The year was already a debacle for the Los Angeles Fire Department and Mayor Karen Bass, with multiple stumbles before and after the epic January blaze that obliterated Pacific Palisades, so it was hard to imagine that things could get worse in the closing days of 2025.

But they have.

A blistering Times investigation found that the Fire Department cleaned up its after-action report, downplaying missteps.

In other words, there was a blatant attempt to mislead the public.

And Bass representatives said they requested that her comments in the final minutes of a video interview — in which she admitted that “both sides botched it” in the Eaton and Palisades fires — be edited out because she thought the interview had ended.

Please.

Together, these developments will echo through the coming mayoral election, in which Bass will be called out repeatedly over one of the greatest disasters in L.A. history. We’re a long way from knowing whether she can survive and win a second term, but Austin Beutner and any other legitimate contenders are being handed gifts that will keep on giving.

In the case of the altered report, kudos to Times reporters Alene Tchekmedyian and Paul Pringle, who have been trying all year to keep the LAFD honest, which is no easy task.

In the latest bombshell dropped by the two reporters, they dug up seven drafts of the department’s self-analysis, or after-action report, and found that it had been altered multiple times to soften damning conclusions.

Language saying LAFD did not fully pre-deploy all crews and engines, despite the forecast of extreme conditions, was removed.

Language saying some crews waited more than an hour for their assignments during the fire was removed.

A section on “failures” became a section on “primary challenges.”

A reference to a violation of national guidelines on how to avoid firefighter injury and death was removed.

The central role of the earlier Lachman fire, allegedly started by an arsonist, was also sanitized. A reference to that unchecked brushfire, which later sparked the inferno, was deleted from one draft, then restored in the final version. But only in a brief reference.

Even before the smoke cleared on Jan. 7, I had one former LAFD official telling me he was certain the earlier fire had not been properly extinguished. Crews should have been sitting on it, but as The Times has reported, that didn’t happen.

What we now know with absolute clarity is that the LAFD cannot be trusted to honestly and thoroughly investigate itself. And yet after having fired one chief, Bass asked the current chief to do an investigation.

Sue Pascoe, who lost her home in the fire and is among the thousands who don’t yet know whether they can afford to rebuild because their insurance — if they had any — doesn’t cover the cost of new construction. Pascoe, editor of the local publication Circling the News, had this reaction to the latest expose:

“To kill 12 people, let almost 7,000 homes/businesses burn, and to destroy belongings, memorabilia and memories stored in the homes — someone needs to be held accountable.”

But who will that be?

Although the altered after-action report seems designed to have minimized blame for the LAFD, if not the mayor, the Bass administration said it wasn’t involved.

“We did not red-line, review every page or review every draft of the report,” a spokesperson told the Times. “We did not discuss the Lachman Fire because it was not part of the report.”

Genethia Hudley Hayes, president of the Board of Fire Commissioners, told The Times she noticed only small differences between the final report and an earlier report she had seen.

“I was completely OK with it,” she said, adding that the final report “did not in any way obfuscate anything.”

Well I’m not OK with it, and I suspect a lot of people who lost everything in the fire feel the same way. As I’ve said before, the conditions were horrific, and there’s little doubt that firefighters did their best. But the evidence is mounting that the department’s brass blew it, or, to borrow a phrase from Bass, “botched it.”

As The Times’ David Zahniser reported, Bass said her “botched” comment came in a casual context after the podcast had ended. She also said she has made similar comments about the emergency response on numerous occasions.

She has made some critical comments, and as I mentioned, she replaced the fire chief. But the preparation and response were indeed botched. So why did her office want that portion of the interview deleted?

Let’s not forget, while we’re on the subject of botching things, that Bass left the country in the days before the fire despite warnings of catastrophic conditions. And while there’s been some progress in the recovery, her claim that things are moving at “lightning speed” overlooks the fact that thousands of burned out properties haven’t seen a hammer or a hardhat.

On her watch, we’ve seen multiple misses.

On the blunderous hiring and quick departure of a rebuilding czar. On the bungled hiring of a management team whose role was not entirely clear. On a failed tax relief plan for fire victims. On the still-undelievered promise of some building fee waivers.

In one of the latest twists on the after-action report, Tchekmedyian and Pringle report that the LAFD author was upset about revisions made without his involvement.

What a mess, and the story is likely to smolder into the new year.

If only the Lachman fire had been as watered down as the after-action report.

steve.lopez@latimes.com

Bob Chesney didn’t have to go far to secure his most important player.

He was already on campus.

Nico Iamaleava has agreed to return to UCLA for next season, giving the Bruins a top-level quarterback as part of their new coach’s bid for a quick turnaround from a 3-9 season under his predecessor and an interim coach.

Iamaleava announced his intentions on Instagram, posting a highlight video alongside a caption reading, “NO PLACE LIKE HOME. Back with my brothers. Same vision. Same goals. Same grind. Locked in. Time to work!”

The possible benefits go beyond improving Iamaleava’s NFL draft stock with a strong season. Another important plus could be the reputational boost associated with staying put after Iamaleava left Tennessee during spring practice in 2025 as part of an emotionally charged falling out with the Volunteers that sparked widespread criticism.

Remaining a Bruin will also allow the redshirt junior to spend at least one more season on the same team as his brother Madden, who will be a redshirt freshman quarterback after appearing at the end of one game last season.

None of UCLA’s struggles in 2025 could be blamed on its starting quarterback. Constantly under duress from a pass rush that met little resistance from his offensive line, Iamaleava was his team’s leading passer and rusher despite being sacked 27 times.

Iamaleava accounted for 17 of his team’s 24 touchdowns and led the Bruins with 10 plays of 20 yards or more, all coming on the ground. Although he wasn’t a prolific passer — his 255 yards through the air as part of a furious comeback against Nevada Las Vegas were a season high — Iamaleava’s ability to produce big plays with his arm and his legs presented a huge problem for opposing defenses.

Iamaleava’s passing accuracy enjoyed a slight uptick from his final season at Tennessee, where he helped the Volunteers reach the College Football Playoff. In his first season as a Bruin after returning home in part to be closer to his family in Long Beach, Iamaleava completed 64.4% of his passes for 1,928 yards and 13 touchdowns with seven interceptions.

Whether he was scrambling out of the pocket or sprinting on designed quarterback runs, Iamaleava might have been hardest to stop when he planted his feet and took off. He led the team with 505 rushing yards and four touchdowns in 112 carries, including 128 yards and three touchdowns during a victory over then-No. 7 Penn State.

Equally important was the leadership of a player who unflinchingly met with the media after losses and challenged others. Amid the team’s 0-4 start, Iamaleava told teammates they could leave if they didn’t want to stay and help spark a turnaround. No one did, and the team went on to win its next three games.

Now Iamaleava is staying put, giving his coach a huge building block as part of his efforts to forge a sturdy foundation.

Dec. 22 (UPI) — While the number of Americans who enjoy the secular traditions of Christmas has remained largely unchanged over recent years, a Gallup analysis released Monday showed that fewer people are observing the religious aspects of the holiday.

The poll found that 88% of Americans say they celebrate Christmas, down from 90% in 2024 and 96% in 2005. Of the more secular aspects of Christmas, 96% of people exchange gifts (down from 97% in 2010); 95% get together with friends or family (97% in 2010); 90% put up a Christmas tree (92% in 2010); 89% put up other decorations (91% in 2010); and 43% attend a holiday concert or play (58% in 2010).

The more religious aspects of Christmas saw a greater decline over the same period of time, with 54% of people using religious decorations such as nativities (down from 68% in 2010) and 47% attending a religious service (64% in 2010).

All religious activities saw a notable drop in participation, while one secular event — attending a holiday concert or play — did as well.

“Although fewer people, including fewer Christians, appear to be incorporating religious aspects, Christmas is thriving as a social occasion focused on gatherings, festivities and gifts,” Gallup said in an analysis of the data.

“Its popularity among young adults and non-Christians in general suggests that even as the U.S. continues to change demographically, a less religiously focused Christmas will endure.”

Gallup asked a few new questions about people’s traditions this year, finding that 86% of people watch holiday-themed movies, 81% make holiday desserts and 52% send holiday cards.

Gallup said that of the adults who celebrated Christmas, 69% identified as a Christian denomination, down from 83%, mirroring the overall drop in American adults who identify with a particular religion.

The poll found that there’s little difference in the percentage of Christians and non-Christians who celebrate secular Christmas traditions, and, in fact, a marginally higher percentage of non-Christians participate in some activities, including gathering together with friends and family and exchanging gifts. In each category, 97% of non-Christians participate while 95% of Christians gather with friends and family and 96% exchange gifts.

Meanwhile, Christians are far more likely to observe religious traditions such as using religious decorates (69% compared to 22%) and attending a Christmas service (61% to 11%).

Claudia Schiffer plays Carol, a single mother and the love interest for Liam Neeson’s character, widower Daniel, after he mentions she is his dream woman throughout the film

She might only have appeared on screen for 60 seconds but Claudia Schiffer was reportedly paid a truly blockbuster sum of money for her brief cameo in Love Actually. The supermodel plays the role of Carol who is a single mother and the love interest for Liam Neeson’s character, widower Daniel.

