Xolo Maridueña received two phone calls the day he found out he’d been cast in “Cobra Kai,” the spinoff series set three decades after the 1984 “The Karate Kid” movie ended.
The first came from show creators Josh Heald, Jon Hurwitz and Hayden Schlossberg, who confirmed that he had landed the protagonist role of Miguel Diaz, the scrappy Reseda teen that learns martial arts after being bullied.
Maridueña, then 16, couldn’t believe his luck.
“Oh my God, what is going on?” the now 23-year-old said via Zoom, recounting the events of that afternoon like a play-by-play commentator.
Then, his phone rang again. This time, it was Ralph Macchio, the karate kid himself.
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“Is this Zolo?” asked Macchio.
Though Maridueña laughs now at the wrong pronunciation of his name (it’s “sho-low”), the young actor was too preoccupied at the time to correct his new co-star. With his phone’s battery at 1%, he worried that the call would drop, giving Macchio the impression that he was a bratty kid who’d hung up on him. If that were to happen, Maridueña thought, surely they’d boot him off the show before shooting even began.
That worst-case scenario never came to pass, and as Macchio can attest, Maridueña “is the antithesis of a bratty kid.” In truth, he was tailor-made for a role that saw him grow from a brace-faced teen into a full-fledged adult. Now, seven years after that fateful day, the actor is getting ready to say goodbye to Miguel Diaz — the first part of the sixth and final season of “Cobra Kai” was released on Netflix on Thursday, with Part 2 coming out Nov. 15, and Part 3 coming out sometime in 2025.
“There was just something about him that we just fell in love with right off the bat,” said William Zabka, who plays Johnny Lawrence, the antagonist in the first “The Karate Kid” movie who gets a shot at redemption in the Netflix series. “We knew right away that that was our Miguel.”
“He was lanky and had that LaRusso kind of long-limbed awkwardness,” Macchio said, alluding to the fact that Miguel Diaz is a modern take on his own character. “He was perfect from the start.”
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In taking the major role, Maridueña shouldered the responsibility of being one of the few Latino characters in the show — Miguel was intentionally written to better reflect the demographics of the San Fernando Valley. He says writers consulted with him to further develop his storyline with an Ecuadorian ethnicity in mind — Maridueña himself is of Mexican, Cuban and Ecuadorian heritage.
“[It’s important] to have these roles where people are allowed to just be in their character and the first bullet point is not their ethnicity,” Maridueña said. “As we have more of these diverse roles, people will start to get used to [seeing us].”
(Sarahi Apaez / Los Angeles Times)
“They were honest in their lack of knowledge in [Miguel’s] culture,” he said, making sure to point out that this unfamiliarity with Latinos is an industrywide issue.
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“You throw a rock in [Los Angeles] and 1 in 2 people are Latino” said Maridueña, who grew up in El Sereno. “Hollywood needs to catch up in that regard because if you throw a rock on set, 1 in 2people are definitely not Latino.”
He also credits the writers for not making Miguel one-dimensional.
“[It’s important] to have these roles where people are allowed to just be in their character and the first bullet point is not their ethnicity,” Maridueña said. “As we have more of these diverse roles, people will start to get used to [seeing us].”
Despite his age, the actor is a veteran at portraying nuanced characters that happen to be Latino. Prior to “Cobra Kai,” he gave life to Victor Graham in the popular NBC drama “Parenthood.” He also spent years refining his craft at Casa 0101, the Boyle Heights theater company founded by “Real Women Have Curves” playwright Josefina López.
“He approached the work with a lot of humility. There wasn’t any pompousness about him,” said Edward Padilla, former lead youth educator at Casa 0101 and a family friend. “He really came in there with dedication and willingness to be molded into the role that he was working on.”
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Padilla credits part of Maridueña’s love of acting to the “Cobra Kai” star’s family members who are involved in community art activism. Maridueña’s younger sister Oshún Ramirez was a voice actor on Disney’s “Future-Worm!,” his mother, Carmelita Ramirez-Sanchez, leads the Boyle Heights Arts Conservatory, and his father, Omar G. Ramirez, is a Chicano artist.
“The family wanted him to start expanding beyond the types of things that he had already done,” Padilla said.
Maridueña’s face lights up at the mention of Casa 0101, and even hints at the possibility of returning to the theater if given the opportunity to direct a play of his own now that “Cobra Kai” is wrapping up.
