journalism

DEL MAR — Umberto Rispoli waited nearly 11 months to ride Journalism again and then, well, let track announcer Larry Collmus describe it:

“They’re off in the San Diego Handicap and Journalism brushed the gate just as it opened, and he’s left behind the field. Journalism has been left behind about five lengths. … A disastrous start for the big favorite Journalism.”

“I won’t tell you the swear (word) that I throw out there,” Rispoli said.

“It just kind of took the starch out of everything,” said Aron Wellman, managing partner of Eclipse Thoroughbred Partners, co-owner of the 4-year-old colt.

Fortunately for Rispoli, Wellman and anyone else associated with Journalism, including the fans who bet him down to 1-5 odds Saturday at Del Mar Racetrack, this story ended much happier than it began.

Rispoli patiently guided Journalism back into close contact with the other four horses in the 1 1/16-mile race, swung him outside entering the stretch and the son of Curlin cruised to a victory — his first since the same Saturday a year ago in the Haskell at Monmouth Park.

In the ensuing 12 months, Journalism started four times and finished between second and fourth each time. He didn’t run poorly in any of the races; in fact, of the seven horses who beat him, five were Breeders’ Cup winners and a sixth won the Kentucky Derby and Belmont.

But when your resume includes not only the Haskell but also the Santa Anita Derby and Preakness, sometimes close isn’t good enough.

“Frustrating for sure,” Wellman said earlier in the week.

The San Diego presented the weakest field Journalism had faced since at least the 2025 Preakness, and his task seemed to get easier when Full Serrano, the Breeders’ Cup Dirt Mile winner here in 2024, was withdrawn Saturday morning because of recurring foot issues.

But as Rispoli noted, “You can’t go in a race and think of course he’s (1-5). You have to respect everybody in the field. Because you see, everything can happen in horse racing.”

Including your horse starting to move forward just before the gate opens, then hitting the side of the stall and spotting the field several lengths.

“I was concerned [with] the bad start, obviously,” Rispoli said. “But it wasn’t the first time I was in that situation. I know what I have underneath myself. I know what’s he’s capable of.”

The official margin was three-quarters of a length over the Cal-bred Shea Brennan, who was the longest shot in the short field at 23-1. Iron Man Cal, like the runner-up trained by Phil D’Amato, was third, with The Goat fourth and pacesetting Mirahmadi fading to last.

The final time was 1:42.65 and Journalism, who paid $2.40 for his seventh win in 14 starts, earned $180,000 to push his career total to $4.77 million.

“Umberto did a good job of getting him to recover and his class won out,” winning trainer Michael McCarthy said.

And, given what Rispoli has been through, maybe Saturday was supposed to be difficult. The Italian jockey only recently resumed riding a few weeks ago after missing five months beacuse of a fall in January at Gulfstream Park. He sustained a fractured right fibula and tibia as well as a displaced ankle and torn ligaments.

“I was in severe pain,” Rispoli said of his rehab, which included time spent at a specialist in Spain. “The first two weeks [in Spain], I said to myself, this is gonna be hard to do it. You know, I’m almost 38, first time a very hard accident happened to me. It was really bad.

“But this is what gave me the strength, horse racing. And I know I have a job incomplete … so I have to come back for this guy.”

When Journalism enters the Del Mar Racetrack starting gate shortly after 5:30 p.m. Saturday, 363 days will have passed since he last won a race.

Anyone who watched the colt win six of eight starts — including the Santa Anita Derby, Preakness Stakes and Haskell Stakes — during the eight months leading up to July 19, 2025, might find that unthinkable.

Imagine being his primary owner.

“Yeah, it’s pretty hard to believe that a horse like him hasn’t won a race in a year,” said Aron Wellman, managing director of Eclipse Thoroughbred Partners, which co-owns the 4-year-old son of Curlin. “Frustrating for sure.”

It’s not like Journalism has been disgraced during his four-race winless streak. Two of the races came when he was a 3-year-old facing older horses. His speed figures have ranked among the highest of his career. And five of the seven horses who finished ahead of him have won Breeders’ Cup races while a sixth captured two legs of the Triple Crown.

