HOLLYWOOD star Timothee Chalamet has finally broken his silence on rumours he is living a secret double life as Scouse rapper EsDeeKid.

The Call Me By Your Name actor, 29, has faced increasing speculation over the past few weeks that he is the man behind EsDeeKid – one of this year’s biggest rap breakthroughs in the UK.

EsDeeKid has never revealed his identity or anything connected to his personal life and keeps his face covered by masks at all time.

However, social media became awash with theories that the rap star was actually New Yorker Timothee thanks to a series of coincidences.

Now, the Wonka star has addressed the rumours for the first time in an interview on BBC Radio One with Greg James ahead of the release of his next movie, Marty Supreme.

Greg simply started by saying the name EsDeeKid to Timothee to which he quickly said: “No comment.”

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Kylie Jenner & Timothee Chalamet hit back at split rumors & match outfits

SECRET STAR

Wild theory Timothee Chalamet is secretly performing as Brit rapper EsDeeKid

The actor then coyly added with a smirk upon his face: “All will be revealed in due time.”

Greg then went on to explain the theory and showed Timothee images of EsDeeKid in which his piercing blue eyes, which bear a striking resemblance to the Dune actor’s, could be seen through gaps in his masks.

The radio host asked Timothee if he agreed that they were “beautiful eyes”, with the actor simply replying: “Yes.”

Greg then asked once again if the star was him leaving Timothee to repeat: “All… will be revealed in due time.”

Little is known about EsDeeKid but he began to emerge in 2023 and achieved recognition for his 2024 song Bally.

He previously revealed he still lived in the council house he grew up in.

His debut album, Rebel, released this June has become one of the most popular hip-hop albums of the year after reaching the top ten in the UK as well as charting in America and Australia.

Speculation that Timothee is behind the mask gained traction online last month.

“Their eyes are extremely similar, I haven’t seen anything like it,” wrote one user on Reddit earlier this month.

While another user was convinced they have the same hands: “Guys i did a huge analysis looking at pics of Timothy’s hands VS Esdee kids hands. Same exact hands. Same vein placement and everything. I should make a video about it because it’s literally proof.”

Their similar fashion sense has also been used as a way of comparison between the two.

Timothee is currently in the UK ahead of the release of his new movie, Marty Supreme.

He was seen getting cosy with girlfriend Kylie Jenner at the launch of the film earlier this week where they coordinated in matching orange Chrome Hearts outfits.

The couple have been dating for almost three years having first been linked in April 2023 but have often kept their romance private and under wraps.

ANOTHER airport has confirmed that it will be increasing its drop off fees – and will be the highest across the entire COUNTRY.

From January 6, 2026, London Gatwick will charge passengers being dropped off the new fee of £10.

Currently charging £7, the £3 increase (a 40 per cent jump) will apply to all drivers using the drop off zone, excluding Blue Badge holders.

The airport said it was “not a decision they took lightly”.

However, they cited reasons such as the “doubling of business rates” as one of the reasons for the increase in cost.

The airport first introduced a drop off charge in 2021, of £5, which increased to £6 in 2024.

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It was increased only earlier this year back in May to £7, with the new increase coming just six months later.

The fee is almost as much as some of the cheapest flights on offer.

Wizz Air currently has London Gatwick flights for just £13.99 while easyJet has £14.99 flights.

A Gatwick spokesperson said passengers can use the free shuttle bus if they are dropped of in the long stay car park.

They added: “We also have excellent public transport connectivity at the airport, with passengers able to connect directly with more than 120 train stations.

“Many local bus routes serve the airport 24  hours a day, seven days a week.”

It isn’t the only airport that is raising costs.

London Heathrow has confirmed that the drop off fee will increase from £6 to £7 on January 1.

The last drop off increase at London Heathrow was in December 2024, from £5 to £6.

It is also introducing a strict 10-minute drop off time, with drivers charged £80 if they go over.

And London City, the last of the London airports to allow free drop offs, will be introducing a new charge in 2026 as well.

The airport explained: “The charge will help London City meet its wider sustainability goals by reducing the number of vehicles travelling to and from the airport, supporting efforts to lower congestion, reduce emissions and improve air quality in the surrounding area.”

Around 10 per cent of passengers arrive by car, with another 14 per cent using taxis.

A former Los Angeles Police Department commander who authorities said tipped off CBS to a rape allegation against the network’s top executive will not face criminal charges, with two LAPD detectives claiming department leaders undermined the investigation, according to documents obtained by The Times.

The L.A. County district attorney’s office decided in April it would not prosecute Cory Palka for warning CBS executives in 2017 that a woman had walked into the LAPD’s Hollywood station and accused then-Chief Executive Les Moonves of sexual assault, according to a document provided to The Times in response to a public records request.

Although heavily redacted, the declination memo includes details and a timeline that match up with the findings of a 2022 New York state attorney general’s office investigation that first revealed Palka’s relationship with Moonves. The TV executive’s career ended in disgrace after dozens of women came forward to accuse him of sexual harassment and abuse in 2018.

Palka has not disputed that he improperly disclosed information to CBS, but denied any improper benefit from his relationship with Moonves when reached for comment by The Times this week.

The former LAPD chief who led the department during the investigation, Michel Moore, called allegations the matter was not properly handled “absolutely false.”

Representatives for CBS and Moonves declined to comment.

The Moonves affair drew significant attention at the height of the #MeToo movement, but the fate of Palka has remained a question mark in the years since. The newly uncovered documents shed light on both the outcome of the investigation and tensions within the police department over scrutinizing one of its own.

Palka, a former station captain who retired as a commander in 2021, was often referred to as “Capt. Hollywood” and known for mingling with stars, scoring a bit part in the TV series “Bosch.”

In 2022, the New York state attorney general’s office released a report that revealed Palka left a voicemail for a CBS executive in November 2017, shortly after an 81-year-old woman walked into his station and accused Moonves of sexually assaulting her on two occasions in the late 1980s.

“Somebody walked in the station about a couple hours ago and made allegations against your boss regarding a sexual assault,” he said in a voicemail message left for Ian Metrose, who was then CBS’ senior vice president for talent relations, according to reports made public by prosecutors. “It’s confidential, as you know, but call me.”

For months, Palka gave Moonves and other CBS leaders inside information about the rape investigation and slipped the network a copy of the accuser’s report, according to the New York attorney general’s office. At one point, Palka and Moonves met in person and the executive told the captain he “wanted the LAPD investigation closed.”

Ultimately, prosecutors could not bring a rape case because the statute of limitations had long expired. The accuser, Phyllis Golden-Gottlieb, was a television development executive who previously told The Times that Moonves assaulted her in 1986 and 1988. Those dates match an alleged victim described in the L.A. County district attorney’s office’s memo on Palka. Golden-Gottlieb died in 2022.

Former television executive Phyllis Golden-Gottlieb talks about alleged sexual abuse at the hands of Les Moonves in the law offices of Gloria Allred in L.A. on Sept. 11, 2018. Golden-Gottlieb, who died in 2022, worked with Moonves in the 1980s.

(Brian van der Brug / Los Angeles Times)

After hearing from Palka, top CBS executives “began investigating the victim’s personal circumstances and that of her family,” according to the New York attorney general’s report, which was produced as part of an investigation into the TV network’s leaders for selling stock and allegedly misleading investors while not disclosing the allegations against Moonves.

The district attorney’s office said in the memo obtained by The Times that it declined to bring charges, in part, because the statute of limitations on one of the potential charges against Palka had run out.

The LAPD claimed it didn’t learn of Palka’s alleged misconduct until 2022, but a whistleblower complaint filed in late 2023 by Det. Jason Turner alleges Moore knew of the issue much earlier and ignored it, allowing Palka to escape accountability.

Turner also alleged he found evidence that Palka told at least two other LAPD employees about his relationship with Moonves, but said he was barred from interviewing them, according to the complaint, which was filed with the LAPD’s Office of the Inspector General in November 2023.

“Chief Moore’s failure to initiate a complaint circa 2018-2021 against Palka compromised the investigation and allowed Palka to avoid criminal charges,” Turner wrote in the complaint obtained by The Times.

The LAPD declined to comment. Moore unequivocally denied Turner’s allegations, but did not elaborate further in response to questions about the handling of the investigation. Moore announced his retirement from the LAPD in January 2024.

“It is absolutely baseless,” Moore said of Turner’s claim, adding that the Office of the Inspector General had determined the complaint was unfounded.

A spokesperson for the inspector general’s office said they could not discuss the status of Turner’s complaint.

Michel Moore announces his retirement as LAPD chief at a press conference with Mayor Karen Bass at L.A. City Hall on Jan. 12, 2024.

(Luis Sinco / Los Angeles Times)

The ex-chief described the whistleblower complaint as a “distraction” from Palka’s “terrible actions.”

“It was a disservice. It lacked integrity. It tarnished the badge. It was wrong,” Moore said of Palka.

Turner declined a request to comment through his lawyer Thursday. .

In September 2023 — 10 months after the allegations against Palka became public — a different LAPD internal affairs detective presented a case for L.A. County prosecutors to consider against Palka, according to a memo explaining the decision to decline charges. Prosecutors weighed charges of bribery, obstruction and disclosing information from a criminal investigation for financial gain.

LAPD detectives “suspected Palka had possibly engaged in bribery,” according to the document. While there was no evidence Palka was paid directly for leaking the information about Moonves, he received $500 annually to be part of Moonves’ security detail at the Grammy Awards, according to the New York attorney general’s report.

After leaving the LAPD, Palka was hired as chief of security to billionaire hedge fund manager Michael Milken, according to public records and testimony given by Moonves in a deposition for a civil lawsuit reviewed by The Times. Palka is still employed by Milken today, the records show.

Moonves said in the deposition that he recommended Palka for the job.

A separate complaint to the inspector general’s office obtained by The Times shows another internal affairs detective made allegations that echoed Turner’s. In that complaint, the second detective said LAPD supervisors blocked attempts to interview Moonves, Milken and Metrose, the CBS vice president that Palka purportedly first tipped off about the rape case.

“It is my belief that the refusal by our supervisors to permit us to interview these key individuals jeopardized the integrity of the investigation and was done for improper motives,” wrote the detective, who requested anonymity, fearing professional repercussions.

The April memo from L.A. County prosecutors said there was substantial evidence Palka had improperly disclosed information from a criminal case, but they lacked proof that “Palka gained financially,” so charges of bribery and disclosure of confidential information for financial gain could not be filed.

Asked whether Moonves helping Palka land a high-level security job would be considered financial gain, a district attorney’s office spokesman said prosecutors “could not prove beyond a reasonable doubt that Palka disclosed confidential information in return for financial gain, which is an essential element of the crime of bribery.”

In an email to The Times, Palka did not address questions about the alleged bribery or the district attorney’s charging decision, but challenged the idea that there was any link between Moonves’ recommendation for his current job and the leak of information to CBS.

“My post retirement employment was not considered until I completed my career and fully separated from the LAPD,” Palka said.

Les Moonves, former chairman and CEO of CBS Corporation, poses at the premiere of the new television series “Star Trek: Discovery” in Los Angeles on Sept. 19, 2017.

(Chris Pizzello / AP)

Caleb Mason, a partner at Brown White & Osborn LLP in Los Angeles and a former federal prosecutor, said charges related to Palka’s post-LAPD work would be challenging to prove in court.

“I think a lot of prosecutors would get anxious about filing a case where the theory was simply he had this relationship and after he retired the relationship would get him a job,” Mason said.

In his complaint to the inspector general, Turner said department executives knew of the Hollywood captain’s links to CBS much earlier than has been publicly reported.

CBS attorneys questioned Palka about his relationship with Moonves in 2018, while performing an audit connected to the rape allegations, according to the detective’s complaint. At that time, Palka demanded that the LAPD Command Officers Assn., the union that represents officers above the rank of captain, provide him an attorney, according to the complaint.

“Chief Moore was the Chief at the time and had to have been aware that one [of] his Captains was being interviewed in his official capacity by CBS attorneys for misconduct,” the complaint read. “However, Chief Moore did not initiate a complaint/internal investigation into Cory Palka.”

Muna Busilah, the attorney who Turner claimed represented Palka, declined to say whether or not she was involved in the case. She confirmed she did work with the Command Officers Assn. in 2018, and said there was no requirement to formally notify Moore if a member of the command staff sought legal counsel through the union.

Turner’s complaint accused Moore and LAPD Det. Jason De La Cova, an internal affairs division supervisor, of obstructing justice and dissuading an investigation. De La Cova was the detective who presented a case to the district attorney’s office, according to the declination memo.

“The Chief doesn’t want heads to roll,” De La Cova said to Turner when blocking one of his requests to interview another member of the LAPD, according to the whistleblower complaint.

When reached on Wednesday, De La Cova declined to comment.

A district attorney’s office spokesperson would not say if prosecutors were aware of the misconduct allegations levied against Moore and De La Cova while reviewing Palka’s case. The allegations of obstruction made against the ex-chief and De La Cova in Turner’s complaint have never been presented for consideration of criminal charges, the spokesman said.

De La Cova was previously named in another complaint filed by Tuner.

In 2023, Turner and another detective alleged they were ordered to launch an investigation into Mayor Karen Bass’ receipt of a scholarship from the University of Southern California at Moore’s behest. When both refused, the case was taken over by De La Cova.

Moore has repeatedly denied the allegations. Moore was later cleared of wrongdoing by the department’s inspector general, which concluded in June 2024 after a months-long probe that the detective’s claims were “unfounded.”

