Record executive Antonio “L.A.” Reid has settled a sexual assault lawsuit from former employee Drew Dixon, avoiding a jury trial that was set to begin Monday.
In 2023, Dixon filed a lawsuit under the New York Adult Survivors Act, alleging abuse from Reid including sexual harassment, assault and retaliation while she worked under him as an A&R representative at Arista Records.
Dixon alleged in her suit that Reid “digitally penetrated her vulva without her consent” on a private plane in 2001, and groped and kissed her against her will in another incident months later. She claims in her suit that Reid retaliated against her after she spurned his advances, berating her in front of staff after she brought in a young Kanye West for a label audition.
Reid said in court filings that he “adamantly denies the allegations,” but they contributed to the former mogul’s declining reputation within the music industry, after Reid left Epic Records in 2017 following separate claims of harassment.
Reid’s attorney Imran H. Ansari said in a statement to The Times that “Mr. Reid has amicably resolved this matter with Ms. Dixon without any admission of liability.” Terms of the settlement were not disclosed.
In a statement to The Times, Dixon said that “I hope my work as an advocate for the Adult Survivors Act helps to bring us closer to a safer music business for everyone. In a world where good news is often hard to find, I hope for survivors that today is a ray of light peeking through the clouds. Music has always been my greatest source of comfort and joy. Even as a kid, I had an uncanny knack for predicting the next cool artist or album, the more eclectic the better. While I have focused on sexual assault advocacy in recent years, I have never stopped fighting for my place in this industry.”
The jury trial was slated to have testimony from some high-profile figures including John Legend, whom Dixon had tried to sign to the label. Dixon also accused the Def Jam mogul Russell Simmons of sexual assault in a 2017 New York Times article and in the 2020 documentary “On The Record.”
Joe Root and Harry Brook are denied the chance to improve on their 154-run partnership as bad light and rain cut day one of the fifth Ashes Test in Sydney short, leaving England on 211-3.
I stayed at a hotel that’s been branded one of the worst in the UK and for some reason decided that it would be a good idea to use a UV light in my windowless room
There aren’t that many hotels that charge £10 for windows or are seemingly completely empty the week before Christmas. And there’s only one hotel chain that has been named the worst in the UK for 12 consecutive years. To experience such delights, you’ve got to check yourself into a Britannia.
The chain is the stuff of legend. Fifty years after its first property, the Country House Hotel in Didsbury, Manchester, was opened, it has added around 60 more and grown to stretch across the UK before taking over Pontins.
However, its story is not an entirely positive one. Britannia has been much maligned over the years for (according to some of its unhappy customers at least) turning once grand properties into grimy, unpleasant, and uncomfortable hotels that don’t offer good value, even for their budget price tags.
My first experience in a Britannia came back in 2022, in the heady post-lockdown days when I took the train down to Bournemouth to stay in a hotel that has since been repurposed to house asylum seekers. The stuck fast windows and thick smell of paint ensured it was a hot and sticky night, while the drained outdoor pool, discarded knickers in the courtyard and a scattering of NOS canisters added to the general sense of neglect.
Have you had a memorable hotel stay? Email webtravel@reachplc.com
With such images in my head, it was with trepidation that I headed to my local Britannia to find out whether anything had changed at the UK’s worst hotel chain.
It hadn’t.
Britannia Hampstead is bleak, albeit in different ways to its sister venue down on the south coast. Here’s a breakdown of its key elements, compared to a recent visit to The Manor in Blakeney, North Norfolk. The Manor is part of the Coaching Inn Group, which was named the UK’s best large hotel chain of 2025 by Which? readers, while Britannia came dead last. Here is what separates the wheat from the chaff.
Vibe
On my Bournemouth trip, things were a lot livelier. There was life in the hotel. I knew because I could hear arguing couples and other people’s TV choices through my room walls. What I would’ve done for even the most muffled background characters this time around. The six-storey London hotel, which is big enough to house a 350-person business suite, was completely dead. The fairy lights flickered, but no one was home.
Contrastingly, the Manor was vibey. It may be a good hour’s cycle from the nearest train station, but even in the dead of November, it was busy, friendly, and warm. The staff were happy to chat, as were the guests lined up at the bar, enjoying special weekends away or a quick drink in what served as their local.
Rooms
It’s certainly not going to win any prizes, but my room in the Hampstead Britannia was much nicer than the Bournemouth one. In Bournemouth, a singular dead fly lay on the windowsill next to a deeply stained armchair. A screw stuck out from a picture frame. For several hours, I was unable to illuminate the room as all but the bathroom lights were out of action, leaving us with the deafeningly loud extractor fan until a cheery man on reception explained that the central electricity switch was hidden beneath the kettle.
In North London, the room was just… a bit bland. It was so clean that my UV torch found absolutely nothing. I can only assume that the strong stench of cleaning fluids had something to do with that. The furnishings were old and mostly brown, but inoffensive. At points during the night, the lack of windows did make me wonder if I was in prison. But I slept, woke and then jailbroke to tell the tale.