“You can understand how he might have found it hard to make his way into the winner’s circle,” Wellman said. “But it’s not for lack of ambition or lack of trying, or I don’t think any deterioration in his form, really. It’s just been a matter of circumstance, and hopefully he can get back in the win column on Saturday.”

Journalism, with jockey Umberto Rispoli, crosses the finish line to win the 150th Preakness Stakes in 2025.

(Rob Carr / Getty Images)

There’s no guarantee Journalism, the even-money favorite on the morning line, will win the $300,000, Grade 2 San Diego Handicap. But even with another past Breeders’ Cup winner (Full Serrano) among his five opponents in the 1 1/16-mile race, it’s unarguably the weakest field he will have faced since winning the Haskell last July at Monmouth Park.

In the last year he finished second behind Fierceness in the Pacific Classic; fourth behind Forever Young, Sierra Leone and Fierceness in the Breeders’ Cup Classic; third behind White Abarrio and Sovereignty in the Oaklawn Handicap, and third behind Nysos and Knightsbridge in the Met Mile.

Even with those defeats, as well as his runner-up showings last year behind Sovereignty in the Kentucky Derby and Belmont Stakes, he has six wins, three seconds and three thirds in 13 starts, with earnings of nearly $4.6 million. Nothing to apologize for, but there’s also no question Journalism’s star has dimmed. He no longer is ranked among the top 10 older horses in the National Thoroughbred Racing Assn. weekly poll.

Wellman, though, believes Journalism is not done writing his story. A good performance Saturday, one in which he shows what the owner calls “the explosivity that we’ve seen in the past,” surely would make him one of the favorites for next month’s Pacific Classic. And his connections would like to give him another chance to win the Breeders’ Cup Classic, scheduled for Oct. 31 at Keeneland, before he goes off to stud next year.

“We haven’t lost any faith in him,” Wellman said. “I mean, he’s a horse that’s inspired confidence from Day 1, and put together a campaign last year for the ages. You don’t see many modern-day horses string together the type of races that he did, travel back and forth across the country multiple times, take on all comers and maintain elite performance, race in and race out.

“So, are we frustrated by the fact that he hasn’t won in some time? Absolutely. But when you compete at this level, you can’t play scared. You’ve got to continue to take on the best of the best, and no matter how much any horse or human has accomplished in this game, or in any sport, I think the best and the most driven athletes, equine or otherwise, feel as though you’ve constantly got to prove yourself.”

Perhaps reuniting with the jockey who was aboard Journalism during a streak of eight straight wins or runner-up finishes will provide a boost. Umberto Rispoli was replaced by Jose Ortiz before the Breeders’ Cup Classic, but the 37-year-old Italian is returning to the saddle Saturday. Rispoli, the leading jockey at last fall’s Del Mar meeting, has had his own rough stretch, missing five months of action after breaking his right ankle and leg in a January spill at Gulfstream Park.

“It was a difficult, difficult situation,” Wellman said, “considering the success that Umberto had on Journalism. It was hard on everybody for a lot of reasons. But the relationship speaks for itself between (trainer) Michael (McCarthy), our group, and Umberto.

“Obviously, Umberto holds Journalism himself in the highest regard and maintains an incredible rapport with the horse. It’s great to see Umberto coming back so strong off a serious injury, and we’re delighted to give him the opportunity to get back on Journalism. Hopefully they can find that magic again with the camaraderie that they share for one another.”

Del Mar underway

Del Mar’s annual eight-week summer meeting opened Friday, with racing normally held Thursday through Sunday. Post time is at 2 p.m. every day except closing weekend, Sept. 5-7, when it shifts to 1:30. Daily coverage is available on FanDuel TV.

We have seen several scenes of relatives of victims of the earthquakes telling soldiers they are not helping, or even forcing them and police officers to return or destroy the goods and money they were caught looting in the ruins. Rather than the return of freedom of speech with Maduro’s capture, what we have witnessed in La Guaira is the crisp, absolute ire of someone who already lost everything, someone who is living the ultimate experience of struggling to find the body of a loved one to bury them in a cemetery instead of smelling them decompose under the rubble of a building.  

