Hollywood actor Gerardo Taracena, who starred in Mel Gibson’s 2006 drama Apocalypto has died suddenly at the age of 55, but no cause of death has been announced as yet
Demond Wilson, who was best known for playing Lamont Sanford, the son of Redd Foxx’s character on the 1970s TV show “Sanford and Son,” died in his sleep at his home in the Coachella Valley on Jan. 30. He was 79.
Wilson’s publicist, Mark Goldman, confirmed that he died from complications related to cancer.
“Demond was surrounded by love throughout his final days,” Goldman said in a statement. “A devoted father, actor, author, and minister, Demond lived a life rooted in faith, service, and compassion. Through his work on screen, his writing, and his ministry, he sought to uplift others and leave a meaningful impact on the communities he served.”
Demond Wilson attends the 2016 Chiller Theater Expo at the Parsippany Hilton in New Jersey on April 22, 2016.
(Bobby Bank / WireImage)
Grady Demond Wilson was born in Valdosta, Ga., on Oct. 13, 1946, and grew up in New York City. His mother, Laura, was a dietitian, and his father, Grady Wilson, was a tailor. Wilson learned tap dance and ballet and appeared on Broadway at just 4 years old. After serving in the Army from 1966 to 1968 in Vietnam, where he was wounded, he made his TV debut in 1971, playing a burglar alongside Cleavon Little in Norman Lear’s sitcom “All in the Family.” That role led to his casting in “Sanford and Son” in 1972, which was notable at the time for having a nearly all-Black cast.
Redd Foxx, left, broods next to Demond Wilson about one of the 3,000 pieces used on the “pleasantly junky” set of “Sanford and Son.”
(NBC)
Although “Sanford and Son” was his most famous role, Wilson also appeared in “Baby, I’m Back,” “The New Odd Couple” and “Girlfriends.” His last TV appearance was in “Eleanor’s Bench” in 2023.
Despite his success, Wilson left acting, sold his Bel-Air mansion and Rolls-Royce and became an interdenominational preacher in 1983.
The change was not surprising given his background. “I was raised a Catholic, was an altar boy, and at 14 I seriously considered becoming a priest,” Wilson told The Times in 1986. When he was 12, his appendix ruptured and he nearly died, leading him to promise to serve God as an adult. “I was always aware that God was the guiding force in my life,” he said.
Disillusioned with Hollywood, Wilson moved his wife and children to what he jokingly called a “respectable, Republican, upper-middle-class” neighborhood in Mission Viejo. He wanted his five children at the time to have “normal childhoods.” “We’ve left the rat race and false people behind,” he said.
Wilson was also an author. He published “The New Age Millennium: An Exposé of Symbols, Slogans and Hidden Agendas” in 1998, and his autobiography, “Second Banana: The Bittersweet Memoirs of the Sanford & Son Years,” in 2009. He also wrote 11 children’s books.
Wilson is survived by his wife, Cicely; his six children, Nicole, Melissa, Christopher, Demond Jr., Tabitha and Sarah; and his two grandchildren, Madison and Isabella.
Eva Longoria, John Leguizamo and Xochitl Gomez are among the 100-plus Latino actors, artists and creatives who have signed an open letter calling for accountability in Hollywood — citing longtime discrimination in casting and storytelling.
The public statement follows the controversy surrounding Odessa A’zion, who dropped her role as a Latina character in Sean Durkin’s “Deep Cuts,” following online backlash over the actor herself not being Latina.
“Recent casting decisions around the character Zoe Gutierrez in A24’s ‘Deep Cuts’ have exposed a troubling pattern,” the letter states. “We acknowledge and commend Odessa A’zion for listening, reflecting and deciding to exit the project and become an ally. Yet how did this happen?”
Earlier this week, the Wrap revealed that the “I Love L.A.” and “Marty Supreme” breakout star was cast as Zoe Gutierrez in the A24 film adaptation of Holly Brickley’s music-filled coming-of-age novel. The character’s identity plays an important role in the book, as she is written as a half-Mexican and half-Jewish lesbian.
Though the 25-year-old announced Wednesday night that she had dropped the role — admitting through her Instagram stories that she had not yet read the book, nor learned of all the character’s traits — the incident has unearthed questions about Latino representation in Hollywood.
“This isn’t about Odessa,” said Xochitl Gomez to The Times on Friday. “It’s about the executives, the producers and the whole system at the top. They thought it was OK to not even audition Latinas for the role in the first place. Latinas were pitched, including me, but we were told that there was an actress with an exclusive offer. This role never showed up on the casting grid because it was already gone.”