Over in Norfolk, it’s a different story. The Manor has 36 rooms, the cheapest of which can be booked for £99 next week. It is classic budget hotel fare, albeit of the quality end of the spectrum. A comfortable double bed, a medium-sized TV, and a well-decorated bathroom. Everything is solid, clean and cheerful.
Staff
As my only fellow humans in the Britannia hotel that night, I have no real complaints about the staff. They seemed nice enough, if not a little distracted when I chatted to them. The receptionist didn’t seem completely sure why the restaurant and bar were closed. Otherwise, my interactions with the staff were limited to them looking at me curiously as I read my book in the empty lobby.
Contrastingly, at the Manor, it’s all about staff. Many of them have been there for well over ten years. About half of them seem to be members of the Hill clan, including Tore, Karen, Sophie and Wayne. They were all on hand at various points during my stay to ensure everything was in its right place and to offer insights into the local area. For me, and the chatty returning customers who knew staff by name, such warmth is a major plus. It transforms the hotel from a place to stay and eat for the night, to somewhere homely that you want to be.
Location
This should be one of Britannia’s strong suits. In my mind, its customers tolerate a low-quality stay because of the convenience of staggering home to a city centre joint after a work away day or stag do. The Hampstead hotel offers none of that. It’s neither near enough the Heath nor Camden to be properly in either, and it’s a long old schlep from the centre of town. I can only imagine the disappointment of tourists who didn’t do enough research before booking.
Blakeney, on the other hand, is a lovely place. Just metres from the hotel’s front is the River Glaven, which winds its way through the National Nature Reserve. Nearby Blakeney Point is renowned for its seal colonies, with Beans Boat offering guided tours throughout the year. Most Coaching Inn Group hotels are in similarly scenic and remote rural locations.
Price
Windowless rooms at the London Britannia cost from £55, according to its website. But mine was closer to £90 with breakfast. If I’d opted for the sought-after window option, that would’ve hit the £100 mark.
The average cost of a room at the Manor is £128. While that isn’t very cheap, in the Which? survey, the hotel was one of only two to score four out of five stars for value for money. The other was Wetherspoons. I visited the Spoons Hotel in Canterbury in November, where a room for the night can be yours for just £55 and the average price is £70.
Spoons easily takes the prize for best value in my book, with Coaching Inn Group not far behind. Britannia, however, offers very little for what is a sizeable price tag. The average home price across all its hotels is £84, according to Which?. Even in 2025, that’s poor.
Nothing about my stay at the Britannia convinced me that it’s on the up or going to shed its unwanted ‘worst in class’ title anytime soon. I’m sure it’ll bag the bottom spot for a thirteenth time next year.
Britannia’s model seems to be to buy up grand old properties and flog the rooms for cut-price rates. Such is the size of the buildings, renovating to a modern standard would be a costly and risky venture. Far better, I imagine its executives have assumed, to keep costs low, even if profits remain the same. As a result, it’s a franchise with dozens of worn-out buildings that consistently fail to delight.
Contrastingly, Coaching Inn Group is a company that has done things right. For virtually the same price, customers can stay in one of its charming hotels in a warm, comfortable room with staff that seem genuinely invested in their work. Really, there is no competition.
From a design shop in Valencia with “murderous” dolls to a studio in Dublin to the Coachella Valley Music and Arts Festival, our photographers have been everywhere this year. They’ve captured key figures in the worlds of music, film and television in somber moments, moments of levity and everything in between. They share behind-the-scenes anecdotes about the shoots and reveal how they got “the” shot.
Britt Lower, Adam Scott and Dichen Lachman (above)
By Jason Armond in Los Angeles
When I received this assignment, my goal was to create a photo that not only mirrored the show’s dystopian surrealness but also captured the intricate relationship triangle between Britt Lower, Adam Scott and Dichen Lachman’s characters.
Initially, it took a little time for everyone on set to see my vision, but once I shared a test image, everyone understood and was excited to collaborate. The entire shoot lasted around eight minutes, but that brief window was all we needed.
After publication, the images quickly went viral. Many viewers assumed the photos were AI-generated or composited, but every detail was achieved in camera.
At the end of the shoot, someone from Lower’s team accidentally stepped on the mirror, shattering it. Someone joked about bad luck, but thankfully, this superstition did not come true, and a few months later, Lower won the lead actress in a drama series Emmy for her role in “Severance.”
Richard Kind
By Christina House at Sunset Gower Studios in Hollywood
Richard is one of a kind — no pun intended. He was singing and joking with us, telling stories. We were set up outside under the beating sun and he was wearing a vest with a wool coat, so we were trying to work quickly! I always love seeing behind the scenes of how films are made. I decided to pull back and include the lights and my assistant Jonathan’s hands to give it that working set feel.
Cynthia Erivo
By Jason Armond in Los Angeles
Cynthia Erivo’s portrait session took place in a studio near Beverly Hills, where she had recently finished recording her latest album. My initial plan was to photograph her seated beside a vintage piano, but she had a different vision. This is why I always prepare at least three setup options for entertainment portraits. I quickly adapted and moved to my next setup, which featured a striking geometric wooden wall in the studio. As I adjusted the lighting, I noticed her stunning wardrobe with two waist-high slits that revealed her tattoos. At that moment, I understood her preference for standing, as it allowed her to express her style and personality fully. I adjusted the lighting to complement Erivo’s sultry and confident presence. Her choice to stand brought a dynamic quality to the image. The resulting image speaks for itself; Erivo brought the scene to life and needed almost no direction. I simply pressed the camera’s shutter button.