But we hadn’t seen something like this: a woman who lost a daughter and a home walking through a security detail and screaming in the face of Nicolás Maduro Guerra, a local lawmaker and son of the imprisoned dictator.

Since last week, the world’s attention has been set again on Venezuela just like six months ago.

Of course, the differences between the events of January 3rd and the terrible disaster of June 24th could not be more stark, even if both evenets have massive implications for the country’s future.

Most coverage coming from international media these days has highlighted two things: first, the terrible devastation seen in worst-hit areas like parts of Caracas and especially in La Guaira State (formerly known as Vargas); and second, that many are complaining about the official response and even calling it “negligent”, like in this report from BBC News correspondent Yogita Limaye.

Interestingly enough, in recent months there has been a reopening to the presence of foreign reporters in the country, a shift from the heavily restricted access during the Maduro years. A larger number of reporters and media crews arrived in the last few days. They have been mostly allowed to do their job (unlike Sky News’ Trump 100 podcast, interrupted by government officials while recording), but they’ve been facing their own set of specific challenges.

Earlier this week, NGO IPYS Venezuela offered a summary of some apparent restrictions from the Communication and Information Ministry to international media workers, like indicating that they could be mobilized to affected areas only through State-authorized buses and establishing a schedule for those trips from the Media Center established at La Carlota Airport in Caracas.

One person quoted in the summary is British freelance journalist Catherine Ellis, who’s covering the disaster for Al-Jazeera and UK weekly magazine The Spectator while also doing some radio interviews for other outlets. She has worked in Venezuela since 2023 and, before that, volunteered for an NGO in Colombia and Spain, helping Venezuelan immigrants. It was Ellis who published on X a picture of the buffet the regime was offering to foreign correspondents while thousands of people were thirsty and hungry.

At the time of writing, several international reporters told Delcy Rodriguez during her recent press conference what they’ve seen firsthand. She minimized those criticisms against the official response and pointed her finger at “media matrixes created in laboratories” (matrices de opinión is a popular term in Venezuela to describe artificial narratives in journalism or social media). 

Caracas Chronicles interviewed Ellis earlier this week to discuss what she recently witnessed.

How has it been for you and other international correspondents to cover the disaster on the ground? Have there been any limitations by government officials and particularly from the Communication and Information Ministry?

The experience so far as a journalist in terms of getting in and communicating with the Ministry has been quite strange in some ways. It needs to be said that it has been much more open than it usually is. Quite often, if I come to Venezuela, I can’t really do any reporting or get a journalist visa; they give very few journalist visas, and it’s particularly hard for freelance journalists when you’re not a fixed employee for a certain media outlet. But this time they let journalists in. They’re letting foreign journalists in without visas. On one hand, it’s been much, much better. This time journalists are actually allowed into the country, and access is not restricted, although we don’t know how long that will go on for. Communications have been terrible and completely lacking to the point of being almost non-existent. 

How was your experience with the bus trip to La Guaira the day after registering at La Carlota airbase in Caracas? 

We took the bus on June 28, the day after we registered in La Carlota. They told us they would take us there, and we left for La Guaira an hour and a half late. No problem, that happens sometimes, but there was no communication about what was happening. The following day was the worst because I arrived early thinking it might leave on time, only to wait for two hours with no explanation at all. Then we knew from other journalists that the trip was cancelled and access had been suspended for 48 hours for journalists. No one on the logistics team provided any explanation. They just said: “we are not in charge of it, we don’t know.” One person told me: “you have to be patient, you have to wait… This is a complex situation, and things don’t move quickly.”

How are you and your colleagues doing your work in the disaster area? 

We were completely given free rein… We were taken to a Misión Vivienda place, but we could go wherever we wanted, so I spoke to people from that place, and some were very critical of the government. I went to other buildings around, which were either for retired people or just normal apartment buildings, and I spoke to lots of people. I was very, very free to speak to people. So much that I missed the bus and the Guardia (Nacional) took another journalist and me to the next site to speak to people. 