Xochitl Gomez attends “REBBECA” LA Premiere on November 30, 2025 in Los Angeles, California. (Photo by JC Olivera/Getty Images for State of the Art)
(JC Olivera / Getty Images for State of the Art)
According to UCLA’s 2025 Hollywood Diversity Report, Latinos were cast in only 1% of the leading roles in the top 104 English-language films released theatrically in 2024, despite constituting roughly 20% of the total U.S. population.
In TV, representation is just as stark. Latinos are cast in only 6% of all roles across the top U.S. broadcast series, as per a recent study by ¡Pa’lante! — a Latino representation initiative from the USC Norman Lear Center — which also found that 1 in 4 Latino characters are depicted as career criminals.
“The absence of Latina audition opportunities, and the choice to replace a clearly Latina character with a non-Latina actress, signals a broader, ongoing erasure of our community from the stories that define our culture,” the letter continues. “This is not about any one actor or project. It is about a system that repeatedly overlooks qualified Latino talent even as our identities, histories, and experiences fuel the most enduring stories.”
The signatories request that Latino actors be hired for a diverse range of roles, including non-stereotypical leads. There is also a demand for more Latino executives to be involved in green-lighting projects and the inclusion of Latino consultants, writers and producers from the earliest stages of development. Finally, there is a call on Hollywood to create mentorship, scholarships and opportunities that expand access on all levels of the ecosystem.
This plea by marginalized creatives is not the first pushback — nor likely the last — against a stagnant Hollywood machine.
As early as the 1920s, the portrayal of Latinos was so negative that the Mexican government, and even Woodrow Wilson reportedly told Hollywood producers to “please be a little kinder to the Mexicans.”
In 1999, the National Hispanic Media Coalition (NHMC) and the National Assn. for the Advancement of Colored People (NAACP) called for the boycott of broadcast networks’ 26 new fall series because they did not feature a non-white lead, sparking dialogue over the diversity of Hollywood at the time.
Comedian Chris Rock blasted the industry in a 2014 essay for its omission of Mexicans in Los Angeles, where nearly half of the population is Latino: “You’re in L.A., you’ve got to try not to hire Mexicans.”
Rep. Joaquin Castro (D-Texas) — who in recent years has nominated several Latino-focused films to the Library of Congress National Film Registry — also penned a 2020 column in Variety, underscoring the dearth representation of Latinos in entertainment and the consequences of omission. “Prejudice has existed in the United States for generations, but the image of our community created by film and television has done little to counter bigoted views, and too often has amplified them.”
Another letter published in October 2020 with over 270 showrunners, creators, television and film writers signatures — including Lin-Manuel Miranda and “One Day at a Time” co-creator Gloria Calderón Kellett — called for systemic change in the industry. “We are tired,” they wrote.
The pushback continued in 2022, when actor Leguizamo penned an open letter in The Times about the history of Latino representation and the co-option of Latino stories — including that of Mexican revolutionary Emiliano Zapata, who was portrayed by a brownface Marlon Brando in the 1952 film “Viva Zapata!,” and Al Pacino, who played the fictional Cuban character Tony Montana in the 1983 film “Scarface.”
Wrote Leguizamo, “There’s a fix for this: Cast more Latinos!”
Read the full open letter below.
Dear Casting Directors, Creative Executives, Writers, Producers, and Hollywood Leaders,
We write to you with urgency, because storytelling is humanity’s compass and Hollywood wields all the power. The stories you choose to tell, and how you tell them, shape public perception, cultural understanding, and who gets to see themselves reflected on screen. In these challenging moments that power comes with real responsibility.
Recent casting decisions around the character Zoe Gutierrez in A 24’s Deep Cuts have exposed a troubling pattern. We acknowledge and commend Odessa A’zion for listening, reflecting and deciding to exit the project and become an ally. Yet how did this happen? The absence of Latina audition opportunities, and the choice to replace a clearly Latina character with a non-Latina actress, signals a broader, ongoing erasure of our community from the stories that define our culture. This is not about any one actor or project. It is about a system that repeatedly overlooks qualified Latino talent even as our identities, histories, and experiences fuel the most enduring stories.
Latino communities are already underrepresented and misrepresented in ways that distort reality and harm real people. Casting decisions carry real weight: they influence who is seen as worthy of authentic storytelling and who gets to tell those stories with care, nuance, and authority.
