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THE mother of Deadliest Catch star Todd Meadows has pleaded for footage of her son’s death never to be aired.

Cameras were rolling when Meadows went overboard off the coast of Alaska last week.

The 25-year-old fell into the freezing waters of the Bering Sea while filming the long-running Discovery Channel series.

His body was recovered ten minutes later, but attempts to resuscitate him were unsuccessful.

His mother, Angela, told TMZ: “We don’t want to see any footage of the accident and do not want Discovery to air any of that footage or make money off of our son’s death.

“We hope they only air good things of Todd on that boat.”

FISHING TRAGEDY

Deadliest Catch star Todd Meadows died after falling overboard into sea

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Instead, Angela said the family has requested footage of Todd crabbing so they can remember him doing what he loved.

The family is still waiting for a definitive answer about how he died, but Angela says she has been assured her son did not suffer in his final moments.

“We don’t want to put the blame on anyone, but someone has to take responsibility. We will have justice for Todd,” she added.

A spokesperson for the US Coast Guard said that on February 25, just after 5pm local time, officials were alerted that Meadows had gone overboard.

The alarm was raised by the fishing vessel Aleutian Lady, which reported he fell into the water about 170 miles north of Dutch Harbour, near Alaska.

Captain Rick Shelford confirmed the devastating loss in a Facebook post, calling February 25 “the most tragic day in the history of the Aleutian Lady on the Bering Sea.”

“We lost our brother, Todd Meadows,” he wrote.

“Todd was the newest member of our crew, he quickly became family. His love for fishing and his strong work ethic earned everyone’s respect right away.

“His smile was contagious, and the sound of his laughter coming up the wheelhouse stairs or over the deck hailer is something we will carry with us always.”

Discovery Channel also released a statement: “We are deeply saddened by the tragic passing of Todd Meadows.

“This is a devastating loss, and our hearts are with his loved ones, his crewmates and the entire fishing community during this incredibly difficult time.

“Our hearts are broken in a way that words can’t fully express.”

Todd is survived by three sons, and a GoFundMe has been started to support them.

The Bering Sea – known for its shallow depth, volatile weather, and freezing temperatures – is widely regarded as one of the most dangerous bodies of water in the world.

The hazards of the job are well-known among those who work the waters.

Captain Sig Hansen has previously described facing “life-threatening situations” at sea.

“We’ve had events where the boat was icing down to the point where I thought there was no return, he told Fox News.

Santa Cruz tried out the surveillance company Flock Safety for a little over a year before deciding it was time to move on.

Cambridge, Mass., also had enough and tore up its contract in December. Now, some officials in San Diego have begun to have second thoughts of their own.

In recent months, dozens of cities have cut ties with Flock — the nation’s largest provider of automated digital license plate readers — over fears that data the company captures is helping power President Trump’s mass deportation campaign.

The same can’t be said in one particularly surprising place: Los Angeles. Here, Flock still has an eager customer base of local elected officials, police officers, homeowners associations and businesses.

Unlike some of its competitors, the Atlanta-based company has not only marketed its plate readers to law enforcement as a vital crime-fighting tool, but aggressively pitched its product to private citizens, experts say.

“They are tremendous investigative tools,” said LAPD spokesman Capt. Michael Bland.

But for critics, there’s an obvious downside: the potential tracking of law-abiding citizens without a warrant on a scale once thought unimaginable.

“These can be really powerful tools to find someone, and identity them. But when you don’t have a suspect, everyone can be a suspect,” said Hannah Bloch-Wehba, a professor of law at Texas A&M University.

A Flock spokesperson did not respond to multiple requests for comment for this story.

Typically mounted on street poles or atop police cars, plate readers continuously monitor passing vehicles, recording their location at a specific date and time. But Flock’s AI-powered cameras go even further by also documenting other identifying vehicle details, such as make, model and color, as well as any distinctive markings like scratches or dents on a bumper.

From there, police can easily search for the location of specific vehicles in the company’s vast national database, allowing them not only to potentially retrace the whereabouts of someone suspected of a crime, but also receive predictions about future movements.

In a presentation to the Picfair Village Neighborhood Assn., Flock boasted that its plate readers had helped solve “10% of reported crime in the U.S.” In L.A., the company said, its technology had been deployed to nab porch pirates and car thieves, not to mention played a role in solving a “high-profile crime involving stolen weapons from a politician’s home.”

