LIZZIE Cundy has revealed the heartbreaking news that her brother has died.
Sharing a picture of her sibling Peter, Lizzie wrote in an emotional tribute: “It is with a heavy heart and great sadness to tell you that my brother Peter has died.”
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Lizzie Cundy has lost her brotherCredit: SuppliedShe announced her brother Peter has diedCredit: Instagram
The TV and radio presenter, 57, added: “We as a family are heartbroken.
“Peter was a much loved son, brother and uncle.
“He worked in theatre, film, had a great love of dogs and of Chelsea FC.
“A real character and a kind soul who will be very much missed.
He was first diagnosed with cancer back in 2000 and had to have one of his kidneys removed.
Then, in 2020, the TalkTV host revealed that the cancer had returned in his kidney, spine, brain and lungs.
Lizzie was friends with James for over three decades, and said at the time: “I got the phone call from his lovely wife Nadine and I just burst into tears. Because I knew this day was coming but I never wanted it to come.”
She also described James as a father figure, recalling: “He helped me through a lot of ups and downs, through my divorce.
“He told me when I was being an idiot, he told me straight and I loved that in James.”
Lizzie, who is a mum to sons Josh (pictured) and James, said the family are “heartbroken”Lizzie’s loss comes just five months after her best friend, TalkRadio star James Whale passed awayCredit: lizziecundy/Instagram
On Saturday, Guillermo del Toro revealed that his older brother, Federico del Toro Gómez, had died last week.
The “Pan’s Labyrinth” director shared the news while receiving the Visionary Award at the Palm Springs International Film Awards alongside Oscar Isaac, Jacob Elordi and Mia Goth — the stars of his latest project, “Frankenstein.”
“I’ve come to believe that everybody’s born with one or two songs to sing,” Del Toro told the crowd at the Palm Springs Convention Center. “That’s it, and we keep repeating them and repeating them until we get them sort of right. And Frankenstein was the song I was born to sing.”
Del Toro spoke of his brother when touching on his recent film’s themes of fatherhood, forgiving and being forgiven.
“Three days ago, I lost my older brother, but I’m here because the film speaks about a condition that is purely human, that is proved by the final phase in the film, which says the heart may break and the broken live on,” he said. “Even a broken heart pumps the blood and keeps you going.”
The 61-year-old filmmaker would go on to note that there were several occasions when he and his brother played out the dynamics of Victor Frankenstein and the Creature in their own lives, and that they “granted each other love and granted each other peace” many years ago.
Del Toro did not share any details regarding his brother’s death and said that he may take time off during awards season due to his family’s loss.
“I may be absent at a few functions this [awards] season, but not this one,” he said. “I’m here because [the cast and crew of ‘Frankenstein’] is family. Life gives you a family on the way.”
The governor of Del Toro’s home state of Jalisco, Pablo Lemus Navarro, shared a message on X about the elder Del Toro’s death.
“I send my condolences to the Jalisco filmmaker @RealGDT for the passing of his brother, Federico del Toro Gómez,” Lemus Navarro wrote. “To his family and loved ones, I hope that they soon find consolation. From the bottom of my heart, I’m sending a warm and strong hug. Rest in peace.”
The director’s alma mater, the University of Guadalajara, also paid their respects to Federico on X.
“We lament the passing of Federico del Toro Gómez, brother of Guillermo del Toro, the Tapatío filmmaker and alumnus of our academic institution,” the post read. “We extend our condolences to his family and friends. Rest in peace.”
Elsewhere in his speech, the Oscar-winning director spoke of the importance of believing in and making art in deeply political times.
“At a time when people tell you art is not important, that is always the prelude to fascism,” Del Toro said. “When they tell you it doesn’t matter, when they tell you a f— app can do art, if it’s that easy, that unimportant, why the f— do they want it so bad? The answer is because they think they can debase everything that makes us a little better, a little more human.”
Political realities were also front and center at the awards show during Leonardo DiCaprio’s acceptance speech for his performance in “One Battle After Another.”
“Leonardo DiCaprio is unable to join us in person tonight due to unexpected travel disruptions and restricted airspace,” a spokesperson for the Palm Springs International Film Festival told Variety. “While we will miss celebrating with him in person, we are honored to recognize his exceptional work and lasting contributions to cinema. His talent and dedication to the craft continue to inspire, and we are delighted to celebrate him with the Desert Palm Achievement Award this evening.”
