is the main thing that I’m most happy about — it was worth all the tension and almost forcing the music into the show, in a way, because I didn’t have that many allies in there.
I treasure that more than something else I did that was just a success, and it works and that’s that, with less struggle. This was a good struggle.
Various species of sharks — some of which are endangered, while others are listed as vulnerable — are hauled on shore at dawn at the Tanjung Luar port on June 9, 2025, in East Lombok, Indonesia. Tanjung Luar is one of the largest shark markets in Indonesia and Southeast Asia, from where shark fins are exported to other Asian markets — primarily Hong Kong and China — and their bones are used in cosmetic products also sold to China.
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“We were fighting over who had caught more fish, and then I saw my crewmate pushed overboard by the captain,” Akbar Fitrian, 29, an Indonesian crewmember says as he recounts an incident aboard a Chinese-owned fishing vessel in 2022. “The ship then started to drive away as my crewmate tried to swim towards us. And then I don’t know what happened. The captain never reported the incident.”
The seas of Southeast Asia — home to some of the richest in biodiversity in the world — have long been in decline. Since the 1950s, the Center for Strategic and International Studies estimates that 70-95% of fish stocks have been depleted and are at risk of collapse, perpetuated by the rise of industrial-scale fishing, much of which is illegal. Legal overfishing is another factor, and both are propped up by weak regulations, insufficient monitoring and insatiable demand. Approximately half of the world’s global marine fish catch comes from the seas of Southeast Asia, according to the U.N., and it comes at a calamitous cost.
In the United States, approximately 50% of the imported seafood comes from Asia, with nearly $6.3 billion in trade coming from China, Vietnam, Indonesia and India alone, according to the U.S. National Oceanic and Atmospheric Administration.
Behind the illicit seafood trade is an opaque world standing at the crossroads of intertwining issues. There is the legacy of brutal human rights violations that have enabled sea slavery to become the norm. Those involved in the efforts of organizations like the international Freedom Fund and Thailand’s Labour Protection Network, which work to end modern-day slavery in the region, say many workers are murdered at sea, abused and often brought into a cycle of debt bondage.
There is the lawless nature of the seas, which has emboldened traffickers to exploit desperate fishermen and impoverished casual laborers. Then there are the geopolitical factors at play: In a race to dominate the seas, China and, to a lesser extent, Vietnam, the Philippines, Taiwan and Malaysia have all built outposts and bases on shoals, reefs and atolls. Fishing fleets — of which China has the largest in the world — are fast becoming more militarized as a result.
All of this has imposed a heavy cost on unique ecosystems and led to devastating socioeconomic impacts on artisanal and small-scale fishers.
Three countries illustrate the intersectional nature of overfishing:
Thailand
Fishing vessels are seen docked together at a landing site in Chumphon, Thailand, on Jan. 22, 2025.
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“Fish were in abundance before,” says Mimit Hantele, 53, a member of the Urak Lawoi tribe on the island of Koh Lipe in Thailand. “But now, the fishing season is a lot shorter, the variety of fish is far fewer, and I sell less. So I take tourists out on scuba expeditions to earn money.”
For generations, the Urak Lawoi plied the rich waters around them for sustenance. Sea gypsies in a time past, the villagers evolved to rely only on what they could catch and used simple fishing equipment cast from small wooden boats.
Then, in the 1970s, came the big Thai and Malaysian fishing boats. Fishermen on Koh Lipe say the boats fish illegally around the island, appearing only at night to escape detection and in a protected national forest area. The ships use purse seiner nets and demersal trawlers, destroying the coral underneath and, consequently, the habitat for fish. Such overexploitation has led the Indigenous group to turn to tourism to make up for lost income and declining fish stocks. “Fishing is in our blood,” Hantele said, but “our way of life has changed. We can’t rely only on the fish.”
Frozen Spanish mackerel and other species of fish in cold storage in Samut Sakhon, Thailand, on Jan. 15, 2025.
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Fishermen mend nets in Samut Sakhon, Thailand, on Jan. 15, 2025.