The problem, at least in the minds of a growing number of privacy and immigration advocates, is that the readers capture a vast amount of information not related to any specific criminal investigation. The ability of federal authorities to access Los Angeles Police Department surveillance data directly from companies like Flock or from regional intelligence hubs called fusion centers undermines the city’s promise as a haven for immigrants, critics say.

“License plate readers play a critical role in providing directions and a road map to ICE for going out to kidnap people,” said Hamid Khan, an organizer with the activist group Stop LAPD Spying Coalition, which last spring wrote a letter to the Police Commission urging it to rewrite the LAPD’s policies to ensure information on law-abiding drivers isn’t shared with federal authorities.

The commission, the LAPD’s civilian oversight panel, ordered a study on the department’s license plate reader system that is expected to be completed this summer.

LAPD officials say records collected by the plate readers are accessible only to five smaller police agencies with which the department has data-sharing agreements. Furthermore, they say the use of the readers, like with other police technology, is restricted by state laws that limit information sharing with federal agencies like Immigration and Customs Enforcement.

Plate-reading technology has been around for decades. But as the Trump administration’s deportation crackdown has ramped up, residents, privacy advocates and officials in some cities across the country have mounted campaigns urging their local governments to stop using the technology.

Much of the backlash has been aimed specifically at Flock — a heavyweight in the surveillance market that contracts with a reported 5,000 U.S. policing agencies. The company’s data-sharing with federal authorities and cybersecurity lapses have been documented by 404 Media and other outlets.

After previously denying it had federal contracts, Flock Chief Executive Garrett Langley admitted in interviews in recent months that the company has worked with U.S. Customs and Border Protection and Homeland Security Investigations. The company has since said that it has severed ties with both agencies, and responded to other concerns by giving communities more power to decide whom to grant access to state or nationwide lookup networks.

In Bloch-Wehba’s view, Flock’s meteoric rise is a triumph of marketing over results.

“There’s very little evidence on the actual impact of these technologies on violent crime rates at all,” said Bloch-Wehba, who noted an explosion of surveillance technology in 2020 to monitor protesters or enforce rules implemented to curb the spread of COVID-19 during the pandemic.

In the L.A. area, Flock has gone head to head with competitor Vigilant Solutions, which has for years supplied the majority of the LAPD’s plate readers. But today, cops tout Flock cameras at community meetings and some City Council members have paid to bring them to their districts.

Flock has also sought to flex its political might. City records show the company has stepped up its lobbying efforts at City Hall in recent years — hiring Ballard Partners, a powerful Florida-based firm whose employees now include former City Councilmember Joe Buscaino.

Many Flock plate readers, though, have been purchased by community groups. In most cases, residents band together to raise money to buy the devices, which they then either grant access to or donate to the LAPD via the Police Foundation, the department’s nonprofit charity. By donating the equipment, neighborhood groups may get to control what type of technology is installed and by whom.

“My real preference would be a fully staffed LAPD, and then we don’t have any cameras,” said Jim Fitzgerald, who lives in Venice and serves on its neighborhood council.

Roy Nwaisser, who chairs the Encino Neighborhood Council’s public safety committee, said that Flock often played up the shortage of police officers during its presentations to residents in his neighborhood.

“I personally have concerns with how Flock conducts their businesses, but they are the biggest player and if LAPD is working with them, they just have to make sure that there are those safeguards,” he said. “I don’t know that automated license plate readers are all that effective when owned by neighbors living on the street who decided to get together.”

Police executives have defended the practice, saying license plate data has helped solve untold numbers of crimes, from run-of-the-mill porch theft to high-profile cases like the 2024 attempted assassination of then-presidential candidate Donald Trump at a Florida golf course. The technology also came into play during an investigation into the fatal drive-by shooting of a 17-year-old boy at a North Hills intersection last month. According to a search warrant affidavit, detectives tracked a suspect vehicle to a home in Sun Valley after it was captured by several scanners near where the shooting occurred.

Because so many plate scanners are in private hands, it’s difficult to say how many of the devices are in operation citywide.

