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Netflix’s period drama set in 19th-century Sicily is being hailed as a ‘masterpiece’

Fans who are missing Downton Abbey and The Gilded Age ought to give this sumptuous Netflix period drama a go.

Adapted from Giuseppe Tomasi di Lampedusa’s 1958 novel of the same name, The Leopard is a lavish period drama set in 19th century Sicily, reports the Express.

The six-part Italian series charts the fortunes of the Prince of Salina and his aristocratic family during a turbulent era of great change.

The Leopard unfolds against the backdrop of the Risorgimento, or the unification of Italy, as various states across the Italian peninsula were brought together to form the Kingdom of Italy.

During this momentous period, widespread political and social upheaval, along with rebellions and revolutions, preceded the formation of the Kingdom of Italy.

A synopsis of the show from Netflix reads: “Based on what many consider to be one of the greatest Italian novels of all time, The Leopard is a dazzlingly sensuous epic, set against the backdrop of revolution in 1860s Sicily.

“At its heart is Don Fabrizio Corbera, the Prince of Salina, who leads a life surrounded by beauty and privilege. But as Italy moves towards unification and the old aristocratic order is threatened, he realizes that his family’s future is in jeopardy.

“New allegiances must be made, each one a threat to his principles. Eventually Don Fabrizio is faced with an impossible choice.

“He has the power to engineer a marriage, between the rich and beautiful Angelica and his nephew Tancredi, that could secure his family’s legacy, but doing so he would break his favorite daughter, Concetta’s heart.

“The series will be a modern exploration of timeless themes – power, love, and the cost of progress.”

The Leopard boasts an outstanding ensemble cast, including Everybody Loves Diamonds star Kim Rossi Stuart as Don Fabrizio Corbera, Prince of Salina, Benedetta Porcaroli from Netflix’s Baby as Concetta Corbera di Salina, Love & Gelato’s Saul Nanni as Tancredi Falconeri, and The Beautiful Summer star Deva Cassel as Angelica Sedara.

Further cast members include Astrid Meloni, Paolo Calabresi, Gaetano Bruno, Francesco Di Leva, Alessandro Sperduti, Jozef Gjura, and Romano Reggiani.

One viewer posted in their 10/10 review: “Cinematography is absolutely stunning. What a beautiful period piece ; costumes magical, This is a stunningly visually crafted masterpiece of a series.”

A second glowing review proclaimed it a “masterpiece”, with the critic stating: “This is an absolute must-see series! It could have actually been a cinema film, this is the perfection of its film making. An epic construction of story telling, acting, costumes, scenery and music offers an utter delight to watch.”

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A third top-rated review described it as an “absolute masterpiece”, elaborating: “The journey is beautiful, poignant, and brutally honest.”

Yet another awarded it 10/10 and celebrated it as a “masterpiece”, writing: “I wish there were MORE series like this: based on literature, ravishingly beautiful and (99%) aesthetically accurate.”

They went on to draw a comparison with Downton Abbey creator Julian Fellowes’ other notable series, remarking: “The Gilded Age could learn a lesson from “The Leopard’s” creative team.”

The Leopard is available to stream on Netflix now.

The best weapon in the “Jackass’” arsenal isn’t the taser, the beehive or the booby-trapped latrine. It’s the explosion of relief when a prank ends, often in humiliation, always with hoots and claps. The first film, 2002’s “Jackass: The Movie” was slow to discover that carnage without camaraderie is painful; several injuries limped off-screen in horrified silence. Laughter heals, except for the brain hemorrhage that Johnny Knoxville suffered in 2022’s “Jackass Forever” when, dissatisfied by the clobbering he took from a bull, requested a second ramming that knocked him out cold.

Hence “Jackass: Best and Last,” the goon squad’s alleged final film, is underwhelmingly tame. Shot quickly by stalwart director Jeff Tremaine this spring, half of it is a clip reel of past hits, like the time fan favorite Steve-O slingshotted into the sky in a port-a-potty. The rest is scraps of hastily assembled chaos, the most elaborate of which is a puppet show in which veterans Ehren McGhehey, Dave England and Jason “Wee Man” Acuña dangle helplessly from strings, trying to recite cue cards while being pummeled by tropical fruit. “A pineapple!” Wee Man moans.

I’m no sadist. They’ve suffered plenty for our amusement. Still, it’s a shame that for the first time in two and a half decades of cringe comedy, the guffaws feel forced.

Acknowledging the Jackasses’ age, if not maturity, are a couple skits about prostate and rectal checkups. (The gnarliest involves clear pants, colonoscopy prep liquid and a game of Twister.) Modern technology enters the arena with a nimble-fingered robot. If the team had invested any actual energy into brainstorming this entry, they’d have played paintball with a sniper drone. At least for the sake of torch-passing, someone should have thought of something for the newish members introduced in “Jackass Forever” to do besides stand around and applaud.

These fresher faces — Jasper Dolphin, Rachel Wolfson, Zach Holmes — prove brave and resilient when allowed to participate. Only one of them, Sean “Poopies” McInerney, a surf bro so gullible that I’m not sure he’s capable of informed legal consent, fits into “Best and Last” like a well-worn punching bag. (When Poopies yelps that “my mind is getting to me” while wearing a shock collar around a sensitive area, people snort because, as sweet as he seems, the only thing rattling inside his cranium is a moth.) Early on, Poopies gets swollen lip injections that, someone claims, will last the whole movie. You expect his trophy wife pout to be a running sight gag. But his disfigurement never even gets another closeup.

“Jackass” started with a bang. In January of 1998, Knoxville, then a 26-year-old aspiring actor, strapped on a cheap bulletproof vest padded with a stack of “Hustler” magazines and fired a gun point-blank into his chest. His dumb derring-do went viral on VHS tapes, earning him an MTV show and five feature films. Watching that Rosetta Stone-cold stupid footage here, you’re struck not only by his audacity, but by the scene’s excruciating comic pacing. As there’s only one bullet in the pistol, empty chambers click multiple times before the bullet finally fires. Logically, you know Knoxville will live long enough for his hair to turn fright-wig white. Yet the lizard brain making you gawk is shrieking.

Do not attempt any of the stunts you’re about to see, the prefatory caution blares. Absolutely. The thing is, no one else could. “Best and Last’s” flashbacks are a walloping reminder that Knoxville is inimitable: a telegenic and extroverted entertainer with a charisma he wields like a skunk aims its stink. Upset him at your own risk. Like Buster Keaton before him, Knoxville has an uncanny awareness of how his death-defying escapades appear on camera. Even in that near-suicidal early segment, note how Knoxville stays on his feet, enduring agony with a magician’s “Ta-da!” He might have given himself a bruise the size of a baseball but he’s focused on the audience’s delight.

Over the years, the visuals dramatically improve, from snuff film aesthetics to confidently silly splendor. “Jackass Number Two,” released in 2006, expended major energy on a musical homage to Old Hollywood that nodded to Keaton and bathing beauty Esther Williams who, in MGM’s “Million Dollar Mermaid,” plunged 50 feet into a pool and broke her neck. By 2010’s “Jackass 3D,” which riffed on classic cartoons with Knoxville strapping himself onto an Acme-style red rocket, one could admit they went to see a Jackass movie for the cinematography with even more sincerity than if Knoxville claimed he bought “Hustler” for its life-saving properties.

The new movie doesn’t have any artistic ambition. The charitable excuse for its reliance on old material is that the gang wanted one more film that summed up their entire legacy — from the impact of seeing them age to the opportunity to include departed colleagues Ryan Dunn, who died in 2011, and Bam Margera, fired in 2020. The other explanation is it’s a cash grab made for pennies. Still, Steve-O strives for memorable moments, gathering the gang in a generic office building corridor to watch him take off his pants and pop out a ping-pong ball. There’s a lot of nudity but the setting feels half-assed.

“Best and Last’s” intro splat-tacular, typically a highlight of each film, hinges on the posse standing still on a moving floor. But the monochrome staging — white walls, white ground — looks almost like CGI, the antithesis of their appeal, and it takes us a minute to understand what’s actually going on. Worst, it lacks both suspense and surprise, that no-they-aren’t–oh-god-they-are drama that once elevated the franchise to the peak of pure cinema.

There is — and I mean this — existentialism in witnessing a person embrace shame and terror. Actors have won Oscars without achieving the transcendence of, say, misery glutton McGhehey in “Jackass Forever,” bound to a chair and coated in salmon and honey, realizing that his friends have released a bear into the room. Meryl Streep could never do that (and wouldn’t have to). McGhehey’s sole path to stardom is that he did.

Not everything in a “Jackass” movie needs to be that sublime. One of my few genuine howls in “Best and Last” came in a three-second rehash of someone stepping on a rake; another was the percussion Chris Pontius makes with his swinging nethers before attempting a naked Fosbury flop. There’s a great accidental gag in a cut bit from the original MTV pilot when a deputy pulls up to arrest Knoxville and forgets to put her car in park. Yet the snippet I keep thinking about is a throwaway beat in a new skit when McGhehey willingly gets into the wrong chair again and, once freed, attacks Knoxville who coolly knees him in the nuts. Everyone chuckles.

Once, in anthropology class, my professor lectured on an insular island tribe that cackled whenever someone got hurt. Schadenfreude was the community’s way to vent tension. I thought of that village throughout “Best and Last,” especially during Knoxville’s nonchalant disarmament of his pal. Team Jackass has stayed united even while at each other’s throats. In bad times, they’ve borne each other’s struggles with sobriety and mental health. In good, they’ve seen the inequality of success that’s left Knoxville in a better financial position to retire than the rest.

While “Best and Last” is a whiff, I can forgive this band of bozos’ urge to make it. No one seems happy to still be zapping themselves with electrodes. They just want to rally together for the final time to choke out one last laugh.

MADONNA oozed youthful glam in a see-through mini dress as she made a striking appearance at Paris Fashion Week.