From Thuc Nhi Nguyen: LeBron James refused to look too far into the future to say what kind of team the Lakers might be when the playoffs arrive in April while they are still playing games in December.

Even though it was the NBA Cup quarterfinal game the Lakers lost to the San Antonio Spurs, 132-119, James didn’t want to venture into how things would unfold.

Two years ago, when the Lakers went to Las Vegas and won the inaugural NBA Cup championship, James cautioned then that they had a long way to go and that that wasn’t an indicator or what that team could accomplish.

Not making it to Las Vegas this time and instead now having to play the Suns in Phoenix on Sunday, James was asked where the Lakers stand long term when it comes to competing for the playoffs.

“It’s December what?” James responded.

He was told it was December 10.

“And you’re talking about the playoffs? Nah, can’t do that. It’s not OK. Not my mindset,” James said. “I don’t. I can’t think about what we can do in the playoffs in December. What I can say is that the habits that we built throughout the regular season each month, if we are in a position to make it to the postseason and be able to get to that point, well, we have to build it now. But as far as talking about what type of damage we’re gonna do in the postseason in December, that’s not right for the basketball gods, not for me.”

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Lakers box score

NBA standings

MORE DODGERS SIGNINGS?

From Jack Harris: As the hotel lobby at the Signia by Hilton Orlando filled at MLB’s winter meetings on Tuesday morning, an unexpected prize was falling into the Dodgers’ lap.

Edwin Díaz, the top reliever on this year’s free-agent market, was suddenly slipping away from the incumbent New York Mets, who reportedly made the fan favorite closer only a three-year offer that did little to entice him to re-sign with the team.

The Dodgers, meanwhile, were swooping in late to snatch away the hard-throwing right-hander, submitting a more lucrative three-year bid that would pay Díaz a relief-pitcher-record $23 million per season.

Just like that, the Dodgers had gone from a perfectly content, but unremarkably quiet winter, to one in which they’d once again flexed their financial muscles and stunned the baseball industry.

The Dodgers might not need to make another big move, in the same way they downplayed the need for any big acquisition coming into the winter.

But they’ll certainly be ready to pounce if another opportunity materializes.

“I would say we definitely can,” Friedman hinted when asked if another big move this offseason could be possible. “Whether that makes the most sense within the timing of our roster — there’s so many factors that go into it, and any decision you make has a future cost. It’s just weighing that. So, yes, we can. How likely it is, is probably another question.”

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Starz picks up drama on gambling scandal involving Shohei Ohtani’s former interpreter

CHRIS PAUL ‘AT PEACE’

From Chuck Schilken: Former Clippers point guard Chris Paul says he’s “at peace with everything” after being abruptly dismissed by the team last week.

“Stuff’s been a little crazy in the past few days — to say the least,” Paul told People magazine in an interview published Tuesday. “But honestly, I’m home. My daughter had tryouts yesterday. My nephew had a basketball game. My son has a game coming up on the 12th.”

Paul’s son, Chris Paul II, is a sophomore guard for the Campbell Hall varsity basketball team, which plays Newbury Park on Friday.

“I have never seen my son play a game in person,” the elder Paul said. “Not a middle school game, not a high school game. So I’m excited about seeing him play.”

Also on Tuesday, Clippers coach Tyronn Lue denied an ESPN report from last week that he and Paul hadn’t been on speaking terms in the weeks leading up to the team’s decision to part ways with one of its most iconic players.

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CAN BOB CHESNEY BUILD A WINNER?

From Dylan Hernández: Bob Chesney has a welcoming demeanor. He articulates his thoughts well. And if the people who hired him are right, the small-school wonder will be a transformative figure in Los Angeles sports.

Officially introduced on Tuesday as UCLA’s new football coach, the 48-year-old Chesney has a new-age vibe about him. His opening remarks lasted about seven minutes and he answered questions for nearly 30 more, but that wasn’t enough to tell whether he’ll be another Sean McVay or another Brandon Staley.

Here’s the more important question: Does it matter?

The Sleeping Giant of a football program has been hibernating for so long that no one can be certain it’s still hibernating.

The Sleeping Giant could be a Dead Giant.

Bob Toledo couldn’t build a consistent winner at UCLA. Rick Neuheisel, Jim Mora and Chip Kelly couldn’t either.

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Here’s the reason Troy Aikman didn’t get thanked by that UCLA football player

PHILIP RIVERS RETURNS

From Sam Farmer: Philip Rivers has never been quick on his feet, but he can make quick decisions. That’s what made him such an outstanding NFL quarterback, and it’s part of the reason he’s a Hall of Fame semifinalist.

So it’s not surprising that, even at 44 and a grandfather, he didn’t linger long when the Indianapolis Colts called to take his temperature on coming back to play quarterback for them.

Rivers was at home in Alabama on Sunday night when he got a call from Colts coach Shane Steichen and general manager Chris Ballard. They had just lost starting quarterback Daniel Jones to a torn Achilles tendon, and rookie backup Riley Leonard suffered an undisclosed knee injury in relief.

“We said, ‘What do you think?’” Steichen said Wednesday of phoning Rivers, the Chargers great who finished his career with the Colts. “He said, ‘Heck yeah, I’m interested. Heck yeah.’ So he slept on it and then we called him back Monday morning and he said, ‘I need to get up there and throw in that building. Start moving around.’”

The quarterback, five years removed from his last game, threw at the Colts facility Monday and Tuesday then went back to his hotel to think it over. When Steichen and Ballard called again, Rivers — in true Philip Rivers style — said, “Dag-gummit, let’s freaking go.”

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KINGS FALL TO KRAKEN

Vince Dunn scored on the power play 1:21 into overtime and the Seattle Kraken ended a five-game losing streak on Wednesday night by beating the Kings, 3-2.

Matty Beniers tied the score for the Kraken with a power-play goal with 25.3 seconds left in regulation. Jared McCann also scored for Seattle, which had been winless in six outings (0-5-1) since Nov. 23. Eeli Tolvanan assisted on the tying and winning goals. Dunn added two assists.

Joey Daccord made 24 saves.

Alex Laferriere had a short-handed goal and Kevin Fiala scored on the power play for the Kings. Anton Forsberg made 30 saves.

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Kings summary

NHL standings

THIS DAY IN SPORTS HISTORY

1938 — New York Giants beats the Green Bay Packers 23-17 to win the NFL championship.

1946 — The Chicago Stags and Cleveland Rebels play an experimental NBA game featuring 15-minute quarters, instead of the usual 12-minute quarters. The Stags beat the Rebels 88-70.

1949 — Johnny Lujack of the Chicago Bears passes for 468 yards and six touchdowns in a 52-21 rout of the Chicago Cardinals.

1951 — Joe DiMaggio announces his retirement from baseball.

1959 — Richie Guerin scores 57 points, at the time the most ever by a Knick, as New York defeats Syracuse 152-121. His team record was broken by Bernard King 25 years later.

1971 — The Lakers set an NBA record with 21 straight wins by beating the Atlanta Hawks 104-95, breaking the record of 20 set by the Milwaukee Bucks the previous year.

1972 — Joe Namath of the New York Jets passes for 403 yards and Don Maynard sets an NFL record for career receptions in a 24-16 loss to the Oakland Raiders. Maynard, with seven catches, breaks Raymond Berry’s record of 631 by one catch.

1977 — Philadelphia’s Tom Bladon scores four goals and collects four assists to set a record for defensemen with eight points in the Flyers’ 11-1 victory over the Cleveland Barons.

1981 — Former world heavyweight boxing champion Muhammad Ali’s 61st and last fight; loses to Trevor Berbick by unanimous decision in 10 rounds at Queen Elizabeth Sports Centre, Nassau, Bahamas.

1982 — Dan Fouts the San Diego Chargers passes for 444 yards and five touchdowns in a 41-37 victory over the San Francisco 49ers. San Francisco’s Joe Montana passes for 356 yards to set an NFL record with five consecutive games of 300 yards or more passing.

1983 — John Henry becomes the first racehorse to surpass $4 million in career earnings when he wins the Hollywood Turf Cup with jockey Chris McCarron at Hollywood Park.

1985 — Wayne Gretzky of the Edmonton Oilers registers seven assists in a 12-9 victory over the Chicago Black Hawks. The teams tie the NHL record for most total goals in a game.

1992 — Gary Bettman, the NBA’s senior vice president and general counsel, is named the NHL’s first commissioner.

1999 — Rowan ends Mount Union’s NCAA-record 54-game winning streak, beating the Purple Raiders 24-17 in overtime in a Division III semifinal game.

2002 — Danielle Dube becomes the third female goalie to start in a men’s pro hockey game, stopping 18 shots in the Long Beach Ice Dogs’ 4-1 loss to San Diego in the West Coast Hockey League.

2002 — Colorado’s Joe Sakic scores his 500th career goal in a 3-1 loss at Vancouver. Sakic is the 31st player in NHL history to reach the milestone.

2006 — Jerry Sloan becomes the fifth coach in NBA history to win 1,000 games after Utah defeats Dallas 101-79.

2009 — Tiger Woods announces an indefinite leave from pro golf to focus on his marriage.

2010 — Carl Hagelin scores two goals in the Michigan’s 5-0 victory over Michigan State at Michigan Stadium. The announced attendance of 113,411 crowd sets a world attendance record for a hockey game.

2015 — The Golden State Warriors need two overtimes to remain perfect on a very imperfect night and improved to 24-0 this season by outlasting the Boston Celtics 124-119.

2021 — 87th Heisman Trophy Award: Bryce Young, Alabama (QB)

Compiled by the Associated Press

Until next time…

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.

SEOUL, Dec. 12 (UPI) — North Korean leader Kim Jong Un praised his country’s military modernization efforts as addressing security challenges “effectively and correctly” at a key ruling party meeting, state-run media reported Friday.

Kim said the regime’s push to strengthen defense capabilities was the “exact” direction to ensure North Korea’s security amid shifting geopolitical dynamics, according to the official Korean Central News Agency.

The comments came as the three-day enlarged plenary meeting of the Workers’ Party of Korea’s Central Committee wrapped up on Thursday. The session reviewed this year’s policy implementation results and laid groundwork for a key party congress set for early next year.

During his remarks, the North Korean leader also highlighted the deployment of troops to Russia as a major achievement of the country’s defense strategy.

“The signal military gains made by … the Korean People’s Army in the overseas military operations over the past nearly one year demonstrated to the world the prestige of our army and state,” Kim said.

Pyongyang has provided significant support for Moscow’s war effort in Ukraine, sending thousands of shipping containers of munitions and deploying 15,000 troops to assist Russian forces in the Kursk region, according to Seoul’s National Intelligence Service.

In exchange, experts assess that Russia is transferring advanced military technology to Pyongyang, including assistance with space launch vehicles, reconnaissance satellites and air defense systems.

On Friday, the commander of U.S. Forces Korea warned of the expanding threat posed by North Korea as it deepens military cooperation with Russia.

“Russian-DPRK collaboration is real — it is not a quid pro quo relationship,” Gen. Xavier Brunson said during a webinar.

The Democratic People’s Republic of Korea is the official name of North Korea.

“There are things we know are happening right now that give me pause as I look at what might face us down the road, whether that be training, or techniques and procedures they’re learning from the front,” Brunson said.

The ruling party’s Ninth Congress, expected in early 2026, is widely expected to outline a new five-year economic plan and recalibrate Pyongyang’s military and foreign policy priorities.

Analysts say that the event may also cement a hard-line posture toward South Korea. In 2024, North Korea officially designated the South as a “hostile state,” according to state media, while Kim publicly rejected the long-held goal of reunification.

TRAVELLERS will soon be able to relax in a brand new airplane which is poised to take off within days.

American Airlines is set to launch its new Airbus A321XLR which has a focus on comfort.

It is due to take off on December 18.

Initially is will be a transcontinental service from New York’s JFK airport to LAX on the West Coast but the aim is to then expand to a number of transcontinental routes along with transatlantic destinations and routes to South America.

The airline aims to have 40 XLRs in service by 2030.

American’s chief commercial officer Nat Pieper told USA Today that the new aircraft is part of the carrier’s plans to make American Airlines experience more streamlined and predictable, both on the ground and in the air as well as to try to encourage return customers.

Mr Pieper said: “I don’t view it as an event in isolation. We had a coffee announcement and a champagne announcement. Now an airplane, that’s obviously bigger.

“The investments that AA’s making, not just in ’26, but really, it’s now something you’re going to see going forward.”

On board, passengers can relax in new seats in all classes of service.

In business class, the XLR features all-new lie-flat suites with doors.

However, the doors are not yet certified and will have to remain open until the Federal Aviation Administration makes its final approval for use.

The business-class cabins have one seat on each side of the aisle, so every lie-flat suite has aisle access and a window.

As a nice touch, a little drink-size tray table pops up when the seat is put in bed mode.

The new plane is also American’s first single-aisle aircraft which features international-style premium economy seating, arranged with two seats on each side of the aisle in every row.

All premium economy seats come with a footrest and a legrest, along with privacy wings set at head height.

It is similar to a domestic first-class seat and features a large in-flight entertainment screen as well as plenty of storage space.

Behind the premium economy, there are two rows which have extra legroom in economy in the exit rows and then a large cabin of traditional six-across economy seats.

The economy seats come with large in-flight entertainment screens as well as both USB-A and C ports.

All the entertainment systems in all classes allow for Bluetooth headphone connections.

Initially, the A321XLR will start on the JFK-LAX route on December 18 and then start flights from JFK to Edinburgh, Scotland, in March.

Then the planes will fly numerous transcontinental routes from both JFK and Boston-Los Angeles.

