TUCKED away in 500 acres of woodland is an enormous climbing frame, that now doesn’t cost a penny to enter.

Called Hermit’s Hollow, it’s a play haven for kids with wooden bridges, walkways, treetop canopies and spiral slides.

Hermit’s Hollow is found at Coombe Abbey Park in Coventry and was built just two years ago in 2023.

Since its opening, families had been charged a £3.95 entry fee with visitors having to book tickets for a two hour slot online.

But the great news is that these fees have been scrapped from November 3, 2025 and entry is now completely free.

Hermit’s Hollow is an exciting place for kids to run about along the wooden walkways, tree towers, a tube slide and an accessible companion slide.

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There is also a small area for toddlers to explore.

The only bad news is that Hermit’s Cafe and on-site toilets which is located within the woodland playground will close.

It’s a popular spot for families, especially during the warmer weather with one mum writing on Tripadvisor that it’s the best place for a “perfect day out with the kids“.

Another said: “The walk is lovely not huge but the kids loved it, log walking, making dens, and they loved the woodland climbing.”

The climbing area is open between 10am until 4pm each day.

Aside from the climbing frame, there’s plenty to do in Coombe Abbey Park as it has plenty of woodland and lakeside walks as well as other activities, and even Go Ape.

The adventure chain is found within the grounds and there’s plenty to do from Treetop challenges, to axe throwing, archery, driving mini land rovers.

Or head closer to the huge Coombe Abbey Hotel where you can stroll around the pruned gardens and mazes.

Visitors can pop into Café in the Park at Coombe Abbey where they serve up breakfast offerings from the ‘Full Park Breakfast’.

There are as well as toasties, sandwiches, jacket potatoes, or main meals like fish and chips, chilli and there’s a dedicated kid’s menu.

Coventry itself has been labelled as an ‘underrated’ city in the UK, and it’s seeing an increase in the number of tourists.

Some of the biggest attractions there include The Wave in Coventry which is an enormous indoor waterpark with one of the biggest wave pools in the country.

It has six water slides, one being The Crestar, which has two giant spheres with lighting effects.

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The Cascade is another ride at the waterpark, as is The Torrent, which is a ride where the floor drops from beneath – and is arguably one of the scariest rides.

The Rapids, which has been described as the “Big Dipper on water”, is the park’s water coaster, where powerful jets hurl riders uphill before dropping them down through tight corners and tunnels.

One writer reveals what his stay at the Coombe Abbey Hotel was like…

Read on to hear what one writer made of this historic hotel…

Where is the Coombe Abbey Hotel?

On 500 acres of renowned beauty, this historic hotel is in Coventry situated in Coombe Abbey’s Country Park, just off the M6.

What is it like?

Next time somebody wants to send you to Coventry, stay at this complex, which dates back to 1150 and has links to royalty, the dissolution of the monasteries under Henry VIII and the Gunpowder plot. Enjoy a view of the moat, the lake and the courtyard to the Capability Brown designed gardens, depending on where you are in the hotel.

What is there to do at the hotel?

The corridors and communal rooms are packed with artefacts, art, history and heritage, that are well worth exploring as you wander from bar to room to

restaurant, while the scenic lake, gardens and grounds are perfect for a stroll. 

Enjoy one of the many choices of afternoon tea, from Abbot’s Afternoon Tea to Sparkling Afternoon Tea as a post-walk treat. For kids, you can discover Go Ape in the woodlands.

What is there to eat and drink?

Unless you want to drive, you’d better eat here as it’s about a ten-minute walk to the edge of the grounds and some way beyond that to any restaurants. That being said, you really do want to eat here. The ambience is classy, the food is great, and the breakfast really sets you up for the day.

The dinner menu features meaty dishes of beef shin with fondant potato and confit duck leg with spiced braised cabbage, as well as vegan, vegetarian and fish options.

What are the rooms like?

The minimum standard in basic rooms is real quality and comfort, while the decor and design in the feature heritage rooms are charming and characterful. Rooms start from £149 a night based on two sharing.

JOJO Siwa looked incredible in sizzling holiday snaps as she cosied up to boyfriend Chris Hughes.

The Dance Moms star, 22, and her Love Island star beau, 32, have been thrilling fans with photos from the romantic getaway.

JoJo and Chris, who met on Celebrity Big Brother earlier this year, have kept their destination a secret.

But they’ve shared glimpses of their huge hotel suite, private pool, and day trips to the beach.

The couple lounged by the pool in one sweet photo, with JoJo stunning in a blue and white gingham bikini.

Chris cradded JoJo and wrapped his legs around her in the intimate snap.

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JoJo posed for another selfie on the beach, and revealed her toned figure in a tiny pink bikini.

JoJo and Chris are in a long distance relationship but have already been discussing marriage plans.

And Chris has revealed the moment they made their romance official, after Celebrity Big Brother viewers suspected they were more than just friends.

He has spoken openly about their connection on the Question The Default podcast with Harry Corin, in which he told “nothing was rushed or forced, it just happened.”

He then confirmed it was when he flew Mexico in May that they made things official.

He surprised her at a festival she was playing at which happened few weeks after CBB – with her family there – and they became an item.

Chris said they “rekindled and met up in Mexico” and said: “I flew out to surprise her, which was nice.

“I spent a few days with her and her family in Orlando as well before flying home and that’s where it all started.”

Later in the chat, he said: “I went to Mexico and met up with her which is where the whole feelings developed and things changed.

“Which was lovely and no secret to anybody.

“But it was genuinely lovely and nothing was rushed or forced it just happened.”

The Boomerang songstress talked about her potential wedding plans in an exclusive chat with The Sun. 

She said: “A wedding is a two-person thing. So we would have to decide what it looks like.

“But I do know that I want it to have a baby-blue scheme and I need to help Chris make the playlist.

“Otherwise, it’ll be all songs I don’t know!

“He likes to educate me on music. He loves The 1975 and all these boy bands, but I don’t know any of them as they are British.

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“Give me some NSYNC or Backstreet Boys!

“At the end of the day, we have a very public life, but we are still two humans who love each other very much.”

Perhaps best-known for its association with Dracula and an annual goth festival, this cosy seaside town has been named the UK’s best value seaside town, and there’s plenty to do during the colder months

Winter can be an excellent time to explore the UK’s seaside towns. There’s nothing quite like windswept coastal walks, cosy pubs, and uncrowded destinations for the perfect cold weather weekend.

In a recent study by Which? one seaside town in Yorkshire was crowned the UK’s best value seaside break. Whitby, which sits on a long stretch of cliffs where the River Esk flows to the North Sea, scored five stars for food and accommodation in a survey of Which? readers, as well as four stars for tourist attractions and its seafront area.

Whitby has long been a popular destination for those with a fascination with the dark and macabre. Bram Stoker researched some of the novel Dracula while on holiday in Whitby. In the book it’s where the creature first arrives in England, climbing the steps to the graveyard of St Mary’s Church, which is next to the ruins of Whitby Abbey. Needless to say, this has become a popular tourist attraction for fans of gothic literature. Visitors can climb the 199 steps from the harbour, just as Dracula did in the novel, and enjoy views across Whitby and out to sea.

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The abbey, which dates back to the 7th century, was also home to one of the first English poets, Cædmon, and today it’s an English Heritage site. You can wander around the well-preserved ruins before visiting the museum, which has treasures such as medieval manuscripts and even a rare signed copy of Dracula.

One of the town’s biggest events is Whitby Goth Weekend, a twice-yearly event that tends to take place once in spring and once at Halloween. There’s a huge number of events going on, from live music to alternative markets, and you’ll spot hundreds of attendees decked out in gothic gear.

Explorer Captain James Cook also had a connection to Whitby, moving to the port town in the 18th-century and beginning his life as a merchant navy apprentice. At the Captain Cook Memorial Museum, you can learn about his life and his famous voyages to the South Pacific, and the exhibits are set in his former home, where he lived when not at sea.

Whitby Beach has a traditional seaside vibe, with colourful beach huts along the promenade, waterfront tearooms, and fish and chip shops. Along the River Esk you’ll find amusements, family-friendly attractions such as the Whitby Marine Discovery Centre, and shops selling souvenirs and sticks of rock. There are also several places offering a variety of boat trips, ranging from sunset cruises to whale-watching tours.

There’s a wide range of accommodation to choose from in and around Whitby, depending on whether you want a rural retreat or want to stay close to the sea. The White House Inn sits on the edge of North Yorkshire Moors National Park, while also offering sea views across the coast. This cosy inn features a pub with a changing seasonal menu and 11 rooms, with a standard room stay in November costing from £90 per night.

In the harbour area, The Marine Hotel is an excellent choice if you want to enjoy the town’s seaside charms. It features a seafood restaurant serving up Whitby lobster, crab, and other freshly caught delicacies, as well as seven cosy rooms with rates starting from £165 per night in November. You can even pick a room with a balcony to enjoy the fresh sea air and spectacular views.

And for the perfect way to round off a day at the seaside, grab fish and chips at The Fisherman’s Wife on the beachfront. You can either dine in, with the restaurant offering sea views, or brave the cold and enjoy chips from the takeaway while sitting on the beach.

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If the ads are any indication, Proposition 50 offers Californians a stark choice: “Stick it to Trump” or “throw away the constitution” in a Democratic power grab.