This comes after he mentions her as his dream woman throughout the entirety of the film is Claudia Schiffer. It has been reported that the star received quite the pay cheque despite only appearing for about a minute in total. Her appearance came back in 2003 and she is said have been paid around £275,000, or £4,500 ($6,100) per second for the job.

READ MORE: Joanna Lumley admits extreme threat to get Jennifer Saunders on Amandaland Christmas specialREAD MORE: Strictly star to spend Christmas Day alone in heartbreaking admission

Vogue reported that Andrew Holmes’s book How Much?!: The $1000 Omelette… and 1100 Other Astonishing Money Moments revealed the impressive amount. Now, 22 years on from when the movie was filmed, the pay cheque would be the equivalent of £458,000 ($616,000) or £7,633 ($10,274) per second.

Claudia’s short scene in the film comes after Daniel’s son, Sam (played by Thomas Brodie-Sangster), finishes playing the drums in his school play in a bid to impress his classmate Joanna.

Daniel then meets Sam backstage to congratulate him on her performance when Sam says that his plan to win his classmate over hasn’t worked and she was on her way to the airport to go back to the US.

However, this doesn’t stop them as they then make their way to the car to drive to the airport. But as Daniel turns around, he bumps into a school mum, Carol, who is played by Claudia.

Carol apologises as Daniel explained that it was his fault. Carol then goes on to ask if Daniel was Sam’s dad as he then confirms and the pair shake hands.

Daniel confessed that he hopes that they will meet again as Carol replies “I’ll make sure we do”. Claudia recently opened up about her personal life as she said her focus changed after she married Matthew Vaughn and they had their three children, Casper, now 22, Clementine, 21, and Cosima, 15.

She said she found that she became less “competitive” and that she is content with what she has achieved in her life despite knowing she could book more jobs if she wished.

The supermodel recently spoke to HELLO! magazine where she opened up about her career as well as her family life. She said: “When I was in my 20s, travelling around the world, my focus was on my career – working hard, being competitive and getting to the top.

“That changed when I had kids, and now, I feel lucky to have such a wonderful family. I’m proud of my children, they’re very down to earth and their well-being is mine and my husband’s priority.”

The Mirror has contacted Claudia’s reps for comment

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

Editor’s note: We are at a historical moment in which much of the mainstream discussion about Venezuela centers on two extremes: countering MAGA narratives, often riddled with lies and half-truths, and warning about the dangers of military intervention; or, conversely, leaning into the idea that the US will not back down from Maduro & Co., and that military intervention is imminent. Writing in absolutes and taking the words of figures like Diosdado Cabello, Stephen Miller, or even María Corina Machado at face value—within a context where they are in constant dialogue with allies and supporters—can seriously mislead audiences. Especially when framed as professional analysis. Which is not the same as opinion (as a former lady editor of this prestigious blog used to say: opinions are like assholes, everybody has one). And that’s fine. We have nothing against opinion, these pages are riddled with it.

But, again, professional analysis is something different, which is why the writing in our Political Risk Report doesn’t look at all like what we post on the webpage. Some actors posing as serious analysts and rational players are, of course, capable of generating strong headlines and plenty of material for meaty feature stories. But now, more than ever, focus should be on avoiding simplistic narratives and to bridge political discourse with on-the-ground realities, voices, and data obscured by chavismo’s censorship regime. Intelligence analyst Daniel Blanco here offers advice on how to help you identify (and/or write) credible analysis.

1) Don’t play into politics, stick to facts

Your role as an analyst, whether you are a political consultant advising a senior leader or an economic analyst with corporate clients, is to provide informed judgments to your consumers to support decision-making. It does not matter if the assumptions presented are an ugly truth; they need to be as accurate as possible. Shaping ugly truths into pleasing narratives to score points with political factions or escalate positions as a pleasing analyst can lead to policy failures or operational setbacks. Furthermore, such behaviour may end up damaging trust between analysts and consumers, as well as weakening the public credibility of your persona.  

2) Use estimative language to communicate nuance

Estimative language—using terms like likely, probable, possible, or unlikely—signals that your conclusions are based on judgments under uncertainty and prevents giving the false impression that you have absolute certainty. Consumers often come from non-technical backgrounds and may interpret analytical conclusions as statements of guarantees. Communicating the likelihood and percentages of different outcomes allows your consumers (including readers from the public in some cases) to understand that you are not presenting a black-and-white fact.

3) Keep up with the domestic context 

Context refers to the broad framework within which a foreign decision-maker operates, or within which an event or process unfolds. It is both temporal and spatial in nature. Venezuela, in particular, has a context dynamic that shifts constantly, variables that could act as an indicator yesterday could be a nothingburger tomorrow. Keeping up with the context can be the difference between interpreting data as a critical bullet point or an outdated pattern. Take for example, the power outages or connectivity blackouts that some junior analysts assessed as a major alert, while in reality, it is a common occurrence in Venezuela over the last seven years. 

4) Never assume actors are rational or cohesive 

Venezuelan actors are not always rational, and this includes decision makers in the government and the opposition. Some may act based on emotion or ideology, while others could throw personal ambition into their calculations. Assuming rationality may cause analysts to overlook actions that appear illogical but are nonetheless likely or meaningful within the actor’s perspective. Second, any organisation of human beings will produce factions. Before you assess the statement of a single actor as the current intent of a whole side, you need to take into account whether it represents a faction’s interest or if it’s part of a wider trend. 

5) Human contacts will always beat open source

Don’t get me wrong on this one, publicly available information can help you collect observable patterns or supporting evidence, but will only get you so far once you get knee-deep in assessing intentions. Venezuela runs heavily on informal power structures that are not visible on social media or tracking applications. Additionally, the civilian population, from community leaders to corporate figures, do not express their opinions or knowledge in public space due to the increasing internal repression. Developing ground contacts in different organisations is critical to collect and process information that will never be open to the public. 

6) Never stop challenging your local sources 

Speaking from experience, sources can have motives that shape their reporting. They may exaggerate their access level or withhold critical information for a variety of reasons that can range from pursuing personal agendas to avoiding political conflicts. Your responsibility to the consumer is to ensure that firsthand observation is distinguished from hearsay or speculation. Also, you need to clarify the collection method. Ask your source if they heard this in a meeting or if it is indirect information coming from a family member or a party friend. This needs to be presented in the most honest way possible in the body of your analysis.

7) Write disclaimers/statements on your analysis

Writing a statement of analysis forces the analyst to evaluate the quality of sources and identify analytical uncertainties. Often, we have to make calls on incomplete information, and the whole purpose of a statement on analysis is to let the report consumer know that there are some potholes along the road and things may turn out differently. Communicating your own level of confidence (low-medium-high) on a written report may be the difference between your decision maker acting with caution, knowing that we don’t have as much information as we like, or committing to a decision that will become a failure down the road.

As Lakers coach JJ Redick talked after practice Monday about the long list of players who would be listed as day-to-day for Tuesday night’s game at Phoenix, he at least knew that center Deandre Ayton will be back after missing two games because of left elbow soreness.

Redick said Luka Doncic (left leg contusion), Austin Reaves (mild left calf strain) and Rui Hachimura (right groin soreness) are day-to-day. Gabe Vincent (lower back tightness), however, is expected to be out longer.

Redick said Doncic was injured when he was kneed by Clippers guard Bagdan Bogdanovic during Saturday night’s loss at Intuit Dome.
Redick said the Lakers have noticed that Doncic, who leads the NBA in scoring (34.1) and is fourth in assists (8.8), gets hit in his lower leg a lot during games.

“It could just be the de-ce. I don’t know,” Redick said, alluding to the way Doncic decelerates with the ball in his hands. “The way he uses his body? I don’t know. … We’re talking about looking into ways to potentially protect against these, so sort of like, collisions.”

Reaves, who’s 10th in scoring at 27.8 points, missed the last three games. He was on the court shooting after practice Monday, and Redick was asked what it will take for his guard to get back in games.

“Given the nature of that area, I think it’s when he feels 100% confident and he doesn’t feel it hurting,” Redick said. “It’s fun, guys. It’s fun. It’s fun. It’s a fun day to talk about injuries.”

Redick said there was no real update on Hachimura’s injury, but that Ayton was a full participant in practice.

Ayton, who is second in the NBA in field-goal percentage (71%) and is averaging 15.3 points and 9.0 rebounds, was asked if he was playing against his former team the Suns. He averaged 16 points and 11 rebounds in the first two matchups.

“Most definitely,” he said. “I’m straight. Most definitely.”

Dec. 22 (UPI) — The former CEO of a healthcare software company in Arizona was sentenced to 15 years in prison and ordered to pay more than $452 million in restitution for conspiring to defraud Medicare for $1 billion, the U.S. Department of Justice said Monday.

Gary Cox, 79, of Maricopa County, was found guilty in June of healthcare fraud in which he generated false doctors’ orders to support fraudulent claims for various medical items.

He was sentenced Friday in the Southern District of Florida.