In the longer term, it is hoped American will use the planes for additional European markets as well as South American and some African destinations.

Mr Pieper said though the exact routes will be determined by customer demand.

As American’s fleet of the XLR grows, it will weigh up where is best to deploy them.

Mr Pieper said: “Guests will tell us with their wallets and with their comments and preferences where they would truly value it.”

As American increases its fleet of the A321XLR it will retire its older aircraft or move them onto less premium routes.

An exciting Sunday for Aparna Nancherla is a Sunday without much excitement. “My cortisol runs high without anything happening, so I’m trying to get it down,” she says.

Eliminating stress was part of the reason the comedian moved back to Los Angeles in 2023, after over a decade in New York City, where she wrote for “Late Night With Seth Meyers” and “Totally Biased With W. Kamau Bell,” appeared in TV series like “Search Party” and burnished her stand-up comedy career.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

“I’m a little bit of a hermit, and just wanted some more trees and a little more space,” Nancherla says.

Nancherla’s book of essays, “Unreliable Narrator: Me, Myself and Impostor Syndrome” was also released in 2023. In it, she examined her emotionally fraught relationship with stand-up. After a break, she recently brought her understated approach back to the form and her new special, “Hopeful Potato,” is available on the comedy streaming service Dropout starting Dec. 15.

She likes to spend her Sundays mostly engaging in familiar routines, though she’ll pursue a little bit of discovery around town.

This interview has been lightly edited for length and clarity.

10 a.m.: Late riser

I would like to be someone who wakes up around 7 to 8 a.m., but I am waking up probably in the 9 to 10 a.m. vicinity. I would wake earlier, but I think in a past life I was a two-toed sloth or something because I’m nocturnal and I move very slowly. It takes me a lot of time to ease into a different state of being — sleep to wake, wake to sleep. Pretty much any transition I’m bad with.

Being a stand-up doesn’t help. A lot of my job is oriented toward night, but even before comedy, something about the night called to me. It’s not necessarily the healthiest behavior, but thus far I haven’t been able to change my ways.

10:15 a.m.: Morning rituals

I’m someone who falls into doing rituals for a while, almost obsessively, until I replace them with different ones. Lately my ritual is as soon as I get up and brush my teeth and wash my face, I will put on a song and dance to it and do some stretching. I tend toward depression and anxiety, so dancing is an easy way to immediately get your endorphins and it doesn’t feel like as much of a demand as going for a jog.

It’s literally three minutes of a song and then I will try to meditate. My mom recommended doing 20 minutes of meditation, but I feel like 10 is where I’m landing. My attention span is so bad lately that it really is just me closing my eyes and composing emails that I’ll forget to send rather than attuning to some higher power.

11 a.m.: Chasing waterfalls

I’m lucky in that I live near three botanic gardens, so I really have my pick, but I got a membership to the Arboretum because I like that they have peacocks.

They also have a giant waterfall. I’m trying to form a walk where I will eventually end up there. They have a few really nice spots where you can chill out near the waterfall, so I’m probably just sitting, maybe journaling, kind of enjoying the ambience.

I don’t know if there’s a word for someone who’s in love with waterfalls, but I really like them. Apparently there is among [the cable channel] TLC’s vast array of offerings, a program where people are in love with inanimate objects, like cars and bridges, and they want a romantic, sexual relationship with these things. I just want to say that that’s not how I approach a waterfall, but I do deeply care for them as a friend.

1 p.m.: Aspiring regular

I really like Lemon Poppy Kitchen in Glassell Park. Every time I’ve been there, I’ve seen the same people, so I don’t know how many times it takes for you to become a regular, but I guess I’m an aspiring regular there. They have a scramble I really like. It’s not too crazy, it’s a Cali scramble. They also have some Eastern European-y things. They have some kind of polenta dish with eggs. It has a little bit of sauerkraut. I like what they’re doing with their brunch direction.

3 p.m.: Reading is fundamental

I’m a big books person. There are so many independent bookstores I want to mention. I really like North Figueroa Bookshop in Highland Park. They feature a bunch of independent presses.

I love Sierra Madre. It’s such a walkable neighborhood. They have a bookstore called Fables and Fancies. They have a tree inside — who doesn’t like that?

There’s also one called DYM Books & Boba in North Pasadena. The owner, Desiree [Sayarath], is so sweet. It’s not a huge bookshop, but they feature a lot of authors of color and queer authors. Then it’s got a full coffee menu, and you can add boba to pretty much anything. They have gulab jamun-flavored matcha, which I have never seen anywhere else. Gulab jamun is this Indian dessert. It’s like a rose water and cardamom flavor.

4 p.m.: Gifts for the unknown

I would love to go to a craft fair. There’s one in Pasadena called the Jackalope Art Fair that’s there periodically. I already buy things that I maybe don’t need, but I do like a craft fair because you’re making eye contact with the creator as you’re buying their thing and it feels like you’re getting extra dopamine from that.

The worst thing is that I’m like, “This will be a great gift for someone later.” I have bags of gifts for people, and I don’t know who these people are, but someday they’re going to be getting a bag of buttons.

6 p.m.: Feeding schedule

At 6, I have to feed my cats. They’re very strict about their mealtime. They eat at 6 and 6. My partner feeds them at 6 in the morning, but I feed them at 6 p.m.

They’re sisters. They’re 5 years old. They’re pretty demanding in general. They’re pretty vocal about what they want and when they need it.

6:30 p.m.: Fitness to fight depression

Lately, I’ve been doing a lot of workouts at home. I’ll do a kickboxing thing or yoga Pilates. I tried to get into the gym and, I don’t know, something about the gym environment really bums me out.

I’m not like a Peloton girlie. I’m joining some of your more avant-garde platforms. I don’t think they think of themselves as avant-garde, but there’s this platform of African dance called Kukuwa these women in Africa started and I love their workouts. Then there’s free stuff. There’s Move With Nicole, which is a Pilates account on YouTube that I do a lot. I’m looking for your smaller businesses.

As I’ve gotten older, my mental health has plummeted for various reasons. I feel like exercise is one of the only things that helps regulate it to some extent, which I hate saying because when you say you’re depressed, people are like, “Just go for a walk.” And it’s not like the walk cures depression, but it does help to get some vitamin D or just be like, “Oh yeah, I have these muscles, I should probably sometimes use them.”

7 p.m.: A new dish

I don’t mind a dinner in, but I feel like given the chance, it’s always nice to eat at the restaurant. I discovered this vegan place in Highland Park that does vegan sushi that’s pretty new called Tane Vegan Izakaya. I’ve also been meaning to check out this vegetarian place in Echo Park called Men & Beasts that I keep hearing about.

I like trying a new place, but then once it works for me, I’m probably hitting that up a bunch of times. If a restaurant clicks where the food is great, the service is great, the atmosphere is great, then I’m happy to support them as much as possible.

9 p.m.: Puttering toward bed (eventually)

I’ll come home and watch something. I’m trying to scroll less on my phone, so maybe I’ll watch “The Great British Bake Off” or something that’s not too taxing on the brain.

I usually make myself a big cup of ginger tea at night because my stomach has been more temperamental as I’ve gotten older, but what usually happens is I make the big cup of tea and then I forget about it, and it kind of watches me while I scroll on my phone.

Every day, I want to be in bed by 12:30, and then it ends up being 2 a.m. and I cannot account for how that happened. I think I’m just a serial putterer, in that I putter around and I don’t know what I’m doing a lot of the time.

Fatima Alhassan is twenty years old now, but her voice still carries the weight of a ten-year-old girl who watched her world collapse a decade ago. Her father, Shahid Alhassan, was killed on Dec. 12, 2015, during the infamous ‘Zaria Massacre’.

“Despite our little time with him, we were always happy around him,” she said. “We were very close. Since we lost him, that vacuum has not been filled in our hearts.”

It was a Saturday morning, and Shahid had just returned home from a funeral. He lay on the sofa, with dust still on his palms. After some moments, he rubbed it across his face and said, “I am next”. His wife, Hauwa Muhammad, found those words unsettling. 

Immediately, Hauwa dismissed it, insisting it was not yet time and that they still had years to spend together, but he replied quietly that “my grave would not be dug in Kano, but in Gyallesu [a suburb in Zaria, Kaduna State, in North West, Nigeria].”

Shahid rose from the sofa, bathed, and had breakfast, and together they walked to the door, exchanging pleasantries before he left.

Around noon, news broke that officers of the Nigerian Army opened fire on some members of the Islamic Movement of Nigeria (IMN) in Zaria town.

That Saturday was the first day of Maulud, the birth month of Islam’s Holy Prophet Muhammad. Shahid and other IMN faithful had gone out for the celebrations. 

Founded in the early 1980s, the IMN grew under the leadership of Ibrahim Zakzaky, then a student activist at Ahmadu Bello University in Zaria. Inspired by the 1979 Iranian Revolution, Zakzaky advocated for an Islamic state governed by Sharia law. What began as a campus-based movement quickly expanded nationwide, attracting millions of followers who aligned with Shi’a Islam.

What really led to the Zaria Massacre?

The military claimed that the convoy of the then Chief of Army Staff, Lt Gen. Tukur Yusuf Buratai, was denied access through the road where the members of IMN were preparing for the Maulud celebration. 

However, Mukhtar Bashir, an IMN representative in Kano State, told HumAngle that the group were hoisting a flag when they sighted the convoy and some soldiers stationed near a filling station. Immediately, they felt something was off, and then some members confronted the convoy to enquire what was happening.

Over the decades, IMN’s growing influence and its confrontations with state authority led to heightened tensions with Nigerian security forces. One of the most significant clashes occurred in July 2014, when soldiers killed three of Zakzaky’s sons and 30 IMN members during a Quds Day procession. 

The incident deepened mistrust and left many IMN members expecting hostility whenever the military appeared. As Mukhtar recalled: “We thought it was another attack.”

What began as a “simple confrontation” quickly escalated into a full-scale assault, which continued through the weekend. Mukhtar told HumAngle that the soldiers opened fire indiscriminately on unarmed civilians, including women and children, killing hundreds as the violence stretched across three days. 

By Tuesday and Wednesday, the focus had shifted from gunshots to the evacuation of dead bodies that were buried in mass graves. Mukhtar said the burials were held without religious rites, or “any form of dignity”. Amnesty International confirmed this claim in a report on the incident. 

Based on IMN records, “a thousand members of the organisation” were killed in the massacre. Muktar noted that when the numbers of passersby who were caught in the violence and also lost their lives are added, the death toll will be significantly higher. “We can show the houses of each person killed or missing,” he added.

The aftermath

When the news got to Hauwa, she was at home, anxiously waiting for her husband’s return. During those tense moments, she remembered the words Shahid had said while on the sofa. “What if his prayers had been answered?” She thought. 

Hauwa kept dialling her husband’s phone number, but every call went unanswered. Later in the evening, she began receiving different accounts about Shahid’s whereabouts; some said he was injured, others said he was dead. 

“Initially, I never believed he was killed,” she recounted. “We heard that it was our neighbour who died. Even my husband’s uncle said he was alive. Until Shahid’s friend, Malam Abdulkadir, drove to Zaria and confirmed that he was dead.” 

Hauwa still didn’t believe that testimony until a local newspaper published images of the deceased Shi’a Muslims. That was when she accepted his death. 

What followed was silence, Hauwa said it was unbearable. “Every day, in every aspect of my life, I felt the absence of my husband, the only pillar of our household. He had been a devoted father to our seven children and a loving companion to me,” she said. 

His loss left the family adrift. Twenty-one months after the incident, Hauwa’s youngest son also died. It deepened the tragedy for the family. 

“I miss my husband,” she said. “It was through him that I fell in love with the path I am on as a Muslim. I have nothing to say, only to ask Allah to bless him for all he has done for us, and may his soul continue to rest in peace.” Hauwa believes that Shahid died a martyr—a gift he had long prayed for. 

However, the challenges of raising their children alone, the weight of grief, and the absence of justice have defined the family’s life for the past decade.

“Some days are filled with happiness, while others are filled with pain and hunger. The sad days are more than the happy ones,” said Fatima, staring away from the camera. She attends a secondary school in Kano, where she also lives with her mother and six siblings in a modest three-room apartment. 

Each morning, as she prepares for school, she asks her mother for transport fare. Too often, her mother has nothing to give. Fatima does not feel anger; it is the ache of knowing her father is not there to shoulder the burden. 

While in school, Fatima says she is often silent when conversations come up with friends about their fathers and their life plans. “Living without a father is emotionally disturbing,” she told HumAngle. “We just have to do everything with our mother, and it saddens me.”

The loss has reshaped her dreams. Once, she imagined herself studying commerce, perhaps medicine or journalism. But after her father’s death, affordability dictated her path. She now studies Arabic, hoping to become a teacher—a future she never planned for, but one forced upon her by circumstance.

It is ten years since the massacre, but families, like Shahid’s, said they have not gotten justice. “They even painted it to look like we are the ones who committed an offence,” Fatima said. “The government has not done anything tangible. To them, it might have passed, but to us, it is as fresh as it was ten years ago.”

After the massacre, the former Kaduna State governor, Nasir El-Rufai, set up a judicial commission of inquiry, whose report found evidence of human rights violations by the Nigerian Army and also noted that 347 IMN members were killed in the incident. 

“The commission recommended prosecution of the soldiers who participated in the killings, but that has not been done,” said  Haruna Magashi, legal practitioner and human rights activist.

IMN also accused the soldiers of demolishing their buildings, including the residence of their founding leader, Ibrahim Zakzaky. In November, when HumAngle visited Zakzaky’s house and some of the IMN centres, some had been turned into a refuse dump site, while others were still not in shape.