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Small-scale artisanal fishermen shake sardines from nets to gather them en masse after returning to shore with their catch, in the Gulf of Thailand, off the coast of Prachuap, Thailand, on Jan. 20, 2025.
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According to a 2001 report from the U.N., roughly 80% of fishers in Southeast Asia at the time were small-scale or artisanal, relying on traditional practices. However, declining nearshore fish stocks have forced many artisanal fishers to venture farther from shore in search of commercially valuable species. Added to that are government subsidies for fuel and tax breaks for commercial fishing vessels, which have propped up the seafood industry. Rapid advancement in maritime technology has made fleets far more effective at finding rich hunting grounds while avoiding detection by switching off their monitoring systems.
Oranee Jongkolpath, 30, a veterinarian at Thailand’s Department of Marine and Coastal Resources’ research and development center in the Rayong province, prepares to clean a hawksbill turtle in Prasae, Thailand, on Jan. 18, 2025. The turtle was found by fishermen in a garbage patch and was likely entangled in ghost nets — fishing nets that are lost or discarded by fishermen — that had caused severe damage to its two front flippers.
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A seafood merchant displays dried seahorses for sale in Chumphon, Thailand, on Jan. 22, 2025. Dozens of countries around the world are involved in the dried seahorse trade, with Thailand, the Philippines, Vietnam and India being the largest exporters. As the trade of seahorses, which are typically used for traditional medicines, has sharply increased, the seahorse catch has declined over time. Seahorses are among the species protected under the Convention on International Trade in Endangered Species of Wild Fauna and Flora.
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Lax regulations on the most destructive types of fishing, particularly demersal trawling and cyanide fishing, the capture of juvenile fish that prevents the replenishment of stocks, the poor oversight of labor laws and the exploitation of workers desperate to earn a living have all contributed to the devastating knock-on effects for communities along coastlines and the potentially irreversible environmental consequences.
Members of a crew working on a Thai fishing vessel, most of whom are from Myanmar, prepare to show their documents to Port In Port Out (PIPO) inspectors in Chumphon, Thailand, on Jan. 22, 2025. PIPO inspection centers were set up in 2018, following an outcry in the international community over Thailand’s gross human rights abuses in its fishing industry.
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A Burmese dock worker sorts fish after a catch from a Thai vessel was unloaded in Ranong, Thailand, on Jan. 23, 2025.
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In Thailand last year, artisanal fishermen held protests over the rollback of major fisheries reforms implemented a decade ago that had helped to rebuild fish stocks in Thai waters. Thai corporations, which own a significant share of commercial fishing vessels, pushed the government to deregulate the fishing industry to increase their profits. Protestors focused on their concerns that relaxing the rules would revive illegal, unreported and unregulated fishing and lead to increased overfishing. The rollbacks, they argued, would reduce transparency and accountability across the industry and reduce checks on gear and labor. Less transparency would lead to less knowledge about what is left in the sea. In turn, sustainability decreases, hurting artisanal fishers who depend on the sea for sustenance and livelihoods.
The Philippines
Filipino fishermen unload Yellowfin tuna, Bigeye tuna and blue marlin at a fish port in General Santos, the Philippines, on May 21, 2025.
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The first time Donald Carmen was harassed by Chinese boats off the coast of Palawan was in December 2024. The following February, they harassed him and another fisherman again, getting close enough to hit their outriggers. “They forced us to move away and recorded us with cell phones and cameras. I have been fishing in this area since 2016, and back then, everyone was free to fish. I would catch 400-500 kilograms of fish in a night, about 60 nautical miles offshore. Now, because I don’t dare venture out as far, I’m lucky if I catch 200-300 kilograms over three days,” Carmen said as he steered his banca just weeks later, on the lookout for Chinese fishing boats and militia.
A drone shot of the shoreline in Rizal, Palawan, the Philippines, on May 28, 2025. Many fishermen here have lost more than half their incomes because of harassment by Chinese ships, limiting the distances they can go out to sea to fish for specific species.