“This just sentence is the result of one of the largest telemarketing Medicare fraud cases ever tried to verdict,” Acting Assistant Attorney General Matthew R. Galeotti of the Justice Department’s Criminal Division said in a statement. “Telemedicine scammers who use junk mailers, spam calls and the internet to target senior citizens steal taxpayer money and harm vulnerable populations. The Criminal Division will continue dedicating substantial resources to the fight against telemedicine and medical equipment frauds that drain our health care benefit programs.”

Cox was convicted of conspiracy to commit healthcare fraud and wire fraud, three counts of healthcare fraud, conspiracy to pay and receive healthcare kickbacks, and conspiracy to defraud the United States and make false statements in connection with healthcare matters.

Cox was the CEO of Power Mobility Doctor Rx, LLC.

Prosecutors say Cox and his co-conspirators targeted several hundred thousand Medicare beneficiaries who provided personally identifiable information and agreed to accept medically unnecessary orthotic braces, pain creams and other items through misleading mailers, television advertisements and calls from offshore call centers, the Justice Department said.

Cox connected pharmacies, durable medical equipment suppliers and marketers with telemedicine companies to accept illegal kickbacks and bribes in exchange for signed doctors’ orders transmitted using the DMERx platform.

Prosecutors said DMERx falsely said that a doctor had examined and treated the Medicare beneficiaries when, in fact, purported telemedicine companies paid doctors to sign the orders without regard to medical necessity. It was based on a brief telephone call with the beneficiary or no interaction with the beneficiary, the Justice Department said.

These doctors’ orders billed Medicare and other insurers more than $1 billion with Medicare and the insurers paying more than $360 million based on these claims.

The scheme was concealed through sham contracts and elimination from doctors’ orders in which one co-conspirator described as “dangerous words” that might cause Medicare to audit the scheme’s DME suppliers.

“This sentence sends a clear message: Those who exploit telemedicine to prey on seniors and steal from taxpayer-funded health care programs will be held accountable,” said Christian J. Schrank, deputy inspector general for investigations of the U.S. Department of Health and Human Services.

“This scheme was a massive betrayal of trust, built on deception and greed. Our investigators, working with law enforcement partners, dismantled this billion-dollar fraud operation that targeted vulnerable patients and undermined the integrity of Medicare. We will not relent in our mission to protect the public and safeguard Medicare and other federal health care programs from fraud, waste, and abuse.”

Before his sentencing, friends of the defendant submitted letters to the judge vouching for Cox’s good character.

“It is my belief, based on all my life experiences both good and bad that Gary is not a person that would take advantage of or cheat another,” one letter said.

Since March 2007, the Justice Department’s Fraud Section, operating nine strike forces in 27 federal districts, has charged more than 5,800 defendants, who collectively have billed federal healthcare programs and private insurers more than $30 billion.

“Together with our partners, the FBI will aggressively pursue those who defraud taxpayer-funded health care programs,” Rebecca Day, acting assistant director of the FBI’s Criminal Investigative Division, said. “Programs like Medicare are intended to help the most vulnerable among us, and fraud schemes like the one orchestrated by the defendant can jeopardize the delivery of critical care to those who need it the most.”

Approximately 69.4 million Americans are enrolled in the federal health insurance, which is primarily for people aged 65 and older. It also covers younger people with long-term disability, end-stage renal disease or ALS.

Medicare fraud, mistakes and abuse cost the program an estimated $60 billion annually.

“Medicare numbers are more valuable than Social Security numbers because if they have all the right documentation, the Medicare claim has to go through, there are rules and regulations around that,” Nancy Moore, director of Indiana Senior Medicare Patrol, told WRTV-TV in June.

“One of the best ways to look out for fraud is to read your summary notices, your EOB if you’re on Medicare Advantage, or your Medicare summary notice. If you notice a charge for something you never received or didn’t need. That’s when you should call us to report it.”

Consumers can also report suspected medical identity theft to the Health & Human Services fraud hotline at 800-447-8477 (800-HHS-TIPS) or the National Insurance Crime Bureau at 800-835-6422.

Theme parks have long had a checkered reputation when it comes to dining.

And theme park designer Eddie Sotto once wanted to put an end to such a reputation. “Why,” Sotto reflected to me in 2023, “are we not thinking more holistically as to what we’re putting inside the guest as to what we’re putting in front of the guest?”

“The old joke is that people don’t expect the food to be any good in an immersive environment,” Sotto said. “I don’t believe that. I believe it should all be good. You’re paying a lot. The opportunity is for it all to be transformative.”

Sotto, whose outspoken passion for theme park design made him a favorite among Disney’s vast fanbase, died on Dec. 17 in Orange County after a long battle with various heart-related issues, said his wife of 48 years, Deena. He was 67.

While Sotto’s best-known masterworks are overseas, be it the creation of Main Street, U.S.A., for Disneyland Paris or overseeing the development of the early trackless attraction Pooh’s Hunny Hunt for Tokyo Disneyland, he had a reputation for fighting tirelessly to enhance the theme park experience, pushing for improvements to everything including ride vehicles and the food on guests’ plates.

In the early ’90s while working for Walt Disney Imagineering, the company’s secretive arm devoted to theme park experiences, Sotto took it upon himself to hold a chef-led symposium for Imagineers.

“They taught us Imagineers a lot about the ritual of dining, and understanding what foods do to you,” he said, describing how theme park dining should go beyond developing a burger with a cute name.

He was also an early designer on Disneyland’s Indiana Jones Adventure, brought music to Space Mountain and elevated a Los Angeles landmark: He led an interior refresh of the now-shuttered Encounter restaurant at LAX.

Born in Hollywood on March 14, 1958, and raised in La Mirada and Fullerton, Sotto grew up obsessed with Knott’s Berry Farm and Disneyland. He married Deena, his high school sweetheart, when he was 19. Sotto initially followed in his late father’s early footsteps, working at Sears. His meteoric rise in theme park design would be unheard of today, as Sotto never attended college and was self taught, drafting theme park designs in his down time while selling appliances.

His hiring at Imagineering caused some debate, says Tony Baxter, the Disney legend who oversaw the creation of such attractions as Big Thunder Mountain, Indiana Jones Adventure, Star Tours and Splash Mountain. Outgoing and driven, Sotto began reaching out to Baxter for advice in the late ‘70s, says Baxter. It would take nearly a decade for Baxter to persuade his superiors to take a chance on Sotto, who was eventually hired by Imagineering in 1986 after stints at Knott’s Berry Farm and the Landmark Entertainment Group. It was at Landmark where he met one of his key mentors, Herb Ryman, a fine artist and longtime concept designer with Imagineering.

Eddie Sotto’s most famed Disney work is the design of Main Street, U.S.A., at Disneyland Paris.

(Michel Euler / Associated Press)

“For people in management, they kind of want to see a portfolio of something solid,” Baxter says. “But for me, it’s what’s going on in someone’s mind. And Eddie’s mind was sharp as a tack.”

So savvy, believed Baxter, that he was given the task of reimagining Main Street, U.S.A., for a French audience at Disneyland Paris. Sotto’s take on the introductory turn-of-the-century land is widely regarded as its finest, with its grand Victorian-inspired designs diving more deeply into factual American history than its predecessors. Enclosed archways line each side of the street behind the shops. The arcades serve as a shield from Parisian weather but also gave Sotto the opportunity to design installations that focus on the Statue of Liberty, American inventions and the bond between the United States and France.

The goal, says Baxter, was “to create shops in competition with European architecture.” Tom Morris, a retired Imagineer who worked closely with Sotto, says Sotto’s Main Street possesses “an extra layer of storytelling,” adding that Sotto gave the thoroughfare “more of an opportunity for exploration.”

“It’s excessive in the best way possible,” adds Christopher Merritt, a theme park designer and author who worked with Sotto on Pooh’s Hunny Hunt.

Morris recalled first meeting Sotto when they were teens in the 1970s. Morris jokes that he and Sotto both went to Disneyland “more than our parents thought was healthy, which was four or five times per year.” Their paths initially crossed at the Anaheim public library, where they went to peruse its Disneyland collection.

“There were files and files of photographs and employee newsletters — all sorts of weird and interesting things,” Morris says. “I always thought I must be the only weirdo who is interested in all of this, but one day there was another person in there and that person was Ed Sotto. That’s where we met, and I was really surprised, actually, that there was someone else afflicted with the same obsession for Disneyland.”

At Knott’s, Sotto was tasked with reimagining a motorcycle chase ride. Sotto, as recalled in the book “Knott’s Preserved” by Merritt and J. Eric Lynxwiler, took four buttons off a coat and created a mini soapbox car and ran it around a conference table as if it were a Matchbox toy. This would lead to the creation of the Wacky Soap Box Racers, in which the makeshift cars would careen through painted facades of cartoon-ish animals cheering on the guests. The attraction emphasized silliness, taking riders into “Catnip Junction” and through rat-infested sewers.

Eddie Sotto in 2015. In his 13-plus years at Imagineering, the designer touched multiple Disneyland attractions.

(Courtesy of Deena Sotto)

“He told me that everyone backed away from the project because he was the new kid,” says Merritt. “He got literally no budget. There was an end scene in a fireworks factory and they were making bombs out of rubber beach balls that they spray painted black. There were doing this by hand. And it’s a big hit.”