When musician Cary Brothers found out that the Hotel Cafe was shutting down, he felt like he’d been told his parents were selling his childhood home.
The beloved music venue, which kick-started the careers of then-little-known singer-songwriters Adele, Sara Bareilles and Damien Rice, is closing its doors in early 2026, its co-founders Marko Shafer and Max Mamikunian announced in November. For those like Brothers, who considered the Hotel Cafe a second home, the news of the closure was a heavy blow.
Luckily for them, Shafer and Mamikunian plan to open a new location in the nearby Lumina Hollywood tower in early 2027. Brothers said it provides consolation, but not complete comfort.
“Yeah, they’re buying a great new house, but it’s not our house,” he said.
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Elected the “mayor of the Hotel Cafe,” Brothers discovered the Hollywood haunt before it even had a liquor license. In those days, the cafe had a BYOB policy and sold buckets of ice for visitors to chill the alcohol they brought in with them, and jazz legends pouring out of local bars after last call capped off their nights with a 3 a.m. jam session in the Hotel Cafe’s piano room (or smoking room, depending on whom you ask).
Every penny they made went back into the venue, Shafer said.
Brothers has always likened the Hotel Cafe in that era to “‘Cheers’ with guitars,” where he could show up any night and a dozen of his closest friends would be there. Eagles songwriter Jack Tempchin used to say it was the closest thing to the front bar at the Troubadour in the ’70s.
“Nobody became the Eagles, sure, but the spirit was the same,” Brothers said.
Dave Navarro, left, and Billy Corgan perform with Spirits in the Sky at the Hotel Cafe in 2009. The venue was a launching pad for many prominent singer-songwriters in the late 2000s and early 2010s.
(Tiffany Rose / WireImage via Getty Images)
Beginnings on Cahuenga Boulevard
The owners attribute much of Hotel Cafe’s success to good timing.
At the turn of the century, Mamikunian said, “Word on the street in Los Angeles was, it’s an industry town and music venues don’t work here.”
Mamikunian, on the other hand, believed the city was teeming with raw talent, but there was no place for it to develop. Judging by the laundry list of musicians who flocked to the Hotel Cafe in those early years, his hunch was spot-on.
“We hit it right when it needed to happen,” he said.
For independent artist Kevin Garrett, the Hotel Cafe was a “gym” where he could flex his creative muscles and experiment with his sound, judgment-free. For local folk singer Lucy Clearwater, it was her sign that moving to L.A. was the right decision for her career.
And for Ingrid Michaelson, the spot was ahead of its time in championing female artists. When the Hotel Cafe asked Michaelson to headline its 2008 all-female tour, she thought, “When does that ever happen, except for Lilith Fair?”
In Michaelson’s native New York, there were a handful of venues that cradled early-career musicians: the Living Room, the Bitter End, Kenny’s Castaways.
“But in L.A., there really was just the Hotel Cafe,” Michaelson, behind such 2000s hits as “The Way I Am” and “You and I,” said. “So it was this distilling of all the singer-songwriters in L.A., kind of coming through this one port.”
Patrons enter the Hotel Cafe through a back alleyway along Cahuenga Boulevard.
(Gina Ferazzi / Los Angeles Times)
Through the musical generations
In its 25 years of operation, the Hotel Cafe has seen several generations of musicians shuffle through the space, Shafer said. Production manager Gia Hughes calls them the “graduating classes.”
In Brothers’ days, it was Joshua Radin, Bareilles, Meiko and other late 2000s singer-songwriters whose music regularly landed on shows like “Grey’s Anatomy” — or in Brothers’ case, the indie cult classic “Garden State,” directed by and starring fellow Northwestern alum Zach Braff.
Next came residencies from breakouts Johnnyswim and JP Saxe, and later, folksters Clearwater and her close confidant Rett Madison. Clearwater said that during her tenure, she would often join her fellow performers onstage to sing backing vocals or play a violin solo.
“Every four years it’s like a different kind of community that comes about,” Hughes said. “And it’s different, but it’s also not.”
It’s why Shafer and Mamikunian aren’t worried about losing the magic they created on Cahuenga. In their eyes, it was never confined to the space itself.
“I remember when we first talked about expanding the Hotel Cafe and everybody said, ‘Don’t do it. You’re going to ruin what you have,’” Shafer said, referencing the venue’s 2004 acquisition of additional space next door. (They expanded again in 2016 with their Second Stage annex, about half the capacity of the main stage.)