The Vogue songstress, 67, looked half her age in the cobalt blue frock, opting to go braless in the sheer attire as she headed to an evening bash in the French capital.

She finished off her stylish look with thigh-high silver boots, nude fishnet tights and matching jewellery.

Madge pulled on a pair of sunglasses and threw a metallic jacket over her arm as she exited the French venue, with her blonde hair styled in heat curls flowing over her shoulders.

The American chart star – who recently showcased her huge video which launched her comeback – kept a serious expression as she walked out of The Ritz flanked by bodyguards.

Yet she did flash a pout as she took a brief glance over her shoulder.

HUG UP ON YOU

Madonna & Charli XCX END feud with hug weeks after ‘dancefloor is dead’ swipe

SMOKING HOT

Madonna & Charli XCX smoke cigs at fashion show as they make-up after feud

Earlier this week, Madonna was seen smoking cigarettes at the same event with Charli XCX as they healed their feud.

They then confirmed they were back on track with a hug.

The pop stars were filmed posing for photos, and puffing on long, dark cigarettes at the Saint Laurent menswear show in Paris.

Madonna looked sensational in a red lace long-sleeved mini dress which she paired with pink and black toed heels and stylish shades. 

Charli rocked a red dress with lace detailing across her chest, black tights and long-toed heels.

Rumours sparked of a feud between the pair after Charli’s new single Rock Music featured the bold lyrics: “I think the dancefloor is dead, so now we’re making rock music.”

Madge’s dance-heavy new album, Confessions On A Dancefloor: Part II comes out on July 3, and she certainly didn’t agree.

Taking to Instagram she posted a snap with a very telling caption.

She wrote: “If your dance floor feels dead, maybe you’re playing the wrong music.”

At the time, the Like A Prayer hitmaker posed in a skin-tight pink dress, fishnet tights and knee-high leather boots.

Three Brazilians with a combined age of 316 have been recognised as the world’s longest-living trio of sisters. Researchers are studying their DNA to better understand the genetic factors behind healthy aging and exceptional genetic longevity.

Katelyn Ohashi has gone viral for her gymnastics routines.

She has won two ESPY Awards.

She’s a former national champion and All-American who earned 11 perfect scores of 10 during her time at UCLA.

She once took first place in the all-round at an elite national competition, with the now-legendary Simone Biles finishing as runner-up.

But Ohashi apparently has some unfinished business in the sport, as the 29-year-old athlete announced her return to elite gymnastics Tuesday on Instagram.

“After a few years of contemplating whether I wanted to continue chasing a dream I had as a little kid, I have decided to go for it,” Ohashi wrote. “I’m taking it one day at a time; one skill, one event, one dream. I don’t have any regrets in my career and I want to be able to continue saying that no matter what happens. So here goes nothing!”

Katelyn Ohashi accepts the trophy for best play during the 2019 ESPY Awards at Microsoft Theater in Los Angeles.

(Kevin Winter / Getty Images)

Ohashi thanks Pacific Reign Gymnastics, a U.S. national training center in Woodinville, Wash., “for taking a chance on me.” Her post also includes a video of herself at the gym performing a couple of floor skills — with her signature broad smile across her face. The clip uses the same audio of a phone buzzing and ringing as the video Serena Williams posted earlier this month to announce her return to competitive tennis.

Also on Tuesday, Pacific Reign posted on Instagram several photos of Ohashi working out at its facility, along with the caption, “Queen Kate trains to reign.” The gym also announced on its Instagram Story that Ohashi would compete Saturday at the American Classic event in Minneapolis.

Little else is known about Ohashi’s comeback plans. The Times reached out to an agency that represents the gymnast but received no immediate response. Pacific Reign referred questions pertaining to Ohashi to the same agency.

Born in Seattle, Ohashi made her senior elite gymnastics debut at the 2013 American Cup, where she outscored U.S. teammate Biles for all-around gold. Later that year, Biles would win the first of her record six world championships in the all-around.

Ohashi became a fan favorite while competing for the Bruins from 2015 to 2018. She earned nine perfect scores on the floor and two on the beam, with video from a January 2019 floor routine reportedly garnering 240 million views across various platforms (including a repost from future Vice President and Democratic presidential candidate Kamala Harris).

UCLA gymnast Katelyn Ohashi’s viral floor routine.

The same routine won Ohashi two 2019 ESPY Awards, for best play and best viral moment.

In 2018, Ohashi was the co-national champion in the floor exercise and helped the Bruins win their seventh and most recent NCAA title. The 10-time All-American last competed in the 2019 national championships, where she placed third on the beam and helped UCLA finish third in the team competition.

“We can’t wait to see you back on the floor, Kate!” UCLA gymnastics posted Wednesday morning on X.

Ohashi was a featured performer in Biles’ “Gold Over America” gymnastics tours in 2021 and 2024.

A duo for the ages is convening once again.

The Williams sisters — Venus, 45, and Serena, 44 — will bring back their doubles partnership at Wimbledon in under two weeks. The All England Club announced the doubles wild card invitation on Tuesday.

Should they win for a record seventh time, the Williams sisters would make history as the oldest Grand Slam-winning doubles combo by nearly 16 years.

The record of 74 years and 303 days is held by Hsieh Su-wei and Barbora Strýcová, who won at Wimbledon in 2023. Venus will turn 46 on Wednesday and Serena will be 45 on Sept. 26, putting their combined age by the tournament’s end at 90 years and roughly 290 days.

The Williams sisters have won six doubles titles together at Wimbledon, most recently in 2016 with the first coming in 2000. They have won 14 Grand Slam doubles titles together, the second most by any women’s team in the Open Era behind the 20 won by Martina Navratilova and Pam Shriver.

Serena recently returned to competition after almost four years away from professional tennis. She will compete in the Berlin Open doubles alongside world No. 10 singles player Karolína Muchová on Tuesday against Erin Routliffe and Giuliana Olmos.

The initial tournament in Serena’s comeback was abbreviated. Her playing partner, Canadian teenager Victoria Mboko, suffered a knee injury that ended their effort at the Queen’s Club Championship after one match, a 7-6(2), 6-2 victory over No. 3 seeds Erin Routliffe and Nicole Melichar-Martinez.

Venus, who will turn 46 on Wednesday, is in the midst of her record 33rd consecutive WTA season. She has been eliminated in the first round of singles at several tournaments while faring better in doubles.

The pairing at Wimbledon will be the first since 2022 for the Williams sisters. Serena took a long hiatus beginning that year and gave birth in 2023 to her second child, Adira River Ohanian.

Many of the sisters’ career highlights have come at Wimbledon. Serena has 14 titles on the hallowed grass court — six in doubles, one mixed doubles and seven in singles. Venus Williams has won 11 Wimbledon titles — five in singles and six in doubles.

Neither Williams sister is slated to play singles in this year’s tournament, although one women’s singles wild card has not been allocated.

JOHANNESBURG — Globally celebrated South African jazz icon Abdullah Ibrahim has died at age 91, his family announced in a statement Monday.

Ibrahim, formerly known as Dollar Brand, passed away peacefully in Germany following a short illness, surrounded by loved ones, the statement issued on behalf of his family said.

As one of South Africa’s most respected jazz figures, he famously played at Nelson Mandela’s 1994 presidential inauguration. Mandela referred to Ibrahim as “our Mozart.”

His final public concert in South Africa took place at the Cape Town International Jazz Festival in March, when he once again captivated audiences with the musical skill that defined his career.

Paying tribute to her partner, Dr. Marina Umari said he “passed away peacefully with South Africa and its people in his heart.”

“His love for his country never wavered, no matter where in the world he found himself,” she said.

His family said that even though his life is over, his influence and voice would continue to resonate around the world.

South African President Cyril Ramaphosa paid tribute to the musician, praising his contribution to the anti-apartheid struggle and acknowledging his lasting impact through music.

“Today our nation mourns the passing of an international icon and global citizen whose profound creations honored the South Africa that shaped his political commitment and musical brilliance,” said Ramaphosa.

Born Adolph Johannes Brand in Cape Town on Oct. 9, 1934, Ibrahim rose to international prominence as a pianist, composer and bandleader. With a career spanning more than seven decades, he forged a unique blend of jazz and South African musical traditions, making him a cultural ambassador whose music struck a chord with listeners worldwide.

Ibrahim’s mother Rachel Brand was mixed-race and under the apartheid system he was classified as “colored,” which afforded him certain social privileges that were denied Black South Africans. He was raised by grandparents and was told Rachel was his sister, only learning the truth in adulthood. Influenced by his grandmother and mother playing piano at the AME Church in Kensington, a Cape Town suburb, Irbrahim began piano lessons at age 7 and made his professional debut at 15.

In 1959 and 1960, he played with saxophonists Kippie Moeketsi and Mackay Davashe, trumpeter Hugh Masekela, trombonist Jonas Gwangwa, bassist Johnny Gertze and drummer Makaya Ntshoko in the Jazz Epistles. The group recorded the first full-length jazz LP by Black South African musicians, “Jazz Epistle — Verse 1.” The South African government began targeting jazz groups as part of increasing state repression, and following the Sharpeville massacre in March 1960, the Jazz Epistles broke up.

During this time, Ibrahim met jazz singer Sathima Bea Benjamin and the pair moved to Europe. The following year, in Zurich, Switzerland, Benjamin convinced Duke Ellington to come see Ibrahim perform with the Dollar Brand Trio. Impressed, Ellington helped arrange a recording session with Reprise Records, later released as “Duke Ellington presents The Dollar Brand Trio.”

In 1965, Ibrahim and Benjamin married and moved to New York. He played at the Newport Jazz Festival and toured throughout the U.S. In addition to playing with, and, on occasion, leading the Duke Ellington Orchestra, Ibrahim interacted with such musicians as Don Cherry, Ornette Coleman, John Coltrane and Pharoah Sanders, and was influenced by the Black Power movement, incorporating African elements into his jazz. His compositions also reflected the influence of Ellington and Thelonious Monk.

