Latest news with #Gomez
Yahoo
5 hours ago
- General
- Yahoo
New details released in 2023 murder of San Bernardino teen
Nearly two years after an 18-year-old was gunned down in San Bernardino, police are asking for the public's help in identifying the suspect. Erick Gomez was shot on the night of Sept. 4, 2023, on the 2100 block of North Sierra Way, and until now few leads have developed. On that night, San Bernardino Police Department officers responded to a 911 call around 9:48 p.m. and found Gomez suffering from multiple gunshot wounds. 'The victim was sitting inside of a vehicle parked along the west side curb of North Sierra Way when a dark-colored sedan drove up,' said SBPD Detective Retamoza. 'The suspect got out of the vehicle and fired multiple rounds into the vehicle, striking the victim.' Gomez was taken to a hospital, where he was pronounced dead, Retamoza said. No arrests have been made in the 20 months since Gomez was shot and killed. But on Thursday, police released new details uncovered from recently reviewed surveillance footage. Police say the video showed a Hispanic man wearing a black hoodie and gray shorts approach the victim's vehicle moments before the shooting. He was then seen leaving the area in a black sedan. Investigators believe this man may be the person who shot the 18-year-old, or has some connection to the killing. At this time, there's no known motive for the killing of Gomez, who was a resident of San Bernardino. Police released some of the imagery from the new surveillance footage on the Department Instagram page Thursday. Anyone with information about the deadly shooting is urged to contact SBPD Detective R. Retamoza at 909-384-4934, or Sergeant E. Campos at 909-384-5613 Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
South Wales Guardian
8 hours ago
- Sport
- South Wales Guardian
Cameron Norrie eases past Federico Gomez to reach French Open third round
The British number three made hard work of the first set against Argentinian powerhouse Gomez, but eventually cantered over the line 7-6 (7) 6-2 6-1. He will face Edinburgh-born Jacob Fearnley, who before this year had never played a professional match on clay, for a place in round four. Gomez was appearing in his first grand slam main draw aged 28 and as a lucky loser having been beaten in the final round of qualifying. ALLEZ NORRIE 💪 — LTA (@the_LTA) May 29, 2025 Built more like a Pumas prop-forward than a tennis player, the world number 144 was like a human wrecking ball at the back of a cramped Court 13. At one stage Gomez narrowly avoiding barging into a line judge, tripped over an advertising board and still won the point. Norrie needed seven set points to take the first set but it knocked the stuffing out of Gomez, who won just three more games and was limping by the end of the two hour 14-minute encounter. Norrie, who shocked 11th seed Daniil Medvedev in the first round, said: 'It was a completely different kind of a match today – different emotions going into the match being the favourite. 'I played a very steady kind of six, seven out of 10 for the whole time.' Fearnley was a set up on Ugo Humbert, but a break down at 3-4 in the second, when the Frenchman turned his ankle in a nasty fall on the baseline and was forced to retire from the match. Saturday's showdown will be the first time two Brits, male or female, have met after the first round at Roland Garros in the Open era. It will also be a meeting between two players who took similar paths into the sport having attended the Texas Christian University, albeit a few years apart. Jacob Fearnley is through to the third round at @rolandgarros after Ugo Humbert retires at 6-3, 4-4 Hopefully Ugo is back on court soon #BackTheBrits 🇬🇧 | #RolandGarros — LTA (@the_LTA) May 29, 2025 'I know Cam very well,' said Fearnley. 'I respect his game. He's someone that I looked up to as a British tennis player, and as a 'Horned Frog' (TCU mascot). 'Yeah, it will be interesting. I'm excited. It feels a little bit different than the last couple matches just purely because I'm playing another Brit. I haven't really played another Brit at this level. 'It's good for the British fans to have a guaranteed Brit in the fourth round. It's pretty cool.'
