Month: February 2026

A woman has shared her pride after a stunning Welsh beach was named the best beach in the UK by TripAdvisor – and the stunning footage shows exactly what makes it special

A stroll along the beach is a brilliant way to boost both physical and mental well-being, making it an ideal weekend activity, provided it’s not absolutely chucking it down. A Welsh woman, Sian, expressed her pride upon discovering that the beach named the best in the UK by TripAdvisor is located in her homeland.

Rhossili Bay, situated on the westernmost point of the Gower Peninsula in South Wales, consistently ranks amongst the finest beaches in the UK and Europe, and Sian believes it’s “not hard to see why”. Captioning her TikTok clip, she wrote: “Rhossili Bay has been voted TripAdvisor’s best beach in the UK. Honestly, it’s not hard to see why. Endless golden sands, wild Atlantic waves, and sunsets that stop you in your tracks.”

Sian then showcased a video montage featuring various snippets she’d captured of the stunning beach, from the entrance to the hill offering panoramic views over the beach, and a breathtaking sunset she had the fortune to witness.

In the comments section, users were swift to praise the beach as “very special,” and noted that people “don’t call it God’s country for nothing”. This nickname is often bestowed upon Wales due to its dramatic landscapes and spiritual historical significance.

Another user chimed in: “This is one of my all-time favourite places”.

What does TripAdvisor have to say?

Many others on TripAdvisor share the same sentiment. The beach boasts an impressive 4.8 out of five rating on the site, which says: “Rhossili Bay lies at the western end of the beautiful Gower peninsula. Three miles of golden sands, iconic landscapes including Worms Head and Rhossili Down and history everywhere, from neolithic through to the more recent, including home to Edgar Evans.

“It’s a haven for walkers, with trails in all directions, including the Welsh Coastal Path. The beach welcomes dogs throughout the year, and the entire area is stunning regardless of the weather.”

“Today, the National Trust looks after two of the three miles of the beach, Rhossili Down, and most of the coastline between Rhossili and Port Eynon (26 miles of Gower coastline in total). The landscape is free. The village of Rhossili also hosts other private businesses. The car park is free to NT (National Trust) members during the day.

“Non-members are currently charged £5 per day (car). There is no overnight parking/camping. All profits from the car park go towards maintaining the area’s beauty. Please note that the toilets are owned and operated by Swansea Council.”

Public reviews also sing praises of the stunning beach. One visitor wrote: “During our trip to the Gower Peninsula, we also visited the beautiful Rhossili Bay. The stretch of beach there is rightly regarded as one of the most beautiful beaches in Wales.”

Another visitor enthused: “One of the most beautiful views you will see – in the UK or even in Europe. It is well-maintained. There are walks, but the views are reasonably accessible for those with mobility issues. Highly recommended.”

However, not everyone was smitten, with one critic labelling it as: “Pitiful, boring, uninspiring. Total waste of time and money.” But they were in the minority.

A third person recounted: “We were blessed with a warm sunny day when we arrived here for a look around. We parked in the NT car park (free with membership) and had a lovely walk along the coastal path, enjoying the fresh air and the views over the bay.

“There are walks of varying lengths, and it is well worth a visit. There are toilets and a few cafes to have a drink and some food too!”

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A new United Nations Human Rights Office report says Israel’s military campaign and blockade of Gaza have created living conditions “increasingly incompatible with Palestinians’ continued existence as a group in Gaza” as it presses its genocidal war on the enclave.

The report released on Thursday states that “intensified attacks, the methodical destruction of entire neighbourhoods and the denial of humanitarian assistance appeared to aim at a permanent demographic shift in Gaza”.

“This, together with forcible transfers, which appear to aim at a permanent displacement, raise concerns over ethnic cleansing in Gaza and the West Bank.”

Covering the period from November 1, 2024 to October 31, 2025, the report documents Israel’s security forces’ “systematic use of unlawful force” in the occupied West Bank and occupied East Jerusalem.

It highlights “widespread” arbitrary detention and the “extensive unlawful demolition” of Palestinian homes, stating that the measures seek to “systematically discriminate, oppress, control and dominate the Palestinian people”.

These policies are altering “the character, status and demographic composition of the occupied West Bank, raising serious concerns of ethnic cleansing”.

In Gaza, the report condemns the killing and maiming of “unprecedented numbers of civilians”, the spread of famine and the destruction of the “remaining civilian infrastructure”.

At least 463 Palestinians, including 157 children, starved to death during the 12-month period, according to the findings.

“Palestinians faced the inhumane choice of either starving to death or risking being killed while trying to get food,” it says, adding that the famine and “foreseeable and repeatedly foretold” deaths directly resulted from actions taken by the Israeli government.

Israel’s ongoing attacks on Gaza

Israeli forces launched new air strikes and artillery attacks across the Gaza Strip, as families in the besieged enclave woke to begin their Ramadan fast under bombardment.

Shelling struck areas east of Khan Younis in southern Gaza at dawn on Thursday, where Israeli troops remain deployed. Warplanes also hit Rafah and areas east of Gaza City, according to Al Jazeera’s correspondent.

A day earlier, medical officials at Nasser Medical Complex confirmed that two Palestinians were killed by Israeli fire near the so-called “yellow line” in Bani Suheila, east of Khan Younis.