The musician returned briefly to Cape Town in 1968 and converted to Islam, changing his name from Dollar Brand to Abdullah Ibrahim. As an expatriate, he toured the world for decades, appearing at major venues and working with classical orchestras in Europe. His composition “Mannenberg” became noteworthy as an anthem of South Africa’s anti-apartheid movement.

In 2009, Ibrahim received an honorary doctorate in music from Wits University and the Order of Ikhamanga, a prestigious civilian award, from former President Jacob Zuma in the same year.

Ibrahim was named a Jazz Master by the National Endowment for the Arts in 2019.

Alan Winde, the mayor of the Western Cape, where Ibrahim’s hometown is located, honored the performer and commended him for capturing South Africa’s cultural richness and history in his music.

“South Africa has lost a legend,” Winde said. “Abdullah Ibrahim represented everything that makes South Africa and the Western Cape so remarkable. His music told the story of our unique cultural diversity and past.”

Ibrahim is survived by Umari; his son, Tsakwe, a musician; and his daughter, Tsidi, a rapper who goes by Jean Grae.

According to his family, Ibrahim will be laid to rest in the German state of Bavaria, where he lived.

Gumede writes for the Associated Press.

One day, when people say “they don’t make ’em like they used to,” they will be saying it about “Industry.”

First filmed before the pandemic and launched in its throes, a survivor of the era of streaming wars, corporate consolidation and Hollywood strikes, HBO’s addictively dissolute workplace drama remains as ambitious and authoritative as ever. Indeed, despite being divided from predecessors like “Mad Men,” “Succession” and “The Leftovers” by a series of epochal crises, it more closely resembles a vestigial tail of the medium’s past than most of its current counterparts: Out of place and out of time, “Industry” can best be understood as the last great drama of TV’s golden age.

Cast member and “Game of Thrones” alum Kit Harington, resident expert on series that reshaped the medium, agrees that “Industry” is a bit of a throwback in this respect.

“If you scroll back to ‘Game of Thrones’ in the first two seasons, it wasn’t a massive Goliath success, and it exploded after Season 3 with the Red Wedding. I think there’s a similar story going on here,” he says. “So often in TV at the moment, you’re given one season and everyone needs to pack in f— everything to get people hooked. But they’re burning through too much story. Season 2 is then done; the characters haven’t got anywhere to go. I think this is where this show has been successful, is that it was given that time to breathe.”

Earlier this spring, I convened “Industry’s” creators and cast in a conference room at The Times to walk me through its evolution into one of the best shows on television, and what to expect from its impending end.

Marisa Abela, left, Kit Harington and Myha’la.

(Jason Armond / Los Angeles Times)

‘What the f— are you thinking, guys?’

A trading-floor knife fight of hot, young strivers, or “grads,” competing for a permanent place at the fictional Pierpoint investment bank, the first season of “Industry,” filmed in 2019, premiered in the waning months of 2020 as a warped love letter to office culture. But for Konrad Kay and Mickey Down, the emerging writers at the helm, the voice of the series didn’t fully take shape until they’d found their main cast, including Myha’la, as hard-charging American Harper Stern, and Marisa Abela, as privileged publishing heiress Yasmin Kara-Hanani.

Kay: Season 1, me and Mickey were really green.

Down: We actually pitched HBO on the idea that it was going to be eight episodes, it was going to be in different months, and the big-bang dramatics were going to happen between the episodes. A bit like “Boyhood.” Huge things would happen in between episodes, and the episode would be about the reaction to those huge things. And they were like, “What the f— are you thinking, guys?” It was so antidramatic.

Abela: I had a lot of rounds of auditioning for Yasmin. They weren’t sure about me at all. I think part of it was because they were quite hellbent on her being vulnerable, on her being soft, and that was what I was playing in those first two, three episodes. … And what happens in any functional collaboration is you start to see what they really want from you — what it is that they need from your character. And in those moments of conflict, the moments of change, Yasmin has to stand up for herself at some point, otherwise it’s too wet.

Mickey Down.

(Jason Armond / Los Angeles Times)

Down: Yasmin was all vulnerability masked by Prada in script, and then you came in and you were very hard. [Laughs.]

Abela: There is one scene with [Yasmin’s abusive supervisor] Kenny [played by Conor MacNeill] in Season 2 where … Yasmin turns around to him and tells him to f— off, basically: “You don’t have a disease, you’re a narcissist, with a new excuse to lord it over people. You’re weak.” I think that’s the first time that Yasmin became a gangster. I was watching “Real Housewives of New Jersey” at the time, being completely honest. She can go really mob wife really quick.

Myha’la: I had almost the exact opposite experience in terms of finding or deciding who Harper was. When I read the scripts initially, I just thought, “There’s no way in hell that Harper can’t be steely and [on offense], because she’s clearly feeling out of her depth, and as a young woman of color going into a new space like this, you can’t show up like you’re vulnerable. You’re already expected to do poorly.” … On the page, Harper was an anxious person when I first met her in the pilot episode. She was sweaty and clammy and stammering. And I just thought, “Hell no!”

Down: Sometimes when we write the character, we focus on one thing, and then the actor comes in and then that one thing we thought the character was becomes the artifice that they have to play.

Harington: Great TV writers genuinely learn their actors as well as their characters, and they tie those things in as it goes through.

Abela: As much as they know how we speak now, we know how they speak. If Yasmin has a “F— off,” I know what they want with that. If she says “F— off,” it’s very different to “F— you.”

Down: It’s like playing the piano with the foot pedal, blindfolded.

Kay: When you get super-talented actors doing your writing, you sort of fall in love with them doing everything. There’s no story we can’t tell with them.

‘Am I being fired?’

The series’ second season, which opens with Pierpoint’s post-COVID return to office, found the grads established enough to become “active characters,” and the creators confident enough to begin breaking the mold they’d set for themselves in Season 1. From the nail-biting trade sequence with which Harper wins over hedge fund manager Jesse Bloom (Jay Duplass) to her firing from Pierpoint in the Season 2 finale, it marked the arrival of “Industry’s” distinctive, go-for-broke aesthetic.

Kay: [In] Season 2 we were still figuring out what the show was, and we had Jami O’Brien as our co-showrunner, who really professionalized me and Mickey towards the American system, towards how to be producers, curbed some of our more bombastic instincts, made us more professional in terms of some of the style of the writing we were doing, found a cleaner version of the show and a cleaner version of the story.

Konrad Kay.

(Jason Armond / Los Angeles Times)

Down: [The Bloom trade] was one of the first times in the show where we were like, “Wow, we’ve actually created something kind of singular,” in that we were able to create scenes of people trading, [using] financial jargon that no one understands, and make it feel like a car chase. The contrast between the Harper that’s on the trading floor being able to be in command of that with all the people looking at her, and then the Harper that’s in the loo afterwards in floods of tears, that for me was kind of the moment where we thought that we had a completely 3D, rounded character.

Myha’la: If you asked me to do the Jesse Bloom trade scene again, I’d piss myself. Because at least when I did it two seasons ago, I could have anxiety and fear percolating inside me. If I had to do it today, I’d have to do it confidently, and I would have to try really hard because so much of the language is truly blind memorization and being able to juggle particularly the f— phones. … You have to get the choreo[graphy] so good and you have to know the words so well so that you can do the important part, and that’s the subtext — communicating the feelings of the thing, which are not in the words. Which I love. It is so hard.

Harington: When you first read the scripts, you can’t understand a lot of what’s on the page. … You look at it, you go, “This is f— impossible.”

Myha’la.

(Jason Armond / Los Angeles Times)

Myha’la: This is not spoon-feeding the audience. “I’m sorry that you’re hurting because I know last summer your mom died in a car crash.” They don’t do that.

Kay: Do you know who hates that about us? Network executives. [Laughs.]

Down: We had a kind of mantra the first season especially, and then going into the second, that we would never have a scene that didn’t have one of our four main leads in it. And then, just for the necessity of the storytelling, we said, “We have to pop out of that perspective.” I don’t think HBO realized what a big decision that was, because I don’t think they’d actually realized we’d kept this mantra that we were never going to go away from the perspective of the grads.

Kay: It’s also where we broke the rule of, “We’re not going to just tell the bottom-up story; we’re going to go to the top.” When we sold the show, we were like, “This is a bottom-up story,” and then by that point we were like, “Actually, we have these older characters who might have these really rich inner lives that we should also explore.”

Myha’la: We blew the s— up. [Harper’s firing] forced us all outside the bank, which was dangerous and scary for me and really exciting and was how we got to see all the other things that Mickey and Konrad are capable of doing. I think they didn’t tell me before, so I was like, “Am I being fired?” [Laughs.]

Down: We thought we were all being fired. The reason the show evolves so much is because we basically never know whether we’re coming back, so we just blow up everything. We try to leave the audience with a satisfying conclusion. And then we get renewed, and then we have to basically write ourselves out of a corner. So Harper getting fired could have ended the whole show.

‘Oh, poor Henry’

Given time to develop its characters, refine its style and grow its audience, “Industry” returned for Season 3 with all the trappings of a series that had finally arrived: effusive critical acclaim, proliferating fan accounts and buzzy arcs by Sarah Goldberg and Harington, as playboy and erstwhile green–energy executive Henry Muck. Had it premiered just a few years later, “Industry” may have ended up on the chopping block before finding its footing; instead, it was allowed to achieve “terminal velocity.”