Sotto in his 13-plus years at Imagineering had an influence on Disneyland. As a concept designer on Indiana Jones Adventure, Sotto, says Baxter, conceived the idea in which the ride vehicles would appear to go through one of three different doors, an illusion accomplished by a rotating wall. Repeat visitors would sense as if the car was moving on an alternate track. Today, the walls no longer move and the effect is attempted via projection technology. “I felt my rolling ball [at the ride’s end] and Eddie’s choice room were the two things that really made the ride unique in terms of, ‘Wow, how did they do that?’” Baxter says.

Sotto ascended quickly while at Imagineering, rising to the position of senior vice president, concept design.

“Eddie just kept sketching and drawing,” Morris says. “He was inspired by Herb Ryman and that was Herb’s motto: ‘Just keep drawing.’ I just think when you have a lot of quick sketching acuity, word gets out. People know. This is someone you want on your team, especially in the early stages, to help concept, bring forth and pitch an idea.”

In the mid-’90s, Sotto realized a dream of many an Imagineer, particularly Morris, of bringing onboard audio onto a roller coaster, specifically Disneyland’s Space Mountain. Today, it’s commonplace for coasters to have synced music or sound effects, but Morris says there were technical hurdles that needed to be solved, most notably related to the engineering of the speaker sets on individual cars.

Sotto pushed it through, but not without some personal touches. An avid fan of rock ‘n’ roll, Sotto tapped surf rock guitar legend Dick Dale for a part of the composition, which heavily pulled from Camille Saint-Saëns’ “Aquarium” section of “The Carnival of the Animals.” The result was otherworldly, but also rooted in a sound associated with riding the Southern California waves. Dale’s riffs, wrote Sotto on his website, “were to be triggered to compliment each twist, turn and drop of your ‘rocket.’”

“He loved Orange County surf guitar music,” says Merritt. “So he hires Dick Dale for this intergalactic soundtrack for Space Mountain. They did some promotional thing where they put Dick Dale standing on Space Mountain playing his guitar. That’s just the audaciousness of Eddie.”

In fact, Sotto wrote on his site, it was the promise to play atop Space Mountain that sold Dale on the gig. Sotto would leave Imagineering in 1999 to soon after establish his own Laguna Beach-based SottoStudios, but not before getting an opportunity with Imagineering to remodel Encounter at LAX. Sotto’s vision was a space-age bachelor pad, a place, he said in 2023, “where George Jetson and Barbarella might meet for a drink,” with lava lamp-inspired pillars and soda fountains modeled in the shape of vintage sci-fi ray guns, complete with sound effects.

A remodel of the interior of LAX restaurant Encounter was one of Eddie Sotto’s career highlights.

(David McNew / Getty Images)

Sotto long spoke of the restaurant, which closed in 2013, as one of his favorite projects.

“Theme has to go deep,” Sotto said. “It has be something that’s relevant and exciting to people. I spent weeks putting together 11 hours of music for Encounter. What you were hearing could be a B-side from William Shatner’s space album. Theme has to reward your close inspection at a rich level. That’s why people return.”

SottoStudios over the years was heavily involved in the automobile industry, as Sotto led the design of many car showrooms. Sotto also had a passion for restaurants, and worked on numerous L.A. establishments including John Sedlar’s shuttered but acclaimed Rivera. Sotto’s career would also take him to Jeff Bezos’ Blue Origin offices, for which he designed a Jules Verne-inspired rocketship fireplace that doubles as a lobby meeting space.

And his passion for theme parks never wavered, says Baxter, even as his heart issues worsened. At their monthly lunches, Baxter notes that he and Sotto would continue to brainstorm new Disney attractions or alternative directions to what the company was announcing. Sotto, says Baxter, spent his final few days at Orange’s UCI Medical Center, but was given a room with a view of Disneyland’s fireworks, which he looked forward to watching each evening. Baxter recalled a picture of the two of them eating chili cheese dogs at Disneyland.

“He sent it to me, and said, ‘I’m dreaming of a day when we can do this again,’” Baxter says. “That was just two weeks ago.”

In addition to his wife, Deena, Sotto is survived by their son Brian, daughter Venice and her husband, Rocky.

Deadly attack comes as Gaza government media office says Israel violated ceasefire 875 times since it began in October.

Israeli forces have killed at least two Palestinians in the Gaza Strip as Israel continues to violate a ceasefire agreement and block desperately needed humanitarian aid to the war-ravaged coastal enclave.

The Palestinian news agency Wafa reported on Monday that two people were killed after Israeli troops opened fire in the Shujayea neighbourhood of eastern Gaza City.

Their deaths bring the total number of Palestinians reported killed in Gaza over the past 24 hours to at least 12, including eight whose bodies were recovered from the rubble in the territory.

The Gaza City attack is the latest in hundreds of Israeli violations of a United States-brokered ceasefire between Israel and Hamas, which came into effect on October 10.

Gaza’s Government Media Office on Monday condemned Israel’s “serious and systematic violations” of the truce, noting that the Israeli authorities had breached the ceasefire 875 times since it came into force.

That includes continued Israeli air and artillery attacks, unlawful demolitions of Palestinian homes and other civilian infrastructure, and at least 265 incidents of Israeli troops shooting Palestinian civilians, the office said in a statement.

At least 411 Palestinians have been killed and 1,112 others wounded in Israeli attacks on Gaza since the ceasefire began, it added.

Worsening shelter conditions

Meanwhile, hundreds of thousands of Palestinian families displaced by Israel’s genocidal war on Gaza continue to grapple with a lack of humanitarian supplies, including adequate food, medicine and shelter.

As the occupying power in Gaza, Israel has an obligation under international law to provide for the needs of Palestinians there.

But the United Nations and other humanitarian groups say it has systematically failed to allow unimpeded deliveries of aid into Gaza.

The situation has been worsened by a series of winter storms that have pummelled the Strip in recent weeks, with rights groups saying Israel’s refusal to allow tents, blankets and other supplies into Gaza is part of its genocidal policy and threatening Palestinian lives.

On Monday, the Gaza Government Media Office said that only 17,819 trucks entered the territory out of the 43,800 that were supposed to be allowed in since the ceasefire came into effect in October.

That amounts to an average of just 244 trucks per day – far below the 600 trucks that Israel agreed to allow into Gaza daily under the ceasefire agreement, the office said.

On Monday, a spokesperson for UN chief Antonio Guterres reiterated the call “for the lifting of all restrictions of the entry of aid into Gaza, including shelter material”.

“Over the past 24 hours, and despite the ceasefire, we have continued to receive reports of air strikes, shelling and gunfire in all five governorates of Gaza. This has resulted in reported casualties and disruptions to humanitarian operations,” Stephane Dujarric said.

He said that the UN’s humanitarian partners are working to address the significant shelter needs, particularly for displaced families living in unsafe conditions.

“Our partners continue to work to improve access to dignified shelter for approximately 1.3 million people in Gaza in the past week, about 3,500 families affected by storms are living in flood prone areas,” he said.

Dujarric said that aid deliveries have included tents, bedding sets, mattresses and blankets, as well as winter clothing for children, but the needs remain overwhelming.

The appeals come a day after the Palestinian Ministry of Health in Gaza said that a lack of drugs and other healthcare supplies was making it difficult to provide care to patients.

Nearly all of Gaza’s hospitals and healthcare facilities were attacked during Israel’s two-year bombardment of the territory, damaging at least 125 facilities, including 34 hospitals.

The Israeli army has killed at least 70,937 Palestinians in Gaza, mostly women and children, and injured 171,192 others since its genocidal war began in October 2023.

On the Friday night after Thanksgiving, a hotel room on the 17th floor of the Hotel Indigo in Downtown Los Angeles was transformed into a leather dressing room. About a dozen friends crowded around a king-size bed, cracking open Tecates, vibing to techno house music from a portable speaker, and adjusting each other’s harnesses.

The flash of a digital camera went off like a strobe as Yair Lopez documented his friends before their night at an afterparty. They were all there as part of the L.A. iteration of CLAW: a national leather and kink convention that offers workshops, parties and community spaces for people interested in BDSM culture. Founded in 2002, the convention started out in Cleveland, but has also held events in in L.A. since 2021.

As others spent their Thanksgiving holiday with blood relatives at the dinner table, this particular gathering was dubbed “Leather Thanksgiving” — a celebration of chosen family, cobbled together from various corners of L.A.’s queer nightlife. For Lopez and his friends, that sense of belonging is only growing.

“This chain was gifted to me from a friend,” Lopez said as he adjusted the silver around his neck. “Chains with a lock represent that you have a dom and the other person has the key. I’m still waiting for the lock,” he added jokingly, glancing at his boyfriend.

Leather enthusiasts pre-game ahead of the release party for the film, “Encuerados,” on November 28th at the Hotel Indigo in Downtown Los Angeles.

(Yair Lopez / For De Los)

It was a big day for Lopez. Earlier he showcased three of his photos as part of a leather art gallery and attended a screening of “Encuerados,” a short documentary he appeared in, which shadowed a group of Latino men carving out space in L.A.’s leather community. An “Encuerados” afterparty would soon follow.

For Lopez and his friends, leather is less about fetish and more about kinship, safety and visibility, in a city where queer Latino spaces remain scarce.

