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At the City Section breakfast on Wednesday morning for teams competing this weekend in championship football games, two linebackers from the class of 2027 were asked to take a photo together, because one day, it could be historic.

Elyjah Staples, a 6-foot-3 junior from Marquez, and De’Andre Kirkpatrick, a 6-3 junior from Crenshaw, can match their skills against anyone in the state. College recruiters are paying attention and one day NFL scouts will too. They are helping destroy the stereotype that City Section football is lacking in talent.

Add versatile junior quarterback Chris Fields III from Carson and senior running back Darnell Miller from Santee, who has surpassed the 3,000-yard mark rushing this season, and you have a group of players you’ll be watching on television in the coming years.

Here’s the schedule for games at Birmingham on Friday and L.A. Southwest College on Saturday.

Marquez coach Rudy Fortiz has been hearing from friends through text messages. He’s in a bit of a bind. His team is facing his alma mater, South Gate, for the Division I title on Saturday. Fortiz says he always roots for South Gate — except for this week. South Gate was 0-10 two seasons ago.

Hawkins coach Ronald Coltress is the one who had the put the program back together after it went 0-13 in 2016 because of forfeits and firings of coaches. In 2017, he was JV coach when the varsity went 0-11 following an exodus of players. He took over in 2018 and the team went 1-9. The administration told him to stay the course and make sure players were going to class, behaving and graduating. Now Hawkins is 10-2 and playing for the Division III championship on Friday against Santee at Birmingham.

“There was nobody left,” Coltress said. “I had to find kids who wanted to play.”

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].

In a wild — but friendly — exchange between US President Donald Trump and New York City Mayor-elect Zohran Mamdani, Trump said he didn’t “mind” Mamdani previously calling him a “fascist.” Trump, who once called Mamdani a “communist,” heaped praise on him at their Friday Oval Office meeting.

There was a time when KevOnStage was a very literal description of comedian Kevin Fredericks as a hungry comedian looking for stage time. These days, he might as well be called KevOnEverything. You can find him cracking jokes on live comedy tours, TV sketch shows, books, podcasts and just about every social media platform you care about. From books like his 2025 New York Times bestseller “Successful Failure” to his latest podcast, “Not My Best Moment,” the idea has always been about forward momentum to breed a funny brand that, just like his name, continues to stick with a sense of humor that ultimately succeeds at being relatable.

Moving from Washington state to L.A. with his wife and kids to fulfill his comedy dreams, he focused his comedy on the Black church and family life in a way that hadn’t been done before. The result was his breakout success with the show “Churchy” that started as a self-funded series that was picked up by BET and recently ran through its second season. It created a lane for him to expand his content universe with sketch shows like “The Hospital” and “Safe Space” on Tubi that allows him to retain creative control and put on more comedians working with veteran stand-ups like Tahir Moore and Tony Baker. The latter is his podcasting partner in crime whom he’s been touring with on the Bald Brothers comedy tour which wraps up in L.A. at the Wiltern on Sunday. Recently we spoke to KevOnStage about the secret to building his comedy brand — by being everywhere.

This interview was edited for length and clarity.

I love that this is a year where so much is happening for you from so many angles.

It’s wild.

You’re KevOnStage, KevOnPodcasts, KevOnBooks, KevOnTV …

[Laughs] Literally KevOnEverything.

When did you decide to go from being Kevin Fredericks — working a regular job and doing comedy on the side — to becoming “KevOnStage”?

I was working at the Spanaway [Washington] branch of Key Bank and I was on Twitter. This must have been 2009 — very early on Twitter. And people were just making jokes and people were getting fired [from their jobs over their jokes on Twitter]. People would not like a joke you said, search your name, Google you, find out where you worked and email like your boss, and people were getting fired. And I was like, “I can’t afford to lose my job over some ports take.” So I’m gonna take my full actual government name out of my handle, which was just Kevin Fredericks at the time. And I was like, “I’m Kev and I be on stage.” And that was literally as much thought as I put into it. I was just not trying to be easily found and fired. So I switched my handle to KevOnStage because I was doing stand-up all the time at that time and it stuck. Hindsight being 20/20, I would have just kept Kevin Fredericks, which was my Facebook name, but I think KevOnStage is cool as a moniker. I’m trying to be like Beyoncé, Bono, Sting, Oprah, KevOnStage — one name. People think my actual name is Kevon because of that. If they think that, then I know they found me because of the internet. Which is also fine. As long as people know me, it doesn’t bother me.

KevOnStage with Tony Baker on the Bald Brothers comedy tour.

(Joshua Gonzales )

When did you really find your tribe of comedians in Washington state that you still hang out with today?

In Washington state there was only really like Nate Jackson, he was the only working comedian who was working nationally. In Washington it was me, Nate, Big Irish Jay, a comedian named Terrence — those are the only people that were kind of doing comedy consistently. And then we had the Bay Area Black Comedy Competition, I don’t remember what year it was, and I met Lance Woods, who I’m still cool with. But then when I moved [to L.A.], that’s when I met Tony Baker and Tahir Moore through All Def Comedy. Because I didn’t really do stand-up on stage that much when I first moved to L.A. My wife was like, “we’re not gonna move to L.A. and then you’re on stage four or five nights a week.” And it was hard to get on stage … you have to go and hang out, go to Denny’s and like hang out all night. And [my wife] was not going for it and I had small children who had to go to school. So the majority of the people that I know I met through All Def.