We are calling for accountability, intentionality, and equity in casting and storytelling. Authentic representation means more than casting a performer who looks like the character; it means involving the communities being portrayed not just in front of the camera, but in the decisions that shape these stories from their inception. Our stories deserve to be shaped with the input, guidance, and leadership of Latino creators, consultants, writers, and performers at every stage.
We implore you to join us in concrete action:
Audition and hire more Latino actors for a diverse range of roles, including non-stereotypical leads
Hire Latino executives in your greenlighting rooms
Include Latino voices as consultants, writers, and producers from the earliest stages of development
Create and support pipelines: mentoring, scholarships, and opportunities that expand access all levels of the ecosystem
It is painful to have to write about Catherine O’Hara, so alive and lively a presence, in the past tense. O’Hara has lived inside my head — is it too corny to say my heart? — from “SCTV” to “Schitt’s Creek” to “The Studio,” on whose second season she was scheduled to start work, when she died, Friday at 71.
Any appearance constituted a recommendation for — a benediction upon — whatever she was appearing in; you felt she would only say yes to things that used her well, that sounded fun or interesting, and that her casting reflected well on the project and people who cast her. I think of her not as a careerist, but a Canadian. Of joining “Schitt’s Creek,” she said when I interviewed her in 2015, “it took me a few moments to commit, [but] I already trusted [co-creator, co-star] Eugene [Levy] as a writer and an actor, and as a good man who I could stand to spend time with.”
This is how it began for her, in Toronto, where her brother Marcus was dating Gilda Radner, who was in “Godspell” with Levy and Martin Short. “And it was really watching Gilda when I realized, ‘cause I’d always liked acting in school, that it was actually a local possibility. And then she got into Second City theater, and I was a waitress there — it’s like I stalked her — and then she did the show for a while and then took on a job for the National Lampoon. So I got to understudy or take her place — I got to join the cast, and Eugene was in it. It was really just the luck of having a professional actor suddenly in my life.”
As an “SCTV” early adopter, O’Hara was first attractive to me because she was funny, but she was also beautiful — a beauty she could subvert by a subtle or broad rearrangement of her features. Though fundamentally a comic actress, her characters could feel pained or tragic beneath the surface — even Lola Heatherton, one of her signature “SCTV” characters, an over-exuberant spangled entertainer (“I love you! I want to have your babies!” was a catch phrase) is built on desperation. Among many, many other parts, she played a teenaged Brooke Shields singing Devo’s “Whip It!,” Katherine Hepburn, a depressed Ingmar Bergman character, and, most memorably, chirpy teenage quiz show contestant Margaret Meehan, buzzing in with answers before the questions are asked, and growing tearfully undone as the host (Levy) becomes increasingly angry.
Elsewhere, she played a forgetful suburban mom in “Home Alone,” the work for which she’s arguably best known, given its ongoing mainstream popularity; an ice cream truck driver messing with Griffin Dunne in Martin Scorsese’s “After Hours”; and a tasteless art snob and indifferent mother in “Beetlejuice,” where she met her future husband, production designer Bo Welch. She shone in three Christopher Guest movies, paired with Fred Willard in “Waiting for Guffman” as community stars; opposite Levy in “Best in Show,” as a dog handler with a lot of ex-boyfriends; with Levy again in “A Mighty Wind,” as a reuniting ‘60s folk duo; and in “For Your Consideration” as an aging actress dreaming of an Oscar. In the great Netflix miniseries “A Series of Unfortunate Events” (also designed by Welch), she played an evil optometrist, the sometime girlfriend of Neil Patrick Harris’ Count Olaf, dark, cold, sexy. Last year, she picked up a supporting actress Emmy nomination as a dethroned but not knocked down executive in “The Studio”; she’s fierce and funny. And, though she was fundamentally a comic actress, she could play straight, as in the second season of “The Last of Us,” penetrating opposite Pedro Pascal as his therapist, and the widow of a man he killed.
Lived in across six, ever-richer seasons of “Schitt’s Creek,” Moira Rose is certainly her crowning achievement, a completely original, Emmy-winning creation whose quirks and complexities were embraced by a wide audience; going forth, she’ll be a reference to describe other characters — a “Moira Rose type” — with no explanation needed. With her original, breathy way of speaking, stressing odd syllables and stretching random vowels to the breaking point, her mad fashions and family of wigs, Moira is a sketch character with depth. Of all the Roses, she’s the one most resistant to adapting to their motel world, to coming down off the mountain, but she is as needy as she is condescending, and underlying her fantastic, tightly structured carapace is a fear that’s terribly moving when it shows through the cracks.