The L.A. Bureau of Street Lighting, which is responsible for installing the devices on city-owned property, said it has mounted 324 over five years — though that tally doesn’t include mobile plate readers.

Bland said the LAPD has 1,500 police vehicles equipped with the scanners. Police also have access to an additional 280 plate readers in fixed locations throughout the city, which are owned privately or by the department, he said. He estimated that about 120 of those readers belong to Flock.

The cameras are also integrated with the department’s new drones, which are being paid for by a $1.2-million donation from the Police Foundation.

The devices are also used for many other purposes outside of regular law enforcement. Big box retailers like Home Depot and Lowe’s have installed Flock cameras across hundreds of parking lots. Many border crossings have them. In East L.A., they are used as an emissions-reduction tool by tracking semi-trailers. USC uses them to enforce parking violations, and the L.A. Department of Transportation has deployed such cameras to nab motorists who park in bus lanes.

Since the beginning of 2025, a small-but-growing number of states and cities have enacted laws aimed at curbing the use of surveillance technology such as license plate readers.

Under California law, police agencies are required to adopt detailed usage and privacy policies governing license plate data, restrict access to authorized purposes, and regularly audit searches to prevent misuse. Gov. Gavin Newsom previously vetoed a bill that would have restricted use of such data, saying the regulations would impede criminal investigations, but the bill has been reintroduced this year.

Nearly 50 cities nationwide have opted to deactivate their scanners or cancel contracts with Flock, mostly in recent months, according to the website DeFlock.me, which has set out to map locations of the company’s cameras. Responding to public pressure, some places like Santa Cruz canceled their contracts after realizing that they had been sharing their data more broadly than they had known, including with federal authorities.

Other Flock customers, like Oakland, have dug in and decided to keep their cameras at the urging of local homeowners association representatives and small business owners — but over the objections of the city’s own Privacy Advisory Commission.

Among the places that have started to reconsider their relationship with Flock is San Diego. In December, city leaders split on the issue, but ultimately voted to keep using Flock’s scanners after a contentious public hearing meeting in which they heard from hundreds of residents opposed to the surveillance technology.

Councilmember Sean Elo-Rivera said he voted against working with Flock based on what he saw as the company’s poor track record of “data retention” and “consumer protections.” Although the city has operated Flock plate readers and cameras for years, the stakes are far higher now, he said.

“We have a presidential regime that is not only flouting the law, but takes pride in ignoring due process, in violating rights of people they deem unworthy of the rights and protections,” said Elo-Rivera, who represents an ethnically diverse district in San Diego’s Mid-City area. “They have a by-any-means-necessary approach when it comes to immigration enforcement. And now they have a tool that makes it very easy for them to track people down.”

Times staff writer David Zahniser contributed to this report.

The nominated Oscar shorts come in three categories — and a lot of subjects, styles and temperaments. It’s further proof that an award dictated by length needn’t be bound by anything else.

In the live-action category, a mixed bag of approaches — some inspired by classic literature — are burnished by inspired performances. Lee Knight’s “A Friend of Dorothy” may be a tad on the nose about the cultural and emotional impact of a lonely London widow on a closeted teenaged boy. But leads Miriam Margolyes and Alistair Nwachukwu practically shimmer with humor and warmth. “Jane Austen’s Period Drama,” a loving tweak of the writer’s oeuvre from Steve Pinder and Julia Aks (who also stars), is essentially a one-joke calling card to make feature comedies and it should do the job. Its cast is exactly the sprightly ensemble needed to land its what-if laughs.

Two others just miss the mark in terms of bringing their tensions to powerful resolutions yet benefit from who the camera adores. Meyer Levinson-Blount’s “Butcher’s Stain,” centered on a flimsy accusation against a friendly Palestinian butcher in an Israeli market, undercuts its gripping story with lackadaisical filmmaking and an unnecessary subplot, but lead Omar Sameer is commanding. The black-and-white future shock “Two People Exchanging Saliva,” directed by Natalie Musteata and Alexandre Singh, is an uneven Euro-art bath of unrealized intimacy and casual violence — kissing is punishable by death, slapping is currency — but is given exquisite tautness by the elegant, unrequited swooniness of stars Zar Amir and Luana Bajrami.

A scene from “Jane Austen’s Period Drama,” nominated in the live-action short category.