You brought up an interesting point about the lifestyle of comics because it is a lifestyle that doesn’t really agree with everything else for most of the 9-to-5 working world — especially being married and having kids. So how did you then decide to focus more on content creation as a means to perform?

Well, interestingly enough, it started before I moved to L.A. There’s hardly any entertainment opportunities in Washington. There’s very rarely a TV show, even shooting there, much less a show you can actually audition and be on. So what happened was we were doing plays. We’re trying to be like Tyler Perry, David E. Talbert or Je’Caryous Johnson. And we were on our way, but there weren’t enough people in Washington to mount a successful black play — or “urban plays” as people called them. So we did our best, but even if we got 3,000 people, that was only for one night. And we weren’t doing that, by the way. We’re getting like 68 people. So I was watching a lot of YouTube at the time and I was realizing these people have fans everywhere. So I was like, we can do internet comedy and make people laugh on the internet and hopefully we get fans all across the United States. And from the first two videos we did, I was like, forget the play thing, I think the internet is the thing. Just like focus on that. I think we do that, we will build our own audience, and everything will be easier for us.

As far as the ability to own your content and guide however you want, how has that been important for your comedy career?

For me it’s been like, “He who pays says.” Like if you pay for it, you get the final say. So for a long time, it was by default because nobody’s getting paid. I’m just making it and posting it. The first big thing we did that was like really expensive was “Churchy” [on BET]. And there was a lot of [money from previous brand deals] that I saved, a lot of [money from doing] Spectrum commercials that I saved. I made eight episodes of “Churchy.” And shout-out to Jamal Henderson, he helped us meet executives at BET and they bought it. And they couldn’t have any creative control because it was already done.

So that’s kind of a process that we’ve repeated with [my sketch shows] “The Hospital” and “Safe Space.” We pay for it and then license it or partner with a company and make it now. And with Tubi, they’re a little bit different. They let you have creative control, even if they pay for it. They’re like “hey, we trust that you built your audience, you know your audience.” They’re the only platform that I’ve worked with that’s completely like, “we don’t have any say-so, no notes, you don’t have to send us a script, you don’t have to send an edit for approval, we trust you.” And that’s fantastic for me because you get to make it as close to [the original vision] without any impurities as possible.

Now I gotta be honest, when I work with BET, we had amazing executives and they’ve given us a lot of great notes, but they also give you some notes that you don’t agree with that you have to take. And that’s also part of just making things. It’s not a full negative. They also made [the show] better in a lot of different ways. And the one thing that I’m very grateful for with our partners at BET is every note they gave was to make the overall project better and for more people to enjoy it. I am a comedian at heart, so sometimes I’m loyal to the joke to a fault. The executive is like, we gotta tell the best story — so it’s not all bad. A lot of times we hear people bemoan partnering with people, and it has its negatives, but also my TV exec was more experienced than I was at making good TV, so some of their notes were really helpful, and I can carry those with me when I’m making other projects.

“The Hospital” and “Safe Space” are both like sketch shows. What was important about the formats for both shows — one at a hospital, the other on a therapist’s couch — that allow you to find the funny?

Richard Washington, who is a creative exec at KevOn Stage Studios, head of T V and film, and I built the systems and then we allow the people to work within the systems to the best of their personality. So I think the great part about “Safe Space” is the talent. Like you give them a premise, you find the right people, and then they take it and make it funny. “Safe Space” was really the same with “The Hospital.” Like, you know, we hired more sketch writers for the hospital, but Safe Space was more improv than even “The Hospital.” We had some fully written sketches for “The Hospital,” but we didn’t stick to everything exactly. Some are almost all improv. Like comedian CP’s episodes, he’s just riffing. So it’s as close to a stand-up version of content as you can get. And what I mean by stand-up is the audience is sitting there not knowing what the person’s gonna say. And that’s why I think it works.

KevOnStage recording a podcast.

(Mike Folabi)

As a creator of these shows, you often hold the door open for new talent to shine. How does that help your own vision of allowing there to be space for new actors and comedians to come up?

I grew up playing sports and then I went into plays. And with both of those elements, it’s it’s a team environment. You need other people to be successful and you gotta rely on other people to do their thing. With plays, you wanna have the best show possible. And then you put it all together and it’s the best product. And I think that’s the same approach that I take to creation. A lot of comedians, I’ve been told, they won’t take the best comedians. They’ll take people who are OK, but nowhere near as good as them.

Considering you post three to five videos a day, how do you find the time to produce as much content as you do?

So the thing is like this is my job. And I work really hard. I think people compare themselves to me, but they also have a job. Like you’re thinking of “how does he do this?” because you’re thinking of your actual day job. For the most part, I get up and think of funny things to say all day. And the other thing is I don’t spend a lot of time thinking about what I’m gonna do or editing it at all. If something funny happens right now, if I walk out of here and I trip and fall, I’ll probably make a video immediately and within five minutes that video’s gonna be on seven different platforms. So I’m not really precious about what I make. And I feel like people think it’s hard, but this is not hard for me. It’s something I love to do, I create freely out of joy. The guy who runs my doughnut shop who hasn’t taken a day off in 20 years, literally I was talking to him about this. He never takes a day off. Twenty years he’s at that doughnut shop, every night at 8 p.m., he makes doughnut, preparing for the day. Every day at 4 a.m., he comes and bakes them. That is hard. Not to say what I’m making is not hard. It is, but it’s not hard like that. People have hard jobs. I just be silly for two minutes and post it within five minutes. That’s not really hard for me.