Lopez has become a visible force in L.A.’s leather underground scene, building community through both his art and the spaces he helps create. He has self-published his work through photos and zines; he also founded Contramundo, a Latino leather night at the Bullet Bar in North Hollywood. His community work even led to a third-place finish in the 2023 Mr. L.A. Leather competition.

He started shooting a decade ago, moving from street scenes and hikes to L.A.’s queer nightlife. That work eventually led him to the Eagle, where he found a muse and a community he didn’t know he needed.

“I grew up in a pretty religious Mexican household in the San Fernando Valley. I was made to feel ashamed of who I was, even my own body, so finding this felt so needed,” he recalled.

Located in Silver Lake, the Eagle is a legacy leather bar that has anchored L.A.’s kink scene for decades. It is also one of the few remaining spaces for this corner of queer nightlife. And while Lopez did feel seen through the leather community, there was still a piece missing.

“It is no surprise that a lot of gay spaces are predominantly white, so finding gay brown community is hard. But that changed when I started meeting other like-minded Latinos in leather,” Lopez said.

One of those Latinos was Leonardo Iriarte, the first Latino Mr. L.A. Leather and co-founder of Payasos L.A., a nonprofit that organizes events and mutual aid efforts to support Latino visibility in the leather world.

The group of friends ran into Iriarte as they made their way to the 18th floor, where he was DJing for the night in a large, dimly lit conference room.

Dressed in black leather pants and boots, Iriarte had “Mr. L.A. Leather 2011” embroidered across the back of his vest. The Michoacán native also happened to be the protagonist of the “Encuerados” documentary and host of the “” afterparty.

“When I moved to the United States in 2001, I didn’t move for the classic American dream of looking for a better life financially,” said Iriarte. “My purpose of moving here was to be free as a gay person.”

Latinos in leather pose ahead of the “Encuerados” screening during the CLAW L.A. convention on November 28th at the Hotel Indigo in Downtown Los Angeles.

(Yair Lopez / For De Los)

And while Iriarte did find that freedom he hoped for, he was not prepared for the racism he would encounter in the leather scene — especially after winning his title.

“I remember a hate campaign and even death threats after I won,” he said. “It was scary, but it opened a door for other Latinos, and this space has grown so much since.”

As it gets closer to midnight, the dark conference room swells with bodies moving to Iriarte’s pulsing techno. Partygoers poured in sporting leather chaps, chest-hugging harnesses, and even tejana hats for a vaquero-leather twist.

Lopez put down his camera to circulate and greet friends from over the years. He bumped into Orlando Bedolla, director of “Encuerados,” who first met Lopez four years ago while filming the documentary.

“I learned about his photography, the zine he was making, all of it,” Bedolla said. “I found him interesting because he is literally a Latino increasing Latino representation in the leather community.”

Bedolla recalled attending CLAW L.A. in 2021 and going to his first Latino party there after getting an invite from Payasos L.A. Inside, he found a room full of mostly Latino men in jockstraps, harnesses and leather. He was struck by the energy of an underground community he didn’t realize existed. That night would become the seed for the film.

On the dance floor, colored lights flashed across Lopez’s visage as he tried to keep track of his room key. His friends borrowed it to run upstairs to their shared room for more drinks — and he wondered aloud about how messy it would be after their two-night stay.

These spaces, low-lit yet overflowing with camaraderie, offer the community something harder to find anywhere else, especially during the holidays: the freedom to be fully themselves.

“When I step into spaces like this, I don’t just see leather,” Lopez said, taking a sip of his vodka soda. “I see people reaching for some kind of joy and connection we’re constantly told is wrong. But we all want to feel touched and seen — and there’s nothing wrong with that.”

Almost 30 years have passed, and I remember it as if it happened yesterday; such was the impact it had on me. In a large space at the Museum of Fine Arts in Caracas, in 1996, the artist Javier Téllez (Valencia, Venezuela, 1969) recreated a ward from the Bárbula psychiatric hospital, which operated near the main campus of the University of Carabobo. There were cots, electroshock machines, diagrams, and the floor was littered with confetti as if a carnival party had just ended. It was his exhibition “The Extraction of the Stone of Madness”, a monumental reflection on the problems of the concept of insanity, and Téllez was invoking his experiences as the son of psychiatrists who witnessed patients and doctors exchanging roles in Bárbula, during the carnivals.

Since then, Téllez has continued to build a body of work across various media, primarily film, revolving around the mysteries, politics, and complexity of the many ways we perceive reality. His work abounds with the voices of those we don’t want to hear, such as the mentally ill and the immigrants. This is why the director of the Pérez Art Museum Miami (PAMM), Franklin Sirmans, celebrated his practice, which “expands the possibilities of empathy, dignity, and community,” when that city’s largest art museum awarded Téllez the 2025 Pérez Prize, an unrestricted $50,000 grant, on November 15.

In his 2007 film Letter on the Blind for the Use of Those Who See, Téllez revives the Indian fable of the blind men and the elephant, a powerful metaphor these times in which we insist on seeing as wholes what are merely fragments of our surroundings. In Caligari and the Sleepwalker, he sought out a classic of German Expressionism to explore perceptions in the present. In Amerika, made last year, eight Venezuelan migrants watched a series of Chaplin films and identified with the Tramp to recreate that aesthetic in a collective representation of migration. All of them had crossed the Darién Gap. “This carnivalesque element allows people to talk about their situation without directly confronting the trauma,” says Téllez.

Téllez has participated in numerous artist residencies and has exhibited in many countries since the early 1990s. Besides film, he uses photography, artist’s books, installation, and sculpture. He has built aviaries and giant birds for his exhibitions that play with the anti-psychiatric novel One Flew Over the Cuckoo’s Nest, and in One Flew Over the Void (2005) he had the human cannonball David Smith fly from the US to Mexico over the border line, while patients at a psychiatric hospital in Mexicali played a march.

From New York City, Téllez talked to Caracas Chronicles about the purpose of his work.

How did your childhood and adolescence lead you to study art, to understand that you were an artist?

I was very fortunate to be born into a home with intellectual parents from very different cultural backgrounds. My parents, Teresa Pacheco Lugo and Pedro Téllez Carrasco, were psychiatrists. Our house contained the largest private library in the city, and there were books in every room. My father conducted his psychiatric consultations there. We grew up surrounded by patients, as we also visited the Bárbula Psychiatric Hospital, where he worked. This world was further enriched by our frequent visits to Turmero, where my aunts ran the Capitol Cinema, one of the first movie theaters in the country. I also saw films on the big screen before I learned to read. I think it was natural that, having been born into that environment, I decided from a very young age to dedicate my life to art, and especially to moving images and video installations.

For everyone else, “madness” is a category that associates danger, absurdity, and total marginalization with that “otherness” incarnated by psychiatric patients. But you were taught to see them differently.

Absolutely. The stigmatization of difference begins in childhood, and my siblings and I were immune to it from a young age, due to the liberal upbringing we received from our parents. The proximity, the familiarity we had with those considered “crazy” by society normalized mental illness and relativized the stability of the “normal” world. Our annual visits to the carnival held in Bárbula, where some patients and psychiatrists exchanged uniforms, were fundamental to this perception. The inversion of values ​​that those carnivals represented is a memory that still stimulates my work as an artist. It’s no surprise, then, that today my older brother is a psychiatrist and that I work with psychiatric patients to pursue my artistic work.

In that small-town movie theater you had access to what ordinary moviegoers didn’t, to another kind of “otherness”: the machine behind the miracle. Am I to assume that this understanding of cinema as something that not only happens, but can be made, began there?

My passion for cinema began at the Capitol Cinema in Turmero. Having constant access to a cinema from the spectator’s point of view, but also being able to witness the spectacle behind the scenes and see the films projected from the projectionist’s booth, allowed me, from childhood, to dissect the components of the “cinematic apparatus” and understand cinema from its materiality. I remember the fascination I felt watching the stillness of the film frames, how they were “devoured” by the gigantic projector and activated by a blinding light capable of creating impossible universes. When I was nine or ten, my father gave me an 8mm camera, with which I made my first films. A little later, when I was barely 13, I bought a Super 8 camera, with which I made several surrealist films with my friends, which I edited on a small Moviola. I began studying the early 20th-century avant-garde movements and saw the films of Buñuel, Eisenstein, Vertov, Dreyer, Murnau, Vigo, and others for the first time. My first works at that time were drawings, collages, assemblages, and films.

In “The Extraction of the Stone of Madness” you offered a confluence of your explorations on media and on mental health. Which of those questions, issues, or themes continued in your later work?

The theme of mental illness is essential in my work; it is the thread that guides me through the labyrinth. The otherness inherent in madness permeates all my work. With “The Extraction of the Stone of Madness,” I began working with psychiatric institutions and discovered the importance of working in collaboration with people who had been diagnosed. I realized that it was impossible for me, who had never been diagnosed as mentally ill nor had I suffered institutionalization, to articulate a discourse on mental illness without the help of others who had experienced it. Since then, I have carried out more than twenty projects on mental illness in collaboration with patients in Asia, Europe, Australia, and the Americas. The questions are specific to each project, as they respond to unique situations defined by the individuals and their circumstances, but a group of questions emerges in almost every project: How is “normal” defined, and what is considered “pathological” or “abnormal,” and how do these definitions affect individuals? What does it mean to live with the stigma of mental illness or disability? Can society learn to exist inclusively, including those who have been marginalized for being different? These questions remain constant because they are fundamental to our society.