Some survivors who spoke to HumAngle three years ago recalled scenes of chaos as homes were raided, people shot at close range, and corpses left scattered on the streets.

Zakzaky was arrested by Nigerian authorities after the incident, but he was discharged and acquitted by the court in July 2021. “All the concluded cases against the IMN were in their favour,” said Haruna. 

A Nigerian court has since ruled that the activities of IMN are “acts of terrorism and illegality”, an allegation that it has persistently denied. IMN was banned in July 2019. 

Echoes of grief

While some of the survivors were teenagers and are now young adults, others can’t even remember because they were babies, but they have formed memories through stories. 

Fatima Alhassan was four when her father died in the massacre. The 14-year-old said she only tries to picture her father through the good things her mother has said about him. Through the stories, she knows that his father was a good cook, and he always bathed his children and cared for the household whenever illness struck.

“Honestly, we have all been cheated in our family,” she said. “This is because whenever my mother falls sick and my elder siblings aren’t home, she has to do all the chores by herself. But if my father were around, I am sure he wouldn’t leave her like that. Even if she insists he go to work, he would still stay behind to assist her. Such moments break my heart, and I wish he were still alive.”

Those recollections make her long for the father she never really met. At her former school, she and her siblings were bullied by classmates who mocked them for not having a father, flaunting gifts they received, while they reminded them of what they had lost.

Fatima says her uncles and other close relatives have been supportive, especially during festive seasons, but the longing for her father never fades.

“It hurts me a lot. If I were to see him now, I would tell him that we have missed him a lot and we have suffered without him,” she said as tears rolled down her cheek.

‘To live my father’s dreams’

Amidst an unending grief that aches now and then, Al’haidar Alhassan said he wants to live his father’s dream. He is studying at Basita Darwish Chami Academy, a boarding school in Kano State built for orphans whose parents were killed in the massacre, and he hopes to be a scientist and a researcher someday. 

“Glory be to God Almighty that we have gotten the support we need, and I believe we will achieve what we intend. Nevertheless, I still feel heartbroken. The thought of losing my father and pillar still affects me because I feel demotivated sometimes,” he said. 

After his father’s death, the 19-year-old and his siblings dropped out of school for two years. Al’haidar said that his father’s greatest wish was for his children to be educated. 

“I miss the father-and-son bond we shared. Whenever he was leaving for work, I never wanted to let him go. Whenever I see a child and his father, the more I miss him, and in some cases, I have no choice but to cry,” Al’haidar added.

A father’s loss

While Al’haidar misses the bond with his father, Bashir Muktar sits on the floor in his living room, in between the portraits of his two sons who were killed in the massacre. The bond with his children was one of deep affection and shared ambition.

Shahid Abba, his eldest son, had just completed his remedial studies at the College of Arts and Islamic Studies a few days before the incident. The 20-year-old was brimming with plans to pursue chemical engineering at the university. Meanwhile, Bashir’s younger son, Hujjatullahi, was still in secondary school at Fudiya Science in Kano. The 18-year-old has dreams of becoming a doctor.

“A child is a flesh of yours,” Bashir said, “and you live your life trying to ensure that you build them up. You have certain ambitions towards your children. In every household, every father tries to build his children to greatness because they are your successors.”

Even though he kept a smiling face, it broke his heart as he recounted some of his sons’ youthful curiosity. He speaks about a day in 2014 when he found the younger son under the staircase, carving something for a school experiment. 

He teased him for “still behaving childishly”, but Hujjatullahi replied that: “It is an assignment. I am going to conduct an experiment on meiosis and mitosis.” That was the day his son revealed to him his dream of becoming a doctor. These memories, Bashir said, are etched in his heart.

He was on a trip in Abuja, North Central Nigeria, when his children called to ask if they could attend the Maulud programme in Zaria. He suggested they meet there at the event, but he was caught up in a late meeting, and his sons kept reaching out to confirm what was happening.

“They sent a text message enquiring what was happening in Zaria. I replied with, ‘Nothing is happening.’ They asked if they could proceed, and I said yes, not knowing soldiers had attacked and opened fire at the venue earlier that day,” Bashir recounted. 

By the time he tried reaching them again, their phones were no longer connecting. Bashir attempted to travel to Zaria the following day, but the roads were sealed off as news spread quickly that soldiers had blocked the entrance to the city.

Two days later, while having breakfast, he got a call: “I extended salutations, then I heard, ‘Father! Father!!’ It was the voice of Hujjatullahi. I confirmed by calling his name, then I started recording and put the call on speaker. I asked, ‘What’s happening, Hujjatullahi?’ He said, ‘Please forgive us, Father.’ I asked again, ‘What is happening?’ He responded, ‘Forgive us for whatever we have done to you until we meet at Darul Salam [referring to the final abode of the deceased righteous in Islam].’”

The words that followed were devastating.

“My elder brother has been shot in the stomach, and I have been shot in the stomach and my arm,” Hujjatullahi told him.

Bashir said that how his sons were buried worsened his grief.

“If they had travelled or fallen sick and died, it would have been different. But the manner in which they lost their lives is painful,” he said. “After killing them, they took their corpses, both men, women, children, pregnant mothers, and the elderly, then dug a massive hole and buried them all together like animals. No religious ritual was performed. With these, there are a lot of things to remember, and we can’t forget them.”

When asked what justice looks like for him and other grieving families, Bashir said that the fight for justice is not only about acknowledging the massacre but also about reclaiming the dignity of those who were killed.

“The most important thing for us in this fight for justice is the corpse of our loved ones,” he told HumAngle. “Where are the dead bodies of the people they killed and buried without prayer, spiritual bath, no shroud, no graves, nothing at all?”

“I believe even if someone is sentenced to death, after the life is taken, the body belongs to the family. So, where are the bodies? Despite killing them without any valid reason, they are still depriving us of their dead bodies.”

The last witness

In the same incident, Zainab Isa lost nearly everything.

Her husband, Abdullahi Abbas, and six of their children—Abdulrazaq, Muhammad, Abbas, Ahmad, Ibrahim, and Jawwad—were all killed in the Zaria massacre.

A decade later, at her home in the Rimin Danza community in Zaria, she imagines what her youngest son, Jawwad, who was only 18 when he died, might have become at 28. “I wouldn’t be surprised if he were a doctor by now,” she said.

She said Jawwad was quiet, intelligent, and reserved and carried the kind of promise that only time could have revealed. Instead, his life ended before it even began.

Her eldest, Abdulrazaq, was over thirty when he was killed, four years after graduating from Ahmadu Bello University, Zaria.

He had plans to further his education once he secured a job. She remembers his brilliance in school, his demur anytime he was announced first in class, and his humility in admitting that his younger brother Jawwad was even smarter.

Jawwad contributed to scholarship by writing an Islamic book, the Forty Hadiths, which was published and shared at his graduation, before his death. 

Zainab can go over and over again about the stories of each of them. She told HumAngle that even other people in her community remember her children not only for their achievements but also for their kindness. 

Neighbours told her of small acts of generosity—paying transport fares for strangers, helping to fetch water for a neighbour, and offering support without being asked. “Wherever they went, they were loved,” she said. “I am not saying it to prove anything. It was God Almighty that blessed me and made them upright.”

Since that incident happened, her husband’s words about the frailty of life have stayed with her: “Only God knows who would be the first to leave this world between us. I just pray God accepts my worship before He takes my life.” 

“The scar will never heal,” she said. “Even if they would bring a truckload of dollars to my house, with the intention of making me happy, honestly, it won’t make me happy. If times could change, I would ask them to stay behind and go there myself to die instead, because they were still young and had dreams and were loved by everyone.”

Zainab is one of the few surviving witnesses to her family’s tragedy. 

Between grief and discrimination

Sadiya Muhammad, another widow of Abdullahi Abbas, was left between the pain of losing her husband and the discrimination her daughter endured in its aftermath.

Sadiya’s daughter, Radiya, was only two years old in 2015. Too young to remember her father, she grew up knowing his face only through photographs. “Whenever you hand her a picture, she would be able to point out her father,” Sadiya said.

But at school, where students and teachers came from different Islamic sects, her daughter faced painful words that deepened her grief. One day, a teacher openly told the class, “Do not be carried away by the prayers and fasting of any person who is a member of the Shi’a sect; they are worse than unbelievers, and they are all going to hell.”

The little girl returned home troubled, asking her mother, “Since my teacher said those who are Shi’a are all going to hellfire, is my father also going to hellfire?”

Sadiya’s response was firm yet tender: “I told her that her father is not going to hell; rather, he was martyred, and by Allah’s mercy, he is going to paradise.”

In the years after the massacre, her family’s mourning was made heavier by the sectarian prejudice of others, forcing her to constantly remind her children of their father’s honour and the value of their faith.

Human rights activists like Magashi believe the massacre carries a broader warning about minority rights in Nigeria. “You are in danger of extinction once you are a minority in the country,” he said. “This is dangerous as far as human rights are concerned. The Shi’ites are the minority Muslims in Nigeria, but they share the same human rights as the majority.”

In the latest episode of The Envelope video podcast, Tonatiuh discusses the grassroots efforts he spearheaded to get “Kiss of the Spider Woman” in front of communities Hollywood may not always reach, and “Song Sung Blue’s” Kate Hudson explains what makes a good music movie.

Kelvin Washington: Hello, everyone, welcome to another episode of The Envelope. Kelvin Washington here. You know who I’m with: Yvonne Villarreal, Mark Olsen, glad to be here with you. Thanks for watching and listening.

All right, let’s get it started. Mark, you had a chance to talk to Tonatiuh. And of course, this is a big moment for him. This is something he worked hard for and now getting a lot of recognition for — “Kiss of the Spider Woman.” Tell me a little bit more about your chat.

Mark Olsen: That’s right. So earlier this year at the Sundance Film Festival, there just was this great moment at the premiere of Bill Condon’s adaptation of the musical version of “Kiss of the Spider Woman,” where just to see a showcase like this for someone is so exciting. Tonatiuh, he’s acting, he’s singing, he’s dancing. There’s like so much in this performance. It’s wonderful to to see. He has a lot of poise and charisma just simply in conversation. So it made for a really exciting talk.

Washington: And also the difficulty playing multiple roles, right? I mean, I would imagine that would have been challenging.

Olsen: That’s right, in the structure of the film, he plays a political prisoner in a South American jail and he’s explaining a favorite movie of his to his cellmate, played by Diego Luna, and then he also becomes the dashing leading man of that movie [within] the movie.

Washington: Right. Diego, also Jennifer Lopez, so obviously around some big stars. I swing over to you — speaking of big stars, Kate Hudson has been one for for a long time.

Villarreal: I thought you were talking about me!

Washington: You thought I was talking about Kate? You and then Kate, of course.

Villarreal: Obviously.

Washington: Kate Hudson, a big star for for some years now, half of a tribute band for Neil Diamond, “Song Sung Blue.” Tell me a little bit about this.

Villarreal: I feel like it’s the perfect pairing to have both these guests in this episode. This one also showcases, you know, her singing abilities and her performing abilities as an actor — two of her passions. She recently released an album, and with this movie, we really get to see Kate onstage and embodying what that’s like. We see this couple who find success as this Neil Diamond tribute band, but in the middle of the height of that, her character Claire suffers a big tragedy and it really derails everything, and she has to find her way back to that. And it was a really touching conversation to hear Kate sort of embody that and her own thoughts on, you know, when you come from a world like this, it’s not a guarantee, and you have to really have passion for that. Hearing her talking about spending time with Neil Diamond at his cabin. And she sang for us a little bit. When you leave that film, I feel like there’s an instinct to go home and just listen to Neil Diamond. I know I did. Hopefully we can go karaoke at some point.

Washington: “Sweet Caroline…”

Villarreal: Do you have a Neil Diamond go-to, Mark?

Olsen: Well, I love the “Hot August Night” album recorded live at the Greek Theatre here in Los Angeles, so I’ll go with any of the tunes from that one.

Washington: I’m still upset with the both of you that I there was no “Bah, bah bah…” [to continue his “Sweet Caroline”].

Villarreal: Hugh Jackman’s character would not go for that. I’m just saying.

Washington: Would have joined me? Or not going for it, like you two leaving me hanging?

Villareal: He doesn’t want us to start with “Sweet Caroline.” You gotta go further than that. But I’ll allow it now.

Washington: Deep cuts?

Villarreal: Deep cuts.

Washington: All right, we’ll talk some more about it while you enjoy Mark and Tonatiuh.

Tonatiuh in “Kiss of the Spider Woman.”

(Roadside Attractions)

Mark Olsen: It seems like you’ve been approaching your career with such a sense of intentionality and purpose. And I would imagine, especially as a young actor starting out, you’re not necessarily in control of the roles that you get, what you could do. What have you done or how do you feel like you are trying to take that control and have that sort of intentionality in the roles that you take and what you’re doing with your career in this industry?