“When we did it, it changed the room so much for the better, and gave us access to bigger artists but still didn’t lose the intimacy,” he said about the expansion.
Shafer and Mamikunian thought they’d outgrown the Cahuenga space and had long been pondering a move. This year, the logistics lined up, Mamikunian said.
“It wasn’t anything dramatic,” he said. It was just time.
Hughes called the move “an opportunity to pursue a space that can check a lot more boxes for us, for the long term”: more parking, increased room capacity, greater accessibility.
L.A. singer-songwriter Maris performs in the Second Stage performance room at the Hotel Cafe.
(Gina Ferazzi / Los Angeles Times)
A new beginning around the corner
Zoning clearances are still pending for the new location in Lumina Hollywood on Sunset Boulevard, a high-rise apartment building set to be upgraded by Morguard Corp. And although the new venue is slated for a 2027 opening, the timeline depends on an upcoming zoning hearing, expected in March or April, Mamikunian said.
But Shafer and Mamikunian opted to announce the closure while details were still being worked out rather than wait and risk information leaking to the public. Plus, this way, both artists and patrons have time to say their goodbyes.
After Clearwater heard the news, she rushed to a “Monday Monday” weekly showcase and immediately felt like she’d been transported back to 2017, when she spent four-plus nights a week at the joint.
“So many of my old friends from that time — some of [whom] I had fallen out of touch with — I saw all of them there,” the Bay Area-bred folk singer said. “You could feel everybody loving it so much.”
The singer said she couldn’t help but wonder whether things would have panned out differently had people shown out like that before Shafer and Mamikunian made their choice. But sipping red wine in the green room that night, she felt lucky just to be there.
“It’s the wood, it’s the bar, the backstage chairs, the little lanterns,” she said. “I’m just going to miss what it looks and smells like, but the people, that’s never gonna go away.”
The Hotel Cafe hosted its annual holiday showcase on Dec. 19, with proceeds benefiting the Recording Academy’s nonprofit arm, MusiCares.
(Gina Ferazzi / Los Angeles Times)
Farewell for now
Earlier this month, the Hotel Cafe hosted its last-ever holiday event at the Cahuenga location. Hughes, with the help of her interior designer sister, Nina Hughes, spent hours that day decking the halls with carnival lights and ribbons galore.
Even before the night’s performances began, attendees were clinking glasses and giving lingering hugs — the kind befitting the last day of summer camp.
“It’s going to be a love fest,” Hughes predicted.
As heartfelt as that night’s musicians were in their speeches, bartender Dan Shapiro said waxing sentimental onstage has been the norm for weeks.
“People are always doing eulogies to the place,” Shapiro said with a chuckle. As he surveyed the lineup posted at the bar, he said he’d put his money on performer Lily Kershaw shedding a few tears. Fellow bartender Dave Greve concurred.
Against the odds, Kershaw didn’t cry as she led the crowd through a rendition of Crosby, Stills, Nash & Young’s “Our House” a few hours later. Subsequent performers stayed on theme with songs composed of resonant lyrics like “So long stranger / I like to think I know you best” and “Hold on tight / don’t let go.”
As Brothers crooned his own tribute, he closed his eyes, as though praying.
“It’s never gonna be what it was, but it’ll be something new and different, and I’m really excited to see what that is,” Lucy Clearwater said about the Hotel Cafe’s relocation to Sunset Boulevard.
(Gina Ferazzi / Los Angeles Times)
James Babson, a longtime doorman at the Hotel Cafe, said its staff and attendees alike have always been reverent toward performers. For some, he said, the listening experience is “spiritual.”
“Maybe they’re not churchgoers, so they have this sense of community and transcendence, where that song touches them on this level, which takes them somewhere else,” he said.
Peter Malek felt it the first time he stepped inside the Hotel Cafe 20 years ago. Hooked on that feeling, he started visiting the venue several times a week. Sometimes, he never even made it inside, content to chat with Babson for hours at the door; other evenings he spent in the staff offices, cramming for his medical school exams.
According to Malek’s last tally, he’s been to the Hotel Cafe 1,333 times. Although he was saddened when he heard the news of the relocation — several months before almost everyone else found out — he said he isn’t expecting Shafer and Mamikunian to replicate what they built at the Cahuenga site.
Instead, Malek said, he’s left “happy that he witnessed it.”
The Hotel Cafe was packed with regulars and first-time attendees at its farewell holiday performance in December.