Every day we wake up to find a new incarnation of Ubu, that grotesque authoritarian king imagined by Alfred Jarry, be it Trump, Milei, Putin, or Maduro. We mustn’t confuse the paranoid madness of these individuals and the masses who follow them with the madness of the average citizen.

How has this work you describe, which explores and exposes the voices of psychiatric patients and questions the idea of ​​normality and the representation of reality, helped you understand this golden age for those who create prefabricated realities and claim that everyone else is crazy?

In my video installations, I include the diverse voices of the participants, attempting to generate a collective voice that identifies those marginalized by their circumstances. I work with my collaborators—whether they are psychiatric patients, people with disabilities, or migrants seeking asylum—to develop fictional narratives akin to fables or myths, creating short films where they are also actors and can articulate a collective discourse that resists the hegemonic concepts with which some social groups try to mask reality. Undoubtedly, the 21st century presents us, as Guy Debord already warned, with a reality impossible to separate from the notion of spectacle. Every day we wake up to find a new incarnation of Ubu, that grotesque authoritarian king imagined by Alfred Jarry, be it Trump, Milei, Putin, or Maduro. We mustn’t confuse the paranoid madness of these individuals and the masses who follow them with the madness of the average citizen. It is from the latter that society can learn, for we must learn from madness.

To what extent can your work, or that of other artists with whom you identify, help to make sense of a reality that we feel we don’t understand… or at least make visible the meaninglessness, the nonsense of what they want to impose on us as meaning?

I have taken as my motto the definition of art given to us by Paul Klee: “art makes visible.” As visual artists we have an inescapable commitment to our reality, to the historical moment we are living through. I fervently believe that art has the power to change how we perceive reality and, therefore, can lead to its transformation. My generation, that emerged in the 1990s, has a critical view of the dominant power structures but also toward artistic discourses, and constantly questions the language of art. I view with dismay the output of many contemporary Venezuelan artists intent on resurrecting obsolete models. It is regrettable that the country’s meager art market continues to encourage geometric abstraction and landscape painting as defining genres of our visual identity. But fortunately, there is also the valuable work of some artists who have explored, through their art, the political and cultural context of our tragic reality after more than twenty-five years of chavismo. I hope that in the very near future these works will become better known outside the country.

The US government, headed by a guy who came from reality TV, is threatening a dictatorship that invented a grand false narrative—the redemption of the poor—with its propaganda machine. Do you think it will become anything more than “good TV” featuring only extras dying at sea and being kidnapped in Venezuela?

This relationship between war, technology, and spectacle that you mention isn’t new; just remember the first Gulf War, the search for nonexistent “weapons of mass destruction” in Iraq, or the capture of Bin Laden. Our experience of armed conflict is increasingly affected by the media and technology, which irreversibly shape our vision and understanding of geopolitical conflicts. We are rapidly heading towards a new era that produces toxic wars as a spectacle, characterized by a sinister cocktail of paranoia, inequality, and authoritarianism, all seasoned by rampant technological development. It is true that the wars waged by empires resemble video games, but the dead in these conflicts are always real. In this case, the victims are Venezuelan, which should be even more unacceptable to us.

I believe it is regrettable that only chavismo and a minority of the opposition have denounced the deaths of the people aboard those boats, who were executed by the US military in a completely illegal manner without any proof of their guilt. The deaths of these people, like those who have died at the hands of the Maduro regime, should be outrageous regardless of one’s political stance. The right to life is the most fundamental and inherent right of all human beings. It’s disheartening to think of Venezuelans who dream of a US military intervention in Venezuela, because if this were to happen, it would be a profoundly tragic event for our country and the continent. It seems we haven’t learned anything from modern history and how lethal all US military interventions have been, from Vietnam to Iraq and Afghanistan. I firmly believe that the self-determination of peoples is essential. The worst thing that could happen to us is war.

Preserving a winning formula, new UCLA football coach Bob Chesney is bringing his top two assistants across the country with him.

Chesney is hiring offensive coordinator Dean Kennedy and defensive coordinator Colin Hitschler — who both served in those same capacities under Chesney at James Madison — in a nod to continuity after the Dukes reached the College Football Playoff for the first time.

The hiring of both coordinators was confirmed by someone with knowledge of the situation who spoke on condition of anonymity because the moves have not been formally announced.

Kennedy has worked with Chesney for four consecutive seasons, joining Chesney’s staff at Holy Cross as quarterbacks coach prior to the 2022 season before earning a promotion to offensive coordinator the following season. Kennedy then accompanied Chesney to James Madison before the 2024 season.

Hitschler’s ties to Chesney go all the way back to the Division III level. In 2011, Hitschler was Chesney’s defensive line coach and co-special teams coordinator at Salve Regina before the duo reconnected at James Madison before the recently completed season.

Both Kennedy and Chesney presided over units that were among the best in the country last season, James Madison ranking No. 11 nationally in points scored (37.1 per game) and No. 15 in points allowed (18.4).

James Madison rolled up 509 yards of offense during a 51-34 loss to Oregon on Saturday, those totals representing the most points and yards the Ducks have allowed this season. Kennedy is known for designing creative offenses that spread the field, breaking out flea-flicker and Statue of Liberty plays to help the Dukes post 70 points against North Carolina in 2024 while tying a record for the most points ever given up by the Tar Heels.

Both coordinators possess something their boss doesn’t — experience coaching at the Power Four level. Kennedy was a graduate assistant at Mississippi State and Florida before earning a promotion to offensive quality control coach and later assistant quarterbacks coach with the Gators.

Hitschler was co-defensive coordinator and safeties coach at Wisconsin in 2023 before taking a job as co-defensive coordinator and defensive backs coach at Alabama in 2024. Hitschler also has NFL experience as a training camp assistant with the Philadelphia Eagles and a player personnel assistant with the Kansas City Chiefs.

Kennedy’s connection with Chesney goes back to a flurry of job-seeking letters that Kennedy sent to college football coaches around the country while he was at Florida. Chesney not only responded but also donated to two charities with ties to Kennedy’s family after doing some research on the persistent assistant. A year later, Chesney hired Kennedy when a vacancy opened on his staff at Holy Cross.

Chesney is also expected to hire several more of his James Madison assistants to fill similar roles at UCLA after bringing in Florida State’s Darrick Yray as general manager.

Yray, who recently completed his fourth season as general manager with the Seminoles, also has strong West Coast connections. Yray rose to director of player personnel at Oregon State after having worked for the Beavers in a variety of roles and also was assistant director of football operations at Fresno State, his alma mater.

Lyle Foster’s match-winning 79th-minute strike allowed South Africa to win first opening match at AFCON since 2004.

Lyle Foster scored a superb winner from outside the box as South Africa defeated Angola 2-1 in Africa Cup of Nations Group B in Marrakesh on Monday, the first time they have won their opening match ⁠at the continental finals in 21 years.

South Africa also had a goal disallowed and struck the crossbar, ​just about deserving the nervy victory. Angola also had chances and will ‍be disappointed not to have gotten something from the game.

South Africa took the lead on 21 minutes when Oswin Appollis showed neat footwork in the box to work a shooting chance and put the ball in the bottom ‍corner. But Angola ⁠equalised before the break as Show got a touch to Fredy’s free kick to steer the ball into the net.

The winning moment came after 79 minutes, when Foster was teed up 20 yards out and curled his shot into the top corner to give the bronze medallists from two years ago a positive start to their campaign.

It was a workmanlike performance from South Africa, who do not have the plethora of players in top ​European leagues that their tournament rivals enjoy, with Foster their only one ‌at Premier League Burnley.

But they are a well-oiled machine under Belgian coach Hugo Broos and did enough for a victory that set them well on course for the knockout rounds. Egypt and Zimbabwe will meet later on Monday in ‌the same pool.

Even first half

South Africa took the lead after a period of sustained possession that led to Khuliso Mudau’s cross, which was ‌touched by both Sipho Mbule and Foster before Appollis beat two ⁠defenders and side-footed into the bottom corner of the net.

Angola equalised on 35 minutes when Fredy’s low free kick was touched into the bottom corner by Show, his second goal in his 50th cap for his country, to make it ‌1-1 at the break.

South Africa thought they had retaken the lead when halftime substitute Tshepang Moremi turned his defender and fired low into the bottom corner of the net, but a VAR review showed ‍that Foster was offside in the buildup.

South Africa’s Mbekezeli Mbokazi crashed the ball against the crossbar with a rasping shot from 35 yards, before Foster’s clinical strike secured all three points.

Zambia rally to draw with Mali

In an earlier Group A match on Monday, Zambia’s Patson Daka scored with a spectacular diving header in stoppage time to see his ‍side come from behind ‍and force a 1-1 draw with Mali in Casablanca.

Mali looked in control for most of the encounter, but paid the price for sitting back in the closing stages as Zambia staged a ⁠late recovery, with Daka leaping through the air to force home Mathews Banda’s curling cross two minutes into ​stoppage time at the end of the game.