Israeli forces continue to demolish homes and infrastructure in areas they control, flattening entire neighbourhoods and entrenching displacement.

The attacks form part of Israel’s repeated breaches of the ceasefire that began on October 10, 2025.

Gaza’s Ministry of Health says those violations have killed 603 Palestinians and wounded 1,618 others as of Monday.

‘Partnership between settlers and the occupation forces’

Violence has also intensified in the occupied West Bank.

On Wednesday evening, the Palestinian Ministry of Health announced the death of 19-year-old Nasrallah Mohammad Jamal Abu Siam, who succumbed to wounds sustained during a settler assault on Mukhmas, northeast of occupied East Jerusalem.

Settlers, operating under the protection of Israeli forces, opened fire and stole dozens of sheep from Palestinian farmers. Three of the wounded were shot with live ammunition.

With Abu Siam’s killing, the number of Palestinians shot dead by settlers alone since October 7, 2023 has risen to 37, according to the Wall and Settlement Resistance Commission.

Moayad Shaaban, head of the commission, described events in Mukhmas as a “dangerous escalation in organised settler terrorism”, citing a “full partnership between settlers and the occupation forces”.

Israeli troops also raided the town of Arraba, south of Jenin, wounding two young men with live fire, one critically. Soldiers detained several others during the incursion.

In Jerusalem, Ramadan has brought further restrictions at Al-Aqsa Mosque. The mosque’s imam, Sheikh Akrama Sabri, said Israeli authorities are “imposing a reality by force” by limiting worshippers while allowing extremist Jewish incursions into the compound.

Occupation authorities have issued more than 100 deportation orders barring young Jerusalemites from entering the mosque and restricted West Bank worshippers to 10,000 permits under strict age and security conditions. Al-Aqsa can hold up to half a million people.

Sheikh Sabri said Israeli forces question worshippers during tarawih prayers in what he described as “provocation upon provocation”.

In this week’s episode of The Envelope podcast, the “Weapons” star discusses finding viral fame with her Oscar-nominated role as Aunt Gladys after years of ups and downs.

Kelvin Washington: Welcome to The Envelope. I’m Kelvin Washington, alongside the usuals, Yvonne Villarreal, we got Mark Olsen as well. Everybody doing well?

Yvonne Villarreal: Doing good!

Mark Olsen: Terrific!

Washington: Good, good. Last time we discussed Oscar nominations. Obviously a big deal. Folks were excited. Certain films, certain directors, actors as well. We went over that a little bit. But I also want to talk about something you, my friend, brought up. You mentioned the Oscar nominee luncheon last episode. I want to hear more about this, you know, [as] someone who’s never been. So I have to live vicariously through you two. Tell me more about it.

Olsen: Well, exactly as it sounds, it is a luncheon for all of the Oscar nominees. So from the biggest stars down to, you know, relatively unknown craftspeople, all get invited to this luncheon at the Beverly Hilton hotel. And it’s really one of those kind of, like, secret highlights of award season. It’s not televised, and so everyone’s feeling loose and there are drinks in the afternoon and also, at this point, everyone is a winner. Nobody’s lost anything yet. And so everybody’s kind of on equal footing, even in their categories, and people seem to really enjoy it.

We were not actually in the room for the luncheon. Our esteemed colleague, Josh Rottenberg, was there and wrote about it. We were in a press area in a ballroom, sort of backstage-ish to do the interviews that we did, but even there — I always get such a kick out of the fact that publicists are coming by with all this talent — other outlets will do much shorter interviews than we do — and kind of like, “Hey, do you want to talk to so-and-so?” And it just is so funny to me to see them kind of being showcased in this way. Yvonne, what stood out this year for you?

Villarreal: So it takes place at the Beverly Hilton, and I was there a few weeks back for the Golden Globes. And so in some ways it felt like a more subdued — like it was the luncheon version of that. The star power was as insane, but they’re maybe a little more casual in the vibe. At one point I’m walking down the corridor and you have Emma Stone or people walking by looking at the security guard dogs. It is interesting thing because they’re all sort of coming together and loose and talking with each other, taking the selfies. You’re seeing, like, Elle Fanning reuniting with Timothée Chalamet — they starred in a movie last year together. It was interesting to have everyone come together, but also do these interviews in a much rowdier setting than we were last year, and having to concentrate on our guests while a lot of commotion is happening. But I think we did well.

Washington: Well, I tell you what, I know how that is. It can be trying to do an interview when it’s loud in the background. Our producer, Matt, was saying that it was chaotic. Said he was a few feet away from you and couldn’t even hear you. But you all are pros. So you got it done. And speaking of, we get a chance to hear your conversation you had with Amy Madigan. Tell me a little bit more about this role, Aunt Gladys, and, of course, “Weapons.” I was terrified. And it’s in a complimentary way. She played the heck out of that role.