Eugene Levy and Catherine O’Hara in scene from “Schitt’s Creek.” The actors worked together frequently over the years.
(PopTV)
“I like to think she’s really threatened by this small-town life — because she’s been there, you know?” O’Hara said back when the series began. “That just makes it more threatening in my mind. And I like to think of her as more vulnerable than just snobby or superior. I think it’s way more insecure.”
Her tentative acceptance of her circumstance, as well as the show’s overarching arc, finds expression in the series finale, where, all white and gold, in flowing robes with long blonde locks cascading from beneath a bishop’s hat, she tearfully conducts the marriage of her son, David (co-creator Dan Levy). Speaking of a sort of wind of fate, she says, “All we can wish for our families, for those we love, is that that wind will eventually place us on solid ground. and I believe it’s done just that for my family in this little town, in the middle of nowhere.” You might cry, too.
I had the luck to speak with O’Hara several times over the run of the series. The last was in Canada, a day or two before the last day of filming. We sat on the apron of the Rosebud Motel, looking across the muddy parking lot to where fans were gathered on the road above.
“They’re there as much for each other as for us. It’s almost that we don’t have to be there, but we brought them together somehow.” That’s what actors and the stories they tell, give us — the joy, and sometimes the pain: A world of strangers, united in this awful moment, out of love for Catherine O’Hara.
Death in Paradise is back for series 15 and new recruit Sergeant Mattie Fletcher will be joining the team in Saint Marie – here’s everything you need to know about the character
Megan Nisbet Content Editor
19:00, 30 Jan 2026
Death in Paradise season 15 cast as Catherine Garton joins line-up (Image: BBC)
Elizabeth Bourgine’s Catherine Bordey, Shantol Jackson’s Sergeant Naomi Thomas, and Shaquille Ali-Yebuah’s Officer Sebastian Rose are all set to return for the 15th season. However, viewers will also meet a new face, Sergeant Mattie Fletcher.
Described as having a “rebellious” streak, Mattie is a fantastic addition to the Saint Marie squad. She’s brought to life by actress Catherine Garton, who steps into the cast following Ginny Holder’sdeparture from her role as Darlene Curtis. But what can BBC viewers anticipate from newcomer Mattie, and who is the actress behind her?
Sergeant Mattie Fletcher is the latest addition to the Saint Marie team. She’ll make her debut in season 15, episode 1, with Detective Sergeant Naomi Thomas (Shantol Jackson) and Officer Sebastian Rose (Shaquille Ali-Yebuah) helping Mattie find her feet.
However, settling in might prove more challenging than expected as secrets from her past start to surface.
Discussing what audiences can anticipate from Sergeant Mattie, Don Gilet, who portrays DI Mervin Wilson, explained: “There’s definitely something of a rebel in Mattie. We haven’t had that rebellious element, really. She’s a bit younger, probably a similar age, give or take, to Officer Seb Rose, but she’s seen a lot more.
“She’s a sergeant and she’s more experienced and is always on the front foot, whereas Seb is going through his rookie stripes. It’s great seeing how the two of them connect – there’s a nurturing side as well as a rebellious side. She’s a great addition to the team.”
Who is Catherine Garton?
Catherine Garton, who portrays Mattie, described her character as “tenacious,” adding: “She’s really fun to play. She’s sassy, but she’s like your big sister who will tell you what’s what, but you can also come to her if you need to. You can have a laugh with her. She’s very passionate about things, about her work and about the people that she grows to love, especially in the team. She’s also very determined, almost too determined sometimes..”
She went on: “Audiences can expect some action. Someone who’s lovable and who’s trying their best, but almost to a fault. She has something to prove to herself and to others and sometimes she can do that to her detriment, but it comes from a place of passion. They will see ups, downs and lots of sass!”.
Catherine Garton takes on the role of new recruit Mattie, having previously appeared in The Gray House as Talulah and Ibiza Narcos as Kelly. Catherine recently graced our screens in Russell T Davies’ Doctor Who spin-off, The War Between the Land and the Sea.
This festive BBC series featured Catherine as Corporal Jane Hart throughout all four episodes.
The filming for the spin-off concluded in 2024, and it was only after wrapping up that Catherine learned she had secured the role of Sergeant Mattie Fletcher, a new regular on Death in Paradise. She amusingly revealed that she was shopping in TK Maxx when her agent broke the news.