Tonatiuh: Well, I think I’ll pivot a little bit and say I’ve been working for 12 years as a working-class actor. I’ve been on an ABC show [“Promised Land”] as a series regular. I was in “Carry-On,” which at the time it was the No. 2 most-watched movie on Netflix, but I think we’re now at No. 5. “KPop Demon Hunters” slayed. But the only control that I really have is saying yes or no to auditions. I’m not necessarily getting offered roles. I’ve had an entire career where if I sit around and wait for someone to come knocking on my door, I will starve. And I didn’t get into this for the celebrity. I got into this because of the social impact that it had on my own life. Art to me is a mirror as to who we are as a country and who we are as people. And so it gives us an opportunity to really reflect on that, but it also gives us a destination to where we want to be. A lot of my sense of humor came from the TV shows and films that I watched growing up. And I was introduced to cultures that were different than mine. …

I think with this specific project, with “Kiss of the Spider Woman,” it was a role of a lifetime. Bill Condon wrote a fantastic script where we not only got to tell one movie but we get to tell two. We time travel and go back into a 1950s-style musical, and I get to live my Gene Kelly, Errol Flynn, Montgomery Clift fantasy with the character of Kendall Nesbitt. But then with the character of Molina, I get to be this almost genderless expression. In the totality of the film I get to play the gender spectrum. Hypermasculinity, classic masculinity, very Hollywood masculinity with Kendall, a genderless expression with Molina. And then at the very end you get a little surprise of a full female fantasy.

Olsen: Whether intended or not, this film is being released to a specific cultural and political moment. In particular, as someone who identifies as nonbinary and is the American-born child of an immigrant family, how are you processing the moment the movie is coming out to?

Tonatiuh: It comes in waves. It’s different waves. At first it was “Wow, how crazy relevant our film is,” and that’s powerful. And when I accepted the role, we’re giving the Hollywood treatment to a bunch of marginalized communities and we’re telling truly with our film, “Latinos are Hollywood.” In that era, in the 1950s, there weren’t very many, if at all, Latin stars, especially those who were allowed to be the leads in those films. And so with this we’re almost kind of rewriting history and subversively saying, “No, no, we’ve always been here” and reminding people of the dignity and the beauty of that. But, comma, we also are doing that for the queer experience. So Molina, in my view, is what we would consider in 2025 genderqueer. And we’re putting Molina right at the center, at the heart of the film. And my mission statement, and the whole reason I lost 45 pounds in 50 days, was to ensure that we can focus on their heart and their eyes and not even consider thinking about what their gender possibly could be. You’re just falling in love with a form, a person.

Olsen: This role, of course, in the original film was played by William Hurt. Do you feel it was important to have a queer performer in the part of Molina? What does that do for the story?

Tonatiuh: There’s a lot of lived experience that can go into the DNA of a character, right? But there’s also a sense of responsibility. I have met so many incredible, beautiful, gender-diverse individuals in my life. And so being able to center someone like that and to tell it with as much love, it’s just a little bit more icing on the cake. And there’s creative conversations as things are being built where you have to add and pitch perspectives that maybe someone missed because they don’t necessarily have that exact experience. I don’t necessarily subscribe to, “You always have to cast the person for the thing.” Although I relate and understand Molina, I’m an artist and my job is to bring that humanity to them. I don’t have to be identical to that person. That’s where my artistry comes from. But I think that the reverence and the respect and that sense of responsibility is what makes this unique.

Olsen: Your final number in the movie you begin in a tuxedo and you end in a dress.

Tonatiuh: With a 26-inch waist, mind you. Clock the waist.

Olsen: And there’s just something extremely powerful about that.

Tonatiuh: I mean, there’s something really cool about it. People weren’t expecting the flip with Kendall. So all of a sudden it’s like, “Wait, that’s the same guy. Now he’s looking dapper with a mid-Atlantic accent.” And then at the very end it’s a quite shocking revelation when we look down the barrel of the camera and she’s gorgeous. But that was the beauty of it. Molina dreams of being a Hollywood starlet. And I think, for me as an artist, this will probably be the only time in my life where I get to play a leading lady and a leading man at the same time. It was really special.

Olsen: Molina doesn’t really see themselves as a political person in the beginning of the film —

Tonatiuh: No, not at all.

Olsen: And part of the the journey of the film is Molina coming to realize that they are part of this fight whether they want to be or not.

Tonatiuh: Well, I think Molina falls in love. I think Molina felt like a loser in their own life who wasn’t capable of even defending themselves, right? They were just trying to survive. And there’s this twisted internalized messaging that children of marginalized groups or people who have been bullied, they start doing it to themselves as a way of protecting themselves from the world. Like, “I’ll punch myself first before you can, and I’ll make it funnier. Actually, it’ll be my whole personality.” And I think that there’s something healing in that. Valentin’s character says, “I’m disgusted when you’d make fun of yourself like that. Where’s your self-respect?” And I don’t think that they understood self-respect because I don’t think they experienced it before. And so it took living in a prison cell to find dignity again. And these two men who are diametrically opposed were able to drop all facades. They were stripped of their comforts, they were stripped of the very masks that they used to protect themselves and were forced to see each other in order to connect. And I think that’s a larger theme that’s happening in the world. I think we’re constantly being told that we’re divided and we’re not similar. But I think at the end of the day, we all want similar things. We want to feed our children. If something, God forbid, happens to us, we don’t want to go into medical debt over it. We want joy, we want community, we want connection, and I think that vulnerability is the price we pay for that connection.

Olsen: I was at the premiere of the movie at the Sundance Film Festival —

Tonatiuh: Were you really? Oh man, I wasn’t. I was fully disassociated that day.

Olsen: And something happened in that room. I think the entire audience felt they had seen someone arrive. What have the past few months been like since then?

Tonatiuh: I don’t know if I’ve arrived with this role. I’ve been preparing for this moment my entire life. I am an artist and I love what I do. And one of the biggest gifts that I got was I got to meet people, yes, at the top of their game like Jennifer Lopez and Diego Luna. But every dancer in our film was a person of color, a Latin dancer, people from the Black community, and they are also at the top of their game on Broadway. And that’s the beautiful part. I’ve met so many artists who were just dying for the opportunity. I feel like all of us are in waiting. And so it’s not for lack of talent, it’s for lack of opportunity. And with this, I am very proud of the work that I’ve done. I don’t know if I’ve arrived. People still have to see the movie, you know? And I have to get the next job. So we’ll see when that comes. But as an artist, I am feeling more emboldened to continue telling the stories that I want to tell and to continue sharing this 15 seconds of limelight with the things that I value. I think that’s what my mission statement is as an artist.

Olsen: What was it about this role that made you realize from the start that you were going to really grab it with both hands?

Tonatiuh: Well, I have no choice. No, no, no. After the strikes, after COVID. And I don’t wanna make this sound like a pity party, but the roles tend to go to the same 15 people. And I don’t come from nepotism. My mom was an immigrant in this country. She worked at a Jack in the Box drive-thru when she first got here. But I had a dream, and she and I and a bunch of my friends and community along the way just kept pushing and trying to make it happen. And so when you get three-dimensional characters, two, when you get three-dimensional characters and a really dynamic script. You gotta take it and fight. And I wanted to give it all. And it also was so important. We’re centering people who are currently being called terrorists for simply existing in this world. How can I not give them honor? This is our love letter to them. This is our way of saying we love you, we see you, and you’re not alone.

Olsen: Tell me about some of the outreach you’ve been doing to get the film in front of people and communities Hollywood may not always reach.

Tonatiuh: So I partnered with a couple of great individuals. It started off with my friend Ruben Garcia, who owns this incredible company called Mosaico. And we wanted to activate the Latin community and get people excited to come and see it. But then I kept thinking, “Man, our community has been going through a lot recently. And the country as a whole is experiencing some financial difficulties.” So I kept asking myself, “How do we give a little love and entertainment to folks?” So I reached out. I started calling friends. I started calling nonprofits. I started calling corporations and just saying, “Here’s what the mission is. We’d love to just gift things to people.” And so we created a small impact fund where we received some donations and we handed out QR codes. We just wanted to treat people for opening weekend, and we gifted tickets to the L.A. LGBT center because they have a youth services program. Los Angeles [has] one of the country’s biggest populations of unhoused queer youth. And it was important for me that they see themselves onscreen, that this is possible for them, that they get the Hollywood treatment. We gifted it to organizations that are helping with immigrant defense funds. We gifted it to their staff because they also need a little joy in their life.

And then another personal favorite was the very high school where I started acting, West Covina High School, is a public school. Their Teacher, Kim Battersby, was always going above and beyond, spending countless hours after school, over the weekend, and then she even had kids along the process. It is the performing arts programs that helped me see more of who I was. I felt like a weird little queer kid, I call it queer-do, in high school. And it was the on the stage where I felt I could practice being other people and seeing what worked and what didn’t and to learn more of who I was. I brought them out to the Grove and we filled it up with them and they dressed to the nines. They all got dressed up as if they were going to a premiere of their own. It was so sweet. And after the film, I thanked them and we took pictures and they were crying. Because they saw themselves. I taught some of them. And it was so sweet. And some of them shared their hearts with me and said that they’ve been scared of leaving the house because of what’s happening. That they’re walking around with their passports. That some of them feel like they’re invisible and that with this movie they felt seen. It was really touching.

Olsen: What does that mean to you? What do you hope those audiences receive from the film?

Tonatiuh: I mean, I think watch it. And be pleasantly surprised as to what the movie’s about. I don’t want to give too much away, naturally, because of course it’s fun to be surprised at a film. But I think our film does two wonderful things. It does hold up a mirror and it also reminds us of what we’re really about. And it creates so much joy. I mean, Jennifer, Diego, Bill, Colleen [Atwood], the incredible costumes; you get to see something that feels out of this time. And I think we could use a little Hollywood glamour right now.

Olsen: Can you talk about the challenge of this being essentially two performances — Molina in prison and then Kendall in the fantasy sequences?

Tonatiuh: Completely different performances. There are two different films with two different acting styles. And two different worlds to build. So let’s look at the movie. The first one, we were transported back into the 1950s, classic Hollywood. And so the first thing that I did as soon as I got the script is I called Bill and I said, “All right, give me every movie you want to reference, and I’ll watch as many of them as I could while preparing for it.” And I thought to myself, “Who is a wonderful tortured soul” — because Kendall’s really tortured — “that I could emulate?” And I instantly thought of Montgomery Clift, in “The Heiress” specifically. And I was just like, “Man, I want his energy, but I want to dance like Fred Astaire and Gene Kelly. And so preparing before set, I would just watch as many of these films as I was getting ready in the hair and makeup trailer. But there, you know, it’s down to the mannerisms, the small microexpressions, really trying to nail that acting style because it’s proscenium. But the crazy part is we’re a shoestring budget movie. I mean, it’s a musical, so it’s a little bit bigger than other independent films, but we only had about 20 days to shoot 12 musical numbers. And Bill wanted to shoot it in that style, which means if he could get away with a single take, he was gonna try to get away with a single take. And it took a powerhouse like Jennifer Lopez, but also Diego and myself, to really focus and nail those moments. And there’s one moment in particular, “Give Me Love,” [with] Jennifer in the Cyd Charisse green dress, making a nod to “Les Girls” and also “Singin’ in the Rain,” where I wasn’t even called to set and I was just there watching nonstop because I was like, “My God, this feels like I’m watching Marilyn or Rita or Cyd herself doing it.”

But then the second part was a naturalistic drama — well, a little bit of a fantasy, but inside of an Argentinian prison. And like I said, my mission statement was to make Molina as genderless as possible. I had just come off of “Carry-On,” so I had to lose 45 pounds in about 50 days. And this is not a commercial for Ozempic. I wish GLP-1 was sponsoring this because that would have been helpful. But no, I did it the old-fashioned way. I starved. But it was worth it. I really wanted to get that look and find his voice and the accent and transport us back into Argentina in the 1980s.

Olsen: But at the same time, is there some point of connection? Are the things that you’re doing in the two halves of the movie meant to bring them together?

Tonatiuh: Well, the two films are intrinsically connected. It’s Molina’s favorite film, but it’s also their diary. It’s their confession. Oftentimes it’s easier for us to say I love you through someone else’s song, or to say I’m scared. We look to films and music to transport us, to heal us. And so it starts off with Molina just sharing a little bit about who they are through their favorite film, but then it ends up becoming their confessions and their soul.

Olsen: Can you talk about the audition process and what it took to get this role?

Tonatiuh: I never feel really qualified to talk about the audition process because for me, this is how it went. They had been looking for months. I didn’t know about the project. I didn’t hear about it until Dec. 18 or 19, something like that. At that point, Hollywood’s completely shut down. I’m confident I was like the last person to hear about this audition. And then I locked myself up in a room after reading the material and just working it over and over and over again, until I found that throughline. ‘Cause there’s so many ways of telling a musical. Dec. 22, literally days before Christmas, I got a call saying, “You’re gonna come to New York. Jan. 2nd, 9 a.m.” Next thing you know, I’m doing a tango and a Bob Fosse number and singing in front of Bill Condon and [producer] Bernie Telsey. And then a little table read with Diego Luna and I get a text message from Bill saying, “Call me.” And I was like, “Oh man, it’s either ‘Call me, I’m sorry’ or ‘Call me, you got it’ and it was ‘You got it.’

Olsen: And then what was your audition number? What song did you do?

Tonatiuh: “She’s a Woman.” And with that number, it was so interesting because there were so many ways of telling that as well. My audition actually was from more so the point of view of Molina singing it, but within the context of the film, Kendall sings it. And so there becomes this almost “Victor/Victoria” moment where it’s Molina’s “I Want” song through Kendall Nesbitt. but played by Molina because he hated the original actor who was Kendall Nesbitt. And so it was really a thought process to think, “OK, well, how would the original Kendall do it and pay nods to him? But if Molina was able to take over his body and tell it, how would then he say it?”

Olsen: Jennifer Lopez’s performances in the musical numbers is a great reminder of why she is who she is. What was it like to see that up close?