Olsen: She’s obviously a veteran actress. She was nominated for an Oscar once before, for the film “Twice in a Lifetime.” It came out in 1985. She was nominated in 1986. And so that 40-year gap actually is the longest gap ever for an actress in between nominations. And it’s just exciting to see how she’s really enjoying this moment. She’s really enjoyed the attention that the character of Aunt Gladys has brought. So in “Weapons” — spoiler alert — she plays this kind of eccentric witch, essentially, who comes to this town, creates all this mischief, but there is still something kind of, like, rambunctious and almost weirdly lovable about her. She is somehow — and we talked about this in the interview — she’s somehow both the funniest and the scariest thing in “Weapons.” She has this very outrageous look. She has this specific kind of form of witchcraft that she performs to sort of take control of people’s minds and bodies. It was really exciting to see Amy as someone who’s just like taking in this moment, really enjoying it. And it was just a really fun conversation. And also she gave a little bit of the backstory of a moment I’ve always been curious about. In 1999, at the Oscars, Elia Kazan was given a lifetime achievement award, and Amy and her husband, Ed Harris, did not stand, did not applaud during the standing ovation. And she actually spoke quite a bit about what was behind that moment, and it was something I’d never heard her talk about before.

Washington: You got to get it firsthand. All right, here’s Mark’s conversation with Amy Madigan, take a look.

Amy Madigan in Los Angeles last fall.

(Ian Spanier / For The Times)

Mark Olsen: For the Los Angeles Times and The Envelope, I’m Mark Olsen. I’m here today with Amy Madigan, an Oscar nominee for her role in “Weapons.” Thank you so much for joining us.

Amy Madigan: I’m very happy to be here, thanks.

Olsen: And now we’re here this afternoon at the Oscar nominees luncheon. You just stepped out of the event. What was it like? I always want to ask, who was at your table?

Madigan: Wagner Moura. Because we’re traveling around together, when you’re on the awards circuit, we became friends, which is just so nice. Miles Caton from “Sinners,” the wonderful Sandra Chang, who is my manager and fighter for me, I brought her with me today. So it was just just really nice. Jerry Bruckheimer was there, who I’ve known for a while. They don’t want everybody from the same films together, so they mix everybody up. So it was really nice. A woman who is in charge of the Telluride Film Festival, which is a fantastic festival. So yeah, it was really nice.

Olsen: That’s terrific. I have to say, I noticed on a streaming site, a little portrait of Aunt Gladys is the image they use to sell “Weapons.” And to start talking about the movie, did you expect for this character to take off in the way that it has?

Madigan: Not at all. The best thing about it is that I know people really dig the film. It’s just a really smart, cool film and very well written, very well directed. And I thought people would really have a good time with Aunt Gladys. But the night that we opened it was, “Boom.” So this was all a surprise to me.

Olsen: What was it like for you watching the movie for the first time? Spoiler alert for anyone who hasn’t seen the movie, what is it like to see yourself torn limb from limb?

Madigan: I was actually looking forward to that, because we had this group of kids who traveled around with us for the whole film, working, and I got to know them very well, and I made sure that they weren’t frightened about tearing the dummy apart. So it was great. But seeing it in the movie theater — and there were a lot of horror fans there — was kind of an overwhelming experience for me. I didn’t really know what to expect and, boy, I was kind of shocked and very happy, very happy.

Olsen: I’ve heard you say how when Zach Cregger first came to you with the project, he spoke about it in very personal terms, the grief he had over the loss of a friend, the specter of alcoholism in his childhood.

Madigan: Very much so.

Olsen: What was it about that pitch that made you want to take part in this movie? The two don’t necessarily intuitively sync up.

Madigan: I think grief is a weapon. I think alcoholism is a weapon. And I think that he took all those things and put it in the film. And I could just tell how sincere he was about this movie. He knew how to make this movie. And I had seen “Barbarian,” which is his first film, which really scared me. And it’s quite amazing that he made that kind of on a shoestring. So I knew this man could just do it. And we just kind of clicked.

Olsen: One of the things I really appreciate about the movie is the way that it sort of dares to be enigmatic. It doesn’t try to explain everything to you.

Madigan: I’m so happy of that. I don’t want to explain things to you. People, of course, they have to ask me questions, you know, “Where is Gladys from?” or “How old is she?” I said, “I don’t have answers for those things.” I have my own answers. I like that there’s no big montage explanation of who she is and what she is. She’s just there.

Olsen: But I have to ask, what is your interpretation of the floating machine gun?

Madigan: Every single person I’ve talked to, on the street, here, I’m just holding it in of what I think about it, because it means so much to so many people. It is a weapon, as we know, and it’s such a giant thing to have floating in the sky. I would really like people to just take what they do from it. It really hits people in the heart and the guts, and jolts people, and I think that’s a good thing.

Olsen: And now, as an actor, do you have to answer those questions for yourself, for your performance, or can you live with the uncertainty?

Madigan: Well, the millions of questions I have for myself interpreting Gladys, some I answer, some I kind of answer, some as I’m working through it I go, “Well, I kind [of] thought that, but I think it could be this.” Gladys is very malleable. If Plan A is not working, she’s got Plan B. And if that doesn’t work, she can improvise and she will kill you with Plan C. So I kind of like to take that with me.

Olsen: Because one of the things I find so remarkable about the character and your performance is she is somehow both the funniest and the scariest person in the movie. What was it like for you finding that balance? How did you kind of get that alchemy right that she could be both those things at once?