She recalled: “I was in the shoe section, one shoe off, sliding another one on and my agent called me and told me. It was a moment!”.
Speaking about her experience filming in Guadeloupe, where the fictional town of Saint Marie is located, Catherine enthused: “I loved it – everyone was really welcoming. Before going to Guadeloupe, I didn’t quite know what to anticipate, then it exceeded any expectations I could have had. I love the island. Guadeloupe is like a postcard. It’s quite unreal. Every time I walked out I was like ‘this exists, wow!’. It’s absolutely stunning. Everyone’s nice. I love the culture. The food’s great. Everyone I work with is great. I don’t have any complaints!”.
When asked about meeting the rest of the cast and crew, Catherine admitted: “It was intimidating at first, because this is the biggest kind of role I’ve ever had, but everyone was just so nice and so welcoming. I remember the first time I saw Shantol and the biggest smile ever. I feel like I have family there now.”
Death in Paradise season 15 kicks off on BBC One and BBC iPlayer at 9pm on Friday, 30 January.
After Paul Dano came under unexpected fire from filmmaker Quentin Tarantino in December, the “There Will Be Blood” star received support from fellow artists including Daniel Day-Lewis and Ben Stiller. A month after the drama, he is now returning the love.
Dano finally publicly addressed Tarantino’s controversial comments at the Sundance Film Festival during a 20th anniversary screening of “Little Miss Sunshine.” Speaking to Variety, he said the groundswell of support “was really nice.”
Tarantino appeared on Bret Easton Ellis’ podcast in December to rank his top 10 films of the century. The “Django Unchained” and “Pulp Fiction” filmmaker placed Paul Thomas Anderson’s oil drama “There Will Be Blood” at No. 5 on his list, and said specifically Dano — not his performance — was the “big, giant flaw” in the Oscar-winning film. “There Will Be Blood” stars Dano as fiery preacher Eli Sunday and Day-Lewis as oil tycoon Daniel Plainview.
When the movie was released in 2007, former Times film critic Kenneth Turan praised Dano as “smoothly effective” and gifted. Clearly, Tarantino thought otherwise.
“He is weak sauce, man. He’s a weak sister,” Tarantino said, adding that he thought “Elvis” star Austin Butler (who was a teenager launching his career on Disney Channel and Nickelodeon when the movie came out) would have been a better actor for the part. “He’s just such a weak, weak, uninteresting guy,” he said.
Tarantino added: “You put [Day-Lewis] with the the weakest f— actor in SAG?”
A handful of Dano’s collaborators immediately defended him. “Escape at Dannemora” executive producer Stiller praised him as “brilliant” and Reese Witherspoon called her “Inherent Vice” co-star an “incredibly gifted, versatile actor” and a gentleman. Matt Reeves, Josh Gad, Alec Baldwin and Simu Liu also voiced their support for Dano, whose credits include Steven Speilberg’s Oscar-nominated “The Fabelmans,” Bong Joon Ho‘s “Okja” and Oscar-winning director duo Daniels’ (Daniel Kwan and Daniel Scheinert) “Swiss Army Man.”
“I was also incredibly grateful that the world spoke up for me so I didn’t have to,” Dano said at the Sundance screening.
Before Dano responded, though, Toni Collette (who played his mom in “Little Miss Sunshine”) chimed in, dismissing “that guy” Tarantino and speculating that “he must’ve been high.”
“It was just confusing. Who does that?,” she said, according to Variety. “Little Miss Sunshine” directors Jonathan Dayton and Valerie Faris also criticized Tarantino and praised their star.
During his podcast appearance in December, Tarantino also slammed Owen Wilson and scream king Matthew Lillard. In an interview with Entertainment Weekly published Wednesday, Lillard brushed off the shade and recalled the ensuing social media praise for his talents. “It was like living through your own wake,” Lillard told EW.
“All those R.I.P. emails or tweets and Instagram posts and TikToks, all of the things we see after somebody passes are so sweet,” he added. “And the reality is I just got to live through all of it firsthand — alive and kicking! I can’t imagine a more lovely reaction to what happened.”
Actor Quinton Aaron, who shared the screen with Sandra Bullock in “The Blind Side,” is reportedly showing signs of improvement after he was hospitalized for a blood infection last week.
Margarita Aaron, the actor’s wife, told Fox News and TMZ on Monday that her husband is “making significant progress” in his recovery, making minor body movements including opening his eyes and giving a thumbs-up. Though the actor is partially breathing on his own, Margarita Aaron said her husband remains on breathing assistance and antibiotics, according to Fox News.