And like so many things in 2025, Trump appears to be the galvanizing issue.

Even by the incendiary campaigns California is used to, Proposition 50 has been notable for its sharp attacks to cut through the dense, esoteric issue of congressional redistricting. It comes down to a basic fact: this is a Democratic-led measure to reconfigure California’s congressional districts to help their party win control of the U.S. House of Representatives in 2026 and stifle President Trump’s attempts to keep Republicans in power through similar means in other states.

Thus far, the anti-Trump message preached by Proposition 50 advocates, led by Gov. Gavin Newsom and other top Democrats, appears to be the most effective.

Supporters of the proposal have vastly outraised their rivals and Proposition 50, one of the most expensive ballot measure campaigns in state history, leads in the polls.

“Whenever you can take an issue and personalize it, you have the advantage. In this case, proponents of 50 can make it all about stopping Donald Trump,” said former legislative leader and state GOP Chair Jim Brulte.

Adding to the drama is the role of two political and cultural icons who have emerged as leaders of each side: former President Obama in favor and former Gov. Arnold Schwarzenegger against, both arguing the very essence of democracy is at stake.

Schwarzenegger and the two main committees opposing Proposition 50 have focused on the ethical and moral imperative of preserving the independent redistricting commission. Californians in 2010 voted to create the panel to draw the state’s congressional district boundaries after every census in an effort to provide fair representation to all state residents.

That’s not a political ideal easily explained in a 30-section television ad, or an Instagram post.

Redistricting is a “complex issue,” Brulte said, but he noted that “the no side has the burden of trying to explain what the initiative really does and the yes side gets to use the crib notes [that] this is about stopping Trump — a much easier path.”

Partisans on both sides of the aisle agree.

“The yes side quickly leveraged anti-Trump messaging and has been closing with direct base appeals to lock in the lead,” said Jamie Fisfis, a political strategist who has worked on many GOP congressional campaigns in California. “The partisanship and high awareness behind the measure meant it was unlikely to sag under the weight of negative advertising like other initiatives often do. It’s been a turnout game.”

Obama, in ads that aired during the World Series and NFL games, warned that “Democracy is on the ballot Nov. 4” as he urged voters to support Proposition 50. Ads for the most well-funded committee opposing the proposition featured Schwarzenegger saying that opposing the ballot measure was critical to ensuring that citizens are not overrun by elected officials.

“The Constitution does not start with ‘We, the politicians.’ It starts with ‘We, the people,’” Schwarzenegger told USC students in mid-September — a speech excerpted in an anti-Proposition 50 ad. “Democracy — we’ve got to protect it, and we’ve got to go and fight for it.”

California’s Democratic-led Legislature voted in August to put the redistricting proposal that would likely boost their ranks in Congress on the November ballot. The measure, pushed by Newsom, was an effort to counter Trump’s efforts to increase the number of GOP members in the House from Texas and other GOP-led states.

The GOP holds a narrow edge in the House, and next year’s election will determine which party controls the body during Trump’s final two years in office — and whether he can further his agenda or is the focus of investigations and possible impeachment.

Noticeably absent for California’s Proposition 50 fight is the person who triggered it — Trump.

The proposition’s opponents’ decision not to highlight Trump is unsurprising given the president’s deep unpopularity among Californians. More than two-thirds of the state’s likely voters did not approve of his handling of the presidency in late October, according to a Public Policy Institute of California poll.

Trump did, however, urge California voter not to cast mail-in ballots or vote early, falsely arguing in a social media post that both voting methods were “dishonest.”

Some California GOP leaders feared that Trump’s pronouncement would suppress the Republican vote.

In recent days, the California Republican Party sent mailers to registered Republicans shaming them for not voting. “Your neighbors are watching,” the mailer says, featuring a picture of a woman peering through binoculars. “Don’t let your neighbors down. They’ll find out!”

Tuesday’s election will cost state taxpayers nearly $300 million. And it’s unclear if the result will make a difference in control of the House because of multiple redistricting efforts in other states.

But some Democrats are torn about the amount of money being spent on an effort that may not alter the partisan makeup of Congress.

Johanna Moska, who worked in the Obama administration, described Proposition 50 as “frustrating.”

“I just wish we were spending money to rectify the state’s problems, if we figured out a way the state could be affordable for people,” she said. “Gavin’s found what’s working for Gavin. And that’s resistance to Trump.”

Newsom’s efforts opposing Trump are viewed as a foundational argument if he runs for president in 2028, which he has acknowledged pondering.

Proposition 50 also became a platform for other politicians potentially eyeing a 2026 run for California governor, Sen. Alex Padilla and billionaires Rick Caruso and Tom Steyer.

The field is in flux, with no clear front-runner.

Padilla being thrown to the ground in Los Angeles as he tried to ask Homeland Security Secretary Kristi Noem about the Trump administration’s immigration policies is prominently featured in television ads promoting Proposition 50. Steyer, a longtime Democratic donor who briefly ran for president in 2020, raised eyebrows by being the only speaker in his second television ad. Caruso, who unsuccessfully ran against Karen Bass in the 2022 Los Angeles mayoral race and is reportedly considering another political campaign, recently sent voters glossy mailers supporting Proposition 50.

Steyer committed $12 million to support Proposition 50. His initial ad, which shows a Trump impersonator growing increasingly irate as news reports showing the ballot measure passing, first aired during “Jimmy Kimmel Live!” Steyer’s second ad fully focused on him, raising speculation about a potential gubernatorial run next year.

Ads opposing the proposition aired less frequently before disappearing from television altogether in recent days.

“The yes side had the advantage of casting the question for voters as a referendum on Trump,” said Rob Stutzman, a GOP strategist who worked for Schwarzenegger but is not involved with any of the Proposition 50 campaigns. “Asking people to rally to the polls to save a government commission — it’s not a rallying call.”

Kyle Schwarber, 33, DH, 4.7, 19.9: Schwarber is a premier slugger with 187 home runs in four seasons with Philadelphia, where he also was an exceptional clubhouse leader. He is pretty much restricted to designated hitter and is approaching an age where offensive production might decline. He still merits a lucrative multi-year deal, although going longer than four years at a $30 million average annual value (AAV) might be inviting buyer’s remorse in 2030.

Kyle Tucker, 29, OF, 4.5, 27.3: Although his 2025 bWAR was lower than that of Bellinger and Schwarber, Tucker might have the highest sticker price in this free-agent class. The average of projections from 20 ESPN experts is 10 years and $391.5 million for a $38.8 million AAV. The Dodgers are considered a prime suitor because of their deep pockets and need for a productive corner outfielder.

Eugenio Suárez, 34, 3B, 3.6, 26.8: A drop of nearly one win above replacement from the top three free agents — Cody Bellinger, Schwarber and Tucker — still puts Suárez in an enviable position. Splitting the season between the Diamondbacks and Mariners, Suarez tied a career high with 49 home runs and drove in 118 runs.

Alex Bregman, 32, 3B, 3.5, 43.1: Even though Bregman’s bWAR was slightly lower than that of Suárez, he should command a larger deal because he’s younger and more well-rounded. Bregman missed 44 games because of injury in his single season in Boston but still put up solid numbers. His average bWAR over his 10-year career is 4.3.

Trent Grisham, 29, OF, 3.5, 14.6: Grisham is an enigma, a first-round draft pick who blossomed with the Padres only to crater and bat under .200 three years in a row. But in 2025 he rebounded, swatting a career-high 34 home runs with the Yankees in 2025. Grisham also has two Gold Gloves in center field. Still, he’s a bit of a gamble.

Bo Bichette, 28, SS, 3.4, 20.8: Bichette showed his toughness by playing effectively in the World Series despite a lingering knee injury. Bichette can flat-out hit, accumulating more than 175 hits in four of the last five seasons with above-average power. He also plays a premium position and will turn only 28 in March, meaning he could command a contract exceeded only by that of Tucker.

Toronto Blue Jays’ Bo Bichette hits a three-run home run during Game 7 of the World Series, Nov. 1, 2025, in Toronto.

(Ashley Landis/AP)

Pete Alonso, 31, 1B, 3.4, 23.3: Alonso was disappointed by the tepid interest in him as a free agent last offseason, re-signing with the Mets on a one-year, $30-million deal with a player option. He’s expected to test the market again after once again posting the glittering power numbers that have made him a fan favorite in New York for seven years.

Josh Naylor, 28, 1B, 3.1, 8.4: The 5-foot-10, 235-pound left-handed slugger produced well in 2025 while splitting the season between the Diamondbacks and Mariners, batting a career-high .295 and hitting precisely 20 home runs for the third time in five seasons.

Gleyber Torres, 29, 2B, 2.9, 18.7: Torres needed to restore his value after taking a one-year deal with the Tigers following a ho-hum 2024 season with the Yankees. He did so incrementally and should land a measured multi-year deal this time around.

J.T. Realmuto, 35, C, 2.6, 38.8: Realmuto is recognized as one of the top-hitting catchers in baseball, and he’s clearly the top free-agent backstop, proving in 2025 that he can still catch upward of 130 games while putting up solid offensive numbers. Still, he will be 35 on opening day and his .700 OPS was his lowest in a decade.

