Entertainment
Kenia Os has paid her dues. In new album ‘K de Karma,’ she takes back her power
“In that darkness, I found myself,” says Mexican pop star Kenia Os, who collaborated with indie icon Carla Morrison and transmuted online hate into her fiercest album yet
Mexico’s reigning pop princess is entering her femme fatale era.
Kenia Os played up her cute and cuddly side in her previous album, 2024’s “Pink Aura” — but with her upcoming album “K de Karma,” out Friday, Os is putting that era to bed.
Os, born Kenia Guadalupe Flores Osuna in Mazatlán, Sinaloa, has made an incredible leap from social media influencer to Latin Grammy-nominated pop star in under a decade. Yet at 26, she has weathered countless storms — whether facing incessant body-shaming online, or defending her pop music pivot from cynics in the comments.
In an interview with the L.A. Times, the Mexican superstar explains how she transmuted that energy into her most fierce and sexy musical offering yet.
“In that darkness, I found myself,” the 26-year-old says over Zoom from her hotel room in Los Angeles — where she’s traded her signature blood red dress for a black tank top and jeans as she prepares for her upcoming tour.
“This album is totally about empowerment. There’s an energy behind it of divine justice… What’s for you belongs to you.”
Os had plenty of examples of powerful pop divas to draw inspiration from. Though she fondly recalls her mother playing the music of the late Selena Quintanilla and Jenni Rivera, Os was tapped into American talents like Miley Cyrus — namely her “Hannah Montana” alter ego — as well as Demi Lovato, Ariana Grande and Selena Gomez.
“I’ve always been inspired by a lot of female artists,” she recalls. “The power that women wield has always been at the core of who I am an artist.”
As Os looks back on being a teen girl who shared her life gratuitously on YouTube, and later social media platforms like Instagram and TikTok, she still feels the sting of body-shaming comments. Os reveals during that time, her weight would fluctuate from dealing with hormonal issues such as PCOS (polycystic ovary syndrome) and endometriosis.
“It’s very difficult how people judge you for your body, if you gain weight, have a tummy, or whatever,” she says. “It was very complicated to grow from a young girl into a woman [in a world] where you are how you look. Currently, I feel at ease because thanks to the universe, I’ve had the opportunity to take care of my body, understand it, and heal from within. It’s made me a stronger woman.”
Another hurdle that Os had to overcome in her career is an ongoing stigma placed on influencers-turned-pop stars. Although artists like Addison Rae, Tate McRae, and Charli D’Amelio successfully forged their careers as performers on social media before taking center stage, Os sees Mexico as being less receptive to that kind of career transition as the U.S. or Canada.
“In Mexico, it hasn’t been that easy for people to understand that I am a singer,” she says. “I’m not the best, but I’m here, I have my fandom that I love and we’re doing incredible things together.” (Os is referring to her massive following online, which includes 26.3 million fans on TikTok and 18.2 million fans on Instagram.)
When Os first launched as a singer in 2018, some immediately took aim at her dance moves and the digitally augmented sound of her voice. Os admits that she’s come a long way since that first iteration with rigorous singing and choreography lessons; three years later, she signed a record deal with her current label Sony Music Mexico, and released her glossy debut album, “Cambios De Luna,” in 2022.
Since then, Os has come to rule the Latin pop scene in Mexico, boasting multiple sold-out tours of the country.
“It’s been difficult for people to understand that I started out making content — which I still love to do — and suddenly, I’m [also] a singer,” she says. “They try to devalue my work and what I do as an artist. At the end of the day, I’m still as hard-working as I [was] on day one. I’m on the charts with a lot of artists. I’ve put myself in a position where I can say that I’m fully dedicated to music. For me, it’s been a beautiful journey where I’ve learned a lot about myself and I’ve grown so much.”
Os achieved an international breakthrough with her visual album, 2022’s “K23.” The following year she scored a viral hit on TikTok with the flirty “Malas Decisiones,” which has over 340 million streams on Spotify. Os would soon tour the U.S. for the first time, and at the 2023 Latin Grammy Awards, “K23” was nominated in the category of long form music video.