A representative for Aaron did not immediately respond to a request for comment on Tuesday
“He’s a fighter; he’s a very strong fighter, and you know, he is making progress day by day,” she told Fox News, “and I believe God’s got him, and he believes God’s got him.”
The 41-year-old actor was hospitalized last week in Atlanta after he collapsed while walking up the stairs in his apartment, TMZ reported. He reportedly experienced pain in his neck and back days before his collapse and lost feeling in his legs before he fell. Aaron’s wife said she called 911 and her husband was slipping in and out of consciousness en route to the hospital, where he has since undergone several tests, according to TMZ. The outlet reported on Tuesday that doctors found a “rare cyst” on the actor’s spine.
Nonprofit organization Veterans Aid Network organized a GoFundMe page in support of Aaron, who the organization described as “part of a veteran family himself.” The organization said it has a “longstanding relationship” with the actor and seeks to raise $35,000 to help his loved ones pay for medical expenses and other recovery-related costs. Donors have raised more than $40,000 as of Tuesday afternoon.
“Quinton has spent his life inspiring others, reminding us that compassion and humanity still matter in this world,” reads the GoFundMe description. “Now, as he faces one of the hardest battles of his life, let’s surround him and his loved ones with that same compassion, strength, and care.”
In an update shared to the fundraiser on Monday, Veterans Aid Network said that Aaron “opened his eyes and has some feeling in his foot!” The update also said he remains on life support and will need a wheelchair upon his release.
Aaron has acted in scores of films, according to his IMDb page, but is best known for his turn in “The Blind Side.” The 2009 drama was based on Michael Lewis’ 2006 book of the same name, which tracked the story of football star Michael Oher, who was plucked from homelessness and poverty when taken in by wealthy couple Leigh Anne Tuohy and Sean Tuohy. The family is credited with Oher’s football success. Oher was an All-American player at Mississippi and a first-round draft pick for the Baltimore Ravens in 2009.
Aaron starred as Oher and Bullock as Leigh Anne Tuohy. The film was nominated for two Academy Awards and earned Bullock a prize in the actress in a leading role category.
“The Blind Side” was in the news again in 2023 when Oher sued his self-proclaimed adoptive parents, alleging the pair never officially adopted him and tricked him in 2004 into signing a legal document that deemed them his conservators. The pair denied the allegations and said the athlete’s lawsuit was a “shakedown.”
“The people of Venezuela do not accept orders from any external actor. The people of Venezuela have a government and that government obeys the people,” interim President Delcy Rodriguez said Monday. Photo by Ronald Pena/EPA
Jan. 27 (UPI) — Venezuela’s interim president, Delcy Rodríguez, has reiterated comments made over the weekend that her country “does not take orders from any external actor,” saying the government answers only to the Venezuelan people.
Her remarks Monday followed recent statements by U.S. officials about Venezuela’s political and economic direction after the Jan. 3 U.S. military operation that captured former president Nicolás Maduro and his wife.
Rodríguez spoke during a public consultation on a partial reform of Venezuela’s Organic Hydrocarbons Law, according to local newspaper Últimas Noticias. She was responding to comments by U.S. Treasury Secretary Scott Bessent, who suggested Washington could influence decisions by the Venezuelan executive branch and the timing of possible elections.
“The U.S. Treasury secretary has made statements that are inappropriate and offensive, and I have to respond to them,” Rodríguez said. “The people of Venezuela do not accept orders from any external actor. The people of Venezuela have a government and that government obeys the people.”
Her comments came shortly after Bessent said leaders of Venezuela’s executive branch would follow orders from President Donald Trump‘s administration.
“We have left members of the [Venezuelan] government in their positions and they will take charge of administering the country,” he said in an interview with the YouTube channel Derecha Diario TV. Bessent also suggested that other leaders could be placed “under custody,” without naming names, “for the benefit of the Venezuelan people.”
Bessent added that “Everyone says, ‘What if Venezuelan leaders return to their old habits?’ I think when they see the videos of the president being expelled from Caracas and in a cell in New York, they will follow U.S. orders.”
On Sunday, Rodriguez delivered a similar message during a meeting with oil workers in the eastern state of Anzoátegui, where she openly criticized foreign interference in Venezuela’s internal affairs.
“Enough of Washington giving orders to politicians in Venezuela. Let Venezuelan politics resolve our differences and internal conflicts,” she said, according to footage broadcast by state television network Venezolana de Televisión.