Have there been any issues involving the police, the military, intelligence services or local officials?

Some people have been helpful, and some haven’t in terms of the authorities. In La Guaira, generally, no one stopped me from doing anything. Police and military pulled me away from a building because they were excavating to take bodies out, but to be honest, that was more for health and safety reasons, and I did understand. I went to the hotel in Caracas where the Venezuelan deportees were supposed to arrive after they got back, and the hotel collapsed. It was full of SEBIN agents. We weren’t allowed to pass because of “security reasons.” When I started to take photos, I was told off by SEBIN. That was interesting. 

Genuinely, I have to say the police and military have not stopped me speaking to anybody or stopping doing anything. And to be honest, some of them haven’t really been around. I think it’s because, as you wear the pink armband (identifying as foreign press), they know you’re press, that you’ve been approved, but getting to the hotel where the deportees were was impossible.

How has the relationship been with the civilians in the area? How do they react to the presence of the media?

Civilians have been brilliant. Absolutely brilliant. Everybody is very, very open to talking. Venezuelans are incredibly warm and open people. I have no problem chatting to people. If I see people who are visibly, incredibly upset, who have family (members trapped) in buildings, it’s not the right time to talk to them.

Sometimes, I’ve approached them very sensitively, and people have shared their stories, described the people they have lost, told about what they’re lacking or what they need. Some people openly criticize the government, but others who have criticized the government then say they don’t want their names used, and others are not thinking about politics. They’re just in shock.

How has the relationship been between international correspondents and Venezuelan journalists?

Venezuelan journalists are incredibly helpful. I think there has been a lot of solidarity between all journalists, between Venezuelan and international journalists and among the international journalists themselves. I’ve been speaking to people from the US, Canada, Argentina, parts of Europe, and they all want to help each other. 

On a critical note, there have been a couple of international journalists who either pushed me out of the way at certain sites because they want to film or come up to me when I’m interviewing people and taking my interviewees. This isn’t a show, people have lost (their) lives. I would encourage the international press to have a heightened level of sensibility and respect for all Venezuelans and all affected by this crisis.

Have you noticed the difference between how you see the situation on the ground, how it is covered outside, and how it is covered inside, how the government is presenting it? 

From what I’ve seen, Delcy and the government are trying to project an image of solidarity with the international community, thanking and praising them for being here and helping Venezuelans in their time of need. But not necessarily announcing tangible and concrete steps of what they’re actually putting in place. Someone put it to me like this: “The government has been very visible, key figures have been very visible in terms of presence on social media and even visiting sites, but there has not been enough concrete information about donation centers, about what’s happening next, about actually managing the actual crisis.”

How have people in La Guaira been coping?

A lot of people are still in shock. It’s very hard to process, but everybody seems to be very grateful to everyone who is helping them, either members of their own community or the international rescue teams. Some people have said, “Other governments are helping us more than our own government.” 

I think the most important thing to emphasize, which is non-political, is that people are saying “Venezuelans are helping Venezuelans, they’re helping each other.” Someone said to me the other day, “We are a family, this is what we do, we help each other, we won’t give up, and you know, keep going.”

I spoke to a guy who came from Valencia. He had three kids back home and said, “I couldn’t bear to think of my own kids lying somewhere like that and no one going to find them,” so he came on his way, he got lists from people, and he came so he can help with the search and rescue. 

There’s definitely a lot of shock. A lot of kids are still scared and adults feel that any movement or anything, not just aftershocks, mean something is going to happen again. People are getting through by supporting each other.

Is the aid arriving properly? Have you seen aid being delivered?

There’s so much aid everywhere. In Caracas, I’ve seen so many trucks coming in. The problem is that I can’t exactly say what’s happening to the aid. Some aid is getting through, but there seem to be a little bit of bottlenecks or bureaucracy; I don’t know the full reasons… It’s getting through to some people but isn’t getting through to other people, and they’re running out of some things. People want proper accommodation also. Definitely, in a lot of places there are now international NGOs setting up food points as well.