Bella Ramsey
By Bexx Francois at the London in West Hollywood
Rather than chasing an expression, I was interested in stillness and repetition; how a simple gesture could feel amplified when echoed across a frame. I wanted Bella’s profile to be both the anchor and the rhythm of the image. She was immediately open to leaning into something more abstract. It was a real-time compositional gamble, guided by instinct and trust. We made several variations, but it was her side profile that ultimately struck the strongest balance between classic portraiture and interpretation.
Lee Jung-jae and Hwang Dong-hyuk
By Justin Jun Lee at the “Squid Game Experience” in New York
From the moment I walked in, I felt completely immersed in the design of the space. It truly felt like I was stepping onto an actual film set from one of the “Squid Game” challenges. The iconic giant doll Young-hee from the “Red Light, Green Light” game immediately stood out to me. My goal was for the images to carry a sense of tension and intensity that mirrors the tone of the show, and I believe that came through in the mood, expressions and presence of both Lee Jung-jae and Hwang Dong-hyuk.
Yungblud
By Hon Wing Chiu at the Hollywood Palladium
(Hon Wing Chiu / For The Times)
I was limited to photographing only the first three songs at the Hollywood Palladium, so I chose to shoot two songs up close and save the last one for a gamble from the back of the crowd. Most of the time I could barely see past the fans, but I hoped the final song would give me something unexpected.
When Yungblud hit the stage, the whole room exploded. The lights were changing every second, and he never stopped moving — running, jumping, connecting with the crowd like the stage could barely contain him. The fans were screaming, reaching, completely locked into the moment. I captured what I could up front, then switched lenses and waited for one last chance.
During that final song, everything suddenly came together. Yungblud stepped right to the very edge of the stage, almost close enough for the fans to touch him. Their hands shot into the air, trying to reach him, and he threw his arm upward with full force, like he was lifting the whole room with him. For a split second, the lights, the crowd and his energy aligned perfectly. I hit the shutter, hoping I caught it.
It wasn’t the peak of the entire concert, but it was the peak of the moment I was allowed to shoot — and it became the image I had been chasing all night.
Olivia Cooke and Robin Wright
By Jennifer McCord in London
I’d only seen the trailer for “The Girlfriend” at the time of the shoot but knew I wanted something that contained the idea of untrustworthy narrators that seemed to be threaded throughout.
Paul Thomas Anderson
By Christina House at the Aster in Hollywood
I had been made aware that PTA does not love being photographed. I had worked with him once before so I knew he was really nice but a bit camera shy. When he finished up his interview with columnist Glenn Whipp, he came to meet me in the neighboring hotel room where I had a chair positioned next to a window. I shared my idea on framing the image; I was shooting it from the bedroom closet to give some depth and he liked it. We took a few frames, talked about our dogs (his dog is trained to bring him his L.A. Times newspaper every morning) and he apologized for being difficult on his way out, to which I immediately replied that he was the complete opposite of that.
Fernanda Torres (‘I’m Still Here’)
By Annie Noelker in Los Angeles
I remember her just being so classy, elegant and lovely. Her whole team was so kind and we shot out on the balcony of the hotel room for maybe 10 minutes. It was effortless and such a satisfying collaborative experience.
Adrien Morot, Kathy Tse and M3GAN dolls
By Carlin Stiehl in Valencia
It’s always a treat when you step into the creative world of a mastermind, especially when it comes to the magic behind our favorite films. You might expect that seeing the process up close would spoil the mystique, like a magician revealing their tricks, but in the case of Adrien and Kathy, it only deepened the sense of wonder. The “M3GAN” dolls were so lifelike, and the real sell wasn’t their eyes that draw you in, but the skin. The dolls’ lifelike texture and softness, and the rows of faces on worktables waiting to be painted, created a diabolical scene out of a skin-harvesting, flesh-mask horror film. Yet the insanity was where the true genius hid, because in many ways, I could believe it was real. Hence, the inspiration for the photo: a take on the quintessential family-style portrait — the ones you kind of cringe at when you walk into someone’s home, radiating manufactured happiness. The dolls were like their children so I thought, let’s get the kids together with Mom and Dad and show how beautiful their doted-on children are for our guests.
Saagar Shaikh and Asif Ali
By Bexx Francois on the Disney Studios lot in Burbank
I came in with a loose mood board, a few traditional pose ideas alongside some comedic “scenarios” that had a 50/50 chance of making it to my memory cards. Their Hulu series “Deli Boys” was a comedy after all, maybe they’d be down to lean into play. When Saagar and Asif arrived, I showed them my wish list. Instant cosign. Once we nailed the first “scenario,” pure improv took over, with Asif and Sagaar seamlessly falling into the mock-conflict of their on-screen characters; hence, Asif being hoisted 3 feet in the air. By the time we called wrap, everyone was in tears.
Dan Brown
By Cheryl Senter in Rye Beach, N.H.