Jorge Polanco, 32, 2B, 2.6, 20.7: Polanco hit 26 home runs and posted an .821 OPS, the switch-hitter’s best season since 2021 when he hit 33 homers and drove in 98 runs. Chronic knee problems have put his shortstop days behind him and cut into his range at second or third base, but the bat still plays.

Mike Yastrzemski, 35, OF, 2.6, 16.8: Although the grandson of Hall of Famer Carl Yastrzemski posted his best OPS (.839) since the pandemic-shortened 2020 season, he might be entertaining only contract offers of one year at $10 million or so.

Ryan O’Hearn, 31, 1B/DH, 2.4, 3.1: O’Hearn is an accomplished left-handed hitter coming off a season split between the Orioles and Padres. He can expect a large raise from the $3.5 million he made in 2025, perhaps tripling it.

Marcell Ozuna, 35, OF/DH, 1.6, 29.5: Ozuna is a proven power bat who has exceeded 20 home runs in nine seasons and led the NL with 18 homers and 56 RBIs in pandemic-shortened 2020. After tremendous 2023 and 2024 seasons in which he totaled 79 homers and 204 RBIs, Ozuna slipped in 2025, batting .232 with 21 home runs while battling hip pain.

Luis Arráez, 29, 1B, 1.3, 16.5: Arráez doesn’t get much love from bWAR or fWAR, but he sure can hit, leading all major leaguers with a .317 lifetime average. He led the NL with 181 hits in 2025, but because he doesn’t hit for power or walk much, his OPS was a pedestrian .719. The three-time batting champion should continue to be paid about $14 million a year, with the question becoming for how long.

Paul Goldschmidt, 38, 1B, 1.2, 63.8: Goldschmidt boasts the highest career bWAR of any free-agent hitter and he has made it clear that he is not ready to retire. His productivity, however, is trending downward, especially his power. With only 10 homers and 45 RBIs in 534 plate appearances with the Yankees last season, Goldschmidt is no longer an elite hitter.

Victor Caratini, 32, C, 0.9, 4.3: Catchers are at a premium in this free-agent class and Caratini is one of the few with a potent bat and ability to play more than 100 games in a season. He most recently delivered decently on a two-year, $12-million deal with the Astros and could land a similar contract because of the scarcity of backstops.

Nov. 3 (UPI) — The United States’ 10 richest billionaires saw their wealth grow last year by nearly $700 billion, according to a new report published Monday by Oxfam, which warns the Trump administration is worsening U.S. inequality.

The report states that in the past year, the wealth of U.S. billionaires grew by $698 billion.

Oxfam, the British-founded confederation of nearly two dozen non-governmental organizations, citing Federal Reserve data, found that between 1989 and 2022, a household in the top 0.1% gained $39.5 million, while a household in the top 1% gained about $8.3 million. Meanwhile, a bottom 20% household saw its wealth only grow by $8,465.

This equals to the poorest household in the top 1% having gained 987 times more wealth than the richest household in the bottom 20%, according to the report.

It continues by stating that while the wealth of working- and middle-class families have barely grown in more than three decades, America’s richest have seen their purses overflow.

As evidence, Oxfam said the share of national income going to the top 1% doubled from 1980 to 2022, while the share going to the bottom 50% decreased by one-third.

It also pointed to the top 1% owning half of the entire stock market, while the bottom half of Americans only hold 1.1%.

“The data confirms what people across our nation already know instinctively: the new American oligarchy is here,” Abby Maxman, Oxfam America’s president and CEO, said in a statement accompanying the publication of the report.

“Billionaires and mega-corporations are booming while working families struggle to afford housing, healthcare and groceries.”

The report warns that the Trump administration is taking actions that threaten to worsen inequality in the United States.

According to Oxfam, the Trump administration, backed by a Republican-controlled Congress, “has moved with staggering speed and scale to carry out a relentless attack on working class families, and use the power of the office to enrich the wealthy and well-connected.”

Maxman said the Trump administration and congressional Republicans “risk turbocharging” this inequality, while adding that what they are doing isn’t new, but what is different “is how much undemocratic power they’ve now amassed.”

EVERY year an enormous – and free – parade takes place in London with floats and live bands – and something new is launching this year.

The Lord or Lady Mayor’s Show dates back to the 13^th century and is full of of celebratory entertainment, and this year is a very special one.

Dame Susan Langley DBE will be appointed as the Lady Mayor, which makes her only the third woman to hold the post in over 800 years, and the 697th Mayor of the City of London.

She will also be the first ever to be titled the ‘Lady Mayor of London‘.

To celebrate her inauguration, there will be a traditional parade of bands and 50 floats throughout the city.

Over 7,000 people take part in the event from all over the world – and the procession is over three miles long, which is longer than the actual route.

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The event is completely free and you’ll get to see marching bands, a huge Cinderella carriage, dancers, even a resorted Bluebird K7 (a hydroplane) will make an appearance.

There are representatives of all three armed forces there too, Taiko drummers and mounted knights.

This year, the Lady Mayor’s Show will be held on November Saturday 8, 2025 between 11AM and 2.30PM.

Roads will be closed as people line up in the streets to see the event underway – so don’t travel by car as you’ll meet lots of no entry signs.

In the morning, the Lady Mayor’s Show will begin at Mansion House and go towards the Royal Courts through St Paul’s.

In the afternoon, the parade will come back through Embankment and Victoria Street.

The official website suggests for a ‘full experience’, to watch the outward procession between 11AM and 12PM between Bank and St Paul’s.

For a quieter experience with fewer crowds, watch the parade on its return to Mansion House between 1.15PM and 2.30PM around Embankment.

Historically, the Lord Mayor’s Show is the oldest and longest civic procession in the world.

It started as early as the 13th century when King John granted that the City of London could appoint its own Mayor.

The condition being that each new Mayor would have to pledge loyalty to the Crown.

The journey then became a huge event that has been held for around 800 years and was eventually named the Lord Mayor’s Show.

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For more free events in London, check out the full list of London’s best Christmas lights and when they will be switched on this year.

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In the working-class city of Commerce, where cars speed past on highways and the Citadel Outlets tower over neighborhoods, there is a steakhouse named Stevens. By day, it’s a classic and charming old restaurant where working people go for quiet, hearty meals.

But every Sunday night, the outside world disappears.

As waiters whisk about in starched button ups, couples lead each other by the hand toward the dance floor in the restaurant’s ballroom, where Stevens’ tradition of Salsa Sundays has been bringing the community together for 73 years.

At 7 p.m. every Sunday, beginner lessons start at Stevens Steakhouse.

(Emil Ravelo / For The Times)

An eight-piece band plays brass, electric guitar, bongos and timbales, filling the room with music as dancers twirl in a dizzying array. One attendee, 29-year-old Amy Hernandez, greets a few familiar faces before she steps onto the dance floor, spinning in confident steps with a wide smile on her face.

Hernandez is part of a revival that’s been getting younger people excited about salsa music — and flocking to Stevens. She grew up watching her father dance salsa, but started diving back into the genre on her own to find comfort during the L.A. wildfires earlier this year. She credits Bad Bunny’s “Debí Tirar Más Fotos” for re-sparking her interest.

“It was very healing for me,” she says of the album, which blends old-school Puerto Rican boricua samples with Latin dance and reggaeton influences for an emotional imagining of Puerto Rican identity.

For decades, Stevens has brought friends, couples, and families together for live music and dance.

(Emil Ravelo/For The Times)

When college friends recommended Stevens as an affordable place to dance, Hernandez mentioned it in passing to her dad. “He laughed and said, ‘I remember that place. I used to dance there too,’” Hernandez says.

The increasingly mainstream artists of Latin fusion genre reggaeton are returning to tradition. Along with the music of Bad Bunny, who’s headlining the upcoming Super Bowl halftime show, you can find classic salsa references in reggaeton star Rauw Alejandro’s latest album “Cosa Nuestra,” and in Colombian pop star Karol G’s multi-genre summer album “Tropicoqueta,” which will be at the center of her headlining Coachella set.

“You can feel the younger energy,” says longtime Stevens salsa instructor Jennifer Aguirre. “It makes me really happy to see a younger generation take on salsa. Because I was worried for a bit. I didn’t know how salsa is going to continue.”

Los Angeles has a unique relationship with salsa, the Afro-Caribbean dance born from Cuban mambo. In cities like Miami and New York, salsa arrived with Cuban and Puerto Rican immigrants. Instead, L.A.’s salsa influence came from Golden Age Hollywood, where Latin dance in movies produced a singular, flashier Angeleno style, characterized by quick turns and theatrical movement, according to salsa historian Juliet McMains.

The 1990s were another high for the genre, when West Coast pioneers like the Vazquez brothers and their first-of-its-kind dance team Salsa Brava sparked a local dance craze. The Vazquezes introduced the “on-1” step and innovated a flashier, dramatic style of salsa in L.A. that brought crowds to competitions and congresses through the 2000s. Legendary late promoter Albert Torres founded the L.A. Salsa Congress in 1999, the first congress on the West Coast, drawing a worldwide audience for Angeleno salsa.

Opened in 1952 by Steven Filipan (and located on Stevens Place), Stevens in Commerce became a local hub for Latin music. “The interesting part was that the area wasn’t Latin at all,” says Jim Filipan, Steven’s grandson and now the third-generation owner of the restaurant. “My grandfather had a foresight that this genre would be the future.”