Madigan: Well, I have to go back to the script, because when I read it I knew that there was a lot of humor. Aunt Gladys, she’s funny. She’s lethal and dangerous, so it’s a fine edge that you have to walk. You have to be really careful. Gladys can be animated and kind of cutesy, and when she wants to drill you down she will do that. So I felt very free to kind of play both those things, when I’m by myself or when I am with little Cary Christopher, when I am manipulating him, as opposed to when I was out in the world with the police or the principal. So the scenes really led me, which is really nice.

Olsen: What did you learn about her, I don’t know what to call it, her practice? I’m so curious with the twig and the hair and the blood and the bell — Is that a thing? What is all that?

Madigan: Well, I can’t say that I’ve read 1,500 books about alchemy and quote-unquote witchcraft and things like that. I have my own ideas. I think Zach had his own ideas, but there are certain things like salt on the ground or a bell, but we didn’t want to make it derivative. The whole thing with dropping it in a bowl of water, it’s like, what is that? But it doesn’t have to be explained. It works. It works.

Olsen: The scene at Benedict Wong’s house, you get this sense that she has this kind of routine that she does, this little show she puts on.

Madigan: I gotta get in that house. That is my mission. Every actor will tell you, what is my intention? My intention is to get in that house, get off the front stoop, bring them into the house, and then I got them. Then I got them. I know if I can wander around the house. Oh, it’s the kitchen. Let’s go in there.

Olsen: But you do get the sense that she’s done this a lot before. She knows what she’s doing.

Madigan: She knows what she’s doing, but she’s dealing with a different set of characters and in a different milieu and a different problem. So the foundation might be the same, but she has got to kind of play the game for a while and she’s got to find out information from them first. Like, “Did you do this? Did you tell people about this?” Oh, you didn’t. OK, well this is going to be a breeze now.

Olsen: I think that’s why people are so taken with the idea of a Gladys prequel movie. There is something about the character you just do want to know more.

Madigan: Yes, I understand that and I’m hoping that we get to somehow continue something with Gladys. And Zach and I have talked about it, and certainly Zach has been very open about it to the press. What that will be, I don’t know. I like mystery in things, and Gladys is a mystery, but I trust Zach implicitly. So I’m very curious if we get to make it and what will happen.

Olsen: Her look is so specific and so outrageous. Do you often find that costume and the look of a character is a way that you like to enter a working on a character?

Madigan: Well, definitely for Gladys, my entree into the film is when I come to Benedict Wong’s principal’s office and the shot is on his face where he goes like that, pushes his head back. Her look is very, very calculated. She loves the way she looks. She loves her jewelry, she loves her big giant handbag. She thinks she looks fantastic. So that was very freeing for me. I mean, it took us a while, you know, with special effects and our hair and makeup and wig and costumes. It was a real team effort to do that, Zach overseeing it all. So that just made me feel so free, just so relaxed in being Gladys.

Olsen: Do you think that’s another aspect of the character people are responding to? She doesn’t tone down for anybody.

Madigan: Oh no, why would she? She doesn’t care what that person thinks. She doesn’t care what you think. She’s just in her whole being, which is a nice feeling.

Olsen: Tell me a little bit about the finale of the movie, the sort of chase scene where the kids are running after you.

Madigan: That was so much fun to shoot!

Olsen: As I understand, for the most part, that’s you.

Madigan: I did all the running myself, which I talked to Zach and I said, “No, I can do it, I really want to do it.” I did have a wonderful stuntwoman, and at the very end when I get tackled, I did not get tackled because I probably would have broken my nose, let’s face it. And then I flipped over and then it’s me. But I really wanted to do it, and Gladys has a physical-humor side of her. So the way I would run would be different than the way somebody else would run, and Zach was totally down for it.

Olsen: You’ve been pretty open about the fact that in the period before you got offered “Weapons,” you hadn’t been getting a lot of offers. Roles don’t come to you as much as they used to.

Madigan: That’s the ups and downs of being in this business. I’ve been in it a long time. I’ve always continued working. I’ve done three different independent films, and often they don’t get the love or the recognition that some of the larger films do, and that’s just part of it. Listen, you’ve talked to a lot of actresses. You know what it’s like for women in this business, it’s still very unequal, [especially] for women of a certain age. You’re gonna hear no a lot of the time. And I still am myself. I love acting, I love my work. So that’s just who I am. Not totally; I have a family and I have friends, but that’s who I just am. So this was a real chance [and] I’m just grabbing it by the throat.

Olsen: Do you feel like there was just something about this role that made you really kind of go for it?

Madigan: Zach provided that ground for it. He wrote it. He knew she had to be this and this and scary and funny, and yet she still had to talk to the little boy, Alex, and get him to do what she wanted him to. It was very delicate in that sense. But I knew as soon as I read this, I said, “Oh, I know who this is.” I really like this person. I’m not that person, but I have those sides in me. Everybody’s got that stuff in them where they manipulate, where they’re nice and they’re pretending, where they are horrible. So I was like, “Yeah, I can do that.”

Olsen: I think it’s never been easy to be an actor, but have you found that the business of being an actor, the career aspect of it, has it gotten harder over the years?