Two things: I always follow my gut and never wear pink. A few days before the assignment I had this gut feeling that I wanted a portrait of the bestselling author with a wall of mirrors. The day of the assignment I decided to wear a hot pink shirt I had picked up at a thrift store instead of my black-on-black attire. At Dan’s house I spent an hour with his assistant scoping out a few locations — no wall of mirrors. Before I left I asked Dan if he had a wall of mirrors. Dan smiled and led me to a very tiny circular bathroom that had a tall, curved pocket door made of copper. It was a tight space with the door shut. My pink shirt came in handy. I could easily see if I was in any of the mirrors. At one point Dan looked at me and started laughing as I tried to make myself wafer thin. Then I started laughing. Dan’s assistant waiting outside asked softly, “Is everything OK?”
Penn Badgley
By Matt Seidel in Los Angeles
This was a classic celebrity shoot: Our scheduled 30 minutes collapsed into seven so we had to move fast. I shook Penn’s hand and told him I had two goals: Get the shot and get him back on schedule. There was no time to over-direct so I gave him one piece of character direction and let him run. I didn’t want Joe Goldberg from the TV series “You.” I didn’t want Penn Badgley, sexy serial killer. I wanted the real Penn Badgley saying goodbye, closing a chapter, integrating the shadow of the role and stepping into the light of what’s next.
Spike Lee
By Victoria Will in New York
Nothing says Brooklyn like Spike Lee, so it made sense to photograph him where he is most recognized, in Fort Greene near his well-known office. The relationship between Spike and Brooklyn is longstanding and reciprocal, shaped by history, presence and place. That familiarity was evident as nearly every pedestrian waved or said hello, many greeting him like an old friend. And there wasn’t one person that he did not acknowledge. True class.
Sombr
By Evelyn Freja at Pier 17 in New York
The photo was taken on an empty construction floor of the pier where he had a concert that night. I remember it was a very quick session right before he went on because he had gotten a cold and was trying to save his energy to perform. Despite his health, he (and his entire team) was so kind and gracious, which made the shoot go easy. I decided to light the warehouse with a red light to lend the energy of his music to this shoot and a very moody light for Sombr to reflect the ambience of his songs.
Elle Fanning
By Christina House at the Toronto International Film Festival
I had photographed Elle a few years back. She’s a sweetheart and so good at posing so she doesn’t need a lot of direction. For this particular photo, it was taken at our portrait studio at the Toronto International Film Festival. It’s a fast-paced flow of folks coming in and out for portraits, an organized chaos at times, but you would never know that by the calm on her face. She’s a pro.
Lena Dunham and Megan Stalter
By the Tyler Twins in New York
The playlist was ‘90s (Alanis Morissette, the Cranberries, Jewel), and the vibe was easy and celebratory. Megan and Lena have a genuine chemistry and were both very relaxed in front of the camera. Our shared ties to Ohio made for good conversation. It truly felt like we were shooting friends.
Domhnall Gleeson
Jennifer McCord in Dublin
This was shot in a studio in Dublin (studio shoots for assignments always feel super rare!) with just me, Domhnall and his makeup artist Lucy. We played the latest Fontaines D.C. album and the shoot was super chill and lovely. I’m always appreciative when an actor is up for being collaborative and trying different things — this was one of the last shots we took. The rest of the images feel quite energetic, so it was nice to also get this more intimate-feeling frame at the end.
Karol G
By Bexx Francois in El Segundo
When time with an artist is limited, anxiety threatens to grab the wheel. But once Karol G walked on set, everything went quiet. And delicate. She had such a kindness about her. And an effortless beauty. I was inspired by classic Irving Penn; using walls to guide the eyes toward the center. We used a V-flat as our “set.” Even with a wind blower only 6 feet away throwing gusts of drama in her direction, Karol remained in command of her space and performance. And still connected where and how needed — with piercing intention.
Benson Boone and Brian May
By Allen J. Schaben at the Coachella Valley Music and Arts Festival
Shooting Benson Boone’s trademark leaping acrobatics at his Coachella debut this year gave me the chance to bridge the gap between musical generations. The performance of “Bohemian Rhapsody” was made even more significant by the presence of Queen’s legendary guitarist, Brian May. My challenge was positioning myself to capture the moment while navigating a sea of spectators’ heads, hands, arms and cellphones. I dropped to a low angle to create a fan’s perspective, capture the height of his leap and ensure both artists were in the frame. Then it happened — somewhere between a cymbal crash and a guitar wail. Boone sprinted onto the piano and launched into the air above May, and in a split second, it was over. Moments like this are what make my job rewarding, and this performance by Boone and May will live on as a legendary one in my memory.
Marianne Jean-Baptiste and Mike Leigh (‘Hard Truths’)
By Christina House at Shutters on the Beach in Santa Monica
Marianne and Mike had such lovely chemistry together. They were chatty so I thought I’d give them an action to follow and this is where we landed. This was taken in a hotel boardroom with a seamless backdrop.
Mariska Hargitay
By Victoria Will in New York
I’ve had the good fortune of photographing Mariska Hargitay many times over the years, which brings a level of trust and collaboration. She gives both generously. On this occasion, she was as she always is: grounded, confident and present, with an easy sense of humor.