Jim recalls his childhood growing up in the restaurant. “We would have hundreds of people on Sundays,” he says. “The ballroom, the restaurant, everyone was dancing salsa, and it was incredible. My dad took over in the ‘70s, and I was running it with him in the ‘90s.”

Yet by the 2010s it was apparent that another genre was taking hold of the Latin dance scene: bachata, ushered in by smooth-singing New York stars like Prince Royce and Romeo Santos. Salsa quickly went from being considered hip to rather old-fashioned.

During a Stevens dance lesson, guests learn how to spin on the dance floor.

(Emil Ravelo / For The Times)

Aguirre witnessed the genre lose interest firsthand. “It was like an immediate switch,” Aguirre says. “Salsa just wasn’t as popular anymore, and people would walk over to the other side of the restaurant to take the bachata lessons.”

The pandemic also dealt a large blow to local salsa clubs, as peers in the long-standing dance club industry fell to lower attendance rates and rising rent. And in the last year, two historic venues, the Conga Room and the Mayan, closed permanently.

Stevens almost had the same fate. The financial burdens during the pandemic made Jim consider closing for good. But he couldn’t help but consider the responsibility of his family’s legacy and the special place Stevens holds for local dancers.

“It’s very emotional for me because I have four generations in this restaurant, and now my daughter works here,” he says.

When Stevens reopened, the community came back in droves, ushering in a new era of excitement for salsa.

These days, at the beginning of every class, dance instructor Miguel “Miguelito” Aguirre announces the same rule.

“Forget about what happened today, forget about your week, forget about all the bad stuff. Leave it at the door,” Aguirre says. “It’s going to be better because we’re going to dance salsa.”

Dance instructor, Miguel Aguirre, right, mans the DJ booth alongside DJ Pechanga, another longtime employee of Stevens. Every weekend, the duo brings Latin music to the forefront of the space.

(Emil Ravelo/For The Times)

Aguirre has taught salsa at Stevens for 30 years. In many ways, the steakhouse has shaped his life. It’s where he discovered his love for teaching dance and much more.

“I started coming here in the ‘90s, sneaking in through the back door. I was a teenager, so not old enough to show my ID, but one day, Jim just said, ‘You guys cannot come in through the back anymore. You can come into the front,’” Aguirre says. “And then one day he said, ‘Hey, we are missing the instructors. They’re not coming in. Can you guys teach the class?’ And, I’m still here.”

Jennifer Aguirre, a fellow dance teacher at Stevens, is his wife. She met him one day at Stevens’ annual Halloween party.

“He asked me to join his class because they ‘needed more girls,’” Jennifer says, laughing.

Now Jennifer teaches the beginner’s class, while Miguel is on intermediate. But once 10 p.m. hits, it’s social dancing time. The whole floor comes together and a familiar community converges. If attendees are lucky, they might catch Jennifer and Miguel, a smooth-dancing duo, letting loose, stepping and dipping effortlessly.

On a recent Sunday night, the low-lighted ambience of the restaurant met the purple lights of the dance room, with people sitting all around for a peek at the moves on display. Buttery steaks and potatoes cooking in the kitchen tinged the air as the dance floor came alive with women spinning in dresses and men in shining shoes gliding to the rhythm of the music. Miguel Aguirre manned the DJ stand, asking two singles if they knew each other and encouraging them to dance.

Gregorio Sines was one of the solo dancers on the floor, swaying partners easily under Miguel’s encouragement. Years ago, his friend, who frequented Stevens, dragged Sines out to dance socials, telling him it would be the best way to meet people and open up.

As someone who began with anxiety to dance in front of others, Sines now performs in Stevens’ dance showcases. He says consistently returning to the steakhouse’s historic floor and immersing himself in the supportive community not only changed his dance game, but brought him out of his shell.

“I tell anyone, if you’re scared to dance, you just have to get out there,” Sines says. “There’s a community waiting for you.”

You may not know Eliot Mack’s name, but if a small robot has ever crept around your kitchen, you know his work.

Before he turned his MIT-trained mind to filmmaking, Mack helped lead a small team of engineers trying to solve a deeply relatable problem: how to avoid vacuuming. Whether it was figuring out how to get around furniture legs or unclog the brushes after a run-in with long hair, Mack designed everything onscreen first with software, troubleshooting virtually and getting 80% of the way there before a single part was ever manufactured.

The result was the Roomba.

When Mack pivoted to filmmaking in the early 2000s, he was struck by how chaotic Hollywood’s process felt. “You pitch the script, get the green light and you’re flying into production,” he says, sounding both amused and baffled. “There’s no CAD template, no centralized database. I was like, how do movies even get made?”

That question sent Mack down a new path, trading dust bunnies for the creative bottlenecks that slow Hollywood down.

In 2004 he founded Lightcraft Technology, a startup developing what would later be known as virtual production tools, born out of his belief that if you could design a robot in software, you should be able to design a shot the same way. The company’s early system, Previzion, sold for $180,000 and was used on sci-fi and fantasy shows like “V” and “Once Upon a Time.” But Jetset, its latest AI-assisted tool set, runs on an iPhone and offers a free tier, with pro features topping out at just $80 a month. It lets filmmakers scan a location, drop it into virtual space and block out scenes with camera moves, lighting and characters. They can preview shots, overlay elements and organize footage for editing — all from a phone. No soundstage, no big crew, no gatekeepers. Lightcraft’s pitch: “a movie studio in your pocket.”

A series on how the AI revolution is reshaping the creative foundations of Hollywood — from storytelling and performance to production, labor and power.

The goal, Mack says, is to put more power in the hands of the people making the work. “One of the big problems is how siloed Hollywood is,” he says. “We talked to an Oscar-winning editor who said, ‘I’m never going to get to make my movie’ — he was pigeonholed as just an editor. Same with an animator we know who has two Oscars.”

Eliot Mack, CEO of Lightcraft, an AI-powered virtual-production startup, wants to give creators the power and freedom to bring their ideas to life.

(Christina House/Los Angeles Times)

To Mack, the revolution of Jetset recalls the scrappy, guerrilla spirit of Roger Corman’s low-budget productions, which launched the early careers of directors like Francis Ford Coppola and Martin Scorsese. For generations of creatives stuck waiting on permission or funding, he sees this moment as a reset button.

“The things you got good at — writing, directing, acting, creating, storytelling — they’re still crazy useful,” he says. “What’s changing is the amount of schlepping you have to do before you get to do the fun stuff. Your 20s are a gift. You want to be creating at the absolute speed of sound. We’re trying to get to a place where you don’t have to ask anyone. You can just make the thing.”

AI is reshaping nearly every part of the filmmaking pipeline. Storyboards can now be generated from a script draft. Lighting and camera angles can be tested before anyone touches a piece of gear. Rough cuts, placeholder VFX, even digital costume mock-ups can all be created before the first shot is filmed. What once took a full crew, a soundstage and a six-figure budget can now happen in minutes, sometimes at the hands of a single person with a laptop.

This wave of automation is arriving just as Hollywood is gripped by existential anxiety. The 2023 writers’ and actors’ strikes brought the industry to a standstill and put AI at the center of a fight over its future. Since then, production has slowed, crew sizes have shrunk and the streaming boom has given way to consolidation and cost-cutting.

According to FilmLA, on-location filming in Greater Los Angeles dropped 22.4% in early 2025 compared with the year before. For many of the crew members and craftspeople still competing for those jobs, AI doesn’t feel like an innovation. It feels like a new way to justify doing more with less, only to end up with work that’s less original or creative.

“AI scrapes everything we artists have made off the internet and creates a completely static, banal world that can never imagine anything that hasn’t happened before,” documentary filmmaker Adam Curtis warned during a directors panel at the 2023 Telluride Film Festival, held in the midst of the strikes. “That’s the real weakness of the AI dream — it’s stuck with the ghosts. And I think we’ll get fed up with that.”

How you feel about these changes often depends on where you sit and how far along you are in your career. For people just starting out, AI can offer a way to experiment, move faster and bypass the usual barriers to entry. For veterans behind the scenes, it often feels like a threat to the expertise they’ve spent decades honing.

Past technological shifts — the arrival of sound, the rise of digital cameras, the advancement of CGI — changed how movies were made, but not necessarily who made them. Each wave brought new roles: boom operators and dialogue coaches, color consultants and digital compositors. Innovation usually meant more jobs, not fewer.

But AI doesn’t just change the tools. It threatens to erase the people who once used the old ones.

Diego Mariscal has seen first hand as AI has cut potential jobs for grips.

(Jennifer Rose Clasen)

Diego Mariscal, 43, a veteran dolly grip who has worked on “The Mandalorian” and “Spider-Man: No Way Home,” saw the writing on the wall during a recent shoot. A visual effects supervisor opened his laptop to show off a reel of high-end commercials and something was missing. “There were no blue screens — none,” Mariscal recalls. “That’s what we do. We put up blues as grips. You’d normally hire an extra 10 people and have an extra three days of pre-rigging, setting up all these blue screens. He was like, ‘We don’t need it anymore. I just use AI to clip it out.’”

Mariscal runs Crew Stories, a private Facebook group with nearly 100,000 members, where working crew members share job leads, trade tips and voice their growing fears. He tries to keep up with the steady drip of AI news. “I read about AI all day, every day,” he says. “At least 20 posts a day.”

