'Total Frenzy': Swift Fever Grows in Latin America

Taylor Swift performs during her Eras tour at Sofi stadium in Inglewood, California. Michael Tran / AFP/File
Taylor Swift performs during her Eras tour at Sofi stadium in Inglewood, California. Michael Tran / AFP/File
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'Total Frenzy': Swift Fever Grows in Latin America

Taylor Swift performs during her Eras tour at Sofi stadium in Inglewood, California. Michael Tran / AFP/File
Taylor Swift performs during her Eras tour at Sofi stadium in Inglewood, California. Michael Tran / AFP/File

Excitement is building among Taylor Swift fans in Latin America who have endured months-long queues, expensive tickets and, in one case, assault to realize their dream of seeing the pop superstar.

The 33-year-old singer-songwriter, who holds the women's record for most number one albums, will bring her "Eras" tour to the region from Thursday starting in Mexico, followed by Argentina and Brazil, said AFP.

In Rio de Janeiro, Renan Rodrigues camped out for several nights to buy tickets for Swift's November 17-19 concerts at the Nilton Santos stadium.

The 24-year-old DJ, who performs at parties for Swifties, as the pop star's devoted fans are known, got tickets to all three performances.

But he paid a high price -- an assailant hit him on the head with a bottle for resisting an attempted robbery while he was waiting.

"They wanted to take my cell phone, and inside the case was my card from the only bank authorized for ticket sales. I just thought: they won't take my card," said Rodrigues, who suffered superficial injuries.

Tickets for Taylor Swift shows in Brazil cost between $35 and $468.

In Mexico, where young people earn an average salary of $366 a month according to official data, fans had to pay between $55 and $614.

Ingrid Cruz, founder of the official Mexican fan club, described the high cost as "abuse" and complained that VIP packages were prioritized over regular tickets.

Fans also reported problems with the platform of US retail giant Ticketmaster.

The vendor operates in Mexico as part of the powerful CIE entertainment and media group, which in turn controls around two-thirds of the local market for live shows.

Pre-sales for the four concerts in Mexico City were based on a previous registration of "verified fans" by email.

But even Joel Aguilar, creator of Taylor Swift MX, a fan site with some 20,000 followers from 20 countries, failed to qualify, he said.

Denisse Castro, 26, who has been unemployed for six months, hoped that building a credit history and obtaining a card from the bank sponsoring the concert would help her to secure good seats.

Unfortunately for her, the bank recently tightened its credit restrictions, so Castro could only afford the cheapest tickets.

In the Argentine capital Buenos Aires, a group set up camp outside the River stadium in June, five months before the concert, to ensure they have places near the stage.

"It's going to be a total frenzy," said Lara Palavencino, one of the fans, who take it in turns to reserve their spots.

Tickets sold out quickly in Argentina, despite the country's serious economic crisis.

In Chile, President Gabriel Boric, a self-proclaimed Swiftie, made an unsuccessful appeal to Swift to include his country on her tour.

And in Mexico, proving that the pop star's popularity transcends age, a 64-year-old Supreme Court judge outed himself as a Swiftie earlier this year.

"There's nothing trivial about Taylor Swift," Arturo Zaldivar wrote in a newspaper in June.



Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
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Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)

The wide-screen spectacle of Formula One gets a gleaming, rip-roaring workout in Joseph Kosinski’s “F1,” a fine-tuned machine of a movie that, in its most riveting racing scenes, approaches a kind of high-speed splendor.

Kosinski, who last endeavored to put moviegoers in the seat of a fighter jet in “Top Gun: Maverick,” has moved to the open cockpits of Formula One with much the same affection, if not outright need, for speed. A lot of the same team is back. Jerry Bruckheimer produces. Ehren Kruger, a co-writer on “Maverick,” takes sole credit here. Hans Zimmer, a co-composer previously, supplies the thumping score.

And, again, our central figure is an older, high-flying cowboy plucked down in an ultramodern, gas-guzzling conveyance to teach a younger generation about old-school ingenuity and, maybe, the enduring appeal of denim.