– 

Just yesterday, while covering relief efforts taking place at Parque del Este, Ellis was approached by a couple of suspicious looking fellows. This was the exchange:

I was in Parque del Este tonight speaking to volunteers and affected families camping there. I was chatting to one family when two men came over to look what was going on then left. I started helping the family move their stuff to the road (I was carrying the cat!) as they were moving somewhere else. The two men called me over, asked me if I was a journalist, to which I said yes and showed them my wristbands. Asked more questions, who I was, where from, what I was doing. I asked who they were, as they still hadn’t introduced themselves by this point. One (the politer one) said they were intelligence police, asked what I was doing, so I said speaking to the family etc. Asked if I knew them, I said no. Then asking qus like my age, which was weird as one had my passport which has my DOB. Took photos of my passport. Asked where I lived, said I didn’t want to give that info. I asked why they wanted to know all this, they said for security and that people were taking children, so I asked if they thought I was taking kids. They said no. I told me they were asking me because I was a journalist and there was not a real free press. One was fairly polite and said they didn’t want to make me uncomfortable. I said they already had. Eventually they gave me it back. It’s ok to check who someone is, check they have a wristband which you now should have in the park – but I did, and I showed them, so why the need for questionning and taking photos of my passport? And why was the first qu, are you a journalist? Does everyone who enters the park get that level of treatment?

It doesn’t take much for chavismo to step back into its old ways.

“The Devil Wears Prada 2” opens like a knockoff of itself, with sight gags calling back to the mean quips in the 2006 hit: near-identical teal belts, a gala hailing the less-than-innovative theme “Spring Florals” and a red carpet that’s actually cerulean. Those belts, if you’ll remember, were the trigger for Meryl Streep’s Oscar-nominated speech about how her imperious fashion magazine editor in chief Miranda Priestly creates trends that trickle down to the rest of us rabble.

That first film (I’ll go ahead and anoint it a classic) followed a dowdy college graduate, Andy (Anne Hathaway), pursuing a low-level position at Runway magazine — Vogue in everything but name — as a bridge to a serious reporting career. Woe, said bridge is guarded by three trolls: fellow assistant Emily (Emily Blunt), tastemaker Nigel (Stanley Tucci) and the devil herself, Streep’s silver-haired Miranda, whose saintly last name is an ironic joke. Miranda is a riff on Vogue’s former editor in chief Anna Wintour, who used to be irritated by her caricature but eventually came around. After all, she’s getting played by Meryl Freaking Streep.

The setting was glam, the struggle relatable. Andy’s transition from sensible boots to stilettos served as a metaphor for the effort — even discomfort — it takes to chase your dreams, however they might evolve. “The Devil Wears Prada” gets celebrated for her makeover, with even Andy’s clueless boyfriend, played by Adrian Grenier, accusing her of caring about her Runway job solely for the shoes. No, it was never about the shoes. It was about respecting the workaholic she saw in the mirror.

The sequel, from returning director David Frankel and screenwriter Aline Brosh McKenna, doesn’t find its own footing until it acknowledges that a Cinderella story about making it in journalism no longer fits. Gone are the days when Miranda and Nigel could casually tell their deep-pocketed publisher Irv (Tibor Feldman) that they’re junking a $300,000 photo shoot because it failed to reach their lofty standards. Likewise, Andy’s story starts when a magnate shutters her current job at a newspaper called the New York Vanguard, firing her and her colleagues for a $500-million tax write-off. (Cue the workers of at least one major Hollywood studio nodding in recognition.)

Hathaway’s Andy, smart and likable as ever, returns to a budget-slashed Runway as the features editor in charge of investigative pieces that online metrics reveal nobody reads — that is, until she breaks a celebrity engagement. Meanwhile, the internet has reduced Miranda to a meme. Her most recent viral scandal has gotten her animated into that Homer-Simpson-in-a-hedge GIF.

McKenna writes Miranda a self-aware scene where she acknowledges that her harsh reputation boosts her clout. Yet I wonder what Wintour will make of this diminished avatar pursuing the same promotion that she herself just claimed at Condé Nast as global head of content. After elevating custom couture to an art form, just the word “content” sounds like a demotion. Content is to prestige journalism what Shein is to Chanel.