Yahoo
10 hours ago
- Entertainment
- Yahoo
How 'Uvalde Mom' director Anayansi Prado captured the heart of a town in trauma
Three years ago, an armed young man entered Robb Elementary School in Uvalde, Texas, and killed 19 students and two teachers. Hundreds of law enforcement officials reportedly stood around the school campus for more than an hour without approaching the shooter. In the midst of the inaction, one mom — Angeli Rose Gomez — pleaded with officers to take action or let her go in to get her two children and nephew. She was apprehended and handcuffed, but ultimately talked her way out of arrest before she sprinted inside the school to grab the kids. Videos on social media captured the moments that Gomez brought her sons and nephew out of the school. The Texas field worker and mother of two was quickly dubbed a hero in national and local publications for her courage. The new documentary film "Uvalde Mom" follows Gomez after becoming nationally recognized — while examining the forces at play in the Uvalde community which allowed for the shooting to take place, as well as the aftermath of such a tragedy. "All I wanted that day was my kids to come out of the school alive, and that's what I got," Gomez says in one pivotal moment in the film. "I don't want to be called a hero. I don't want to be looked at as the hero because the only job that I did that day was being a mom." Read more: Abcarian: The pathetic lessons of the Uvalde school shooting in Texas The feature's director Anayansi Prado was "moved" and "horrified" by what had happened and felt motivated to make a film about the event after seeing members of the affected families on TV. "I saw that there were Latinos, they were Mexican American, that it was a border town, that it was an agricultural farming town, and that really resonated with me and with communities I've done film work with before," Prado told The Times. Prado began reaching out to people in Uvalde shortly after the shooting, but didn't hear back from anyone for over two months due to the inundation of media requests everyone in the city was receiving. The only person to reply to her was Gomez. Ahead of the film's screening Saturday at the Los Angeles Latino International Film Festival, Prado spoke with The Times about the process and the challenges of making her documentary. This interview has been edited and shortened for clarity. Was the idea always for this project to be a feature-length film? Or were there talks of making it a short or a series? I've always thought about it as a feature because I really wanted to dive in and understand Uvalde as a character. I wanted to understand the history of the criminal justice system, the educational system. I knew I wanted to make something that was going to be of a longer form rather than just a piece that was about Angeli or something. And a few people told me this would make a great short, but as I uncovered more about Uvalde, I was like, "No, Uvalde itself has its own history, just like a person." Read more: Families of Uvalde school shooting victims are suing Texas state police over botched response When it came to choosing Angeli, was she the first and only person who responded to your outreach? I think the people in town were oversaturated with media coverage, and Angeli was the one that got back to me. What was really interesting is that I learned on that first trip [to Uvalde] about her backstory and I learned about how the criminal justice system had failed her. I saw a parallel there of how the system failed the community the day of the shooting and how it was failing this woman also individually. I wanted to play with those two stories, the macro and the personal. Once I learned who she was, beyond the mom who ran into the school, I was like, "I have to tell this woman's story." How did you go about balancing her personal stuff and the failures that happened on a larger scale? So much of the way the film is structured is reflective of my own experience as a filmmaker. It was a sort of surreal world, these two worlds were going on: what was happening to Angeli and then what was going on outside with the lack of accountability and the cover-up. So that informed the way that I wanted to structure the film. In terms of the personal, it was a journey to gain Angeli's trust. At some point at the beginning, she wasn't sure she wanted to participate in the film, and so I told her, "You don't owe me anything. I'm a stranger, but all I ask is that you give me a chance to earn your trust." And she was like, "OK." From there on, she opened up and, pretty quickly, we became close and she trusted me. I was very cognizant [of] her legal past and even the way she's perceived by some folks. I also didn't want Angeli to come off as a victim and people to feel sorry for her, but I still wanted to tell her story in a way where you get mad at the system for failing her. What kind of struggles did you have trying to get in communication with some of the officials of the city? We used a lot of news [archives] to represent that part of the story. The [authorities] weren't giving any interviews, they were just holding press conferences. So access was limited, but also the majority of the time that we were filming, we were very low-key about the production — because Angeli was on probation and there was retaliation for her speaking to the media. We tried to keep it under wraps that we were filming, so not a lot of people knew about it [besides] her family. Obviously other folks in town [were] part of the film, like her friend Tina and family members. Outside of that, it was too risky to let other people in town know what was going on. Read more: Justice Department report finds 'cascading failures,' 'no urgency' in Uvalde shooting response Ultimately I wanted to make ["Uvalde Mome"] a personal portrait. I was just very selective on the people that we absolutely needed to interview. I'm happy with Tina, who's an activist in town, and Arnie, a survivor of the shooting and a school teacher, [plus] Angeli's legal team. I felt like those were people we needed to tell a fuller story. But we just couldn't be out in the open making a film about her and let people know. What kind of reception have you gotten from people of Uvalde that have seen the film? We had our premiere at South by Southwest, which was great. A lot of folks came from Uvalde and spoke about how, almost three years later, a lot of this stuff is still going on. Every time Gov. Greg Abbott came on-screen, people would scream, "Loser!" It was really moving to have those screenings. As was expected from the folks who are not fans of Angeli, there was some backlash. It's the same narrative you see in the film of, "She's a criminal, don't believe her." It's a town that is an open wound. I just try to have compassion for people. Ultimately, Angeli's story is the story of one person in Uvalde of many that need to continue to be told. And I hope that other filmmakers, journalists and other storytellers continue to tell the story there, especially with the lack of closure and accountability. I'm happy that the film is putting Uvalde back into the headlines in some way; that way we don't forget about it. Had you ever spent an extended amount of time in Texas before? I had been to Texas, but I hadn't done a project in Texas. Because I'm an outsider, it was very important for me to hire a 100% local Texas crew for this film. My crew was entirely Texas-based, from our PAs to our sound to our DPs. I also wanted to have a majority Texas-born Mexican American crew so that they could guide me. We began production in September of 2022 and the atmosphere was very tense. This is a story that is deeply rooted in the Latino community and the tension about the law enforcement in Uvalde. What was it like dealing with that tension and how did you personally feel that when you went into the town? When I got to Uvalde, I saw that the majority of the Latino community had been there for several generations. You would think a town with that kind of Mexican American history, and them being the majority, that they'd be pretty cemented and represented, right? It was really eye-opening to see [how] these folks are still considered second-class citizens. A lot of them are being repressed. And then you have folks that get in positions of power, but they're whitewashed in line with the white conservative agenda. So even those that are able to get into positions of power don't lean towards the community. They turn their back on it. I heard from folks that the history of neglect was what led to the response that day at Robb Elementary. And they're like, "Yeah, that's what happens on that side of town. You call the cops, they don't come. Our schools are run-down." You really see the disparity. This was a Mexican American community that had been there for a long time. It's fascinating how the conservative white community, even if they're the smaller part of the population, they can still hold the power. Get our Latinx Files newsletter for stories that capture the complexity of our communities. This story originally appeared in Los Angeles Times.