But whereas Tom Cruise is a particularly forward-moving action star, Brad Pitt, who stars as the driving-addicted Sonny Hayes in “F1,” has always been a more arrestingly poised presence. Think of the way he so calmly and half-interestedly faces off with Bruce Lee in Quentin Tarantino’s “Once Upon a Time ... in Hollywood.” In the opening scene of “F1,” he’s sleeping in a van with headphones on when someone rouses him. He splashes some water on his face and walks a few steps over to the Daytona oval, where he quickly enters his team’s car, in the midst of a 24-hour race. Pitt goes from zero to 180 mph in a minute.

Sonny, a long-ago phenom who crashed out of Formula One decades earlier and has since been racing any vehicle, even a taxi, he can get behind the wheel of, is approached by an old friend, Ruben Cervantes (Javier Bardem) about joining his flagging F1 team, APX. Sonny turns him down at first but, of course, he joins and “F1” is off to the races.

The title sequence, exquisitely timed to the syncopated rhythms of Zimmer’s score, is a blistering introduction. The hotshot rookie driver Noah Pearce (Damson Idris) is just running a practice lap, but Kosinski, his camera adeptly moving in and out of the cockpit, uses the moment to plunge us into the high-tech world of Formula One, where every inch of the car is connected to digital sensors monitored by a watchful team. Here, that includes technical director Kate McKenna (Kerry Condon) and Kaspar Molinski (Kim Bodnia), the team’s chief.

Verisimilitude is of obvious importance to the filmmakers, who bathe this very Formula One-authorized film in all the sleek operations and globe-trotting spectacle of the sport. That Apple, which produced the film, would even go for such a high-priced summer movie about Formula One is a testament to the upswing in popularity of a sport once quite niche in America, and of the halo effects of both the Netflix series “Formula 1: Drive to Survive” and the seven-time world champion Lewis Hamilton, an executive producer on “F1.”

Whether “F1” pleases diehards, I’ll leave to more ardent followers of the circuit. But what I can say definitively is that Claudio Miranda knows how to shoot it. The cinematographer, who has shot all of Kosinski’s films as well as wonders like Ang Lee’s “Life of Pi,” brings Formula One to vivid, visceral life. When “F1” heads to the big races, Miranda is always simultaneously capturing the zooming cars from the asphalt while backgrounding it with the sweeping spectacle of a course like the UK’s fabled Silverstone Circuit.

OK, you might be thinking, so the racing is good; is there a story? There’s what I’d call enough of one, though you might have to go to the photo finish to verify that. When Sonny shows up, and rapidly turns one practice vehicle into toast, it’s clear that he’s going to be an agent of chaos at APX, a low-ranking team that’s in heavy debt and struggling to find a car that performs.

This gives Pitt a fine opportunity to flash his charisma, playing Sonny as an obsessive who refuses any trophy and has no real interest in money, either. The flashier, media-ready Noah watches Sonny's arrival with skepticism, and the two begin more as rivals than teammates. Idris is up to the mano-a-mano challenge, but he’s limited by a role ultimately revolving around and reducing to a young Black man learning a lesson in work ethic.

A relationship does develop, but “F1” struggles to get its characters out of the starting blocks, keeping them closer to the cliches they start out as. The actor who, more than anyone, keeps the momentum going is Condon, playing an aerodynamics specialist whose connection with Pitt’s Sonny is immediate. Just as she did in between another pair of headstrong men in “The Banshees of Inisherin,” Condon is a rush of naturalism.

If there’s something preventing “F1” from hitting full speed, it’s its insistence on having its characters constantly voice Sonny’s motivations. The same holds true on the race course, where broadcast commentary narrates virtually every moment of the drama. That may be a necessity for a sport where the crucial strategies of hot tires and pit-stop timing aren't quite household concepts. But the best car race movies — from “Grand Prix” to “Senna” to “Ferrari” — know when to rely on nothing but the roar of an engine.

“F1” steers predictably to the finish line, cribbing here and there from sports dramas before it. (Tobias Menzies plays a board member with uncertain corporate goals.) When “F1” does, finally, quiet down, for one blissful moment, the movie, almost literally, soars. It's not quite enough to forget all the high-octane macho dramatics before it, but it's enough to glimpse another road “F1” might have taken.