Kay: What happened between Seasons 2 and 3 was, we got renewed. We didn’t think we were going to get renewed. We operated from the principle of, “We might never get to do this again.” And that was incredibly freeing for me and Mickey because it was just like, “We’re gonna get eight hours, let’s just do everything we possibly can within that eight hours. Let’s indulge every creative impulse we’ve ever had. Let’s take the stabilizers off the story. Let’s not necessarily keep it within Pierpoint.” What we felt like was a perfect marriage of creative latitude, trust in ourselves and the right point in our arc of writing the show and directing and producing. We reached terminal velocity, where we could actually do all of the stuff that we were pretending we could do in the first two seasons.

Kit Harington.

(Jason Armond / Los Angeles Times)

Harington: When I joined up in Season 3, I had a good handful of friends who watched the show. It may be bigger than you think it was from the inside. It’s been fascinating for me, joining when I did and seeing it grow again … We all want to do stuff that people actually watch. We’d be lying if we said we didn’t. We’ve all done jobs that we really love and no one’s f— seen. When there’s a focus in on something that you know is good and you love, that’s more rare than you think. I started in this job in “Game of Thrones” and just assumed, “That’s, like, how jobs go. You get invited to the Emmys every year and everyone frigging watches it.”

Kay: The softness in Henry was a function of Kit playing the character and us writing to that vulnerability. There’s a totally different version of that character which never unlocks that kind of thinking in me and [Mickey].

Harington: You know that moment where it’s all going to s— with Lumi and he just gets up and he’s like, “None of this is real” and he f— off? For me, that was it. Because it was like, “Wait a minute, he can’t just leave the f— room” — and he does. I think that kind of sums him up. I got a handle of him properly then, and that was quite an early one we shot.

Down: He has a sense of entitlement most of the other characters don’t have.

Myha’la: But you still manage to make me feel bad for you. I’m like, “Oh, poor Henry.” Do you know what I mean? Isn’t that psychotic?

Down: I said it to him in an email recently. Somehow he managed to make an ex-Tory minister who bankrupted his company twice and needed bailouts from the British public — [a] junkie, adulterer — the most vulnerable and probably most empathetic character on the show, in some respects.

Harington: He’s one of the few characters who is actually trying to do good. Even if it’s about him being perceived as doing good. … It’s also very smartly done in how you demarcate addiction and drug-taking. You’ve got most of the characters, who can kind of put it down, but then you’ve got Rishi [a Pierpoint trader played by Sagar Radia] and Henry, who are a different kettle of fish. And also how it creeps up.

Kay: As a sober person playing that stuff, is there a psychic trigger in your brain that sort of feels like it’s happening?

Harington: I was very worried about coming in and doing some of this stuff, but quite quickly realized I was A) sober enough for long enough to go back there safely; and B) it was a sort of muscle memory, a lot of it. I get to exorcise this stuff in my job. How many ex-addicts get to do that? It was a kind of cathartic thing.

Marisa Abela.

(Jason Armond / Los Angeles Times)

Abela: There’s a real freedom that comes with drugs, alcohol, whatever it is, for the character. Those are the moments when you can really open the lid on something.

Myha’la: When you’re f— up, you’re uninhibited, so you can do your own thing, but I think you’re also taking the other person at face value. I feel like it sort of takes the judgment away. It creates a kind of childlike innocence.

Down: If you’re in a situation like that, you can skip like five stages of relationship if there’s a big bag of drugs in front of you. That’s something we try to capture.

‘Where we leave the characters feels so perfect’

Earlier this year, HBO announced that “Industry” had been renewed for a fifth and final season. But it was Season 4 — which finds Harper and Yasmin’s friendship in tatters, Yasmin and Henry’s marriage at an end, and the structure of the show evolving yet again to draw on new characters and genre influences — that led Down and Kay to determine that the series’ time had come.

Kay: We did think to ourselves, “OK, so we’re going to do a Season 4, which means the show is a kind of success in and of itself, which means we can start to think about ending. If you get four seasons, you’re probably going to get five. So we felt that it created latitude there. What we thought to ourselves was, “We meet these two women in the pilot. If you’re going to spend five seasons of TV with them, what is the starkest contrast you can do between how you meet them and where they end up?” … When we started, the show was about not having power. Five seasons in, they have it. Then what do you do with it? The phrase me and Mickey have been talking about is this idea of “arrival fallacy.” You climb and climb, you’re at the top of the mountain. Is there another peak? Do I sit here and enjoy the view?

Down: We’re writing Season 5 right now, and without giving too much away, we’re approaching that season very differently in terms of how information’s parceled out.

Kay: It’s very dense, though, isn’t it? Honestly, it might be the densest season. There’s a lot of theology in it, actually.

Down: We talked about doing a sixth [season], and then quite honestly we thought that was going to be diminishing returns. … We would have been pulling our punches constantly. This has been one of the most creatively fulfilling versions of the show, because we are writing towards a conclusion that we know is the conclusion. We’re thinking of images for the last 10 minutes that we know are going to be what the audience is left with, and that’s really, really thrilling for us as writers. I’ve never once thought, “God, I wish we were doing a sixth one,” as much as I love writing and making the show. Where we leave the characters feels so perfect.

As soon as enough votes were counted to officially knock Tom Steyer out of the California governor’s race, the anti-billionaire schadenfreude kicked in.

Social media and legacy media, conservative and liberal, all seemed to have a rare melding of the minds, delivering endless variations of, “How dare he try to buy elected office! We showed him.”

“I hope you received the message from California that a power-hungry communist billionaire cannot buy the state!” wrote one detractor on social media. “How much money did you waste spamming Californians? Do you know how many hundreds of millions of dollars you wasted?”

“What a waste,” screamed a New York Times headline, slamming Steyer for not donating that money directly to building houses or funding Planned Parenthood — one-off actions that prop up broken systems instead of changing them.

I get it.

In an age when income inequality is reaching serf-lord levels, hating the rich seems easy and reasonable. You could take several zeros off the $200 million Steyer spent on his campaign and it would still be more than most of us make in a lifetime. That’s a rage-inducing reality for many, if not most of us, for whom pairing a full tank of gas with a restaurant dinner seems like careless luxury these days.

I’m not here to defend the nine-zeroes class. But maybe we should take a beat and make sure our outrage is working for us, not against us. While Steyer has spent the last few months advocating for universal healthcare, better pay and protections for workers, and putting curbs on out-of-control corporations from the energy sector to AI, other billionaires have spent that time actively undermining democracy and our financial system. Heck, some even seem to be undermining humanity. Why aren’t we raging at them?

Take, for example, a certain billionaire who seemingly would prefer to be a trillionaire: Elon Musk.

Last week, his SpaceX held an IPO in which somehow the rules of Wall Street meant to protect small investors and pension plans were set aside to his benefit. Like it or not, if you hold a public pension or a 401(k) in America that uses index funds (which most do) you will likely be an investor in his unproven and possibly risky business. I’m sure that will work out fine.

Or consider the hundreds of millions of dollars right-wing AI and surveillance-company billionaires, some Californians, are dumping into political races across the country right now to ensure that their dangerous and unpredictable technologies are not regulated, or regulated in largely meaningless ways. It’s a situation so dire that one wealthy insider last week warned in his own op-ed that if his former colleagues are successful, “It could concentrate economic power in ways that would make the Gilded Age look quaint.”

Then there’s our president, king of self-enrichment, whose wealth has skyrocketed to more than $6 billion during his time in office. Much of that moola is in opaque cryptocurrency holdings, an industry he has championed as his fortunes in it have increased.

But don’t think Trump is in it only for himself: He’s enriching his family, too.

His daughter Ivanka recently made her own “eat cake” headlines over an alleged $1.5-billion project that would convert an uninhabited Albanian island into a luxury resort. The Albanians are so mad, they’ve been protesting in the streets for nearly two weeks. Meanwhile, her brothers have coat-tailed off their dad’s crypto-ventures to make their own fortunes, as other investors suffered losses.

Those are our individual billionaires, never mind the corporations, who can dump as much money as they want into our politics thanks to the Supreme Court’s 2010 Citizen’s United decision. In 2025, the oil and gas industry in California, led by Chevron and the Western States Petroleum Assn., spent about $34 million on lobbying. Not to be outdone, the Golden State’s water and electricity interests, including PG&E, spent about $35 million to bend politics to their will.

But sure, hate the goofy guy in the vintage Nikes pointing all this out.

“I’m proud of the enemies we made,” Steyer said in his concession. “In this race, those corporations revealed that they see a government that puts working people first as an existential threat — even when proposed by a billionaire. By spending $55 million — the most ever against a single candidate in a California primary — they showed the lengths they would go to in order to protect a status quo that only serves them and their profits.”

I don’t like the amount of money in our political system either, but the truth is, it’s there. And worse, the majority of those who have it seem intent on diminishing the political and economic power of those who don’t.

We are increasingly moving toward a country where the well-being of the majority of people will depend on the largesse of the few — Silicon Valley’s tech industry now talks about a universal basic income as a great boon for the coming mass unemployment they are creating.

But is existence off a charity-pittance really what we want for ourselves and our children? Do we really want these ultra-wealthy overlords to use their money unchecked to make decisions that will shape our future, diminish our rights and ultimately leave us without the power to fight back?

If Steyer wants to use his money to join this battle to keep power by the people and for the people, then the enemy of my enemy is my friend.

Like it or not, us average worker bees need money to fight money. In this age when animus eats discernment like the rich eat caviar, the luxury we really can’t afford is hating the good guys just because it’s easy — even if they’re billionaires.

This is the fourth year of the LA Card Show, and my, how it has grown.

The venue has grown larger and bolder with each year, beginning at the Mayan Theater in 2023. The Intuit Dome held the event in 2024 and Dodger Stadium in 2025. This year’s show will take place this weekend at the L.A. Convention Center West Hall.

Roughly 700 collectibles vendors are expected, almost double the number at Dodger Stadium. Food and drink will be available and the card show is open to all ages.

Pokémon cards and items continue to be the most popular to trade and purchase, according to show officials. All sorts of sports collectibles will be plentiful, with Shohei Ohtani — unsurprisingly — the most popular card, and card grading will be available on-site.