Twenty years later, all of the money and power in publishing has been siphoned to the very, very rich. There seem to be as many billionaires in the script for “The Devil Wears Prada 2” as magazine assistants. Mighty Miranda must kowtow to the luxury brands and their ambassadors, whose sponsorship keeps Runway strutting, including the once-harried and humiliated Emily, who is now an executive at Dior. The tension is thicker than mink. The film franchise chooses to ignore original author Lauren Weisberger’s own 2013 follow-up novel “Revenge Wears Prada,” although I’d love to see a threequel that follows her lead and gives Blunt’s hilariously frosty Emily the center stage as she does in her third book, “When Life Gives You Lululemons.”

The storytelling is wonky, given the film’s competing needs to be Miranda-blunt about the modern magazine business while pairing marvelously with a glass of rosé. Instead of Paris, we’re now whisked to cameo-studded shindigs in the Hamptons and Milan, including a dinner party underneath Da Vinci’s mural of “The Last Supper.” (Not only is the painting’s topic apropos, Da Vinci himself butted heads with his wealthy patrons.) Much of the first half feels like we’re cooling our heels with the gang, waiting for a plot to start. There are a lot of idea threads that fray off and don’t go anywhere. Are we supposed to interpret anything from the fact that Miranda has succumbed to throwing a spring florals event — a theme she famously loathes — or are we just supposed to chuckle at the banner and move on? Also, no one in attendance is even wearing anything with flowers. Is the old gal slipping, or is the costume design?

Finally, things get going with a funeral — I won’t say whose, only that the death makes a fitting twist for an industry already getting the axe. Like Andy, I started writing for newspapers a few years after Craigslist decimated the classified page. My personal version of “The Devil Wears Prada” would be closer to a grindhouse flick. At least the Runway employees look killer at their own wake.

Twerpy MBAs force Miranda to fly coach. Of course you snicker — her character hasn’t gone past the first-class curtain since everyone onboard got served a hot meal and plenty of legroom. But there’s no schadenfreude watching her squeeze into a middle seat, no glee in her comeuppance. If Miranda Priestly can get thrown in steerage, we’re all screwed.

The movie is simultaneously more depressing than the original and more saccharine, with a repellent amount of affection between characters who should know better. Tucci’s endearingly steadfast Nigel is finally applauded for his years of service to Runway, and I was dismayed to find myself rolling my eyes at how corny the moment felt. Frankel and McKenna were geniuses to keep things callous on the first go-round, but they now add a romantic subplot between Andy and an Australian apartment contractor (Patrick Brammall) that detracts from the platonic workplace relationships — it’s fan service that I’m not sure fans actually want. Miranda, too, has found love again, and her new husband’s part is so small that I kept trying to convince myself that the actor couldn’t really be the great Kenneth Branagh..

Justin Theroux has a showier, funnier part as the billionaire Benji Barnes who, every time you see him, is holding court about another inane idea or giggling about how a civilization-destroying Pompeii disaster is on the horizon. Terrifyingly, he refers to “humans” in the third person, as if he no longer considers himself one of our species. Given the film’s interest in the figures gutting journalism and how his character’s ex-wife (Lucy Liu) refers to their marriage as being like “a rocket ship to a hall of mirrors,” he’s Jeff Bezos with a sprinkle of Elon Musk. It’s pointed timing, given that Bezos is sponsoring May’s Met Gala, wrapping the Wintour-chaired event in his brand like a giant cardboard box.

But enough about what “The Devil Wears Prada 2” has to say about the economy. How are the clothes? Aesthetically, I dug Andy and Miranda’s sleek menswear looks, lots of vests and blazers with panache. Narratively, their characters — a heroine and her nemesis — shouldn’t dress as though they could swap wardrobes. Then again, they’re here aligned as champions of art, beauty and the press, standing shoulder to shoulder in the all-but-hopeless fight to protect Runway from the philistines. The real devils wear Fitbits.