(Gina Ferazzi / Los Angeles Times)
All night at the Hotel Cafe’s holiday party, attendees wondered whether penultimate performer Dan Wilson, of the pop-rock band Semisonic, would play “the song.” No one had to name it.
When Wilson finally sang the magic words, “Closing time, open all the doors / And let you out into the world,” the room erupted into cheers.
It was the closest Brothers came to crying, but he held it in. There would be time for that later.
While the swirl of chatter around Travis Kelce on Christmas Day was on whether he plans to retire at the end of the season, the 11-time Pro Bowl tight end quietly moved up to No. 9 on the NFL all-time receiving list.
Kelce’s fifth and last catch in the Kansas City Chiefs’ 20-13 loss to the Denver Broncos was No. 1,077, pushing him past Anquan Boldin. With two more receptions in the Chiefs’ regular-season finale, Kelce will surpass Terrell Owens in the No. 8 spot.
Statistics were seemingly the last thing on Kelce’s mind as he walked off the Arrowhead Stadium field on Thursday, perhaps for the last time. The Chiefs finish the season on the road next week against the Las Vegas Raiders.
Kelce’s recent years are inextricably linked to his fiance Taylor Swift. Was this the last time the music megastar would grace the Kelce family luxury suite to watch her beau rack up the receptions? (If so, let the record show that Swift wore a red bomber jacket from the Frankie Shop.)
Kelce, 36, admitted he was feeling reflective afterward.
“A whole lot of emotions,” he told reporters. “You’ve got everybody in the world watching you. You get to go out there with the young guys on prime-time television. Young guys getting an opportunity to taste what this NFL life is like.”
For Kelce, the NFL life has been fulfilling. He’s won three Super Bowls and is all but certain to be inducted into the Hall of Fame. And he’s played his entire 13-year career with the Chiefs.
So while he sorted through emotions and memories after the game, he basked in the adulation beforehand.
“You only get a few of those where you get to stand there and appreciate 70,000 Chiefs fans cheering for you,” he explained. “I always embrace that moment.
“You feel the generations of happiness and the love [the fans] have. It’s a beautiful thing, man.”
For a decade, Kelce was a regional sports figure, revered in the Midwest as a hard-nosed, consistent producer on the field. His profile began to change ahead of the 2022 season when he and his brother, Jason, launched an immediately popular podcast, “New Heights.”
Kelce and Swift began dating ahead of the 2023 season, and a year later, the Kelce brothers signed a three-year, $100-million podcast deal with Amazon’s Wondery. Then in August, Kelce and Swift announced their engagement.
Tight ends, with their three-point stances and proximity to tackles and guards, traditionally don’t seek or attract attention. But Kelce is now a full-fledged national celebrity.
Just don’t allow that to obscure his numbers. Kelce has 73 catches for 839 yards in 2025, putting him alongside Jerry Rice as the only players in NFL history to eclipse the 800‐yards receiving mark in 12 consecutive seasons. Kelce also is the only tight end to exceed 90 catches for seven seasons in a row, a streak that will end this year.
Rice, the former San Francisco 49ers great, is the NFL‘s all-time leading receiver with 1,549 catches. Larry Fitzgerald is next with 1,432. Then come the only tight ends with more catches than Kelce: Tony Gonzalez (1,325) and Jason Witten (1,228).
Should Kelce decide to play another season, he almost certainly would climb to No. 5, passing Marvin Harrison (1,102), Cris Carter (1,101) and Tim Brown (1,094) in addition to Owens.
Kelce may have already decided whether this is the right time to retire. He just isn’t ready to say so, indicating he will let the Chiefs know soon after the season ends.
“I’ll let that be a decision I’ll make with my family, friends and the Chiefs organization when the time comes,” he said.
The holidays bring good cheer — an opportunity to reflect but also, most likely, the anxiety of family. Jim Jarmusch’s latest film isn’t set during the season, although the faint flickers of awkwardness, resentment and guilt that pass across its characters’ faces may be painfully familiar to audiences who have an uneasy relationship with their parents. “Father Mother Sister Brother” is here to commiserate, but because the veteran indie auteur remains a sharp chronicler of the quotidian, he has no patience for sentimentality or pat resolutions. The movie glides by so unassumingly, you may be stunned how moved you are by the end.