His fear isn’t just about fewer jobs — it’s about what comes next. “I’ve been doing this since I was 19,” Mariscal says of his specialized dolly work, which involves setting up heavy equipment and guiding the camera smoothly through complex shots. “I can push a cart in a parking lot. I can push a lawnmower. What else can I do?”

Who wins, who loses and what does James Cameron think?

Before AI and digital doubles, Mike Marino learned the craft of transformation the human way: through hands-on work and a fascination that bordered on obsession.

Marino was 5 years old when he first saw “The Elephant Man” on HBO. Horrified yet transfixed, he became fixated on prosthetics and the emotional power they could carry. As a teenager in New York, he pored over issues of Fangoria, studied monsters and makeup effects and experimented with sculpting his own latex masks on his bedroom floor.

Prosthetics artist Mike Marino asks a big question related to generative AI: What role do the human creatives play?

(Sean Dougherty / For The Times)

Decades later, Marino, 48, has become one of Hollywood’s leading makeup artists, earning Oscar nominations for “Coming 2 America,” “The Batman” and last year’s dark comedy “A Different Man,” in which he helped transform Sebastian Stan into a disfigured actor.

His is the kind of tactile, handcrafted work that once seemed irreplaceable. But today AI tools are increasingly capable of achieving similar effects digitally: de-aging actors, altering faces, even generating entire performances. What used to take weeks of experimentation and hours in a makeup trailer can now be approximated with a few prompts and a trained model. To Marino, AI is more than a new set of tools. It’s a fundamental change in what it means to create.

“If AI is so good it can replace a human, then why have any human beings?” he says. “This is about taste. It’s about choice. I’m a human being. I’m an artist. I have my own ideas — mine. Just because you can make 10,000 spaceships in a movie, should you?”

Marino is no technophobe. His team regularly uses 3D scanning and printing. But he draws the line at outsourcing creative judgment to a machine. “I’m hoping there are artists who want to work with humans and not machines,” he says. “If we let AI just run amok with no taste, no choice, no morality behind it, then we’re gone.”

Not everyone sees AI’s rise in film production as a zero-sum game. Some technologists imagine a middle path. Daniela Rus, director of MIT’s Computer Science and Artificial Intelligence Lab and one of the world’s leading AI researchers, believes the future of filmmaking lies in a “human-machine partnership.”

AI, Rus argues, can take on time-consuming tasks like animating background extras, color correction or previsualizing effects, freeing up people to focus on what requires intuition and taste. “AI can help with the routine work,” she says. “But the human touch and emotional authenticity are essential.”

Few directors have spent more time grappling with the dangers and potential of artificial intelligence than James Cameron. Nearly 40 years before generative tools entered Hollywood’s workflow, he imagined a rogue AI triggering global apocalypse in 1984’s “The Terminator,” giving the world Skynet — now a cultural shorthand for the dark side of machine intelligence. Today, he continues to straddle that line, using AI behind the scenes on the upcoming “Avatar: Fire and Ash” to optimize visual effects and performance-capture, while keeping creative decisions in human hands. The latest sequel, due Dec. 19, promises to push the franchise’s spectacle and scale even further; a newly released trailer reveals volcanic eruptions, aerial battles and a new clan of Na’vi.

A scene from “Avatar: The Way of Water.” Director James Cameron differentiates between using machine-learning to reduce monotonous movie-making work and generative AI.

(Courtesy of 20th Century Studios/Courtesy of 20th Century Studios)

“You can automate a lot of processes that right now tie up a lot of artists doing mundane tasks,” Cameron told The Times in 2023 at a Beyond Fest screening of his 1989 film “The Abyss.” “So if we could accelerate the postproduction pipeline, then we can make more movies. Then those artists will get to do more exciting things.”

For Cameron, the promise of AI lies in efficiency, not elimination. “I think in our particular industry, it’s not going to replace people; it’s going to free them to do other things,” he believes. “It’s going to accelerate the process and bring the price down, which would be good because, you know, some movies are a little more expensive than others. And a lot of that has to do with human energy.”

Cameron himself directed five films between 1984 and 1994 and only three in the three decades since, though each one has grown increasingly complex and ambitious.

That said, Cameron has never been one to chase shortcuts for their own sake. “I think you can make pre-viz and design easier, but I don’t know if it makes it better,” he says. “I mean, if easy is your thing. Easy has never been my thing.”

He draws a line between the machine-learning techniques his team has used since the first “Avatar” to help automate tedious tasks and the newer wave of generative AI models making headlines today.

“The big explosion has been around image-based generative models that use everything from every image that’s ever been created,” he says. “We’d never use any of them. The images we make are computer-created, but they’re not AI-created.”

In his view, nothing synthetic can replace the instincts of a flesh-and-blood artist. “We have human artists that do all the designs,” he says. “We don’t need AI. We’ve got meat-I. And I’m one of the meat-artists that come up with all that stuff. We don’t need a computer. Maybe other people need it. We don’t.”

Reshaping creativity — and creative labor

Rick Carter didn’t go looking for AI as a tool. He discovered it as a lifeline.

The two-time Oscar-winning production designer, who worked with Cameron on “Avatar” and whose credits include “Jurassic Park” and “Forrest Gump,” began experimenting with generative AI tools like Midjourney and Runway during the pandemic, looking for a way to keep his creative instincts sharp while the industry was on pause. A longtime painter, he was drawn to the freedom the programs offered.

“I saw that there was an opportunity to create images where I didn’t have to go to anybody else for approval, which is the way I would paint,” Carter says by phone from Paris. “None of the gatekeeping would matter. I have a whole lot of stories on my own that I’ve tried to get into the world in various ways and suddenly there was a way to visualize them.”

Midjourney and Runway can create richly detailed images — and in Runway’s case, short video clips — from a text prompt or a combination of text and visuals. Trained on billions of images and audiovisual materials scraped from the internet, these systems learn to mimic style, lighting, composition and form, often with eerie precision. In a production pipeline, these tools can help concept artists visualize characters or sets, let directors generate shot ideas or give costume designers and makeup artists a fast way to test looks, long before physical production begins.

But as these tools gain traction in Hollywood, a deeper legal and creative dilemma is coming into focus: Who owns the work they produce? And what about the copyrighted material used to train them?

In June, Disney and Universal filed a federal copyright lawsuit against Midjourney, accusing the company of generating unauthorized replicas of characters such as Spider-Man, Darth Vader and Shrek using AI models trained on copyrighted material: what the suit calls a “bottomless pit of plagiarism.” It’s the most high-profile of several legal challenges now putting copyright law to the test in the age of generative AI.

“Forrest Gump” director Robert Zemeckis, left, with production designer Rick Carter at an art installation of the movie’s famed bench. (Carter family)

(Carter family)

Working with generative models, Carter began crafting what he calls “riffs of consciousness,” embracing AI as a kind of collaborative partner, one he could play off of intuitively. The process reminded him of the loose, improvisational early stages of filmmaking, a space he knows well from decades of working with directors like Robert Zemeckis and Steven Spielberg.

“I’ll just start with a visual or a word prompt and see how it iterates from there and what it triggers in my mind,” Carter says. “Then I incorporate that so it builds on its own in an almost free-associative way. But it’s still based upon my own intuitive, emotional, artistic, even spiritual needs at that moment.”

He describes the experience as a dialogue between two minds, one digital and one human: “One AI is artificial intelligence. The other AI is authentic intelligence — that’s us. We’ve earned it over this whole span of time on the planet.”

Sometimes, Carter says, the most evocative results come from mistakes. While sketching out a story about a hippie detective searching for a missing woman in the Himalayas, he accidentally typed “womb” into ChatGPT instead of “woman.” The AI ran with it, returning three pages of wild plot ideas involving gurus, seekers and a bizarre mystery set in motion by the disappearance.

“I couldn’t believe it,” he says. “I would never have taken it that far. The AI is so precocious. It is trying so much to please that it will literally make something out of the mistake you make.”

Carter hasn’t used generative AI on a film yet; most of his creations are shared only with friends. But he says the technology is already slipping into creative workflows in covert ways. “There are issues with copyrights with most of the studios so for now, it’s going to be mostly underground,” he says. “People will use it but they won’t acknowledge that they’re using it — they’ll have an illustrator do something over it, or take a photo so there’s no digital trail.”

Carter has lived through a major technological shift before. “I remember when we went from analog to digital, from ‘Jurassic Park’ on,” he says. “There were a lot of wonderful artists who could draw and paint in ways that were just fantastic but they couldn’t adapt. They didn’t want to — even the idea of it felt like the wrong way to make art. And, of course, most of them suffered because they didn’t make it from the Rolodex to the database in terms of people calling them up.”

He worries that some artists may approach the technology with a rigid sense of authorship. “Early on, I found that the less I used my own ego as a barometer for whether something was artistic, the more I leaned into the process of collaboratively making something bigger than the sum of its parts — and the bigger and better the movies became.”

Others, like storyboard artist Sam Tung, are bracing against the same wave with a quiet but unshakable defiance.