Lassine Sinayoko had ‌taken advantage of sloppy defending to give ‌Mali a 62nd-minute lead ⁠after his strike partner, El Bilal Toure, had a first-half penalty saved.

GLIDING into the glitzy Grand Atrium and gazing up at three marble-clad floors of bars and boutiques, a thought hit me.

If this is just one small section of the impressive ship Iona, how am I going to experience everything on offer in just one-and-a-half days?

This was my first cruise and, as a total novice, I’d decided to book a short, two-night sailing.

P&O Cruises’ Iona is deemed the perfect ship for first-time British cruisers, partly because — carrying 5,200 guests and 1,800 crew, it is big enough to not feel cramped or overwhelming.

Plus there are plenty of familiar UK favourites on board from roast dinners to Tetley tea.

And with prices starting at £199 per person, including all your food and activities, you can’t go wrong.

LIVING IT UP

New cruise ship that you can live on FOREVER is cheaper than a London flat

CHANNEL IT

I went on an English Channel cruise with island hopping & seawater pools

Longer voyages are cracking value, too, with five nights on a European itinerary costing less than £500pp.

You could spend a week on board and not run out of things to do thanks to Iona’s 30 bars and restaurants, ten entertainment venues — including a cinema, theatre and spa — swimming pools and hot tubs along the decks.

I stayed in a Conservatory Suite, where floor-to-ceiling windows offered breathtaking views without having to brave the biting wind on the balcony — the only downside of a UK cruise.

Luckily, the SkyDome has a heated indoor pool and this area of the boat has just had a sleek refit.

It’s a great place to kick back with a beer in hand (a pint of Moretti costs £6.25).

Nowhere is quite as relaxing as the spa, though — home to a therapeutic sauna, sensory steam room and rejuvenating hydrotherapy pool.

If that doesn’t float your boat, why not indulge in some retail therapy at the on-board boutiques, where you’ll find designer watches, bags and sunglasses, among other gems.

A particular hit with my husband was the Barbour shop — I’m fairly certain he came home with a whole new wardrobe.

When we weren’t watching aerial acrobatics in the large theatre, or rolling dice at the casino, we were sampling the excellent food.

‘BUFFET OF DREAMS’

The Horizon Restaurant — an all-you-can eat buffet of dreams — has salads and sandwiches, freshly-cut kebabs and full roast dinners.

Meanwhile, The Quays offers a street food style selection of live cooking stations, where I tucked into delicious breakfasts of fresh scrambled eggs and hash browns.

And Ripples ice cream parlour serves treats with edible cups and spoons — a small but fabulous nod to P&O cutting back on waste.

It would be hard to tire of the dining options included in your fare, but if you do fancy treating yourself, the speciality joints are top notch.

We loved Sindhu, the Indian restaurant where you can get three courses for £22, with a £3 supplement for the lobster thermidor.

My husband and I enjoyed Sindhu’s signature cocktail, the East India punch, a muddle of spiced rum, cognac, falernum (a sweet syrup) and tropical juices.

And if you can’t decide what to eat, the Sindhu Signature Plate boasts smaller portions of three of their most popular dishes: the duck tikka malabari, the beef lali mirch masala and the creamy lobster, drenched in thermidor sauce.

Elsewhere, the Glass House in the Grand Atrium offers a heavenly seven-course tasting menu and wine pairing (priced at around £35 a person), by award-winning wine expert Olly Smith and acclaimed Spanish chef Jose Pizarro.

Our highlight was a black tie dinner and show at the adults-only Limelight Club, with a performance from singer Jonathan Wilkes and a nightclub boogie on board.

If that doesn’t convert you to a cruise lover, I’m not sure what will.

At least two people have been killed in clashes in Aleppo between Syrian government forces and the Kurdish-led Syrian Democratic Forces (SDF) that control the country’s northeast. Syrian President Ahmed al-Sharaa signed a deal in March with the SDF to integrate the group into the country’s state institutions by the end of this year.

Coronation Street revealed surprise death news in Monday’s episode of the ITV soap and Debbie Webster has implied that all is not what it seems after the surprise passing

Coronation Street aired scenes of a shock death on Monday evening. Earlier this year, Carl Webster (Jonathan Howard) arrived as the long-lost half brother of Kevin Webster, and whilst things were going well to begin with, their reunion quickly soured when it was revealed that Carl had been having an affair with his brother’s wife Abi.

Little is known about Carl’s past, but what has been established is that he grew up in Germany with his parents Bill and Elaine Webster. Bill was the father of Kevin (Michael Le Vell) and Debbie Webster (Sue Devaney), and their mother Alison never appeared on the programme, having died in 1980. Carl was then born to Bill and Elaine off-screen in 1986.

On Monday’s episode of the world’s longest-running TV soap, Abi was at Debbie’s hen-do when she got a panicked phone call and rushed straight home. Once there, Carl revealed to her that his mother had died, and he had been completely unaware that she had been fighting cancer.

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For the first time, Carl began to open up about his mother to Abi and hinted at a mystery that was never solved between the pair. He said: “She was… formidable. Not the most loving of mothers, that’s for sure. Our relationship was tricky. I knew she wanted me to settle down, get married and have kids and all then.

“I was immature back then – late developer. She did bail me out a few times, though, let me stay at hers, when I hit the skids. I remember my 30th, I had to come home, tail between my legs, after my latest job and relationship had gone pear-shaped.

“She was back in Southampton then. I must’ve been there a week and I hadn’t really got out of bed. She came in my room one morning, dragged me out of bed and said we were going to the beach. I hadn’t been to the beach with my mum since I was a little boy.

“And I said I was sorry for being a mess. 30 and still kipping in my mum’s spare room. She was quiet for a long time and then said I deserved more from my growing up. But if I knew what had happened, then I would understand why.”

Abi then asked if she ever explained herself to him, and Carl replied: “No. I’m sorry Abi, for being the kind of person that not even a mother can love.” It was then that Abi pulled Carl in close, her eyes wide, clearly worried about what her partner had just said to her. She later reminded him that just because Elaine rarely called, that didn’t make him a bad son, and Debbie then burst in, having heard that something terrible had happened.

Through tears, Carl told his half-sister: “Apparently she’d been in the hospice for months. I didn’t even know that she was ill,” and when he and Abi voiced their dismay that Elaine had never been in touch, Debbie began to justify it. She said: “Well, we don’t know what’s gone on, do we?

“She might not have been well enough.” Carl then asked Debbie when she last spoke to Elaine, and the hotel owner quickly claimed that they hadn’t spoken since Bill died, which would have been in 2023.

But there was a further twist in store when Debbie, who was diagnosed with vascular dementia earlier this year, went home to her fiancé Ronnie. When he said it was odd that Elaine had not got in touch with the family, Debbie revealed: “She tried to. Recently. I just… I just forgot to tell him. With everything going on, it just… it just went out of my head.

“I haven’t told Carl – I can’t. He’d never forgive me. Ronnie, don’t tell him, will you? I feel terrible Really terrible.” When Ronnie reassured Debbie that it wasn’t her fault and she didn’t do it on purpose, she didn’t respond and simply gave a weird look.

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A transgender employee of the National Security Agency is suing the Trump administration and seeking to block enforcement of a presidential executive order and other policies the employee says violate federal civil rights law.

Sarah O’Neill, an NSA data scientist who is transgender, is challenging President Trump’s Inauguration Day executive order that required the federal government, in all operations and printed materials, to recognize only two “immutable” sexes: male and female.

According to the lawsuit filed Monday in a U.S. District Court in Maryland, Trump’s order “declares that it is the policy of the United States government to deny Ms. O’Neill’s very existence.”

The White House did not immediately respond to a request for comment.

The order, which reflected Trump’s 2024 campaign rhetoric, spurred policies that O’Neill is challenging, as well.

Since Trump’s initial executive action, O’Neill asserts the NSA has canceled its policy recognizing her transgender identity and “right to a workplace free of unlawful harassment,” while “prohibiting her from identifying her pronouns as female in written communications” and “barring her from using the women’s restroom at work.”

O’Neill contends those policies and the orders behind them create a hostile work environment and violate Section VII of the Civil Rights Act. The U.S. Supreme Court ruled in 2020 that Section VII’s prohibition on discrimination based on sex applied to gender identity.

“We agree that homosexuality and transgender status are distinct concepts from sex,” the court’s majority opinion stated. “But, as we’ve seen, discrimination based on homosexuality or transgender status necessarily entails discrimination based on sex; the first cannot happen without the second.”

O’Neill’s lawsuit argued, “The Executive Order rejects the existence of gender identity altogether, let alone the possibility that someone’s gender identity can differ from their sex, which it characterizes as ‘gender ideology.’ ”

In addition to restoring her workplace rights and protections, O’Neill is seeking financial damages.

Trump’s order was among a flurry of executive actions he took hours after taking office. He has continued using executive action aggressively in his second presidency, prompting many legal challenges that are still working their way through the federal judiciary.

Barrow writes for the Associated Press.

The Chargers will be without starting linebacker Denzel Perryman for the remainder of the regular season.