“Father Mother Sister Brother” is divided into three chapters, each examining a separate family. In the first segment, set somewhere in the Northeast, siblings Jeff (Adam Driver) and Emily (Mayim Bialik) visit their unnamed father (Tom Waits). The second tale shifts to Dublin, where sisters Timothea (Cate Blanchett) and Lilith (Vicky Krieps) arrive at the home of their mother (Charlotte Rampling) for their annual tea party. And in the final chapter, twins Skye (Indya Moore) and Billy (Luka Sabbat) reunite in Paris to close up the apartment owned by their parents, who recently died in a small-plane crash.
Jarmusch has occasionally sliced his narratives into pieces: His films “Night on Earth” and “Coffee and Cigarettes” were anthologies tied together conceptually. Initially, “Father Mother Sister Brother” appears to be similar, but there’s a cumulative power to the movie, which won the Golden Lion at the Venice Film Festival, that reveals a subtle but profound thematic undercurrent.
The first clue comes in the “Father” chapter, which begins with Jeff and Emily in the car. There’s a stilted quality to the conversation as they discuss their eccentric, inscrutable dad. The visit has the heavy air of obligation — they don’t see Dad very often — and when he clumsily welcomes them into his ramshackle house, pregnant pauses and pursed lips ensue. Nothing much happens, until the segment’s finale introduces a twist that suggests the yawning chasm between what we think we know about our parents and what the truth of their lives is.
Once we move to the “Mother” sequence, we’ve started to acclimate to the movie’s discomfiting rhythms — which is good considering that, if anything, Timothea and Lilith’s relationship with their mom is even frostier. Their mother’s polite, excessively formal demeanor cannot mask her befuddlement regarding how to relate to her children. Decked out in an unflattering haircut and eyeglasses, Blanchett plays Timothea as terminally mousy, still craving her aloof mom’s approval. By comparison, Krieps’ Lilith is more assertive, proudly showing off her pink-dyed hair and bragging about a Lexus she doesn’t actually have. Rampling crackles as a matriarch who can sniff out her kids’ lies and insecurities but has the good manners not to say anything. Or maybe it’s not kindness at all but, rather, a way to reassure herself that she will always have the upper hand.
The film’s persistent brittleness may make some viewers antsy. That’s partly the point, but hopefully, they’ll soon be swept away by the movie’s melancholy undertow. Working with a minimalist keyboard score he co-wrote, Jarmusch fills the silences with an ineffable despair. You can feel it in the way Emily looks out her father’s window to the lake beyond, the wintery tableau both tranquil and poignant. You sense it when Timothea quietly inspects herself in a bathroom mirror, wishing her life was more than it is.
Such moments could make you cry. But Jarmusch’s deadpan approach often chases that sadness with a wry chuckle during instances of unfiltered honesty. Krieps relishes portraying her character, a big-talking phony hoping to wow her mother and sister. (At one point, Lilith announces, “I almost hate to say it, but my life’s been like a dream.” Blanchett’s reaction is delicious.) Eventually, we learn to look past Jarmusch’s deceptively mundane surfaces to see the fraught, unresolved issues within these guarded families. The characters occasionally expose their true selves, then just as quickly retreat, fearful of touching on real conflict.
Which brings “Father Mother Sister Brother” to its most affecting sequence. It would be a spoiler to disclose anything about Skye and Billy’s intimate saga, but what becomes clear is that Jarmusch has fashioned the “Father” and “Mother” installments in such a way that the final “Sister Brother” segment hits differently. Just as importantly, Moore and Sabbat’s lovely performances slyly alter our impressions of those previous chapters, building to some of the tenderest moments of Jarmusch’s career.
Turning 73 in January, Jarmusch has lost none of his edge or preternatural cool, but the depth of feeling in recent works like 2016’s “Paterson” becomes, here, a bittersweet meditation on the anguish of trying to unlock the mystery of our aging parents. In “Father Mother Sister Brother,” family can be hell, but the only thing worse is when they’re no longer with us.
BROOKLYN Beckham blocked his family on social media after mum Victoria “liked” a post of his about roasting a chicken, The Sun can reveal.
The budding chef, 26, saw red after Posh showed her approval of a self-shot video in which he discusses beer-brining a bird to give it extra flavour.
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Brooklyn Beckham blocked his family on social media after mum Victoria ‘liked’ a post of his about roasting a chickenCredit: InstagramBrooklyn blocked Victoria, David, brothers Romeo, Cruz, and his 14-year-old sister HarperCruz revealed on Instagram that the family had been blockedCredit: Getty
Former Spice Girl Posh’s response was soon followed with comments from fans urging estranged Brooklyn to build bridges with his family.