Madigan: The business has changed. We just have to read any of the trades and it’s become centralized by corporations and giant entities. So certainly that’s changed, but people still are making movies and want to make movies. Something that’s very original and creative people will go see. They want that. I know everybody, myself included, watches a lot of things [on] streaming. But the theater is still a place to see a lot of films. The independent market struggles to find enough money to get their films out, but they’re still being made. So I’m guardedly hopeful. But the business is not very fair. You know that. It’s just not. So when you’re younger, you have to grind a lot more. The opportunities are difficult, I think, for young people coming up. And I try to really foster that with any young creative person, because I’m not going to be around — they are. I want to see what their dreams are, I want [to] see what their movies are.

Olsen: You were nominated for an Oscar once before for “Twice in a Lifetime.” What do you remember about that night?

Madigan: My husband and I, Ed [Harris], we just went, you know what I mean? I was so surprised with “Twice in a Lifetime.” This is a family drama, I was surprised that I got a nomination. And then it was not like it is now. There was no social media, there was no TikTok, there were no podcasts. People weren’t saying, “Gee, I’d really like to talk to Madigan.” No, that didn’t exist. So it was a much calmer type of situation. And I was a lot younger, so I was kind of looking around and seeing people that I really admired. And it was fun. This is a completely different personality of this.

Olsen: That year you were up against Oprah Winfrey and Margaret Avery for “The Color Purple,” Meg Tilly for “Agnes of God,” and Anjelica Huston, who won for “Prizzi’s Honor.” That is quite a lineup to be a part of.

Madigan: Yes, it is. That’s why I was very surprised. As I am in this lineup this year. The performances are stunning. This is the best of women in film, I think, for the actresses in both categories. And that’s a great feeling. They’re all different. They’re all unique. How somebody votes is like — I don’t know how you do it. I don’t know how you compare. And finally, one is asked to compare. So that’s a little difficult, I think, for a lot of actors to kind of wrap their head around, but we know that’s what it is.

Olsen: And there’s another Oscar moment that you’re sort of were a part of —

Madigan: [Crosses arms] This?

Olsen: Exactly. Tell me about it. So in 1999, Elia Kazan was given a lifetime achievement award. You and your husband, Ed Harris, kind of pointedly did not stand or applaud during a standing ovation. Now, was that something that the two of you had talked about before?

Madigan: No, not at all.

Olsen: Did you go in knowing that was going to be your response?

Madigan: I knew he was going to get this special award from the academy, which I did not agree with. My dad was a newspaperman, a journalist, a political analyst, and he, as a very young man, covered the McCarthy hearings, and it really affected him, and he didn’t talk about it too much, and I have pictures from it, and I’m very familiar with that period of time and what happened during that period of time, especially to people in my industry. So I had very definite feelings about it, and I thought it was wrongheaded and really somewhat shameful of the academy to do that. And I think somehow Ed’s picture and mine, because we’re together, got really prominently displayed. But there were other people in the audience who felt that way too. And fair enough if someone wanted to look at the work, but I could not disassociate him naming from his work. That’s me personally.

Olsen: That’s maybe something of an extreme example, but do you see the life of an artist as a political act? Can you unravel your own personal politics from your work?

Madigan: I think if you look at things I have done, yes, I’ve done some political things. I worked on a television event, it was in the 1980s, called “Roe v. Wade,” which now that right has been repealed. And it was on network television. No one would advertise it, nobody bought it. ABC had the guts to put it on. That piece was very important to me. Holly Hunter, who’s a dear friend of mine, we were in that together. I worked on “The Laramie Project.” I think there are certain things that have come to me that I opened myself to. … Everything doesn’t have to be that. Gladys isn’t political. But if there’s an opportunity, I don’t think I would do something that really went against my own moral code. I think a lot of people are that way. I hope they are.

Olsen: Because I think it’s a question a lot of people are asking themselves today. “What would I do when my back’s against the wall?” Or, “What would I do when I’m in a situation where I feel like I have to make a real decision?”

Madigan: Well, let’s say you were in the joint. You would probably do, I would do, whatever it took to survive being there. I really would. I don’t know what that would be for me. I think human beings are good, but they’re really horribly bad. So I think that we can tap into those things. It’s a survival mechanism. You have to look at “One Battle After Another,” it’s an appropriate political film for right now. You look at “Secret Agent.” It’s very appropriate political film for now. As is “Sinners,” as is a lot of things. So that’s why I think it’s kind of a good year for the films. Aside from the ones that are great, like “KPop Demon Hunters” and the funny ones. There’s room for all of them. “Avatar,” there’s room for that. I mean, “Avatar’s” about the environment. It’s the most political statement Mr. Cameron and people can make right now.

Olsen: Do you mind if I ask you about your relationship with Ed, with your husband? The two of you have been together for more than 40 years, and it seems like you’re both just so dedicated to the craft of acting, the life of the artist. What has it meant to you for the two of you to be going through this together?

Madigan: I mean, Ed, he’s been through this [nominated for an Oscar] four different times, so he’s just thrilled for me. He’s just got my back, he’s just happy for me. We both still continue to work. We met working on a play in a theater that was just a little bigger than this. You really get to know somebody when you’re on the boards with them, when you are acting with them. So we’ve been able to work a lot together, and I hope to continue that. We just carry that with us. It’s very important to us. And our daughter, her name is Lily Harris, she’s a young actress coming up. So we’ll see what happens for her.