“For the most part, I get up and think of funny things to say all day,” says KevOnStage.

(Joshua Gonzales )

I guess you’re not getting cellphone calluses.

Not at all [laughs] … I kind of designed my content to be able to make it easily because I feel like my approach is just inundating you with Kev. Like I want to be unavoidable. Yeah. I want to make content on so many different topics. It’s not even always comedic. I want people to just share you and or have a thought or make you have a thought. Right now I’ve been doing a lot of podcasts. So if you don’t follow me, but you follow for example “The Pivot,” which I did last week and they collab with me, now you’re seeing me on “The Pivot” or Funny Marco or I interviewed Issa Rae for the first episode of [my new podcast] called “Not My Best Moment.” And Issa Rae doesn’t do a whole whole bunch of interviews if she’s not promoting something. So if you’re interested in what Issa has to say, you got to hear me because I asked the question. So people rip my stuff, I’m like, “this is great!” They rip it and post it on threads. This is like as close to getting bootlegged as possible.

That’s what you want.

Yeah, bootleg me! Obviously I’d love to make the money, but it’s like the exposure will become capital or currency later. I just want to be out here so much that you’re eventually like, “All right, what is he talking about?” Because think about how many videos do you see in a day now. Back in the day, we used to have to be like, OK, I want to watch the videos. I’m gonna go to my computer and go to like, I remember before YouTube, I used to go to Break.com and watch videos. It was a thing I did for some time and then I went on about my day. Think about how many videos you consume on a daily basis. … So you gotta really hit ‘em over and over before they make a decision. So that’s why I just wanna flood you. I want you to be like, “Oh, my God, enough!”

Well, add one more to the pile right here.

Yeah, absolutely. Once I saw cameras here [at the L.A. Times studio], I was like, “Yeah, baby, I thought this was just an interview, we got video content, baby. Let’s go!” So yeah, it’s like that’s my approach. Just keep going — a lot.

A TRAIN journey across the UK can be a magical experience depending on the views – but a new train is launching that doesn’t actually go anywhere.

The Unseen Experience is set to open in London next month and unlike a normal train journey where you purchase a ticket, get on board and travel from A to B, this service stays in the same spot.

Visitors will ‘board’ in complete darkness, being blindfolded throughout their ‘journey’.

Then, each ‘passenger’ will be “transported through time aboard a mysterious train as 3D audio surrounds you from every direction”, according to the event’s creators, Fever.

The experience involves two stories on one train and is said to be “perfect for fans of mystery, crime and psychological thrillers” – so perhaps not one for people who are expecting the Orient Express.

The site for the experience explains: “You’re pulled into two worlds separated by time, where danger, tension, and unexpected turns reveal themselves only through sound.

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“Whispers move behind you, footsteps close in from different angles, and voices emerge so close they feel real, all powered by cutting-edge 3D audio that lets your imagination build every scene.

“In this intimate, fully dark space, reality blurs and every sound becomes a clue, a sensation, a moment you can’t predict.”

According to Secret London, in the first world, you are a deserter on the run in 1980, during the Cold War.

Then, in the second world, you are a survivor on the same train, but this time it is around 100 years later in a post-apocalyptic world.

Your fate is decided by the fellow passengers.

The journey lasts for 35 minutes in total and each passenger must be over the age of 14 years old.

The experience is currently selling tickets for sessions between December 11 to December 21.

And currently, there is a Black Friday offer on tickets.

Instead of £14, some time slots are £11.20 per person as part of the deal.

This isn’t the first blindfolded experience to come to the capital – there is also a restaurant experience called ‘Dans le Noir?’.

The one-of-a-kind restaurant is completely in the dark, meaning that each diner does not know what they are eating.

The restaurant, which opened back in 2006, instead of focusing on sight and the presentation of dishes, uses high-quality ingredients to take diners on a taste journey, whereby flavours, textures and smells become stronger as your vision is taken away.

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In fact, the capital is home to a plethora of different experiences, such as the first-ever Traitors live experience – it was a heart-pounding world of lies and best friend-betrayal.

Or perhaps for something a little more kid friendly, there is the Paddington immersive experience with ‘train rides’ and street parties.

Alan Carr is back with a new series of Changing Ends – however, he may be following in the footsteps of his Celebrity Traitors co-star Claudia Winkleman as Strictly’s new host

The job offers haven’t stopped rolling in for Alan Carr since his momentous Celebrity Traitors win, with the comedian even tipped to take over hosting duties on BBC One’s Strictly Come Dancing. While he’s back with a new series of his hit comedy Changing Ends, the 49-year-old admits he’s unsure whether he could handle the challenge of stepping into Claudia Winkleman and Tess Daly’s sparkly shoes.

“My name is in the hat,” he says. “What an honour. It’s a bit like when my name got bandied about for Britain’s Got Talent and The Great British Bake Off – I’m always on the periphery.

“I don’t know how serious it is. No one has approached me. People are so passionate about it and you saw me sweating in the castle when I was a Traitor, imagine me doing live telly with how many million people watching!”

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Although, after a star turn on The Celebrity Traitors, he knows how to convincingly lie – and that could come in handy on Strictly. “If someone’s cha-cha-cha is a bit s**t, I’ve got the poker face!” he jokes.