“More than just a card show, it is a cultural event built around the art of collecting,” LA Card Show co-founder Adam Derry said.

Trading Card Game (TCG) deck-building is increasingly popular, with players competing in games such as “Magic: The Gathering” using cards that represent spells, monsters and resources. Comic collectibles will also be traded and sold.

Other attractions include activations with the Clippers, Kings, Sparks and LAFC, and fashion and streetwear from HYPLAND, Holiday, Vandy The Pink and Research Vintage.

The card show will take place from 10 am. until 5 p.m. Saturday and Sunday with VIP access at 9 a.m. A two-day general admission pass is $50 (VIP $100), with one-day passes $30 (VIP $50). Ages 8 and younger are free.

HEIDI Klum looks half her age in a tiny zebra-print bikini for a sizzling and steamy beach photoshoot.

The America’s Got Talent alum, 53, has posed in an array of tiny bikinis as part of a brand collaboration with Calzedonia.

Posing on a sandy beach, the ageless beauty looked sensational as she smiled for the camera.

In one photo, Heidi rocked a zebra print number which showed off her sensational figure thanks to the plunging bikini top and low rise bottoms.

Another snap saw her lounging around in a brown glittery two-piece string bikini.

Heidi then rocked a bronze string bikini, which left very little to the imagination.

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She also wore a yellow gold number, which displayed her svelte figure seamlessly.

Last month, Heidi went topless in just a pair of tiny thong bikini bottoms as she sunbathed on her swanky hotel balcony.

Heidi was accompanied by her husband, Tokio Hotel guitarist Tom Kaulitz, who wore what appeared to be a polka-dot pyjama top and sunglasses before taking off his shirt.

Just weeks before her topless moment in the sun, the costume-loving star was completely unrecognizable as she transformed into a living statue at A-list fashion event The Met Gala.

Heidi and her husband Tom got engaged in 2018 and then got married in California in February 2019.

The pair then had a second ceremony in Capri, Italy later that same year in August 2019.

Speaking about Tom in an interview in 2022, Heidi gushed that she had “finally found the one” in her husband.

“I just know him so well. We just gel really well,” Heidi spilled in an interview with E! News.

“I just feel like, ‘Finally, I found the one.’ So far so good. I hope it stays that way.”

And in 2024 she even lifted the lid on their sex life.

Speaking about their “bedroom sports”, Heidi told The Sunday Times: “Sport en chambre is my favorite exercise – it sounds better in French.

“I have a younger husband,” she gushed.

She then revealed how the Tokio Hotel guitarist is “very good” and she even called her husband “my match”.

Heidi is also a mother and shares Leni, 22; Henry, 20; Johan, 19; and Lou, 16, with her ex-husband Seal.

One more day and it’ll all be over. I’m referring to the primary election, of course, and the unremitting campaign ads that have infiltrated every aspect of our being as Californians.

Authentic or paid influencers promoting candidates on TikTok and Instagram. Facebook ads vilifying or praising various measures. Incessant, repetitive TV campaigns that get nastier with every election, yet still manage to feel like an analogue remnant from 1982. The worst? Those sponsored leaflets and postcard mailers that end up as makeshift coasters, mosquito swatters or unread refuse that goes straight from the mailbox into the blue recycle bin.

The king of ad spending is Democratic gubernatorial candidate Tom Steyer. He’s behind the most expensive political advertising campaign in the country this year. A former hedge fund manager, Steyer has reportedly spent more than $200 million on his campaign, with a major chunk of that for broadcast TV, cable and radio — 20 times the amount spent by fellow Democrat, former U.S. Secretary of Health and Human Services and California Atty. Gen. Xavier Becerra. And Steyer is still polling behind Becerra.

I never thought I’d write this but it’s not always about the money.

Xavier Becerra, front-runner in the race for California governor, speaks before a crowd at UFCW Local 1167 Union Hall.

(Genaro Molina/Los Angeles Times)

Voters have more resources than ever should they choose to actually research and learn about who and what is poised to shape the future of their city, county and state.

There’s no shortage of broadcast, cable, digital and print reporting about former reality TV personality turned mayoral candidate Spencer Pratt. He uses AI!

The battle between incumbent Karen Bass and her closest Democratic competition, Los Angeles city council member Nithya Raman, dominates local newscasts. And there’s pundits from both sides arguing for and against these choices on every available platform.

Given the amount of information now at voter’s fingertips, we should be the most informed voting populace in the history of ballot casting. But are we?

A new poll by UC Berkeley’s Institute of Governmental Studies that was co-sponsored by the Los Angeles Times asked 8,578 registered voters across California what sources they rely on to get news and information about election-related issues. The poll, which was conducted online May 19-24 in English and Spanish, found that nearly half of the state’s electorate (47%) said they refer to the official voter information guide that is mailed to voters in advance of each election.

Discovering that a nonpartisan, non-sponsored source of data topped the list is a welcome surprise. Today’s media-verse is so fractured and bifurcated along political lines, I just assumed that confirmation bias would drive most folks toward friendly sources, i.e. what they want to hear.

Not as surprising is that 44% of those polled said they use Google or other search engines to seek out election-related information, and greater than 3 in 10 obtain election-related information from social media (39%). Traditional means of information weren’t far behind search engines. Those polled said they still rely on national or cable TV news (39%), newspapers, online or in print (37%), and local TV news (35%). One in three (33%) get information word-of-mouth from family, friends, neighbors or co-workers.

Gubernatorial candidate and billionaire Tom Steyer, right, meets with supporters at a campaign stop.

(Sara Nevis/For The Times)

“The substantial differences in news sources across generation, education and partisanship suggest that we are a considerable distance from the information environment that dominated most of the 20th century, where local newspapers, network news and local television stations dominated,” said Professor Eric Schickler, co-director of the Institute of Governmental Studies. “This fragmentation means that voters may no longer share a common frame of reference when evaluating candidates and election issues.”

The increasingly splintered ways in which voters seek information, fueled by the rapid changes in technology and media, has kept political campaign strategists on their toes.

“Getting attention is the first barrier, and then once you have that attention, how do you convert that into support?” says Democratic campaign consultant and strategist Brian Brokaw. “You have to create a surround-sound effect in order to persuade the voter to go for your candidate or your issue, and they have to hear from multiple avenues. Voters are innately skeptical of advertising, especially when it’s a very direct sale from a candidate. That’s why you’re seeing the use of more influencers in campaigns, particularly paid influencers, who may or may not be disclosing that they are being paid. That’s been a prominent issue in the governor’s race.”

Age, or generational differences, are another deciding factor in where voters look for more intelligence on issues and candidates. The poll found that two-thirds of voters under the age of 30 (67%) and a majority of those ages 30-39 (52%) use social media such as Facebook, X, Instagram, or TikTok to get their information.

Getting to know a candidate, particularly via social media, isn’t necessarily part of a rigorous, fact finding mission. Laughing at Pratt’s Batman-themed video or Gov. Gavin Newsom’s satirical X posts are more about bonding with the person than unpacking their policies. Real or perceived, discovering a candidate via one’s Instagram feels more organic than seeing them on billboard or TV ad.

“One way that politics has changed is that people are craving authenticity. Someone like [Zohran] Mamdani, was very successful and promoted himself from the back of the pack to mayor of New York City. But what people are seeing doesn’t mean that’s the truth,” warns Republican consultant and campaign strategist Kevin Spillane. “I’ve been involved in politics for 40 years. A lot of people are not how they present themselves. But we still crave authenticity, we want to believe [in someone], we want that connection.”

We’ll soon see who Californians choose to represent them and their concerns — or which candidate waged the best campaign warfare, substantive political arguments be damned. But it may take a minute to count all the votes. California reached a record number of registered voters ahead of Tuesday’s primary election, according to the Secretary of State’s office. Officials say more than 23.1 million Californians are now registered to vote statewide.

West Coasters who want to understand what they’re voting for have infinite resources to turn to, some more useful than others. Sponsored mailers (the aforementioned mosquito swatters) only appealed to 9% of those polled as a useful source of information. But did you really need a poll to tell you that?

WASHINGTON — President Trump had another medical exam Tuesday, putting his health under renewed public scrutiny as he has worked to dismiss concerns over his age and stamina.

The 79-year-old president spent more than three hours at Walter Reed National Military Medical Center for what the White House described as preventive medical and dental checkups. It was Trump’s fourth publicly disclosed medical exam since he returned to office for a second term, and it comes as he tries to project strength ahead of midterm elections that will test his sway with voters.

In a social media post after the visit, Trump said he just finished his “6 month physical” and “Everything checked out PERFECTLY.”

For decades, administrations have released selected results from presidential physicals, offering the public a glimpse at the commander in chief’s health. But the results are filtered through the White House and must be approved by the president, raising questions about what the public does and doesn’t get to see.

Trump turns 80 next month and was the oldest person elected president. His immediate predecessor, President Biden, was 82 when he left office, dropping out of the 2024 race because of widespread concerns he was too old for the job.

A Washington Post/ABC News/Ipsos poll conducted in April found that less than half of U.S. adults think Trump has the mental sharpness or physical health to serve effectively as president.

“I think concern for the president’s physical health is probably at an all-time high, and I think advanced physical age is the No. 1 concern,” said Dr. Jeffrey Kuhlman, who served as a White House physician for more than a decade under Presidents Obama, George W. Bush and Clinton.

For a president of Trump’s age, a complete physical would be expected to include advanced heart testing, screening for common cancers and a cognitive assessment, along with basics like height, weight and blood pressure, Kuhlman said.

The White House has not disclosed what the visit entailed but expressed confidence in what it will show.

“President Trump is the sharpest and most accessible President in American history who is working nonstop to solve problems and deliver on his promises, and he remains in excellent health,” White House spokesperson Davis Ingle said in a statement.