But it is believed that he got annoyed at his worried mum’s public display of affection as she bids to heal the family rift.
David and Victoria are understandably heartbroken by what’s gone on here
It was initially thought that the Beckham family had “unfollowed” Brooklyn’s account, as The Sun on Sunday reported yesterday.
Cruz soon put things straight.
Pulling no punches, he shared a post which read: “Not true.
“My mum and dad would never unfollow their son.
“Let’s get the facts right.
“They woke up blocked . . . as did I.”
It marked the first time any of the image-conscious Beckhams had directly addressed the family feud.
Despite wall-to-wall coverage of the row, it was business as usual until Cruz’s blunt contribution.
Unsurprisingly, Cruz and Romeo are furious
A source
A source said: “David and Victoria are understandably heartbroken by what’s gone on here.
‘PUBLIC ATTACK’
“This came out of the blue for them, and in the lead-up to Christmas when families are supposed to come together, it’s devastating.”
The source added: “All they want is for things to be fixed but with every week they just seem to be getting worse.
“Unsurprisingly, Cruz and Romeo are furious that Brooklyn would make such a public attack.
“As for Brooklyn, he wants things fixed in private and not played out on social media, although his actions have resulted in quite the opposite.”
Brooklyn, who married Nicola in a lavish wedding in April 2022, has had nothing to do with his family since the start of the year.
It is thought the feud may have somehow been triggered during the lead-up to Brooklyn and heiress Nicola’s big day.
He swerved his dad’s 50th birthday celebrations in May and the proud ex-England football captain’s knighthood investiture at Windsor Castle last month.
The Beckhams have not been pictured together as a family since Boxing Day last year.
It’s thought the family feud may have been triggered during the lead-up to Brooklyn and Nicola’s big dayCredit: GettyCruz’s message marked the first time any of the Beckhams had directly addressed the family feudCredit: instagram/cruzbeckhamBrooklyn with his parents David and VictoriaCredit: Getty
Everyone seemed to know in the first quarter of the Southern Section Division 1 final at the Rose Bowl what Santa Margarita High was going to do again and again — get the ball into the hands of Trent Mosley.
Every offensive play in the opening 12 minutes by Santa Margarita involved a pass or a run by Mosley.
“Why not?” quarterback Trace Johnson said.
In the end, Santa Margarita defeated Corona Centennial 42-7 with Mosley scoring four touchdowns and catching 10 passes for a stunning 292 yards. Two weeks later, he made 11 catches for 183 yards and scored three touchdowns in a 47-13 win over De La Salle in the CIF Open Division state championship bowl win.
It was the culmination of a return to greatness for Mosley, who was the Trinity League player of the year as a sophomore, then was slowed by injuries last season. He finally got healthy this season after an injury in the opening game, and every opponent knew the challenge he presented.
Mosley has been selected The Times’ football player of the year in the Southland.
Trent Mosley raises the Southern Section Division 1 championship trophy won by Santa Margarita at the Rose Bowl.
(Craig Weston)
There’s little doubt where his talent comes from — it’s in his genes. His mother, Cindy, was the Heisman Trophy winner for soccer at Notre Dame. His father, Emmett, played football at Notre Dame. His sister, Jalyn, played soccer at Iowa. His brother, Emmett, is a receiver at Texas. Younger brother Grant is another top receiver at Santa Margarita. The three brothers used to see who was most competitive.
Highlights of Trent Mosley zigging and zagging and playing at a different level in his final high school game for Santa Margarita. Courtesy Interscholastic Films. pic.twitter.com/VFo9IC4xk7
“Usually my basketball games with my brothers would end up in fights. Video games, fights,” Trent said. “Blessed to have the experience and their guidance.”
There’s not a sport or position Mosley can’t master. He used to love playing lacrosse, and his versatility is his super power. When he shows up to USC, his college choice, the Trojans will have plenty of plans on how to use him, whether it’s receiver, wildcat quarterback, returning punts or kickoffs.
Centennial coach Matt Logan called him “phenomenal.” De La Salle coach Justin Alumbaugh said, “Good lord.”
Mosley added additional speed this season that led to even more big plays and showed what he can do when healthy.
“The gifts I’ve been given by God, working out with offseason speed training and also playing lacrosse two years ago — all that coming together produces what I can do now,” he said.