“So many things have come from The Celebrity Traitors – so many job offers coming in – I’d be flattered but I don’t know if I could do it [Strictly] justice. I just don’t want to ruin it for people.”

Alan is back on more familiar ground with Changing Ends – the semi-autobiographical sitcom about his childhood in 1980s Northampton. Series three follows teenage Alan (played by Bafta nominee Oliver Savell) as he navigates obstacles such as stressful swimming lessons, and, more importantly, his first big crush – young Alan is smitten with Jake, the Saturday boy at the charity shop.

“I really got into charity shopping,” Alan smiles. “I used to go in there every Saturday and flick through the posters to catch his eye. I must have stunk like an old woman because I would get flares, I wore my dad’s sheepskin and we didn’t have dry cleaning like we do these days.

“I just wanted to be in love really. It still hasn’t happened!” With Alan now single after divorcing ex-husband Paul Drayton back in 2022, is he hoping his teenage crush will reach the real-life inspiration behind Jake?

“The boy knew then because I was just as unsubtle as I am now,” he laughs. “When I went back to Northampton, I saw him queuing up at a cash point. My knees went to jelly and I thought, ‘Oh my God, there he is.’ But I didn’t want to say hi.

“There’s still something there, but I don’t want a Surprise Surprise moment. He had his chance and he missed it! He could be dating a national treasure now.”

Fans will already know that Alan’s father Graham was famous himself – having been a professional footballer in the 1960s who went on to manage Northampton Town among other clubs. However, the new series also sees Alan’s mother Christine embracing life as a local WAG.

“We would drop my brother [Gary] off at Beavers and me and mum would sit in the Tesco café for an hour with a cup of tea and a Chelsea bun,” he says. “I remember this woman coming over in the canteen to ask for an autograph – I mean, it was funny.

“It sounds weird but in Northampton, my dad was famous – people would stop him. My mum didn’t get the same standard as my dad, but it was funny. She was stopped a few times and people whispered, ‘That’s Graham Carr’s wife.’ Now she gets, ‘That’s Alan Carr’s mum – that’s the Traitor’s mum!’”

Christine isn’t always pleased with how Alan portrays his childhood, with Nancy Sullivan and Shaun Dooley playing his long-suffering parents. “My mum goes, ‘Oh Alan, it wasn’t that obvious you were gay when you were a child.’ My mum, bless her – she’s still that she-wolf who goes up the school. ‘Don’t you pick on my Alan, he does fancy girls!’ I don’t think she realises how camp I am, she just loves me.”

Both his parents visited the show’s “surreal” set in Enfield, north London, which completely recreates his childhood home. “My poor dad walked up the stairs and nearly fell to his death because he thought the bedroom was upstairs,” he says. “How weird is that? It’s identical to the house. To have it decompartmentalised in a warehouse is so strange.”

As for whether we can expect more episodes of Changing Ends in the future, Alan says that it’s up to the fans. “I like the stage it’s at – that weird puberty stage,” he says. “If people are watching and they want it to come back, I’ll think about writing some more.

“But when it gets to the call centre years at 18 and when I started packing shampoo and dog food, I think I’m going to run out of stories because that was a really bleak time. It could be like The Office and be called The Warehouse!”

Although, after managing to make it all the way to the very end of The Celebrity Traitors without being found out as a Traitor, Alan is concerned that viewers won’t trust him any more. “I want it to be really authentic, but I worry now after doing The Celebrity Traitors people aren’t going to believe a word of Changing Ends!” he laughs.

Changing Ends airs Sunday at 10:05pm on ITV1 and ITVX.

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You know millennial nostalgia has reached a dangerous peak when there’s a new “Now You See Me” in theaters. The last time we encountered the merry band of Robin Hood prankster magicians known as the Horsemen, it was the Obama era, when “Now You See Me 2,” the sequel to the hit 2013 film, opened in the summer of 2016. Were we ever so young?

Back then, the Horsemen, played by Jesse Eisenberg, Woody Harrelson, Dave Franco and either Isla Fisher or Lizzy Caplan as the token girl magician, used the principles of magic for altruistic purposes, redistributing wealth and saving the world from various evil tech overlords.

We’re in even worse shape now, so why not do magic about it? It couldn’t hurt and it seems there’s literally nothing else we can do to exert any modicum of control over billionaires who are exacerbating environmental degradation and dangerous technology.

With “Now You See Me: Now You Don’t,” director Ruben Fleischer takes over the franchise reins from Jon M. Chu (now preoccupied with “Wicked”), who himself took over from Louis Leterrier (the screenplay is by Seth Grahame-Smith, Michael Lesslie and Rhett Reese). Some nine years down the line, fresh blood is needed, so “Now You Don’t” plays like “Now You See Me: The New Class,” introducing a trio of budding magicians who take inspiration from the Horsemen.

A reunion show at a Bushwick warehouse turns out to be — you guessed it — an illusion, with a group of young aspiring magicians, June (Ariana Greenblatt), Charlie (Justice Smith) and Bosco (Dominic Sessa), aping the Horsemen’s faces and using clever presentation in order to rob from the rich (corrupt crypto bros) to give to the poor (their fellow broke Gen-Zers). They’re happy to continue their scrappy operation, living in a converted loft in a bagel factory, until an actual Horseman, J. Daniel Atlas (Eisenberg) shows up at their place with an invite in the form of a tarot card, from an entity known as the Eye.