No law requiring presidents to disclose medical records

In the weeks leading up to his visit, Trump has been saying he feels as good as he did five decades ago — even as he jokes about his fondness for fast food and his minimal exercise regimen. Yet he’s also sensitive to perceptions about his age, noting that he takes extra caution descending the steps from Air Force One to avoid headlines about a stumble.

There is no law requiring presidents to publicize their health records, and the degree of transparency has varied by administration. Trump’s past reports have been criticized for offering scant detail and providing statistics that some medical experts eyed with skepticism.

At public appearances, Trump often is seen wearing makeup to conceal bruising on his hands, which the White House attributes to handshaking and regular aspirin use. He sometimes has appeared drowsy during meetings and closed his eyes for long stretches, though he denies having fallen asleep.

Trump often boasts of having “aced” cognitive tests while frequently deriding Biden, who faced questions about his mental acuity. Biden and his aides pushed back aggressively against doubts raised about his fitness for office.

Some of Trump’s previous physicals have included the Montreal Cognitive Assessment, used to screen for dementia and cognitive impairment. His physicians reported a score of 30 out of 30 for him at 2018 and 2025 checkups.

Yet critics have pointed to Trump’s meandering speeches and sometimes bellicose rhetoric as evidence of cognitive decline.

Last month, a statement from more than 30 neurologists, psychiatrists and other medical experts — who acknowledged they’ve never examined him — said Trump was mentally unfit to serve and warned of an “increasingly dangerous decline” in his behavior based on what they called “objectively observable signs of serious medical concern.″

“Any so-called medical professionals engaging in armchair diagnosis or false speculation for political purposes are clearly breaking the Hippocratic Oath they’ve sworn to,” Ingle said.

Just like any other patient, presidents get to choose what’s disclosed about their health, said Sara Rosenthal, a bioethicist at the University of Kentucky who studies presidential health. Questions about transparency have become more acute as America elects aging presidents like Trump and Biden, she said.

“We can expect very little disclosure about the true health status of any president unless they’re in perfect health,” said Rosenthal, who has suggested an independent medical organization to review and report on the health of the president and those in the line of succession.

‘Nothing should be hidden’

Trump’s first medical report in his second term was released in April 2025. In July, he was diagnosed with chronic venous insufficiency, a common condition in older adults that causes blood to pool in his veins. Photographs have shown the president with swollen feet, ankles and calves, described by the White House as a symptom of chronic venous insufficiency leading to “mild swelling” in his lower legs.

Following his last publicly disclosed exam, described as a routine follow-up in October, Trump’s physician issued a one-page summary saying the president was in “exceptional health” without divulging many specific results.

The frequency of Trump’s medical checkups is not uncommon for someone his age, according to S. Jay Olshansky of the University of Illinois-Chicago, who has studied the health of past presidents. It’s part of a strategy to catch problems while they’re still treatable, Olshansky said.

Olshansky says the public deserves to see more than White House medical summaries that “may be subject to editorial discretion.” Full, unredacted medical records should be made public, he said. “Nothing should be hidden.”

Binkley writes for the Associated Press.

YOUTUBE and Netflix star Danny Go has announced his son Isaac has tragically died aged 14.

Kids’ favourite Danny, whose real name is Daniel Coleman, took to Instagram today to post a heartbreaking tribute to his young son, who lived with Fanconi anemia.

The rare inherited genetic disorder led to the diagnosis of an aggressive mouth cancer.

The incurable condition, which affects the body’s ability to repair DNA, can also cause physical abnormalities.

Daniel shared a series of photographs of Isaac and wrote: “Isaac Daniel Coleman. 10/3/11 – 5/21/26. Oh my sweet boy. There’s so much I want to say, but I don’t know how yet. I already miss you so much…

“The pain in my heart is far more than I can process. But looking through thousands of pictures and videos this past week, I’m also filled with tremendous pride…

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“Your 14 years were full of so many challenges, but you met them all with such grit…and you somehow kept your trademark joy in spite of it all…

“You truly had a spark like no other, Isaac! Remembering how loved you were and how full of life your time here was gives me great comfort. Being your dad was the honor of a lifetime. I’m so proud of you and I love you forever. Rest peacefully, son.”

The youngster is survived by his dad, mum Mindy and brother Levi, 10.

Viral sensation Daniel has a huge global following thanks to his colourful animated adventures packed with catchy songs and interactive elements.

Fellow kids superstar and friend of Daniel’s, Ms Rachel, encouraged her following to send love to the family.

She wrote: “Hi wonderful parent and caregiver community – Please send so much love and so many thoughts and prayers to Danny Go and his beautiful family. Danny’s precious son passed away…

“We are so sorry for their loss and are thinking about their son’s amazing joy and their immense pride’. She added a caption reading: ‘Let’s all turn on Danny Go today and send so much love and so many prayers and wrap them up in support.”

In December, Daniel updated his followers on his personal Instagram account, informing them of Isaac’s cancer diagnosis, which he said was almost inevitable given his genetic disorder.

“We found out last week that Isaac has cancer in his mouth,” he wrote. “TBH, we always knew this day was coming, as it’s a near certainty w/ Fanconi anemia…

“But it’s definitely hitting a little earlier than we hoped and is still just such a shocking thing to hear about your child, even if you’ve braced for it for years. Been getting lots of scans and we’re not sure yet how much it’s spread…

“But for now, the plan is to try and remove the cancer surgically asap. We’ve done chemo before with Isaac’s bone marrow transplant, but it’s a much less ideal path due to his genetic disorder and the damage radiation does to the rest of his body….”

Unfortunately, the surgery did not fully remove the cancer, which was found to be on the cusp of stage four at the time, and last month Isaac was transferred into a hospice.

What do we have here? Some of my very favorite actors — Alfred Molina, Alfre Woodard, Clarke Peters and Geena Davis — starring in an eight-episode, B-grade sci-fi comedy-drama, “The Boroughs,” now streaming on Netflix.

Molina plays Sam Cooper, a retired engineer — that will be important — being brought grumbling to the Boroughs, a posh, city-sized retirement community plopped down in the middle of the Southwestern desert. Sam’s late wife, Lily (Jane Kaczmarek, in flashbacks and dreams), had planned the move, but she died suddenly, while they were dancing to Bruce Springsteen’s “Thunder Road,” which will become a kind of trigger and motif going forth. Still, fate — in the form of daughter Claire (Jena Malone) and son-in-law Neil (Rafael Casal) — has pushed him solo to the Boroughs and a house on a cul-de-sac. (Seen from above, the town is laid out in a series of concentric circles, as EPCOT was meant to be when Walt Disney was alive and it stood for Experimental Prototype Community of Tomorrow. That has no relation to this show; I’m just throwing it out to the fans.)

Before this happens, however, we get a preamble. Is that Dee Wallace, the mother from “E.T.: The Extraterrestrial,” as Grace, a former occupant of Sam’s new home? (Why, yes it is.) Grabbed one night by something clearly not human, she’ll leave the show before the first credit rolls; but we’ll know from the start that there’s a monster on the loose. And even before Sam has settled in, he’ll be attacked by her now-widowed husband, Edward (Ed Begley Jr.), who has escaped to his old house from the Manor — a memory care unit more reminiscent of something out of “Squid Game” than anywhere you’d want to park a beloved fading parent — muttering “The key is in the light, the owl is in the wall,” and thereby turning Sam detective.

The joint is run by young Blaine Shaw (Seth Numrich), who supposedly took it over from his father, who took it over from his father before him, with Hollywood-blond wife Anneliese (Alice Kremelberg) by his side. (It is perhaps no accident that we’re also served a background clip from “Double Indemnity,” featuring a blond Barbara Stanwyck.) They radiate a kind of vampiric smoothness, and it will take you no longer to realize that something’s up with these two than it takes to say “Something’s up with these two.”

Mired in grief, Sam is initially reluctant to interact with his new neighbors, until former weatherman Jack (Bill Pullman) breaks down his defenses. Judy Daniels (Woodard) used to be a reporter, her husband Art (Peters) is a pot-smoking old hippie who pretends to go golfing but heads off to a ghost town where he grows mushrooms, “searching for proof that there’s more to life than just knockin’ about and hangin’ out.” Wally Baker (Denis O’Hare) used to be a doctor, but now needs one. (It’s cancer, and terminal, though it doesn’t show.) They have complicated relationships, but there’s nothing better for ironing things out than creeping together through dark tunnels by flashlight, hoping that nothing jumps out at you, engaging in weightless banter as you go.

Davis plays Renee Joyce, a former music manager who came to the Boroughs to stay with her mother after Renee’s husband stole her money, and stuck around; I think she’s meant to be younger than the rest, but if you want to look up Davis’ age, I will wait here while you gasp in astonishment. She’ll hook up with friendly young security guard Paz Navarro (Carlos Miranda); he played drums in a band once, and they were both at Glastonbury in 2010 and love Barbra Streisand. (What are the odds?) He’ll have a lot to do when a Scooby Gang — that old, invaluable, incredibly satisfying trope — finally comes together.

The series was created by Jeffrey Addiss and Will Matthews, who were co-writers on the 2018 Henson Co. puppet epic “The Dark Crystal: Age of Resistance,” from which they have imported a central plot device regarding vital essences and a magical matriarchal figure. (Called “Mother” there and here.) Their 2020 dying girlfriend film “Life in a Year,” directed by Mitja Okorn, has some thematic mirroring here, as well — death hovers over the story — and it seems probable that somewhere in the series’ gestation, they discussed Ron Howard’s 1985 science-fiction flick “Cocoon,” with its retirement home setting and senior-citizen heroes.