“I loved that experience, and I believe it would be beautiful to win a Grammy, but now I’m more dedicated to my fans, my music and what I like without expecting an award,” she says.
Last year, Os also pulled a page from Taylor Swift’s playbook by releasing the concert film “Kenia Os: La OG” in theaters in both the U.S. and Mexico.
Now with “K De Karma” out, Os is finding strength in further harnessing a sexier and more defiant alter ego — which she introduced in her cinematic music video for “Belladona.” Directed by Daniel Eguren, the visuals emphasize the fatality of her femininity with a car explosion and suited-up businessmen bending to her will.
“It doesn’t feel like that I have to act or pretend to be sexy or sensual,” Os admits. “Now, this feels very natural. It feels very me. This is who I am at this moment as a woman.”
She adds that her album was also inspired by a marginalized group that stuck by her side through her ups and downs: the LGBTQ+ community. As a show of gratitude to the girls and the gays, Os transforms from “Belladona” to Primadonna in vogue-ready house bangers like “Slay,” “Problemática,” and “Boom In Your Face.”
“I wanted to do something fun and different for the LGBTQ+ community,” she says. “I’m very happy and grateful for the love they’ve given me. I believe they’re my most passionate fans — they’re the kind of fans that are there for you the most. To put on concerts where you know most of the crowd belongs to that community, it’s an incredible experience.”
A surprising collaborator on “K De Karma” is Mexican singer-songwriter Carla Morrison. She co-wrote the tender love song “Tú y Yo X Siempre” with Os; the two also collaborated on “Días Tristes,” which is reminiscent of the moody ‘80s pop anthem by Jeanette, “El Muchacho De Los Ojos Tristes.”
Os reveals that she and Morrison worked on a third song that they’re still putting the finishing touches on. “It was very magical to work with her,” she adds. “She’s an exceptional and incredible human being with a big heart. She told me very beautiful words that motivated me all of last year. Those were words that I needed to hear.”
On the personal side, Os is also relishing her relationship with Peso Pluma. After collaborating on the reggaeton track “Tommy & Pamela” in 2024, the two Mexican artists went public as an item last year. Os has even accompanied Pluma on a few stops of his recent Dinastía Tour.
“It’s very beautiful to know that you have a partner that knows what you go through and that can give you advice from his experiences as well,” Os says. “I love that I can count on someone that understands me completely and supports me.”
As for now, she is raring for the Mexican leg of her “K de Karma Tour” that kicks off on April 25 in her hometown. She is hoping to eventually add some dates in the States.
“I want to grow more internationally with this album,” says Os. “As long as my fans love and enjoy this album, that’s all that matters to me.”
Film Reviews
Soy Frankelda
Director: Arturo Ambriz, Roy Ambriz
Cinema Fantasma, Netflix
Streaming on Netflix: 06.12.2026
People have given their diatribes and waxed poetic about the dread of AI in creative fields. The ever-increasing push to implement it into our lives is disheartening to say the least, but even more so, it kills a piece of our soul by encouraging us to replace imagination and artistry with prompts.Why go through all the time and effort of bringing your vision to life when a program can do it in less than a fraction of a second? It disconnects us from the aspects that enrich our inner worlds. Still, people are fighting back by showcasing their creativity. Soy Frankelda is one such ode to human capability and imagination.
The film takes place between our world in 1866 Montevideo, México, and the parallel dream world of Topus Terrenus, where fantastical creatures reside and feed upon our fears. Francisca Imelda, aka Frankelda (Mireya Mendoza), is an aspiring horror writer. Unbeknownst to her, her writing exists and affects Topus Terrenus. However, the parallel dimension is deteriorating due to a lack of fear in the human world. Enamoured by her writing, Prince Herneval (Arturo Mercado Jr.) invites Frankelda to his world in the hopes that she can become the new nightmare-teller and reinvigorate fear in humans through hert stories. This does not go well with the current nightmare-teller, Procustes (Luis Leonardo Suarez), who plots to overthrow the royal family and establish himself as the new ruler of Topus Terrenus by stealing Frankelda’s work and passing it off as his own. What ensues is a dazzling musical journey of stop -motion charm and spooks.