Turns out they’ve got bigger fish to fry: The whale is Veronika Vanderberg (a hilarious Rosamund Pike), a South African diamond heiress with a prize jewel known as the Heart Diamond and a very shady family history. The quest to steal the Heart will take the Horsemen from Antwerp to rural France and then to Abu Dhabi, where they will use their magical abilities to get out of jams, mess with Veronika and ultimately bring justice to the South African communities that have been exploited by diamond mining (naturally). This globe-trotting adventure will also bring together all generations of Horsemen, including former friends and foes, reminding us that even in comparison to big shiny diamonds, the most important natural resource in the world is friendship.

The funny thing about the “Now You See Me” movies, which are delightfully silly, frothy and ultimately quite stupid (in the best way), is that they’re not really about magic. They’re about puzzles and rubber masks and whipping playing cards through the air and escape rooms. But it’s unclear if anything that they do is actually magic. Sure, there are fantastical illusions (some clearly CGI-enhanced) and Henley (Fisher) is a master of escapology, but half the time, the Horsemen are merely setting up elaborate ruses and then their “show” consists of explaining how they tricked one person, which leads to that person’s arrest. Is that magic? It’s misdirection and lying and showmanship on an internationally grand scale, but it’s more “Mission: Impossible” than David Copperfield. It’s like if Ethan Hunt got on stage and explained everything he did to an adoring crowd before giving them all a monetary gift, Oprah-style.

If the Horsemen say it’s magic, fine. Even though the script is laden with expository dialogue — the amount of times they stand in a circle and babble lore at each other is unconscionable — there’s a fleetness to the pacing and the new additions are charming, particularly insouciant scamp Sessa, whose Bosco matches energy with Eisenberg’s smartest-guy-in-the-room arrogance.

Fleischer’s signature style is slick but chintzy, which works here. (There’s something appropriate for the style of a film about magicians being being shiny but cheap.) The first action sequence is incomprehensible, but they get better throughout. Most importantly, Fleischer knows there’s a winking element when it comes to performing or enjoying magic. It’s campy, it’s cheesy, it’s way more fun than you expect it to be, but there’s a knowingness to the whole endeavor. “Now You See Me: Now You Don’t” is the kind of lightweight, harmless and ephemeral entertainment that allows us to be escape artists from reality for a minute, so go ahead and indulge.

Katie Walsh is a Tribune News Service film critic.

After enduring others teeing off on her for two weeks, Kai Trump was finally able to set a golf ball on a tee and swing away in an LPGA Tour event.

President Trump’s eldest granddaughter shot a 13-over 83 Thursday in the first round of the Annika at Pelican Golf Club in Belleair, Fla. The high school senior and University of Miami commit bogeyed the first five holes before registering a par, totaling 42 on her front nine and 41 on the back.

Critics among and beyond her nearly nine million social media followers were relentless in noting the 18-year-old’s obvious privilege for securing a sponsor invitation. Dan Doyle Jr., owner of Pelican Golf Club, cheerfully admitted that Trump’s inclusion had little to do with ability and a lot to do with public relations.

“The idea of the exemption, when you go into the history of exemptions, is to bring attention to an event,” Doyle told reporters this week. “You got to see her live, she’s lovely to speak to.

“And she’s brought a lot of viewers through Instagram, and things like that, who normally don’t watch women’s golf. That was the hope. And we’re seeing that now.”

Trump attends the Benjamin School in Palm Beach and is ranked a distant No. 461 by the American Junior Golf Assn. She also competes on the Srixon Medalist Tour on the South Florida PGA. Her top finish was a tie for third in July.

On the eve of the Annika, Trump got a boost from a chat with Tiger Woods, who is dating her mom, Vanessa Trump. More privilege, sure, but what did he tell her?

“I mean, he is the best golfer in the entire world. I would say that. And an even better person,” Kai Trump told reporters. “He told me to go out there and have fun and just go with the flow. Whatever happens, happens.”

What happened was far from flawless. With Allan Kournikova — younger brother of tennis star Anna Kournikova and a lifelong friend — as her caddie, Trump bogeyed the first four holes before registering her first par.

She will play again Friday and is the longest of shots to make the cut for the final two rounds over the weekend after finishing the first round in 108th — and last — place.

It’s been an eventful week for Trump. She played nine holes of a pro-am round Monday with tournament host Annika Sorenstam, who empathized with the difficulty of handling an intense swirl of criticism and support.

“I just don’t know how she does it, honestly,” Sorenstam said. “To be 18 years old and hear all the comments, she must be super tough on the inside. I’m sure we can all relate what it’s like to get criticism here and there, but she gets it a thousand times.”

Sorenstam recalled her own exemption for the Bank of America Colonial in 2003 when she became the first woman to play in a men’s PGA Tour event in 58 years. She made a 14-foot putt at the 18th green to save par and end her round of 74, giving her a 36-hole total of five-over 145. She hurled her golf ball into the grandstand, wiped away tears and was hugged by her husband, David Esch.

“That was, at the time, maybe a little bit of a controversial invite,” Sorenstam said. “In the end, I certainly appreciated it. It just brings attention to the tournament, to the sport and to women’s sports, which I think is what we want.”

Attention was temporarily diverted Wednesday from Trump to WNBA star Caitlin Clark and her Indiana Fever teammate Sophie Cummingham at the Annika pro-am. Clark, paired with defending tournament champion Nelly Korda, went viral by sinking a long putt from off the green.