Sewn together from these and other scraps of previous paranormal adventure stories, “The Boroughs” is almost entirely predictable — not a criticism, in this context, since surprises in such a story are liable to bring bad news, and our affection for its heroes ought not to be sacrificed in the name of dramatic effect. That is not the kind of sacrifice the age needs, and this is not that kind of series. Nor is B-grade a pejorative, but rather an honorable tradition, especially when it comes to sci-fi and horror. (We’ll get a glimpse of Roger Corman’s original “Little Shop of Horrors” playing on a TV — cathode ray, of course.) Once you get on its wavering wavelength — sentimental, sincere, sweet, a little silly, not overly concerned with making perfect sense — and realize the show is not out to hurt you, it’s a very enjoyable watch.

Here’s a riddle for you: A conservative Republican senator, a top economic advisor to the Trump White House and a venture capitalist walk into a conference room at a financial conference and claim a new government program will be a boon for all American families.

Question: Do you think these people are looking out for your interests?

If you trust Sen. Ted Cruz, economic advisor Kevin Hassett and millionaire Brad Gerstner to do so, feel free to stop reading here.

If you’re skeptical, read on.

But keep in mind that Cruz (R-Tex.) was last seen in these pages promoting yet another big tax break for the 1%, Hassett appeared the other day on Fox Business arguing that while Americans are spending a lot more on gasoline, “they’re spending more on everything else too” on their credit cards, as if forcing households to max out their credit is a good thing; and Gerstner is, well, a millionaire tech investor.

At their panel discussion on May 4 at the annual Milken conference, Cruz, Hassett, Gerstner and their interlocutor, Michael Milken, talked as though the Trump accounts would be so fabulous for average American families that they would obviate the need for Social Security.

“Here’s the dirty little secret,” Cruz said. “Trump accounts are Social Security personal accounts.”

Milken echoed that thought: “Do you have the right to decide where your money goes, or should you be giving it to the government and [letting] them decide where it goes?”

That gave the game away — this is yet another effort by Republicans and conservatives to end a program they’ve been trying to kill, and to give Wall Street firms a bigger bite of your retirement resources.

Let’s start with a primer about the Trump accounts, which were part of last year’s GOP budget bill and will be open to investment starting on July 4.

The headline pitch for these accounts is that they’ll be seeded with a one-time $1,000 government contribution for children born from 2025 through 2028, unless Congress extends the government donation. Accounts can be opened for children born before or after those dates, but they won’t get the government donation.

Families can add up to another $5,000 in contributions every year until the child reaches 18, but those donations won’t be tax-deductible.

The money must be invested in low-cost stock index funds or exchange-traded stock index funds, and can’t be withdrawn for any reason without penalty until age 18. After that, the funds can be withdrawn without penalty for certain purposes such as educational expenses or the purchase of a first home. The accounts eventually become converted to conventional individual retirement accounts, or IRAs, and distributions will be taxed as ordinary income, though family contributions will be returned tax-free.

That $1,000 donation is the best feature of the accounts. But that may be their only good feature. For almost all the financial goals confronting average American families, such as saving for college or retirement, they’re inferior to tax-advantaged savings plans already on the books.

Like those programs, they’re much more advantageous for wealthier than to low-income families: Wealthier families typically have the wherewithal to make their annual contributions, and get a larger break from the tax deferrals of investment growth within the accounts because their tax rates are higher.

Though their promoters claim that the accounts will level the economic playing field for all families — “helping the bottom 10%,” Hassett said on the panel — that’s not the case. “Clearly, the program is structured to subsidize savings for those who already have the capacity to save, rather than meaningfully closing the wealth gap,” observes Sheryl Rowling of Morningstar.

Another drawback cited by economists and financial planners is that the accounts are locked into corporate equity investments. Before the beneficiary reaches age 18, the investment mix can’t be adjusted. That’s dangerous because portfolio concentrations in corporate shares are inherently risky.

“A high school senior who plans to enroll in college next year cannot change the investment to a lower-risk portfolio,” say, to a mix of equities and bonds, notes Greg Leiserson of the Tax Law Center at NYU. “If the market crashes the summer before she plans to enroll, the Trump Account is of greatly reduced use.”

Trump account promoters have massively overstated the potential wealth gains for ordinary Americans. At the Milken conference, Cruz said that a child with a Trump account will have about $170,000 in it when he or she reaches 18 and $700,000 at age 35. “And very quickly after that, you get into the millions,” he said.

Cruz did acknowledge that those figures apply to households that “contribute regularly.” In fact, they apply largely to households that contribute the maximum $5,000 every year.

The White House estimates of potential returns are based on questionable assumptions about stock market gains over the 18-year periods in which the accounts will grow on a tax-deferred basis.

According to the government’s own estimates, the account of a family taking the $1,000 seed money but making no contributions beyond that would have as little as $2,577 in their account after 18 years if stock market returns come to 5.4% over that period.

The government estimates, however, that the account would hold $730,395 if the family contributes the maximum every year and the stock market returns more than 18%. Another 10 years of growth at that level, and the account would grow to $1.9 million when the child reaches age 28.

The problem with long-term market estimates, such as the ones offered by the White House, is that they’re highly variable. No 18-year periods are the same. One thousand dollars deposited in a hypothetical account invested in a Standard & Poor’s 500 index fund would grow to about $6,600 if its 18-year lifetime culminated in 2025; if the 18 years ended in 2008, however, that deposit would have grown only to $3,960. In the 18-year period that ended in 1960, the account would have grown only to $2,940. What will the next 18 years bring? Who knows?

Variability like this, along with the sheer uncertainty of stock market projections for the future, helped sink George W. Bush’s 2005 attempt to convert Social Security into private accounts, which was also pitched as a key to minting millionaires by the millions through the magic of the market.

I asked the White House to respond to these criticisms. Spokesman Kush Desai called my questions “both a stupid and out-of-touch take,” asserting that the accounts are “already shaping up to make a generational difference for working-class children.”

The truth is that if Trump were really intent on taking steps to “strengthen the financial security of American workers” and creating a “path to prosperity for a generation of American kids,” as he claims to be, he and his GOP followers in Congress wouldn’t have scissored away the American safety net, which is what they’ve done.

They wouldn’t have imposed new work requirements and narrowed eligibility standards for food stamps, resulting in the exclusion of more than 3 million people from the program, a decline of 8%. They wouldn’t have cut nearly $1 trillion in funding for Medicaid over 10 years, jeopardizing coverage for 3.6 million young adults. They wouldn’t have allowed Affordable Care Act premium subsidies to expire, resulting in a drop in Obamacare enrollments of about 1.2 million Americans this year compared with last year.

If they really cared about educational opportunities for “a generation of American kids,” they wouldn’t have narrowed eligibility for higher education Pell grants, and wouldn’t slash research grants for universities coast to coast.

So how can families better prepare for college and retirement expenses? For education, 529 plans are probably preferable to Trump accounts. The investment choices are more flexible, withdrawals are tax-free at the federal level and sometimes at state levels if used for most education expenses, and there are no federal limits on contributions (contributions aren’t tax-deductible).

For retirement, advisers have been favoring Roth IRAs. Contributions are not tax-deductible, and this year can be made by couples filing jointly with taxable income up to $242,000 ($153,000 for singles) and are limited to $7,500 a year ($8,600 for those 50 and older). But withdrawals aren’t taxed if you’ve held the account for at least five years and you take the money out after you turn 59 1⁄2.

The bottom line, then, is this. Take the $1,000 if your child is eligible. As Rowling wisely advises, “Any time the government offers free money, you should take it.”

As for the rest, treat any claims offered by Trump account promoters as inherently suspect.

Coronation Street fans had a lot to say after Abi Webster actress Sally Carman celebrated her birthday.

Coronation Street fans have been left floored after learning the real age of Abi Webster actress Sally Carman.

Abi made her debut on the long-running ITV soap back in 2017 – and it’s fair to say she has quickly become a firm favourite with fans. The character has also played a part in several big storylines during her stint on the soap.

From her drug addiction, the tragic death of her son Seb (Harry Visinoni), and, more recently, her affair with Carl Webster (Jonathan Howard) behind her husband Kevin’s (Michael Le Vell) back, her time in Weatherfield has not been short of drama.

Away from the cobbles though, on Saturday (May 9) Abi actress Sally celebrated her birthday – and fans couldn’t believe her real age.

On a Coronation Street Facebook fan page, one person paid a sweet tribute to Sally and said: “Sally Carman is 51 today. Happy Birthday Sally.” And rushing to the comments section, fans were left gobsmacked by her age.

One person wrote: “51?! She looks in her 40s!” Another added: “She doesn’t look a day over 30.” A third chimed in: “I’d have guessed she was in her 40s.” Someone else wrote: “She doesn’t look that age! Gorgeous lady.”

Last year, Sally revealed the secrets behind her remarkably youthful looks. In an interview with The Sun, Sally confessed: “Oh, it’s no secret – I have fillers, I have Botox, facials…. I do all of it.”

Sally continued: “I’m really open about it. I don’t think there’s anything worse than someone promoting a cream saying: ‘Buy this mega-bucks cream and your face will be as smooth as mine.’ I’m like: ‘Yeah, whatever.’ So there’s no cream – well, there is, but there are other things on top.”

Meanwhile earlier this year, Sally confirmed that fans will be seeing her playing Abi until at least 2027 as she signed another year-long contract. Speaking exclusively to Radio Times at the TV Choice Awards, she confirmed: “Just signed for another year, which is great. My goodness, I love it. It’s my favourite job I’ve ever done.”

The soap star also shared that she would be honoured to follow in the footsteps and have the same screen longevity as Corrie royalty Sally Dynevor, who recently marked the milestone of playing Sally Metcalfe for 40 years. “If they’ll have me, yeah!” Sally joked.

In addition to her success on Coronation Street, Sally has also found love on the show. She met her co-star Joe Duttine, who plays Tim Metcalfe, on set in 2017, and the couple got engaged in 2020 before tying the knot two years later.