(Roadside Attractions)

Then there’s my favorite, Sam A. Davis’ likely winner “The Singers,” from Ivan Turgenev’s short story, which pays off handsomely in bites of soulful warbling that briefly turn a barroom’s den of anesthesia into a temple of feeling.

Most of this year’s documentary nominees deal with the grimmest of tragedies, as in “All the Empty Rooms” and “Children No More: Were and Are Gone,” which address the remembrance of children brutally killed. The former film, from Joshua Seftel, follows CBS correspondent Steve Hartman and photographer Lou Bopp on an essay project into the bedrooms of kids gunned down in school shootings, their private worlds heartbreakingly preserved by their families. The latter short, directed by Hilla Medalia, witnesses Tel Aviv’s silent vigils for Gaza’s children, protests marked by posters with beaming faces, and sometimes met with open scorn. These are dutiful, sobering acts of mourning — Seftel’s is the probable awardee. You may wish they were more than that, however, considering the issues (guns, war, political intransigence) that created the devastation.

Combat is what drove award-winning photojournalist Brent Renaud, killed in Ukraine in 2022. But his brother Craig’s memorializing of him, “Armed Only With a Camera,” is oddly uninvolving, more an excerpted flipbook of Brent’s far-flung assignments than a meaningful portrait of excelling at a dangerous job. A more affecting real-world dispatch (and my pick, if I could vote) is “The Devil Is Busy,” directed by Christalyn Hampton and dual nominee Geeta Gandbhir, also up for the feature “The Perfect Neighbor.” It observes a day in the operation of a carefully guarded, female-run Georgia abortion clinic as if it were a newly medieval world’s last chance healthcare outpost, getting by on grit, compassion and prayer. You certainly won’t forget security head Tracii, the clinic’s heavyhearted knight and guide.

A scene from “Perfectly a Strangeness,” nominated in the documentary short category.

(Roadside Attractions)

Your chaser is Alison McAlpine’s appealing, aptly titled “Perfectly a Strangeness,” sans humans, but starring three donkeys in an unnamed desert happening upon a cluster of hilltop observatories. The whir of science meets the wonder of nature and this charming, gorgeously shot ode to discovery (both on Earth and out there) makes one hope the motion picture academy sees fit to recognize more imaginative nonfiction works going forward.

Animation, of course, thrives on the thrill of conjured worlds, like the one in Konstantin Bronzit’s wordless (but not soundless) desert island farce “The Three Sisters.” It owes nothing to Chekhov — though there are seagulls — but much to a classically Russian sense of humor and a Chaplinesque ingenuity. Elsewhere, you can watch the overly cute Christian homily “Forevergreen,” from Nathan Engelhardt and Jeremy Spears, about a nurturing tree, a restless bear and the dangerous allure of potato chips. The message gets muddled but this eco-conscious journey is charming.

It’s tough to predict a winner when the entrants are this strong, but John Kelly’s “Retirement Plan” feasts on wry relatability, as Domhnall Gleeson narrates a paunchy middle-aged man’s ambitious post-career goals, while the cascade of deadpan funny, thickly-lined and mundanely hued images stress a more poignant, finite reality. In its all-too-human view of life, this is, entertainingly, whatever the opposite of a cloying graduation speech is.

A scene from “Retirement Plan,” nominated in the animated short category.

(Roadside Attractions)

The spindly aged-doll puppetry in the stop-motion gem “The Girl Who Cried Pearls” marks a sly fable of need, greed and destiny, centered on a wealthy grandfather’s Dickensian fashioning of his poverty-stricken childhood in early 19th century Montreal. Filmmakers Chris Lavis and Maciek Szczerbowski find an enchanting balance between storybook allure and adult trickery. Maybe this one steals it?

Whichever the case, the animation that moved me the most is “Butterfly,” from Florence Miailhe, imagining the last, memory-laden swim of Jewish French-Algerian athlete Alfred Nakache, who competed in the Olympics before and after the Holocaust. In the cocooning fluidity of an ocean-borne day, rendered with thick-brushed painterliness and splashes of sound, we travel across flashes of community, injustice, achievement, love and despair. The visual, thematic constant, though, is water as a haven and a poetic life force that feeds renewal.