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Vincent Gehisan, 36, enjoys a meal at his home in Quezon, Palawan, the Philippines, on May 24, 2025. Gehisan was hassled and detained for nearly a day at sea by Chinese Coast Guard and navy ships while out on a resupply mission the year before and now says he’s afraid to venture far from Filipino shores to fish.
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People sing karaoke on May 21, 2025, at a local bar near the main fish port complex in General Santos, the Philippines, where the clientele are mainly fishermen on their days off.
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Illegal, unreported and unregulated fishing is inextricably linked to the geopolitical struggle for maritime dominance in the South China Sea. Over the past two decades, China has rapidly scaled up its fishing militias in a race to assert control over a vast area while trying to meet the country’s insatiable demand for seafood. Vietnam, the Philippines, Malaysia and Taiwan have followed suit on a much smaller scale.
The South China Sea — or the East Sea, as Vietnam calls it, and the West Philippine Sea, as it’s known in the Philippines — is one of the world’s most strategic waterways. China’s use of its fishing fleet to control trade routes and dominate territory to create maritime buffer zones threatens the food security and livelihoods of fishers in the region.
Family members of Filipino fishermen place bait on fishing lines in Quezon, Palawan, the Philippines, on May 24, 2025.
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Small-scale Filipino fishermen unload their catch a fish port in General Santos, the Philippines, on May 22, 2025. The city is known as the Philippines’ tuna capital and hub for tuna fishing and products exports.
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While Chinese aggression has persisted for years in areas off Zambales, a province of the Philippines, it has only recently affected waters off the coast of Rizal in Palawan, as China is believed to be building up its presence in the Sabina and Bombay shoals, much closer to the Filipino coast — encroaching on the Philippines’ claim to the Kalayaan Island Group — from its original areas of claim like the Spratly Islands and the Scarborough Shoal. Among some of the tactics used by Chinese fishing militias to deter fishermen are water cannons, using swarming and encircling techniques, military-grade lasers and ramming fishing boats to intimidate and drive them from fishing grounds.
As countries in the region militarize their fishing fleets, the cost will ultimately be detrimental to ecological sustainability and geopolitical stability.
Indonesia
Indonesian fishermen unload various species, including sharks and wedgefish, which are one of the most threatened, in Tegal, Indonesia, on June 13, 2025.
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In Indonesia, poverty, lack of opportunities and desperation have pushed thousands of Indonesian men into trafficking circles, while others are lured by the promises of a well-paid job in the construction or service industries before being put aboard a fishing vessel unbeknownst to them. Patima Tungpuchayakul, the founder of Thailand’s Labour Protection Network, says hundreds of fishermen go missing from commercial vessels each year, and many more are brutalized while facing appalling conditions and inhumane, unsanitary conditions on board, often at the mercy of the captain or the ship’s owners.
Labor rights activists at the Migrant Resource Center in Pemalang, Indonesia, fishermen and a widow of a woman still fighting for compensation after her husband’s death say agencies in central Java are adept at recruiting Indonesian crew to work primarily on Chinese fishing vessels, entrapping them in a cycle of debt bondage and, in many cases, effectively enslaving them at sea. Workers are not offered compensation for death or injuries unless they or their families were aware of what kind of insurance the vessel owner had for them. In the worst circumstances, they face brutal working conditions and 16- to 22-hour workdays and are often subject to physical violence.
Fishmongers gather to sell the catch brought in at dawn by fishermen at the Tanjung Luar port on June 9, 2025, in East Lombok, Indonesia.
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A drone image of the largest commercial fish port in Indonesia, Muara Angke, where hundreds of commercial fishing vessels are docked, in Jakarta, Indonesia, on June 15, 2025.
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A fisherman poses for a photo in Pemalang, Indonesia, on June 13, 2025. Both Tegal and Pemalang are known as hubs for recruiting laborers who then work on commercial fishing vessels for Chinese, Taiwanese and Korean companies.