“I actually grew up playing a little bit. I remember for one of my birthdays, I got this cute little set of pink golf clubs,” Clark said. “Then, I kind of stopped playing and then during COVID, I picked it back up.”

Cunningham’s moment was less majestic. After Clark hit her tee shot on the 10th hole down the middle of the fairway, Cunningham sliced hers into the crowd. She yelled “Happy Gilmore,” drawing laughs from the gallery.

Trump, for her part, swished a basket from beyond the free-throw line of an outdoor court near the first tee while waiting to begin the pro-am.

Sponsor invitations have long been used to attract attention to a tournament through a golfer who is from a well-known family or, in recent years, has a strong social media presence. Trump qualifies on both counts.

Her nine million followers combined on Instagram, Tiktok, YouTube and X include teens, golf fans and members of her grandfather’s administration such as Vice President J.D. Vance, Secretary of Defense Pete Hegseth and Secretary of Homeland Security Kristi Noem.

In addition to posting what she does on and off the course, Trump creates videos of playing golf with her grandpa and chronicled their visit to the Ryder Cup. She also recently launched her own sports apparel and lifestyle brand, KT.

“Kai’s broad following and reach are helping introduce golf to new audiences, especially among younger fans,” said Ricki Lasky, the LPGA‘s chief tour business and operations officer.

Beth Ann Nichols, a senior writer a Golfweek, has gone from believing Trump receiving a sponsor into the Annika as a “terrible idea” to a supporter of it. She wrote that her first reaction was that “her game isn’t ready for this kind of spotlight; there’s too much on the line at the season’s penultimate event to have a circus break out.”

But once the week unfolded she changed her mind, believing the President’s grandaughter is good for women’s golf.

“Between the presence of Caitlin Clark in the pro-am and President Donald Trump’s granddaughter in the 108-player field, this might become one of the most talked-about LPGA events in the tour’s 75-year history,” Nichols wrote. “For those who understand how painstakingly tough it is for women’s golf to break through the golf world, let alone the sports world and beyond, these opportunities don’t come often.”

Trump will need to improve her game to become more than a novelty. She finished last among a field of 24 at 52-over par in the Junior Invitational at Sage Valley in March. Her performance Thursday illustrated that while she is strong off the tee, her short game needs to develop.

“I don’t think anybody here is thinking that she will be the one holding the trophy on Sunday,” Sorenstam said. “I spoke to her a little bit yesterday. You know, just make the most out of this week. There will be lessons learned. Take them to the future and learn.”

The oldest of the president’s 11 grandchildren, Kai became known nationally when she made a speech in support of her grandfather’s campaign at the 2024 Republican National Convention. Her parents, Donald Trump Jr. and Vanessa Trump, divorced in 2018, and her mother has been dating Woods for about a year.

As the USS Gerald Ford aircraft carrier sails to the Caribbean, the U.S. military continues striking drug-carrying boats off the Venezuelan coast and the Trump administration debates what to do about Venezuelan dictator Nicolás Maduro, one thing seems certain: Venezuela and the western hemisphere would all be better off if Maduro packed his bags and spent his remaining years in exile.

This is certainly what Venezuelan opposition leader María Corina Machado is working toward. This year’s Nobel Prize laureate has spent much of her time recently in the U.S. lobbying policymakers to squeeze Maduro into vacating power. Constantly at risk of detention in her own country, Machado is granting interviews and dialing into conferences to advocate for regime change. Her talking points are clearly tailored for the Trump administration: Maduro is the head of a drug cartel that is poisoning Americans; his dictatorship rests on weak pillars; and the forces of democracy inside Venezuela are fully prepared to seize the mantle once Maduro is gone. “We are ready to take over government,” Machado told Bloomberg News in an October interview.

But as the old saying goes, if it sounds too good to be true, it probably is. While there’s no disputing that Maduro is a despot and a fraud who steals elections, U.S. policymakers can’t simply take what Machado is saying for granted. Washington learned this the hard way in the lead-up to the war in Iraq, when an opposition leader named Ahmed Chalabi sold U.S. policymakers a bill of goods about how painless rebuilding a post-Saddam Hussein Iraq would be. We all know how the story turned out — the United States stumbled into an occupation that sucked up U.S. resources, unleashed unpredicted regional consequences and proved more difficult than its proponents originally claimed.

To be fair, Machado is no Chalabi. The latter was a fraudster; the former is the head of an opposition movement whose candidate, Edmundo González Urrutia, won two-thirds of the vote during the 2024 Venezuelan presidential election (Maduro claimed victory anyway and forced González into exile). But just because her motives are good doesn’t mean we shouldn’t question her assertions.

Would regime change in Caracas produce the Western-style democracy Machado and her supporters anticipate? None of us can rule it out. But the Trump administration can’t bank on this as the outcome of a post-Maduro future. Other scenarios are just as likely, if not more so — and some of them could lead to greater violence for Venezuelans and more problems for U.S. policy in Latin America.

The big problem with regime change is you can never be entirely sure what will happen after the incumbent leader is removed. Such operations are by their very nature dangerous and destabilizing; political orders are deliberately shattered, the haves become have-nots, and constituencies used to holding the reins of power suddenly find themselves as outsiders. When Hussein was deposed in Iraq, the military officers, Ba’ath Party loyalists and regime-tied sycophants who ruled the roost for nearly a quarter-century were forced to make do with an entirely new situation. The Sunni-dominated structure was overturned, and members of the Shia majority, previously oppressed, were now eagerly taking their place at the top of the system. This, combined with the U.S. decision to bar anyone associated with the old regime from serving in state positions, fed the ingredients for a large-scale insurgency that challenged the new government, precipitated a civil war and killed tens of thousands of Iraqis.