Wesley Schultz and Jeremiah Fraites of the Lumineers
By Robert Gauthier at the Sunset Marquis in West Hollywood
The Lumineers was a memorable shoot for me. To make this photo I crawled into a thicket of ferns at the Sunset Marquis Hotel. As I crouched behind a rippling fountain, stretching and contorting my body to attain the correct angle, I began to wonder, “Do the Lumineers think I’m some kind of a lunatic?”
Luis Guzmán, Jenna Ortega and Catherine Zeta-Jones
By Jennifer McCord in London
I’m such a big fan of “Wednesday” as a show and of all three of these actors, so this was truly a joy. As always with these assignments, we had limited time but thankfully we were shooting at the wonderful Raffles in London and Luis, Catherine and Jenna were so wonderful.
Mark Hoppus of Blink-182
By Robert Gauthier in Los Angeles
Mark Hoppus’ home is a photographer’s dream. A Midcentury Modern with interesting angles, surfaces, colors and light. He was patient and willing to pose wherever I found inspiration. We settled on a few places, including beneath a skylight that streamed natural light into a hallway. It’s a simple image. One might say it was just another one of all the small things.
Stephen Graham
By Sophia Spring in London
This was shot in a little makeshift studio I set up in a boardroom at Netflix HQ in London. We were capturing these portraits of Stephen ahead of the release of “Adolescence.” At the time all I knew about the show was the vague story outline of Stephen’s character as the father of a boy arrested for murder, and so I was keen that the portraits channel the visceral and complex tone of the show. After a quick hello I explained to Stephen what I was after, and for the next 20 minutes he proved why he is the world-class actor we know him as — he brought such an intensity and commitment to our short shoot. I was thrilled to see his well-deserved Emmy win a few months later.
True Whitaker
By Christina House at the London Hotel in West Hollywood
True is a warm and friendly human. She greeted me and my assistant with a hug. I could tell she was feeling a little under the weather that day but she didn’t ask for any special treatment, and kindly and happily took direction. It was a pleasure to meet the “I Love LA” star. I used window light to keep a soft yet moody feel.
Jessie Murph
By Annie Noelker in Los Angeles
We shot Jessie at NeueHouse Venice Beach (rest in peace) and there was this skylight in the backroom, where the sun cast this magnificent glow. The time of day was just perfect and oh so lucky. I had Jessie stand in the glow and look up, with just a little reflector under her chin and we captured this beautiful, still moment of reflection and calm before the insane year the singer-songwriter has had.
Danielle Brooks
By Bexx Francois in Los Angeles
I had just flown in from New York, where only days earlier I was sitting in a movie theater with my nephews, ages 6 and 11, watching “Minecraft” and enjoying their faces light up from the screen. In 2022, I saw Danielle Brooks in the Broadway revival of “The Piano Lesson,” a performance that had me on my feet in applause. And now my nephews were being introduced to her talent in a different context. When the assignment to photograph the actress landed in my inbox soon after, it was an instant yes. Unbeknownst to her, I was quietly geeking out behind the camera. I wanted to capture her in the same bliss she gave my nephews in that theater together.
Laverne Cox and George Wallace
By the Tyler Twins in New York
Laverne Cox arrived fully prepared in vintage Thierry Mugler. We bonded over a shared love of fashion history; she’s an expert! George Wallace, her onscreen father in the Prime Video comedy “Clean Slate,” brought a warmth that was easy to capture. Their father-daughter dynamic unfolded naturally, with Laverne playfully striking poses around him.
Tonatiuh
By Christina House at Hollenbeck Park in Los Angeles
This was a meaningful place for him since he grew up in the area. He seemed at ease and I sensed it felt good to return to a place he called home during what I can imagine is a very busy and surreal time for him — promoting the movie “Kiss of the Spider Woman” with Jennifer Lopez. Grounding yourself is so important. There’s a pond at the center of the park. We headed in that direction and made a few frames with this beautiful, natural sunlight. He mentioned that the scar on the left side of his face is not something he is ashamed of so he was comfortable being photographed on that side.
Laurence Fishburne
By Jason Armond in Los Angeles
When I photographed Laurence Fishburne for his role in the spy thriller “The Amateur,” I approached the session with a storyteller’s mindset. Even in my celebrity portraiture, I aim to capture a narrative. For this shoot, I chose dramatic lighting to reflect the suspenseful tone of the film. Fishburne had recently suffered a broken toe, so he needed to remain seated throughout most of the session. What could have been a limitation became a creative opportunity. I concentrated on close-up portraits, letting Fishburne’s intense expressions and moments of exuberant laughter bring the images to life.
Fujii Kaze
By Jason Armond in El Segundo
During awards season, I photograph many celebrities each week, which challenges me to find new and creative approaches for every session. For me, the key to transforming the ordinary into something extraordinary is always staying open to inspiration wherever it appears. My shoot with J-pop star Fujii Kaze at the L.A. Times offices embodied this idea. On my way to the studio, I noticed a stack of black chairs in the hallway and instantly recognized their potential. Those unassuming chairs became the backdrop for a striking, environmental portrait. Following my instincts allowed me to create something truly unique.