Tonatiuh: What’s the quote? I feel it was like watching lightning strike. It was powerful and awe-inspiring. I mean, it was just incredible. But it was one of those moments, as soon as they say, “You’re gonna be singing and dancing with Jennifer Lopez,” it was like, “Oh, OK. Time to level up.” It felt like I was getting an invitation to the Olympics. I mean, these are some of the greats. Jennifer’s fantastic. Diego Luna is a phenomenal actor. Bill Condon is a master at this craft, specifically with musicals. And then even Colleen Atwood, who did all of our costumes, and Christine Cantella. They transported us with those fabrics, you know. And so it was really one of those moments like, “Oh wow, I’m I’m finally getting the invitation to go into the ring,” and it was either level up or die.

Olsen: And I know that in some ways they were almost two production units.

Tonatiuh: There were completely two different different productions.

Olsen: What was it like having to shift gears between the musical fantasia of the story within the story and the prison scenes that are, as you said, these very naturalistic, very dramatic scenes with Diego. How did you manage that?

Tonatiuh: I always joke around because people are like, “How did you start acting?” And I’m usually like, “My acting was a trauma response,” you know, just to survive and code-switch in the world. But jokes aside, I think that being able to shift quickly allows me to go from culture to culture, set to set, and just adapt quickly to that. We had a wonderful crew in Uruguay, which was amazing. But Bill Condon is an actor’s director. Once we went to Uruguay, he sat us down and we did traditional theater table reads. We sat at the table for a week and a half and we just talked about the script, beat by beat, moment by moment, really carving out what our thoughts were and his thoughts were. Sometimes we disagreed. Things in the script changed. He was so open to our perspectives — like we [were] the heads of the department for our individualized perspective, essentially. And the beauty of what we did was we shot this in order. It’s a two-man play. And so the first time that you see Molina entering the cell, meeting Valentin, was the first time that Diego and I ever saw each other in full character. These two people are discovering who they are with every passing scene and dropping the facades. But we as actors were learning to depend on one another. I always joke around that this is like the Stanford prison experiment, because we were in the cell before the sun went up, and we were out of the cell after the sun went down, straight to the hotel and back. And we were shooting in the dead of winter in Uruguay, so there was very little sunlight to begin with. So it was one of those moments where it was like we needed each other, and we created amongst ourselves a deep and and very personal bond.

Olsen: And tell me more about working with Bill, especially on the musical numbers. There are some extremely long and extended pieces of onscreen dancing.

Tonatiuh: He’s incredibly meticulous. In a good way. He has already thought about exactly what vision he wants. Down to the very film that plays in the theater at the end was a deliberate choice. And so it was really exciting because he invites you to his world and because he prioritizes the table reads, we’re able to fully understand what he’s trying to sell. So then we already know, we’re finely tuned to it. But everybody on the set, and those sets alone were just glorious. I felt like I was walking into the Titanic. It was incredible. And our choreographers, Chris Scott, Sergio Trujillo, Brandon Bieber, they also worked with Bill to basically do a dance between the camera and the dancers themselves. Because if you look back at old movies with Fred Astaire or with Gene Kelly, specifically Fred Astaire, they would zoom out just to show you from head to toe, we are dancing. This isn’t edited. It’s not done in the cut. Which was really, really cool.

Olsen: With everything that you’ve put into this project, how do you move forward from here? What is it that you see for yourself moving forward?

Tonatiuh: Well, with this project specifically, I think what I want is to get it into the hands of the people who I know will absolutely love it because I think that there’s a healing process in watching this, especially watching it in cinemas. It’s communal. The energy shifts and the technicolor washes over you in a way that a cellphone could never. But moving after that, I’m excited. My favorite thing is to transform. I’ve literally sat in theaters this weekend where people had no idea I was sitting next to them and that was me onscreen, and then I wait in the lobby to take pictures. Some people come up and they’re shocked that I’m there, A, but B that I look so different. And I didn’t get fat. I’m back to my normal weight, OK? I lost weight for Molina. But I love to transform. And up until this point in my career, I’ve only I’ve had a limited amount of ability to transform. I hope to be completely unrecognizable in my next role. And I don’t know what that’s gonna be. If I want to be a hero, if I want to play a villain, do something in the sci-fi world, an action world. I don’t know exactly what that is. And of course, I’d love to also go to Broadway. There’s one play in particular that I’ve been circling now for the last eight months, and I’m inches from putting it up. I’m inches from getting the rights. But I’m saying it on here because I am going to do that one way or another.

Hugh Jackman and Kate Hudson in “Song Sung Blue.”

(Focus Features)

Villarreal: Do you like doing podcasts as a fellow podcast host?

Hudson: I like talking to people. I like connecting, so I’m always down for for this. [With] podcasts you get to have more time to really unpack.

Villarreal: Has it made you appreciate the art of the interview?

Hudson: I’ve learned a lot. I was so used to being on the other side, being the person that’s being asked all the questions and having to navigate the right way to answer something and not get yourself into trouble. So when it flipped and we [she co-hosts “Sibling Reverie” with her brother, actor Oliver Hudson] started to interview, when I would listen to our podcast, I’d cut everything out. I’d be like, “Jesus, shut up, Kate.” I’d cut out so much. I’ve also learned that sometimes, you gotta get to the point. You gotta keep everybody on track. Oliver, my brother, is a great podcast host. He’s so funny. I feel so lucky to have him to be my partner.

Villarreal: Well, we’re very glad to have you here to talk about “Song Sung Blue.” This is a film that’s about love of self, love of others, love of music and finding your way back to all that after tragedy. Tell me about why this was the right movie for you at this point in your life and career.

Hudson: It’s a great question. These things aren’t calculated. You have these opportunities, you read something, you hope you get to play the part because you believe in the story and you believe in the filmmaker and you believe in your co-star. And then you just hope that it comes together. And with this, the story was there. [Writer-director] Craig [Brewer] wrote a great script. For me, as an actor, it gave me all the colors, all of the things that I love and have been doing for so long [and allowed me] to be able to do in one movie. And the thing that was weighing on me was that if the love story doesn’t work, if we don’t believe these two people are madly in love with each other and needing each other — they’re quite codependent — the movie’s not going to work. It didn’t matter how great the script was. And I said [to co-star Hugh Jackman], “Look, how comfortable are you with getting to know me? Because I really feel like this movie’s not gonna work if we don’t work. And we kind of have to, like, be really intimate with each other and get to know each other really well … and let me know if I ever make you uncomfortable.” I’m incredibly tactile. He felt the same way. And that actually became the easiest part, was our connection and how much we trusted each other and how connected we felt. Something happened on the set. We kind of knew that it was a special, what was starting to unfold was something really special. Then you just cross your fingers and hope that the movie, that it became what we felt like we were making. I remember seeing the movie and just going, “Oh, my God, this movie makes me miss movies.” I just feel so happy and humbled to be a part of it because you never know.

Villarreal: Tell me more about building that foundation with Hugh, because the film is based on a true story of these two Milwaukeeans who fall in love, start this tribute band of Neil Diamond music. How did the bond with Hugh take form? Were you sharing playlists?

Hudson: We do share a love of of music. The first thing we did was record music. In the last two years, I’ve been very immersed in music and writing and just saying, “I have to make music” because if I don’t, I’m not fulfilling my creative output, input — all of it. I have to be making music. So I’ve been spending a lot of time in the recording studio. So I was very excited that that was where we were starting. Hugh has a different side of the story, which is it appears to him [that] it came much easier to me than it did to him. I disagree with that, but I’m sure that’s what he would say. But it was great because we got to sing together. When you can sing with someone and you sound good together and you start to connect through music, it’s a very different kind of language. And that was the beginning of us being like, “Oh, this is gonna feel really good.” Energetically, we’re both very spirited people and we had a blast in the studio. It was a great initial connection. But the movie itself is about people who love music, and who don’t necessarily get the opportunities to make that this huge success that maybe once when they were younger they dreamed of. One of the things I love about Craig and what he understands, and what I understand about music as someone who’s lived it my whole life, whether it be through partnership or myself, is that you along the way meet all these incredible, incredible musicians — way more talented than you are or I am — that don’t have the opportunities that maybe have been put in front of others or myself. And when you see that and you live it and you know it and you love it — I have a profound respect for that musician, the one that is the session player or the one that is the tip-drawer musician, the one who ends up being an interpreter because they didn’t make it as their own artist. And I think that’s what Claire and Mike Sardina really are in their hearts. They’re musicians. And Hugh has that in him. He loves being onstage. He loves performing. He loves giving his art out. And I think musicians, some musicians, love that. So we connected there and we connected to the characters very much so, with that essence of believing and loving something so much that you just have to do it, no matter what.

Villarreal: Do you remember the first song you guys did together in those recording sessions?

Hudson: I think it might have been “Forever in Blue Jeans” or maybe it was “Cherry Cherry.” We did so many songs, but I think it was one of those.

Villarreal: Are you ready to ask him to be on your next album?

Hudson: We’re already like, “We’re taking this on the road. We’re going to go sing all kinds of songs.” You don’t have to twist our arms to get in front of a mic and start singing. And a good music movie is really hard to do.

Villarreal: Why?

Hudson: You have to understand the language. Craig is, in his heart, a musician, even though he’s not a musician. He lives and breathes music. He’s a Memphis, Tenn., boy. Most of his world is around music. That’s how I fell in love and met Craig. I was young when I met him. We’ve been trying to work together for 20 years. I was married to Chris [Robinson, of the Black Crowes] at the time. We’re music people in our blood. Some people don’t have any real connection to music. Music isn’t something that they can relate to. But there’s two types of music lovers: There’s the fan, you feel music in your bones that you can’t explain and it moves you to places that you couldn’t live without it; then there’s people who have music in them and it has to come out of them. That is another language that you can’t explain to someone unless they were born with that or have that in them. Craig has it in him. And so it translates onto the screen. It’s like Cameron Crowe. It’s like PTA [Paul Thomas Anderson]. He has music in him. You can tell by the way he directs and his use of music. There’s certain directors that really understand musicality. Craig has that, so he was able to access that for this movie.

Villarreal: What was that like connecting on that front with Claire when you met with her? At what point in the process did that come?

Hudson: I really did not want to get too close with Claire because I don’t want things to feel like [I’m] mimicking. It’s not a Bruce Springsteen or Bob Dylan or that kind of biopic. And it was important to Craig too, to make Mike and Claire their own characters. I got to know her while we were shooting, and then she’d come to set, and I’ve got this footage of us sitting and laughing with each other. And it’s so funny because there’s an energy there where you’re like, “Oh, my God, I am playing her.” You can see it sitting in the director’s chairs. It was good to get her essence, but then to create another version of Claire, the movie version.

Villarreal: Did you ever get to sing with her?

Hudson: No. I had to miss the wrap party, which really was upsetting. And apparently there was a lot of karaoke singing at the wrap party. We’ll do a redo. But Claire’s had a really interesting life. Her life has been hard. Their life is and was hard. And they somehow found a way to believe in each other and have this beautiful love and life together. Claire, when she comes and she talks about Mike, he still really lives in her every day. It’s like he’s almost still here. It’s an amazing thing to see.

Villarreal: What was your relationship to Neil Diamond‘s music coming into this?

Hudson: Like most people that aren’t hardcore Neil Diamond fans, I obviously knew his biggest songs. When I read the script, I did like a big deep dive into [him] and I was like, “Whoa, what a catalog.” So many great songs and what a great songwriter. And when you hear some of — like the last song of the movie [“I’ve Been This Way Before”], I’d never heard that song before. Neil loves that we use that song because it’s very rare. People don’t usually talk about that song. And even “Forever in Blue Jeans,” I forgot about that song. I forgot about, “Girl, You’ll Be a Woman Soon.” There’s so many songs.

Villarreal: I wanted to ask if “Soolaimon” is still playing in your head? Because it’s like an earworm for me now.

Hudson: Oh, my God. [Singing] Soooooo. Soolaimon. Oh, yeah. That song is fantastic. It’s such a great live song. And I didn’t know that song until we started the movie. Getting to know Neil’s catalog was really honestly an honor. And for him to give us the opportunity to sing all of it and to use it, so wonderful.

Villarreal: You also spent time with him … on your porch? His porch? I saw the Instagram post.

Hudson: I grew up in Colorado and he is my neighbor. But I’ve never met him. My whole life. And then I was talking with his son the other day who was at the premiere, and I was like, “It’s so weird we’ve never met.” He lives like 15 minutes from where I grew up. So we just sat on his porch and had lemonade, and we held hands and talked for hours.

Villarreal: What do you talk about with Neil Diamond?

Hudson: He was very open, and he’s in a place in his life where he did a lot of listening, and then he told me great stories about his childhood that I feel very honored that he shared with me, about where he grew up and how he grew up. And the one thing he did say, which I love — I asked him what his favorite song was to perform, then I asked if he missed performing. He said that he’s done so much and he feels good about what he’s done, but the song that he loves is “I Am … I Said.” He said that it’s like God wrote that song. It just came through him, and he was having a very hard time when he wrote that song and he was conflicted, he was having a hard time writing it, then all of a sudden it just poured through him. I loved the privilege of hearing that story from him. He said that his life has gifted him with these different eras where his music got new life. And he was just incredibly grateful to us, say[ing], like, “I know that this is gonna give my music another chapter.” Then Hugh went. I said to Hugh, “You have to go see Neil.” And so he went and flew to Colorado and sat with him. I feel so happy that he got to see the movie and he loves it and that we did good by him.

Villarreal: You asked him what his favorite song was to perform. What was yours? There’s the moment where Mike and Claire are playing alongside Eddie Vedder that really stands out in the film. And what do you feel when you perform?