Tung, whose credits include “Twisters” and Christopher Nolan’s upcoming adaptation of “The Odyssey,” has spent the last two years tracking the rise of generative tools, not just their capabilities but their implications. As co-chair of the Animation Guild’s AI Committee, he has been on the front lines of conversations about how these technologies could reshape creative labor.

To artists like Tung, the rise of generative tools feels deeply personal. “If you are an illustrator or a writer or whatever, you had to give up other things to take time to develop those skills,” he says. “Nobody comes out of the womb being able to draw or write or act. Anybody who does that professionally spent years honing those skills.”

Tung has no interest in handing that over to a machine. “It’s not that I’m scared of it — I just don’t need it,” he says. “If I want to draw something or paint something, I’ll do it myself. That way it’s exactly what I want and I actually enjoy the process. When people tell me they responded to a drawing I did or a short film I made with friends, it feels great. But anything I’ve made with AI, I’ve quickly forgotten about. There’s basically nothing I get from putting it on social media, other than the ire of my peers.”

What unsettles him isn’t just the slickness of AI’s output but how that polish is being used to justify smaller crews and faster turnarounds. “If this is left unchecked, it’s very easy to imagine a worst-case scenario where team sizes and contract durations shrink,” Tung says. “A producer who barely understands how it works might say, ‘Don’t you have AI to do 70% of this? Why do you need a whole week to turn around a sequence? Just press the button that says: MAKE MOVIE.’ ”

At 73, Carter isn’t chasing jobs. His legacy is secure. “If they don’t hire me again, that’s OK,” he says. “I’m not in that game anymore.” He grew up in Hollywood — his father was Jack Lemmon’s longtime publicist and producing partner — and has spent his life watching the industry evolve. Now, he’s witnessing a reckoning unlike any he, or anyone else, has ever imagined.

“I do have concerns about who is developing AI and what their values are,” he says. “What they use all this for is not necessarily something I would approve of — politically, socially, emotionally. But I don’t think I’m in a position to approve or not.”

Earlier this year, the Palisades fire destroyed Carter’s home, taking with it years of paintings and personal artwork. AI, he says, has given him a way to keep creating through the upheaval. “It saved me through the pandemic, and now it’s saving me through the fire,” he says, as if daring the universe to test him again. “It’s like, go ahead, throw something else at me.”

‘Prompt and pray?’ Not so fast

Many in the industry may still be dipping a toe into the waters of AI. Verena Puhm dove in.

The Austrian-born filmmaker studied acting and directing in Munich and Salzburg before moving to Los Angeles, where she built a globe-spanning career producing, writing and developing content for international networks and streamers. Her credits range from CNN’s docuseries “History of the Sitcom” to the German reboot of the cult anthology “Beyond Belief: Fact or Fiction” and a naval documentary available on Tubi. More recently, she has channeled that same creative range into a deepening exploration of generative tools.

Puhm first began dabbling with AI while using Midjourney to design a pitch deck, but it wasn’t until she entered a timed generative AI filmmaking challenge at the 2024 AI on the Lot conference — informally dubbed a “gen battle” — that the creative potential of the medium hit her.

“In two hours, I made a little mock commercial,” she remembers, proudly. “It was actually pretty well received and fun. And I was like, Oh, wow, I did this in two hours. What could I do in two days or two weeks?”

What started as experimentation soon became a second act. This summer, Puhm was named head of studio for Dream Lab LA, a new creative arm of Luma AI, which develops generative video tools for filmmakers and creators. There, she’s helping shape new storytelling formats and supporting emerging creators working at the intersection of cinema and technology. She may not be a household name, but in the world of experimental storytelling, she’s fast becoming a key figure.

Verena Puhm, a director, writer and producer, has used generative AI in a number of her projects, says it’s breaking down barriers to entry.

(Jason Armond/Los Angeles Times)

Some critics dismiss AI filmmaking as little more than “prompt and pray”: typing in a few words and hoping something usable comes out. Puhm bristles at the phrase.

“Anybody that says that tells me they’ve never tried it at all, because it is not that easy and simple,” she says. “You can buy a paintbrush at Home Depot for, what, $2? That doesn’t make you a painter. When smartphones first came out, there was a lot of content being made but that didn’t mean everyone was a filmmaker.”

What excites her most is how AI is breaking down the barriers that once kept ambitious ideas out of reach. Luma’s new Modify Video tool lets filmmakers tweak footage after it’s shot, changing wardrobe, aging a character, shifting the time of day, all without reshoots or traditional VFX. It can turn a garage into a spaceship, swap a cloudy sky for the aurora borealis or morph an actor into a six-eyed alien, no green screen required.

“It’s such a relief as an artist,” Puhm says. “If there’s a project I’ve been sitting on for six years because I didn’t have a $5 million budget — suddenly there’s no limit. I remember shopping projects around and being told by producers, ‘This scene has to go, that has to go,’ just to keep the budget low. Now everything is open.”

That sense of access resonates far beyond Los Angeles. At a panel during AI on the Lot, “Blue Beetle” director Ángel Manuel Soto reflected on how transformative AI might have been when he was first starting out. “I wish tools like this existed when I wanted to make movies in Puerto Rico, because nobody would lend me a camera,” he said. “Access to equipment is a privilege we sometimes take for granted. I see this helping kids like me from the projects tell stories without going bankrupt — or stealing, which I don’t condone.”

Puhm welcomes criticism of AI but only when it’s informed. “If you hate AI and you’ve actually tested the tools and educated yourself, I’ll be your biggest supporter,” she says. “But if you’re just speaking out of fear, with no understanding, then what are you even basing your opinion on?”

She understands why some filmmakers feel rattled, especially those who, like her, grew up dreaming of seeing their work on the big screen. “I still want to make features and TV series — that’s what I set out to do,” she says. “I hope movie theaters don’t go away. But if the same story I want to tell reaches millions of people on a phone and they’re excited about it, will I really care that it wasn’t in a theater?”

“I just feel like we have to adapt to the reality of things,” she continues. “That might sometimes be uncomfortable, but there is so much opportunity if you lean in. Right now any filmmaker can suddenly tell a story at a high production value that they could have never done before, and that is beautiful and empowering.”

For many, embracing AI boils down to a simple choice: adapt or get cut from the frame.

Hal Watmough, a BAFTA-winning British editor with two decades of experience, first began experimenting with AI out of a mix of curiosity and dread. “I was scared,” he admits. “This thing was coming into the industry and threatening our jobs and was going to make us obsolete.” But once he started playing with tools like Midjourney and Runway, he quickly saw how they could not only speed up the process but allow him to rethink what his career could be.

For an editor used to working only with what he was given, the ability to generate footage on the fly, cut with it immediately and experiment endlessly without waiting on a crew or a shoot was a revelation. “It was still pretty janky at that stage, but I could see the potential,” he says. “It was kind of intoxicating. I started to think, I’d like to start making things that I haven’t seen before.”

After honing his skills with various AI tools, Watmough created a wistful, vibrant five-minute animated short called “LATE,” about an aging artist passing his wisdom to a young office worker. Over two weeks, he generated 2,181 images using AI, then curated and refined them frame by frame to shape the story.

Earlier this year, he submitted “LATE” to what was billed as the world’s first AI animation contest, hosted by Curious Refuge, an online education hub for creative technologists — and, to his delight, he won. The prize included $10,000, a pitch meeting with production company Promise Studios and, as an absurd bonus, his face printed on a potato. But for Watmough, the real reward was the sense that he had found a new creative identity.

“There’s something to the fact that the winner of the first AI animation competition was an editor,” Watmough says. “With the advent of AI, yes, you could call yourself a filmmaker but essentially I’d say most people are editors. You’re curating, selecting, picking what you like — relying on your taste.”

Thanks to AI, he says he’s made more personal passion projects in the past year and a half than during his entire previous career. “I’ll be walking or running and ideas just come. Now I can go home that night and try them,” he says. “None of that would exist without AI. So either something exists within AI or it never exists at all. And all the happiness and fulfillment that comes with it for the creator doesn’t exist either.”

Watmough hasn’t entirely lost his fear of what AI might do to the creative workforce, even as he is energized by what it makes possible. “A lot of people I speak to in film and TV are worried about losing their jobs and I’m not saying the infrastructure roles won’t radically change,” he says. “But I don’t think AI is going to replace that many — if any — creative people.”

What it will do, he says, is raise the bar. “If anyone can create anything, then average work will basically become extinct or pointless. AI can churn out remakes until the cows come home. You’ll have to pioneer to exist.”

He likens the current moment to the birth of cinema more than a century ago — specifically the Lumière brothers’ “Arrival of a Train at La Ciotat,” the 1896 short that famously startled early audiences. In the silent one-minute film, a steam train rumbles toward the camera, growing larger. Some viewers reportedly leaped from their seats, convinced it was about to crash into them.

“People ran out of the theater screaming,” Watmough says. “Now we don’t even think about it. With AI, we’re at that stage again. We’re watching the steam train come into the station and people are either really excited or they’re running out of the theater in fear. That’s where we are, right at the start. And the potential is limitless.”

Then again, he adds with a dry laugh, “I’m an eternal optimist, so take what I say with a grain of salt.”

THE UK’s biggest one-day Christmas market is to return in just a few weeks after it was abruptly cancelled last year.

Thousands are expected to attend the event in a historic market town.

Shoppers will be able to choose from 120 stalls set up in the centre of Beverley in Yorkshire next month after council officials confirmed the event would be back in place this year.