To be honest, I am very biased when it comes to talking about this movie. Animation, to me, has always been one of the most versatile and passion-driven mediums for storytelling, so of course I hold it in such high regard. However, Mexican animation has never truly taken the main stage. Sure, there are American-based animated projects that center Mexican narratives like Coco and The Book of Life, but it wouldn’t be a stretch to say that Mexico’s animation industry has been precariously held up by the Huevos franchise and the Leyendas series. While both these series have their merits (I love to rewatch many of the Leyenda movies around Halloween), neither captures a sense of grandeur or is as engaging as Soy Frankelda. Furthermore, I can’t help but feel a sense of pride in knowing that this is the very first stop -motion project produced entirely in Mexico.
To say Soy Frankelda is a work of art would be an understatement. The character models are incredibly detailed and unique, and the settings which they inhabit are ornate and depict a grand sense of scale. The film also isn’t afraid to dip into mixed media. In moments where the characters’ emotions are heightened, other mediums like oil painting or charcoal are used. The film is also acutely aware of its limitations and finds creative workarounds. These little decisions give the film a sense of earnestness and not only bring liveliness to the world, but also tangibility. Guillermo Del Toro was the directors’ mentor during the production of this film and his fingerprints can be seen throughout. The level of craftsmanship is akin to the work he does with all his creature designs. Still, it’s obvious that the stop -motion in this film hasn’t reached the same level of smoothness as a Laika production, but the roughness and jerkiness of the movements remind you that human hands worked on it and there is a charm to that.
The film’s worldbuilding is also noteworthy, blending fantastical and macabre elements to create a landscape that is equal parts whimsical and spooky. It feels like a true successor to the art style of The Nightmare Before Christmas, just with more color and a variety of textures. The lore is also presented intentionally and connects to the theme of fiction being as real as reality. It all hinges on the sentiment that our ideas have life and that as long as we keep creating, the world will continue to be filled with inspiration and therefore beget more creation. Soy Frankelda encourages the act of creating, the idea that we live to create and to create is to live.
While I have a deep appreciation for this film, it is far from perfect. Namely, the narrative is lacking at some points, especially when it comes to the interpersonal conflict at the climax of the story hinged on a miscommunication. It’s disappointing, to say the least, that a story with this much thought and effort in the presentation of the film would falter when it comes to the script. This also bleeds into the film feeling rather melodramatic at some points. I liken it to watching an animated fantasy telenovela. Frankelda’s extreme emotional shifts are testament to that. Also, while the story does conclude, it still feels unfinished by the end. Obviously this is because Soy Frankelda is actually a prequel movie to Frankelda’s Book of Spooks, an animated anthology series that explores Frankelda’s stories. Nevertheless, the movie still leaves you wanting more.
Soy Frankelda is a landmark film for Mexican animation. In a time when pillars of the industry are encouraging the use of generative AI, it is refreshing to see a film that so succinctly makes a case for human originality and celebrates the art of creating one’s own stories and worlds. —Angela Garcia
Read more film reviews from Angela Garcia below:
Film Review: I Love Boosters
Film Review: You, Me & Tuscany
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Madonna is just a material girl, living in a material world.
The “Vogue” hitmaker graced the cover of Interview magazine for the Summer 2026 issue and in the accompanying chat, the singer revealed the reason the ultra-hyped biopic with “Ozark” star Julia Garner was scrapped: not enough cold hard cash.
Turns out, Universal Studios was not Madonna’s Mr. Right. According to the pop star, the studio didn’t share her vision for a budget for the film.
“I worked on my script for two years and spent two years at Universal Studios with the line producers doing budgeting and casting,” she told the magazine. “We had a falling out, me and Universal, regarding budget because I needed — I’ve had an extraordinary life. I’ve had a huge life, so I needed a big budget. You know what I mean?”
The film had been in the works for years, and in 2021 Universal Pictures won a multi-studio auction to helm the biopic. According to Variety, the script followed Madonna from her upbringing in the suburbs of Detroit, her artistic awakening in 1980s New York City, and concluded around the 1998 release of “Ray of Light.”