Hudson: It’s been really great to exercise a new muscle, performing muscle. For the last two years, from the first time I had my first show to now, it feels very different. I get really excited. When something goes horribly wrong is actually kind of fun because that’s what live shows are, you get to not be perfect even though you’re striving for something great and to give something out that’s great. It’s not always going to be what you hope it’s going to be. Something’s gonna go wrong, it’s gonna sound weird, you’re not gonna hear this, the guitar’s not gonna [do that], and there’s something about that live experience when you’re performing that just feels so alive. One of the greatest feelings for me is when you see people singing your words back to you. I couldn’t believe the first time I saw people that I’d never seen know my music. I don’t care how many people that is. Even one person that you can see that actually is feeling something that you put out into the world is such a wonderful feeling. Performing is a blast. Singing with Hugh at Radio City, and you get to play all these cool venues and places that, as a music lover, you look around and what a bucket-list moment to sing in this historic venue. I’m so happy that I, like, had the courage to do it because I wouldn’t have had all of these experiences that I’ve had. I don’t think I would have been cast in this movie if I didn’t make music, if I didn’t go out on a limb and make an album.

Villarreal: We see in the film that, at the height of their stardom, Claire suffers a tragic accident and it upends their world. She’s in a state of depression and she’s being confronted with, “Who am I? And does this change everything about who I am because I’m not up there? And how do I get back there?” What was that like for you to delve into that headspace as a performer? For you, either as an actor or a singer, can you relate to that feeling of it being intrinsically a part of who you are and the fear of never doing it again?

Hudson: Like any role, there’s a lot of things that you can relate to or substitute. I sometimes substitute, you know, something that I can’t relate to with other things, as my own process. Meryl Streep always says you have to honor the character as much as you would honor your own life. That’s how you create a character. But then when you’re telling someone else’s life story, it’s almost like a double whammy because of the pressure that you’re sort of holding someone’s life. They’re giving you an opportunity to portray something that you don’t want to know let them down, especially with something as intimate and as vulnerable as what Claire went through.

I felt a responsibility to her struggles and how we looked at them — to have a family, to constantly be struggling to keep food on the table, to have the ups and downs of mental health. What I love about this movie is Craig doesn’t really hit you crazy over the head with Claire’s mental health struggles, but it is implied that she is up and down and is on medication and has been, and so when Claire’s up, she’s up; and when she falls it’s pretty dark. Everybody experiences trauma differently. Some people are better at pushing through or being optimistic in the face of tragedy. Claire is faced with that [idea that] nothing will ever be the same … Claire always said — we don’t say this in the movie — “Mike was a leg guy.” He would talk about them. And when that accident happened, she felt so unattractive to him. It’s like something was lost that she knew that he loved of her. Then it just hit everything from her inability to move, to be the partner she wanted to be for him, to the kids, to the drugs, to the the pain. It just was an awful spiral. I just wanted to do that as much justice [while] holding on to Claire’s inevitable optimism. She’s a very optimistic person.

Villarreal: Have you ever felt that fear of it being taken away from you? It’s one thing to decide to leave something that you love.

Hudson: I’m very stoic. I have a amazing family. I have a big support system and entered this industry knowing that if I don’t really love what I’m doing, if I’m not happy singing in that Thai restaurant, then this is not the right industry for me. If I’m not happy doing community theater or doing sketches with my friends at the local theater, I’m not in the right business. If you love it like that, then you are in the right business, because you know that it’s always gonna let you down. There’s the other side, the spiritual side, which is that I really live my life like we are all gonna die. It is inevitable. If there’s anything that’s inevitable, it is tragedy. We will meet it at some point, whether it be parents dying, whatever that is, we all will experience it at some point. So the harder thing is where the joy sits. How do we live now with joy and happiness and intention and positive intention? It’s something that I really live, authentically. So no, I don’t think about it because the reality is, if I did, then I’d be living in fear and anxiety and I choose to not do that.

Villarreal: Give me tips, Kate. I’m a worrywart.

Hudson: I worry about my kids. But life is too short. Time is so short. Lightning can strike twice. It’s the Claire line. You can’t live in that.

Villarreal: It really does feel like you are living in that sort of joy. Between this film, the album, you recently recorded a Christmas song, you’ve got the new season of “Running Point,” the podcast with your brother. I’m still waiting for “Something Blue” [the follow-up to “Something Borrowed.”]

Hudson: Oh, my God, me too. You know what? Ginny [Goodwin, her co-star in the film] and I — she was just on the podcast and we were talking about it and we were like, “We need Emily to write us in our 40s now.”

Villarreal: Who’s the villain? In “Something Borrowed.”

Hudson: Great question. Aren’t we all the hero and villain of our own story? Isn’t that how this works?

Villarreal: But you seem really happy.

Hudson: I am very happy. Age does that. You start to grow up and you realize you can go one of two ways: You can enjoy your life and your life experience. I’m on the back half — almost the back half. But you get to a certain point in your life where you have choices to make of either, you lean into enjoying everything, every blessing, or you’re miserable and you get more miserable. I want to enjoy my life and my kids. I love watching my kids grow up. And honestly, I love the decision that I made for me to make art differently than I was in my early 20s and 30s. Life presents itself the way it’s supposed to present itself. Opportunities as an actor come as they do. It’s a hard thing as an actor to wait for things to come to you because, as any actor knows, you’re at the mercy.

Villarreal: You could be waiting forever.

Hudson: Creatively, you have to, at some point, make the moves and take the risks to do things your way. Whether they’re liked or not liked, you have to do it. I think something happened in my 40s where I’m like, “I’m just gonna take the risks and make art and do things the way, tell stories the way, I’d like to do them.” And really enjoy what it is. It’s magic. Making movies is magic. And you can tell when people love doing them. You can tell when someone’s in it for something other than the art form of it. And sometimes we get them really right, sometimes we get them horribly wrong. But we gotta keep telling stories.

Bare-knuckle boxing bills itself as the “fastest-growing combat sport” having emerged from the shadows to host regulated and legal events in parts of the United States and many places across the world, with the first BKFC event in Britain at London’s Wembley Arena in 2022.

It was only in 2018 that the first sanctioned fight for 130 years took place in the US state of Wyoming.

BKFC events in Britain, such as the one in Derby on Saturday, come under the remit of International Sport Karate and Kickboxing Association (ISKA) – a global body that regulates much of the mixed martial arts (MMA) events in Europe.

The British Boxing Board of Control (BBBC), which oversees the gloved form of the sport, is not involved.

Luke Griggs, chief executive of Headway, says the brain injury association he represents calls for all forms of boxing to be outlawed, but added that legitimising and promoting bare-knuckle fights is “irresponsible” and of “particular concern”.

“Headway has always been clear on its position on all forms of boxing – we think the risks are too great. It’s too obvious and all forms of boxing should be banned,” Griggs told BBC East Midlands Today.

“And it’s particularly concerning that bare-knuckle boxing is coming to the fore and increasing in popularity. It’s hugely dangerous and we do not believe this sort of event should be sanctioned.

“Irresponsible is a very good word. There are lots of questions that need to be asked about these fights being sanctioned, these fights being allowed to go on, to be promoted.”

Bakewell is BKFC’s figurehead in Britain and says his aim as a promoter – and the desire of those involved in the sanctioned strand of bare-knuckle fighting – want the sport to be seen at the “top end of pro combat sports”.

And he adds that events are “run accordingly” with the safety of its athletes paramount – with each fighter undergoing pre and post-fight health checks, while three doctors, two paramedics, two crewed ambulances are on-site for fight nights.

“We don’t cut any corners in terms of production or the medical care,” Bakewell said.

“We expect a lot from the fighters, but we also want to look after the fighters.”

A NEW tourist attraction tucked under railway arches, is coming to the UK.

The Weir Mill development in Stockport, near Manchester, will be located under the town’s iconic railway viaduct.

The Grade-II listed mill will be transformed to feature street food pop-ups, parties, al fresco dining areas and host live music and entertainment.

In the new attraction, there will be a number of different food and drink venues including 10 new bars, restaurants and cafes.

In total, there will be 6,000sqm of outdoor space with planted areas, a riverside terrace and a courtyard at the heart of the destination.

The attraction will be split into six distinct areas: Weir Mill East, The Courtyard, Weavers Square, West Shed, The Waterfront and Wheelhouse, and finally, Chestergate and King Street West.

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At Weir Mill East there will be a rooftop terrace and cafe.

Then at The Courtyard, there will be a number of planted areas with seating as well.

Weavers Square will be the focal point of the development, sat underneath the viaduct and where the markets and pop-ups will take place.

West Shed will be an indoor space with red brick and vaulted ceilings, where people can sit with their laptop and a coffee.

The Waterfront and Wheelhouse will then be an area great for viewing the viaduct itself, with the Wheelhouse converted into a resident gym, lounge and working space.

And finally, at Chestergate and King Street West is where visitors will find most of the stores as well as the trans-pennine way cycle path running alongside this part of the site.

Many of the buildings at the development will feature the same red colour as the machinery found at the mill.

The new destination, which is set to be completed next spring, will also feature 253 homes.

Councillor Micheala Meikle, Stockport Council cabinet member for economy, skills and regeneration, said: “Our town centre regeneration is about more than building new homes, it’s about creating vibrant neighbourhoods and breathing new life into Stockport’s heritage, giving our historic buildings a future.

“While the Grade-II listed former mill is being carefully restored for residents, the new public square will create opportunities for independent businesses to thrive and for people from across the borough to come and enjoy our buzzing town centre.

“It’s incredibly exciting to see how our riverside will soon be opened up into an inviting outdoor space where communities can come together over great food, live music, and creative events from day to night.”

The first food and drink venues at the destination are set to be announced soon.

Weir Mill on the River Mersey in Stockport, dates back to 1790 when it was used as a cotton works.

During the 19th century, the importance of the mill grew as it became a key part of Stockport’s industrialisation.

In 1840, the Stockport Viaduct was then built over the mill and has since become a historic landmark.

In other tourist attraction news, the exciting new hotels, attractions and festivals coming to the UK’s seaside towns and cities next year.

Plus, the top 15 UK attractions for 2025 revealed.

F-35 Joint Strike Fighters from the Vermont Air National Guard‘s 158th Fighter Wing will be heading down to the Caribbean to take part in Operation Southern Spear, a U.S. official told The War Zone. The move would be the latest buildup of U.S. forces in the region for the mission to counter narcotics and pressure Venezuelan dictator Nicolas Maduro. You can catch up with our previous story about this operation here.

The official could not say how many, when they will arrive or where they will go, but suggested they will most likely fly to the former Roosevelt Roads U.S. Navy base in Puerto Rico which has served as a staging ground for aviation assets and troops gathered in the region.

As we previously reported, F-35s from the U.S. Marine Corps began arriving at Roosevelt Road in the middle of September. E/A-18G Growler electronic attack jets just arrived there yesterday as well, which is possibly the most glaring sign that the U.S. is preparing for airstrikes as any over the last few months. You can read more about that deployment and its significance here.

On Wednesday, Vermont media outlets reported that wing assets were being prepared for a deployment but didn’t say where.

“Lt. Col. Meghan Smith confirmed to Vermont Public on Wednesday that the 158th Fighter Wing ‘has received a federal mobilization order,” the Vermont Public news outlet reported. “While we can’t discuss specific timelines or locations, our Airmen train continuously to ensure they are fully prepared to support federal and state missions whenever and wherever they are needed,” Smith said in an email.

Republican Gov. Phil Scott told Vermont Public on Wednesday that he did not know where the jets are going.

“Scott said during his weekly media briefing Wednesday that the Pentagon issued the mobilization orders under Title 10, the federal statute that allows the president to place National Guard troops under federal command,” according to the news outlet. “There isn’t much I can share because I don’t know a lot about any of the mission,” Scott said. “Everything from my understanding is coming out of either the National Guard or the Pentagon at this point.”

F-35A deployed to the Caribbean — the first USAF tactical jets to do so — would offer the ability to drop 2,000lb-class guided bombs on targets deep inside Venezuelan airspace. The F-35Bs currently deployed to Puerto Rico are limited to 1,000lb-class weapons. They also have significantly less range and reduced agility. No F-35s are deployed aboard the USS Gerald R. Ford, it only carries Super Hornets and the USS Iwo Jima is currently carrying a small contingent of AV-8B+ Harriers.

Taking all this into account, the F-35A deployment is a major signal of what type of operations could be on the horizon.

This is a developing story.

Update: 8:29 PM Eastern –

In addition to the F-35As, more aviation assets are being deployed for Operation Southern Spear, including combat search and rescue (CSAR) aircraft and refueling tankers. You can read about that in our story here.

Contact the author: howard@thewarzone.com

Coleen Nolan has opened up about a hidden family struggle on Friday’s Good Morning Britain

Coleen Nolan has revealed she spent ‘years crying’ and feeling like a ‘terrible mother’ over a hidden family struggle.

Over the summer, Coleen, 60, disclosed that her son, Shane, 37, had been fighting a secret battle with drugs which saw him ‘hit rock bottom’ and wreck his marriage to his beauty queen ex-wife, Maddie Wahdan.

Coleen’s son, Shane, whom she shares with ex-husband Shane Richie, separated from his beauty queen wife in December 2023 amid claims he had been unfaithful – just a year after they had tied the knot.

Over the summer, Shane, alongside his mother Coleen, spoke candidly about his struggle with drug addiction, which resulted in him being admitted to rehab as his family feared for his life.