Stalls at the Beverley Festival of Christmas will once again be brimming with seasonal gifts and local treats.

There will also be live entertainment, music and dancing – and, of course, an appearance from Santa and his reindeers – as well as birds of prey on display, and traditional brass bands.

The event had to be cancelled at the last-minute in 2024 after Storm Darragh caused chaos across the UK last year.

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I grew up in the South West – here are the best Christmas markets

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UK’s biggest Xmas market faces travel chaos with ‘widespread cancellations’

Locals and visitors were left disappointed after council officials took the decision to cancel the market in the run up to the event after 34 flood warnings were issued across the country and a cold weather health alert was put in place.

At the time, a spokesperson for East Riding of Yorkshire Council said the event, which was established in 1995 by local shop owner John Bird, had involved six months of planning and the decision to cancel “had not been taken lightly”.

Announcing its return for 2025, councillor Nick Coultish, cabinet member for culture, tourism and leisure at the council, said the event is “the flagship tourism event for our region and is an important date in the calendar for businesses and traders”.

‘Hugely popular’

He added: “It is always a hugely popular event, with visitors from all over the UK coming to enjoy the festive stalls and entertainment. 

“The event will also provide a welcome boost to the local visitor economy at such a wonderful time of the year.”

The council said that Beverley’s historic centre will be “transformed into a magical Christmas shopper’s wonderland” for the event.

News of its return has prompted an outpouring of support and excitement with hundreds of locals and visitors commenting on Facebook.

One person posted: “I cannot wait to stand in this market. So excited.”

Another person wrote: “We will be there.”

A third person said: “Can’t wait. This is one of our fave Christmas markets.”

A fourth person was equally excited at the news the market is to return, posting: “Love Beverley. Nice place.”

A fifth said: “Will defo have to go!”

The festival will again be sponsored by The Beverley Arms, part of hospitality company Thwaites.

Rick Bailey, chairman at Thwaites, said: “We’re so proud that The Beverley Arms is once again part of The Beverley Festival of Christmas, it’s such a special celebration that brings the whole town together, showcases the very best of Beverley, and captures the true spirit of the season.”

This year’s event will run from 10am to 4pm on Sunday, 14 December.

Also making a return to Beverly this year is the Reindeer Rampage Christmas Trail, which is running from 1 November to December 31.

This is a popular event in the town with locals and visitors asked to find Santa‘s reindeer, which are “hiding” in shop windows in Beverley.

You can pick up a free map and reindeer mask from the Tourist Information Centre on Cross Street and find out more details here.

The market itself will take place over several areas in the town, including Saturday Market, and will also feature a parade to mark the start of the festival.

The parade will leave from Wednesday Market when the event opens at 10am and it will move down Toll Gavel to Saturday Market.

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Taking part in the parade will be feature Santa Claus, Rudolph and the rest of his reindeer, live music, comedy acts, steam punks, Bernese mountain dogs and much more.

This year’s event will take place on 14 December in Beverley

Kelsie Stonya, from Southend-on-Sea, recently took on the ultimate ‘extreme day trip’ – travelling to Palma, Mallorca, and returning to the UK in the same day – all for just £143

A woman who jetted off to Spain for just a few hours – and still managed to squeeze in sightseeing, shopping, and sunbathing – says it cost her less than a night out in the UK.

Kelsie Stonya, from Southend-on-Sea, recently took on the ultimate “extreme day trip” – battling a storm while trying for a quick getaway. She hopped on a delayed plane to Palma, Mallorca, and returned to Britain in the same day – all for just £143.

The 25-year-old hit the beach, tucked into paella for one, and even ended up in the cockpit chatting to the pilot after a delayed flight. Her whirlwind day out proved a hit online too – with a TikTok video of her experience racking up 42,600 views from viewers loving the spontaneous adventure.

“It was so hot, so sunny – it was absolutely dreamy,” she told What’s The Jam. “The whole trip cost £143.08 including flights, transfers, food and everything – definitely cheaper than some nights out I’ve had before.

“By the end of it, with all the walking and being hot, I was so, so tired. I’d definitely do it again, but I’m keeping my fingers crossed for no delayed flights next time.”

The communications manager started her day at the airport, but things didn’t exactly go to plan when she arrived to find every flight delayed due to Storm Amy battering parts of Europe. Thankfully, her flight did eventually take off.

Once she landed, Kelsie jumped on a 20-minute bus into Palma’s city centre where she admired the cathedral, wandered the streets, and hunted down a restaurant. After lunch, she strolled to the beach to soak up the sun, calling the weather “absolutely dreamy”, before hitting the shops.

By the end of the day, exhausted but happy, she splurged on an Uber back to the airport – putting her Spanish skills to the test with the driver.

The return leg didn’t go smoothly either, with the flight delayed by two hours – but things took a turn for the better when the friendly pilot invited passengers into the cockpit for a peek.

Kelsie says she’d “absolutely do it again”, but is hoping for smoother skies next time.

She said: “I just had a really nice lunch and then headed over to the beach. I walked about 20 minutes and then sat down for a good hour. The thought of getting back on the bus to the airport was honestly upsetting me, so I just jumped in an Uber.”

Viewers were quick to praise Kelsie for making the most of her mini break. “That’s an impressive day Kels,” said one person.

Someone else said: “I do it all the time; great way to spend the day.”

Another viewer added: “I love doing these! So far I’ve done Belfast, Wroclaw, Alicante, Copenhagen and now have Barcelona booked for the end of this month.”

A TEENAGE boy was banned from boarding his flight because of a sticker on his passport.

Thirteen-year-old Alix Dawson was due to fly to Thailand with his family last month for two weeks.

However, after arriving at Edinburgh Airport, his mum Meghan Law was told that he wouldn’t be allowed to board the flight with his passport at the check in desk.

Meghan, who lives in Aberdeen said: “We got to the airport and were checking in my bags when the [check-in staff member] looked at my passport then just walked away from the desk. She didn’t say anything.

“We were standing there for 20 minutes before I asked what’s going on. She came back and said that my passport was damaged.

“I said I’ve used this umpteen times. No one’s ever mentioned any damage on it before.

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“There were no rips or stains, I don’t know what she was trying to imply. I was really shocked.

“What they were trying to say was that the luggage check-in stickers that had been stuck on one of the pages [and] had damaged the page. But it wasn’t even on the photo page.

“There were no rips, it was just where the sticker marks had been. They said we couldn’t travel with it.

“I knew there were no issues with their passports. We’d probably travelled over a dozen times with them.”

She was then told that they would need to go to Glasgow Airport to get a new emergency passport.

Fearing for their £3,000 holiday, she contacted TUI, who they booked the trip with.

After sending photos of the reported ‘damage’, Meghan said the tour operator found no issues with the passport and put them on the next available flight to Thailand which was with Emirates rather than Qatar Airways.

The family were able to head on holiday with no further obstacles, albeit the next day, from a different airport.

Meghan said: “If I hadn’t booked through TUI and booked it myself, we just wouldn’t have been able to go on holiday.

“One way from Glasgow on the same day of travel would’ve been £2,800.

“We used it six times over the two-week holiday and no one said anything which confirms there were no issues with the passports.”

She said that it “ruined the start of the trip” for being so stressful and is calling for compensation.

Other passengers have been banned from their flights due to them being too damaged.

Countries such as Bali and Vietnam have some of the strictest rules in the world when it comes to passport condition, with airlines fined thousands if they let passengers fly with them.

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Monaghan GAA icon Eugene ‘Nudie’ Hughes has passed away at the age of 67.

In a distinguished career, Hughes won three Ulster SFC titles and a National Football League title, while he was selected as an All-Star three times.

Widely considered Monaghan’s greatest footballer, Hughes was diagnosed with cancer in 2018.

He became the first Monaghan player to win an All Star in 1979 and repeated the feat in 1985 and 1989 when he received further personal accolades.

Hughes was one of only a small number of players to have been recognised in defence and attack, his first All Star coming as a corner-back with the others coming as a corner-forward.

Monaghan won the Ulster title in each of the years he received an All-Star.

Hughes was also part of the team that won the National Football League crown in 1985.

He picked up a Railway Cup medal in 1984 as part of Ulster’s winning side and also won two Ulster football titles with Castleblayney.

In 2024, Hughes was honoured by the Gaelic Players Association with a Lifetime Achievement award.

In an interview with BBC Sport NI’s ‘The GAA Social’ in February of this year, Hughes chose the Farney county’s Ulster Championship final triumph over Donegal in 1979 as his greatest day as a player.

Monaghan beat Donegal 1-15 to 0-11 at Clones on that occasion to end a 41-year wait for provincial glory.

Tehran, Iran – Iran is “not in a hurry” to resume talks with the United States over its nuclear programme, Tehran’s foreign minister has told Al Jazeera.

Iran remains prepared to engage in indirect negotiations with Washington if the US chooses to talk “from an equal position based on mutual interest”, Foreign Minister Abbas Araghchi told Al Jazeera Arabic in an interview at his office in Tehran that was broadcast on Sunday.

The official also asserted that a critical “shared understanding” regarding Israel is developing across the region.