Michael Koman and Greg Daniels
By Jason Armond in El Segundo
When I was assigned to photograph Michael Koman and Greg Daniels, the creators of “The Paper,” I knew I wanted the images to capture the quirkiness of their show. Early on, I decided to build a set entirely out of newspapers. Since our shoot was at the L.A. Times offices, I gathered piles of old papers and envisioned Michael and Greg in a flurry of pages, an energetic and playful nod to their show’s spirit. The idea worked beautifully.
After the session, I led Koman and Daniels on a brief tour of the newsroom. Daniels eagerly asked about every detail of the newsroom’s daily operations and how each area was used. His sincere curiosity stood out, revealing his dedication to his craft.
Before Koman and Daniels left, I jokingly offered my services as a show consultant. I have yet to receive a callback, so for now, I am more than happy to continue my work at the L.A. Times.
Billy Crudup
By Bexx Francois in Los Angeles
We arrived at the Netflix offices and started making our way to our shoot location. Out the corner of my eye, I noticed this teddy bear chair in one of the waiting rooms we were passing by. Its design was charismatic and made me smile. I instantly requested it be brought to set. We tried one to two traditional chairs in its stead before committing to its playfulness. If it made us smile during test shots, hopefully it would do the same once “Jay Kelly” star Billy Crudup arrived on set. And indeed, it did. We spent the most time joking and capturing candid moments with Billy comfortably leaning into that furry hug. It produced one of my favorite photos from our time together.
Cyndi Lauper
By Larsen&Talbert at Jack Studios in New York
From the very beginning, it felt more like a collaboration than an assignment.
Once we knew what she’d be wearing, we gathered around the rolls of seamless paper together, weighing color options like painters choosing a palette. Blue immediately stood out. We agreed, started setting up and everything was moving smoothly — until a few minutes later when Cyndi Lauper came running back into the room.
“We can’t do blue!” she said, laughing. “My hair is blue today.”
She was absolutely right.
Without hesitation, we pivoted to our second choice: orange. Against her blue hair and bold, pink doll-head suit, the orange backdrop crackled with energy — it was perfect.
Some subjects need a lot of coaxing and direction. Not Cyndi. She knows exactly how to move, how to hold a pose and how to communicate with a camera. She doesn’t wait to be told what to do — she gives you something. Our job was simply to stay sharp and ready, capturing whatever magic she sent our way.
It was effortless, intuitive and joyful — the kind of shoot that reminds you why collaboration matters, and why icons become icons in the first place.
Jinkx Monsoon and BenDeLaCreme
By Dutch Doscher at Blonde Studios in New York
When I got the assignment, I was immediately excited and had this image in my head of placing them inside a colorful candy cane circus. I had no idea how I was going to pull that off until Broderson Backdrops came through with the perfect 25-by-25-foot backdrop. I showed the idea to their publicist and got an immediate, enthusiastic yes. From there, the gold outfits came into focus and everything started to click.
They were incredibly easygoing and completely comfortable playing to the camera. You can sometimes wonder if a duo like that is more of a work relationship, but once you’re in the room with them, it’s clear it’s a deep friendship. That connection made the shoot feel effortless, and I think that’s what ultimately comes through in the photograph.
A POPULAR safari park and celeb hotspot got the green light to build accommodation overlooking its lion enclosure.
Construction of the 12 all-weather luxury “Lion Lookout” pods at the much-loved menagerie could begin as early as next year.
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A CGI mockup of the new lion pods coming soon at Port Lympne Hotel and ReserveCredit: SWNS
Folkestone and Hythe District Council (FHDC) has approved the plans for the Port Lympne Hotel and Reserve, near Hythe, Kent, which will offer guests a safari-style overnight experience.
Guests will enjoy uninterrupted views of the big cats including daddy lion Hunter and mummy lion Oudrika, as well as their five cute cubs.
Managing director of Howletts and Port Lympne Estates, Tony Kelly, said: “I’m incredibly pleased we have been granted planning permission for our Lion Lookout plans.
“Nestled alongside the largest lion enclosure in Europe and our pride of seven lions, this unique offer will extend our accommodation offering to our guests with uninterrupted close-up views of these magnificent animals.
“The accommodation will be aimed at a family audience and add to our already award-winning offerings.
“Whilst planning has been granted, there are several pre-commencement conditions to fulfil, but we would hope to start the project in late 2026.”
The site will be connected by a newly built timber walkway and designed to keep environmental impact to a minimum.
Each tent will will stand on a raised platform, including a veranda and private viewing area, carefully positioned among the trees so the landscape remains largely unchanged.
Bosses say the new development will complement Port Lympne’s existing luxury overnight stays, which attracted 82,000 visitors last year.
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Austria is buying 12 M-346F Block 20 light combat aircraft from Italian defense contractor Leonardo, as part of an overhaul of its air force, the Luftstreitkräfte. Austria does already operate 15 Eurofighter Typhoons, which were procured under controversial circumstances. Those jets have notably limited capabilities compared to other Typhoons, as well as high operating costs, which have prompted attempts to offload them.