In her latest remarks, Rodríguez said Venezuela does not rule out relations with the United States as long as they are based on mutual respect.
“We are not afraid of respectful relations with the United States, but they must respect international law, Venezuela’s dignity and its history,” she said.
At an event Monday with business leaders and officials from the energy sector, Rodríguez also outlined the government’s projections for the oil industry — the country’s main source of revenue.
She said the government expects a 55% increase in oil investment by 2026 as part of a strategy to revive crude production, according to financial outlet Ámbito Financiero.
Investment in the sector totaled nearly $900 million last year and is projected to reach $1.4 billion in 2026. The plan is supported by a legal reform that has already passed a first reading in parliament.
The initiative seeks to loosen regulatory conditions and expand participation by domestic and foreign private companies. A central pillar of the reform using productive participation contracts, enabled under the so-called Anti-Blockade Law, which the executive branch describes as a successful model.
Rodríguez said these contracts have helped attract capital and boost production despite international sanctions, adding that 29 such agreements are in place.
“We have to move from being the country with the largest reserves on the planet to being a giant producer,” she said, defending a framework that keeps state ownership of resources while incorporating new management models.
During the hydrocarbons law consultation, Chevron Venezuela President Mariano Vela highlighted the company’s long-standing presence in the country, noting that Chevron has been a key partner in Venezuela’s oil industry for more than 100 years.
He thanked Chevron’s Venezuelan workers, joint venture employees and state oil company PDVSA for their long-term commitment to building “an even brighter future for the Venezuelan people.”
“We are prepared to continue contributing our operational expertise with technological innovation, hard work and the goal of creating a more competitive oil and gas sector,” Vela said.
There is a child abduction about to happen in Poplar and a new detective is tasked to solve the crime
Angie Quinn Screen Time Reporter
00:01, 27 Jan 2026
DI Holbrook is played by Martin Delaney in the forthcoming episode of Call the Midwife (Image: BBC / Neal Street Productions / Jonathan Browning)
Call the Midwife is set to welcome a new character to the BBC drama, and he is a familiar face.
The new season of the BBC drama returned on Sunday, 11 January, as the plot continued into 1971. The midwives of Nonnatus House have so far embraced the Women’s Liberation Movement while facing worrying changes as the National Health Service expands.
In a sneak peek into Sunday’s forthcoming episode of Call the Midwife (February 1), Cyril Robinson (Zephryn Taitte) enjoys a date with Nurse Clifford as the romance blossoms, but the midwife looks worried. The couple can be seen sitting on a bench in a woodland area by a lake, taking a break from their demanding jobs.
Meanwhile, Sister Catherine (Molly Vevers) is distraught when a newborn baby is snatched from the maternity home. But who has taken the baby and why? It appears police detectives, led by DI Holbrook (Martin Delaney), are on the hunt to track down the baby and the person responsible.
Who plays DI Holbrook in Call the Midwife?
Actor and producer Martin Delaney is taking the police detective role on the BBC period drama, and is no stranger to television shows, having launched an acting career as a child.
Now 43, Delaney played the role of Benjamin Oates in the popular show, Pie in the Sky, for one episode in 1997, before making appearances in Wycliffe (1998) and London’s Burning (2000).
However, fans of the popular Nickelodeon show Redford Rejects will know the star as Jason Summerbee. The teen sitcom followed a group of schoolboys who formed their own football team and aired from 1998 to 2001.
Martin then landed the part of Paul Webb in Family Affairs between 2001 and 2002, and has also starred in a long list of other television shows, including Outlander, Casualty, Doctors, Rock & Chips, and The Bill.
Most recently, the star played Rob Ryan in The Man Who Saved the Internet with a Sunflower, Bonded by Blood 2, and Barry in A Christmas Carol.
Call the Midwife airs Sunday at 8pm on ITV and ITVX
Don’t stop me if you’ve heard this one before, since I’m admittedly something of a broken record on the subject, but I very much prefer Marvel’s television series, which tend to be fleet, original and unpredictable, to its movies, which tend not to be. “Loki,”“Ms. Marvel,”“Moon Knight,”“Echo,”“WandaVision” and its spinoff “Agatha All Along” — all (among others) are worth watching, even the ones that are dumped after a season.