Olsen: And then you mentioned that you lost your house last year in the fires.

Madigan: January 7th.

Olsen: What has it been like to have the low of that contrast with the high of what you’ve been going through with “Weapons”? That just seems like a lot to happen all at once.

Madigan: When the anniversary was coming up, that really triggered me. Especially around Thanksgiving, because our house was where everybody came. Sometimes there’d be 15 people, sometimes there’d be 30, and it was just a really small, funky little house. I don’t have that anymore, and my friends don’t. I don’t have pictures like when I was on the road. So those are the hard things. I’m displaced now — not to compare myself with the millions of people internationally displaced. I mean just emotionally I am. People have been very kind. People really saved us. We stayed at one place, then another friend gave us the keys to a house he has. That was a very humbling experience. But it’s difficult. We’re leasing a place right now, we’re trying to rebuild, we’re trying to wait for a permit, we’re trying to maneuver red tape, and that’s going to be years. It’s truly just taking it a day at a time, which is hard. So it’s been kind of crazy making. And then Gladys! All the joy of that, and the worry about it. It’s been a weird juxtaposition.

Olsen: How do you think you’ve been handling award season?

Madigan: Well, with the help of the people I’m working with, I think I’m doing pretty well. But it’s still overwhelming to me. But people like yourself, they’ve been very generous and they’re interested in cinema and they don’t call everything “content” and people have good questions, and I’ve met a lot of great actors that I didn’t know before. So that’s been [a] total upside. But the rigor of it, you have all these things to go to, and you have to have an outfit, and you to have your hair done, you have your makeup done. I’m not that person in my life. So, it’s been a challenge, let me put it that way.

Olsen: At this point in your career, it’s probably unpredictable for you which of your previous movies people are gonna ask you about. Like, “Oh, are they gonna ask me a ‘Field of Dreams’ question?”

Madigan: Everybody always asks me about it. Because “Field of Dreams” turned into this iconic thing. I’ll be in an airport and some man will come up to me and just say, “That scene when Kevin Costner’s with his dad,” they start getting choked up, “My dad, we were estranged” and this and that. So it’s touched people. And then I’ll have the man say, “I’d love to have a wife like Annie Kinsella.” I said, “I would too, that’d be great. But this is a fantasy.” But that movie, people love that movie. That’s a nice compliment.

Olsen: But also I would imagine that maybe it’s unpredictable what people are going to mention, like last summer I saw the movie “Streets of Fire” that you were in, and I know that film did not do well when it…

Madigan: It was a bomb and now it is a cult classic.

Olsen: Because I saw it at a packed house at the Academy Theater here in Los Angeles. What are your recollections of making that movie?

Madigan: Well, first of all, I love Walter Hill. I saw all of his films, so I was excited to work with him and that I got this part. It was written for a guy, and I kind of convinced him that McCoy could be me. And you know, it was Willem Dafoe’s first film, I believe … Rick Moranis was there. It was wild. We shot 58 nights in a row or something insane. And I worked with all the dudes, Stoney and all those guys, and Diane Lane, who was, I don’t know, 19 years old or something. But we had a great time making it, and then it went thunk, but now I still get fan mail about it. It’s crazy.

Olsen: Now, before I let you go, in one interview that you did, you mentioned how every day you read three newspapers, you read the Washington Post.

Madigan: I feel stricken by what’s happening with the Washington Post, stricken.

Olsen: But then also the New York Times, and then only for the sports section, you read the Los Angeles Times.

Madigan: Well, I read the California section because I’m very interested in local politics, but unfortunately, the L.A. Times is not what it used to be. And because I am an avid sports person, they go to bed so early with the print that everything’s a half-a-day behind. So I’m like, “I know this. I watched the game.” So it’s a little nutty, but I do go to the sports section.

Olsen: What can we do to win you over to reading our arts and culture coverage of the town that you live in?

Madigan: I always read the entertainment section, always, every single day. And I also love the comics. I’ve been reading the comics since I’ve been that big. And I read them every day. So please don’t misunderstand. I think I’m talking more about the front page.

Olsen: OK, that’s a relief.

Madigan: Not you guys!

Olsen: Well, Amy Madigan, congratulations again and thank you so much for joining us today.

Madigan: Thank you. This was really nice. I appreciate it. I really am interested in writers and interested in people’s beat to treasure cinema. So this has been really nice. Thank you.

The UK Government issued an urgent safety alert for a travel electronic after it was identified as posing a serious risk of fire

The Government has issued an urgent safety warning for households who’ve recently bought a particular travel item or are planning a holiday in the near future. In a recent product safety report published on Wednesday, February 18, officials announced that a specific travel adapter must not be used.

This safety alert follows identification of the product as presenting a “serious risk” of fire during use. According to the government’s official website, the travel adapter fails to “conform to the dimensional requirements” of BS 1363 (the British Standard for 13-amp plugs, socket-outlets, and adapters), whilst also containing an undersized fuse.

The item in question is a black plug manufactured by the brand Decqle.

The product subject to the safety alert includes:

• Decqle Universal Travel Adapter – model number DQZ9.