The NFL on Monday suspended Perryman without pay for two games for repeated violations of playing rules designed to protect player health and safety, including an incident during Sunday’s game against the Dallas Cowboys.

In the second quarter, Perryman was penalized for unnecessary roughness after delivering a forcible blow to the helmet of Ryan Flournoy while the Dallas Cowboys’ receiver was on the ground following a catch. The play violated an NFL rule prohibiting the use of any part of the helmet or facemask to initiate forcible contact to an opponent’s head or neck area.

Perryman will be eligible to return to the Chargers’ active roster on Monday, Jan. 5, following the team’s Week 17 game against the Houston Texans and Week 18 game against the Denver Broncos.

Under the collective bargaining agreement, Perryman may appeal the suspension. Any appeal would be heard and decided by one of three jointly appointed and compensated hearing officers: Derrick Brooks, Ramon Foster or Jordy Nelson.

Footage shows security forces dispersing crowds with tear gas at rallies for Ugandan presidential candidate Robert Kyagulanyi, also known as Bobi Wine, in Kampala. The pop star-turned-politician is campaigning ahead of Uganda’s January 2026 elections, as officials warn against interference.

New York City, United States – Since the recent termination of the nearly decade-old trade rule called “de minimis,” United States consumers and businesses have been exposed to slower shipping, destroyed packages and steep tariff fees on international goods – foreshadowing what could make for a chaotic holiday shopping season.

For major international carrier UPS, navigating the latest regulatory changes has proved more fraught than for its competitors FedEx and DHL.

Matthew Wasserbach, brokerage manager for Express Customs Clearance in New York, a firm that assists importers with documentation, tariff classifications, valuation, and other federal requirements, has witnessed the fallout as UPS customers seek his firm’s assistance to clear packages entering the US.

“Over the last few months, we’ve been seeing a lot of UPS shipments, in particular, becoming stuck and being lost or disposed of … This all stems from the ending of the de minimis,” said Wasserbach. “Their [UPS’s] whole business model changed once the de minimis was ended. And they just didn’t have the capacity to do the clearance … a lot of people are expecting to receive international packages, and they’re just never gonna get them.”

UPS did not respond to Al Jazeera’s request for comment.

Suspending tariff exemptions

Since 2016, the de minimis trade exemption determined that packages worth $800 or less were not subject to taxes and tariffs. According to US Customs and Border Protection (CBP), the number of shipments entering the US claiming the exemption increased by more than 600 percent from 139 million shipments in 2015 to more than one billion in 2023.

In August, this all changed. President Donald Trump signed an executive order suspending de minimis treatment for all countries, spiralling US imports into a new landscape of paperwork and processes, subject to duties and tariffs based on their place of origin.

Just a month after de minimis ended, while shipping products with UPS, Tezumi Tea, an online Japanese tea and teaware company that sells its products online and through meetups in New York City, fell victim to the tariff backlog at US customs. Tezumi lost roughly 150kg (330lbs) of matcha, totalling about $13,000.

“We responded by increasing buffers in our supply planning across the dozen farms that we partner with,” said Ryan Snowden, a cofounder of Tezumi. “Even with those adjustments, the loss had a severe effect on a number of our cafe customers who suddenly needed to switch to another matcha blend.”

Now, UPS is no longer accepting shipments from Japan, and Tezumi has switched to shipping supplies through alternate carriers such as DHL and FedEx.

Disposing shipments

Wasserbach has witnessed similar instances of UPS losing imports.

“When a UPS package goes uncleared, it’s just basically sitting in a UPS facility, uncleared for a certain period of time,” said Wasserbach. “Then UPS indicates in their tracking that they’re disposing of the shipments without making, really, any effort, from what I’ve seen, to contact either the sender or the receiver, to get information they need to do to get the clearance.”

Wasserbach shared email chains with Al Jazeera from UPS customers who looped in his firm to their customs clearance UPS debacles.

In one exchange, UPS customer Stephan Niznik responded to a notice from the UPS Alternate Broker Team that their packages had been “destroyed”.

“The tracking says on multiple instances that UPS attempted to contact the sender (me), but this is false; aside from a request for more information on September 5 (which I responded to immediately), UPS never attempted to contact me,” wrote Niznik. “It is absolutely disgraceful that my package was mishandled – clothes and children’s toys were destroyed at the hands of UPS.”

In another email chain, UPS told customer Chenying Li that their package was released following an email from Express Customs Clearance stating that the shipment was cleared.

A week later, Li’s package was still showing as “Pending Release”, and when they asked for an update on the shipment, UPS responded, “At this time we are unable to provide an ETA,  as volume is currently backed up and awaiting delivery due to the De Minimis impact.”

‘Impose additional pressure’

In addition to the customs backlog, Virginia Tech associate professor David Bieri says cost prevention may provide one explanation for UPS choosing to dispose of packages rejected by US customs rather than return the shipments to senders.

“All these additional rules and regulations impose additional pressure on already relatively tight margins for these companies – UPS, FedEx, DHL and so forth,” said Bieri. “They need to make money, and sometimes it’s easier not to fulfil a service than to take on the additional cost of customs clearance and making sure that it gets to its final destination.”

Bieri added that UPS resorting to package disposal may indicate that they believe themselves to be in “a sufficiently strong monopolistic position that they can do such horrible practice – unilateral nonfulfillment of contract”.

Wasserbach told Al Jazeera that “with FedEx and DHL shipments, we aren’t seeing these problems”.

When asked whether FedEx has disposed of packages stuck in customs, a spokesperson wrote, “If paperwork is not complete and/or rejected by US Customs and Border Protection, FedEx actively works with senders to update paperwork to resubmit to CBP or return shipments to senders. In some cases, shippers can request that packages be disposed of if they would prefer not to pay to return to sender. In those rare cases, recipients are notified at the direction of the shipper. This is not a common practice. We remain business as usual.”

Final cost of delivery at your doorstep

But FedEx and DHL are encountering some of the same challenges as UPS. Since August, when de minimis ended and small packages were suddenly subject to taxes and tariffs, anyone who ordered from abroad was susceptible to unexpected fees on imported goods.

Without de minimis protecting packages worth $800 and less from import fees, the consumer essentially becomes the importer.

“You might order something you find a bargain abroad, and you don’t pay attention to where things are shipped from … and it might be shipped from China, and you might be in for a rude awakening once that thing arrives at your door,” said Beiri. “You paid the price and thought that this was it. But your deliverer is saying, no, actually, we’re passing that cost on to you. Because you’re acting as the importer.”

These fees could cost equal to or more than the item you ordered itself. “You’ve got to pay extra attention to small prints,” said Beiri.

With looming costs and lost packages on the horizon, Beiri says shoppers will likely make “substitution questions” – are you renovating or are you going on vacation? Are you splashing on Christmas gifts, or are you treating yourself to dining out?

“I think these are interesting times of having to make choices and asking yourself what can we do given that we have an affordability crisis, rent, insurance, making ends meet,” said Beiri. “That’s what’s currently going on.”

In order to better handle evolving trade policy, Wasserbach says that UPS will likely aim to hire a massive number of entry writers to assist with necessary documentation for legal transportation of goods across international borders. However, now that it is the busiest time of year in terms of delivering people their Christmas shopping, Wasserbach doubts an influx of hiring could make much of a difference, given the amount of training required.

The company’s revenue has already taken a hit on account of Trump’s policies. Tariffs on China and the elimination of the de minimis rule saw imports from China, UPS’s most profitable route, drop reportedly 35 percent earlier this year.

“I would assume it’s gonna get better next year,” said Wasserbach. “But as for solving this problem before Christmas, I don’t think that that’s gonna happen.”

Barry Manilow has been diagnosed with lung cancer and will be postponing his January concerts.

“I’m very sorry that you have to change your plans,” the “Mandy” singer wrote in a statement posted to Instagram on Monday revealing his diagnosis. According to Manilow, his doctors had discovered “a cancerous spot” on his left lung that he will have surgically removed.

“As many of you know I recently went through six weeks of bronchitis followed by a relapse of another five weeks,” Manilow wrote in the statement. “Even though I was over the bronchitis and back on stage at the Westgate Las Vegas, my wonderful doctor ordered an MRI just to make sure that everything was OK.”

The “Copacabana (At the Copa)” singer said it was “pure luck” that the cancer was found early and that his doctors “do not believe it has spread.” He added that he is taking additional tests to confirm that diagnosis.

“[N]ow that the Christmas A Gift of Love concerts are over I’m going into surgery to have the spot removed,” Manilow continued in his statement. “So that’s it. No chemo. No radiation. Just chicken soup and I Love Lucy reruns.”

The January arena concerts have been rescheduled because recovery from the surgery will take a month, said the 82-year-old singer, whose hits also include “Could It Be Magic,” “I Write the Songs” and “Weekend in New England.” The new dates, starting in late February and continuing through April, were included in the Instagram post. Ticketholders for the canceled shows will be able to reschedule to the new dates.

Manilow also noted his next scheduled performances will be over Valentine’s Day weekend back at the Westgate Las Vegas, where he has a lifetime residency.

“Something tells me that February weekend is going to be one big party,” Manilow wrote, before wishing his fans “a wonderful Christmas and New Year.” “And remember, if you even have the slightest symptom… get tested!”