“I found a way to make it for less money in Serbia, but I don’t think they were into the idea of — I don’t know,” she said. “Maybe they just didn’t believe in me.”
Madonna said the studio couldn’t wrap its head around what she was suggesting and countered that she wouldn’t “stay in Serbia more than four days.”
“I said, ‘Did you read the script?’ My whole life has been survival. I’m not going there for a holiday.’”
Madonna said that she was in “limbo” when the movie plans fell apart, and she considered telling her life story through a Netflix series when the streamer came knocking. But she wouldn’t be able to use the script she had penned for Universal without buying it from the studio for “an extortionist’s price,” even though she wrote it.
“That’s just the way it goes,” she continued. “I started trying to understand how making a series would work. It’s a very, very different process. You have to meet a lot of writers and find the right showrunner, and I couldn’t find one. This went on for another eight or nine months. I was like, ‘Good thing I have another job because I need to work, I need to create. I need to do what I was put on this earth to do.’”
Representatives for Universal Pictures, Netflix and Garner did not immediately respond to The Times’ request for comment.
Through the process of writing the script, Madonna was bitten by the memoir bug, but she channeled that confessional energy into her forthcoming album, “Confessions on a Dance Floor: Part II,” which drops July 3. A 13-minute music video weaving together six tracks from the new album was released earlier this month and featured A-list cameos by Sabrina Carpenter, Kate Moss, Lourdes Leon, Benedict Cumberbatch and more.
While the biopic and buzz around Garner’s portrayal of the “Like a Virgin” star had fans of the two blondes chomping at the bit, all is not lost: Art captures life. Garner and Madonna were spotted filming scenes in Venice two weeks ago for the second season of “The Studio,” in which Madonna plays herself struggling to get her biopic made.
Mr. Reset and The Society of Turnbuckle and Bone is a gripping sci fi horror/comedy featuring Vinny Pacifico, who is an ex-Ring of Honor Wrestler. What’s it about? What did we think about it? Read on for our spoiler free review!
But first? Take a look at the trailer!
Synopsis
Former Ring of Honor talent Vinny Pacifico stars as a rising indie wrestler lured by the promise of fame and fortune into a dark world of intense trials and sacrifice.
Rob Ryzin (ex-AEW), Bobby Fish (ex-NXT), Nick “Percy Watson” McNeil (ex-NXT), and Nick “Jamie Stanley” Stuible also star alongside writer-director Jedi Koszewski.
From The Press Release
The spectacle of professional wrestling grapples with psychological dread in Mr. Reset and The Society of Turnbuckle & Bone.
Full of gauzy, gorgeous imagery, a kaleidoscope palette, and themes that blend science fiction, body horror, and dark comedy, the surreal horror film explores a secret society that manipulates the wrestling industry from behind the scenes under the enigmatic Mr. Reset’s watchful eye.
Produced by Audacity Complex Studios, the film strips away the glitz of sports entertainment to reveal its psychological toll, while never shying away from the darkly comic moments that lurk in the industry’s shadows.
“This project holds special meaning for me because it brings together two of my greatest passions: horror and professional wrestling,” Pacifico commented. “Through this story, I’ve had the privilege of exploring authentic experiences within a fictional framework and shedding light on growing up in the entertainment industry.”
Here’s a look at the poster art!
My Thoughts
If you like movies that have a horror/conspiracy feel to them with a hint of creepy, this is the movie for you. The cast did a phenomenal job, and the storytelling was spot on. It also had a touch of breaking the 4th wall in there. This is a great film with a lot of drama, horror, and bad decisions. I will give a PSA to anyone who is sensitive to lights as it switches back and forth a lot. I like the news element to the movie and how it goes from 1st person to 4th person.
Final Thoughts
I wouldn’t recommend this movie to anyone under 13 because of the nature of the film and the tricks it can play on your mind. Also, it has body horror which younger viewers might not be able to handle. The gore and the trauma in the movie play on your mind and is not for the faint of heart. Excellent storytelling and the director did a phenomenal job. I highly recommend this B-list movie with a 9/10 for me based on the bizarreness of it and the great storytelling. Sometimes you need a reset.
Mr. Reset and The Society of Turnbuckle and Bone on VOD now!
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