Regime change can also create total absences of authority, as it did in Libya after the 2011 U.S.-NATO intervention there. Much like Maduro today, Moammar Kadafi was a reviled figure whose demise was supposed to pave the way for a democratic utopia in North Africa. The reality was anything but. Instead, Kadafi’s removal sparked conflict between Libya’s major tribal alliances, competing governments and the proliferation of terrorist groups in a country just south of the European Union. Fifteen years later, Libya remains a basket case of militias, warlords and weak institutions.

Unlike Iraq and Libya, Venezuela has experience in democratic governance. It held relatively free and fair elections in the past and doesn’t suffer from the types of sectarian rifts associated with states in the Middle East.

Still, this is cold comfort for those expecting a democratic transition. Indeed, for such a transition to be successful, the Venezuelan army would have to be on board with it, either by sitting on the sidelines as Maduro’s regime collapses, actively arresting Maduro and his top associates, or agreeing to switch its support to the new authorities. But again, this is a tall order, particularly for an army whose leadership is a core facet of the Maduro regime’s survival, has grown used to making obscene amounts of money from illegal activity under the table and whose members are implicated in human rights abuses. The very same elites who profited handsomely from the old system would have to cooperate with the new one. This doesn’t appear likely, especially if their piece of the pie will shrink the moment Maduro leaves.

Finally, while regime change might sound like a good remedy to the problem that is Venezuela, it might just compound the difficulties over time. Although Maduro’s regime’s remit is already limited, its complete dissolution could usher in a free-for-all between elements of the former government, drug trafficking organizations and established armed groups like the Colombian National Liberation Army, which have long treated Venezuela as a base of operations. Any post-Maduro government would have difficulty managing all of this at the same time it attempts to restructure the Venezuelan economy and rebuild its institutions. The Trump administration would then be facing the prospect of Venezuela serving as an even bigger source of drugs and migration, the very outcome the White House is working to prevent.

In the end, María Corina Machado could prove to be right. But she is selling a best-case assumption. The U.S. shouldn’t buy it. Democracy after Maduro is possible but is hardly the only possible result — and it’s certainly not the most likely.

Daniel R. DePetris is a fellow at Defense Priorities.

California’s tech companies, the epicenter of the state’s economy, sent politicians a loud message this year: Back down from restrictive artificial intelligence regulation or they’ll leave.

The tactic appeared to have worked, activists said, because some politicians weakened or scrapped guardrails to mitigate AI’s biggest risks.

California Gov. Gavin Newsom rejected a bill aimed at making companion chatbots safer for children after the tech industry fought it. In his veto message, the governor raised concerns about placing broad limits on AI, which has sparked a massive investment spree and created new billionaires overnight around the San Francisco Bay Area.

Assembly Bill 1064 would have barred companion chatbot operators from making these AI systems available to minors unless the chatbots weren’t “foreseeably capable” of certain conduct, including encouraging a child to engage in self-harm. Newsom said he supported the goal, but feared it would unintentionally bar minors from using AI tools and learning how to use technology safely.

“We cannot prepare our youth for a future where AI is ubiquitous by preventing their use of these tools altogether,” he wrote in his veto message.

The bill’s veto was a blow to child safety advocates who had pushed it through the state Legislature and a win for tech industry groups that fought it. In social media ads, groups such as TechNet had urged the public to tell the governor to veto the bill because it would harm innovation and lead to students falling behind in school.

Organizations trying to rein in the world’s largest tech companies as they advance the powerful technology say the tech industry has become more empowered at the national and state levels.

Meta, Google, OpenAI, Apple and other major tech companies have strengthened their relationships with the Trump administration. Companies are funding new organizations and political action committees to push back against state AI policy while pouring money into lobbying.

In Sacramento, AI companies have lobbied behind the scenes for more freedom. California’s massive pool of engineering talent, tech investors and companies make it an attractive place for the tech industry, but companies are letting policymakers know that other states are also interested in attracting those investments and jobs. Big Tech is particularly sensitive to regulations in the Golden State because so many companies are headquartered there and must abide by its rules.

“We believe California can strike a better balance between protecting consumers and enabling responsible technological growth,” Robert Boykin, TechNet’s executive director for California and the Southwest, said in a statement.

Common Sense Media founder and Chief Executive Jim Steyer said tech lobbyists put tremendous pressure on Newsom to veto AB 1064. Common Sense Media, a nonprofit that rates and reviews technology and entertainment for families, sponsored the bill.

“They threaten to hurt the economy of California,” he said. “That’s the basic message from the tech companies.”

Advertising is among the tactics tech companies with deep pockets use to convince politicians to kill or weaken legislation. Even if the governor signs a bill, companies have at times sued to block new laws from taking effect.

“If you’re really trying to do something bold with tech policy, you have to jump over a lot of hurdles,” said David Evan Harris, senior policy advisor at the California Initiative for Technology and Democracy, which supported AB 1064. The group focuses on finding state-level solutions to threats that AI, disinformation and emerging technologies pose to democracy.

Tech companies have threatened to move their headquarters and jobs to other states or countries, a risk looming over politicians and regulators.