Discussing their unique engagement tale on Kate Thornton’s podcast, White Wine Question Time, Sally shared: “It was while we were in lockdown and we were staying in the Dales with his sister, who has a lot of space, with, his kids” she said.

She added: “We were walking around this big field on this walk and he went: ‘Kids, have a look in between the dry stone walling because you know, they used to put coins and precious things to hide them in the walls.”

Sally continued: “So I’m having a look and there’s this box. And I opened it. I’m like: ‘No way.’ And then there was another box inside. And I turned around and he was on one knee.”

Coronation Street airs Monday to Friday at 8:30pm on ITV1 and ITVX

PORTLAND, Maine — Republican U.S. Sen. Susan Collins says she has a benign essential tremor, disclosing the longtime health condition for the first time in her decades-long political career as she seeks reelection in one of this year’s toughest Senate races.

Collins first confirmed the tremor to WCSH-TV in Maine on Wednesday after facing questions about her health from appearances in recent videos, including her campaign announcement video.

The condition causes trembling in Collins’ hands, head and voice, and she said she has had it for the entirety of her nearly three-decade Senate career. It affects millions of Americans over the age of 40 and “does not interfere” with work, Collins said in a Thursday statement to the Associated Press. She said it is not a neurodegenerative condition.

“The tremor is occasionally inconvenient, and sometimes the subject of cruel comments online, but it does not hinder my ability to work and, as I said, is something that I have lived with for decades,” the statement said.

Health issues and candidates’ ages have drawn increased scrutiny in high-profile elections following Democratic President Joe Biden’s decision not to seek reelection in 2024 at age 81. Those questions have only lingered with Republican President Trump, who’s 79 and in recent months has been seen with bruising on the back of his hand, sometimes concealed with makeup. The White House acknowledged last year that Trump was diagnosed with chronic venous insufficiency.

Collins is up for reelection in a seat Democrats need to flip to have a chance to take back the Senate. Her likely opponent is Democrat Graham Platner, an oyster farmer and combat veteran, after Democratic Gov. Janet Mills suspended her campaign last week. Age has been an issue in the contest, with Collins, 73, and Mills, 78, more than three decades older than Platner, 41.

Platner acknowledged early in his campaign his own health problems. He has spoken openly about chronic pain in his shoulder and knees stemming from combat service, and he has said he was diagnosed with post-traumatic stress disorder after serving at war. Platner has said he has a 100% disability rating from the U.S. Department of Veterans Affairs but continues to work as an oyster farmer.

“There are a lot of disabled combat veterans, or just disabled vets, at 100%, who still work,” Platner told WCSH last year. “It’s a very normal thing.”

Collins was first elected to the Senate in 1996 and said in her statement that she has had the condition for all of that time. Over the years, the condition has been noticeable in Collins’ debates and frequent public appearances.

As chair of the Senate Appropriations Committee, Collins has been at the forefront of the chamber’s many spending disputes this Congress, often leading the floor debate and providing the GOP’s closing arguments. She frequently engages with reporters in the hallways. Her streak of never missing a Senate vote is up to 9,966 and stands as the second-longest consecutive voting streak in the chamber’s history.

Tremors happen when nerves aren’t properly communicating with certain muscles. Essential tremor, sometimes called benign essential tremor, is one of the most common movement disorders, according to the National Institutes of Health.

The risk of developing it increases as people get older, but at least half of cases are inherited, meaning the tremor runs in the family, and those tend to begin at younger ages. It almost always involves shaky or trembling hands but also can affect the head, voice or lower limbs.

Whittle and Kruesi write for the Associated Press. Kruesi reported from Providence, R.I. AP writers Kevin Freking and Lauran Neergaard in Washington contributed to this report.

IF you are stuck for ideas for the kids this summer, no need to panic…just yelp for help and the heroes of hit kids cartoon Paw Patrol will come to the rescue.

As a mum of three, over the past decade I have watched more than my fair share of the hit Nickelodeon kids show which follows the rescue exploits of a team of talking, cartoon puppies under the supervision of 10-year-old boy Ryder.

So when I heard the ‘World of  Paw Patrol’ was opening at Chessington World of Adventures, I knew I could waste no time in assembling my pups to check it out.

The new £15million land vibrantly brings to life the cartoon’s world of Adventure Bay making young visitors feel as though they have just stepped directly into the cartoon.

Cleverly designed with little ones in mind, it covers 1.4 acres, although the land manages to have a safe, self-contained feel.

From the trees, to the vehicles, to the models of the characters which populate the land-they all look exactly like they have been transplanted from the show. 

RIDE ON

English seaside theme park named one of the best in the world on Tripadvisor

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Inside the world’s largest hotel with over 7,000 rooms & 2 theme parks next door

And standing, beaconlike at the centre is the iconic Paw Patrol Lookout Tower which famously serves as Pup HQ in the show.

Four brand new rides bring the pup’s adventures to life in thrilling style.

The World of Paw Patrol’s flagship attraction is Chase’s Mountain Mission, a small scale rollercoaster aimed at younger children (although they still  have to be 0.9m tall to ride).

It’s a well thought out experience as children enter the coaster at the bottom of the Lookout Tower via sliding doors – just like in the show where they are then given the sensation of shooting to the top in a lift – again just like in the show.

A video brief on their ‘mission’ tells them the town’s chicken mad and gaff prone Mayor (who ardent viewers know is often the subject of rescue efforts) has been left stranded on a tightrope thanks to a pesky, baguette eating eagle and kids are asked to help.

Young adventurers then emerge at the rollercoaster’s loading station for the ride – while hardly white-knuckle, it has a few bends and zips along at a pace perfect as an entry level rollercoaster for more nervous riders.

But our family favourite Paw Patrol was without doubt Zuma’s Hovercraft Adventure.

The orange boats look exactly like they could have floated straight from the show.

There is a claim to fame here too as it is the UK’s first ‘drifter’ ride meaning it gives the sensation of hovering above ground.

It is super spinney and fast and kids get to pull a leaver in the car to make it rocket  out at an angle.

It’s thrilling, kind of like a cross between a bumper car and the fairground waltzer. 

Even my eldest son who is 12 wanted to repeatedly ride this one…

Marshall’s Firetruck Rescue sees young thrillseekers whooshed around  horizontally, yet  fairly gently,  in a giant red bus.

“It makes my tummy go funny!” Estella squealed with glee. 

And youngsters get to soar high in the sky again above World Of Paw Patrol in soar high in Skye’s dazzling pink helicopters.  

At its centre of the land isn’t the rides but ‘Rubble and Rocky’s Playzone.’

This is a gloriously, undulating and colourful play areas where younger visitors can explore Adventure Bay on their own terms.

They can crawl through tunnels, barrel down mini slides and clamber around the familiar sites from the show like Rocky’s waste truck and Captain Turbot’s Sea Patroller.

There is also a cute designated snack stand serving Paw Patrol branded treats and, of course, the obligatory gift shop – but parents beware, because boy what a gift shop it is!

For pup mad kids it will be heaven with aisles and aisles of every piece of Paw Patrol merchandise you can think of, including an entire wall of soft toy versions of the characters.

And if you are parent to a total pup nut you might consider an overnight stay in one of the five brand new PAW Patrol-themed hotel rooms at Chessington’s resort hotel. 

Each room sleeps up to two adults and three children. 

Young ones would no doubt happily spend all day in World of Paw Patrol, but if course entry price also gives you free reign of all that Chessington has to offer including animal attractions, shows and brilliant thrill rides.

So for a family like mine, with kids spanning in age from 5 to 12, it offers a great day out with something for everyone.

What could be more Pawsome than that?

Tickets to Chessington start from £32pp while PAW Patrol hotel stays start from £155 for a family of four (including breakfast, early ride access and bronze fast-track pass)

A majority of South Koreans support raising the country’s senior age threshold to 70 from the current 65, a survey by Gallup Korea showed Friday.

The survey, conducted from Tuesday to Thursday on 1,002 adults aged 18 and older, found that 59 percent of respondents favored raising the eligibility age for senior benefits.

Opposition stood at 30 percent, while 12 percent either declined to answer or said they were unsure.

In similar surveys conducted in 2015 and 2023, 46 percent and 60 percent of respondents, respectively, backed raising the threshold.

The poll also found 60 percent of respondents believe individuals should be primarily responsible for their own livelihood in old age.

By contrast, 29 percent said the government and society should take responsibility, while 4 percent said such responsibility fell on their offspring and 3 percent chose other options.

Across all age groups, more than half said individuals should take primary responsibility for their retirement.

Copyright (c) Yonhap News Agency prohibits its content from being redistributed or reprinted without consent, and forbids the content from being learned and used by artificial intelligence systems.

Allyson Felix is attempting a comeback at age 40 that could give her a chance to add to her Olympic-record medal haul two years from now in Los Angeles.

Felix, a mother of two, told Time magazine she thought about coming back some four years after calling it quits and decided: “Let’s go after the thing. Let’s be vulnerable.”

“You know, at this age, I should probably be staying home and taking care of my kids, doing all that. And just, why not? Let’s flip it on its head,” she said.

Felix has won 11 Olympic medals — the most by any woman in track — and has a record 20 medals from world championships.

She is a seven-time Olympic champion, with six in the relays and her lone individual gold coming in the 200 meters at the 2012 London Games.

Before retiring in 2022, she became an outspoken advocate for athletes who become mothers and want to keep their careers going.

Felix, who landed a spot on the IOC Athletes’ Commission in retirement, has two kids — 7-year-old Camryn and 2-year old Trey.

She said she expects to start full-time training with her coach, Bobby Kersee, in October with the goal of competing in 2027. The Olympics will be in her hometown a year later.

“I totally get the person who sticks around too long and you’re like, ‘What are they doing?’” Felix said. “I know, at 40, I am not at my peak. I have no illusions about that. I’m very clear in what it is and what I want to see. And so I hope it’s seen that way.”