Tehran’s top diplomat said conditions set by the US for talks to resume – which reportedly include an emphasis on direct negotiations, zero uranium enrichment, and limits on Iran’s missile stocks and its support for regional allies – are “illogical and unfair”.

That makes talks untenable, he suggested.

“It appears they are not in a hurry,” he remarked. “We are not in a hurry, either.”

Araghchi’s insistence comes despite the pressure from reimposed United Nations sanctions and other challenges facing the Iranian establishment.

Rather, the foreign minister said he believes regional dynamics are turning against Israel, the US’s closest ally in the Middle East.

“I sometimes tell my friends that Mr Netanyahu is a war criminal who has committed every atrocity, but did something positive in proving to the entire region that Israel is the main enemy, not Iran, and not any other country,” Araghchi said in reference to the Israeli prime minister.

The comments came two days after Oman’s chief diplomat, for the first time, publicly joined the chorus of disapproval aimed at Netanyahu and his hardline government.

“We have long known that Israel, not Iran, is the primary source of insecurity in the region,” Foreign Minister Badr bin Hamad al-Busaidi told the audience at the IISS Manama Dialogue 2025 regional forum.

He said over the years, the Gulf Cooperation Council (GCC) has “at best sat back and permitted the isolation of Iran”, a stance that he believes “needs to change”.

In the past 48 hours, the heinous lie that the unlawful Israeli and U.S. bombing of Iran was motivated by an imminent nuclear threat has been thoroughly debunked by

– The International Atomic Energy Agency Chief, who has explicitly stated that Iran “is not and was not”… pic.twitter.com/C2uBzBLOHD

— Seyed Abbas Araghchi (@araghchi) November 2, 2025

Oman has for years acted as a mediator between Iran and the US in nuclear, financial, prisoner exchange and other regional issues.

Tehran and Washington were slated to sit down for a sixth round of talks in mid-June, when Israel attacked Iran’s nuclear facilities. That launched a 12-day war that killed more than 1,000 people in Iran and inflicted billions of dollars in infrastructure damage.

After media reports last week said the administration of US President Donald Trump had sent a new message to Tehran via Oman, Iran’s government spokeswoman Fatemeh Mohajerani confirmed that messages had been received.

But she did not elaborate on the content or Iran’s potential response. The White House has not publicly confirmed sending the missive.

During his interview, Araghchi said “almost all” of the about 400kg (880lb) of 60-percent enriched uranium possessed by Iran is “buried under the rubble” of nuclear facilities bombed by the US and Israel.

“We have no intention of removing them from under the rubble until conditions are ready. We have no information on how much of the 400kg is untouched and how much is destroyed, and we will have no information until we dig them out,” he said.

The Iranian foreign minister pointed out that China and Russia have formally announced they do not recognise the UN sanctions recently reimposed against Iran by the European signatories to its 2015 nuclear deal with world powers.

France, the United Kingdom and Germany have signalled they want to restart talks with Tehran. However, no substantial progress has been made.

In the meantime, they have imposed sanctions and restrictions, both in relation to Iran’s alleged drone exports to Russia and its nuclear programme.

The three European powers in September announced they were suspending their bilateral air services agreements with Iran, affecting Iranian carriers like Iran Air.

Some of the flights appear to be gradually coming back, though, with Iranian state television airing footage of an Austrian Airlines flight landing in Tehran’s Imam Khomeini International Airport on Sunday night.

Germany’s Lufthansa is also scheduled to resume flights to Tehran, but the precise restart date has not been publicly announced.

Kevin the Carrot is back in the latest Aldi Christmas advert teaser – and this time, he has a big question for his beloved Katie

Aldi has dropped its first Christmas advert teaser – and its beloved mascot Kevin the Carrot is back for his tenth year.

The first of three clips shows Kevin waiting in the snow outside the house of his partner Katie. He is joined by adorable new character, Caulidog, which is a cauliflower dog.

With a diamond ring attached to its collar, Kevin and his veggie companion hold up a sign that reads: “To me, you are 24 carat.” He then lifts the sign to reveal another card that says: “Marry Christmas?”

The heartwarming moment mimics the iconic cue-card scene from Love Actually.

The new Aldi advert will appear on TV screens for the first time tonight from 8:15pm, but viewers will have to keep their eye out for the following two episodes launching over the festive season to find out Katie’s answer.

Julie Ashfield, Chief Commercial Officer at Aldi UK, said: “We know how much our customers adore Kevin, and this year, to mark his 10th anniversary, we wanted to bring an extra sprinkle of magic and romance to his story.

”This teaser sets the stage for a truly heartwarming Christmas, reminding us all that love is at the heart of the festive season. We can’t wait for everyone to join Kevin and Katie on their journey and see what other surprises we have in store.”

Last year saw Kevin trying to save the Spirit of Christmas from a group of evil villains called the humbugs.

Previous years have seen Kevin pay homage to the 1998 World Cup, visit William Conker’s fantastical Christmas factory and travel on a midnight train inspired by the Orient Express.

Kevin the Carrot merchandise such as festive decorations, plushies and plastic toys from Aldi has sold out multiple times over the years due to high demand.

It comes after Aldi revealed a list of 23 towns and cities where it wants to open new stores over the next two years as part of its £1.6billion expansion plan.

As well as new stores, the investment will go towards upgrading existing ones. Aldi will also look to improve its distribution network.

Aldi has 1,060 stores but wants to increase this number to 1,500 across the UK. It said its expansion would create thousands of jobs and more opportunities for British suppliers.

Giles Hurley, Chief Executive Officer for Aldi UK and Ireland, said: “Shoppers are still finding things difficult and that’s why we’re staying laser-focused on doing what Aldi does best – offering customers great quality products at unbeatable prices.

“Nobody else is making the same commitment to everyday low prices – no clubs, no gimmicks, no tricks – just prices our customers can trust, and quality they can depend on.“

AUSTIN, Texas — Denis Bouanga had two goals and an assist on Sunday night to help LAFC beat Austin FC 4-1 and sweep the best-of-three series in the first round of the MLS Cup playoffs.

LAFC, which won Game 1 2-1, plays at second-seeded Vancouver in the one-game Western Conference semifinals.

Son Heung-min added a goal and an assist for No. 3 seed LAFC. Jeremy Ebobisse replaced Son in the 88th minute and capped the scoring in the third minute of stoppage time.

Son, on the counter-attack, hesitated to freeze defender Ilie Sánchez at the top of the area and then exploded toward the left end line and blasted a shot from the corner of the six-yard box inside the back post to open the scoring in the 21st. About four minutes later, Son fed Bouanga for a finish — the 30-year-old’s 100th goal across all competitions for LAFC — into a wide-open net to make it 2-0.

Bouanga cut inside to evade defender Brendan Hines-Ike — who fell to the ground — and then flicked a shot into the net from the left center of the area in the 44th minute.

Bouanga is the only active player — and is one of just nine in history — with at least 10 career goals in the MLS Cup playoffs.

LAFC’s Hugo Lloris — who was second in MLS with 12 shutouts in the regular season — had three saves, including a diving stop on a penalty kick by Myrto Uzuni in the 39th minute after a hand ball in the area by Bouanga.

Ryan Porteous was shown a yellow card for a foul in the area and Dani Pereira converted from the spot in the sixth minute of stoppage time to make it 3-1 at halftime.

CJ Fodrey appeared to have cut sixth-seeded Austin’s deficit to 3-2 in the 71st minute but an offsides call nullified the would-be goal.

Nov. 3 (UPI) — One of two suspects arrested at the scene of the weekend’s mass stabbing on a British train has been released, according to British authorities who continue to investigate.

Eleven people were injured in the Saturday evening attack on a train in Cambridgeshire, located about 37 miles north of London.

Two people — a 32-year-old man and a 35-year-old man — were apprehended at the scene.

In a statement Sunday night, British Transport Police said the 35-year-old man has been released, with no further action required.

“It was reported in good faith to officers responding to the incident that he was involved in the attack, and following enquiries we can confirm that he was not involved,” authorities said.

The 32-year-old, who’s been described as a Black British national, remains in police custody on suspicion of attempted murder.

Police on Sunday night identified him as a Peterborough resident.

Authorities were notified of the stabbing at 7:42 p.m. local time Saturday on the train from Doncaster to London King’s Cross. The 32-year-old suspect is believed to have entered the train at the Peterborough station.

A knife was recovered from the scene.

Ten people were transferred by ambulance to the hospital while an 11th victim arrived later on their own.

Five of the victims have since been discharged, according to authorities that said of the six remaining hospitalized, one is in life-threatening condition.

Authorities identified the most severely injured victim as a member of the London North Eastern Railway.

Following a review of surveillance footage, authorities believe that if it were not for his actions, more people would have died.

“The actions of the member of rail staff were nothing short of heroic and undoubtedly saved people’s lives,” Deputy Chief Constable Stuart Cundy said, though it was not clear what actions the employee took that saved lives.

David Horne, managing director of LNER, said the attack was “deeply upsetting” and that over the coming days they will continue to cooperate with authorities on their investigation.

In a statement on X, LNER said it expects to run a normal service on Monday.

The incident occurred just days after the British government announced it had seized a record number of knives — nearly 60,000 — from England and Wales through its new knife surrender scheme.

Knife homicides in Britain have fallen by nearly 20% while knife crime overall has dropped for the first time in four years, according to government statistics.