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Southeast Asia is still a hub for slave labor, primarily in Thailand and Indonesia, where the seafood trade contributes much of the tuna, shrimp and trash fish used for fishmeal to the supply chains of major retailers and pet food brands in the U.S. and Europe.
“There is now less physical violence and coercion — but coercion is now more debt-based,” says Rosia Wongsuban, a program advisor at the Freedom Fund, a nonprofit working to end modern-day slavery. “Working conditions are the same. Because of a labor shortage, there aren’t enough workers to operate on vessels, and then the crew needs to take the extra burden.”
“In order to work on the fishing vessel, which was Chinese-owned, I was given a loan of 4 million Rupiah,” Akbar Fitrian, 29, a fisherman interviewed in Jakarta, explains. “1 million went to paying for fishing equipment, and then I had to work until I paid back the other 3 million. Sometimes, I had to keep borrowing more to continue working to pay off the initial loan. Sometimes I would only end up with enough salary to buy cigarettes. Sometimes I went into the red.”
Anis Khuprotin, 28, rests her head on the gravesite of her husband, Muhamad Nur, in Tegal, Indonesia, on June 13, 2025. Anis’ husband died on board a commercial fishing vessel after a piece of equipment came loose and struck him in the head. Staff from the recruiting agency the hired her husband told her he died of a heart attack instead of admitting the truth in an attempt to avoid paying insurance fees to the family.
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Indra, 28, who declined to provide his last name out of fear for his safety, dresses as a clown and plays music to earn some extra money in his neighborhood in Jakarta, Indonesia, on June 14, 2025. Indra, who previously worked on a commercial fishing vessel, recounted harrowing experiences at sea, where he said he witnessed abuses of his fellow cremates. Since returning home, he’s refused to sign up for another job on a commercial fishing vessel, but says he has limited opportunities owing to the lack of a school degree. He currently works in a warehouse, packing boxes, and dresses as a clown to earn extra income.
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Fishermen play a card game on June 10, 2025, on Maringkik Island, off the caost of East Lombok, Indonesia.
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For the nearly 10 million people who rely on these fisheries for their livelihoods and source of protein, the future of Southeast Asia’s fisheries hangs in the balance, at the mercy of consumer demand and political will to enforce laws. The region faces not just ecological collapse, but deepening poverty, food insecurity and social instability if illegal, unreported and unregulated fishing continues unchecked. Overfishing occurs because high demand and global overconsumption for seafood far exceed the ocean’s ability to replenish itself. Growing markets — especially in China, the European Union and North America — have transformed fish and fish products into a highly profitable global commodity. Exports from Southeast Asia alone amount to over $5 billion worth of fish products to the United States each year, illustrating the scale of international trade. This demand fuels industrial-scale fishing operations such as bottom trawlers and purse seiners, which sweep through vast areas of ocean indiscriminately. Supported by government subsidies, these fleets prioritize maximum yield, even when fish stocks are already severely depleted.
But decline is not inevitable. With stronger regional cooperation, transparent supply chains, corporate accountability and informed consumer choices, Southeast Asia can reclaim stewardship over its waters. The survival of its fisheries — and of the communities that depend on them — hinges on decisions being made now, far from shore.
Various species of sharks — some of which are endangered while others are listed as vulnerable — are hauled on shore at dawn by commercial fishermen at the Tanjung Luar port on June 10, 2025, in East Lombok, Indonesia.
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This body of work, based on a nine-month-long investigation supported by the Fondation Carmignac, is on exhibit at the Bronx Documentary Center through April 26.
Nicole Tung is a photojournalist working primarily in the Middle East and Asia. You can see more of her work on her website, NicoleTung.com, or on Instagram, at @nicoletung.
This story is part of Image’s April’s Thresholds issue, a tour of L.A. architecture as it’s actually experienced.
If you buy a product linked on our site, The Times may earn a commission. See all our Coveted lists of mandatory items here.