They can also be identified by the following numbers: B0D95K3NV3, 1031-YSR3013, and 10433514U000010, reports the Express.

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It additionally carries the PSD notification number: 2602-0096. A Product Safety Database (PSD) notification number is a unique identifier allocated to reports of unsafe or non-compliant products submitted to the UK’s Office for Product Safety and Standards (OPSS).

The risk description read: “The product presents a serious risk of fire because the plug does not meet the dimensional requirements of BS 1363 and the fuse is too small.

“The fuse is required to ensure the safe operation of the product under fault conditions, and its absence could lead to the plug overheating and/or exploding. Improvements are also required to the product labelling and marking.

“The product does not meet the requirements of the Electrical Equipment (Safety) Regulations 2016 or the Plugs & Sockets etc. (Safety) Regulations 1994.”

As the travel adaptor was imported into the UK, it has been turned away at the border as a corrective action.

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A NEW multi-million pound McDonald’s has opened in Europe – and it is the BIGGEST in the world.

The new restaurant is a remodelled version of the former restaurant at Disneyland Paris’s Disney Village.

The new €20million (£17.5million) restaurant is spread across 2,000sqm according to local reports.

This makes it the biggest in the world overtaking the Orlando, Florida restaurant which measures 1,800sqm.

The new French McDonald’s also seats up to 600 guests, which is 250 more than the Orlando site.

The restaurant is spread across three floors, with a 200-seat outdoor terrace.

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As visitors step inside, they will be greeted by a bright and spacious reception area and a wall with the outline of Disneyland Paris on it.

There is then also McCafé for caffeine fixes as well as unique French menu items like Croque McDo for €3.70 (£3.23).

For kids, there is even a three-story indoor play area.

Unlike other McDonald’s sites, this one also has a panoramic elevator as well as a curly slide between the floors.

And guests shouldn’t have to wait long to make their order as there are 23 self-service kiosks.

Otherwise there will be 210 employees, that speak 16 languages between them.

Boris Solbach, senior vice president, chief financial officer, Disneyland Paris said: “Since 1999, Disneyland Paris and McDonald’s have built a relationship grounded in trust and a shared vision of the guest experience.

“The opening of this new restaurant fully supports the transformation of Disney Village through a landmark project that combines innovative architecture, high-quality hospitality, and seamless integration into the site’s universe.”

The environment has also been thought about during the construction process and as a result, the restaurant has a green roof, planters and a 120sqm living wall.

The original Disney Village McDonald’s – which sits just next door – opened in 1999 but has now closed as the new venue has opened.

The restaurant will soon be demolished as well, as part of the wider plan to reimagine Disney Village.

Disney Village is located between the theme parks and Disney Hotels and has a number of shopping and dining experiences.

The village is currently undergoing a revamp and once complete will have new restaurants, shops, building facades and guest experiences.

The two new Disney shops will be a lifestyle shop with ready-to-wear clothing, jewellery and accessories and then there will also be a Disney home store with collectible items and decorations.

The Lego store has also been improved recently, with more photo opportunities, big builds and play stations.

Back in November, Sports Bar & Lounge reopened with an expanded dining area, redesigned terrace and fresh interiors.

The bar also now has a giant fresco featuring Goofy and another featuring Big Hero 6: The Series on the restaurant’s façade.

Pelé Soccer, a new shop dedicated to the world of football, will open soon as well.

Last year, McDonald’s opened its biggest site in Europe last year in Majorca, Spain.

The restaurant can be found at Level P30, Module A Airside of Palma de Mallorca Airport in the Spanish island and sprawls across 1,000sqm.

There are a number of McDonald’s across the world that also double as tourist spots.

For example, the UK’s ‘most beautiful’ McDonald’s has its own ‘beer garden’ built inside historic old pub near idyllic woods.

Plus, here’s the McDonald’s that’s one of the world’s most beautiful with pretty outdoor courtyard and volcano views.

Zimbabwe finished top of Group B at the T20 World Cup after stunning England’s next opponents Sri Lanka in a six-wicket victory in Colombo.

Both sides were already guaranteed their place in the Super 8s but Zimbabwe, who did not qualify for the last T20 World Cup in 2024, progress unbeaten after completing a fine chase of 179 with three balls to spare.

Opener Brian Bennett, who is yet to be dismissed in the tournament, followed his score of 64 not out in the famous win over Australia last week with an unbeaten 63 to steer home the chase.

He shared an opening stand of 69 with Tadiwanashe Marumani and, after Marumani fell for 34 and Ryan Burl 23, played the anchor role as captain Sikander Raza struck 45 from just 26 balls.

Raza and Tashinga Musekiwa fell in the penultimate over but, with eight runs needed from the last, Tony Munyonga emerged and hit a six before Bennett drove the winning runs through the covers.

Co-hosts Sri Lanka, who play England in both sides’ Super 8s opener in Pallekele on Sunday, dropped catches and leaked boundaries with misfields.

They were without injured bowler Matheesha Pathirana and fellow seamer Dushmantha Chameera, who was resting.

Pathum Nissanka, who also scored a fine century in Sri Lanka’s win over Australia, continued his form with 62 from 44 balls in his side’s 178-7.