“I can’t help but feel like the community that I was fostered in, El Sereno, Los Angeles, my family, my friends, Casa 0101, everyone that helped raise me and made me feel so comfortable in my skin — I was allowed to be myself,” he said.
As Maridueña enters a new phase in his career, Padilla says he hopes that his former student doesn’t feel obligated to always take on the weight of representing his community on screen.
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“I want him to choose projects that really lift his spirit, because that’s the only way that we’re all going to make an impact [is] if we continue to choose things that lift our own individual spirits,” Padilla said.
Besides, Maridueña has done more than enough to highlight the richness and complexity of Latino culture. The actor gave life to Jaime Reyes in last year’s “Blue Beetle,” the first live-action superhero movie with a Latino lead. And just as Jaime was chosen by the alien scarab that gave him super powers, Maridueña was handpicked for this groundbreaking role.
“I thought it was Xolo and it had to be Xolo,” said “Blue Beetle” director Angel Manuel Soto, who endearingly refers to his lead as “mijo” or “my son.” Soto said working with Maridueña was a “dream come true,” noting his charisma, talent, energy and lack of ego among the many qualities that make him a standout actor.
“He really went far and beyond to the extent of almost doing a lot of his own stunts and prepping for it even on the hardest days,” Soto said, crediting Maridueña’s martial arts experience in “Cobra Kai.”
Despite the historic nature of “Blue Beetle,” the film had the misfortune of being released in the middle of the Hollywood SAG-AFTRA strikes, which meant that Maridueña and his castmates couldn’t promote the movie.
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Strike or not, Maridueña’s family, friends and community rallied behind the film’s release. The Boyle Heights Arts Conservatory, led by his mother, hosted free “Blue Beetle” showings in Alhambra, Montebello and Hollywood.
“This is our way of saying, ‘Look, we know you cannot be in front, but we want you to know that you have thousands behind you,’” Ramirez-Sanchez told The Times last year. “When one of us can’t be there, none of us are as strong as all of us.”
Maridueña could have easily been cynical about how the film’s release panned out. Instead, he chose to focus on what “Blue Beetle” managed to accomplish.
“I remember having conversations with Angel and him telling me that this is bigger than all of us,” he said. “I remember that hitting me so hard in the moment and really allowing that to be the tone for the movie while we’re shooting.”
“I can’t help but feel like the community that I was fostered in, El Sereno, Los Angeles, my family, my friends, Casa 0101, everyone that helped raise me and made me feel so comfortable in my skin — I was allowed to be myself.”
(Sarahi Apaez / Los Angeles Times)
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In talking about “Blue Beetle,” Maridueña remembers how his fear of looking bad on screen was immediately replaced by a sense of pride.
“As soon as I sat down in that chair for the first screen I was deathly terrified,” he said, re-spiraling in real time. “What if I’m bad? What if it’s terrible?
“But then we watched it and all of that love protrudes so heavily in the movie. I just couldn’t help but feel like, ‘Oh man, my family is going to feel proud because they are seeing themselves reflected.’ This movie is to show a whole new generation that they can have a superhero that looks like them.”
And though acting has claimed a huge part of his life, Maridueña still finds time to express himself off screen. He is an avid photographer who stands behind his Leica Q2 as he shoots his friends on their foodie outings. He’s also a self-proclaimed love doctor on his highly rated podcast “Lone Lobos,” which he co-hosts with fellow “Cobra Kai” actor and best friend Jacob Betrand. He’s even dabbled in music, releasing a hip-hop track last October.
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Maridueña also has several acting projects in the works. He’s slated to star alongside Al Pacino in the thriller “Killing Castro,” and will form part of the star-heavy cast of next year’s “The Smurfs Movie.”
“I feel very gracious for having worked with this impeccable [‘Cobra Kai’] cast and crew for seven years now. At the same time I feel [I’ve] grown from this part of my life,” he said.
“I’m ready to show what I’ve learned in other spaces now.”
Forget the “video game movie” curse;The Mortuary Assistantis a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.
What Makes It Work
The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.
Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.
The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.
Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.
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Nailed It
This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.
The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!
The Verdict
This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.
A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.
Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.
In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.
As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.
“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.
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He is seeking $35 million in damages.
Representatives for Live Nation were not immediately available for comment.
The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.
Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”
Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.
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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.
Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”
In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.
Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”
At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.
When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.