Yont Studio, Brutalist Pink Vinyl Listening Station, price upon request
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In the best version of my dreams, I am listening to my favorite records out of the Brutalist Pink Vinyl Listening Station from Berlin-based Yont Studio. The structure — built of foam that’s been reinforced with epoxy layers and finished in a gloss — hugs a Technics SL-1200 MK7 turntable while featuring a dedicated space for records and headphones, with an integrated amplifier and wheels. The baby pink colorway gives it a hard-soft quality that’s hard to match. yontstudio.com
Waka Waka, Double Cylinder Rocker, $3,600
Designer Shin Okuda has described his design principle as such: “Minimum design. Conscious proportion.” The furniture from Okuda’s Los Angeles studio Waka Waka injects something deeply cool into the everyday. This rocking chair is equal parts dramatic and functional, featuring a stacked cylinder back, rocker frame and arm rests in a black glossy finish. (Other finishes include natural oil, white, pompeii red, indigo, grey, purple and forest green.) wakawaka.world
Gambol Studio X Dusty Ansell, knives, $230
Every item in your home being beautiful and well-designed is a flex, down to your cheese knives. Designed by L.A. studio Gambol and handmade by folk artist Dusty Ansell in a set of three, these knives are made of curly maple and stainless steel, featuring etched artwork depicting a hand, arm and fish. gambol.studio
Schiaparelli, Pierced Mouth Bijoux Minaudière, $13,300
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Hannah Lim X Hugo Harris, Bat Shelf, price upon request
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Formas, Clear Special Vase by Gaetano Pesce, $650
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Estudio Persona, Luna Table Lamp, $2,500
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Alaïa, nylon Maxi Petticoat, $5,030
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Loewe, Aire Sutileza Elixir Eau de Parfum 50Ml, $210
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Sunday Puzzle
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This week’s challenge
Today’s puzzle is a tribute to Mimi. Every answer is a familiar two word phrase or name in which each word starts with the letters MI-.
Ex. Assignment for soldiers –> MILITARY MISSION
1. Pageant title for a contestant from Detroit
2. One of the Twin Cities
3. Nickname for the river through New Orleans
4. Super short skirt
5. Neighborhood in Los Angeles that contains Museum Row
6. Just over four times the distance from the earth to the moon
7. Goateed sing-along conductor of old TV
8. American financier who pioneered so-called “junk bonds”
9. Little accident
10. Land-based weapon in America’s nuclear arsenal
11. In “Snow White,” the evil queen’s words before “on the wall”
Last week’s challenge
Last week’s challenge comes from Benita Rice, of Salem, Ore. Name a famous foreign landmark (5,4). Change the eighth letter to a V and rearrange the result to make an adjective that describes this landmark. What landmark is it?
Answer
Notre Dame –> Renovated
Winner
Chee Sing Lee of Bangor, Maine
This week’s challenge
This week’s challenge comes from James Ellison, of Jefferson City, Mo. Think of a popular movie of the past decade. Change the last letter in its title. The result will suggest a lawsuit between two politicians of the late 20th century — one Republican and one Democrat. What’s the movie and who are the people?
If you know the answer to the challenge, submit it below by Thursday, April 23 at 3 p.m. ET. Listeners whose answers are selected win a chance to play the on-air puzzle.
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New Jersey52 seconds ago
NJ Lottery Pick-3, Pick-4, Cash 5, Millionaire for Life winning numbers for Sunday, April 19
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New Mexico7 minutes agoLos Alamos Public Schools Students Compete At 2026 New Mexico State Science & Engineering Fair
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North Carolina13 minutes ago
NC Lottery Pick 3 Day, Pick 3 Evening results for April 19, 2026
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North Dakota19 minutes agoWindy conditions fuel shop fire in rural Mapleton
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Ohio25 minutes agoWanda Lou Bailey, Louisville, Ohio
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Oklahoma31 minutes agoCord Rager’s Return, Consistent Hitting Earns Oklahoma First SEC Sweep of Missouri
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Oregon37 minutes agoSmall Oregon town residents’ trust shaken as state sues disaster nonprofit founder
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Pennsylvania43 minutes agoMother, 6 children die in Central Pennsylvania house explosion, state police say