Zimbabwe progress into a Super 8s group with co-hosts India, South Africa and West Indies.

Their first match is on Monday in Mumbai against the Windies, who beat Italy earlier on Thursday to continue their unbeaten record.

SEOUL, Feb. 19 (UPI) — South Korea’s Samsung C&T said Thursday it would invest up to $6.5 billion during the next three years to nurture future growth engines.

Samsung C&T is a diversified Samsung affiliate that builds major infrastructure, trades global materials and energy, and operates fashion and resort businesses.

Through 2028, the Seoul-based company is scheduled to allocate between $4.5 billion and $5.2 billion to next-generation growth areas, including energy and bio. However, it did not disclose further details.

In addition, Samsung C&T plans to spend a maximum of $1.3 billion to beef up competitiveness in its existing operations by shifting toward a high-margin business model and expanding into overseas markets.

The firm also unveiled a three-year plan to raise its dividend per share by 25%.

“Over the next three years, we will focus on delivering results from growth businesses centered on energy and bio while strengthening our existing portfolio,” Samsung C&T said in a regulatory filing.

“On the back of a stable financial structure, we strive to pursue investments in future growth areas alongside shareholder returns,” it added.

The construction unit is one of the country’s leading contractors. It was lead builder of Dubai’s Burj Khalifa in the United Arab Emirates, the world’s tallest skyscraper.

The company saw its 2025 operating profit rise 10.4% to $2.27 billion, while annual sales edged down 3.2% to $28 billion year-on-year.

The share price of Samsung C&T climbed 0.47% on the Seoul bourse Thursday.

Real Madrid’s Brazilian forward Vinicius Jr alleges he was racially abused by Benfica’s Gianluca Prestianni.

Real Madrid has sent UEFA, football’s governing body in Europe, “all available evidence” of an alleged racist insult against Vinicius Jr in a Champions League match against Benfica.

“Our club has actively collaborated with the investigation opened by UEFA following the unacceptable episodes of racism experienced during that match,” the Spanish club said on Thursday without elaborating on the evidence.

UEFA appointed a special investigator on Wednesday to gather evidence about what happened in Lisbon on Tuesday in Madrid’s 1-0 win at Benfica in the first leg of the knockout round of the Champions League.

Vinicius accused Benfica player Gianluca Prestianni of calling him “monkey” after the Brazilian scored the only goal. Prestianni was among the Benfica players upset with Vinícius after the forward celebrated by the Benfica corner flag.

Prestianni covered his mouth with his shirt when he allegedly spoke to the Brazilian player and denied racially abusing Vinicius, who is Black and has been subjected to repeated racist insults in Spain.

“Real Madrid appreciates the unanimous support, backing, and affection that our player Vinicius Jr. has received from all areas of the global football community,” the club said. “Real Madrid will continue working, in collaboration with all institutions, to eradicate racism, violence, and hate in sports and society.”

Benfica said Prestianni was the victim of a “defamation campaign” and welcomed the investigation opened by UEFA, saying it “fully supports and believes the version presented” by Prestianni.

FIFA President Gianni Infantino said on Wednesday he was “shocked and saddened to see the incident of alleged racism” and praised the referee for activating the antiracism protocol during the match, which was halted for nearly 10 minutes at the Stadium of Light.

A Sidemen star has opened up about potentially launching a spin-off version of the group’s hit reality show, Inside

Sidemen star Ethan Payne has told fans to ‘start a petition’ as he teased a wild gameshow that would be open to the YouTube group’s viewers.

Best known as Behzinga, the 30-year-old co-founded the content creation group, which features KSI, Simon Minter, Vikram Singh Barn, Joshua Bradley, Harry Lewis, and Tobi Brown.

Along with their collective YouTube channels, the Sidemen also host a reality show called Inside, which was picked up by Netflix last year. The high-stakes series follows a group of influencers living under one roof and competing for a huge prize pot of up to £1 million. They face daily challenges and every decision can deduct money from the final cash prize.

While the show has traditionally featured famous faces, Ethan has confirmed that there is hope for a fresh series centred on everyday contestants.

He spoke to the Mirror ahead of the Formula E EVO Sessions, which took place last Sunday (February 16) at the Jeddah Corniche Circuit in Saudi Arabia.

The star competed against the world’s biggest content creators, getting behind the wheel of the cutting-edge GEN3 Evo race car. You can stream all the action now on Formula E’s YouTube channel.

When asked about opening up the Inside competition to their fanbase, Ethan said: “Me and JJ [KSI] have definitely said it would be insane to watch with people from the public.

“Because the amount of care for the prize money would be insane and I feel like you’d get a lot more drama. It might be too much drama.”

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The father-of-one continued: “I definitely think there’d be a bit more of a real edge to it and people’s decisions would definitely have way more of a knock-on [effect] throughout the whole thing.” He went on to joke: “Start a petition!”

Sidemen fans should probably get a petition rolling if they want the show to become a reality, though we have to warn that Ethan set the bar at 100,000 viewers co-signing the idea. But it should be an easy feat considering group collectively boasts over 100 million subscribers.

Inside is available to stream on Netflix and Formula E’s 2026 EVO Sessions are available to stream now on YouTube.

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