Shane is now in a new relationship with girlfriend Kimberly Sallis, whom he has credited for helping him through the drug addiction, and in November they welcomed their first child together, a baby boy called Cruz-Carter, reports Wales Online.

Speaking about her son’s past struggle on Friday’s Good Morning Britain, Coleen confessed: “I felt like a terrible mother. I thought it was my fault.”

Coleen said of her son speaking out: “It was totally Shane’s decision. It would never have been me forcing him in to talk about it. He thought it was important to talk about and especially when it was during Men’s Mental Health month and all of that.

“When he did it, we were both nervous. I was quite emotional because it’s really hard as a parent or a relative to watch an addict. I mean, it was years of me crying because I couldn’t do anything. I’m his mum and I couldn’t do anything.”

Coleen went on: “People were like, ‘Well, you know, you’re going to have to kick him out. You’re going to have to do that.’ and I went ‘He’s my child!’

“I kept making excuses for him, ‘well, I think he did this… no, no, it’s just because he’s tired, you know.’ And then something major happened where he ended up with stitches in his head and all of that. I think that was a massive wake up call.

“Talking about it afterwards, he said to me, ‘Mum, I feel like a whole weight has been lifted off my shoulders.'” Coleen revealed it was equally beneficial for Shane to understand the impact his struggle had on her.

The Loose Women panellist emotionally shared: “I felt like a terrible mother. I thought it was my fault. I’d done things wrong. I couldn’t help him and it was nothing to do with me. As an addict, the only person that could have helped him was himself, which he did.”

Good Morning Britain continues on weekdays at 6am on ITV and ITV X.

A FAMOUS hotel chain known for serving free desserts every day is opening its first ever UK location.

Mövenpick Hotels has locations across multiple continents and became famous for its guests getting to eat free desserts for 60 minutes daily.

The hotel will be located at the Old Thorns Estate in Liphook, Hampshire, and is expected to open in late 2027.

Graham Dodd, VP development for UK & Ireland, premium, midscale and economy brands at Accor, said: “Bringing Mövenpick to the UK marks an important step in strengthening our premium brand portfolio and reinforcing our growth commitment for this important market.

“Mövenpick is a world-renowned brand that is recognised for its culinary excellence and environmental responsibility, which align perfectly with the expectations of UK guests.

“The Old Thorns estate provides an exceptional backdrop to introduce the brand in this incredibly important destination for Accor.”

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Mövenpick, a Swiss hospitality brand, will be running the property in Hampshire which was acquired by a Dubai-based real estate firm, Select Group, earlier this year.

Mövenpick, which is known for their wide range of ice-cream flavours, offers guests a free “dessert” for an hour every day.

Guests staying at any of the hotels can enjoy Chocolate Hour all kinds of treats such as éclairs, brownies, truffles, chocolate fountains and other snacks which change on a regular basis.

In-house chefs also host live demonstrations and experiences which include rolling truffles to icing cupcakes during the hour.

The Old Thorns Estate will be transformed into a 194-bedroom hotel and resort.

The improvements will include a championship golf course, 2,500 sq m of conference and meeting spaces, four restaurants, a wellness centre with spa, and a ballroom accommodating over 500 guests.

Renovations of the 30 acres property are expected to take place over the next two years.

Mövenpick was founded in 1948 by Swiss restaurateur Ueli Prager and has since grown into a portfolio of over 120 hotels globally in over 35 countries.

Its ice cream business was acquired by Nestlé in 2003.

Mövenpick Hotels & Resorts was bought by Accor 2018 and is now part of its premium brand portfolio.

The brand offers its culinary experiences in countries like Germany, Switzerland, Egypt, and many others across the world.

Israr Liaqat, group chief executive of Select Group, added: “Together with our trusted and established partner Accor, we will elevate this iconic property into a world-class resort destination, blending heritage with the sophistication of the Mövenpick brand.”

Mövenpick Hampshire – Old Thorns will join Accor’s existing portfolio of more than 5,700 hotels across 110 countries.

The LA Bowl will crown its last winner when Washington and Boise State play Saturday, according to On3.com’s Brett McMurphy.

Hollywood Park, which is owned by Stan Kroenke, operates the LA Bowl. The game’s six-year contract is scheduled to end after Saturday’s game and it will not be renewed. The game was created in 2020, matching the Mountain West champion against the fifth selection from the Pac-12. The collapse of the Pac-12 as a power conference made it increasingly difficult to complete the bowl field, but other factors have made bowl season more challenging for game organizers.

Hollywood Park officials declined to address whether the game is folding.

“We anticipate a highly exciting and competitive matchup,” a bowl spokesperson told The Times on Thursday. “Discussions regarding any future plans for the LA Bowl will be deferred until after the game.”

Celebrity host Jimmy Kimmel plays an instrument and marches with the Washington State band before the 2022 L.A. Bowl.

(Ashley Landis / Associated Press)

The importance of bowl games have been shifted since conference realignment and the collapse of the Pac-12 as a power conference, the expansion of College Football Playoff, changes to the transfer portal dates and teams declining to participate in non-playoff games.

During this year’s bowl selection, programs such as Notre Dame, Kansas State and Iowa State declined their invitations. When it was time for the Birmingham Bowl to find an opponent for Georgia Southern, a number of 5-7 teams reportedly turned down invitations before Appalachian State agreed to play.

Throughout its contract, the LA Bowl winners have been Nevada Las Vegas in 2024, UCLA in 2023, Fresno State in 2022 and Utah State in 2021. Its debut game in 2020 was canceled because of the COVID-19 pandemic. The game has had four sponsors during its brief run and featured celebrities Jimmy Kimmel and Rob Gronkowski as hosts included in the bowl’s official name.

Dec. 12 (UPI) — The State Department is offering a $5 million reward for information leading to the arrest or conviction of Francisco Manuel Bermudez Cagua, an alleged leader of the Ecuadorian Los Choneros cartel who is wanted in the United States on drug trafficking charges.

The reward, announced Thursday, is being offered under the Narcotics Rewards Program of the State Department’s Bureau of International Narcotics and Law Enforcement Affairs.

Bermudez Cagua, also known as Churron, is the alleged leader of Los Choneros, which was designated a Foreign Terrorist Organization and a Specially Designated Global Terrorists by the Trump administration in September amid President Donald Trump‘s crackdown on illegal drugs and immigration.

Federal prosecutors in the Eastern District of New York indicted Bermudez Cagua, along with Jose Adolfo Macias Villamar, the principal leader of the Los Choneros, in a superseding indictment unsealed June 27, 2025, charging him with international cocaine distribution conspiracy, international cocaine distribution and use of firearms in furtherance of drug trafficking offenses.

“As alleged, Bermudez Cagua is a top lieutenant within the leadership of Los Choneros, an extremely violent foreign terrorist organization responsible for pumping drugs into the United States, causing harm to our communities, and wreaking havoc in his homeland of Ecuador,” U.S. Attorney Joseph Nocella Jr. said in a statement.

According to the State Department, the 29-year-old Bermudez Cagua reports to Macias Villamar and became his right-hand man while in prison. Once they both escaped, Bermudez Cagua became Macias Villamar’s spokesperson.

“Bermudez Cagua regularly participated in the decisions Macias Villamar made related to the organization’s drug and weapons trafficking and served as an intermediary, relaying critical information between Macias Villamar and their associates,” according to the State Department website.

Los Choneros is considered one of Ecuador’s most violent criminal organizations and is linked to the infamous Sinaloa Cartel of Mexico. Ecuador designated the group as a terrorist organization in 2024, and the U.S.’ Treasury imposed sanctions against it that same year.

OLIVIA Attwood has revealed she was cruelly shamed for the cosmetic procedures she has undergone by a presenter.

The former Love Island star, 34, described it as “one of the worst experiences” she has ever had.

Olivia has been open about her aesthetic preferences; often talking to her fans about which surgical enhancements she has undergone and even making a documentary about cosmetic surgery.

But the star says that she was put in an uncomfortable position during an interview, where the presenter told her she looked older due to having procedures.

Talking on her new podcast, Olivia’s House, the star said: “I had an experience with a female host and one of the worst experiences that I’ve probably had in an interview because I felt like she didn’t want me there…

“I was meant to be promoting the documentary and everything I’d learned about the industry and she very much wanted to make it about me and what I looked like.”

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Olivia continued: “She said in her second question, she said, ‘So you, what have you had done?’ And I was a bit like, whoa… I’m talking about the cosmetic industry as a whole.”

“She goes, ‘I don’t know what you were trying to achieve, but you look a lot older ‘cause of what you’ve done to yourself’.”

“It was really one of the worst experiences that I’ve probably had in an interview because I felt like… I felt like she didn’t want me there.”

“When I left that studio… I remember for 20 minutes I just sat in silence and I was like, ‘What? What just actually happened?’.”

While Olivia hasn’t named the presenter, she added that the situation felt “wrong”.

“It just felt just very like tonally wrong for a show that is meant to be about a safe space for women and uplifting women… it was just a really horrible experience and it stayed with me for a little while,” the star concluded.

Speaking on the first episode of the new podcast, Olivia candidly opened up about several topics, including her marriage to Bradley Dack.

She and the footballer have been married since 2023, but struggled this summer when their relationship hit a rocky patch.

At the time, Olivia didn’t acknowledge what was going on between them, but was pictured letting loose during a trip to Ibiza, where she cosied up to pal Pete Wicks.

Addressing the situation on her new show, the star admitted that she and Bradley have had a tough year – with issues from both sides.

And teasing that there is more to come, she told fans that Bradley would tell his side of the story “in his own words” when he comes onto the podcast.

The Bucs opened the scoring with a Sean Tucker touchdown before the Falcons led 14-13 at half-time after Pitts, who came into Thursday’s game with just one touchdown all season, claimed his first two scores.

The home team went into a 28-14 lead early in the fourth quarter after Baker Mayfield made touchdown passes to Devin Culp and Chris Godwin Jr.

Veteran Kirk Cousins was making his fourth straight start after a season-ending injury to Atlanta’s starting quarterback Michael Penix Jr and the 37-year-old led the Falcons to the 32nd fourth-quarter comeback of his career.

Running back Bijan Robinson got into the end zone before Pitts claimed his hat-trick and Atlanta regained possession with less than two minutes left.

And despite being backed up to third and 28 after recovering his own fumble and a 10-yard penalty, Cousins made key passes to Pitts and receiver David Sills V to get the Falcons in range for Gonzalez to kick a 43-yard game winner.

Cousins finished with 373 passing yards and three touchdown passes to Pitts, who claimed 166 yards from 11 receptions.

Atlanta are now 5-9 and their upset of Tampa Bay did Carolina a favour as the Panthers (7-6) now top the NFC South and face the Bucs in two of their last four games, with only the division winner guaranteed a play-off spot.

The Department of Homeland Security has pledged to appeal the latest ruling, slamming it as ‘naked judicial activism’.

Kilmar Abrego Garcia, whose case has become a flashpoint in the Trump administration’s immigration crackdown in the United States, has been freed from detention on a judge’s order and returned to his home, according to reports.

Abrego Garcia was due to check in with US immigration officials on Friday, The Associated Press news agency reported, a day after returning to his home following his release from an immigration processing centre in the latest twist in a convoluted case of deportation and detention targeting the Maryland man.

In a ruling on Thursday, US District Judge Paula Xinis in Maryland ordered Immigration and Customs Enforcement to let Abrego Garcia go immediately, writing that federal authorities had detained him again after his return to the US without any legal basis.

The face of Trump’s hardline immigration policies

Abrego Garcia has an American wife and children and has lived in Maryland for years, under protected legal status since 2019, when a judge ruled he should not be deported because he could be harmed in his home country by a gang that targeted his family. He originally moved to the US without documentation as a teenager.

He then became the highest-profile case among more than 200 people sent to the notorious El Salvador’s CECOT mega-prison as part of President Donald Trump’s crackdown on refugees, migrants and asylum seekers in the US.

He was wrongfully deported by the Trump administration to El Salvador in March. A court later ordered his return to the US, where he was detained again, as immigration officials sought to deport him to a series of African countries instead of El Salvador.

‘Judicial activism’

The Department of Homeland Security slammed Thursday’s ruling and said it would appeal, labelling the decision as “naked judicial activism” by a judge appointed during President Barack Obama’s administration.

“This order lacks any valid legal basis, and we will continue to fight this tooth and nail in the courts,” said Tricia McLaughlin, the department’s assistant secretary.

Abrego Garcia’s lawyer, Simon Sandoval-Moshenberg, said he expected his client’s ordeal was far from over, and he was preparing to defend him against further deportation efforts.

“The government still has plenty of tools in their toolbox,” Sandoval-Moshenberg said.

“We’re going to be there to fight to make sure there is a fair trial.”

The lawyer said the judge’s ruling had made it clear that the government could not detain a person indefinitely without legal authority, adding that Abrego Garcia had already “endured more than anyone should ever have to”.

Legal battles ongoing

Abrego Garcia has filed a federal lawsuit claiming the Trump administration is illegally using the deportation process to punish him due to the attention his case received.

Since his return, federal authorities have also filed charges against Abrego Garcia for alleged human smuggling related to a 2022 traffic stop.

He has pleaded not guilty and filed a motion to dismiss the charges, claiming the prosecution is vindictive.

In her ruling on Thursday, Judge Xinis said Trump lawyers “affirmatively misled” the court, including falsely claiming that Costa Rica had rescinded an offer to accept Abrego Garcia.

Abrego Garcia has said he was willing to resettle there in the event he was deported from the US.

In a separate proceeding, Abrego Garcia has also petitioned to reopen his immigration case to seek asylum in the US.