Developing longer stories with less money, the TV shows makers need to be inventive, creative with their resources, so they invest in characters and ideas rather than special effects and action. They focus on secondary or ensemble figures who would never be given a theatrical feature of their own to carry, are particular about culture and family and place, and are often less contingent on the Marvel Cinematic Universe, with its phases and stages, its crossovers and cross-promotions and long-range marketing plans. At once higher concept and more grounded than the movies, they’re interesting on their own, to the point where, when they finally hitch on to the Marvel multi-mega-serial train, I find them disappointing.
“Wonder Man,” whose eight episodes premiere all at once Tuesday on Disney+, is perhaps the most grounded of these series. Created by Destin Daniel Cretton (“Shang-Chi and the Legend of the Ten Rings”) and Andrew Guest (who has written for “Community” and “Brooklyn Nine-Nine”), the series is a (generally) sweet, disarming tale of actors in Hollywood, tricked up with picture-business details that you don’t need to be au fait with the MCU to appreciate. There are things it might be helpful to know, but you can work out everything that matters through context. (Locals will enjoy playing Spot the Locations.)
Yahya Abdul-Mateen II plays Simon Williams, who as a child became a fan of a B-movie superhero called Wonder Man — not a “real” superhero, in this reality, merely a fiction. Now in his 30s, he’s a struggling actor in Hollywood, good enough to land a small part in an “American Horror Story” episode, but not clever enough to keep from slowing down the production with questions and suggestions when all he needs to do is deliver a couple of lines before a monster bites his head off. He loses the part and a girlfriend directly afterward.
Taking in a revival house matinee of “Midnight Cowboy,” he meets Trevor Slattery (Ben Kingsley), who is back from having played the Mandarin — that is, he acted the part of a terrorist called the Mandarin, believing it was just a job — in “Iron Man 3” and providing appealing comedy relief in “Shang-Chi and the Legend of the Ten Rings.” The character here is more fleshed out, something of a mess (but 13 years sober, he likes to point out), serious but not a joke. Before it all went wrong, Trevor played King Lear (in Croydon), appeared in “Coronation Street” and in a movie with Glenda Jackson, was off-off-off Broadway in “The Skin Our Teeth” and briefly had the lead in a hospital show with Joe Pantoliano, who’s very funny playing himself.
Trevor Slattery (Ben Kingsley), left, and Simon Williams (Yahya Adbul-Mateen II) team up in “Wonder Man.”
(Suzanne Tenner / Marvel Television)
Slattery tells Simon that European art director Von Kovak (Zlatko Burić) is rebooting Wonder Man, a role Simon feels born to play. He makes an end run around his unconvinced agent, Janelle (X Mayo), and wheedles an audition — where he again meets Trevor, auditioning for Barnaby, Wonder Man’s pal, or sidekick or something. There are wheels behind wheels in this setup, some of which could use a little grease, but for most of the series they do their squeaking off to the side. It’s a love story, above all — “Midnight Cowboy,” not an accidental choice, is more of a touchstone than any Marvel movie.
Simon does have powers — things shake, break or explode around him when he’s upset, and his strength can become super in a tight spot — which puts him in the sights of the Department of Damage Control, embodied by Arian Moayed as P. Cleary, who would like to contain him. But he struggles to keep them secret, especially in light of something called the Doorman Clause — its history established in a sidebar episode, a cautionary Hollywood fable with Josh Gad as himself — which prohibits anyone with super powers from working in film or television, all Simon lives for.
There is little in the way of action, and you won’t miss it. The fate of the world is never in question, but a callback for a second audition means everything. The only costumed characters are actors playing costumed characters; the only villains, apart from the bureaucracy that seeks to bring him in, are Simon’s own self-doubt and temper. As things progress, Trevor will become a mentor to Simon. As is common in stories of love and friendship, a betrayal will be revealed, but if you have seen even a few such stories, you know how that’s going to go, and will be glad it does.
Whether discussing acting techniques or the traffic they’re stuck in on Hollywood Boulevard (Trevor: “Probably the Hollywood Bowl.” Simon: “It’s too late for the Bowl.” Trevor: “It’s usually the Bowl. I remember seeing Cher there once — breathtaking. Chaka Khan, now there’s a woman”), Abdul-Mateen and Kingsley work well together; their energies are complementary, laid back and loose versus worked up and tight and, of course, each will have something to teach one another about who they are and who they could be. I was genuinely anxious for them, as friends, more so than just wondering how such and such a superhero (or team) might defeat such and such a supervillain (or team).
“Our ideas about heroes and gods, they only get in the way,” says Von Kovak, putting a room of hopeful actors through their paces, and essentially speaking for the series he’s in. “Too difficult to comprehend them. Let’s find the human underneath.”