Leonardo announced the Austrian contract today. As well as the dozen M-346s, the deal includes simulation systems for pilots, training for maintenance technicians, spare parts and equipment, plus logistical support for six years. The total cost is around $1.7 billion, and the first aircraft is due to be delivered in 2028.
According to Leonardo, the Austrian Air Force will use the M-346Fs for the “defense needs of Austria’s national airspace and territory,” as well as for training.
M-346FA
The two-seat M-346 was originally developed as an advanced jet trainer, but light combat versions have long been offered for sale. Block 20 standard variants are notably well-equipped for aircraft of their size and weight. They come with a pair of large-area displays (LAD) in each cockpit, an active electronically scanned array (AESA) radar, a Link 16 datalink, and electronic countermeasures. The jets are capable of being configured to employ various air-to-air and air-to-surface weapons options, but can also be operated as pure trainers.
In the trainer role, the M-346Fs will serve as a successor to the Austrian Air Force’s Saab 105 jets, which were retired in 2020, and are seen in the video below.
Action: Saab 105 im Flug
The M-346 has been developed by Leonardo as part of an integrated advanced flight training system. Beyond the jets themselves, this includes a ground-based training system (GBTS), which is based around the live, virtual, and constructive (LVC) concept. In this way, simulated elements and scenarios can be combined with real-life training flights.
Austria is already familiar with the M-346 as its pilots already train on it at the International Flight Training School (IFTS), which Leonardo and the Italian Air Force operate together in Decimomannu, Italy.
IFTS – International Flight Training School
According to Leonardo, the complete training system for Austria will include capabilities related to air-to-surface missions. This would be a new development for the Austrian Air Force, which is currently optimized for air defense.
It will also allow pilots to train for aerial refueling, something else that hasn’t previously been featured in the Alpine air arm’s operations. It is worth noting here that the Luftstreitkräfte does not currently operate any tankers itself.
Most notably, however, as well as advanced training, Austria will fly the M-346 in the “dual role of fighter for lower-intensity operations,” according to Leonardo.
Imagery related to the M-346F Block 20 released to date includes pictures of a demonstrator aircraft armed with wingtip AIM-9L/M Sidewinder infrared-guided air-to-air missiles. It has also been seen loaded with laser-guided bombs and Joint Direct Attack Munitions (JDAM). Reportedly, Austria will integrate the IRIS-T infrared-guided air-to-air missile (already used on its Typhoons), 20mm gun pods, and LAU-32 seven-round rocket launchers for its M-346s, as well as Israeli-made electronic countermeasures pods.
An M-346FA is pictured with MBDA MICA NG IR (center), and MICA NG IR air-to-air missiles outside the Leonardo stand on the second day of the Farnborough International Airshow 2024. Photo by JUSTIN TALLIS / AFP JUSTIN TALLIS
While the now-retired Saab 105s had a limited air-policing role, the M-346F’s capabilities mean that certain, more expansive operational missions could be ‘downloaded’ from the expensive Typhoon and onto the smaller and more economical jet.
Two Austrian Eurofighters join a Lufthansa Airbus A380 in formation overhead Austria in 2011. Bundesheer/Markus Zinner
Nonetheless, this would still be a significant augmentation for the Typhoon force, not least because Austria is a small country and the M-346F would be capable of responding to most routine threats, especially thanks to its AESA radar.
Furthermore, the Austrian Typhoons have no beyond-visual-range air-to-air missile armament, so the M-346Fs wouldn’t be at a disadvantage in terms of weaponry, either.
In fact, an argument could be made for Austria having ordered the M-346F, or a similar light combat aircraft, rather than the Typhoon in the first place.
The Typhoon acquisition was far from straightforward. Austria selected the Eurofighter design over the Saab JAS 39C/D Gripen in 2002, but only finished paying off the €2 billion ($2.3 billion at the rate of conversion at the time of writing) purchase costs for the 15 single-seat jets (an order that was also reduced from a planned 18 aircraft) in 2014. The deal was also overshadowed by accusations of deception, fraud, and bribery, including a high-level lawsuit filed by the defense ministry against Airbus and Eurofighter.
Overall, the Austrian Ministry of Defense has been far from happy with the Typhoon. It has called into question the jet’s operating costs and lack of certain critical capabilities — including the PIRATE infrared sensor, a helmet-mounted display, and the EuroDASS self-defense suite. As mentioned above, the Austrian jets have no beyond-visual-range air-to-air missiles and lack any air-to-ground capability.
As long ago as 2017, Austria outlined plans to phase out the Typhoons by 2023, arguing that it would be cheaper than upgrading them. Since these are the baseline Tranche 1 jets, equipped to the most basic standard, it is far harder to modernize them. At this time, it was envisaged that they would be replaced by 18 new fighters, which would also supersede the Saab 105s.
More recently, efforts were made to try to sell the Typhoons to Indonesia, as you can read about here.
Somewhat ironically, back in 2020, Austria’s Green Party called for the replacement of both the Typhoon and the Saab 105 with the M-346.