10 hours ago
- Entertainment
Selena Gomez, Meryl Streep recreate 'Devil Wears Prada' scene in fun video
That's all. On Thursday, the Academy Award winner appeared in a video with Selena Gomez to mark her return to the beloved Hulu series. In the video, the duo recreate a famous scene from "The Devil Wears Prada," in which Streep starred alongside Anne Hathaway. In the original scene, Streep's character Miranda Priestly remarks on Hathaway's character Andy Sachs' clothing choices, stating that she has "no style or sense of fashion." Andy begins to respond, before Miranda interrupts her and states that she wasn't asking a question. In Thursday's video, Gomez, standing next to Streep, states flatly, "So you're coming back for season 5." Streep, channeling Hathaway's "Devil Wears Prada" character, replies, "Well, I think that depends on--" Before she finishes her sentence, Gomez interjects, "No, no, that wasn't a question." The caption of the video also gave a nod to the 2006 film. "Gird your loins, Meryl is returning for Season 5! That's all," the caption read. "Only Murders in the Building" was picked up for a fifth season at Hulu in September 2024, following the premiere of its fourth season. In addition to Streep and Gomez, the show stars Martin Short and Steve Martin. The series follows friends Oliver Putnam (Short), Charles-Haden Savage (Martin) and Mabel Mora (Gomez), who investigate a series of suspicious murders in their upscale apartment building, The Arconia, in New York City. Streep portrays Loretta Durkin, an actress. In March, it was announced that Renée Zellweger would also join the star-studded cast. The new season is currently in production.
Los Angeles Times
10 hours ago
- Los Angeles Times
How ‘Uvalde Mom' director Anayansi Prado captured the heart of a town in trauma
Three years ago, an armed young man entered Robb Elementary School in Uvalde, Texas, and killed 19 students and two teachers. Hundreds of law enforcement officials reportedly stood around the school campus for more than an hour without approaching the shooter. In the midst of the inaction, one mom — Angeli Rose Gomez — pleaded with officers to take action or let her go in to get her two children and nephew. She was apprehended and handcuffed, but ultimately talked her way out of arrest before she sprinted inside the school to grab the kids. Videos on social media captured the moments that Gomez brought her sons and nephew out of the school. The Texas field worker and mother of two was quickly dubbed a hero in national and local publications for her courage. The new documentary film 'Uvalde Mom' follows Gomez after becoming nationally recognized — while examining the forces at play in the Uvalde community which allowed for the shooting to take place, as well as the aftermath of such a tragedy. 'All I wanted that day was my kids to come out of the school alive, and that's what I got,' Gomez says in one pivotal moment in the film. 'I don't want to be called a hero. I don't want to be looked at as the hero because the only job that I did that day was being a mom.' The feature's director Anayansi Prado was 'moved' and 'horrified' by what had happened and felt motivated to make a film about the event after seeing members of the affected families on TV. 'I saw that there were Latinos, they were Mexican American, that it was a border town, that it was an agricultural farming town, and that really resonated with me and with communities I've done film work with before,' Prado told The Times. Prado began reaching out to people in Uvalde shortly after the shooting, but didn't hear back from anyone for over two months due to the inundation of media requests everyone in the city was receiving. The only person to reply to her was Gomez. Ahead of the film's screening Saturday at the Los Angeles Latino International Film Festival, Prado spoke with The Times about the process and the challenges of making her documentary. This interview has been edited and shortened for clarity. Was the idea always for this project to be a feature-length film? Or were there talks of making it a short or a series? I've always thought about it as a feature because I really wanted to dive in and understand Uvalde as a character. I wanted to understand the history of the criminal justice system, the educational system. I knew I wanted to make something that was going to be of a longer form rather than just a piece that was about Angeli or something. And a few people told me this would make a great short, but as I uncovered more about Uvalde, I was like, 'No, Uvalde itself has its own history, just like a person.' When it came to choosing Angeli, was she the first and only person who responded to your outreach? I think the people in town were oversaturated with media coverage, and Angeli was the one that got back to me. What was really interesting is that I learned on that first trip [to Uvalde] about her backstory and I learned about how the criminal justice system had failed her. I saw a parallel there of how the system failed the community the day of the shooting and how it was failing this woman also individually. I wanted to play with those two stories, the macro and the personal. Once