The California Chamber of Commerce, a broad-based business advocacy group that includes tech giants, launched a campaign this year that warned over-regulation could stifle innovation and hinder California.

“Making competition harder could cause California companies to expand elsewhere, costing the state’s economy billions,” the group said on its website.

From January to September, the California Chamber of Commerce spent $11.48 million lobbying California lawmakers and regulators on a variety of bills, filings to the California secretary of state show. During that period, Meta spent $4.13 million. A lobbying disclosure report shows that Meta paid the California Chamber of Commerce $3.1 million, making up the bulk of their spending. Google, which also paid TechNet and the California Chamber of Commerce, spent $2.39 million.

Amazon, Uber, DoorDash and other tech companies spent more than $1 million each. TechNet spent around $800,000.

The threat that California companies could move away has caught the attention of some politicians.

California Atty. Gen. Rob Bonta, who has investigated tech companies over child safety concerns, indicated that despite initial concern, his office wouldn’t oppose ChatGPT maker OpenAI’s restructuring plans. The new structure gives OpenAI’s nonprofit parent a stake in its for-profit public benefit corporation and clears the way for OpenAI to list its shares.

Bonta blessed the restructuring partly because of OpenAI’s pledge to stay in the state.

“Safety will be prioritized, as well as a commitment that OpenAI will remain right here in California,” he said in a statement last week. The AG’s office, which supervises charitable trusts and ensures these assets are used for public benefit, had been investigating OpenAI’s restructuring plan over the last year and a half.

OpenAI Chief Executive Sam Altman said he’s glad to stay in California.

“California is my home, and I love it here, and when I talked to Attorney General Bonta two weeks ago I made clear that we were not going to do what those other companies do and threaten to leave if sued,” he posted on X.

Critics — which included some tech leaders such as Elon Musk, Meta and former OpenAI executives as well as nonprofits and foundations — have raised concerns about OpenAI’s restructuring plan. Some warned it would allow startups to exploit charitable tax exemptions and let OpenAI prioritize financial gain over public good.

Lawmakers and advocacy groups say it’s been a mixed year for tech regulation. The governor signed Assembly Bill 56, which requires platforms to display labels for minors that warn about social media’s mental health harms. Another piece of signed legislation, Senate Bill 53, aims to make AI developers more transparent about safety risks and offers more whistleblower protections.

The governor also signed a bill that requires chatbot operators to have procedures to prevent the production of suicide or self-harm content. But advocacy groups, including Common Sense Media, removed their support for Senate Bill 243 because they said the tech industry pushed for changes that weakened its protections.

Newsom vetoed other legislation that the tech industry opposed, including Senate Bill 7, which requires employers to notify workers before deploying an “automated decision system” in hiring, promotions and other employment decisions.

Called the “No Robo Bosses Act,” the legislation didn’t clear the governor, who thought it was too broad.

“A lot of nuance was demonstrated in the lawmaking process about the balance between ensuring meaningful protections while also encouraging innovation,” said Julia Powles, a professor and executive director of the UCLA Institute for Technology, Law & Policy.

The battle over AI safety is far from over. Assemblymember Rebecca Bauer-Kahan (D-Orinda), who co-wrote AB 1064, said she plans to revive the legislation.

Child safety is an issue that both Democrats and Republicans are examining after parents sued AI companies such as OpenAI and Character.AI for allegedly contributing to their children’s suicides.

“The harm that these chatbots are causing feels so fast and furious, public and real that I thought we would have a different outcome,” Bauer-Kahan said. “It’s always fascinating to me when the outcome of policy feels to be disconnected from what I believe the public wants.”

Steyer from Common Sense Media said a new ballot initiative includes the AI safety protections that Newsom vetoed.

“That was a setback, but not an overall defeat,” he said about the veto of AB 1064. “This is a David and Goliath situation, and we are David.”

An easyJet flight attendant has revealed the ‘secret language’ that cabin crew use to communicate with each other while on board a flight

An easyJet flight attendant has spilled the beans on the covert language they use to communicate while onboard. An anonymous member of the budget airline’s cabin crew popped up on their Instagram feed to spill the secrets.

She clarified that, due to the sheer number of passengers on a plane and the length of an aircraft’s fuselage, cabin crew can’t always communicate verbally with each other. This means they have devised a ‘secret language’ for communication.

Interestingly, it is not a spoken language, but more akin to sign language, with various gestures signifying different things. She revealed: “While I’m here on my own I’ll let you into a little secret.

“As cabin crew you may be aware but we do have a secret language on board, a way of communicating to each other when we want food items and with over 200 passengers on board the plane is very long so you may have noticed that if you would like a ham and cheese sandwich we do a croque monsieur, a chicken wrap, and a calzone pizza but don’t tell anyone I told you.”

Whilst mentioning the croque monsieur, she mimicked a crocodile with her hand. For the chicken wrap, she extended an arm out like a chicken wing before rolling her hands together to signify a wrap. Lastly, for the calzone, she placed the heel of her hands together before bringing her palms and fingers together, presumably to illustrate the folding together of a calzone.

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People in the comments section were impressed, with one saying: “Absolutely iconic!”

“We were just talking about this after our flight last month,” said another, while one person said: “I saw a crew member do this to another crew member, I realised it was internal sign language!”

“I often watch the crew doing this trying to work out what they’re on about lol,” one person said. Another said: “Ha ha my Mrs worked a few out on our flight back to MAN from AGP last week.”