As TWZnoted at the time, “Austrian Typhoon pilots already train on the M-346 in Italy, and in many ways it would seem to make an ideal replacement for the two-seat Saab. However, it lacks the raw performance and sophisticated avionics of a modern fighter jet, which would render it less suitable for the air policing role now undertaken by the Typhoon.”
An Austrian Typhoon pilot prepares for a mission. Bundesheer
However, the M-346F Block 20 is a much more capable proposition in terms of avionics, although it remains subsonic.
As a non-aligned nation, Austria can’t rely on NATO support to defend its airspace, so having additional, more economical light combat aircraft to help do this job will be welcome.
The M-346 also has the benefit of an established user base and supply chains to go along with it. As a trainer, existing M-346 customers include Greece, Italy, Israel, Poland, Qatar, and Singapore. The Italian Air Force has also selected it as the future aircraft for its aerobatic team, the Frecce Tricolori.
An Israeli Air Force M-346 advanced jet trainer. Amit Agronov/Israeli Air Force
Leonardo, as part of a team-up with Textron in the United States, has also been offering a navalized M-346N version to the U.S. Navy as a possible replacement for that service’s T-45 Goshawk jet trainers. You can read more about the M-346N, which was rebranded as a Beechcraft product earlier this year, here. Beechcraft is a wholly-owned subsidiary of Textron.
M-346 Jet Trainer Walk-Around Tour With Its Test Pilot.
The only country known to have already introduced a light combat aircraft version of the M-346 is Turkmenistan, which reportedly acquired just four M-346FA (Fighter Attack) versions, as well as two trainers. It’s unclear exactly what kinds of weapons the country’s jets carry.
However, Nigeria now looks to be lining up to buy the M-346FA, as well, with a potential deal for as many as 24 of the jets reportedly on the cards.
Buying the M-346 also further cements the Austrian Ministry of Defense’s own relationship with Leonardo, from which it previously acquired 36 AW169M Light Utility Helicopters (LUH) under two contracts signed in 2022 and 2023.
An Austrian Armed Forces AW169M. Bundesheer
The Austrian order and the possibility of a larger sale to Nigeria are good news for Leonardo, which is continuing to evolve the M-346 from an advanced jet trainer into an ever more versatile multirole light combat aircraft.
The overall market space for light fighters based on advanced jet trainers is steadily growing globally, too. Korea Aerospace Industries has seen particular success with its FA-50 version of its T-50 trainer. The possibility of Boeing developing a light fighter based on its T-7 Redhawk for the U.S. Air Force has also come up in the past.
On the other hand, the Austrian Air Force remains stuck with the Typhoon, something of a costly white elephant when it’s considered that its primary mission is peacetime air policing over neutral airspace. Ultimately, perhaps, the Typhoon might be retired without a direct replacement, leaving the future M-346Fs to take on all frontline fighter roles.
KEW Gardens is renowned as a place you can unplug among the bustle of London.
But from November until January the world-famous botanic garden becomes electrified – quite literally – in a fantastic extravaganza of multicoloured lights.
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Caroline and her family went to a light-trail in a world famous gardenCredit: Caroline IgguldenShe said it might be the best Christmas light show in the countryCredit: Jeff Eden
Kew’s annual light trail offers visitors the chance to see this UNESCO World Heritage Site in an entirely new way.
I took my two children aged 12 and 8 and they easily coped with the 3km loop.
This year’s trail starts at the Palm House and is perhaps the most spectacular yet and begins by taking visitors across a stunning new bridge from which they can admire 100 giant illuminated water lilies.
The botanic garden’s famous Chinese Pagoda is lit for the first time ever this year and stands like a shining beacon.
The ever-popular cathedral-like arch of lights is a photo opportunity not to miss.
And kids will also love bobbing and weaving through dangling tendrils of lights in another section.
Other fun surprises new to the route include a full dancefloor complete with giant light-up headphones offering a brilliant Instagrammable opportunity.
Caroline’s two sons ages 12 and 8 easily coped with the light trailCredit: Caroline Iggulden
Elsewhere, fun-fair horses that pop up among the garden’s atmospherically lit trees in hues of purple and silver.
And keep an eye out for a very special Christmas visitor who pops up towards the end of the route.
The finale of the trail is as stunning as ever with an awe-inspiring music and light show projected onto the Temperate House, the world’s largest surviving Victorian glasshouse.
A musical mix from Mariah Carey to Coldplay bring to life this greenhouse which brims with some of the world’s rarest plants.
Around the garden are incredible light displays and instillationsCredit: Jeff EdenYou might even get a glimpse of Father ChristmasCredit: Unknown
Christmas at Kew offers a feast for the eyes-but also the tummy, much to the delight of my two mini-trailers.
There are multiple festive food and drink stalls available along the way in wooden cabins, offering everything from gourmet burgers, Asian food, to Souvlaki wraps and mulled wine for me!
One delicious pitstop even offers marshmallow toasting over a fire pit.
My boys happily polished off giant hot dogs and mini waffle bites on the way round.
A trip to Kew after nightfall this wintertime will guarantee to see faces lit up as brightly as the gardens.
Christmas at Kew runs on selected dates until Sunday January 4, 2026.
Prices start at £18 for kids and £27.50 for adults.