I learned who she was, beyond the mom who ran into the school, I was like, 'I have to tell this woman's story.' How did you go about balancing her personal stuff and the failures that happened on a larger scale? So much of the way the film is structured is reflective of my own experience as a filmmaker. It was a sort of surreal world, these two worlds were going on: what was happening to Angeli and then what was going on outside with the lack of accountability and the cover-up. So that informed the way that I wanted to structure the film. In terms of the personal, it was a journey to gain Angeli's trust. At some point at the beginning, she wasn't sure she wanted to participate in the film, and so I told her, 'You don't owe me anything. I'm a stranger, but all I ask is that you give me a chance to earn your trust.' And she was like, 'OK.' From there on, she opened up and, pretty quickly, we became close and she trusted me. I was very cognizant [of] her legal past and even the way she's perceived by some folks. I also didn't want Angeli to come off as a victim and people to feel sorry for her, but I still wanted to tell her story in a way where you get mad at the system for failing her. What kind of struggles did you have trying to get in communication with some of the officials of the city? We used a lot of news [archives] to represent that part of the story. The [authorities] weren't giving any interviews, they were just holding press conferences. So access was limited, but also the majority of the time that we were filming, we were very low-key about the production — because Angeli was on probation and there was retaliation for her speaking to the media. We tried to keep it under wraps that we were filming, so not a lot of people knew about it [besides] her family. Obviously other folks in town [were] part of the film, like her friend Tina and family members. Outside of that, it was too risky to let other people in town know what was going on. Ultimately I wanted to make ['Uvalde Mome'] a personal portrait. I was just very selective on the people that we absolutely needed to interview. I'm happy with Tina, who's an activist in town, and Arnie, a survivor of the shooting and a school teacher, [plus] Angeli's legal team. I felt like those were people we needed to tell a fuller story. But we just couldn't be out in the open making a film about her and let people know. What kind of reception have you gotten from people of Uvalde that have seen the film? We had our premiere at South by Southwest, which was great. A lot of folks came from Uvalde and spoke about how, almost three years later, a lot of this stuff is still going on. Every time Gov. Greg Abbott came on-screen, people would scream, 'Loser!' It was really moving to have those screenings. As was expected from the folks who are not fans of Angeli, there was some backlash. It's the same narrative you see in the film of, 'She's a criminal, don't believe her.' It's a town that is an open wound. I just try to have compassion for people. Ultimately, Angeli's story is the story of one person in Uvalde of many that need to continue to be told. And I hope that other filmmakers, journalists and other storytellers continue to tell the story there, especially with the lack of closure and accountability. I'm happy that the film is putting Uvalde back into the headlines in some way; that way we don't forget about it. Had you ever spent an extended amount of time in Texas before? I had been to Texas, but I hadn't done a project in Texas. Because I'm an outsider, it was very important for me to hire a 100% local Texas crew for this film. My crew was entirely Texas-based, from our PAs to our sound to our DPs. I also wanted to have a majority Texas-born Mexican American crew so that they could guide me. We began production in September of 2022 and the atmosphere was very tense. This is a story that is deeply rooted in the Latino community and the tension about the law enforcement in Uvalde. What was it like dealing with that tension and how did you personally feel that when you went into the town? When I got to Uvalde, I saw that the majority of the Latino community had been there for several generations. You would think a town with that kind of Mexican American history, and them being the majority, that they'd be pretty cemented and represented, right? It was really eye-opening to see [how] these folks are still considered second-class citizens. A lot of them are being repressed. And then you have folks that get in positions of power, but they're whitewashed in line with the white conservative agenda. So even those that are able to get into positions of power don't lean towards the community. They turn their back on it. I heard from folks that the history of neglect was what led to the response that day at Robb Elementary. And they're like, 'Yeah, that's what happens on that side of town. You call the cops, they don't come. Our schools are run-down.' You really see the disparity. This was a Mexican American community that had been there for a long time. It's fascinating how the conservative white community, even if they're the smaller part of the population, they can still hold the power.
